The Golden Statuette
An analytical exploration of cinematic excellence and the evolution of the Academy's highest honor.
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Award Overview
The Pinnacle of Achievement
The Academy Award for Best Picture represents the zenith of cinematic achievement, annually bestowed by the Academy of Motion Picture Arts and Sciences (AMPAS). Since its inception at the inaugural ceremony in 1929, this award has been uniquely inclusive, allowing all Academy members to participate in the nomination and voting process. It is widely regarded as the most prestigious honor conferred during the ceremony, traditionally presented as the final award of the evening.
Venue and Legacy
The enduring legacy of Best Picture winners is visually chronicled along the Grand Staircase of the Dolby Theatre in Hollywood, the ceremony's home since 2002. Each winning film's title is represented, tracing the history of cinematic excellence from the award's inception. As of recent records, 97 distinct films have received this accolade from a pool of 611 nominated features.
Evolution of Recognition
Initially, the award recognized both "Outstanding Picture" and "Unique and Artistic Picture" in its first year. Subsequently, the Academy consolidated these into a single top honor, evolving its name over the decades from "Outstanding Production" to "Outstanding Motion Picture," and finally settling on "Best Picture" in 1962. This evolution reflects the changing landscape of filmmaking and critical appreciation.
Historical Trajectory
Category Name Evolution
The award's nomenclature has shifted over time:
- 1927/28–1928/29: Academy Award for Outstanding Picture
- 1929/30–1940: Academy Award for Outstanding Production
- 1941–1943: Academy Award for Outstanding Motion Picture
- 1944–1961: Academy Award for Best Motion Picture
- 1962–Present: Academy Award for Best Picture
Producer Recognition
Initially, the award was presented to the production company. This protocol shifted in 1950 to honor credited producers. Current rules, refined in 1999 and subsequently, limit recipients to three producers who performed the majority of the producing functions, though exceptions are made for established partnerships or in rare, extraordinary circumstances, determined by the Producers Branch Executive Committee.
Nomination Dynamics
The number of Best Picture nominations has fluctuated, expanding from five to ten in 2009 to better reflect the diversity of acclaimed films. Since 2011, the number has varied between five and ten, with a return to a fixed ten nominees starting in 2022. This adjustment aimed to acknowledge a broader spectrum of cinematic achievements, particularly those often recognized in other categories.
Eligibility and Standards
International Representation
While predominantly recognizing American cinema, the award has acknowledged international productions. Nineteen non-English language films have secured nominations, with Parasite (2019) notably being the first to win Best Picture. This reflects a growing global perspective within the Academy's selections.
Rating Spectrum
The rating of Best Picture winners spans the MPAA scale. While G-rated films like Oliver! (1968) and X-rated films like Midnight Cowboy (1969) have won, most winners since 1968 have carried an R rating. PG and PG-13 rated films have also achieved wins, indicating a broad acceptance of diverse content ratings.
Genre and Medium Diversity
The category has honored a wide array of genres, including epics, musicals, dramas, and even science fiction (with Everything Everywhere All at Once, 2022, being the first winner). Animated films like Beauty and the Beast (1991), Up (2009), and Toy Story 3 (2010) have been nominated, though none have yet won Best Picture, despite the existence of a dedicated Best Animated Feature category.
Inclusion Standards
Beginning with films released in 2023 (eligible for the 96th Academy Awards), films must meet specific "Academy Aperture 2025" inclusion standards to be considered for Best Picture. These standards focus on enhancing representation and opportunities for underrepresented groups across various aspects of filmmaking, aiming for greater diversity both on-screen and behind the scenes.
Genre and Thematic Trends
The Epic Narrative
Historical epics have frequently been recognized, from the inaugural winner Wings (1927) to modern triumphs like Oppenheimer (2023). Films such as Ben-Hur (1959), Lawrence of Arabia (1962), and Gladiator (2000) exemplify this enduring category of grand-scale filmmaking.
Musical Adaptations
The musical genre, particularly adaptations of stage musicals, has seen significant success. Films like Gigi (1958), West Side Story (1961), My Fair Lady (1964), and Chicago (2002) have all garnered the Best Picture award, showcasing the enduring appeal of musical storytelling.
Genre Boundaries
While often favoring dramas, the award has occasionally recognized films from other genres. The Silence of the Lambs (1991) stands as the sole horror/thriller winner, while films like The Shape of Water (2017) and Everything Everywhere All at Once (2022) demonstrate the Academy's willingness to honor fantasy and science fiction narratives.
Notable Controversies
Upset Victories
Certain outcomes have sparked significant debate. The 1952 win for The Greatest Show on Earth over High Noon is frequently cited as a major upset. Similarly, the 1998 race where Shakespeare in Love triumphed over the critically acclaimed Saving Private Ryan remains a point of contention regarding campaign influence versus artistic merit.
Diversity and Representation
Historically, the award has faced criticism for favoring films centered on white male narratives. While films like Crash (2005) and Green Book (2018) were seen by some as attempts to address racial themes, their wins over films like Brokeback Mountain (2005) drew backlash, with accusations of homophobia and a preference for "safe" choices. The Academy's recent efforts to diversify its membership and implement inclusion standards aim to mitigate these historical biases.
Campaigning and Missteps
The 2016 ceremony experienced a historic blunder when La La Land was mistakenly announced as the Best Picture winner before the actual winner, Moonlight, was revealed. Controversies have also arisen from films perceived as undeserving nominations, such as Extremely Loud & Incredibly Close (2011), and from controversial statements made by nominees, impacting their perceived chances, as seen with Emilia Pérez (2024).
Decade-by-Decade Winners
The following table details the Best Picture winners and nominees across various decades. Winners are highlighted for easy identification.
1920s Winners
| Year | Film | Producer(s) |
|---|---|---|
| 1927/28 (1st) |
Wings | Famous Players–Lasky (Lucien Hubbard, Jesse L. Lasky, B. P. Schulberg, & Adolph Zukor, producers) |
| 1927/28 | 7th Heaven | Fox (William Fox, producer) |
| 1927/28 | The Racket | The Caddo Company (Howard Hughes, producer) |
| 1928/29 (2nd) |
The Broadway Melody | Metro-Goldwyn-Mayer (Irving Thalberg & Lawrence Weingarten, producers) |
| 1928/29 | Alibi | Feature Productions (Roland West, producer) |
| 1928/29 | The Hollywood Revue | Metro-Goldwyn-Mayer (Irving Thalberg & Harry Rapf, producers) |
| 1928/29 | In Old Arizona | Fox (Winfield Sheehan, producer) |
| 1928/29 | The Patriot | Paramount Famous Lasky |
1930s Winners
| Year | Film | Producer(s) |
|---|---|---|
| 1929/30 (3rd) |
All Quiet on the Western Front | Universal (Carl Laemmle Jr., producer) |
| 1929/30 | The Big House | Cosmopolitan (Irving Thalberg, producer) |
| 1929/30 | Disraeli | Warner Bros. (Jack L. Warner & Darryl F. Zanuck, producers) |
| 1929/30 | The Divorcee | Metro-Goldwyn-Mayer (Robert Z. Leonard, producer) |
| 1929/30 | The Love Parade | Paramount Famous Lasky (Ernst Lubitsch, producer) |
| 1930/31 (4th) |
Cimarron | RKO Radio (William LeBaron, producer) |
| 1930/31 | East Lynne | Fox |
| 1930/31 | The Front Page | The Caddo Company (Howard Hughes & Lewis Milestone, producers) |
| 1930/31 | Skippy | Paramount Publix (Jesse L. Lasky, B. P. Schulberg, & Adolph Zukor, producers) |
| 1930/31 | Trader Horn | Metro-Goldwyn-Mayer (Irving Thalberg, producer) |
| 1931/32 (5th) |
Grand Hotel | Metro-Goldwyn-Mayer (Irving Thalberg, producer) |
| 1931/32 | Arrowsmith | Samuel Goldwyn Productions (Samuel Goldwyn, producer) |
| 1931/32 | Bad Girl | Fox |
| 1931/32 | The Champ | Metro-Goldwyn-Mayer (King Vidor, producer) |
| 1931/32 | Five Star Final | First National (Hal B. Wallis, producer) |
| 1931/32 | One Hour with You | Paramount Publix (Ernst Lubitsch, producer) |
| 1931/32 | Shanghai Express | Paramount Publix (Adolph Zukor, producer) |
| 1931/32 | The Smiling Lieutenant | Paramount Publix (Ernst Lubitsch, producer) |
| 1932/33 (6th) |
Cavalcade | Fox (Frank Lloyd & Winfield Sheehan, producers) |
| 1932/33 | 42nd Street | Warner Bros. |
| 1932/33 | A Farewell to Arms | Paramount |
| 1932/33 | I Am a Fugitive from a Chain Gang | Warner Bros. |
| 1932/33 | Lady for a Day | Columbia |
| 1932/33 | Little Women | RKO Radio |
| 1932/33 | The Private Life of Henry VIII | London Films |
| 1932/33 | She Done Him Wrong | Paramount |
| 1932/33 | Smilin' Through | Metro-Goldwyn-Mayer |
| 1932/33 | State Fair | Fox |
| 1934 (7th) |
It Happened One Night | Columbia (Frank Capra & Harry Cohn, producer) |
| 1934 | The Barretts of Wimpole Street | Metro-Goldwyn-Mayer |
| 1934 | Cleopatra | Paramount |
| 1934 | Flirtation Walk | First National |
| 1934 | The Gay Divorcee | RKO Radio |
| 1934 | Here Comes the Navy | Warner Bros. |
| 1934 | The House of Rothschild | 20th Century |
| 1934 | Imitation of Life | Universal |
| 1934 | One Night of Love | Columbia |
| 1934 | The Thin Man | Metro-Goldwyn-Mayer |
| 1934 | Viva Villa! | Metro-Goldwyn-Mayer |
| 1934 | The White Parade | Jesse L. Lasky (production company) |
| 1935 (8th) |
Mutiny on the Bounty | Metro-Goldwyn-Mayer (Frank Lloyd & Irving Thalberg, producers) |
| 1935 | Alice Adams | RKO Radio |
| 1935 | Broadway Melody of 1936 | Metro-Goldwyn-Mayer |
| 1935 | Captain Blood | Cosmopolitan |
| 1935 | David Copperfield | Metro-Goldwyn-Mayer |
| 1935 | The Informer | RKO Radio |
| 1935 | The Lives of a Bengal Lancer | Paramount |
| 1935 | A Midsummer Night's Dream | Warner Bros. |
| 1935 | Les Misérables | 20th Century |
| 1935 | Naughty Marietta | Metro-Goldwyn-Mayer |
| 1935 | Ruggles of Red Gap | Paramount |
| 1935 | Top Hat | RKO Radio |
| 1936 (9th) |
The Great Ziegfeld | Metro-Goldwyn-Mayer (Hunt Stromberg, producer) |
| 1936 | Anthony Adverse | Warner Bros. |
| 1936 | Dodsworth | Samuel Goldwyn Productions (Samuel Goldwyn, producer) |
| 1936 | Libeled Lady | Metro-Goldwyn-Mayer |
| 1936 | Mr. Deeds Goes to Town | Columbia |
| 1936 | Romeo and Juliet | Metro-Goldwyn-Mayer |
| 1936 | San Francisco | Metro-Goldwyn-Mayer |
| 1936 | The Story of Louis Pasteur | Cosmopolitan |
| 1936 | A Tale of Two Cities | Metro-Goldwyn-Mayer |
| 1936 | Three Smart Girls | Universal |
| 1937 (10th) |
The Life of Emile Zola | Warner Bros. (Henry Blanke, producer) |
| 1937 | The Awful Truth | Columbia |
| 1937 | Captains Courageous | Metro-Goldwyn-Mayer |
| 1937 | Dead End | Samuel Goldwyn Productions (Samuel Goldwyn, producer) |
| 1937 | The Good Earth | Metro-Goldwyn-Mayer |
| 1937 | In Old Chicago | 20th Century-Fox |
| 1937 | Lost Horizon | Columbia |
| 1937 | One Hundred Men and a Girl | Universal |
| 1937 | Stage Door | RKO Radio |
| 1937 | A Star Is Born | Selznick International Pictures |
| 1938 (11th) |
You Can't Take It with You | Columbia (Frank Capra, producer) |
| 1938 | The Adventures of Robin Hood | Warner Bros.-First National |
| 1938 | Alexander's Ragtime Band | 20th Century-Fox |
| 1938 | Boys Town | Metro-Goldwyn-Mayer |
| 1938 | The Citadel | Metro-Goldwyn-Mayer |
| 1938 | Four Daughters | Warner Bros.-First National |
| 1938 | Grand Illusion | Réalisation d'art Cinématographique |
| 1938 | Jezebel | Warner Bros. |
| 1938 | Pygmalion | Metro-Goldwyn-Mayer |
| 1938 | Test Pilot | Metro-Goldwyn-Mayer |
| 1939 (12th) |
Gone with the Wind | Selznick International Pictures (David O. Selznick, producer) |
| 1939 | Dark Victory | Warner Bros.-First National |
| 1939 | Goodbye, Mr. Chips | Metro-Goldwyn-Mayer |
| 1939 | Love Affair | RKO Radio |
| 1939 | Mr. Smith Goes to Washington | Columbia |
| 1939 | Ninotchka | Metro-Goldwyn-Mayer |
| 1939 | Of Mice and Men | Hal Roach (production company) |
| 1939 | Stagecoach | Walter Wanger (production company) |
| 1939 | The Wizard of Oz | Metro-Goldwyn-Mayer |
| 1939 | Wuthering Heights | Samuel Goldwyn Productions |
1940s Winners
| Year | Film | Producer(s) |
|---|---|---|
| 1940 (13th) |
Rebecca | Selznick International Pictures (David O. Selznick, producer) |
| 1940 | All This, and Heaven Too | Warner Bros. |
| 1940 | Foreign Correspondent | Walter Wanger (production company) |
| 1940 | The Grapes of Wrath | 20th Century-Fox |
| 1940 | The Great Dictator | Charles Chaplin Productions |
| 1940 | Kitty Foyle | RKO Radio |
| 1940 | The Letter | Warner Bros. |
| 1940 | The Long Voyage Home | Argosy-Wanger |
| 1940 | Our Town | Sol Lesser (production company) |
| 1940 | The Philadelphia Story | Metro-Goldwyn-Mayer |
| 1941 (14th) |
How Green Was My Valley | 20th Century-Fox (Darryl F. Zanuck, producer) |
| 1941 | Blossoms in the Dust | Metro-Goldwyn-Mayer |
| 1941 | Citizen Kane | Mercury |
| 1941 | Here Comes Mr. Jordan | Columbia |
| 1941 | Hold Back the Dawn | Paramount |
| 1941 | The Little Foxes | Samuel Goldwyn Productions (Samuel Goldwyn, producer) |
| 1941 | The Maltese Falcon | Warner Bros. |
| 1941 | One Foot in Heaven | Warner Bros. |
| 1941 | Sergeant York | Warner Bros. |
| 1941 | Suspicion | RKO Radio |
| 1942 (15th) |
Mrs. Miniver | Metro-Goldwyn-Mayer (Sidney Franklin, producer) |
| 1942 | 49th Parallel | Ortus |
| 1942 | Kings Row | Warner Bros. |
| 1942 | The Magnificent Ambersons | Mercury |
| 1942 | The Pied Piper | 20th Century-Fox |
| 1942 | The Pride of the Yankees | Samuel Goldwyn Productions (Samuel Goldwyn, producer) |
| 1942 | Random Harvest | Metro-Goldwyn-Mayer |
| 1942 | The Talk of the Town | Columbia |
| 1942 | Wake Island | Paramount |
| 1942 | Yankee Doodle Dandy | Warner Bros. |
| 1943 (16th) |
Casablanca | Warner Bros. (Hal B. Wallis, producer) |
| 1943 | For Whom the Bell Tolls | Paramount |
| 1943 | Heaven Can Wait | 20th Century-Fox |
| 1943 | The Human Comedy | Metro-Goldwyn-Mayer |
| 1943 | In Which We Serve | Two Cities Films |
| 1943 | Madame Curie | Metro-Goldwyn-Mayer |
| 1943 | The More the Merrier | Columbia |
| 1943 | The Ox-Bow Incident | 20th Century-Fox |
| 1943 | The Song of Bernadette | 20th Century-Fox |
| 1943 | Watch on the Rhine | Warner Bros. |
| 1944 (17th) |
Going My Way | Paramount (Leo McCarey, producer) |
| 1944 | Double Indemnity | Paramount |
| 1944 | Gaslight | Metro-Goldwyn-Mayer |
| 1944 | Since You Went Away | Selznick International Pictures (David O. Selznick, producer) |
| 1944 | Wilson | 20th Century-Fox |
| 1945 (18th) |
The Lost Weekend | Paramount (Charles Brackett, producer) |
| 1945 | Anchors Aweigh | Metro-Goldwyn-Mayer |
| 1945 | The Bells of St. Mary's | Rainbow Productions |
| 1945 | Mildred Pierce | Warner Bros. |
| 1945 | Spellbound | Selznick International Pictures (David O. Selznick, producer) |
| 1946 (19th) |
The Best Years of Our Lives | Samuel Goldwyn Productions (Samuel Goldwyn, producer) |
| 1946 | Henry V | Two Cities Films |
| 1946 | It's a Wonderful Life | Liberty Films |
| 1946 | The Razor's Edge | 20th Century-Fox |
| 1946 | The Yearling | Metro-Goldwyn-Mayer |
| 1947 (20th) |
Gentleman's Agreement | 20th Century-Fox (Darryl F. Zanuck, producer) |
| 1947 | The Bishop's Wife | Samuel Goldwyn Productions (Samuel Goldwyn, producer) |
| 1947 | Crossfire | RKO Radio |
| 1947 | Great Expectations | J. Arthur Rank-Cineguild |
| 1947 | Miracle on 34th Street | 20th Century-Fox |
| 1948 (21st) |
Hamlet | J. Arthur Rank-Two Cities Films (Laurence Olivier, producer) |
| 1948 | Johnny Belinda | Warner Bros. |
| 1948 | The Red Shoes | J. Arthur Rank-Archers |
| 1948 | The Snake Pit | 20th Century-Fox |
| 1948 | The Treasure of the Sierra Madre | Warner Bros. |
| 1949 (22nd) |
All the King's Men | Columbia (Robert Rossen, producer) |
| 1949 | Battleground | Metro-Goldwyn-Mayer |
| 1949 | The Heiress | Paramount |
| 1949 | A Letter to Three Wives | 20th Century-Fox |
| 1949 | Twelve O'Clock High | 20th Century-Fox |
1950s Winners
| Year | Film | Producer(s) |
|---|---|---|
| 1950 (23rd) |
All About Eve | 20th Century-Fox (Darryl F. Zanuck, producer) |
| 1950 | Born Yesterday | Columbia |
| 1950 | Father of the Bride | Metro-Goldwyn-Mayer |
| 1950 | King Solomon's Mines | Metro-Goldwyn-Mayer |
| 1950 | Sunset Boulevard | Paramount |
| 1951 (24th) |
An American in Paris | Arthur Freed |
| 1951 | Decision Before Dawn | Anatole Litvak and Frank McCarthy |
| 1951 | A Place in the Sun | George Stevens |
| 1951 | Quo Vadis | Sam Zimbalist |
| 1951 | A Streetcar Named Desire | Charles K. Feldman |
| 1952 (25th) |
The Greatest Show on Earth | Cecil B. DeMille |
| 1952 | High Noon | Stanley Kramer |
| 1952 | Ivanhoe | Pandro S. Berman |
| 1952 | Moulin Rouge | John and James Woolf |
| 1952 | The Quiet Man | John Ford and Merian C. Cooper |
| 1953 (26th) |
From Here to Eternity | Buddy Adler |
| 1953 | Julius Caesar | John Houseman |
| 1953 | The Robe | Frank Ross |
| 1953 | Roman Holiday | William Wyler |
| 1953 | Shane | George Stevens |
| 1954 (27th) |
On the Waterfront | Sam Spiegel |
| 1954 | The Caine Mutiny | Stanley Kramer |
| 1954 | The Country Girl | William Perlberg |
| 1954 | Seven Brides for Seven Brothers | Jack Cummings |
| 1954 | Three Coins in the Fountain | Sol C. Siegel |
| 1955 (28th) |
Marty | Harold Hecht |
| 1955 | Love Is a Many-Splendored Thing | Buddy Adler |
| 1955 | Mister Roberts | Leland Hayward |
| 1955 | Picnic | Fred Kohlmar |
| 1955 | The Rose Tattoo | Hal B. Wallis |
| 1956 (29th) |
Around the World in 80 Days | Michael Todd |
| 1956 | Friendly Persuasion | William Wyler |
| 1956 | Giant | George Stevens and Henry Ginsberg |
| 1956 | The King and I | Charles Brackett |
| 1956 | The Ten Commandments | Cecil B. DeMille |
| 1957 (30th) |
The Bridge on the River Kwai | Sam Spiegel |
| 1957 | 12 Angry Men | Henry Fonda and Reginald Rose |
| 1957 | Peyton Place | Jerry Wald |
| 1957 | Sayonara | William Goetz |
| 1957 | Witness for the Prosecution | Arthur Hornblow Jr. |
| 1958 (31st) |
Gigi | Arthur Freed |
| 1958 | Auntie Mame | Jack L. Warner |
| 1958 | Cat on a Hot Tin Roof | Lawrence Weingarten |
| 1958 | The Defiant Ones | Stanley Kramer |
| 1958 | Separate Tables | Harold Hecht |
| 1959 (32nd) |
Ben-Hur | Sam Zimbalist |
| 1959 | Anatomy of a Murder | Otto Preminger |
| 1959 | The Diary of Anne Frank | George Stevens |
| 1959 | The Nun's Story | Henry Blanke |
| 1959 | Room at the Top | John and James Woolf |
1960s Winners
| Year | Film | Producer(s) |
|---|---|---|
| 1960 (33rd) |
The Apartment | Billy Wilder |
| 1960 | The Alamo | John Wayne |
| 1960 | Elmer Gantry | Bernard Smith |
| 1960 | Sons and Lovers | Jerry Wald |
| 1960 | The Sundowners | Fred Zinnemann |
| 1961 (34th) |
West Side Story | Robert Wise |
| 1961 | Fanny | Joshua Logan |
| 1961 | The Guns of Navarone | Carl Foreman |
| 1961 | The Hustler | Robert Rossen |
| 1961 | Judgment at Nuremberg | Stanley Kramer |
| 1962 (35th) |
Lawrence of Arabia | Sam Spiegel |
| 1962 | The Longest Day | Darryl F. Zanuck |
| 1962 | The Music Man | Morton DaCosta |
| 1962 | Mutiny on the Bounty | Aaron Rosenberg |
| 1962 | To Kill a Mockingbird | Alan J. Pakula |
| 1963 (36th) |
Tom Jones | Tony Richardson |
| 1963 | America America | Elia Kazan |
| 1963 | Cleopatra | Walter Wanger |
| 1963 | How the West Was Won | Bernard Smith |
| 1963 | Lilies of the Field | Ralph Nelson |
| 1964 (37th) |
My Fair Lady | Jack L. Warner |
| 1964 | Becket | Hal B. Wallis |
| 1964 | Dr. Strangelove | Stanley Kubrick |
| 1964 | Mary Poppins | Walt Disney and Bill Walsh |
| 1964 | Zorba the Greek | Michael Cacoyannis |
| 1965 (38th) |
The Sound of Music | Robert Wise |
| 1965 | Darling | Joseph Janni |
| 1965 | Doctor Zhivago | Carlo Ponti |
| 1965 | Ship of Fools | Stanley Kramer |
| 1965 | A Thousand Clowns | Fred Coe |
| 1966 (39th) |
A Man for All Seasons | Fred Zinnemann |
| 1966 | Alfie | Lewis Gilbert |
| 1966 | The Russians Are Coming, the Russians Are Coming | Norman Jewison |
| 1966 | The Sand Pebbles | Robert Wise |
| 1966 | Who's Afraid of Virginia Woolf? | Ernest Lehman |
| 1967 (40th) |
In the Heat of the Night | Walter Mirisch |
| 1967 | Bonnie and Clyde | Warren Beatty |
| 1967 | Doctor Dolittle | Arthur P. Jacobs |
| 1967 | The Graduate | Lawrence Turman |
| 1967 | Guess Who's Coming to Dinner | Stanley Kramer |
| 1968 (41st) |
Oliver! | John Woolf |
| 1968 | Funny Girl | Ray Stark |
| 1968 | The Lion in Winter | Martin Poll |
| 1968 | Rachel, Rachel | Paul Newman |
| 1968 | Romeo and Juliet | Anthony Havelock-Allan and John Brabourne |
| 1969 (42nd) |
Midnight Cowboy | Jerome Hellman |
| 1969 | Anne of the Thousand Days | Hal B. Wallis |
| 1969 | Butch Cassidy and the Sundance Kid | John Foreman |
| 1969 | Hello, Dolly! | Ernest Lehman |
| 1969 | Z | Jacques Perrin and Ahmed Rachedi |
1970s Winners
| Year | Film | Producer(s) |
|---|---|---|
| 1970 (43rd) |
Patton | Frank McCarthy |
| 1970 | Airport | Ross Hunter |
| 1970 | Five Easy Pieces | Bob Rafelson and Richard Wechsler |
| 1970 | Love Story | Howard G. Minsky |
| 1970 | M*A*S*H | Ingo Preminger |
| 1971 (44th) |
The French Connection | Philip D'Antoni |
| 1971 | A Clockwork Orange | Stanley Kubrick |
| 1971 | Fiddler on the Roof | Norman Jewison |
| 1971 | The Last Picture Show | Stephen J. Friedman |
| 1971 | Nicholas and Alexandra | Sam Spiegel |
| 1972 (45th) |
The Godfather | Albert S. Ruddy |
| 1972 | Cabaret | Cy Feuer |
| 1972 | Deliverance | John Boorman |
| 1972 | The Emigrants | Bengt Forslund |
| 1972 | Sounder | Robert B. Radnitz |
| 1973 (46th) |
The Sting | Tony Bill, Michael Phillips, and Julia Phillips |
| 1973 | American Graffiti | Francis Ford Coppola and Gary Kurtz |
| 1973 | Cries and Whispers | Ingmar Bergman |
| 1973 | The Exorcist | William Peter Blatty |
| 1973 | A Touch of Class | Melvin Frank |
| 1974 (47th) |
The Godfather Part II | Francis Ford Coppola, Gray Frederickson, and Fred Roos |
| 1974 | Chinatown | Robert Evans |
| 1974 | The Conversation | Francis Ford Coppola |
| 1974 | Lenny | Marvin Worth |
| 1974 | The Towering Inferno | Irwin Allen |
| 1975 (48th) |
One Flew Over the Cuckoo's Nest | Michael Douglas and Saul Zaentz |
| 1975 | Barry Lyndon | Stanley Kubrick |
| 1975 | Dog Day Afternoon | Martin Bregman and Martin Elfand |
| 1975 | Jaws | Richard D. Zanuck and David Brown |
| 1975 | Nashville | Robert Altman |
| 1976 (49th) |
Rocky | Irwin Winkler and Robert Chartoff |
| 1976 | All the President's Men | Walter Coblenz |
| 1976 | Bound for Glory | Robert F. Blumofe and Harold Leventhal |
| 1976 | Network | Howard Gottfried |
| 1976 | Taxi Driver | Michael Phillips and Julia Phillips |
| 1977 (50th) |
Annie Hall | Charles H. Joffe |
| 1977 | The Goodbye Girl | Ray Stark |
| 1977 | Julia | Richard Roth |
| 1977 | Star Wars | Gary Kurtz |
| 1977 | The Turning Point | Herbert Ross and Arthur Laurents |
| 1978 (51st) |
The Deer Hunter | Barry Spikings, Michael Deeley, Michael Cimino, and John Peverall |
| 1978 | Coming Home | Jerome Hellman |
| 1978 | Heaven Can Wait | Warren Beatty |
| 1978 | Midnight Express | Alan Marshall and David Puttnam |
| 1978 | An Unmarried Woman | Paul Mazursky and Anthony Ray |
| 1979 (52nd) |
Kramer vs. Kramer | Stanley R. Jaffe |
| 1979 | All That Jazz | Robert Alan Aurthur |
| 1979 | Apocalypse Now | Francis Ford Coppola, Fred Roos, Gray Frederickson, and Tom Sternberg |
| 1979 | Breaking Away | Peter Yates |
| 1979 | Norma Rae | Tamara Asseyev and Alex Rose |
1980s Winners
| Year | Film | Producer(s) |
|---|---|---|
| 1980 (53rd) |
Ordinary People | Ronald L. Schwary |
| 1980 | Coal Miner's Daughter | Bernard Schwartz |
| 1980 | The Elephant Man | Jonathan Sanger |
| 1980 | Raging Bull | Irwin Winkler and Robert Chartoff |
| 1980 | Tess | Claude Berri and Timothy Burrill |
| 1981 (54th) |
Chariots of Fire | David Puttnam |
| 1981 | Atlantic City | Denis Héroux |
| 1981 | On Golden Pond | Bruce Gilbert |
| 1981 | Raiders of the Lost Ark | Frank Marshall |
| 1981 | Reds | Warren Beatty |
| 1982 (55th) |
Gandhi | Richard Attenborough |
| 1982 | E.T. the Extra-Terrestrial | Steven Spielberg and Kathleen Kennedy |
| 1982 | Missing | Edward Lewis and Mildred Lewis |
| 1982 | Tootsie | Sydney Pollack and Dick Richards |
| 1982 | The Verdict | Richard D. Zanuck and David Brown |
| 1983 (56th) |
Terms of Endearment | James L. Brooks |
| 1983 | The Big Chill | M... |
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References
References
- The Academy also announced that A Farewell to Arms came in second, and Little Women third.
- The Academy also announced that The Barretts of Wimpole Street came in second, and The House of Rothschild third.
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This document has been generated by an AI, synthesizing information from publicly available sources, primarily Wikipedia. While efforts have been made to ensure accuracy and adherence to the provided source material, the content is intended for educational and informational purposes only.
This is not an endorsement or official publication of the Academy Awards. The information presented should not substitute professional film analysis or historical research. Data, particularly regarding historical context and evolving criteria, may be subject to interpretation and change. Users are encouraged to consult primary sources and official Academy documentation for definitive information.
The creators assume no liability for errors, omissions, or actions taken based on the information herein. Film history is complex and nuanced; this overview provides a structured perspective based on available data.