My vote - Best
Actress 1989
I might have said this more than once in the past, but this
year’s ranking was a difficult task, because it came down to seeing the actual
performances one more time (after a first look) to decide on who subjective game, of course; I need to
put this as a disclaimer, since I doubt there are any other bloggers to agree
with my #1 pick. Also, for the first time ever, all the 5 performances received
the same number of stars from me. I guess that makes it a really good year for
this category.
So, choosing #1 was a complicated task, but it was mostly between
two performances, so #2 followed easily once it was decided it won’t be the
winner. This #2 would’ve been my guess for the win when it all started, and I
am still surprised I didn’t end up choosing her. J
This performance is so up my alley. There’s little difference between #3 and
#4, and #5 is also very close. There’s no need to add more.
To see how they got nominated, click here. And this is MY
ranking:
1.
Jessica Tandy, Driving Miss Daisy
The screentime: approximately
55 minutes and 5 seconds (57.7% of the film)
The film: The film is not an epic, it’s not a big production or
a film with a complicated plot, like other Best Picture winners. It’s simple,
but charming and very well written. Some thoughts on it: LINK.
The role: Jessica plays Miss Daisy Werthan, a stubborn widow in
1948 Georgia, who is forced by her
son to accept having a driver, which creates both funny situations and a
lifelong friendship.
The performance: This is a performance that could’ve been clichéd
or downright awful, but it’s saved,
and few people give Miss Tandy credit for it. In the hands of a Bette Davis or
a Katharine Hepburn, it would’ve been a disaster. Jessica brings a strange
delicacy to the role, femininity and a sparkle of youth that balance well with
the sarcastic attitude in the more comedic scenes. The acting is so beautiful
and pleasant and reassuring, backed up by smart dialogue, that you almost don’t
see it as acting. It combines the funny with the emotional; the role could’ve
been so mechanical, but Jessica still
had the hunger for acting, so it feels full of life.
The highlight: As they stop on the side of the road, on their
way to Mobile, Alabama, for a sandwich, Miss Daisy relives the first time she
saw the ocean. With the camera on her face, there is such a loving emotion in
her eyes that I was taken by surprise and felt instant sympathy.
2. Isabelle
Adjani, Camille Claudel
The screentime: approximately
91* minutes and 27 seconds (59.8% of the film) [*must note I have seen the 158
min version, not the 175 min]
The film: The first half of this long biographical film is more
interesting, while the second half is less focused, slightly boring. Some
thoughts on it: LINK.
The role: Isabelle plays Camille Claudel, the temperamental and
ambitious young sculptor who becomes the mistress and protégé of the famous Auguste
Rodin.
The performance: The film relies so much on her beauty, her
expressive eyes and the love that the camera has for her. What is not in
writing, she can compensate by one look of despair or shame. This is a flashy
role, mostly in the better sense: there’s no holding back on the tears and the screaming,
but as the screenplay doesn’t always rise to the occasion, it sometimes feels
in vain. But even as the craziness of Camille is poorly explained, Isabelle
tries to create something of an arc for her: there’s a distinctive regress. With one of the most beautiful
faces in history, tears like no other, and enough energy to make it work,
Isabelle’s performance is mostly a success.
The highlight: Her last scene with her father combines nicely
the confusion of the woman slipping into madness and the shame of the daughter
trying to reconnect with real life. Perfectly delivered vulnerability.
3. Michelle
Pfeiffer, The Fabulous Baker Boys
The screentime: approximately
47 minutes and 16 seconds (43.4% of the film)
The film: It’s easy to watch and it has a couple of good scenes
that almost make it memorable. The story is nicely balanced. Some thoughts on
it: LINK.
The role: Michelle plays Susie Diamond, a high-class call girl who
turns singer, bringing a breath of fresh air to the duet of two piano playing
brothers.
The performance: I know everyone loves this performance, and I
respect it more than love it. To me the role is less challenging and I give
Michelle credit for delivering almost perfectly what was required. And what she
does get is a damn good scene towards the end and a couple of comedic touches,
for which she finds just the right timing. She is sweet, and likeable, and her
presence does improve the film a lot. There’s vulnerability, and smarts, tears
played at the right moment and the camera loves her. I didn’t really understand
why the character was so chill about being a prostitute, and I also don’t think
her singing was that good. Sorry. But still: an almost 4.
The highlight: Her big scene with Jeff, which basically makes
the performance work. The you’re full of
shit. You’re a fake speech is very well delivered.
4. Jessica
Lange, Music Box
The screentime: approximately
83 minutes (71% of the film)
The film: It starts with poor writing and slow pace, and then
gradually gets better and better. Some thoughts on it: LINK.
The role: Jessica plays Ann Talbot, an American lawyer of
Hungarian origins, who has to defend her father when he is accused of horrible
war crimes.
The performance: Here is a performance in what I like to call the
“Angelina in Changeling” category,
meaning it has such low or mediocre acting choices, but the highs are so
impressive that you can’t ignore them. Just like the film, the performance
starts on a bad note: Jessica creates this overly-precious, delicate woman that’s
just boring to watch. But as the trial starts, the film gets better, and
Jessica’s acting becomes more real,
more dynamic. The music box discovery is a memorable moment, but what justifies
my ranking (and me calling this one of the few Lange film performances I really
like) is that breath-taking confrontation scene that might just be this
category’s best acted scene. The fear in her eyes, combined with anger and despair
is pricelessly acted. But I must cut points for the weak start, so this is an
almost 4.
The highlight: As I said, the big confrontation scene with her
father. Perfect.
5. Pauline
Collins, Shirley Valentine
The screentime: approximately
78 minutes and 11 seconds (73.9% of the film)
The film: It’s dated through its execution, but very relevant
through its theme of dissatisfaction and changing your life; surprising. Some
thoughts on it: LINK.
The role: Pauline plays Shirley, a funny and lively woman, who
likes to talk to herself. She realizes how unhappy she’s been with her life and
decides to escape to the Greek
islands.
The performance: It feels a bit stupid to have Pauline in 5th,
since I loved the film, and the film depends almost entirely on her acting. And
she is lovely, she really is: I like it a lot, but for some reason I just can’t
rank her higher. She is fun to look at, has a great delivery of the funny lines
and a good understanding of the dramatic aspects of the film. The constant look
of surprise on her face works both for her, because it helps bring the laughs,
but also makes it all look so easy and the character arc less noticeable
outside of the plot. It has a charming lack of vanity. An almost 4.
The highlight: Maybe the scene on the bus, thinking of her
life: Shirley Valentine turned into this.
How did the Academy vote? Well, the older voters in the
Academy got their way, so Jessica Tandy won (deservingly so, I might say,
though I know you won’t agree). The fact that Driving Miss Daisy won Best Picture definitely also had something
to do with it. But it was mostly because they liked the performance, I guess,
and because Tandy was such a respected theatre legend. At 80 years old she was
(and the record still stands) the oldest winner in the Best Actress category.
#2 was a very close runner-up, clearly Michelle Pfeiffer. They were the only
ones with a shot at winning this. The other 3 had no chance. From there on, it’s
a guessing game. You’ll definitely doubt me, but I think Isabelle was a very
distant #3; hear me out: even though it’s a foreign-language performance, and
we know how they feel about those, it’s also a very flashy one, with a lot of
acting, in a biographical film that was also up for a Foreign Language Oscar.
More so, Adjani was a worldwide movie star, having been nominated before. I
would guess that Pauline was #4 (random thought; not 3rd, because
she was little known despite the Tony win, and it’s a small film) and Jessica 5th
(the Academy wasn’t in any hurry to give her a 2nd Oscar, and Music Box seems to have plenty of
haters).
What’s next: For the first time since... I don’t know when,
there won’t be a draw like there usually is. I still have 30s, 50s and 90s to
choose from, and I will pick a year myself from those decades. Allen and his great
blog http://oscargasms.blogspot.com/ have inspired me to want to do 1939 (what
a year!) and that’s the one up next.
But before that, I’ll share my thoughts on Emmy’s Best
Actress – Drama & Best Actress – Comedy races, watching the submissions,
ranking the nominees, I’ve done it before. ;)
To see other BEST ACTRESS years discussed so far, you can go
to the column on the right.
