But does a Palme d’Or triumph resonate beyond the Palais? Does it have any marketing value in the declining age of the art house? In terms of esteem, would Quentin Tarantino turn in his 1994 Palme for “Pulp Fiction” for the 1995 Best Picture Oscar (which went to “Forrest Gump”)?Officially christened in 1955 (knocking the previous top prize, the Grand Prix, down to the runner-up award), the Palme d’Or is delightfully unpredictable given the frequently bizarre makeup of the competition jury; every year it’s a new group (past presidents run the gamut from David Cronenberg to Olivia de Havilland), and they don’t always agree. Sometimes their collective wisdom is cheered; some years, they err. But the winners are rarely mainstream efforts and, save for Billy Wilder’s “The Lost Weekend” and Delbert Mann’s “Marty,” have never gone on to win the Academy Award for Best Picture (few manage to earn even a single nomination).As a predictor of cultural trends, Cannes has long been more valuable than the Oscars. Just look at their respective top honorees from the 1960s: while the Academy was dishing out Best Picture trophies to “My Fair Lady,” “The Sound of Music” and “Oliver!,” Cannes’ juries were hailing… Read full this story
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