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Debunking the upset myth about 'Shakespeare in Love'

For years now, I've heard people talk about the Oscar best picture triumph of 1998's "Shakespeare in Love" over "Saving Private Ryan" as a major upset. It's not how I experienced it at the time, and the research I did for this piece in Variety today backed up my memories. An excerpt:

... Each film was strongly embraced by critics and kudos, each film campaigned fiercely, and when the moment of reckoning arrived at the Dorothy Chandler Pavilion, true suspense was in the air.

Released five months apart, the soon-to-be-entwined pair enjoyed strong reviews -- Variety said Steven Spielberg's "Ryan" was "searingly visceral," while John Madden's "Shakespeare" was "exquisitely acted, tightly directed and impressively assembled" -- along with their share of detractors. "Shakespeare" was accused of a lack of heft, while others contended that the bulk of "Ryan" failed to live up to the jaw-dropping 20-minute invasion sequence at the start of the film.

JFHaving hit theaters in July, "Ryan" did enter awards season as the pundits' film to beat. It got off to a good start by winning the Los Angeles Film Critics picture prize in December, days after "Shakespeare" first reached the bigscreen, and soon "Ryan" bagged the New York Film Critics Circle honor as well.

However, "Shakespeare" topped the Screen Actors Guild Awards -- a key stepping stone to Oscar success -- with five nominations, compared with two for "Ryan." The films matched each other with Directors Guild, Writers Guild and Producers Guild noms.

By the time the Oscars noms arrived that year, "Shakespeare" -- co-starring, among others, current "Argo" director and de facto "Lincoln" foe Ben Affleck -- had emerged as a clear top rival to "Ryan." And then, at least on paper, it surged ahead.

"Shakespeare" drew 13 Academy Award nominations, not only leading all comers but also matching "Forrest Gump" for the most by any film except for "Titanic" since "All About Eve" in 1950. "Ryan" was second with 11 nominations, ahead of a trio of best picture nominees with seven apiece: "Elizabeth," "Life Is Beautiful" and "The Thin Red Line." Variety noted in its report on the nominations that "Tuesday's announcement shifts the odds a bit to 'Shakespeare's' advantage: In 14 of the past 15 years, the pic that grabbed (or tied for) the most nominations went on to win the best-picture Oscar." ...

Read the entire piece here, and then check out the rest of our Oscar best picture preview coverage.

Time
-- Are directors behind punishing run times?
Given the assignment of finding meaning in the fact that eight of the nine picture nominees run for two hours or more, Randee Dawn came through with some interesting insights, most notably that neither the Academy nor audiences seem to mind. 

-- Critics praise, punch nominees
We compile some of the critical reaction to the nine finalists, including some that's less than laudatory.
"Amour" | "Argo" | "Beasts of the Southern Wild" | "Django Unchained" | "Les Miserables" | "Life of Pi" | "Lincoln" | "Silver Linings Playbook" | "Zero Dark Thirty"

Comments

Steve Dilbeck

I'm sorry, it was an enormous upset. Or maybe that's embarrassment.
"Shakespeare In Love" was a fine, entertaining trifle. Very likeable. And still hard to believe it won over "Saving Private Ryan," an expertly conceived and executed film. History has already forgotten one, while the impact of the other continues to resonate.

Jon Weisman

Nah. Saving Private Ryan was 20 minutes of edge-of-your-seat excitement and two hours of meandering. The idea of it might resonate - greatest generation and all - but the film itself doesn't.

Steve Dilbeck

I find it absolutely incredible that you and I would disagree about something.

Steve Dilbeck

Besides, "Saving" introduced us to Nathan Fillion as the first Ryan. It gets major points for that.

Jon Weisman

LOL. I'm guessing we have the same level of optimism/pessimism about the Dodgers.

The comments to this entry are closed.


About

Christy GroszA native of Los Angeles raised by two parents and "Hill Street Blues," Jon Weisman ankled his scriptwriting career and began working for Variety in 2004, subsequently serving as associate editor of features and television reporter before becoming awards editor. He promises not to use this platform to retroactively campaign for Oscars for “The Misfits,” though he’d feel justified in doing so.