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We all make mistakes. From leisure suits in the ‘70s, to “hypercolor” clothing in the ‘80s, to rat tail haircuts anytime, we Americans are notorious for making choices that seemed like good ideas at the time. Despite our less-than-stellar judgment, we tend to demand more of our finest institutions. In particular, we expect our most prestigious award-givers to choose the right winners. Is that too much to ask? Take the Academy Awards (please!). Today, we thought it might be fun to go back through history and point out the most obvious mistakes in the history of the Oscars. Focusing on past recipients of the three major awards (Best Picture, Actor and Actress), we’ll identify the times when Oscar really fell down on the job. And, sad to say, it’s happened more than once.

Over the years, some film directors have had their own so-called stock companies. We’re not talking Wall Street stocks, folks, but rather groups of actors they felt so comfortable working with that they cast them in their projects time and again. The great John Ford’s stable of thespians was perhaps the biggest and most prolific in Hollywood history. In fact, some of its members appeared in the iconic director’s films over twenty times; bit player Jack Pennick worked with the filmmaker a whopping 41 times, although several of his roles were uncredited. Of course, starting in the forties, John Wayne was Ford’s favorite star. “The Duke,” who also had an abiding off-screen friendship with “Pappy” Ford, could be seen in 24 Ford enterprises, all starring roles in some of Ford’s most iconic work (you can see some of these movie titles at the end of this article).

Please don’t let a super-sized screen, nor that Best Picture Oscar (over “Pulp Fiction,” for crying out loud!), nor that $600 million-plus box office take convince you that “Gump" is anything but a treacly mediocrity. While it has moments of sweetness and charm, it is absurdly overrated.

Going crazy in real life is about as glamorous as sleeping in a bowling alley, but going crazy on-screen? Plan your Oscar outfit early. There is scenery to be chewed, fits to be pitched on an epic scale, fantasies to spin, and a kind of canny brilliance to the crazy character’s lunacy.       Maybe we are drawn to movie crazies as a kind of proxy nervous breakdown, the one we’d like to have, if only we could spare the time. In the more extreme cases, such as director Alfred Hitchcock’s criminally insane killers in “Psycho” (1960) and “Frenzy” (1972), we are watching a bomb blast from a safe distance, marveling at the potential for distortion within the human mind. And then there are characters that are driven crazy, like Ophelia (Jean Simmons) in “Hamlet” (1948), or Jasmine (Cate Blanchett), the shattered widow of an unscrupulous New York financier, in “Blue Jasmine” (2013).

Lana Turner, born in Idaho as Julia Jean Mildred Frances Turner (couldn't they make up their minds?), was discovered by an industry insider while enjoying a soda at a Hollywood café. She was only 16, but still, there was something about her. No kidding. Audiences got their first glimpse of Turner in the 1937 thriller "They Won't Forget." Wearing a form-fitting skirt and sweater, her role was brief but memorable, and before long, she became known as "The Sweater Girl." Predictably, a nickname like that aroused attention, particularly among the male population. Apart from her many films, Turner's tumultuous personal life (seven husbands, eight marriages) ensured she was always in the public eye. She once aptly referred to her own journey as "a series of emergencies."