The Academy isn’t just a couple of guys who watch every movie released within a year. It’s a collective of over 10,500 global film industry artists and leaders, so there’s bound to be wildly varied opinions on what is and what isn’t nomination-worthy. What one person considers great, another might find pandering and vice versa. That’s why in the nearly 100 years the Academy has been in existence, they’ve messed up as many times as they’ve gotten it right. The amount of iconic directors who were overlooked, big screen superstars who were ignored, and all-time classics that received no love is so big, they form an unofficial group called the “Snub Club.” Honorary members include Alfred Hitchcock, Stanley Kubrick, The Shawshank Redemption, Charlie Chaplin, E.T. the Extra-Terrestrial, Glen Close, Saving Private Ryan and many, many others. After the list of 2024 nominees was revealed, The Snub Club received two new members: Greta Gerwig and Margot Robbie for Barbie. The internet was so incensed by their lack of nominations that it completely dominated the conversation. While shocking, it’s not that surprising considering the strength of that year. They weren’t snubbed, there was just a glut of talented directors and actresses that year. This list will highlight true snubs that should’ve gotten a nom (and probably should’ve won) but didn’t.
These are the 100 Biggest Oscar Acting Snubs of All Time.
10. Isabelle Adjani | Possession (1981)
Adjani never had a chance at a nomination but I don’t think there’s a more fearless performance captured on screen. What she puts herself through is nothing short of awe-inspiring. For years I actually forgot this was a horror film. I completely forgot about the horror elements because all I could remember was Adjani’s performance. Adjani made me forget about a tentacle monster. That’s how good she is. In this haunting and enigmatic film, Adjani delivers a mesmerizing portrayal of Anna, a woman caught in the grips of a descent into madness and obsession. What sets Adjani’s performance apart is her fearless commitment to embodying the extremes of human emotion. Whether she’s unleashing a primal scream of anguish, engaging in a frenzied dance of madness, or collapsing into a state of abject vulnerability, Adjani holds nothing back, delivering a performance that is as emotionally raw as it is artistically daring. Her portrayal of Anna is a masterclass in psychological horror, challenging audiences to confront the darkest recesses of the human psyche with unflinching honesty and undeniable craftsmanship. Her performance, especially the freakout scene in the subway, should be taught in film schools or played on a loop in an art museum.
09. Liv Ullmann | Persona (1966)
Liv Ullmann’s performance in Persona is a haunting and emotionally charged performance that showcases her unparalleled talent as an actress. In this deeply introspective film, Ullmann delivers an unforgettably portrayal of Elisabet Vogler, a stage actress who becomes mute and withdrawn after a sudden psychological breakdown. After her doctor sends her to a seaside cottage for some rest and recuperation, her life becomes entangled with the nurse hired to take care of her. The more time the two women spend together, the more their identities begin to merge and blur, leading to a profound psychological and emotional journey. As the boundaries between the women dissolve, questions arise about the nature of individuality, authenticity, and the masks people wear in their daily lives. The famous “split-screen” sequence, where the faces of Alma and Elisabet merge into one, visually encapsulates this theme of identity dissolution. It’s a thought provoking film that demands a lot from the viewer and even more from its lead. She’s the audience surrogate, a blank slate in which we project our own thoughts, feelings and emotions onto. Ullman’s face is the greatest canvas a director could ask for. She’s the living embodiment of the The Kuleshov effect. Bergman could’ve cut to anything after he shows her close up and you’d feel that emotion deeply but he didn’t need to because you already do. Her eyes do all the heavy lifting and they’re Olympic level weight lifters. If subtlety was an art form, Ullman is the Picasso of facial expressions.
08. Dennis Hopper | Blue Velvet (1986)
Multiple actors turned down the role of Frank Booth because they considered the character too repulsive and intense. Hopper was the only actor fighting for the part because he reportedly said, “I’ve got to play Frank, because I am Frank!” If that is true, Hopper beats Klaus Kinski as the craziest actor in Hollywood. I don’t believe there’s a thesaurus big enough to adequately describe Frank Booth. You’d need hundreds of variants of the words insane, manic, unpredictable, violent, and/or psychotic to properly define his actions because there is no other villain quite like Frank Booth. He’s beyond descriptives. It’s a performance that lives in its own bubble. Every time Hopper steps into frame, it’s impossible to look away. Because he won’t allow you to. He’s like a out of control rottweiler grabbing the film by the throat and shaking it into submission every time he’s on screen. He kidnaps a child in order to leverage the mother into being his personal sex slave that he repeatedly abuses and that might not be the worst thing he does in this film. The Academy took one look at that performance and decided to finally reward his hard work and numerous years in the business with a nomination. For Hoosiers.
07. Diane Keaton | The Godfather Part II (1974)
The Academy doesn’t deal in subtleties. They go for the flash. There’s a ton of amazingly flashy performances in The Godfather Part II but I would argue Keaton’s was the hardest to pull off. Without her restraint, without her talent, the “It was an abortion!” scene would’ve veered into soap opera melodrama. As the wife of Michael Corleone, played by Al Pacino, Keaton’s character undergoes a profound evolution, navigating the complex dynamics of power, loyalty, and family in the Corleone mafia empire. At the outset of the film, Kay is depicted as an innocent outsider, drawn into the Corleone family through her relationship with Michael. However, as the story progresses, she becomes increasingly entangled in the web of secrecy and violence that defines the Corleone legacy.
Keaton masterfully conveys Kay’s inner conflict as she grapples with the reality of her husband’s criminal activities and the moral compromises she must make to protect her family. Her performance serves as a counterpoint to the male-dominated world of the mafia, offering insight into the experiences of women caught in the crossfire of violence and ambition. In addition to her emotional depth, Keaton brings a sense of style and sophistication to the role, embodying the glamour of 1950s New York with her iconic fashion choices and understated elegance. Her on-screen chemistry with Pacino adds another layer of complexity to their characters’ relationship, as they navigate love, betrayal, and ultimately, disillusionment. Every one has a favorite scene, everyone has their favorite quote and I know Kay Corleone never enters into that equation but she’s the glue that keeps the film together.
06. Ingrid Bergman | Casablanca (1942)
Another performance that will forever live in the shadow of a much more iconic character, Ilsua Lund is easily as important to the success of Casablanca as Bogart’s Rick Blaine is. In the famous “As time goes by” scene, She believably conveys at least four different emotions as the song progresses. If 50% of acting is in the eyes, then Bergman had the best in the biz. Her performance stands as a beacon of grace, strength, and complexity in the pantheon of great cinematic characters. As the luminous and enigmatic love interest of the lead, Bergman had the impossible and thankless task of being a plot contrivance. She needs his help and you spend the entire movie wondering whether or not he’ll help her. You know they have a past but you also don’t know if she’s using him. Since he has his doubts, you do too. Until you realize he doesn’t have doubts at all. He’s only delaying the inevitable. Of course he’s going to help her, he just doesn’t want to lose her. Which makes his sacrifice all the more heroic. Although he doesn’t get the girl in the end, he still gets a happy ending because at least she’s safe. She’s the kind of girl you’d give up anything for, even your own happiness, to make sure she’s ok. Not every actress can sell that but Bergman does it effortlessly.
05. Jimmy Stewart | Vertigo (1958)
The second Stewart/Hitchcock collaboration on the list, their work together on Vertigo is better than anything either of them did together or apart. It’s also the best performance in any Hitchcock movie and that’s including Perkins in Psycho and any of the work done by any of his famous blondes. Set against the backdrop of San Francisco, Vertigo delves into themes of obsession, identity, and the elusive nature of reality. In the film, Stewart plays Scottie Ferguson, a retired police detective, is hired to follow Madeleine Elster, the enigmatic wife of an old friend, who seems to be suffering from a peculiar psychological affliction. As Scottie becomes increasingly entangled in Madeleine’s world, he finds himself drawn deeper into a web of deceit and manipulation. As Scottie delves deeper into the mystery of Madeleine’s identity, he becomes increasingly fixated on reconstructing her image according to his own desires. This obsession ultimately leads him down a path of self-destruction, as he grapples with the blurred boundaries between reality and illusion. It’s an unhinged performance and a side of Stewart we never get to see. Vertigo remains as relevant today as it was upon its release over six decades ago. Its influence can be seen in countless films that have followed but of all the imitators, copycats, and knock offs that have come out, none have been as good because none have this Stewart performance at the center.
04. John Wayne | The Searchers (1956)
This one performance should’ve killed the debate over the importance of range in an actor for all time. John Wayne did not have range. He did however, have talent. You don’t accidentally give a performance this good if you aren’t a talented actor. In the film, Wayne portrays a man consumed by hatred and obsession, driven by a relentless quest for vengeance. As a Civil War veteran and a veteran of the Texas Rangers, Ethan is a man haunted by his past and the horrors he witnessed on the frontier. Wayne brings a raw intensity to the role, capturing Ethan’s simmering rage and inner turmoil with a brooding gravitas that is both mesmerizing and chilling. Throughout the film, Wayne masterfully navigates the moral ambiguity of Ethan’s character, blurring the lines between heroism and villainy. While Ethan is driven by a desire to rescue his niece, Debbie, from the Comanche tribe who abducted her, his motives are often clouded by his own deep-seated prejudices and personal demons. Wayne’s portrayal is marked by a sense of moral ambiguity, as he grapples with questions of what is right and what he wants. One of the most striking aspects of Wayne’s performance in The Searchers is his physicality. Standing tall and imposing against the backdrop of the vast Western landscape, Wayne cuts a formidable figure as he rides across the desert in pursuit of his quarry. His rugged masculinity and stoic demeanor embody the archetypal image of the American cowboy, while his steely gaze and clenched jaw convey a sense of inner turmoil and emotional depth. Wayne uses all of his movie star bravado and underrated acting prowess to craft a character who’s impossible to forget.
03. Tim Curry | The Rocky Horror Picture Show (1975)
The Rocky Horror Picture Show holds a unique and enduring significance in the world of cinema, transcending its status as a cult classic to become a cultural phenomenon. For many, it is more than a movie, it’s a sanctuary. It’s a communal safe space that welcomes all and tells everyone who feels different or strange that they’re not alone. It arrived during a time of social change and cultural revolution. Its themes of sexual liberation, gender fluidity, and nonconformity resonated with audiences grappling with societal norms and expectations. The film’s celebration of individuality and self-expression struck a chord with marginalized communities, particularly the LGBTQ+ community, who found solace and empowerment in its message. It also provided them with an icon unlike any before or since. Dr. Frank-N-Furter is far more than a Frankenstein parody. He’s a glam rock Godzilla, a sexual monster that does whomever and whatever he wants. It’s a groundbreaking performance and the best of Tim Curry’s career. With his electrifying presence, impeccable timing, undeniable charisma, and out-of-this-world legs, Curry not only broke taboos, shifted culture, and created an indelible character, but he was a sexual awakening for many a man, woman, and other who saw it. This might be the best performance on this list because it actually means something.
02. Robert Shaw | Jaws (1975)
I’m half tempted to just leave the USS Indianapolis speech here as my explanation and as effective as that would be to sell my point, you already know that scene by heart. Hell, you know every scene he’s in because Shaw turned a one-note, obsessed fisherman from Captain Ahab caricature to one of the most quoted characters in any medium. As amazing as Lee Marvin and Sterling Hayden are, can you honestly picture anyone else being as good in this role? It’s an unforgettable performance that elevates the film to iconic status. Quint is a man of few words, but Shaw infuses each line of dialogue with a potent mix of menace, wit, and world-weary cynicism. His gravelly voice and steely gaze convey a sense of depth and complexity, hinting at the traumas that have shaped Quint’s character and hardened his resolve. He’s not a hero, he’s a ghost haunting the seas hunting monsters for money. There will never be another performance like it because that generation of actor is long since gone.
“Farewell and adieu to you fair Spanish ladies.” “Farewell and adieu to you ladies of Spain.”
01. Maria Falconetti | The Passion of Joan of Arc (1928)
Technically the Academy Awards were not created until the year after this film came out but I’m arguing that not only should she have gotten nominated, but her performance should’ve created the award in the first place. I don’t think there’s been a face that’s carried more weight, that’s expressed more emotion, that’s carried an entire film more than Falconetti. I believe it’s the greatest performance of all time and what’s even more amazing, is the fact that it’s entirely made up of deleted scenes. The original print was destroyed, so every scene in the film, was made up of scenes Dreyer originally rejected. I can’t comprehend what this film or even what her performance would’ve been if we got the film Dreyer originally wanted. My dream is that someday the nickname for the Academy awards is no longer the Oscars but the Falconettis instead. That’s the world I wanna live in.
With her closely cropped hair and unadorned face, Falconetti eschews the glamour and artifice typical of silent-era actresses, instead presenting a raw and unvarnished portrayal of the saint’s suffering. Her ethereal beauty is eclipsed by the intensity of her performance, as she embodies Joan’s courage, resilience, and unshakeable conviction with a breathtaking authenticity that is both captivating and heartbreaking to behold.
Falconetti’s performance is also distinguished by her collaboration with director Carl Theodor Dreyer, who employed innovative techniques to capture the emotional depth of Joan’s ordeal. Through a series of tight close-ups and intimate camera angles, Dreyer creates a sense of intimacy and immediacy that places the audience squarely in the midst of Joan’s trial, allowing them to experience her anguish and ecstasy first-hand. Falconetti’s portrayal in The Passion of Joan of Arc stands as a testament to the transformative power of acting at its zenith
20-11 | Rewind?
What other Oscar acting snubs come to mind that didn’t make this list? Share them down in the comments!
