Blindspotting: Best Picture Winners
We watch a lot of movies, but we haven’t seen everything. In this regular feature, we’re tackling personal blindspots that fit into the monthly theme. This month: Best Picture winners.
Rain Man
Deserving of Best Picture? Nah. But one hell of a ride. I gasped out loud when I saw my all-time fave Barry Levinson’s name in the opening credits, and recognized Hans Zimmer’s iconic score in minutes. Wasn't prepared for how long I'd spend hating Cruise’s character, and though I'd seen clips of Hoffman's performance it still blew me away. Luckily the backstory was never spoiled for me, because the way that unfolded was powerful. —Natalie Pohorski
Rocky
Is there a more prototypical underdog story than Rocky? Because if there is, we haven’t seen it. Tracking the zero-to-hero arc of Sylvester Stallone’s titular underdog Rocky as he takes on the heavyweight champion of the world, this timeless sports drama is a feel-good triumph, and a glowing tribute to the capacity of the human spirit. —Elliott Cuff
An American in Paris
Chasing that Singin’ in the Rain feeling, I flipped on An American In Paris one afternoon and was delightfully surprised. While it didn’t deliver a full blown spectacle like I was hoping, it instead offered a breezier Gene Kelly soirée. Sharply written and performed, the characters, songs, and dance numbers float in and out of the story like chatter at a Parisian cafe. How this won Best Picture and Singin’ in the Rain didn’t is a true mystery, but one ultimately not worth debating as both have settled into their place in film history. What this film is instead is a musical for the morning after a night out with Gene, Debbie and Donald—and that’s très bien by me. —Kevin Prchal
Shakespeare in Love
After this Elizabethan romcom (infamously) won Best Picture over my beloved Saving Private Ryan, I vowed in solidarity never to watch it. But 25 years is long enough for a pointless boycott, and I’m actually glad I waited because I could better appreciate its Shakespearean humor and campy performances (hello Geoffrey Rush!)—not to mention why it won so many awards from actors and artists. Gwyneth Paltrow in a mustache took a little getting used to though. —Chad Comello
Wings
The amber-tinged visuals are beautiful, like a trinket lauded with delicacy, and director William A. Wellman makes sure the audience spends the two-plus hour runtime thrilled by the flying fighters of combat and Clara Bow’s meteor emblem. I’ve long anticipated watching that legendary carrier angle as it glides over tables inside the bistro in context and it did not disappoint. The late-1920s without a doubt did have a few of the most amazing industrial approaches prior to sound changing the rules of the game in cinema. Wings is an excellent Best Picture winner, and this is altogether not unwarranted seeing as how Hollywood was in its early days and not yet dizzy with its own affectation. —Natalie Bauer