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.