Ellen Burstyn, Requiem for a Dream

This is a performance that sits on the edge of supporting, yet it’s such a shocking role and delivery, a brilliant piece of acting, that it suddenly becomes the center of the movie and I honestly stopped caring about any other character in the film. It’s a crazy, Oscar-baity role in a movie that is dying to shock you. Don’t you just love a comeback? After 20 years, here she goes again, better than ever…

35 minutes and 36 seconds

36.8% of the film

.

.

Requiem for a Dream

.

The hopes and dreams of four ambitious people are shattered when their drug addictions begin spiraling out of control.

.

Hell, yeah:

Ellen Burstyn, Jennifer Connelly; the crazy editing that sometimes actually works. Ellen Burstyn’s monologue is fabulous, the music is great, creepy & it stays with you.

.

Oh, no:

Requiem is ambitious, but it comes down with a student movie feeling attached to it. Don’t get me wrong, a great student movie, but still: the stories were a bit undeveloped, it felt rushed at times and the ending… well, rather predictable, I would have chosen something more sophisticated and less moral. And too much crazy editing bothers you at times.

.

.

Ellen Burstyn, as Sara Goldfarb

.

Here you have one of the greatest actresses of her generation (I mean it; go see The Exorcist again) on the top of her game. Of course the monologue helps but it’s Burstyn who does miracles with the character by giving us just the right amount of Sara, enough to create a small addiction to the character :) We want to see more of Sara, although it’s easy to predict that she’s not gonna end up well.

In a sentence, Sara Goldfarb is a nice old widow trying to lose weight because she’s dreaming of appearing on a TV show; she starts taking the wrong pills and insanity is just one step away. The character suffers a full transformation during the 90 minutes of the film. In the beginning, we see Sara as being either childishly excited about her future TV appearance or upset about the fact she’s not losing any weight. Anyone who’s ever been on a diet (I subscribe) knows how obsessive that feels.

Burstyn portrays Sara as any other mother or grandmother out there, she nails the gestures of a simple woman trying to enjoy what’s left of life. Her forced optimism is heartbreaking and it betrays the deep emotional wounds of this woman. As the monologue scene unravels, we realize the immense tragedy of the lonely woman getting old.

We know from the start that her son is no good and that her husband has died. Yet it’s not until this scene we notice the true loneliness of Sara. I recommend you watch the scene again on youtube. It’s the monologue on loneliness.

So her son comes to visit, and she’s already taking drugs and losing it a bit, but to the people outside she seems normal. It’s the last scene before the character sinks full speed into madness. First Sara is very happy to see her son, but provoked by him, she starts explaining her unhealthy devotion to small think like losing weight or the neighbor’s opinion.

I’ve got no one to take care of, she says while breaking down. Burstyn is great in this highly vulnerable moment. It’s an explanation of the tragedy of getting old. She perfectly balances the tears, her eyes show the deep fear of the character that has been abandoned by her son and husband. She has nothing to live for, except for this cruel promise that she’s gonna be on TV.

The scene is played with such experience that I was instantly moved, I listed and understood every word Sara said. It’s a powerful scene and a moment in the performance that changes ones real life perspective on a matter like this one.

Monstrous thing getting old; that’s what I thought. And Burstyn is there, doing more than justice to the character. She gives a smile, yet keeping the tears, an attempt of the character to cheep on when it’s obvious that everything around her is crumbling. An Oscar moment, if there ever has been one.

Then, from Sara’s perspective, the movie takes a horror turn. You can feel it even starting with the camera shots. She’s losing her mind and the fears and the desires come mixing with the real life.

She’s scared, not able to separate the fantasy from the reality. Sara is like a child scared by the monsters. We like her, we want her to get better. But we know she won’t.

Aronofsky is a sadist son a bitch. He makes us see her reaching the lowest of the low. We don’t want to look, but we can’t help it.

I just wanted to be on the show, she tells the producers. Her monstrous look certainly helps the performance. Burstyn doesn’t hold back in portraying the magnitude of insanity.

It’s very very dramatic as we know how normal she was at the beginning, before the pills stepped in. It’s a tragedy, yet something magic for any movie fan interested in seeing an actress going for it without any self-control.

A bold performance, if there has ever been one. It could have seemed unnatural, comical in some way, but it’s done perfectly by Burstyn who understands the real tragedy of the character. There photos as just as heartbreaking by themselves.

A performance not (just) because it’s showy, but because it’s deeper then what you might remember and it was brave for Burstyn to take the role. And she did magic with it.

.

Laura Linney, You Can Count on Me

I knew this was gonna happen and I’m very happy it did: finding a performance that I totally dismissed years ago, but completing changing my mind now – years after. It’s part of the reason I started this archive: to clear things up in my head and give a true second chance to one performance or another. Before giving another chance to these 5 performances, I was quite sure Laura Linney is going straight for #5. Happily, that's not the case now…

approximately 67 minutes and 4 seconds

63% of the film

.
.

You Can Count on Me

A single mother's life is thrown into turmoil after her struggling, rarely-seen younger brother returns to town.

.

.

Hell, yeah:

The two leading actors; I didn’t expect Mark Ruffalo to rise to the occasion, but he did, with one or two great moments. It’s nice to see a loser done right. :) About Laura later on. There were one or two funny scenes, but let’s face it: without Linney, there wouldn’t be much to say about this film.

.

.

Oh, no:
It’s a quiet small indie film and that might be a problem if the genre is not your coup of tea. I found it to be nice, but at times too quiet indeed. I didn’t like Matthew Broderick, but I forgive him because of a shitty role. Although it has its moments, the screenplay didn’t wow me. The characters are dislikeable at the begging, even Linney’s.

.

.

.

Laura Linney, as Sammy Prescott

The Good:

This is a performance that just goes from a bit annoying to ok to great to FABULOUS in her last scene with her brother. It was probably built that way, trying to give some intensity to the otherwise trite ending. I’m quite sure Laura brings to the table much more than the role demanded the actress to give. She’s always a step ahead of the character, and I say that in a good way. It’s a performance that carries the character and not the other way around.

We see Sammy as the loving sister to a loser brother. It’s the first important scene of the film and although Sammy seems like a frigid fake woman, that’s not exactly true. Linney can play the neurotic Sammy, but also gives clues that this not a one-dimension hysterical woman – she’s also kind and loving and has moments of crazy honesty.

Her dynamic with Ruffalo’s Terry becomes more successful as the story takes a shape. We also find out that Sammy is not a robot; her instinct puts her in crazy situations at times, like sleeping with her married soon-to-be-a-father boss. As the film progresses, we feel like the character is finally starting to “get a life”.

I especially liked one scene where Sammy goes to the catholic priest to confess her adultery. There’s a funny line delivered perfectly by Linney, who’s using her comedic talent full speed: I don't know what the church’s official position is on fornication and adultery these days…

But Sammy is also a single mom and she faces a very difficult moment when she’s put in a way to choose between the brother she loves and the son she adores but wants to keep safe. She tries to keep them both close to her, but vanities are too high.

And we slowly get to my favorite scene, acted brilliantly by Laura Linney. It’s close to the end of the film and she has to say goodbye to her brother who’s leaving town again.

I found myself taking snapshots every 2 seconds during this 5 minutes or so scene. It was a really fascinating piece of acting. The moment where she says she feels like she’ll never see him again is heartbreaking. But he tries to calm her down telling her everything will be fine. It’s a totally different Sammy from the beginning of the film. She’s not a control freak, just a vulnerable human being. Her crying is so natural and heartwarming. These are photos from that scene - way too many :)

The Bad & the Ugly:

Nothing bad, but there were scenes where I felt like… oops, Laura, you’ll be still doing the same scene 7 years from now. Yes, this was made waaaay before The Savages, but in a couple of neurotic scene or uncomfortable ones, Sammy seemed just like Wendy from Savages.

Even the same look. But as this was first, it’s totally excusable.


Conclusion:

Would it be fair to give an Oscar just for one scene? Of course, Julia won, but I’m talking about my Oscar, my vote, what could I base it upon? Laura Linney gives a good performance even before we get to the end of the film. But it’s obvious that my are based 90% of that 5 minutes scene. Laura knows when to make Sammy obnoxious, funny, frigid, crazy, neurotic, she has a good grip on the character and gives it much more than its potential. What happens if I’m interested only in the final part of the character’s arc which translated to a great interest in the last touches of the performance? Who knows. Yet, it’s a performance which without shocking does leave a mark.

Juliette Binoche, Chocolat

It so often happens that a stylish movie (stylish judging by my weird criterion) makes me go way pass the flaws and develop a certain obsession for one or two elements from the film. The scene (frame) that has stayed with me for years will be revealed later. It involves the surprisingly Oscar-nominated performance given by this very beautiful and talented actress…

approximately 55 minutes and 51 seconds

48.4% of the film

Chocolat

A woman and her daughter open a chocolate shop in a small French village that shakes up the rigid morality of the community.

Hell, yeah:
This is not the average Best Picture nominee; or let’s just say it covers the soft / light spot in a Best Picture lineup. The chocolate is a plus :) Same with the art direction, the costume design, the whole look of the film. The music is adequate and Judi Dench gives a very nice supporting performance. It’s a light feel-good movie that I really enjoy.

Oh, no:
Lena Olin had an awful character that threw the movie off-balance. Alfred Molina didn’t impress me either.

Juliette Binoche, as Vianne Rocher

The Good:

I’m shaking things up a bit and starting with a moment towards the ending of the film. This is also the obsession that’s I’ve mentioned before. It’s minute 95 and Vianne is on the pontoon, listening to what the north wind has to say.

It’s a key moment in the film. It suggests that this free-spirited woman is ready to move to another town, it’s a sign from her ancestors that it’s time to go. And there she is: beautiful Juliette Binoche in her stunning 1960s outfit, with the killer red shoes, about to give it all up again.

It’s a quiet scene of intense beauty. Juliette manages to perfectly transmit the determination of the character. I love it.

As the film starts, there’s not much to say about Juliette’s performance as Vianne. She plays it cool, calm, letting the chocolate get all the attention.
There’s a scene where she fights the count, telling him she’s not easily intimidated.

Then Johnny Depp steps in, and she becomes more of a foxy attractive woman, yet still natural, maybe even playful. Vianne is a tough cookie, yet very down to earth and Juliette does a nice job portraying that.

But, there will be tears. In a moment of vulnerability, she admits to her friend that all the adversity from some townspeople takes its toll on her. We love Vianne, her tears of joy or sadness. It’s something that Juliette does with all her characters: she makes them humane, believable and totally likeable.

There’s also an interesting mother - daughter relationship. Vianne is living in denial, as she won’t admit (until this one scene with Johnny’s character) that moving from one town to another has a strong negative effect on her daughter. Another moving scene that Juliette nails perfectly, showing emotion, yet not exaggerating.

The film has a beautiful ending; there’s no twist, but a certain scene comes as a surprise and offers a different conclusion to the story. Vianne is finally able to see the truth lying in front of her.

The Bad & the Ugly:
Nothing. Her low-key performance in the first part is just respecting the screenplay.

Conclusion:
I have a weakness for the performance, the character, the look. I don’t know if it’s an Oscar winning performance, but she did exactly what she suppose to do with the given character and the lighter type of movie. YES, Bjork deserved to be nominated instead of her (and also to win), but it’s not Juliette’s fault. I am seriously hesitating between 3 stars or 4, but I think I’ll stay with , trying to be objective and comparing it with the other nominated performances.

Joan Allen, The Contender

Although I’m not an American, I was like Yay for Hillary! You go girl! during her campaign for a nomination. She didn’t make it and that’s too bad, but I’m hoping for the best. While seeing The Contender for the second time, I realized that this is a way better political drama than I remembered it to be. And I was also pleased to look closer at a performance that I once considered forgettable, but perspectives certainly change…

approximately 53 minutes and 51 seconds

45.3% of the film

The Contender

Sexual secrets from a woman's past come to light as she runs for Vice President.

Hell, yeah:
A serious film, with a nice start, sharp writing & strong performances. It has great lines, a political theme, but also funny moments that make it well balanced. At points, it has a very nice West Wing feeling. Joan Allen, Jeff Bridges (great role to play), Sam Elliott and Gary Oldman (always snubbed) are highlights + a good Mariel Hemingway cameo.

Oh, no:
A supporting actress playing a brunette FBI chick; and the last 15 minutes or so, which were a bit cheesy - or maybe just not as good as the rest.

Joan Allen, as Senator Laine Hanson

The Good:
It’s great to see a dignified strong character, a lady but also very down-to-earth and fully knowing the rules of the political game. This is the type of character Laine Hanson is, going from a regular wife and mom to a strong contender with accurate, unshakeable beliefs.

I just loved how natural the character seems to act especially in the beginning of the film. It’s the small details that had me on Joan Allen’s side; and she’s probably been doing this her whole career. It’s a brief look that Laine gives her husband, nervous gestures right before seeing the president, repeating an idea in her mind.

Joan Allen shapes the character in an effortless way. It all looks so genuine, sometimes even improvised. But all done great, the feminist speeches are delivered coherently and Joan keeps the balance, showing a tranquility of the character that often seems its trademark.

Laine has been accused of having a dirty past, yet she’s not gonna talk about it as she considers it to be below her dignity. We may not agree with her tactic of dealing with things, but we keep the strong respect for the character. Joan Allen keeps it right in the middle: she’s not a spoiled bitch running from accusations, but also not a total victim, a defenseless woman.

Unfortunately, things start to get tougher for Senator Laine Hanson. Joan Allen takes smart steps in showing the difficult transition as the character is dealing with more than she wants to handle. It’s not worth it anymore.

I love the scene where we see the first tears. She has an unusual obedience that we hadn’t seen before, but she’s not entirely quitting. She may be giving up the chance for vice-presidency, but she surely won’t give up her beliefs about women’s rights, privacy & all those liberal ideas that in the end feel more important.

Her line reading is perfect and the patriotic speech towards the end: priceless.

The Bad and the Ugly:
Ok, so maybe Jeff Bridges (playing one of the best written president characters I’ve ever seen – finally someone breaking the cliché) steals the scenes in which they’re together, but there’s nothing bad about Joan’s performance.

Conclusion:
It’s a great performance from an underrated actress that has lots of talent. Maybe she has done similar work before (Pat Nixon anyone?), but it’s a pleasure to watch her over and over again. She’s an actress with a very natural acting technique and that’s a blessing for the character. The sometimes shaky voice is a great bonus. As I said, I like dignified, respectable characters done the right way, so .