Still fuming that Jacob Tremblay didn’t get nominated as Best Actor?
It’s not the first time fan faves got the cold shoulder.
See our list of the most unjustly overlooked work in Academy Award history
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Resentment also lingered that studio head Jack Warner had given Hepburn the part over the untested Julie Andrews.
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DENZEL WASHINGTON
Philadelphia(1993)
It’s easy to see this as Tom Hanks' movie.
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But Washington, as the ambulance-chasing homophobe, had the harder task.
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GARY OLDMAN
Sid & Nancy(1986)
Playing a junkie/murder suspect/punk-rocker is difficult enough.
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She exudes sex, of course, but also sadistic sarcasm, slimy sweetness, and murderous contempt.
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She sings ‘‘Put the Blame on Mame’’ and makes it a prancing celebration of the femme fatale.
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GENE TIERNEY
Laura(1944)
Jacoby was in love with her when he painted her portrait.
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She was worshiped, adored, warm, and vibrant.
Logic would dictate that because Laura is extraordinary she must be played as such.
She seems to speak so softly at times that you have to lean in to catch her lines.
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It’s subtle, career-defining work with as many shadings as the angles of her face.
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Or doing an improvised duet with Harvey Keitel.
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Or swinging wild in a pool-hall brawl.
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And you might think that a 12-time nominee and four-time winner could not possibly have been overlooked by Oscar.
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On both counts, you would be wrong.
Like the spotted cat, Hepburn is beautiful, cunning, and damn near impossible to tame.
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MALCOLM McDOWELL
A Clockwork Orange(1971)
Who knew milk and Beethoven could be so downright disturbing?
But McDowell was more than simply a visual (and virulent) centerpiece.
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The result was hardly ordinary.
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It’s a turn that invites us to hiss the character while thrilling to the actress' nervy bravado.
And though playing a bitch earned Davis accolades, she was snubbed by Oscar.
The uproar forced the Academy to allow a special write-in ballot.
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MARILYN MONROE
Some Like It Hot(1959)
She drove everyone nuts.
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But she was Marilyn Monroe.
And she was worth it.
Sugar Kane, the ukulele-strumming, bourbon-swigging sexpot, is nothing if not pure Marilyn.
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Later in life, Garland would lose the innocence and concentrate more on her singing career.
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With Mike (Al Pacino) now in charge, the middle Mafia child is all impotence.
The guy can’t even betray right.
Pitiable, but Cazale never plays it like that.
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He’s awkward and sweet, and so very mournful of the old days.
‘‘I’m not dumb!
I’m smart and I want respect!’’
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he bellows, wobbling helplessly on a patio chair.
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The kind of impeccably funny, lust-lidded siren that Susan Sarandon became in this role.
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She pulls us in with a simmering-below-the-surface eroticism and an un-Hollywood freshness that makes her seem earthbound and attainable.
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And like all great screen actors, she made the camera an accomplice.
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Dexter Haven is more desperate than his man on the run inNorth by Northwest.
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Rather cruel, rather too cool, he wears his sophistication as if it were armor.
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ANTHONY PERKINS
Psycho(1960)
‘‘We all go a little mad sometimes.’’
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Perkins, the pioneer, had no such road map.
For him, the tics were organic: He approached Norman Bates as a character, not a trope.
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That’s why he remains such a revelation as Scottie Ferguson, the acrophobic, borderline-necrophilic detective ofVertigo.
Stewart’s Scottie is sympathetic as he becomes attracted to an unfaithful wife he’s hired to tail.
He’s moving when he witnesses her apparent death.
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He’s creepy when he finds another woman he wants to make over in his dead amour’s image.
Nothing gee-whiz about it.
MORE SNUBS: See Nos.100-76, Nos.75-51, and Nos.50-26
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