The Field: -Three Hearts - Two rotten eggs, two gems, and one fair player. 2002 was the last real good year for films (besides 1999), but this lineup (all with talented ladies) could have been a great year for Supporting Actressing if work had been stronger and nominees had been replaced. Not as bad as the year after, but a tad mediocre.
~~~~~~~~~~~~~~~~~~~My Pick:
Streep's film career in the 2000's is something to behold; taking new risks in roles and acting at an older age, and still getting Oscar nominations for them. Always known for her precise, calculated, actorly performances in a span of thirty years, Streep's masterclass achievement as Susan Orlean is proof that she's still capable of turning in fresh, vibrant characterizations so late in the game. Orlean is a woman who has sifted through her mundane writing career, marriage, and overall life. She doesn't even seem to realize all of this because she has always gone with the flow, instead of following her own path. But once Susan meets John Laroche (an equally flawless Chris Cooper) her entire life begins to shift. She starts meeting up with John because he is the topic of her latest piece of journalism/book. John's a character who looks at life as a beautiful landscape of posibility, and is looked upon as a compelling enigma by Susan. Streep fully conveys Susan's quest to unlock her most inner desires and passions, underlied with sadness, and does so with haunting, humane nuance. Susan now realizes that she has not been living life to the fullest, and for once experiences life and all its beauties. She finally feels passionate about something, and feels alive like she never has before. Her rappaport with Cooper is electrifying and magnetic, and both find love and happiness within each other - and to see Streep's Susan evolve from a hollow, cardboard creation to blossomed flower is fascinating beyond belief. Her two standout scenes include the colorful, imaginative dial tone scene, and during the climax at the swamp. In the dial tone sequence, Streep makes psychedelic hysteria seem almost a natural state of mind, and once her lover has been killed Streep allows Susan's new persona fall to reveal her true sadness ("I want my life back...everything got so fucked up") - and it's wrenching to watch. Some of the best work the category's seen in years.
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Also My Pick:
Julianne Moore, The Hours - Five Hearts -
Moore's Laura Brown provides her artsy-fartsy film with a level-headed, fresh, unpretentious anchor which manuevers the proccedings with swift percision. I consider Moore the soul of the film, because she is the essential link between these three woman and their lives. Laura's arc is actually very simple to follow; artfully contructed and powerfully expressive. The Hours is something I would call an actor's field day, because the script has the actors act like crazy - basically the whole project has Oscar written all over it. Laura is perhaps the most engaging, compelling character in the film and most of the credit for that goes to Moore's absorbing performance. In one day, Laura begins to see the constraints and realities of her life flash before her eyes. Finally confronting her unhappiness, she's now more confused both mentally and emotionally. She loves her son and husband, but there's a missing piece to the puzzle of her life. Her deterioration of the way she views her surroundings is heartbreaking, and eventually decides that she can no longer go through life with the pain. She finally sees her life laid out in front of her, and realizes that she really does feel suffocated by her role in the world, after trying to mask it for years. Moore's subtle performance lets us explore this woman's tortured psyche, and lets every emotion, feeling, and thought wash over her face like a wave of desperation. She holds back and invites us in. Through careful nuance, Moore shows us each part of Laura's life and the different ways she treats each situation, and makes them all click without ever keeping us disconected. Her final monoluge is beautiful, and that one moment where Claire Danes walks over and hugs her and the way she responds, sends goosebumps up my arms and a knot in my throat. A performance for the ages.
Queen Latifah, Chicago - Three Hearts -
First of all, I love the Queen; she has a natural appeal as a dramatic actress and has the timing of a comedic one. It saddens me that she isn't given heavier material to work with because she is capable and willing. Her role in Chicago as the sassy matron of murderess' row isn't really a great role at all. The part is just underwritten, but Latifah makes Mama an interesting, memorable creation. She's always in control of the character and knows this woman and her motivations. I often think of her like I do Arden in Mildred Pierce, where an actress makes something special out of a small throwaway role. Her big single musical number is delivered with an infectious toe-tapping zest, where she makes use of her lung power and singing talent. Funny, subtle, engaging - Latifah's is a definite worthy nomination.
Catherine Zeta-Jones, Chicago - One Heart -
What Jones misses completley in the part is finding a way to weave her character into the rest of her surroundings. During the scenes where Roxie steals the spotlight, Jones makes Velma even more disconnected from the proceedings when we are supposed to really connect to the character. Never bringing to life Velma's flaws, fears, and insecurities. It's as if Jones doesn't know which way to steer her characterization - she should do this or that - and let me tell you, she steers in the wrong way and crashes hard. On top of that she lacks the gusto, zest and pizzaz that Latifah and Zellweger have to really make something out of the role. Sure, Jones' footwork and vocals are top notch and she's a real firecracker when preforming, but that doesn't equal a great performance. Many believe that Catherine's show-stopping numbers are, by nature, enough for her run off with the golden boy. Twister thinks not. Her focus seemed to be on her big dance numbers, instead of actually crafting a character. So as a result Jones' missfire of a performance, (which is a blank misreading of the character) leaves Twister with a unsatisfying, bland aftertaste.
Kathy Bates, About Schmidt - One Heart -
What the hell can I say? She climbs in a jaccuzi naked, we see things we don't want to see, and she gets a nomination. More painful to watch than Annie Wilkes.
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That's right, for the time being I can't choose between Streep or Moore.
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