Almost There: Norma Aleandro in "The Official Story"

by Cláudio Alves

One of the nominees from this Thursday's Supporting Actress Smackdown likely got her nomination due to thee Oscar buzz she had earned from a previous performance. While it was Gaby: A True Story that made Norma Aleandro an Academy Award nominee in 1987, it was her performance in 1985's The Official Story that put her name on Hollywood's lips. That Best Foreign Language Film winnere remains the crown jewel in the Argentinian actress' hallowed career...

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1987: Remembering "Maurice"

by Cláudio Alves

Director James Ivory and producer Ismail Merchant met in 1959, and quickly started a romantic and professional partnership. It lasted for 44 years until Merchant's death. Along with screenwriter, Ruth Prawer Jhabvala, they made a name for themselves with the production of prestigious literary adaptations. Their first brushes with success came in the late 70s and early 80s, but it was in 1985 and 1986 that their lives changed. A Room With a View, their first E.M. Forster adaptation was a huge hit, both with critics and audiences. The picture even won three Oscars, including for Best Adapted Screenplay.

Following such a triumph, one would expect Merchant & Ivory to bask in their glory, perchance repeating the formula of their success. They did end up adapting another of Forster's works, though they chose what, at the time, was the author's least known and least respected book. The result of this unexpected turn was one of the pair's most personal pictures. In 1987, the movie was received with lukewarm enthusiasm, but, as far as I'm concerned, Maurice is one of their very best efforts…

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The Furniture: Promoting the Forbidden City with The Last Emperor

"The Furniture," by Daniel Walber. (Click on the images for magnified detail)

The Last Emperor is enormous, as is its reputation. The shorter version is nearly three hours long. It swept the 1987 Oscars, winning all nine categories in which it was nominated. Its plot tracks events of global significance, across nearly six decades of Chinese history. The production required more than 10,000 costumes and 19,000 extras, many of them recruited from the People’s Liberation Army

But beyond its stature as a film, it is also something of an act of economic diplomacy. China, which had heavily restricted tourism before the late-1970s, began a major about-face with Deng Xiaoping’s 1978 “Reform and Opening Up” program.  Part of this effort included the promotion of heritage tourism. China ratified the World Heritage Convention in 1985, and added its first six World Heritage Sites in 1987. The Forbidden City was at the top of the list.

It’s not a coincidence that Bernardo Bertolucci was granted permission to film in the Forbidden City right at this time, the very first Western production allowed through the palace gates...

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Almost There: Faye Dunaway in "Barfly"

by Cláudio Alves

I confess myself surprised by the reader's choice in this last round of voting for the Almost There series. When it came time for you to select what 1987 performance should be explored this week, your votes decidedly indicate a preference for Faye Dunaway's post-Mommie Dearest Oscar bid, Barfly. This under-discussed Barbet Schroeder flick was made from a semiautobiographical script by the bonafide poet of the gutter, Charles Bukowski. It competed in Cannes but it didn't cause much fanfare, mainly valued as an acting showcase for its cast, led by Mickey Rourke as a tic-ridden sing-songy facsimile of Bukowski himself.

As for Faye Dunaway, she takes around 22 minutes to enter this picture about alcoholism and the addicts who scuttle from the light like bugs. Haggard-looking and sitting lonesome at the end of a bar, she's quite distant from the image of a glamourous diva many might associate with the actress' screen persona…

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The Oscar-worthy kids of 1987

by Cláudio Alves

The kids of Best Picture nominee Hope and Glory

It's not often that we see child actors recognized in the film awards race. In many regards, that's understandable. Kids aren't known for being the most disciplined of performers and it seems unfair to expect them to deliver complex characterizations, or to embody concepts and ideas that they're still learning. Furthermore, while every acting job is a fruit born out of several people's labor – the actors themselves, directors, writers, editors, sound mixers, etc. – when the performer is as lacking in agency as a child, it's easier to attribute excellence to those other folks' craft.  Nonetheless, good work is good work, and we should celebrate the greatness we see on-screen, regardless of how it came to be.

That brings us to 1987, the year of the next Smackdown, and a rare vintage that's stock full of brilliant performances by young artists. Curiously enough, the three Leading Actor performances paid special homage in this write-up all come from films about boys facing the harsh realities of World War II. First up, we have: 

Christian Bale, EMPIRE OF THE SUN

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