The Final Conclusion - Best Actress 1979

1979

So the much anticipated ranking is:

5. Marsha Mason in Chapter Two

I cannot conclude that Marsha turns in some really special work in Chapter Two, her performance adds some life to the movie and prevent it from becoming a cure for chronic insomnia. Her luminous, interesting presence and impeccable delivery make you go on with the movie. Still she's not able to pull off the harder, more emotional scenes.

4. Jill Clayburgh in Starting Over

 Jill Clayburgh gives a really charming, likeable performance in Starting Over, that really is much better than the film it's in. She  creates a very human character that seems very easy to relate to. Although her chemistry with Burt Reynolds is not perfect, the most important thing is that Jill is able to tell you why Phil fell in love with Marilyn. Very enjoyable lightweight work. 

3. Bette Midler in The Rose

Bette Midler's performance is a real emotional roller coaster that's outstanding in every possible way and does so seeming natural all the time. She's everything that people like to see on screen, she indeed sings, dances and dies. I could mention her loud breakdowns, her amazing singing or her tender moments with Frederick Forrest, it wouldn't describe properly how fantastic she is.

2. Jane Fonda in The China Syndrome

Jane Fonda is nothing short of amazing in The China Syndrome. What could seem to be one of her least passionate performances is in fact one of the most mysterious and layered ones she's ever given. As usual, she commands every scene as well as develops her character beautifully, adding new layers and dimensions to her in every minute. Jane so wonderously portrays Kimberly's awakening and development as a person that you just marvel at every little detail in this performance.

1. Sally Field in Norma Rae

Sally Field is perfect as Norma Rae. She developed this character with great care and expertise and you just constanly feel how much compassion she has for this woman. Every single scene, every single monologue of hers is exceptionally done by her, making it especially difficult not to fall in love with her and the character. A deeply affecting, wonderful, unforgettable performance, the true highlight of a great actress' career. 

So I can proudly announce

that the winner is...

Sally Field

in 

Norma Rae

You got what you wanted Sally. :)

Final thoughts: What a year! Three truly knockout performances that will be really high in my ranking. No matter how strict I tried to be, the work of these three women was just unbelievable. Sally won this for me rather easily though I'm really sad that I can't say goodbye to Jane with another win. In the end, I narrowed it down to the two of them, Bette fell behind a bit (I love her and would be my pick in many other years). Jill and especially Marsha were far behind these amazing ladies, but I found many things to be respected and loved in there respective performances. Overall, a wonderfully interesting year, which is right up there with the best (1989 is still my favorite, though, for whatever reason, 1979 is very close). 

If you think that Jane won't get a special tribute after this, something's seriously wrong with you. :) She'll get it from me.

Omissions: 

• Vera Pap in Angi, Vera *My pick* (in a tie with Sally)

About the next year: I'll get to do a year from a decade I rarely cover, let's leave it there. Let's say that this is the very first Oscar year that Jane Fonda took part in (even if it was a small one) :)). I can't part with her, sorry. 


What do you think? Any thoughts on your mind?

Marsha Mason in Chapter Two

Marsha Mason received her third nomination in the Best Actress category for playing Jennie MacLaine, a fictionalized version of herself in the movie Chapter Two. Marsha hadn't received any awards for this performance, only a Golden Globe nomination in Best Actress - Musical/Comedy where she really didn't have much of a chance of winning, either considering she was nominated alongside the powerhouse performance of Bette Midler. I suppose Chapter Two combined with Promises in the Dark ensured Marsha's position in that year's Best Actress line-up. I'm not sure, though, if she was able to get ahead of Jill Clayburgh (probably not) so unlike the other years, Marsha didn't have any chance of winning (not even her biggest fans love this performance of hers as much as, say Only When I Laugh). 

Chapter Two, quite frankly, is a terrible movie that I have no intention of rewatching in the foreseeable future, only if someone's life depends on it. Although it's not Gloria or The Morning After level of horribleness, it's pretty much like Afterglow: pointless, boring, it's just dragging with the viewer literally praying for it to end quickly. I really admire Neil Simon as a writer, but I suppose his material always works much better on stage (except for the outrageously funny comedies, like The Odd Couple or Barefoot in the Park). His exagerrated, unrealistic style works wonderfully on stage, but leads to forced and boring movies that are uplifted by the performances. I must say, though, that nobody uplifts Chapter Two: not James Caan and not even my dear Valerie Harper. 

Well, nobody, except for Marsha Mason. Just like in Cinderella Liberty, Marsha doesn't give a totally amazing, mindblowing performance, but she illuminates the screen anyhow whenever she's present in a scene. Although I wouldn't say that I'm a huge fan of hers, I admire her luminous aura that's best displayed in The Goodbye Girl. It's true that that her marriage to Neil Simon gave some boost to her career, her performances have their respective merits as well. While Simon wrote some nice parts for Marsha, she was the heart and soul of these pictures.

That being said, in Chapter Two, Marsha had the easiest/hardest part: she basically had to play herself. Some people regard the performances of Gloria Swanson and Mickey Rourke in Sunset Blvd. and The Wrestler, respectively, as inferior ones since they basically recreate their own experiences. In those cases, you can easily dismiss these arguments since some similar events in the respective lives of these two performers only made the part more suitable for them. However, Marsha actually replays her life on the screen (in a fictionalised, more dramatised way, probably).

First of all, Chapter Two tries to become a touching potrait of two complicated people, searching for new meanings in life. In the beginning, Marsha's scenes rank with her best performances: her delivery is amazing, she gets all the lines, she's lovely, funny, dynamic and you just cannot wait to see more of her. Actually, I believe the scenes with James Caan kill her balanced, excellent work. First of all, Caan gives such a bored/boring performance that puts James Franco's Oscar hosting into shame. That being said, the chemistry could have worked between the two actors like it did in Cinderella Liberty, but, alas, it doesn't.

Also, while the movie was considered a Comedy at the Golden Globes, I felt it fell (flat) between Drama and Comedy. It pushed hard to be seen as serious, but Neil Simon just couldn't resist writing one or two ironic one-liners. As a result, for most of the time, the actors are standing there, completely clueless about what to do, hoping that the respect for Simon carries them to success. Unfortunately, I felt that abour Marsha as well. Sometimes she gave the character from The Goodbye Girl, sometimes she played her role from Only When I Laugh (in advance). I could almost see her crossing her fingers, saying "please let it go right". And it's actually right occasionally.

Still, the previously mentioned luminous presence of Marsha makes up for a number of things. Whenever the movie is unbearably boring and slow, Marsha makes you go on with the film. She develops her character quite well, actually, and it's interesting to see her how this movie obviously resonates with her own life. Although she's obviously playing herself, she fearlessly reveals intimate details about herself.

The movie gets a total chaos after the honeymoon and although Marsha seems to give up trying, she stands tall as much as the movie lets her. Although the last scenes seem to be painful recreations of The Goodbye Girl, I didn't mind, since Marha did what she does best: being charming and portraying happiness. Few people can deliver a happy ending like she does, that's for sure.

So I cannot conclude that Marsha turns in some really special work in Chapter Two, her performance adds some life to the movie and prevent it from becoming a cure for chronic insomnia. Her luminous, interesting presence and impeccable delivery make you go on with the movie. Still, since she's not able to pull of the harder, more emotional scenes, I'd say that this was more of a respectable, but a bit failed effort from a strong performer.

What do you think? And thanks to Alex again for providing me with access to the film!

The Next Year

1979

So the nominees were:

• Jill Clayburgh in Starting Over
• Sally Field in Norma Rae
• Jane Fonda in The China Syndrome
• Marsha Mason in Chapter Two
• Bette Midler in The Rose

A fantastic-looking year. Will I go with the two favorites (Field and Midler) who have tons of fans, will I go with the less popular ladies (Clayburgh and Mason) or will I use the last opportunity to reward my favorite actress?

What do you think? Who's your pick? What's your prediction for my ranking? :)

VERY SPECIAL THANKS TO ALEX WHO HELPED ME WITH CHAPTER TWO!!! 

The Final Conclusion - Best Actress 1977

1977

The much anticipated ranking:

5. Shirley MacLaine in The Turning Point

On the one hand, Shirley MacLaine's presence is not strong enough, doesn't fight against the weakness of the screenplay and she doesn't give the work of a lifetime. On the other hand, she has some very strong and well-acted scenes, which may not make up for the rest completely.

4. Marsha Mason in The Goodbye Girl

Marsha Mason may be neither amazing nor groundbreaking in The Goodbye Girl. She may not have huge dramatic moments or huge breakdown or even hysterical comedy, she gives one hell of a performance, which is entertaining, moving, lovely and so damn natural.

3. Anne Bancroft in The Turning Point

Anne still gives the best performance of her movie, adding real depth to the character of Emma. Although she doesn't have much screentime and that catfight scene was just not for her, I still appreciated this performance and I was certainly very impressed by Anne Bancroft.

2. Jane Fonda in Julia

People don't rave about this performance as much as they do about, say, Klute and They Shoot Horses... even though they should. It's one of the most beautiful and heartbreaking peformances every by this beautiful (who's never been more beautiful than here), superbly talented actress.

1. Diane Keaton in Annie Hall

Some consider Diane Keaton's win for Annie Hall a love letter to Diane herself, the character and the movie and they think that the Best Actress Oscar win wasn't about the actual performance. While I agree with the first part, I still have to add something: her win and my review is indeed a love letter to Annie Hall (the character and the movie) and Diane Keaton's brilliant, hilarious, radiant, beautiful, heartbreaking, luminous, fantastic and unforgettable performance.

So I can proudly announce

that my winner is...

Diane Keaton

in

Annie Hall

La-di-da-la-di-da; la-la

Final thoughts: A great year. I did it probably because I wanted to write the 100th review about an iconic performance (Diane that is). I mean, this is not a legendary year but it's indeed special and I'm happy that I covered it. The ranking was the easiest one I've ever had to do and I don't think it's surprising at all (I knew it already before I started). The overall standard of the movies was rather high. Although I hated The Turning Point for the first time, I enjoyed it now. Same goes for the performances: I enjoyed all of them, some more and some less. Shirley was the weakest link though she wasn't bad. Anne and Marsha were great, Jane was fantastic and Diane is... All things considered, this year was lovely.

And the winner of the predicting contest is Louis Morgan. Congratulations! :-)

Omissions: I haven't seen Gena Rowlands in Opening Night, but she's said to be amazing. I should check that performance out. Also, Diane Keaton in Looking for Mr. Goodbar must be also great. Both sound interesting. But there's an unbelievable, unbeatable performance in a Hungarian movie given by one of my favorite actesses and that's Erzsi Pásztor in The Devil Beats His Wife. AMAZING. 

About the next year: I wanted to do 1964, but there's no The Pumpkin Eater, damn. However, it seems that I might get it (the chances are getting higher and higher, so keep your fingers crossed), so if I have it, I'll do it instead of this mysterious next year (I'll announce the next year when I'm sure and next weekend is gonna be about this year, so I have still some time to get The Pumpkin Eater). The other year came quite suddenly to me but it seems to be interesting. There's only one clue with the next year but a help: The main principle is simplicity.

• Friends forever

What do you think?

P.S.: Could anyone help me with getting Wild is the Wind, The Rainmaker or Some Came Running (any link is fine)? It's a shame but I can only do one year from the 50s (1950) and I promised myself to leave that one last.

Marsha Mason in The Goodbye Girl

Marsha Mason received her second Best Actress nomination for playing Paula, a struggling single mom in Herbert Ross' romantic comedy, The Goodbye Girl. I'm quite certain that Marsha got the third most votes in 1977. She had previously won the Golden Globe in a tie with Diane Keaton and she starred in a movie, which was quite popular, I think. She might even have been second if they had been that crazy about the movie, which is not very probable. She did not win and she went on to receive two other unsuccessful nominations.

The Goodbye Girl is an OK, very entertaining movie. I really enjoyed it though a second viewing was a bit boring. The charm that was so grabbing for the first time was not that strong now. Nevertheless, I still had quite a good fun with it and I would gladly re-watch it if I had to. Neil Simon is one of the greatest comedy writers and I love his style. Although Out of Towners is unbeatable, this was is quite excellently written. An Oscar over Annie Hall would have been a bit absurd, though. Richard Dreyfuss' Best Actor win still baffles me. I just don't get it how they could choose him over two later iconic performances and two veterans. Quinn Cummings is quite cute and a nomination was deserved, I think.

I have basically experienced three types of attitudes towards Marsha Mason's career: some just love her and some say she's overrated and she was only nominated so often because her then-hubby wrote great roles for her. And there's a third one (which I also feel). According to that, Marsha Mason is indeed a very good actress, but there have been many better ones. And I experienced that from her movies: although Cinderella Liberty was a bit underwhelming and boring when I watched it, her performance somehow stuck with me. I really can't get it out of my head. However, the role of Paula (and Marsha's performance here) is so different from what she showed in Cinderella Liberty.

I felt that Mason was so much more confident this time around. Cinderella Liberty was like moving into a new house. Everything is new and one has to experiment with the possibilities. In The Goodbye Girl Marsha felt much more comfortable and easy. It might have been that she worked easier with a role that was written by her ex-husband. It also might have been that the material itself was rather lightweight and easy to handle. However, I don't think that either of them are true. Marsha simply gave a very good performance as Paula. That's it.

What really helps Marsha is the character, who's instantly likeable and sympathetic. I mean anyone who doesn't feel sorry for this poor woman has a heart made of ice-cold stone. It's a mainly comic role, but Marsha injects a bit of drama into it and yet it asn't anything depressing. Although Paula is not really an optimist, the movie itself is and (also thanks to Marsha) we just feel good because of that. Whenever we see this adorably ordinary character, we can say "that could be me". Marshe dealt with the hardest scenes quite well, the ones that are difficult to play because they are ordinary. For example, it's such a heartbreaking scene when Paula's purse is stolen with all her remaining money in it and then she runs after the thieves. When she falls, it's so heartwrenching.

Moreover, Marsha's chemistry with Richard Dreyfuss is just excellent. They work excellently together or to put it more accurately Marsha works well with Dreyfuss. Whenever Dreyfuss is too much and too annoying, there's Marsha who's the perfect balance and she saves the scenes as a result. Their scene on the roof is so lovely and romantic and deeply human. I might be sentimental but I really fell for it. These scenes are the best ones and they are so utterly loveable. Although sometimes I was quite bored, whenever it was close to ruining the whole thing, Marsha gained some strength again, so I had no serious problems with this performance.

So, to sum up, Marsha Mason may be neither amazing nor groundbreaking in The Goodbye Girl. She may not have huge dramatic moments or huge breakdown or even hysterical comedy, she gives one hell of a performance, which is entertaining, moving, lovely and so damn natural. As I said, it may not be the best one ever, but it's still great.

What do you think? It's time for the final predictions! :-)

And tomorrow... The moment we have all been waiting for... THE 100th REVIEW! Sweet Diane goes 100th. And the day after tomorrow... The Final Conclusion.

The Next Year

1977

The nominees were:

• Anne Bancroft in The Turning Point
• Jane Fonda in Julia
• Diane Keaton in Annie Hall
• Shirley MacLaine in The Turning Point
• Marsha Mason in The Goodbye Girl

I figured it would be nice to take a break from this year's Oscar talk and take a look at a field with these great actresses. What do you think? What are your predictions?

And why am I doing this year? Scroll down to the ranking for the answer. :-)

Marsha Mason in Cinderella Liberty

Marsha Mason received her first Best Actress for playing Maggie Paul, a barroom hooker in the movie Cinderella Liberty. Mason also won the Golden Globe for her performance as a lead actress in a drama, but I doubt that she had much chance of winning that Oscar (the Globe must have been a surprise, I would have expected Streisand to win it for sure, that's the kind of ) as she was relatively unknown and she was competing with previous winners and a very acclaimed previous nominee. I guess she was fourth or fifth in the voting.

Cinderella Liberty is a quite boring, flat movie about a not so unusual relationship between a sailor and a hooker. There's really nothing interesting about it. For most of the time nothing interesting happens and the directing is not very strong here. Mark Rydell's abilities really improved a lot since than as he was able to create the beautiful On Golden Pond eight years later. James Caan, the star of the 70s gives a proper performance, which is not very interesting, but it's quite good. It just serves the movie well.

Unfortunately, Marsha Mason is not much better either. First of all, I really don't want to say anything about the talent of Marsha Mason, since I had previously seen one and a half movies with her in it. In The Goodbye Girl, she gives a very adorable, lovely performance, which is very memorable, so I was hoping that she will be at least as great. Her performance Cinderella Liberty is barely discussed: I read only two in-detail reviews about it, one of them praised her, the other one was not very fond of her. So what should one expect from Cinderella Liberty? Hell, I did not know.

Mason plays Maggie Paul, a fun-loving hooker, who loves being with sailors. She's quite a tough woman, she drinks, hustles the pool, she sleeps with different men every night, has one illegitimate child and a very messy life. Meeting this sailor called John could be a turning point in her life and it is to a certain degree, but Maggie is unable to change.

The first thing we see from Marsha/Maggie in this movie is her lovely bottom (quite directly) while she's playing. She's laughing out so loud, she seems to be very vulgar and common. She has this "Are you coming handsome sailor?" attitude, which could be very annoying after a while, but Mason fortunately avoids this cliché. In The Goodby Girl, Mason has a very strong a lively presence and I expected the same from this performance, but I never really got it. She doesn't have much screentime, so she has to be really strong to give an effective leading performance. Unfortunately the effect is lost in-between and therefore I was never really amazed by her. I liked certain scenes and moments, but the whole thing did not come together. The pieces of the jigsaw puzzle are next to each other, even at the right place and yet I wasn't able to see the picture as a whole. I mean, what's the point? Who is this Maggie? What does she want? I never really knew this person, she was there, I knew certain things, but Mason never showed me Maggie's real personality. I must admit, though, that she has a great chemistry with James Caan and the two make a great on-screen couple. Their scenes work in a very weird way, but it is not that great.

And yet, despite all the negative things I said about her, there was something positive that I felt. Although I was complaining that her presence was not strong enough, I must say that it had a certain magnetism that drew my eyes. I could never really take my eyes off her and therefore, sometimes I really enjoyed her presence. It was just great when she was there and this is probably the reason why I can say eventually that I LIKED this performance. I am not talking about love, not even real appreciation, but I LIKED it.

After all, I can say about this very mysterious and hard-to-find performance, that I actually enjoyed it despite the fact that it's a bit failed effort or at least with me. I was never really touched by it, but I enjoyed it to a certain degree. I don't really see the brilliance in it, but I liked it. I really did.

It was a 3.5 first, but I changed it, I might change it back, depending on how much it will grow on me. I just can't give it a 3.5 now. My lenient heart... :)

The Next Year

1973

The nominees were:

• Ellen Burstyn in The Exorcist
• Glenda Jackson in A Touch of Class
• Marsha Mason in Cinderella Liberty
• Barbra Streisand in The Way We Were
• Joanne Woodward in Summer Wishes, Winter Dreams

OK, this seems to be a very controversial year because of its winner and the reaction of one of the nominees. So you must know how excited I am to do this year first in 2011. So let's just start (basically, it's 2010, but it will end in 2011).

I am using this new type of the nominees' picture as the old ones were too big I think, and changes fit a new year. :-)

What do you think? What's your ranking and who are you rooting for? What are your predictions for my ranking? The contest is on.