 |
| Daddy's Little Girl |
 |
| I traded in Brad Pitt for this |
More competitive that year was newbie Cate Blanchett for her iconic turn as Queen Elizabeth ($30M budget, $30.1M domestic, $82.2M worldwide), her third major feature in a relatively short period of time. She would lose, ironically enough, to Paltrow's Elizabethan role, whose costar Judi Dench played the same Queen (later on in life) in Shakespeare. Winning the Golden Globe Drama, Chicago, Las Vegas, Southeastern, Toronto, Broadcast, Online, Satellite, Chlotrudis, BAFTA, Blanchett would also be nominated by SAG, National Society, and Boston (as an actor, she would also develop a more devoted fan base than Paltrow). Blanchett has gone way beyond the promise she has shown, eventually winning an Oscar, as well as being nominated three more times. And, at age, 43, she shows no signs of slowing down; in fact, the demand for her abilities has only increased.
The Other Nominees
-Emily Watson, Hilary and Jackie (AMPAS, SAG, Golden Globe Drama, Chicago, Online, Satellite, Chlotrudis, BAFTA nominee), $4.9M. Fresh off a nod from two years previously, having wowed audiences with Breaking the Waves, she was again a formidable, but didn't quite fit into that Hollywood mold. I can't imagine she's smarting for losing twice, though, a win could have done wonders for her career.
-Meryl Streep, One True Thing (AMPAS, SAG, Golden Globe Drama, Satellite nominee), $23.3M. If there was ever any doubt that the AMPAS are careful about who they dole out nods to and let into "the club," this would be another example of cock-blocking a newbie, for a perennial nominee they love to just nominate for doing an accent, learning an instrument, or playing a disease.
The Near-Misses
-Jane Horrocks, Little Voice (SAG, Golden Globe Comedy, Boston, Chicago, Satellite, BAFTA nominee), $4.6M. Probably just missing out on an Oscar nod, she was probably too eclectic (and maybe even too British) for The Academy.
-Ally Sheedy, High Art (LA, National Society, Independent Spirit winner; Chicago, Chlotrudis nominee; Boston 2nd), $2.0M (Summer release). Probably a little less pure and virginal than Paltrow, and a little higher up in age, the AMPAS had no interest in recognizing Sheedy's raw, heralded performance.
The rest of the competition for that year:
-Cameron Diaz, There's Something About Mary (New York winner, Golden Globe Comedy nominee), $176.5M (Summer release).
-Susan Sarandon, Stepmom (San Diego winner, Golden Globe Drama, Satellite nominee), $91.1M. The AMPAS used to love to nominate her, until she finally won. And, considering she was "playing cancer," Streep already had that base covered.
-Christina Ricci, The Opposite of Sex (Satellite winner; Golden Globe Comedy, Chlotrudis nominee), $5.9M.
-Renée Zellweger, One True Thing (New York nominee), $23.3M.
-Samantha Morton, Under the Skin (Boston, Gijón, Angers winner, British Independent nominee), $0.1M (Summer release).
-Holly Hunter, Living Out Loud (Chicago, Satellite nominee), $12.9M (Fall release).
-Meg Ryan, You've Got Mail (Golden Globe Comedy, Satellite nominee), $115.8M.
-Helena Bonham Carter, The Theory of Flight (Satellite nominee), $0.1M.
-Drew Barrymore, Ever After (Chlotrudis nominee), $65.7M (Summer release).
Paltrow has never been nominated for an Oscar since, though she put out some feelers a few years later with Proof and Country Strong (her best work has been in Two Lovers). She has been unlucky in finding common ground with audiences or critics, let alone both. If it weren't for Robert Downey, Jr handpicking her for Pepper Potts in Iron Man, her mini-music career would have never taken place, maybe not even her GOOP newsletter. But, in 1998, Paltrow no doubt appeared to be a winner, with help from a Weinstein generated hit and a fawning press, and for having, as Montenegro put it, "thin, pure, virginal appearance," which she used to her advantage at exactly the time it mattered.
Paltrow has never been nominated for an Oscar since, though she put out some feelers a few years later with Proof and Country Strong (her best work has been in Two Lovers). She has been unlucky in finding common ground with audiences or critics, let alone both. If it weren't for Robert Downey, Jr handpicking her for Pepper Potts in Iron Man, her mini-music career would have never taken place, maybe not even her GOOP newsletter. But, in 1998, Paltrow no doubt appeared to be a winner, with help from a Weinstein generated hit and a fawning press, and for having, as Montenegro put it, "thin, pure, virginal appearance," which she used to her advantage at exactly the time it mattered.
Can we make an informed prediction about his year's race through the prism of 1998? It doesn't seem that way. Lawrence is quite vocal about how she refuses to thin down to a toothpick and prefers a healthier frame. And the character she plays is a nymphomaniac. However, there is a wholesomeness to Lawrence--the actress. And, unlike Paltrow, Lawrence, who is a product of her times, has a huge franchise behind her. Hollywood is very invested her career. Currently, her Silver Linings Playbook is struggling at the box-office. It's still too early to tell, because the holidays are right around the corner and the awards circuit could help coast it along. Yet, Playbook, which, for a hot second was considered the lead horse in the Best Picture race, can't just go home empty-handed, can it? Not when Harvey Weinstein is on the watch. And Best Actress is its best bet at this point. Also too early to tell is how Chastain's Zero Dark Thirty will fare. Despite the massive critical attention, I do wonder if American audiences will cotton to the Osama Bin Laden assassination picture starting the next few weeks. Political action thrillers seldom do well, and only when they do, do they seem to have a chance at catching Oscar's eye. Like Paltrow and Blanchett before them, both actresses have a shallow history in Hollywood. As far as these things go, youth has the edge, and Lawrence is at least a decade younger than Chastain (who remains gloriously mysterious about her age).
One thing seems likely, though. Just like Montenegro landed an Oscar nomination for Best Actress having starred in a Foreign Language film, there are two French actresses waiting in the wings for a similar fate. And perhaps, like Watson, another London-born actress, recent New York Film Critics winner Rachel Weisz (The Deep Blue Sea), may also have a shot at a nod. Meryl Streep, however, only having superbly played middle-aged in a sexless marriage (Hope Springs), may have to sit this year out.
