On Glenn Close's Oscar Curse

by Nathaniel  R

At this point in her long and celebrated career, Glenn Close surely has reason to wonder. Consider it a reverse Sally Field: 'You don't like me? You really don't like me?'

There are many familiar time-tested ways to win an Oscar and Glenn Close has tried them all. She's tried the debut performance that makes everyone's jaw drop with 'who is THAT?' wonder (World According to Garp). She's tried being the actor who becomes a kind of symbolic representation of an entire film and cast (The Big Chill). She's tried having the necessary momentum, twice actually, with three consecutive supporting nominations ending in The Natural  early in her career, and then two consecutive lead nominations a few years later (ending with Dangerous Liaisons). She's tried having the kind of blockbuster zeitgeist hit that can carry you to win even when you aren't deserving though she certainly was (Fatal Attraction)...

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Christmas at TFE: The Lion In Winter

Members of Team Experience have been asked to share their favorite holiday film. Here's Dancin' Dan with his...

AH, Christmas! That special time of year when family gathers around the tree to shower each other with love, presents, and good tidings... and backstabbing, long-held resentments, and petty grievances! Which is exactly why The Lion in Winter is my kind of Christmas movie.

Of course families love each other. That goes without saying. But no family is perfect. For many people (I'm tempted to say everyone, but you never know!), going home for the holidays is a prospect that inspires fear and dread. You may only see these people once or twice a year, and there's only so long that certain things can go unsaid...

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Monday Monologue: Henry II's Eulogy

Anne Marie here to celebrate the holiday with a furious monologue from my favorite Christmas movie. "Christmas movie" is a terrible description for Anthony Harvey's 1968 film The Lion in Winter, though it is technically correct. This is a political thriller of one very long Christmas night between Henry II of England (Peter O’Toole), his wife Eleanor of Aquitaine (Katharine Hepburn), and their three conniving sons as they battle over who will be the next King of England.

And you thought your family was dysfunctional.

While we've written extensively about Katharine Hepburn's Oscar-winning performance in The Lion in Winter, this Monologue Monday before Christmas I'd like to shine the spotlight on Peter O'Toole's underawarded performance as the manic, magnificent Henry II of England. The movie is filled with great dialog for the Irishman to chew on, but O'Toole's best (or biggest) moment comes midway through the film, after a midnight meeting with the King of France.

A eulogy for a king after the jump...

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A Year with Kate: The Lion in Winter (1968)

Episode 36 of 52: In which if there’s only one Katharine Hepburn film you see, make it this one.

When you take Screenwriting 101, your first lesson is the Three Act Story Structure. Act 1: Introduction. Act 2: Conflict. Act 3: Climax (and hopefully Resolution). If I were to so arrange the lives of Henry II of England and Eleanor of Aquitaine, it would roughly look as follows: Act 1: Eleanor and Henry II fall in love. Act 2: Eleanor and Henry fall out of love and into battle. Act 3: The Lion in Winter. 

James Goldman’s script starts in media res, with Eleanor of Aquitaine (our own Kate) and Henry II (Peter O’Toole) already at the end of two civil wars and any pretense of civility. Knives are out as everyone prepares to fight at the Christmas court at Chinon. Joining them are their three angry sons--Richard (Anthony Hopkins), Geoffrey (John Castle), and John (Nigel Terry)--and the newly minted King of France (Timothy Dalton). (That's right, Hannibal Lector shares a movie with James Bond.) What follows is the messy climax of decades of personal grievances fought on the international stage. In short, it’s a hell of a lot of fun.

Eleanor, Queen of England, former Queen of France, and Duchess of Aquitaine, is pure Katharine Hepburn: a perfect synthesis of part and persona. It’s Kate the Great at her greatest, channeling three decades of star power, 15 years of classical training, and one year of intense grief into a powerful performance that radiates rage and sex in a way the Hayes Code and her image had never allowed previously. Kate uses her beautifully mastered voice to chew on James Goldman’s dialogue and spit it out with focused intensity. But behind that perfect control seethes a barely contained fury, which bursts forth in beautiful surges of speech.

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8 Days Til Oscar. Peter O'Toole, The Actor Who Would Be... Nominated?

Here's new contributor Diana Drumm to talk about a man who will surely win pride of place in Oscar's In Memoriam a week from Sunday.

Crazy eights, ice-skating tricks, the infinity symbol standing upright, 8 is a fun number... unless you’re the late legendary actor Peter O’Toole.  Yes, the man who won the hearts (but not the majority) of Academy voters in his film debut as the titular Lawrence of Arabia, held his own in a televised Shakespeare discussion with Orson Welles, and bounded on and offscreen to various degrees of liquid courage would falter slightly, nay merely pause, at the mention of eight and Oscar in the same sentence. 

Your instructions: Read the following paragraph aloud or in your head with all of the O’Toole-ian gravitas you can muster, in the style of the opening of his “My Life” speech from The Lion in Winter (1968), which garnered him a third nomination for Best Actor...

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