Welcome back to my Best Picture series, in which I watch and review every single film that has won the Academy Awards’ highest honor! We’re four decades deep into history now, and today we reach the halfway point of our journey. How do the 70’s stack up to the other decades of BP winners?
1920’s-30’s | 1940’s | 1950’s | 1960’s |
1970’s | 1980’s | 1990’s | 2000’s | 2010’s
1970: Patton (A)
Patton simultaneously succeeds in celebrating one of America’s most famous generals and using his flaws to draw commentary on the nature of war itself. It delivers the goods you would expect to see in a war epic while undercutting it with criticism of how pride and ego can corrupt good intentions. The production values are strong, the lead performance is excellent, and the script is well-constructed (a bit long, but effective). It’s interesting to watch this knowing that Francis Ford Coppola (who co-wrote the film) would later make Apocalypse Now, another anti-war film that shares many of the sentiments and messages as this. This feels like a happy marriage of Old and New Hollywood: a studio extravaganza with elements from the young filmmakers who would soon take over with more complex themes and narrative styles.
1971: The French Connection (B)
What I wouldn’t give to have seen this in the year it came out! It’s undeniable how innovative it was for the time as a precursor to the greats like Scorsese and Coppola, but it feels rather dated now. The plot and character development is rather meh, and the “gritty” visual style makes the film look even older than it is. That said, the action sequences do hold up quite well; that car chase in particular remains just as iconic and gripping as it was upon release. I just wish I was more invested in the story and characters, which feel bland and generic by today’s standards.
1972: The Godfather (A+)
I had high expectations for the film often touted as the best ever made. And I’ll admit, I had my doubts that it would live up to the hype nearly 50 years past release. But wow, what a masterpiece. Every single thing about it is immaculate – brilliant story, brilliant character designs, brilliant acting, brilliant visual direction. Even the long runtime, one of my most common complaints of older movies, felt appropriate for such a large-scale story. But the true genius is in how it feels simultaneously both epic and intimate; the story wouldn’t have worked without a character like Michael at its center, a man with complex desires and motivations that have us yearning for his success at every step yet still guessing at his true intentions – the original anti-hero. I’m truly blown away by the mastery on display here on every single level. It’s the film that birthed the organized crime genre, but honestly it should have ended it because nothing can ever top what this film accomplishes.
1973: The Sting (A-)
This is basically Uncut Gems if it was a light-hearted comedy, which makes it all the more amazing that this can win Best Picture while a far superior crime thriller gets completely ignored. That’s not to say this is a bad movie, of course; it may be schmaltzy and a giant ball of cheese, but it’s well-made with plenty of good twists. It knows how to withhold information from the audience and when to let us in on the joke, and the story – while complicated – is a lot of fun to watch play out. The performances are all great, especially Robert Redford and Paul Newman, making us root for the characters even when they lie and cheat. I’m a sucker for a well-written script, and even if the film doesn’t do anything that exciting I enjoyed the experience through and through.
1974: The Godfather: Part II (A)
For obvious reasons I watched the 1972 original before this one. And it’s fortuitous that I chose to do this Best Picture project in 2020, because I’m fresh off my first watch of The Irishman – an extremely similar movie. Both deal with themes of legacy, family, and the endless cycle of violence and revenge in the crime world, and I felt this movie did everything The Irishman was trying to do but better. Michael Corleone has evolved from his humble roots into a ruthless dictator, and whatever successes he finds in business, it’s tempered by the fallout of his failed marriage and anxiety over his children’s future. The flashbacks to his father’s rise to power are a fascinating juxtaposition to Michael’s current standing, as we see how he differs from his father in spite of his attempts to emulate his reign and earn the same respect. My only complaint is that not every scene is necessary towards this end, with an overly-complex plot and a tad too much filler. But for those invested in the characters and story to this point, it’s still a powerful and immersive follow-up that deepens the themes of the original and stands head and shoulders over the field of similar crime dramas.
1975: One Flew Over the Cuckoo’s Nest (A-)
Jack Nicholson gives one of cinema’s greatest performances in this film, and the acting in general carries the day for the most part. Thematically, I found it a bit obvious and repetitive; it misses some of the nuances of the book and is fairly straightforward in its messaging. It’s consistently entertaining to be sure, but scenes often feel inconsequential to the greater plot and/or character development. I’m mostly nitpicking, and this is still a really fun and impactful experience. The battle of wits between McMurphy and Nurse Ratched is one for the ages, and I love how every character had unique personalities despite most of them being “crazy”. The ending is emotional and well-earned, papering over most of the problems I had with the preceding 90 minutes. A tad overrated in my book, but still a very good movie.
1976: Rocky (C-)
Okay so are we not gonna talk about how poorly that first date with Adrian has aged? Clearly that woman did not want to be there and Rocky blocked the door and pressured her into getting physical as she’s trying to leave?!? I dunno if that was meant to be romantic but I was cringing the entire time. Aside from that I was just bored most of the time! 10% boxing, 10% awkward romance subplot, 80% Stallone walking around talking to people in the neighborhood. The last ~30 minutes redeem the film somewhat as the buildup to the final fight is pretty compelling, but the 90 minutes preceding didn’t do anything for me. I think when people remember Rocky they think of that final act, when there is a lot of mediocrity preceding that prevents me from really loving the film.
1977: Annie Hall (A-)
Watching this feels like watching a vintage Seinfeld episode. The influences this film had on comedy are easy to see, and even for a 40+ year old film the subversive humor feels cutting-edge and inventive. While it cleverly bends the rules of cinema and advances the comedy genre, it also tells a compelling love story and draws insightful commentary on modern relationships. It’s remarkable how modern and timeless it still feels, with many lessons we can still learn from today. Not every joke lands, but you can’t fault Allen for trying to do something different because it more commonly results in unique and refreshing humor. Consistently funny and emotional in equal measure, it is a master stroke of a screenplay and one of the most creative films I’ve seen.
1978: The Deer Hunter (A+)
The first forty-five minutes of this film are so slow and deliberate that I worried the film wouldn’t hold my attention. But I soon realized I was in assured hands as Michael Cimino directs this film with such subtlety that I was riveted at nearly every frame. Scenes play out naturally, almost without interruption, such that the film takes on an almost slice-of-life vibe that lends serious realism to every moment. Character fears and desires are expressed nonverbally; you have to pay close attention and read between the lines to gauge where everyone’s heads are at. The acting is off the charts, and the story, while protracted, is a compelling (and highly emotional) look at the effects of war on the everyday psyche. The film is famous for its Russian Roulette scene, and it’s an apt metaphor to convey the randomness and pointlessness of violence happening overseas. Cimino may have single-handedly killed auteur cinema with his follow-up Heaven’s Gate, but now I understand why he was given such freedom after this stunning breakthrough.
1979: Kramer vs. Kramer (A-)
An effective and emotional look at single-parenthood and the effects of divorce on children. It explores gender dynamics in ways that were only just beginning to emerge in society, and the shifting dynamics of both motherhood and fatherhood in modern households. I managed to sympathize with both mother and father in their struggles to balance their personal and professional lives, while the film is still unafraid to let them both make mistakes and show vulnerability. I wish I could go higher with my score, but the third act becomes painfully unsubtle with on-the-nose dialogue and obvious messaging. Up until that point the film was wonderfully nuanced and thematically rich, but it feels like they didn’t trust the audience to pick up on what it was trying to say so they just said it outright. Still, I found it impactful and heart-wrenching with fantastic performances and a well-paced story.
1970’s Rankings:
-
The Godfather
-
The Deer Hunter
-
The Godfather: Part II
-
Patton
-
Annie Hall
-
One Flew Over the Cuckoo’s Nest
-
Kramer vs. Kramer
-
The Sting
-
The French Connection
-
Rocky
AVERAGE RATING: A-
Conclusion
The 70’s were an EXCELLENT decade for Best Picture winners – the best so far by a mile! A handful didn’t age all that well, but most of the rest are instant classics that I will have on repeat for years to come. I’m mostly amused that Francis Ford Coppola wrote three of these films…and it should’ve been four if Apocalypse Now had rightfully won! I’d be surprised if another decade comes along that provides me with the same consistently-high quality that this one did. On to the 1960’s!
In the meantime, check out the other decades I’ve already reviewed as we cross the halfway point in the Academy’s history! You should also follow me on Letterboxd as I give my immediate thoughts on every new film I watch. And watch out this weekend for my reviews of films like Emma. and The Hunt, which are gratefully being released digitally in the wake of the coronavirus outbreak. I’ve been itching for some new releases to keep me company while I’m cooped up at home! Stay safe out there everyone, and I hope to see you again soon.
-Austin Daniel
All image rights belong to the films’ respective distributors.
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