Oscar History: Dame Maggie Smith

by Cláudio Alves

Younger audiences may know Dame Maggie Smith as Professor McGonagall and the sharp-tongued Countess of Grantham, but, before Downton Abbey and Harry Potter, she was already a British national treasure, having won two Oscars by 1979, with four additional nominations. This awards season, with the Dowager Countess promoted to the big screen, she might return to the Academy’s good graces.

Her Downton Abbey role has already proven an awards magnet with three Emmys and a Golden Globe. Maybe its popularity will translate to movie awards? 

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Links

Village Voice Bilge Elbiri on a film review that changed his live (J Hoberman's 1992 piece on Orson Welles' Othello) - lovely personal piece
Nick Davis Chicago film festival jury picks and his own precise takes on the movies screened including high profile gems like Call Me By Your Name, and several foreign film Oscar submissions
Esquire Bryan Cranston must be seeking to sabotage his Oscar hopes this year with this admission that he's rooting for Trump to succeed
Huffington Post talks to Melissa Leo about Novitiate and becoming a gay icon with those "Consider..." ads

Another Mag amazing photos of the well decorated sets of Call Me By Your Name
EW Moulin Rouge!'s stage musical adaptation sets its debut for next summer in Boston. Which means we're probably looking at a Broadway transfer and contention for the June 2019 Tonys.
SBS an amazing interview with Katya and Trixie whose new series The Trixie & Katya Show starts real soon
Vanity Fair sits down with still-rising Tessa Thompson about her stereotype defying career
Esquire jumps on the "give I, Tonya Oscars" bandwagon. I tell you what dear readers, the ease with which this movie is getting people excited when I though it was genuinely not good (mockumentary stale, politically problematic, and cheap-looking) is going to make this Oscar season a loooong one for me (sigh). Ah well. You can't love everything... or every Oscar season. 

The Furniture: Orlando's Otherworldly Pageantry

"The Furniture" is our weekly series on Production Design. Here's Daniel Walber...

Sally Potter’s Orlando is a work of otherworldly character. It does not take place in a fantasy land or on a distant planet, but all the same it does not really seem to take place in our own reality. This might seem an obvious thing to say about a movie whose protagonist is an Elizabethan nobleman (Tilda Swinton) who lives for centuries and abruptly becomes a woman midway through the story, but there’s more to it than that. Its mood is one of near-anachronistic magic, built with a narrative logic that resists the strict signposts of linear storytelling, and lit by a shimmering queer sensibility.

Each of the film’s changing atmospheres has something quite specific to say. The central Istanbul section, filmed in the ancient walled city of Khiva, Uzbekistan, uses architecture to isolate Orlando in the disorienting fog of war. A later chapter, labeled “SEX,” wraps the Lady Orlando and her lover, Shelmerdine (Billy Zane), in the windswept Victorian fantasy of a Bronte novel.

But the singular triumph of the production design team, led by Ben Van Os (Girl with a Pearl Earring) and Jan Roelfs (Gattaca), is the Elizabethan first act. Here is when the young Lord Orlando is the most vulnerable, the most restricted, and the most confused.  [More...]

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