Johnny Simmons

            

2010: Nicole Kidman in Rabbit Hole (Oscar Nominated)

2009: Carey Mulligan in An Education (Oscar Nominated)

2008: Kate Winslet in Revolutionary Road (SAG Nomination, Golden Globe Win)

2006: Annette Bening in Running With Scissors (Golden Globe Nomination)

2005: Joan Allen in The Upside of Anger

2004: Annette Bening in Being Julia (Oscar Nominated)

2003: Diane Keaton in Something’s Gotta Give (Oscar Nominated)

2002: Nicole Kidman in The Hours (Won Oscar)

2001: Nicole Kidman in Moulin Rouge (Oscar Nominated)

2000: Julia Roberts in Erin Brockovich (Won Oscar)

I am still puzzled when people say Nicole Kidman is a poor actor, for the life of me I can’t imagine why. In addition to being my favourite thrice in the last eleven years she’s been in contention for brilliant work in 2007, 2004, 2003 and 2001. I had a four year streak of picking those that Oscar snubbed (05-08). Incidentally, I consider those four as some of the best work of the last decade – just look at that streak of characters Terry, Deirdre, Marianne, April. Ah, well. Go figure. On to Oscars’ decisions.

2009: Sandra Bullock in The Blind Side

2008: Kate Winslet in The Reader favourite in Supporting Actress)

2006: Helen Mirren in The Queen (top 10)

2001: Halle Berry in Monster’s Ball (top 10)

(Previous Ruminations on Actor, Supporting Actress, Supporting Actor)

Where do you stand with Oscar and their Actresses?

The Supporting Actress. For some reason this seems to be most people’s favourite category. Not I. I don’t really have a favourite acting category. They all have their good ones, and bad ones. These are the performances that are embedded in my memory. As I’ve said before. There is no best...but for various reasons these performances are my favourites. We have a neurotic case, a passionate artist, a caring nurse, a dramatic actress, a serious actress, a passionate humanitarian, a tragic lady of the night, a loving girlfriend, and a political activist. There are my choices for Best Supporting Actress in descending order.

        

There is nothing that can make me dislike this performance. There is just an incandescent nature about Juliette as Hana, the Nurse. The fluidity in her performance is striking. There’s a scene in the movie where she responds to a questions saying “I don’t know anything”. The line alone is unremarkable but it is her delivery that penetrates. There is no one Oscar scene in her role which makes me treasure the win that much more. It’s one of the more surprising decisions Oscar made…and also one of the most satisfying for me.

     

Her entire role is an Oscar scene and how well she does it. Honey’s transformation is startling, absurd, realistic, and horrific all at once and oh, how she sells it. There are so many layers to this performance and every time you watch you find another one. There is no best scene for her, it’s all about you and which of her emotions strikes you most. For me, it’s that moment in ‘Get the Guests’ where she realises her husband’s disloyalty. Her face begins to contort and her childish shrieks become so much more adult and so very heartbreaking and it’s the perfect set-up to the denouement of her character in the final act.

                

There is once scene that stands out in The Aviator for me – always. Howard takes Kate Hepburn out out for dinner. The dinner is interrupted by Errol Flynn and Hughes’ press agent, Johnny Howard. I love the scene.What strike me about Cate’s performance here is the moments when she is not at the centre of the conversation. Mr. Flynn makes an offhand remark “You should use Lux on your hands, by the way. I do.”, it’s not really important…or is it? As he moves on to talk to Howard the camera lingers, almost by accident, on Cate as she self consciously looks at her hand. It’s a telling moment. Someone once referred to Kate as a self conscious beauty. She was beautiful, we’ve seen the pictures. And she was private. So how can Cate tackle this icon? Her effort is valiant and enticing, not because she’s playing Kate, but she’s playing a woman. Her big moments are loud and glorious – the first meeting, the airplane ride, the Hepburn lunch. But it’s the quieter moments when she really sells me, like that tentative look at her hands, and her expression as she leaves Hughes. Is this enough to be Kate? Certainly not. But could it have been better? No.

                          

I happen to be one of the people who like The Constant Gardener. For some reason this performance has suffered extreme backlash. Whatever. I first saw Rachel Weisz in The Mummy and even playing camp I was intrigued by her. Tessa Quail came next. I don’t think this is a leading performance, but that’s moot. Tessa is a bit of a mystery to us…no one is that good. What is her reward for her philanthropy? But maybe she is. The moment that strikes me most when I remember Tessa is that scene in the hospital after she has lost her child. She sits cloaking a newborn African child who’s mother in a precarious position. “This one was born healthy though. Weren't you beautiful my darling. His name is Baraka. It means blessing.”The emotion put into that one scene is remarkable.

               

Whenever I see Marcia Gay Harden I remember her unsettling performance in Mystic River. Celeste remains as one of the most disconcerting female characters this side of the century and Marcia’s performance is high on my list…so is her Lee Krashner. This woman is a phenomenal actress and you have to wonder why she doesn’t get more work. There really is not much you can say about this performance – if you’ve seen it, you just know it’s exceptional. What’s unfortunate is that as much slack as people give the Oscars they really do do some outstanding things. Not one major precursor recognised Ms. Harden with even a nomination. At least Oscar got it right.

              

What a gem Woody prepared for her. Dianne Wiest is another great actress that you rarely see getting work. She’s phenomenal in this and the question of any competitions more worthy always baffles me. And you can’t really say that its Allen’s words that sell the character. If there is no one capable of delivering the goods with such a role, then it becomes an epic failure. Luckily, she has all the talent necessary and then some. I spend my time waiting for her to appear on screen and counting the minutes till she returns and in a film that is so brilliant, the fact that I still highlight her as paramount is an achievement in itself.

             

It’s not that her performance is the largest in the film. Jane Fonda carries most of the middle section on her talented shoulders. And it’s not that her role is big – she has an alarmingly short amount of screentime. Why then is the film named after her character? We have to believe that there is a woman more luminescent, more enchanting, more affable and yet more mysterious than any other. We have to believe that there is someone that the hard edged Lillian Hellmann would sacrifice so much for her and Julia is Vanessa. The film hinges on her small role. If we don’t believe in Julia, well we don’t really have a movie. But we do believe in Julia. We believe she would do what she does and moreover we believe that she is worthy of all Hellmann goes through for her. That’s why she deserved the Oscar.

                

I have my own love affair with Anne Baxter. It always pains that so few remember her only as the conniving Eve…and what’s worse is that they don’t even acknowledge that she was well deserving of her Oscar nomination. Her win for The Razor’s Edge occurred some few years earlier, playing a damned woman, a best friend of the protagonist. It’s the type of role that probably screamed Oscar on paper. But that doesn’t make it any less good. The performance and role are tragic, but in a good way. She’s not the first woman to win an Oscar playing a broken woman, and she probably won’t be the last. But she is one of the more memorable ones.

             

There are two reasons that I single out this performance. The first and obvious reason is that I love it, and the second is because it’s underrated. Mercedes represents for me brainwave the Academy experienced in the early nineties with Ghost, The Fisher King and My Cousin Vinny, awarding some left field performances. Ruehl. She is in complete control of her comedic timing and her sensuality. Every movement from her is well placed but not orchestrated. Her reactions to Bridge’s coldness, her tacky manner, her speech; it’s over the top and sincere as needed. And she sells it. Whereas with Goldberg and even Tomei there is that twinge wondering if someone else had triumphed I look only to Mercedes. I love the movie, and I love her in it.

            

These nine stand above the rest…runners up ARE, in order

Since I’ve been investing in movies and awards something has always worried me. To what extent do we identify an actor with their character? It’s an old question – a throwaway one even. You might even say that it’s silly. Of course I know I’m looking at a movie…I can separate the two… but can we really. I like movie awards – the Oscar, Golden Globes, BFCA, BAFTA, SAG and on and on and on. Something that strikes me about these awards though,particularly the Oscars, is how much they love sympathetic women. This occurred to me after I was reading some early reviews for the film Precious. I have nothing against this film. In fact, although it didn’t make my list of 9 it’s in my top 15 and I hope nothing but good come to Mo’Nique. Recent reviewers have cemented the fact that Sidibe ’s performance should not go unnoticed because of how she tugs at out heartstrings etc… It’s almost as if they’re saying – if you don’t like this performance you’re a bad person. Not because Sidibe is that good [which she probably is] but because the character is sympathetic.

                                                 

In the last decade one of the biggest snubs on most awards including the Oscars in the Best Actress category was Joan Allen for her delicious turn in The Upside of Anger. Playing Terry Ann Wolfemeyer, a bitch of a woman with a serious bug up her ass she has some serious issues. She earned a nod only from the Film Critics – Globes, SAG and Oscar all ignored. The winner that year – Reese Witherspoon for an infectious performance as June Carter. Reese was in my top three that year, so don’t think I hate her. The nominees that year were all good women from the delightful Elizabeth Bennet, the sharp but good Mrs. Henderson, the sympathetic Bree and  the similarly sympathetic Josey. Terry Ann would not have fit in here.

The other day Danny wrote a review of a favourite performance of his – Hilary Swank as Maggie in Million Dollar Baby. I have my issues with this performance. One of those is the handling of the story on Swank and Eastwood’s part. We get it, Maggie is the paragon of goodness and her hillbilly family don’t deserve her. Her main competition? Annette Bening in Being Julia and Kate Winslet in Eternal Sunshine of the Spotless Mind. Both were abrasive women that were no match for the sympathy one could unearth from Maggie. Not to knock at Hilary’s performance – but you have to wonder how many persons couldn’t help voting for her humane character.

                                   

Just as they couldn’t vote against hers six years earlier. Swank’s work in Boys Don’t Cry was eons better than her second win but once again she beat out two women with serious character issues. Carolyn [Annette Bening in American Beauty] was a bitch. The end. And Julianne Moore in The End of the Affair was a complex character in every sense of the word. Teena Brandon was not a perfect person – but she was very sympathetic. When it came down to Annette versus Hilary – not only was Hilary playing a most compassionate character, her rags to riches story was certainly more poignant than the recently pregnant, upper middle class Mrs. Warren Beatty. No?

                          

Kate Winslet won her first Oscar this year with The Reader. I was happy to see her win. Although I still think Hana was a supporting role, and I still think her work as April in Revolutionary Road was superior the win made me happy. But why Hana over April? Sure, Hana takes part in Auschwitz and sure she’s a statutory rapist. But look at the alternative…a bored and malcontent housewife. She ignores her children and doesn’t appreciate her husband. She literally kills her unborn child! I know who gets my sympathy vote...and it's not April.

                                       

Helena Bonham Carter gave one of the most moving performances of the 90s as Kate Croy in The Wings of the Dove…she won a solitary NBR award for her performance. In case you haven't seen this, and shame on you if you have not [the movie's on youtube] Kate is something of a gold digger.The eventual winner? Helen Hunt for her gregarious turn as a single mom in As Good As It Gets. That was almost too easy.

                  

The blue print for this article came to me while watching Cheri. Don’t worry…I’m not kidding myself that Michelle can win an Oscar for it. I know a nomination even is probably out of the question…what with the 55% on RT. But trust me, if this was a story [true or fabricated] about a single mother who must work as hooker on the side and then falls in love with a man half her age only to become jilted all those award shows would be lapping it up like honey.

All jokes aside though, I think it's unfair. I understand, we love the torn character with the sympathetic arc more...but can't we make that great divide. Can't we look at two actresses who give equal performances where one is lynched and endures the gamut of injustices and where one is the bearer of these injustices and realise that not because someone is a sympathetic character make them a better performer. Must it be that we must have some heightened emotional connection to a role before we think it's a good or even great performance?
               

Twister is giving his opinion of the five worst Best Actress winners. It got me thinking of our love of ranking. Not because X amount of actresses are the worst of 80 means that their performances are bad. Of the four acting categories, even though I have hated the winners quite often. There are reasons Oscars pick who they pick. Strangely, I agree with none of

And I’m not saying these five persons are bad...although some of them...they are just my LEAST favourite.

I’m not a huge Alfred Hitchock fan, and I suppose I have not seen enough of his films…but I can say that this is one of his worst films. The discordant tone of this film edging between drama, suspense and comedy is annoying and Joan Fontaine’s performance is just not very good. And to add to it, Cary Grant plays his role as if he’s C.K. Dexter Haven in The Philadelphia Story and she seems to still think that she’s in Rebecca. It’s not a good performance at all, and the revelation at the end just makes her acting look even more insipid that it seemed before. Without a doubt my least favourite Best Actress win. I really don’t care who should have won – but I don’t see how any of the five could have been worse than this horrific trifle.

                       

After Ms. Fontaine, I can’t say that I think any of the winners were as horrible. Some just were not as good as others…they include

                         

Katharine Hepburn reportedly turned down this role. I don’t know if that true, I’m sure she wouldn’t have done well in the role. But for that matter neither did Ginger Rogers. Ginger Rogers is a hit or miss with me and this is a miss. This film is incessantly trivial and her performance is thus. It’s not that hard to see why she won – it’s one of those baity female roles. But ugh, so trivial. She does nothing to elevate the material.

                                         

One of the many films I looked at only because it had Oscar in it. This is another performance that screams baity – and that’s why she won. I figure many won’t agree with this, but I don’t see anything outstanding in this performance. And I when I found out she beat out Glenn Close AND Sigourney Weaver. Not right, not right. I’m not one to hate on a performance just because it beat out a favourite of mine. I mean Gwyneth Palthrow beat out Cate in Elizabeth…and Cate was unequivocally my favourite that year. But Gwyneth was fine, I just didn’t want her winning. Jodie’s performance though, I don’t think it’s very good and I didn’t want her winning.

The next two performances are fine…but

          

This performance is just okay, for me. And though I don’t hate it, I hate who that she beat out a deserving winner. Helena Bonham Carter, Helena Bonham Carter, Helena Bonham Carter. This movie is not a favourite of mine, other than Jack Nicholson and Greg Kinnear’s performance I wasn’t blown over by Helen. The performance is terrifically one note and sometimes she just seems shrill. No, Oscar...just no.

I write this in trepidation since Danny loves this performance… this actually made my top ten of Actresses that year, but there are MANY reasons I hate this performance. First, I think the lack of subtlety spoiled this for me. We get it, Maggie is an angel and her hillbilly family are undeserving of her. But there was no layering of character. I don’t like Hilary Swank as a star and I didn’t see her disappear in this role. What I saw was Hilary Swank playing Maggie…and it annoyed the crap out of me that everyone lauded the performance…and it’s not just because Annette Bening didn’t win either. Although I was emotionally invested in Bening that year many actors were more deserving – Kate Winslet, Nicole Kidman, Imelda Staunton, even Julia Roberts. And this just was not a very good performance as far as I could see.

I'm anticipating disagreement. So have at it...I want to know who's your worst. Shout it out!

 For someone so young she really made you stand up and pay attention. Maria in The Sound of Music has become known as the quintessential Julie but nothing can touch Mary Poppins. Is there any nanny more iconic than her? I don't think so. And that "Feed the Birds" number really is beautifully sung [as per usual]. Don’t we all wish she was our governess? She really has a talent for comedy, and she dances, and sings and she flies. What’s not to love? How can anyone not love Mary Poppins?

Diane Keaton is so lovable. And so is Annie Hall. True the movie is not really about Annie Hall…it’s about Alvy; but that doesn’t prevent Diane from being completely infection in this performance. Every time she says Grammy Hall I cringe, her lack of coordination and neuroses are part of her charm. Her unique style and that always frayed hairstyle. Her Annie Hall is a real person – and we believe the transformation from the beginning as a bumbling would be star to the end where she outgrows Alvy. It’s all good stuff.                                     

What a dump! Famous lines. She seems to be showing up on everyone’s list…and with just reason I suppose. Ask the average movie goer what the know about Virginia Woolf and they’ll tell you Elizabeth Taylor. As far as actresses go Martha may just take the cake for most complex female character – and that’s putting it lightly.It's not really the fact that puts on makeup to make herself look older. It's the very antics that define Martha. She is a completely grotesque human being. And maniacal laugh. George puts it best. You have ugly talents!

Apparently Susan Sarandon was not always a great actress. I wouldn’t know, other than Atlantic City I have not seen her earlier work. But her performance as the Nun Helen Prejean is great. Most people see this as a makeup Oscar for her work in Thelma & Louise and The Client…but this is a deserved award. This could have become a real over bearing performance if she had gone for the showy I am good person shtick. But instead, she holds back, she empathises and not for one moment do we feel her judging those around her. It’s a tough job and it’s a great and underrated performance.

Yum. That’s what I’ll say about Jane Fonda in this movie. She is looking criminally sexy playing a smart prostitute. A paradox…? Not really. Jane Fonda really is a great actress. She was really on a roll in the 60s to the 80s and this is her favourite performance of mine. She uses her looks to male the performance even more interesting. She toes the line between comedy and drama, mystery and farce. She doesn’t overplay it. Pakula will always be remembered for directing that other tour-de-force female performance...but don't underestimate Bree just because she's not an immigrant. But she has the Oscar...so she probably doesn't care...             

This is my favourite Ingrid performance. She plays an Italian woman who fears that her husband may be trying to driver her insane. I’m pushed to say that Ingrid Bergman is the most beautiful woman in cinema. Period. George Cukor has a way of making his women look beautiful...but this is just insurmountable. It’s a baity performance in every sense of the word – but she doesn’t go for hammy acting. Her charm is incandescent and she is just so very, very, very beautiful. Is this a tad too gratuitous? Perhaps, but this is still a great performance. 

                                                                                    

This is ironically one of the top 5 worst wins in Movie Mania’s opinion. Talk about the subjectivity of art. This is one of my favourite films and I think Nicole Kidman is pitch perfect in every scene she is in. I particularly love the chemistry she has with Miranda Richardson in those few short scenes. It’s more than the fake nose, and the clipped British accents. It’s just the simple mannerisms and afflictions of the character. Like when Leonard asks her if she’s eaten, how her head cocks to one side as she tells that small lie. How her sad eyes scrutinise the dead bird. How her fails falls as she sees her sister depart towards the end of the film. It’s just beautifully orchestrated. She had my vote.

It’s so difficult to put my love of this performance into words. I love Emma Thompson – a great and underrated actress [Sense & Sensibility, Remains of the Day, Wit]. There are some key scenes in Act II where Helen [Helena Bonham Carter] believes that her sister has become sinister. We must see Emma’s fall from grace, but still love her. And she manages to do it wonderfully. Emma is Margaret in this movie…so sometimes she’s ignored when we think of the great performances. But this is really an excellent performance.

The spawn of Judy Garland. I don’t understand why Liza Minelli is thought of as undesirable to the typical straight man. I think she’s gorgeous. Sally is one of my favourite musical characters. Every turn, every move, every note it’s almost intoxicating. Those remarkably outlandish costumes and that iconic hair. It all just comes together wonderfully. Is she playing herself? I don’t know…but I don’t even care. And what’s great is that even when she doesn’t sing [and she only has three numbers] she’s still really good.  She manages to make both the comedy and drama believable. Now if only she was singing for me instead of Michael Crawford.                                                                    

Don’t let this influence your vote in the awards, but I love this performance. Nothing any actress has done can parallel this. Every line she utters could go in a book of quotes…and it’s not just what she says. It’s how she says. Evert said it best. Who else could play this role? Eleanor is regal, duplicitous, beautiful, maternal, womanly, brazen, broken and much more. There is not a cast member she does not have good chemistry with but she thrives especially with O’Toole, Hopkins and Castle. The only way this could have been better was if she’d slapped Jane Merrow…and that’s asking for too much.