1997 Oscars: Best Actress

Best Actress '97 was one of those where everyone won something. Julie Christie and Helena Bonham-Carter won critics' prizes, Helen Hunt and Judi Dench won Golden Globes, and Kate Winslet won the box office. If you were around in the late 90s, though, you may recall how unstoppable Helen Hunt was. She was the star of the TV hit Mad About You, for which she won four consecutive Emmys, 1996-99, and of the 1996 film, Twister. TV and movie stardom - isn't an Oscar the logical next step?

The nominees, ranked by me:

Casting Coup Tuesdays: Theatre of Blood

Vincent Price is my favorite actor.

I don't remember when I realized this, exactly, but I know it must have been around middle school. While my fourth grade teacher playing a Vincent Price-hosted clip show of classic horror on Halloween excited me, I was a Chaney, Sr. man then, and a Lugosi faithful by the end of elementary school. Somehow, though, as my adolescence began and my knowledge of film grew past 1941, Price took over.

Do you think it might have been the films? Not to sound unsophisticated or anything, but much as I admire Chaney's silent-era physicality and Lugosi's early-sound histrionics, Price got to ham it up in the colorful 60s and 70s, when bare breasts began bouncing on-screen alongside close-up gore effects and bizarre Hollywood concepts of the drug scene. His movies were campy and dark, funny and violent, sexy and...sexy?

We could talk for ages about his Wm Castle flicks (The Tingler, House on Haunted Hill), his Poe vehicles for Roger Corman (House of Usher, The Tomb of Ligeia), his work in more prestigious fare (The Song of Bernadette, The Private Lives of Elizabeth and Essex), or his contributions to early Tim Burton ("Vincent", Edward Scissorhands). But I think any Price fan worth his or her salt knows that nothing beats his one-two punch of Dr. Anton Phibes and Edward Lionheart, the anti-heroes of 1971's The Abominable Dr. Phibes, 1972's Dr. Phibes Rises Again and 1973's Theatre of Blood. Both men seek to avenge perceived wrongs by murdering those he begrudges in the most creative ways possible. In the first Phibes, it's according to the Plagues of Egypt. In Theatre of Blood, it's the works of William Shakespeare.

It's really quite a phenomenal idea for a film: Vincent Price as a hammy Shakespearean actor who attempts suicide when the Critics' Circle Awards snub him in favor of a young Method actor. Unbeknownst to everyone else, he survives, and he plans his revenge on the nine members of the jury according to the plays he performed in his final theatrical season. And in between killings, he performs scenes from those very plays to a rapt audience of homeless drug addicts who "rescued" him from his botched drowning.

This is my favorite Vincent Price film, and I've always loved that it was his, too. Of course, it was here that he met his third wife Coral Browne, and realized his dream of performing Shakespeare on film. I am not lying or exaggerating when I say that I always just heard Hamlet's soliliquoy in legitimate film versions of the Bard's work; only with Price's recitation after losing the coveted prize did I fully "get" the import of the words, and the beauty of the writing.



Lionheart goes from a darkly comic villain to a tragic hero, a man who only wants to be recognized for his hard work and dedication, to be celebrated for pursuing his dream with such single-mindedness...and they laugh at him. These people who dare not try their hand at performing, who make their living scoffing at struggling performers and eviscerating the efforts of hard-working craftsmen, these butchers (as Edwina puts it) laugh at him. Perhaps Lionheart puts it best:



And if those two scenes aren't enough to convince you of this movie's greatness:

So awesome.

But Price isn't the only one with a great part. The critics are a colorful ensemble of pompous prigs, the policemen are the right balance of competent and befuddled, and Lionheart has a beautiful daughter (played by Diana Rigg) who may or may not be working with him. It's a film ripe with character parts, which is why I'm a little surprised no one's tried to remake it. There was a stage version a few years back, with Jim Broadbent and Rigg's daughter Rachael Stirling as the Lionhearts, but otherwise, no one else dares to touch the film. Is it the daunting task of even equaling Price's performance? The difficult tone? The logistics of rounding up an ensemble not only willing to do a slasher flick but giving said flick an air of legitimacy and class?

Perhaps. But this is Casting Coup Tuesday. We gotta try. But let's at least do it after the jump:

Casting Coup Month: Mrs. Miniver

NOMINATIONS

Best Picture (WON)

Best Director - William Wyler (WON)

Best Actor - Walter Pidgeon

Best Actress - Greer Garson (WON)

Best Supporting Actor - Henry Travers

Best Supporting Actress - Dame May Whitty

Best Supporting Actress - Teresa Wright (WON)

Best Writing, Screenplay - George Froeschel, James Hilton, Claudine West, Arthur Wimperis (WON)
Best Cinematography, Black-and-White - Joseph Ruttenberg (WON)

Best Film Editing - Harold F. Kress

Best Sound, Recording - Douglas Shearer

Best Effects, Special Effects - A. Arnold Gillespie, Warren Newcombe, Douglas Shearer

Remember earlier, when we were talking about William Wyler? He's back, and this time he's in Britain.

Mrs. Miniver is one those movies that has aged surprisingly well despite its period-specific message. The Miniver clan first appeared in a series of columns written by Jan Struther for The Times, reflecting daily life among middle-class British families in the late-30s. As the Second World War loomed ever nearer, the articles reflected growing fears and preparations; Struther eventually stopped writing them just as war was declared. These columns were then collected and published in 1939, becoming a major bestseller in the still-neutral United States. President Roosevelt himself insisted on the film being rushed int production, and in the Summer of 1942 -- six months before the Japanese bombed Pearl Harbor -- the film opened in New York City to enthusiastic reviews and appreciative audiences.

The reasons are two-fold. Certainly, the film is well-made, though it ends abruptly and is terribly paced. But one must not forget the rousing speech made by the Vicar at the end of the film or the portrayal of the War's effects on home life; this was a propaganda film emphasizing the importance of global support for the battle against fascism. Kay Miniver, housewife and mother of three, represents the strength and noble courage of the People, facing German pilots and flower shows with similar determination. And if her self-righteousness ever gets annoying, worry not -- she also likes to buy hats on impulse! And, apparently, she doesn't mind a good spank.

The film is episodic in nature, so there's no real plot other than the resilience of non-soldiers. What it does offer are interesting characters and fine performances. Walter Pidgeon immediately charmed me as Clem Miniver, the good-humored patriarch; Garson is fine as Kay; Dame May Whitty surprised me with her understated performance. Honestly, though, I would turned it off and gone to bed earlier had it not been for the sudden appearance of Teresa Wright as Carol Beldon, granddaughter to Whitty's Lady Beldon, a plain-spoken, lovely girl who falls for Vin Miniver, the college graduate endearingly played by Richard Ney. When Ney and Wright are together, I could watch the film all day. When Dame May is around, I am interested. When it's Mrs. Miniver's turn in the spotlight, I'm a little bored. I can only handle Great Strength and Fortitude for so long.

It's for that reason that I wanted to try and see if I could come up with an actress that I felt would be more interesting to watch, while also surrounding her with a cast worthy of her talents. Not only that, but as Wyler himself wasn't necessarily happy with the final result, I'm sure a stronger version could be made. I kept thinking to myself, "I like Dame May Whitty but what if...." Well, what if?

THE VICAR

Who is He: The vicar. He gives a rousing speech at the end of the film.

Originally played by:

Henry Wilcoxon (The Ten Commandments, Caddyshack)

My Choice:

Denis Lawson (Return of the Jedi, Local Hero)

A wizened pate and a great speaking voice. That's what makes a vicar, friends.

JAMES BALLARD

Who is He: The modest railway manager who grows a rose for competition in Lady Beldon's Flower Show. No one has ever gone against Lady Beldon's roses, especially not a lower-class person like Mr. Ballard. He names his specimen the "Mrs. Miniver", after the nicest woman in the village.

Originally played by: Academy Award Nominee for Best Supporting Actor (Mrs. Miniver)

Henry Travers (Ball of Fire, It's a Wonderful Life)

My Choice: BAFTA Award Nominee for Best British Film and Best Original Screenplay, Indie Spirit Nominee for Best Foreign Film (The Magdalene Sisters)

Peter Mullan (Session 9, Boy A)

His thick Scots accent will stick out from the rest, already creating a divide. He's played good-natured many times before, and that face...it's such a friendly face. He smiles with his eyes.

VIN MINIVER

Who is He: The oldest Miniver child, a college graduate who enters the RAF when war is declared. Vin goes through a lot of phases -- vegetarian on his last visit, preaching about the evils of the class system on his next -- but he's mostly talk. When Carol boldly calls him out on his shit, he does what we all do when we meet a bold beauty: he falls in love.

Originally played by:

Richard Ney (Midnight Lace, Premature Burial)

My Choice:

Nicholas Hoult (About a Boy, A Single Man)

LADY BELDON

Who is She: Local aristocrat, grandmother of Carol, organizer and winner of the annual flower show. Lady Beldon seems like a mere snob, and she is. But she's also a wounded widow dreading what the next war could do to pending nuptials of Vin and Carol. She's not unreasonable, though, and she just wants what's best for everyone.

Originally played by: Academy Award Nominee for Best Supporting Actress (Night Must Fall, Mrs. Miniver)

Dame May Whitty (The Lady Vanishes, Suspicion)

My Choice: Academy Award Winner for Best Actress (The Prime of Miss Jean Brodie) and Best Supporting Actress (California Suite), BAFTA Award Winner for Best Actress (The Prime of Miss Jean Brodie, A Private Function, A Room with a View, The Lonely Passion of Judith Hearne) and Best Supporting Actress (Tea with Mussolini), Golden Globe Winner for Best Actress in a Musical/Comedy (California Suite) and Best Supporting Actress (A Room with a View), SAG Award Winner for Best Ensemble (Gosford Park)

Maggie Smith (Nanny McPhee Returns, The Best Exotic Marigold Hotel)

Some things don't need explanation.

CAROL BELDON

Who is She: Her Ladyship's granddaughter, an intelligent, spirited girl who does what she can to help the community. She falls in love with Vin and weds him, just in time for the War! Carol is a strong young woman who faces the inevitable with courage: her husband may be killed in the line of duty. She may not be one by birth, but her attitude is all Miniver.

Originally played by: Academy Award Winner for Best Supporting Actress (Mrs. Miniver)

Teresa Wright (The Pride of the Yankees, The Best Years of Our Lives)

My Choice:

Emma Watson (the Harry Potter series, My Week with Marilyn)

She just keeps getting better and better. Beautiful and whip-smart, with an easy screen presence, she almost is Carol Beldon. It's time to let her shine.

CLEM MINIVER

Who is He: The patriarch. Clem is awesome. Funny, frank and easygoing. He lays back and takes everything in a good humour. When the War starts, Clem joins up with the other local men to scour the area for a downed German pilot, then takes part in the Battle of Dunkirk. Clem is an old-fashioned man, believing that war is for the men, protecting the innocent females who see little action at home.

Originally played by: Academy Award Nominee for Best Actor (Mrs. Miniver, Madame Curie)

Walter Pidgeon (How Green Was My Valley, Executive Suite)

My Choice: SAG Award Winner for Best Ensemble (The Lord of the Rings: The Return of the King)

Sean Bean (Troy, North Country)

Dashing fellow who screams MASCULINITY. Bean is like, what, a C-list actor? He should be on the A-list, he's fantastic.

MRS. KAY MINIVER

Who is She: The matriarch. Mrs. Miniver is a strong woman, an example of the stalwart British spirit. When she's the one who has to handle the German pilot, she handles it with calm. When planes crash around her, she leaps into action. She's the kindest person in the town, though she does have a weakness: hats.

Originally played by: Academy Award Winner for Best Actress (Mrs. Miniver), Golden Globe Winner for Best Actress in a Drama (Sunrise at Campobello)

Greer Garson (Julius Caesar, The Singing Nun)

My Choice: Academy Award/BAFTA Award/Golden Globe/SAG Award Nominee for Best Actress [in a Drama] (The Wings of the Dove) and Best Supporting Actress (The King's Speech), BAFTA Award Nominee for Best Supporting Actress (Howards End), Golden Globe Nominee for Best Actress in a Musical/Comedy (Sweeney Todd: The Demon Barber of Fleet Street), SAG Award Winner for Best Ensemble (The King's Speech)

Helena Bonham Carter (A Room with a View, Fight Club)

If anyone can make this role interesting, it's Bonham Carter. She can play "normal" people every now and then. She's always bringing the subtext, and there are few roles in which she disappoints. Even her Red Queen is fantastic!

Fun sidenote: The screenplay was co-written by James Hilton, author of the original novel Goodbye Mr. Chips, starring Greer Garson. EVERYTHING'S CONNECTED!


FOR YOUR CONSIDERATION
Best Actor: Sean Bean
Best Actress: Helena Bonham Carter
Best Supporting Actor: Nicholas Hoult, Peter Mullan
Best Supporting Actress: Maggie Smith, Emma Watson

Burton's Blunderland

As far as movie go, the new Alice in Wonderland is about as lifeless as the decapitated heads in the Red Queen's moat.

Now, I'm sorry that I had to spoil that visual, because it's one of the only truly remarkable things about this lazy adaptation of/sequel to Lewis Carroll's popular children's books. While I understand that the source material is but a series of vignettes, this didn't stop Disney from making two -- TWO -- remarkable adaptations. One is the famous cartoon, of course, while the other is the made-for-TV movie with Tina Majorino and Martin Short. I guess the third time is not the charm.

Tim Burton is one of my favorite directors. From "Vincent" to Sleepy Hollow, and everything in between, I thought he could do no wrong. Then of course came Planet of the Apes, which I realized wasn't very good, but which kept me entertained throughout most of it. (Tim Roth's performance helped, of course, and I still feel that he was snubbed for a Supporting Actor nod) But next was Big Fish, which I think is only second to Edward Scissorhands in the director's oeuvre. It wasn't until the beautiful but clearly rushed Corpse Bride that I began to worry. I loved it, but I wished the movie had been fleshed out some more. Then came Sweeney Todd, an adaptation of one of my favorite musicals. Perhaps my expectations were too high, but I couldn't help but feel a little let down. Depp and Bonham-Carter were great, and the material is perfect for Burton...but I couldn't help being a little disappointed. Maybe if he had gotten, you know, singers...

And now there's Alice, which is the last straw. Paycheck grabs are all well and good, but shouldn't this, too, be in Burton's territory? Isn't he the obvious choice for an adaptation of Alice? Why is this so lifeless?

Perhaps the obviousness of the choice is part of the problem. I've seen the lawn figures, the creepy trees, the Colleen Atwood costumes, the Depp/Bonham-Carter pairing...been there, done that. But it really seems to be the only thing Burton wants. Every scene seems like it's just marking time until we can get back to The Red Queen or The Mad Hatter. The worst offense comes at the beginning, before Wonderland, when Alice is at a garden party outside London and meets all these characters who she'll have to FINALLY CONFRONT in the end. Yet these characters remain ciphers. I have no idea who Alice's sister Margaret is until she speaks to her at the end, yet she is constantly referenced. Actually, I don't even care.

The reviews I've been reading seem to praise Mia Wasikowska's performance as Alice. What what WHAAAAT? She's got a pretty face and a nice smile, but Mia's Alice is so apathetic and lifeless, it's no wonder I can't get into the story. I find her Alice obnoxious and difficult to identify with. Her line readings are insincere, though the script certainly doesn't help by flatlining her character arc. I mean, if one is going to make the Alice story into an actual story, shouldn't they try some dramatic tension, character development, a sequence of events that makes sense? Why, when the Mad Hatter starts a rebellion in the middle of the Red Queen's court, do the Queen, her knight, and the soldier cards just sit there, watching. It's like they're just waiting for their next line.

Which is odd, because generally speaking, Helena Bonham-Carter and Crispin Glover are the only things of note in this film. Certainly not Depp, whose "madness" amounts to sometimes doing a Scottish accent. Why? Because it's mad! Or...maybe it's because Johnny likes to do accents and his bff Tim doesn't know how to say no? That seems more likely. And after the haunting John Dillinger in Public Enemies, which is my favorite Depp performance, this same "bag of tricks" approach to the Mad Hatter is more than irritating, it's disappointing. Meanwhile, Bonham-Carter and Glover are actually playing mad characters, and doing so in such a natural manner that you completely buy into it. It's a shame we're supposed to root against the Red Queen, because Bonham-Carter actually brings some depth and sympathy to the role.

It reminds me of The Devil Wears Prada. Meryl's got all her people in the conference room, and the chick from Lost mentions doing something about flowers for the Spring issue. Meryl says dismissively, "Florals? For spring? Ground breaking." Then in comes Stanley Tucci, and he's already done the work he should do, to which she replies, "Thank God somebody came to work today." That's what this is like. We've seen these parlor tricks before, but it means nothing, it's unoriginal, it's dull. Christopher Lee cameo? In a Tim Burton film? Groundbreaking. Thank God Helena Bonham-Carter came to work today.