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The Film Experience™ was created by Nathaniel R


 Gemini, Cinephile, Actressexual. Also loves cats. All material herein is written and copyrighted by him, unless otherwise noted. twitter | facebook | pinterest | tumblr | letterboxd

 

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"I loved Clarke's scenes with Edgerton in The Great Gatsby. I thought, oh now I'm watching men not boys, and now I'm watching actors not movie stars.-Adri

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Entries in Best Actress (216)

Tuesday
Oct212014

Lunchtime Poll: Multiple Acting Oscars

I was all prepared to list the most Oscar winning Actors for a quickie top ten list. Until I remembered there were only six with 3 or more Oscars (for acting)

Four Leading Oscars
01 Katharine Hepburn
Three Leading Oscars
02 Daniel Day-Lewis
Three Oscars (Lead/Supporting Mix)
[Three-Way Tie]
03 Ingrid Bergman
03 Meryl Streep
03 Jack Nicholson
Three Oscars (Supporting)
06 Walter Brennan

YOUR TASK: Make it a top ten by filling slots seven through ten. Name the four actors who most deserve to join them as three-timers or the ones who seem most likely?

Monday
Oct062014

FYC: Marion Cotillard in 'Two Days One Night'

Jose here. You know how sometimes a performer will win a gazillion awards for their breakthrough performance and then never be recognized again, even as they deliver much more complex, superior work? It’s the “been there done that” syndrome, which has sadly made most awards groups forget all about Marion Cotillard, who is once again Best Actress material in Two Days, One Night (Michael reviewed it here)


As the recently laid-off Sandra, Cotillard is unforgettable. We follow her as she visits her co-workers’ homes asking them to help her win her job back. As some show support, others display contempt and pity, making for a harrowing moviegoing experience. The Dardenne brothers, who in the past have been reluctant to work with movie stars, put their trust in Cotillard and the payoff is evident. The actress sheds all her glamour and star presence to play someone so fragile it seems as if being filmed is causing her pain. Sandra doesn’t talk much, but her face says everything. In one of the film’s most devastating moments, the Dardenne’s give Sandra some inner peace through a song in the radio, not only do they allow Cotillard’s smile to finally shine, but they also highlight the actress’ ability to reshape herself according to the emotions of her character. All throughout the film, Cotillard seems to be physically smaller, something she did in her Oscar-winning performance as Edith Piaf. The trick is more powerful here because Sandra is a “regular human being”.

Throughout the film we feel her pain and at times it’s so unbearable that it made me wonder what someone like Lars Von Trier would do with such a vulnerable character. The Dardenne’s are much more sensitive than the mad Dane and give Sandra her dignity, but not without pointing out how willingly she submits herself to humiliation in the name of survival. During most of the film Sandra wears a coral t-shirt with a ribbon pattern, which I feel Cotillard chose for the character. It makes her plea even more heartbreaking, as she knocks on doors trying to be festive and optimistic, when inside she’s completely destroyed.

Many cinephiles thought this turn would finally bring her the Best Actress award at the Cannes Film Festival but it became the first Dardenne brothers’ film not to win a single award at Cannes. It was Marion's third straight loss at the festival (2012 Rust and Bone, 2013 The Immigrant) which is a head-scratcher considering who won in those respective years. As Two Days One Night gears up for its Oscar-qualifying release later this year, I can’t help but wonder, does Marion have to knock on every AMPAS’ member’s door to finally get nominated again?

Why do you think Oscar keeps ignoring Marion? Where do her recent performances rank among your favorites for each year? 

Saturday
Oct042014

Meet the Contenders: Rosamund Pike "Gone Girl"

Each weekend a profile on a just-opened Oscar contender. Here's abstew on this weekend's breakthrough leading lady. Mild tonal spoilers follow

Rosamund Pike as "Amazing Amy" in Gone Girl
Best Actress

 

Born: January 27, 1979 in London, England

The Role: Based on the best-selling novel from Gillian Flynn, Pike plays the beautiful, ideal "cool girl", Amy Dunne. After she and her husband Nick (Ben Affleck) find themselves unemployed and strapped for cash, they move back to Nick's hometown of North Carthage, Missouri. But the marriage isn't the idealic relationship it once was and on the morning of their 5th wedding anniversary, Amy goes missing - with Nick as the prime suspect. To say more would ruin the film, but let's just say that Amy looms large over the rest of the story...

Reese Witherspoon bought the rights to the book, hoping to cast herself as Amy. But when David Fincher came on board to direct, he had a very specific idea of the character in mind, citing Carolyn Bessette-Kennedy as his model and considered well-known stars like Charlize Theron, Emily Blunt, Olivia Wilde, Abbie Cornish, and Julianne Hough (?!). Fincher went with Rosamund Pike because she wasn't as recognizable and he loved her "opacity" as an actress, having seen her in several films but never quite getting a read on her, allowing the mysterious character to remain so through her anonymity.

Previous Brushes with Oscar and Critical Takes after the jump...

Click to read more ...

Thursday
Oct022014

Breaking: Streep & Blunt Trading Places

Top billed but so what?!

Meryl Streep has the first poster for Christmas release Into the Woods all to herself and the Witch is always the marquee role in Stephen Sondheim's musical on stage. But Meryl will be campaigned supporting. The news isn't technically "official" but it soon will be so we're playing a little game of switcheroo on the Lead Actress and Supporting Actress Oscar Prediction Charts.

Technically this reversal (at least from our expectations) is  probably fine as categorizations go: The Witch is a showy role but it's not a huge one and The Baker's Wife (Emily Blunt) is just as much of a major focal point of the show (winning the lead actress Tony for Joanna Gleason in the first production) and the wife has the clearest arc. So Blunt is our leading contender.

The takeaway, with far less competition (as of yet) in Supporting Actress, Meryl is probably looking at her 19th Oscar nomination. If Emily Blunt doesn't thoroughly own Into the Woods she'll be left out of the very competitive leading lineup which will make it the second time co-starring with Streep where she had a plum role but voters attentions were elsewhere.

And by 'elsewhere' I mean 'where the attention always is': on MERYL STREEP. 

Silly Trivia Alert: If nominated this will not only be Meryl's Fourth nomination in the supporting category after The Deer Hunter (1978), Kramer Vs Kramer (1979), and Adaptation (2002) but her Fourth for a role with a singing solo. She sang "Amazing Grace" in Silkwood (1983), "He's Me Pal" in Ironweed (1987), and "You Don't Know Me" and "I'm Checking Out" from  Postcards from the Edge (1990). Her voice is so expressive. Can't wait to see how she interprets "Stay With Me" in particular.

Friday
Sep262014

NYFF: Maps to the Stars, Or: Julianne Moore is God, Again

The New York Film Festival has begun. Here's Nathaniel on the latest from David Cronenberg which won Julianne Moore the Best Actress prize at Cannes earlier this year.

Let's not bury the lede. At a key moment in Maps to the Stars when the actress Havana Segrand (Julianne Moore) gets some bad news that she's more or less been expecting/dreading, she is in a Buddha pose in yoga pants. Her eyes struggle to hold back tears and her body struggles to pretend it's relaxing when she lets out a sudden wail. You think the wail will descend into Julianne Moore's familiar crying jag (You know how she loves to do). Instead the wail abruptly stops. Fans of Julianne Moore won't be able to silence their own screaming so quickly. I, for one, felt euphoric watching her. For those of us whom we have famously dubbed "actressexuals" - the word originated at this blog though it's now escaped our small pfeiff fiefdom and entered the greater internet -- major achievements from our favorite stars can feel, however absurdly, like personal triumphs. Or at least like just rewards for enduring loyalty. Especially if you've worried that the magic has dissipated with familiarity, poor career decisions, lesser roles and/or medicore films.

This year, with Maps to the Stars and Still Alice (previously reviewed), the Julianne Moore I first fell for, the actress who inspired my whole career path (newbies might not know that this site emerged from a zine I started in the 1990s with issue #1 dubbed "Julianne Moore is God," pictured left) came roaring back into full power.

Pity, then, that the movie can't quite keep up with her or harness her brilliant satirical embodiment of all that is self-absorbed, self-loathing, self-medicated, and self-serving in modern Hollywood celebrity. [More...]

Click to read more ...

Thursday
Sep182014

"If she thought anybody would take after her..."

..she'd walk down the street naked."

[continues sewing...]

Click to read more ...

Wednesday
Sep172014

157 days 'til Oscar

We're still five months and a few days away from Oscar night so is it possible that things are starting to lock up? Ehhhh yes but mostly no. Every year all over the web casual movie fans and awards nuts like to start shouting LOCK as early as May for various things (usually centered around something becoming a massive hit or winning something at Cannes). But that's not really how it works. So here we are in September. A lot can happen in the last three and a half months of the calendar year leading up to the nominations. We've still got a long way to go and, conceivably, brilliant or lazy campaigns and smart or clumsy moves and release date shifts can still change everything... even if things are looking terribly good or just dismal for whomever or whatever. While I don't technically like to call anything or anyone a lock before it's actually opened (and thus eligible) the closest thing we have within the four acting categories are two, both in lead races: Reese Witherspoon (Wild) and Eddie Redmayne (The Theory of Everything). They have all the ingredients you could want in a lead push -- the right release dates, the right kinds of roles with the right kinds of hooks, the right level of quality in the actual acting, the right early critical response, the right time in their careers, and a release strategy already carefully mapped out by the right studio. 

There are other "likely!" contenders at the moment of course (Still Julianne, holla / Imitation of Benedict: The People's Choice) but I'd argue that Reese & Eddie are the closest to securing nominations.

And I'd argue that the Supporting Actress category is the most volatile where no one is particularly close It's easy to imagine my current predicted lineup being exactly right but it's almost as easy to imagine not one of the five of them making it if the films that still haven't screened or those that could yet gather more power or lose it, happen to shake up this category. Nobody is remotely safe yet. People like to claim that Patricia Arquette is a done deal for Boyhood and though I hope so I don't think so. We're still four months from nominations and pictures praised for being directorial visions are often where you end up with weird blindspots when it comes to the acting branch. 

MAJOR UPDATES, MOVEMENT, NEW PLAYERS ON ALL FOUR ACTING CHARTS

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Who or what do you think locks up next?