I have posted A Patch of Blue (1965) on youtube, but the dudes didn't allow the sound for the last part. I'm posting the ending here (don't watch it unless you've seen the other parts) and I'm linking it there. high fever stops me from being coherent.

Catherine Deneuve, in Indochine

approximately 59 minutes and 2 seconds
38.5% of the film

The film

It is the story of Éliane Devries, a French plantation owner, and of her adopted Vietnamese daughter, Camille, with the rising Vietnamese nationalist movement set as a backdrop.

You can find my short review of the film just by clicking HERE.

It’s a very long film with a second part that works better than the first half. When there’s action and tension, the film works quite well; other than that: not so much.

Catherine Deneuve as Éliane Devries

Theoretically, it’s always a delight to see a foreign actress receiving an Oscar nomination for a foreign language film. It gives a more exotic feel to the competition and it’s also an opportunity to acknowledge actresses who have been giving memorable performances for decades. Catherine Deneuve is a legend, partly because of her beauty, partly for dominating the French cinema for years and years. Her performance in Indochine however is not bad, but also not Oscar worthy.

The movie starts with her in full speed. She’s playing the leading character and a very colourful one: she whips her disobedient (almost slaves) employees, gets high on drugs and has a sexual fling with a gorgeous younger man. Are all these acted well? Hmmm. I found her to be rather stiff and often enough more frigid than the role required. At least if she would’ve gone all the way, but Deneuve undecidedly decides to keep Éliane somewhere in the middle, which generated a less than great result.

There are moments where she’s underplaying a bit too much and we don’t get the feeling that she’s fully dedicated to her character. We are not receiving the emotion we need to understand Éliane besides her whipping imperialistic attitude. The emotion comes a bit late and we get just drops of it: it happens when things don’t go well with her lover. That relationship itself doesn’t feel right on its own and lacks credibility. I mostly accuse Deneuve of not being seductive enough for the film romance to work. Yet although it feels out of place, the sex fling at least increases the intensity of a mostly boring movie.

It’s nice to show restraint, but keeping back more than enough is actually worst than overacting. Though subtle at times, Deneuve’s performance really lacks passion. I can feel that it’s not really there. She’s not in it with all her heart and soul. You can see that in line readings and you can mostly see it in the tango she twice dances with her daughter. Where’s the passion? Where’s the true intensity? These are hard to find in the first half of the film.

Strangely enough, as the film gets better, Deneuve’s Éliane is almost taken out of the picture. For almost an hour, she only gets brief appearances and some voice-overs. The voice work is truly superb (it really starts in the beginning of the film, but gets more relevant in the 2nd part), she’s a great narrator and it’s a pleasure to listen to her. [do notice that I also count voice-over as screentime]. Yet her biggest sin here is that the film itself gets better when she’s not around. How shameful is that for a leading actress, not being the one who can carry her own film.

Her best scene comes towards the end of the picture. It’s an excellent actressing moment with Éliane seeing her daughter after she’d been in prison for many years. Deneuve displays real emotion and great acting skills; she truly lets go and it’s her most humane scene in the film. You can feel the honesty of her tears and how much she’s been really missing her adopted daughter. Too bad there weren’t more moments like this in her performance.

Is it Deneuve fault or the screenplay’s? Hard to tell, but truth is she had the power to shape the character the way she wanted it. I think she misjudged the character in the beginning and didn’t set up the right tone for the performance. She started it shaky, rigid, without any passion. Her big scene towards the end proved her talent and that she had potential for greatness, but it was too late. I don’t think it’s a bad performance, but it has flaws and a rather weak feel to it. Maybe the nomination was worthy, considering the year was not that strong. I give her , just by comparison to the other gals.


***Edit: Watching some scenes again softened me a bit. It’s almost a 3 stars performance, but her competition up till now was superior. And I have to think of the previous 3 stars performances…

Mary McDonnell, in Passion Fish

approximately 73 minutes and 20 seconds
55.5% of the film

.

.

.

.

The film

.

.

Soap actress May-Alice Culhane is paralyzed from the waist down in an accident. She returns to her old home in Louisiana, where she befriends her nurse Chantelle.

.

You can find my short review of the film just by clicking HERE.

.

It’s definitely not a film one would love. It’s a soapish film about an ex soap opera star. It’s done well, clean and the screenplay is enjoyable. But it might be a bit too vanilla for cinema.

.

.

.

Mary McDonnell as May-Alice Culhane

.

.

I cannot be considered a fan of Mary McDonnell. I loved her in the tv series Battlestar Galactica, but I hated her when guest starring in Grey’s Anatomy. She doesn’t always get it right, but she does it here. The nomination itself is a bit surprising, not because she’s bad or something, but this is not the type of film the Academy would consider these days. Today they do stuff like this for television and Oscar voters wouldn’t pay attention to it. But thankfully, they did back then.

It’s an edgy role to play, because it can always get a bit too cheesy. But screenwriter and director John Sayles knows better than that so he gives May Alice, his leading character, the gift or irony, wit and just enough feeling to make her likeable. McDonnell is aware that it’s a mature drama, so she always tries to balance the performance between I feel so sorry for her and this woman is a bitch. May Alice is not only paraplegic, but also a bit alcoholic; so there’s a lot of drama bait going on.

Her first scenes are the best: she wakes up in the hospital, doesn’t really remember the accident and she’s confronted with the cruel truth of being paralyzed from waist down. The film depends on what McDonnell can do with this scene; it’s the introduction of the leading character and a tense moment with lots of emotions floating around. And she does a very good job, giving us in one scene both the drama of the character but also its ironic and pessimistic way of being.

A couple of scenes later, though, are a bit shaky in terms of acting. There was a moment with her standing on the physician’s table, at their first session, where her acting didn’t feel as convincing. Maybe it doesn’t matter, but I can spot fake acting moments. Yet, I forgave her, because it only happened once during the film. For the rest of it, she was in character.

The desperation of this woman is done well. First, there’s her incapacity of confronting her situation and continuing to live her life. You can feel May-Alice’s frustration. Second, there’s the alcohol problem, an addiction that she develops to forget the state she’s in. It’s not a centre point in the story, but her battle, resignation and final win is beautifully portrayed.

One of the biggest accomplishments is her chemistry with Alfre Woodward’s character, Chantelle. Their relationship is the highlight of the film. They are two different women who in the end become friends: their connection in based on addiction experience, stubbornness and the desire to have someone close. Woodard is excellent, but mostly in the scenes where she’s on her own, so you can’t say she overshadows McDonnell.

Mary McDonnell gives a good, reliable and believable performance. There’s nothing brilliant about it, nothing way too flashy. The performance however has both heart and balls. You feel sorry for her, but you also admire the sarcastic point of view of the character and the actress knows how to give an intelligent performance. She’s a victim, a pain in the ass, a friend, a woman in love and a host; and Mary McDonnell does justice to all of the character’s layers. Again: a very reliable, solid performance; .

Emma Thompson, in Howards End

approximately 63 minutes and 42 seconds

46.2% of the film

.

.

.

.

The film

.

.

A man ignores his wife's deathbed wish to leave an estate to a woman friend.

.

You can find my short review of the film just by clicking HERE.

Without a doubt, Howards End is one of my favourite films… not just of the 90s, but of all times. It's a period drama that just suits my taste, with an interesting screenplay, very smart direction and great acting.

.

.

.

.

Emma Thompson as Margaret Schlegel

.

.

The Best Actress category of the 1990s was dominated by 3 names: Meryl Streep and Susan Sarandon had 4 nominations each; and then there was Emma Thompson, with 3 Best Actress nominations. She came out of nowhere and quality-wise ruled the 92-95 period. Howards End is considered by many to be her best performance. And you know what? They might just be right.

As the film starts, you get the feeling that this movie is not about her character. Howards End dives right into the story and for the first part of it, Emma gets lost among all those characters. Emma plays Margaret Schlegel, a spinster-to-be, an independent woman at the turn of the century London, who lives an upper middle class life with her younger brother and sister (played by a free spirited Helena Bonham Carter). It would be impossible to tell the whole story of the film as there’s too much happening; you must watch it. Margaret will be courted by the widower of a good friend of hers, and complication will result.

We discover Margaret as an ordinary woman. She’s not beautiful and she has a simple way of being. She talks a lot, sometimes too much. She’s very well behaved, very polite and when she worries it’s just for the others. She has a lot of good-will, she’s very lively and almost always has a smile on her face. In the first part of the film I actually found her to be some kind of a geek, if that word is allowed. She’s simple, she doesn’t always fit in, she’s like an old maid with a good heart.

Emma does a good job in keeping Margaret under the radar. And we like her, we might actually identify with her, especially in the scenes involving the dying Ruth Wilcox (Vanessa Redgrave). These scenes help humanize Margaret, but also damage the performance, at least in my eyes. Because Ruth is such a strange woman, next to her Margaret seems the most natural person in the world; it helps the performance because we start to like Margaret and she’s the alter ego of the viewer. On the other hand, Vanessa Redgrave is that brilliant in the role (!) that for 15 minutes she totally overshadows what Emma is trying to act. Vanessa steals every scene she’s in and you can’t take you eyes off her. Once Ruth dies, Emma can return and claim her acting glory; but who we remember for 20 minutes is Vanessa and not so much Emma.

As the story becomes more complicated, so do Emma’s acting and storyline. As she becomes the unexpected object of desire of a wealthy man, she blooms; not from a virgin to a woman, but from a good-natured geek to a woman who’s still kind and lovely, but also fierce when the situation asks for it. She is loving and she knows how to talk to people (take her fiancé for example) without seeming cunning. Arguably, Emma’s best acting moment is also her one flashy scene: her crying after having the most serious fight with her fiancé. Her desperation is honest, natural, obvious given the situation; it’s a vulnerability she keeps for herself and that’s the moment of solitude, in front of a mirror, where she can let it go. Excellent acting moment.

To me, another great acting moment of hers is when she’s defending her pregnant sister and asking for something on her behalf. In this scene, she’s more like a mother, like a protective female lion, perfectly manoeuvring the art of reasoning without any intention of letting go. With the help of the great direction of James Ivory, in our eyes she’s no longer too talkative or ignorable, but a strong woman you like to watch and you can’t wait for her to come back on screen. Needless to say, the success of the character arc and this likeability of the character are thanks to Emma who puts real emotion in every scene. And she looks so adequate for this type of proper British film!

Emma is just as good as the film itself, and that says a lot. She understands the character and she knows when, how and how much to give or to show onscreen. Her performance is great and the character difficult, though, at first, it might not leave that impression. However. However! :) I’m going towards 5 stars, but I’m not giving them. The main reason was previously mentioned and it’s called Vanessa Redgrave. It may not be Emma’s fault, but for a good part of the film she’s not the one carrying it. So , at least for now. And I keep thinking this was a predictable, but rather an unusual Oscar choice, because of the unspectacular way of the character. They usually go for flashier performances.

***Special
Farrah Fawcett (1947-2009)


I'm not a fan of breaking the rules of the blog. Yet, when something will affect me in one way or another, I'll post about it. She was a great beauty. I don't know her career that well, but she's always seemed fascinating to me. Her long, courageous battle with cancer should be a lesson of strength for all of us.

I've just watched this special on her on 20 /20. This is the purpose of this post. If you've missed it or want to learn a bit more about her life, just click here.

and here for part 2.

Best Actress 1992







1992 it is. Not my first choice from the 90s, but definitely not the least wanted. All 5 are serious, mostly lesser-known performances. I had seen 3 of the films (Howards End multiple times) and I'm not sure about the other 2: they were on tv, but I've never watched them from beginning to end. I know I have a favorite, but we'll see how it goes. You never know, and that's what makes it fun. So the 5 ladies that Oscar had chosen for 1992 were:

.

from left to right, I have the pleasure to introduce:

• Mary McDonnell, in Passion Fish
• Susan Sarandon, in Lorenzo's Oil
• Michelle Pfeiffer, in Love Field
• Emma Thompson, in Howards End
• Catherine Deneuve, in Indochina

I'll start with Emma. :)

What comes next...




This time I've used the same lottery process for choosing a year (cause I find it impossible to decide by myself) as I did last time when destiny picked 1965. :D This time I knew I wanted a year from the 1990s, so there were 10 possibilities.

The winner is not a #1 choice and it doesn't have too much glamour. But I'm looking forward to discuss each of the performances. Here's the silly video; it was one take and with no cheating:

The conclusions - Best Actress 1965

I really really enjoyed all 5 performances, yet I didn't go crazy for any of them as a whole. Though they are very different, quality wise it was very hard to separate them. That's why I feel that this ranking is not a... final decision. My #1 was by far the hardest choice, also because of my increasing almost unexplainable love for Samantha Eggar; see the film (I've posted The Collector on youtube) and you might understand why.

In the end I can say it was a very interesting lineup and a pleasure to watch these ladies again. So here they are; you can click on the name to get to that certain performance:

1. Julie Christie, Darling

She understands her character more than anyone else. The bitchiness of Diana is no mystery for Julie Christie, who plays the part like it’s the most natural thing in the world. She has fun with it and it shows. It’s a playful, sexy, orgasmic performance with a touch of comedy that fits perfectly in the sarcastic spirit of the film. Perfect casting.

.

.

.

2. Samantha Eggar, The Collector

It’s a performance that grew on me. What seems shaky at first becomes a true great acting piece. Her eyes are her biggest asset, allowing Samantha to show us the frailty of her character. As the story unfolds, you begin to like her more and more and foolishly hope for a happy ending. It’s a terrified performance that works and that, without any warning, melts me everytime I think about it; it’s subjective and unexplainable.

.

.

.

3. Julie Andrews, The Sound of Music

It’s hard to get past the perfection of her singing. With musical experience on her side, Julie combines the voice with the comedy talent creating an iconic performance that’s so dear and easy to remember. Her charisma is beyond words and her lack of self consciousness is essential to the film. A sentimental favourite.

.

.

.

4. Simone Signoret, Ship of Fools

When she and Oskar Werner are on screen, you forget about the rest of the ship passengers. With a limited screentime of 25 minutes, Simone gives a true acting lesson by taking an odd romance and transforming it into a heartbreaking love story. Unfortunately, she’s just visiting the film, but the talent she displays is not to be challenged.

.

.

.

5. Elizabeth Hartman, A Patch of Blue

Elizabeth’s performance warms your heart and gives you lots to think about, as this truly is an important movie. Her best decision is to not take away from the character, so her performance is simple, precise and a great display of innocence. Elizabeth’s choice to let her character Selina outshine her is in favour of the film, but steals the spotlight from the actress herself, who becomes a vehicle for a remarkable character.

.

.

.

.

So, yes, I agree with the Academy: Julie Christie deserved her win! I always like to guess who was the runner-up for the Oscar: I guess Julie Andrews came 2nd, Samantha 3rd, Elizabeth 4th and Simone Signoret 5th.

.

Other Best Actress years discussed so far:

1977

2000

2007

2008

.

.

.

***What's next for my blog? I'm gonna do a Best Actress year of the 90s! It's gonna be picked lottery style just like 1965 was "chosen". I'm so curious & excited. Soon.

Julie Andrews, in The Sound of Music approximately 79 minutes and 31 seconds
49.1% of the film

The film

A woman leaves an Austrian convent to become a governess to the 7 children of a Naval officer widower.

You can find my short review of the film just by clicking HERE.

I think it’s the most popular musical of all times. I’m addicted to the soundtrack and the technical part is great, but the film does have its flaws. Yet, it’s highly enjoyable and putts its money on the right person: Julie Andrews.

Julie Andrews as Maria

I admire a comedy actress’ capacity of ignoring the embarrassment of a scene and play it like it’s the most obvious & fun thing that has ever happened. This is the case with Julie Andrews for the most of the film. She’s such a great sport and talented actress than she can take an objectively absurd scene (do re mi or my favourite things) and make it into a wonderful and magical musical moment. Her lack of self-consciousness in the role is essential to the film’s success.

A big question pops up when discussing a musical performance: do you also count in the singing? I can’t make up my mind about it; but one thing is certain: Julie’s fabulous voice does influence my judging. But not blindly. I think it’s crucial in such cases to analyze the acting that’s going on while singing. Do the face and the body language express what the words of the song are supposed to? In Julie’s case, it’s a big yes. The best moments of her performance are when she’s singing, because she’s not just moving her lips, but also acting.

How about the rest of the performance? It’s mostly great, especially the comedy of it. Julie has a very expressive face and she looks beautiful, which always helps. Her beauty is just the right type to pull off the innocence of Maria. We have to believe that Maria is young; and a nun; and a virgin. :) All of this works out perfectly. The pure comedy scenes (one or two, not that many) are played with a great sense of comedy timing. The solid direction also helps and Julie does know how to put a smile on a face. No wonder that Von Trap stiff was charmed.

Talk about charming and romance: it’s all there. Julie makes Maria so sweet and likeable that the Captain is not the only one falling for it. We’re in it, even though the love story is so predictable. Julie’s natural charisma is too obvious to be ignored. Just like in Julie Christie’s case (Darling), the beauty and the attractiveness of the actress help complete the performance, do justice to the character and sell the film. It’s not a politically correct thing to say, but sometimes looks DO increase the quality of the performance itself.

The lacking in this performance must come from the limitations of the screenplay. There is no real big emotional moment or something that dramatic that would make me go: oh, so she can do that too. I’m not saying it’s a must have and I’m being too demanding; it’s just something I often search. Yes, she does get emotional scenes: and Julie plays them beautifully, capturing the hesitation of the nun falling in love (with the wrong man). And it’s a comedic performance so I get it that it must be judged differently. But still. And it’s the screenplay too that betrays her leading actressness towards the end, by including the Nazi plotline and putting Julie in the background of the film, with a reassuring presence, but not the dramatic punch/exit that we need from a leading actress at the end of a film.

Julie Andrews is a true blessing for The Sound of Music. The movie would probably be totally ignorable without her charm, excellent voice and comedy timing. It’s an iconic performance that’s either taken for granted or named as one of the best musical performances ever. I guess I’m somewhere in the middle, gravitating towards the greatness of it. It’s a spectacular performance, but at the end of the film I felt like I received a lot from Julie, but not everything. The film is not a vehicle for an actress and it shows. They could’ve given her even a bit more to do. I give Julie . I guess she would’ve won the Oscar had she not won it already the year before.

A special 1965 link

.

.

.

It's a link to my other blog, My Latest Oscar Film. There I've ranked the Best Picture and Best Director nominees of 1965. It's an interesting group.

.

.

And what's a bit more fascinating is that the directions of the films are quite better than the actual movies. It doesn't always happen to be that way.


So here is the link to the post.

Elizabeth Hartman, in A Patch of Blue

approximately 83 minutes and 18 seconds

79.7% of the film

.

.

.

The film

.

.

A blind, uneducated white girl is befriended by a black man, who becomes determined to help her escape her impoverished and abusive home life.

.

You can read my short review of the film just by clicking HERE.
This is one of my all time favourites. It’s such a touching, emotional film that just fills me up with sadness and joy (in that order).

.

.

.

Elizabeth Hartman as Selina D’Arcey

.

.

It’s not an easy task having to separate the performance of an actress from the quality or the impact of the movie itself. I adore A Patch of Blue; and I love the leading character of Selina. But does this influence me in deciding how good was Elizabeth Hartman the actress in this portrayal? It doesn’t happen too often to find a film that’s better than the nominated performance. It’s usually the other way around, when an actress is much better than the material given. Truth is the character of Selina is so moving and well constructed that in a way it outshines the performance of our Oscar nominee.

I’ve made a courageous statement that must be explained. Selina is the centre of the film. She is the young teenager, blind and uneducated, raised in an abusive environment, under the dictatorship of an abusive mother. She is so kind and innocent (but not dumb, nor naive) that you could almost compare her to a saint or, better said, a martyr. It’s a very memorable character. So what Elizabeth Hartman has to do is to carry all these qualities of the character and make sure they are not altered in the process of putting them onscreen.

It sounds a bit robotic. But that’s how I objectively perceive it: the character is so well written that in many ways outshines the actress, whoever she may be. The best an actress can do is play it by the book and not trying to grab the attention by improvising Oscar bating scenes that would make the audience say: wow, she can really cry! Or scream!, - these would be actions that would not fit the character. Elizabeth Hartman knows better than that, so she plays Selina like she’s being told: simple, unsophisticated, unselfishly and completely dedicated to the message that the character and the story have to tell.

Elizabeth’s first big plus is not to her credit: her physical presence; she is delicate, with an innocent look, she has the right age to pull it off. And what she brings to this is the great body work: let’s not forget Elizabeth can’t really use her eyes in expressing emotion here. This is a great handicap for an actress and she has to try to make up in other aspects: her voice is soft, delicate. And her line readings (her screenplay dialogue is simple, touching, unsophisticated – yet effective because it’s very believable) are perfect. Even in the scenes where she’s mad, she doesn’t overplay it.

Her biggest credit is being faithful to the character and the mood of the film. Elizabeth can beautifully portray Selina’s surprise while tasting pineapple juice, yet she manages not make her look dumb, but sweet and delicate and so so likeable in the eyes of the audience. Elizabeth always remembers that Selina is also a character designed to manipulate the hearts of the viewers; the success of the intense emotional messages of the film counts of her ability of conquering our hearts, on making it believable and on sacrificing her ego in favour of the character’s infinite humility.

I’ve heard it before that simplicity is often enough harder to play than big loud emotions. In her debut role, Elizabeth dives into the character’s modesty and innocence, making the best acting decision: putting Selina above the actress, with the cost of making herself (the actress) look like a simple device for carrying the message of kindness and tolerance that the film wants to deliver. It’s a success, because that’s what the writing required: no hesitation from the actress and excellent line reading. It’s not a flashy performance, but that’s not why I’m not rating it higher. I’ll give it a , but I honestly thought of 4 stars. It’s not easy to rate, as it’s very hard to separate the love for the film and the character from the effort given by the actress. It’s a beautiful performance, but, as said before, Selina outshines Elizabeth Hartman and in the end that’s the way it should be.

My Top 5s for 2008

I always make these lists towards the end of the year, and fill them up all the way through awards season as I get to see more movies. These are my favorites for 2008. I thought I should just post them to keep them here.

On my rough list I usually have top 15 or 20, but I'll name just the 5s without further comments. In the main 10 categories. So here they are:

.

.

.

.

BEST PICTURE

.

1. Let the Right One In

.

2. The Curious Case of Benjamin Button

3. Doubt

4. WALL E

5. Happy-Go-Lucky

.

almost made it: The Dark Knight

.

.

.

.

BEST DIRECTOR

.

1. Tomas Alfredson, for Let the Right One In

.

2. David Fincher, for The Curious Case of Benjamin Button

3. Christopher Nolan, for The Dark Knight

4. Andrew Stanton, for WALL E

5. Sam Mendes, for Revolutionary Road

.

almost made it: John Patrick Shanley, for Doubt

.

.

.

.

.

BEST ACTOR

.

1. Mickey Rourke, for The Wrestler

.

2. Sean Penn, for Milk

3. Colin Farrell, for In Bruges

4. Brendan Gleeson, for In Bruges

5. Philip Seymour Hoffman, for Synecdoche, New York

.

almost made it: Leonardo DiCaprio, for Revolutionary Road

.

.

.

.

.

BEST ACTRESS

.

1. Sally Hawkins, for Happy-Go-Lucky

.

2. Meryl Streep, for Doubt

3. Anne Hathaway, for Rachel Getting Married

4. Melissa Leo, for Frozen River

5. Kate Winslet, for Revolutionary Road

.

almost made it: Kate Winslet, for The Reader

.

.

.

.

.

BEST SUPPORTING ACTOR

.

1. Heath Ledger, for The Dark Knight

.

2. Eddie Marsan, for Happy-Go-Lucky

3. Robert Downey Jr., for Tropic Thunder

4. Michael Shannon, for Revolutionary Road

5. Bill Irwin, for Rachel Getting Married

.

almost made it: Ph. Seymour Hoffman, for Doubt

.

.

.

.

.

BEST SUPPORTING ACTRESS

.

1. Penelope Cruz, for Vicky Cristina Barcelona

[a very very close #2]

.

2. Amy Adams, for Doubt

3. Lena Olin, for The Reader

4. Debra Winger, for Rachel Getting Married

5. Rosemarie DeWitt, for Rachel Getting Married

.

almost made it: Viola Davis, for Doubt

.
.
.
.
.

BEST ORIGINAL SCREENPLAY

.

1. WALL E

.

2. In Bruges

3. Happy-Go-Lucky

4. Vicky Cristina Barcelona

5. Rachel Getting Married

.

almost made it: Milk

.
.
.
.
.

BEST ADAPTED SCREENPLAY

.

1. Let the Right One In

.

2. Doubt

3. The Curious Case of Benjamin Button

[the next are just category fillers]

4. Slumdog Millionaire

5. Revolutionary Road

.

almost made it: Frost/Nixon

.
.
.
.

BEST CINEMATOGRAPHY

.

1. Revolutionary Road

[can't choose between these two, really]

.

2. Let the Right One In

3. The Dark Knight

4. The Curious Case of Benjamin Button

5. Slumdog Millionaire

.

almost made it: Milk

.
.
.
.

BEST ORIGINAL SCORE

[not sure about this category, except for the winner]

.

1. Slumdog Millionaire

.

2. The Curious Case of Benjamin Button

3. Changeling

4. The Reader

5. Synecdoche, New York

.

almost made it: WALL E

.
.
.

If anyone's keeping scores: Benjamin Button, Revolutionary Road and Rachel Getting Married are leading with 5 nominations each, but the real winner is Let the Right One In with 3 wins.

Simone Signoret, in Ship of Fools

approximately 25 minutes and 18 seconds

17.8% of the film

The film

Passengers on a ship traveling from Mexico to Germany in the 1930s represent society at large in that era.

You can read my short review of the film just by clicking HERE.

It’s an ensemble piece that doesn’t exactly rise to the greatness of the book. However, you’ve got lots of stars and 3 great performances.

.

.

.

Simone Signoret as La condesa

Mainly, this performance has 2 things going on for her: a fabulous entrance for the character and the fact that it’s one of the briefest performances ever nominated in this category. It’s got to be: you can see the countess on screen for just 17.8% (!!!) of the film, so she could’ve easily been voted in the supporting category. Despite the limited screentime, it’s a memorable performance, easily one of the best of the film.

But who does Simone Signoret play? She’s La condesa (The Countess, in English; her name is not mentioned in the film), a rich woman held under arrest, being transported from South America to Europe; she’s a big believer in the freedom of the people and I’m not sure if the films tries to portray her as someone with socialist ideas. On the ship, she has a romance with the ship’s doctor (an excellent performance by Oskar Werner).

She makes her big entrance 15 minutes into the film, appearing like a larger than life person, a high society lady, it’s an entrance worthy of a queen. However, as we get a closer look at her, we discover that she’s a normal human being, a kind person, a tired woman struggling with a drug addiction and rather terrified of what the future holds in store for her.

Simone Signoret uses her acting experience to make the best of the screentime and although the screenplay doesn’t offer her too many big, loud moments she delivers a very sincere performance. Of all the characters from the film (and trust me, there’s lots of them), she the one you feel closest to, because she’s the most interesting, intriguing and dead honest. Simone’s biggest achievement (and smart acting choice) is that she doesn’t look like she’s trying too hard. Her performance is subtle and her lines (sometimes too long or difficult to read) are acted perfectly, with grace and easiness.

Another role for her in the film is to be the love interest of the ship’s doctor, the real leading character. Unexpectedly for me, the romance works! There’s a love story there between two very different people (she’s so chill and direct, he’s so apparently stiff and formal) that share one big thing: loneliness. Though the odds are against them (she’s going to jail in Spain, he’s going back to his wife in Germany), the love story seems so natural and there’s something pure and likeable seeing them together.

We are recommended however to ask ourselves: does she like him or tries to seduce him just because she wants him to keep giving her the drugs? Even if the question pops up in our mind, we soon realize that’s not true. Yes, the countess is an addict – a classy one :D – but the kindness she shows him is so honest and (almost) maternal, that, despite needing him as a doctor, she really feels attracted to this man. Signoret’s face is so expressive when it comes to showing us sadness or sarcasm. Her eyes tell us about the despair and the loneliness and also the worry that she has for him once she finds out he has an ill heart.

Simone gives a short performance with an essential role in the film: she brings class to it and represents the love interest of the leading man. Though it’s an unusual love story, Signoret puts all the effort in making it look so effortless (!) and natural that you buy it immediately and hope for a happy ending. I have a soft spot for her also because the countess who has nothing left to lose was my favourite character in the book. And she does her justice. It’s great casting and it’s always nice to see an experienced actress giving another solid performance. for her, due to the limited time on screen. A criterion I also use is a nominee’s capacity to carry her own film; she would’ve, had she been given the opportunity.

Husbands. and Wives. and Smackdowners


I had the thrill to participate in another one of Stinkylulu's Supporting Actress Smackdowns. For May, the year was 1992. I was already familiar with the films and the performances, and my #1 choice didn't change upon a 2nd viewing of the films.

To me, two of the performances were excellent, one was good and the other two just merely ok. You should click here to see who was OUR WINNER and find out what I thought of each nominee.

Also, note to myself: I should rewatch all these great Woody Allen films. He really IS one of the best living directors and probably the best screenwriter.

Samantha Eggar, in The Collector

approximately 83 minutes and 39 seconds

71.4% of the film

The film

A man kidnaps a woman and holds her hostage just for the pleasure of having her there.

.

You can read my short review of the film just by clicking HERE.

It’s an intriguing, not so bad movie with a not so good conclusion. But it was fun and catchy.

.

.

Samantha Eggar as Miranda Grey

Why do I always start with the confusing, complicated ones?! After Julie Christie’s, I wanted a clearer, either good or bad performance. What I did stumble upon was an unknown British actress named Samantha Eggar and a performance that starts on the wrong foot but keeps getting better just as the tension and intensity start settling in. And I always soften up upon multiple viewings of the same performance.

Though uncertain about both of them, Samantha Eggar’s performance is in a way the total opposite of Julie Christie’s. When I previously wrote about Julie I said that one of her big accomplishments was that she was so faithful to her character. And this is the biggest problem I have with Samantha’s take on Miranda: she didn’t understand the character, at least not in the first part. It’s a big problem, because the audience depends on you the actor to guide us in discovering and understanding the feelings, desires, thoughts – everything about your character.

To be more precise, I didn’t find her to be terrified enough. And because there were certain shifts in the character’s attitude (at least that’s how I perceived them), it affected the credibility of both the story and the character. Why didn’t she try harder to escape?! Why didn’t she just hit the kidnaper in the head with something? Why was she so relaxed at times and why did she trust him? These are all justified questions, all about the first part of her captivity. Was Samantha misdirected in underplaying the despair of this kidnapped woman? I really can’t tell, but I got the feeling she could’ve done more to increase the credibility of Miranda’s actions.

But oh boy does she get better. Because Samantha has a very expressive (and beautiful) face and, half an hour into the film, when the camera’s on her, we feel like we’re finally seeing something. You can spot the fear in her eyes; you believe her terrified innocence and the hope that Miranda holds on to, the hope that she’ll get out of there alive. It’s not an easy character to play, because it’s all based on the notion of surprise. Samantha must always act like she has no idea what’s gonna come next. It’s a strange situation where the character knows just as much as the audience, so Samantha must always look shocked and be fresh and spontaneous.

Her great movie moments have to do with the idea of what’s gonna happen to her. She’s excellent with powerful lines like I don’t want to die, because we feel her sincerity and her true struggle to live. The moment in the film where she realizes that she will never get out of there alive is really well played and very relevant. And because her face is so expressive (I wish she would’ve also used this talent more in the first part of the film), her constant teary eyes (she would’ve been great doing silent films) tear us apart, making us care and somehow hope for a happy ending. The intense scene involving him dragging her through the rain was crazy suspenseful and dramatic in the end.

It’s a contradictory performance, both simple and subtle. She sometimes plays it with a bit too much elegance and dignity; other times, she’s dead on in capturing emotion and despair. What she fails to do in the beginning proves successful as the story unfolds: she makes us give a damn about this girl held in captivity by an unusual psycho. From a point on, Samantha plays Miranda so well and she’s so expressive and likeable, that I tend to forget the shakiness from the first 20-30 minutes. Just like the film itself, this is an intriguing performance, but way above the material. I give her .

Julie Christie, in Darling

approximately 86 minutes and 33 seconds

[it doesn’t include the photos/billboards]

71.4% of the film

.

The film

.

A beautiful but amoral model sleeps her way to the top of the London fashion scene at the height of the Swinging Sixties.

.

You can find my short review of the film just by clicking HERE.
What a smart, sarcastic drama. A real film of the 1960s, as it lives up to the standards of the new directorial wave. Excellent direction and a sharp screenplay.

.

Julie Christie as Diana Scott

It doesn’t happen that often to find a Best Actress performance that confuses me by not respecting the typology that this category implies. Julie Christie in Darling is one of them. I honestly didn't know where to put it; it’s not the question of good or bad, but of good or great. How much does being faithful to the character weights in deciding the ultimate success of a performance? A lot would be the obvious answer; but does it always make it worthy of an Oscar win?

Julie Christie’s Diana is a spoiled brat. She’s gorgeous, she’s a model, she has affairs, lies, victimizes herself and feels like the centre of the universe. However, Diana is quite likeable. Even when she’s lying or cheating there’s something innocent to that, she has a child-like quality, you cannot be angry with her. This is what also makes it a rather light drama, because the director and screenplay know how to keep it fresh & witty and how to tackle the issues of the film without making it grumpy, grim or uncool.

The casting is perfect. It really feels like Julie IS Diana. The role required childish curiosity and to have fun with it. Julie’s face is perfect for that. You sometimes feel like she’s a woman heading for maturity, but for most of the time Julie has to take the mixture of ego and immaturity and bring it to the screen in a way that actually feels believable. And it works. Though it might not seem like the biggest challenge possible, it’s not easy to be dead on and sell it.

One might have the tendency of taking for granted, considering this to be an easy role to play for the most of it. It’s here where I myself get a little bit stuck. Is this performance subtle or obvious? Obvious because her spoiled attitude is visible throughout the entire film or subtle because there’s more to Diana than meets the eye and maybe she does have honest mature feelings hidden behind this wall of superficiality. I honestly don’t have the answer (and I’m happy about that) because the screenplay refuses to go for a conventional ending or clarify the true essence of Diana.

Don’t get me wrong, Diana does have true moments of honesty. The best example is her emotional and physical nakedness in front of the mirror in the Italian palace, after having a breakdown (was that a real profound breakdown or just a spoiled woman getting bored and not receiving what she wants; who knows). But as I’ve just mentioned: all her big dramatic moments can have more than one interpretation.

It’s clear to the viewer that Julie Christie had fun doing this. And that is so good, because Diana is a character that requires you to feel very comfortable in her skin. You need to have confidence when taking such a role, so that you could pull off her self-centred perspective on life. What Julie also does it to bring energy, beauty and most importantly kindness in her eyes. Because of Julie’s charisma and genteelness, Diana doesn’t come off as a cheating slut. That’s a huge plus of Julie’s take on the performance. More so, there are moments when you root for her; not fiery, but still.

Even when she’s desperate (her crying at the end), the screenplay is so built that it’s almost the funniest part of the film. Her reasons for crying are not serious, but any other actress might have given us a dull take without a playful sense to it. What Julie does is making it funny, believable, always remembering the spoiled core of her character, what drives Diana through life and what drives her mad. Those are ambition tears of the spoiled brat she who is not getting what she wants. Delicious and very well played.

Because of some shouting scenes from the second half, we know that Julie Christie had the chops to play Diana differently, in a more high drama way. However, her decision to focus on the lighter side of her character (yet never losing emotion or the interest of the viewer) pays off making it one of the most interesting (maybe even most unusual – judging by the type of character) Best Actress wins ever. I repay her effort with .