Smackdown 1973: Candy, Madeline, Linda, Sylvia, and Tatum O'Neal

Behold the five Oscar-nominated Supporting Actresses of 1973: a "bitchin' babe" (Candy Clark), a pint-sized con-artist (Tatum O'Neal), a possessed teenager (Linda Blair), a selfish carnival dancer (Madeline Kahn), and a vinegary New York institution (Sylvia Sidney). 

THE NOMINEES

 

Last month's featured year, 1964, gave us an extremely senior acting shortlist of Oscar regulars but the corresponding shortlist of 1973, apart from Sylvia Sidney who had been a respected working actress for nearly a half-century, skewed very new and very young and not just because it gave us the youngest Oscar winner of all time in Tatum O'Neal; she was 10 years and 148 days old. The four actresses nominated with Sidney were in their first flush of stardom and only acting in their first (O'Neal) second (Kahn & Clark) or third films (Blair). The Academy of Motion Picture Arts and Sciences obviously approved of their career choice.

THIS MONTH'S PANELISTS

from left to right: Chambers, Delany, Harris, Longworth, Rogers, Turner

You've already heard 'what 1973 means to them' and now here to talk about these five performances are authors Mark Harris ("Five Came Back") and Karina Longworth ("Anatomy of  an Actor: Meryl Streep"), film critics Bill Chambers (Film Freak Central) and Kyle Turner (Movie Scene), your host Nathaniel R (The Film Experience) and our special guest: two-time Emmy winning actress Dana Delany ("China Beach", "Body of Proof", and the forthcoming "Hand of God").

And, as ever, we must thank StinkyLulu for the original Smackdown inspiration in which we revisit Oscar shortlists of the past without all the campaigning and heat-of-the-moment politics that infect each awards race. Without further ado, part one of the main event.... (here's part two which is a podcast conversation)

1973
SUPPORTING ACTRESS SMACKDOWN 

 

LINDA BLAIR as "Regan" in The Exorcist
Synopsis: The daughter of a famous actress begins acting strangely. Can two priests save her from the demon inside?
Stats: 15 yrs old. First and only nomination. 41 minutes of screen time (or 34% of running time). 

Dana Delany: William Friedkin clearly created a set where Blair felt free to perform. She is naturally real as a pre-teen and then fully committed  in the physicality when she is possessed. I know it's McCambridge's voice, but Blair deserved this nomination just for what they put her through; the crucifix in the crotch, alone! ♥♥♥

Bill Chambers: This isn't one performance but three--four if you count the makeup unto itself. Blair provides the base coat, of course, and the guilessness she brings to her early scenes is perhaps easy to underrate; she's not just natural, she's impossibly ordinary. (Her squirms and grunts in the hospital scenes are also viscerally authentic.) But Regan is a puppet in both concept and execution, manifesting fewer reactions than she provokes. In the end, this isn't unlike nominating Yoda or something. ♥♥

Karina Longworth: In a movie full of terrible performances, at least Blair's gives you something to think about, in that it takes some work to separate out what she's actually doing on her own, and what is being accomplished via makeup, effects, and voice dubbing. The things that are wrong (dated, laughable) with the movie are not Blair's fault, exactly, but she also doesn't exactly give a sense of the agency or invention that she brings to the role that another actress wouldn't.  ♥♥

Kyle Turner: Though part of what’s memorable about Blair’s performance has to do with Mercedes McCambridge’s voice work, she adds an absolutely crucial element of that innocence and naiveté suddenly taken over by evil. The film is not only horrifying on a visceral level, but on a human level because we sympathise for Regan. She’s going through Hell. Literally. ♥♥♥♥♥ 

Mark Harris: Revisiting this, I found myself surprised by how little Blair is in the movie—unlike the adults, she’s not a character but an object, and William Friedkin uses her shrewdly but sparingly, in short, carefully chosen takes, sort of the way Spielberg deployed the shark in Jaws. It’s far from great acting, but her ordinariness works well for the part, and even though it’s a largely lip-synced performance (all hail Mercedes “Pazuzu” McCambridge!), she’s impressively game in every scene. ♥♥ 

Nathaniel R: Those doctors and priests are such fools. Little Regan definitely has an unholy spirit inside her and its name is "McCambridge". Though the sound design, dubbing, and makeup are doing major heavy-lifting, Blair does just fine with her half portions, believably slipping towards catatonic trouble. Plus: watch her demon scenes with the sound off (I tried it!) and there’s still solid physical acting. In short I believed this young actress scratched “Help Me” into her own stomach from the inside. ♥♥♥ 

Reader Write-Ins: "Even with all the help this performance gets (makeup, sound, voice actors, etc) I still think Blair was ahead of her age and completely believable. Even after all the spoofs and rip offs I still find her creepy and during the "normal" scenes she's very natural." - Mauro. (Reader average: ♥♥½)

Actress earns 19½ ❤s 

4 more actresses after the jump

Click to read more ...

Introducing Pt 2... Blair and Candy

Previously on "Introducing": Tatum, Sylvia & Madeline

It's just 3 days until the Supporting Actress Smackdown of 1973. Bless StinkyLulu for dreaming up this event years ago because it's still so fun. But first some unfinished introductions: how do Candy Clark and Linda Blair enter their movies. If you hadn't yet seen the movie would you be expecting an Oscar nomination from these first scenes? What do the scenes telegraph for first time viewing? 

Sure do love you.

Hi, Mom!

11½ minutes in. Meet "Regan" (Linda Blair in The Exorcist)
How fitting that she first appears in bed, since she'll spend the bulk of the movie in one albeit it under far more horrific circumstances than a good night's sleep. As the scene begins her mother Chris MacNeil (Ellen Burstyn) has heard noises in her Georgetown rental and checks on her daughter first. Sound asleep. But there's a telling pan left to the open window, curtains blowing, and despite the maternal warmth and blissful lack of scoring or over-done sound design at this moment (it does sound plausibly like a rat or racoon in the attic) the scene is subtly chilling. The Exorcist understands the slow build and modulation and starts pianisssimo.  Chris kisses her daughter and pulls the covers up. When we see Regan again five minutes later she's just a typical bouncy teenager who talks pretty horses and steals cookies. If you'd never heard of The Exorcist before you first saw it (fat chance) you could safely assume that both the mom and the daughter might soon be in peril, but nothing else. The Exorcist establishes home life normalcy first before demonic insanity betrays its fragility.

Babe. What a bitchin' babe!

30¾ minutes in. Meet "Debbie" (Candy Clark in American Graffiti)
American Graffiti is about four friends after high school graduation but by the half hour mark they've all split up and the film becomes four parallel films as they cruise around the strip in different cars or on foot. We meet so many characters, first spotted from car windows, including one previous blonde fantasy girl that Debbie's entrance doesn't seem major... at first. Initially Debbie is presented in completely objectified fashion as Terry (Charles Martin Smith) calls her a Babe (to himself) and hears other men cat call her. He follows her in the car and she's getting nervous in this neighborhood and walks faster. But after a minute of fruitless one-sided conversation from his car he tells her she looks like Connie Stevens. Her temperature changes and she beelines straight for him, suddenly a different person. It's a special entrance just from Clark's offkilter switch. She's the one suddenly objectifying... only its the car she's lustfully eyeing and possibly more compliments, too.

She'd get the ultimate compliment with an Oscar nomination.

Be here on Thursday afternoon when our awesome panel discusses these five nominated performances in the monthly Smackdown event. This is your last day to vote on the 1973 supporting actress shortlist by sending me heart ratings -- for only the ones you've seen -- on a scale of 1 to 5 with 5 being unimproveable feats of acting. (Reminder: Next month is 1989)

Introducing Pt 1... Supporting Actresses of 1973

You've met our awesome panelists (Dana Delany, Karina Longworth, Mark Harris, Bill Chambers, Kyle Turner, and myself, Nathaniel) and on July 31st when the Smackdown arrives you'll hear from us again. Let's meet the characters we'll be discussing.

As is our new Smackdown tradition we begin by showing you how the performances themselves begin. There's usually some point in every nominated performance when it clicks in... here's the scene that did it. That can come as early as the introduction for some characters. At the very least the intro is the springboard for every thing you'll see about the character from then on. Do these introductions scream "shower me with gold statues!"? Do the filmmakers prepare us for what's ahead? Here's how 3 of the 5 nominees are introduced in the order of how quickly they arrive in their movies.

[No Dialogue]

Immediately. Meet "Addie Loggins" (Tatum O'Neal in Paper Moon)
This is the first shot of Paper Moon and the camera will rarely leave little Addie (Tatum O'Neal) again in the greatest case of Category Fraud ever perpetrated at the Oscars. She is staring tearless into her mother's freshly dug grave, flanked by unaffectionate adults who immediately pawn her off post-funeral to a stranger who bears a striking resemblance (Ryan O'Neal). He's meant to drive her to only kin, an Aunt she doesn't know. Tatum's/Addie's resistance to charming you or her co-stars actually proves better than charming, drawing you completely in to that poker face. Three minutes later she finally speaks and seems less child-like; she's all business, suspiciously scoping out her new situation and this "friend" of her mother's. 

Rita: Who is this?
Mrs Pritchett: Who do you think it is?
Rita: Why do you sound so strange?
Mrs Pritchett: I'm at Saks. 

5 minutes in. Meet "Mrs Pritchett" (Sylvia Sidney in Summer Wishes Winter Dreams)
We've spent enough time with Rita (Joanne Woodward), our protagonist, to know that she's neurotic and unhappy; the first scene is an actual nightmare. A phone call wakes her up. Disoriented from sleeping she doesn't recognize her own mother's voice. (That's Sylvia Sidney who today's moviegoers probably remember best from Beetlejuice.) Forget the dialogue as being at Saks is hardly a strange occurence judging from her expensive clothing and multiple shopping bags. The picture of their relationship is instantly clear: they bicker, they're terse with each other, they meet every week for lunch which is why the mother is calling and what they're about to do. One assumes then that the picture will be an acidic mother/daughter drama. But is that what's coming?

Now don't you drop nuthin' Imogene. You take care of those breakables, y'understand?

40 minutes in. Meet "Trixie Delight" (Madeline Kahn in Paper Moon)
This is one of those highlighted intros that a movie prepares you for, shouting 'New Chapter'.  It draws its comic energy from the "cut to". We're sitting in a hotel room with Addie and her exasperated shouting Daddy who explains that there'll be two new women in the car, a "lady" and her maid...

A REAL LADY AND SHE COMES FROM A GOOD FAMILY!"

Cut to: Madeline Kahn strutting out of the carnival's nudie tent "HAREM SLAVE - WORLD FAMOUS GIRLS", boobs bouncing. A real lady from a good family, eh? Kahn wins her first big laugh with literally her first second of screen time. There will be more. 

Do the introductions make you want to see more?
(In part 2 we'll look at the other nominees)

[If you'd like to participate in the Smackdown make sure to vote on the nominated performances (only the ones you've seen please, underseen performances are not penalized as votes are averaged out) by rating the nominees on a scale of 1 (inadequate) to 5 (beyond excellent) hearts.]

Meet July's "Smackdown" Panelists

The Supporting Actress Smackdown of '73 arrives on July 31st, just over two weeks from now. You need to get your votes in too if you want to participate (instructions at the bottom of this post). If you've wandered in from elsewhere and are like, "What's a Smackdown?," here's how it started.

The Smackdown Panel for July

Without further ado let's meet our panel who will be discussing popular classics Paper Moon, The Exorcist, and American Graffiti as well as the more obscure title Summer Wishes Winter Dreams. All of the Supporting Actress nominees this Oscar vintage were first timers and so are our Smackdown panelists.

Special Guest

DANA DELANY
Dana Delany is an actress working on stage, screen, television and now internet. She was last seen starring in "Body of Proof" on ABC. In August you can rate and review the pilot "Hand of God" in which she co-stars with Ron Perlman on Amazon.com. [Follow her on Twitter | IMDb]

Why did a famous actress like you want to participate?

I wanted to do a Smackdown because there is nothing I like better than watching a movie and discussing it with smart people. Way better than being smacked. 

What does 1973 mean to you?

For me personally it was a hugely transitional year. My parents separated, we moved to Virginia and I escaped by going to the movies before I truly escaped by going to boarding school for my senior year. It was also a transitional year for our country and film. Marriages ended as women asserted their independence and Roe v Wade passed. Economically the US was a mess with gas shortages and NYC was bankrupt. American faith was shaken with the Watergate trial and the beginning of the end of the fruitless Vietnam War. I think that's why you see so much nostalgia in the movies with "The Sting", "American Graffiti", "Paper Moon" and "The Way We Were" in stark contrast to the European "Last Tango in Paris". Even at the Oscars the next spring, David Niven being surprised by a streaker was the embodiment of old Hollywood/new world.

And...

BILL CHAMBERS
Bill Chambers is the founder, editor, and webmaster of FilmFreakCentral.net, which recently turned seventeen. A graduate of York University's Film program, he is a member of both the Toronto Film Critics Association and the Online Film Critics Society. He just got a cat. [Follow him on Twitter]

What does 1973 mean to you?:

I suppose the first thing that comes to mind is Terrence Malick making his directorial debut, and Martin Scorsese formally introducing himself to moviegoers. The seismographic image of 1973 I have in my head is deceptively calm compared to the years that flank it, perhaps because while '73 produced no shortage of future classics, so many of them -- "The Last Detail", "Sisters", "Pat Garrett and Billy the Kid" -- seem like sleepers to this day, amassing cults without getting the splashy reissues or being front and centre in discussions of their directors' work. And when I factor in genre classics like "Enter the Dragon", "Westworld", even "Don't Look Now", this might be the year in film from that hallowed decade I'd most want with me on a desert island... though I'd probably just try to make a raft out of "Lost Horizon".

MARK HARRIS
Mark Harris is an editor-at-large at Entertainment Weekly, a Grantland columnist (about the Oscars and other things), and a contributor to New York magazine. He is the author of Pictures at a Revolution (2008) and Five Came Back (2014). He lives in New York City. [Follow him on Twitter]  

What does 1973 mean to you?

1973 was the first year I got to have any say in the movies I wanted to see, which, as I recall, were "The Sting", "Sleeper", "Paper Moon", "The Day of the Dolphin", and, because this is a place for truth, Burt Reynolds in "White Lightning". "The Exorcist" was high on my wish list, but only one friend my age had gotten to see it, and only because, as my mother tersely explained to me, 'His parents don't care about him.' That year's movies competed in the first Oscar show I was ever allowed to stay up and watch. Other highlights of that year for me: The televised Watergate hearings, Sonny and Cher, fourth grade.

KARINA LONGWORTH 
Karina Longworth is the creator/host of You Must Remember This, a podcast about the secret/forgotten history of Hollywood's first century. She is the author of books about George Lucas, Al Pacino and Meryl Streep, and has contributed to Grantland, Slate, LA Weekly, the Guardian, NPR, Vulture, and other publications. [Follow her on Twitter]

What does 1973 mean to you?

"The Last of Sheila". "Blume in Love". "Scarecrow" winning the Palme D'or. Gloria Steinem with hair colored in emulation of Audrey Hepburn in "Breakfast at Tiffany's". Situationism. "Coffy". "The Mother and The Whore".

KYLE TURNER
Born in 1994 and enamored of the cinema ever since, Kyle began writing on the internet in 2007 with his blog The Movie Scene. Since then, he has contributed to TheBlackMaria.org, Movie Mezzanine, and IndieWire's /Bent. Xavier Dolan's "I Killed My Mother" is basically his life story and "Bringing Up Baby" is his default favorite film. He likes coffee and is studying film at the University of Hartford in Connecticut. He is relieved to know he is not a golem. [Follow him on Twitter]

What does 1973 mean to you?

From merely an appreciative perspective, it was the year "The Godfather" won Best Picture (for '72), Watergate happened, and Pink Floyd's "Dark Side of the Moon" was released.

And your host

NATHANIEL R
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 also blames Oscar night (in general) and the 80s filmographies of Kathleen Turner and Michelle Pfeiffer. 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 1973 mean to you?

I have no memories of that year but if I had any they'd surely involve my sister (she's the eldest and I'm the baby) and her friends who were approaching their teenage years and who I generally remember looking at with awe (bell bottoms, long hair and all) just a few years later. As for what it makes me think of now? Exactly 4 things: "Your girl is lovely, Hubbell"; Liza Minnelli's victory tour for her work in 1972 (the Oscar, the Emmy, the BAFTA, the Globe, and the Hasty Puddings Woman of the Year all came her way); political powderkegs Roe v Wade and Watergate; and that unique admirable window of time in America wherein confrontational subtitled art films like Ingmar Bergman movies could be big hits and up for multiple Oscars... the 70s were so weird (read: awesome). 

YOU'RE INVITED, TOO!
The readers are the final (collective) panelist. You have 12 more days to get your votes in on any of the performances you've seen grading them on a scale of 1 (poor) to 5 (perfect). (Paper Moon is on Instant Watch so you have no excuse to miss that one.) We excerpt quotes from reader ballots and your votes count toward the outcome. That matters because sometimes it's a real brawl for the win: see recent editions 1941 and 1964. 

1973 Supporting Actress Nominees
Linda Blair The Exorcist

Candy Clark American Graffiti

Madeline Kahn Paper Moon

Tatum O'Neal Paper Moon

Sylvia Sidney  Summer Wishes, Winter Dreams

Say hi to our exciting panel in the comments and tell them what you think of when you think of "73". And like the film experience on Facebook while you're at it.

PROCEED TO THE SMACKDOWN EVENT

Halfway Pt. 5 Best Performances

Are you getting restless about all these halfway posts? We're almost done. The Power of List compels me. There's one more halfway post to go that's basically 'The Oscar Charts are Updated!' as the coding problem I mentioned is fixed and the updates are happening behind the scenes as you read this. We must get all this halfway business behind us by Saturday morning so that we can ape out all weekend with Andy Serkis & Co and start this second half of the year off right.

Herewith...

THE GREATEST PERFORMANCES OF 2014's FIRST HALF

BEST LEADING ACTRESS: Keira Knightley does her most relaxed and fluid work ever in Begin Again as a musician at a crossroads, never letting any one aspect of the character's situation pigeonhole her emotional responses; Agata Kulesza is an abrasive and evasive presence in her first scenes in Ida as a cynical woman who is too guarded to let her affection for the niece she's just met show but the performance keeps revealing more in each scene, like a window opening up; Luminita Gheorghiu sure can hold the camera and doesn't care what you think of her complicated often unpleasant character in Child's Pose; Marion Cotillard often silent and soulful performance in The Immigrant as a Polish woman who is lured into servitude (sexual and otherwise) is a beauty; and Scarlett Johansson proves herself quite the auteur vessel in her enigmatic, curious, unpredictable, sexual and unsettlingly "off" star turn in Under the Skin.

(This was so difficult to narrow down from ten so my apologies to: Emily Blunt who gives one of the great bad-ass performances even if there's not a lot to her Edge of Tomorrow role beyond that; Angelina Jolie who gifts her wicked witch Maleficent with subtle and unfamiliar affections as well as her usual screen presence for days; Gugu Mbatha-Raw who is so beautiful when righteously aggrieved as Belle; Jenny Slate plays abrasive stand-up well and is even better at believable impulsive decision making on the fly in Obvious Child; and Agata Trzebuchowska as the silent and watchful Ida - and yes both actresses from Ida are named Agata which is funny considering the polar oppositeness.)

BEST LEADING ACTOR: Russell Crowe reminds us he's a movie star with his commanding title performance in Noah, a strange collision of righteous pacifism and violent obsessiveness; Ralph Fiennes is brilliant as the perfect concierge in Grand Budapest Hotel not quite playing against type but subverting his usual sophisticated cad with new comic energy and a remarkably innocent carnality; It's Jake Gyllenhaal versus Jake Gyllenhaal in Enemy and it's easy to tell the characters apart (and argue about preferences) which is a real coup for this perpetually underrated if well employed actor; And finally James McAvoy seriously owns X-Men: Days of Future Past in his second go-round as Professor Xavier, never phoning it in (always a danger with reprisals... his co-stars are much flatter than before) and absolutely committing to the genre, the emotional logic of the highly convoluted plotline and Xavier's combustible feelings for his co-stars and his desire not to feel at all.

 (...and I'm going to stop there at four since I cheated on the next category with six though please note that I also appreciated the work of Aaron Paul who is believably limited in the parental skills department as a grieving widower in Hellion, Pierre Deladonchamps who serves Stranger by the Lake's vision with unobtrusive being on camera as opposite to "Acting!", Chris Evans minimalist but effective leading man skills twice over in Captain America: The Winter Snowpiercer and Colin Firth's Firthishness as filtered through PTSD and bookishness in The Railway Man.)

BEST SUPPORTING ACTRESS: I cheated with six women (Shut up! I don't do such things once we get official. You know that by now.) but at the moment I'm going with Jillian Bell who is so much the comic MVP of 22 Jump Street that it positively hurts... like a punch to the face; Rose Byrne who is sharp, sexy, funny and alive to all the ways she refuses to play a stock wife character in Neighbors; Laura Dern, The Face, who gives The Fault in Our Stars its most genuine tears; Gaby Hoffman who is a complicating but also soothing and sobering presence (neat trick) in the funny Obvious Child; Scarlett Johansson in Captain America 2 who is getting better and better all the time (and she was no slouch at the start) and proves it by upping her Black Widow game every damn time infusing character, layers and specificity into the mandatory surface sexiness and showmanship; and I'm holding a spot open for Uma Thurman in Nymphomaniac because.... well... let's talk about that one next week since both Volumes just came out on DVD.

(I'd tip my hat to several other ladies too -- how much time do you have? -- but none were quite on this level so let's not list them all. But please know that this does not mean that I am any less obsessed with Tilda (who was possibly genius but also possibly bad... I'm still deciding... in Snowpiercer) or Nicole (whose role was a dud even if her performance wasn't in The Railway Man, sorry about it.)

BEST SUPPORTING ACTOR: May I abstain? No. Fine... I guess I'd go with Patrick D'Assumçao for fish-out-of-water directness and unfussy depression in Stranger by the Lake; Song Kang-Ho for embracing the selfish agenda of his character while giving generously to the spark of Snowpiercer; Adam Levine for surprisingly natural ease with acting in Begin Again - no false notes; and Jeff Goldblum and Tony Revolori from Grand Budapest Hotel though I should see the film again before justifying those names with any explicit commentary on their performances; And I'd make those five choices while glancing over at Scoot McNairy (The Rover), Jeremy Renner (The Immigrant), Wyatt Russell (22 Jump Street), Christopher Walken (Jersey Boys), Jake Lacy (Obvious Child), and everyone else in Snowpiercer and wishing all dozen or so men either had more complicated characters to play, more screen time to prove themselves, or were just a bit more transcendent of the limitations of their roles. I like all of these performances but it's been an uneventful year in this particular category. 

LIMITED OR CAMEO ACTRESS: Emma Levie is somehow malevolent and frightening without doing much at all in Snowpiercer; Alison Pill is an atypical joy in one of Snowpiercer's oddest scenes; Susan Prior does a lot with a very little in her extended scene in The Rover as a dog loving doctor - the movie doesn't care about her but she sure cares about the movie; Charlotte Rampling wows and completely elevates Young & Beautiful in one of its last scenes; and Tilda Swinton is sublime and memorable as the horny ancient heiress in Grand Budapest Hotel who sets the plot in motion.

LIMITED OR CAMEO ACTOR: Matthew Goode is believably progressive and stalwart in a very short bit in Belle; Harvey Keitel and Edward Norton are great fun in their small roles in Grand Budapest Hotel; Luke Pasqualino is magnetic in a nearly silent role in Snowpiercer; and Craig Roberts is hilariously deadpan as "Ass Juice" in the raunchy comedy Neighbors

And I'll end with a tweet about Luke Pasqualino because it's uncool that more people aren't talking about him...

totally mesmerized by @LucaPasqualino's moves in Snowpiercer. Can he be in every action movie now? #AttnCastingDirectors

— Nathaniel Rogers (@nathanielr) July 1, 2014

Oh wait one more...
BEST ENSEMBLE: Grand Budapest Hotel; Neighbors; Obvious Child; Snowpiercer; Young and Beautiful

YOUR TURN. Which performances and characters were you just wild for in these past six months?