The Oscar Week: Greta, Jake, and Timothée

Murtada is back with his weekly Oscars feature for a new season, following Oscar contenders and examining how their many interviews and appearances impact their chances.

Gerwig at the Gotham Awards

Are you ready for another season of Oscar campaign shenanigans? Frankly I wasn’t. In the year in which Hollywood revealed its ugly hidden true self of rampant sexual harassment, maybe they shouldn’t spend so much time patting themselves on the back. Cancel the Oscars, I cried to one in particular.

But then Greta Gerwig took me out of my dark despair...

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Which actresses are we underestimating in the nomination hunt?

by Nathaniel R

Are we underestimating them: Winslet, Bening, Chastain, Haddish, Vega, Dench, Williams, Stone, Chau, Blige, Scott Thomas, Gadot

If you look around the web you'd suspect we are closer to Oscar nominations than we actually are. Two months remain before we have our Oscar nominations (57 days to be exact) so there's a month of campaigning left before the Academy even starts filling out their nomination ballots! Despite the plentiful time remaining and few precursors yet announcing (NBR is first tomorrow), the internet seems convinced that we're narrowed down to about 6 or 7 players for 5 slots in virtually all the acting categories. But is it this cut and dry?

It's likely not.

We know the general field at this point but there's still a lot of wiggle room, some films/people are always underestimated and the reverse at this point. But even if none of the 12 women we've including in the image above end up with a difficult to snag Oscar nomination, I'm curious if any of them will be cited anywhere this season from precursors to the Globes to SAG to regional critics groups. What do you suspect?

RELATED: Updated charts for Best Actress and Supporting Actress. Thoughts?

The 2017 Actress Roundtable Lineup

Chris here. There may already Gotham noms and film festivals, but Oscar season doesn't really start until The Hollywood Reporter's Actress Roundtable - at least in our hearts. This year's lineup includes returning folks Jennifer Lawrence (mother!), Emma Stone (Battle of the Sexes), and Jessica Chastain (Molly's Game), while the newbies are Saoirse Ronan (Lady Bird), Mary J. Blige (Mudbound - finally arriving on Netflix today!), and Allison Janney (I, Tonya).

The reliance on returning guests is still irksome, and that is particularly felt this year with a smaller lineup. The ongoing reckoning with sexual predators in the industry looms large over the conversation, but we also get the usual soundbites on creative risk, career advice, and dream collaborators. Who who you like to add to this lineup? Or what film would you recast with these ladies? (I'll offer Tiffany Haddish, and a Steel Magnolias where Lawrence plays Ouiser) Tell us your thoughts in the comments!

123 days until Oscar... we've got Bette Davis eyes

by Nathaniel R

It's time for your morning dose of highly unneccessary Oscar-mad trivia.

Did you know that Bette Davis, Oscar's third favorite actress of all time (after Hepburn & Streep), had exactly 123 screen credits to her name?! Her debut film The Bad Sister (1931) was released a week before her 23rd birthday and her 123rd and final project, Wicked Stepmother (1989), was released eight months before her death of breast cancer at 81. That's 58 years of big-eyed, inimitably voiced, ferocious performances.  

Two Bette-inspired questions for the day...

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Joan Fontaine Centennial: Jane Eyre (1943)

Part two of our Joan Fontaine celebration. Here's Tim Brayton...

Joan Fontaine's reign at the top of the Hollywood pyramid was short and intense: three out of four movies made in three out of four years netted her Oscar nominations, with a win for the second, Suspicion. We come now to the film made immediately after this golden run: the second talkie adaptation of Charlotte Brontë's 1847 classic Jane Eyre, released in the United Kingdom at the very end of 1943, but held back from the U.S. until February, 1944.

By the time the film arrived at 20th Century Fox, it had already passed through the hands of super-producer David O. Selznick, who had assembled all of the main components in an apparent bid to replicate his Oscar-winning Rebecca. Fontaine appears once again as a delicate, innocent ingénue dropped into a rambling Gothic mansion where a bullying man falls in love with her, in a story whose horror-film atmosphere (courtesy, in both cases, of cinematographer George Barnes) could be given the gloss of prestige and class thanks to the material's literary origins. I will commit an act of grave apostasy by suggesting that Fontaine is better here than she was in that 1940 film; there's a certain toughness in her posture and facial expressions that hadn't much appeared in her screen acting prior to this, and which considerably deepens the "meek virgin" trope she's once again saddled with.

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