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Best Picture
 AN AMERICAN IN PARIS (Won 6 Awards) - MGM. Produced by Arthur Freed
 DECISION BEFORE DAWN - 20th Century-Fox. Produced by Anatole Litvak and Frank McCarthy
A PLACE IN THE SUN (Won 6 Awards) - Paramount. Produced by George Stevens
QUO VADIS? - MGM. Produced by Sam Zimbalist
A STREETCAR NAMED DESIRE - Feldman, Warner Bros. Produced by Charles K. Feldman
Actor
Montgomery Clift in A PLACE IN THE SUN
Humphrey Bogart in THE AFRICAN QUEEN
Marlon Brando in A STREETCAR NAMED DESIRE
Arthur Kennedy in BRIGHT VICTORY
Fredric March in DEATH OF A SALESMAN
Actress
Katharine Hepburn in THE AFRICAN QUEEN
Vivien Leigh in A STREETCAR NAMED DESIRE
Eleanor Parker in DETECTIVE STORY
Shelley Winters in A PLACE IN THE SUN
Jane Wyman in THE BLUE VEIL
Supporting Actor
Leo Genn in QUO VADIS?
Karl Malden in A STREETCAR NAMED DESIRE
Kevin McCarthy in DEATH OF A SALESMAN
Peter Ustinov in QUO VADIS?
Gig Young in COME FILL THE CUP
Supporting Actress
Joan Blondell in THE BLUE VEIL
Mildred Dunnock in DEATH OF A SALESMAN
Lee Grant in DETECTIVE STORY
Kim Hunter in A STREETCAR NAMED DESIRE
Thelma Ritter in THE MATING SEASON
Director
John Huston for THE AFRICAN QUEEN
Elia Kazan for A STREETCAR NAMED DESIRE
Vincente Minnelli for AN AMERICAN IN PARIS
George Stevens for A PLACE IN THE SUN
William Wyler for DETECTIVE STORY
Writing: Screenplay
James Agee & John Huston - THE AFRICAN QUEEN
Philip Yordan & Robert Wyler - DETECTIVE STORY
Jacques Natanson & Max Ophüls - LA RONDE
Michael Wilson & Harry Brown - A PLACE IN THE SUN
Tennessee Williams - A STREETCAR NAMED DESIRE
Writing: Motion Picture Story
Budd Boetticher & Ray Nazarro - THE BULLFIGHTER AND THE LADY
Oscar Millard - THE FROGMEN
Robert Riskin & Liam O'Brien - HERE COMES THE GROOM
Paul Dehn & James Bernard - SEVEN DAYS TO NOON
Alfred Hayes & Stewart Stern - TERESA
Writing: Story and Screenplay
Alan Jay Lerner - AN AMERICAN IN PARIS
Lesser Samuels & Walter Newman - THE BIG CARNIVAL (a.k.a. ACE IN THE HOLE)
Philip Dunne - DAVID AND BATHSHEBA
Robert Pirosh - GO FOR BROKE!
Clarence Greene & Russell Rouse - THE WELL
Art Direction/Set Decoration (Color)
Cedric Gibbons & Preston Ames - Art Direction, Edwin B. Willis & Keogh Gleason - Set Decoration AN AMERICAN IN PARIS
Lyle Wheeler & George W. Davis - Art Direction, Thomas Little & Paul S. Fox - Set Decoration DAVID AND BATHSHEBA
Lyle Wheeler & Leland Fuller - Art Direction, Joseph C. Wright - Musical Settings, Thomas Little & Walter M. Scott - Set Decoration ON THE RIVIERA
William A. Horning, Cedric Gibbons & Edward C. Carfagno - Art Direction, Hugh Hunt - Set Decoration QUO VADIS?
Hein Heckroth - Art Direction TALES OF HOFFMANN
Art Direction/Set Decoration (Black and White)
Lyle Wheeler & Leland Fuller - Art Direction, Thomas Little & Fred J. Rode - Set Decoration FOURTEEN HOURS
Lyle Wheeler & John De Cuir - Art Direction, Thomas Little & Paul S. Fox - Set Decoration HOUSE ON TELEGRAPH HILL
D'Eaubonne - Art Direction LA RONDE
Richard Day - Art Direction, George James Hopkins - Set Decoration A STREETCAR NAMED DESIRE
Cedric Gibbons & Paul Groesse - Art Direction, Edwin B. Willis & Jack D. Moore - Set Decoration TOO YOUNG TO KISS
Cinematography (Color)
Alfred Gilks - Director of Photography, & John Alton - Ballet Photography AN AMERICAN IN PARIS
Leon Shamroy - DAVID AND BATHSHEBA
Robert L. Surtees & William V. Skall - QUO VADIS?
Charles Rosher - SHOW BOAT
John F. Seitz & W. Howard Greene - WHEN WORLDS COLLIDE
Cinematography (Black and White)
Franz Planer - DEATH OF A SALESMAN
Norbert Brodine - THE FROGMEN
William C. Mellor - A PLACE IN THE SUN
Robert Burks - STRANGERS ON A TRAIN
Harry Stradling - A STREETCAR NAMED DESIRE
Costume Design (Color)
Orry-Kelly, Walter Plunkett & Irene Sharaff - AN AMERICAN IN PARIS
Charles LeMaire & Edward Stevenson - DAVID AND BATHSHEBA
Helen Rose & Gile Steele - THE GREAT CARUSO
Herschel McCoy - QUO VADIS?
Hein Heckroth - TALES OF HOFFMANN
Costume Design (Black and White)
Walter Plunkett & Gile Steele - KIND LADY
Charles LeMaire & Renie - THE MODEL AND THE MARRIAGE BROKER
Edward Stevenson & Margaret Furse - THE MUDLARK
Edith Head - A PLACE IN THE SUN
Lucinda Ballard - A STREETCAR NAMED DESIRE
Documentary (Features)
Bryan Foy - Producer I WAS A COMMUNIST FOR THE F.B.I.
Olle Nordemar - Producer KON-TIKI
Documentary (Short Subjects)
Fred Zinnemann - Producer BENJY
Owen Crump - Producer ONE WHO CAME BACK
Gordon Hollingshead - Producer THE SEEING EYE
Film Editing
Adrienne Fazan - AN AMERICAN IN PARIS
Dorothy Spencer - DECISION BEFORE DAWN
William Hornbeck - A PLACE IN THE SUN
Ralph E. Winters - QUO VADIS?
Chester Schaeffer - THE WELL
Music: Scoring of a Dramatic or Comedy Picture
Alfred Newman - DAVID AND BATHSHEBA
Alex North - DEATH OF A SALESMAN
Franz Waxman - A PLACE IN THE SUN
Miklos Rozsa - QUO VADIS?
Alex North - A STREETCAR NAMED DESIRE
Music: Scoring of a Musical Picture
Oliver Wallace - ALICE IN WONDERLAND
Johnny Green & Saul Chaplin - AN AMERICAN IN PARIS
Peter Herman Alder & Johnny Green - THE GREAT CARUSO
Alfred Newman - ON THE RIVIERA
Adolph Deutsch & Conrad Salinger - SHOW BOAT
Music: Song
Hoagy Carmichael - Music, Johnny Mercer - Lyrics HERE COMES THE GROOM "In the Cool, Cool, Cool of the Evening" 
Bert Kalmar, Harry Ruby & Oscar Hammerstein II - Music & Lyrics THE STRIP "A Kiss to Build a Dream On"
Lionel Newman - Music, Eliot Daniel - Lyrics GOLDEN GIRL "Never"
Burton Lane - Music, Alan Jay Lerner - Lyrics ROYAL WEDDING "Too Late Now"
Nicholas Brodszky - Music, Sammy Cahn - Lyrics RICH, YOUNG AND PRETTY "Wonder Why"
Short Subjects (Cartoons)
Walt Disney - Producer LAMBERT THE SHEEPISH LION
Stephen Bosustow - Executive Producer ROOTY TOOT TOOT
Fred Quimby - Producer TWO MOUSEKETEERS
Short Subjects (One-reel)
Jack Eaton - Producer RIDIN' THE RAILS
Robert G. Leffingwell - Producer THE STORY OF TIME
Robert Youngson - Producer WORLD OF KIDS
Short Subjects (Two-reel)
Les Films Du Compass Production Company, France BALZAC
Tom Mead - Producer DANGER UNDER THE SEA
Walt Disney - Producer NATURE'S HALF ACRE
Sound Recording
Leslie I. Carey - Sound Director BRIGHT VICTORY
Douglas Shearer - Sound Director THE GREAT CARUSO
Gordon Sawyer - Sound Director I WANT YOU
Colonel Nathan Levinson - Sound Director A STREETCAR NAMED DESIRE
John O. Aalberg - Sound Director TWO TICKETS TO BROADWAY
Special Effects
WHEN WORLDS COLLIDE [No names listed, but picture credits Gordon Jennings.]
1951 thru 1953 Special Effects classified as an "other" Award (not
necessarily given each year) hence, no nominations.
Scientific Or Technical
Class I (Statuette):
No award given for 1951.
Class II (Plaque):
 Gordon Jennings & S. L. Stancliffe (Paramount Studio Special
Photographic and Engineering Departments) - For the design, construction and application of a servo-operated recording and repeating device.
Olin L. Dupy (Metro-Goldwyn-Mayer Studio) - For the design, construction and application of a motion picture reproducing system.
Radio Corporation of America Victor Division - For pioneering direct positive recording with anticipatory noise reduction.
Class III (Citation):
 Richard M. Haff, Frank P. Herrnfeld & Garland C. Misener (Ansco Film Division of General Aniline and Film Corporation) - For the development of the Ansco color scene tester.
Fred Ponedel, Ralph Ayres & George Brown (Warner Bros. Studio) - For an air-driven water motor to provide flow, wake and white water for marine sequences in motion pictures.
Glen Robinson (Metro-Goldwyn-Mayer Studio Construction Department) - For the development of a new music wire and cable cutter.
Jack Gaylord (Metro-Goldwyn-Mayer Studio Construction Department) - For the development of balsa falling snow.
Carlos Rivas (Metro-Goldwyn-Mayer Studio) - For the development of an automatic magnetic film splicer.
Honorary & Other Awards
Gene Kelly - In appreciation of his versatility as an actor, singer, director and dancer, and specifically for his brilliant achievements in the art of choreography on film. Winner presented a Statuette.
RASHOMON (Japan) - Voted by the Board of Governors as the most outstanding foreign language film released in the United States during 1951. Winner presented a Statuette.
Irving G. Thalberg Memorial Award
Arthur Freed
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FIRSTS
· Lee Grant is nominated for her film debut.
RULE CHANGES
· Special Effects made an "other" Award, not necessarily given every year.
SINS OF OMISSION
Picture: The African Queen, Strangers on a Train, Detective Story, The Day the Earth Stood Still
Director: Alfred Hitchcock - Strangers on a Train
Actor: Robert Walker - Strangers on a Train, Kirk Douglas - Detective Story
Actress: Leslie Caron - An American in Paris
Supporting Actor: Oscar Levant - An American in Paris
Song: "Happy Trails," "Silver Bells"
UNMENTIONABLES
· When it opened in the fall, many people walked out of Elia Kazan's film of Streetcar, complaining that if this kind of filth was so big on Broadway, then it was no wonder Broadway was dying.
· However, both Streetcar and George Stevens's A Place in the Sun ended up doing well with the general public, despite their realism and overt sexuality.
· Producer Sam Spiegel hand-carried a release print of The African Queen from London to Hollywood so that it could open on the very last day of eligibility.
· The Academy once again voted down a move, this time spearheaded by theater owners, to broadcast the Awards on television.
· Karl Malden was the only nominated actor from Streetcar who planned to attend the show.
· Backstage, a reporter asked Edith Head how many Oscars® she possessed. Just then, the Color Costume winners from An American in Paris came dashing in and Walter Plunkett answered, "Don't let her kid you. She owns a 50-acre estate surrounded by a picket fence made of nothing but Oscars!"
· Accepting the Foreign Language Film Award, the Japanese consul in Los Angeles profusely praised the film's producer without once mentioning Rashomon's director, Akira Kurosawa.
· Gene Kelly was in Germany on Awards night. Stanley Donen, co-director of his upcoming Singin' in the Rain, accepted Kelly's Honorary Award.
· Arthur Freed's Thalberg Award was a big surprise. Everyone had expected it to go to Stanley Kramer or Dore Schary.
· Music Awards presenter Donald O'Connor picked up the podium and cracked, "Thanks, this is the nicest award I've ever had." He presented the Awards and, after each one, threw the envelope over his shoulder.
· Claire Booth Luce, presenting the Writing Awards, had a few problems: She called Seven Days to Noon, winner for Motion Picture Story, "Seven Days to the Moon." She mispronounced James Agee's name and asked for help pronouncing "John Huston."
· Greer Garson came out and asked, "This is hardly the time to be wordy, but if anyone would still like to hear it, I think I still have 20 minutes left over from a highly emotional speech I made a few years ago." Proceeding with the Best Actor Award, Garson opened the envelope and read the name -- Humphrey Bogart for The African Queen. The audience gasped. This proved to be the only acting Award that Streetcar didn't win.
· George Stevens's directing win for A Place in the Sun led everyone to believe that his film would go on to win Best Picture. Instead, presenter Jesse Lasky opened the final envelope and announced the winner. People in the audience, many trying to beat the crowd to the exit, stopped in their tracks. They thought they'd heard wrong. But, no, it was An American in Paris that took the top Award. Gene Kelly had good reason indeed to begin "Singin' in the Rain."
· The real hard-luck story of the night was Mrs. Pauline Paulson's. After watching her film favorites depart the Pantages, the 80-year-old grandmother fell in between the rows of bleachers and was rushed to Hollywood Receiving Hospital. Not to worry, for as Daily Variety noted, "Full insurance is carried to cover any accidents in the temporary bleachers erected for fans."
· After the Awards, Jack Warner was frantic. Streetcar had to leave its L.A. theater in a week to make room for Abbot and Costello's Jack and the Beanstalk.
· The fact that MGM won a Best Picture Award as soon as Louis B. Mayer left would have seemed to indicate that the new management knew what it was doing. But a few people knew better. Alan Jay Lerner recalled in his autobiography that one of the toughest obstacles in making An American in Paris was convincing MGM's New York office to fork over the $400,000 to film the climactic ballet scene. "Later Dore Schary intentionally or unintentionally took credit for that," Lerner wrote, "but Louis B. Mayer did it."
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