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45th Academy Awards

The 45th Academy Awards, formally the 45th Annual Academy Awards ceremony presented by the Academy of Motion Picture Arts and Sciences, honored motion pictures released in 1972 and took place on March 27, 1973, at the in , . Co-hosted by , , , and , the event awarded the and the Oscar for his performance in the film, though Brando declined the honor. dominated with eight wins from ten nominations, the most of any film, including for and for . The ceremony gained lasting notoriety for Brando's protest, as he dispatched —who introduced herself as Apache and president of the National Native American Affirmative Image Committee—to decline the award onstage and read a prepared statement decrying Hollywood's stereotypical depictions of and the U.S. government's armed response to the Wounded Knee occupation. Littlefeather's assertions of Native American descent were subsequently challenged by her sisters, who stated that the family possessed no Indigenous heritage and that she had fabricated an ethnic identity under the alias "" from her birth name Louise Cruz.

Ceremony Details

Date, Venue, and Broadcast Information

The 45th Academy Awards ceremony was held on Tuesday, March 27, 1973, at the in , . This venue, part of the , hosted the event from 1969 through 1987, with additional uses in later years. The proceedings honored films released in 1972 and were televised live nationally on .

Hosts, Presenters, and Performers

The 45th Academy Awards ceremony on March 27, 1973, was hosted by actors , , , and , marking the first time four individuals shared hosting duties for the event. Their ensemble approach aimed to blend comedy, drama, and star power, with Burnett providing humorous segments, Caine offering wit, Heston delivering gravitas, and Hudson handling lighthearted introductions. Presenters for the competitive and honorary categories included a mix of Academy members, past nominees, and industry figures. Notable pairings featured and explaining voting rules; and his son for Sound; and for ; and for ; and and for , during which accepted on behalf of to decline the award in protest. Honorary awards were presented by to and by to for the . Other presenters encompassed and for documentaries, and for Directing, and for Best Picture.
CategoryPresenters
Sound,
Visual Effects
Short Films (Animated/Live Action)Beatrice Arthur,
Supporting Actress,
Foreign Language Film,
Film Editing,
Supporting Actor,
Documentaries,
Costume/Production Design & ; &
Music Categories,
Cinematography,
Original Song,
Directing,
Writing
Actor,
Actress,
Picture
Performers showcased nominated songs and special tributes, including singing "Ben" from the film of the same name, with The Congregation on "Marmalade, Molasses and Honey" from The Life and Times of Judge Roy Bean, performing "The Morning After" from , and on "Strange Are the Ways of Love" from Pete 'n' Tillie. Additional numbers featured in "Make a Little Magic," a Disney characters salute for Walt Productions' 50th anniversary, and the Academy Awards Chorus rendering "You Oughta Be in Pictures," introduced by . These segments highlighted the musical nominees and added celebratory flair to the proceedings.

Nominations Process

Eligibility Rules and Disputes

Feature films were eligible for consideration in the 45th Academy Awards if they had a commercial screening of at least one week in a County theater between January 1 and December 31, 1972. This calendar-year window ensured alignment with the Academy's standard practice for qualifying releases, excluding previews or non-public screenings. Category-specific rules applied additional criteria; for Best Original Dramatic Score, the Academy required that "all of the principal thematic material and the development thereof are original with the composer(s)." Nominations were determined by votes from Academy members in relevant branches, with a reminder list of eligible releases distributed prior to balloting. A notable dispute arose over the Best Original Dramatic Score nomination for The Godfather, composed by . The film initially received eleven nominations announced on February 12, 1973, including for its score. The Academy revoked the score nomination after determining that the prominent "Love Theme from The Godfather" was not original, as it reused and adapted thematic material Rota had previously composed for the 1958 Italian film Fortunella. This disqualification, occurring before the March 27 ceremony, reduced The Godfather's total to ten nominations, marking a rare post-announcement revocation to enforce originality standards. No further eligibility challenges were reported for other categories or films that year.

Awards Presented

Major Competitive Categories

Best Picture
The Godfather, produced by Albert S. Ruddy, received the Academy Award for Best Picture at the 45th ceremony. The film's victory capped a year of commercial and critical dominance, grossing over $135 million domestically against a $6 million budget. Nominees included Cabaret, Deliverance, The Emigrants, and Sounder.
Best Director
Bob Fosse won for directing , a musical adaptation of the stories set in . Fosse's innovative and staging were highlighted as key to the film's stylistic impact. Other nominees were for , for The Emigrants, for , and for Sleuth.
Best Actor
was awarded for his portrayal of in , marking his second after 1954's . declined the award, sending to protest Hollywood's treatment of , though this aspect is detailed in controversies. Nominees comprised and for Sleuth, for The Ruling Class, and for Sounder.
Best Actress
Liza Minnelli won Best Actress for her role as in , delivering a performance noted for its vulnerability and energy in a film that earned eight total Oscars. Nominees were for Lady Sings the Blues, for , for Sounder, and for The Emigrants.
Best Supporting Actor
received Best Supporting Actor for playing the in , a emphasizing the film's Weimar-era . The category featured an unusual three nominees from : , , and , alongside for .
Best Supporting Actress
won for her role as the overprotective mother in , a about a blind young man's independence. Nominees included for , for , for , and for .
Best Original Screenplay
Jeremy Larner won Best Original Screenplay for The Candidate, a starring as a idealistic Senate hopeful. The script drew from Larner's experience in 1968 Robert F. Kennedy's campaign, emphasizing themes of compromise in American politics.
Best Adapted Screenplay
and shared the Best Adapted Screenplay award for , adapting Puzo's novel while streamlining its narrative for cinematic focus. Dorothy Puzo accepted on behalf of her husband Mario, who did not attend. The win complemented the film's other major honors.

Special Achievement and Honorary Awards

The Academy presented several honorary and special achievement awards at the 45th ceremony on March 27, 1973. These included recognitions for lifetime contributions, humanitarian efforts, and technical innovation not covered by standard categories. An Honorary Award was given posthumously to "who achieved greatness as a player, a patron of and a devoted citizen in whatever walk of life he was engaged." Robinson, known for roles in films like Little Caesar (1931), had never received a competitive nomination despite a prolific career spanning over 100 films; he died on January 26, 1973, from , two months before the ceremony, with his wife Jane accepting on his behalf. Another Honorary Award went to Charles S. Boren "Leader for 38 years of the industry's enlightened and architect of its Industrial Welfare Department," honoring his role in stabilizing Hollywood's labor practices through the International Alliance of Theatrical Stage Employees. The Jean Hersholt Humanitarian Award was presented to for her charitable work, particularly in supporting causes like the and initiatives, reflecting her transition from acclaimed actress in films such as (1940) to amid health challenges. A Special Achievement Award for Visual Effects was awarded to (1972), directed by , recognizing the innovative model work, miniature sets, and optical effects by L. B. Abbott and A. D. Flowers that depicted the film's dramatic ship capsizing sequence, which contributed to its success exceeding $125 million worldwide. This category, used sporadically for exceptional technical feats, underscored the film's practical effects in an era before widespread .

Notable Films and Performances

Films with Multiple Nominations and Wins

Cabaret received ten nominations and won eight Academy Awards, the highest number of wins for any film at the 45th ceremony. These included Best Director for , Best Actress for , Best Supporting Actor for , Best Cinematography, Best Art Direction, Best Editing, Best Original Score, and Best Sound. The film's success established a record for the most Oscars won by a single motion picture without receiving Best Picture, a distinction it retains. ![Liza Minnelli Publicity 1973.jpg][float-right] The Godfather also garnered ten nominations following the revocation of its original score nomination due to plagiarism concerns with Nino Rota's composition, and it won three awards: Best Picture, for , and for and . The film uniquely received three nominations in the category for , , and , though none won. No other film achieved multiple wins at the ceremony.
FilmNominationsWins
108
103

Standout Individual Achievements

Marlon Brando's portrayal of in earned him the on March 27, 1973, marking his second win in the category after in 1955; Brando declined the honor, sending to represent his protest against the treatment of by the film industry and television. His performance, depicting the aging Sicilian-American mob boss navigating family loyalty and power transitions, was lauded for its depth, restraint, and transformative makeup that aged the character convincingly. Liza Minnelli received the for her role as in , directed by , where she embodied the vivacious yet vulnerable English cabaret performer in 1930s amid rising ; this marked Minnelli's first competitive Academy Award and highlighted her singing, dancing, and dramatic range in a film that secured eight Oscars overall. Her interpretation drew comparisons to her mother Judy Garland's iconic musical roles while establishing Minnelli as a versatile leading lady. Joel Grey won Best Supporting Actor for his flamboyant depiction of the androgynous in Cabaret, delivering sinister yet entertaining emcee routines that underscored the film's satirical edge on Weimar-era ; Grey's win made him the first actor to receive the award for a primarily musical since 1936. Bob Fosse claimed the Best Director award for Cabaret, praised for his choreography-infused staging, precise camera work, and integration of stylized with gritty , which distinguished the film from the stage musical and contributed to its sweep of technical categories. Charlie Chaplin, alongside composers Raymond Rasch and Larry Russell, posthumously won Best Original Dramatic Score for Limelight (1952), eligible for the first time after its 1972 New York rerelease met the Academy's seven-year rule extension; this recognition affirmed Chaplin's enduring compositional talent in scoring his own tragicomic tale of a faded performer.

Key Controversies

The Godfather Score Nomination Revocation

The score for , composed by , received an initial nomination in the Best Original Dramatic Score category at the 45th Academy Awards, held on March 27, 1973. This placed it among five nominees, reflecting the film's overall strong recognition with 11 total nominations announced in February 1973. The nomination was revoked by the 's music branch shortly before the ceremony after it was determined that the score did not meet eligibility criteria for originality. Specifically, the "" was identified as a reorchestrated version of a Rota had previously composed for the 1958 Italian film Fortunella, violating rules that required a "substantial body of music" created specifically and originally for the nominated picture. guidelines at the time emphasized that scores could not substantially reuse pre-existing material, a standard enforced to distinguish original work from adaptations or recycled compositions. Following the revocation, the category underwent a revote among Academy music branch members, resulting in John Addison's score for Sleuth replacing The Godfather on the final ballot. The ultimate winner was Charles Chaplin, Leslie Bricusse, and Don Black for the adaptation and original song score of Limelight, re-released in 1972 to meet eligibility after its original 1952 exclusion. This adjustment reduced The Godfather's nomination count to 10, though the film secured three wins, including Best Picture. Rota, a prolific composer who had scored over 100 films, expressed no public bitterness over the decision, later receiving an for his wholly original work on in 1975. The incident highlighted the Academy's rigorous pre-ceremony vetting for music categories, a practice that has since evolved with rule changes in 2020 permitting up to 40% non-original material if the score meets a 60% originality threshold overall.

Marlon Brando's Protest and Sacheen Littlefeather's Role

During the 45th Academy Awards ceremony on March 27, 1973, at the Dorothy Chandler Pavilion in Los Angeles, Marlon Brando was awarded the Best Actor Oscar for his role as Vito Corleone in The Godfather. Brando, who had boycotted the event, sent Apache activist Sacheen Littlefeather to represent him. As presenter Roger Moore offered the statuette, Littlefeather declined it, stating: "I'm representing Marlon Brando this evening, and he has asked me to tell you in a very long speech, which I cannot share with you presently, probably because it is too long. Mainly, Marlon Brando and the Native American people here tonight find it impossible to accept this very gracious award." She cited Hollywood's historical mistreatment of Native Americans in films and the ongoing federal siege at Wounded Knee, South Dakota, where American Indian Movement (AIM) activists had occupied the site since February 1973 in protest of government policies. Littlefeather's abbreviated remarks, delivered in under a minute, drew a mixed audience reaction, including applause from some attendees like and boos from others, such as , who was reportedly restrained by security from intervening. The full speech Brando intended, later published, elaborated on stereotypes of in —such as their portrayal as savages or sidekicks—and condemned the U.S. government's armed response at Wounded Knee, which had resulted in two deaths and numerous injuries by that point. Brando's protest aimed to highlight these issues amid broader 1970s , including AIM's efforts against cultural and treaty violations. , born Marie Louise Cruz in 1946, presented herself as a member of the White Mountain Apache and tribes during the event. However, following her death in October 2022, her sisters publicly disputed these claims, asserting that the family heritage was Mexican and European (including German and French ancestry) with no documented Native American lineage; they described her adoption of the persona in the early 1970s as ethnic fraud. Genealogical research and family records supported this, revealing no tribal enrollment or verified roots, though some defenders argued for fluid interpretations of identity. This revelation has prompted reevaluation of the protest's authenticity, with critics noting it amplified Brando's message through a fabricated representative, potentially undermining Native voices. In 2022, the Academy of Motion Picture Arts and Sciences issued a formal to Littlefeather for the she faced, including boos and subsequent industry , but this predated widespread of the dispute. Brando never collected the Oscar, which remains with the Academy, and the incident marked one of the first overt political statements at the Oscars, influencing future while sparking debate over the intersection of art, , and .

Cultural and Historical Context

The year 1972 marked a pivotal moment in American cinema, with , directed by and adapted from Mario Puzo's novel, emerging as the year's defining film upon its release on March 24; it earned $136 million domestically, setting a benchmark for commercial success while delivering complex character studies of power, loyalty, and moral ambiguity in . Other notable releases included , a that grossed approximately $93 million by capitalizing on suspenseful ensemble survival narratives amid rising audience interest in high-stakes action spectacles. , directed by , grossed over $46 million with its raw portrayal of urban-rural confrontation and primal violence during a canoe trip gone wrong, reflecting growing cinematic exploration of psychological terror and societal divides. , Bob Fosse's adaptation of the Broadway musical set in Weimar Germany, blended song-and-dance with historical decadence and earned $20 million, signaling a brief resurgence in sophisticated musicals amid broader genre experimentation. Industry trends in 1972 underscored the ongoing shift, where film school-trained directors like Coppola gained unprecedented autonomy from traditional studio oversight, enabling narratives that prioritized vision over formulaic plots. This era's characteristics included gritty realism, morally complex protagonists, and social critique—evident in 's dissection of immigrant ambition and corruption—which challenged the post-World War II studio system's emphasis on star vehicles and sanitized entertainment. The MPAA rating system, implemented in 1968, facilitated R-rated content with explicit violence and adult themes, as seen in 's unsparing depictions of assault and survival, broadening thematic scope beyond the defunct Hays Code's moral constraints. Box office data highlighted a hybrid model: artistic films like proved lucrative, grossing more than lightweight comedies such as What's Up, Doc? ($28 million), suggesting audiences rewarded depth alongside spectacle and foreshadowing the blockbuster era's blend of commerce and craft. Production increasingly relied on independent packages—directors securing talent and financing outside major studios—reducing and empowering filmmakers, though financial risks persisted amid television's competition for viewers. Genres diversified with crime epics, revisionist Westerns like Jeremiah Johnson (grossing $44 million through its stoic frontier survival tale), and emerging horror-thrillers, collectively eroding the dominance of musicals and Westerns from prior decades. These developments, driven by imperatives and creative liberation, positioned 1972 as a bridge between countercultural experimentation and sustainable industry profitability.

Long-Term Impact and Retrospective Views

Marlon Brando's refusal of the Oscar, conveyed by on March 27, 1973, spotlighted Hollywood's persistent negative stereotyping of , coinciding with the Wounded Knee occupation and prompting widespread media coverage of grievances. The gesture, intended to protest industry practices and federal treatment of Native communities, elicited immediate audience boos and security intervention to restrain from rushing the stage, underscoring deep divisions within the entertainment establishment. Littlefeather's appearance as the first Native American woman on the Oscars stage amplified visibility for these issues, yet it led to her effective from acting roles, curtailing her career for decades. Retrospectively, the protest is viewed as a pioneering act of celebrity activism that normalized political statements at awards shows, influencing subsequent interventions like those addressing civil rights and . The Academy's formal apology to Littlefeather in August 2022 recognized the abuse and exclusion she faced post-event, including professional ostracism and personal threats, framing it as a step toward institutional . However, analyses indicate limited tangible reforms in Native , with stereotypes persisting in despite heightened awareness; by 2023, the incident was hailed as "shocking" yet emblematic of unfulfilled promises for systemic change. The Godfather's three major wins, including Best Picture, reinforced its status as a transformative work, grossing over $246 million domestically (equivalent to billions adjusted for inflation) and redefining the gangster genre through innovative narrative structure and character depth. The film's enduring legacy includes cultural permeation via iconic lines and motifs, inspiring depictions in media while elevating director Francis Ford Coppola's standing, though the revocation of its musical score nomination for using pre-existing themes established stricter originality criteria for future submissions. In broader retrospect, the 45th ceremony exemplifies Hollywood's pivot toward auteur-driven epics amid New Wave influences, contrasting Cabaret's musical triumphs with raw social confrontations; modern critiques praise its artistic validations while questioning the efficacy of its , noting how protests often prioritize optics over outcomes in an industry prone to selective moral posturing. The event's dual facets—triumph and tumult—continue to inform discussions on the Oscars' role as both artistic arbiter and cultural battleground.

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