Hello, Gorgeous: Best Actress of 2012
Sunday, November 10, 2024 at 11:00AM A series by Juan Carlos Ojano
Romantic drama, political thriller, romantic dramedy, disaster drama, and fantasy comprise the vast span of genres that this year’s nominees appear in. This difference is also reflected in the varying acting styles and demands of these performances. And yet, for their character introductions, each performer is working with some sort of disruption. Whether reflected in the film’s narrative or simply on the formalistic construction of their scenes, each entrance highlights the force that their characters will be in their respective stories.
Are you ready? The year is 2012...
Jessica Chastain as Maya in ZERO DARK THIRTY
Directed by Kathryn Bigelow / Written by Mark Boal
Opening scene (after an audio-only prologue featuring phone call recordings during the 9/11 attacks). A man (Jason Clarke) and his masked-up companion (Chastain) enter a room where a battered man is held in captivity. The other men in the room proceed to physically torture the prisoner. The man and his companion leave. Once they exit, the companion removes his mask and is revealed to be Maya. She is obviously unsettled with what just transpired with her first interrogation, but she tells him that they should go back in. This time, she refuses to wear the mask. The place is revealed to be a black site.
While this opening scene does not start with Maya as the focal point, its progression reveals a structural gambit that the film will employ for the rest of its narrative. Maya is our entry point to the story, but not so much a surrogate, and the film is also giving itself the permission to expand beyond Maya’s own perspective. But close inspection sees a woman who is determined to do her job - hunt Osama Bin Laden down - and will do that at all costs. Even if the initial proceedings give her discomfort. Even if some micro-moments in the scene can be examined through the lens of gender politics inside a male-dominated environment. Chastain’s physicality also dwarfs compared to Clarke’s, but this seeming underdog quality plus her determination is key to understanding Maya despite her unknowability.
Jennifer Lawrence as Tiffany Maxwell in SILVER LININGS PLAYBOOK
Written and Directed by David O. Russell
Around 25 minutes into the film. Pat (Bradley Cooper) and his best friend (John Ortiz) talk about not bringing up the death of the husband of Veronica’s sister Tiffany (Lawrence) just as she has arrived. Mid-conversation, Tiffany enters the room and asks “how did who die?”. They are introduced to each other. Pat tells Tiffany that she looks nice and then proceeds to clarify that he wasn’t flirting and then abruptly asks her about the death of her husband. She is shocked. She is then asked about her job. She said she just got fired. Veronica (Julia Stiles) enters and asks them to go on a house tour.
A late entrance for a leading lady, but a fun one. The way this scene was framed tells you what you need to know about Tiffany’s place in the film. She literally enters the room with Pat in it - from behind the man Pat is talking to - and then proceeds to take center stage and even get shots - from Pat’s perspective - on her own. This signifies her impact with and effect on Pat. This opening, together with Lawrence’s somber but commanding presence and black aesthetic that contrasts the warm colors of the scene, sells why Pat would have his attention be caught by a stranger. Her late entrance is by no means unintentional because Tiffany serves as a disruption to Pat’s life. This scene also shows the film’s pivot from a one-man show into a two-hander.
Emmanuelle Riva as Anne Laurent in AMOUR
Written and Directed by Michael Haneke
Opening scene. The fire brigade breaks the door of an apartment down while neighbors are seen reacting to the foul odor coming from inside the apartment. The head of the team goes around to try to open the door leading to the bedroom and, when he fails, opens the window to let air in. The brigade calls him once they were able to open the door to the bedroom. The man walks towards the bed and sees the corpse of an old woman (Riva) lying peacefully and with her head surrounded by flowers.
An opening that catches you off-guard by design. The filmmaking choices - editing, cinematography, sound design - immediately throws you off by throwing you in medias res. While we are not made aware of any of the (living) characters we are seeing, the film asks you to pay attention and search for clues as to what is happening. With this, it doesn’t seem like an introduction for Anne. And yet, the stench of her decaying body is already present from the first frame of this scene. As the scene progresses, her presence is becoming more strongly felt even when she is still off-screen. And that’s Anne as a character: even in scenes when she is not present, she determines how things will go with the people around her. When we finally see her, it’s a stunning reveal that immediately raises questions about how this happened. And while this is happening, the film cuts to the title card.
Quvenzhané Wallis as Hushpuppy in BEASTS OF THE SOUTHERN WILD
Directed by Benh Zeitlin / Written by Lucy Alibar and Benh Zeitlin
Opening scene. The light inside a shanty is turned on while rainfall or storm is imminent. A young girl (Wallis) fills a small lump of soil, formed like a well, with water using her right hand. On her left hand is a small bird that she holds close to her left ear. She places the bird on top of the lump of soil. She watches the bird. Suddenly, she notices the thunder.
Despite having a literal storm as the setup for this opening, we are actually introduced to Hushpuppy in a moment of quietness and peace. She is in control while interacting with the elements of nature (thunder, soil, bird). The nuances of this moment telegraphs the assertive quasi-leadership that she will take on as a presence in the community on Bathtub. And while the tenacity is there (her lack of fear when hearing the thunder), there is also a doting quality to how she interacts with the soil and the bird. The connection between her goodness and her strength encapsulates why she is the force that she will be (this opening is a great setup/parallel to the climax of the film with the aurochs).
Naomi Watts as Maria Bennett in THE IMPOSSIBLE
Directed by J.A. Bayona / Written by Sergio G. Sánchez
Opening scene. Inside an airplane mid-flight, a page of a book falls on the floor. A woman (Watts) picks it up and continues reading. It is revealed that she is traveling with her husband (Ewan McGregor) and children. He starts to ask questions if they set the alarm when they left their house. She assures him multiple times that she did. A turbulence occurs, rocking the airplane. This makes her nervous. After one of her sons complains about their eldest brother (Tom Holland) refusing to speak to him, she trades seats with him and sits beside her eldest.
Interesting character and inter-character details established here. First, she is in charge of making sure the family runs smoothly even more so than the father who is more of a worrier. Calmly, she gives him an assurance that she has got things in control. Quintessential maternal authority, if you may. Secondly, interactions with the uncontrollable parts of nature scare her. Her shift from assured to the one needing assurance when a turbulence hits is jarring and noticeable. In a way, this is why her helplessness in the majority of the film is devastating since this is not her usual tempo as a person. Thirdly, as the final point of that film, she has quite a bond with her eldest son that is distinct with her other children. Perhaps it is his age that he could talk to her in a more straightforward manner, adjacently co-parental even. This dynamic is important once the tsunami hits since it will be her and her eldest that will be together while her husband and other two sons are together (and then separated). While she is nervous, she laughs off her nervousness. Him showing control during her moment of anxiety mirrors how their relationship will go down post-tsunami. Their eventual seating arrangement (Maria + eldest / husband + two sons) is exactly how they will be divided physically during and after the tsunami rips through their family. Also, the dropped page from the book will return during the actual tsunami.
Any other observations from these introductions? Whose introduction was your favorite? Let us know in the comments.
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Reader Comments (16)
Jessica Chastain should have won this hands down in a landslide.
It should've gone to Jessica Chastain though the person that really should've been nominated and win is Marion Cotillard for Rust & Bone.
This is about the time the world fell in love Jennifer Lawrence and declared Jessica Chastain the best actress of her generation an opinion I have never agreed with,she's fine but too shouty in her big scenes.
I think Lawrence was an okay winner though too young for the role,I always wondered what Cameron Diaz may have done with this role,i think Riva is the clear standout,Wallis is also as good as achild actor could be,I never got the love for Watts who spends most of the film in bed doing very little.
There are many unnominated performances left out such as Marion Cotillard who is better than every nominee,Mary Elizabeth Winstead in Smashed,Rachel Weisz in The Deep Bue Sea and if you consider them a Lead I don't Helen Hunt in The Sessions and Ann Dowd in Compliance.
It was doubly insulting to nominate cute lil Quvenzhane Wallis' non-performance over the brilliant work of both Marion Cotillard in Rust and Bone and Rachel Weisz in Deep Blue Sea. They both had enough precursors that they must have had the Academy's attention. At least they did nominate Emmanuelle Riva for Amour, who is easily my choice for the award.
This lineup was a major upgrade from the 2011 slate, let's be honest.
I've always wondered what someone like Kisten Dunst or Anne Hathaway could've done in Silver Linings Playbook. JLaw is too young for the role, but her star power can't be denied.
I'm so glad the Academy embraced Quvenzhane Wallis and that movie. It's probably one of my all-time favorite films.
I agree that Marion Cotillard was snubbed for her fantastic performance in Rust and Bone. At the time, I was obsessed with The Deep Blue Sea and Rachel Weisz. She would've been a fantastic nominee, but overall, it's not a bad lineup.
I'm okay with the win because otherwise, she likely would've won over Lupita the following year, and that wouldn't have been a good look. Another role she was too young for—Drew Barrymore would've slayed that part in American Hustle.
Have I mentioned how much I love this series? If not: I really love this series, Juan Carlos. I especially love how you analyze Quevenzhane Wallis's introduction - and you've selected one of my favorite images in the whole film, Hushpuppy picking up that crab and holding it to her ear so gently, and so inquisitively. I always forget Amour actually starts where it does, and not at the concert, so thank you for reminding me about that and stressing why it's so significant in the first place.
About the introductions, Lawrence have the best, by far.
It was a very strange year, in all categories, including best actress.
I'd vote for Watts, if Maria was in the screen the whole time, not halfway through the movie. She's great!
Lawrence is great here, she's smart, funny and even better when she shows Tiffany's vulnerabilities. But I still think she was too young to win.
Chastain is an extraordinary actress, she's brave, but I also think it wasn't an award-worthy performance.
Riva is a strong presence, she's very good in her portrayal, but she doesn't get much of a chance to show her potential after her stroke. And she's speaking in French...
Wallis's nomination is a joke, a really bad joke, her performance is all editing. And I hate this movie. I'm glad she, the director and the entire cast completely disappeared after that stupid movie.
Marion Cotillard should have had her deserved second nomination - and she was completely snubbed.
In this chaotic year, I think Lawrence was the right choice.
What a strange year this was. I too remember being flummoxed by Wallis' nomination...that film was such a chore.
And I'm loving all the love for Marion Cotillard in Rust and Bone. I thought hers was far and away the best performance of that year. She got all the precursors and then mysteriously missed this slate, where she towers above everyone else except Riva.
And agreed with everyone that Jennifer Lawrence was too young for that role, as she was in all three of her David O. Russell films. But wow, she is spectacularly talented.
@ Nick Taylor: Thank you. Always my pleasure to go back to these films and study their introductions. I forgot about the Wallis' intro in and I never really made much out of Riva's intro, but going back made me realize the richness of those intros.
Love Riva's haunting introduction. Unlike Nick, I can't ever forget how AMOUR starts or that a friend of mine decided to take her elderly widowed grandmother to see this on the woman's birthday.
How beautiful Jessica's hair looks even after a long session of tortures.
Having rewatched Silver Linings Playbook recently, I can tell you that Lawrence's win aged beautifully.
I think this was a fantastic crop of nominees.
Quvenzhane Wallis' performance owes a lot to editing, sure, but it's still very impactful.
Naomi Watts was a pleasant surprise here.
Jennifer Lawrence plays the hell out of that character in a film that drove me up the wall. Not a fan of Silver Linins Playbook.
Jessica Chastain and Zero Dark Thirty are so often overlooked because of how fantastic The Hurt Locker is. Chastain's performance and the film are excellent.
I was team Amour in most categories this year. Emmanuelle Riva is incredible here.
Now, if they were really invested in nominating a child actor this year, Kara Hayward was right there in Moonrise Kingdom, and the film itself was in the Oscar conversation.
Marion Cotillard in Rust & Bone or Hellen Mirren in Hitchcock would've been great nominees, too. I can't remember much about Rachel Weisz in The Deep Blue Sea but I remember there being traction for her.
Chastain's performance in this film was one of the great "star is born" moments I recall. Yes, we knew her from her raft of supporting performances the year before, but she just ignited the screen in Zero Dark Thirty.
She should've won (with much respect to Riva).
We could do a whole post on alternate castings for Lawrence in her David O Russell films.
Love the Drew mention,correct,she would have aced it!
Zero Dark Thirty holds up sooooo well, and is such a monumental achievement of filmmaking. Still mad about the “torture controversy” from people who did not know how to engage with cinema. The last five minutes remain the best acting of Jessica Chastain’s career (and is a perfect bookend to the torture opening to drive home the theme of America’s national identity post 9/11 and the lengths it went to for a sense of security and revenge.) Fares Fares also gives such a haunting but unheralded performance in the last few scenes, often in the background but always present and bearing witness.
I agree with the above poster that Jennifer Lawrence’s win holds up better than I thought it would. I don’t think I appreciated the sincerity and vulnerability of her performance at the time, something I find myself missing in her more recent work. She’s often all overwrought grit or all overwrought comedy and not much in between, but she brought it all together in Silver Linings Playbook.