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Date Range. Foreman ended up blacklisted and Cecil B. The film that made Audrey Hepburn a movie star, Roman Holiday is the ideal to which all romantic comedies aspire, and builds to a lovely, bittersweet ending that few have dared to duplicate. Humphrey Bogart became famous by playing a certain type of cool, hard-bitten character, but he created some of his best performances by tweaking his onscreen persona. In a Lonely Place , for instance, finds him plumbing the darkness beneath the surface of a hardened loner. And in The Caine Mutiny , he portrays a naval captain who cracks in slow-motion, his air of authority hiding the rage and paranoia that drives him.
To continue the theme of naval rebellion: Henry Fonda spent years playing the lead of Mister Roberts on Broadway — so long, in fact, that by the time this film adaptation came around, some considered him too old, and too long out of movies, to play the part. It has a tattered origin, too. John Ford directed it until illness and conflict drove him away, leading to Mervyn LeRoy and an uncredited Josh Logan taking over. Logan, co-writer of the theatrical version, also directed another Best Picture nominee, Picnic. But the humor keeps it lively from beginning to end, and the performances — including a Best Supporting Actor—winning turn from Jack Lemmon — are priceless.
That Todd was married to Taylor added an extra twist to the tale. Nonetheless, in the middle of a decade in which prestige pictures often emphasized bigness, Giant remains a model of how to tell an intimate story on a grand scale, focusing on the lives of a handful of characters without letting them become dwarfed by the landscape or the extended running time. But TV and film found that their coexistence could be mutually beneficial, with television sometimes serving as a proving ground for film material and a new generation of film directors honing their skills on the small screen, where they learned to work fast and make the most of a few sets and limited budgets.
The Defiant Ones is, literally and figuratively, one of his most bare-knuckled efforts, chaining Sidney Poitier and Tony Curtis together as escaped prisoners and forcing them to work out their differences if they want to survive. The film deals with prejudice by folding it into a propulsive chase movie, letting the politics serve the narrative and not the other way around. Otto Preminger was no stranger to taboo-smashing when he made Anatomy of a Murder , having previously directed The Moon Is Blue — scandalous for its then-shocking discussion of sexuality — and The Man With the Golden Arm , which dealt frankly with drug addiction.
The legal thriller Anatomy of a Murder was no exception, shocking audiences with a courtroom drama filled with graphic discussions of rape. That it was Jimmy Stewart as a laid-back lawyer doing much of the talking only made it more shocking, and the film was even banned for a time in Chicago. Once smashed, taboos have a hard time being restored, and its straightforward approach to adult material helped set the stage for the decade to come, one in which the once-inescapable Motion Picture Production Code would first lose power before being replaced by the modern ratings system.
The film became a hit unexpectedly, its success spurred in part by rave reviews and a sense that the film knew the ins and outs of the world it was depicting. That Rossen had once hustled pool probably helped. These are characters who always feel like the walls are about to close in on them. Peck plays Finch as a man with a deep sense of right and wrong, but also as someone capable of deep disappointment, someone who struggles with how to convey the injustice of life to his children. Its full effect will be lost on even the biggest home screen, however. Stanley Kubrick set out to make Dr. Strangelove as a straight thriller, but the deeper he got into the project, the more absurdity he saw in Cold War politics and the careful balancing act needed to keep a policy of mutually assured destruction from tipping over into a nuclear apocalypse.
Seeing the biggest movies of meant sitting still for a while. Doctor Zhivago , which tied it with five nominations, runs minutes. In filmmaking, there are big risks and small risks. Taking a shockingly profane Edward Albee play about one long, dark night in the lives of a hard-drinking middle-aged couple — and handing it over to a first-time director — is itself a pretty big risk. Casting married movie stars who seemed at first too young and glamorous for the parts only made it more risky. The risk paid off with a nomination, though not a trophy, and helped push the boundaries of what was permissible in movies in ways that would never be pushed back. Containing everything from talking animals to amoral criminals, the nominees for double as a cross-section of what was going on in Hollywood at the time, so much so that Mark Harris used it as the subject for his excellent book Pictures at a Revolution.
Filtering a story of prejudice through a tense thriller set in the Deep South, In the Heat of the Night took the top prize. Elsewhere, both The Graduate and Bonnie and Clyde captured a Hollywood filled with fresh ideas, the product of an emerging generation of new filmmakers and the influence of the French New Wave. Sometimes the Best Picture field is defined by what it leaves out. Instead, the Academy played it safe, awarding the splashy Dickens musical Oliver! The breakout success of Easy Rider marked a turning point that would help define the next decade of films, a shaggier period less beholden to the old ways of doing things.
The 43rd Academy Awards provided even more evidence of the upheaval happening in the movie business. Peter Bogdanovich made his feature directorial debut in with the inventive, low-budget thriller Targets , but his meteoric ascent began a few years later with this Larry McMurtry adaptation about a small Texas town and the reckless youth that call it home in the early s. Bogdanovich grew up idolizing and later often befriending the directors and actors of classic Hollywood, but he never slavishly imitated them.
Instead, he made films that bridged the gap between new and old. Film from non-English-speaking countries, however remarkable, usually have to settle for winning in the Best Foreign Language Film category, but every once in a while one breaks through. Even if The Sting is, admittedly, much more fun. In , the feel-good picture of the year told the story of a scrappy boxer who rises from obscurity, fights the champ — and loses, securing only a moral victory in the process. Director Martin Scorsese and screenwriter Paul Schrader take the film to the sort of dark places few movies dare to go.
The ill-defined Outstanding Achievement in Popular Film idea may or may not return in the future. Mainstream films mostly stayed away from the topic of the Vietnam War until years after the fall of Saigon, but in , two such films earned Best Picture nominations. Filmed and set in Bloomington, Indiana, it keeps a light tone without losing sight of the limited options to the working-class children of the quarry workers who built the college town that now looks down on them. For years the highest-grossing movie of all time, its emotionally rich, visually stunning storytelling captures everything Spielberg did better than everyone else at this point in his career. He made it look easy.
In other words, it stays true to the tone cultivated by Wolfe, a movie equally at home depicting awesome achievements and the flawed men and women who made it possible. Written and directed by Robert Benton Kramer vs. Benton drew from his own memories growing up in Texas, and the mix of affection for and repulsion toward the place that made him can be felt from beginning to end. Few directors stayed as engaged and interested in risk from the beginning of their career to the end as John Huston, who kept taking chances until his death in The team became a kind of lazy shorthand for tastefully unadventurous filmmaking, and unfairly so.
Their best films burst with intelligence and passion. At once a funny, carefully realized look a complicated relationship and an incisive, prescient study of the power of mass media, James L. Some types of movies that often have a hard time winning Best Picture Oscars, especially in the past few decades: comedies in general, romantic comedies in particular, and most films focused more on women than men.
Ten years after making one of the best films of his career and losing the Best Picture Oscar to a movie star making his directorial debut, Martin Scorsese did it again. One of the most beloved products of the Disney animation renaissance that began in the late s — a string of films that breathed new life into both the studio and theatrical animation on the whole — Beauty and the Beast made news as the first animated feature to earn a Best Picture nomination.
Combining classic hand-drawn animation with some computer-assisted flourishes, Beauty and the Beast now looks like a bridge between the past and the future. It works both as a propulsive suspense film and as an exploration of the slipperiness of identity — national, ideological, sexual, and otherwise. The Fugitive almost plays like the result of a dare: What if you made a movie that was basically one long chase scene?
Could it work? Could it still feel substantial? The films of , however, offered just such a chance. Of the five nominees, only one, Jerry Maguire , came from a major studio and even it mostly played like an indie. The award went to the stately The English Patient , arguably the nominee most indebted to classic Hollywood filmmaking. The result was a fresh take on classic noir themes set in a seedy, bygone L. Some of these confirmed emerging directors like Spike Jonze and David O.
Russell as major talents. Others, like The Matrix , broke new ground with stunning special effects. Nor were The Cider House Rules or The Green Mile , or even The Insider , a fantastic Michael Mann movie, but one from an established director challenging himself to bring the same sort of tension to a docudrama that he had previously brought to crime films. Of the nominees, The Sixth Sense provided the best indication of what was happening elsewhere in the film world. A seemingly out-of-nowhere supernatural drama crafted with discipline by M.
Night Shyamalan, a filmmaker most moviegoers had never heard of, it became a cultural phenomenon by taking viewers by surprise — but the twist never would have worked without the patience Shyamalan invested in the filmmaking or the careful performances by Bruce Willis and Haley Joel Osment. They went with the one that emphasized the action over the lyricism, however. Big often wins at the Oscars, and in most years, indies struggle to compete with deep-pocketed studio projects. Despite its critical acclaim and multiple nominations, In the Bedroom never really stood a chance. The first official Sundance selection to earn a Best Picture nomination, the debut film from actor turned director Todd Field is a gutting depiction of violence and its aftermath, watching as the marriage of a happily married couple played by Tom Wilkinson and Sissy Spacek fractures after the murder of their son.
Martin Scorsese would finally win an Oscar a few years later for The Departed , but it would have been just as fitting for him to have won for this story of a rough, long-lost New York starring Leonardo DiCaprio and Daniel Day-Lewis. The film has its problems, particularly toward the end, but its ambition and commitment to recreating 19th-century Manhattan, down to its last muddy detail, mark it as one of the last of the old-style epics, before green screens and CGI made depictions of the past much less tactile and, all too often, much less immersive.
We said up front that this would not necessarily be a collection of films that should have won over less deserving winners. Martin Scorsese finally directed a Best Picture winner and nabbed a Best Director award for The Departed , but the Academy could just as easily have given a third trophy to Clint Eastwood for the second of two films revisiting the Battle of Iwo Jima. Flags of Our Fathers , which recounted the struggle to take a rocky island stronghold from the Japanese in World War II from the American side, is also worthwhile.
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