Pages

Powered by Blogger.
Showing posts with label Jodie Foster. Show all posts
Showing posts with label Jodie Foster. Show all posts

198. Shadows and Fog

Tuesday, September 11, 2012

198. (10 Sep) Shadows and Fog (1991, Woody Allen) 39



Carlo Di Palma was hardly Woody Allen's best cinematographer and he's a definite liability considering Shadows and Fog is so much about composition. One can't help but wonder what Vilmos Zsigmond, Gordon Willis or Sven Nykvist might have accomplished in his stead. Despite an inexplicable $19 million budget, this looks murky and amateurish, matching a frustratingly obscure screenplay. It's all the more annoying that a particularly shrill Mia Farrow gets most of the screentime when Kathy Bates, Lily Tomlin, Madonna, John Cusack and Julie Kavner shine in bit parts.

The Final Conclusion - Best Actress 1988

Friday, July 13, 2012

1988


So the much anticipated ranking is:

5. Sigourney Weaver in Gorillas in the Mist
I liked and admired Sigourney Weaver in Gorillas in the Mist. Although I saw the dedication and her commitment to her character, somehow she never really won me over completely, which is extremely unusual for me with a performance by Siggy. She shows the passion and the development of her character wonderfully, she doesn't go too much over the top, except for some scenes. And her scenes with the gorillas are just thrilling. 

4. Jodie Foster in The Accused
Jodie Foster gives a very good and intense performance as Sarah Tobias. Although she's much less effective the second time around, her strength is occasionally captivating and she leaves a lasting impression in the end. Jodie minimises the scenery chewing and her acting is never too much in your face. And her courtroom scene is one of the best acted scenes of Jodie's career. Memorable, strong work.


I don't care if it's fashionable or not, I love Melanie Griffith in Working Girl. I sympathized with her and felt for her character throughout the movie, no matter if she was hoovering topless or changing her look or interacting with her men. I laughed with her, got sad with her and I just always wanted her to get to the top. I loved Melanie's clear, almost naive emotions, her optimism, her glowing, funny, joyous personality.

2. Meryl Streep in A Cry in the Dark
Meryl Streep gives an excellent performance as Lindy Chamberlain. Although I'm not as enthusiastic about her in this film as so many others, I can perfectly see why they fell in love with this performance. It's compelling, complex, multi-layered and very-very effective. Some may accuse Meryl of being too calculating and planned, but to me this is one of her most natural and emotional performances, she's a real force on the screen and always a thrill to hear and look at.

1. Glenn Close in Dangerous Liaisons
Amazing or fantastic or career-best doesn't even begin to describe how brilliant Great Glenn is as Marquise de Merteuil. Each and every movement and word of hers is so great that I just keep marvelling. Naturally, the Academy refused to acknowledge this earth-shattering performance with an Oscar win and yet that tells something about the Academy itself instead of Great Glenn who's simply electrifying. A true masterclass in acting, which makes me think if I should call Great Glenn Brilliant Glenn or Greatest Glenn from now on.

So I can proudly announce
that the winner is...
Glenn Close 
in 
Dangerous Liaisons
Glorious Great Glenn

Final thoughts: A truly interesting, wonderfully rich year, the best comeback I can imagine. :) It was the last review for Siggy and more sadly, Great Glenn (for the time being, I hope) and I'm so glad that they've both come out triumphant at least once (I'm a bit sad that I didn't leave Aliens last for Siggy). The real surprise was Melanie whom I liked way more than last time. I'm glad about her nod though it might seem weird that she got nominated instead of some very-very acclaimed performances (I guess you're very surprised by how much I liked her). But I don't really mind that she got nominated. Jodie Foster was Oscar's choice and I'm kind of baffled by her win, especially with hindsight. She went on to win another Oscar, while Great Glenn and Siggy remained Oscarless. And then there's Meryl who has a renaissance among bloggers with her Lindy Chamberlain performance. I suppose that review was the most anticipated and exciting. I don't think that anyone was surprised by my thoughts on Great Glenn and her subsequent (to me no-brainer) win. :)))

Omissions (never seen Sarandon and Michelle Pfeiffer but planning to):
  • Jamie Lee Curtis in A Fish Called Wanda
  • Carmen Maura in Women on the Verge of a Nervous Breakdown

The next year:
  • It will be a surprise; I don't know yet. :) It starts on 15th July.  

What do you think? Any thoughts on your mind?

Jodie Foster in The Accused

Monday, July 2, 2012

Jodie Foster received her second Oscar nomination and first Oscar for playing Sarah Tobias, a rape victim in  the typical 80s movie, The Accused. After the nominations were announced, the Best Actress race seemed to be a tough one, which was among three actresses: Great Glenn, Melanie and Jodie. We have already speculated about why Jodie won and there are many possible explanations, I suppose it was mostly down to the fact that she was a previously Oscar nominated former child star who turned out to be a great actress as an adult as well, plus, that she was playing a very showy, baity part. However, I('d like to) think that her win was seriously threatened by Great Glenn.

The Accused as a movie is so... eighties. My goodness, the music, the story, Kelly McGillis, it's just simply too eighties to be ignored. I guess it would have made an Emmy-winning tv movie in 1993, but as a feature film it's quite shallow, poorly directed and one-dimensional. I suppose it was effective at the time, but nowadays it just seems too dated and corny. It really doesn't tell much about the real horror of rape, it really doesn't emphasise the fact that Jodie's character is a victim (in the right way). All in all, the movie refuses to give up the #1 purpuse of entertaining the audience and that's why we get all those cheesy monologues from McGillis etc.  

However, you can always hope that Jodie Foster, being one of the greatest, most intelligent actresses, gives some life even to a rather shallow plot. As a child actress, Jodie impressed people with her fierce, intelligent, radiant personality and she succesfully saved that to her later roles. Although I'm kind of sad that she seems to be cast in the same part over and over again nowadays, we just cannot deny her versatility and greatness. Obviously, when she was cast as Sarah Tobias, Kelly McGillis was the greater star and yet in the end, Jodie proved that she's the more enduring presence on the screen. 

Sarah Tobias seems to be a typical white trash woman who would have been played by Melissa Leo if she had been more famous back then. Such a part requires something that I really-really dislike: scenery chewing. Thankfully, one of the most subtle actresses, Jodie Foster was there to do that in the least obvious way, but a fact is a fact and scenery chewing remains scenery chewing. Jodie, a favorite of mine, was there to do one of my least favorite things in acting and therefore not having a great chance of winning me over. 

She succeeded partly, though. Although her character doesn't have much of a development, Jodie seems to realise that and instead she tries to show us what's going on in Sarah's head and as a result, she created a (sort of) intimate portrait of a woman who's going through a very traumatic event. Kelly McGillis gets the huge courtroom speeches, but it's Jodie who gets the tears and the more emotional storyline. The audience sympathises with Jodie despite the fact that her character is so trashy. 

Moreover, Jodie's always magnetic presence constantly draws the attention of the viewer and despite the lack of big screentime, she's able to leave a strong impression. I must say, though, she didn't have to do much since the movie constantly provided her with the opportunities to shine, she just had to live with all of them. And for an actress of her caliber, it wasn't the most difficult task. This might be very unpopular thing to say, but I would even dare to say that this was an easy role for Jodie. 

The first time you see this movie, you don't really notice this since you are captivated by the emotions as she's indeed effective. However, at a second viewing, you can be more objective because you know what to expect and the shock on you is not going to be that strong. Interestingly, no big flaws come to surface once you see her again. It's just that you're not that drawn by her and you can see that this character is not much of a deal (which doesn't mean you're not sympathising with her, it's just that you cannot get so passionate about the story).

Also, it's quite fun to see Jodie's interactions with Kelly McGillis. Their chemistry is excellent and I loved how the two of them showed the alliance of two worlds, two lifestyles. Although Jodie acts circles around McGillis, it somehow doesn't ruin balance between the two characters. I especially loved the scene between them where Jodie reads McGillis' horoscope. There's a kind of a tenderness and intimacy to that scene, which makes it particularly impressive. I always felt that the relationship between them is the strongest and most believable part of the movie. I loved how the actresses gradually broke down the barriers between the characters and got closer to each other.

However, the highlight of Jodie Foster's performance is her character's testimony at the courtroom. It was one of the rare deep moments of the film and I remained captivated by Jodie's energy and the emotions she portrayed. For me, her words were much more harrowing than the actual scene of the rape, because it (even if for a short period of time) really showed the disturbing consequences of rape on a person's soul. I was most blown away by one sentence that she says after being almost tortured by a lawyer and she simply replies: 'Yes, that's fair.' It's quite probably my favorite Jodie Foster moment ever as it sums up why she's so great as an actress: she has wonderful emotional intelligence.

All in all, Jodie Foster gives a very good and intense performance as Sarah Tobias. Although she's much less effective the second time around, her strength is occasionally captivating and she leaves a lasting impression in the end. Jodie minimises the scenery chewing and her acting is never too much in your face. And her courtroom scene is one of the best acted scenes of Jodie's career. Memorable, strong work. 

What do you think? The next review comes on Thursday at the same time. I decided to give you more time to comment and I don't want to fall behind them, either while I'm away. 

The Next Year

Tuesday, June 26, 2012

1988


So the nominees were:
  • Glenn Close in Dangerous Liaisons
  • Jodie Foster in The Accused
  • Melanie Griffith in Working Girl
  • Meryl Streep in A Cry in the Dark
  • Sigourney Weaver in Gorillas in the Mist
Continuing a Streepathon celebrating Meryl's third, a year with three previous winners of mine and two ladies I haven't yet reviewed. Great Glenn seems to be the odds-on favorite to win here but let's see if I'll jump on the Meryl bandwagon like many of my fellow bloggers or pick someone else. :)

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

CARNAGE

Wednesday, December 14, 2011


CARNAGE 
Written by Yasmina Reza and Roman Polanski
Directed by Roman Polanski
Starring Jodie Foster, Kate Winslet, Christoph Waltz and John C. Reilly

Penelope Longstreet: Why can’t things be easier? Why does everything have to be so exhausting?

There are some plays that seem as though they could never be adapted for the screen and Yasmina Reza’s “God of Carnage” is certainly one of them. Although I have not myself seen it on stage, I can imagine its physical scope is quite limited as all the action takes place in one apartment over the course of a few hours. On stage, this can be riveting, as long as the conversation itself is sharp and insightful and as long as those partaking in said conversation give brilliant performances. On film, one location with the same four characters can be a static stand still. Fortunately for Reza, all involved in the film adaptation of her play, now called CARNAGE, are precisely the right people to keep things moving.

At the CARNAGE helm is infamous director, Roman Polanski, a man who has seen his own fair share of carnage in his life. Reza herself collaborated with Polanski on the screenplay so the fundamentals are firmly intact. Essentially, two couples meet to discuss an altercation that took place between their boys in a playground that resulted in one of the boys losing teeth. Things naturally don’t go as well as anyone had hoped. And who does Polanski amass to captivate us with their wit and humour? Four brilliant actors of course as the entire acting community seem to clamor to work with him. Jodie Foster and John C. Reilly play parents to the boy who lost his teeth while Kate Winslet and Christoph Waltz play parents to the boy who was armed with the stick - sorry, who was carrying the stick - that knocked out the teeth. I don’t know about you but I can think of way worse people to be stuck in a room with for ninety minutes.


These two couples, as portrayed by this amazingly talented and dynamic cast, start out as sensible, civilized adults who are doing what they all think is right according to societal standards given the situation at hand. After all, what matters most is the well being of their children and ensuring that they come out of this as positively as possible. It’s the fact that the children are involved though that makes their exercise so futile to begin with. Their children were in a fight and hurt each other. The natural impulse for these parents would be to protect their children no matter what. And so it is not at all surprising to watch as their facades slowly but surely fade away to reveal not only their anger over the current situation but also the deep seeded disgust that has been festering in all of them for as long as they’ve had to hold it in. And given how polite our Western society can be at times, I’d say they’ve been holding back for a very long time.


Polanski does everything he must in order to keep a picture that almost never leaves the living room feel like it is in constant motion. Much of that comes from the rapid unravelling of the characters themselves. Their descent is delicious making CARNAGE a truly stimulating experience. Still, I imagine that if these four people exhibited just as much passion on stage, the immediacy of it would make their madness that much more meaningful.

430. Carnage

Friday, October 14, 2011

430. (10 Oct) Carnage (2011, Roman Polanski)* 62



Having seen the deliciously fun Broadway production, it's immediately clear that Carnage would have worked better as a television movie than as a motion picture directed by somebody like Polanski. He's so stage-bound by the script he helped adapt. While he tries ever so slightly to open it up, it's very challenging to make something so confined work on this scale.

Polanski gets a particular lot of help from Christoph Waltz, who is positively delightful here. Kate Winslet also gives a fairly impressive turn once she starts getting sloshed late in the picture. Jodie Foster is predictably annoying and John C. Reilly is miscast.

The joy of the script remains. It's hard not to be amused by the scenario that plays out, but this is hardly great filmmaking. They could have done just as well to film the stage production and play it on PBS.

Roman Polanski's a god of "Carnage"

Thursday, August 25, 2011

Below, we have the trailer for the highly-anticipated and Venice Film Festival opener Carnage.  Based of a ridiculously successful stage play, Roman Polanski's adaptation stars a trio of Oscar-winners and one lone nominee.  Waltz and Winslet in particular look marvelous, with Waltz perfectly capturing the attitude I always imaged when reading the play.  It's still a mystery how this will play in this year's forthcoming Oscar race, but it sure is looking strong.  (Please mind it's enormity, overrunning the posting space).



And the poster, for good measure.



[trailer and poster via Twitch

THE BEAVER

Sunday, May 8, 2011

Written by Kyle Killen
Directed by Jodie Foster
Starring Mel Gibson, Jodie Foster, Anton Yelchin and Jennifer Lawrence

The Beaver: Everybody needs a friend, Walter, and you've got me.

Who does depression hurt? Everybody. Ordinarily, this would mean to include everyone directly involved with a person suffering from depression but thanks to Jodie Foster, now depression can also hurt everyone who comes to see her latest directorial effort, THE BEAVER, as well. While I’m sure she was well intentioned, Foster’s eager beaver preoccupation with rehabilitating the image of her maligned co-star, Mel Gibson, must have distracted her from seeing that the film’s lack of focus was ultimately gnawing away at its own foundation the whole time.

It is no secret that THE BEAVER is meant to be a prestige picture designed to remind the filmgoing public that they once loved Gibson for his talent and charisma, both of which have returned fully to form in THE BEAVER. While Gibson may successfully handle the material, this does not mean the material itself is doing him any good. Gibson is Walter Black, a family man with a successful career who just can’t seem to be happy. He is hopelessly depressed, as we are reminded frequently at the film’s onset, and he has tried every therapy known to man to fix himself save for one. Up until now, he has never considered giving into his depression and just allowing it to take over his life. Enter the beaver.

After an unsuccessful suicide attempt, Walter snaps and begins living through the beaver, a puppet that has seen better days but that now rests comfortably on Walter’s left hand and speaks in a delightfully chipper Australian accent. Apparently, the inherently playful nature of the beaver makes it possible for Walter to instantaneously shelf his bigger issues and function successfully again in society, despite society’s discomfort with his unorthodox manner of expression. Gibson goes back and forth between his two personas with impressive ease, finding himself in some rather uncomfortable predicaments. Still, the tone of the film gets confused – is this psychotic lapse meant to be jovial? The underlying quirkiness borders on offensive at times, as it undermines the seriousness of the situation at hand.

The beaver places a convenient wall between Walter and all he encounters, protecting him from hurt and pain. Foster’s oversimplification of the subject matter takes that same wall and puts it up between THE BEAVER itself and it’s audience. We are never allowed in to the movie, which makes some sense considering all the characters have their own metaphoric beavers to protect themselves as well. The insinuation though that if we would just let down our guards and allow people in, no matter how difficult that may be, is almost insulting to those of us who still walk the world alone. The fact that the advice comes from a puppet is what ultimately damns the whole thing.

 

Blogger news

Blogroll

Most Reading