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Entries in Best Actress (194)

Monday
May262014

Cannes Monologue: Norma Rae

Andrew's Cannes-inspired subseries in our Monday Monologue tradition ends with Sally Field in Norma Rae, one of only four Best Actresses to win both Cannes and the Oscar...

 

Is Julianne Moore finally going to get that Oscar? Blame it on the human urge to tie everything down to laurels, but it seems that's biggest wishful-thinking question coming out of Cannes after the awards ceremony. It’s not enough that she’s recently joined Juliette Binoche as one of the few  “European Best Actress Triple Crown” winners –the allure of Oscar is hard to resist. Cannes and Oscar rarely measure up, of course, but it seems like a good excuse to look back to one of only two performance to manage both Best Actress wins in the last 50+ years: Sally Field in Norma Rae (1979)...

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Friday
May232014

Cannes Diary: Three Palme d'Or Contenders and My Pick for "Best Actress"

Diana Drumm is reporting from Cannes for The Film Experience... 

With the festival dwindling away (as well as this writer’s sanity -- blame the multiple transit strikes, weather and barely affordable lodging), we are closing in on the more probable awards contenders. Out of the hubbub heard in person and online, along with opinions from mine own wonky eyes, here are three that could possibly take home either the Palme d’Or or Best Actress. (Juliette Binoche in Sils Maria I have yet to see...)

Mommy, Two Days One Night and Maps to the Stars after the jump...

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Thursday
May222014

Throwback Thursday FYC: Diahann Carroll in Claudine (1974)

The Film Experience time travels so consistently between the now, the future, the distant past and the recent past that Throwback Thursday, that grand internet tradition, hasn't meant much. But then I chanced upon this old FYC and a lightbulb appeared reflecting off my bald head "Throwback Thursday... The Oscar Campaigns"

Diahann Carroll in Claudine (1974)

click to enlarge

Diahann, deglamming to play a welfare mother in Harlem as MANY of the critical blurbs highlights, lost the Oscar to Ellen Burstyn in one of the all time greatest Best Actress rosters. The blurbs are interesting time capsules, both in the tell tale signs of 'this is still what people like for "bests" and in uniquely "holy hell" ways. Consider this provocative bit from the Gannett Syndicate:

...the first three dimensional portrait of a black woman."

I'm sure that Diana Ross and Cicely Tyson, both nominated two years prior would not approve! But it just goes to show you how deeply entrenched the problems were (and sadly still are) for actresses of color in terms of which films get made and what kind of roles are offered. The movies have made some progress, yes, but that we're still fighting this fight when we've got actresses as gifted as Viola, Lupita, Audra McDonaldAnikaAdepero, Kimberly Elise, and Emeyatzy Corinealdi available to us is, shall we say, maddening. 

Have you seen Claudine? Unfortunately it's on "very long wait" status at Netflix. (sigh)

Wednesday
May212014

Cannes Monologue: Certified Copy

Andrew with another Cannes-themed monologue… 

At 50 Juliette Binoche remains one of the cinema’s finest actors – excellent in multiple languages. Though her time in Godzilla (now playing) is short, we can look forward to much more in Words and Pictures and Cannes entry Clouds of Sils Maris, the latter written specifically for her. Can Olivier Assayas film capture as many of her finest assetts as her Cannes winning turn in Certified Copy (2010)?

 

Certified Copy, my favourite of the decade (thus far), is remembered most often for its cerebral nature, a puzzle we must solve. Yes, much of it is rumination on theory but it's theory with passion and feeling. For all of its technical and intellectual merit, it’s also a love letter to Binoche from writer/director Abbas Kiarostami. 

Given it’s musings on what’s real and what’s a copy, Elle (Binoche’s character) might not quite qualify as a “real” woman - her name literally translates as “She” – as much as a platform for Kiarostami and Binoche to examine temperaments, hers change at the drop of hat, and ideas. The film makes you work but is all the more rewarding for it. Late in the movie, Elle and James head to quaint restaurant. They are no longer an affable writer and beleaguered fan they were at first but a beleaguered married couple.

She heads to the bathroom to put on lipstick and a pair of earrings. When she returns he doesn’t notice, too annoyed with the subpar wine. She tries to quell his moodiness. [More...]

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Tuesday
May132014

Cannes Monologue: Secrets and Lies

Andrew with a Cannes edition of our monologue series...

The 2014 Cannes Film Festival begins tomorrow and The Film Experience is doing its part to keep things Cannes focused with our list of favourite Palme D’Or winners, Diana’s upcoming coverage on the ground, and more. To continue the party let's turn to the Palme D'Or winner that topped my own team ballot, Mike Leigh's Secrets and Lies (1996).

Brenda Blethyn plays Cynthia Purley, a woman who spends much of her time jabbering away (often incoherently). Like Anne Baxter, featured last week, it’s Brenda’s domination of her scenes that fool you into considering her scenes are more monologue-driven than they actually are.

[18 year-old spoilers follow...]

Secrets and Lies has a fine ensemble but it's impossible to look away from Brenda Blethyn's fantastic turn even when you want to - Cynthia can be draining, even overwhelming and exhausting to watch. Cynthia's arc is composed from a string of breakdown scenes wherein she's reacting to family secrets and issues and they are all pitched perfectly. The one which is most significant comes midway through the film when she meets the daughter she gave up for adoption some decades ago when she was a teenager.

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