Coinciding with the Oscars, we take a trip back to the 1980s to fix the Best Picture winners…
The Oscars are upon us. Year after year, controversy and debate rages, over the nominations, the oversights and the eventual winners. Over the years there have been plenty of safe and so-so choices for Best Picture at the expense of more interesting (and ultimately timeless) cinema.
The 1980s was a great era for popcorn genre cinema and a golden period of blockbuster movies, but as Tarantino recently pondered, maybe one of the weaker decades as far as high-level ‘cinema’ (in the Scorsese grading that is). There were a lot of Best Picture nominees which haven’t remained too memorable over the years, and some genuinely odd choices but further, aside from a couple of years, I’m afraid the Academy got their Best Picture choices wrong. In some cases, not even nominating the genuine standout film of the year.
So let’s jump in and set about correcting their mistakes. I’m going to fix the ballots (we’re going by film year, not ceremony year) and ensure the rightful Best Picture is awarded. I may wreck the time-space continuum in doing so, but it’s totally worth it to see Commando winning the Best Picture Award (oops…spoiler alert).
1980 – Actual Winner: Ordinary People / The New Winner: The Empire Strikes Back
Darth: Ordinary People won best picture son. Luke: Nooooooooooo!
Ordinary People was a decent enough film but it was kind of…well…ordinary. Hands up who remembers it? Now, who remembers The Empire Strikes Back? I thought so. It was a tight call too, with Raging Bull pushing the world’s introduction to Yoda pretty close.
The Empire Strikes Back is one of the all-time great adventure movies. It’s also the best of a franchise which is still ploughing on 46 years after A New Hope debuted. The journey into self-discovery for Luke Skywalker is fascinating and the film splits into two adventures, with Han Solo, Leia and Chewie on an equally engaging journey. Before blockbusters became somewhat lifeless and more inclined to focus on spectacle over characterisation, we had a period of great cinema from genres previously dismissed as B picture material. They were suddenly grabbing attention at the Oscars, some even getting Best Picture nominations too.
The Empire Strikes Back remains iconic and enthralling but above all, emotionally gripping. It’s also got a depth and maturity that even A New Hope perhaps lacked, thanks to the decision of George Lucas to hand over directorial duties to a seasoned actors director, Irvin Kershner. It’s beautifully constructed throughout too, and even if it begins and ends somewhat abruptly (as it is a middle piece of a trilogy), it’s timelessly entertaining.
1981 – The Actual Winner: Chariots of Fire / The New Winner: Raiders of the Lost Ark
Chariots of Fire is still pretty iconic. It’s a solid film and a classic feel-good story. Given how quintessentially British it is, it’s a surprise this ended up winning Best Picture at the Oscars. It’s definitely Oscar fodder as far as its story and themes and given a somewhat lacklustre year of Oscar fare, it’s perhaps not that surprising. However, another Best Picture nominee really does stand out. It’s Raiders of the Lost Ark.
Steven Spielberg and George Lucas’ love letter to Saturday morning serials and classic era B pictures is a rarity. It’s a blockbuster action-adventure film that gathered a whole host of Oscar nominations, and not just in the technical departments. Spielberg was nominated for Best Director, alongside the film’s best picture nod. The truth is, Raiders may be one of the best ever in its genre and certainly the best film of 1981. Nothing else really came close.
In the titular role, Harrison Ford became synonymous with iconic character number 2 in his legendary career. He’s the epitome of charismatic cool. Raiders is stellar from start to finish. It’s full of ingenuity, great sight gags, wonderful chemistry and a litany of brilliant performances. It’s also got a magnificent performance from Karen Allen as a well-rounded female character in early 80s blockbuster cinema. Wow…a rarity but she really does stand out. Raiders by a landslide wins 1981. Whilst we’re at it, Allen should have received a nomination at the very least.
1982 – Actual Winner: Gandhi. The New Winner: The Thing
I’ll be blunt now. Blade Runner is my favourite film of all time. To be more precise, the Director’s Cut. Had Ridley Scott got his way first time, I’d be slapping the Oscar in his hand. As we’re talking theatrical cut, it’s no deal Ridley. Yes, Gandhi was the actual winner in 1982. It shouts Oscar from the rooftops. A sprawling, powerful historical epic with an instantly recognisable real-life figure as the protagonist. Gandhi is played by Ben Kingsley who is magnificent.
However, there have been more rounded and interesting historical epics over the years. It’s definitely not underserving and it’s not a ludicrously given trophy (like Shakespeare in Love for example). It’s just that Gandhi’s ultimate legacy isn’t quite as much as a number of other films of the year.
The Thing, John Carpenter’s intense and fascinating character study meets gruelling body horror, is the winner for 1982. Initially bashed by critics, it didn’t take long to get reappraisal. Given it’s a horror picture, it was never going to get the recognition it deserves, but I’m in charge now, so it will. The Thing has great performances and is driven by visual language. It keeps dialogue fairly sparse, even as the drama and action unfold, and Kurt Russell in particular has enigmatic stoicism. It really delves into human behaviour and self-preservation.
On top of everything, the practical FX work in this is still grotesquely brilliant and still holds up.
1983 – The Actual Winner: Terms of Endearment / The New Winner: Videodrome
Terms of Endearment is a feel-good jaunt that gets a little maudlin in places. It’s definitely Oscar-friendly, not least for its stellar ensemble, full of great performances. It’s just a little light. It feels like a pick that’s resulted from a generally slow year in cinema. Even on the blockbuster front, there weren’t too many that stood out, particularly compared to the previous year.
In terms of the new grand champion of the Best Picture Award, I could go a bit more obvious with some Oscar bait high brow in the shape of Bergman’s late-era opus, Fanny and Alexander, but since I’ve already thrown convention in the face of the Academy’s aversion to horror, I’m gonna double down and select Videodrome.
There are a number of classic old horror and sci-fi films that have actually become more relevant with every passing year. If you think of They Live, Running Man or even 2001 as we hit a disturbing era in AI reliance. Videodrome is right up there. It beautifully skewers our relationship with entertainment and media. Cronenberg shows a grimy and disturbing dystopian look at the kind of media content people consume and ultimately how it consumes us. It has a frightening relevance. Debbie Harry is mesmerising, the visuals are dazzling and the grotesque body horror is still grimly impressive. Like a lot of horror cinema, there’s a lack of appreciation from the awards season as to just how much some of these films say.
1984 – Actual Winner – Amadeus
Congratulations to the Academy. In 1985’s ceremony, they got it spot on! Amadeus is a masterpiece and a marvel in every department. Of course, the music is great, but the sound and music editing are utterly phenomenal. The film is an audio and visual spectacle quite unlike anything else and resplendent to behold.
Milos Forman really created a grand spectacle that’s also surprisingly humourous, not succumbing to the dry atmosphere of some period epics. As for the two central performances, F Murray Abraham gives one of the best performances of all time as Salieri and Tom Hulce is a sensational “Wolfie” Mozart.
It was a great year for cinema all around in fact and a couple of other personal favourites include Paris, Texas and The Terminator. In fact, slap 1984 alongside James Cameron’s nightmarish sci-fi action and you’ve got two pretty disturbing and prescient looks into our near future.
1985 – The Actual Winner: Out of Africa / The New Winner: Ran
You know how I said Commando was going to win Best Picture? I lied…
Out of Africa won the best picture at the 1986 ceremony. The Color Purple was better. Witness was nominated and as much as I love Harrison Ford, probably wouldn’t get close in other cinema eras. For me though, the film which should have won is Ran. Though it is, of course, a Japanese language Kurosawa epic, the film did find itself nominated in main categories, including best director, cinematography and art direction. It also won best costumes. Thus, the film’s omission from the Best Picture category in a year that saw Prizzi’s Honor nominated (a film that’s decent but nothing special), is bizarre.
Ran is the last great masterpiece of one of cinema’s all-time greats. Based on Shakespeare’s King Lear it’s a brooding epic centred on a family at war. Sons battle over the terrain of their ailing, warlord father. It’s a visual feast and stunningly made. Kurosawa may well have crafted his greatest film here and whilst so many of his iconic works were in black and white, Ran pops with vibrant colours. If it wasn’t for Ran, I’d have given the award to Back to the Future because it’s awesome, but Ran is just something else.
1986 – The Actual Winner: Platoon / The New Winner: Aliens
Oliver Stone’s Platoon is stunning. It’s a gruelling and unforgettable war film. It is a worthwhile winner for best picture. I have just a slight issue though. There have been better ‘Nam films, but also there was another film out the same year that’s inimitably awesome. Yes, it’s Aliens.
James Cameron’s sci-fi action sequel did something amazing. It followed a classic film, switched up the genre dials slightly, displacing pure claustrophobic deep space horror with tech-heavy action, big guns and pitting space marines against a barrage of Xenomorphs. It’s brutal, violent, and sensational but gripping. Sigourney Weaver was rightfully given an Oscar nod here and in doing so turned an already great character, established in Ridley Scott’s original, into an action icon. Throw in Michael Biehn in one of his double hit of badass legends (Reese and Hicks), a great Bill Paxton and special effects (all pre-CGI) to die for. You could legitimately argue that it’s Cameron’s all-round best film.
1987 – The Actual Winner: The Last Emperor / The New Winner: Full Metal Jacket
The Last Emperor by Bernardo Bertolucci ticks every box for the viewing Academy. It’s a grandiose and exotic epic with glorious visuals and a classic story. It’s brilliant filmmaking from a veteran filmmaker who had occasionally pushed boundaries. It felt a tad safe for him but remains a great watch regardless. Does it have that X Factor though?
Full Metal Jacket never picked up much attention during the awards season and it was ignored by the Oscars for all but a nomination for best screenplay. The initial indifference from critics, much like almost every Kubrick film has in time been replaced by mouth-agape awe at his craftsmanship. It’s the best of the Nam epics of the era, taking an interesting look at the training camp as young soldiers are made ready for combat. The interesting structure isn’t unlike other Kubrick films which have a decided jump in time and place, and each section has unique qualities. The training section is the most iconic, thanks in large part to iconic performances by R Lee Ermey as the drill sergeant and Vincent D’Onofrio as Private Pyle. Both should have been nominated. The film still manages to (repeatedly) take my breath away to this day.
Expect all the Kubrick staples. The tracking shots, the impeccable framing, one point perspective and the intense ‘Kubrick stares.’
1988- The Actual Winner: Rain Man / The New Winner: Die Hard
Rain Man is a pretty good pick at Best Picture. 1988 wasn’t the most stellar year by any stretch of the imagination. Mississippi Burning is also great, but the Academy ultimately opted for the lighter, more feel good of the two pictures. As great as Dustin Hoffman is in Rain Man (I love Tom Cruise but dude gets acted off the park), the film gets predictable in places and it’s perhaps dated in the last 35 years.
Let’s be real here folks, 1988 is all about Die Hard. It’s now a Christmas staple and though action films are often unfancied by the Awards circuits, this one should have been given a bit more love. It’s a smartly written, witty and engaging riff on the hostage movie formula. Its conception effectively began a new sub-genre of ‘Die Hard in a…(bus, plane, etc)’ movies.
The best part about the film though is the fact that our protagonist (a sardonic legend, Bruce Willis) is so endearing and the main villain (a supreme, Alan Rickman) so charismatically villainous. It’s a great clash of personalities and importantly, we feel for McClane’s plight. He’s given three dimensions in the film, an antithesis to all the run-and-gun action cinema that was around at the time. The film also has so many great setups and payoffs. This one is arguably one of the best action movies ever made.
1989 – The Actual Winner: Driving Miss Daisy / The New Winner: Dead Poet’s Society
Look, Morgan Freeman is the man. There’s no disputing that. He played God in a film and not a solitary person questioned the casting. Driving Miss Daisy made him and it’s an enjoyable movie that’s not quite as saccharine-sweet as you may imagine (although it definitely hits maudlin notes).
It’s just that Driving Miss Daisy hasn’t had quite such a life-affirming, inspiring legacy as Dead Poet’s Society. Peter Weir’s inspiring ode to carpet diem has a stellar cast of excellent (then) young actors like Ethan Hawke but the real powerhouse here in one of his two iconic motivational performances, is Robin Williams. It allows moments for his comical presence and flair to shine but his showmanship is grippingly inspiring too. It was perhaps first proof that Williams was more than just a comedic actor, that he had dramatic weight, and it wouldn’t be the last.
What do you think of the new list of 1980s Best Picture winners? Which films do you think were overlooked for Best Picture in the 80s? Let us know on our social channels @flickeringmyth…
Tom Jolliffe is an award winning screenwriter and passionate cinephile. He has a number of films out around the world, including When Darkness Falls and several releases due out soon, including big-screen releases for Renegades (Lee Majors, Danny Trejo, Michael Pare, Tiny Lister, Nick Moran, Patsy Kensit, Ian Ogilvy and Billy Murray) and War of The Worlds: The Attack (Vincent Regan). Find more info at the best personal site you’ll ever see.
