Best Supporting Actress 1946: Getting to know the nominees

by Cláudio Alves

The Supporting Actress Smackdown of 1946 is fast approaching, and with it comes one of the most head-scratching lineups in the category's history. To call this bunch of films, performances, and legacies problematic is to undersell just how much racial insensitivity plays into this particular Oscar race. Still, what complicates matters further is that the nominated actresses are all artists with considerable talent, superlative careers – most of whom started on stage – and undeniable historical importance. Unpacking all this mess is too great a task, but I'll try to introduce you, dear readers, to this impressive quintet of Old Hollywood thespians...

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Tribeca: "Italian Studies" review

by Jason Adams

About a year after I first moved to New York a friend pulled me aside at a party to tell me two secrets about a mutual acquaintance of ours. The first secret was that this mutual was secretly fabulously wealthy, which one never would have guessed from the way she presented herself -- after twenty years of living in NYC I've come across this type often enough that it doesn't seem novel anymore, but it surprised me then. But it was the second secret that has really stuck with me all these years -- this friend would occasionally take a week off from her life, check into a high-scale hotel uptown, and pretend to be a different person. She told stories of romances and adventures in disguise -- a dalliance outside of one's daily existence; a vacation from one's literal self.

The second secret obviously couldn't exist without the first one -- only a rich person would be able to do such a thing -- but it struck me then and now as the most genuine benefit of wealth I'd ever heard. Rolexes are pretty, but the ability to actually escape, to slough off your worries and cares and just live somebody else's life for a collection of minute sounds priceless. I thought of those secrets watching Adam Leon's meditative new film Italian Studies at Tribeca this week, which stars the ever-riveting Vanessa Kirby...

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Linking on Empty

• Washington Post reviews a new book on Elizabeth Taylor & Montgomery Clift's friendship
• TFE <--- in case you missed it we discussed every one of Clift's films for his centennial this past fall
• Vulture To say we're thrilled to hear that Todd Haynes will be reuniting with Julianne Moore for his next film, is an understatement. It's a psychodrama called May December in which Natalie Portman will play an actress who is playing Moore's character in a movie based on her scandalous love affair.
• IndieWire Why Brooke Smith is running an Emmy campaign on her own without the studio's blessing (I mean she has a point about paying your dues. But we know from years of experience and category fraud that Hollywood cares very little about non-leads.

Queer horror, Jane Campion's latest, Harrison Ford, fav musicals, Sex and the City, and more after the jump...

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Happy Pride: Queer cartoon characters abound! (sort of)

by Nathaniel R

The website Insider has compiled a list of 259 LGBTQ characters in recent American cartoon series. Despite all the research it's still highly debatable since the database includes dozens of characters that are only queer via creator statements and not in-show confirmation (and as we know from the JK Rowling's Dumbledore debacle, that is weak-sauce as representation goes; creators shouldn't get credit for pushing boundaries if what they're doing is much much closer to virtue signalling than true activism). Of course these things are more complicated with children's shows since, naturally, sexuality is less explicit than in adult television (apart from the prevalence of mom & dad units of course).  While we watch a lot of animated movies we aren't that familiar with animated TV shows so many of these characters are unfamiliar to us...

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1946: Anna Magnani in "Rome, Open City"

Each month before the Supporting Actress Smackdown, Nick Taylor suggests alternatives to the actual Oscar nomination ballot.

by Nick Taylor

I gather that folks will have different ideas about whether Anna Magnani’s work in Rome, Open City belongs in the leading or supporting category. Magnani holds down the first half of her film similar to the way Janet Leigh leads us into Psycho, appearing as an indomitable central player until a cruel exit halfway through her film. Unlike Leigh, Magnani isn’t the only character driving her film, sharing a comparable amount of narrative focus as Aldo Fabrizi’s priest and Marcello Pagliero’s Resistance fighter, to say nothing of the other characters threaded through the first half who only grow more important as the film continues. Still, her presence is so strong that, like Leigh, you can’t forget about her even after she’s gone. It’s a bit gratifying to learn this question has been hanging around the performance since the film was originally released. Magnani won the second ever National Board of Review award for Best Actress as well as the inaugural Nastros d’Argento Award for Best Supporting Actress back home in Italy. Rome, Open City’s lone Screenplay nomination is certainly significant enough to indicate that American artists noticed the film, as well as the fortuitous relationships Magnani, Rossellini, and Fellini would go on to have with Hollywood, but I’d be fascinated to find any writing about whether she was thought to have a chance at a nomination that year.

So yes, there will be readers who will justifiably argue she shouldn’t be considered as an alternative to the supporting actress lineup that will soon be discussed. I’d be happy to hear those arguments, and would be even happier to start from a place of recognizing her brilliance within this revolutionary film. Magnani’s Pina, the heavily pregnant fiancé of a high-ranking Resistance fighter in occupied Italy, is embodied with such fierce, unvarnished power that she remains the film’s most memorable face among its many tragic figures...

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