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七月 31 2016

Smackdown '77: Melinda, Leslie, Tuesday, Quinn, and Vanessa Redgrave

Presenting the Supporting Actress Nominees of '77。A mother with extraterrestrial problems, a highly neurotic swinger, a wealthy political activist, a precocious daughter, and a timid ballerina.



如果人物不是很典型的这段时间,入围形成是职业生涯辉煌的一个熟悉的组合。考虑开槽:哦,看,还有的儿童演员插槽的女配角类是有名的要奎恩卡明斯;周二焊接胜低估持久的人才点头;没有典型的名单是不完整的动量一新望评论界的宠儿,其在1977年梅林达·狄龙(她曾创造了“亲爱的”的作用Who's Afraid of Virginia Woolfon stage but didn't get to do the movie and was finally making film inroads via her role in the previous year's Best Picture nomineeBound for Glory); Finally, you have to have a current Oscar darling with considerable prestige and fame (Vanessa Redgrave) on hand in any given year. Oops, that's only four. The last type is more rare but not unprecented. The final player fell under what you might call the "novelty" slot (Leslie Browne). When the latter happens it's usually either foreign-born non-actors or famous musicians but in this case it was a soon to be principal dancer with the American Ballet Company.


Here to talk about these five turns are our panelists:Mark Harris(作者of "Pictures at a Revolution," and "Five Came Back"),盖伊旅馆(Variety, The Observer),尼克·戴维斯Associate Professor of English and Gender & Sexuality Studies at Northwestern),萨拉黑麦卡洛克(Rearcher, Translator, Writer) and your host纳撒尼尔 - [R(Editor, The Film Experience).

And now it's time for the main event...


LESLIE BROWNE as "Emilia" in该Turning Point
Stats:该n 20 yrs old, debut film but she only made two more. (51 minutes of screen time or 43% of running time).

尼克·戴维斯:Because this nomination gets so much flak, I feel oddly protective of Browne, even though I’m not bowled over, either. Admittedly, when I focus on the performance as such, I see how tentative and inexperienced she is. Her Emilia is not as personally or artistically formidable as the script suggests. But when I sit back and enjoy the movie, I buy her doe-eyed adolescence and nascent ambition completely. Inexpert as she is, she plausibly serves the film.♥♥

Mark Harris:Judging this coattail nomination seems unfair to the earnest Browne, an accomplished dancer and non-thespian cast by her godmother’s husband, Herbert Ross. The film brims with actresses—Bancroft, MacLaine, Martha Scott—who know how to seize their moment (and the haute-soapy, punitive material is basically a two-hour excuse for moment-seizing). It’s not Browne’s fault that she’s too diffident and vocally untrained to do it, especially since Ross gives her little help, the camera doesn’t want her the way it wants Baryshnikov, and the script treats her as a repository of other people’s ambitions. Nice moment when she’s dancing drunk, though.

盖伊旅馆People blithely refer to “just playing yourself” as if it were easy; it's not, which comes across in both the most and least persuasive gestures of ballerina Browne's alternately nervy and serene self-portrait. She's best, in fact, when acting outside herself: there's a foggy-regal diva's presence, a genuine commitment to character, in her divisive drunk scenes. Elsewhere, Emilia's nervousness within her own skin is hard to tell apart from Browne's: an effective outcome of casting, but perhaps not prize-level acting♥♥

萨拉黑麦卡洛克:Browne’s is the only role out of the list whose character has her own storyline. She’s a young woman who, as Emma puts it, “wants both,” but can’t yet grasp that the world -- especially that of the New York dance world -- is harsh and wants her to choose. Browne’s depiction of a young girl borders heavily on the naive and wide-eyed, but its her interactions with her mother or Emma that really deepen our understanding of her.

纳撒尼尔 - [R:什么是元瞬间在电影,该铸造/性能。大部分的电影作品,正是因为她的局限性,尤其是超级淫荡“你在这里跳舞,不作表情所有的地方”的场景。艾米利亚比一个明显的容器和催化剂为她交战妈妈少一个真实的人,反正。这种非演员有与线读数麻烦真实点,但她偶尔的惊喜与她精细的醉俄罗斯发挥作用位。♥♥

Reader Write-Ins巴雷什尼科夫,当问及,堪称电影莱斯利·布朗的舞蹈“好”。我希望我能说更多的布朗的存在......" -Joel M.(读者平均:♥½

演员earns 9½❤s

奎恩·卡明斯为“露西麦克法登”在该Goodbye Girl
概要:A precocious child gets a crush on her mom's new actor roommate but worries that he'll leave, just like the other surrogate dads did.

尼克·戴维斯:My runner-up. I’ve rewatched several Neil Simon adaptations recently, thus refreshing my memory of how difficult it can be to sell his quippy, frequently overworked dialogue or to hold onto your own personality and sense of humor without bending to his. Maybe I’m over-crediting a child performer, but she seems like a total natural with language that decidedly isn’t. Sometimes just being herself, sometimes deliberately goading two adults, I buy her wise-assery and her softening toward Elliot.♥♥♥

Mark Harris:Cummings owned wise-beyond-her-years roles like this in the late ‘70s largely because, as Marsha Mason tells her, “You were never 4½, you were born 26.” Too often, Neil Simon writes her as a precocious quip machine. But even with not-fully-human material, she’s genuinely good. I love her muttered “Jesus” the first time she encounters Dreyfuss, and her teary resistance to him in their carriage-ride scene feels truly kidlike. Her crisp professionalism is in sync with the adults, and her line readings are naturally funny, not over-coached. Plus, she never pushes too hard; in this film that’s something of a miracle.♥♥♥

盖伊旅馆说:“你出生26卡明斯的屏幕上妈妈;that appears to have been her lone performance note. Why, soon after honoring Tatum O'Neal's sly, subtle interleaving of adult and juvenile impulses, would voters give this kind of declamatory cuteness a pass? Cummings has pluck; she's no Hollywood kidbot. But she projects no clear idea of who Lucy is, because Neil Simon doesn't either: she reels off one poised putdown after another, yet needs basic adjectives continually defined for her.


纳撒尼尔 - [R:Despite my allergies to child actors, I confess I only absently sniffled a few times. She’s slightly more natural than the leads. Cummings ably handles that most sitcomy of roles, the wise child with an old spirit. But this is not exactly a challenge and she can’t sell the faulty product that is her character’s about-face toward film’s end when该Goodbye Girl需要的冲突。也许我与心太小气了?不错,但...♥♥

Reader Write-InsI can’t possibly overstate my awe that a child performer in a script this relentlessly “quirky” is able to so effectively play against the grain as everyone else around her succumbs to it, in front and behind the camera." -尼古拉斯·T.(读者平均:♥♥½


MELINDA DILLON as "Jillian Guiler" in第三类接触

尼克·戴维斯:该re’s something differently but comparably ethereal about Dillon and Redgrave. Gazing into their eyes, remarkably blue and emotionally transparent, you feel you’re touching some Other Place where both actresses live. They are pleasures to observe. But once Redgrave has you, she starts sculpting, specifying, challenging your impressions. Dillon, by contrast, can seem vague. She captures Jillian’s basic arc without adding much. And in Barry’s big abduction sequence, she looks like she’s hitting marks on a complicated set.♥♥

Mark Harris:什么是欢乐回访;狄龙有着渴望,抽象/郁闷的方式是我一直很喜欢(它更在蒸馏水Absence of Malice)。也就是说,这仍然是一个令人惊讶的提名,one that could as easily have gone to costar Teri Garr. Dillon’s work as a quietly frazzled, apparently newly single mom (a warmup for Dee Wallace’sE.T.character) doesn’t have a showcase scene; maybe she got in because smart voters granted her co-credit for the sweet “performance” of 3½ year-old Cary Guffey, and because of her slightly otherworldly quality, which suggests that maybe the aliens didn’t pick her kid by accident.♥♥♥

盖伊旅馆狄龙的是不是在这个阵容由长粉笔最好的性能,但它或许是最足智多谋。递给定义超出了她的母性角色一点 - 频繁的障碍,我敢说,对斯皮尔伯格的电影的妇女 - 她静静地,警觉变成吉利安的奇怪脚本一心一意奉献和朦胧,半催眠本能的组合成一个引人注目的悖论性格:她在一次在她的知识驱动,通过绘制空白♥♥♥


纳撒尼尔 - [R:Spielberg’s infamous “wonderment” closeups rarely get better than Melinda’s. Then again they’re not usually performed with such a mix of primal feeling and relatable opacity, Dillon empties her face out so we’re not quite sure —Gillian also isn’t— what she’s feeling. Fear and wonder and confusion and curiosity are all projectable possibilities. She’s quite good but I’d argue we lose any initial richness in the final third as Spielberg’s own awe starts hogging all the close ups.♥♥♥

Reader Write-Ins狄龙做了很多情感上这个角色是有点落后...." -Eoin(读者平均:♥♥¾


VANESSA REDGRAVE as "Julia" in朱莉娅

尼克·戴维斯:Let’s acknowledge how unplayable this part is, with LillianandZinnemann in total thrall to Julia as radiant paragon. Camera and costar just gawp at her, while she assumes ever more mythic proportions. But Redgrave adds so much texture: glinting self-satisfaction in early scenes; humiliation in the hospital, with facial, bodily, and vocal expressivity severely constrained; and delight but also sobriety, pragmatism, even some gritty impatience in the pub sequence. That exquisite passage elevates the whole film.♥♥♥♥♥

Mark Harris:的Avid,出奇的平静,浪漫的,强大的,善良,热情的,有魅力的,高一个头,比其他人,和一个头长得比这往往过于高雅的电影,雷德格雷夫仍不可磨灭的,一个女配角金标准。那家餐厅的场景,她的伟大的时刻,是一个表演课。有慷慨和智慧如何Zinnemann和方达腾出空间给她,几乎是身体,仿佛她的福音理想需要空间辐射。Rewatching,我在她怎么一点在电影感到震惊;我记得她加油吧。这正是电影中的有关记忆被困扰性能必须完成的任务。♥♥♥

盖伊旅馆Being handily the best actor — irrespective of role — in a nominee field isn't always a case for the gold. But Redgrave trounces her competition here, in an assignment that is far the trickiest of the five. As the title character and overseeing conscience of this dusty drama of moral duty, she's an elusive pentimento-concealed object of fascination, yet sensually and intellectually vivid enough to power audiences through a quest that unfolds mostly in her name rather than in her presence♥♥♥♥

萨拉黑麦卡洛克:该film’s namesake, played by Redgrave, features her for just a few minutes out of the two-hour running time. The dynamic between her and Fonda feels so out of place, mainly because their relationship has failed to flourish on screen. It’s hard to even call this a supporting performance -- let alone one worthy of award-winning recognition -- because Redgrave’s Julia is mostly fuel for flashbacks -- making her less of an active player in this film..♥♥

纳撒尼尔 - [R:如何形容,甚至什么她完成的,跑来跑去的形象塑造和她的两个抗离心力和离心力的文本,环;绘制电影到她的心却依然推着我们走令人费解。她是矛盾的一个特别铆接质量,即暴力怒目而视的理想主义牵手了少女的感情,在电影的核心序列。在Vanessa的激烈和bracingly抗多情转星,她朱莉娅对莉莲爱复杂一点点优越感和裸不耐烦。♥♥♥♥

Reader Write-Ins完善;这本来是很高兴她有此类别中一些实际的竞争。" -克雷格(读者平均:♥♥


TUESDAY WELD as "Katherine" inLooking for Mr Goodbar
概要:该swinging sister of a an equally promiscuous schoolteacher moves from one addiction to another: new men, pills and booze, group therapy
Stats:那34岁的时候,19片,第一个也是唯一提名。(13½minutes of screen time or 10% of the running time).

尼克·戴维斯:Weld is so singular—ebullient but acidic, sunny yet corrupt—that her movies were usually built around her. She’s hard to assimilate into someone else’s vision or story. Moreover, her role inGoodbaris stranded between a showcase part and an underwritten distraction. Within those limitations, her work is odd but intriguing. While Keaton’s Theresa favors a deadpan attitude toward high-risk behaviors, Weld’s Katherine performs her feather-ruffling but fundamentally safe role in the family with maximum histrionics.♥♥♥

Mark Harris:焊接在这个相当可恶的文化产品的功能是作为一个警世故事。“我就麻烦了,我是真正的麻烦,”她八分音符,喝酒,啪丸,策划她的流产,哭泣,滑冰变得歇斯底里,所有在两分钟内经过我们见面。“我很抱歉奠定这一切你,”她告诉黛安·基顿。你不说!天哪,你认为事情会好起来的她?This is big, showy, leave-it-all-on-the-field acting; maybe Weld does too much, but she’s resourceful and idiosyncratic enough to make you wish the censorious script had been more interested in her character.♥♥

盖伊旅馆焊接是少这个躁动不安,jangly电影比我还记得:她肯定让她场景算,在某些方面可能观众偶尔发现霸道。即使在她最尖锐的,但是,我感觉到她的属性是个精明的音符表现凯瑟琳的歇斯底里和自怜,在尖锐的对比,我们的女主人公在增量的尝试,几乎看不见的内部崩溃。和我爱的blitheness - 仍然是一个行为,而是一种更优雅的一个 - 与她最终还是穿她的放荡♥♥♥

萨拉黑麦卡洛克:One quick blink of the eye, and there is Weld. Blink again, and she’s gone -- this is the best way to qualify her time on screen. When she is there, she’s either warning her sister of her lifestyle choices; suffering the consequences of her own actions; or she’s simply there to pacify the audience in between scenes of Theresa’s slow self-destruction. She could have been more than this had the screenplay made more room for her.

纳撒尼尔 - [R:焊接和基顿捕捉独特遥远的亲密关系,你可以在谁享受他们的条块支持角色扮演,以领先其他兄弟姐妹有时会发现。凯瑟琳部署“Gilbatrar的岩石”作为口头禅的方式来形容她同样凌乱的姐姐感觉像另一个妄想癖。是表现得狂躁的电影已经有这么多的抽动?也许。但焊接巧妙调节下来每当凯瑟琳暂时找到了一个新的修补程序(男,治疗等)。♥♥♥

Reader Write-Ins我承认稍微偏向有利于电影本身,这不公正湮没无闻得益于安妮·霍尔。But Weld nails this role and is as compelling as Keaton" -保罗(读者平均:♥♥♥

演员earns 15 ❤s

THE SmackDown的赞同。

Congratulations Vanessa! Again.

Would you have chosen similarly, dear reader?Want more?同伴播客is available (two 40 minute parts) in which we flesh out some of these thoughts and discuss 1977 in more depth.So listen in

Thank you for attending!

Previous Smackdowns ICYMI:1941年1948年1952年1954年1964196819731979198019891995and2003。(Before that 30+ Smackdowns were hosted@ StinkyLulu的旧网站。)

NEXT UP:1984 is our 'year of the month' so the next Smackdown is on August 28th, 2016 looking back at that film year as well as its Supporting Actress nominees (Glenn Close, Lindsay Crouse, Dame Peggy Ashcroft, Geraldine Page, and Christine Lahti)

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1977 such riches in supporting,my list only keeps 2 from this roster my winner Redgrave and Weld who is meant to be a whirlwind in and out of the film as that's how she lives life within a whirlwind.


Joan Plowright in Equus
Lilia Skala in Roseland
Joan Blondell in Opening Night

Why couldn't they have tossed Martha Scott in The Turning Point in their instead of Browne who is just a vacuum Scott makes all her scenes worthy and let's us know in her line readings her relationship with everyone.

Redgrave is simply one of the best winners ever.

七月y 31, 2016 |Unregistered Commentermark


七月y 31, 2016 |Unregistered CommenterJono

Fascinating analysis as always from all. In this weak line-up, despite the presence of three very fine actresses, I wouldn’t have expected any other outcome though as great as Vanessa is she would have been my runner up had Joan Blondell been rightly nominated for Opening Night. Redgrave would be the only one of this five who would make my own ballot were I able to pick. Mine would be:

Teri Garr-Close Encounters of the Third Kind
Be that as it may this is my take on the five in the running today.

Leslie Browne-The Turning Point-Not a complete blank slate, she’s amusing during her drunk scene and she dances beautifully, but as close as possible without actually being just that. Her voice is flat and without expression and her acting wooden. A complete tagalong nomination. 1 heart.

Quinn Cummings-The Goodbye Girl-She’s cute and fresh the way movie kids often are that bares little relation to how children are in the real world but she’s hardly extraordinary. She peps the movie up with her presence but a nomination for that is out of all proportion with her contribution. 2 hearts.

Melinda Dillon-Close Encounters of the Third Kind-She does wonders with a part that asks little of her but to portray anguish at various levels. Her strongest scenes come when she and Dreyfuss are on their trek to the mountain and as she sees it for the first time her eyes full of liquid yearning for her lost boy. Because the role offers such a limited scope, despite what she does with it, it’s not really an award worthy part but of this group she gives the second strongest performance. 3 hearts.

瓦妮莎·雷德格雷夫-Julia-Rewatching the film for this I was struck by how brief her role is. Her presence hangs over the film so heavily, due to the force of her personality, but she really only has bits and pieces and her one spotlight scene in the café. She is completely present, her eyes convey volumes when the camera turns her way I just wish there was more of her in the film to flesh out the performance. She does the most she can with the role but the part is more an ethereal ideal than a person. Still of the nominees she’s the clear champ. 4 hearts.


I’m going to go into a little depth here. What an odd nomination. Viewed now it would seem to be a career nod for a respected actress, though always a purposeful outsider, who with great design eschewed big time recognition. But she was only 34 at this time and though it didn’t turn out that way it would have seemed she had decades more time to secure a nod for a real showcase role. Perhaps it was an acknowledgement that the Academy had erred in bypassing her for truly brilliant previous work in Pretty Poison, A Safe Place and Play It As It Lays. An amazingly versatile talent who must hold the record for the number of roles she refused that were great triumphs for other actresses. She turned down Bonnie & Clyde, Elaine in The Graduate, Lolita, True Grit, Norma Rae, Cactus Flower, Bob & Carol & Ted & Alice, Rosemary's Baby, the 70's version of The Great Gatsby, Polanski's Macbeth, The Stepford Wives and The Rocky Horror Picture Show for various reasons but mostly she’s said because she felt they would make her too famous and rob her of her privacy. What I find most impressive about that is considering the wide variety of actresses cast in those roles she would have made sense in all of them while the others would not. For example could you see Dyan Cannon in True Grit or Kim Darby in B&C&T&A? No way but Tuesday yes. A wonderfully idiosyncratic actress.

七月y 31, 2016 |Unregistered Commenterjoel6

Wow, totally agreed re: those who mention Joan Blondell in Opening Night. I only saw that for the first time 5 years ago, and it hit me like a train. I only knew her from Busbee Berkeley spectacles. What a film.

七月y 31, 2016 |Unregistered CommenterChristopher


Can't wait for future smackdowns!

七月y 31, 2016 |Unregistered CommenterAndrew Carden


That said, at least I know to make it a point to move Julia to the top of my Netflix queue (if it is available, natch)

七月y 31, 2016 |Unregistered CommenterPoliVamp

凡妮莎·雷德格雷夫将赢得奥斯卡在她唯一的一只猫egory without a diversity problem. So fitting of her politics.

七月y 31, 2016 |Unregistered Commenter/3rtful

Will there be a podcast? This would be an interesting year to talk about in general. And I am missing the podcasts in general.

七月y 31, 2016 |Unregistered CommenterPeter C


七月y 31, 2016 |Unregistered CommenterMarsha Mason


七月y 31, 2016 |Unregistered CommenterCarmen Sandiego

Peter C - yes, as I said at the end of this article, the podcast for this should be up tomorrow .

七月y 31, 2016 |Unregistered CommenterNathanielR

Joan Blondell outshines Redgrave to me.

七月y 31, 2016 |Unregistered Commenter肖恩·凯西

Thank you for studying the ladies, but has anyone the slightest idea why Jason Robards won his second consecutive Oscar over Peter "Equus" Firth, Obi Wan Kenobi, Misha and Maximilian Schell. Did anyone see that coming back in 1978?

七月y 31, 2016 |Unregistered CommenterFrank JP

I'm an idiot and stopped reading past the performance comments lol, sorry. Yay for the podcast return!

七月y 31, 2016 |Unregistered CommenterPeter C

Actor & S/Actor were bad categories that yr.It's Guinness for me.

七月y 31, 2016 |Unregistered Commentermark

多么美妙的瓦妮莎·雷德格雷夫赢得了得心应手当时和现在 - 和一些不错的高分了。我看到这些影片早在一天,但没有时间重新观看此。

Leslie Brown was just too insipid, but looked the part. **
Quinn Cummings I remember as being cute & not as good as Jodi Foster would have been.**
Tuesday Weld didn't make that much of an impression on me **
梅林达·狄龙闪烁着母性激烈 - 她生动的印象。***

不能等待播客 - THX。

七月y 31, 2016 |Unregistered CommenterLadyEdith


Quinn Cummings The Goodbye Girl

像接触的电影是永远不会concerned with its human characters, creating interesting back stories or character arcs for the actors to play. It's about the spectacle and the entertainment value - aliens are coming down to earth in spaceships! The human characters are essentially set pieces to move along the fancy effects. And Dillon, as a mother whose son is abducted by the interstellar visitors, seems to have a lot to work with in theory. But she curiously doesn't really seem that worried or concerned about her son's disappearance. Never really getting that big dramatic scene where she breaks down over her loss. And then she spends most of the film tagging along behind Richard Dreyfuss with nothing to do. When she's finally reunited at the end with her child, Dillon plays the scene with such a curious mix of indifference and contentment that you wonder if it's revelatory to see it played in an atypical manner or just odd not to play basic human emotions. I'm going with the latter...♥♥

As the titular Julia, a wealthy American heiress living in occupied Germany right before the start of WWII, Redgrave's character is often the subject of discussion, her name on everyone lips and almost consuming the mind of Jane Fonda's Lillian Hellman throughout the course of the meandering film. The shadow of Julia looms large over the film. So in casting an actress like Redgrave in the role, whose singular presence on screen has always held a gravitas and earthy charisma, most of the work has already been done. But the film relies too heavily on our knowledge of Redgrave as a performer without utilizing her as fully as it should. It's essentially an entire performance that consists of one scene in the film. As the would-be saint, Redgrave draws us in by playing Julia not as an ideal, but a gritty, clear-eyed fighter. Doing what she does not because she is looking for canonization, but because it's the only logical choice she has. Redgrave makes the most of her limited screen time, but it just makes you long to see what she could have done with more. ♥♥♥

Tuesday Weld Looking for Mr. Goodbar
When Kubrick was casting his film adaption of Nabokov's Lolita, his first choice for the young nympho was Tuesday Weld, who started drinking at 10, tried to commit suicide a year later and as a pre-teen had already had affairs with much older men. Weld turned him down saying she didn't need to play Lolita because she already was her. So what better actress than Weld to cast in a film that explores the sexual awakening of a woman (played by Diane Keaton) as her guide to a new world of multiple lovers, swingers, and where watching pornographic movies with a group of friends is just a regular weeknight. Weld, as Keaton's world-weary older sister Katherine brings that Lolita backstory by virtue of her celebrity, bringing a twisted meta dynamic to her character. But apart from an early bedroom confession about contemplating an abortion and a wistful car conversation that allows her to shine in her effortlessness, Weld drifts in and out of the film without really bringing anything of substance to the film as a whole. The nomination more an honor for Tuesday Weld, the fascinating star and not anything she does as an actress. ♥♥

七月y 31, 2016 |Unregistered Commenterabstew

YAS VANESSA!如此美丽和辐射的朱莉娅。最好的获胜者也曾海事组织。
Not full 30 hearts tho huh?
Is stinkylulu not attending these smackdowns anymore?
It pains me knowing that Baryshnikov is an oscar nominated actor, while Donald Sutherland is not

七月y 31, 2016 |Unregistered Commenter渴望

Frank JP -- this is one of the only years where I thought "maybe Supporting Actor would be just as interesting" because it's such a mix of good stuff and complete headscratchers. I do not understand the nominations for EITHER of the Julia men at all and I mostly like that movie. And Barysnikov's nomination I only get in terms of "dear lord he is hot" which is not something that usually happens for male nominations though it does sometimes for female nods.

Abstew -- i love what you say about Dillon. That opacity is what i find most interesting about the performance because otherwise is there a character there at all?

PoliVamp - i dont think that's strange. 1995 was super exciting to do because it was so close (and people pretty much loved most of the performances).

Jono -- I mostly try to steer clear of the 00s because they're so recent and it's hard to do a retrospective without some hindsight. But IF we do one soon I might go with 2004 or 2001 just because I'm not sure what the outcome would be.

七月y 31, 2016 |注册批评家NATHANIEL [R

人们不会在3个女的和Lisa KREUZER在美国的朋友提西西·史派克,2个表演难忘的居住可能被认为领先,但实际上是支持,IMO的角色。

七月y 31, 2016 |Unregistered CommenterDaph

I've only seen Cummings' and Dillon's films, and it's been years since I've seen either. I worried Cummings would be unbearable, but she wasn't. I was rooting for her more than anyone else in the film, so she must have been likable.

And Dillon's role I just remember being severely underwritten. Or maybe more of her scenes ended up on the cutting room floor (but I kind of doubt it).


七月y 31, 2016 |Unregistered Commentercash


I didn't find this lineup very inspiring. I couldin't focus on Weld or Cummings, not when Keaton is giving her best performance and Mason and Dreyfuss work so well together. They were 2nd and 3rd wheels. I like what Redgrave and Dillon did with their underwritten roles. I honestly might have voted Dillon to win since I liked her movie best.

七月y 31, 2016 |Unregistered CommenterTom


Redgrave would be my winner, of course, and Nathaniel's write-up more or less captures everything I feel about this tour de force. In fact, ever since seeing this performance, I've demanded at least one "especially riveting mass of contradictions" in Every Single Film I see. And this is why every other performance by every other human being has been a faint disappointment ever since... (This is only partly a joke.)

也算我一个琼Blondell-in-Ope的团队ning-Night as first-runner-up.

七月y 31, 2016 |Unregistered Commentergoran


With that said, I love the write-ups, and all of you write so eloquently about this performances. Great job!

August 1, 2016 |Unregistered CommenterBVR


P.S. We're still doing 1963, right?

August 1, 2016 |Unregistered CommenterPeggy Sue

I saw朱莉娅在2009年,当时还是与雷德格雷夫的职业生涯令人难以置信的不熟悉和清楚地记得在影片的结尾想:哇,瓦妮莎·雷德格雷夫不仅是一个伟大的演员,但也是最神秘的一个。

August 1, 2016 |Unregistered CommenterYavor

佩吉苏 - 1984年在8月。1963年九月。

August 1, 2016 |注册批评家NATHANIEL [R

纳撒尼尔 - 你的瓦妮莎Blurb的是不可思议的。钉这么难。

August 1, 2016 |Unregistered CommenterHayden W.

考虑到纳撒尼尔没有张贴他平时周末票房更新,可我劫持这次谈话谈这个year's supporting actress race and how Kathryn Hahn in坏妈妈needs to be on everyone's short list?

August 1, 2016 |Unregistered Commenter特洛伊H.


Have you ever been or met a 10-year-old New Yorker from the 70s? Quinn nails that particular smart-alecky character without the irritating air most precocious children in films have. Also, many dismissing her performance forget that her shoulder is the one her mother cries on when another man says goodbye, hence parenting her parent. So, given that history and her having to grow up fast, it makes perfect sense that she would grasp and deliver with confidence the very adult vocabulary of Neil Simon.


August 1, 2016 |Unregistered CommenterNewMoonSon


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