Oh ok. Well but his votes could be deleted then.Big Magilla wrote:No, it was someone gaming the system who created ten separate i.d.s or more and voted the same choice ten times or more in various polls, which is why I stopped updating the results on the old polls.ITALIANO wrote:One moment... Who are the ten who voted for Quinn Cummings?! Oh ok, must be the same who voted for The Color Purple...
Best Supporting Actress 1977
Re: Best Supporting Actress 1977
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Re: Best Supporting Actress 1977
No, it was someone gaming the system who created ten separate i.d.s or more and voted the same choice ten times or more in various polls, which is why I stopped updating the results on the old polls.ITALIANO wrote:One moment... Who are the ten who voted for Quinn Cummings?! Oh ok, must be the same who voted for The Color Purple...
Re: Best Supporting Actress 1977
One moment... Who are the ten who voted for Quinn Cummings?! Oh ok, must be the same who voted for The Color Purple...
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I love this. It seems like a lost section of the old "What-- and quit show business?" joke.Mike Kelly wrote:A side anecdote. Back in 1977 when I handled police security at Gusman Cultural Center in Miami, one of the backstage crew was a guy called Jerry Pescow. I remember him telling me that his daughter Donna was an actress and was in Saturday Night Fever. I asked him which part and he replied, with a proud papa expression, that she's the one that gets gangbanged.
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I guess Vanessa Redgrave remains the only Supporting Actress winner that portrayed the titled character. Half credit to Meryl Streep for Kramer vs. Kramer and partial credit for Diane Wiest for Hannah and her Sisters and Margaret Rutherford for The V.I.P.s
A side anecdote. Back in 1977 when I handled police security at Gusman Cultural Center in Miami, one of the backstage crew was a guy called Jerry Pescow. I remember him telling me that his daughter Donna was an actress and was in Saturday Night Fever. I asked him which part and he replied, with a proud papa expression, that she's the one that gets gangbanged.
A side anecdote. Back in 1977 when I handled police security at Gusman Cultural Center in Miami, one of the backstage crew was a guy called Jerry Pescow. I remember him telling me that his daughter Donna was an actress and was in Saturday Night Fever. I asked him which part and he replied, with a proud papa expression, that she's the one that gets gangbanged.
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A vote for Redgrave is one of the biggest no-brainers for me in this category's history. Dillon is very good in a movie that I a bsolutely adore (and the movie for which Richard Dreyfuss should have gotten his Best Actor nomination and win), but Redgrave's performance in Julia is one of the best ever given by an actress in a supporting role.
The other three range from adequate to insufferable in movies that are varying degrees of bad.
Edited By Bruce_Lavigne on 1283204578
The other three range from adequate to insufferable in movies that are varying degrees of bad.
Edited By Bruce_Lavigne on 1283204578
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She should have won by a similar margin in 1968.Big Magilla wrote:I'm glad to see a couple of people appreciate Tuesday Weld's performance, but Vanessa's supporters needn't fear - at 21 votes and counting, hers is the strongest victory in these polls to date.
"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
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If anybody deserves an Oscar in the lead category it is Vanessa Redgrave............and I still have hope that one day she will achieve it.Mister Tee wrote:At the time, it did seem startling that a major leading actress -- one with 3 lead nominations in the past decade or so -- would be cited in the supporting slot. (We've obviously got past that inhibition)
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Quinn Cummings is godawful in The Goodbye Girl. I think we've sufficiently covered that. On a more shallow note, I think her head looks like a Mylar balloon that is only rudimentarily fastened to the rest of her body. Poor innocuous thing probably would've been better off had she not been singled out with a nomination. Kristy McNichol gives a much more tolerable Neil Simon adolescent performance in Only When I Laugh a couple years later. (sidebar: what's with the explosion of juvenile performances nominated--and, in O'Neal's case, winning--during the 1970's? Justin Henry on the spear side two years later gives a performance I actually think is quite good.)
I'm probably one of the only people on this board who isn't in the Dustin Hoffman camp w/r/t Looking for Mr. Goodbar. It probably has more to do with who I was when I watched it. I very much related to Keaton's character at the time. I also got some great news while I was reading the novel, so there's a certain place in my charred, black heart for it, completely divorced from its artistic merit (the book is pretty much pablum, to be honest).
Tuesday Weld astonished me in Play it as it Lays. And while the camera might not have been focused on her properly in Goodbar, I found her a nice, necessary counterbalance to Keaton's character. If I recall correctly, the mobile she gives to Keaton serves as a sort of reminder of her character long after she disappears from the film and even figures into the much-debated climax. Tom Berenger did some great work as the "kept gay".
My sister was dancing at the Washington School of Ballet (which boasts Shirley MacLaine as one of their most famous alums) at the time the two of us discovered The Turning Point and I love it to this day. So soapy and grand (who can forget the Anna Karenina number?) and that rooftop fight between MacLaine and Bancroft is truly a gay man's dream. Leslie Brown, however, acted like she needed a couple spoonfuls of Kaopectate. Surely one of the worst nominations of the decade.
Melinda Dillon approaches her performances in this era with an honesty I find refreshing. I don't begrudge her this nomination (for Close Encounters of the Third Kind) or the one that will come five years later for Absence of Malice. It's nice work that manages not to be completely dwarfed by the film's spectacular visual effects.
But Vanessa Redgrave should (and will) take this in a walk. As others have mentioned, the performance succeeds on a such a multitude of levels: the way that she allows Julia to sort of drift hauntingly in each corner of the film as a phantom, even when she's not on-screen; the believable portrayal of the earlier years of their friendship (perfect casting on the "younger" Julia, by the way); and then, of course, the brilliant tightrope of a scene in the restaurant between Redgrave and Jane Fonda where I think Fonda also does some truly wonderful work. It's hard to imagine that Redgrave has only been nominated twice since. Almost every performance she's gives has such a fine polish to it. They're almost netherworldly.
Welcome to L.A.? I'll have to check that one out.
Edited By flipp525 on 1282937210
I'm probably one of the only people on this board who isn't in the Dustin Hoffman camp w/r/t Looking for Mr. Goodbar. It probably has more to do with who I was when I watched it. I very much related to Keaton's character at the time. I also got some great news while I was reading the novel, so there's a certain place in my charred, black heart for it, completely divorced from its artistic merit (the book is pretty much pablum, to be honest).
Tuesday Weld astonished me in Play it as it Lays. And while the camera might not have been focused on her properly in Goodbar, I found her a nice, necessary counterbalance to Keaton's character. If I recall correctly, the mobile she gives to Keaton serves as a sort of reminder of her character long after she disappears from the film and even figures into the much-debated climax. Tom Berenger did some great work as the "kept gay".
My sister was dancing at the Washington School of Ballet (which boasts Shirley MacLaine as one of their most famous alums) at the time the two of us discovered The Turning Point and I love it to this day. So soapy and grand (who can forget the Anna Karenina number?) and that rooftop fight between MacLaine and Bancroft is truly a gay man's dream. Leslie Brown, however, acted like she needed a couple spoonfuls of Kaopectate. Surely one of the worst nominations of the decade.
Melinda Dillon approaches her performances in this era with an honesty I find refreshing. I don't begrudge her this nomination (for Close Encounters of the Third Kind) or the one that will come five years later for Absence of Malice. It's nice work that manages not to be completely dwarfed by the film's spectacular visual effects.
But Vanessa Redgrave should (and will) take this in a walk. As others have mentioned, the performance succeeds on a such a multitude of levels: the way that she allows Julia to sort of drift hauntingly in each corner of the film as a phantom, even when she's not on-screen; the believable portrayal of the earlier years of their friendship (perfect casting on the "younger" Julia, by the way); and then, of course, the brilliant tightrope of a scene in the restaurant between Redgrave and Jane Fonda where I think Fonda also does some truly wonderful work. It's hard to imagine that Redgrave has only been nominated twice since. Almost every performance she's gives has such a fine polish to it. They're almost netherworldly.
Welcome to L.A.? I'll have to check that one out.
Edited By flipp525 on 1282937210
"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