Supporting Actress Ranking: 1975

The Field: - FOUR HEARTS - A meaty pack of roles, and performances that have held up quite nicely over the years. All engaging and interesting characterizations that work to elevate their material, we have the two legendary Nashville gals, two forgotten nominees, and a winner who has attracted attention from both ends of the love-hate spectrum.

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My Pick:

Ronee Blakley, Nashville - FIVE HEARTS -

Barbara Jean is many things to many people. She's the mysterious goddess who acts as the center and soul of the story and events in which Nashville revolves. Blakley's approach to the role is simple, however her performance is anything but. She is faced with the daunting task of creating the two seperate sides of Barabara Jean; her lively, soulful performance persona, and the lost, empty sense of self she can't seem to shake off. Blakley keeps these two sides seperate from each and shows us the vast distance between both, until they collide with one and other which results in her slow deterioration of her reality. And when she sings - the would beautiful comes to mind - like an angel came down from heaven to grant us with her graceful, ethereal presence and voice. For a character who is very showy by nature, Blakley provides remarkable subtlety, nuance, and mystery. We miss her when she's not on screen. We want to know more about this creature, who she really is, what she's going through, etc. Nothing is answered for us directly, which makes Barbara Jean even more of a shining enigma. Throughout her performance, Blakley conveys a spirited, happy, smiling, and positive personality which melds together beautifully with the sadness she tries to cover up. Ronee Blakley's triumph is a fascinating, glowing, and otherwordly achievement. It's a true emotional high that resonates with you forever...
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From There:
Lily Tomlin, Nashville - FOUR HEARTS -

In what is perhaps the least showy part in Nashville's large ensemble, Tomlin still gets much deserved attention for her confident performance as Linnea Reese. Tomlin is known today as a light comedienne and has throughout her career, but her work in this film shows she does have potential for dramatic acting. Linnea has different parts to her life; wife, devoted mother, socializer, and rebound girl for Carradine's Tom. Tomlin shows us how Linnea treats each situation in her life and each emotion she feels is made palpable through her mask of a face. Nowhere is this more evident but in the "I'm Easy" scene - simply gazing at Tom, expressing so much sadness and confusion inside this woman who is open about her life, yet secretly repressed about what she really wants. It's the little moments that make up the whole, i.e. the way she looks at her children with such pride and happiness, while her husband could care less. Something interesting I read somewhere was how in the scene where after Linnea and Tom have a little hanky panky, Linnea brings her differnent selves together as they talk and she shows him sign language. Then once she leaves and Tom moves on to another girl, she seperates her selves again to out to the world. Tomlin is moving, riveting, subtle, and magical.

Brenda Vaccaro, Once is Not Enough -THREE HEARTS -

Most people have not seen this film/performance, but those who have find it to be awful in everyway possible (hey, Sage!) and find the nomination absurd beyond belief. Now I can sort of understand that, but that is NOT how I saw this performance. Vaccaro's role as the best friend/magazine editor isn't much of a role, but the actress makes her just about the only highlight of this dull, lifeless movie. She infuses the role with zest, gusto, is genuinley funny and is always a pleasure to watch. Many believe she is wooden or under-rehearsed, but I just can't see that; she's fresh, energetic, and hits all the right notes. And that voice! I enjoyed every second she was on screen. To me, Vaccaro's is most definetley a worthy nomination and I'm glad the Academy thought so too.

Lee Grant, Shampoo - THREE HEARTS -

Not many people flat out love this performance or win, and I can see why; she had superior competition, and her performance wasn't all that challenging. While I do believe that Grant is one of the best parts of her film, I can't bring myself to call it a "masterpiece" like some do. Her Felicia is an interesting, engaging creation and it's because Grant makes her one. A would give her the nomination just based off of the resturant sequence, which is unquestionably her best part or her memorably hilarious exit. Although something feels off, by her constant pouts and tics and the fact that this light script is not working with her. Mostly because she doesn't have that light charm that the other ladies in the film possess. We get some nice strokes of comedy in her line readings  ("You're a miserable human being Lester. You're not helping anybody! You're just twisting a few arms and raising money for alotta' silly sons of bitches who are all out for themselves!") and we get to see a deeper side of Felicia Carpf ("Be straight with me Lester for once in you're life."). It does hurt Grant that the part is underwritten, but she does a great job with she's given, and is a great nominee.

Sylvia Miles, Farewell My Lovely - THREE HEARTS -

A small little stock role that Miles adds wonderful texture and subtlety to. She goes from downright beaten down floozy, to upbeat and peppy. Like a flower blossoming. Miles shows us Jessie's sadness and longing, while keeping the character grounded and interesting as opposed to wild and unrealistic. Two scenes isn't enough for Miles to show her stuff, but what an impressive two scenes they are! Fine work.
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All of these ladies deserved their nominations, and my final pick for this year in general still goes to Ronee Blakley. Not a bad year at all.

Who would get your vote and why?

* To see Brenda's performance, you can rent her film from Amazon.com for only $3.00. Click here for the link.

Check out Ronee here!