Archive | The Great Big Academy Awards Project RSS for this section

the great big academy awards project: BEST LEAD ACTRESS in the 1960s


It’s been healthy time apart once again for the Great Big Academy Awards project and me. But I’m back with a vengeance. The 1960s in Best Actress have arrived. And I’ve come, seen and conquered in the meantime. So what did this decade have to offer a dedicated viewer? Foreign nominees were super-evident, particularly of the Italian and French persuasion. For every tour-de-force They Shoot Horses there was a Morgan! to really keep you on your toes. If you’re looking for a decade to jerk you around in terms of quality and consistency, you’ve met your match. Let’s talk Best Actress in the ’60s.



The Winner: Elizabeth Taylor (BUtterfield 8)

State of the Category: It’s become something of a tradition in the turn of the decade year for it to be a healthy mix of ladies you’re used to seeing in the decade prior mixed in with the bright new stars. This year is no exception. Kicking things off, Greer Garson does her best mimicry as the beloved First Lady Eleanor Roosevelt in Sunrise at Campobello. And while she far outshines her co-stars by and large, she’s subjected to acting through some pretty substantial flippers that severely hindered her ability to bring gravitas to her line readings. Next up is Deborah Kerr, who I admittedly was skeptical of in this hard-worn Australian farmer role she picked up in The Sundowners, having become accustomed to her often prim and proper performances earlier in her filmography. I was pleasantly surprised that she pulled off the accent work and the scrappy character quite well, despite the overlong feel of the well-intentioned epic. It’s hard to deny the iconic nature of Shirley MacLaine in The Apartment, and viewing the performance for the first time did not disappoint. In a star-making and heartbreaking turn she devastates the ample men around her to totally steal the show. While what Melina Mercouri is doing in Never on Sunday is occasionally amusing, the overall ick factor that comes with the “happy hooker” trope is especially heightened as her gleeful prostitute character is swept up and “rescued” by a john that becomes the marrying kind. She has charisma for days, but the performance is rather one-note. Finally, Elizabeth Taylor landed her first Oscar as (can’t have just one) a call girl—though this one is a bit more tragic. That tragedy is played to the rafters, though, and the overwrought melodrama in her Gloria Wandrous (doesn’t that name just reek of schmaltz?) is hard to stomach, though the writing is no help to her, as her character waffles wildly from desperate lamb to hardened broad too easily.

Report Card

Greer Garson (Sunrise at Campobello) – B-

Deborah Kerr (The Sundowners) – B+

Shirley MacLaine (The Apartment) – A

Melina Mercouri (Never on Sunday) – C+

Elizabeth Taylor (BUtterfield 8) – D

My Choice: Shirley MacLaine


The Winner: Sophia Loren (Two Women)

State of the Category: A lineup doesn’t get much more genre-diverse than this. A bright romantic comedy with dark undertones, a gritty but quiet indie, an Italian tragedy, a Southern-fried morality tale and a doomed romance. Let’s start with the one everyone still talks about. Audrey Hepburn lands arguably her most iconic role in Holly Golightly in Breakfast at Tiffany’s. Looking past the troubling casting choices (*cough* Mickey Rooney), Hepburn is simply perfection as the wannabe socialite with a past who longs for something more. She’s heartbreaking when she needs to be and enviable when she needs to be. Impeccable. Piper Laurie brings an energy not often seen in a “supportive girlfriend” role. In The Hustler she has her own mind and her own end game—she’s there to reflect our male protagonist’s goals, but she’s also superior to him in enough ways to make it a relatively captivating two-hander. Sophia Loren throws herself into Two Women, and she’s quite effective as the devastated single mother dealing with the ravages of assault. But, no thanks to the script, the performance becomes one-note very quickly, and it’s hard to imagine how this was the role that pulled off the Oscar win, outside of forcing the most tears from the audience. Geraldine Page unfortunately continues to be a bit lost on me. Her pent-up minister’s daughter in Summer and Smoke comes off as sort of comically loopy at times when we’re meant to identify with her plight. It’s a classic spinster role in that she’s simply there to make the other characters feel better about their lives. Finally, Splendor in the Grass proved to have a lot of merits. Warren Beatty is incredibly watchable in his leading performance. And Barbara Loden is killer in her supporting performance. But despite a fascinating script and stellar direction, Natalie Wood is the weak link. Once her Deanie starts to descend into something resembling madness, histrionics take over completely and it’s an inscrutable sight.

Report Card

Audrey Hepburn (Breakfast at Tiffany’s) – A

Piper Laurie (The Hustler) – B+

Sophia Loren (Two Women) – B

Geraldine Page (Summer and Smoke) – C-

Natalie Wood (Splendor in the Grass) – C+

My Choice: Audrey Hepburn



The Winner: Anne Bancroft (The Miracle Worker)

State of the Category: There’s a lot to work with in 1962—a delicate balance between heavy-handed drama and loopy quasi-comedy. Kicking things off, winner Anne Bancroft is delivering typically strong work in The Miracle Worker. While to modern eyes the movie as a whole reads as a cable TV movie, Bancroft is the clear victor among the performances, offering the only nuance and emotional heft somewhere in the middle of the ACTING!-to-acting. spectrum. (Speaking of ACTING!) Bette Davis is undeniably watchable in the newly of-interest What Ever Happened to Baby Jane? Sure, the ham factor is on 11, but Davis knows exactly what movie she’s in, completely does away with vanity and goes whole hog on her demented, house-ridden has-been. Katharine Hepburn is unsurprisingly towering as the lead in Long Day’s Journey into Night. But as is the plight of many play-to-screen adaptations, the duration felt stagnant and wildly overlong without enough payoff. Hepburn’s powerful matriarch can only sustain so long before it loses its magic by hour three. We’ve finally arrived at the Geraldine Page I’ve most appreciated. Her kooky fading movie star plays well against Paul Newman’s hunky drifter, and she legitimately holds her own in the interplay without sacrificing her Norma Desmond-lite presence with her co-stars. Finally, Lee Remick’s nod for Days of Wine and Roses might have been swept up in the excitement over the honesty the film had about alcoholism. And while the message was perhaps admirable, it’s very evident that it was an adaptation of a popular TV movie. Jack Lemmon carries most of the weight of the melodrama, and Remick misses most opportunities to truly shine, outside of the well-played ending.

Report Card

Anne Bancroft (The Miracle Worker) – B+

Bette Davis (What Ever Happened to Baby Jane?) – B+

Katharine Hepburn (Long Day’s Journey into Night) – B-

Geraldine Page (Sweet Bird of Youth) – B+

Lee Remick (Days of Wine and Roses) – B-

My Choice: Bette Davis



The Winner: Patricia Neal (Hud)

State of the Category: The 1960s continued to offer some tonally diverse nominees through to 1963. While getting to see the range of Leslie Caron beyond simply her airy Gigi has been a treat, The L-Shaped Room didn’t quite offer enough to stick to. Her performance as an emotional, single-and-pregnant tenant is root-worthy to be sure, but the emotional depth could have gone a lot further, particularly in the later, tough-decision-making scenes. Shirley MacLaine is the typical delight she always is in Irma la Douce, but the troubled plot (hello again, happy hooker) and oddly comical tone about some bleak themes made it a tougher (and a little overlong) watch than I expected. Patricia Neal is radiant as housekeeper Alma in the quiet but effective Hud. Though she’s borderline supporting in terms of screen time, she’s riddled with character and performance details that were clearly her doing—it made me wonder what wonders she would work in a Cassavetes picture. Next up is Rachel Roberts, whose supportive girlfriend in This Sporting Life at least had perhaps more depth than the typical “wife on the phone” relegations of these sorts of dramas. But she doesn’t have nearly the meat to work with that Richard Harris does, who knocks it out of the park with a vanity-free performance. Finally, Natalie Wood delivers an uneven romantic drama lead in Love with the Proper Stranger—I unfortunately am starting to suspect I enjoy Wood more as a “movie star” than as an “actress,” as her heavier loads tend to thud for me. I have a tough time buying her as the street-wise city girl.

Report Card

Leslie Caron (The L-Shaped Room) – B

Shirley MacLaine (Irma la Douce) – B-

Patricia Neal (Hud) – A-

Rachel Roberts (This Sporting Life) – B

Natalie Wood (Love with the Proper Stranger) – C-

My Choice: Patricia Neal



The Winner: Julie Andrews (Mary Poppins)

State of the Category: Mid-way through the decade we’re finally starting to get to some truly stupendous competition to compare against. For starters, the iconic performance of Julie Andrews in Mary Poppins still totally holds up. It’s light and fluffy, but it’s also mesmerizing musical perfection. Her Mary is lovely and wholly believable despite her magical roots. Anne Bancroft continues to prove that she may be the dramatic heavy-lifter of the ’60s Best Actress nominees (see Jessica Lange in the 80s or Susan Sarandon in the 90s), but she might be even worthier. While The Pumpkin Eater doesn’t always fire on all cylinders, Bancroft brings the right neuroses to the mix for her unlucky-in-love protagonist. She delivers fantastic chemistry with her co-lead Peter Finch and makes a dreary subject—the dissolution of a marriage—watchable. Remember how all cinematic hookers need in order to feel fulfilled in life is for a john to propose? Well, it’s played for laughs once again in Marriage Italian Style, and it is unsurprisingly unsuccessful. Loren has charm to the hilt as the vivacious Filumena, but the troublesome narrative holds her back. Though it’s fantastic that the effervescent Debbie Reynolds got her sole acting nod with Oscar, it’s unfortunate it wasn’t for her number of other, more-worthy performances. Unsinkable Molly Brown is a by-the-numbers bio-musical—and while Reynolds is very watchable in this genre, she’s totally lost the central subject’s character motivations (and let’s not even touch the accent). When she’s singing and dancing, she has great moments. But the performance felt like a miss. Finally, we have Kim Stanley, playing a swindling and highly unlikable “psychic” wrapped up in a criminal scam in Seance on a Wet Afternoon. The movie is stellar and feels like it belongs in a later decade, thanks to its palpable tension, highly watchable but unlikable characters and layered central performances from Stanley and Richard Attenborough. She’s devilishly committed to the nasty part, and it’s a pleasure to watch.

Report Card

Julie Andrews (Mary Poppins) – A

Anne Bancroft (The Pumpkin Eater) – B+

Sophia Loren (Marriage Italian Style) – C

Debbie Reynolds (Unsinkable Molly Brown) – C-

Kim Stanley (Seance on a Wet Afternoon) – A

My Choice: Kim Stanley



The Winner: Julie Christie (Darling)

State of the Category: Talk about a lineup with varied levels of genre-friendliness and long-term career. Let’s kick things off with Julie Andrews’ astronomical follow-up to Poppins, Maria von Trapp in The Sound of Music. She’s splendidly plucky, but vulnerable at the most opportune moments. Her vocals are unmatched, and she delivers chemistry with every actor (and every setpiece). This one’s iconic for a reason. Julie Christie is attractive and self-assured in Darling, but her smug character grows tiresome very fast. I was left wondering what made the somewhat one-note performance (and the movie as a whole for that matter) so magnetic to gain so much Oscar traction. Samantha Eggar is serviceable as the subject of a creep’s obsession in The Collector (that rare horror/thriller nomination), but the victim role is solidly victim and we don’t get enough redemptive or triumphant moments for the character to care enough about her fate. Elizabeth Hartman brings effective innocence and likability to her role as a blind woman dealt an unenviable home life in A Patch of Blue. While it’s not a tour de force by any means, she’s able to pull some unexpected notes out of a melodramatic premise. Finally, Simone Signoret is placed up against a cavalcade of notable stars in the ensemble drama Ship of Fools. But she rightfully came out the Oscar nomination victor, bringing unapologetic realism to her drug-addled countess. She easily gains “Best in Show” honors, which is saying something when Vivien Leigh is in your cast..

Report Card

Julie Andrews (The Sound of Music) – A

Julie Christie (Darling) – C+

Samantha Eggar (The Collector) – C-

Elizabeth Hartman (A Patch of Blue) – B+

Simone Signoret (Ship of Fools) – A-

My Choice: Julie Andrews



The Winner: Elizabeth Taylor (Who’s Afraid of Virginia Woolf?)

State of the Category: Unlike some previously covered decades, the 60s are proving that the imports, particularly from the UK, aren’t always the strongest choices. And this year in particular was laced with an 80% European influence to varied returns. Starting off, Anouk Aimee brings a high degree of charm and loveliness to A Man and a Woman, which admittedly has a lot of positives in its direction and editing. But she’s not quite special or memorable enough in the scheme of the movie to quite catch my fancy. Ida Kaminska is decidedly restricted in her performance as a language-barriered Jewish storeowner in The Shop on Main Street, but it’s not to her detriment. She’s completely soaked into the role to a level where I forgot it was an actress playing a part, despite the limitations of the character on paper. Lynn Redgrave nabs a fantastic showcase role in Georgy Girl as the lovable but unlucky-in-love title character. And although some of her later scene work with Alan Bates is a little pat for my taste, the first two-thirds of the film she’s delightfully refreshing when compared against many of the decade’s expected performances. Her sister fares far worse in Morgan! A Suitable Case for Treatment. Despite the film’s bizarrely convoluted premise, the fact of the matter is that Vanessa Redgrave is wasted in a throwaway part with confusing motivations. If you’re to take anything positive from the movie, it’s almost certainly the loony title performance from David Warner. Finally, you have the undeniably iconic Martha in Who’s Afraid of Virginia Woolf?, expertly played by Elizabeth Taylor in an against-type showcase. She’s loud, at times detestable and a deliciously complex central figure to an impeccably written film.

Report Card

Anouk Aimee (A Man and a Woman) – B

Ida Kaminska (The Shop on Main Street) – B+

Lynn Redgrave (Georgy Girl) – B+

Vanessa Redgrave (Morgan! A Suitable Case for Treatment) – D+

Elizabeth Taylor (Who’s Afraid of Virginia Woolf?) – A

My Choice: Elizabeth Taylor



The Winner: Katharine Hepburn (Guess Who’s Coming to Dinner?)

State of the Category: If you were looking for a lineup representative of some of the most memorable films of the 1960s, here you have it. Anne Bancroft kicks things off with the undeniably captivating Mrs. Robinson in The Graduate. Her believability as a desirable “older woman” (despite her relative youth) with much more behind the “bored housewife” facade should be taught. Comical, challenging and delightful. Faye Dunaway is villainous, sexy and worthy of antihero status in Bonnie & Clyde. She manages to go toe-to-toe with an uber-charming Warren Beatty and come out the victor. Her Bonnie is complicated without forgetting that she’s still incredibly young and naive at heart. Edith Evans provides a tough watch in The Whisperers. Her troubled, eccentric central character is upsettingly lived-in and difficult, and the series of events depicted provide her an apt platform for showcasing her well-practiced talents. While Wait Until Dark doesn’t have the emotional or escapist heft of some of Hepburn’s other outings, Audrey gets to play around in a surprisingly unnerving (the tension holds up) thriller, playing a blind woman being (it would seem) duped by a gaggle of thieves. The true star, though, is the pacing. Finally, Katharine Hepburn is borderline best in show in the unfortunately severely dated Guess Who’s Coming to Dinner?, but the schmaltzy direction gives her very little to work with. And the oodles of chemistry with Spencer Tracy evident in Adam’s Rib is almost nonexistent.

Report Card

Anne Bancroft (The Graduate) – A

Faye Dunaway (Bonnie & Clyde) – A-

Edith Evans (The Whisperers) – A-

Audrey Hepburn (Wait Until Dark) – B

Katharine Hepburn (Guess Who’s Coming to Dinner?) – B-

My Choice: Anne Bancroft



The Winner: Katharine Hepburn (The Lion in Winter) / Barbra Streisand (Funny Girl)

State of the Category: It’s the tie that continues to be a top-notch piece of Oscar trivia. But forced to pick just one of them, where will I fall? Let’s dive in. Katharine Hepburn owns the screen by sheer brute force in The Lion in Winter. Her Eleanor of Aquitane is dripping with ham to the rafters and I loved every second of it. She’s showy and aggressive and an absolute treasure to watch. Patricia Neal’s subdued and lived-in performance style didn’t work quite as well this time around. Her doting mother in The Subject Was Roses doesn’t have the character development of Hud‘s Alma and thus gets a little lost in the male-centric drama at the center. While Isadora is a stronger performance for Vanessa Redgrave than perhaps some of her other notices (i.e., Morgan! or The Bostonians) it’s still decidedly uneven and perhaps just not my cup of tea. Her depiction of the famed dancer is at times bizarre, but at least some of the character choices seem sensible for the subject of the film. Barbra Streisand is a force in Funny Girl, owning every frame with incredible comic timing, killer pipes and impossibly relatable characterization. Fanny Brice is somehow both an everywoman and a #lifegoals all at once. Rachel, Rachel finally gives Joanne Woodward something hefty to work with. Her unstable but quiet performance against an unnervingly subdued backdrop makes the film immersive—and though Estelle Parsons (god love her) wrenches you out of that feeling with her loud best friend character, it doesn’t wholly detract from Woodward.

Report Card

Katharine Hepburn (The Lion in Winter) – A

Patricia Neal (The Subject Was Roses) – B-

Vanessa Redgrave (Isadora) – C+

Barbra Streisand (Funny Girl) – A

Joanne Woodward (Rachel, Rachel) – B+

My Choice: Barbra Streisand



The Winner: Maggie Smith (The Prime of Miss Jean Brodie)

State of the Category: The decade is wrapping up in classic fashion. Mixing the nominees between old-fashioned-feeling choices and very next-decade-feeling choices. Starting off is the former—Genevieve Bujold is the title character in Anne of the Thousand Days. It’s a fairly expected storyline that doesn’t take a lot of risks, which is a detriment to the performance. Bujold is believable as the doomed Anne Boleyn, but there isn’t a lot of range on display for such a complicated character. Jane Fonda is difficult and hardened in They Shoot Horses, Don’t They? and the film is the better for it. Her cynical depression-era dance marathon contestant is varied and unabashedly dark in the midst of a faux-bright setting. Liza Minnelli is unfortunately insufferable in The Sterile Cuckoo. Her clingy central character is played for laughs and “awws” but she’s too pesky to be quaint. The brilliant combination of swagger and lack of confidence in Cabaret is not matched here. (And dear god that song—was the track just on repeat?) Jean Simmons’ nod for The Happy Ending is perplexing. The film is a bit vapid despite its noblest of efforts in depicting a housewife breaking free of her home-making shackles. Simmons isn’t passionate enough in the role to inspire the same in the audience—a necessity for the film to have been successful. Finally, Maggie Smith’s role of a lifetime in The Prime of Miss Jean Brodie never disappoints on repeat views. She’s poised and enviable but also conflicting and conflicted. Jean is the apple of the viewer’s eye while still eliciting a lack of envy by film’s end.

Report Card

Genevieve Bujold (Anne of the Thousand Days) – B-

Jane Fonda (They Shoot Horses, Don’t They?) – A

Liza Minnelli (The Sterile Cuckoo) – D+

Jean Simmons (The Happy Ending) – D+

Maggie Smith (The Prime of Miss Jean Brodie) – A

My Choice: Maggie Smith

Decade Honors/Dishonors

Best Performance: Elizabeth Taylor (Who’s Afraid of Virginia Woolf?)

Best Nominated Film: Who’s Afraid of Virginia Woolf?

Worst Performance/Film: Elizabeth Taylor (BUtterfield 8)

Closest Race: (no surprise) 1968

Best Year: 1967

Worst Year: 1963

But what about you? What are your thoughts on the ladies of the 1960s?

the great big academy awards project: BEST LEAD ACTRESS in the 1970s


Hey, remember me? Yes, I’ve been gone a good long while but I’m still here devouring as many Oscar-nominated performances as I can. And at long last I’ve completed the much-anticipated (at least in my own head) Best Lead Actress of the 1970s breakdown. I’ve watched all 50 of the nominated performances and am prepared to grade them and award my own personal victors. I’ve learned a lot this decade – that romantic comedies were a staple in this category (and at times an exhausting one), that it turns out I’m a fan of Glenda Jackson’s and that the jury is still out on whether I can get on board with Ingmar Bergman or not. (Fear not, Bergmaniacs… this is just my first exposure of probably many more to come.) But enough introduction (I’m merely grandstanding because of the infrequency of these posts, really) – let’s dive in, shall we?



The Winner: Glenda Jackson (Women in Love)

State of the Category: Kicking off the decade with some uncharacteristic (considering the tendencies of these 10 years) choices, we’ve got one of the weaker lineups. After being a major Testament apologist thanks to a stellar central performance from Jane Alexander in 1983’s lineup, I was disappointed to find I couldn’t truly get on board with her turn in The Great White Hope. Playing the part of the scandal-prone Caucasian girlfriend to James Earl Jones’ African-American boxer, the role was underwritten enough that character motivation was a bit foggy. She was mostly relegated to sobbing in the background in what was a showcase for Jones. Glenda Jackson’s first nod of the decade in Women in Love, however was devilish and delightful – one half of a pair of sisters pursuing two local gentlemen, it seemed on its face a standard, basic setup. But the quartet of actors are phenomenal, and Jackson has the notable feat of being best in show – she’s charming and witty and I could listen to her accent for days. Next up is the classic tearjerker Love Story – Ali McGraw’s portrayal of a plucky college student dealing with the ins and outs of love and loss is amiable at times, but clunky dialogue and tonal shifts can’t be rescued by a lovely score. Speaking of tonal shifts… Ryan’s Daughter was a bit lengthy for its thin plot. Thankfully Sarah Miles’ portrayal transcended a bit of the overwrought filmmaking. Her portrayal of a small-town Irish woman dealing with the backlash of neighborly gossip is at times lovely and lamentable but always watchable, unlike those of her co-stars. And finally, truly the most aggravating film of the 49 recognized this decade, Diary of a Mad Housewife was excruciating from start to finish. Carrie Snodgress, playing an eternally belittled and tormented “wifey” type, does what she can with the miserable material, but her arc is nonexistent and she plays it too aloof to truly feel very much for her plight, despite the masculine posturing from her co-stars being shockingly disgusting.

Report Card
Jane Alexander (The Great White Hope) – B
Glenda Jackson (Women in Love) – A
Ali McGraw (Love Story) – B-
Sarah Miles (Ryan’s Daughter) – B+
Carrie Snodgress (Diary of a Mad Housewife) – C

My Choice: Glenda Jackson


1971BestActressThe Winner: Jane Fonda (Klute)

 State of the Category: Graced with a virtual who’s who of the 1970s in terms of actressing, I had high hopes for this year’s lineup that only partially delivered. Julie Christie’s daring portrayal of an opium-addicted old-west madam in McCabe and Mrs. Miller is highly watchable (big surprise there) and totally holds her own against co-star Warren Beatty. She portrays her outward confidence and internal vulnerability stunningly and with subtlety. My recollection of my first viewing of Klute was not a positive one, so I assumed that feeling would stick on review. And although it wasn’t a total redemption moment for Jane Fonda’s performance as a call girl caught up in a dangerous criminal investigation, her hard-edged terseness and manipulative sexuality played better in reality than in memory. Taking on the role of a woman involved in a love triangle with a young bisexual man and his gay doctor boyfriend, Glenda Jackson’s performance in Sunday Bloody Sunday has a great deal of depth – she expertly plays her character as secure enough to deal with her lover’s extracurriculars all while her growing fondness for him makes her question her own needs and desires. Speaking of a great Glenda Jackson performance, Mary Queen of Scots delivers a commanding, icy turn as Queen Elizabeth… too bad Vanessa Redgrave was nominated for the film instead. For really expecting to connect with Vanessa Redgrave throughout this undertaking, I’ve found myself primarily disappointed in the performances nominated for Best Actress. Her Queen Mary is disjointed in her selective boldness – she’s written and played sympathetically and as our heroine, yet you have no desire to root for her. That seems like a problem. Finally we sneak in one more historical drama – in Nicholas and Alexandra Janet Suzman takes on the role of the Russian empress and mother of Princess Anastasia. Though the lengthy film drags a bit in the middle, Suzman is easily the standout. And bringing an interesting dynamic to her relationship with Rasputin, Suzman is sometimes great, but mostly good in a stoic if unique performance.

Report Card
Julie Christie (McCabe & Mrs. Miller) – B+
Jane Fonda (Klute) – B
Glenda Jackson (Sunday Bloody Sunday) – A-
Vanessa Redgrave (Mary Queen of Scots) – C+
Janet Suzman (Nicholas & Alexandra) – B

My Choice: Glenda Jackson



The Winner: Liza Minnelli (Cabaret)

State of the Category: All right, now things are starting to get good. Let’s kick things off with Oscar’s choice. In Cabaret, Liza Minnelli is charming, winning, heartbreaking and, well, that voice. All in all, she manages to brings us one of the all-time great musical performances. And she doesn’t rest on the pipes, either. Her deeply felt spoken scenes clue us in to Sally’s less-than-sunny times with sneaky effectiveness. This one legitimately lives up the hype. Next up is Diana Ross playing Billie Holiday in Lady Sings the Blues. And I’ve got to say – I wasn’t expecting this from her. Ross is darkly sexy in her singing scenes and doesn’t fall too hard into histrionics for the standard singer-biopic “mental breakdown” scenes. The film gets a bit indulgent with the extra padding on subplots, but the central performance stays impressive almost throughout. Maggie Smith is great at comedy – we’ve all come to realize that even more so in her career resurgence. In Travels with My Aunt she’s charming and witty in her Maggie Smith way as an eccentric aunt and criminal smuggler, but the film is too inconsequential to truly let her resonate beyond a flight of fancy. Cicely Tyson brings high drama in Sounder, as one half of a sharecropping couple in the 1930s south. Her strong-willed but broken-down mother is a tower of strength with vulnerability practically exploding from Tyson’s expressive eyes. A deeply felt turn. Finally, The Emigrants, the story of a family of Swedish farmers moving to America in the mid-1800s, brings us our first nomination for Liv Ullmann, who’s oddball tics and performance choices stay interesting but perplexing throughout the duration. Max von Sydow outshines her fairly overwhelmingly as her husband.

Report Card
Liza Minnelli (Cabaret) – A
Diana Ross (Lady Sings the Blues) – B+
Maggie Smith (Travels with My Aunt) – B
Cicely Tyson (Sounder) – A
Liv Ullmann (The Emigrants) – C+

My Choice: Liza Minnelli



The Winner: Glenda Jackson (A Touch of Class)

State of the Category: I’m still unsure at this writing who my winner is, so I’m about to likely talk myself into it. Join me on this journey, won’t you? First off is Ellen Burstyn in arguably her most iconic role in The Exorcist. Her Chris MacNeil, mother of Satan and whatnot, is much more strong-willed than I’d remembered from previous viewings of this movie. I kind of fell in love with her salty personality playing a relatively well-known actress dealing with the supernatural, a trope and framing device I’ve never seen in other horror films. Next up is Glenda Jackson’s second Oscar-winning role, A Touch of Class, in which she tackles a divorcee engaging in a hasty fling with an accountant. The comedy at times is light on laughs – despite its loopy score telling you otherwise, but Jackson is totally game and her no-B.S. magazine editor is attractive and intimidating at once. After not getting on board with her role in Only When I Laugh, I hoped things would play out differently for Marsha Mason in the 70s. Not so with Cinderella Liberty, playing a “hooker with a heart of gold” whom a sailor falls for and becomes fill-in father for her son. The movie itself is okay, but what made me hesitant on Mason’s performance was that not once did I buy that she was a hard-edged, streetwise prostitute. She seems much more at home playing plucky, neurotic, Manhattan-based romantic leads than in this grittier role. The Way We Were is a stunning representative in the romantic comedy sub-genre, and Barbra Streisand is lovely in it. While her early-years take on Katie, relentless activist, can be a bit goofy, her interplay with Robert Redford is brilliant and highly watchable. She’s a born entertainer. Finally, Joanne Woodward does her best to elevate Summer Wishes, Winter Dreams, a melodrama about a wife and mother coming to terms with her life choices, but a “meh” story and lack of development drag down her amiable, if ineffective, performance.

Report Card
Ellen Burstyn (The Exorcist) – A-
Glenda Jackson (A Touch of Class) – A-
Marsha Mason (Cinderella Liberty) – C
Barbra Streisand (The Way We Were) – A-
Joanne Woodward (Summer Wishes, Winter Dreams) – C+

My Choice: Ellen Burstyn



The Winner: Ellen Burstyn (Alice Doesn’t Live Here Anymore)

State of the Category: Now this is a lineup. In easily one of the stronger fivesomes of this decade, we’ll start off with the winner. Ellen Burstyn plays struggling lounge singer/waitress/single mom Alice with typical emotive heft, despite the sometimes flimsy nature of the script. She’s very watchable despite some lackluster co-stars (don’t worry – not you, you delightful spitfire Diane Ladd…), though I have to say I was ultimately underwhelmed considering the cachet this performance has historically. Diahann Carroll takes on the title role in Claudine, about a single mother struggling to get by who’s romanced by a smarmy garbage collector. The film is positioned as a comedy, but it’s Carroll’s more dramatic moments that are highlights for me. The central relationship is not one you’re predisposed to root for, necessarily, so its framing as a romantic comedy is a struggle occasionally, but Carroll is lovely. Everything about Chinatown is amazing, and Faye Dunaway is no exception. Her rich ice queen Evelyn is eerie, alluring and intensely felt. The iconic slap scene is one of the great dramatic physical performances ever for a reason. Hello there, Valerie Perrine – who knew you’d be such a highlight? As Lenny Bruce’s stripper-turned-wife Honey alongside Dustin Hoffman in Lenny Perrine is magnificent. The depth of her tumultuous Honey Bruce is a true treasure to watch, with nary a “stripper with a heart of gold” or “doting wife” trope in sight. Finally, let’s all get exhausted together watching Gena Rowlands in A Woman Under the Influence. While I’m not really on board with Peter Falk’s oddly aggressive co-starring performance, Rowlands’s central turn as a woman experiencing a psychotic break is harrowing, chock full of tics, mannerisms and oddities that would typically seem overacted but are totally on target in this classic indie.

Report Card
Ellen Burstyn (Alice Doesn’t Live Here Anymore) – B+
Diahann Carroll (Claudine) – B
Faye Dunaway (Chinatown) – A
Valerie Perrine (Lenny) – A
Gena Rowlands (A Woman Under the Influence) – A-

My Choice: Valerie Perrine



The Winner: Louise Fletcher (One Flew Over the Cuckoo’s Nest)

State of the Category: Hmm, well this is an odd one. In probably the strangest lineups I can recall throughout the project, we start off with Isabelle Adjani in her first nod, playing Victor Hugo’s obsessive and schizophrenic daughter in The Story of Adele H. The subject matter is endlessly fascinating, which helps Adjani’s case, and her portrayal isn’t half-bad. She holds back when she should and doesn’t let “I’m craaAAaazYYY!!!” tropes get in the way of an actual performance. For such a young performer, she kind of killed it. Tommy is one head-scratcher of a movie, despite its at least entertaining musical numbers. And Ann-Margret definitely takes the cake for best in show. There are definitely some moments in which you find yourself asking “really?!” with some of the strange, over-the-top production decisions, but Ann-Margret is gutsy and the No. 1 reason to watch the film. Despite the short screen time, Louise Fletcher totally nails the brutality and icy intimidation of Nurse Ratched in One Flew Over the Cuckoo’s Nest. And yes, she’s as good as you remember. She pulls off diabolical and subtle and infuriating all in one quiet shell. She’s an ultimate filmic villain. Glenda Jackson nails it once again in the Ibsen adaptation of Hedda, about a societal higher-up dealing with the dregs of a boring marriage and uninteresting friends. Her Hedda Gabler is witty and wildly entertaining while also calculating and manipulative to the core. Lastly we have Carol Kane in the quiet indie Hester Street, playing the tradition-prone wife of a westernized Jewish immigrant at the turn of the 20th Century. She’s a quiet force, really, as the soft-spoken Gitl, maintaining a poise and caution that realistically ebbs and flows as she acquaints herself with a foreign world. It’s not your typical Kane comedic performance, and I was pleasantly surprised with its relatable tone.

Report Card
Isabelle Adjani (The Story of Adele H) – B+
Ann-Margret (Tommy) – B
Louise Fletcher (One Flew Over the Cuckoo’s Nest) – A
Glenda Jackson (Hedda) – A
Carol Kane (Hester Street) – A-

My Choice: Louise Fletcher



The Winner: Faye Dunaway (Network)

State of the Category: Maybe I spoke too soon – this isn’t exactly your typical lineup either… Let’s start things off with Marie-Christine Barrault’s seriously low-key performance as an tragically ignored wife striking up an affair with a distant cousin in Cousin Cousine. The French film is played for laughs throughout, but it’s markedly unfunny, particularly when it comes to the sexist undertones and the kooky performances from the side characters. Barrault is best in show, but it’s really not saying much in the uneven flick. On the other end of the spectrum, Faye Dunaway’s calculating ratings-focused news producer in Network is striking and cool and, at times, frightening. Going toe to toe with the heavily invested performance of Peter Finch in the central role, Dunaway is fantastic in a contemporary to Rene Russo’s Nightcrawler role 40 years later. In Rocky, Talia Shire is… fine. Her role is super flimsy and the movie itself doesn’t seem to care much about her. It’s the epitome of the supportive girlfriend trope in sports movies, and unfortunately the actress who found great moments in The Godfather couldn’t make Adrian interesting enough to resonate. Sissy Spacek is heartbreakingly sweet and misunderstood in the classic Carrie. It’s hard to top this horror performance, from her child-like beginnings to her vengeful aftermath. You root for Carrie White all the way through her payback retribution. I’m still recovering from Face to Face. Liv Ullmann’s portrayal of a psychiatrist descending into madness is intensely exhausting. The performance is itself isn’t all bad, per se, but the screeching and sobbing are for the most part too difficult to stomach.

Report Card
Marie-Christine Barrault (Cousin Cousine) – C-
Faye Dunaway (Network) – A
Talia Shire (Rocky) – C-
Sissy Spacek (Carrie) – A-
Liv Ullmann (Face to Face) – C

My Choice: Faye Dunaway



The Winner: Diane Keaton (Annie Hall)

State of the Category: All in all, not too bad in the choices department in 1977. Starting off with Ann Bancroft in The Turning Point, playing a prima ballerina of a certain age, the performance is committed and scene-stealing. Her physical commitment to the role is a tad unnerving, but she fends off the occasional sentimental plot device with presence. Jane Fonda nails the role of Lillian Hellman in Julia, bringing marked wit and poise along with sense of humor and wanton desire. She navigates the real-life character’s tempestuous affairs with expertise you’ve come to expect from Fonda. What more can be said about the comic brilliance of Diane Keaton in Annie Hall? She’s funny, intelligent, occasionally flighty and always 100% believable. There has rarely been a comedic performance that can match this perfection. Shirley MacLaine unfortunately falls victim to being overshadowed by her co-star in The Turning Point. Her portrayal of a former ballerina forced to exit the company after a pregnancy has a couple of strong moments, but the bulk of the heft is given to Bancroft. Finally, Marsha Mason gives her easily best performance as a struggling actress and single mom in The Goodbye Girl. She holds her own against Oscar-winning Richard Dreyfus and plays her character’s gumption and persistence like the pro stage actress she is.

Report Card
Ann Bancroft (The Turning Point) – B+
Jane Fonda (Julia) – A-
Diane Keaton (Annie Hall) – A
Shirley MacLaine (The Turning Point) – B
Marsha Mason (The Goodbye Girl) – B+

My Choice: Diane Keaton



The Winner: Jane Fonda (Coming Home)

State of the Category: Finally an Ingmar picture I can get behind. Autumn Sonata follows the simple premise of a woman dealing with a visit from her larger-than-life concert pianist mother. Ingrid Bergman holds back and plays it small and subtle to her favor, using her eyes more often than a raised voice seen in other Ingmar efforts. The setup to Same Time, Next Year is at least interesting – a man and woman meet each other one weekend a year to carry on a decades-long affair, but the film is hampered by goofy scoring and ineffective aging and character development. Ellen Burstyn does her best with a flaky role, but the film plays more like a TV movie than a theatrical release. Jill Clayburgh has a fun, relatable, casual way about her in An Unmarried Woman, but unfortunately it falls victim to the sameness shared among many of the romantic comedies of the era. What sets her slightly apart is that the film asks you to root for her, and you actually do. It’s still a rather slight performance regardless. I was worried about Coming Home. The idea of Jane Fonda playing a supportive significant other to a wounded soldier seemed like it had the potential to pander. But in true Jane fashion she managed to bring a great deal of depth to a character that in other actresses’ hands may have played one-dimensional. Depicting grown children of divorce dealing with the aftermath, Interiors gives Geraldine Page something of a showcase. Unfortunately the role is borderline supporting, and her shrewish portrayal proves less memorable than those of the three women playing her daughters.

Report Card
Ingrid Bergman (Autumn Sonata) – A
Ellen Burstyn (Same Time, Next Year) – B-
Jill Clayburgh (An Unmarried Woman) – B
Jane Fonda (Coming Home) – A-
Geraldine Page (Interiors) – B-

My Choice: Ingrid Bergman



The Winner: Sally Field (Norma Rae)

State of the Category: Jill Clayburgh lands nomination No. 2, this time for a slightly superior performance. In Starting Over she has a bit more edge, and, though the films have remarkably similar themes, this one seems like a star-making turn. Unfortunately her co-star, Burt Reynolds, is completely flat and really brings down the romantic chemistry factor. Sally Field gets a stunner of a role in Norma Rae – and I must say it lived up to the hype for me. It’s a Silkwood-esque moment where our heroine is nowhere near perfect and she isn’t instantly driven to put herself out there – it’s the realism that truly sells this. She’s not an obvious leader for a cause. (And that iconic scene sure does resonate.) Jane Fonda has a lot of movie-star quality in The China Syndrome. The film itself actually drags a bit – strange for a political thriller – but she buoys the operation despite a slightly underwritten character (the fluff-piece reporter who wants to go hard-hitting). Chapter Two is… fine. And that’s about all there is to it. Perhaps it can be blamed on the non-believable chemistry between stars James Caan and Marsha Mason. Mason is likable in the role, but she can’t sell the romance – as an audience member I don’t buy that these two truly feel that way. Finally, Bette Midler totally pulls a winner out of the hat for me. I didn’t know she had this in her. As a Janis Joplin-esque figure in The Rose, she goes all out – except not hammy nonsense that musical biopics tend toward. Her performance scenes are phenomenal and I buy into what makes her Mary Rose so magnetic to fans and lovers.

Report Card
Jill Clayburgh (Starting Over) – B+
Sally Field (Norma Rae) – A
Jane Fonda (The China Syndrome) – B
Marsha Mason (Chapter Two) – C
Bette Midler (The Rose) – A

My Choice: Sally Field

Decade Honors/Dishonors
Best Performance: Faye Dunaway (Network)
Best Nominated Film: Chinatown
Worst Performance/Film: Marie-Christine Barrault (Cousin Cousine)
Closest Race: 1979
Best Year: 1974
Worst Year: 

But what about you? What are your thoughts on the ladies of the 1970s?

the great big academy awards project: BEST LEAD ACTRESS of 2009, revisited

Once upon a time, The Great Big Academy Awards Project talk it out with the Best Actress nominees of the aughts. (NOTE: The 90s and 80s soon followed, and the 70s are just around the corner – that’s a promise!) And since 2009, at the time, offered up at least one performance I couldn’t track down – pesky release schedules and all that – let’s revisit 2009, with Helen Mirren added into the mix for portraying the emotional wife of Leo Tolstoy in The Last Station.
The Winner: Sandra Bullock (The Blind Side)
State of the Category: A disclaimer before we begin this one – that pesky Last Station was in about 1 or 2 theaters it seems, and the DVD is nowhere to be found anytime soon, so an additional supplemental post will have to be posted later to talk about Mirren’s performance. As for Helen Mirren, while her subsequent filmography has proven far more popcorn, this was more in the vein of her prestige work. It’s not perfect, to be sure – she tows that fine line between high drama and melodrama – but the lush music and set design around her elevate her performance from potentially histrionic to grandiose entertainment. Now, on to the other four. First, as any reader of this blog knows, I have nothing against Bullock. In fact, I think her Leigh Ann Touhy was better than average. It was very clearly not even close to being one of the five best performances of the year, but c’est la vie. Mulligan was well-suited to her role in An Education. Though I didn’t slobber over it as much as pretty much everyone else, she’s definitely a promising performer as shown by this flick. Sidibe was wonderful in Precious. I’ll just say it. Particularly after seeing her in interviews and realizing she’s bubbly and peppy – you truly learn how much of a stretch Claireece was for the actress. It’s probably one of the best debut performances ever put on the big-screen. And finally, Streep was nothing short of delightful as Julia Child. Much like Keaton in 2003, perhaps it doesn’t scream “Oscar” because of its light demeanor, but the performance is right-on, and for once it seems less like a good impression and more like an embodiment.
Report Card
Sandra Bullock (The Blind Side) – B
Helen Mirren (The Last Station) – B+
Carey Mulligan (An Education) – B+
Gabourey Sidibe (Precious) – A
Meryl Streep (Julie & Julia) – A
(Still) My Choice: Gabourey Sidibe


coming soon…

At long last!  Thanks to the hoopla of the Oscars being all over, it’s time to return to the Great Big Academy Awards Project.  Picking up where I left off, I’m on track with the leading ladies of the 1970s.  I’m thrilled to get a better education on the birthplace of modern cinema, the decade that was.  (Though I may be overzealous in my “soon” assessment, as viewing 50 performances tends to take a while.) So to restart the fun, here’s one of the decade’s 10 winner.  Can you name her?

the great big academy awards project: BEST LEAD ACTRESS in the 1980s

Hurrah!  I’m just the teensiest bit excited that I’ve finally completed the decade we all know and love as the 1980s.  For those of you new to this project, it’s my humble attempt at watching every Academy Award-nominated film on the books, going decade by decade, category by category. After more than a year since completing the 1990s Best Actress nominees (and previously the Aughts Best Actress), I almost thought this one would never happen – but here it is for your perusal, discussion, disagreement, and general merriment (I hope).  So, if you will, take a gander at my take on the 1980s Best Lead Actress nominees…

The Winner: Sissy Spacek (Coal Miner’s Daughter)

State of the Category: Starting the decade of synthesized scores and Midwestern farmer dramas off, 1980 was blessed with following five Lead Actress nominees.  The wonderful and unheralded ’70s great Ellen Burstyn starts things off, playing a spiritual healer in Resurrection, which unfortunately plays much like a Lifetime movie these days.  Burstyn brings a lot of great delicacy and flaws to what could be a saintly role, but it’s tough to transcend the somewhat mediocre material.   She has some great moments though.  Goldie Hawn delivers a quite funny nod to much of her future 1980s work as a spoiled brat who’s tricked into the army in Private Benjamin.  Sure, it’s very light fare, but Hawn is in her element, and she’s got terribly good timing.  Speaking of Lifetime movies, Ordinary People suffers that same fate, it seems.  Though Mary Tyler Moore does her best to deliver some Oscar scenes to the mix, she’s outshone by the young Timothy Hutton for the most part.  The trouble with Gloria is that it’s brought down by some truly bizarre supporting turns.  John Adames, who plays her young companion, gives what has to be one of the worst and most grating child performances I’ve ever seen.  Poor Gena Rowlands – who I greatly admire – can’t do much with what turns out to be a misfire in the end.  And then there’s winner Sissy Spacek, who plays Loretta Lynn with such glee, giving us the opposite of Carrie White, she ushered in a successful four-nod decade for herself.  The performance is charming, real, and totally Spacek.

Report Card
Ellen Burstyn (Resurrection) – B
Goldie Hawn (Private Benjamin) – B
Mary Tyler Moore (Ordinary People) – B
Gena Rowlands (Gloria) – B-
Sissy Spacek (Coal Miner’s Daughter) – A-
My Choice: Sissy Spacek

The Winner: Katharine Hepburn (On Golden Pond)

State of the Category: Though 1980 proved a somewhat average year, at least 1981 gave us a variety-driven category.  Starting off with the sentimental favorite, Katharine Hepburn breathes true life into what could be a phoned-in performance in On Golden Pond.  Sure, she won primarily as an honorary award, but she already had three so maybe it was more than that.  I for one thought she had great chemistry with Henry Fonda and shed the years of big-shouldered strength for a vulnerable display.  Though I found Warren Beatty’s performance somewhat bothersome, Diane Keaton played strength and desperation so carefully in Reds.  She and Maureen Stapleton take the film for me, and Keaton is surprisingly anti-Annie Hall in her role.  The sorta-reviled Only When I Laugh has one key element that works relatively well – Marsha Mason.  Sure, the rest of the movie is kind of a wash, but Mason is given a front-and-center powerhouse role as an alcoholic has-been actress, and she excels despite strange performances from the rest of the cast.  I’m not sure I understood the allure of Atlantic City.  Susan Sarandon is demure and nice to look at (as per usual), but I’ve seen what she can do, and this film doesn’t seem to be stretching her.  Burt Lancaster is the stand-out, and she is relegated to sort of the pretty backdrop.  And in the department of transcending material, Meryl Streep takes the cake in The French Lieutenant’s Woman.  The movie is drab and overlong, but Streep is a vision.  I can’t get behind the film, but Streep is period greatness.

Report Card
Katharine Hepburn (On Golden Pond) – A-
Diane Keaton (Reds) – A-
Marsha Mason (Only When I Laugh) – B
Susan Sarandon (Atlantic City) – B-
Meryl Streep (The French Lieutenant’s Woman) – B+
My Choice: Diane Keaton

The Winner: Meryl Streep (Sophie’s Choice)

State of the Category: Things are starting to pick up by 1982 in Lead Actress.  Julie Andrews is cheeky and delightful as a pretend cross-dresser (this stuff writes itself) in the underrated musical gem Victor/Victoria.  If you haven’t seen this movie yet, do.  It’s a roar, and Andrews is out of her cutesy element.  Some may call it severe overacting, I call it a tour de force – Jessica Lange plays an actress dipping into insanity in Frances.  It’s a disturbing flick, but Lange completely owns the screen throughout.  It dips into histrionics at times, but overall she’s stellar.  Sissy Spacek delivers a very subtle performance as the wife of a captive writer in a war-torn South American country in Missing.  Though Jack Lemmon tends to steal the scenes from her, she plays subdued with such grace.  How do I even start on Sophie’s Choice?  It really is all it’s cracked up to be.  Meryl Streep is phenomenal in every sense of the word, and this truly is one of the tip-top highlights of an incredible career.  And though An Officer and a Gentleman is such a popcorn flick for Oscar tastes, Debra Winger is a bygone great who unfortunately hardly works anymore.  The movie plays a little silly when it comes to Richard Gere, but Winger is a realistic, adorable addition to the hip romance.

Report Card
Julie Andrews (Victor/Victoria) – A-
Jessica Lange (Frances) – B+
Sissy Spacek (Missing) – B
Meryl Streep (Sophie’s Choice) – A
Debra Winger (An Officer and a Gentleman) – B
My Choice: Meryl Streep

The Winner: Shirley MacLaine (Terms of Endearment)

State of the Category: This is very likely my favorite lineup of the decade.  What a wonderful variety of performances!  Starting off with Jane Alexander, who completely surprised me with the depth and strength playing a mom dealing with the end of the world in Testament.  Besides the fact that I love movies that play into disaster/supernatural without actually showing it on screen, Alexander is incredible, and the movie avoids too much sentimentality.  Then we have the Terms of Endearment ladies.  Shirley MacLaine is doing her best to eliminate any feeling that this is Lifetime Original Movie.  Aurora is at times hilarious and at others damaged, and it’s totally working for the gifted actress.  And Debra Winger, playing her somewhat rebellious daughter, plays the strength and flaws of Emma with an amount of care that only Winger can muster.  Not to be outdone, Meryl Streep plays the anti-hero title character of Silkwood with pure guts.  She nails the working-class gal, along with a script that doesn’t waste time canonizing her.  The weak spot here may be Julie Walters, who’s, like the usual, charming as ever in Educating Rita, but it’s such a poor man’s Pygmalion, it’s hard to see what kind of newness is being brought to the sub-genre other than ’80s big hair.

Report Card
Jane Alexander (Testament) – A
Shirley MacLaine (Terms of Endearment) – A-
Meryl Streep (Silkwood) – A
Julie Walters (Educating Rita) – B-
Debra Winger (Terms of Endearment) – A-
My Choice: Meryl Streep

The Winner: Sally Field (Places in the Heart)

State of the Category: Ah, the year of the distraught farmer gals.  In such a strange turn of events, three of the five nominees here fit that very bill.  It’s assuredly one of the weaker lineups of the decade.  I do enjoy Judy Davis as a general rule, but she’s definitely hard to love in A Passage to India, in which she wrongfully accuses an Indian man of attempting to violate her.  She’s so sullen and severe throughout, it’s hard to see too much depth in the performance, despite her best efforts.  Sally Field’s pluckiness may bother some, but I find her performance in Places in the Heart, in which she plays a widowed farm wife who struggles to make ends meet, better than average.  If the film didn’t spend so much time on the strange side-story love triangles, Field would have more opportunity to shine.  Jessica Lange is very subtle (the opposite of Frances) in Country, in which she also plays a farm wife trying to make ends meet.  Lange is a quiet strength, but the remainder of the cast sort of brings down the prestige a bit.  The Bostonians is a drawn-out mess of a movie.  Vanessa Redgrave plays a pathetic spinster who obsesses over a young suffragette (no clue what was so great about Verena, played atrociously by Madeleine Potter).  Redgrave is one-note and can’t move past the sad, annoying role she’s saddled with.  Sissy Spacek is the quiet backbone of The River, playing a farm wife struggling to make ends meet (hmm…).  Mel Gibson (the husband) gets a little over-the-top, so the film is lucky to have Spacek to bring it back down to earth.  Still, not a whole lot here, as a general rule.

Report Card
Judy Davis (A Passage to India) – B
Sally Field (Places in the Heart) – B
Jessica Lange (Country) – B
Vanessa Redgrave (The Bostonians) – C-
Sissy Spacek (The River) – B
My Choice: Sally Field


The Winner: Geraldine Page (The Trip to Bountiful)

State of the Category: What this lineup may lack in true powerhouse performances it more than makes up for in variety.  Let’s start with Anne Bancroft, who’s had her fair share of standout roles, playing a nun at the center of a church scandal in Agnes of God.  While I found the movie to play out like an entertaining little popcorn thriller, the performances were somewhat sidelined by the story itself.  And Jane Fonda wasn’t particularly inspiring as Bancroft’s co-lead.  Phoned-in all around.  But then there’s Whoopi Goldberg, who was the new kid on the block in The Color Purple.  Not only is she riveting in scene after scene, but she proves why she merits being such a big star – she’s actually a quite gifted actress as well. Jessica Lange does her best Patsy Cline in Sweet Dreams, continuing her steak of ’80s nominations, in a decent, if not great, take.  Though she doesn’t live up to Spacek’s Lynn (who sang all her own songs), her impression is rather spot-on without being too imitation.  We all know Lange can act her way out of a bag, and this is a pleasant example of that.  Geraldine Page gives her twilight performance in the virtual honorary Oscar-winning role in The Trip to Bountiful.  It’s a very quiet movie, to be sure, and what the film lacks in excitement it more than makes up for in showcasing Page’s talents.  The staging is a tad theatrical at times, but Page is a solid anchor for the mellow film about an old woman returning to her hometown one last time.  The epic Out of Africa may have its flaws in both story and accents (sorry Robert Redford), but Meryl Streep as usual improves the material.  The music and setting is pretty splendid, and Streep fits right in as Isak Denisen – and the Danish accent is incredible.

Report Card
Anne Bancroft (Agnes of God) – B
Whoopi Goldberg (The Color Purple) – A
Jessica Lange (Sweet Dreams) – B+
Geraldine Page (The Trip to Bountiful) – B
Meryl Streep (Out of Africa) – B+
My Choice: Whoopi Goldberg

The Winner: Marlee Matlin (Children of a Lesser God)

State of the Category: Sheesh, we’ll start this year off with a doozy.  Easily the worst choice by the Academy listed in this post, Jane Fonda, bless her, plays a boozy entertainer who wakes up with a hangover and a dead body in her bed.  Sounds like a fun concept for a thriller, but unfortunately it’s impossible tell what genre this movie is actually trying to embody.  Between the upbeat music, the ominous noir moments, the uncomfortable comedic moments and Fonda’s spastic performance, The Morning After is a mess.  Marlee Matlin, as the youngest winner this category’s seen, is amiable as the stubborn deaf girl at the center of Children of a Lesser God.  She plays excellently against William Hurt, but it’s clear she’s not an experienced actress.  Sissy Spacek rounds out her four-some of ’80s nods with Crimes of the Heart, in which a trio of sisters react to Spacek’s character’s decision to shoot her abusive husband.  The ladies (including Jessica Lange and Diane Keaton) play nicely off of each other, but to me there’s no clear stand-out among the three of them.  Spacek is endearing, at the very least.  Kathleen Turner gets her one stab at Oscar as the heroine in the whimsical fantasy film Peggy Sue Got Married.  It’s such a fun concept, and Turner is a talented actress who never got her due.  Though I don’t think this is the role of her career (sorry – I love me some Joan Wilder), Peggy Sue is a root-for-me character with a great backstory.  And Sigourney Weaver rounds out the crew in this anomaly of a nomination – the heroine of a sci-fi sequel.  Ripley is both badass and terrified aboard the E.T.-ridden shuttle in Aliens, and Weaver is so good at playing the imperfect hero.  The movie is a stunner, which certainly helps her case.

Report Card
Jane Fonda (The Morning After) – D-
Marlee Matlin (Children of a Lesser God) – B
Sissy Spacek (Crimes of the Heart) – B
Kathleen Turner (Peggy Sue Got Married) – B+
Sigourney Weaver (Aliens) – A-
My Choice: Sigourney Weaver

The Winner: Cher (Moonstruck)

State of the Category: Surprisingly, this one ended up being a pretty strong year for the Best Actress category.  We’ll start off with Cher, who never ceases to surprise in a quite strong performance in Moonstruck.  I assumed that the win was a stunt, but her Loretta is well-studied and so intriguing.  Glenn Close’s Alex Forrest in Fatal Attraction has certainly become a punch-line since ’87, but Close is creepy, eerie, and great in the movie.  Sure, her crazy antics are over-the-top and her co-stars are adding to the hamminess, but Close is devious and terribly fun.  Holly Hunter may be small and spunky, but she’s terrific as a TV news writer in Broadcast News.  The writing is spectacular, and Hunter’s delivery is gold.  She and William Hurt have great chemistry (hmm… a trend perhaps?), and she instills great depth into a character that already kind of wrote itself.  Though Sally Kirkland may’ve descended into madness since the ’80s, her Anna is at least interesting.  Though the film is a little rocky for me, Kirkland is quite good as the eastern European wannabe Western actress.  And Meryl Streep returns once again, this time as a disillusioned homeless woman who used to have pipes in Ironweed.  Though the film is kind of a drag, Streep brings some life to the character, which is such a tragic role across the board.

Report Card
Cher (Moonstruck) – A-
Glenn Close (Fatal Attraction) – B+
Holly Hunter (Broadcast News) – A
Sally Kirkland (Anna) – B+
Meryl Streep (Ironweed) – B+
My Choice: Holly Hunter


The Winner: Jodie Foster (The Accused)

State of the Category: To start off the year that was 1988, we’ve got another devilish performance from the illustrious Glenn Close.  In Dangerous Liaisons, Close is conniving and far superior to most of what else is going on here.  I get that the cast has decided to not even attempt European accents, but John Malkovich is hardly effortless and… Keanu Reeves?  Really?  Anyway, Close is easily the best part.  I’m a fan of Jodie Foster’s in general, but The Accused has not aged well.  Playing a rape victim fighting off accusations of making it all up, Foster is typically tough, but the material doesn’t serve itself to her talents.  Now, I get that Working Girl was riding a wave of goodwill, but Melanie Griffith is hardly the “best.”  Joan Cusack, Sigourney Weaver and Harrison Ford are great fun in the workplace romantic comedy, but Griffith’s breathy, squeaky Tess is nothing beyond simply cute.  Some see that haircut and those eyebrows and think of a performance of Meryl Streep’s that edged on cartoony, but I happen to love A Cry in the Dark.  Playing Lindy Chamberlain, whose baby daughter was snatched up by a dingo, Streep nails the accent and portrays the slightly evil nature of the public’s persona of Lindy to a tee.  Finally, Sigourney Weaver is heartbreaking as the devoted Dian Fossey, whose love of the animals in Gorillas in the Mist led to a life dedicated to the jungle.  She’s so natural in the setting, and the movie is written wonderfully.

Report Card
Glenn Close (Dangerous Liaisons) – B+
Jodie Foster (The Accused) – B-
Melanie Griffith (Working Girl) – C-
Meryl Streep (A Cry in the Dark) – B+
Sigourney Weaver (Gorillas in the Mist) – A-
My Choice: Sigourney Weaver

The Winner: Jessica Tandy (Driving Miss Daisy)

State of the Category: Closing out the decade, 1989 brought us some head-scratchers and at least one breath of fresh air.  Though Camille Claudel was terribly overlong, it’s bright shining star Isabelle Adjani was a great centerpiece.  Embodying a woman at many different ages remarkably and seemingly identifying with the character a great deal, Adjani is definitely a nice piece of scenery.  Pauline Collins tries so hard to be adorable in Shirley Valentine, she forgets that she’s being filmed.  I’m heartily confused as to how this performance ended up in the final cut, since the movie is goofy, unsubstantial, and perplexing.  Collins is slightly fun, but her plethora of lines delivered to camera was a weird choice.  Jessica Lange rounds out her own four-some of nominees this decade with Music Box, a courtroom drama that lags throughout until the last half-hour.  Lange is traditionally the best part of the movie, but it’s such a knee-jerk choice to nominate her for just about everything.  Michelle Pfeiffer is all kinds of seductive in The Fabulous Baker Boys, a surprisingly insightful musical drama.  Pfeiffer’s Susie Diamond is complicated, beautiful, and has some awesome singing skills.  Finally, Jessica Tandy is added to the list of career Oscars in the 1980s for Driving Miss Daisy.  While Tandy owns the film quite well, it’s simplistic take on the south in a volatile time period borders on too easy.  The actress assuredly has her moments of Oscary scenes though.

Report Card
Isabelle Adjani (Camille Claudel) – B+
Pauline Collins (Shirley Valentine) – C-
Jessica Lange (Music Box) – B-
Michelle Pfeiffer (The Fabulous Baker Boys) – A-
Jessica Tandy (Driving Miss Daisy) – B
My Choice: Michelle Pfeiffer

Decade Honors/Dishonors
Best Performance: Meryl Streep (Sophie’s Choice)
Best Nominated Film: The Color Purple
Worst Performance/Film: The Morning After
Closest Race: 1981
Best Year: 1983
Worst Year: 1984

Your turn – what are your thoughts on Best Actress of the 1980s?

the GREAT BIG academy awards project, continuing VERY soon!

I know, you’ve heard it all before.  I’ve convinced you that I’d stick to my guns and continue my journey through all the Oscar-nominated films of all time (category by category, decade by decade).  And, considering it’s been over a year since my Best Actress of 1990s post, I wouldn’t be surprised if you’d since given up on me.  But alas!  I only have two performances left two watch, they’re both resting thusly in Netflix envelopes in my bag, and I’m well on my way to posting the ’80s ladies as early as tonight!  So feel free to stay very tuned, because there will be much 1980s Oscar fodder to discuss in a very short while.  Now to go watch Reds and Missing ASAP!

bouncing back in august…

I sincerely will try to hold myself this one, but we shall see what comes!  I’ve been teasing the next installment of The Great Big Academy Awards Project for several months now, but I’m attempting to at last buckle down and really get going on the 80s ladies.  So look for the Best Actress nominees of the 1980s rundown to come in August.  I’ve only got a dozen or so entrants left to view!  Meanwhile, name the winner pictured above for that special prize of bragging rights!

coming soon…

Okay, I’m not kidding this time.  This was meant for February, but Oscar madness wrapped me up rather tightly for the month.  But I’m making serious progress on the leading ladies of the ’80s, so expect the next segment of The Great Big Academy Awards Project to surface by May.  In the meantime, chime in on the mystery lady in the photo above…

coming soon…

It’s that time again – I’m getting motivated again to get back to The Great Big Academy Awards Project. So coming some time next month (that is if the awards circuit doesn’t pull me away from viewing the 50 nominated films too much) the ’80s Best Actress entry will post. So in the meantime, tell me – can you name the winner in the above photo? The winner gets a pat on the back!

the great big academy awards project: BEST LEAD ACTRESS in the 1990s

At last! The day (or night as it were) has finally come! After a mere three months, the second entry in my Great Big Academy Awards Project has arrived. For those just tuning in, I have this crazy notion that I can see every Academy Award-nominated film ever. So I’m going decade by decade chipping away the gigantic list, starting with the Best Lead Actress category. The Aughts are all taken care of, so it’s on to the ’90s!

The Winner: Kathy Bates (Misery)

State of the Category: Starting off the decade in a truly diverse fashion, the ladies of 1990 brought us work from a variety of genres both tired and semi-new. Starting with this year’s winner, Kathy Bates was pure crazy-face in the Stephen King thriller Misery. Her Annie Wilkes is so oozing with realistic psychopathic tendencies it’s hard to deny her magnetism in this role, one hobbling at a time. Then there’s Anjelica Huston, whose desperate con-woman in The Grifters has a few nutjob antics up her sleeve as well. Huston is typically effective, even if the film itself can tend to drag at times. Julia Roberts brings the romantic comedy leading lady to the table in Pretty Woman. And while it would later become a persona she duplicated for many more roles, this first congenial romantic interest is the ultimate hooker with a heart of gold. Don’t dismiss it as chick-flick fodder just yet. Meryl Streep slides in with nomination number nine in the snarky show-biz flick Postcards from the Edge. Her take on Carrie Fisher’s heroine is filled with realist depth that isn’t often seen from the typically larger-than-life Streep. Finally, Joanne Woodward takes her spot as one of the many Merchant Ivory collaborators to make it into this category. As the title character in Mr. and Mrs. Bridge, the seemingly ageless Woodward is subtle and captivating in an otherwise creaky trifle of a movie.

Report Card
Kathy Bates (Misery) – A-
Anjelica Huston (The Grifters) – B
Julia Roberts (Pretty Woman) – B
Meryl Streep (Postcards from the Edge) – B+
Joanne Woodward (Mr. and Mrs. Bridge) – B
My Choice: Kathy Bates

The Winner: Jodie Foster (The Silence of the Lambs)

State of the Category: Another seemingly random cropping of genres and sub-genres, the ’90s kept cementing its sort of out-of-the-ordinary choices with its 1991 crop. Starting with Geena Davis, her lovelorn and bad-lucked Thelma is the sunnier side of the title duo in Thelma & Louise. While Davis’ character can drive you mad with her terrible choices (in men in particular), you can’t help but root for the actress’ gentle approach to the lawless lady. I for one will always root for the oft-forgotten talent Laura Dern, but when the accolades role in for such bizarre and altogether messy films such as Rambling Rose, it’s hard to stay on board. Dern performed amiably enough, but the film was such a sloppy mess for the duration, it was mostly for naught. Jodie Foster makes a great case for the win as gutsy but pint-sized FBI agent Clarice Starling in The Silence of the Lambs. Her masculine energy plays to her advantage, as Starling is a tough-as-nails cop with slight tinges of a sensitive past that pop up in her gaze from time to time – nuances not often found in the psychological thriller genre. On the opposite end of the spectrum is the brassy and over-the-top performance by Bette Midler in For the Boys. It’s hard to deny that Midler is great fun in the role, but it definitely feels more like a Globe quality performance for its lack of much depth. Finally, Susan Sarandon is the brains of the operation in Thelma & Louise. She’d go on to become one of the 90s’ most honored actresses, and this is a great starting point – she’s even-keeled and reins in the Southern sass just enough.

Report Card
Geena Davis (Thelma & Louise) – A-
Laura Dern (Rambling Rose) – C+
Jodie Foster (The Silence of the Lambs) – A
Bette Midler (For the Boys) – B-
Susan Sarandon (Thelma & Louise) – A-
My Choice: Jodie Foster

The Winner: Emma Thompson (Howards End)

State of the Category: This year’s group was that very unique category in which I hadn’t seen any of the nominated performances prior to embarking on the project. So completely lacking in pre-conceived love (Bates, Foster, e.g.), here goes. Catherine Deneuve plays it uber-French in Indochine. She’s of course beautiful and a great presence, but that pesky sub-plot of romance with her awful male co-star brought her down one too many pegs for me. Mary McDonnell is hard to like as the paralyzed soap opera diva in Passion Fish, but she plays what could easily have showed up as a Lifetime movie as a woman with flaws and superb depth. Plus, her co-star Alfre Woodard was just phoning it in, making McDonnell look like a shining star. Michelle Pfeiffer borders on the silly as the brassy Southern belle obsessed with Jackie O. in Love Field, but she’s a magnetic personality. Her chemistry with Dennis Haysbert is a little tacked on, but Pfeiffer at least shines brightly. Susan Sarandon is good enough in the otherwise gut-wrenching and tear-fest Lorenzo’s Oil. She’s fairly withdrawn throughout, but she has some rather good scenes with her on-screen son that make up for it. Lastly, Emma Thompson is her typical super-Brit self as the supposedly homely old maid sister in Howards End. Though her romantic chemistry with Anthony Hopkins left something to be desired (which was likely intentional), she plays supremely well with co-star Helena Bonham Carter. A truly beautiful motion picture, to be sure.

Report Card
Catherine Deneuve (Indochine) – B
Mary McDonnell (Passion Fish) – B+
Michelle Pfeiffer (Love Field) – B
Susan Sarandon (Lorenzo’s Oil) – B+
Emma Thompson (Howards End) – A
My Choice: Emma Thompson

The Winner: Holly Hunter (The Piano)

State of the Category: As some of my favorite leading ladies get their one-and-only honors, the ’90s begins to heat up with some more changing tastes. Angela Bassett is a believable Tina Turner in What’s Love Got to Do With It?, though the lip-synching is often pretty horrendous. Nonetheless, Bassett is an able performer, and she plays the singer with plenty of grace. Stockard Channing lays on thick waspiness for Six Degrees of Separation. It’s a totally unique story that left me feeling utterly confused as to my feelings about it. Channing, though, was the clear standout to be sure, plucking just the right amounts of comedy and sentimentality from the genre-bending script. Holly Hunter is the reason to watch and be captivated by The Piano. Her Ada says so much with her eyes that her lack of speech hinders nothing by way of effectiveness in the determined and scrappy role. It’s hard to believe a maid with so much confidence, but Emma Thompson is still likable as ever in The Remains of the Day. Though it has nowhere near the heft of Howards End, she’s consistently lovely throughout. Debra Winger is an especially entertaining performer for me. Her role in Shadowlands, a little bit of a snoozer honestly, was the movie’s best quality. As the short-lived lover of C.S. Lewis, she’s a welcome presence in a pretty dreary story.

Report Card
Angela Bassett (What’s Love Got to Do With It?) – B
Stockard Channing (Six Degrees of Separation) – B
Holly Hunter (The Piano) – A-
Emma Thompson (The Remains of the Day) – B
Debra Winger (Shadowlands) – B
My Choice: Holly Hunter

The Winner: Jessica Lange (Blue Sky)

State of the Category: This year was probably the strangest, for me, of the decade. It dabbles in the mediocre at times, but otherwise presents a fair variety of performances. Jodie Foster delivers one of those performances, in Nell, that teeters on the line between spot-on and hammy. I can see now where the comical imitations of her character come from, but I tend toward the former feeling – Nell is a powerful character to watch, even if you find yourself unintentionally chuckling at times. Jessica Lange’s Carly in Blue Sky is another similar teeterer. Lange is pleasing to watch in the role, but her sexpot with a troubled mind falls a little too silly for me in the end. And her chemistry with screen husband Tommy Lee Jones is zilch. Miranda Richardson is sort of a quirky delight as T.S. Eliot’s eccentric wife in Tom & Viv. One of the great things about Richardson is that she never settles for a typical take on a character, and this one is no exception – Viv is a loose cannon in many unenviable predicaments. I was pleasantly surprised by Little Women – particularly by leading lady Winona Ryder. Her celebrity starlet status isn’t evident here, as she stretches some actual acting legs as tomboy Jo. It’s not entirely a revelation, to be sure, but she’s the most watchable part of the simple yet satisfying film. Finally, Susan Sarandon shows up once again the shortlist as the demure but commanding lawyer in The Client. The trouble with the performance, though, is that the film in retrospect plays like an even tamer version of a Law & Order episode, and Sarandon’s performance is not helped as a result.

Report Card
Jodie Foster (Nell) – B
Jessica Lange (Blue Sky) – B-
Miranda Richardson (Tom & Viv) – A-
Winona Ryder (Little Women) – B+
Susan Sarandon (The Client) – B-
My Choice: Miranda Richardson

The Winner: Susan Sarandon (Dead Man Walking)

State of the Category: I’m consistently impressed the more and more I see of the films of 1995. And the newest additions to my viewing record thanks to the project are not disappointments. Starting with possibly one of my all-time favorite performances period (am I giving myself away already on this one?), Susan Sarandon is pitch-perfect as Sister Helen Prejean in the harrowing Dead Man Walking. There’s surely a reason that this movie was the one that got her the trophy. She’s, for lack of a less cliched term, spellbinding. An unlikely entrant in the race is Elisabeth Shue’s big-city call girl in Leaving Las Vegas. Fearing that the oft-goody-goody Shue would be uncomfortable in this darker role, I was surprised to find she was freakishly believable and well-worn in the performance. Sharon Stone channels her inner hamminess as the casino hustler Ginger in Casino. Probably one of the sillier entries in Martin Scorsese’s filmography, Stone is the standout in the movie, but she’s still a sobbing, silly mess in one too many scenes. On the opposite end, Meryl Streep is calm and serene as Francesca in the Iowa-set The Bridges of Madison County. On top of the impeccable accent, her lonely housewife is both devastating and beautiful. A fine performance from what could’ve been a shlocky Nicholas Sparks-esque outing. And then there’s Emma Thompson, turning in another period-piece take, this time in Jane Austen’s Sense and Sensibility. But thanks to her own beautifully written screenplay and Ang Lee’s incredible direction, Elinor Dashwood is a vision on the screen and one of Thompson’s best roles.

Report Card
Susan Sarandon (Dead Man Walking) – A
Elisabeth Shue (Leaving Las Vegas) – B+
Sharon Stone (Casino) – B-
Meryl Streep (The Bridges of Madison County) – A
Emma Thompson (Sense and Sensibility) – A-
My Choice: Susan Sarandon

The Winner: Frances McDormand (Fargo)

State of the Category: 1996 graced us with what could’ve been a series of sort of polarizing performances – both for their extremity and provocation. Beginning things, Brenda Blethyn is brilliant as the scatter-brained baby mama to a long-lost daughter in Secrets & Lies. Finding out after-the-fact that under Mike Leigh’s fantastic direction she improvised most of her lines and performance only heightens the depth of her abilities. Of course I adore Marvin’s Room, and Diane Keaton is clearly the movie’s heart. Some may call it a trifling family dramedy, but I’m inclined to give Keaton credit for making her sunny cancer victim a little less saintly than most. Frances McDormand is hysterical and a force as Marge Gunderson in Fargo. The accent and the persona is of course rather thick, but it’s heard to deny her the props she got for playing her aw shucks police officer with hidden emotional depth and wisdom. Who could play a central female romantic lead with such beauty and grace as Kristin Scott Thomas? Though Juliette Binoche tends to steal The English Patient, Scott Thomas is above average as Ms. Clifton in the epic drama – even if she’s often outshone by Binoche and Ralph Fiennes. Finally, plucky Emily Watson plays the sort of cuckoo wife of a paraplegic in Breaking the Waves. It’s increasingly difficult for me to jump on board with the “rah rah Lars Von Trier” bandwagon, and this movie is really no exception. Though Watson is good enough, the movie left me with little by way of worthwhileness, as its characters are so wispy and weird that it left a bad taste.

Report Card
Brenda Blethyn (Secrets & Lies) – A
Diane Keaton (Marvin’s Room) – A-
Frances McDormand (Fargo) – A
Kristin Scott Thomas (The English Patient) – B+
Emily Watson (Breaking the Waves) – B
My Choice: Brenda Blethyn

The Winner: Helen Hunt (As Good As It Gets)

State of the Category: In a year dominated by everything Titanic, Best Actress was one category that the epic blockbuster couldn’t manage to secure. Let’s take a look at how it all played out. Starting things off is the deft Helena Bonham Carter in probably her best performance in Wings of the Dove. While she’s fallen into a “weird pale chick” rut of late, this movie is a nice reminder that she can be utterly captivating in period dramas. She’s a deceptive and controlling beauty in what could’ve been a bland Henry James interpretation. Julie Christie’s still got it, as evidenced by her aging actress in Afterglow. Though the film suffered from truly obnoxious portrayals from the remainder of its four-person central cast, Christie is a beam of light in the sudsy affair-ridden drama. But she deserves better. Judi Dench channels her super-Brit tendencies to play Queen Victoria in Mrs. Brown. Though I much prefer her vindictive psycho in Notes on a Scandal to any of her historical roles, she’s typically fine. All in all, though, she’s definitely been better and more refreshing than in this over-long piece. For anyone who regularly reads my blog, you know that I’m always the first to herald my love of As Good As It Gets. If I had to pick its weakest point, though, it would be this category’s winner Helen Hunt. It’s an important cog to the central story, of course, but her long-suffering single mom is unimpressively one-note at times. Finally, Kate Winslet does her best to bring some actorly performing to the big, effects-driven Titanic as snobby Rose Dewitt-Bukater. It’s not her most seasoned performance (see Eternal Sunshine or Little Children for that), but Rose is a great central character, and its the most respectable performance in the movie.

Report Card
Helena Bonham Carter (Wings of the Dove) – A-
Julie Christie (Afterglow) – B
Judi Dench (Mrs. Brown) – B-
Helen Hunt (As Good As It Gets) – B-
Kate Winslet (Titanic) – B+
My Choice: Helena Bonham Carter

The Winner: Gwyneth Paltrow (Shakespeare in Love)

State of the Category: In the year of film adaptations involving Queen Elizabeth I, it’s pleasing to know that beyond those two period pieces were some adept performances from other capable women. As my personal favorite Elizabeth incarnation of 1998, Cate Blanchett is boyish and awfully good in Elizabeth. Thanks to a lack of glossing over of historical British royalty, Blanchett’s take on the much-loved lady is amiable but even sinister at times. In what I assumed would be a throwaway curmudgeon/child buddy flick, Fernanda Montenegro is a ray of light as Dora in Central Station. What sets her performance apart from less successful attempts at this role is her unwillingness to give up the character’s true nature – Dora grows, but she’s certainly stubborn about it. Gwyneth Paltrow is terrifically likable in Shakespeare in Love. It’s chockfull of silliness, which takes a little bit of its impressiveness away for me, but Paltrow is adorable nonetheless. Don’t call it Lifetime movie, because One True Thing is much more. Aside from its ability to render its viewers blubbering messes, it grants us the opportunity to see Meryl Streep play a disease-ridden super mom with so much poise and subtle tenderness that stereotypes are shattered. I’m simply a sucker for a talented performer igniting a tired role with such fire. And Emily Watson redeems herself in my eyes with Hilary and Jackie, as the real-life cellist Jacqueline du Pre. Her character’s descent into helplessness is truly a heartbreaker, and Watson keeps sentiment far away from it. Jackie isn’t a victim, and it’s because Watson says so.

Report Card
Cate Blanchett (Elizabeth) – A-
Fernanda Montenegro (Central Station) – A
Gwyneth Paltrow (Shakespeare in Love) – B+
Meryl Streep (One True Thing) – B+
Emily Watson (Hilary and Jackie) – B+
My Choice: Fernanda Montenegro

The Winner: Hilary Swank (Boys Don’t Cry)

State of the Category: Closing out the decade and following a stellar lineup like 1998’s is no easy task, and 1999 comes close but no cigar at its attempt. Annette Bening finally lands a much-deserved Lead Actress spot in the dark comedy American Beauty. She’s an intimidating pistol as the unhappy working wife looking for major change in her life, and to top it off, Bening has never looked better. In another buddy movie, this time a mother-daughter team, Janet McTeer is mesmerizing as the happy-go-lucky centerpiece of Tumbleweeds. The movie could’ve faltered toward mediocre in less capable hands, but McTeer is a ball of fire in a fine comedic performance. Julianne Moore is all grim and devastated in the overly blah The End of the Affair. The film suffers from a lack of any real gumption (or anything coming close to resembling it), so Moore is forced to trudge through the best she can. Stylistically speaking, Moore is breathtaking. Her performance, though, can’t genuinely rise above the troubled script. In probably her least deserving nomination of the bunch, Meryl Streep nonetheless is redeeming as a tentative music teacher in Music of the Heart. Everything else in the movie is fairly standard caricatures of the “inspiration flick,” but at least Streep’s Roberta is a little less picturesque. Finally, Hilary Swank shows us why she deserved the coveted golden guy in Boys Don’t Cry. Though I hate to throw around the term “brave,” her Brandon Teena/Teena Brandon is eerily spot-on. The gender-bending take on the troubled real-life story is so endearing that its ultimate series of events is completely heartbreaking, thanks mostly to Swank’s performance.

Report Card
Annette Bening (American Beauty) – A-
Janet McTeer (Tumbleweeds) – A
Julianne Moore (The End of the Affair) – C+
Meryl Streep (Music of the Heart) – B
Hilary Swank (Boys Don’t Cry) – A
My Choice: Hilary Swank

**Get those thoughts and qualms out in the comments and stay tuned for what’s coming up next: Best Lead Actress of the 1980s!