Smackdown '97: Joan, Minnie, Gloria, Julianne Moore, and Kim Basinger
Tuesday, August 2, 2022 at 9:14PM Welcome back to the Supporting Actress Smackdown.
In this monthly series we pick an Oscar vintage to explore through the lens of actressing at the edges. This episode takes us back 25 years to the landmark year of 1997 when Titanic and "Matt & Ben" were all rage.
Aside from an encore showing for comedic genius Joan Cusack, a surprise nominee in 1988 for Working Girl, the Academy went with all first-timers for 1997's Supporting Actress roster. Not that the actresses were "new" to the scene. There were two "comeback" narratives: Kim Basinger had been a leading lady for over a decade before LA Confidential but she'd taken a three year break from the movies (amidst multiple financial and legal troubles). Meanwhile Gloria Stuart who began in the early days of sound cinema was being celebrated in a way she hadn't been since 1932. The "breakthrough" nominations, were also two-fold. One went to Minnie Driver (who had two films out, In & Out and Grosse Point Blank). The other went to ubiqutious Julianne Moore who kicked off '97 with a Sundance hit (The Myth of Fingerprints), and continued making news with a blockbuster (Lost World Jurassic Park) before her career-elevating role arrived in the fall in the unlikely package of an epic ensemble drama about the 1970s porn industry from a filmmaker barely anyone had heard of.
Here to talk about these five films and performances are (in alpha order) author and entertainment jourmalist Kyle Buchanan (The New York Times, "Blood, Sweat & Chrome: The Wild and True Story of Mad Max: Fury Road"), podcaster Chelsea Eichholz (Cinema Gals), and comedian / podcaster Louis Virtel (Keep It!, Jimmy Kimmel Live). The Smackdown is hosted by the founder and editor of The Film Experience, Nathaniel Rogers.
SUPPORTING ACTRESS SMACKDOWN + PODCAST
LET'S BEGIN...
KIM BASINGER as "Lynn Bracken" in L.A. Confidential
Synopsis: A Veronica Lake styled sex worker becomes romantically entangled with a rough cop investigating a multiple homicide.
Stats: 44 yrs old, 20th film, 3rd billed. First nomination and win (to date). 17 minutes of screen time (or 12% of the running time)
Kyle Buchanan: In 1997, Basinger was the undisputed face of L.A. Confidential: She earned by far the most real estate on the film’s poster and was the only member of this impressive acting ensemble to nab an Oscar nomination, as well as one of the film’s scant two wins. But unlike Spacey, Crowe, and Pearce, she doesn’t get a POV character to play — instead, Basinger’s Lynn Bracken is forever regarded from afar, remaining a mystery for men to untangle (and become entangled with). Fortunately, Basinger gives great intrigue and her introduction shot, where her face is half-hidden by a dramatic hood, offers a deep jolt of dark glamour. Later, she can make lines delivered as softly as a whisper sound hard as steel. ♥♥♥♥
Chelsea Eichholz: Basinger gets a lot of unwarranted hate for this film when she really understood the limited assignment she was given. She's supposed to be this mysterious woman that we only get to know through the eyes of all of these men and Basinger plays that note perfectly. I don't think the film particularly cares about her though and if she did have her own POV or agency then maybe her win would be more favorable. Basinger did provide us with one of the best Oscar moments when she called out the Academy for snubbing Do The Right Thing though, so she deserves a win just for that. ♥♥♥
Louis Virtel: Of all the Best Supporting Actress wins, this one that makes me shake my head the longest. Kim Basinger is meant to be enigmatic, even inscrutable in LA Confidential, but what passes for dispassionate subtlety really feels like confused and awkward whispering over the course of this movie. However, she is perfect physical casting for the Veronica Lake femme fatale they keep referencing — I feel like voters remembered that (and the image of her on the poster) and considered that an iconic enough showing for a win. ♥
Nathaniel R: I go back and forth on this performance regularly, though always in the admittedly small range of "She's good! But how good?" One things for certain though: The Oscar win was bad for its reputation. Whether or not Basinger is elevating the material is a big question mark, but this is an fine example of truly savvy casting. Bracken as a character is a perfect fit for Basinger's undeniable glamour and even for the artifice of her onscreen sexuality (which often felt heightened and male-gaze serving rather than, say, innate; like a performance in and of itself). Lynn Bracken even benefits from Basinger's sometimes nervous / sometimes expressive physical energy as an actor. Where does the character end and the actress begin? Who knows but it works... as does just about everything in this very compelling film. ♥♥♥
Reader Write-Ins: "A Mobius strip of "Is the essential remoteness an indication of her thespian ceiling, or is it the CHARACTER"? But she does linger in the memory." - Sean O. (Reader average: ♥♥¾)
Actress earns 13¾ ❤s
JOAN CUSACK as "Emily Montgomery" in In & Out
Synopsis: A school teacher with low self-esteem is thrown for a loop when her fiancé of three years is outed during an Oscar ceremony, days before their wedding
Stats: 35 yrs old, 23rd film, 6th billed. Second and final nomination (to date). 19 minutes of screentime (or 21% of the running time)
Kyle Buchanan: Cusack is a master practitioner of the farcical arts, able to play hurt and hilarious at the same time, and for all of her iconically bellowed lines, the best moment is a bit of physical comedy where she folds into her wedding dress like a crumpled Kleenex. My only real complaint is that the movie doesn’t quite know where to land her at the end: She makes such a forceful impression as this movie’s co-lead and then basically cedes the entire third act to Matt Dillon! ♥♥♥♥
Chelsea Eichholz: In my mind, Joan Cusack has three Oscar wins, the best being for Addams Family Values. She's the rare actress that gets nominated for comedies and it's so refreshing to see genuinely great comedic performances recognized and an actual supporting performance. She's not the focus of the film and a lesser one would make her a villain, but she makes you care for her and she brings so much heart to this character that never wins. ♥♥♥♥
Louis Virtel: In & Out is a pretty funny movie with a couple of huge laughs provided by the venerable Joan Cusack, who performs comic exasperation as deftly as anyone since Madeline Kahn. Her huge gasps, slack-jawed silences, and bilious eruptions add up to kind of a kooky you just don’t see anymore. If Addams Family Values proved anything, it’s that Joan Cusack was born to dispense Paul Rudnick dialogue with a harrumph and acid breath. But this movie gives her too little space to wail and weep; I wanted three or four more scenes to cement this performance as something more than a fun gag. ♥♥♥
Nathaniel R: Cusack is such a singular comedienne as a film star. Her work in In & Out isn't as bonafide cuckoo genius as her star turn in Addams Family Values (the best work of her career) or as "real" as her loveable clown in Working Girl (the first Oscar nominated role), but it's still hilarious and endearing and just-right for this. She goes cartoonishly large as Emily, attacking funny lines by shouting them and adding flailing arms for good measure. It's like her voice and body aren't content with selling the jokes but want to play the cymbal crash to punctuate them. And yet she always finds the humanity. Her take on Emily is so forceful that we just accept that this poor woman's nervous anxiety and (justified) confusion have nowhere to go but out of her, hence the vocal bursts, crazy arms, and bulging darting eyes. Cusack's confidence and Emily's utter lack of it make for a thrilling juxtaposition. ♥♥♥♥
Reader Write-Ins: "This role would have gone so wrong in anyone else's hands, but Cusack brings the perfect combination of humor and heart" - Drew C. (Reader average: ♥♥♥¾)
Actress earns 18¾ ❤s
MINNIE DRIVER as "Skylar" in Good Will Hunting
Synopsis: A Harvard student falls for a townie who just happens to be a mathematical genius. But does he love her? Why is he so cagey with her?
Stats: 27 yrs old, 6th film, 4th billed. 1st and only nomination (to date). 24 minutes of screen time (or 19% of the running time).
Kyle Buchanan: Driver is so winning in this movie that she completely flips the script on Matt Damon: You start to believe that he’s the underwritten love interest, because Driver is so funny and captivating that Damon doesn’t do much in their scenes besides straight-up beam at her. I love how thoroughly Driver enjoying herself here, I love how dialed into the moment she is at all times, and I especially love how often she cracks herself up in the middle of a line reading. Even when things grow serious later in the story and she and Damon must act out a wrenching breakup, the camera stays squarely focused on Driver — no small feat, given that Gus Van Sant and cinematographer Jean-Yves Escoffier have spent the rest of the movie in the thrall of their leading man’s golden-boy looks. This role should have earned Driver a career on par with Sandra Bullock’s, but at least she got the Oscar nod she deserved. ♥♥♥♥
Chelsea Eichholz: Listen, I really hate this film but Driver SHINES in this garbage male fantasy role. The character is so thinly drawn and this woman would not care about Damon's character in real life but there's never a false note in Driver's performance. It should not work but she elevates what's on the page. Sadly though, she doesn't have much to do and it just feels like a waste of her talents. ♥♥♥
Louis Virtel: A character that seems like nothing on paper comes alive with Minnie Driver’s cool self-possession. Even the way she murmurs “Freak” after slamming down a mysterious phone call feels like a welcome dose of reality. She never rests on her abundant charm alone: She’s inquisitive, funny, and even sentimental; I’d watch a whole movie built around this character. ♥♥♥♥
Nathaniel R: Among the rewatches, Driver was the big surprise. I had foolishly written off this performance as "nominated only for being 'the girl' in a popular guy's movie". Sure that helped with votes (see also Kim Basinger and many many others throughout time) but that disregards her specialness! Driver manages to play within the movie but stand apart from it, too (exactly as the character does, dramaturgically). Whether or not it's true it feels as if she's improvised every scene, every line, and every emotional beat because it all comes out of her in such surprising ways. She's savvy enough to run with the elements of the character that could be deemed male fantasy (the dirty jokes, the camaraderie, the easy sexuality) but talented enough to make those aspects feel uniquely "Skylar" rather than 'Fantasy Girlfriend'. Even the way she tries (and fails) to study when Will is around is convincing and fun. ♥♥♥♥
Reader Write-Ins: "Give or take Robin Williams, she may be the best part of this movie 25 years later?" - DrG (Reader average: ♥♥¾)
Actress earns 17¾ ❤s
JULIANNE MOORE as "Amber Waves" in Boogie Nights
Synopsis: A porn star and mother-figure to co-workers, struggles to win back custody of her child while a new rising co-star implodes.
Stats: 37 yrs old, 16th film, alphabetical order billing for the principal 16 cast members "Julianne Moore played Amber Waves"). 1st nomination (of an eventual five, with one win to date). 28 minutes of screentime (or 18% of the running time.)
Kyle Buchanan: What I love about Moore in Boogie Nights is how she can convey different things about the self-invention that is Amber Waves depending on her scene partner. Opposite Burt Reynolds, she is as limp and accommodating as the lamé dress draped on her frame, suggesting the conciliatory way Amber moves through her industry. In scenes with Mark Wahlberg or Heather Graham, Moore plays subtly different shades of surrogate motherhood: Amber is filled with maternal pride as she teaches Wahlberg’s Dirk the ropes of porn, and more of a needler with Graham’s Rollergirl, who she coaches like her mini-me. And then, after a brutal custody hearing with her ex-husband, Amber’s facade appears to crack and she sobs alone. But is that a more “real” version of the character we’re seeing, or is the real Amber the one that she’s willed herself into being? Moore is so three-dimensional in the role that she beguiles from any angle. ♥♥♥♥♥
Chelsea Eichholz: This is really the Julianne Moore lookbook of films. We see the blueprint of all her tricks yet they fit perfectly in this chaotic and sometimes messy film. She's tricked us all into thinking Mark Wahlberg is a good actor! Her best scene though is when her and Heather Graham are on a coke binge and Graham asks her to be her mom. This sincere, loving moment in the middle of a tormented act of the film really is a balm. I'm the rare person that loves her Still Alice win because she wouldn't have that lead Oscar if she won here. And the Oscars would never be cool enough to award her for this kind of film. ♥♥♥♥
Louis Virtel: In a movie that makes desperation and loneliness seem as inherent to LA life as parking tickets, Amber Waves is the indisputably loneliest character. Her bottomless vulnerability is both familiar and unsettling, and images of her spiral stay with you long after this amazing movie ends — namely the weeping after her custody battle and the nodding as she agrees to “mother” Rollergirl. Moore is sublime at portraying helpless characters and this tragic figure is no exception. ♥♥♥♥
Nathaniel R: This performance quite literally changed my life; I became a writer to celebrate Julianne's take on Amber Waves, starting a print zine that would eventually become The Film Experience! This is a perfect piece of acting and the kind of triumph that the Oscars should always be seeking out given that "Best" is in the category names. Whenever an actor can seize everything of interest from a screenplay about their character (not just their own highlighted lines - that's the kiddie table of acting) you have to applaud. And then if they can magically convey all those discoveries to audiences and breathe life into it in such a way that a fully dimenstional character you can't stop thinking about emerges? It's time to bow down. Amber Waves is so fully imagined by Julianne (the way she walks, talks, fucks, stares, cries, relates, laughs, gets high) that we can imagine Amber existing before Boogie Nights, after it, and all during the movie, even when the camera is following someone else in the sprawling cast. ♥♥♥♥♥
Reader Write-Ins: "The heart of the film and a DEVASTATING turn. From the minute Moore appears on screen you feel the weight this woman is carrying with her it's hard/fascinating to watch. Robbed." - Zach S. (Reader average: ♥♥♥♥½)
Actress earns 22½ ❤s
GLORIA STUART as "Rose" in Titanic
Synopsis: A 100 year-old survivor of the RMS Titanic is whisked back to her vivid memories of her time onboard when a drawing of her as a young woman is unearthed from the ship's wreckage.
Stats: 87 yrs old, 50th film, 6th billed. 1st and only nomination. 13 minutes of screentime (or 7% of the running time)
Kyle Buchanan: Here’s the tricky thing: Despite all of the little grace notes that Stuart sneaks into this performance, I never quite bought her as an older version of Kate Winslet. Even if you allow that several decades are meant to have passed between the two portrayals, these actresses just don’t have enough in common physically, vocally, or cinematically. It’s said that James Cameron didn’t want a major name to play Old Rose because it might have been too distracting, but Winslet delivers such an ambitious star turn that I think the movie could have used an actress with more Hollywood oomph to better sell this cosmic bond. ♥♥♥
Chelsea Eichholz: It's amazing watching all three hours of Titanic specifically for Stuart and realizing that she really does not have much to do. The narration is helped by the fact that Kate Winslet is perfectly acting out every emotion she speaks and it almost tricks us into thinking the older version is there more than she really is. Stuart does well in the quieter moments where she's looking at her possessions that were brought back from the ship and the pain in her eyes when others talk about her trauma. The narration does not match this version of the character and feels disconnected from the young Rose we know. She does what she's asked but a more sensitive director would've painted her character a little more carefully. ♥♥♥
Louis Virtel: You certainly remember Gloria Stuart in Titanic (and celebrate Cheri Oteri’s impersonation thereof — RIGHT?) but what exactly does she do in this movie? The answer: one or two introductory lines before the bubbles of nostalgia transport us to the real story (with real acting). What we get from Stuart is placid, even flat recitation of her 87-year-old memories (“But inside I was screaming” is particularly unconvincing) but also a warmth that transcends the dialogue. I think this slot belongs to Kathy Bates, whose Molly Brown is noble without being hokey and teems with Shelley Winters-like gusto. ♥♥
Nathaniel R: It's easy to love Rose without really considering this an acting accomplishment. There's always a thrill in seeing Old Hollywood actors reimagined for contemporary cinema (a thrill which will soon be over given that there's almost no one left alive now who was a star in the Golden Age). That was enough in 1997 though a nomination stiil feels overly generous given the competition. Gloria does do some sly things with her eyes here, cueing us into how much Rose is withholding about what she's remembering, but her narration is generic. The role mostly comes to life via Kate Winslet's vivacity. ♥♥
Reader Write-Ins: "Is this nomination more of a stunt than anything? Yeah, kinda. However, something is awoken in Rose at the end of her life, and Stuart dramatizes that wonderfully." - Christopher J (Reader average: ♥♥½)
Actress earns 12½ ❤s
OSCAR RESULT
Though the comeback girls, Gloria Stuart and Kim Basinger, tied at the Screen Actors Guild Awards, Kim Basinger pulled ahead on Oscar night winning the coveted trophy for her glamorous throwback to the femme fatales of noir.
SMACKDOWN RESULT
"Yes, honey"It's a decisive win for Julianne Moore for her mainstream breakthrough performance though the panel also got a kick out of Minnie Driver's charisma and the mad comic skills of Joan Cusack.
THE FULL PODCAST CONVERSATION
You can download right here 👇 or listen on Spotify or iTunes or Stitcher to hear the in-depth discussion with our panelists. Because the conversation went long, we'll share a few outtakes later in the week, too. [All Previous Smackdowns]
UP NEXT: 1951 hits at the end of August so watch The Blue Veil, Detective Story, The Mating Game, A Streetcar Named Desire, and Death of a Salesman this month for maximum enjoyment. Stay tuned for dates and panelist announcements!
Reader Comments (32)
I will never understand why Kim Basinger gets so little approval. For me, the role to be played is the measure for evaluating the performance. Granted, Julianne Moore is terrific ... but she also has a juicy role to put all her dramatic talent into. What role does Kim Basinger play? An icon, a reminder of the women of film noir, a dream, a projection screen for the different desires of different men. How could she play that, something not visible, nothing tangible? Dramatic would be as much a misnomer as ironic. Distant like a dream, unapproachable like a myth ... in memory of Anouk Aimee in "Lola" or Rita Hayworth in "Gilda" ... Kim Basinger succeeds perfectly ... for me my winner this year ... even if I always look over to Julianne Moore.
Surprised by the Driver love and the Kim not so loved.
Still not over Weaver not getting nominated and winning though.
Surprised by the Driver love 2. I can’t remember her doing anything in it, probably because I hated Good Will Hunting enough to avoid a rewatch. In my particular wild world she should have been nominated for her hysterically funny Carlotta in Phantom of the Opera.
Moore is my favorite by far, but I can’t complain about Kim’s victory at the Oscars.
I’m also shocked at the love for Driver. I remember watching Good Will Hunting years ago and thinking it was steaming garbage. Trying really hard to be deep, feeling cliched and hollow. The writing specifically was the cheapest aspect of the film. I remember thinking Minnie Driver was unable to rise above it - a stale presentation of a poorly written male fantasy. I can’t say I’m curious enough to ever rewatch, but good for her.
I had hoped Gloria Stuart would be better evaluated, but I guess her nod really was generous after all. It’s still a cute career moment. At least she didn’t win!
Kim Basinger and Joan Cusack got the commentary I expected.
Not at all surprised that Julianne Moore won. Deserved. Although she had to wait years for her Oscar moment, I feel it worked out for the best.
Whilst Julianne is the runaway winner for me I was happy that on my recent rewatches she actually had some worthy competition nominated alongside her coming from Cusack and Driver. What is the most upsetting thing is the two worst nominees Stuart/Basinger were the front runners for this award because neither delivers a great performance and more so contended for the win for being the old woman in Titanic for the former and the one woman in a male ensemble for Basinger.
Was nice to hear the panelists thoughts also both in this article and the podcast recording also. In terms of women I wish had been nominated Sigourney Weaver is one of the obvious choices. She is pretty fantastic in Ice Storm and it would've added another incredible performance to her nominated roles.
Julianne is the only nominated turn I'd still nominate and to complete my personal lineup joining Moore and Weaver would be:
Cameron Diaz, My Best Friend's Wedding
Debbi Morgan, Eve's Bayou
Sarah Polley, The Sweet Hereafter
The other three I don't think stood much of a chance this year but I would've loved to see all nominated. Diaz was about to go on a tear in her career and this would've been a nice we see the strength and we believe in your talents. Morgan like many in the ensemble of Bayou is incredible. Polley has obviously turned into a magnificent film director in the decades since but she was just as gifted an actress and I would've loved to see some recognition for her greatest performance.
I am sad the Smackdown is coming to an end but thankfully including this year there are great performances still left to discuss.
The Academy got it right.
Julianne Moore and Joan Cusak are the standouts here, and I probably would have given it to Cusak knowing Moore would get her shot later. Excited to listen to the podcast.
I did take this opportunity to catch up on 1997 films that I missed, and my favorite new to me films 97 films are Face/Off, Waiting for Guffman, Happy Together, Wings of the Dove, and Mrs. Brown.
Kim Basinger- LA Confidential: That Entrance! The Hood! The Lighting! The Hair! The movie sets Basinger up for success early in her arrival. Unfortunately, she doesn't completely live up to the hype. Physically, she looks the part, and walks around the picture with a confident sway. But vocally, her voice remains at the same pitch and timber, almost making her seem monotone. Lynn is supposed to be a good actress masquerading as a bad one, but her intelligence doesn't always shine through. She does have great chemistry with Crowe though. 2 hearts
Julianne Moore- Boogie Nights: I tried you guys. I really tried. I know Moore is probably going to win, but I just don't see it. Especially when Moore has given better performances, but most of the cast, including Wahlberg and Graham, are giving performances that they will probably never top. I don't think she is doing anything that any other actress couldn't also do. 2 hearts
Joan Cusack- In & Out: Yes, "F*** BARBARA STREISAND!" is very funny. But what Cusack does best is get us to root for Emily. In lesser hands she would be at best a stereotype, at worst, annoying. But Cusack just inhabits Emily with such earnestness, that we hope she gets her happy ending more than the main character who has strung her along. Her story becomes the most important in the movie. 3 hearts
Minnie Driver- Good Will Hunting: Driver has the difficult job of playing the dream girl. She is clever enough to have witty banter with the main protagonist, but not smarter than him. She is pretty, but not too pretty. And she can hang with the guys (she tells blowjob jokes!) Where Driver really succeeds in the part is by keeping it subtle. While everyone around her is playing more broad boarding on loud, she keeps Skylar low key, and it makes her stand out more. Grounding her makes Skylar seem more like a real person, and thus makes her heartbreak at the climax feel even more real and earned. 3 hearts
Gloria Stuart- Titanic: I am ranking her the highest for sentimental reasons. If I was a member at the time, I would have voted for her since I loved the movie the most (still do) I remember showing this movie to my grandmother and she recognized Stuart. (My grandmother helped nurture my love of movies and I am very grateful to her for that.) But I think Stuart earns my vote based on merit as well. She sets the tone of the whole movie. The line, "I don't even have a picture of him. He exists now only in my memory." hits so hard after the last 3 hours we have been through. But Stuart plays the emotion as a woman finally able to express her emotion. She kept this story bottled up for 84 years. We understand the catharsis for her but also the overall tragedy of the sinking. 4 hearts
Thomas -- that's a compelling argument! I do feel Kim is undervalued (perhaps even by me but i go back and forth)
Philip H -- it obviously did work out fine for Julianne Moore though they made her wait like they make male actors wait which is unusual... since usually when they do that with women they dont get around to them at all (see Bening, Pfeiffer, Weaver, Close, Mason, Wood, Stanwyck, etcetera throughout history) but it does beg the question of whether her career would have been different had she won the first time up. I do feel it effects how an actor looks at their projects (for better and worse)
Tom G -- absolutely agree on Cusack the "rooting for" is the secret sauce.
Eoin -- i haven't seen SWEET HEREAFTER in ages and remembered Polley being fantastic in it. perhaps i should rewatch
Julianne Moore is without a doubt my winner here, though I think she bests this performance in Magnolia two years later.
I would absolutely have nominated Weaver and Diaz (My Best Friend's Wedding deserved much more credit in general for upending the romcom formula) in addition to Moore and Cusack. I'm not sure who my fifth nominee would be.
I know there is a lot of affection here for Basinger's performance. I think it's fine, but I'm somewhat troubled by the fact that she's basically used for iconography in the film, and so many better actresses have also been used for iconography and given better performances in the process and gone unrecognized (witness 90% of Catherine Deneuve's career). Why this particular performance? It probably comes down to the fact that they wanted to honor the film, and Titanic was winning practically everythiing else - but unfortunately, I also have always felt that LA Confidential was kind of overrated, particularly in comparison to the great noir films that inspired it.
I can't wait to listen to the podcast.
I'll freely admit that of these films, I probably like LA Confidential and In and Out the most, so that colors my read of these performances.
However, I do think Bassinger's win is a bit unfairly maligned, though I thought the commentary here was really fair. I really enjoy this performance and her win. I think what I find most compelling about it is her chemistry with Crowe. Lynn tries so much to be in control, and is, but the moments where she isn't is so fascinating. It's also really interesting to see how she can throw Budd off. I also think this is what makes her scene with Guy Pearce so great - her calm control. Her take really does a nice job on commenting on femme fatales, while being one and complicating how we understand them. I also like her vocal work, but I can get why it could be a detraction.
Cusack is incredible. She's funny, lived in, and goes big in all the right ways. It's a "character actress" just hitting all the right notes and giving it her all in Thelma Ritter fashion. She really elevates and complicates the emotion of the movie. I also love this nomination, because it just wouldn't happen today (a lone nominee, former non-winner giving a comedic performance!).
I love Julianne Moore, but this is hardly my favorite performance from her - especially after her stunning work in Safe and Short Cuts. However, it's a great breakthrough. Minnie Driver will always have my heart for this performance.
This is a stellar year for the category.
No one noticed that Driver and Cusack were both in Grosse Pointe Blank giving comic performances as good as their nominated work?
Great writeup as usual, thanks for all the effort!
I agree with the winner, I only made myself watch Boogie Nights because of the smackdown (I've seen the other four in the past couple of years). I think Moore is the clear highlight in an otherwise overrated and sometimes mess of a movie. I wonder if her win was hampered by The Lost World where she is less than stellar, to put it mildly.
I never understood Basinger's win, it feels like she is barely in the movie, she looks great and says the F word and suddenly she is a Razzie redeemer? She was in a lot of trashed movies unlike Cusack so this win is also unfair to her.
I think Frances Fisher would have been a better nominee over Stuart but otherwise I'm not into this year at all. I mentioned in another thread that I don't see how Weaver was a snub either. I like Amistad, Chasing Amy, Con Air, The House of Yes, In & Out, My Best Friend's Wedding, Nothing to Lose & She's So Lovely and the animated Hercules and arguably Starship Troopers & Ulee's Gold. I find the best picture lineup terrible and only matched by that of 2000. Yet to see the likes of The Apostle, Contact, Deconstructing Harry, Kundun, Seven Years in Tibet, The Sweet Hereafter, A Thousand Acres, The Wings of the Dove from the movies that got awards attention but all the rest are a letdown.
I have to mention how bad Oscar & Lucinda is, another recent viewing of mine and Wag the Dog alongside As Good As It Gets are among my most disliked comedies even though I'm a huge fan of the genre!
Loved reading these write-ups, and am ecstatic about Moore's very well-deserved win! I am not too fond of Basinger's performance, but am interested in the more positive perspectives (I also am not as fond of LA CONFIDENTIAL as most). Looking forward to catching up with the podcast!
Here's my own Best Supporting Actress ballot for 1997:
1. Debbi Morgan, EVE'S BAYOU
2. Sigourney Weaver, THE ICE STORM
3. Julianne Moore, BOOGIE NIGHTS
4. Cameron Diaz, MY BEST FRIEND'S WEDDING
5. Joan Cusack, IN & OUT
And a few honourable mentions: Christina Ricci (THE ICE STORM), Sarah Polley & Gabrielle Rose (THE SWEET HEREAFTER), and Karisma Kapoor (DIL TO PAGAL HAI). A good year for supporting actresses!
Eoin and Aditya our ballots are identical but I include Basinger over your Polley and Cusack picks.
I'm glad to see others have seen how great Diaz was in her very difficult role and far more sympathetic than the annoying Cusack,could any of you imagine living with her,Nightmare!
My ballot for 97...i would definitely keep
CUSACK - in & out
MOORE - boogie Nights
and would probably try and squeeze in two women from The Ice Storm
RICCI -
WEAVER
but then that only leaves on spot left for...
GRAHAMA - Boogie Nights
HECHE -Donnie Brasco
FONDA - jackie brown
MORGAN -Eves Bayou
POLLEY - sweet hereafter
HMMMM....
Nathaniel -- With the upcoming release of Women Talking no better time then this fall to rewatch Sweet Hereafter and anything Sarah Polley related before the release of her long overdue return to the directors chair
A few stray thoughts..
1) Kim Basinger is perfectly fine but really does not deserve to be in this lineup, nor win. As Nathaniel describes, she "stands out" as the girl in a masculine film (and, I guess, her physicality synchs well), but her portrayal is hardly an amazing feat of acting.
2) Julianne 100% deserved this!
3) Swap out Gloria Stuart for Sigourney Weaver and this would've been an all-time lineup for this category. And a 1988 rematch for her and Cusack!
Also, forgot about Judy Davis in "Deconstructing Harry"! But who to push out for her..
Out of this strange, uneven line-up, my vote would easily go to Kim Basinger.
LA CONFIDENTIAL is a bonafide masterpiece, due in no small part to her perfect mix of untrusting steeliness and childlike fragility. She and Russell Crowe played perfectly off each other with chemistry to burn. A perfect cast in one of the best films of all time in my books.
As for the year, my choice would be Sigourney Weaver in THE ICE STORM, with Basinger in LA CONFIDENTIAL, Allison Elliott in THE WINGS OF THE DOVE, Cameron Diaz in MY BEST FRIEND'S WEDDING, and Debbi Allen in EVE'S BAYOU rounding out the top five.
Whoops, Debbi Morgan*
Is there a smackdown guidebook? What actresses have gotten the best rating?
Lucky - I believe Rita Moren (West Side Story) and Jean Hagen (Singin' in the Rain) are the only performances to earn perfect scores throughout the decades long history of the smackdown.
Also Ingrid Bergman is the only performance as far as I'm aware to receive the lowest grade with all one star ratings from that panel.
Listening to this was a much needed boost for me - wonderful discussion and panelists. Moore is so incredible and I loved hearing the love for Driver (comment section, go revisit!) and Cusack.
I always go back and forth on Basinger too. She was good, but does anyone think she was the best performance in LA Confidential? Her greatest asset is her ambiguous nature, like many women in film noirs. Maybe she ran off with her sweetheart to live their lives together; maybe she knocked him on the head at the next gas station and he never saw her again. I'm not even confident the character herself would know.
Heche was incredible in Wag the Dog, as was Parker Posey in Waiting for Guffman. Off to watch Heche's rant after the plane crashes now. (What do we do now, huh boy producer?)
While I love Julianne Moore's Boogie Nights performance, I admire way more what Joan Cusack and Cameron Díaz did respectively in In & Out and My Best Friend's Wedding, and it would be a toss up among both, for my "Best Supporting Actress 1997" pick.
Seriously, how come neither Cusack nor Diaz, haven't got an Oscar already? Cusack is a comic genius and Díaz is completely masterful both at comedy, drama and action, deserving noms/wins in all ranges... My Best Friend's Wedding, Very Bad Things, There's Something About Mary, Vanilla Sky... she's a fearless actress, and I admire her guts to do the clever decision and retire, when noticed that Hollywood simply wouldn't give her the right roles anymore... I guess she could do a Ke Huy Quan in a decade of so, and come back with a great role that would get her in the Oscar conversation right away. As also Whoopi Goldberg could be doing this year with "Till" and Fraser is double doing.
On Cusack, I agree, that she should have been nominated ALSO for Addams Family Values (but along Christina Ricci... both of them still shouldn't have won over Paquin!) and also - people seems to have forgotten about this little gem of conspiranoia - Arlington Road, where Robbins and her, made one of the most scary and creepy couples to ever graced the screen...
EOIN / LUCKY -- That's correct. Rita Moreno & Jean Hagen are the only perfect scores and Ingrid Bergman the only "all one star" scores. we will have a really cool stats post at the end of the season provided by one very attentive reader!!!
EVERYONE -- ack i forgot that WAITING FOR GUFFMAN was this year too so my official nominees for best supporting actress are:
GOLD - Julianne Moore, Boogie Nights
SILVER - Parker Posey, Waiting for Guffman
BRONZE - Joan Cusack, In & Out
and the other two nominee... i'd have to cut one of these *cries*
Weaver - Ice Storm
Ricci - Ice Storm (formerly my bronze winner but i haven't seen it since the late 1990s and need to reevaluate since everyone loves Weaver best in this movie)
Heche - Donnie Brasco
...with apologies to:
Debbi Morgan (Eves Bayou), Sarah Polley (Sweet Hereafter), Minnie Driver (Good Will Hunting), Bridget Fonda (Jackie Brown)
...and affection for...
Heather Graham (Boogie Nights), Kim Basinger (LA Confidential). Cameron Diaz (My Best Friend's Wedding)
that's 13 names so that will suffice! I can come up with 13 names no problem for most years.
Really enjoyable, thoroughly entertaining podcast with some swell hot takes. I agree w/ others that D Morgan, S Weaver & C Diaz would have been excellent nominees. I'm looking forward to the 1951 smackdown, that is a very interesting and varied crop of films and performances.
Also wondering, Nathniel: what's to stop you from doing one to two more seasons starting w/ 2006 to 2010/12? Those years are pretty well behind us now. But understand if you're ready to move on to new things.
Rob -- it's mostly that these are a ton of work behind the scenes and the enjoyment level (for me) when "looking back" increases two to three-fold once things are more than 20 years old because it can feel like watching for the first time again. I also like skipping around in time frames so doing only recent stuff would be a bummer.
Nathaniel: I so get it! Several years ago I was more into the recent smackdown years but I've done a 100 degree turnaround on that since (hence my far greater enthusiasm for 1951 over '97 and '04). There's something about films being several generations prior that's so much more interesting (to me anyway). I've told you before that the Smackdown has been a real education in terms of Hollywood history. So thank you again for it.
For me,
1. Julianne Moore-Boogie Nights
2. Kim Basinger-L.A. Confidential
3. Joan Cusack-In & Out... YES... FUCK BARBRA STREISAND!!!!!!! The only thing she did musically I liked is the Guilty album.
4. Minnie Driver-Good Will Hunting
5. Gloria Stuart-Titanic
Definitely Moore, though it's a crime Weaver wasn't nominated. Also, Joan Allen was amazing in Ice Storm as well.