I can’t believe it, I got to put together a Best Actress year before the actual ceremony – that hasn’t happened since forever. And what an Oscar year it is, with these top 3 performances some of the best this
#1, #2, #3 are, as I said, amazing achievements and career
best for Cate & Sandra. #4 was easy to choose – a performance that I
respect more than I love, from an actress I normally fall for. #5 is not bad,
but probably shouldn’t be on this list (give me Julia, Julie, Adele or Emma
instead).
I am officially cancelling the “best acted scene” category,
and one more comment: boy, was counting Sandra’s screentime in Gravity a pain in the ass. :) Must focus
on “approximately”, since the heavy breathing was very hard to keep track of.
Here is how I decided to rank them:
1.
Cate Blanchett, Blue Jasmine
The screentime: approximately
65 minutes and 7 seconds (69.5% of the film)
The film: I would call it one of Woody’s mediocre-to-good
films. It’s definitely saved by the acting, not just Cate, but Sally and Bobby
also. The directing is ok, but the dialogue didn’t always work: I might’ve
liked it more had it been more honest in being a Streetcar rip-off.
The role: Cate plays Jasmine, an emotionally unbalanced,
troubled socialite, who moves with her sister, trying to recover from her
husband’s death and losing all of her fortune.
The performance: Meet Cate Blanchett. The best actress of her
generation. Most of you reading know I had doubt preparing for this film: will
she overact, how will I feel? Well, it’s an acting class like no other, a real
tour-the-force that feels even better the second time around. Nothing is held
back: she doesn’t shy away from craziness, but always packs it with a human
emotion. In every scene you can feel how hungry Cate is to deliver excellence –
and it all works: Jasmine is never a caricature, not in Cate’s hands. The most
touching thing is recognizing yourself in some of the emotions, and there are
so many layers to the performance. Jasmine crying after Dwight finally calls?
Haven’t we all been there, in that tense moment?!
The highlight: Any one of at least 15 impeccably acted scenes.
I’d probably go for the ending or the selling
shoes on Madison Avenue monologue.
2. Sandra
Bullock, Gravity
The screentime: approximately
61 minutes and 54 seconds (74% of the film)
The film: Probably the best film of the year. A film about
space that is not science fiction? What a concept! Yet, it doesn’t waste
a minute. Not one boring moment, because Alfonso Cuaron is in charge – a story
of survival that feels technically flawless. A cinema experience to remembered.
The role: Sandra plays Dr. Ryan Stone, a medical engineer who
tries to survive and get back to Earth, after an incident leaves her adrift in
space.
The performance: By no accident, this almost ended up being my #1
choice, because I was thinking with
my heart. There’s one scene in this film (yes, the crying scene) that makes
the performance what it is. Of course, Sandra is excellent throughout by giving
a performance that feels so natural, so honest, despite its very physical
demands; the difficulty level of this role is higher than people tend to
realize. I found her incredibly charismatic in a very unfussy kind of way – the
scene where she finally loses hope is so surprisingly emotional and intimate,
one of the most touching I’ve ever seen.
The highlight: Like I’d need to say: I’m dying, Aningaaq, and there she goes breaking our hearts.
3. Meryl
Streep, August:
The screentime: approximately
51 minutes and 19 seconds (45% of the film)
The film: I’ve heard a lot of complaining about it, but it’s a
fine film that depends a lot on its actors. The screenplay mostly works, what
the film needed was a director with a bit more vision and a bit more
personality (though not too much).
The role: Meryl plays Violet Weston, a woman with cancer,
addicted to pills, whose family goes through (another) crisis when her husband
kills himself.
The performance: It’s not a subtle performance, that’s pretty
clear. But then: it’s not a subtle role either, so I wouldn’t blame Meryl. It
takes someone who really knows acting
to carry a role so emotionally intense, and Meryl succeeds, with the laughs,
with the heartbreaking moments, with the ones that are over-the-top. There’s a
lack of vanity that gained my respect, and there’s a sense that she knows this woman, that she understands
where she’s coming from and is not afraid to lose herself in the character. The
dinner table scene is dynamite and Meryl deserves most of the credit for it.
The highlight: Anything at the dinner table (Tell her what an attack looks like –
heartbreaking) or the boots monologue.
4. Judi
Dench, Philomena
The screentime: approximately
48 minutes and 25 seconds (52.7% of the film)
The film: It’s an amazing true story that, in my humble
opinion, should have been adapted in a very different way: it needed less
laughs, witty lines and commercial bullshit and a deeper journey into the mind
of Judi’s character. I do appreciate it showing both views on religion.
The role: Judi plays Philomena Lee, a woman in search of her
long-lost son, who was taken from her 50 years prior, when sold into adoption.
The performance: I’ve had a big dilemma with this performance, since
I can tell it’s good, it really is, but I simply don’t love it. It might be
because it doesn’t deliver the emotional punch it could have, but, given the
screenplay, this might just be as good as it gets. This is Judi Dench, and even
ok Judi Dench is quite amazing to begin with, but I felt the humour of the screenplay damaged the
performance by breaking the rhythm,
if that makes any sense. Sure, Judi can handle even the funny lines, but the end result left me rather cold, as if I didn’t
really care. The great acting does come from the more silent moments when we
get a glimpse of her soul, through Judi’s very expressive eyes.
The highlight: Looking at the montage with Anthony’s life, I did not abandon my son.
5. Amy
Adams, American Hustle
The screentime: approximately
48 minutes and 4 seconds (36.8% of the film)
The film: It tries too much to be Goodfellas at times, when it should just be a David O. Russell
film. The screenplay is the problem, and it’s never too deep as to feel
important in any way. Leaves little impression afterwards.
The role: Amy plays Sydney Prosser, a con artist forced to work
with the FBI after she and her con man lover get caught.
The performance: For some reason, I’ve had some issues seeing
Amy in this part. I’ve liked her a lot in the past (Junebug, Doubt) but I
just couldn’t buy her as a seductive woman from the fashion world who ends up a
great con artist. My feeling was that for some of this performance Amy simply
looks embarrassed to be there, as she’s just about to run from the set. Yes,
yes, I know the character is vulnerable, with self-trust issues, but something
just didn’t seem convincing enough (not talking about the accent). That said, I
guess she’s ok: she gets two rather dramatic scenes with the guys and does a
good job with them, she looks hot in the clothes, but I just didn’t care a lot
for her character. We’re looking at almost 3 stars; I try to stay as
objective, otherwise I might’ve went for less.
The highlight: ‘This is
what we do to survive’.
How will the Academy vote? Well… Cate should be the clear,
obvious winner and I so HOPE it will happen. Her only competition comes from
Amy, who has the advantage of never
winning before (her 5th nomination) and a good campaign late in the
game. I guess Sandra is 3rd, with little chance of pulling a
surprise win (also because people still rightfully feel she didn’t deserve her
first). Judi will get some votes from older Academy members, and I think Meryl
is 5th just because the film wasn’t much of a success and she won
her 3rd Oscar just 2 years ago; so no pressure.
And that’s about it.
What’s next: A DRAW (!!!) which I haven’t done in a looong
while. :) If you’re new to it, I’ll just put some pieces of paper in a bag
(with eligible Best Actress years) and pick one without cheating. And film it
all, of course. I feel like going really vintage, so 30s-40s it is. The years
entering the draw will be 1933, 1934, 1935, 1938, 1939, 1940, 1941, 1942, 1943,
1944, 1946 and 1948. A reminder that 1928, 1931, 1937, 1945 & 1947 have already been
discussed (you can click on them). 30, 32, 36 & 49 are not available to me,
so they’re not entering. :) Fun. I have my favourites, though I never cheat.
To see other BEST ACTRESS years discussed so far, go to the
column on the right (which needs a bit of updating).
