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Entries in Supporting Actress (225)


"Sometimes, being a bitch is all a woman has to hang onto"

As we continue celebrating 1995 with the imminent Smackdown, here’s Murtada with a new edition of Great Moments in Screen Bitchery.

Remember the endless jokes last year about that often repeated line in The Imitation Game (We won’t repeat it here - you've heard it enough). Well in Dolores Claiborne a better line is repeated by different characters at different times and yet no one cringes. It's so good you relish it instead. In fact I’d go as far as to say the line is what the movie is all about.  Say it with us after the jump...

Click to read more ...


Smackdown 1995. Meet the Panelists

IMPORTANT UPDATE: The Next Supporting Actress Smackdown has been pushed back one week to Sunday August 2nd. That leaves us just under two weeks for any 1995 madness we want to get off our chest. That's leaves you just under two weeks to finish revisiting the Supporting Actresses at home and get your votes in by Thursday July 30th. Please only vote on the performances you've seen...

Just outside the shortlist that year? Who knows but maybe it was Globe nominees Kyra Sedgwick (Something to Talk About) and Anjelica Huston (The Crossing Guard), or SAG nominee Stockard Channing (Smoke) or future nominee Rachel Griffiths (Muriel's Wedding). Or maybe it was Magda Szubanski (Babe) on account of the Best Pictureness of it all. In our fantasies it was definitely Gina Gershon (Showgirls).

Here's a little bit about our panel to prep you for our conversation as they finish up their screenings...

First Time Smackdowners

Kevin O'Keeffe occasionally stops talking about "Smash" long enough to think about film. He even writes about it sometimes at Mic, where he's the arts staff writer in residence, but he's also written for The AtlanticThe AdvocateLA Weekly and more. Let him be your star by following him on Twitter.

What does 1995 mean to you?

I'm ashamed to admit I was a child in that year, so my big motion picture experience was Babe. (I'm surprised Babe didn't get a nomination for Best Supporting Actress, to be frank.) I hadn't seen many of these movies – the early 90s are a bit of a void for me, since I'm usually revisiting older movies or keeping up with newer ones. That's what drew me to the year for the Smackdown: It was the year I was alive, and yet I knew the least about it of any.


Lynn is a government lawyer who spends most of her time outside work obsessing over arts and pop culture.  Her current fascination is with "The Americans" on FX. Her first love, though, will always be movies, thanks to parents who raised her on an eclectic diet of Ingmar Bergman, talky French films, 1960s musicals, Star Wars, and Spielberg blockbusters.  You can find her occasional musings on movies and TV on her blog and as a new contributor to TFE.

What does 1995 mean to you?

My life as a movie lover can be divided into two periods: Before 1995 and After 1995.  Before 1995, I watched movies with my parents and friends, but didn't really seek out movies that I wanted to see for myself alone.  All that changed starting the summer of '95, when I graduated from high school and for once had nothing to do but watch movies, and that fall, when I headed off to college in an actual CITY and discovered a whole moviegoing universe I'd only been dimly aware of before.  I discovered there was such a thing as theaters reserved exclusively for "arthouse" and "independent" films.  (First movie seen in such a theater: "The Brothers McMullen," or maybe it was "Chasing Amy.")  I discovered Kate Winslet in "Sense & Sensibility."  I discovered that movies could become the college equivalent of water cooler conversation ("The Usual Suspects").  Above all else, I discovered that movies were something you could discuss with communities of fellow movie lovers - and I've never looked back since then.".


Conrado "Coco" Falco can be described as a student currently earning his undergraduate degree at Hunter College, as an aspiring theater director currently working on a play about the life and death of Taylor Swift, or as a film blogger currently writing for his personal blog Coco Hits New York. First and foremost, however, he is a film lover. [Follow Coco on Twitter.] 

What does 1995 mean to you?

One of my earliest (and most traumatic) memories comes from Christmas Eve 1995. I was three at the time. My grandma told me she had wrapped my gift in the "Snoopy" wrapping paper, so I went straight to it before anyone read the tag. To my surprise, the gift was a Pocahontas Barbie doll. I was mocked by all my cousins in what was one of the most embarrassing moments of my childhood. I don't have many specific '95 memories otherwise, except for the fact that  "Babe" and "Toy Story" were big staples of my childhood. I'm currently revisiting '95 movies in my personal blog, and discovering that it might be one of the most underrated years in American cinema. 

Returning Panelists

Nick gets a big photo because he worked 1995 into his bio photo. Look at all those movies!

Nick Davis writes the reviews and features at the website Nick's Flick Picks.  The site's unpredictable cycles of frenzied activity and long dormancy have to do with his also being an Associate Professor of English and Gender & Sexuality Studies at Northwestern, where his research and teaching mostly concern narrative film in different eras, genres, and countries. [Follow Nick on Twitter]

What does 1995 mean to you?

I started college in 1995 and also started going to movies by myself in, at last, a big city with broad offerings. You work out which development was more exciting. I bought the Entertainment Weekly Summer Preview and concluded that five movies were unmissable: "The Bridges of Madison County" (because even the terrible book made me cry), "Little Odessa" (Redgrave, I guess?), "Mad Love" (crush on Chris O'Donnell), "Nine Months" (crush on Hugh Grant), and "Species" (crush on Natasha Henstridge, plus aliens, plus ambivalence about procreating). I saw "Apollo 13" with my dad before I left for school and "Sense and Sensibility" with my mom when I came home, and "Nixon" with my dad over that same Christmas, so basically you're asking me to pick between my parents. I saw "Babe" at least four times and forced skeptics to come with me. I deduced instantly who Keyser Söze was and didn't give a flying coffee cup. I deterred silent, unwanted advances from a friend while we watched "Se7en" and wondered how this movie could possibly be arousing her. I was the only man at near-empty opening-day matinees of "Home for the Holidays" and "How to Make an American Quilt". I walked into a genuine surprise birthday party my friends in the freshman dorm had thrown for me, but I left after two minutes because, I'm sorry, I'd already bought a ticket to "To Die For". I liberally quoted Angela Bassett from "Strange Days" like I was deep. I saw "Leaving Las Vegas" with the same friend I took to "Se7en". She didn't start stroking my neck this time, and we rode home in 20 minutes of unbroken silence, because by that time, a month later, I really was deep. I didn't get "Shorty". I was the face of love. I skipped "Braveheart" till the desperate studio re-released it in February, because these are our crosses to bear, sometimes literally. I skipped "Toy Story" like a damn fool. I saw it plenty of times later. I never saw "Mad Love," so what has it all been for?


Born in Johannesburg but based in London, Guy is the chief UK film critic for Variety, and a home entertainment columnist for The Observer. His writing also appears at Time Out, Empire, The Guardian and any outlet willing to pay for long-form thinkpieces about knitwear in the movies. Follow him on Twitter at @GuyLodge.

What does 1995 mean to you?

In 1995, I was twelve years old and in my last year of primary school — on the knife-edge, then, between feeling confidently grown and authoritative, and being tossed out of my depth into adolescence. My cultural diet was in a similarly transitional state. After a hovering period, 1995 was the year I said goodbye to the children's section of the library and devoured “Jane Eyre” and “To Kill a Mockingbird”; at the movies, my parents merged my growing interests with theirs and took me to see “Three Colours: Red.” (It was both the first subtitled film I saw in the cinema, as well as the first with a no-under-16s certificate. I appreciated their trust.) Out in the larger world, my fellow South Africans were celebrating our rugby team's against-all-odds World Cup victory, joyously consolidating the national repairwork started by the previous year's election. It wouldn't last, and Clint Eastwood would later make that moment in time seem that much drabber. But the memory of temporary invincibility remains..


And your host...

Nathaniel is the founder of The Film Experience, a reknowned Oscar pundit, and the web's actressexual ringleader. He fell in love with the movies for always at The Purple Rose of Cairo (1985) but mostly blames Oscar night (in general) and the 80s filmographies of Kathleen Turner & Michelle Pfeiffer (specifically). Though he holds a BFA in Illustration, he found his true calling when he started writing about the movies. He blames Boogie Nights for the career change. [Follow him on Twitter]

What does 1995 mean to you?

'I'm getting a bit old for that whorey look.'


1995 is when I graduated from college so it was a big year but it seems to have entirely evaporated in my memory but for the birth of the late 20th century's New Trash Masterpiece "Showgirls".

If I dig a little-bit harder into the memory banks I remember heavy rotation among roommates and friends for Alanis Morrisette's "Jagged Little Pill," Björk's "Post" and the "Pocahontas" soundtrack (showtunes 4ever! Don't judge). Cinematically, I was in deep deep throes of love for broken-winged Brad Pitt in "Se7en," Elisabeth Shue's booze-drenched boobs in "Leaving Las Vegas," and Angela Bassett's fierce elocution and even fiercer hair in "Strange Days." My least favorite movie-going memory was seeing "Braveheart" in the theater and hearing audiences cheering its ridiculous homophobia. My best movie-going memory from '95 is taking my three little nephews to see "Babe" which they loved and kept quoting in their adorable squeaky little kid voices which they would try to make yet squeakier to approximate the mice. One of them just announced his engagement  - Eeek! How was 1995 twenty whole years ago!?!?!

What does 1995 mean to you dear readers?

Do tell in the comments.


Yes No Maybe So: Kate Winslet IS The Dressmaker 

This is dedicated to the patient among you, those who don't badger me about things they KNOW are coming. (Like we're not going to cover this trailer, at TFE! It's like you've never been here before). Most importantly this is dedicated to the die-hard Kate Winslet fans who will sit through Labor Day, Divergent, and A Little Chaos to be there her true return to form whenever it happens. By the looks of this trailer for The Dressmaker, the wait may soon be over.

The Yes No Maybe So breakdown, which is crazy overstuffed with screencaps since this diva murderess fashionista Oscar winner demands them, is after the jump with the trailer... 

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Halfway: Best Supporting Performances of 2015 Thus Far

½way mark - part 6 of ?
While it was a great deal of fun choosing and articulating the Best Leading work of the year (thus far) at the halfway mark, the Supporting fields prove a more difficult task. This is not exactly the norm as movies tend to have more supporting role than leading ones. But -- grossly generalizing now -- a lot of movies underuse their supporting casts, especially the women. This is particular true of summer blockbusters: Jurassic World and Terminator Genisys, for example, don't even have any supporting females. You're either a male character, a leading female love interest, or you don't exist... except perhaps in cameo form (the eternal plight of one Judy Greer). Either that or the character actors are severely underchallenged. It's easy to feel exceptional warmth for Mary Kay Place in I'll See You In My Dreams or Sally Hawkins in Paddington, for example. Both women are welcome onscreen at any time, terrific actresses, but they're not expected to do much at all other than be a warm and welcoming presence. 

Anyway, let's proceed. 

Supporting Actress: Rose Byrne & Kristen Stewart 

But...that's not playing by the rules which is to choose five performances like you're doing an Oscar shortlist (though these lists should never be mistaken for Oscar Predictions which is a different topic altogether). So let's try again.

Here we go with 4 acting categories after the jump

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Podcast: More 1948 Smackdowning. Which Films Have Aged Well? 

You've read the new Supporting Actress Smackdown. Now here is it's companion podcast. This month there wasn't an obvious theme as in 1979's gender politics, but we had fun discussing the films and genres presented from noir to Shakespeare to soggy memoirs.

Host: Nathaniel R
Special Guests: Abdi Nazemianset, Catherine Stebbins, Joe Reid, and Tim Robey


  • 00:01 Introductions and how 1948 is new to us
  • 04:20 I Remember Mama is a George Stevens film? And how about those accents in Mama and Johnny Belinda
  • 18:00 Why did Key Largo only get one nomination -was it the noir thing?
  • 21:00 Stage & Cinema - they're all play adaptations but Key Largo and Hamlet both have an Ophelia! Shakespeare archetypes and Orson Welles
  • 33:00 Claire Trevor in Raw Deal (1948)
  • 36:00 Alternate nominees plus other 1948 films we like: Easter Parade, Cry of the City and Red River.
  • 40:00 Goodbyes and remake/recasting pitches from 1948

You can listen to the podcast here at the bottom of the post or download from iTunes.  Please continue the conversation in the comments. Who would you have nominated in 1948 for the big categories -- particularly in supporting? Which of the four main films we discussed is your favorite? 

And how about that Ann Miller in Easter Parade

 P.S. Further reading. During our 1948 month we looked at five additional films ICYMI: The Red ShoesLetter From an Unknown Woman,the animated shorts of the yearTreasure of the Sierra Madre and Sorry Wrong Number

P.P.S. The next smackdown at the end of July is 1995 so make sure to watch Sense & Sensibility, Mighty Aphrodite, Georgia, Apollo 13, and Nixon this month for a refresher. 

1948 Smackdown Companion


Smackdown 1948: Jean, Barbara, Claire, Ellen, and Agnes Moorehead

Presenting the Supporting Actresses of '48. A young writer, a drunken chanteuse, two spinster aunties, and a girl who never gets to the nunnery.


1948 is so basic. A typical Best Supporting Actress shortlist looks almost exactly like this: an actress whose paid her dues finally getting a plum opportunity (hello usually uncredited Ellen Corby in I Remember Mama finally stepping into the limelight), a rapidly rising star (Jean Simmons in Hamlet, not her first attention grabbing role in the late 40s), a fresh ingenue in a popular picture (Meet Barbara Bel Geddes in I Remember Mama), and if you're lucky in a good year a couple of revered character actresses to class up the shortlist joint (Agnes Moorehead in Johnny Belinda and Claire Trevor in Key Largo). And within that mix you'll usually have a protagonist demoted to "supporting" and Best Picture heat helping at least a few of them find a seat at the table. All of that is true for 1948. What isn't so typical is a supporting actress winning on a picture's sole nomination and that happened here. Key Largo has aged well but Oscar didn't have any time for it back then outside of Trevor's drunk despair. The other three pictures had 24 nominations between them!


Here to talk about these five turns are screenwriter/author Abdi Nazemian ("The Walk in Closet"), film blogger Catherine Stebbins (Cinema Enthusiast), freelance journalist Joe Reid, film critic Tim Robey (The Telegraph), and your host Nathaniel R (The Film Experience). In addition to this write up we recorded a companion podcast  where we flesh out some of these thoughts and expound on the movies themselves.

Without further ado...



BARBARA BEL GEDDES as "Katrin" in I Remember Mama
Synopsis: A teenager who dreams of being a writer finds source material in her immigrant mother
Stats: Then 26 yrs old, 2nd film, first and only nomination. 72 minutes of screen time (or 54% of running time). 

Abdi Nazemian: She carries much of the emotional life of the film, but I found the film unbearably sentimental (this from a man who loves Andy Hardy movies and Little Women). She lacks the unique quirks that young actors like Judy Garland and Mickey Rooney brought to the same kinds of roles, and gives us a bland portrayal of adolescence. Of all the nominated actresses, she was given the most screen time, and did the least with it. 

Catherine Stebbins: One of these days I’ll figure out why I’m always so drawn to Bel Geddes. She has a lot of screen time as Katrin, given the unenviable task of holding up the film’s relentless episodic nostalgia. She is narrator, observer, worshiper, and an adult playing an adolescent. Katrin constantly looks at her mother, whether in the background or foreground, with reverent awe. Bel Geddes plays this with a partial cognizance that Katrin is in the gently reenacted memories of her past. ♥♥♥

Joe Reid: I can see how, if you were swept up in the homey charms of George Stevens' film, you'd want to throw accolades at Bel Geddes, who plays such an observant window onto the life of her saintly mother. Her hushed voice-over gets to the gauzy-memoir nature of the story effectively, but I'm not sure the performance ever gets much farther than doe-eyed wonderment.  ♥♥

Tim Robey: Saddled with just about the hoariest framing narration in film history, and doing little to lift it out of sanctified goo, Barbara has a near-impossible task here – making the terminally precious Katrin and her “gifted” (read: soporific) memoirs interesting. She can’t win, but we still need something more than a voice like tree sap to get us through this. In overegged close-ups she’s weirdly divorced from real-time engagement with her scenes, and every co-star seems faintly embarrassed about what to do with her. 

Nathaniel R: In the movie's crowded frames, you can often see just her hair or the back of her head; unfortunately her full closeups aren't that much more expressive, generally landing a single emotion. The narration is even stiffer like she's reading to a very small child from an immobile body cast. (The direction and screenplay all but force this stiff repetitiveness though, so it's not all on her) She aces warm awestruck looks at goddess Irene Dunne, but... I mean... who doesn't?  

Reader Write-Ins: "She is telling THEIR story, which she happens to be in. Therefore she is bland, quiet, blending to the background so others can showcase themselves." - Tom (Reader average: ♥♥¼)

Actress earns 10¼ ❤s 

four more actresses after the jump

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The Many Faces of Ann Dowd ~ 25 Years in Film & TV

As this new week begins, I need to take a moment to express gratitude for what made last week special. Ann Dowd was gracious with her time and thoughts for a special guest blog day. In case any of you missed it, it was neat to get an insight into her work on The Leftovers, hear about her teenage reaction to Romeo & Juliet, and more. I particularly enjoyed her comments on falling in love with acting and advice for young actors. Regarding the latter, I'm not an actor but it resonated with me strongly and I think it's great advice for any career that requires risk, heart, soul, and the ability to handle considerable peaks and valleys.

Which is quite a few careers if you stop to think about it.

Ann Dowd's film and television career began in earnest 25 years ago in 1990 with a role in the Golden Globe Comedy winner Green Card and guest appearances on two different TV series The Days and Nights of Molly Dodd and The Baby-Sitter's Club.

this is just scratching the surface

Her gallery of characters has been growing ever since but with critical raves and a few prizes for her riveting film-carrying work as a duped fast food manager in Compliance (2012) audiences finally starting putting a name to the face. Ever since we've been blessed with more and more of her. The Leftovers was arguably her greatest showcase yet. If Emmy voters don't notice what casting directors already have, it'll be their loss. 

What's your favorite Ann Dowd character and did her Guest Blog Day make you long for more peeks into your favorite character actors? (I'll take suggestions)