Posts tagged ‘Best Supporting Actress’
Greta Gerwig is a genius! Her first film “Lady Bird” Is Brilliant! Will be nominated for many Oscars!
Greta Gerwig is a genius! There are no ifs and or buts about it, she just IS! Her new film “Lady Bird” is so brilliant, you can’t believe it. And she wrote it and directed it, too! Superbly! We’ve all known her as an actress. She emerged in her early 20s to become the Queen of Mumblecore. But she’s the Queen of Mumblecore no more! In her 2O’s, she seemed to be in every single Indie film that was happening during “The Mumblecore Period”. I never thought she was mumbling. Her light as a quirkily original young actress, always outshone most of her films. One notable exception was Whit Stillman’s witty,wicked take on college sororities,”Damsels in Distress.” Stillman and Gerwig seemed a perfect match. Later she began to turn up in more adult roles, like Mike Mills’ “20th Century Woman” and last year’s “Jackie.”
“Lady Bird”s big shocker and also its redemption is that is based in HIGH SCHOOL! Yes, it’s a coming of age story. That old trope which seems as ancient as time immemorial. A young teenage age girl struggles to find herself and to come to terms with her harassed embarrassment of a nagging mother. How cliché is that? But in Gerwig’s amazing young hands she turns this time-worn epic into something quite wonderful and new. In that alone, it’s amazing. It transcends genre, time and place.
She seems to have invented teen-ager-dum, or rather re-invented it. Set in the mid-1980s, we see Lady Bird fighting with her frazzled Mom. Sairose Ronan plays Lady Bird and Laurie Metcalf her Mom, and BOTH are going to the Oscars this year with a ton of other nominations. Including, yes, Gerwig herself, breaking in to the male-only best directing category as well for sure the Best Original Screenplay category.And young Irish actress Saoirse Ronan, who plays Lady Bird so convincingly at the same time, she seems to be channeling Gerwig herself. As is we’re seeing a halo-gram projection of Gerwig’s inner life. As she desperately tries to escape her ho-hum life in Sacramento “the mid-west of California” and go to a college in the East where it seems everything is “more exciting in a place like, y’know, Connecticut.’
In the first amazing scene in the film, we see her fighting with her mother about this who is adamant that she go to a Community College in Sacramento. Lady Bird screams and jumps out of the moving vehicle. And that’s just the first scene of the movie!
We’re with Lady Bird every step of the way, as she continues her fight in every aspect of her life in Sacramento. Especially the hide-bound Catholic school she attends where all the students have to wear the traditional uniform of the blue plaid skirt and ugly, flat-chested navy blue jumper.
How did Gerwig pull off this amazing double hat trick of writing & directing a major motion picture? At the press conference at the NYFF last month, she told a room of spell-bound press (pictured above ^) that being ”a film director is what I always wanted to be” And that as a much-employed actress, she was always studying just how all the great directors she was working with were doing it. An apt student, very much like Lady Bird herself, she clearly didn’t miss a trick.
And it has to be said that young(21) Saiorse Ronan is something of a genius herself. She plays the title role so that you love her AND hate her. She’s died her hair nearly every color of the rainbow, but it’s not becoming.
And she’s the first potential Best Actress nominee that has every played the leading role in a film with a full face of realistic teenaged acne. Ronan at her early age has been nominated TWICE already. For Best Actress just last year in “Brooklyn,” and for playing the villainous child Bryony Tallis in “Atonement.” And she’s really quite a good-looking young lady. Ingenue! Oscar can’t resist that word. Ingenue! She might be the one that takes the Oscar home this year. AND she’s Irish playing a convincing Californian….
And now that the film “Lady Bird” itself is such a success on every level, I don’t think we’ll be seeing much of Gerwig herself in front of the camera. She’s going to continue on with writing and directing and I hope she never stops! Her talent seems unfathomable and endless. I can’t wait to see what she does next!
The great, essential New York Film Festival continues to top itself.I can’t stop talking about all the wonderful films I saw there this season.
It was an incredible year that it was having. now reveals their Centerpiece Film to be one of the best of the year, and the one film to emerge that may just end up not only the most beloved but the most acclaimed. Haynes has had an amazing career to date with his legendary team of producer Christine Vachon and cinematographer Ed Lachman. His films are never quite embraced as they should be by the mainstream. Haynes is Out and Gay and so is Vachon, but here in “Wondersruck” the brilliant Centerpiece film of this amazing festival, they have eschewed gay themes entirely and turned to a serious subject that you would never think their twinkling talents would ever touch – deafness.
There has never been a film that has addressed this terrible affliction head on, and with such grace and style and heart and heart-break. “The Miracle Worker” comes to mind as the only film to really face this disease. But Helen Keller was both blind as well as deaf and both Patty Duke as Keller and Anne Bancroft as her soul saving teacher both got Oscars. “Wonderstruck” should be showered with awards in every category that it is eligible for. Julianne Moore may be heading towards her second Oscar and her sixth(or is it seventh?) nomination for sure in a duel role that is head-spinning as well as heart-breaking. Her range is tested and she proves more than equal to the daunting task. She is Haynes’ muse, and is more than up to the double challenges these two roles face her with. She is for sure one of our greatest actress. Always amazing, in “Wonderstuck” she astounded me.
Also unforgettable is the wan, fey, first time performer, deaf actress Millicent Simmonds(pictured above). She plays the pivotal role of the non-hearing Rose, who wants to break out of her restrictive home in Hoboken, in the silent film black and white half of Haynes’ stunning cinematic coup du cinema. Just like Soirse Ronan’s “Lady Bird,” she wants to spread her wings and fly as Lady Bird does, to New York City. She is first seen as simply a lost little girl, wandering the streets of 1920s New York all by herself.
She keeps grasping articles and ads about a glamourous stage actress, Lillian Mayhew, who turns out to be her mother. So her seemingly pointless mission leads her to a theater and to Mom, here played by an almost unrecognizable Julianne Moore in the first of her two wildly divergent roles. To reveal her second would be to spoil the movie. So don’t let anyone tell you anything about it.
Her vain diva of a mother is a parent who wants nothing to do with her deaf child. She’s ashamed that her child is deaf. “Wonderstruck” is the name of a book about museums that brings both halves of this bifurcated film together. The other half is set 50 years later in 1977 New York (and in color, with sound) and involves another runaway child, this time a boy, Oakes Fegley. His mother, the only parent he’s ever known (played beautifully in a cameo appearance by Michelle Williams) is killed at “Wonderstruck”s outset in a car crash. Ben has nightmares about wolves. And flees his Gunflint, Minnesota home when lightning strikes him deaf.
So we have two deaf 12 year-old children running from what they see as unbearable situations, to New York City, to find a new home, one that will hopefully heal them, simultaneously, one in black and white and silent in the ’20s, to one contemporary and in color with sound. This seemingly impossible to connect or reconcile story, Haynes (and cinematographer Lachman) manage to pull off in a grand manner. Culminating with both twelve year olds finding their way to the Museum of Natural History. I will reveal no more.
The sound work by a huge team under the super vision of Drew Kunin is simply astounding. Silence and foley affects and sound mixing and sound editing have never played such an integral part in a feature film. But here the sound department just shines in creating a world where there is no sound whatsoever. The deaf lead a very hard life and “Wonderstuck” reveals its’ woes and complex challenges quite beautifully with a style and grace that is unparalleled.
The dizzying editing between past and present and black and white and silent and color and sound is by the wizardly of Affonso Gonclaves. The impeccable period and modern costumes are by the great Sandy Powell and the production design is by Mark Friedberg.
“Wonderstruck” is based on Brian Selznick’s book, from which he also wrote the moving screenplay.
I hope “Wonderstruck” isn’t too sentimental for our jaded times, but audiences and families can bring their children to this and enjoy it and be educated by it. The Museum of Natural History is really a character in this film and its’ great dioramas of wildlife are shown to full and wonderful effect. “Wonderstruck” is wonderful, that’s all there is to it.
Lustrous, luminous, transcendent Kate Winslet is the wonder of Woody Allen’s new “Wonder Wheel.”
Is there any American filmmaker alive today who writes such great roles for women? No. There simply isn’t. And as photographed by cinematographer Vittorio Storaro, Kate Winslet seems to be a cinematic miracle of color and light, majesty and emotion,
You simply can’t take your eyes off her. Storaro and Allen have combined to give her a cinematic beauty that makes you gasp, in a multi-faceted role that makes you applaud. She is playing Ginny, a Brooklyn waitress, who works in a Coney Island Clam House. I have known SOOOO many Ginnys in my lifetime, and British though she is, Winslet absolutely nails her Ginny to the Coney Island boardwalk. And it’s stirring performance in the grand tradition. She’s every woman. And every woman I’ve known, from Brooklyn, trying to make a better life for herself and her family. And trying to find love at the same time, having given up her dreams of being an actress earlier in her life.
Winslet’s Ginny seems the simplest of creatures.. But Allen’s writing and her bravura performance proves that every woman is as complex as a whirlwind. Or a rollercoaster. Or a Wonder Wheel at Coney Island, to use this film’s great metaphor. Winslet has never seemed so bedeviled and so bewitching at the same time. She’s a housewife in waitress’ outfit that she wears like a queen, as she goes about her frantic daily work of cooking and cleaning for the whole of Brooklyn it seems.
Allen and Storaro capture the ordinary woman’s extraordinariness. She is married to a lout (James Belushi) and having a torrid affair with Justin Timberlake, the local lifeguard. Timberlake’s string-bean-ness seems out of place as a life guard, but he, too, has movie star charisma in buckets instead of muscles, that make all the women in the film falling for him make sense. He and Belushi have both never been better.
She is playing Ginny, a common-as-they-come Brooklyn waitress, who is as uncommon, as she is earth-bound. Winslet’s a fiery red-head this time. And in Storaro’s use of orange and amber light, she seems so on fire, she is burning up the screen. It is no surprise then that her red-headed son is an arsonist, setting a fire every time he’s left alone. The fires remind him of his mother.
And Juno Temple is Belushi’s neglected daughter, who turns up as a “Marked” woman, being chased by the mob, because she married a gansta, and became a “canary” who sang on her husband, making her a woman on the run for her life. She hides out in Winslet’s and Belushi’s humble household underneath the ever-present Wonder Wheel. Young, blonde Temple has the role of her career here, too, and is doomed from the first seconds we see her taking her first tentative steps under the Wonder Wheel.
In a simple car ride in a romantic rain storm with Timberlake, she becomes, as he says “as beautiful as the rain light.”Storaro has lit her in golds and blues to emphasize her beauty as well as her melancholy. She, too, is magnificent in this film.
Winslet’s performance is so heart-breaking and towering it immediately recalls the great screen performances of screen queens past. Joan Crawford in particular. The shop girl who was not a shop girl. The waitress who was not a waitress. And reminds you that not since the ’40s have actresses consistently seen parts like this. Winslet’s Ginny is the working class version of Cate Blanchett’s Jasmine in Allen’s recent Oscar winner “Blue Jasmine.” “Wonder Wheel” is his best film since “Midnight in Paris” and is now one of my favorite Woody Allen movies. It’s right up there with the best. It reminds me why I love Brooklyn. And New York City.
A belated and hearty congratulations to the great New York character actress Ann Dowd for winning her first(but I’m sure not her last) Emmy on Sunday night for “A Handmaiden’s Tale.”
I worked with Ann trying to get her an Oscar for “Compliance” a few years back. What it actually takes, besides having immense talent, which Ann certainly has, is MONEY. Money spent on Oscar campaigns, and Oscar strategists, who make in the six figures.
Well, I’m not that, but it was an eye-opener. To me. And to Ann, too. I remember her saying “I can’t believe that after all these years(acting) I’m still naïve as to how this all works.”
She did win a National Board of Review Award for Best Supporting Actress that year, so I did help get her that.
Well, she’s where she should be now. Best Supporting Actress in a TV Drama Series. Congratulations, Ann! You’ll just keep on winning…I’m so sure…
Ann appeared on my show at that time. See above ^ My lovely interview with her shot and edited by the great Kevin Teller is on my You Tube channel.
Search under Ann Dowd
Viola Davis, the most expected and predicted winner of the night Best Supporting Actress for “Fences.” In a beautiful red off-the-shoulder gown with a train, she looked like she was really levitating as she give one of the greatest speeches she has ever given. Again. She always gives great speeches.
Kimmel joked “She just won an Emmy for that speech.” She is a great, great actress, one of the greatest on this planet. I’m in awe of her. And she’s from Rhode Island, which is where my mother was from.
This was her third nomination. She’s the first woman of color in history to have three nominations. She should’ve been in the lead category. I wish she hadn’t switched. It was her choice, they say. I think she would’ve won whatever category she was placed in.
“The Salesman” wins Best Foreign Film for Ashghar Farhadi. A woman accepting for the absent filmmaker, who is Iranian, who was not present, protesting the recent travel ban on people from his country.
Sting sings one of his songs, this one “The Empty Chair” for the documentary on the slain journalist James Foley. Very short, but touching. Very political evening.
And it’s important to note that for the first time two African-Americans have won both Best Supporting Acting Awards in the history of the Academy and it’s about time, too, isn’t it?
“Zootopia” wins Best Animated film. There’s been no surprises tonight, unless you want to say that Mahershala Ali was a surprise. Although just about everyone else predicted him.