9/16/2023 0 Comments Julia roberts oscar![]() ![]() Although she is the only important female character, she more than holds her own. But only one such role made the supporting-actress cut this year: Amy Adams as Dick Cheney’s Lady Macbeth in Vice. ![]() The one who, like in Amy Schumer’s brilliant sketch, stood by the phone saying, “Come home to me.” This year, Linda Cardellini played a version of that, in Green Book, and Foy did what she could to elevate that in First Man. ![]() There were always plenty of those, because almost every drama that focused on a man boasted a lone woman in the cast, usually the long-suffering wife of the hero. In those years, the crowded race was best supporting actress. And a best-actress nod was often the only honour a film received, a bone thrown to the so-called “woman genre.” (As if all movies starring women were alike.) Indeed, since the 1980s, when Hollywood began courting young males to the exclusion of all other demographics, whole decades went by in which it was hard to scrape together five movies that centred on women. The spotlight roles went to men, in both tentpole projects or Spielberg/Scorsese dramas. ![]() 135), and Melissa Leo for Frozen River (No. Think about 2008: Kate Winslet won for The Reader, which was the 82nd-highest-grossing film of the year, over fellow nominees Anne Hathaway for Rachel Getting Married (No. It wouldn’t have mattered that hers was a little-seen film, because where else would a best-actress candidate come from? As recently as a decade ago, most woman-centred films were “worthy,” smaller-budget affairs that languished at the bottom of the box office. Her character, Marie Colvin, is classic best actress bait: a complicated woman, a heroic war reporter, based on a true story. Ten years ago, Pike would have been a shoo-in. And no Rosamund Pike, although she delivered one of my favourite performances (and movies) of the year, A Private War. No Kathryn Hahn, so moving in Private Life. No Maura Tierney, who gave the definition of a crucial supporting performance in Beautiful Boy. No Michelle Yeoh or anyone from Crazy Rich Asians. No Tilda Swinton ( Suspiria) or Zoe Kazan ( The Ballad of Buster Scruggs). No Cate Blanchett or any of the women from Ocean’s Eight. No love for either Saorise Ronan or Margot Robbie (previous nominees both) and their staunchly feminist take on Mary Queen of Scots. No room for Toni Collette, who elevated Hereditary or Regina Hall, so great in Support the Girls or Natalie Portman, who took a leap in Vox Lux. (Not only was Julie Andrews nominated for playing the same role in 1964, she won, against Anne Bancroft and Sophia Loren.) Nor Emily Blunt, for either Mary Poppins Returns or A Quiet Place – despite the critical and commercial success of both films, Blunt’s delightful personality and no lack of campaigning. Nor was there room for Claire Foy, for either The Girl in the Spider’s Web or First Man. Each is a certified star, a previous winner and multiple nominee, and each did some of the best work of her career in 2018: Kidman as a damaged police detective in Destroyer Davis as a wronged wife and criminal mastermind in Widows Roberts as a mother trying to keep her addict son (Lucas Hedges) clean in Ben is Back. How crowded are this year’s Oscar actress categories? So crowded that there was no room for Nicole Kidman, Viola Davis or Julia Roberts. ![]()
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