I’ve had a book on my shelf for years: The Film Year Book 1983, edited by Al Clark and published by Virgin Books. This book gives a fascinating look at Hollywood during a pivotal time. It captures the end of the auteur era, a time when directors had more creative control. Recently, I was reminded of this book while watching Francis Ford Coppola’s One from the Heart, a film that is often labeled as a flop. It was released alongside several other major failures from the 1970s filmmakers.
Winners and Losers of 1983
The yearbook lists the winners and losers of that year, and the contrast is striking. Here are some of the winners:
- Raiders of the Lost Ark
- Superman II
- On Golden Pond
- Porky’s
- Arthur
- Stripes
- The Cannonball Run II
- E.T. The Extra-Terrestrial
- Rocky III
- Star Trek II: The Wrath of Khan
On the flip side, here are the losers:
- One From The Heart
- Reds
- Ragtime
- Blow Out
- Honky Tonk Freeway
- Dragonslayer
- Condorman
- Pennies From Heaven
- Shoot The Moon
- All The Marbles
Even Heaven’s Gate, which fell just outside the year’s range, is discussed in detail. Its troubled production still sends shockwaves through Hollywood today.
Trends in Film
It’s important to note that not all winners are masterpieces. Films like Raiders of the Lost Ark and E.T. are fantastic, while Rocky III and Stripes are more lighthearted fare. Conversely, some films on the losers list, like Reds and Blow Out, are often more artistically ambitious.
The patterns in these lists are telling. Fantasy, sex comedies, and action films were popular, while serious dramas and auteur-driven projects struggled. This trend continues today, although Disney has shifted from adult themes to more family-friendly humor. Miramax has also found success with boutique-style dramas.
Revisiting the Losers
Interestingly, many film fans might prefer the films on the losers list over the winners. Movies like One from the Heart, Ragtime, and Heaven’s Gate often offer deeper narratives than the likes of Cannonball Run II or Porky’s.
What’s troubling is how critics of that time contributed to the decline of individualism in Hollywood. Instead of supporting unique visions from directors like Coppola and Cimino, critics often tore them apart. While critics can champion great cinema, they also tend to avoid films that are not popular.
Many critics dismissed the layered storytelling in these films as distant or unengaging. This criticism seems unfair, as it reflects a broader cultural shift away from traditional Hollywood storytelling. It was a time of cinematic change, much like the political climate of Reaganism.
Conclusion
The Film Year Book 1983 serves as a valuable resource for understanding the dynamics of Hollywood during a transformative period. The contrast between the winners and losers reveals much about audience preferences and critical reception. As we look back, it’s clear that the legacy of these films continues to influence cinema today. Whether you prefer the blockbusters or the flops, there’s much to learn from this fascinating era in film history.
