Almost There: Jack Lemmon in "Glengarry Glen Ross"

by Cláudio Alves

Last week, in the Almost There series, I took a look at Shirley MacLaine's Volpi Cup-winning turn in Madame Sousatzka. This week, it's on to another Venice Film Festival champion who got some Oscar buzz but failed to make it to the Academy's lineup. From a Best Actress winner to a Best Actor victor, from one elderly Oscar-winner to another, from The Apartment's leading lady to its leading man. In 1992, Jack Lemmon won two prizes at Venice, both for his performance in James Foley's screen adaptation of David Mamet's most famous play, Glengarry Glen Ross. The movie is iconic, full of memorable dialogue and oft-quoted one-liners, a treasure trove of vociferous acting, bursting at the seams with tired testosterone. Still, amid such a powerhouse cast of characters and acclaimed thespians, Lemmon shines brightest…

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Almost There: Shirley MacLaine in "Madame Sousatzka"

by Cláudio Alves

The Venice Film Festival is upon us and, this year, The Film Experience has two writers attending – Nathaniel and Elisa. For those at home, though, it might help satiate some of the FOMO to look back at the festival's long history. Indeed, these next two Almost There write-ups will focus on actors who won the Volpi Cup, managed to capture some Oscar buzz, but still failed to catch the Academy's attention. Today's example is exciting, for it comes from a rare tie. In 1988, the jury presided by Sergio Leone decided to award two performers with the Best Actress prize, an ex-aequo honor. They were Isabelle Huppert for her breathtaking tour de force in Chabrol's Story of Women and, our present subject of analysis, Shirley MacLaine in John Schlesinger's Madame Sousatzka…

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Almost There: Melanie Griffith in "Something Wild"

by Cláudio Alves

The 59th Academy Awards showcased a rare variety of genres in its acting honors. Usually, AMPAS restricts itself to prestige dramas, but they were atypically adventurous in 1986. Best Actress alone featured a sci-fi action epic, nostalgic time-travel fantasy, a black comedy on themes of suicide and murder, trashy neo-noir, and, of course, the respectable adaptation of a dramatic play. It's a pity that, amid all this, there wasn't space for some lighthearted romantic comedy. No matter how popular it is, it seems that genre always has some difficulty getting into the awards conversation. As for the 1986 crop of romcoms, none feels more like an "Almost There" case than Jonathan Demme's Something Wild. While arguments could be made for all its principal players, we shall focus on the picture's beguiling leading lady, Melanie Griffith…

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Almost There: Hattie McDaniel in "In This Our Life"

by Cláudio Alves

The Criterion Channel is currently featuring an extensive collection of John Huston movies. Considering his directorial debut, The Maltese Falcon, was nominated for three Oscars, including Best Picture, it's fair to say that Huston's films have always been on the Academy's radar. Consequently many of his actors gained Oscar buzz though just as often they were egregiously snubbed. With that said, I'd like to focus on a performer that was already an Oscar winner before she starred in a Huston flick, a Black actress whose career was limited by institutional racism and confined to playing second fiddle to white stars, often in peripheral roles. Nevertheless, Hattie McDaniel always spun gold from straw, injecting complicated humanity, humor, and pathos into the tiniest of parts. Such is the case of In This Our Life…

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Almost There: Linda Fiorentino in "The Last Seduction"

by Cláudio Alves

Since last month, the Criterion Channel is offering a collection of neo-noirs, modern films from the 70s onwards that perpetuate the tradition of 1940s and 50s crime pictures. Freer to explore matters of sex and violence, these versions of film noir tend to be more visceral, updating old archetypes into vicious evocations of misanthropic cinema. For actressexuals, the evolution of the femme fatale is especially enticing. From Kathleen Turner's oversexed take on a Phyllis Dietrichson type in Body Heat to Nora Zehetner's mysterious high-schooler in Brick, this immortal character has gone through an infinite myriad of transfigurations. Maybe none of them caused as much hubbub during her awards season as Linda Fiorentino in John Dahl's The Last Seduction…

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