My choices:
1. Yang Kuei-mei, in "The Hole"
2. Natasha Lyonne, in "Slums of Beverly Hills"
3. Sandrine Bonnaire, in "Secret Defense"
4. Ally Sheedy, in "High Art"
5. Jane Horrocks, in "Little Voice"
ALT: Christina Ricci, in "Buffalo '66"
Best Actress 1998
My problem with Paltrow in some of these roles isn't that she's terrible, but to me she's just not believable. The warmth, and the passsion needed to inspire one of Shakespeare's greatest works just isn't there. Everything about her persona strikes me as an unlikable snob. Wes Anderson and James Gray are two of the only filmmakers who tapped into this, and as a result directed two of her few truly successful performances. (I'd say her best performance was probably her one-off scene in Infamous, though.)Mister Tee wrote:Gwyneth isn't the horror her detractors claim, but it was a somewhat lightweight performance.
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Mister Tee
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I'm with Sabin in thinking Ricci deserved to be in here. Ally Sheedy, not so much; maybe it's just memories of her Spirit Award speech that make me wonder how much she was acting.
It always baffled me that the race so quickly narrowed to Paltrow and Blanchett, who I thought were 4-5 on this list. Gwyneth isn't the horror her detractors claim, but it was a somewhat lightweight performance (I liked Emma better). As for Blanchett, the swooning over her, combined with the Dench-love the year prior, persuaded me a lot of Oscar fans are secret royal-lovers. (I especially loved the "She WAS Elizabeth" claims -- as if there were newsreels to compare to) Blanchett was commanding in a silly movie, and I've liked her better in almost everything else since (except The Golden Age).
The other three exist on a level field for me -- all solid, none crying out for my unqualified support. I can't help feeling the unadorned love for Montenegro comes partly from the fact that we were so unfamiliar with her other work, so we had no way of telling how much she was stretching. I, like BJ, found the film fairly bland (Best Foreign Film of 1953), which may have affected my judgment.
The critique of Streep throughout the 80s -- that she was simply an accent queen -- couldn't be applied to either Madison County or One True Thing. She's just lovely in this film (especially, as noted below, in the "I know what your father's doing/you have no idea what you'll learn to live with" scene). She'd be a worthy winner.
But my vote goes to Watson. A handicapped role, but describing it that way sells it way short. She's a vital, selfish, complicated, lonely human being, and Watson shows all her colors. Not as good as Breaking the Waves, but her strongest work since, at a level I hope she someday gets to display again.
It always baffled me that the race so quickly narrowed to Paltrow and Blanchett, who I thought were 4-5 on this list. Gwyneth isn't the horror her detractors claim, but it was a somewhat lightweight performance (I liked Emma better). As for Blanchett, the swooning over her, combined with the Dench-love the year prior, persuaded me a lot of Oscar fans are secret royal-lovers. (I especially loved the "She WAS Elizabeth" claims -- as if there were newsreels to compare to) Blanchett was commanding in a silly movie, and I've liked her better in almost everything else since (except The Golden Age).
The other three exist on a level field for me -- all solid, none crying out for my unqualified support. I can't help feeling the unadorned love for Montenegro comes partly from the fact that we were so unfamiliar with her other work, so we had no way of telling how much she was stretching. I, like BJ, found the film fairly bland (Best Foreign Film of 1953), which may have affected my judgment.
The critique of Streep throughout the 80s -- that she was simply an accent queen -- couldn't be applied to either Madison County or One True Thing. She's just lovely in this film (especially, as noted below, in the "I know what your father's doing/you have no idea what you'll learn to live with" scene). She'd be a worthy winner.
But my vote goes to Watson. A handicapped role, but describing it that way sells it way short. She's a vital, selfish, complicated, lonely human being, and Watson shows all her colors. Not as good as Breaking the Waves, but her strongest work since, at a level I hope she someday gets to display again.
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FilmFan720
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I too have never understood the vitriol for Paltrow's win here. I think she is a much better actress than people give her credit for (The Royal Tenenbaums, Two Lovers), and if this isn't her best work, she is still wonderful, sexy, charming and smart in the film (in a role that is also a lot more difficult than it seems).
I have also never understood the praise for Cate Blanchett. She is an actress I don't worship like many around here, and she never manages to get beyond the shallow stiffness of the script (and that horrid direction).
I remember very little of Hilary & Jackie, but I do remember really liking Emily Watson, an actress I have always loved who has unfortunately not had the career in recent years she deserved. Has she done anything since Red Dragon?
Haven't seen the Streep film, but I'm sure she is wonderful.
Fernanda Montenegro gets my vote here, though, for the same reasons everyone else has already pointed out.
I have also never understood the praise for Cate Blanchett. She is an actress I don't worship like many around here, and she never manages to get beyond the shallow stiffness of the script (and that horrid direction).
I remember very little of Hilary & Jackie, but I do remember really liking Emily Watson, an actress I have always loved who has unfortunately not had the career in recent years she deserved. Has she done anything since Red Dragon?
Haven't seen the Streep film, but I'm sure she is wonderful.
Fernanda Montenegro gets my vote here, though, for the same reasons everyone else has already pointed out.
"Go into the world and do well. But more importantly, go into the world and do good."
- Minor Myers, Jr.
- Minor Myers, Jr.
Based on the competition she had to face, Paltrow's Oscar should be considered one of the worst ever, but the performance in itself isn't totally bad - just adequate, and certainly forgettable. Blanchett works on an iconic level - she's so right for the part - and playing a queen is certainly an attention-getting chance; there are moments when one can see the signs of a talent we've come to know in other movies, but I wouldn't say that her performance here (and certainly the movie itself) are memorable.
The three others are much better - very good actually. Streep's nomination, while not as widely remembered as others she got, was richly deserved - she's the best thing about the movie she's in. Fernanda Montenegro is one of those actresses who represent not only herself and the character she plays, but the soul of the country and the culture she comes from - in this sense definitely similar to some Italian post-war stars; Central Station isn't a movie of Italian-neorealism level but it's still good, honest and she's wonderful in it.
But I have a soft spot for Emily Watson, always so interesting and original, very good in the underrated Hilary and Jackie - I'll use for her performance here a word that I don't like and I've never used before, "heart-breaking". She gets my vote.
The three others are much better - very good actually. Streep's nomination, while not as widely remembered as others she got, was richly deserved - she's the best thing about the movie she's in. Fernanda Montenegro is one of those actresses who represent not only herself and the character she plays, but the soul of the country and the culture she comes from - in this sense definitely similar to some Italian post-war stars; Central Station isn't a movie of Italian-neorealism level but it's still good, honest and she's wonderful in it.
But I have a soft spot for Emily Watson, always so interesting and original, very good in the underrated Hilary and Jackie - I'll use for her performance here a word that I don't like and I've never used before, "heart-breaking". She gets my vote.
To be honest, I have no recollection of One True Thing. Off the top of my head, I can't even say what it is. That generic title could have been any romantic comedy of the late 90s early 00s. My mind was devoid of any memory of Meryl Streep starring in a movie called One True Thing. Or that, apparently, Renee Zellweger once made a movie with Streep.
I've never understood the vitriol against Gwynny -- I think she's utterly delightful in Shakespeare.
Cate Blanchett, on the other hand, is a waxworks figure in Elizabeth, a ludicrous movie, and one of the truly worst directed Best Picture nominees ever.
Emily Watson gave a good, solid performance without being particularly exciting.
I voted for Fernanda Montenegro. She was riveting, and I especially appreciate that despite the humanistic trappings her performance is clear-eyes and tough, and never sentimental.
My Own Top 5:
1. Christina Ricci in The Opposite of Sex
2. Leelee Sobieski in A Soldier’s Daughter Never Cries ( I so expected her to become a star)
3. Drew Barrymore in The Wedding Singer
4. Vanessa Redgrave in Mrs. Dalloway
5. Fernanda Montenegro in Central Station
Edited By Damien on 1267603783
I've never understood the vitriol against Gwynny -- I think she's utterly delightful in Shakespeare.
Cate Blanchett, on the other hand, is a waxworks figure in Elizabeth, a ludicrous movie, and one of the truly worst directed Best Picture nominees ever.
Emily Watson gave a good, solid performance without being particularly exciting.
I voted for Fernanda Montenegro. She was riveting, and I especially appreciate that despite the humanistic trappings her performance is clear-eyes and tough, and never sentimental.
My Own Top 5:
1. Christina Ricci in The Opposite of Sex
2. Leelee Sobieski in A Soldier’s Daughter Never Cries ( I so expected her to become a star)
3. Drew Barrymore in The Wedding Singer
4. Vanessa Redgrave in Mrs. Dalloway
5. Fernanda Montenegro in Central Station
Edited By Damien on 1267603783
"Y'know, that's one of the things I like about Mitt Romney. He's been consistent since he changed his mind." -- Christine O'Donnell
I used to think that there wasn't really a stand-out in this lineup. Now I don't think there's anybody but Fernanda Montenegro. It's a ridiculously lived-in performance that draws from personal experience and effortless persona. She's not acting. You can't catch her. The film's subject matter of old woman redeemed by child is handled very well and I will not forget her eyes. She's the girl.
Paltrow does get quite a bit of flak for her win. She's perfectly charming in a role that any number of actresses could have done just as well. Shakespeare in Love was a wonderful film that had more than anything else a wonderful feeling to it. You left feeling exhilarated and just wanted to thank everyone involved. Paltrow was a Miramax creation and her win just seemed preordained. It's hard to moan too much. Or maybe just for me because a win for Shakespeare in Love is so preferable to one for Saving Private Ryan. It's an art-house blockbuster with boobies. But in watching Shakespeare in Love again, I'm amazed at how much they edit around the performances by Paltrow and Fiennes. Half their performances is delegated to eye-fucking. You don't watch they say the awesome things they say to each other. You just hear it O.C.. That's because quite frankly they're not that amazing. But they're adorable when they make out.
Cate Blanchett's performance in Elizabeth announces that she is here to stay. The good news is that better stuff was yet ahead. She holds her own in Elizabeth but I've never been sure of what exactly she does that's so revelatory. Elizabeth is a fairly witless, pseudo-epic anchored by a performance that succeeds largely in being not boring. Cate Blanchett is brilliantly not boring in Elizabeth. Considering how little was there, that's a sterling achievement. But you contrast it with her work in I'm Not There or even her very funny Kate Hepburn in The Aviator and it doesn't stack up. She's like Meryl Streep in that she won't chill the fuck out, smoke a joint, and be sexy on camera for ages to come. When she does, look out.
Meryl Streep is awesome in One True Thing. This is a lovely performance that in a Montenegro-less year, I would champion. She's incredibly touching and funny and sweet in this film. It's a cancer movie, no doubt, but it's not a bad one. It's anchored by three very strong performances by Streep, Zellweger, and William Hurt. I really liked Meryl Streep in it. I've only seen Hilary & Jackie once but I remember being far more knocked out by Rachel Griffiths. I remember Watson's nomination being fairly predicted and indicated she would be like Meryl Streep with one nomination after another on the way. That did not happen, although I like her in Gosford Park quite a bit.
I was very sad that Christina Ricci wasn't nominated for The Opposite of Sex or Buffalo '66, or Ally Sheedy for High Art. Then again, 1998's Oscar nominations bummed me out more than any other year, and that was the year that The Thin Red Line (best nominee of the decade) came up sunny with seven nominations. But no Truman Show for Picture or Actor, no Lisa Kudrow, no Bill Murray...
Then again, I was also incredibly relieved that the wretched Stepmom stiffed.
Paltrow does get quite a bit of flak for her win. She's perfectly charming in a role that any number of actresses could have done just as well. Shakespeare in Love was a wonderful film that had more than anything else a wonderful feeling to it. You left feeling exhilarated and just wanted to thank everyone involved. Paltrow was a Miramax creation and her win just seemed preordained. It's hard to moan too much. Or maybe just for me because a win for Shakespeare in Love is so preferable to one for Saving Private Ryan. It's an art-house blockbuster with boobies. But in watching Shakespeare in Love again, I'm amazed at how much they edit around the performances by Paltrow and Fiennes. Half their performances is delegated to eye-fucking. You don't watch they say the awesome things they say to each other. You just hear it O.C.. That's because quite frankly they're not that amazing. But they're adorable when they make out.
Cate Blanchett's performance in Elizabeth announces that she is here to stay. The good news is that better stuff was yet ahead. She holds her own in Elizabeth but I've never been sure of what exactly she does that's so revelatory. Elizabeth is a fairly witless, pseudo-epic anchored by a performance that succeeds largely in being not boring. Cate Blanchett is brilliantly not boring in Elizabeth. Considering how little was there, that's a sterling achievement. But you contrast it with her work in I'm Not There or even her very funny Kate Hepburn in The Aviator and it doesn't stack up. She's like Meryl Streep in that she won't chill the fuck out, smoke a joint, and be sexy on camera for ages to come. When she does, look out.
Meryl Streep is awesome in One True Thing. This is a lovely performance that in a Montenegro-less year, I would champion. She's incredibly touching and funny and sweet in this film. It's a cancer movie, no doubt, but it's not a bad one. It's anchored by three very strong performances by Streep, Zellweger, and William Hurt. I really liked Meryl Streep in it. I've only seen Hilary & Jackie once but I remember being far more knocked out by Rachel Griffiths. I remember Watson's nomination being fairly predicted and indicated she would be like Meryl Streep with one nomination after another on the way. That did not happen, although I like her in Gosford Park quite a bit.
I was very sad that Christina Ricci wasn't nominated for The Opposite of Sex or Buffalo '66, or Ally Sheedy for High Art. Then again, 1998's Oscar nominations bummed me out more than any other year, and that was the year that The Thin Red Line (best nominee of the decade) came up sunny with seven nominations. But no Truman Show for Picture or Actor, no Lisa Kudrow, no Bill Murray...
Then again, I was also incredibly relieved that the wretched Stepmom stiffed.
"How's the despair?"
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The Original BJ
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A bit of an average year for me. I don't think any of these nominees demand my vote (I prefer almost all of the contenders the next year), but at the same time, none of these ladies are undeserving either (which I would absolutely NOT say about '99).
Paltrow gets a lot of flak for her win, but I think she's really charming in Shakespeare in Love; she makes for a lovely romantic comedy heroine. Still, I wouldn't have voted for her over the dramatic heavyweights, though I don't think this is as outrageous a win as some do.
Streep is quite good in One True Thing (and she's EXCELLENT in the scene when she tells Renée Zellweger how much she knows about Hurt's affairs). But the movie's pretty soapy, and although Streep elevates a cliched role, it would be hard for me to muster enough enthusiasm to give her Oscar #3 for this.
Emily Watson has the type of role that, on paper, reads like an Oscar parody: she plays a real person...who's also a struggling artist...with...wait for it...a disability!!! Such a performance is bound to win awards attention, and these turns can be easy for many to overrate. But I also think they can be underrated as well, and I can't overlook the specific personality and plucky humor Watson brings to this character -- for me, her talent as an actress makes this performance a bit more than just a standard disability gimmick. But it's no Breaking the Waves.
Cate Blanchett is impressive in a dominant role in Elizabeth. I thought, literally at the time, that we were seeing the breakthrough role of someone who could become a major actress, as she has. (Though anyone who must have seen Oscar and Lucinda the year before had to have a glimmer of her future as well.) But I've never understood the "Blanchett was ROBBED!" claque. In this film, she's commanding in a very old-fashioned movie star sort of way, but I don't think her performance is very deep -- the mediocre script doesn't have enough richness for it to be that. I see this as more of a great warm-up than a performance for the ages.
Central Station isn't considerably less of a cliche than some of these movies -- it hails from the Kolya school of foreign cinema about cute kids softening old codgers. But Fernanda Montenegro is really lovely, adding the right bit of vinegar to keep the movie from veering into too much sentimentality. And dws hit it right on the head -- you can sense her entire life's backstory just from the way she inhabits this world-weary woman. Plus, that last bus scene is pretty powerful. She gets my vote.
This is probably as good a place to admit this as any: I am completely an Ally Sheedy agnostic this year. Is anyone else?
Paltrow gets a lot of flak for her win, but I think she's really charming in Shakespeare in Love; she makes for a lovely romantic comedy heroine. Still, I wouldn't have voted for her over the dramatic heavyweights, though I don't think this is as outrageous a win as some do.
Streep is quite good in One True Thing (and she's EXCELLENT in the scene when she tells Renée Zellweger how much she knows about Hurt's affairs). But the movie's pretty soapy, and although Streep elevates a cliched role, it would be hard for me to muster enough enthusiasm to give her Oscar #3 for this.
Emily Watson has the type of role that, on paper, reads like an Oscar parody: she plays a real person...who's also a struggling artist...with...wait for it...a disability!!! Such a performance is bound to win awards attention, and these turns can be easy for many to overrate. But I also think they can be underrated as well, and I can't overlook the specific personality and plucky humor Watson brings to this character -- for me, her talent as an actress makes this performance a bit more than just a standard disability gimmick. But it's no Breaking the Waves.
Cate Blanchett is impressive in a dominant role in Elizabeth. I thought, literally at the time, that we were seeing the breakthrough role of someone who could become a major actress, as she has. (Though anyone who must have seen Oscar and Lucinda the year before had to have a glimmer of her future as well.) But I've never understood the "Blanchett was ROBBED!" claque. In this film, she's commanding in a very old-fashioned movie star sort of way, but I don't think her performance is very deep -- the mediocre script doesn't have enough richness for it to be that. I see this as more of a great warm-up than a performance for the ages.
Central Station isn't considerably less of a cliche than some of these movies -- it hails from the Kolya school of foreign cinema about cute kids softening old codgers. But Fernanda Montenegro is really lovely, adding the right bit of vinegar to keep the movie from veering into too much sentimentality. And dws hit it right on the head -- you can sense her entire life's backstory just from the way she inhabits this world-weary woman. Plus, that last bus scene is pretty powerful. She gets my vote.
This is probably as good a place to admit this as any: I am completely an Ally Sheedy agnostic this year. Is anyone else?
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Big Magilla
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The two performances that everyone talks about so much are the two least interesting in the lineup, as far as I'm concerned. Watson's performance isn't a lot more interesting, but she has her moments. No real reason for her to be placed in Lead while Griffiths (who was better) was relegated to Support. Streep's performance is one I could vote for without any real qualms. Glad that Universal didn't position her in Support, since she shares co-lead status with Zellweger (also very good). But I had to vote for Fernanda. It's the kind of completely lived-in performance that's too rare these days--you really do get a sense of her entire life. That final scene wouldn't pack nearly the punch it does without Montenegro.
My picks for the year:
1- Fernanda Montenegro, Central Station
2- Kathy Burke, Nil by Mouth
3- Ally Sheedy, High Art
4- Leelee Sobieski, A Soldier's Daughter Never Cries
5- Vanessa Redgrave, Mrs. Dalloway
My picks for the year:
1- Fernanda Montenegro, Central Station
2- Kathy Burke, Nil by Mouth
3- Ally Sheedy, High Art
4- Leelee Sobieski, A Soldier's Daughter Never Cries
5- Vanessa Redgrave, Mrs. Dalloway