James Cagney in 1931's "The Public Enemy" and 1949's "White Heat." "Made it, Ma! Top of the world." Apparently Oscar didn't think so.

Ingrid Bergman took the gold for 1944's "Gaslight," but her "Notorious" turn two years later -- smart and sexy and curiously modern -- went unrecognized. Shame.

Joan Crawford matched the nominated Davis every kitschy step of the way in 1962's "What Ever Happened to Baby Jane?" Then again, who would you have wanted to eliminate from that year's formidable female lineup to make room for her: Anne Bancroft in "The Miracle Worker" (the winner), Katharine Hepburn in "Long Day's Journey Into Night," Geraldine Page in "Sweet Bird of Youth," Lee Remick in "Days of Wine and Roses" or Davis?

Moving forward

Angie Dickinson's raw portrayal of a sexually frustrated housewife almost lifted Brian De Palma's 1980 chiller "Dressed to Kill" to art. With limited screen time, she leaves a permanent mark.

Richard Gere in 1977's "Looking for Mr. Goodbar" and 1982's "An Officer and a Gentleman"; the edgy first film showed his promise, the latter fulfilled it.

In 1970's "Diary of a Mad Housewife," Richard Benjamin channels an emotionally abusive husband with stomach-churning preciseness. A bit over-the-top for some tastes, his glib scenes of wife-mockery are worthy of Oscar admission. (And while we're on the subject, in a just universe, costar and lead actress nominee Carrie Snodgress would have been called to the stage.)

For all of his serious roles, has Sean Penn ever been more memorable than as stoned surfer dude Jeff Spicoli in 1982's "Fast Times at Ridgemont High"? Twenty-three years later, the National Film Registry would add the comedy-drama to its roster.

Ray Liotta in 1986's "Something Wild." Something very good.

Susan Sarandon in 1988's "Bull Durham." Baseball has never been as sexy.

Michelle Pfeiffer in 1983's "Scarface" -- a star is born -- and 1993's "The Age of Innocence."

Further evidence comedy gets no (Oscar) respect: Steve Martin in 1987's "Roxanne" and Bill Murray in 1998's "Rushmore." Small consolation: Both got Golden Globe nominations.

Henry Thomas in 1982's "E.T., The Extra-Terrestrial." Sci-fi trappings aside, one of the best screen renderings of the lonely yearnings of a child of divorce.

More recent slights

"Marky" Mark Wahlberg can act! Just revisit 1997's "Boogie Nights." Burt Reynolds and Julianne Moore rightfully received Oscar nods, but costars Wahlberg and Philip Seymour Hoffman were equally deserving.

Nicole Kidman in 1995's "To Die For." Who knew?

As weird neighbor Ricky Fitts, who may actually be the only sane one on the block, Wes Bentley nailed it in 1999's "American Beauty." Now where's the follow-up?

Rupert Everett in 1997's "My Best Friend's Wedding." Steals Julia's show.

Reese Witherspoon's class president wannabe Tracy Flick in 1999's "Election"--hands-down, one of the fiercest film creations of the last decade.

A best actor winner for 2000's "Gladiator," Russell Crowe was never better than as maverick cop Bud White three years earlier in the noirish "L.A. Confidential."

Could Thomas Haden Church and Virginia Madsen have delivered their nominated performances without Paul Giamatti's foil in 2004's "Sideways"? Doubtful.

Finally, in a large standout cast, Sean Astin was the first among equals as the heart-and-soul Samwise in 2003's "The Lord of the Rings: The Return of the King." Where was the Oscar love?

jim.brooks@latimes.com