My current Top 5

My current Top 5
Showing posts with label 1998. Show all posts
Showing posts with label 1998. Show all posts

11/19/2018

Best Actress Ranking - Update

Here is a new update. The newly added performance is highlighted in bold. 

My winning performances are higlighted in red.

1. Vivien Leigh in Gone with the Wind (1939)
2. Jessica Lange in Frances (1982)
3. Gloria Swanson in Sunset Boulevard (1950)
4. Olivia de Havilland in The Heiress (1949)
5. Anne Bancroft in The Graduate (1967)
6. Janet Gaynor in Seventh Heaven (1927-1928)   
7. Jill Clayburgh in An Unmarried Woman (1978)
8. Glenn Close in Dangerous Liaisons (1988)
9. Geraldine Page in The Trip to Bountiful (1985)
10. Susan Sarandon in Thelma & Louise (1991)

11. Edith Evans in The Whisperers (1967)
12. Norma Shearer in Marie Antoinette (1938)
13. Greta Garbo in Ninotchka (1939)
14. Faye Dunaway in Bonnie and Clyde (1967)
15. Cate Blanchett in Elizabeth (1998)
16. Kate Winslet in Eternal Sunshine of the Spotless Mind (2004)
17. Bette Davis in The Little Foxes (1941)
18. Julie Andrews in The Sound of Music (1965)
19. Rosalind Russell in Auntie Mame (1958)
20. Glenda Jackson in Women in Love (1970)

21. Joanne Woodward in The Three Faces of Eve (1957)
22. Elizabeth Taylor in Suddenly, Last Summer (1959)
23. Barbara Stanwyck in Ball of Fire (1941)
24. Emily Watson in Hilary and Jackie (1998)
25. Julie Christie in Away from Her (2007)
26. Shelley Winters in A Place in the Sun (1951)
27. Audrey Hepburn in Wait until Dark (1967)
28. Ingrid Bergman in The Bells of St. Mary’s (1945)
29. Anne Baxter in All about Eve (1950)
30. Judi Dench in Mrs. Brown (1997)

31. Helen Hayes in The Sin of Madelon Claudet (1932)
32. Jane Fonda in Coming Home (1978)
33. Greer Garson in Goodbye, Mr. Chips (1939)
34. Doris Day in Pillow Talk (1959)
35. Meryl Streep in One True Thing (1998)
36. Deborah Kerr in From Here to Eternity (1953)
37. Katharine Hepburn in Guess who’s coming to dinner (1967)
38. Marsha Mason in Chapter Two (1979)
39. Jane Wyman in The Yearling (1946)
40. Martha Scott in Our Town (1940)

41. Teresa Wright in The Pride of the Yankees (1942) 
42. Jennifer Jones in Love Letters (1945)
43. Ellen Burstyn in Same Time, Next Year (1978)
44. Susan Hayward in My Foolish Heart (1949)
45. Eleanor Parker in Detective Story (1951)
46. Vanessa Redgrave in Mary, Queen of Scots (1971)
47. Diane Keaton in Marvin's Room (1996)
48. Loretta Young in Come to the Stable (1949)  
49. Mary Pickford in Coquette (1928-29)
50. Sissy Spacek in The River (1984)

51. Shirley MacLaine in The Turning Point (1977)
52. Irene Dunne in Cimarron (1930-1931)
53. Ruth Chatterton in Madame X (1928-29)
54. Diana Wynyard in Cavalcade (1932-1933)

Emily Watson as Jacqueline du Pré in Hilary and Jackie  

Since I am lazy and my initial opinion of Emily Watson's performance did not change, I just refer you to my original review here.

10/24/2016

Best Actress Ranking - Update


Here is a new update. The newly added performance is highlighted in bold. 

Winning performances are higlighted in red.

1. Vivien Leigh in Gone with the Wind (1939)
2. Jessica Lange in Frances (1982)
3. Gloria Swanson in Sunset Boulevard (1950)
4. Olivia de Havilland in The Heiress (1949)
5. Anne Bancroft in The Graduate (1967)
6. Janet Gaynor in Seventh Heaven (1927-1928)   
7. Glenn Close in Dangerous Liaisons (1988)
8. Geraldine Page in The Trip to Bountiful (1985)
9. Edith Evans in The Whisperers (1967)
10. Norma Shearer in Marie Antoinette (1938)

11. Greta Garbo in Ninotchka (1939)
12. Faye Dunaway in Bonnie and Clyde (1967)
13. Cate Blanchett in Elizabeth (1998)
14. Bette Davis in The Little Foxes (1941)
15. Julie Andrews in The Sound of Music (1965)
16. Rosalind Russell in Auntie Mame (1958)
17. Glenda Jackson in Women in Love (1970)
18. Elizabeth Taylor in Suddenly, Last Summer (1959)
19. Barbara Stanwyck in Ball of Fire (1941)
20. Julie Christie in Away from Her (2007)

21. Shelley Winters in A Place in the Sun (1951)
22. Audrey Hepburn in Wait until Dark (1967)
23. Ingrid Bergman in The Bells of St. Mary’s (1945)
24. Greer Garson in Goodbye, Mr. Chips (1939)
25. Doris Day in Pillow Talk (1959)
26. Meryl Streep in One True Thing (1998)
27. Deborah Kerr in From Here to Eternity (1953)
28. Katharine Hepburn in Guess who’s coming to dinner (1967)
29. Teresa Wright in The Pride of the Yankees (1942) 
30. Jennifer Jones in Love Letters (1945)

31. Ellen Burstyn in Same Time, Next Year (1978)
32. Susan Hayward in My Foolish Heart (1949)
33. Diane Keaton in Marvin's Room (1996)
34. Loretta Young in Come to the Stable (1949)  
35. Mary Pickford in Coquette (1928-29)
36. Sissy Spacek in The River (1984)
37. Shirley MacLaine in The Turning Point (1977)
38. Irene Dunne in Cimarron (1930-1931)
39. Diana Wynyard in Cavalcade (1932-1933)


And a hint to the next performance that will be ranked:


3/30/2015

My Best Actress Ranking...Update

Here is a new update. The newly added performance is highlighted in bold. 

1. Vivien Leigh in Gone with the Wind (1939)
2. Gloria Swanson in Sunset Boulevard (1950)
3. Olivia de Havilland in The Heiress (1949)
4. Anne Bancroft in The Graduate (1967)
5. Janet Gaynor in Seventh Heaven (1927-1928)   
6. Glenn Close in Dangerous Liaisons (1988)
7. Edith Evans in The Whisperers (1967)
8. Greta Garbo in Ninotchka (1939)
9. Faye Dunaway in Bonnie and Clyde (1967)
10. Bette Davis in The Little Foxes (1941)

11. Barbara Stanwyck in Ball of Fire (1941)
12. Shelley Winters in A Place in the Sun (1951)
13. Ingrid Bergman in The Bells of St. Mary’s (1945)
14. Meryl Streep in One True Thing (1998)
15. Katharine Hepburn in Guess who’s coming to dinner (1967)
16. Teresa Wright in The Pride of the Yankees (1942) 
17. Jennifer Jones in Love Letters (1945)
18. Ellen Burstyn in Same Time, Next Year (1978)
19. Loretta Young in Come to the Stable (1949)  
20. Irene Dunne in Cimarron (1930-1931)

21. Diana Wynyard in Cavalcade (1932-1933)

6/17/2010

YOUR Best Actress of 1998

Because the blogs have a lot of problems with polls, I couldn't get the final vote number but I looked at the poll yesterday and can at least give you the ranking:

1. Cate Blanchett - Elizabeth

2. Fernanda Montenegro - Central do Brasil

3. Gwyneth Paltrow - Shakespeare in Love

4. Meryl Streep - One True Thing

5. Emily Watson - Hilary and Jackie


Thanks to everyone for voting!

6/06/2010

Best Actress 1998 - The resolution!

After having watched and reviewed all five nominated performances, it's time to pick the winner!



Meryl Streep gives a memorable and moving performance that unfortunately doesn’t give her more chances to create her character apart from the guidelines of the average script as she never gets to show how her illness and the thought of death really affect her. One True Thing spends more time letting people talk about Kate than letting Kate talk for herself but Meryl Streep’s qualities as an actress surely add to the overall impact of the story.



                     
Seldom has an actress ever been so radiant and full of light as Gwyneth Paltrow in Shakespeare in Love. It’s a typical star performance that rests on the actress’s own personality but she is smart enough to see the part’s depth and possibilities and how her character is the beginning and the end of the movie. In creating a character as romantic and charming as the movie she stars in, Gwyneth Paltrow makes an unforgettable impression and creates a wonderfully passionate heroine.

In the part of Jacqueline, Emily Watson never tries to get the audience’s sympathy. Instead, she more than once shows the unlikable, ugly, manipulative and temperamental sides of her character and gives a difficult and hard-to-understand performance that seems to pose more questions than give answers but it’s a fascinating and unique characterization that dominates and controls the movie.



2. Fernanda Montenegro in Central do Brasil

Fernanda Montenegro has a very distinctive, unique face that is perfectly able to communicate anger, frustration and bitterness without becoming too appalling and maybe distance the character from the viewer. Instead, she is able to combine almost grandmother-like qualities with a strong and unfriendly exterior. In playing Dora, Fernanda Montenegro never tries to manipulate the audience but makes her character’s actions and intentions constantly believable and is always in control of what she wants Dora to communicate to the audience without playing ‘for the audience’.      




In the showy and thankful part of Queen Elizabeth I, Cate Blanchett is always a very dominant and controlling power, a woman who is constantly aware of her acts and deeds, a woman who is both strong and weak and learns about the dangers, schemes and possibilities of her life as a Queen. All this is done in a performance that never seems forced but is constantly extremly natural and believable as it combines the typical domineering gestures and movements one would expect of a Queen with various modern and refreshing acting choices. A truly royal performance!



Best Actress 1998: Emily Watson in "Hilary and Jackie"

After having received her first Oscar nomination for her stunning film debut in Breaking the Waves, Emily Watson was again nominated two years later for her performance as world-famous cellist Jacqueline du Pré who died from multiple sclerosis in Hilary and Jackie.

The fact that Emily Watson received a Best Actress nomination for her work while Rachel Griffiths entered the Supporting race for her performance as Jacqueline’s sister Hilary does not reflect the structure of the movie but is a simple case of category fraud committed by Rachel Griffiths who is undoubtedly the co-lead in this story. Hilary and Jackie, as the title already suggests, is not the story of Jacqueline du Pré, but the story of both sisters, their relationship as children and grown-ups and how they depend on each other, as difficult as the times may be.

The movie begins with the two sisters as children – both are already very well trained in music. Jacqueline plays the cello while Hilary plays the flute. They are egged on to play these instruments by their over ambitious mother and it seems to be clear that Hilary is the one who combines both the talent and the discipline to make it far in the world. Since Hilary’s success means that she will spend a lot of time without her sister, Jacqueline is anxious to become just as good as Hilary so that she can be with her constantly. But very soon, Jacqueline’s virtuous playing begins to enthuse the critics and she gets the kind of career that seemed to have been destined for Hilary.

When Emily Watson takes over the role of Jacqueline, she quickly establishes the most important characteristics in her: her love for music and her love for her sister. This love is not a typically sisterly love – especially on Jacqueline’s side. It seems to be an obsession for her to be near Hilary. She is willing to almost destroy her closeness only to get even closer which goes so far that she asks Hilary to share her husband.

In the part of Jacqueline, Emily Watson never tries to get the audience’s sympathy. Instead, she more than once shows the unlikable, ugly, manipulative and temperamental sides of her character but her performance is so honest and believable that she always stays a fascinating person. Emily Watson never answers the question if Jacqueline’s sometimes impossible behavior is simply a part of her character or something that she does to get attention. When she suddenly talks with a strange accent and pretends not to realize it or when she is stealing the show in her last concert, in which she isn’t playing the cello anymore because she is too sick, by missing her cue – is she really this bubbly, charming woman or is this all part of a more scheming character? Does she really want to be in the center of attention when at the same time it seems that she doesn’t care the slightest bit about what others think of her?

The movie spends its first half concentrating almost exclusively on Hilary. It shows how she got married and lead a quiet life in the countryside but from time to time, Jacqueline drops by and changes the tone and rhythm of her life just as Emily Watson changes the tone and rhythm of the movie. She is a very domineering presence, a woman who knows that she is a star and has the talent to justify it. But Jacqueline also shows constant signs of mood swings, a love and hate for her life, a love and hate for her work and a love and hate for her sister with whom she wants to be as close as possible even if it means ruining their lives.

The second part of the story focuses on Emily Watson’s Jacqueline and she is given more chances now to deepen her character and show the sadness and loneliness in Jacqueline as she tours the world. It’s never clear who much her music means to her. Sometimes it seems that she only started it because she wanted to please her mother and be close to her sisters, sometimes it seems that it is her whole life. Emily Watson never turns Jacqueline into a diva when she portrays the difficult side of this woman but her delicate features that are so different from her fierce determination as an actress create a woman who seems more like a little girl who wants all the things her sister has while at the same time she wants to have even more. It always remains a very intimate portrayal that could have gone extremely over-the-top but Emily Watson is wise enough to focus on the inner trouble and conflicts in Jacqueline and not go for grand gestures or larger-than-life emotions.

Emily Watson also deserves some credit for the performances she gives on the stage. Her way of playing the cello, her body movements, the look on her face all suggest a real and determined artist who has grown up with music, who lives music. And the final parts of her performance when the illness takes over Jacqueline’s life, surely give Emily Watson the chance for a real tour-de-force as she combines technical brilliance with heartbreaking emotions.

It’s a difficult and hard-to-understand performance by Emily Watson that seems to pose more questions than give answers but it’s a fascinating and unique characterization that dominates and controls the movie for which she gets

6/05/2010

Best Actress 1998: Cate Blanchett in "Elizabeth"

The role of Queen Elizabeth I is always a treat for every actress. To play such a strong, well-known and at the same time unknown historical figure gives the chances to play a wide variety of emotions coupled with a portrayal of royal dominance. It’s not a surprise that actresses from Sandra Bernhardt to Bette Davis to Glenda Jackson to Judi Dench have used the opportunities to play this fascinating character – and they all have left their own distinctive marks on this part. The fact that the dominance of the character easily makes the actual performance often seem much bigger than it actually is makes it very hard for a talented actress to do anything wrong. But even though – success in this part is not achieved automatically but demands an actress who can combine fierce determination, emotionally soft and hard sides and a strong screen presence of truly royal proportions. And Cate Blanchett certainly delivered all this in Elizabeth.

Actually, Cate Blanchett’s Elizabeth isn’t a Queen yet at the beginning of Elizabeth. She starts as a playful, innocent young woman whose life depends on the goodwill of her half-sister, Queen Mary. It is during the run of the movie that Elizabeth slowly changes to the famous image of Queen Elizabeth I that is so well-known today – that of a ‘Virgin Queen’, a cold and dominant ruler who overcomes all obstacles and brings fortune and power to her country.

At the beginning of the movie, Cate Blanchett perfectly balances two characteristics of her character: her royal upbringings and her simple life in the English countryside. She knows that she may become Queen someday and is very well aware of her father and her descent but her life hasn’t been really royal so far. In her performance, Cate Blanchett shows just how aware Elizabeth is of all the possibilities of her life but that it all seems like a dream just now – and does she even want to become Queen? Cate Blanchett doesn't answer as the prospects of this scenario seem to please and frighten her, appall her and appeal to her at the same time.

Elizabeth is not a typical historical epos. The style of the film takes a rather modern approach to this historical theme and Cate Blanchett fits this with a performance that combines the typical domineering gestures and movements one would expect of a Queen with various modern and refreshing acting choices. She also never overdoes her work – the role of a Queen certainly invites every award-hungry actress to overacting and larger-than-life scenes but Cate Blanchett always keeps it down and fits her work to the fact that Elizabeth is not really an epos but rather an intimate drama set in a royal surrounding. Her Elizabeth is not a larger-than-life character. Instead, she seems like an actually small and sometimes even helpless woman who is thrown into a larger-than-life world.

Cate Blanchett was smart enough to show a very coquettish, flirting but also confident Elizabeth in the beginning because that way she makes the slow change in her character that takes place during the run of the movie both thrilling and believable. Step by step she loses her inexperience and naivety and instead the self-assurance, which Elizabeth as a member of the royal class has always possessed, develops more and more. In the early scenes with her sister, when Elizabeth seems to be only one step away from death, Cate Blanchett mixes her pleadings for her life with a visible talent for manipulation and persuasion. In the hands of Cate Blanchett, Elizabeth becomes a woman who both belongs in this world and seems misplaced in it. In some ways, the movie could also be called Elizabeth – The Story of a Woman. It tells not only how she becomes a Queen but also how she becomes a confident woman who more and more retreats from her advisors and discovers her own strength and qualities. She realizes that she doesn’t need a husband to secure her country but that she is very able of doing it herself – after all, she is the daughter of her father.

In the later scenes of the story, Cate Blanchett is absolutely captivating and thrilling to watch as she shows that Elizabeth has hardened under her new responsibilities and duties. When she tells Robert Dudley that she is no longer his Elizabeth, these words not only mean that she is no longer his lover but that she also changed as a woman. At the end of the story, one can still see traces of the lively girl from the beginning but at the same time, Elizabeth is shown as a woman who seems to have been defeated by her life as a Queen and has decided that, if she has to be Queen, she will be nothing else and destroy all the traces of her earlier life. Even though Cate Blanchett shows the soft and weak sides of Elizabeth, her performance constantly suggests what a powerful woman she will become and her interpretation always allows this theoretical look in the future. Cate Blanchett shows an inner strength in Elizabeth that is waiting to break free and turn her into the legendary ruler still known and admired today. For this, she smartly uses her expressive face and especially her strong and powerful voice that can be flirty, arrogant, dominant and frightened at the same time.

In the showy and thankful part of Elizabeth, Cate Blanchett is always a very dominant and controlling power, a woman who is constantly aware of her acts and deeds, a woman who is both strong and weak and learns about the dangers, schemes and possibilities of her life as a Queen. All this is done in a performance that never seems forced but is constantly extremly natural and believable. A truly royal performance for which she gets

6/02/2010

Best Actress 1998: Meryl Streep in "One True Thing"

In 1996, Meryl Streep played opposite Diane Keaton in the sentimental drama Marvin’s Room. Meryl Streep did not receive an Oscar nomination for her work but Diane Keaton did for playing a woman who faces a fatal illness with lots of dignity. Two years later, Meryl Streep probably thought it would be time for another nomination for herself and starred as a woman who faces a fatal illness with lots of dignity in the sentimental family drama One True Thing.

Meryl Streep is not the central character of One True Thing – the story is about Ellen Gulden (Renée Zellweger), a young career-woman who returns to her parent’s home for the birthday of her father, a college-professor and novelist whom she is keen to impress and please. Ellen has an obviously distant relationship to her mother Kate (Meryl Streep) and almost openly rejects her for her life as a wife and mother.

Meryl Streep is often described as a very technical and controlled actress and the wheels in her head are also turning here – she expresses joy and laughter in a very studied and calculated way but it’s the gift of Meryl Streep to appear warm and spontaneous nonetheless. Her work here is much more relaxed than usual and Meryl Streep is able to combine her talent and experience as a technical actress with a lot of honest and open emotions that seem to come more from inside.

Meryl Streep enters the movie in a very playful manner – dressed as Dorothy from The Wizard of Oz because the birthday party for her husband has the theme to dress as your favorite literature character. The news that her daughter Ellen didn’t bother to put on a costume obviously disappoints Kate but, like in almost every family drama, everybody puts on a happy façade and pretends as if everything is perfect. Meryl Streep uses these first scenes to show that Kate is a very positive person, cheerful and, as her husband later describes her, a ray of light. But Meryl Streep doesn’t overdo these aspects of Kate but instead always keeps in touch with the more serious tone of the movie. She also finds enough moments to suggest that even though Kate is a woman who seems to enjoy her life and wants to find perfection for her family, she is very aware that her dreams are not reality.

Apart from playing these sides of Kate and demonstrating the rip in her relationship to her daughter, Meryl Streep mostly stays in the background of the story. The focus of the story always lies on Ellen and her life, her mother is always a secondary character. But when Kate is diagnosed with cancer, Meryl Streep gets more chances to shine and the importance of her character improves. But Ellen still remains the center for the story as the movie tells how she has to change her own life to take care of her alienated mother and how she grows close to her again.

When the illness begins to take over Kate’s life, Meryl Streep has the some opportunities and same problems that Diane Keaton faced in Marvin’s Room: the opportunities to impress and move the viewer with some well executed scenes of graceful suffering but the problems of a limited script that sees graceful suffering as the only characteristic for Kate and doesn’t give her anything else to do besides that. Also like Diane Keaton, Meryl Streep is helped by the sentimentality and heartbreak of the movie which makes a rather standard performance seem more special because of a likeable character’s tragic fate. But Meryl Streep surely took all the opportunities of her character and used the showy elements of the part to display her undeniable talent: the scene when she shows her hidden anger when books are discussed and it becomes obvious how underappreciated Kate feels and her furious and later heartbreaking breakdown in her wheelchair are certainly very memorable moments. But it’s the scene when Kate finally confronts her daughter and tells her to appreciate the positive aspects of life, to love the things you have instead of wanting things you can’t have that leaves the greatest impact. Meryl Streep is wonderful in showing the confusion and at the same time determination in Kate who wants to be heard and finally talk about herself but finds out that she actually doesn’t have that much to say.

It’s a memorable and moving performance that unfortunately doesn’t give Meryl Streep more chances to create her character apart from the guidelines of the average script. She never gets to show how her illness and the thought of death really affect her. One True Thing spends more time letting people talk about Kate than letting Kate talk for herself. But Meryl Streep’s qualities as an actress surely add to the impact of the movie and for this she gets

5/31/2010

Best Actress 1998: Fernanda Montenegro in "Central do Brasil"

Fernanda Montenegro belongs in the little category of actors who received Oscar nominations for non-English speaking roles. In the Brazilian movie Central do Brasil, she played Dora, a delusional and bitter woman who earns money by writing letters for illiterate people at the central station in Rio de Janeiro.

Fernanda Montenegro gives the kind of “rough woman with a heart of gold” performance that is so easy to admire when done right. And she certainly does it right. Fernanda Montenegro has a very distinctive, unique face that is perfectly able to communicate anger, frustration and bitterness without becoming too appalling and maybe distance the character from the viewer. Instead, she is able to combine almost grandmother-like qualities with a strong and unfriendly exterior. The biggest success of her performance is the fact that Fernanda Montenegro shows that at the beginning of the movie Dora does not possess any real loving or kind traces in her character as her hard life has turned her into the woman she is today – a typical woman living in a big city full of isolation and loneliness. She has contact to a friend, she can be happy and lively with her but the moment she enters the train to work, she distances herself from everybody and becomes part of the moving masses in the big cities that don’t interact, stay away from each other and don’t show any inner feelings. It’s the meeting with the little boy Josué for whom she has to take care that changes her character but Fernanda Montenegro demonstrates in her performances that the love and kindness in Dora isn’t something that suddenly comes out of nowhere but rather has always been in her but has been repressed all these years because she never needed these characteristics to survive in the city. She probably even forgot that she ever had them but during the run of the movie, they are slowly coming back.

In playing this process in Dora, Fernanda Montenegro never tries to manipulate the audience but makes her character’s actions and intentions constantly believable and is always in control of what she wants Dora to communicate to the audience without playing ‘for the audience’.

Fernanda Montenegro also gets some bonus points for sharing the screen with Josué, a little kid who lost his mother and with whom Dora starts a road trip to find his father, and always constantly redefines the relationship between them without ever losing the balance between them. Dora only starts to take care of Josué after she sold him to some criminals and got him back at the last moment; this already shows the heartlessness and emotionally coldness of Dora but her conscience finally brings her to do the right thing. Josué is not a precious little boy but rather very demanding and exhausting which makes the pairing of the tow characters incredibly interesting to watch. There is a constant shift in how Dora sees Josué – first, it is pity that makes her take him home after his mother has been hit by a bus and he lives alone at the central station but there is no deep feeling for him that would make her help him more. Later, it seems to be a sort of responsibility for him, an urge to protect him until she finally shows how much this boy has grown to her at the end. Fernanda Montenegro never overplays her emotions and the change in her character but plays it all very subtly and uses her expressive eyes and face to hint at a greater truth behind it.

Fernanda Montenegro plays the situations of her life in a very matter-of-fact way and so tells much more about Dora and her background than the script ever suggests. The way she first rejects Josué even though he just lost his mother and is alone shows how much she has alienated herself from people. But even though this is not a story about the loneliness of elderly people as Dora knows precisely what she wants and also has friends of her own. But she doesn’t want to have too much contact to that little boy since he is constantly asking about the letter that Dora wrote for him and his mother and Dora is afraid that her secret may be revealed: the fact that she never sends the letters she writes. She keeps them at home and sometimes even destroys them and mostly decides that it would be better for the people if the letters are not sent. Fernanda Montenegro shows in her early scenes that she mostly despises her customers and looks down on them – it seems that from her point of view, she has the right to decide what’s best for them or she simply doesn’t send the letters because she dislikes the people who made her wrote them. Maybe it’s the hate for her life that makes her act this way. Also the matter-of-fact way in which Dora steals from a little shop right after she got angry at Josué for stealing there himself tells about her character and Fernanda Montenegro never shows any sign in Dora that she recognizes her own hypocrisy – for her, stealing is probably a part of life but it’s still bad so she has to be angry at Josué for doing it.

It’s also interesting to watch how Dora tries to get involved with a religious truck driver. Fernanda Montenegro tries to soften Dora, make her seem more appealing but she already seems to know that it’s no use. So when the man drives away from her, it doesn’t seem like such a big surprise even though Fernanda Montenegro shows that Dora really had hope and dreams regarding this man.

Her best and most moving moments come towards the end of the movie when she unites Josué with his two brothers and later, when she gets on the bus and starts to write a letter to him. Fernanda Montenegro wonderfully displays the sadness and joy that both overcome Dora at this moment. The sadness for leaving Josué behind but also the joy for having experienced this trip that showed her new sides of her own character to herself. It seems as if this trip had brought back feelings and emotions that Dora had forgotten about a long time ago but now the sheer sensation that there is more inside of her than she imagined shows that Dora has developed herself. It’s doubtful if the life in the city to which she returns will allow her to keep her new spirits but it’s a joy to watch her express them in the subtle way that Fernanda Montenegro does in the last moments of Central do Brasil.

For her impressive and captivating performance that beautifully carries the movie’s story and message she gets

5/26/2010

Best Actress 1998: Gwyneth Paltrow in "Shakespeare in Love"

In the recent years of the Academy Awards, women have usually won Oscars for playing suffering women – it doesn’t matter if they suffer from disease, from society or other things as long as they get some breakdowns and show a lot of tears. And it surely doesn’t hurt if these women are unattractive (but of course only in the movie!). But obviously there are always some exceptions to these rules. One of those is Gwyneth Paltrow’s win for the romantic comedy Shakespeare in Love in which she shows that an actress can be a radiant beauty, full of passion and love for 2 hours and still give a remarkable performance.

Gwyneth Paltrow played Viola de Lesseps, a young woman who loves poetry and the theatre and wants nothing more than being an actress on the stage. But since it is not allowed for women to appear on the stage during the reign of Queen Elizabeth I, she has to disguise herself as a man to appear in William Shakespeare’s newest play, ‘Romeo and Ethel, the Pirate’s Daughter’.

Shakespeare in Love is a little miracle of a movie, a hopelessly romantic and funny tale of the famous bard at the beginning of his career, suffering from a writer’s block. This story is brought to life by a wonderful cast down to the smallest parts but it’s Joseph Fiennes as Shakespeare and Gwyneth Paltrow as his muse and lover Viola who give the movie its heart and soul.

Gwyneth plays Viola with an irresistible mix of breathless inexperience and decided maturity. She shows that Viola has been dreaming of the stage and a different life for a long time. She possesses an inner fire in her character, a longing for the theatre. When she is shown in the audience, mouthing the words spoken on the stage with such a passionate look on her face, the viewers immediately know everything about this character. She finally decides to pose as a man but when her plans become reality, she shows a nervousness, a stage-fright, that explains that all this is very new but also very exciting for her. And even though Viola had only dreamed of poetry up to that moment, something different also enters her life when she meets William Shakespeare: love. It’s a romance that is so wonderful because it shows a love that develops. At the beginning, Gwyneth plays Viola as exited and stimulated, maybe even a little intimidated when she meets the man who writes her favourite poetry and she makes it never clear if this is really love or maybe just a naïve groupie who mistakes her admiration for love. But the passion between them soon turns into a truly magic but also tragic love that is unable to defy the conventions of their time.

Gwyneth Paltrow is very confident in her own beauty and charm and doesn’t waste any time to draw attention to it. Instead, she focuses on that inner fire in her character, her desires, her passion and mixes it with a childlike innocence thanks to her virginal beauty that shines during her whole performance. Seldom has an actress ever been so radiant and full of light like Gwyneth Paltrow in Shakespeare in Love. It’s a typical star performance that rests on the actress’s own personality but Gwyneth Paltrow is smart enough to see the part’s depth and possibilities and how her character is the beginning and the end of the movie. She never tries to outact her other cast members but instead lets Joseph Fiennes, with whom she shares a wonderful chemistry, as the title character take centre stage but she also knows that Viola is the dominating force of the story – she ends Shakespeare’s writer’s block, she becomes his muse and his inspiration and when she leaves, she has changed him forever. But in the role of this muse, she is not passive – it’s not only her beauty that enchants Shakespeare but also her inner fire that Gwyneth Paltrow so wonderfully displays in Viola. She and Will share not only a love for each other, but also for the world of the players, the theatre. The love between them enables him to write and her to act. Viola’s desire to fulfil her dreams, her unconventional behaviour are just as memorable as her unique beauty.

Gwyneth shows that Viola is the more down-to-earth-character in the relationship. She wants to live in a world of poetry and love but she also knows her duties and that she can’t escape them. There is a certain sadness that always seems to exist beneath her glorious smile. Acting on the stage is not just a diversion for Viola, it’s her way of being free, of entering a world that she will never know. On the stage, she can escape these duties and her personal life. With Will Shakespeare and his plays, she finds something that is really meaningful to her but she also knows that like any dream, it cannot last. Her love for him may be never-ending, but she knows that her relationship to him isn’t.

Gwyneth Paltrow has wonderful control over her face and knows how to use a smile or a tear effectively in her close-ups. She has to create a character who symbolises passion and love, hope and dreams, honesty, innocence and purity, a woman who could believable inspire William Shakespeare to write his greatest works – and she succeeds with a very subtle and beaming performance that may not be a true tour-de-force but which is still a tricky and demanding work that makes all these tasks look easy. It is also remarkable how easy she is handling Shakespeare’s words. In her first and last performance onstage, her Juliet is a wonderful combination of both a woman losing her love and a woman pretending to be a woman losing her love. Knowing that her happiness cannot last makes her appearance as Juliet so moving. And the goodbye scene at the end is truly unforgettable. In these final scenes, it becomes obvious that in some ways, Viola is only a plot-device in this story – she has to inspire Shakespeare and now that she has done that, she can leave again. But Gwyneth Paltrow never allowed her character to be reduced but always kept turning her into a full-flesh human being.

As mentioned before, it’s no tour-de-force but Gwyneth Paltrow so completely makes this beaming and shining character her own that it is impossible to imagine anyone else in this part. In creating a character as romantic and charming as the movie she stars in, Gwyneth makes an unforgettable impression and creates a wonderfully passionate heroine. For this, she gets

5/18/2010

Best Actress 1998


The next year will be 1998 and the nominees were

Cate Blanchett in Elizabeth

Fernanda Montenegro in Central do Brasil

Gwyneth Paltrow in Shakespeare in Love

Meryl Streep in One True Thing

Emily Watson in Hilary and Jackie