Decade by decade, I'm ranking the winners of the Academy Award for Best Picture. From greatest to least great, here's the '70s.
1. One Flew Over the Cuckoo's Nest (1975) - One of only three films to sweep the five major categories, while up against stiff competition from "Dog Day Afternoon," "Barry Lyndon," and "Jaws." It remains a stunning film, featuring some of Jack Nicholson's best work onscreen, an iconic Louise Fletcher as the villainous symbol of oppression, and many familiar character actors. The mix of comedy and tragedy, horror and triumph, madness and morality is as heartwarming as it is sinister and foreboding.
2. The Godfather (1972) - One of the cornerstones of New Hollywood transformed the gangster narrative into a family saga and immigrant epic, ushering in a new generation of talent and a darker aesthetic that would come to characterize the films of this era. I have a hard time being objective about the film because everything from the dialogue to the score to the lighting design has permeated the American culture to such a degree, I honestly can't imagine what American cinema would be today without it.
3. The Godfather Part II (1974) - I have trouble thinking of the first two "Godfather" installments as two films, and the TV adaptation didn't help matters. The only reason I rank this a little lower is because of the unfortunate absence of Marlon Brando and the slightly awkward use of the parallel storylines. That said, the performances are fantastic, the writing is fantastic, and the production hasn't lost a step. "Chinatown" and "The Conversation" were also this year, but they never stood a chance.
4. Rocky (1976) - I was so happy to find that "Rocky" isn't about boxing as much as I had expected. I mean, the boxing is great, but the sweet romance that develops between Rocky and Adrian would have made the movie for me all by itself. I think "Rocky" works as well as it does because it really is the story of a working schlub in Philly first and foremost, and Stallone's charisma is irresistible. There are few cinematic underdog stories as winning and enduring. That said, "Network" should have won.
5. Annie Hall (1977) - I no longer love this film for Woody Allen, but I can't help still loving it for Diane Keaton. I love the metatextual elements and the winking, wry humor. I love spotting Jeff Goldblum and Sigourney Weaver in bit parts, and Truman Capote's cameo. The Marshall McCluhan scene is a work of genius. I wish more romantic comedies could be as inventive, irreverent, and poignant as "Annie Hall." This is not my favorite Woody Allen picture, but it's one of his uncontestable masterpieces.
6. The French Connection (1971) - So much of the effectiveness of this police procedural has been lessened over time because it's one of those movies that originated a lot of the common tropes that everybody now uses. William Friedkin employed documentary techniques to give the picture an unusual realism, recreated events from real drug cases, and famously conducted a car chase without permits in real NYC traffic. At the Oscars, this beat out "A Clockwork Orange," and "The Last Picture Show."
7. The Sting (1973) - It took me a few watches to appreciate this movie, because it unfolds so much more slowly than modern heist and caper movies. However, it's a pleasure to watch Paul Newman and Robert Redford ramble around 1930s Chicago, putting together their big con, and being their most charming selves. The production is elegant and I love the Joplin on the soundtrack. However, I'm not sure this should have won against nominees like "Cries and Whispers," and "The Exorcist."
8. Kramer vs. Kramer (1979) - How this beat "Apocalypse Now" and "All That Jazz" I will never understand. Still, I liked "Kramer" just fine, especially for the performance of Dustin Hoffman and the depiction of fatherhood in all its chaos, terror, and occasional warm fuzzy moments. I'm not so thrilled about the portrayal of Meryl Streep's Joanna, who is set up as the villain of the piece, and the stories about Hoffman's behavior behind the scenes have only further soured me on its win.
9. The Deer Hunter (1978) - I'm not a fan of Michael Cimino, finding him way too indulgent. However, he has a fantastic cast here, and really managed to tap into a vein of American anxiety and grief over Vietnam that was incredibly potent. The metaphor of Russian roulette in particular is difficult to shake. This was one of the most controversial winners, in part because of the aggressive awards campaigning by Allan Carr that clashed against Warren Beatty and "Heaven Can Wait."
10. Patton (1970) - The '70s really were the best decade at the Oscars. Even the least impressive winner is still a very good film with lingering cultural impact. This wasn't a very competitive year, with the nominees including "M*A*S*H," "Love Story," and "Airport" - films very much of their time. What put "Patton" over the top was clearly the performance of George C. Scott as the irascible general, portrayed with all his faults and foibles to excellent effect.
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