My vote - Best
Actress 2012
It’s time to get back on this horse called ranking Oscar’s
Best Actress performances. It’s something I had done for years, but then took a
break from. And it’s time to finish Best
Actress 2012 (to read my thoughts on how the ladies got nominated, click here).
I am getting back to it, but at my own pace, and in a
shorter version. No more individual posts for each of the performances, since
they are quite time consuming. It’s the final conclusions that count (mind you:
I am still counting the screentime – which basically ensures that I see each
performance twice).
So here we are with 2012’s ranking. #1 and #2 are two very
different performances, but both very close to my heart. I could vote for any
of them. #3 is solid, #4 is overrated, but works great for the film. And #5
still has me puzzled.
Best acted scene
of the 5 performances? I almost didn’t award it, since the top 2 performances
are consistently excellent throughout. A scene that comes to mind from Amour is when Georges and Anne receive
the visit of the young pianist – the shame Anne feels for her disability
(repeated in the CD/letter scene) still strikes a chord, and I’ll never forget
it. So subtle, played perfectly.
And here is how I decided to rank them:
1.
Emmanuelle Riva, Amour
The screentime: approximately
61 minutes and 53 seconds (52.2% of the film)
The film: My favourite film of 2012, an unforgettable drama with
such a natural, realistic approach that still haunts me to this day.
Technically precise, beautifully acted, directed by a master of his craft.
The role: Emmanuelle plays Anne, the intellectual, retired
music teacher in her 80s, who has a stroke and has to live through the harrowing
decline of her physical health.
The performance: It’s simply put an actress lover’s dream role
and performance. Emmanuelle brings such grace, class, elegance to the screen
that you know you are in the presence of greatness. The dignity she infuses
into the performance increases the emotional experience of the viewer confronted
with the character’s imminent decline. It’s exactly what the film needs: such a
subtle performance, no vanity, just pure realism, heart-breaking because of the
emotions it triggers in the viewer’s mind.
The highlight: The visit of the young pianist.
2. Naomi
Watts, The Impossible
The screentime: approximately
40 minutes and 38 seconds (41.7% of the film)
The film: It has an average screenplay transformed into a good
film by the excellent performances and some impressive visual scenes. Less
Hollywood would’ve made it more heart-breaking, but the film is anyway relevant
and easy to watch as it is.
The role: Naomi plays Maria, wife, mother of 3 young boys, on a
family vacation in Thailand during the deadly tsunami of 2004. Badly injured, she
and her oldest son try to reach safety in the aftermath.
The performance: It took me by surprise the first time I saw
it, as I didn’t expect such emotional rawness from Naomi and boy does she
deliver. I was cringing in fear as it was all unfolding because her acting is
so natural that it almost felt like I was watching a documentary. Her ability
of losing herself in the character is so masterfully achieved that it helped me
lose myself in the story. Had the film been only about her journey, it would’ve
been a winner. She’s so effective that as soon as she’s not on screen the film
unavoidably loses steam. Excellent.
The highlight: The hospital scenes – the quiet pain when thinking
her other children are dead.
3. Jessica
Chastain, Zero Dark Thirty
The screentime: approximately 54 minutes and 16 seconds (36.3% of the
film)
The film: The second best film of 2012; a fascinating war drama,
always engaging, perfectly directed by Kathryn Bigelow. Those last 30 minutes
are pure action, in the smartest way Hollywood could produce.
The role: Jessica plays Maya, a CIA operative on the hunt for
Osama bin Laden, following the 9/11 attacks.
The performance: It’s an incredibly challenging role, given how
restraint the screenplay is regarding its hero. It’s all about her professional
life, almost no back-story, so Jessica has only one approach: the no-bullshit
one. With a character that’s not even necessarily likeable and with tough
dialogue to get through, the performance is a success. Against all odds,
Jessica delivers a believable, smart performance, with emotions in all the
right places, a great hold of the dialogue and a good understanding of the
material.
The highlight: Getting on the plane, knowing her work is done
here.
4. Jennifer
Lawrence, Silver Linings Playbook
The screentime: approximately
49 minutes and 19 seconds (42.6% of the film)
The film: It’s a romantic drama that I really enjoyed, because
it’s mostly well-written, it’s well directed and it has some fine performances.
It’s a crowd-pleaser that’s always easy to recommend.
The role: Jennifer plays Tiffany, a troubled young widow who
falls for a man recently released from a mental institution and helps him heal.
The performance: One could make an argument that the casting is
not perfect here, since Jennifer is a bit too young for the role – but I
strongly believe she really does try her best with what she’s given. It’s a
character that takes time getting used to, and it’s meant to be edgy – Jennifer
stays true to the role, hitting some high notes, bringing some humour and
ultimately delivering a good performance of a character I didn’t love; but it’s
a performance I find little fault to. It doesn’t help that her co-star
overshadows.
The highlight: Breaking down in front of the movie theatre and
then regretting it.
5. Quvenzhané
Wallis, Beasts of the Southern Wild
The screentime: approximately
53 minutes and 15 seconds (61.3% of the film)
The film: It felt better the second time around. It’s an
unusual film, but beautifully shot, with some nicely made directing choices.
The original score is best in show.
The role: Quvenzhané plays Hushpuppy, a young girl raised by
her father in a southern bayou community, almost cut off from the world. She
has to deal with a flood, her father’s sickness and a prehistoric monster
created by her imagination.
The performance: I “campaigned” so hard against this
nomination... My point is that it shouldn’t exist. It’s a 7-8 year old child,
who probably can’t even read, giving a fragmented performance in a project she
doesn’t understand. Her performance is all about reacting, not building,
and there’s nothing awards-worthy about that, sorry. It’s not conscious acting, since there are noticeable
moments when the actress doesn’t know
what the hell is going on, she’s just speaking the lines. That being said,
there are highlights in the performance and it’s a good child performance.
But if you compare it to acting in general, it’s not much. Well, my point is we
shouldn’t even compare it. I didn’t give it 1 star because I have only done
that once in the past, and to a truly terrible performance. This nomination is
not Quvenzhané’s fault, it’s the silly voters writing her on the ballot.
The highlight: Her one achievement, crying on cue in the last
scene with her father. [again: since I doubt Quvenzhané understood that scene,
it’s hardly conscious acting; they probably told her they killed her dog or
something].
How did the Academy vote: I think it was a clearer win for Jennifer
than people give it credit. They really wanted to reward Silver Linings Playbook somewhere. It’s very likely that Emmanuelle
came 2nd, while Jessica was a close 3rd. I assume Naomi
was 4th, and Quvenzhané 5th.
And that’s about it.
What’s next: Continuing with the (even longer-) abandoned
1972. For the introduction of the year: click here. Hope to have it done by end
of year. :)
To see other BEST ACTRESS years discussed so far, go to the
column on the right, where it says Best Actress Years. ;)
Do tell me how unfair I was with Quvenzhané!! :))
