60 YEARS OF OSCARS:
WHAT MOVIES WON VS. WHAT MOVIES SHOULD HAVE WON?
PART 3 OF 5 (1990-1999)
Thanks again to readers for so many interesting replies and comments here on Facebook in response to PART 1 (1955-1979) and PART 2 (1980-1989) of this series on Oscar-winning movies.
Next, let’s move into the 1990s. As promised, here’s PART 3.
[Note: Each year below refers to the date of Academy Awards ceremony and winner for BEST PICTURE from movies released in the previous year]
—– THE 1990’s —–
1990: DRIVING MISS DAISY
I lived in Eastern Europe at the time when these movies came out. No western-made movies were available to me for a couple of years. Accordingly, I saw films from this year gradually over subsequent years — except for DRIVING MISS DAISY. Confession: I still have not seen it. This makes my comments woefully incomplete and perhaps pointless. Nonetheless, I will comment on other excellent films (I have seen) which belong in the conversation for Best Picture. The standout here is FIELD OF DREAMS, an epic film. The Kevin Costner-made classic might be my generation’s IT’S A WONDERFUL LIFE…a movie for all ages and for the ages. That would be my pick among the movies I’ve seen. Woody Allen’s CRIMES AND MISDEMEANORS is fabulous, which I rank among his best five–brilliant writing and memorable performances. I can’t write enough good things about this movie, which gets better each time I’ve seen it. DEAD POETS SOCIETY may belong here someplace, but it’s not as quite good as the others. I’m not into science-fiction flicks, but James Cameron’s THE ABYSS left a lasting impact on me. It’s flawed and a mess, but still riveting. Note: Take a few minutes to read about the difficulties of filming this movie, stress which gave it a very real edge to the intensity (actors later said filming was a brutally exhausting experience they would never go through again). GLORY and DO THE RIGHT THING and BORN ON THE FOURTH OF JULY and PARENTHOOD and THE FABULOUS BAKER BOYS were also released in an outstanding year in cinema. Best underappreciated film from 1989–SCANDAL (re-enactment based on the 1963 British Profumo affair with John Hurt in the lead, who I love as an actor–everything he did throughout his very diverse career was excellent–HOW THE HELL DID JOHN HURT NEVER ONCE WIN AN OSCAR!..a travesty!) / MIRACLE MILE is a hot mess of a movie about an LA love story that takes place in one summer night in real time (over two hours), which is ruined by a nuclear attack. Gee, that sucks. I can’t explain why, but I love this movie. It’s another film with a fascinating backstory that’s worth seeing if you get the chance.
1991: DANCES WITH WOLVES
Same delayed-viewing applies here as the previous year–I saw most of the films later on, in some cases many years later. Still, I’ve seen most of the top films. Here’s yet another stellar year for films, including movies for every taste. And that’s the problem with rankings. Question–how do we judge DANCES WITH WOLVES against GOODFELLAS? It’s impossible. Both are outstanding. GOODFELLAS is now widely-acknowledged as a crime-drama masterpiece, certainly one of the best of its genre ever made. I did not expect to enjoy nor appreciate DANCES WITH WOLVES nearly as much as a did. However, I don’t think DANCES aged as well as GOODFELLAS, but I have no objection to the Academy’s pick from this year. My vote if I could cast it likely would be for CINEMA PARADISO, which is a landmark Italian movie that is universally loved and praised and still wrecks me emotionally each time I watch it. The final scene is extraordinary. I may be biased–I saw this film while living in Romania, so perhaps it had more of an impact on me. You Tube the final scene and the floodgates on all eyes will open, especially if you know the backstory. It should also be noted–what a great year for mob movies…..in addition to GOODFELLAS, which I’ll rename GREATfellas, this year also included the great MILLER’S CROSSING and STATE OF GRACE, an Irish mob-themed sleeper. Just, holy shit wow. Then, there’s REVERSAL OF FORTUNE, the wonderful Von Bulow trial movie with Jeremy Irons and Glen Close chewing every scene. Favorite guilty pleasure movie is THE HUNT FOR RED OCTOBER, which never gets old. Best underappreciated film from 1991—JESUS OF MONTREAL / I also remember Barry Levinson’s AVALON fondly as having a major impact on me when I saw it, perhaps as it’s an immigrant experience film. Amazing year–perhaps in the top-5 ever.
1992: THE SILENCE OF THE LAMBS
I would have voted top award to THELMA AND LOUISE in a year with several good films, but few standouts as was the case in 1989-1991. BEAUTY AND THE BEAST (animation) was a film I saw much later which really blew me away and may be in the top-3. But, it’s hard to argue with the horror-drama LAMBS as the actual winner. I was far less impressed with J.F.K., which is a star-studded cameo-driven cartoonishly over-acted crackpot-conspiracy stained hybrid of a serious subject. Think–ITS A MAD MAD MAD MAD MADE WORLD climaxed with the film footage played of the real presidential assassination repeated tirelessly. I’m surprised director Oliver Stone didn’t do a panoramic smell and sound experience and plaster Kennedy’s brains all over theater seats (can you tell I hated this movie?) Best underappreciated film from 1992: THE DOCTOR, a gut-wrenching movie about a once-smug doctor played perfectly by William Hurt who gets cancer and then experiences the medical establishment from quite a “different” perspective, the patient. / I also loved Kenneth Branagh’s excellent film noir DEAD AGAIN, which inexplicably flopped at the box office.
1993: UNFORGIVEN
I saw this Oscar winner for the first time, only recently. the gritty Clint Eastwood-Gene Hackman-Morgan Freeman classic had just slipped through the cracks as I’d missed it. Seeing a film some 25 years later loaded with such high expectations put it at a clear disadvantage. Surprisingly, UNFORGIVEN matched my anticipation and left me satisfied this was probably the best movie of the year. A FEW GOOD MEN also belongs in the discussion as runner up. and THE CRYING GAME was the edgy movie many movie fans were rooting for given the film’s bold twists on race, sex, gender, nationality, and sexuality latticed against the horrible backdrop of the “Troubles” period of terror which engulfed Northern Ireland. Those are my top-3. I’ll add HOWARD’S END checks every box on the Merchant-Ivory scorecard (and I’m a huge fan). GLENGARRY GLEN ROSS and RESERVOIR DOGS are both outstanding in their respective genres with cult followings now, but my inexplicable guilty-pleasure movie of the year is probably SNEAKERS, a fun spy-heist movie with Robert Redford and Ben Kingsley. UNDER SEIGE is also one of those movies I just have to watch from this year with lots of movies that won’t be considered as great, but you might watch a dozen times over a lifetime. A few years ago, I saw MALCOMX X for the first time, and this too surprised me as a standout–perhaps among the contenders. Best underappreciated film from 1993–THE PLAYER, which is the ultimate insider Hollywood film by Robert Altman. It’s fun to watch from start to finish and you never know what surprise Hollywood star will show up in the next scene.
1994: SCHINDLER’S LIST
I hope this won’t come across as too hyperbolic or emotional, but SCHINDLER’S LIST is my selection as the greatest movie ever made. And that’s a tough call given so many worthy candidates. It is, in fact, far more than just–a movie. It is a history lesson, and a warning. It’s a haunting, powerful, and deeply emotional experience that will stay with us forever. Artistically alone, it’s a masterpiece of filmmaking for the senses. Who could have imagined the guy who made JAWS would be able to pull this off when everyone said making a Holocaust movie had no upside, and could have been a career disaster? [see my added comments at the end of this article] As for other nominees, PHILADELPHIA, the AIDS-themed legal drama co-starring Tom Hanks and Denzel Washington likely would have won any other year, especially given Hollywood’s progressive persuasion, but all the other films were steamrolled by Spielberg’s magnum opus. Fave guilty pleasure movie–THE FIRM, which is the John Grisham adaptation set in Memphis–so many great performances and a wonderful twist at the end. Best underappreciated film from 1994–FALLING DOWN, the Michael Douglas angst-driven rage movie which no one knew at the time would foreshadow the looming political divide on the American horizon, largely driven by a changing society that many cannot adapt to. / SEARCHING FOR BOBBY FISHER, about a child chess prodigy also holds up well over time and deserved more applause.
1995: FORREST GUMP
This farcical crowd pleaser starring Tom Hanks as the lovable imbecile-genius was a monster hit and also inspired copycats and dialogue tag-lines that became part of pop culture, but it’s far from the best movie of the year. THE SHAWSHANK REDEMPTION, the Stephen King scripted prison buddy-movie and escape story should have won instead. Other nominees including Q. Tarantino’s masterful PULP FICTION and Redford’s fantastic QUIZ SHOW were also superior to FORREST GUMP, in my opinion. I’d also rank the spectacular sports documentary HOOP DREAMS above the victor (this film is exceptional, if you have not see it–do yourself a favor). the literary classic LITTLE WOMEN translates quite well to the screen and deserves mention, also. Best underappreciated film from 1995–THE LAST SEDUCTION, a controversial and provocative lesser-known movie that didn’t do as well as it should have because filmmaker John Dahl (ROUNDERS) refused to conform to predictable formulas (especially on sex and gender and power) and let his actors morph into believable characters, especially the female lead played by Linda Fiorentino. This forgotten film got lost among some excellent movies, and deserves more praise.
1996: BRAVEHEART
Shaking my head here in disbelief at this winner. All his personal baggage and scandals aside, Mel Gibson did make several excellent films as an lead actor. I’m much less impressed with is directorial work, including this Oscar-winner BRAVEHEART. I tried to watch this a couple of times, but never made it all the way through, so perhaps I’m not suited to make any convincing comparisons. The war scenes are so violent, they almost become a distraction — a gratuitous blood and guts style he’d repeat in many of his other films, most notably the ultra-sadistic Jesus-flick, THE PASSION–which borders on a smut film. I have never seen IL POSTINO (The Postman), which is often ranked among the best from this year. APOLLO 13 was nominated in the category, and should be in the conversation. So too should CASINO, yet another outstanding Martin Scorsese film about las Vegas’ dark mob ties and transformation. I’ll also include LEAVING LAS VEGAS, the tragic love story for which Nicholas Cage rightly won the Oscar for best actor. SENSE AND SENSIBILITY is terrific, too. I count a fair number of films that I’d vote for above BRAVEHEART. Best underappreciated film from 1995–DOLORES CLAIBORNE with lots of dark subject matter written by Stephen King (what a span of King books and movies in this decade!), but is just an intense movie experience (opinion–Kathy Bates is better in this film than in MISERY, for which she won the Oscar).
1997: THE ENGLISH PATIENT
Here’s another film I didn’t particularly like. So, I disagree with this romance war drama as the Best Picture winner. Not that THE ENGLISH PATIENT is a bad movie–it’s very good, but there’s nothing that’s memorable other than a magnificent cast–Ralph Fiennes, Kristin Scott Thomas, Juliette Binoche, Willem Dafoe, and Colin Firth. Great actors, mediocre story. My pick–FARGO is the superior film, for all of its Coen-esque creative storytelling, plot twists, unforgettable characters, and loads of quirky dialogue. By contrast, what does anyone remember from THE ENGLISH PATIENT? Deer meets headlights in Brainerd. Oddball pick coming–I’ll include THE BIRDCAGE as a possible top choice here, which was so much fun with memorable performances (Robin Williams at his best) and checks every box of brilliance as a very funny movie loaded with life lessons about the power of love and family. Franco Zeffirelli’s JANE EYRE has been recycled many times into films across several decades, but this adaptation with William Hurt and Anna Paquin as leads stands as the best. I’ve seen it a few times–always delivers on the French-themed classic. WHEN WE WERE KINGS is another sports documentary I watch every time it’s re-shown — focusing on the epic Ali-Forman heavyweight prizefight in the Congo under preposterously challenging conditions…this is jaw-dropping as a sports/political story and it’s REAL!). This belongs in the Best Picture discussion. Best underappreciated film from 1997–PRIMAL FEAR, the riveting courtroom crime drama with some great twists starring Richard Gere and newcomer Edward Norton. Note that JERRY MAGUIRE received several Oscar nominations this year, a movie which I think aged very poorly. It’s almost unwatchable now.
1998: TITANIC
I skipped this movie for more than a decade, perhaps the only person in America who did not see it. Finally, I broke down and watched sometime in the 2000s, and to my surprise it was pretty good. We can’t argue with the smashing success at the box office, the all-too familiar yet intriguing subject, nor the two charismatic leads molded in the hands of James Cameron’s excellent direction. GOOD WILL HUNTING was nominated, but I found that overrated. Never appealed to me and I never bought the characters so far as believability for even a minute. I also disliked AS GOOD AS IT GETS–the entire plot of a nice pretty waitress falling for a 60-something prick (even if it’s Jack Nicholson) was ridiculous. I’ll concede here that TITANIC was a smart choice, but my personal pick for best film of the year is an oddity. I absolutely loved everything about JACKIE BROWN. Memorable characters and performances, intriguing story, and a wonderful tale of the disenfranchised and desperate escaping life when we’re sometimes dealt a very bad losing hand. Tarantino’s is at is directorial and scriptwriting best here, and the 70s rich R&B foot-tapping soundtrack adds to the cool vibe. This film should have received far more love. Best underappreciated film from 1998–DONNIE BRASCO, which is my guilty pleasure pick from this year, with Johnny Depp and Al Pacino (I’d read the book previously, and the film matched the story quite well), and also add in the excellent L.A. CONFIDENTIAL.
1999: SHAKESPEARE IN LOVE
Remember the L.A. Riots? This should have set one off. Absurd. I cannot believe this film won. How ridiculous. Certainly, this is one of the worst decisions of any Academy Award winner in the premier film category. SHAKESPEARE is an enjoyable film, but please people. Here’s the reality: SAVING PRIVATE RYAN stands out as clearly the best movie of the year, and it shouldn’t even be close. I’m actually not as high on PRIVATE RYAN as some other critics, yet it’s still a landmark of great war movies (I may discuss the “flaws” of the film later). PRIMARY COLORS, the political-comedy based on the sensational “novel” by Anonymous about the 1992 presidential race (in reality Bill Clinton and his affairs) merits consideration in the top-5. THE BIG LEBOWSKI came out this year but was way too eccentric to win, but it’s easily among the most memorable and remains a cult classic. Best underappreciated film from 1999–THE SPANISH PRISONER, which is a David Mamet creation, is vastly underrated. / RUSHMORE, I loved this movie. Woody Allen’s CELEBRITY got trashed and lost money, but I think it ranks among the better films released and if you look at this cast and watch it now, you’ll be blown away. / How can I ignore THE USUAL SUSPECTS and GET SHORTY?
COMING NEXT: Best Picture Winners (versus) Movies that Should have Won–from the 2000s.
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Photo Description (above): Here’s an outtake snapshot from SCHINDLER’S LIST (1993). Scenes in this movie are breathtaking, as well as heartbreaking. We witness the outer extremes of humanity, without exaggeration. Cruelty. Strength. Courage. Redemption. The little girl in the colorized red coat starkly clashes with the black and white clarity of good versus evil. You might not experience anything more symbolic in any film. Parts of this movie are painful to watch, and some scenes are almost too obscene to be filmed, yet there’s even occasional humor and hope and inspiration. To me, that’s the greatness about this film. Here’s a brutal, but necessary reminder of the power one person who can make a difference in the lives (or deaths) of others, including strangers.