ROTFLMAO! Hilarious! Gosh, I hated that little girl!Eric wrote:Agreed, but only because there was an even fatter little sausage in that line-up if I recall.
NBR Winners
LAMO!! A tie for funniest post of the month (with Akash's response to Steph's giving up boys Jolie comment).Eric wrote:OscarGuy wrote:Jennifer Hudson did NOT win by default, Steph2, and I'd like to request you not refer to her as a cow.
Agreed, but only because there was an even fatter little sausage in that line-up if I recall.
"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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Zoinks! Struck by my own weapon. Been waiting for that one for a while haven't you Sonic? :p
Wow Steph, you have no idea what you're stepping into.
Marco, thank you. I thought the world had gone crazy and people were suddenly under the impression that Angelina Jolie was an impressive actress.
Edited By Akash on 1197498060
OscarGuy wrote:1981
Mona Washbourne - Stevie (Not Nominated)
Thank God. Stevie was simply awful and I found nothing special about Washbourne's boring performance. I'm still lamenting those two hours I spent watching it that I'll never get back.
Hunt won, I think, on the style of her role. She was after all, gender-bending.
OscarGuy, sorry but I have to disagree with you on this one. Linda Hunt won the Oscar on the strength of her performance, a wonderful depiction of a man poised at a crisis of conscience. Billy Kwan is the moral epicenter in a world going to hell in The Year of Living Dangerously. You practically forget the part is being played by an actress, she's that convincing (it obviously helps that Linda Hunt isn't particularly feminine-looking). The novelty of the role might've helped get her noticed, but I don't think it's what brought her to the podium (and accompanying footstool). Others may have a different take on that win.
Edited By flipp525 on 1197495657
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My head is spinning.
In any event, Mona Washbourne should not be counted. There is no way they could have nominated her for Stevie in 1981 because the film was ineligible. If they wanted to nominate her they should have done so in 1978.
Stevie is a nice little movie about the ecccentric British poet Stevie Smith. It's essemtially a filmed stage play in which Trevor Howard as "the man" talks to the camera, Glenda Jackson as Stevie talks to the camera and Mona Washbourne as her aunt talks to the camera. It's basically a series of sketches about Jackson's comings and goings with Washbourne as her sounding board. Both actresses acquit themselves quite well within the limitations of the piece. The closest comparison to Washbourne would be Jessica Tandy in Driving Miss Lady. She's an old lady who gets older and weaker and eventually dies.
In any event, Mona Washbourne should not be counted. There is no way they could have nominated her for Stevie in 1981 because the film was ineligible. If they wanted to nominate her they should have done so in 1978.
Stevie is a nice little movie about the ecccentric British poet Stevie Smith. It's essemtially a filmed stage play in which Trevor Howard as "the man" talks to the camera, Glenda Jackson as Stevie talks to the camera and Mona Washbourne as her aunt talks to the camera. It's basically a series of sketches about Jackson's comings and goings with Washbourne as her sounding board. Both actresses acquit themselves quite well within the limitations of the piece. The closest comparison to Washbourne would be Jessica Tandy in Driving Miss Lady. She's an old lady who gets older and weaker and eventually dies.
But they are still American, and easily influenceable - and, in this case, completely wrong. You are not a Damienite, and I'm sure that deep inside you agree with me.Damien wrote:Nice to know that not only the Academy, but the New York Film Critics, the BAFTA (British Academy of Film and Television Arts) folks, the Broadcast Film Critics, the Central Ohio Film Critics, the Hollywood Foreign Press, the Las Vegas Film Critics, the Satellite people, the Southeastern Film Critics Association, the Washington DC Film Critics Association and the Screen Actors Guild are all Damienites. :p
Nice to know that not only the Academy, but the New York Film Critics, the BAFTA (British Academy of Film and Television Arts) folks, the Broadcast Film Critics, the Central Ohio Film Critics, the Hollywood Foreign Press, the Las Vegas Film Critics, the Satellite people, the Southeastern Film Critics Association, the Washington DC Film Critics Association and the Screen Actors Guild are all Damienites. :pITALIANO wrote:Well, I didn't want to say that, really, but yes, let's face it, only the Damienites.
"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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Thanks for posting the data, Sonic, but let's reign the facts in a little.
First, let's eliminate lead categories. They often have different rules in the minds of the Academy (or at least as what we've perceived).
1979
Meryl Streep - Kramer Vs. Kramer (Won)
1981
Mona Washbourne - Stevie (Not Nominated)
1983
Jack Nicholson - Terms of Endearment (Won)
Linda Hunt - The Year of Living Dangerously (Won)
This does two things. One, it shores up parts of your argument. The feat is more rare on the supporting side. But, since you've asked me to reign in my use of statistics, let's look at the individual races.
I don't know enough about the '79 race. It seems to me, though, that Streep, who already had an Oscar nomination at that point.
Nicholson was also a past nominee.
Hunt won, I think, on the style of her role. She was after all, gender-bending.
I've never seen Stevie, nor do I know anything about Washburn's performance. It would help if I knew more.
I think the argument's valid, but I still want to caution against any such "she can't lose" mentality. Cause she most certainly can lose, and at least I know I'm not alone in thinking others have the potential of winning this thing.
First, let's eliminate lead categories. They often have different rules in the minds of the Academy (or at least as what we've perceived).
1979
Meryl Streep - Kramer Vs. Kramer (Won)
1981
Mona Washbourne - Stevie (Not Nominated)
1983
Jack Nicholson - Terms of Endearment (Won)
Linda Hunt - The Year of Living Dangerously (Won)
This does two things. One, it shores up parts of your argument. The feat is more rare on the supporting side. But, since you've asked me to reign in my use of statistics, let's look at the individual races.
I don't know enough about the '79 race. It seems to me, though, that Streep, who already had an Oscar nomination at that point.
Nicholson was also a past nominee.
Hunt won, I think, on the style of her role. She was after all, gender-bending.
I've never seen Stevie, nor do I know anything about Washburn's performance. It would help if I knew more.
I think the argument's valid, but I still want to caution against any such "she can't lose" mentality. Cause she most certainly can lose, and at least I know I'm not alone in thinking others have the potential of winning this thing.
Wesley Lovell
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Mister Tee
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Just a niggling correction, Sonic: I don't think Hopkins won LA in '91 (my recollection is Nolte -- if not him, Beatty, but I'm almost certain it wasn't Hopkins).
Actually, this fine research helps explain why those of us who cling to the veteran critics' groups always include NBR in the group. We're not idiots -- we know NBR is a bunch of stodgy dilletantes who don't qualify as "real" critics. But they offer crucial ballast to what can otherwise be an elitist survey...which is to say, NY/LA/National can agree on a performance like Bill Murray's, but the fact that NBR doesn't go along tells us there'll be some resistance in old-fogy circles. Conversely, if NBR chimes in agreement, it means affection for the performance is truly widespread, and the performer's chances of actually winning the Oscar improve dramatically.
To cite one instance: coming down the stretch in 1995, Cage's Leaving Las Vegas performance had clearly, overwhelmingly amassed the most critical praise. But there was feeling the movie was too much a downer (and box-office weakling, though it got to a credible $30 million) to go all the way to an Oscar. John Travolta was quite seriously being bandied about as an alternate choice, both for his comeback the year prior in Pulp Fiction, and his popular triumph in Get Shorty.
However, the day I saw that Cage had won NBR, I knew the Oscar was his. There was no question, based on reviews, the other critics would follow suit (which they did) -- and the unanimity would make it impossible for the Academy to pass over Cage (much as they had been unable to pass on Holly Hunter two years earlier -- in another film about which old Hollywood had not been crazy).
Travolta, in the end, wasn't even nominated. Had he won NBR, things might have been different. It's a silly old group, NBR, but it has had impact over the years.
Actually, this fine research helps explain why those of us who cling to the veteran critics' groups always include NBR in the group. We're not idiots -- we know NBR is a bunch of stodgy dilletantes who don't qualify as "real" critics. But they offer crucial ballast to what can otherwise be an elitist survey...which is to say, NY/LA/National can agree on a performance like Bill Murray's, but the fact that NBR doesn't go along tells us there'll be some resistance in old-fogy circles. Conversely, if NBR chimes in agreement, it means affection for the performance is truly widespread, and the performer's chances of actually winning the Oscar improve dramatically.
To cite one instance: coming down the stretch in 1995, Cage's Leaving Las Vegas performance had clearly, overwhelmingly amassed the most critical praise. But there was feeling the movie was too much a downer (and box-office weakling, though it got to a credible $30 million) to go all the way to an Oscar. John Travolta was quite seriously being bandied about as an alternate choice, both for his comeback the year prior in Pulp Fiction, and his popular triumph in Get Shorty.
However, the day I saw that Cage had won NBR, I knew the Oscar was his. There was no question, based on reviews, the other critics would follow suit (which they did) -- and the unanimity would make it impossible for the Academy to pass over Cage (much as they had been unable to pass on Holly Hunter two years earlier -- in another film about which old Hollywood had not been crazy).
Travolta, in the end, wasn't even nominated. Had he won NBR, things might have been different. It's a silly old group, NBR, but it has had impact over the years.
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dws1982 wrote:This year's race doesn't apply. Amy Ryan has won everything so far, including three of the big four that have been announced. This places her along three other supporting actresses who've accomplished this feat in the same year: Anjelica Huston, Linda Hunt, and Meryl Streep (1979). (Mona Washbourne won LA in 1978 for Stevie, and then won the National Board and NY in 1981 for the same film, due to a strange release schedule, so I don't include her.) Not bad company.
Overall--if my Wikipedia skimming was correct--twenty performers (nineteen technically; Meryl Streep did it twice) have won NY, LA, and the National Board of Review for the same film; Out of those twenty, only three, Michelle Pfeiffer, Holly Hunter (1987), and Liv Ullmann--all in the lead actress category, where ten performers won all three--failed to translate it into an Oscar win. And looking at the three who won these three and lost the Oscar: Pfieffer was up against a longtime industry veteran in a role that, if I remember correctly, was talked about as a potential Oscar-winning one before it was even cast. And of course the film ended up as the Best Picture winner. Holly Hunter...I don't know much about the race, but I believe I've read others here mention that Moonstruck became one of those sleeper hits that everyone liked, and Cher seemed like she was on the verge of being a huge movie star, while Broadcast News lost its momentum on nominations day. Liv Ullmann--subtitles.
After reading dws's good post, I decided to look up the 3-critic's-award winners and list them from 1975 on. If I missed any, let me know.
There are a few minor statistical footnotes to point out. A few performers won on the basis of several roles in a particular year (mostly Supporting actors/actresses); a few shared a tie victory with another performer. I don't think any of that has much bearing, though. Anthony Hopkins won Best SUPPORTING Actor from NBR, but it's still a win for the performance regardless of category. I did include Washbourne, and placed her in 1981
Which gives us twenty names, sixteen of them going on to win the Oscar. Statistically, that's an 80% chance for victory.
I'm sorry to harp on the point, but if the National Board of Review is a poor indicator of Oscar success, then this is the opposite.
1976
Liv Ullman - Face to Face
Did not win
1978
Jon Voight - Coming Home
Winner-Best Actor
1979
Sally Field - Norma Rae
Winner-Best Actress
Meryl Streep - Kramer Vs. Kramer
Winner-Best Supporting Actress
1980
Robert DeNiro - Raging Bull
Winner-Best Actor
Sissy Spacek - Coal Miner's Daughter
Winner-Best Actress
1981
Mona Washbourne - Stevie
Did not win
1982
Ben Kingsley - Ghandi
Winner-Best Actor
Meryl Streep - Sophie's Choice
Winner-Best Actress
1983
Shirley MacLaine - Terms of Endearment
Winner-Best Actress
Jack Nicholson - Terms of Endearment
Winner-Best Supporting Actor
Linda Hunt - The Year of Living Dangerously
Winner-Best Supporting Actress
1985
Anjelica Huston - Prizzi's Honor
Winner-Best Supporting Actress
1987
Holly Hunter - Broadcast News
Did not win
1989
Michelle Pfeiffer - The Fabulous Baker Boys
Did not win
1991
Anthony Hopkins - The Silence of the Lambs
Winner-Best Actor
1993
Holly Hunter - The Piano
Winner-Best Actress
1995
Nicholas Cage - Leaving Las Vegas
Winner-Best Actor
2006
Forrest Whitaker - The Last King of Scotland
Winner-Best Actor
Helen Mirren - The Queen
Winner-Best Actress
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