The relationship between the Hollywood Academy and horror movies has existed almost since the origins of the awards ceremony., despite the fact that it has been something merely anecdotal where there have been great milestones and nights that marked the genre, such as the one in which ‘The Silence of the Lambs’ made history by becoming one of the few nominated films that won the five main awards: Best Film, Best Direction, Best Actress, Best Actor and Best Adapted Screenplay.
It seemed that the film in which we learned about the collaboration between Hannibal Lecter and Clarice Starling was the last stop on the way to a genre quite ignored, and even despised, by the Oscars, and that in their career they had not been able to resist awarding titles that are already an indispensable part of terror: ‘The devil’s seed’ (Best Supporting Actress in 1969), ‘The exorcist’ (Best Sound and Best Adapted Screenplay in 1974 ), ‘Tiburon’ (Best Soundtrack, Best Sound and Best Editing in 1976) or ‘La profecía’ (Best Soundtrack in 1977).
Terror is the Oscars
However, and counting the total of films awarded in a list that does not reach twenty titlesIt never hurts to remember the times when the Academy had the opportunity to award deserved works, and that as an apparent transgression it dared to nominate so that, in the end, they would leave empty.
Horror movies ignored by the Oscars
1 ‘The Bride of Frankenstein’
Four years after ‘Doctor Frankenstein’, James Whale directed the sequel to it for Universal, ‘The Bride of Frankenstein’, turned into a pop element and whose imaginary would end up transcending in a way that few could hope.
Nominations: 1, for Best Sound for Gilbert Kurland.
Only one nomination and, despite having become one of the most remembered films of all time, he lost it to ‘Marietta, the mischievous’, a title that no one remembers today.
The Bride of Frankenstein in eCartelera
2 ‘The bad seed’
Based on a novel by William March, ‘The Bad Seed’ by Mervyn LeRoy remains one of the most disturbing psychopathic child films in film history, where we met the Machiavellian Rhoda Penmark (Patty McCormack), a girl whose own mother suspects that she may be a ruthless murderer.
Nominations: 4, for Best Leading Actress for Nancy Kelly; for Best Supporting Actress for Eileen Heckart and Patty McCormack; and for Best Black and White Photography for Harold Rosson.
Despite leaving empty, the title was more than worthy of one of the interpretive awards, and to show it is the Golden Globe that Heckart won for the same nomination.
To this day, it is nothing new to speak of ‘Psycho’ as one of the films that changed the conception of horror cinema from the so-called cinematographic modernity. In it, Alfred Hitchcock managed to revolutionize the genre and make Janet Leigh the mother of all Scream Queens, in addition to knowing the beloved Norman Bates as one of the names that would make the most rivers of ink flow given his tendency to cross-dressing and a complex of Oedipus of the manual.
Nominations: 4, Best Director, Best Supporting Actress for Janet Leigh, Best Black and White Photography for John L. Russell, and Best Art Direction -Black and White-.
It was Hollywood’s last chance to reward the master of suspense, because after five nominations he never got the Oscar for Best Director (in 1968 he was compensated with the Memorial Award). In addition, the Golden Globes had already made it clear that Leigh was more than qualified for the award that they did give the actress.
Psychosis in eCartelera
4 ‘The beyond’
Based on the stories by Lafcadio Hearn, in 1966 ‘The Beyond’ saw the light, a superb anthology of horror stories that endowed J-Horror and the Kwaidan genre with beauty and majesty through its representations of terror, the ghosts of samurai, ghosts with long black hair and other common elements of the Japanese fantasy imagination.
Nominations: 1, for Best Foreign Language Film.
What less than, since the Academy had dared to nominate a Japanese ghost film in that category, having gone to the end and crowning Masaki Kobayashi with the award (something that would happen in Cannes, where he won the Special Award of the Jurado), which ended up taking the Czechoslovakian ‘La Tienda de la Calle Mayor’.
The beyond in eCartelera
‘Carrie’ not only has the merit of having aged very well, but was the first of all adaptations of Stephen King’s work. Directed by Brian de Palma and who introduced us to a young telekinetic woman who will end up turning the prom into an unforgettable party.
Nominations: 2, for Best Actress for Sissy Spacek and for Best Supporting Actress for Piper Laurie.
That someone dares to say that neither Spacek nor Laurie deserved the Oscar, which ended up taking the protagonists of ‘Network, an implacable world’, Faye Dunaway and Beatrice Straight. The first, understandable. Nobody remembers the second.
Carrie in eCartelera
6 ‘The glow’
Stephen King railed at ‘The Shining’ because it did not resemble his novel, and critics decried Stanley Kubrick’s work, but the passage of time put it in its place as one of the pillars of terror of all time.
As if that were not enough, and without taking into account the neglect towards Jack Nicholson, the direction or the cinematography of the film, the Razzies came to nominate Kubrick as Worst Director and Shelley Duvall as Worst Actress.
The shining in eCartelera
It was 1995 when David Fincher released his second film as a director, a psychothriller who led the wave of products that would come shortly after his overwhelming success, and that turned Brad Pitt and Morgan Freeman into two law enforcement officers on the hunt for a deranged that, to everyone’s surprise (and as if it were a divine warning), he ended up being Kevin Spacey.
Nominations: 1, to Richard Francis-Bruce for Best Editing.
Do you have a movie like ‘Seven’ in your hands and you only dare to take it into account for the Best Editing competing with ‘Apolo 13’? Yes, of course, Academy. Very well run.
Seven in eCartelera
8 ‘The sixth Sense’
With ‘The sixth sense’, M. Night Shyamalan presented himself to the world as a new master of horror, bringing us a Bruce Willis therapist who must help a child who sees ghosts and who, despite having given him several hints, does not suspect that he is dead, causing the director to be crowned the king of plot twist.
Nominations: 6, for Best Film, Best Director, Best Screenplay, Best Editing, Best Supporting Actress for Toni Collette and Best Supporting Actor for Haley Joel Osment.
The biggest defeat for the genre was this, since with six nominations and the hope that terror would conquer the Academy again, the film ended up emptying a year in which the triumph was sung for ‘American Beauty’.
The sixth sense in eCartelera
It was 2014 when, after its world premiere at Sundance, a film that everyone talked about at the time, ‘Babadook’, began to circulate at festivals. Directed by Jennifer Kent, the film plunged us into a tortuous mother-child relationship between Essie Davis and Noah Wiseman, both besieged by grief, guilt and the appearance of a terrifying story out of a grim children’s tale.
Critics associations and genre festivals knelt before it, enshrined as one of the great horror films of the new millennium, but (unsurprisingly) academics did not even consider taking it into account (thank you if you know about his existence). To emphasize her worth, highlight her triumph at the Fantastic Fest (Best Direction, Best Screenplay, Best Actress and Best Actor) or in Sitges (Best Actress and Special Jury Prize).
Babadook in eCartelera
‘Hereditary’ is already, without a doubt, the great horror movie of recent years. Ari Aster’s feature film debut has emerged as a revolutionary genre proposal that chills the blood of even the bravest, and which in turn serves as a psychological drama, title about sects, possessions and supernatural horror.
Perhaps, because it is a radical proposal of outright horror, ‘Hereditary’ does not have much to scratch at the Oscars, but totally passing Toni Collette as Best Actress and having considered Lady Gaga or Yalitza Aparicio for it is , at least, strange.
Hereditary in eCartelera
Because, for years, It seemed that to satisfy the horror genre it was enough to make it reach the gates in the awards race, as if they were daring to assess films aimed at a minority audience that had enough with a couple of Oscar nominations.
Next, and taking into account that in 2019 there is no trace of gender among the candidates (in any category), we make a compilation of all those times that terror scratched certain candidacies that well deserved to have won, but that remained with the desire. In addition, and because it never rains to everyone’s taste, we also add some titles today considered as more than remarkable cinematographic exercises of genre, and that were not even considered by academics.