Best Supporting Actress 1995
Precious Doll wrote:Mister Tee has already mentioned Judy Parfitt in Dolores Claiborne who gets to deliver one of the best lines of 1995.
"Sometimes you have to be a high-riding bitch, Dolores. Sometimes being a bitch is all a woman has to hold onto." I hope that's the line to which you're referring, Precious. That, or "An accident, Dolores, can be an unhappy woman's best friend." Basically, Judy Parfitt mops the floor with all five of these nominees and not only should've been nominated in any of their places, but should've won.
I'll throw my vote to the always-a-bridesmaid-never-a-bride Joan Allen for her brittly human turn as Pat Nixon. She gets additional points for having to act against the monstrous ham that Anthony Hopkins was throwing all over the place. This vote is also in recognition for her un-nominated work three years later in Pleasantville.
Edited By flipp525 on 1288980288
"The mantle of spinsterhood was definitely in her shoulders. She was twenty five and looked it."
-Gone With the Wind by Margaret Mitchell
-Gone With the Wind by Margaret Mitchell
Mare Winningham has always been very good on screen. However, she has shined mainly on tv.....particularly in Amber Waves (1980), Love Is Never Silent (1986) and in George Wallace (1998).Big Magilla wrote:Mare Winningham had a ton of TV movies under her belt by the time she had her best screen role in Georgia, but the film was total crap. While it's nice that she can call herself an Oscar nominee as well as a five time Emmy nominee and two time winner, it's too bad she wasn't nominated for a better film or, for that matter, the chance to appear in better films.
A bit of trivia: She, Vanessa Redgrave and Kate Winslet are the only three actresses nominated in the supporting category for playing title characters. She and 1995 Supporting Actor nominee/winner Kevin Spacey once starred in a high school production of The Sound of Music. Upon hearing of their nominations, she sent him this telegram: "Captain von Trapp - Congratulations on your nomination - Maria".
She has Eve Arden's role in upcoming TV remake of Mildred Pierce opposite Kate Winslet so her awards days may not be over yet.
On the big screen I liked her in St Elmo's Fire (1985) - as Rob Lowe's love interest when they were actually a couple - and Miracle Mile (1988).
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Big Magilla
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Sabin wrote:Judging from the nominees, one would assume this to be a barren wasteland for nominees. What's the difference between Georgia and Smoke or The Crossing Guard? All three had Miramax behind them. All three are pretty much forgotten today. I think either Georgia was probably just easier to take or Mare Winningham had the larger role. Either way, I think she's very effective in this film but she would not be my choice.
All three were independent films that were not hits at the time so it's not surprising that they are all pretty much forgotten today.
The Crossing Guard is difficult to sit through but the acting by all four stars (Jack Nicholson, David Morse, Robin Wright and Anjelica Huston) under Sean Penn's direction is phenomenal and Huston is the best of the lot.
Smoke is a one-of-a-kind film that may not completely work but Stockard Channing's 11th hour appearance is the film's highlight.
Mare Winningham had a ton of TV movies under her belt by the time she had her best screen role in Georgia, but the film was total crap. While it's nice that she can call herself an Oscar nominee as well as a five time Emmy nominee and two time winner, it's too bad she wasn't nominated for a better film or, for that matter, the chance to appear in better films.
A bit of trivia: She, Vanessa Redgrave and Kate Winslet are the only three actresses nominated in the supporting category for playing title characters. She and 1995 Supporting Actor nominee/winner Kevin Spacey once starred in a high school production of The Sound of Music. Upon hearing of their nominations, she sent him this telegram: "Captain von Trapp - Congratulations on your nomination - Maria".
She has Eve Arden's role in upcoming TV remake of Mildred Pierce opposite Kate Winslet so her awards days may not be over yet.
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OscarGuy
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While I like Kate Winslet in Sense and Sensibility, Joan Allen gave such humanity to her role that she must receive the vote. Quilan's nomination is a joke.
Wesley Lovell
"Any society that would give up a little liberty to gain a little security will deserve neither and lose both." - Benjamin Franklin
"Any society that would give up a little liberty to gain a little security will deserve neither and lose both." - Benjamin Franklin
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anonymous1980
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Haven't seen Winningham but on the 4 others I've seen, it was a dead heat between Allen and Winslet with Winslet edging out a bit.
I don't mind Mira Sorvino winning although I do think that she won a few more votes for being veteran actor Paul Sorvino's daughter, who was clearly teary eyed when she won the Globe and pretty much wept openly when she won the Oscar.
I don't mind Mira Sorvino winning although I do think that she won a few more votes for being veteran actor Paul Sorvino's daughter, who was clearly teary eyed when she won the Globe and pretty much wept openly when she won the Oscar.
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Precious Doll
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I voted for the wonderful Mare Winningham who is the heart and soul of the lumpy Georgia.
Kate Winslet and Joan Allen were very good in their respective roles and their nominations well deserved and I enjoyed Mira Sorvino's performance in the film that was the beginning of Woody Allen's decline. Don't mind that she won. The Academy could have done much much worse and awarded Kathleen Quinlan.
My choices for 1995 are:
1. Mare Winningham for Georgia
2. Christine Taylor for The Brady Bunch Movie
3. Rosie Di Palma for The Flower of My Secret
4. Chus Lampreave for The Flower of My Secret
5. Jennifer Elsie Cox for The Brady Bunch Movie
The Academy would never nominate either of the Brady Bunch girls but their performances are probably the best ever for a film adaptation of a TV show. They were faithful to the characters in performances that pay homage and send up the original at the same time. Much like the film.
Other notables performances included: Mia Farrow & Sarah Jessica Parker in Miami Rhapsody and as Mister Tee has already mentioned Judy Parfitt in Dolores Claiborne who gets to deliver one of the best lines of 1995.
Edited By Precious Doll on 1288943262
Kate Winslet and Joan Allen were very good in their respective roles and their nominations well deserved and I enjoyed Mira Sorvino's performance in the film that was the beginning of Woody Allen's decline. Don't mind that she won. The Academy could have done much much worse and awarded Kathleen Quinlan.
My choices for 1995 are:
1. Mare Winningham for Georgia
2. Christine Taylor for The Brady Bunch Movie
3. Rosie Di Palma for The Flower of My Secret
4. Chus Lampreave for The Flower of My Secret
5. Jennifer Elsie Cox for The Brady Bunch Movie
The Academy would never nominate either of the Brady Bunch girls but their performances are probably the best ever for a film adaptation of a TV show. They were faithful to the characters in performances that pay homage and send up the original at the same time. Much like the film.
Other notables performances included: Mia Farrow & Sarah Jessica Parker in Miami Rhapsody and as Mister Tee has already mentioned Judy Parfitt in Dolores Claiborne who gets to deliver one of the best lines of 1995.
Edited By Precious Doll on 1288943262
"I want cement covering every blade of grass in this nation! Don't we taxpayers have a voice anymore?" Peggy Gravel (Mink Stole) in John Waters' Desperate Living (1977)
My choice would be Elodie Bouchez for Wild Reeds, probably the best film to be released in America in 1995.
Judging from the nominees, one would assume this to be a barren wasteland for nominees. What's the difference between Georgia and Smoke or The Crossing Guard? All three had Miramax behind them. All three are pretty much forgotten today. I think either Georgia was probably just easier to take or Mare Winningham had the larger role. Either way, I think she's very effective in this film but she would not be my choice.
Neither would Kathleen Quinlan, who was clearly swept along with Apollo 13. She's fine but entirely anonymous. That nothing happened to her career subsequently isn't astonishing. I suppose I should be a little more shocked that Mira Sorvino's career flatlined, but I'm not. Romy & Michelle and Norma Jean & Marilyn aside, nobody knew what to do with a buxom, tall, sexy comedienne like her. She doesn't exist in an era replete with Jean Hagen or Judy Holliday roles, and I think people just assumed that this was her character. Why did she win then, just a year after Dianne Wiest in a better liked Woody Allen movie? Mighty Aphrodite was pretty slight stuff.
I think that Kate Winslet was probably the runner up this year. She gives a lovely performance, but I don't think that this kind of performance has won in quite some time. Putting it simply, ingenues no longer win for costume dramas. I started to scroll back through the list of winners but I don't see any precedent for it. For an actress to win for a period piece in a supporting role, she has to steal scenes not complement them as a co-lead, let alone as an ideological counterpoint.
I once heard James Woods compliment Joan Allen during the Indie Spirit Awards saying that she deserves something for putting up with all the testosterone on the set of Oliver Stone's Nixon. I don't think voters saw it. She has an incredibly challenging role. I saw the film again recently and it is certainly a supporting role but she makes the strongest impression in the film. It's one of the wonky Oliver Stone films where people speak as though swept up in prophecy and destiny. But Allen cuts past all that. She might give the best performance ever in an Oliver Stone film...and she's a woman. She gets my vote.
Really like seeing Damien's citation of Brittany Murphy, hilarious in Clueless and gone too soon.
Judging from the nominees, one would assume this to be a barren wasteland for nominees. What's the difference between Georgia and Smoke or The Crossing Guard? All three had Miramax behind them. All three are pretty much forgotten today. I think either Georgia was probably just easier to take or Mare Winningham had the larger role. Either way, I think she's very effective in this film but she would not be my choice.
Neither would Kathleen Quinlan, who was clearly swept along with Apollo 13. She's fine but entirely anonymous. That nothing happened to her career subsequently isn't astonishing. I suppose I should be a little more shocked that Mira Sorvino's career flatlined, but I'm not. Romy & Michelle and Norma Jean & Marilyn aside, nobody knew what to do with a buxom, tall, sexy comedienne like her. She doesn't exist in an era replete with Jean Hagen or Judy Holliday roles, and I think people just assumed that this was her character. Why did she win then, just a year after Dianne Wiest in a better liked Woody Allen movie? Mighty Aphrodite was pretty slight stuff.
I think that Kate Winslet was probably the runner up this year. She gives a lovely performance, but I don't think that this kind of performance has won in quite some time. Putting it simply, ingenues no longer win for costume dramas. I started to scroll back through the list of winners but I don't see any precedent for it. For an actress to win for a period piece in a supporting role, she has to steal scenes not complement them as a co-lead, let alone as an ideological counterpoint.
I once heard James Woods compliment Joan Allen during the Indie Spirit Awards saying that she deserves something for putting up with all the testosterone on the set of Oliver Stone's Nixon. I don't think voters saw it. She has an incredibly challenging role. I saw the film again recently and it is certainly a supporting role but she makes the strongest impression in the film. It's one of the wonky Oliver Stone films where people speak as though swept up in prophecy and destiny. But Allen cuts past all that. She might give the best performance ever in an Oliver Stone film...and she's a woman. She gets my vote.
Really like seeing Damien's citation of Brittany Murphy, hilarious in Clueless and gone too soon.
"How's the despair?"
What a travesty this year was. Two very great performances and they give the Oscar to an untalented, unappealing actress who gave a truly dreadful, irritating performance in a lousy, obnoxious movie.
Kathleen Quinlan and Mare Winningham were just along for the ride for their adequate performances.
Joan Allen and Kate Winslet were both superb in very different roles. Allen made one empathize with Pat Nixon -- a Herculean accomplishment indeed. Who knew that "Plastic Pat" could be such a moving figure? And I've loved Allen since seeing her in a play at Lincoln Center in the mid-1980s, A Nightingale Sang -- so I was thrilled that she was winning aclaim in films. Winslet is so full of life, so charming and so charismatic, it's a performance that beautifully captures unbridled youth, and at the same time she truly seemed like a young woman living in Jane Austen's time. Each deserved to win, but I'm going with Winslet by a whisker.
My Own Top 5:
1. Kate Winslet in Sense and Sensibility
2, Joan Allen in Nixon
3. Brittany Murphy in Clueless
4. Annabella Sciorra in The Cure
5. Madeline Kahn in Nixon
Edited By Damien on 1288941916
Kathleen Quinlan and Mare Winningham were just along for the ride for their adequate performances.
Joan Allen and Kate Winslet were both superb in very different roles. Allen made one empathize with Pat Nixon -- a Herculean accomplishment indeed. Who knew that "Plastic Pat" could be such a moving figure? And I've loved Allen since seeing her in a play at Lincoln Center in the mid-1980s, A Nightingale Sang -- so I was thrilled that she was winning aclaim in films. Winslet is so full of life, so charming and so charismatic, it's a performance that beautifully captures unbridled youth, and at the same time she truly seemed like a young woman living in Jane Austen's time. Each deserved to win, but I'm going with Winslet by a whisker.
My Own Top 5:
1. Kate Winslet in Sense and Sensibility
2, Joan Allen in Nixon
3. Brittany Murphy in Clueless
4. Annabella Sciorra in The Cure
5. Madeline Kahn in Nixon
Edited By Damien on 1288941916
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Mister Tee
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I agree there wasn't much of a field of alternates. I fully endorse your mention of Stockard Channing; I'd also cite Judy Parfit for Dolores Claiborne.
Kathleen Quinlan is clearly the weakest -- not necessarily worst, but with the least to do. The nod has a clear "we couldn't find anyone else, and we like her movie" vibe to it.
Mira Sorvino may actually be the one I like least of the bunch. She's not terrible, but I don't think she brings any additional charm to a fairly standard, sure-fire role.
I'd always liked Mare Winningham, and was glad it was her genuine work in Georgia that was singled out, not Jennifer Jason Leigh's. Leigh, to me, represents all that can be annoying and excessive about indie actresses. In fact, the whole movie Georgia seems to be an argument for her style: in your face, irritating you as she strains for art, making you count every drop of sweat she sheds. Winningham's normalness comes as blessed relief in this context.
I'd liked Kate Winslet well enough in Heavenly Creatures, but it was in Sense and Sensibility that I first got the inkling of the major actress she was going to turn out to be. She conceals her considerable personal intelligence in depicting her character's impetuous-to-the-point-of-insensitive nature. And she's enormously lovable, if sometimes maddening. I'd actually predicted her to win on my ballot that year -- not because of the SAG Award, but because both her main competitors had been in films with little commercial success. I think she'd have been a far better winner than Sorvino.
But my choice would have been -- and would still be -- Joan Allen. Allen can have a touch of blandness to her (though she's done alot of good work). But in this case, that blandness works for her. Pat Nixon is the ultimate stoic political wife, and Allen captures her perfectly. I'm very sad she couldn't have won at the Academy, and I hope we can remedy that slight for her here.
Kathleen Quinlan is clearly the weakest -- not necessarily worst, but with the least to do. The nod has a clear "we couldn't find anyone else, and we like her movie" vibe to it.
Mira Sorvino may actually be the one I like least of the bunch. She's not terrible, but I don't think she brings any additional charm to a fairly standard, sure-fire role.
I'd always liked Mare Winningham, and was glad it was her genuine work in Georgia that was singled out, not Jennifer Jason Leigh's. Leigh, to me, represents all that can be annoying and excessive about indie actresses. In fact, the whole movie Georgia seems to be an argument for her style: in your face, irritating you as she strains for art, making you count every drop of sweat she sheds. Winningham's normalness comes as blessed relief in this context.
I'd liked Kate Winslet well enough in Heavenly Creatures, but it was in Sense and Sensibility that I first got the inkling of the major actress she was going to turn out to be. She conceals her considerable personal intelligence in depicting her character's impetuous-to-the-point-of-insensitive nature. And she's enormously lovable, if sometimes maddening. I'd actually predicted her to win on my ballot that year -- not because of the SAG Award, but because both her main competitors had been in films with little commercial success. I think she'd have been a far better winner than Sorvino.
But my choice would have been -- and would still be -- Joan Allen. Allen can have a touch of blandness to her (though she's done alot of good work). But in this case, that blandness works for her. Pat Nixon is the ultimate stoic political wife, and Allen captures her perfectly. I'm very sad she couldn't have won at the Academy, and I hope we can remedy that slight for her here.
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Big Magilla
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Slim pickings this year, so much so that my pick is an actress I don't generally like in a film I didn't like.
Kathleen Quinlan had no business in this race in nothing role as one of the astronauts' wives in Apollo 13. I would have given that slot to Anjelica Huston's grieving mother in The Crossing Guard.
Mare Winningham, an actress I like a lot, was not used to the best of her ability in my estimation in Georgia, a film that I didn't think was very good. She was better however, than that over-rated critics' darling, Jennifer Jason Leigh, who played her whiny sister. I would have given that slot to Stockard Channing for her superb picture stealing bit in Smoke or Sharon Stone, who really belongs in this category, for Casino.
Mira Sorvino was a fresh talent who seemed to have a lot of promise, but I didn't think the promise was really fulfilled in Mighty Aphrodite, Oscar and just about everyone else to the contrary. I thought a nomination was enough.
Kate Winselt was perfectly fine in Sense and Sensibility and worthy of an Oscar nomination, but not necessarily a win.
That leaves Joan Allen, an actress who I usually don't care for. In other roles she seems to me to be holding something back as if to say, this really isn't me, it's a part I'm playing. There was none of that in Nixon. Maybe because Pat Nixon was such a private person, that as long as she was in the public eye you never got to really know her so that any reasonable impersonation would seem authentic. Contrast that with Anthony Hopkins who I thought was all wrong for the over-exposed title character.
So for me, it's Allen by default.
Edited By Big Magilla on 1291406425
Kathleen Quinlan had no business in this race in nothing role as one of the astronauts' wives in Apollo 13. I would have given that slot to Anjelica Huston's grieving mother in The Crossing Guard.
Mare Winningham, an actress I like a lot, was not used to the best of her ability in my estimation in Georgia, a film that I didn't think was very good. She was better however, than that over-rated critics' darling, Jennifer Jason Leigh, who played her whiny sister. I would have given that slot to Stockard Channing for her superb picture stealing bit in Smoke or Sharon Stone, who really belongs in this category, for Casino.
Mira Sorvino was a fresh talent who seemed to have a lot of promise, but I didn't think the promise was really fulfilled in Mighty Aphrodite, Oscar and just about everyone else to the contrary. I thought a nomination was enough.
Kate Winselt was perfectly fine in Sense and Sensibility and worthy of an Oscar nomination, but not necessarily a win.
That leaves Joan Allen, an actress who I usually don't care for. In other roles she seems to me to be holding something back as if to say, this really isn't me, it's a part I'm playing. There was none of that in Nixon. Maybe because Pat Nixon was such a private person, that as long as she was in the public eye you never got to really know her so that any reasonable impersonation would seem authentic. Contrast that with Anthony Hopkins who I thought was all wrong for the over-exposed title character.
So for me, it's Allen by default.
Edited By Big Magilla on 1291406425