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What Should Have Won Best Picture: commits the cinematic cardinal sin: it’s forgettable.
In its favour, the stunning location filming will likely have you looking up the next flights into Paris.
—other than the fact that it gives virtually no credit to the Canadian government’s part in the real-life mission—is that there’s not a single memorable scene or line of dialogue in the entire film, and that simply shouldn’t be the case for any film that wins an Oscar for Best Picture.
What Should Have Won Best Picture: laid the groundwork for the epics that would expand Hollywood’s audiences across the globe—not to mention the type of film Academy voters would quickly favour.
Unfortunately, there’s not much in terms of drama in .
This French throwback to American silent cinema was never supposed to be huge—its director, Michel Hazanavicius, and stars, Jean Dujardin and Bérénice Bejo, all previously collaborated on two modest spy film parodies in France. De Mille the night’s biggest prize simply because they felt bad he hadn’t won any Academy Awards up to that point? Is stars Diana Wynyard and Clive Brook as an upper-class couple who, along with their children and servants, live through several Earth-shattering events in the first quarter of the 20th century.
What Should Have Won Best Picture: A mildly entertaining—but ultimately empty—biopic of the famous Broadway impresario Florenz Ziegfeld (William Powell), whose theatrical revues, the Ziegfeld Follies, ran from 1907 to 1931.
Myrna Loy is memorable as his wife, Billie Burke, as is Luise Rainer in a role that won her an Academy Award.
Its lampooning of the American justice system and celebrity culture is entertaining, but it was facing better competition at the 75th Academy Awards.
What Should Have Won Best Picture: , Bing Crosby stars as Father Chuck O’Malley, a happy-go-lucky priest who takes over a rundown parish, attempts to please the cantankerous Father Fitzgibbon, and organizes a choir for a local gang of troubled youths.
Director Leo Mc Carey’s film is often delightful, but its saccharine sentimentality can be too much for some.
But when Weinstein bought the worst film to win Best Picture? It’s all handsomely staged, but the film is ultimately hollow.
What Should Have Won Best Picture: , which examines racial tensions in Los Angeles from the perspectives of a black detective, a Hispanic locksmith, a Persian storeowner and a white district attorney, among other characters.