Oscar Oversights: Rewriting History’s Best Picture Mishaps

The Academy Awards, a beacon of cinematic achievement, have celebrated the art of filmmaking for nearly a century. Yet, even with such a long and prestigious history, the selection of "Best Picture" has not always been met with universal acclaim. While recent choices have been lauded for their diversity and artistic merit – think "Parasite," "CODA," and "Everything Everywhere All at Once" – a retrospective glance reveals instances where the Academy’s judgment has been, shall we say, questionable. From envelope mix-ups to controversial victories, the path to Oscar glory has been paved with both triumphs and glaring omissions.

This isn’t to suggest that the winning films are inherently bad. Many are undeniably worthy of recognition. However, in the spirit of revisiting cinematic legacies, let’s delve into some of the most debated "Best Picture" decisions, proposing alternative winners that arguably hold greater cultural significance or artistic merit.

Early Stumbles and Missed Masterpieces:

The early years of the Oscars were not immune to controversy. Perhaps the most infamous oversight occurred in 1941 when John Ford’s sentimental "How Green Was My Valley," a tale of a Welsh mining family, triumphed over Orson Welles’s groundbreaking "Citizen Kane." While "How Green Was My Valley" is a respectable film, "Citizen Kane" is widely considered one of the greatest films ever made, revolutionizing cinematic techniques and narrative structure. Its exploration of power, ambition, and the elusive nature of truth continues to resonate today. To deny it the top prize seems like a historical injustice.

Moving forward, the 1952 awards saw "The Greatest Show on Earth," a lengthy and somewhat bloated circus spectacle, take home the gold. Its victory over Fred Zinnemann’s taut and morally complex Western, "High Noon," is baffling. "High Noon" is a masterclass in suspense, exploring themes of duty, courage, and the isolation of standing up for what is right. It remains a powerful and relevant film, far surpassing the fleeting entertainment of "The Greatest Show on Earth."

Mid-Century Mishaps and Shifting Tides:

In 1966, "A Man for All Seasons," a solid but ultimately conventional historical drama, edged out Mike Nichols’s audacious and groundbreaking "Who’s Afraid of Virginia Woolf?" The latter, a searing portrayal of a dysfunctional marriage, was a cinematic shockwave, pushing boundaries of language and subject matter. Its raw honesty and brilliant performances from Elizabeth Taylor and Richard Burton make it a far more compelling and enduring work than "A Man for All Seasons."

The year 1973 brought another head-scratcher. While "The Sting," a charming and well-crafted caper film, is undeniably entertaining, its victory over William Friedkin’s terrifying and thought-provoking "The Exorcist" is difficult to defend. "The Exorcist" transcended the horror genre, becoming a cultural phenomenon that challenged viewers’ beliefs and confronted them with unsettling questions about faith and the nature of evil. Its impact continues to be felt today.

The Blockbuster Era and Artistic Neglect:

The late 1970s and early 1980s saw the rise of the blockbuster, but the Academy seemed hesitant to embrace this new form of filmmaking. In 1979, "Kramer vs. Kramer," a poignant drama about divorce, won over Francis Ford Coppola’s epic and hallucinatory "Apocalypse Now." While "Kramer vs. Kramer" is a powerful film, "Apocalypse Now" is a cinematic landmark, a visually stunning and psychologically complex exploration of the horrors of war. Its ambition and scope dwarf those of "Kramer vs. Kramer."

Similarly, in 1981, "Chariots of Fire," a feel-good sports drama, triumphed over Steven Spielberg’s iconic "Raiders of the Lost Ark." "Raiders" revolutionized the action-adventure genre, influencing countless films that followed. Its high-octane thrills and charismatic hero, Indiana Jones, made it a global phenomenon. A "Raiders" win would have signaled a shift in the Academy’s recognition of blockbuster filmmaking as a legitimate art form.

Questionable Choices and Lost Opportunities:

The 1980s and 1990s continued to be fraught with controversial decisions. In 1985, "Out of Africa," a sweeping romantic epic, edged out Steven Spielberg’s powerful and important "The Color Purple." "The Color Purple" offered a nuanced and unflinching look at racism, sexism, and domestic violence in the early 20th century, featuring groundbreaking performances from Whoopi Goldberg and Oprah Winfrey. It was a missed opportunity for the Academy to recognize a film of immense social and cultural significance.

In 1989, "Driving Miss Daisy," a heartwarming but ultimately safe dramedy, prevailed over "Field of Dreams," a magical and deeply affecting film about baseball, family, and the power of belief. "Field of Dreams" captured the imagination of audiences, becoming a cultural touchstone that continues to resonate today.

The 1994 awards saw "Forrest Gump," a sentimental and often simplistic film, triumph over Quentin Tarantino’s groundbreaking "Pulp Fiction." "Pulp Fiction" was a cinematic game-changer, revitalizing independent filmmaking and influencing countless directors with its innovative narrative structure, sharp dialogue, and unforgettable characters. It remains one of the most influential films of the decade.

Recent Controversies and Lingering Doubts:

The late 1990s and early 2000s were not without their share of questionable choices. In 1996, "The English Patient," a lengthy and often ponderous romantic drama, edged out "Fargo," the Coen brothers’ darkly comedic masterpiece. "Fargo" is a brilliantly original and endlessly quotable film that has spawned a beloved television series and a devoted following.

In 1998, "Shakespeare in Love," a lighthearted and somewhat frivolous historical comedy, somehow beat out Steven Spielberg’s powerful and visceral war film, "Saving Private Ryan." "Saving Private Ryan" offered an unflinching and realistic depiction of the horrors of war, immersing audiences in the brutal realities of combat.

The 2000s continued to produce controversial winners. In 2004, "Million Dollar Baby," a well-made but ultimately predictable boxing drama, was chosen over Martin Scorsese’s epic biopic "The Aviator". "The Aviator", with Leonardo DiCaprio’s brilliant performance, deserved the award.

In 2005, "Crash," a well-intentioned but often heavy-handed drama about racial tensions in Los Angeles, somehow triumphed over Ang Lee’s groundbreaking and emotionally resonant "Brokeback Mountain." The latter, a poignant love story between two cowboys, broke barriers and challenged societal norms.

Finally, in 2010, "The King’s Speech," a traditional and somewhat predictable period drama, edged out Darren Aronofsky’s visually stunning and psychologically complex "Black Swan." "Black Swan" was a daring and unforgettable film that pushed the boundaries of cinematic storytelling.

In 2018, "Green Book", while a feel-good movie, was a poor choice to win over Spike Lee’s "BlacKkKlansman" which had much more cultural significance.

While the Academy Awards are ultimately subjective, these alternative choices offer a glimpse into a different cinematic landscape, one that prioritizes innovation, social relevance, and lasting artistic impact. Perhaps by revisiting these past decisions, we can gain a deeper appreciation for the complexities of filmmaking and the enduring power of cinema.

The Oscars will continue, and controversy with them. The value of this lies in the debates and discussions it sparks. The Academy Awards remind us that art is subjective, but its lasting effect is profound.