The Overlooked Westerns: 9 Masterpieces That Deserved Best Picture
Exploring the unheralded brilliance of western movies that were unjustly overshadowed at the Oscars.
High Noon
In 1953, Cecil B. DeMille's The Greatest Show on Earth took home the Best Picture award, overshadowing the poignant and introspective western, High Noon. While The Greatest Show on Earth dazzled with its spectacle, High Noon delved deep into the human psyche, exploring the theme of 'fight or flight' as Marshal Will Kane nervously awaited his fate in a gripping duel.
Gary Cooper in the town square in High Noon
True Grit
In 2011, Tom Hooper's The King's Speech triumphed over the Coen brothers' remake of True Grit, a decision that did not do justice to the latter's exceptional storytelling. The Coens breathed new life into the western genre, redefining the narrative by focusing on the original protagonist, 14-year-old Mattie Ross. Roger Deakins' cinematography in True Grit reminded audiences of the genre's awe-inspiring potential, making it a deserving contender for the Best Picture.
Mattie Ross (Hailee Steinfeld) smiling in True Grit
The Treasure Of The Sierra Madre
John Huston's The Treasure of the Sierra Madre faced a disappointing defeat at the 1949 Oscars, losing to Laurence Olivier's Hamlet. The Treasure of the Sierra Madre, a stunning portrayal of greed and paranoia, stands as a testament to superior filmmaking. Its exploration of human nature and the allure of gold makes it a timeless masterpiece that should have claimed the coveted Best Picture award.
Humphrey Bogart as Fred C. Dobbs and Tim Holt as Bob Curtin smiling in The Treasure of the Sierra Madre
Giant
In 1957, Michael Anderson's Around the World in 80 Days overtook George Stevens' epic western Giant for the Best Picture accolade. While Around the World in 80 Days offered a fun ride, Giant delved much deeper, presenting a years-spanning saga of a Texas cattle rancher adapting to changing times. Giant's substance and overt romanticism made it a worthy candidate for the Best Picture, overshadowed by its competitor's lightheartedness.
James Dean covered in oil in Giant
Django Unchained
In 2013, Quentin Tarantino's revolutionary Django Unchained was eclipsed by Ben Affleck's Argo at the Oscars. Tarantino's operatic portrayal of the spaghetti western subgenre, exploring the darkest chapter of American history, deserved recognition for its boldness. The film's gripping narrative and thrilling revenge fantasy were backed by Sergio Leone-style gore, highlighting the inhumanity of slavery. Django Unchained's impact on cinematic storytelling made it a frontrunner for the Best Picture.
Django (Jamie Foxx) shooting a pistol in the snow in Django Unchained.
Butch Cassidy And The Sundance Kid
George Roy Hill's Butch Cassidy and the Sundance Kid faced defeat at the hands of John Schlesinger's Midnight Cowboy in 1970. The Academy's preference for dark narratives overshadowed the genius of Butch Cassidy and the Sundance Kid, a lighthearted buddy comedy that skillfully incorporated genuine human drama. William Goldman's screenplay subverted western tropes, creating a true anti-western that deserved recognition for its innovative storytelling and character dynamics.
Paul Newman's Butch Cassidy and Robert Redford's Sundance Kid take refuge behind huge rocks in the mountains in Butch Cassidy and the Sundance Kid
Stagecoach
At the 1940 Oscars, Victor Fleming's Gone with the Wind triumphed over John Ford's seminal western Stagecoach. While both films have aged poorly, Stagecoach's finer craftsmanship and tightly edited narrative were overshadowed by its competitor's romantic epic status. Stagecoach's contribution to the quintessential American film genre and its groundbreaking groundwork deserved greater acknowledgment at the Oscars.
John Wayne with a rifle in Stagecoach
Brokeback Mountain
Paul Haggis's Crash controversially won the Best Picture over Ang Lee's Brokeback Mountain in 2006. Brokeback Mountain's subtle and beautiful portrayal of a tragic love story faced an unjust defeat at the hands of Crash's simplistic message on racism. The film's poignant exploration of marginalized communities deserved recognition for its emotional depth and storytelling finesse, making it a deserving contender for the Best Picture.
Jake Gyllenhaal and Heath Ledger as Jack and Ennis in Brokeback Mountain
How The West Was Won
Tom Richardson's Tom Jones overshadowed the sprawling western epic How the West Was Won at the 1964 Oscars. How the West Was Won, an ambitious collaboration covering the entire history of the Old West, exemplified the grandeur and scale that Best Picture awards were designed for. Its episodic narrative and cinematic epicness deserved greater recognition, making it a worthy contender for the Best Picture.
A man and a woman on a carriage in How the West Was Won
Shane
In 1954, Fred Zinnemann's From Here to Eternity triumphed over George Stevens' timeless masterpiece, Shane. While From Here to Eternity combined wartime history with a Hollywood love story, Shane emerged as a modern myth, deconstructing the gunslinger archetype with striking landscape photography. Shane's exploration of violence and human nature set it apart as a timeless masterpiece that deserved the Best Picture recognition.
Alan Ladd rides away at the end of Shane
