Johnny Simmons

Made in Dagenham reminds me most of movies like The Women or Stage Door - not because it’s a slice of classic life, but because in its wide foray of females I almost don’t want to single out any one of them as best in show. Almost. I’m both surprised and heartened that despite picking up zero awards’ tractions Rosamund Pike was being so constantly fêted as a potential spoiler in the supporting actress race way back when. To say that the role is paper thin might be a little too harsh. The thing is, the role manages to be paper thin and hopelessly predictable at the same time but Rosamund sells it. She’s always so good opposite fellow actresses (perfect opposite Keira and Carey) and truth be told – one of my favourite moments of the film is the throwaway moment in the car when Lisa and Rita both band together to bring down a chauvinistic teacher at their sons’ school. It reads as a bit insular that this “small” act is indicative of their female bravery...but whatever.

Not that Sally isn’t good herself, I was no big fan of her in Happy-Go-Lucky but she’s so charismatic here constantly besting the material she’s given. She’s sort of brilliant opposite everyone in her sedateness, in contrast to Miranda who finds her brilliance by being explosive. My appreciation for Miranda flip-flops. She seems to be having too much fun playing Barbara that sometimes you can just see her being over-the-top for its very own sake. She knows when to rein it in, though. What Barbara does for the cause is no small feat, and that moment where she has her way with her boorish assistants is brilliant.

The original tale of Sleepy Hollow is eons away, plot wise, from its cinematic counterpart. The most startling deviation is – of course – to be found in Johnny Depp’s Icabod. I find the original story to be only vaguely interesting and Burton’s variations work well. Though I don’t consider Sleepy Hollow his greatest I’d easily call it his most technically proficient – and that’s saying something in itself. The film is the sort of anomalous thing that attempts to blend comedy, drama, tragedy, mystery, horror and yes, even romance into something dark and broody and very Burtonesque. I’d also wager that it’s the strongest performance Depp has given under Burton, even though it’s ignored for being so obviously under the radar unlike other usual suspects (like Sweeney and Ed). As manic as he can go, there’s something that seems right in seeing Depp play the straight man before he turned into Jack Sparrow and whatnot and his performance is the thing that keeps us centred on the (dubious) reality of the strange world we’re experiencing.

True to Burton form, though, Sleepy Hollow is no one man show. Though I’m decidedly fond of his visual madness and I’d like to see Burton handle a straight dramatic ensemble, because he has a way with large casts. Miranda Richardson and Christopher Walken have a thing for showing up in long films to steal scenes (The Hours, Catch Me If You Can) and they work splendidly in the madness of Sleepy Hollow. Sleepy Hollow is a fable in the best of the sense and though I may not consider it as his greatest it’s up there with the good Burton films.

               

Regardless of how many ways an actor decides to come into a film, the cameo will always be one of the easiest ways to get forgotten. Not because the actor isn’t doing they’re job well, but some films are just so expansive that bit roles are difficult to discern. Such it was the case when a talented Briton pulled off a beautiful cameo a few years ago.

            

        

Like every plot point in Harry Potter & the Goblet of Fire Rita Skeeter’s subplot is severely reduced, but that doesn’t stop Miranda from being a light of fresh air in the often stiflingly dark film. She comes in a few moments after Harry has been (surprisingly) chosen as one of the finalists in the Tri-Wizard Competition. Looking decades younger than her age in a tight green number, Miranda manages to emanate the sort of sleazy charm that Rowling has imbued onto Rita (the literary version). There’s something just a little perverse as she runs her eyes over the champions, particularly Victor Krum and Cedric Diggory (Robert Pattinson who’s incidentally another forgotten character of the series). Miranda knows to work magic with her eyes, but it’s her voice that strikes me. It’s too fervently bubbly. Her ensuing interview with Harry in the broom cupboard is well handled, but too short to bring all the hilarity it should.

We meet her again momentarily, a few minutes before the first Tri-Wizard task. Snapping a picture of Hermione and Harry in an embrace she says sweetly, “If anything goes unfortunately today, you might make the front page.” She’s not one to be shot down either. As she’s advised to leave the tent she only smirks, remarking glibly “We've got what we wanted.” as she snaps another annoying photo. It’s not much in a film that’s quite long, but it reminds me of how talented Miranda is and how seldom we get a chance to notice. She is an excellent Rita Skeeter, but it’s not a principal leading role in anyway. Still, even if I wasn’t a fan of the series (the books at least) one mainstay of the film series is their consistency in finding delicious cameos for every working British actor. Miranda’s Rita is one of the better ones.

                        

                

Previously Forgotten...

When an acclaimed actor wins an Oscar there’s always rumblings that amount to backlash of some sort. Was it the right role? The thing is my next entry has had quite a decade. Even though Oscar has only recognised her twice she has given countless excellent performances this decade and sometimes her Oscar win is just a little too underrated, or maybe I’m just atypical. Because regardless of how many times I see her other excellent work I remain convinced that she won the Oscar for her best performance.

                

One thing I always think about when Nicole’s name is mentioned in The Hours is her dedication. Perhaps it wasn’t particularly peculiar, but I always admire the fact that she learnt to write with her right hand just to lend authenticity to her portrayal of Woolf. I’m a big fan of Woolf now, though at the time I first saw this film I didn’t know too much about her. In retrospect I wouldn’t think I’d like Nicole that much in The Hours. Her incarnation of Woolf has nothing of what I usually like about her. She’s never been an overly technical actor, and usually what draws me to her is the charm she radiates in her performances. That is absent here. Virginia Woolf is the sort of technical piece I’d expect that other Australian to excel at; perhaps that’s why I love Nicole’s work here so much.

Even though Virginia is the most important character she has the least screen-time and Nicole begins adding nuances to her character immediately. She must. There is the slightest of pauses as she comes downstairs and Leonard asks her if she’s eaten. Eyes averted she answers: yes. It’s a lie, but not a thoughtless one. It’s more than just the nose, I truly believe in Nicole’s transformation. Her voice is the key to the role – as we’ll see later. But she doesn’t underplay the physicality either. An early scene that always convinces me of her brilliance is her confrontation with Nelly, the maid. It’s easily forgotten, but I believe it to be – arguably – one of Virginia’s most important. With that cigarette in hand Virginia is both mistress and mouse. (pictured above) She doesn’t like to lose, but she’s just a bit hesitant of reprimanding the servants. The slight glare in her eyes as she tells her: “The 12:30 train will get you to London right after one. If you return on the 2:30 you can return to Richmond soon after three. Do I miscalculate Nelly?” Nicole is giving Virginia so many layers that it’s difficult to believe we’ve only just met this woman.

Clarissa has Louis and Laura has Kitty and Virginia’s visitor is her sister Vanessa Bell. Vanessa is the most important of the three visitors – she stays the longest. At first it seems Miranda’s excellent performance is overshadowing Virginia, but we realise that Nicole is just playing it wisely. Notice, for example, the glowering stare as Vanessa says “I would have invited you to our party, but I knew you wouldn’t come.” Nicole asks, her voice brittle as ever: “How could you know that?” The tension between the two sisters – juxtaposed with their appreciation for each other – is well played and Miranda and Nicole really do work well together. But Nicole works well with all, doesn’t she? The short conversation between her and Anjelica is well played, and the profundity in the words is neither lost nor exaggerated.

  

In a way, The Hours is the story of three women’s days as they spiral out of control, and we notice the agitation in Virginia early. Her desperate plea to Vanessa chills always “Nessa, tell me I’m better. I do seem better.” Then, the frantic kiss which – I believe – is more a plea for attention than anything else. As Vanessa goes back to her self professed boring world that not even Virginia can envy Nicole says it so sadly “But I do.” It’s all she wants really – to have that normalcy. The train station scene has become a given as to the archetypal scene for Nicole – and it is good. I’d like to mention, as an aside, that Stephen Dillane really shines with little here. It’s the moment uncharacteristic of the Virginia we’ve seen thus far but Nicole’s anxiety is palpable. “You cannot find piece by avoiding life.” She’s been given some of the most brilliant words of the last decade, and she doesn’t waste them. But it’s not an incidental success. Nicole makes Virginia into the excellent creation she is. It’s a performance I return to often just to see the brilliance of this woman, arguably the greatest all-rounder we’ve had this decade but it’s her Virginia Woolf that makes me return to this film like a boomerang.

If 2009 has offered nothing, it has given us a wide array of good, great and some excellent supporting performances. I’m not sure how I’d rank last year against the others of the decade, but it certainly wasn’t the horrid year it was made out to be by some – especially for the supporting women. I ended up singling out eleven excellent performances but there were so many more on the sidelines I wish I could have mentioned. So I’ll give them their moment. In another year any of these could have made my top 10. Here are 25 good supporting performances of 2009…in ascending order beginning with....

TIER FOUR

 TIER ONE: My Nominees & Runners Up