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16 Of The Most Beautiful Movies From The Last 50 Years

These Academy Award winners for Best Production Design may not all be perfect movies, but they're sure nice to look at. From oldest to newest!

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What it beat for Best Production Design:

The Cardinal, Come Blow You Horn, How the West Was Won, Tom Jones

Art directors:

John DeCuir, Jack Martin Smith, Hilyard Brown, Herman Blumenthal, Elven Webb, Maurice Pelling, Boris Juraga

Set decorators:

Walter M. Scott, Paul S. Fox, Ray Moyer

Fun fact: Elizabeth Taylor's 65 gorgeous costumes won her a Guinness World Record title for "Most costume changes in a film."

What it beat for Best Production Design: Becket, Mary Poppins, The Unsinkable Molly Brown, What a Way to Go!

Art directors: Gene Allen, Cecil Beaton

Set decorator: George James Hopkins

Fun fact: The production designers weren't given a budget; they were able to design without worrying about cost. At $17 million, My Fair Lady was the most costly picture ever made by Warner Bros. up to that time.

What it beat for Best Production Design: Anne of the Thousand Days; Gaily, Gaily; Sweet Charity; They Shoot Horses, Don't They?

Art directors: John Decuir, Jack Martin Smith, Herman Blumenthal

Set decorators: Walter M. Scott, George Hopkins, Raphael Bretton

Fun fact: Rather than shooting entirely on sound stages, 65% of the film was shot outdoors and only one day was lost to inclement weather.

What it beat for Best Production Design: Lady Sings the Blues, The Poseidon Adventure, Travels with My Aunt, Young Winston

Art director: Rolf Zehetbauer, Jurgen Kiebach

Set decorator: Herbert Strabel

Fun fact: There is a shot early in the film of a woman sitting at the Kit Kat Club that was designed as a nod to the painting "Portrait of Journalist, Sylvia Von Harden" by Otto Dix.

What it beat for Best Production Design: The Hindenburg, The Man Who Would Be King, Shampoo, The Sunshine Boys

Art directors: Ken Adam, Roy Walker

Set decorator: Vernon Dixon

Fun fact: Director Stanley Kubrick hoped to evoke the look of 18th-century paintings, specifically the works of Antoine Watteau and Thomas Gainsborough.

What it beat for Best Production Design: Airport '77, Close Encounters of the Third Kind, The Spy Who Loved Me, The Turning Point

Art directors: John Barry, Norman Reynolds, Leslie Dilley

Set decorator: Roger Christian

Fun fact: George Lucas and crew would "dirty up" props and sets in order to give the film a lived-in look.

What it beat for Best Production Design: The French Lieutenant's Woman, Heaven's Gate, Ragtime, Reds

Art directors: Norman Reynolds, Leslie Dilley

Set decorators: Michael D. Ford

Fun fact: The classic dip at the front of Indy's fedora was specially created to help hide the faces of Harrison Ford's stunt doubles.

What it beat for Best Production Design: The Cotton Club, The Natural, A Passage to India, 2010

Art directors: Patrizia von Brandenstein

Set decorator: Karel Cerný

Fun fact: The sets and costumes for Mozart's operas in the film were based on sketches and designs from their original stage productions.

What it beat for Best Production Design: The Abyss, The Adventures of Baron Munchausen, Driving Miss Daisy, Glory

Art director: Anton Furst

Set decorator: Peter Young

Fun fact: Furst and the art department sought to create a chaotic look for Gotham City with clashing architectural styles. They took inspiration from Terry Gilliam's film Brazil, which had lost for Best Production Design to Out of Africa in 1985.

What it beat for Best Production Design: Addams Family Values, The Age of Innocence, Orlando, The Remains of the Day

Art director: Allan Starski

Set decorator: Ewa Braun

Fun fact: Spielberg on his decision to shoot the film in black and white:

"The Holocaust was life without light. For me the symbol of life is color. That's why a film about the Holocaust has to be in black and white."

What it beat for Best Production Design: Gattaca, Kundun, L.A. Confidential, Men in Black

Art director: Peter Lamont

Set decorators: Michael D. Ford

Fun fact: The interior rooms were meticulously reproduced based on photographs, as was most of the furniture, carpets, and even the cutlery.

What it beat for Best Production Design: Elizabeth, Pleasantville, Saving Private Ryan, What Dreams May Come

Art director: Martin Childs

Set decorator: Jill Quertier

Fun fact: The full-size replica set of the Rose Theatre created for the film was later given as a gift to Dame Judi Dench. She donated the set to the touring British Shakespeare Company in 2009.

What it beat for Best Production Design: Amélie, Gosford Park, Harry Potter and the Sorcerer's Stone, The Lord of the Rings: The Fellowship of the Ring

Art directors: Catherine Martin

Set decorator: Brigitte Broch

Fun fact: Director Baz Luhrmann, and wife Catherine Martin, have often said the style of the film was meant to express the same thrill for modern audiences that crowds experienced at the Moulin Rouge in 1899.

What it beat for Best Production Design: Girl with a Pearl Earring, The Last Samurai, Master and Commander: The Far Side of the World, Seabiscuit

Art directors: Grant Major

Set decorators: Dan Hennah, Alan Lee

Fun fact: In keeping with J.R.R. Tolkien's respect for nature, the art department made molds from real trees and rocks found on location.

What it beat for Best Production Design: American Gangster, Atonement, The Golden Compass, There Will Be Blood

Art directors: Dante Ferretti

Set decorators: Francesca Lo Schiavo

Fun fact: Tim Burton insisted on the film being bloody rather than stage versions that had downplayed the gore. There was so much fake blood used in production that crew members wore garbage bags to protect their clothes on set.

What it beat for Best Production Design: Harry Potter and the Deathly Hallows – Part 1, Inception, The King's Speech, True Grit

Art directors: Robert Stromberg

Set decorators: Karen O'Hara

Fun fact: Owing to 90% of the film being shot on green screen, Tim Burton had lavender lenses fitted into his glasses to counteract the effects of nausea from the long hours on set.

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