Supporting Actress Ranking: 1992

The Field:
- TWO HEARTS - I don't know what it is, but 1992 was a rather underwhelming year based on the batch of ladies given. All the way back in May, I did this year for StinkyLulu's smackdown and I couldn't believe how freakin' bored I was! With some exceptions, I found this field to be boring, unexciting, and drab. So much seriousness and not much zest happening here. I'm not saying that I prefer lightweight, fluffy work as opposed to serious acting, but with these five I can make an exception.
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My Pick:

Marisa Tomei, My Cousin Vinny - FIVE HEARTS -

Next to Binoche's triumph over the favored Bacall in '96, Tomei's booed victory was the biggest upset Oscar had experienced in the '90s. Unknown Italian-American actress emerges in her breakout role in one of the years biggest sleeper hits, makes her mark on pop culture ("oh yeah, you blend"), and takes home the Oscar that was expected to go to Judy Davis. In fact her nomination (which came out of nowhere) feels more shocking than her win. It's just that she wasn't nominated for any other award (besides MTV), and she gets nominated, then WINS the Academy Award! Now Oscar makes dumb choices in this category (Jolie, Z. Jones, Hudson, etc.), but here when everyone was expecting one of the other four "serious" actress' to win, Oscar did right by choosing Tomei. Her role as Mona Lisa Vito is hardly a role at all; rather a stock plot device that works more for the movie than the character. In the hands of a lesser actress Mona Lisa would have succumbed to the cliched pitfalls set out for her, but Tomei is vibrantly fresh in the part as the auto-mechanic know-it-all. Throughout the film all Lisa wants to do is help her bo Vinny (a hilarious Joe Pesci) to win a court case in a fish-out-water situation. Providing depth, humanity, real humor, and warmth to a part that wouldn't require it, Tomei elevates the entire film and goes way above the lightweight material at hand. She's sassy, smart and sexy - what's not to like? And of course, Tomei does what I love best about supporting performances; supporting the lead(s) and the film itself. She is able to both support the film, and end up as the brightest aspect of it. It's committed, grounded, and delightful work from a dedicated, hardworking and talented actress.

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From There:

Judy Davis, Husbands and Wives -THREE HEARTS -

I have liked, not loved, Woody Allen's signature ladies (you know 'em when you see 'em) and one of the most iconic with film lovers is Judy Davis' role as a freakish housewife. In fact, most of the online film community seem to have an obsession with this performance (that might be extreme, but it's close), and I get the love, but I am not on board with it. The role of Sally has "Oscar" written all ova' it; Woody Allen, showyness, and Woody Allen. Perhaps my lack of love and appreciation for this performance has to do with the fact that Husbands and Wives (while occasionally witty and funny) feels slow, pretentious, and dry. The problem I have with the performance is that it never really feels human, but almost always a caricature. I just never felt anything human emerging from the character. But, Davis does provide the film with fresh air, and gives it some life with her never-ending energy. In other words, she is one of the hightlights of the film and is enjoyable to watch on screen even though she does so in a not so modest manner occasionally. I like her work and it is definetly a worthy nomination, but I would have also thrown in a nom for the overlooked Juliette Lewis in the same film who I found to be very interesting.

Joan Plowright, Enchanted April - THREE HEARTS -

Yeah, it could be seen as a standard nom for a British actress (Judi Dench, anyone?) that was thrown in and looked impressive. Plowright's work isn't particularly memorable or special by any means, but her performance is layered with a sadness that comes through in the very end. She plays the old stubborn sausage who at first is very closed off from the world, and eventually her arc reveals a person who can longer ignore what is true and real to the world and join in on what she's been missing. Solid, fine work - but I would have loved if she got a nom for her witty, hilarious performance in Bringing Down The House. Given the weak year that was, she coulda been a contender.

Miranda Richardson, Damage -TWO HEARTS-

A perfectly okay performance, that hardly uses Richardson. I'm tempted to draw a parallel between this performance and that of Beatrice Straight in Network. Both are suffering wives, who practically steal the show with their emotional breakdowns. However, Richardson's big scene etches a bit deeper and unlocks some of those ominous demons deep within.

Vanessa Redgrave, Howards End - ONE HEART -

ZZZzzzzzz....This film bored me to death. Redgrave's part is actually very important to the plot and even when she's not screen she lingers, but I was honest to God so underwhelmed by this dry performance.

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My 1992 Line-Up:

My Pick: Marisa Tomei, My Cousin Vinny

                Juliette Lewis, Husbands and Wives

                Judy Davis, Husbands and Wives

                Michelle Pfiffer, Batman Returns