Kirsten Dunst in Dick (1999): Dick has two leads – Michelle Williams using her doe-eyed delivery with a comic flair that she barely shows, and Kirsten Dunst in her prolonged Torrance Chapman phase. Dunst is so thorough in her sunniness, her delivery of dick jokes quick, matter-of-fact yet hilarious. She also exposes the ridiculousness of the movie’s conceit in unabashedly girly but cunning ways. And if you don’t believe me, the movie is available on YouTube, you guys!
Gwyneth Paltrow in Shakespeare in Love (1998): Despite recommending expensive shit on her website, we should still honour Paltrow for being one of the few contemporary American actresses who can play British. That can’t be said enough. She also conveys a Renaissance styled warmth – her curly blond locks helping very much to bring this forth – both during her post-coital mornings with a fictional William Shakespeare, telling a man that she knows every word of Juliet and playing multiple levels of the role she was meant to play.
Marie Gignac in Tectonic Plates (1992): To conjure up Gignac’s is admittedly trolly. I serendipitously watched it, yet to confirm or deny that she’s a worthy entry on this list is something you can’t even do through illegal torrents. And trust me, I checked! You have to go a library in Canada to know if I’m not fucking with you. It’s the kind of entry on a list that makes its reader seek out instead of sleepwalkingly confirm what you think you already know, an entry that makes this list personal. And yes, if you get to watch her, the wig she wears to show herself in her college years is kind of ridiculous. But it eventually…grew on me and helped with suspending disbelief. Her performance is meditative, making sense with the movie’s title. That like tectonic plates, her life, whether portrayed in the black cube of a studio or the colourful world of Venice, is full of loss that takes time to heal and sublimate. I’ll also never forget her surprising youthful smile in her character’s older years, where all the pieces of her life come together.
Patricia Arquette in True Romance (1993): I probably don’t hate the concept of the Manic Pixie Dream Girl so much because I see versions of her in creative and sometimes gritty films. Arquette in True Romance is a great example, her bubbliness making even racism palatable. She also makes one half of a great movie couple who should always be together until the end.
Sigourney Weaver in Alien: Resurrection (1997): is one of the most divisive sequels ever, and there’s Weaver’s basketball game among other ridiculous set pieces within the space ship, but she probably works the hardest here more than in any of the Alien franchise movies, having to be compassionate with the alien race to whom she once was deathly afraid.
Gong Li in Raise the Red Lantern (1991): She conveys eroticism through the foot massages she receives, her own adult moment. But Li’s character in Raise the Red Lantern is forever a child, her seemingly Western petulance and moodiness, brought forth by oppression and competition from both the men and women within her archaic household, is endlessly fascinating. This has other levels of performance I have yet to discover.
Angelina Jolie in Girl: Interrupted (1999): There are three Angelina Jolies, one is the enemy of the gossip reading bachelorettes who will staunchly be on Team Jennifer. The second is the one with the impenetrable gaze, the grown-up Jolie dressed up by Vogue for red carpets, occasionally appearing in glamorous yet terrible movies. The third one lunged at the screen like a feral child in Girl Interrupted, the one we miss. The one who knows the word attack and uses it to her advantage, who knows the dangerous side of liberation from experience.
Nicole Kidman in Eyes Wide Shut (1999): Rewatching Eyes Wide Shut I will now remember that scene when Kidman is wearing glasses sitting with the actor playing her child, looking at Tom Cruise, smiling while he remembers her sexual dream. It’s not necessarily her acting chops that bring the message of her character’s insidious deviant deception across but Kidman is a great collaborator here. She oscillates between vulnerable girly girl and bourgeois wife at a time in her career when she could.
Tomorrow: Many for the price of six.
Well the links lead from me to me. Let me begin with the new character posters for Steven Soderbergh‘s Contagion, which I talked about for Nathaniel R’s The Film Experience. Blythe Danner has seen her daughter’s poster, apparently. The comments went beautifully, as people remembered the Gwyneth and Winona frenemy situation and surprisingly, Matt Damon‘s poster is competing to be the second favourite along with Laurence Fishburne‘s.
Speaking of Kate Winslet movies, she’s playing the role of She-Hulk in Roman Polanski‘s new film Carnage, a movie I won’t shut up about until its release. I didn’t like the poster, but it’s a surprise hit for the commenters at Anomalous Material, where I’ve also been busy writing news and reviews. I think that John C. Reilly has the best colouring here, while I’m not into Jodie Foster and Christoph Waltz‘ orange so much although yes, there are loathsome orange people out there.
I also reviewed Crazy, Stupid Love at YourKloset, a website that I write for when movies and fashion collide, which thankfully happens often enough for me.
Minutes before watching Crazy, Stupid, Love, I saw the trailer for Contagion, a trailer that, at first viewing, was for your typical Oscar season blockbuster. But I guess seeing it on the big screen made me see stuff more like oh hai, Bryan Cranston, playing Haggerty, a suave man in uniform again beside Dr. Cheever (Laurence Fishburne). Other actors appearing in this film are John Hawkes and Enrico Colantoni, an uncredited Soderbergh alum who’s known here in Canada for being the lead in the cop show “Flashpoint.”
I also really like this shot well, because of the flowers. Seeing the daisies I assumed that it was a child bringing it to someone’s grave, but then it’s obviously someone working on the mass burial grounds. It’s a mix of the personal and professional an adult, possibly jaded because of the recent events, trying to bring an innocent time back. Over-read!
Now, the stars! It sounds sadistic but I’m relieved Beth Emhoff (Gwyneth Paltrow) dies early instead of the disease being the wedge between her and her healthy husband Thomas’ (Matt Damon) marriage. But Dr. Leonora Orantes (Marion Cotillard) will analyze Beth throughout the movie, being the first to fall to the disease. How is there even an HD camera surveying her before her death, anyway? Here’s Jude Law, meh. There’s also Dr. Erin Mears’ (Kate Winslet) voice dominating the trailer, but why is her nose red? NOOOOOOOOOOOOOOOOOOOOOOOOOO!!!!!!!!!!!!!!!!!!!!!!!!!!