Nicole Kidman: Before I Go to Sleep (spoilers)

Last weekend, I finished my first novel (Before I Go to Sleep) in probably (gulp) years (?).  Anyway, I'm using the term "finished' rather liberally.  I didn't actually read the whole thing word for word (or sentence for sentence, for that matter).  I gave each page a chance, but, after a while, took what information I needed and moved on.  That isn't to say it wasn't a good read or you wouldn't enjoy; I just didn't have the patience for it.  Or, perhaps (hey) I need to ease myself back into reading.  Anyhow, there's a "big reveal" I knew was coming, and the idea of discovering what the secret was became more of my focus than actually soaking in S.J. Watson's prose.  Afterwards, I checked the Amazon reviews and, though the majority of the critiques were glowing, I did find at least one other person who found many portions of the book to be repetitive, as did I.  (I also noted that the book jacket sports accolades written only by authors.)

The whole impetus for reading Sleep was Nicole Kidman.  She's currently filming the movie version with Colin Firth and Mark Strong.  Rowan Joffe (son of Roland) is directing his own adaptation as a followup to his feature debut Brighton Rock, a poorly received dramatic thriller starring Andrea Riseborough, Helen Mirren, John Hurt, and Sam Riley.  Joffe is working with a decent pool of talent in front of and behind camera, so, on paper, there's reason to think this may end up to be good (it should have no problem surpassing Joel Schumacher's recent Kidman-vehicle Trespass in quality).  It'll be interesting to see how it all plays out, though, regardless.  Sleep concerns Christine Lucas, a wife who suffers from an incredibly rare case of amnesia, where each day she wakes to a clean-slate and she can remember virtually nothing of the last twenty years of her life.  [There are no major spoilers here, but I do share a bit about how the story moves along.]  When we first meet her, she rises from bed to discover a man who is a stranger to her, until he finally convinces her he is her husband.  The comparisons to Memento and 50 First Dates will be endless.  Strictly a mystery thriller, Lucas must slowly piece together her life with the help of an ambitious and invested young doctor.  The mid portion of the novel is somewhat epistolary in that we have Lucas begin journaling each subsequent day in order to retain whatever memory she can (which she also utilizes to remind herself of what she already knows with each new day).

via Just Jared

A bit of artistic license must be given to the author, as these "recollections" and the logistics behind Sleep, become absurdly long, busy, and detailed, complete with extended quoted conversations.  Basically, they defy the ability to recall, even for a person so desperate to remember.  While this was forgivable, more trying was the repetition of not necessarily events, but Lucas' feelings and conjectures about the people around her.  Those around her must earn her trust (with good reason).  Some of the mental motions Lucas goes through are shrewd and believable, but become quite taxing after a while.  I actually was pretty devoted the first one hundred or so pages, but had to put the book down out of boredom.  When I finally returned to it with the intent of completion, I had to rifle through and adopt a faux-"Evelyn Wood" method of reading (or what I imagine it might be, but actually isn't).  And, while I wish I could have enjoyed the novel more, this expedited approach was the only way I was ever going to finish.  Was the climax satisfying?  Not really.  It was clever, I suppose, but plagued with implausibilities, and didn't come together in a way that was exciting and jaw-dropping.   I was pretty disappointed.  There are bits of information the author drops to keep us interested as we make our way to Lucas' redemption, but they're sparse and difficult to make an emotional connection.  Hopefully, Joffe will bring something to the film's style that will make the journey intoxicating and edgy like its progenitor Memento, as well as encourage more investment in the characters.  But, this will be a challenge for a story centered around a protagonist who doesn't even know the first things about herself.

What I found most striking, however (and this is in the context of the lead actress), was that Lucas is a 47-year-old woman who has basically lost the last two decades of her life and has a scene mourning the loss of her youth.  Kidman is an enigmatic actress who is obviously talented and towers above most of her peers.  She chooses complex roles and tends to work with an assortment of intriguing directors.  What makes her persona both frustrating and even more confounding, however, is her choice to indulge in plastic surgery in her personal life to the point where it becomes distracting (and unnerving in that she is in such denial about the extent in which she partakes in) in her professional work.  Aging, as with most, is a huge issue for her, being constantly in the spotlight and striving to remain relevant in her chosen industry.  However, she has basically gone on record recently acknowledging that her leading lady days are over and she now considers herself a "character" actress.  Interesting admission that may be opening up a new chapter of her life.  She has put Grace of Monaco to bed (and criticism of the mid-40s actress portraying Grace Kelly in her early 30s will surely resurface come Oscar time in early January when the film begins its wide expansion) and is now, with her Christine Lucas, playing a character, who, at least in the novel version, is a woman who must literally confront the reality of her age in a mirror when she was convinced she was two decades younger than she actually was  (this could also be the first character Kidman has played in the last ten years that is technically older than her--though only by two years).  I imagine it won't be the most involving element of the production, but perhaps it will solidify a turning point in her career where she embraces growing old gracefully.  Who knows.  They say once you start messing with your face, you can't put that genie back in the bottle (and, as I'm willing to guess, that particular wish-granter has been freely milling about for over a good ten years) ...

Sleep is scheduled to open probably sometime in the first quarter of 2014.  If it indeed turns out to be a winner and her Grace Oscar campaign takes flight, we'll probably be seeing it sooner rather than later.

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Best Actress 2013: Nicole Kidman, Grace of Monaco

Now that Deadline reports TWC is finalizing details on a distribution deal with Grace of Monaco, it appears that Nicole Kidman will be throwing down for lead this year instead of next.  Harvey Weinstein may be funding the campaigns for what might be the two frontrunners for Best Actress.  My initial hunch was that it would be another year before Grace of Monaco hit.  Filming wrapped not too long ago.  And it was not unheard of for a movie to prepare for such a lengthy post-production period.  In fact, Nicole Kidman's The Hours wrapped early Spring 2001 and didn't hit theaters until over 1 1/2 years later.  Director Olivier Dahan finished La vie en rose about this time of year and then debuted his film a year later in Berlin, with a Spring opening that maintained buzz for the rest of its release year.  And, I figured Kidman wouldn't go against her Hours costar Meryl Streep, as well as her bestie Naomi Watts--who is also playing a princess--in a year top-heavy with Best Actress biographies.  She's more fearless that we anticipate.  Still, even based on a real-life figure, was Grace Kelly such a compelling figure off stage?  On screen, she was a movie star with a special quality that induced gawking.  But, the perceived lack of the extreme drama Oscar loves to lap up instills little faith that the wait will be worth it for Kidman.  And, with lensing finished, will she quit the Botox now that it's no longer necessary for her to look 32 years of age in the context of her artistry?  And, how much mileage will her detractors get out of making a big deal of the gap?  And, how shrewd were the timing of the distribution announcement and first official pictures?

Check out more Best Actress 2013 contenders

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Best Supporting Actress 2013: Nicole Kidman, The Railway Man

The screenplay comes from Frank Cottrell Boyce and Andy Paterson (the team behind Hilary and Jackie) who adapted Eric Lomax's autobiographical novel about a World War II POW (played partly by Colin Firth), who must make peace with his past.  Nicole Kidman plays the wife of the older version of his character.  The part could be lead or supporting, though I'd wager the latter (I haven't read the book).  Rachel Weisz was originally cast, but when scheduling conflicts prevented her from taking the role, Firth personally asked Kidman to replace her.  The cast includes Stellan Skarsgard.  The crew includes composer David Hirschfelder (Elizabeth, Shine), as well as a host of others who worked on director Jonathan Teplitzky's Burning Man.  Filmed last year in London, Scotland, and Australia, on a budget of $26M, the movie will most definitely release sometime this year.  Does brown hair tend to play down Kidman's looks?  (Think the Diane Arbus film.)  It also seems to distract from her facial enhancements.  Or is it me?

Check out more Best Actress 2013 contenders

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Golden Globe Rundown: Best Supporting Actress (or, oh, God, her again)

Hathaway teases us with
physically assaulting herself

You have to hand it to Sally Field.  She is going to have to eat humble pie every single damn time Anne Hathaway walks up on the stage to announce to the world that the dream she dreamt is actually happening (again and again and ...).  And, to add insult to injury, the cameras are going to be on Field even more whenever Hathaway name-drops her as her inspiration.  Keep your chin up Sally, you have less than six weeks to endure playing second banana at this dog-and-pony show.  The win was fighting for and holding onto the role, no?  (Click here and watch the video for a refresher; sorry I don't have the exact mark, but the whole hour is worth it.)  If they gave out awards for tenacity and bucking the system, it would be Field up there on that stage, never mind that she turned in the best supporting turn (of any gender) this year (and I didn't think Lincoln was all that, either).  But, we know awards aren't about "the best," hardly ever.  And, frankly, I kind of like that Anne will be an Oscar winner (at least, she'll shut up for a while).  Because, you know, the bigger they are ...

3rd: Helen Hunt in Dolce & Gabbana

Anyway, so now that the cinematic Golden Globe actresses have been chosen, let’s run them down and start with the Supporting group.  Hathaway, Field, and Helen Hunt have been leading the pack, with Hathaway as the obvious frontrunner, before she was even the frontrunner.  Field and Hunt are enjoying "movie comebacks" of sorts and their first Oscar nomination since their last Oscar win.  Hunt, who accrued a slate of detractors back when she took the gold for 1997, made a graceful return with The Sessions.  Field, who made "that" speech during her second win in 1984, almost lost her current role when there was a change in leading men.  She was ten years Daniel Day-Lewis' senior, where Abraham Lincoln trumped his wife by a decade. I was skeptical, but, now, it's like, they LOOK like a couple.  Like, I could now buy Field and Day-Lewis as a couple in real life.  Funny that.  Anyway, Amy Adams had an incredibly amount of good-will when The Master first hit during the Fall.  Some fallibly thought she had a chance to beat Hathaway.  Towards the end, she barely hung on to grab her fourth supporting nomination in seven years, her third in the last four.  It's obvious that the AMPAS nomination-love her right now.  But, you know, they once loved Julianne Moore in a nomination-kind-of-way too, remember.  And Glenn Close.  And Sigourney Weaver.  What's the expiration date with Adams?  And where is that Janis Joplin biopic?  This business can be so wonderful, yet frustrating and cruel.  They that giveth, taketh away.  Anyhow, Adams is about to break in a commercial way like she never has before with The Man of Steel as Louis Lane this Summer.  Will the movie be a stepping stone or is it an empty reward?  We'll soon find out.

Best in Show:
Nicole Kidman in
Alexander McQueen
with some great detailing

The fifth nominee, Nicole Kidman, was really a "never-ran."  Armed with a Golden Globe and SAG nomination, some prognosticators actually thought she had a chance with The Academy.  A) She peed on Zac Efron.  (And every asshole on the internet spoiled it for everyone months before the film even released.  So, what am I doing, returning the favor by repeating it?)  Yes, Oscar has a problem with this.  And, frankly, Kidman is not Adams.  They will give her an Oscar, but they will not nominate her for just anything.  If they would, she would have over double the three nominations she has presently.  Missing was her fellow countrywoman Jacki Weaver, who, in a weakish performance in a Best Picture nominee pimped by Harvey Weinstein, apparently, got trumped by Kidman's celebrity with the HFPA.

2nd: Sally Field in Alberta Ferretti

Megan Fox and Jonah Hill tried to provide a comic bit and failed miserably while they presented the nominees and winner.  You'd thnk the Apatow "alum" would arrive with better script.  When Hill tried to brush Fox off as part of their “number,” with a dismissive “babe,” it was an ew moment.  Gross.  

So, for our winner, we had predictably Ms. Hathaway, the favorite daughter of this year’s race.  It’s no surprise she took home the Globe, which she intends to use as a blunt device to self-mutilate herself with whenever she has doubts about her talent.  Hopefully, often.  With her speech, as well as Lena Dunham’s, it was Tina Fey and Amy Poehler who got us through middle school their speeches and the ceremony.  Sacha Baron Cohen also provided an acerbic edge during his brief, but efficiently executed stint.  But, if it wasn’t for those naturally comedic talents who don’t take these award shows (or themselves) very seriously (to our delight), this particular event would have turned into a group therapy session. Jennifer Lawrence and Adele, the former of which is younger than Hathaway and Dunham and the latter who is the same age as Dunham, both gave down-to-earth speeches and forewent a neon sign spelling out 'needy' hanging above their head, unlike the aforementioned less secure. 

Before going up, Hathaway kissed her husband, and hugged her director and leading man.  She started off by hitting a really flat note by referencing a signature Tiny Feyism (“blurg”) and then played the disbelief card while giving a shout out to her Oscar clip (no, Anne, you are not dreaming anymore; you dreamed a dream and it came true!  Wake up.).  She thanked the HFPA, acknowledged all the great talent in the room, and affirmed that she was going to start believing that she finally earned her place amongst them.  How telling, no?  Did she not just say to Spielberg, yes, I deserve to be directed by you in Robopocalypse?  And, Daniel Day-Lewis should be my leading man?  Would she have still said it if Meryl Streep was in the room, not home sick with The Flu?  She rattled off the list of her fellow nominees and then singled out her soul mother Sally Field. 

Now, she did this for a couple of reasons:

1) Out of her fellow nominees, Field, by far, has had the longest career and more Oscars than all of them. And, yes, Hathaway is partly in genuinely awe of the woman.  She's a legend.  Would she have done any differently if Maggie Smith and/or Judi Dench were in her category?  

2) Once upon a time, the former Gidget and Flying Nun was not taken very seriously as an actress until she released multiple-personality Sybil on television (for which she won an Emmy) and then Norma Rae three years later (and won Oscar).  She then infamously went on to win a second Oscar (in an albeit weak year) crying out during her speech, “You like me, you really like me!”  Those words would become a source of derision, haunting her for a while, and Field never came close to Oscar again until arguably ten years later, finally nabbing a slot three decades later this year (coincidence?).  So, Field had self-esteem issues of her own, but, ultimately, always maintained a solid enough fan base and respect, because, let’s face it, she’s talented.  But that she should have been ReOscared is a source of debate.  Hathaway seems to have unconsciously latched onto a similar desperate end of the validation spectrum.   (Though, I can't imagine Field really cares as much about winning now.)  The Golden Globes now have hit the "like" button on Hathaway's Facebook page.  How many times will Oscar?  And how insufferable will the experience be?  

4th: Adams in Marchesa;
I don't hate it

3) Though Hathaway won Oscar when she landed the Fantine audition, if she weren’t in play and the movie never went forward in 2012, Field would likely be the odds-on favorite.  She IS her competition.  And, what a shrewd move to continually acknowledge the actress at every opportunity.  She did it during the Hollywood Reporter Actress Roundtable (Hathaway declared that she wrote an espionage drama some while back and imagined Field as the protagonist), and she did it again in the first major precursor this awards season.  Keep your friends close and your enemies closer, right? 

4) Sally is old and had her time in the sun!  "I’m young and unrecognized (but, humbled by this attention), but, let’s not forget, I’m no spring chicken.  I gave up Princess of Genovia’s crown nearly a decade ago.  It's MY TURN!"

Last & Least: Why didn't she just
wear a Chanel pantsuit?

But, what about the three roles Anne chose to single Field out?  Norma Rae, check.  Of course, that’s at the top of the list.  Mama Gump?  Well, Anne Hathaway was thirteen when Forrest Gump came out and that was the film that just about everyone in this country saw when it hit (I hated it at the time, but have grown to mildly "like" it in an ironic kind of way).  She got a few accolades for it.  But, top three?  For Anne (and maybe the rest of the country), I guess so.  Even I have to look up the character’s name for Field's second Oscar Places in the Heart (Edna Spalding).  And, Sybilwas way before Anne’s time (and TV).  Field was brilliant as Celeste Talbert in Soapdish, but that was a comedy, the genre Hathaway is specifically trying to avoid.  But, she chooses Mama Gump over M’Lynn Eatenton?  Okay, Steel Magnolias is greatness, but when you’re making a speech about wanting to be taken seriously, I guess you have to leave it out.  Understood.  She comes full circle with Mary Todd Lincoln.  And mentioning her work on Brothers & Sisters would have been blasphemy, because, gasp, as an adult actress, Hathaway does NOT do TV (not right now, anyway; talk to her after the roles dry up in a decade).  Even Julia Roberts, another progenitor, is going to HBO.  Every one of the nominees, including Field who blows her a kiss, appears to be generally touched (especially Adams and Hunt). 

She goes on to thank her mother (who, remember, played Fantine herself when Anne was a wee lass!), the creators of the show (no names!), the studios (names!), cast, crew, Hugh Jackman, director Tom Hooper (whom she specifies has a soft side, popular to contrary belief), family, husband (who gives her “the best string of yesterdays she has ever had”), and ends her 2:07 speech thanking the HFPA yet again. 

Fashion-wise, it’s actually Hathaway who faired the worse.  She looked like she took the band aid she wrapped her bald head around on her wedding day and pulled it down to her torso.  Not a fan.  Kidman was smashing.  Not crazy about her face, but that's something we have to just accept now, right?  The dye has been cast, right?  As long as she manages that trainwreck, we sit back and say little now, because there is nothing left to say, right?  All we can do is remember to point out the natural beauty of her similarly-aged peers and countrywomen Naomi Watts and Cate Blanchett, right?  Field looked amazing.  Hunt was okay.  But, I was kind of over the fleshy color Adams was parading around like every other woman that night.  

Stay tuned for my rundown on the Comedy and Drama categories for leading movie actress.  

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Best Actress 2002: By a Nose

The Oscar year following 2001 allowed for two actress to return for a consecutive nod after being first-timers: Nicole Kidman and Renée Zellweger.  Even though it was Julianne Moore for Far From Heaven who was almost making a clean sweep of nearly every critical award, it would be Kidman and Zellweger who would snag the big precursors.  Their duel for the award would usurp the expectations of those who hoped for the multiple-nominated Moore to finally have her talents validated by her industry.  The race was considered so close that before presenter Denzel Washington read Kidman's name, he would quip, "by a nose," in reference to her makeup transformation in The Hours.

Her schnoz didn't bother me so much, as it did others.  There was something liberating about her Virginia Woolf in comparison to her previous (and subsequent) roles.  While I love and/or appreciate many of Kidman's film choices and performances, one can easily argue that there is a style and lilt to her voice that is prevalent and can be a neutralizing factor in her diversity of characters.  However, with her Woolf, she completely disappears into the role not only physically (her face comes remarkable close to resembling Woolf as much as Kidman could), but through her British accent, as well as emotionally and spiritually.  One can call her part total Oscar-bait, but she also rises to the occasion in a way that makes one consider that awards prospects never even dawned on her when she signed on.  She's simply mesmerizing.

However, another more major criticism was made of her screentime.  The Hours was that unfortunately rare major motion picture which concentrates on women.  Three, specifically, in three separate time periods.  Moore, who also had Heaven, played a depressed 1950s housewife and Streep was a modern day New Yorker planning a party for a former lover.  They both also had clocked in more minutes than Kidman in the final film.  Moore was already up for lead, yet the AMPAS agreed to allow her to be campaigned for supporting in The Hours.  Streep, who was up for supporting for Adaptation, would have to compete with Kidman (who had no other competitive films in release that year, unless you count Birthday Girl).  Yet, there were those who would insist Kidman was committing category fraud.  Nevermind that the film essentially revolves around her character writing a novel that would play thematically in the stories of the other two characters.  The only argument for Kidman being supporting is the amount of time you see.  Yet, her presence in the movie when she's not there is enough to challenge that notion, let alone she is one of three leads.  If any fraud was being committed, it was Moore as a supporting player in The Hours.  Yet, it was forgivable, also, because it allowed for her to be recognized twice.  But, it would have been the more honest route to take for her detractors.

Kidman's Cold Mountain costar Zellweger would go on to win the next year, despite being the star of the Best Picture (and top Oscar-getter) in 2002.  As far as the other nominees, Moore, unfortunately, has not been nominated since, ten years later.  If that year's race was an argument for anything in the context of 2012, at this point, it might extinguish any hopes fans may have of seeing dark horse Naomi Watts for The Impossible taking home the gold.  It seems like the iron was hot for Moore in 2002, and has cooled since.  She has worked steadily, but mostly in roles that aren't deserving of her abilities.  Even when she was up for a nomination just three years ago for A Single Man, The Academy ignored her; and, again, the next year for The Kids Are All Right in an albeit competitive year.  Diane Lane set the box-office on fire with her inhibited performance as a wife who is Unfaithful.  The weakest entry was easily Salma Hayek, who, at the very least, added some much needed ethnic diversity to the very Caucasian slate.  She was also the only nominee that year directed by a woman in Julie Taymor's passion biopic Frida.

For some, Hayek's mention was slightly dismaying as the year had been a spoil in riches for the category.  It's, by far, my favorite race pre-nomination, just because there were so many legitimate possibilities.  Maggie Gyllenhaal had a breakout role as Secretary and, along with Isabelle Huppert, both received a healthy share of critical recognition.  Perhaps, the unconventionally beautiful Gyllenhaal is suffering a fate similar to Jennifer Jason-Leigh, another actress who took on risky roles, but would continually be ignored by the the industry standard on the awards circuit.  Streep for The Hours, in one of her best performances (I prefer her non-accented roles) was left out, which was bizarre, considering she gets in for just about everything she's competitive in.  I imagine that Kidman may have been thankful, considering the vote-splitting possibilities, especially in such a razor-thin race.  Nia Vardalos had written and starred in the highest grossing independent film of all time: My Big Fat Greek Wedding.  Dare I say, there were enough candidates to fill out a field of ten nominees.  Additionally, in 2002, Reese Witherspoon, Sandra Bullock, and Jennifer Lopez all shepherded rom-coms over or near the $100M mark, as well as additional hit dramas.  Quite an unusual year indeed.  Can we have another one like it?

The Nominated:
Nicole Kidman, The Hours: GG Drama, Las Vegas, BAFTA, Berlin winner; SAG, Satellite, Chicago, Seattle (2nd), Vancouver, Phoenix, Dallas-Fort Worth, Southeastern (2nd), Broadcast nominee (Budget: $25M, Domestic: $41.7M, Worldwide: $108.9; 81% RT)

Renée Zellweger, Chicago: SAG, GG Comedy winner; Satellite, Chicago, Dallas-Fort Worth, Phoenix, BAFTA nominee ($45M, $170.7M, $306.8M; 87%)

Julianne Moore, Far From Heaven: LA, Chicago, Kansas City, DC, Seattle, San Diego, Phoenix, Vancouver, Toronto, Dallas-Fort Worth, Southeastern, Florida, Broadcast, NBR, Online, ISA, London, Venice winner; Central Ohio (2nd); SAG, GG Drama, Satellite, New York (2nd), Boston (2nd), Empire nominee ($13.5M, $15.9M, $29.0M, 89%)

Diane Lane, Unfaithful: Satellite, New York, National Society winner; SAG, GG Drama, Chicago, Phoenix, Vancouver, Broadcast, Online nominee ($50M, $52.8M, $119.1M; 49%)

Salma Hayek, Frida: SAG, GG Drama, Satellite, Chicago, Dallas-Fort Worth, Broadcast, BAFTA nominee ($12M, $25.9M, $56.3; 76%)

The Also Nominated/Winning (for supporting):
Catherine Zeta-Jones, Chicago: GG Comedy nominee ($45M, $170.7M, $306.8M; 87%); SAG supporting, Broadcast, Phoenix, Dallas-Fort Worth, BAFTA winner; Boston supporting (2nd), Online nominee

Meryl Streep, Adaptation: London lead nominee; Golden Globe supporting, Chicago, Florida, Southeastern winner; Broadcast, Phoenix, Dallas-Fort Worth, Vancouver, DC, Online, Satellite, BAFTA nominee ($19M, $22.5M, $32.8M; 91%)

Julianne Moore, The Hours: LA, Berlin lead winner (Budget: $25M, Domestic: $41.7M, Worldwide: $108.9; 81%); GG supporting, Chicago, Satellite, BAFTA nominee

The Also-Rans:
Maggie Gyllenhaal, Secretary: Boston, Central Ohio, Paris winner; GG Comedy, National Society (2nd), Satellite, DC (2nd), San Diego (2nd), Toronto (3rd), Phoenix, Vancouver, Online, ISA, Empire, Chlotrudis nominee ($4.1M, $9.3M; 75%)

Meryl Streep, The Hours: Berlin winner; GG Drama, Satellite, Vancouver, BAFTA nominee (Budget: $25M, Domestic: $41.7M, Worldwide: $108.9; 81%)

Isabelle Huppert, The Piano Teacher: Seattle, San Francisco, San Francisco, San Diego, Chlotrudis, Cannes winner; LA (2nd), New York (3rd), National Society (2nd), Toronto (2nd), Dallas-Fort Worth, Online, César nominee ($1M, $9.8M; 73%)

Nia Vardalos, My Big Fat Greek Wedding: GG Comedy, Satellite nominee ($5M, $241.4M, $368.7M; 76%)

The Rest of the Competition:
Jennifer Aniston, The Good Girl: Satellite, Online, ISA nominee ($8M, $14.0M, $16.9M, 81%)
Stockard Channing, The Business of Strangers: London winner; AFI nominee ($1M, $1.3M, 80%)
Emmanuelle Devos, Read My Lips: César, Newport winner; Chlotrudis nominee ($1.5M, $5.4M; 97%)
Jennifer Westfeldt, Kissing Jessica Stein: Satellite winner ($1M, $7.1M, $10.0M; 85%)
Catherine Keener, Lovely & Amazing: Satellite, Chlotrudis, ISA nominee ($4.2M, $4.7M; 86%)
Goldie Hawn, The Banger Sisters: GG Comedy nominee ($10M, $30.3M, $38.1M; 47%)

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Best Actress 2001: Made The AMPAS FEEL Good

That dress was sick

Halle Berry made history in 2001 as the first black actress to become Best Actress.  In the tradition of Jodie Foster and Hilary Swank before her, Berry got ugly for her role.  Not physically necessarily, because she totally looked hot, but more symbolically, as she unknowingly sleeps with a man who executed her husband (irony!) and treats her son like shit.  That year, the two Golden Globe winners were Sissy Spacek in the drama category for In the Bedroom, and Nicole Kidman for the Moulin Rouge!  They both were also starring in Best Picture nominees in films that didn't do too badly at the box-office.  Kidman was having a banner year professionally (perhaps an ominous sign for Jennifer Lawrence this year?).  Having a personal setback with just divorcing her husband Tom Cruise of a decade, she had headlined two international hits, which weren't exactly garden-variety movies.  Rouge! helped usher in a new wave of big Hollywood musicals and Kidman also carried the supernatural thriller The Others, coproduced by Cruise.  Spacek, already a winner from decades ago, gave a nuanced performance as mother and wife wrestling with loss and morality.  But, it would be Berry, armed with little more than a SAG win, who would come from behind and take home the little golden guy.  The AMPAS could now sleep soundly at night knowing they wouldn't have to nominate a black woman for another ten years in the leading category.  Besides, everyone in the category already had an Oscar or would eventually get one in the next couple of years, so it all worked out in the end.  I guess.  But, if it were me, I would take five lead black actress nominations over one win any day, as it would mean there were quality projects being produced in larger numbers for an underserved demographic.  But, that's just me.

The Nominated:
-Halle Berry, Monster's Ball: SAG, Phoenix, NBR, Berlin winner; GG Drama, Satellite, Chicago, Dallas-Fort Worth, Southeastern (2nd), AFI, London (3rd), BAFTA nominee (Budget: $4M, Domestic: $31.3M, Worldwide: $44.9M; 85% RT)

-Nicole Kidman, Moulin Rouge!: GG Comedy, Satellite, AFT, London winner; Dallas-Fort Worth (3rd), Broadcast (3rd) nominee ($50M, $57.4, $179.2M; 76% RT)

-Sissy Spacek, In the Bedroom: GG Drama, Satellite, LA, New York, Vancouver, Dallas-Fort Worth, Florida, Southeastern, Sundance, Broadcast, ISA, AFI winner; SAG, Chicago, National Society (2nd), Online, Chlotrudis, BAFTA nominee ($1.7M, $35.9M, $43.4M; 93% RT)

-Renée Zellweger, Bridget Jones's Diary: SAG, GG Comedy, Satellite, Dallas-Fort Worth, Broadcast (2nd), BAFTA, Empire nominee ($25M, $71.5M, $281.9M; 81% RT)

-Judi Dench, Iris: BAFTA winner; SAG, GG Drama, Satellite, Phoenix nominee ($5.6M, $10.6M; 79% RT)

The Also Nominated (for supporting):
-Jennifer Connelly, A Beautiful Mind: SAG (lead), Empire nominee; GG (supporting), Kansas City, Broadcast, Phoenix, Southeastern, Satellite, AFI, Online, BAFTA winner; SAG (supporting), Chicago, Dallas-Forth Worth (2nd), Las Vegas nominee ($58M, $170.7M, $313.5M; 78% RT)

The Also-Rans:
-Naomi Watts, Mulholland Dr.: Chicago, National Society, Online, Chlotrudis winner; LA (2nd), New York (2nd), Boston (2nd), AFI nominee; San Diego (supporting), Las Vegas winner ($7.2M, $20.1M; 82% RT)

-Tilda Swinton, The Deep End: Boston, Las Vegas winner; GG Drama, Satellite, New York (3rd), Chicago, Toronto (3rd), Phoenix, Dallas-Fort Worth, Online, Chlotrudis, ISA nominee ($3M, $8.8M, $10M; 82% RT)

-Thora Birch, Ghost World: Seattle, San Diego, Toronto winner; GG Comedy, Satellite, Chicago, Vancouver, Online nominee ($7M, $6.2M, $8.8M; 92% RT)

-Audrey Tautou, Amélie: Satellite, Phoenix, Vancouver, Empire, BAFTA nominee ($10M, $33.2M, $140.7M; 90% RT)

The Rest of the Competition:
-Nicole Kidman, The Others: Kansas City, London winner; GG Drama, Satellite, Phoenix, Online, Empire, BAFTA nominee ($17M, $96.5M, $210M; 84% RT)

-Reese Witherspoon, Legally Blonde: GG Comedy, Satellite nominee ($18M, $96.5M, $141.8M; 68% RT)

-Charlotte Rampling, Under the Sand: Chlotrudis, National Society (3rd) nominee ($1.5M, $6.5M; 94% RT)

-Cate Blanchett, Charlotte Gray: Satellite, San Diego (2nd), Las Vegas (2nd) ($0.7M; 32% RT)

-Maggie Cheung, In the Mood for Love: Chlotrudis nominee ($2.7M, $12.9M; 88% RT)

-Cate Blanchett, Bandits: Florida (supporting) winner; SAG (supporting) nominee; GG Comedy (lead), AFI, nominee ($75M, $41.6M, $67.6M; 65% RT)

-Stockard Channing, The Business of Strangers: London winner; AFI nominee ($1.M, $1.3M; 80% RT)

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Best Actress 1995: The Face of Love

In 1995, Meryl Streep made another strong case for Oscar by starring in the Clint Eastwood film based on a national bestseller and put on an Italian accent.  I love her quote about her opinion of the source material: "I was blind to the book's power."  The film was a financial success, but her turn as Francesca in The Bridges of Madison County just didn't top her Sophie.  Elisabeth Shue, who, up until that point, was known for her girlfriend roles (especially in The Karate Kid series), as well as leading Adventures in Babysitting, impressed just about everyone as prostitute Sera, who literally was a hooker with a heart of gold.  She didn't win, but was able to parlay her nomination into years of offers, even producing her own movie, Gracie, later down the line.  While Shue doesn't have the most range, she has a raw talent and I absolutely adore her (and had a huge crush on her younger brother Andrew who played Billy on Melrose Place).  Recent winner Emma Thompson was on her third lead acting nomination, but she would be celebrated more for adapting the screenplay that gave her one of those nominations: the only Best Picture nominee that year with a Best Actress nod, Sense & Sensibility.

Sharon Stone, having had the privilege of working with Martin Scorsese as prostitute Ginger who marries into the mob, as well as delusions of grandeur (culminating with Joe Pesci sex), got a makeup nomination for being overlooked for her devilish Catherine Trammell in Basic Instinct.  The HFPA would up the ante by handed her the Drama Golden Globe.  Now, when an actress wins the Drama Golden Globe, she goes on to get nominated for Oscar, as a general rule.  The majority of the time, she wins, if she doesn't get defeated by the Comedy/Musical winner (or Chief Marge Gunderson).  Stone lost the Oscar to another Drama nominee, Susan Sarandon, which has only happened once since (Halle Berry over Globe winner Sissy Spacek and Nicole Kidman), if you disregard Kate Winslet winning the Drama Globe for one movie and the Oscar for another.  (This phenomenon was only slightly more common in the 70s and 80s with this category; and, in the 60s, Globe wins were virtually the kiss of death for Oscar.)  But, what Stone didn't have was a backstory and good standing with The Academy; additionally, the character she portrayed wasn't very sympathetic.  Sarandon was on her fifth nomination (the last four of which were almost sequential) with over twenty-five years in the industry.  She played real-life nun Sister Prejean in a film based on a true story, directed by her then common law husband Tim Robbins.  The chances of her losing were pretty slim.

It's hard to say who was the last to actually get into the category as a nominee, but I would place my bets on Stone.  Casino, directed by awards magnet Scorsese, was one of his weaker films and hadn't collected any other awards or even nominations the entire awards season.  Waiting eagerly in the wings was Nicole Kidman in To Die For.  It was a breakout role for Ms. Tom Cruise, who had done a few supporting roles here and there after making a stunning debut in Australian thriller Dead Calm.  Marrying Cruise raised her profile, but it also set the bar higher for her to prove herself.  As the AMPAS demonstrated, they weren't going to welcome Kidman in unless they had to.  She would gradually gain the respect of talented directors and finally take her career to the next level in 2001, fresh from divorcing Cruise after a decade marriage.  Jennifer Jason Leigh was also in contention for a second year in a row, as it's not coincidence that her costar Mare Winningham received her first nomination.  The two played sisters, with the latter having the advantage of being the more likable character.

poll by twiigs.com

The Nominated:
-Susan Sarandon, Dead Man Walking: SAG, Kansas City, Palm Springs, Chlotrudis winner; GG Drama nominee ($39.4M; 93%)

-Elisabeth Shue, Leaving Las Vegas: LA, Chicago, Dallas-Fort Worth, National Society, ISA winner; SAG, GG Drama, BAFTA, Chlotrudis nominee ($32M, Fall release; 89%)

-Meryl Streep, The Bridges of Madison County: SAG, GG Drama, Chicago, National Society nominee ($24M / $71.5M / $182M, Summer release; 90%)

-Emma Thompson, Sense & Sensibility: Texas, NBR, BAFTA winner; SAG, GG Drama, Chlotrudis nominee ($43.2M / $134.6M; 98%)

-Sharon Stone, Casino: GG Drama winner; Chicago nominee ($42.5M / $116.1M; 80%)

The Also-Rans:
-Nicole Kidman, To Die For: GG Comedy, Boston, Broadcast, Seattle, Southeastern, London, Empire winner; BAFTA, Chlotrudis nominee ($21.3M, Fall release; 87%)

-Jennifer Jason Leigh, Georgia: New York winner; National Society, ISA nominee ($1.1M; 78%)

The Also Nominated (for supporting): 
-Joan Allen, Nixon: SAG (lead) nominee; LA, Boston (supporting), Chicago, Kansas City, Texas, National Society winner; New York (2nd), BAFTA (supporting) nominee ($44M / $13.7M; 75%)

The Rest of the Competition:
-Annette Bening, The American President: GG Comedy nominee ($60M / $107.9M; 90%)
-Rena Owen, Once Were Warriors: San Diego winner; Chicago nominee ($1.6M, Spring; 94%)
-Julianne Moore, Safe: ISA, Chlotrudis nominee ($0.5M, Summer; 57%)
-Toni Collette, Muriel's Wedding: GG Comedy nominee ($9M / $15.1M / $15.5M, Spring; 78%)
-Kathy Bates, Dolores Claiborne: Chicago, Chlotrudis nominee ($24.4M, Spring; 82%)
-Vanessa Redgrave, A Month by the Lake: GG Comedy nominee ($2.1M, Fall; 71%)
-Sandra Bullock, While You Were Sleeping: GG Comedy nominee ($17M / $81.1M / $182.1M, Spring;  86%)

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Re-Oscaring & Lead Actress Winners

Gunning for Another Oscar: Nicole Kidman & Meryl Streep

The post about ReOscaring got me thinking of who might be next as far as actresses go.  When it comes to the lead, the AMPAS are all about the icons (Bette Davis, Vivien Leigh, Katharine Hepburn, Jane Fonda, Jodie Foster, Meryl Streep) or are just completely random (Sally Field and Hilary Swank are both 2/2 having received no other nods for their work). They're either women who define their generation or just had luck and good timing on their side to go along with their talent.  Generally, the second Oscar, in most cases, is coupled with a film that did exceptionally well at the box-office, as well as snagged a BP nomination, among many others.  Who do I see possibly getting another lead Oscar in the next ten or so years?  From the current leading pool, I imagine Nicole Kidman won't rest until she scores a second win.  Her ambitions make it very clear.  And despite box-office poison running through her veins, she stands out amongst other actresses in her generation, having defined a very unique and respected path for herself.  I shudder to think that Julia Roberts might become a two-time Oscar winner, but she will go down as one of cinema's most commercially successful actresses and that distinction sets her apart (she shares this with Sandra Bullock, but one difference is that the Academy began paying attention Roberts early on).  I still can't figure out if she is going to campaign for lead or supporting next year in August: Osage County.  Years ago, she would clearly be Debra Winger to Meryl Streep's Shirley MacLaine, but strategic category fraud has changed the landscape.  Sadly, there hasn't been a film we can look to since 1991's Thelma & Louise as a precedent to how things have changed.  Perhaps, Chicago or The Hours are indicators, but, even then, from a narrative standpoint, the comparisons aren't similar enough for direct parallels.  I imagine that if she were to go supporting, she would be going for the win and would want a statue no matter what the designation.  But, my instinct tells me her ego wouldn't allow it.  Still, I imagine the details have already been worked out between her team and TWC.  Natalie Portman is young enough and with the right film could easily make her way back up to the podium, but possibly not for a few years.  Actresses like Charlize Theron and Kate Winslet are talented enough they could score more nominations.  This year's likely winner Jennifer Lawrence would easily land somewhere near the top of this list, considering how talented, down-to-earth, and young she is, but, for now, I'm sticking with those living and working actresses who had at least one lead Oscar under their belt.

Meryl Streep on the set of August: Osage County

Deanna Dunagan won the Tony for her portrayal of Violet Weston in August: Osage County, and now Meryl Streep is assuming the role.  And, right now, the movies are in love with Best Actress Tony wins.  While Jodie Foster didn't get an Oscar nod for taking on Marcia Gay Harden's mantle in God of Carnage, Kidman scored for Rabbit Hole and Streep for Doubt. (Could Good People be next?  I hope so.  I loved The Geffen Playhouse production.)  With TWC behind Streep, we're passed the conversation (already) of whether or not she will be nominated for 2013.  The question is: will she win?  Weston is a plum role and she is sure to hit it out of the park, because she has a history of doing so with everything she does.  Streep just took home her third Oscar (her second lead) for The Iron Lady, but Katharine Hepburn won four Oscars (all lead).  Streep is considered by many to be The Greatest Living/Working actress, as well as a benchmark of sorts, with a record number of nominations (17), which should remain untouchable for decades (and then some).  Having a career second-wind (and being one of the most bankable actors currently), the question is when will she win?  Hepburn won her second and third leads back-to-back in her 60s.  And, Streep is, well, in her 60s, and just won for 2011.  2012 is out, but could 2013 be her year?

Nicole Kidman on the set of Grace of Monaco

Nicole Kidman is smart and ambitious, and she's daring enough to try just about anything.  She's not the most relatable person, however, and has a seemingly cool, detached persona.  This may explain her lack of consistent box-office muscle, and/or the roles she chooses which keep her from huge opening weekends.  Maintaining a commercial viability helps keep an actress in the conversation for coveted roles, yet Kidman seems to do just fine on her own.  Since her one-two-three punch in the early 2000s with Moulin Rouge!, The Others, and The Hours, she made some professional missteps like The Stepford Wives and Bewitched remakes, which infamously designated her box-office anathema.  She couldn't even open The Invasion with Daniel Craig assisting, which was terrible, but in her suspense wheelhouse.  The Golden Compass was her one failed attempt at a franchise.  And the romance epic Australia was the final nail in the coffin of good-will she had left from earlier success.  Yet, she keeps plugging away, choosing a lot of smaller projects and sometimes risky, controversial roles.  None of them caught any major awards attention until she produced herself in Cynthia Nixon's Tony-winning role from Rabbit Hole. The film only made $2.2M, but her gangbusters performance rightfully led to her third Oscar nod, which the AMPAS make her work for.  She most recently collected an Emmy nod.  Just last month, her dirty and sexy role in The Paperboy only grossed $0.7M, but got people talking about her.  There has been a lot of chatter for the trailer that just hit for next year's Stoker, which marks Chan-wook Park's (Oldboy) English-language debut.  The Railway Man, starring recent sought-after Oscar winner Colin Firth, will follow shortly thereafter.  But, all eyes are on Grace of Monaco, where she will play Grace Kelly during a pivotal moment of her life post-Hollywood as a Princess.  The 45-year-old Kidman is controversially playing Kelly when she was in her early 30s.  Olivier Dahan is directing, who got Marion Cotillard her Oscar.  The cinematographer is Eric Gautier (The Motorcycle Diaries, Into the Wild, On the Road), but otherwise, the crew doesn't have a lot of awards attention behind it.  The $30M is supposed to wrap at the end of the year, but IMDb has it listed as a 2014 release.  While playing a real-person disproportionately gets an actor on Oscar's radar, this project doesn't strike me as baity as The Danish Girl, which seems to have fallen apart, after a revolving door of costars and directors.  On paper, not as surefire as it appears.  There is so much Try and Expectation in this awards bid, it almost almost seems like everything is riding on this one role, though.  It will be interesting to see it play out.

Natalie Portman has had an extremely healthy career.  And, while she can't necessarily open a movie (who can these days?), she didn't do too bad with that banal rom-com costarring Ashton Kutcher last year in the thick of her Oscar quest.  Additionally, Brothers and The Other Boleyn Girl didn't exactly bellyflop commercially.  She's benefited from timing and good judgment with attaching her star to the yucky, but profitable Star Wars franchise, as well as the Thor movies.  She's down-to-earth and well-educated.  She's quite the beauty and doesn't draw too much unnecessary attention to herself.  She was outstanding in films like Black Swan and Closer, and is barely in her 30s, prompting me to believe that she has plenty of time to make mistakes and find further success.  I wasn't totally behind her  win for Swan (I wanted to see Bening win), but, in retrospect, I get it.  And, besides, it was a great film.  Along with the latest Thor, two films from the suddenly prolific Terrence Malick, she may appear opposite Tom Hanks in Michel Hazanavicius' followup to The Artist in a film set in 1930s Germany.  Lynne Ramsay (We Need to Talk About Kevin) will direct her and Michael Fassbender in western Jane Got a Gun.

Marion Cotillard on the set of Lowlife
(retitled Nightingale)

Those are the three I've summarized who I think stand the best chance at an additional lead Oscar.  Of course, in situations like Sally Field, or, especially, Hilary Swank, Best Actress ReOscaring is, sometimes, attributable to annual circuit's randomness.  This year shows that an actress like Marion Cotillard, whom a lot of people still aren't familiar with even five years after her Oscar (in a non-competitive year) and starring in the latest Batman movie, can make her away back into the Oscar race in another French film.  Will she win for Rust and Bone?  Probably not.  But, if there was no Jennifer Lawrence, who has benefited from a non-competitive year, it might well have been hers.  So, essentially, with the right role and timing, there's a chance that any previous winner could sneak in and take the statue.  She has Nightingale coming out next year, as well as a film directed by French actor Guillaume Canet.

We know the AMPAS love British dames like Helen Mirren, Maggie Smith, and Emma Thompson, and perhaps it's likelier for them to win a supporting Oscar over a lead in their future.  Fellow Brit Kate Winslet still has youth on her side, however and the lead statue generally goes to the young.  Winslet seemed to have overextended herself to collect her award, so while nominations may be in her future, a win would be harder to imagine.  But, I suppose if she decided she wanted another one, she could put her mind to it and make it happen.  It should be mentioned that, at age 37, Winslet presently has six nominations total.  No working/living actress has met that number younger than Sissy Spacek, Jessica Lange or Meryl Streep, all born twenty-six years before her, and Winslet was the youngest to do it when she hit six (33).  Bette Davis is now the youngest to seven, whether or not you count Of Human Bondage (34 or 36).  Streep was 38 when she got her seventh.  It's hard to imagine Winslet not trying to at least get more nods.  She will be reteaming with her Hamlet Kenneth Branagh in another World War II-related film, based on a novel by Annie Barrows.

Charlize Theron doesn't seem to care as much, but she certainly is inserting herself into proven franchises to keep her name in the game.  She had a rocky go after Monster.  Aeon Flux was major disaster, but her smaller, baity North Country showed the AMPAS really like her.  She continued doing unassuming films and accepting supporting roles, like she did when she first started, then hitching her star to Will Smith's inexplicably bad, but profitable Hancock. It does seem mildly desperate of her to sign onto Alien and Mad Max films, but if that's what a girl has to do these days, then so be it.  Considering she can pull out a recent film/performance like Young Adult and audiences at least partly showed up for her evil queen in Snow White and the Hunstman, she's likely to continue at the speed she's going as the years continue.

Julie Christie and Diane Keaton have shown their longevity, as well as good-standing with the AMPAS for having gotten nominated infrequently, yet consistently.  After winning in the 60s, Christie has been nominated once in the 70s, 90s, and most recently coming close to winning for 2007.  After winning in the 70s for her iconic Annie Hall, Keaton has been nominated once in the 80s, 90s, and in 2003 having come the closest to giving Charlize Theron a run for her money in her breakout performance in Monster.  Keaton has a knack for tapping into box-office friendly films and the upcoming The Big Wedding and eventual And So It Goes look like they could tap into the Because I Said So audience, if not Father of the Bride.

Meryl Streep, Ewan McGregor, Julia Roberts on the set
of August: Osage County

With high profile roles in the upcoming August: Osage County, as well as the following year assuming the Tony-winning role in the film version of The Normal Heart, Julia Roberts will be on Oscar's radar again.  I've always been a fan of Roberts the movie star, but, as an actress, while she was great in films like Steel Magnolias, Pretty Woman, and Erin Brockovich, I feel like I should qualify that statement by saying she's great in playing herself.  Still, being one of the biggest, if not the top, female box-office draws since Julie Andrews in the 1960s, isn't lost on everyone and carries with it some value.  I do wonder what she has worked out with Harvey Weinstein regarding her Oscar campaign for August.  Will she compete as a lead against Meryl Streep, who she wouldn't stand a chance at winning against, ala Terms of Endearment, and enjoy the "nice to be nominated" distinction?  Or, will she take the Chicago route and go for a win in supporting?  If the film is anything like the play, she would have to commit category fraud in order to do so.  Considering that she has Heart the following year, I'm going to predict she goes lead.  Margo Martindale is a highly likely nominee for supporting and just may take it too.

Another actress, and box-office queen heir apparent to Roberts, who won in her late 20s/early 30s was Reese Witherspoon.  Being one of the few bankable actresses and America's Sweetheart, she doesn't have the luxury of ever flying under the radar.  I wouldn't ever rule out her winning another lead, but it seems it would take a more specific set of circumstances than say Winslet or Theron.  She's already learned to play instruments and sung for a role and she's not the best/most believable at accents, so I imagine something down and dirty, to play against her pearly white image would be in order.  She has a supporting role in the upcoming Mud.  Another film set in the South, Devil's Knot, is based on West Memphis Three murders which suggests her role may also be supporting.  I saw the original documentary Paradise Lost years ago when it first came out and I don't recall many females, let alone mothers, playing an integral role in the story.  Perhaps there is more to it.  My understanding is she plays the mothers of one of the victims, who may have died at the hands of her crazy husband.  Devil's Knot has enough producers to choke a horse, including two of the West Memphis Three.  Interestingly enough, their roles are played by higher-profile actors (on the IMDb surface anyway), than the third (Damien Echols).  Echols, however, produced the stand-alone Peter Jackson-backed documentary West of Memphis, which comes out at the end of this year after the conclusion of the separate three-part Paradise Lost series, which spanned 15 years, the third part of which got nominated for an Oscar for 2011.  Commercial friendly potential projects Wish List and Men Are From Mars, Women Are From Venus aside, Witherspoon may chase awards attention with Big Eyes about artist Margaret Keane, which Kate Hudson was once attached to.

It seemed like it was going to take a major event role like Gypsy to get Barbra Streisand to climb out of acting semi-retirement.  Who knew all it would require was Ben Stiller batting his eyelashes at her to play his mother in two awful, but guaranteed box-office hits with Fockers in the titles.  With The Guilt Trip costarring Seth Rogen opening next month, she hasn't had a turnover rate this fast since Yentl.  The AMPAS don't nominate her unless they have to, though.  She has starred in nineteen films in her entire career; roughly 21% of her roles involved playing Rozalin Focker or Fanny Brace, the latter of which got her tied for an Oscar, along with Hepburn decades ago (bitch was going to get one more after winning three; why couldn't she let Babs have this to herself?).  She would get nominated four more times, but only once for acting (the others were for producing and songwriting).  I would never rule Babs out, but it's pretty much Gypsy or never.

Both Jane Fonda and Jodie Foster are legendary two-time lead winners.  Only five actors (Hepburn, Streep, Ingrid Bergman, Jack Nicholson, Walter Brennan) have been able to reach beyond the two Oscar mark.  It wouldn't be unheard of.  Both actresses have worked less as they've gotten older, although Fonda has gotten hungry again and enjoying a later-life career renaissance.  But, she also has a lot of personal baggage that the General Public has not, nor will ever forget.  Jessica Lange also has two (one of each) and if she were ever to have the chance at a third, it seems it would be in the supporting category, however unlikely.

I already mentioned Helen Mirren, Maggie Smith, and Emma Thompson being likelier possible future supporting actress winners rather than lead, and they are either in the prime or second-prime of their careers.  While Smith may be looking at a supporting nod this year, Mirren is still in the running for lead if Hitchcock has anything to do with it.  Thompson is involved in the behind-the-scene Mary Poppins film, and may play a human rights attorney in The Secret Evidence.  Smith might still be a player for a nod with Quartet or The Best Exotic Marigold Hotel.

The list for potential supporting Oscars for the lead winners isn't a short one.  Ever since she finally won for Terms of Endearment, the AMPAS have been resistant to renominating Shirley MacLaine.  They may hit their breaking point with their obstinence soon, however, as it appears she is lining up all kinds of projects which could lead to major awards attention.  Her preproduction slate includes projects involving high-profile talent like Ben Stiller and Melissa McCarthy, as well as reunions with Jack Black and the role of Mother Goose!  The exposure will only help her, and semi-baity pairings with Christopher Walken and Christopher Plummer (Elsa & Fred with director Michael Radford) show a lot of promise on paper.

Kathy Bates is one of my favorite Oscar wins, partly because she's a non-traditional choice and it was for a villainous role in a movie audiences embraced (and she had actual competition unlike most years).  Since, she's been thrown a couple of supporting bones, consistently enough that she could pull out a supporting win somewhere down the line.  Currently, she enjoys splitting her time between TV and film, shrewdly choosing to work with female box-office draws.  She has also worked with Michelle Pfeiffer twice recently.  Sissy Spacek is a workhorse, especially in television, and had a lead nod in 2001.  Also a TV workhorse, Ellen Burstyn scored a lead nod and almost won in 2000, if it were not for the year-long red-carpet coronation ceremony for Julia Roberts, Oscar winner.  I imagine there are future nominations of some kind for Holly Hunter and Frances McDormand (who has a role in the upcoming Promised Land).  And Helen Hunt will likely be enjoying her second nod for The Sessions, along with possible two-time winner Sally Field, who I doubt ever has a shot at a lead statue, let alone supporting.  What would her speech be like?  "You don't just really like me, you love me"?  (Please note the embarrassing lines in both Field's second speech, as well as Swank's.  Geez, even they know they're not in like company.)

Julie Andrews has struggled with her singing voice due to a botched operation for years now.  She still does voice-over, but her last three films were Tooth Fairy starring The Rock, and The Princess Diaries movies from back when Anne Hathaway was still a girl.

Which bitch-ho decided that 
macrobiotic-slut GOOP 
could play ME?

With Exorcist II: The Heretic and Flowers in the Attic near the *TOP* of her resume, Louise Fletcher hasn't enjoyed the good fortune and timing of Kathy Bate's career.  We can safely say that music icon Cher will never be nominated for an Oscar ever again, since she stole it from Glenn Close for an albeit golden, charming performance (and there are worse things in the world) as a middle-aged Italian-American.  Also, there's that range thing that Cher doesn't have, nor interest and ambition in acting.  Another music-icon Liza Minnelli is lovable and crazy, I think we can all agree.  And that's how she will remain. And Faye Dunaway is just plain crazy.  She tumbled all the way from Chinatown to Louise Fletcher territory faster than you can say Mommie Dearest.  Recently, she has jumped into the field of directing.  And she has supposedly also halted her current production of a Maria Callas film after cameras began rolling to roam around film festivals for "inspiration."  WTF?  And, it seems Marlee Martin's feature career was over after she won at age 21 for Children of a Lesser God.  I imagine Kathleen Turner could have somehow used it to greater effect.

Hey, I can learn Spanish!

There are those one may say have gotten more than they deserve, namely an Oscar.  And one may say that list includes GOOP-founder Gwyneth Paltrow and Not-Without-My-Daughter (about an American escaping her homeland and baby-daddy for France) Halle Berry.  One might not say that.  Paltrow will shove her Spanish skills in our face as artist Dora Maar in a film that began lensing with Antonio Banderas as Pablo Picasso. Meanwhile, Berry night be showing off her acting skills off in thriller called The Hive and Sex and the City knockoff Shoe Addicts Anonymous.  But, what I'm really looking forward to is watching her blow out the candles before the blind boy celebrating his own birthday can in Movie 43.  One may also say two-too-many for Hilary Swank.  She began lensing her next film where she plays a woman dealing with Lou Gehrig's Disease.  Can she quit with the Oscar bait already?  It's unbecoming.  Whatever.  Screw her.  Acting is more than playing disabilities.  One might hope none of these actresses ever got nominated again.  And, there's a good chance they won't.  Some may also attribute such a label to Sandra Bullock.  For me, the box-office queen and overall good person stands apart from the aforementioned three.  She's lovable, sweet (or her publicist works overtime to create that perception the other actresses don't enjoy), and The Blind Side was a huge hit!  That being said, it's unlikely Bullock will ever got nominated again.  Yeah, Gravity is coming up.  Who knows.

Sophia Loren and Joanne Woodward may pop up here and there, but, for all intents and purposes, are in semi-retirement at the very least.  And, two-time winner Glenda Jackson, having long left acting for a life of politics, hasn't appeared in a feature in over two decades.  Olivia de Havilland and Joan Fontaine are estranged (!) sisters who are both approaching the centennial mark (!).  Will they make up already?  They're also both the oldest living Best Actress winners and haven't worked since the late 80s/early 90s.  And topping them all out in age is Luise Rainer, the two-time winner resides in London at age 102.  [Thank you to anonymous for the correction.]

Thanks for reading.  I hope you enjoyed this.  Stay tuned for a comparable article which details previous supporting actress winners.  

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Nicole Kidman: Filling Up Her Face Tank for New Role

My eyes needed a break from that horror show of a face that belongs to Nicole Kidman after checking today's blogs, so I googled for a recent picture of the similarly-aged Cate Blanchett and found this photo with her and her son at an awards show in Sydney.  So classy.  But, then, her interests as an actor include a heavy amount of her time devoted to theatre, so what do you expect?  Not to diminish Kidman's talents, because, as a film actress, she is also all about the craft.  But, then, there's that ambition of hers that undermines her physical state.  Where Blanchett gets her fill playing Hedda Gabler and Blanche DuBois on stage, Kidman gets her fill from botulism and lip injections so she can be immortalized as Grace Kelly on celluloid.  She is convinced there are parts out there below her age she *must* play before she moves on to more mature roles (which, I guess, will happen after Oscar #2?).  Her goals have distorted what she presents before us on the surface, however.  I will probably always love her acting and most movie choices, but her visage is fit for a straight-to-video slasher pic. She has looked this bad in the past, but I think it's now evident that she will never return to any kind of natural glory (why was I so late in giving myself this memo?). She's like a villain from a Miyazaki animated feature, with her face being the front of an aircraft that swoops down to gobble up little children screaming for their parents.  For more pictures (not of this non-existent Miyazaki masterpiece, but of Kidman at the Emmy's last night), click here and here, if you dare.  Who knows, maybe the soon-to-be-filmed Grace of Monaco will be one for the books.  Or perhaps it will be a train-wreck.  I'd put money on the former, of course, as I originally blogged.  But, I'm afraid I'm going to have to reneg slightly.  I am now awfully curious in a skeptical way as to how Grace herself will look onscreen through the skin of Kidman.  But, with the recent announcement of one of my favorites Parker Posey joining the cast, there's going to be plenty to look forward to, cautiously and otherwise.  The $30M production begins filming soon!

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