Smackdown '01: Connelly, Tomei, Winslet, and the Dames

A bohemian novelist, a longsuffering wife, a snobbish Lady, and a supremely competent housekeeper were the Oscar-honored roles in the Best Supporting Actress competition of 2001. 

The shortlist that year was a veritable who's who of this very category, most of the actresses had been nominated before / would be again. One was already a two-time winner and Dame of the British Empire in fact (Maggie Smith... Helen Mirren wouldn't become a Dame until 2003). The anomaly / party crasher was Jennifer Connelly, who had been a teenage star and was receiving her first taste of awards glory as an adult, building on the momentum of a critically well-received turn the previous year in Requiem for a Dream with a borderline leading role in on of the year's biggest hits (A Beautiful Mind made an incredible $170 million at the US box office, believe it or not). 

THIS MONTH'S PANELISTS   

Here to talk with your host Nathaniel about these five nominated turns are (in alpha order): Erik Anderson of Awards Watch, freelance critic Valerie Complex, This Had Oscar Buzz's Joe Reid, and Shane Slater from Awards Circuit. Now it's time for the main event...

2001
SUPPORTING ACTRESS SMACKDOWN + PODCAST  

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Introducing the Panel for "Smackdown '01"

Thanks for all your last minute votes for the Supporting Actress Smackdown of 2001. The Smackdown and its podcast companion will be up this Thursday so let's meet the panel after the jump...

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Auditions: Betty's Audition in "Mulholland Dr"

Our new series from Ginny O'Keefe, who knows from auditions as an actress in Los Angeles...

One of the more iconic audition scenes in the past 20 years of film comes from a film that gives you a great sense of security and comfort before ripping the rug right out from underneath you. It’s David Lynch’s Mulholland Drive. Naomi Watts plays Hollywood hopeful, Betty Elms, fresh off the plane from Ontario, Canada. She dreams of being a successful actress and is staying in her Aunt Ruth’s awesome apartment (rent-free I might add) while she is away filming a movie. She’s got a big audition coming up for a movie (with some really cheesy dialogue) and has been practicing like a beast in order to land the part. One of the things we admire about Betty is that she actually puts in the work in order to make her dreams come true. Cut to...

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"Up"... but to where?

Pixar's Up was released 10 years ago on this very day (the counterprogramming at movie theaters was Drag Me to Hell so you had a vertical choice that day). It seems hard to imagine it now, given that animated films rarely have the Oscar impact these days that they did in a very brief window in the Aughts, but it was nominated for 5 Oscars: Picture, Screenplay, Sound Editing, Score, and Animated Feature, winning the latter two.

Q1: Would you have voted for it in any of its Oscar categories?

Q2: If you could be dragged away by balloons today to your dream destination, where would it be?

The New Classics - Y Tu Mama Tambien

Michael Cusumano here to add a title that is near and dear to my heart to the New Classics pantheon 

Scene: Epilogue
The Narrator in coming-of-age stories most often represents a grown-up version of the protagonist. Think The Sandlot or A Christmas Story, or the quintessential example, The Wonder Years, voices looking back, awash in nostalgia. In Alfonso Cuarón’s Y Tu Mamá También not only is the narrator not a character, but the voice is indifferent, even coldly clinical in its omniscience, as likely to note the fate of a passing group of wild pigs as to reveal the deepest secrets of the protagonists.

We get used to the voice as a welcome companion throughout the film. Its flat, objective viewpoint is a welcome respite from the main trio’s frequent emotional upheavals. Little do we realize we are being set up for the emotional gut punch of the film’s epilogue...

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