Sage Slowdive

Glenn Close in "Albert Nobbs"

2012-01-29T04:52:00.000+14:00

Glenn Close in "Fatal Attraction" - just saying it gets me giddy and excited, it is a perfect, entertaining performance, easily in the 20 best ever in this category. It is generally considered that Glenn Close should have an Oscar by this point. She really hasn't even been a major figure in the movies since 1990, but she managed to get traction this year for her performance as a sad woman disguising herself as a man so she can get work and start her own business.

Albert Nobbs is one weird movie. Just like the character, I'm never quite sure of the filmmaker's intentions, some scenes have an overwhelming sense of humor though I'm never sure if it was intentional or unintentional. The same can go for Close's performance, it's a bit theatrical, it's a bit too restrained to be touching, and it certainly doesn't help that for me, Glenn Close doesn't disappear into the part. There's always a lingering feeling of self-awareness that hangs over her - especially in some more mediocre scenes and the film is full of them.

I suppose her best scene is a moment of life and joyfulness on the beach quickly followed by an overwhelming sense of sadness - but it's still not a performance, by any means amazing, brilliant, or groundbreaking. But, I'm not sure if anyone could make this material work - it's just too weird and frankly, Glenn Close isn't the one to bring it above water.

Rooney Mara in "The Girl With The Dragon Tattoo"

2012-01-28T04:37:00.000+14:00

As Oscars have a thing for impersonations these days, they also have a thing for hot young women. Mostly with just who they choose to be the winner, but it is something that has been going on since the days of Gwenyth Paltrow. Rooney Mara doesn't really fit into that category - she's not what I would call drop dead gorgeous and her attitude during interviews certainly didn't fit the bill of someone trying to get a nomination. But, Oscar also has a thing for remakes - if last year's True Grit wasn't proof enough, this year The Girl With The Dragon Tattoo became the newest remake to allegedly stun the Academy. There's nothing wrong with the film itself, but why watch this one when you can watch a much better one and the original just in the Swedish language?

But, what Rooney Mara? I've already seen Noomi Rapace give this same character the screen treatment and in a very good way, she didn't hold anything back and brought a strong intensity to the character which was needed. Now we have Rooney Mara, an already limited actress, armed with an odd, almost unnecessary accent and the misguided intensity. In some scenes, she even copies the movements of Rapace, an odd move since many think this is not a remake. Playing the character of Lisbeth Salander, a hacker who helps out in a cold case, is a terrific role. But, Rooney Mara just doesn't do it for me. Everything about her is offputting and uninteresting here, and again that could just be the atmosphere around her, and the fact I've already seen someone pull this role off much more thoroughly.

What surprised me is how much she is in the film itself, she doesn't carry it and when she's off-screen, in my opinion, it feels alot better. But, alas, it's true - the Academy likes to make bad decisions and call it brilliant. Not everyone can be nominated, but just like in the Mila Kunis/Hailee Steinfeld case of last year, now we have Rooney Mara/any other actress in contention. Here we have a bordering on terrible performance, an unnecessary film, and a wasted nomination.

Meryl Streep in "The Iron Lady"

2012-01-27T07:44:00.000+14:00

Impersonations have become a thing of the major awards show today. In the past, lots of movies about Hollywood and politics were out, just not a major issue for filmmakers who could come up with original ideas for films. 1980 brought the first year the two lead actors won for playing real life people, they also happened to be two of the most deserving winners ever - so what's my point? Today, if you play someone who had any kind of sustainable celebrity power, whether it be Richard Nixon or Ray Charles or Leeann Tuhoy, you're almost guaranteed an Oscar nomination whether or not you deserved it or not.

Which brings me to Meryl Streep - out of her overwhelming 17 nominations, she has played 6 real life people (Karen Silkwood, Karen Blixen, Lindy Chamberlain, Susan Orlean, Julia Child, Margaret Thatcher). Most came in her peak of being a phenomenal actress, the latter two have came within the "give her a third Oscar NOW" era, and it's rather unfortunate. Yes, her Julia Child is bordering on terrible, and is constantly an impersonation - always watching Meryl Streep try to be Julia Child. Her performance in The Iron Lady is much different - she's playing the same card, she's doing the same thing, but she is working with more dramatic material and from the looks of it, learned her lesson.

Margaret Thatcher is already a controversial topic, and the movie is not some kind of patronizing look at her life, but Streep seems to know she isn't perfect or reasonably likeable, always playing her with a strong amount of annoying fierceness. Her best scenes are the old Thatcher holding onto her memories - a movie solely focusing on this would have been better because despite the makeup, Streep plays it with strong vulnerability and the right amount of sympathy to not sway a viewer like me. It's not an impersonation in these scenes, it's like going into her home and watching her loose her memory. Unfortunately, we have to deal with the parts of the film, including terrible scenes (cowardice comes to mind), but Streep makes a good impression with me.

It would be a weak Oscar win, but I wouldn't be totally insane if Meryl won for this performance. It's a strong interpretation, with some terrific moments as the older Thatcher...but if only the rest of it could have held up just the same.

"Actress In A Leading Role" 2011

2012-01-26T13:22:00.000+14:00

2011

And the Academy selected:

Glenn Close in Albert Nobbs
Viola Davis in The Help
Rooney Mara in The Girl With The Dragon Tattoo
Meryl Streep in The Iron Lady
Michelle Williams in My Week With Marylin

Osc...Ah, Who Cares...: Part Deux

2012-01-25T09:41:00.000+14:00

I've been very, very quiet lately, now it's time to bring back Mo'Nique!

I don't expect much from the Academy these days - it used to be they were as uninvolved as they could get. Unfortunately and surprisingly the Golden Globes have become a better awards show in terms of who they give their awards and nominations too. The Academy chooses to be different now, almost like they have to give you surprises so you will tune in, only to find the frontrunners taking their expected awards. This year brought all kinds of 'surprises' and bringing myself back to the Golden Globes, they usually give odd nominations to people for their career - welcome to this years Oscars.

People do not like seeing penises...

Best Actor is a total wasteland, having only missed out on A Better Life. George Clooney will likely win a second undeserved Oscar for looking melancholy on-screen. Brad Pitt is the best of the group, proving he can be charismatic AND moving on-screen, which is something our future winner lacks seriously. I didn't particularly like Shame, mostly because it wasn't as shocking as I expected to be and sometimes a little shy about exploring it's topic, but Michael Fassbender arguably deserved the spot Ryan Gosling unfortunately missed out last year. Both risky roles, both raw and intense, and both snubbed. How laughable is Gary Oldman's nomination? Terrible...

Let's get right to it the worst part....


Mo'Nique's reaction to the two best performances of the year being snubbed.

The two best performances of the year (just like last year...) were again snubbed.

Charlize Theron gave the best performance of 2011 - her snub is egregious and completely, utterly disappointing. Watching her tackle black comedy was brilliant in itself. And before I cry, I'll move on too...

Oh my goodness, Academy. For what? Mimicry, Makeup (note the capital M) and whatever the hell Rooney Mara was supposed to be.

Supporting Actor is another wasteland, giving a career nomination to Max Von Sydow, over, I don't know, the great work of Albert Brooks? I'm still content with Christopher Plummer's future win - did we really need a Jonah Hill though? Absolutely not, but what can you expect.

Supporting Actress went according to what I expected. Melissa McCarthy was still a surprise...

So, I will review both Actress categories soon - not liking it, but it must be done.

Another Year Down

2011-12-26T03:55:00.000+14:00

2011 brought a number of personal changes and experiences in my life - this was also the year I met Glenda Jackson and watched all the Best Actress nominees, which I will eventually do some rambling review on the role of women in the Best Actress category, but until there is time for that, what about the future Oscar nominees?

The best thing about this year is all of the races are COMPLETELY UNPREDICTABLE. There is no clear frontrunners in any category (when was the last time this happened?) and the movies I have seen thus far have been unusually strong.

Here's who I think the Best Actress nominees will be:

And since I've already seen 3/5, I can safely say this lineup is incredible. The only other possible happening would be Glenn Close getting in over Charlize or Tilda, otherwise this is the lineup.

Also this year, I fell in love with a new actress, as I'm sure her 1,226 movies have made other people do:

"Actress In A Supporting Role" 1947

2011-12-15T09:38:00.000+14:00

1947

And the Academy selected:

Ethel Barrymore in The Paradine Case
Gloria Grahame in Crossfire
Celeste Holm in Gentleman's Agreement
Marjorie Main in The Egg and I
Anne Revere in Gentleman's Agreement

My Ranking:

5. Anne Revere as Mrs. Green in Gentleman's Agreement

Doing your usual shtick is fine, but receiving an Oscar nomination for it is ridiculous. Anne Revere plays Gregory Peck's mother this time around and couldn't be more boring even if she tried. If Gregory Peck wasn't so bad, she may just be worse, but as it is, this is another one of those waste of a nomination and Revere is doing nothing she hadn't done on-screen before.

4. Celeste Holm as Anne Dettrey in Gentleman's Agreement

The performance can be captivating for most people, but for me, she's on the same level as Anne Revere. It's a totally useless performance, only saved by Holm's own acting instincts which shine through sometimes. The part doesn't offer her anything, besides being something pretty shocking for the time - a head magazine editor, but other then that, it's as dry and boring as anything can get.

3. Gloria Grahame as Ginny in Crossfire

Crossfire is pretty much on the same level as Gentleman's Agreement - but Gloria Grahame manages to make the most out of her limited part. Ginny is the catalyst to the mystery and Grahame shows how much mystery she can actually inject into the part. It's flashy and gritty at the same time, but not always amazing. Grahame surely has some overdramatic moments that could have been handled very differently. Still, it's a nice, good, mysterious performance.

2. Ethel Barrymore as Lady Sophie Horfield in The Paradine Case

Ethel Barrymore once again takes another small role and becomes a true standout. Here she plays the wife of the trail judge who is obviously mentally detached. It's hard to say if that's what's wrong with her or if she is just exhausted. Whatever the case, Barrymore fills the screen with such intrigue, such uniqueness, that another actress possibly could have misstep along the way. It's a terrific, intriguing performance that truly standouts.

1. Marjorie Main as Ma Kettle in The Egg and I

I nearly gave Ethel Barrymore the win, but Marjorie Main is simply too irresistible. She totally steals her film away from star Claudette Colbert, simply by appearing on-screen - she would later make this character her shtick, but here, it's completely fresh and engaging without ever seeming cliched, which is astonishing since this downhome humor can quickly be redid over and over again. So for what it's worth, I think Main gives a terrific comedic performance, full of rich characterization.

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Honorable Omissions: None.

"Actress In A Supporting Role" 2003

2011-12-09T12:47:00.000+14:00

2003

Shohreh Aghdashloo in House of Sand and Fog
Patricia Clarkson in Pieces Of April
Marcia Gay Harden in Mystic River
Holly Hunter in Thirteen
Renee Zellweger in Cold Mountain

My Ranking:

5. Patricia Clarkson as Joy Burns in Pieces Of April

A total waste of a nomination. Joy Burns is mostly around to give quirky one-liners and try to ease up a road trip. It's amazing in this day and time (and considering how 'loud' the winner was) that such an unspectacular, forgettable performance could be in contention for an Oscar. There is simply nothing to note, write, or reward her for.

4. Shohreh Aghdashloo as Nadi in House of Sand and Fog

The performance is simply not moving, and the main cause for this for me is Aghdashloo herself. She brings no realistic humanity to the character of Nadi - simply letting her shriek and look depressed with the downplaying of her eyeballs. And since she isn't on-screen for a huge deal of time, she squanders it and wastes what could have been a deep, compelling performance.

3. Renee Zellweger as Ruby Thewes in Cold Mountain

It's not a particularly good performance, me as a viewer is always aware I'm watching Renee Zellweger act, but it is enjoyable for the most part. The loudness and over the top characterizations are what kill it, but also make it fairly watchable. I happen to like this film, no matter what the casting of the main actors, and Zellweger falls into that mix. She's not great, just watchable in a good movie.

2. Holly Hunter as Melanie Freeland in Thirteen

This movie drives me up the wall, and Holly Hunter's performance nearly falls right into that. She's such a good actress, she takes the awfulness around her and turns it into her favor. It's still a performance I'm mixed on, but her good moments overcome any reactions I had on it earlier in the film. It's mostly a testament to her true talent for acting.

1. Marcia Gay Harden as Celeste Boyle in Mystic River

In a very easy win, Marcia Gay Harden is perfection in Mystic River. Playing perhaps the most pivotal character, she changes the course of the film within moments she begins unravel the mysteries that have haunted her for a few days. Harden brilliantly handles the character, making her a bit naive but unknowingly in control of the situation. And her final scene kills me everytime, her running down the street is the heart of Mystic River.

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Honorable Omissions: None.

My Ranking Of Best Supporting Actress (so far...)

2011-12-04T05:02:00.000+14:00

Ruth Gordon in Rosemary's Baby (1968)
Eileen Heckart in Butterflies Are Free (1972)
Olivia de Havilland in Gone With The Wind (1939)
Abigail Breslin in Little Miss Sunshine (2006)
Catherine Burns in Last Summer (1969)
Lee Grant in Shampoo (1975)
Carolyn Jones in The Bachelor Party (1957)
Karen Black in Five Easy Pieces (1970)
Rinko Kikuchi in Babel (2006)
Dianne Wiest in Hannah and Her Sisters (1986)
Hattie McDaniel in Gone With The Wind (1939)
Geena Davis in The Accidental Tourist (1988)
Beatrice Straight in Network (1976)
Julianne Moore in The Hours (2002)
Adriana Barraza in Babel (2006)
Julianne Moore in Boogie Nights (1997)
Estelle Parsons in Bonnie and Clyde (1968)
Katharine Ross in The Graduate (1968)
Jessica Tandy in Fried Green Tomatoes (1991)
Angelina Jolie in Girl, Interrupted (1999)
Lorraine Bracco in Goodfellas (1990)
Dame May Whitty in Night Must Fall (1937)
Amy Adams in Doubt (2008)
Cate Blanchett in Notes On A Scandal (2006)
Virginia Madsen in Sideways (2004)
Viola Davis in Doubt (2008)
Jodie Foster in Taxi Driver (1976)
Eileen Heckart in The Bad Seed (1956)
Dyan Cannon in Bob & Carol & Ted & Alice (1969)
Dianne Wiest in Bullets Over Broadway (1994)
Marisa Tomei in My Cousin Vinny (1992)
Dianne Wiest in Parenthood (1989)
Angelica Huston in Prizzi's Honor (1985)
Piper Laurie in Carrie (1976)
Diane Ladd in Alice Doesn't Live Here Anymore (1974)
Anne Archer in Fatal Attraction (1987)
Edith Evans in Tom Jones (1963)
Marisa Tomei in The Wrestler (2008)
Thelma Ritter in Pickup On South Street (1953)
Mildred Dunnock in Baby Doll (1956)
Geraldine Page in Pete N' Tillie (1972)
Susan Tyrell in Fat City (1972)
Lynn Carlin in Faces (1968)
Bonita Granville in These Three (1936)
Anjelica Huston in Enemies: A Love Story (1989)
Shelley Winters in A Patch Of Blue (1965)
Joyce Redman in Tom Jones (1963)
Jeannie Berlin in The Heartbreak Kid (1982)
Kathy Bates in Primary Colors (1998)
Mary Ure in Sons and Lovers (1960)
Diane Cilento in Tom Jones (1963)
Jane Fonda in On Golden Pond (1981)
Meryl Streep in Adaptation (2002)
Joan Hackett in Only When I Laugh (1981)
Anne Baxter in The Razor's Edge (1946)
Miranda Richardson in Damage (1992)
Lena Olin in Enemies: A Love Story (1989)
Ethel Barrymore in The Spiral Staircase (1946)
Geraldine Fitzgerald in Wuthering Heights (1939)
Sylvia Miles in Farewell, My Lovely (1975)
Gladys Cooper in The Song Of Bernadette (1943)
Valentina Cortese in Day For Night (1974)
Glenn Close in The World According To Garp (1982)
Barbara Bel Geddes in I Remember Mama (1948)
Shirley Jones in Elmer Gantry (1960)
Helen Hayes in Airport (1970)
Eva Le Galienne in Resurrection (1980)
Ronee Blakely in Nashville (1975)
Jessica Lange in Tootsie (1982)
Gladys Cooper in Now, Voyager (1942)
Lee Grant in The Landlord (1970)
Whoopi Goldberg in Ghost (1990)
Ruth Gordon in Inside Daisy Clover (1965)
Tersea Wright in Mrs. Miniver (1942)
Terri Garr in Tootsie (1982)
Claire Trevor in Dead End (1937)
Marisa Tomei in In The Bedroom (2001)
Meg Tilly in Agnes Of God (1985)
Cathy Moriarty in Raging Bull (1980)
Wendy Hiller in Separate Tables (1958)
Cate Blanchett in The Aviator (2004)
Cara Williams in The Defiant Ones (1958)
Michelle Pfieffer in Dangerous Liaisons (1988)
Natalie Wood in Rebel Without A Cause (1955)
Maureen Stapleton in Lonelyhearts (1958)
Claire Trevor as Key Largo (1948)
Oprah Winfrey in The Color Purple (1985)
Mary Astor in The Great Lie (1941)
Kathy Bates in About Schmidt (2002)
Lee Grant in Voyage Of The Damned (1976)
Colette Marchand in Moulin Rouge (1952)
Kim Stanley in Frances (1982)
Marisa Pavan in The Rose Tattoo (1955)
Tersea Wright in The Little Foxes (1941)
Ethel Barrymore in None But The Lonely Heart (1944)
Betsy Blair in Marty (1955)
Chloe Sevingy in Boys Don't Cry (1999)
Shelley Winters in The Diary Of Anne Frank (1959)
Melinda Dillon in Absence Of Malice (1981)
Olympia Dukakis in Moonstruck (1987)
Ann Blyth in Mildred Pierce (1945)
Jacki Weaver in Animal Kingdom (2010)
Janet Leigh in Psycho (1960)
Katina Paxinou in For Whom The Bell Tolls (1943)
Goldie Hawn in Cactus Flower (1969)
Queen Latifah in Chicago (2002)
Dorothy Malone in Written On The Wind (1956)
Glynis Johns in The Sundowners (1960)
Jennifer Tilly in Bullets Over Broadway (1994)
Angela Lansbury in The Picture Of Dorian Gray (1945)
Brenda Fricker in My Left Foot (1989)
Gale Sondergaard in Anthony Adverse (1936)
Kate Winslet in Iris (2001)
Estelle Parsons in Rachel, Rachel (1968)
Margaret Rutherford in The VIPS (1963)
Anne Revere in The Song Of Bernadette (1943)
Edna Mae Oliver in Drums Along The Mohawk (1939)
Ellen Corby in I Remember Mama (1948)
Margaret Avery in The Color Purple (1985)
Patricia Collinge in The Little Foxes (1941)
Joan Plowright in Enchanted April (1992)
Eileen Brennan in Private Benjamin (1980)
Geraldine Page in Hondo (1953)
Norma Alejandro in Gaby: A True Story (1987)
Susannah York in They Shoot Horses, Don't They (1969)
Jean Simmons in Hamlet (1948)
Sophie Okonedo in Hotel Rwanda (2004)
Terry Moore in Come Back, Little Sheba (1952)
Dame May Whitty in Mrs. Miniver (1942)
Mary Steenburgen in Melvin and Howard (1980)
Sondra Locke in The Heart Is A Lonely Hunter (1968)
Anne Shirley in Stella Dallas (1937)
Thelma Ritter in Pillow Talk (1959)
Shelley Winters in The Poseidon Adventure (1972)
Laura Linney in Kinsey (2004)
Maureen Stapleton in Airport (1970)
Hope Lange in Peyton Place (1957)
Annette Bening in The Grifters (1990)
Amy Adams in The Fighter (2010)
Jennifer Jones in Since You Went Away (1944)
Diane Varsi in Peyton Place (1957)
Sigourney Weaver in Working Girl (1988)
Joan Lorring in The Corn Is Green (1945)
Joyce Redman in Othello (1965)
Sylvia Miles in Midnight Cowboy (1969)
Shirley Knight in The Dark At The Top Of The Stairs (1960)
Gloria Stuart in Titanic (1997)
Thelma Ritter in With A Song In My Heart (1952)
Lily Tomlin in Nashville (1975)
Hermione Bladdley in Room At The Top (1959)
Juliette Lewis in Cape Fear (1991)
Jennifer Connelly in A Beautiful Mind (2001)
Jo Van Fleet in East Of Eden (1955)
Juanita Moore in Imitation Of Life (1959)
Patty McCormack in The Bad Seed (1956)
Catherine Zeta Jones in Chicago (2002)
Helen Mirren in The Madness Of King George (1994)
Eve Arden in Mildred Pierce (1945)
Donna Reed in From Here To Eternity (1953)
Paulette Goddard in So Proudly We Hail! (1943)
Judi Dench in Shakespeare In Love (1998)
Beulah Bondi in The Gorgeous Hussy (1936)
Anne Ramsey in Throw Momma From The Train (1987)
Susan Peters in Random Harvest (1942)
Agnes Moorehead in The Magnificent Ambersons (1942)
Mercedes Ruehl in The Fisher King (1991)
Lynn Redgrave in Gods and Monsters (1998)
Susan Kohner in Imitation Of Life (1959)
Maggie Smith in Gosford Park (2001)
Amy Madigan in Twice In A Lifetime (1985)
Toni Collette in The Sixth Sense (1999)
Joan Cusack in In and Out (1997)
Agnes Moorehead in Johnny Belinda (1948)
Martha Hyer in Some Came Running (1958)
Alice Brady in My Man Godfrey (1936)
Peggy Lee in Pete Kelly's Blues (1955)
Lila Skala in Lilies Of The Field (1963)
Agnes Moorehead in Mrs. Parkington (1944)
Sally Kellerman in MASH (1970)
Maggie Smith in A Room With A View (1986)
Melissa Leo in The Fighter (2010)
Leslie Ann Warren in Victor/Victoria (1982)
Catherine Keener in Being John Malkovich (1999)
Rachel Griffiths in Hilary and Jackie (1998)
Maggie Smith in Othello (1965)
Flora Robson in Saratoga Trunk (1946)
Madeline Kahn in Blazing Saddles (1974)
Kate Nelligan in The Prince Of Tides (1991)
Lucile Watson in Watch On The Rhine (1943)
Vanessa Redgrave in Howard's End (1992)
Gale Sondergaard in Anna and The King Of Siam (1946)
Jean Hagan in Singin' In The Rain (1952)
Margaret Wycherly in Sergeant York (1941)
Mildred Natwick in Barefoot in The Part (1967)
Helen Mirren in Gosford Park (2001)
Diana Scarwid in Inside Moves (1980)
Elizabeth McGovern in Ragtime (1981)
Helena Bonham Carter in The King's Speech (2010)
Natalie Portman in Closer (2004)
Tess Harper in Crimes Of The Heart (1986)
Piper Laurie in Children Of A Lesser God (1986)
Alice Brady in In Old Chicago (1937)
Ann Sothern in The Whales Of August (1987)
Uma Thurman in Pulp Fiction (1994)
Beah Richards in Guess Who's Coming To Dinner (1967)
Rosemary Harris in Tom and Viv (1994)
Mary McDonnell in Dances With Wolves (1990)
Maureen Stapleton in Reds (1981)
Diane Ladd in Wild At Heart (1990)
Lillian Gish in Duel In The Sun (1946)
Anne Revere in National Velvet (1945)
Grace Kelly in Mogambo (1953)
Samantha Morton in Sweet and Lowdown (1999)
Peggy Cass in Auntie Mame (1958)
Angela Lansbury in Gaslight (1944)
Aline McMahon in Dragon Seed (1944)
Sara Allgood in How Green Was My Valley (1941)
Minnie Driver in Good Will Hunting (1997)
Jane Alexander in All The President's Men (1976)
Marjorie Rambeau in Torch Song (1953)
Maria Ouspenskaya in Love Affair (1939)
Peggy Wood in The Sound Of Music (1965)
Judy Davis in Husbands and Wives (1992)
Ingrid Bergman in Murder On The Orient Express (1974)
Diane Ladd in Rambling Rose (1991)
Maria Ouspenskaya in Dodsworth (1936)
Penelope Cruz in Vicky Christina Barcelona (2008)
Taraji P. Henson in The Curious Case Of Benjamin Button (2008)
Frances McDormand in Mississippi Burning (1988)
Hailee Steinfeld in True Grit (2010)
Andrea Leeds in Stage Door (1937)
Mercedes McCambridge in Giant (1956)
Kay Medford in Funny Girl (1968)
Julia Roberts in Steel Magnolias (1989)
Brenda Blethyn in Little Voice (1958)
Elsa Lanchester in Witness For The Prosecution (1957)
Mary Elizabeth Mastrantonio in The Color Of Money (1986)
Talia Shire in The Godfather Part 2 (1974)
Miyoshi Umeki in Sayonara (1957)
Joan Cusack in Working Girl (1988)
Kim Basinger in L.A. Confidential (1997)
Jennifer Hudson in Dreamgirls (2006)
Gloria Grahame in The Bad and The Beautiful (1952)
Carol Channing in Thoroughly Modern Millie (1967)
Brenda Vaccaro in Jacqueline Susann's Once Is Not Enough (1975)

"Actress In A Supporting Role" 2002

2011-11-26T16:27:00.000+14:00

2002

And the Academy selected:

Kathy Bates in About Schmidt
Queen Latifah in Chicago
Julianne Moore in The Hours
Meryl Streep in Adaptation
Catharine Zeta-Jones in Chicago

My Ranking:

5. Catharine Zeta-Jones as Velma Kelly in Chicago

It's the flashiest part this year, but also holds the distinction of being the weakest. Catharine Zeta-Jones playing the murderess superstar/uber-bitch Velma Kelly. The problem with the performance is how superficial and surprisingly unconvincing and boring Jones is. It's perhaps more of Chicago and her director's fault, but Renee Zellweger was able to overcome this limitations, why not Jones? There's just not a ton of effort at hand and not alot of talent to be found either.

4. Queen Latifah as Mama Morton in Chicago

Some of the same limitations are also found in Queen Latifah's performance as the tough and occasionally funny head matron Mama. Latifah's own distinct (if cliched) acting style mostly helps her out, relying on wisecracks which usually works and is very well done, if again, cliched and entirely expected. Still, a nice, entertaining performance that Queen Latifah carries.

3. Kathy Bates as Roberta Hertzel in About Schmidt

It's amazing how much better and deeper Kathy Bates gets on a review of About Schmidt. It's an extremely brief performance but it shows how Bates became such a famous character actress, who can quickly turn a small part into a memorable part of the film. Here, her Roberta is a quirky extreme creation and she lights up the screen with her comedic timing and delivers a terrific and surprising performance. It's more then a nude scene :)

2. Meryl Streep as Susan Orlean in Adaptation

Adaptation is such an odd film that a lesser actress could handle the small quirks and large neuroses of Susan Orlean terribly, but Meryl Streep obviously knew what she was doing. Even when she is off-screen, I could feel her presence and was more interested in her then anyone else - the tenderness of Susan and the quick, initial way she handles new found romance is amazing. It only shows how Streep can take a tricky part and makes the best out of what she is given.

1. Julianne Moore as Laura Brown in The Hours

It's such an epic performance, bursting full of emotions and showing the true, sometimes underrated talent of Julianne Moore. The depressed and suicidal 50s' housewife Laura Brown is my favorite part of The Hours, mostly because of Julianne Moore - she handles everything so excellently, so imaginatively, I fell totally under her spell. Lots of layers and tons of depth turn this performance into pure and terrific gold.

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Honorable Omissions: None.

"Actress In A Supporting Role" 1991

2011-11-18T14:10:00.000+14:00

1991

Diane Ladd in Rambling Rose
Juliette Lewis in Cape Fear
Kate Nelligan in The Prince Of Tides
Mercedes Ruehl in The Fisher King
Jessica Tandy in Fried Green Tomatoes

My Ranking:

5. Diane Ladd as Mother Hillyar in Rambling Rose

Like the year previous, Diane Ladd emerges as the weakest in her field playing the domineering, sweet spirit known as Mother in Rambling Rose. Some overacting and constant search of character (even though it always seems she knows what she is doing) causes this performance to be all over the place. Some might like her overacting but not this reviewer.

4. Kate Nelligan as Lila Wingo Newbury in The Prince Of Tides

Another performance all over the place is Kate Nelligan's performance as Nick Nolte's dominating mother Lila. It's not as bad as Diane Ladd but this particular performance has alot more boring elements added, especially in the younger scenes where I could fall asleep just thinking about it. She's a bit more tolerable playing an old woman, but again, there's that element of why should I care?

3. Mercedes Ruehl as Anne Napiltano in The Fisher King

Mercedes Ruehl winning performance doesn't pack the punches one probably would expect with such a hyped performance. A not so interesting character, playing the fiery and put upon girlfriend of Jeff Bridges. In some scenes, there's a hint of staleness that's apparent and the constant attitude of her character gets tiresome extremely fast. Her breakdown in the end is hardly worthy of an Oscar, and neither is the rest of her performance.

2. Juliette Lewis as Danielle Bowdon in Cape Fear

Juliette Lewis would probably get a better rating from me had there been more development of her character Danielle. Through many scenes (especially the early seduction at school) she shows the potential she has that was given to her, but much of it is squandered or just handled terribly. Later in the film, she becomes much more annoying and much more cliche, playing an angst-ridden teenager. So much possible, but so little done.

1. Jessica Tandy as Ninny Threadgoode in Fried Green Tomatoes

In this year, Jessica Tandy would handily been given an Oscar for her witty, wise, and terrific performance as the narrator of the film Ninny who takes us through two journeys, old ones and new ones. It's amazing how she takes the littlest role of the film and makes it the most important - it could have been played so many different ways, but Tandy is just a dominating screen presence that this performance becomes amazing, full of life, and full of wisdom. It's a completely original performance I am in love with.

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Honorable Omissions: None.

"Actress In A Supporting Role" 1981

2011-11-14T02:27:00.000+14:00

1981

And the Academy selected:

Melinda Dillon in Absence of Malice
Jane Fonda in On Golden Pond
Joan Hackett in Only When I Laugh
Elizabeth McGovern in Ragtime
Maureen Stapleton in Reds

My Ranking:

5. Maureen Stapleton as Emma Goldman in Reds

Maureen Stapleton had a long career, and she certainly was a good actress, but her career win for Reds is pathetic. Playing famous anarchist Emma Goldman, Stapleton blazes on-screen for what seems like 3 minutes throughout Reds 3 hours running time - she acts ferocious, smarter then everyone in sight, but for me, it's simply exhausting and extremely boring to sit and watch. She does nothing substainal with her runtime and her Oscar win can be thanked to her career and Reds overwhelming epic factor.

4. Elizabeth McGovern as Evelyn Nesbit in Ragtime

Ragtime is an obvious attempt to win someone an Oscar for something, unfortunately this kind of Oscar bait can be extremely tedious to watch. Elizabeth McGovern managed to get nominated for her portrayal of a manipulative woman who cannot be trusted no matter what she might claim to be. It's a pretty hard performance to explain to anyone since at the end of Ragtime, it's hard to remember what her purpose was in the film.

3. Melinda Dillon as Teresa in Absence Of Malice

Melinda Dillon appears in Absence of Malice with blazing, mysterious fury playing the supportive and protective friend of Paul Newman. Immediately emotionally drained, Teresa is depressed and holding onto her friendship with Newman as a possible way out of her depression. Dillon is absolutely terrific, finding every way possible to ignore the cliches that could have riddled her performance.

2. Joan Hackett as Toby in Only When I Laugh

I don't quite get the criticism Only When I Laugh receives since it features the most 'down to earth' dialogue Neil Simon wrote and 3 performances (in my opinion) that are very good. Joan Hackett plays the aging, vain Toby who is always criticizing her own looks when in reality she still looks young and is constantly trying to look newer or outdo herself. It's a funny role combined with serious intentions and Hackett really gets the perfect balance - floating between both and matching everyone else every step of the way.

1. Jane Fonda as Chelsea Thayer in On Golden Pond

Jane Fonda is playing on a very personal note in On Golden Pond, but she makes her performance incredibly realistic probably for this same reason. Chelsea has been places in life, accomplished many things, but still pining for the respect and love of her father. It's impossible to ignore, Fonda is maybe so good because it's so close to her life. But, nonethless, she is absolutely terrific delivering all she can give to a kind of empty part.

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Honorable Omissions: None.

"Actress In A Supporting Role" 1946

2011-11-11T17:29:00.000+14:00

1946

Ethel Barrymore in The Spiral Staircase
Anne Baxter in The Razor's Edge
Lillian Gish in Duel In The Sun
Flora Robson in Saratoga Trunk
Gale Sondergaard in Anna and The King Of Siam

My Ranking:

5. Lillian Gish as Laura Belle McCallanes in Duel In The Sun

This famous actresses' sole Oscar nomination is simply a joke. The nomination came with the fame of the film, not for Gish's career and when you watch the film you noticed how odd that seems. She does nothing significant in her screentime besides being about as versatile as a piece of metal. Sure she can use what comes natural to an actress like this, but she hardly makes an impact of any kind, just a bizarre Oscar nomination to explain it.

4. Gale Sondergaard as Lady Tiyang in Anna and The King Of Siam

The kind of compassion and motherly love that was needed for this role was turned in for sophisticated line readings and scary cat grins, yes we are talking about Gale Sondergaard playing one of the wives of the king. With her very brief performance, Sondergaard plays her character with alot of invisible depth about how she loves her son so much. The whole performance feels like a misstep of something that the audience is always aware of.

3. Flora Robson as Angelique Buiton in Saratoga Trunk

A performance that ranks among the weirdest ever nomination, British actress Flora Robson as the chaperone of Ingrid Bergman in Saratoga Trunk. She adds nothing substantial in the movie, and she exaggerates most of her performance, but it's so weird that it is watchable. Again, it's not to say it's good but it sure is something otherworldly to watch. She has one good scene with Gary Cooper, but not one that is truly unforgettable.

2. Ethel Barrymore as Mrs. Warren in The Spiral Staircase

Ethel Barrymore has quickly become one of my favorite actresses, her schtick can become quickly annoying for some, but for me, she adds a new variation on everything she does. Here she plays the wealthy, but bed ridden Mrs. Warren, taking care of a mute girl who is being stalked. She provides the first big creepy scares in the beginning, warning the audience of impending doom. It's a totally engaging, beautifully frighting performance by a new favorite.

1. Anne Baxter as Sophie McDonald in The Razor's Edge

The Razor's Edge is not a good movie by any means, but Anne Baxter's tragic performance as Sophie surely outshines the entire thing. Pretty much, her performance can be described as heartbreaking from beginning to end, destined to be doomed in the beginning and destined to die in the end. She portrays her drunk character with alot of depth and characterization that makes her film nearly worthwhile. It's a magnificent performance that Baxter excels in.

---

Honorable Omissions: None.

The (Best Of) Honorable Omissions

2011-11-07T04:36:00.000+14:00

Since I'm totally slacking off and in serious writer's block, I figured I would try to cover some Honorable Omissions so far.

The Honorable Omissions section has long been a favorite thing of mine - yes, I have not seen every movie ever

made in every year, nor do I pretend to know this, but it's always the most blunt section of my reviews. When you see 5 nominees reviewed and you see me suddenly throw out some odd little actress in probably a odd little movie, it's a bold statement. The supporting category has let me down this go-round, but there are some ladies who have made a bold impression in this series of ranking. Here's my favorite 6 (yes, 6) so far:

6. Mila Kunis in Black Swan (2010)

There is something thoroughly haunting and engaging about Mila Kunis in Black Swan, and out of everyone about to be mentioned, she is the only one who came extremely close to actually being nominated (how she didn't is just as mysterious as her character).

5. Helena Kallianiotes in Five Easy Pieces (1970)

Playing super hippie bitch in one of my favorite movies ever, gives you a slight advantage, and mostly unknown actress Helena Kallianiotes is simply amazing in her constant criticizing and hippie blabbering.

4. Betsy Palmer in Friday The 13th (1980)

Yeah, some people might boggle their eyes at me (which doesn't bother me at all) but this remains one of the few performances that actually have the power to scare me. The first movie in this series remains the scariest because it is most explainable and terrifying. Palmer's take on a vengeful mother is terrific.

3. Judith Light in Save Me (2008)

I have a certain affection for characters like this (denying bitchy women who want things their way) but Judith Light's character is much more complex, justifying her brutal actions with the grace of God. This performance is shocking and heartbreaking at the same time.

2. Ann Noland in Best Friends (1974)

It's long been an inspiring performance in a movie that maybe doesn't deserve it, Ann Noland's emotional and ditzy performance of a lazy waif Jo Ella. Everytime she is on-screen, her screen power becomes more and more apparent and by the end, she makes a lasting impression no matter which way the viewer chooses to take it.

1. Mary Lynn Raskub in Mysterious Skin (2004)

Yes, there may be a bit of bias going on here, but this time I choose Mary Lynn Raskub as giving best Honorable Omissions performance so far. One part of the title refers specifically to her: she is a mystery.

She constantly challenges the viewer with her downhome manners, dowdy appearance, and weak limp. She is really only on-screen for about 10 minutes and disappears 1 hour into the film, but she leaves me utterly enchanted in this challenging, disturbing, and brilliant film.

"Actress In A Supporting Role" 1994

2011-11-01T14:40:00.000+14:00

1994

Rosemary Harris in Tom and Viv
Helen Mirren in The Madness Of King George
Uma Thurman in Pulp Fiction
Jennifer Tilly in Bullets Over Broadway
Dianne Wiest in Bullets Over Broadway

My Ranking:

5. Rosemary Harris as Rose Haigh-Wood in Tom and Viv

The woman couldn't be more lifeless if she was playing a robot - Rosemary Harris' dry performance as the quiet, dignified Rose Haigh-Wood is a testament to how bad Oscar bait can get. Sometimes I feel Oscar bait is alot more substantial then box office bait, but Tom and Viv is pointless and dreadfully boring. And so is Rosemary Harris who finds no life, light, depth, or any kind of direction in her performance.

4. Uma Thurman as Mia Wallace in Pulp Fiction

My problem with Uma Thurman's performance (and Pulp Fiction itself) is how calculated it is, nothing feels authentic and Tarantino's style is something that has always bothered me. Thurman holds her unusual (uninteresting) character together enough to make it through the film, but again, it's just a matter of taste and for me the performance is void of everything.

3. Helen Mirren as Queen Charlotte in The Madness Of King George

Another performance that is wildly dull, Helen Mirren's imperious performance as Queen Charlotte. There's not much to it, the Queen loves her crazy husband and tries to understand him even though the world around him is tumbling down. That's about it, besides have a few teary eyed predictable moments that are absolutely unmoving and unneeded.

2. Jennifer Tilly as Olive Neal in Bullets Over Broadway

Jennifer Tilly's performance isn't exactly a masterpiece or really that funny, but she is pretty good. Playing the ingenue of the play (and a gangster's moll) she has alot of moments where she could hit it out of the park, unfortunately for me, she misses most of the opportunities, but again, it's still a good, charming performance. She's actually above most of the cast for me.

1. Dianne Wiest as Helen Sinclair in Bullets Over Broadway

In the end, it was a hardly a contest. Dianne Wiest's performance as aging actress and diva extraordinaire Helen Sinclair is wickedly funny. She plays the part to perfection, milking every over-exaggerated diva line for all it's worth. The film would honestly be nothing without her - everytime she comes on-screen, the pace changes and becomes a bit magical. It's a terrific charming Woody Allen performance.

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Honorable Omissions: None.

"Actress In A Supporting Role" 1953

2011-10-31T06:02:00.000+14:00

1953

Grace Kelly in Mogambo
Geraldine Page in Hondo
Marjorie Rambeau in Torch Song
Donna Reed in From Here to Eternity
Thelma Ritter in Pickup On South Street

My Ranking:

5. Marjorie Rambeau as Mrs. Stewart in Torch Song

There's a point of doing nothing and receiving an Oscar nomination, here is a clear example. Marjorie Rambeau playing the drink swigging, wise cracking mother of Joan Crawford who only appears for about 6 or 7 minutes. There is nothing significant about her nor is she funny or touching as an all knowing mother, it's as if she received the nomination for simply walking on-screen and walking off.

4. Grace Kelly as Linda Nordley in Mogambo

Never a competent actress, Grace Kelly finds new way to look pretty on-screen in Mogambo playing an intelligent documentary filmmaker. All things are out of wack in this mess of a movie, but Kelly manages to be completely unconvincing especially when the camera demands her to be romantic, she couldn't be any more bad. There is not much to a Kelly performance, but it's excruciating here.

3. Donna Reed as Alma Burke/Lorraine in From Here To Eternity

Consistency is not the norm for this performance, Donna Reed playing a so-called prostitute Lorraine, who turns into a loving homebody named Alma once she meets Montgomery Clift. It's an unconvincing performance that has a touch of emotional power here and there, mostly being brought up by those around her making it all happen. She also suffers from being boring which is a problem for any performance, especially when you're playing a prostitute.

2. Geraldine Page as Angie Lowe in Hondo

Every Geraldine Page performance holds something unexpected and dynamic. Her problem playing a single mother on the frontier in Hondo is Hondo itself. It's such an awful vehicle for John Wayne to kill Indians, that not much good can be made out of it. Page is good, there is no doubt about it, but there is no depth whatsoever to her character, only what is supposed to be there. She makes it apparent, and all credit goes to her for even surviving to be at least good.

1. Thelma Ritter as Moe in Pickup On South Street

It was a bad year, so a win for Thelma Ritter was an easy way to go. Actually, her performance is not as totally amazing as most critics make it out to be - besides her final monologue, the rest of her performance doesn't totally live up to anything, just standard Thelma Ritter acting. But, her final scene is a masterpiece in it's own right, full of rich dialogue and perfect emotional reactions. It's the thing Oscars are made of, a perfect example, it could have been even more amazing had the rest of the performance had lived up to it.

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Honorable Omissions: None.

Congratulations Ruth!

2011-10-29T04:24:00.000+14:00

It's hard to stay on top of my blog, even from the get go, but my pick for the 1968 winner, Ruth Gordon, has managed to be my #1 for quite some time now, even through 215 performances. The supporting category has let me down this time around, alot of performances have gotten rotten ratings and just a few things have lived up to what it has used to be.

She's barely had any competition, except for a few young girls, now 4 time winner Olivia de Havilland, and a close second:

Eileen Heckart

"Actress In A Supporting Role" 2004

2011-10-27T04:48:00.000+14:00

2004

Cate Blanchett in The Aviator
Laura Linney in Kinsey
Virgina Madsen in Sideways
Sophie Okonedo in Hotel Rwanda
Natalie Portman in Closer

My Ranking:

5. Natalie Portman as Alice in Closer

Extremely interesting, Natalie Portman is just a wrong actress for the part. Alice, the mysterious stripper who is caught in the 4 way character narrative is a challenge for an actress because she is totally original and nothing like it has been seen. Unfortunately, all the cliches that escaped the writing, plagued Portman's characterization. When she cries, it's like a theater student trying their best to win over the audience, it's horrible. That coupled with the fact of the writing being so right and the performance so wrong, Portman just doesn't get anything right.

4. Laura Linney as Clara McMillen in Kinsey

Giving another interesting performance is Laura Linney playing the like-minded wife of Kinsey, Clara McMillen. But, like Natalie Portman, Laura Linney seems sort of out of place here, portraying Clara as a free minded woman who still seems a little conservative through all the sex talk her husband keeps throwing out. Linney plays a bland character trying to be the sex master that her husband is - it's alright, but not a particularly amazing performance.

3. Sophie Okonedo as Tatiana Rusesabagina in Hotel Rwanda

Sophie Okonedo's performance as the loving wife Tatiana is a role this category was made for. A loving, haunted wife supporting her strong, but conflicted husband no matter what. It's a flashy performance that isn't that long but Okonedo does made a good impression in her short time. Her big screaming scene is worth it, I just wish her performance had been a little more drawn out then it actually was.

2. Cate Blanchett as Katharine Hepburn in The Aviator

You really have to look at the performance of Cate Blanchett as biggest Oscar winner Katharine Hepburn on an entertainment level, not as an actual accurate depiction. As I find The Aviator to be a near masterpiece, Blanchett fits perfectly in with the brilliant fastpace of the film and provides some of the film's best moments. She does not look or sound like Katharine Hepburn in any which way, but what she does is give a great, entertaining performance to watch within the context of the film.

1. Virginia Madsen as Maya in Sideways

Right from the beginning, I knew Madsen would dominate this category and I was right. Her powerful, emotional, intelligent performance as Maya is the highlight of Sideways and shows her great chops as an actress. As soon as she appears, she becomes the focal-point and few supporting performances can totally dominate a film the way she does here. Her description of why she loves wine, her reliving the past, and her communication of love and humor to Paul Gimatti was more then deserving of an Oscar.

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Honorable Omissions: Mary Lynn Raskub in "Mysterious Skin", Lisa Long in "Mysterious Skin", Elisabeth Shue in "Mysterious Skin", Michelle Tractenburg in "Mysterious Skin", and Sandra Oh in "Sideways".

"Actress In A Supporting Role" 1943

2011-10-26T07:34:00.000+14:00

1943

And the Academy selected:

Gladys Cooper in The Song Of Bernadette
Paulette Goddard in So Proudly We Hail!
Katina Paxinou in For Whom The Bell Tolls
Anne Revere in The Song Of Bernadette
Lucile Watson in Watch On The Rhine

My Ranking:

5. Lucile Watson as Fanny Farrelly in Watch On The Rhine

Lucile Watson's rather shrill performance as Bette Davis' mother in Watch On The Rhine, is clearly a nomination that rode the wave of the film. For the majority of her performance, she sits around, bosses and makes bitchy comments to anyone who will listen to her - it's not my cup of tea and Watson doesn't make a totally large impression with her small part and shrill character.

4. Paulette Goddard as Lt. Joan O'Doul in So Proudly We Hail!

I would probably like this performance more if Paulette Goddard was a much more talented actress. The part of Lt. Joan offers an actress to be continually charming, even hints of sexiness, but Goddard is the wrong choice for such a character or maybe it's just because her performance feels entirely ineffective and misunderstood. Simply a performance that is ridden with problems.

3. Anne Revere as Louise Soubirous in The Song Of Bernadette

Another actress I couldn't care less about, but Anne Revere is helped out a great deal with having very good material. She's doing her usual shtick, but there is a little hint of something great going on behind her that usually held my attention with her. It's still not a perfect performance in any sense of the word, but Revere is still good enough to be noticeable in a film that tries to overshadow her.

2. Katina Paxinou as Pilar in For Whom The Bell Tolls

Sitting through this awful movie is nothing but a chore, but Katina Paxinou is able to create her own whirlwind by herself playing the man-like mountain fighter Pilar. I used to be sort of in love with this performance, but watching it again after all this time, she is sucked up in the mediocre environment of the film. I still think it's a totally interesting performance filled with surprising moments and great depth injected into a normally dry film. Just not a favorite performance of mine anymore.

1. Gladys Cooper as Sister Marie Therese Vauzous in The Song Of Bernadette

No one can play a mean authority figure like Gladys Cooper - here, a strict nun with jealous and bitter intentions constantly showing beneath her veil. She is always after Bernadette because she knows she has been chosen for the holy vision and not she, who feels it should have been her. It's kind of a small part, but Cooper makes such a big impression with her small screentime that it's hard to ignore her or not love the way she slips into this character with such fierceness.

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Honorable Omissions: None.

"Actress In A Supporting Role" 1989

2011-10-25T08:26:00.000+14:00

1989

And the Academy selected:

Brenda Fricker in My Left Foot
Anjelica Huston in Enemies: A Love Story
Lena Olin in Enemies: A Love Story
Julia Roberts in Steel Magnolias
Dianne Wiest in Parenthood

My Ranking:

5. Julia Roberts as Shelby Eatenton Latcherie in Steel Magnolias

Steel Magnolias is a pretty hideous movie, but the actresses mostly give it a bad name. All are either forced (or think they have too) to go completely over the top and this year's nominee is perhaps the worst. Roberts, an actress with little to no acting range, puts on a fake, doomed smile and horrible accent throughout until she is finally dead. Her emotional scenes are shaky, her happy moments are awful, and for the third time, that accent!

4. Brenda Fricker as Mrs. Brown in My Left Foot

I was surprised revisiting My Left Foot after several years at how unmoved I was with Brenda Fricker's performance as Christy Brown's mother. She is still the wonderful-to-watch tough mother who would do anything for her child, but there's just something so bland about it now. It feels like I've seen a ton of roles just like this and Fricker is doing just 'okay' work here.

3. Lena Olin as Masha in Enemies: A Love Story

Lena Olin plays a married woman Masha and one of the main character's lovers in Enemies: A Love Story. She typifies the usual New York lady, but Olin projects a perfect charm, a mysterious sexiness that sets her character apart from being the usual thing audiences would be used too. Lena Olin gives a surprisingly wonderful performance that sticks out as much as she stands out against the rest.

2. Anjelica Huston as Tamara Broder in Enemies: A Love Story

They are both on the same level, but Anjelica Huston's performance is just a bit better. Tamara Broder was the wife of the main character but was sent to the concentration camps and presumed dead. When she comes to New York and finds him, he's actually thought of as a ghost there to haunt him, and throughout the film, that's the way I always saw her. She floats around the film, haunting it, and bringing a depressing bit of charm that uplifts the film wonderfully.

1. Dianne Wiest as Helen Buckman in Parenthood

Perhaps no one can handle straight forward comedy and hard hitting drama as well as Dianne Wiest, and her performance as single mother Helen in Parenthood is even more proof. The movie is a complete failure, but Wiest is able to make the best of it - getting the witty lines, the emotional scenes, and alot of good screentime. One minute she has me laughing and completely moved in the next; it's a totally terrific performance from this talented actress.

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Honorable Omissions: None.

"Actress In A Supporting Role" 1939

2011-10-21T12:39:00.000+14:00

1939

And the Academy selected:

Olivia de Havilland in Gone With The Wind
Geraldine Fitzgerald in Wuthering Heights
Hattie McDaniel in Gone With The Wind
Edna May Oliver in Drums Along The Mohawk
Maria Ouspenskaya in Love Affair

My Ranking:

5. Maria Ouspenskaya as Grandmother Janou in Love Affair

She's an exotic legend, but her two nominations were received for doing absolutely nothing. Her grandmother of Charles Boyer is a sweet creation, she appears in the middle, and disappears after 5 minutes of her just acting a bit senile and reminiscence of her youth. It's an interesting part but hardly one that deserved an Oscar nomination.

4. Edna May Oliver as Sarah McKlennar in Drums Along The Mohawk

In a movie that is downright awful and should be avoided at all costs, Edna May Oliver emerges as the best part of it, playing pioneer woman Sarah McKlennar. It's a bold, loud, and sometimes ridiculous performance that she handles incredibly well. She may void of any depth, but she gives a fun performance where she is mostly hilarious and evokes spirit into her spiritless film.

3. Geraldine Fitzgerald as Isabella Linton in Wuthering Heights

In the moody atmosphere of Wuthering Heights, Geraldine Fitzgerald's Isabella emerges as perhaps the most doomed and pathetic character of the story. At first, a rich girl too good for Heathcliff and finally his put upon wife whom she knows will never love her. It is a most terrific part where she conveys the feelings of a pathetic character wonderfully. She mesmerizes me almost everytime she's on-screen.

2. Hattie McDaniel as Mammy in Gone With The Wind

Gone With The Wind would be a different film without the caring, funny, and compassionate Mammy performed by Hattie McDaniel. At first glance, it is a typical slave role, but McDaniel adds the incredibly right amount of charm and humanity that frees it from being a total cliche. Every scene, she nails Mammy's dominance over Scarlett O'Hara whether she knows it or not. A magnificent performance incredibly worthy of her Oscar.

1. Olivia de Havilland as Melanie Wilkes in Gone With The Wind

But it is Olivia de Havilland's large, grand performance as the impossibly nice Melanie that gets my vote this year. She's 'too good too be true' and throughout she shows how Melanie's kindness forces her to sacrifice more then anyone. De Havilland does masterful work, edging around the fact that Melanie could be taken more then one way - instead we get the impossibly nice woman, with a sacrificing side who will do anything out of her kindness. A masterpiece of a performance and one of the best parts of Gone With The Wind.

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Honorable Omissions: Butterfly McQueen in "Gone With The Wind", Ona Munson in "Gone With The Wind", and Margaret Hamilton in "The Wizard Of Oz".

"Actress In A Supporting Role" 1948

2011-10-17T02:09:00.000+14:00

1948

And the Academy selected:

Barbara Bel Geddes in I Remember Mama
Ellen Corby in I Remember Mama
Agnes Moorehead in Johnny Belinda
Jean Simmons in Hamlet
Claire Trevor in Key Largo

My Ranking:

5. Agnes Moorehead as Aggie McDonald in Johnny Belinda

Agnes Moorehead does her usual tough woman act as aunt Aggie McDonald in Johnny Belinda. The part is sort of annoying and Moorehead surely doesn't move the movie or standout among the cast. It's as simple as saying there just isn't enough development in Aggie to make her an interesting character even if it is a quirky part.

4. Jean Simmons as Ophelia in Hamlet

Jean Simmons' performance as the classic Ophelia is one that is mostly mediocre but completely saved by a set of brilliant scenes. She plays the character is a usual, innocent, naive way - she's not spectacular in any sense of the word, but she has spectacular scenes. Namely, the ending is brilliant (the mix and filmmaking and Simmons) that alone deserves some kind of award, but the rest of her performance unfortunately does not match that.

3. Ellen Corby as Aunt Trina in I Remember Mama

Another aunt, but Ellen Corby's performance as Aunt Trina is alot more quirky, interesting, and more engaging then Agnes Moorehead. With such a strange performance it's easy for her performance to quickly be dismissed - the way Aunt Trina handles herself is quite odd, but Corby certainly makes her interesting. It may not be a terrific performance but Corby makes the absolute best with her character.

2. Claire Trevor as Gaye Dawn in Key Largo

Claire Trevor's performance as drunk Gaye Dawn is quite an accomplishment. She never truly goes over the top with her exaggerated gangster moll, pulling the right cliches out and making them her advantage throughout the performance. It's too much of a small part, a bit awkward too, but she certainly gives one great performance no matter what. She also has the best moment in the film with her reminiscence of singing in a club.

1. Barbara Bel Geddes as Katrin in I Remember Mama

There's something about Barbara Bel Geddes that makes her totally endearing. Her performance as the daughter Katrin almost outshines everyone else on-screen - a sweet performance, full of moments where Bel Geddes gets the best of her character. Sentimentality is usually not my cup of tea, but if anyone can move me, it's her in this performance. It's a terrific performance that constantly emerges in my mind after the film is over.

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Honorable Omissions: None.

"Actress In A Supporting Role" 1967

2011-10-10T06:37:00.000+14:00

1967

And the Academy selected:

Carol Channing in Thoroughly Modern Millie
Mildred Natwick in Barefoot in The Park
Estelle Parsons in Bonnie and Clyde
Beah Richards in Guess Who's Coming To Dinner
Katherine Ross in The Graduate

My Ranking:

5. Carol Channing as Muzzy Van Hossmere in Thoroughly Modern Millie

Awful, just awful. Words cannot describe the terrible performance Carol Channing gives. Muzzy is all over the place because of Channing, instead of being zany, she is just weird, playing off the fact that she is an odd performer showing how odd she really is. No depth, nothing funny, just tons of weird facial expressions and bizarre line readings.

4. Beah Richards as Mary Prentice in Guess Who's Coming To Dinner

Beah Richards performance is mostly her standing around, giving the same kind of looks Katharine Hepburn gives, except Richards is no Hepburn. Her readings of otherwise nice monologues are well overplayed by Richards who sometimes goes over the top and sometimes doesn't even seem to be trying. A hard feat for a performer who maybe only has 10 minutes to prove something like this. She looks constantly glazed and her performance feels more of a 'why not' then anything else.

3. Mildred Natwick as Ethel Banks in Barefoot In The Park

Barefoot In The Park is surely a dry exercise for everyone involved, but the nomination for Natwick is puzzling. Playing the mother of Jane Fonda, she does have alot of screentime, but it's how Natwick chooses to not take any chances or make a splash with her 'winded' old lady role. She is actually the most boring part of the film for me, at least Redford and Fonda are a bit of charming in their main storyline, when the film focuses on Natwick is becomes winded just like her character. A mediocre performance at best.

2. Katherine Ross as Elaine Robinson in The Graduate

If anything, she is amazing, fleshes out many things in her time as Elaine Robinson. Of course she has great material on her side, but Ross evokes the true spirit of her character with naive sensibility and jaded spirit in her course of the latter part of the film. She becomes the second part of the film in many ways, while Anne Bancroft dominates the first half. It is a magnifcently great performance that fits in wonderfully with her film.

1. Estelle Parsons as Blanche Barrow in Bonnie and Clyde

I came extremely close to picking Ross this time around, but Estelle Parsons is still just as wonderful and brilliant no matter how many times I see her. Most of the time, she is just funny - others she can be as touching as a performance can get whether it is her hypocritical feelings or her hopelessness towards the end. It will annoy many but not this viewer who finds her enchanting.

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Honorable Omissions: None.

"Actress In A Supporting Role" 1972

2011-10-06T16:32:00.000+14:00

1972

And the Academy selected:

Jeannie Berlin in The Heartbreak Kid
Eileen Heckart in Butterflies Are Free
Geraldine Page in Pete N' Tillie
Susan Tyrell in Fat City
Shelley Winters in The Poseidon Adventure

My Ranking:

5. Shelley Winters as Belle Rosen in The Poseidon Adventure

Shelley Winters was the only cast-member to be noticed by the Academy for her sentimental role as former swimming champ Belle Rosen. Really Winters' role can be cut between two parts: the ongoing, nice older lady and her heroic moment where she saves Gene Hackman and then dies. There's not coherently wrong with her performance, it's nice, there's just not much to it.

4. Jeannie Berlin as Lila in The Heartbreak Kid

Well, Jeannie Berlin's performance is certainly exaggerated but that is entirely the point of her character Lila. She's a Jewish newlywed with a high pitched, unnerving voice who makes a pig out of herself when she eats and annoys her new husband endlessly. She is wildly funny in her annoyance, there's not really any wisecracks or anything like that, just pure annoyance that becomes funny once you get used to it.

3. Susan Tyrell as Oma in Fat City

Susan Tyrell's subtle, lovely work as alcoholic Oma is a great achievement. She enters the film ready to be a tired cliche, but the way the character is written and the way Tyrell handles it is quite wonderful. She never takes the usual steps with Oma, a character who is constantly wondering what could be. It's a terrific performance full of things to find.

2. Geraldine Page as Gertrude in Pete N' Tillie

It's sort of a guilty pleasure even though I attest to not have any :) Geraldine Page's brief, but unbelievably charming performance as socialite bitch Gertrude in Pete N' Tillie. Page is already a force on screen and when she tries comedy (at least this time around) she fulfills everything possible with the character. She's only on-screen for a short time, but she's always the life of the film when she is called for. A great, charming performance.

1. Eileen Heckart as Florence Baker in Butterflies Are Free

Eileen Heckart's perfect, amazing performance as caring mother Mrs. Baker simply amazes me. She blasts through the film, being nosy, caring about her son like nobody's business, and throws as many witty lines out that I can't believe. She reminds me of the mother everyone would want to have - endearingly annoying and caring, but never bad or in need of hurting her child. Just one of the many perfect aspects of this brilliant performance.

---

Honorable Omissions: Edith Massey in "Pink Flamingos".

"Actress In A Supporting Role" 1982

2011-10-05T07:19:00.000+14:00

1982

And the Academy selected:

Glenn Close in The World According To Garp
Terri Garr in Tootsie
Jessica Lange in Tootsie
Kim Stanley in Frances
Lesley Ann Warren in Victor/Victoria

My Ranking:

5. Lesley Ann Warren as Norma Cassidy in Victor/Victoria

Victor/Victoria's inability to impress me has already been discussed on this blog and Lesley Ann Warren's flamboyant performance as gangster moll Norma falls into that as well. She gets some funny moments as an airhead performer but she's extremely hard to notice unless you focus totally on her. And since this movie is totally indifferent for me, I couldn't care less about her performance or how hard she pushes her acting style.

4. Kim Stanley as Lillian Farmer in Frances

Kim Stanley plays the real life Lillian Farmer, mother of star Frances, who pushes her into show business. There is nothing like a well played bad mother and Stanley takes a different spin on that and plays Lillian as pushy, not bad, but very, very pushy. Endearing in every single way, but there is something lurking behind her that constantly shows. She takes a different spin and it's wonderful to watch it play out. A terrific performance.

3. Terri Garr as Sandy Lester in Tootsie

Terri Garr has the opportunity to play the kookiest character in Tootsie: Sandy Lester, a struggling neurotic actress. Garr steamrolls through the film, playing with many variations on what the character should be like, uneven. And most importantly, she is very funny. A kind of funny that is interesting, original, and surprising. She adds a great deal of charm to Tootsie and in part, makes it as good as it is.

2. Jessica Lange as Julie Nichols in Tootsie

It's sort of a hated win, but I find one of the best aspects of Tootsie is Jessica Lange's touching and wonderful performance as actress Julie Nichols. She plays the character in such a realistic, undramatic way that may lead to the fact alot of people can be unappreciative the depth that is found within the performance. I especially love the vacation scenes because it feels as if she is not even acting. Another terrific performance that adds to this great, great film.

1. Glenn Close as Jenny Fields in The World According To Garp

Glenn Close's amazingly textured performance in the wonderful World According To Garp is truly a great achievement. Jenny Fields is a nurse and mother who has a distinct way of thinking - a feminist in a time where there was no such thing. She is in touch with sexual awakenings and cannot be shocked with any new kind of way of doing something. She also plays the supportive mother wonderfully - Close portrays it in a realistic way, the mother may be a bit too much, but she is warmhearted nonetheless. It's just the performance that sticks out high among the rest, it's a strong year, but Close's performance is the one that is a little more textured then the rest.

---

Honorable Omissions: Phoebe Cates in "Fast Times At Ridgemont High".

"Actress In A Supporting Role" 2006

2011-10-03T09:19:00.000+14:00

2006

And the Academy selected:

Adriana Barazza in Babel
Cate Blanchett in Notes On A Scandal
Abigail Breslin in Little Miss Sunshine
Jennifer Hudson in Dreamgirls
Rinko Kikuchi in Babel

My Ranking:

5. Jennifer Hudson as Effie White in Dreamgirls

You could literally call this performance anything and not much can actually be argued, Jennifer Hudson is terrible in Dreamgirls. Her performance as Effie White is based on her voice and she is able to throw out as many high notes they can throw at her, but nothing can be said for the acting. She is amateur at best and looks awkward on-screen, trying to find the best spot where she won't be noticed during her acting scenes. Truly bad in every sense of the word.

4. Cate Blanchett as Sheba Hart in Notes On A Scandal

Cate Blanchett's engaging, exciting performance as teacher Sheba Hart matches Judi Dench in every single way. Both find perfect, uninhabited ways of playing their characters - one good, one bad and Blanchett never takes a misstep in this enchanting performance. It could have been done in so many wrong ways, but I think the performance is truly terrific and perfect.

3. Adriana Barraza as Amelia in Babel

Adriana Barraza's performance as caregiver Amelia manages to find a beautiful mix between a warm woman, a strong woman, and a heartbroken woman. She warms the screen with the feeling of security, knowing she could protect you, but when she herself falls victim to wrongful racism, she shows how this woman becomes so insecure. It is truly a brilliant performance that should have been more in the film.

2. Rinko Kikuchi as Chieko in Babel

Speaking of which, Rinko Kikuchi's Chieko is the subject of the most fascinating storyline of Babel. Chieko is a deaf mute who is full of teen angst and unable to communicate her feelings with words, Kikuchi fulfills this technically dazzlingly role beautifully. The way she expresses the many complexities of the character look effortless. She left me completely enthralled, interested, and dazzled. An amazing performance.

1. Abigail Breslin as Olive Hoover in Little Miss Sunshine

In this unbelievably strong year, Abigail Breslin rides high at the top for her endearing, brilliantly realized and fulfilled performance as Olive Hoover. It's not an average performance one would expect from a kid in a grown up movie and Breslin keeps the line straight between being an actual kid and a kid that knows more then most of the adults. Her time she is on-screen, she blazes through, providing more then the script provides of her. Not only a favorite of mine, but I consider it one of the best ever logged in the category.

---
Honorable Omissions: None.

"Actress In A Supporting Role" 1992

2011-09-30T16:21:00.000+14:00

1992

And the Academy selected:

Judy Davis in Husbands and Wives
Joan Plowright in Enchanted April
Vanessa Redgrave in Howard's End
Miranda Richardson in Damage
Marisa Tomei in My Cousin Vinny

My Ranking:

5. Judy Davis as Sally in Husbands and Wives

Woody Allen doesn't always tickle my fancy (actually he more or less becomes unimpressive for me) and Husbands and Wives is surely a lowpoint, only praised for Judy Davis' performance as Sally, a new divorcee who likes to be annoying, or something to that effect. Maybe it's just the fact that all the overacting, all the ridiculous screaming, and all the bitter, unrealistic dialogue becomes too much as soon as it begins. An uninteresting, bombastic performance.

4. Vanessa Redgrave as Ruth Wilcox in Howard's End

Like Woody Allen, period pieces for me are usually just uninteresting. Of course, everyone could jump on that and say I have no taste in films, but I know I don't :) Vanessa Redgrave is usually also praised this year for her brief, yet somehow important performance as aristocrat Ruth Wilcox. She doesn't make a huge impact on me, playing subtlety as high as she can, but somehow I do sort of get the praise for it. Still, a very dry characterization.

3. Joan Plowright as Mrs. Fisher in Enchanted April

Joan Plowright had some kind of comeback with the role of cranky, bitter Mrs. Fisher in Enchanted April and her performance is quite charming. It's a performance full of opportunities to steal everyone elses spotlight and she sure succeeds with that. Another period piece, but somehow this one feels totally different thanks to the nice little performance from Plowright and Miranda Richardson. It's not amazing, but a good performance nonetheless.

2. Miranda Richardson as Ingrid Fleming in Damage

Playing a role similar to Anne Archer in Fatal Attraction, Miranda Richardson plays Ingrid, the adoring and unknowing wife in Damage. Ingrid is quite more naive then Beth Gallagher because when she finds out she has a massive emotional breakdown that leaves her quite delusional and broken. It's a superb performance that starts out a little unusually but ends on the exact right tone.

1. Marisa Tomei as Mona Lisa Vito in My Cousin Vinny

Perhaps the most infamous win ever has no shame in being infamous. Marisa Tomei is riotous, touching, and brilliantly funny as Lisa, the auto expert and funny girlfriend of Vinny. Comedy can be hard to pull off, but Tomei has no problems pulling off unexpected moments of flat out loud hilarity and is often unappreciated for her way of making all of this 100% believable. It is a terrific, great piece of enjoyable work.

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Honorable Omissions: Alfre Woodard in "Passion Fish" and Miranda Richardson in "The Crying Game".

"Actress In A Supporting Role" 1960

2011-09-30T11:31:00.000+14:00

1960

And the Academy selected:

Glynis Johns in The Sundowners
Shirley Jones in Elmer Gantry
Shirley Knight in The Dark At The Top Of The Stairs
Janet Leigh in Psycho
Mary Ure in Sons and Lovers

My Ranking:

5. Shirley Knight as Reenie Flood in The Dark At The Top Of The Stairs

Shirley Knight has a pivotal role in this film as the daughter Reenie who is seemingly depressed until she falls for a Jewish boy. Knight looks a little too old for the part, but she mostly handles the part well. There's a large amount of sentimentality that lays within the story and Knight, unbelievably, brings out all of it. She's too darn sweet for her own good, but her performance is still not bad, she has a few moments where she totally controls the screen.

4. Glynis Johns as Mrs. Firth in The Sundowners

She's such an enjoyable actress, that she makes the most out of the role of innkeeper Mrs. Firth. She's basically in The Sundowners to be comic relief, but there is alot of wit to be found in her characterization. In fact, I think her performance totally stands away from the boring movie that holds it and she handles her own no matter what situation they want to throw Mrs. Firth into. Oh and her Australian accent is better then everyone elses.

3. Janet Leigh as Marion Crane in Psycho

Doing great subtle work, Janet Leigh gives a good, important little performance in Psycho. Personally, she's my favorite part about the film because when she is killed, the whole next storyline just doesn't do too much for me. Sure the performance means alot and she's possibly the best part for me, but that doesn't mean she totally blows me away. It's a good performance and entertaining, but not an amazing one of any kind.

2. Shirley Jones as Lulu Baines in Elmer Gantry

Shirley Jones was obviously stunt-casted as prostitute Lulu Baines, but it was all worthwhile and gives a terrific performance. To play such a scheming and entertaining character can be very hard to work out in my book, but Jones plays it in a way I can't think of it being any other way. She is entertaining, brilliant in her depiction of revenge, and gives one beautifully constructed performance.

1. Mary Ure as Clara Dawes in Sons and Lovers

I used to always go with Shirley Jones when it came to this year, but watching Sons and Lovers again, Mary Ure becomes better and better as time goes by. Her Clara is separated, sexually awakened, and a suffragette who has an affair with one of the title sons. She gives a magnificent performance, better then whatever expectations I expected from her - D.H. Lawrence's women are usually great characters to be explored and she is no exception. An amazing performance.

---

Honorable Omissions: None.

"Actress In A Supporting Role" 2008

2011-09-29T07:20:00.000+14:00

2008

And the Academy selected:

Amy Adams in Doubt
Penelope Cruz in Vicky Christina Barcelona
Viola Davis in Doubt
Taraji P. Henson in The Curious Case Of Benjamin Button
Marisa Tomei in The Wrestler

My Ranking:

5. Taraji P. Henson as Queenie in The Curious Case Of Benjamin Button

Benjamin Button lasts way too long with it's Forrest Gump message, but Henson may be one of the biggest problems. She does everything the role asks of her, but she exaggerates everything terribly. There's also the blandness that follows her throughout the film combined with her overall badness, the performance is truly all over the place. Boring and bad is not a bad combination.

4. Penelope Cruz as Maria Elena in Vicky Christina Barcelona

Talk about obvious acting, everything about Penelope Cruz in this movie screams bad. It's not just because I can't stand her, it's because the tight, little pretentious role of Maria Elena is hardly an accomplishment of anything (maybe of cliches) and Cruz does nothing at all for me to elevate the character. She constantly screams in Spanish and English and evidently that's Oscar worthy, but she does nothing else to earn anything.

3. Marisa Tomei as Cassidy/Pam in The Wrestler

Marisa Tomei swoops into The Wrestler, ready to be a bad cliche, but working with Rourke and Arranofsky surely gave her alot of advantages and ended up turning in a terrific performance. Pam is the older woman trapped by her lifestyle and ready to leave and Tomei turns her vulnerability into a fabulous, stunning performance. Everytime she is on-screen, the movie becomes a little bit better because of her.

2. Viola Davis as Mrs. Miller in Doubt

It's the perfect example of an actress getting recognized for one scene that changes and betters her film. Viola Davis plays the worried, but strange minded mother Mrs. Miller who butts heads with Meryl over her son. She injects the right amount of down to earth sensibility that makes perfect sense for the character and of course her big scene is worth the nomination alone. An amazing performance in such a small role.

1. Amy Adams as Sister James in Doubt

Even though I thought long and hard between the two, Amy Adams still does so much with her character that it is hard to ignore. Sister James is the kind, on-looker of the story and herself is doubtful on where to turn between the situation. It could have been done in so many wrong ways, but she undeniably turns it into the best thing possible. Tricky in many ways, but she is able to turn this character into an exhilarating, evocative creation.

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Honorable Omissions: Judith Light in "Save Me".

"Actress In A Supporting Role" 1986

2011-09-26T11:49:00.000+14:00

1986

And the Academy selected:

Tess Harper in Crimes Of The Heart
Piper Laurie in Children Of A Lesser God
Mary Elizabeth Mastrantonio in The Color Of Money
Maggie Smith in A Room With A View
Dianne Wiest in Hannah and Her Sisters

My Ranking:

5. Mary Elizabeth Mastrantonio as Carmen in The Color Of Money

She has the most screentime of all the nominees this year, but easily gives the least impressive performance. Carmen is a character who stands around, looks sexy, and flirts; this is all her performance is required to do and that's all Mastrantonio commands. It is a boring, lifeless part full of moments where she tries too look like a vixen on-screen and couldn't look more embarrassing if she tried.

4. Piper Laurie as Mrs. Norman in Children Of A Lesser God

Even the finest films of the year can one link weak performance that somehow gets recognized and here's an example, Piper Laurie as Marlee Matlin's mother in Children Of A Lesser God. In what seems like 5 minutes (could be more) Laurie displays how her character wants to understand her daughter but has no idea how to do it. She's misunderstood and can't express it fully. That's the performance and the nomination never becomes as moving as it should have been.

3. Tess Harper as Chick Boyle in Crimes Of The Heart

Getting hit with a broom and putting on your pantyhose in front of people sounds like alot of fun but Tess Harper's Oscar nomination for it surely is not deserving. Chick is a loud, annoying, gossip queen who only appears for a brief time, and Harper plays her to an extreme hilt of over the top. As I have said before, broad comedy can be done right, but have yet to seen it done in the most brilliant way, and it's certainly not here.

2. Maggie Smith as Charlotte Bartlett in A Room With A View

It may be boring to no end, but Maggie Smith does give a nice impression as the chaperone in A Room With A View. Her character is interesting and Maggie could play these kinds of roles without thinking about them twice, she brings a nice touch of wit, but the role is too unimportant throughout the film for me to truly say she is the standout lady in charge. It's nice, but not much more.

1. Dianne Wiest as Holly in Hannah and Her Sisters

Dianne Wiest wins like a deserving thief in this horrible lineup as Hannah's whimsy sister Holly. She goes through change after change not finding a straight balance in her life including a stint with drugs. It's a complex character (one of Allen's best) that she handles with true ease, wonderful clarity, and brilliant precision. To say she blows away the screen is an understatement, she delivers and fulfills everything I could have imagined.

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Honorable Omissions: None.

"Actress In A Supporting Role" 1998

2011-09-25T10:26:00.000+14:00

1998

And the Academy selected:

Kathy Bates in Primary Colors
Brenda Blethyn in Little Voice
Judi Dench in Shakespeare In Love
Rachel Griffiths in Hilary and Jackie
Lynn Redgrave in Gods and Monsters

My Ranking:

5. Brenda Blethyn as Mari Hoff in Little Voice

Ghastly is a good way of describing the following performance: Brenda Blethyn as hateful and abusive but funny (?) mom in Little Voice. Going over the top is one thing, but Blethyn is like a walking cartoon with a voice that could stop moving traffic. It might have actually been a juicy part had they not stuck such a shrill ham in the part.

4. Rachel Griffiths as Hilary Du Pre in Hilary and Jackie

Hilary and Jackie is obvious Oscar bait and it's an insufferable mess that is constantly boring me out of my head. Rachel Griffiths gets the less loud part of the two sisters, Hilary, who lead a normal life while her sister became a star. Both of the actresses are on the same level - an overall level of blandness effects it all and it never becomes an impressive achievement. She's not as bad as Emily Watson, but being nothing special next to bad isn't something too spectacular to be applauded for.

3. Lynn Redgrave as Hanna in Gods and Monsters

It's the same sort of cartoon Brenda Blethyn goes for, but Lynn Redgrave manages to find a better note for her character Hanna, but not by much. She is just the same kind of broad, quirky comic relief that if done right can be pleasing, but for me and especially here, it really has to be special. She throws stuff and has an interesting accent, but other then that, it's not a performance that needs to be praised.

2. Judi Dench as Queen Elizabeth I in Shakespeare In Love

Judi Dench's very short performance as the imperial Queen Elizabeth is something that is often criticized today. She does have a charm that she holds throughout her performance, but it hardly makes a full impression. When she is on-screen, she commands it, and fully brings everything she can to such a small role, but it is simply not enough. Maybe if the role had panned out more, but not this little.

1. Kathy Bates as Libby Holden in Primary Colors

In the end, this weak year is capped by a terrific, wonderful performance from Kathy Bates. Libby Holden is a feminist in every sense of the word, and Bates fills the screen with her unusual, downhome acting style that results in a wonderful, funny performance that just sticks out amazingly in this hideous year. It is a terrific performance of a strong, unusual woman.

---

Honorable Omissions: Beverly D'Angelo in "American History X".

"Actress In A Supporting Role" 1958

2011-09-25T04:30:00.000+14:00

1958

And the Academy selected:

Peggy Cass in Auntie Mame
Wendy Hiller in Separate Tables
Martha Hyer in Some Came Running
Maureen Stapleton in Lonelyhearts
Cara Williams in The Defiant Ones

My Ranking:

5. Peggy Cass as Agnes Gooch in Auntie Mame

Peggy Cass is unbelievably out there as Agnes Gooch, a pregnant stuck up, naive girl. To say it's funny is lying, it's not - it's awfully boring and a one dimensional role that Cass does nothing with. Broad comedy sometimes just doesn't do it for me, and this is an example of how loud an actress can go with broad comedy. I may not like the movie but that doesn't effect my judgement when it comes to Peggy Cass's performance.

4. Martha Hyer as Gwen in Some Came Running

The melting of an ice queen can be a great experience for this actressexual, but Martha Hyer's ice queen Gwen is missing something. The stilted melodramatic acting of the 50s surely had it's grips on here, and everyone in this dreadful piece of work is criminals with it, but Hyer certainly doesn't hold my attention with her melting ice queen. She plays the repressed bitchy school teacher quite well, but still, what is that thing that is missing from this performance? Maybe the emotions that should have been held in tact.

3. Maureen Stapleton as Faye Boyle in Lonelyhearts

Maureen Stapleton perhaps gives the weirdest performance this year, playing Faye Boyle, a former wild girl who is now reduced to a mild-mannered housewife who misses that time in her life, has an affair with Monty Clift, and starts to go Fatal Attraction on him. Stapleton is strangely erotic and adds a touch of flavor to this weird 50s film that really needed something wild in it. She's a bit too self-aware in the beginning but she quickly makes up for it when she becomes a new Alex Forrest. A truly terrific turn.

2. Cara Williams as The Woman in The Defiant Ones

Cara Williams' performance as The Woman is definitely one that shows how good a supporting performance really can be. She shows up late in the film, only has about 5 minutes on screen, but changes the course and leaves the kind of amazing memory that a woman should leave in this kind of situation. It is the most memorable part of the film for me, and I think she gives a fantastic short performance.

1. Wendy Hiller as Pat Cooper in Separate Tables

Wendy Hiller's performance is something this award is made for - she subtlety moves around the film, always in the viewer's mind about whenever she will appear again. Pat Cooper is the owner of the main hotel and also involved in a hot affair with Burt Lancaster. There is constantly flashes of desperation and longing in her face & causes her more romantic moments to be even more touching and extremely interesting. She gives an indelibly great performance that only left me wanting more.

---

Honorable Omissions: None.

"Actress In A Supporting Role" 1945

2011-09-23T17:38:00.000+14:00

1945

And the Academy selected:

Eve Arden in Mildred Pierce
Ann Blyth in Mildred Pierce
Angela Lansbury in The Picture Of Dorian Gray
Joan Lorring in The Corn Is Green
Anne Revere in National Velvet

My Ranking:

5. Anne Revere as Armanity Brown in National Velvet

National Velvet may be Elizabeth Taylor and a horse's film, but the person to get reconized was Anne Revere for playing the hard looking, but soft hearted mother. She is the perfect 40s mom: obeys her idiot husband, takes pride in her kids no matter what, and does absolutely nothing fulfilling in her life. To say the performance is wooden is an understatement because she is neither moving or enlightening in her big touching scenes. It's just not a unique or even okay performance.

4. Eve Arden as Ida Corwin in Mildred Pierce

Eve Arden's brief, but crucial performance as Mildred Pierce's best friend Ida, is quite an interesting performance. Ida is a wise cracking, know it all friendly friend who helps Mildred Pierce not only work but helps her with her suspicions. Eve Arden isn't given alot of sufficient material to work with, so she is sort of fixated on cracking every wisecrack she can, as hard as she can. It's not the great, short performance one would expect, but for what she can do with the part, she is alright.

3. Joan Lorring as Bessie Watty in The Corn Is Green

Joan Lorring's shrill performance as Bessie Watty is decidedly that way. Her character is nothing but a spoiled brat who decides Bette Davis is the cause of all of her troubles. Her problem is an overwrought accent that she overdoes constantly, that becomes annoying very quickly. But, she also gives an enjoyable performance that makes this mediocre melodrama worthwhile. She gives a standout performance in a film that really isn't looking for one - it's not a perfect performance, but it's definitely good.

2. Angela Lansbury as Sibyl Vane in The Picture Of Dorian Gray

I have always found Angela Lansbury quite overrated, but she can sometimes do more then what I expect. Here she plays the grungy dancehall girl Sibyl Vane who falls for doomy Dorian Gray. Lansbury plays her in the manner that she is neither innocent nor slutty, she isn't naive nor very smart, just enchanted by Dorian. She brings a nice touch of magic to the performance which makes her ending, feel very authentic and sad. It's still not a great or amazing performance, but it is one that I admire.

1. Ann Blyth as Veda Pierce in Mildred Pierce

Ann Blyth plays a spoiled bratty diva to perfection - Veda Piece is iconic as a ungrateful kid who doesn't respect her mother. Ann Blyth sort of gives the same performance Joan Lorring does, except Blyth doesn't go totally shrill with her performance and is totally enjoyable whenever she is on-screen. Again, like all the other performances this year, she has a few weak moments where Ann's acting experience shows, but it is the stick out performance and the best in this set of nominees.

---

Honorable Omissions: None.

"Actress In A Supporting Role" 1969

2011-09-23T08:08:00.000+14:00

1969

And the Academy selected:

Catharine Burns in Last Summer
Dyan Cannon in Bob and Carol and Ted and Alice
Goldie Hawn in Cactus Flower
Sylvia Miles in Midnight Cowboy
Susannah York in They Shoot Horses, Don't They?

My Ranking:

5. Sylvia Miles as Cass in Midnight Cowboy

Midnight Cowboy is a simple masterpiece, wildly deserving of it's Best Picture win. Sylvia Miles' very brief appearance as a client of Joe Buck's, Cass, is a strange nomination. If anything, it's extremely over the top, and overreaction of an overreacting scene. She handles the scene with an unexpected, over-exaggerated force that is to be seen to be believed. I don't hate the performance (obviously the film helps her out) but I don't respect or appreciate it that much either.

4. Susannah York as Alice LeBlanc in They Shoot Horses, Don't They?

I try to never use the expression overrated, but here, I think it is suited; Susannah York's performance as a Hollywood actress in They Shoot Horses. She is playing a character constantly on the edge, she may not look it, but she does finally snap. That is sort of the entire performance, and while her last scene shows why the performance is so loved, the rest does quite get me up to speed. A good performance, but nothing that quite feels amazing to me.

3. Goldie Hawn as Toni Simmons in Cactus Flower

Goldie Hawn is like a ball of sunshine in Cactus Flower, playing the put upon girlfriend of Walter Matthau. Her performance is the one that feels the most authentic, showing the great ray of light that I'm assuming was meant for her character. Sure, it is not a perfect performance and it sometimes falls into the blandness of her film, but Goldie Hawn is still a nice, strong, and unforgettable presence here.

2. Dyan Cannon as Alice in Bob & Carol & Ted & Alice

Dyan Cannon is certainly a surprising wonder, playing one of the title characters Alice, she finds the perfect, funny balance between prude and surprised sexiness. Alice is perhaps the most straight laced character in the film, but also the smartest. She is shocked to learn of her friend's doings, but she's not one to totally write them off and forget them - she is interested, even though she would never do it. It is simply a magnificent performance throughout, holding my attention no matter what she was doing.

1. Catherine Burns as Rhoda in Last Summer

Tremendous doesn't even begin to describe it - Catherine Burns in Last Summer. Rhoda is the least appealing character of the film, and what Burns turns her into is cinema gold - a teen afflicted with angst, guilt, and an overall feeling of bleakness tied in with memories is amazing. I don't exactly care for the film (especially that evil Barbara Seagull Hershey) but Catherine Burns has to give one of my favorite performances ever. There is so much depth to it, it's hard to know even where to begin describing it.

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Honorable Omissions: Brenda Vaccaro in "Midnight Cowboy" and Pamela Franklin in "The Prime Of Miss Jean Brodie".

"Actress In A Supporting Role" 1987

2011-09-22T17:38:00.000+14:00

1987

And the Academy selected:

Norma Alejandro in Gaby: A True Story
Anne Archer in Fatal Attraction
Olympia Dukakis in Moonstruck
Anne Ramsey in Throw Mama From The Train
Ann Sothern in The Whales Of August

My Ranking:

5. Ann Sothern as Tisha Doughty in The Whales Of August

It's odd that out of the entire cast, the only one to get recognized is Ann Sothern playing the longtime neighbor Tisha. It's a very exaggerated performance even though there's hardly nothing to do it. You can tell Ann Sothern is trying to channel the old style acting of the 40s and I'm not one who finds this particular style all that amazing, and Sothern's director should have instructed her not to do that. Gish and Davis can play that well, not Ann Sothern.

4. Anne Ramsey as Momma in Throw Momma From The Train

I would probably like it more if there was a tad bit more believability to it - Anne Ramsey's title character is annoying in the least entertaining ways, she's just a loud, tough bitch who is constantly bitching, there's nothing entertaining or funny about it for me. Sure she can be an interest on screen (that look, that voice) but an Oscar nomination for something she has done so much? Not here.

3. Norma Alejandro as Florencia in Gaby: A True Story

It's surprising that this film is widely unknown today, it's a really enthralling film that is carried by Norma Alejandro, a longtime keeper of a sick girl. She truly holds the right note in the film, even though she's not exactly watchable most of the time - yes, she might even be the weak link. She tries so incredibly hard to make something out of the routine part, but for me, she is good, but not amazing in the slightest.

2. Olympia Dukakis as Rose Castorini in Moonstruck

It's hard to standout as a supporting player unless you really have the material and the guts to actually stand up. Olympia Dukakis really conquers this and ends up giving a great, wonderful performance as Cher's supportive mother and suffering wife. She is truly able to pull off the charm that is needed and you see her ease her way on-screen without any problems. She may not be able to pull off it as well as Cher, but it's still charming work.

1. Anne Archer as Beth Gallagher in Fatal Attraction

For me, it really became an easy pick - Anne Archer's performance as the sexy, betrayed wife in Fatal Attraction is just a terrific creation that fits in well with the film. Especially, in the beginning, the character sticks out so much that when she is finally aware of what has happened, her unbelievable eyes are shattering. I don't believe she is a great actress (limited) but all the right stars aligned for her here, enabling her to give a fantastic performance.

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Honorable Omissions: None.

"Actress In A Supporting Role" 1997

2011-09-21T09:41:00.000+14:00

1997

And the Academy selected:

Kim Basinger in L.A. Confidential
Joan Cusack in In and Out
Minnie Driver in Good Will Hunting
Julianne Moore in Boogie Nights
Gloria Stuart in Titanic

My Ranking:

5. Kim Basinger as Lynn Brackett in L.A. Confidential

Even if I despise that someone won an Oscar or if someone wins for no other reason then being who they are (Sandra Bullock), few Oscars winners really do nothing or are really, really bad. Kim Basinger's performance as Lynn Brackett breaks both of those. The limited feelings of her acting is always present no matter what the scene calls for, not to mention she is totally stilted on screen, causing a performance that is nothing but an embarrassing piece of work and nothing more.

4. Minnie Driver as Skylar in Good Will Hunting

Minnie Driver is also stuck in a stilted part and just like Kim Basinger, her performance as the rich girl Skylar is all over the place. Both actresses are way too old to be playing the characters they are stuck with and it clearly shows to me. Her character is supposedly this odd, sexy, unique girl who catches the attention of the most brilliant person on Earth, but honestly, these two share nothing in common and they have zero chemistry. So, without throwing too much mud at these two, they are by far, two of the weakest nominees ever.

3. Joan Cusack as Emily Montgomery in In & Out

There is often funny moments to be found in Joan Cusack's performance as Emily Montgomery, a woman caught in a bad romance with a secret gay man. The problem with this performance is essentially Joan Cusack is stuck in a lousy role that calls for her to be a total idiot, and a desperate idiot at that. There is substantial to take away from her role and when she is on-screen, she pushes too much for annoying and clingy.

2. Gloria Stewart as Rose Dewitt-Brukater in Titanic

Gloria Stewart's moments as the old Rose are often the parts of Titanic I'd rather just skip over. It's not that they are boring, it's just not up there in greatness with the Kate/Leo storyline. But, she certainly does try her best with the part, even if I am one to criticize the performance. There is not much to it, all she really has to do is narrate the epic and she does a good job of doing just that, but a great performance? Not really.

1. Julianne Moore as Amber Waves in Boogie Nights

She sticks out this year like a sore thumb - in a lineup as bland as this one, Julianne Moore's odd, yet amazing performance as porn star Amber Waves is delectable. She blazes across the screen with a fierce performance - trying to balance between the awkwardness of being a porn star who isn't exactly made for the job and trying to be a maternal figure to those around, something she is deeply missing in her normal life she gave up. It's a brilliant characterization that seems strange when it comes to Oscar, but they wisely nominated the best that year.

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Honorable Omissions: Heather Graham in "Boogie Nights".

"Actress In A Supporting Role" 1956

2011-09-19T10:04:00.000+14:00

1956

And the Academy selected:

Mildred Dunnock in Baby Doll
Eileen Heckart in The Bad Seed
Dorothy Malone in Written On The Wind
Mercedes McCambridge in Giant
Patty McCormick in The Bad Seed

My Ranking:

5. Mercedes McCambridge as Luz in Giant

What an unbearable performance - she screeches through the film and throws it completely off balance whenever she is on-screen. Luz is a racist bitch who doesn't hold back anything, however McCambridge totally overdoes it, showing nothing but how little subtlety she can fit into the screen. Half of performance seems to be missing and it couldn't be more of a blessing.

4. Patty McCormack as Rhoda Penmark in The Bad Seed

It's in an interesting nomination, but not necessarily a great performance. It's that interest that held my attention while watching Patty McCormack play demon child Rhoda Penmark. It's an obviously guided performance with McCormack playing 'loud' too much, when she is called upon to be the film's main focus, she ruins it by playing the cliche of a bratty child. Hard to be too mean towards her, but no fences held up around here.

3. Dorothy Malone as Marylee Hadley in Written On The Wind

It's colorful entertainment that is as good as it comes. Dorothy Malone's bitchy slut Marylee comes and goes with the wind, but always makes a sound. She brings so much vivacious energy to the film, she outshines everyone else without even trying. She is given a juicy part and even though it's not written great she still tries her best. My feelings have always remained the same - she makes the best out of it, but it's still not the amazing performance it possibly could have been.

2. Mildred Dunnock as Aunt Rose Comfort in Baby Doll

An odd, quirky performance from the 1950s is hard to find, but here is perhaps the best example: Mildred Dunnock as the fluttering, loud, and nosy Aunt Rose who is caught in the middle of everything that is Baby Doll. For me, she's best in cast, finding the exact right note to play the character with without making it over the top or intensely annoying. I could watch her short performance over and over again and still not find any flaws.

1. Eileen Heckart as Hortense Daigle in The Bad Seed

She is just amazing - the more I watch Eileen Heckart in general, the more I love her. Her performance as the lush mother of a dead child, Mrs. Daigle is an early indication of much her talent couldn't be broken. She has just two scenes in the film, but both are classic examples of how to play a drunk without looking foolish and unrealistic. She succeeds in so many areas it's hard to believe she was and still is praised for this performance.

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Honorable Omissions: Eileen Heckart in "Bus Stop".

"Actress In A Supporting Role" 1959

2011-09-18T03:51:00.000+14:00

1959

And the Academy selected:

Hermonie Bladdley in Room At The Top
Susan Kohner in Imitation Of Life
Juanita Moore in Imitation Of Life
Thelma Ritter in Pillow Talk
Shelley Winters in The Diary Of Anne Frank

My Ranking:

5. Susan Kohner as Sarah Jane Johnson in Imitation Of Life

Playing bratty kids is usually a common thing for young actresses, but Susan Kohner managed to get nomination for an Oscar for playing Sarah Jane Johnson, the daughter of a black woman. She is often harassed for being part black (unrealistic) and lashes out everyone around her, including her mother (terrible). Kohner never finds a right note to follow in her character and overacts with everyone else in the movie to a never-ending limit.

4. Juanita Moore as Annie Johnson in Imitation Of Life

Also from Imitation Of Life, is Juanita Moore playing the selflessness and warm-hearted mother of Susan Kohner, Annie Johnson. Throughout the movie, she is an angelic presence who can be ran over by anyone and she will still be their, dare I say it, slave. At times, her subtlety is not believable and Moore seems like she is focusing too much on it, until her big scenes where she blows through them, finding that weird balance between underwhelming and over the top. It may be a popular performance, but it's too melodramatic and ungrounded for me.

3. Hermione Baddeley as Elspeth in Room At The Top

Everyone is on their A-game in Room At The Top, but Hermione Baddeley's performance as Simone Signoret's devoted best friend feels a little out of place. It's the shortest nominated performance ever and her limited screentime surely shows when she suddenly bursts back onto the screen in final screaming match. Obviously she is trying to make this part no matter what and without a doubt, she is memorable, it's just not a good enough performance to warrant an Oscar nomination.

2. Thelma Ritter as Alma in Pillow Talk

Thelma Ritter's small comedic performance as Alma in Pillow Talk is a perfect example of a small comedy performance being recognized even though it's not entirely appreciated. She goes around drinking and throwing some kind of sarcastic line at everyone, she successfully holds together the character and cliches that afflict her character. It may not be an amazing performance by any means, but Thelma Ritter is able to still be interesting and thoughtful in a cliched role.

1. Shelley Winters as Petronella Van Daan in The Diary Of Anne Frank

Shelley Winter's career transforming performance came with The Diary Of Anne Frank, playing one of the people hidden away, Petronella Van Daan. She is a privileged woman from a privileged family and is not able to handle the harsh conditions of their hiding gracefully. Winters plays around with the character, inducing a 'high class' wit in Mrs. Van Daan that is still prevalent even when she is at her lowest crying over her lovely coat. It's a terrific performance and the only one that sticks out in this category.

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Honorable Omissions: None.