90’s Showdown: The Contenders 1

As I’ve said before, Andrew’s 90’s Showdown was a baby that was meticulously conceived and prepared by its multiple fathers. We sent a list – I tried rigging the polls by sending in as many obscure performances as possible, as any douche-y movie lover should. But alas, that didn’t work.

Then we compared each other’s lists from where we had to rank names. I was tired when I got to the actors so I ranked them – they were easier enough. The women, whom I dived into first, were a more daunting task for me so I wrote down if I liked or disliked their performances. I have no idea if this is a scientific method or not – maybe I get juiced up or tired by the time I got to certain parts of the list. The exercise helped me judge as soberly as possible, hoping Andrew despite some of my choices not making it. But instead of letting those words rot in a word file somewhere only to be deleted, I’m posting what I wrote and polished it as much as I can.

But before we get to that here’s Andreas’ own list. His is better, but I’ll still post mine even though I’ve made lists like this before. This will be in series form because I don’t want to tl;dr you, as much as I resent the latter concept. And I can give you three days worth of material for a day’s ‘work.’ Starting from the performances I can only write now but in short form. Sadface.

Nicole Kidman in Practical Magic (1997): She can emit sexuality from behind Sandra Bullock’s puffy wholesomeness. She could do it. Are you going to be worried about The Paperboy now?

Meryl Streep in Music of the Heart (1999): A performance list without Meryl? A list with Meryl but with this instead of Madison? Affirmative action? Her performance here proves that she can step on kittens and get away with it.

Mina Mohammad Khani in Ayneh (1997): Iran needs a star system. We can start with the cast of A Separation then any actress Jafar Panahi has worked with.

Claire Danes in Romeo + Juliet (1996): Probably the weakest of the cast, yelling just as much as DiCaprio, but she brings Angela Chase’s self-awareness here. She’s also given us the greatest rendition of the ‘What’s in a name’ soliloquy. Besides, she’s better than Norma Shearer – Disclaimer: I like Shearer but not as a Juliet.

Kate Winslet in Heavenly Creatures (1994): She has one of the best cries in Hollywood but if this performance was included the bracket would have had too much of her.

Linda Hamilton in Terminator 2 (1991): Really? No one backed me up on this? Is this world coming to an end?

Sarah Michelle Gellar in Cruel Intentions (1999): As devilish as she can be. More effective than Glenn Close if I dare say again.

And here are performances that I got to talk more lengthily about.

Natalie Portman in Leon and Beautiful Girls (1994 and 1996): I’m no going to pretend that I’m her biggest fan now. She got away with stuff that Chloe Moretz is being punished for. But still, her early performances showed potential. As Mathilda she tells a hotel receptionist that she’s Leon’s (Jean Reno) lover. As Marty she makes a deal with an older neighbour without making herself look too seductive. That control of showing maturity at such a young age is always surprising.

Susan Sarandon in Dead Man Walking (1995): Sarandon’s Sister Helen Prejean is an altruistically calming influence to a film dominated by Sean Penn’s energy. She absorbs information about Matthew Poncelet (Penn), her rebuttals acknowledging his prejudices as alien concepts without condemning him. She’s therefore the audience stand in, not judging Matthew even though we could be. She figured in a low place in my earlier lists, having not seen this movie since high school but expressing so much in one line brought her higher.

Catherine Keener in Living in Oblivion (1995): Her character, Nicole embodies of different ways to deal with sadness and wrathful misandry, whether she tolerates Chad Palomino (James LeGros) or joyfully eviscerates him. On the opposite side of that spectrum is Keener dressed as a bride, a metaphor fitting for indie perfection, an appointment that does seem unusual yet fully convincing if you think about it.

More tomorrow, starting with someone who undoes a cover-up.