Almost There: Harrison Ford in "Raiders of the Lost Ark"

by Cláudio Alves

As we well know, AMPAS has major genre bias, preferring the prestigious quality of respectable dramas above everything else. Even when they decide to embrace a genre picture, there's a branch of the Academy that's always ready to turn their collective noses at them with unashamed snobbery. We're talking about the actors, whose distaste for anything remotely close to action movies, adventure, horror, fantasy, sci-fi, and so forth, has robbed many great performers of the recognition they so richly deserve. Truth be told, this is a problem that goes beyond the Oscar voters and even affects popular views on the art of acting.

If you want a good example of this, look to the awards race of 1981, when Raiders of the Lost Ark was a major success with critics and audiences alike...

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1981: Marília Pêra in "Pixote"

Please welcome new contributor Nick Taylor who is providing us with extra Supporting Actress pleasure inbetween the Smackdown events.

How close was Hector Babenco’s Pixote to an Oscar nomination for Best Foreign Language Film in 1980? Or rather, why was it disqualified? Already lauded in Brazil for its unflinching, documentary-style depiction of the country’s unique epidemic of child criminality and the institutions benefitting from it, the film got axed for doing test screenings outside The Academy’s allotted time frame. That sounds as "necessary" as many of their eligibility nitpicks. Disqualified from consideration for 1980, Pixote became fair game upon its U.S. release in 1981, winning most of the critics prizes for Best Foreign Language Film and scoring a Golden Globe nomination over Oscar’s eventual winner, Hungary's Mephisto.

Pixote also won Best Film from Boston, who took a page from the National Society of Film Critics and gave Marília Pêra their Best Actress award. And while her performance absolutely deserved those prizes...

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Vintage '81

We're having a little 1981 party for the first week of May so let's give the year some overall context before the Supporting Actress Smackdown hits on the weekend of May 8th. 

The year's two biggest blockbusters competed for Best Picture

Great Big Box Office Hits:
Raiders of the Lost Ark was the year's true behemoth, grossing twice as much as its nearest rival On Golden Pond. The Best Picture winner Chariots of Fire was a sleeper hit and that year's James Bond picture  For Your Eyes Only was also hugely popular (though that's no surprise with 007). But otherwise audiences were mostly drawn to comedies in 1981: Arthur (with Dudley Moore), Stripes (with Bill Murray) The Four Seasons (with Carol Burnett) and Cannonball Run (with Burt Reynolds) were all the rage.

Oscar favourites / theories and other cultural touchstones of 1981 after the jump...

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1981 Retrospective: Jessica Harper in "Pennies From Heaven"

Please welcome new contributor Nick Taylor. He's been sharing insightful comments on his reader ballots for years so he now joins the team to talk about Supporting Actresses who weren't nominated to coincide with our upcoming Smackdown events.

The 54th Academy Awards celebrated an insular group for 1981. Only nine films were represented between all four acting categories. If you expand that circle to include the nominations for Picture, Director, and Screenplay it's only a whopping twelve films hogging forty above-the-line slots. Every Supporting Actress nominee (to be discussed soon) had a co-star recognized in a different category. But when you look to performances outside of the nominated shortlist, like Kate Reid in Atlantic City or Karen Allen in Raiders of the Lost Ark, it’s hard not to wonder why things shook out the way they did.  

Or consider Jessica Harper’s perfectly controlled performance in Pennies From Heaven. Adapted from a 1978 British miniseries, Pennies follows song salesman Arthur Parker (Steve Martin, aces as a total cad), who views life through the rose-colored tint of the music he peddles but can’t see the damage he wrecks on others, and whose affair with lovelorn schoolteacher Eileen (Bernadette Peters, winning a Golden Globe for her delicate, nuanced turn) sends both their lives spiraling towards tragedy...

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All hail The Prince of Darkness!

by Cláudio Alves

In the annals of American film history, you'll have difficulty finding a filmmaker as influential as Gordon Willis. He's one of the best cinematographers that's ever lived, a man who almost single-handedly invented the look we most quickly associate with the great cinema of the 70s. Low-lit and underexposed, his pictures were rich in shadow play and gloomy frames, a materialization of the decades' paranoia and moral ambiguities. Because of such a characteristic style, he gained the nickname 'prince of darkness,' though maybe we should have called him the king of cinematographers. Both titles feel correct…

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