My current Top 5

My current Top 5
Showing posts with label Best Actress 2004. Show all posts
Showing posts with label Best Actress 2004. Show all posts

3/13/2020

Best Actress Ranking - Update

Here is a new update. The newly added performance is highlighted in bold. 

If five performances from the same year are included, the winning performance is higlighted in red.

1. Vivien Leigh in Gone with the Wind (1939)
2. Jessica Lange in Frances (1982)
3. Gloria Swanson in Sunset Boulevard (1950)
4. Olivia de Havilland in The Heiress (1949)
5. Maggie Smith in The Prime of Miss Jean Brodie (1969)
6. Anne Bancroft in The Graduate (1967)
7. Janet Gaynor in Seventh Heaven (1927-1928)   
8. Jill Clayburgh in An Unmarried Woman (1978)
9. Glenn Close in Dangerous Liaisons (1988)
10. Geraldine Page in The Trip to Bountiful (1985)

11. Susan Sarandon in Thelma & Louise (1991)
12. Katharine Hepburn in Suddenly, Last Summer (1959)
13. Edith Evans in The Whisperers (1967)
14. Norma Shearer in Marie Antoinette (1938)
15. Greta Garbo in Ninotchka (1939)
16. Faye Dunaway in Bonnie and Clyde (1967)
17. Hilary Swank in Million Dollar Baby (2004)
18. Cate Blanchett in Elizabeth (1998)
19. Kate Winslet in Eternal Sunshine of the Spotless Mind (2004)
20. Simone Signoret in Room at the Top (1959)

21. Bette Davis in The Little Foxes (1941)
22. Julie Andrews in The Sound of Music (1965)
23. Rosalind Russell in Auntie Mame (1958)
24. Glenda Jackson in Women in Love (1970)
25. Joanne Woodward in The Three Faces of Eve (1957)
26. Elizabeth Taylor in Suddenly, Last Summer (1959)
27. Barbara Stanwyck in Ball of Fire (1941)
28. Lee Remick in Days of Wine and Roses (1962)
29. Annette Bening in American Beauty (1999)
30. Emily Watson in Hilary and Jackie (1998)

31. Julie Christie in Away from Her (2007)
32. Shelley Winters in A Place in the Sun (1951)
33. Audrey Hepburn in Wait until Dark (1967)
34. Meryl Streep in The Devil wears Prada (2006)
35. Ingrid Bergman in The Bells of St. Mary’s (1945)
36. Anne Baxter in All about Eve (1950)
37. Judi Dench in Mrs. Brown (1997)
38. Helen Hayes in The Sin of Madelon Claudet (1932)
39. Jane Fonda in Coming Home (1978)
40. Greer Garson in Goodbye, Mr. Chips (1939)

41. Doris Day in Pillow Talk (1959)
42. Meryl Streep in One True Thing (1998)
43. Joan Crawford in Sudden Fear (1952)
44. Deborah Kerr in From Here to Eternity (1953)
45. Katharine Hepburn in Guess who’s coming to dinner (1967)
46. Marsha Mason in Chapter Two (1979)
47. Jane Wyman in The Yearling (1946)
48. Martha Scott in Our Town (1940)
49. Teresa Wright in The Pride of the Yankees (1942) 
50. Jennifer Jones in Love Letters (1945)

51. Ellen Burstyn in Same Time, Next Year (1978)
52. Susan Hayward in My Foolish Heart (1949)
53. Jeanne Crain in Pinky (1949)
54. Eleanor Parker in Detective Story (1951)
55. Vanessa Redgrave in Mary, Queen of Scots (1971)
56. Diane Keaton in Marvin's Room (1996)
57. Louise Dresser in A Ship comes in (1927-1928)
58. Loretta Young in Come to the Stable (1949)  
59. Mary Pickford in Coquette (1928-29)
60. Sissy Spacek in The River (1984)

61. Shirley MacLaine in The Turning Point (1977)
62. Irene Dunne in Cimarron (1930-1931)
63. Ruth Chatterton in Madame X (1928-29)
64. Diana Wynyard in Cavalcade (1932-1933)
65. Bette Davis in The Star (1952)

Hilary Swank as Maggie Fitzgerald in Million Dollar Baby

Another performance that has been reviewed before. As my opinion did not really change, I refer you to my old review.

11/30/2017

Best Actress Ranking - Update

 Here is a new update. The newly added performance is highlighted in bold. 

My winning performances are higlighted in red.

1. Vivien Leigh in Gone with the Wind (1939)
2. Jessica Lange in Frances (1982)
3. Gloria Swanson in Sunset Boulevard (1950)
4. Olivia de Havilland in The Heiress (1949)
5. Anne Bancroft in The Graduate (1967)
6. Janet Gaynor in Seventh Heaven (1927-1928)   
7. Glenn Close in Dangerous Liaisons (1988)
8. Geraldine Page in The Trip to Bountiful (1985)
9. Susan Sarandon in Thelma & Louise (1991)
10. Edith Evans in The Whisperers (1967)

11. Norma Shearer in Marie Antoinette (1938)
12. Greta Garbo in Ninotchka (1939)
13. Faye Dunaway in Bonnie and Clyde (1967)
14. Cate Blanchett in Elizabeth (1998)
15. Kate Winslet in Eternal Sunshine of the Spotless Mind (2004)
16. Bette Davis in The Little Foxes (1941)
17. Julie Andrews in The Sound of Music (1965)
18. Rosalind Russell in Auntie Mame (1958)
19. Glenda Jackson in Women in Love (1970)
20. Joanne Woodward in The Three Faces of Eve (1957)

21. Elizabeth Taylor in Suddenly, Last Summer (1959)
22. Barbara Stanwyck in Ball of Fire (1941)
23. Julie Christie in Away from Her (2007)
24. Shelley Winters in A Place in the Sun (1951)
25. Audrey Hepburn in Wait until Dark (1967)
26. Ingrid Bergman in The Bells of St. Mary’s (1945)
27. Judi Dench in Mrs. Brown (1997)
28. Jane Fonda in Coming Home (1978)
29. Greer Garson in Goodbye, Mr. Chips (1939)
30. Doris Day in Pillow Talk (1959)

31. Meryl Streep in One True Thing (1998)
32. Deborah Kerr in From Here to Eternity (1953)
33. Katharine Hepburn in Guess who’s coming to dinner (1967)
34. Marsha Mason in Chapter Two (1979)
35. Jane Wyman in The Yearling (1946)
36. Teresa Wright in The Pride of the Yankees (1942) 
37. Jennifer Jones in Love Letters (1945)
38. Ellen Burstyn in Same Time, Next Year (1978)
39. Susan Hayward in My Foolish Heart (1949)
40. Vanessa Redgrave in Mary, Queen of Scots (1971)

41. Diane Keaton in Marvin's Room (1996)
42. Loretta Young in Come to the Stable (1949)  
43. Mary Pickford in Coquette (1928-29)
44. Sissy Spacek in The River (1984)
45. Shirley MacLaine in The Turning Point (1977)
46. Irene Dunne in Cimarron (1930-1931)
47. Diana Wynyard in Cavalcade (1932-1933)

Kate Winslet as Clementine Kruczynski in Eternal Sunshine of the Spotless Mind


Finding a position for Kate Winslet’s performance in Eternal Sunshine of the Spotless Mind was difficult for two reasons: One because my opinion on her performance did not really change as you can see from her position (and somehow when you re-rank something you always expect everything to turn out completely new) and second because it’s a performance that is held in such high regard that it just becomes extremely difficult to remain objective about it. It’s easy to judge performances that won Oscars or critics awards because everyone has different opinions – but Kate’s turn as Clementine is so many times mentioned as one of the greatest performances of all time, one that constantly turns up on ‘All-time best’ lists and one that is in general so beloved by everyone that you start feeling guilty when you not join 100%.

As you can see from her position, I do admire her work very much, however. I might not join the “best of all time” group but it’s definitely a performance that sparkles with creativity and originality. And this might even be the biggest achievement of Kate Winslet: the “manic pixie dream girl” has by now become such a cliché that it might appear to be just another addition to this group. But Kate Winslet always makes it clear that her Clementine doesn’t behave out the way she does out of the screenplay’s intentions but by her character’s own choosing. Her work is as natural as it can get – considering the type of role she plays, certainly not an easy task.

As I don’t really have a lot of new things to say about this performance, I will keep this review short. I just want to highlight what I admire most about this performance is Kate Winslet’s ability to add so many different sides to her character while never changing her nature. You can clearly see the unlikable sides of Clementine in Joe’s early memories, how she can begin to repel everyone around her with her behavior. But the further Joe goes back, the more relaxed and sympathetic Clementine becomes even though she never actively tries to win the audience’s or any other characters sympathies.

While I would personally say that Jim Carrey gives the best performance of the movie, I have no problems admiring Kate Winslet’s performance of a stereotype that rises above any clichés and creates an unforgettable character (pun intended).  

And a hint to the next performance that will be ranked:


4/17/2010

YOUR Best Actress of 2004!

Here are the results of the poll:

1. Imelda Staunton - Vera Drake (13 votes)

2. Catalina Sandino Moreno - Maria Full of Grace & Kate Winslet - Eternal Sunshine of the Spotless Mind (12 votes)

3. Annette Bening - Being Julia (6 votes)

4. Hilary Swank - Million Dollar Baby (3 votes)


Thanks for voting!

4/06/2010

Best Actress 2004 - the resolution!

After having watched and reviewed all five nominated performances, it's time to pick the winner!


5. Kate Winslet in Eternal Sunshine of the Spotless Mind

Just like Eternal Sunshine of the Spotless Mind itself, Kate Winslet’s performance sprinkles with creativity and originality. She meets all the challenges of this unusual script and creates a character who is a firework of emotions, sometimes impossible to bear, sometimes selfish and mean but strangely fascinating and loveable at the same time.



                     
Catalina’s prim charm is wonderfully suited for her part as the headstrong but also insecure Maria. She hits all the right notes and makes Maria an unforgettable character by giving a very subtle, relaxed and natural performance that dominates the movie and helps to tell this very moving and gripping story.




Annette Bening almost bursts of confidence in her performance and her eccentric, larger-than-life diva who is full of self-assurance but also very insecure is an unforgettable portrayal that is able to entertain and astonish the audience with its humor, wit and originality.



2. Hilary Swank in Million Dollar Baby

Hilary Swank is able to make Maggie both a dreamer and a worn-out woman at the same time. She combines her hopes and dreams, her fears and disappointments in the greatest way and gives an unforgettable performance of a strong-willed, determinant, but also insecure and uncertain character.

                


In the performance of Imelda Staunton, the always cheerful Vera who constantly hums sunny melodies becomes a very real and everyday character but she is also able to challenge the audience when she shows that Vera is involved in a matter that couldn’t be more controversial. By capturing all these aspects, Imelda Staunton gives one of the most heartbreaking and complex performances to ever grace the screen. 



Best Actress 2004: Imelda Staunton in "Vera Drake"

British actress Imelda Staunton received her first Oscar nomination and critical praise around the world for her performance as the title character in Mike Leigh’s Vera Drake – the story about a working class woman in London during the 1950s.

Vera Drake is a symbol of efficiency and charity. She works as a house cleaner, takes care of her old mother and a sick neighbor and is also devoted to her husband and her children. They form a strong and loving family, full of loyal support and kindness and Vera uses all the time she has to be with them – except a few times a month when she secretly works as an abortionist.

Imelda Staunton is incredibly effective in developing Vera’s character and displaying her kindness in the early scenes of Vera Drake. She successfully achieves that no part of Vera’s kindness and goodness seems overdone or unbelievable but instead Imelda Staunton leaves little doubt that Vera is a woman who was born to help and be gentle and loving. In these early scenes, Imelda Staunton builds the foundation for everything that would later happen to Vera and already helps to make these coming scenes believable, too.

Thanks to Miss Staunton, the always cheerful Vera who constantly hums sunny melodies becomes a very real and everyday character but she is also able to challenge the audience when she shows that Vera is involved in a matter that couldn’t be more controversial. From time to time, a friend of Vera visits her and tells her about a young girl or a woman who got pregnant and wants to get rid of the child. So Vera packs up her things and with the same cheerful face she goes to work she also visits these scared women in their homes and with the help of a few simple things she performs an abortion – or as Vera calls it, she helps these women to get their bleeding back. Imelda Staunton gives a performance that is both simple and complex at the same time. She shows that moral dilemmas don’t exist for Vera – she is convinced of what she is doing and she sees no problem with it. Like a grandmother, she comes to these women and with kind words she prepares them for the abortion. After a few more encouraging words, she leaves just as quickly as she had gotten there. Not because she is afraid but simply because her work is done. Even though Vera is a kind and loving woman, she does not try to comfort these women in any way. Some of them are scared, others cry desperately – in these moments, Vera simple stands besides them and waits. Imelda Staunton is wonderful in these scenes as she constantly challenges the viewers and their own beliefs with her performance. She does what she thinks is right but at the same time she never seems to really think about the women themselves. Vera’s niceness would probably make her give her last coat to a freezing person but it also shows that Vera is an uneducated woman who does not think about consequences or the mental state of her ‘patients’. Imelda Staunton never tries to turn Vera Drake into a saint or a devil and leaves it open for every viewer himself to decide about her character and her actions.

It’s a story about morality and legality. The movie and Imelda Staunton don’t insist that Vera Drake is morally on the right side and does good in helping these women, instead, it shows that for the women from the working class who have no money and who would be punished for performing an abortion (which is illegal at the time) there is no other option than Vera Drake. The movie shows that it is a repressing society that creates women like Vera Drake who mean good but are surely not the best solution.

She also keeps showing the many sides of Vera Drake and wonderfully underlines the simplicity of the character in both the scenes of the abortions and with her family. The moment that Vera Drake leaves these women in their homes, they are forgotten for her and her own family becomes her main focus again. Imelda Staunton’s ability to portray the simple world of Vera Drake, her happiness, her simplicity, her joy in little things, her satisfaction with her husband and her family, is so fascinating because it creates such a strong contrast to her secret life. Imelda Staunton puzzles the viewer with Vera’s carefree attitude about her illegal activities since it is never apparent if she is really understanding the possible consequences.

All this is finally answered during one of the greatest close-up in movie history. When suddenly the police enters Vera’s living room during a family celebration. While the camera stays on her face, Imelda Staunton shows in a scene that is a master-class in acting how the joy and cheerfulness disappear forever from Vera’s face and her personality. As her face changes from surprised to disbelieve to shock and to fear mixed with a kind of acceptance it becomes clear that Vera has always been aware that this day might come but she never really expected it. When she is alone with the police she says without hesitation “I know why you’re here.” There is no doubt in her why the police came for her.

With that single close-up, Imelda Staunton changed her entire character and also the atmosphere of the whole movie. Her joyful smile and loving kindness has gone and is replaced by a broken woman who can’t control her tears. Like an animal caught in a cage, Vera is unable to act in this situation. In the second half of the movie Imelda Staunton delivers a heartbreaking tour-de-force as a woman who knows that she has lost everything and is not able to deal with this. When she has to take off her wedding ring at the police or her complete inability to tell her husband the truth are moments of incredible emotional devastation.

Vera’s naivety and her goodness that Imelda Staunton established earlier also make it believable that Vera never did any abortions for money and instead simply performed them to help these girl – when she learns that her friend who has sent her to these girls secretly took money from them for Vera’s work, it is another blow for Vera.

Vera may have believed that she has done the right thing but once the police found out about this, she knows that there is no way out for her. It’s clear that she knew about the illegality of her activities but it seems that never really thought about it because for her it was more important to do what she felt is right.

Vera Drake is a woman who doesn’t make it easy for the viewers to either hate or love her. The movie shows that what Vera is constantly doing is clearly dangerous – one of the young girls almost died after the abortion and it is unclear what other damage Vera might have done in the many years before. Just like the society makes it too difficult for women who can’t have a child, it also makes it too easy for women like Vera Drake who mean well but simply don’t understand the full reach of their doings. Imelda Staunton is able to capture all these aspects and gives one of the most heartbreaking and complex performances to ever grace the screen for which she gets

Best Actress 2004: Kate Winslet in "Eternal Sunshine of the Spotless Mind"

It is unlikely that Kate Winslet will ever be forgotten by movie audiences thanks to the overwhelming success and popularity of Titanic but it seems that it is her performance in the quirky, original and already legendary cult movie Eternal Sunshine of the Spotless Mind that will secure her reputation as one of the finest actresses of her generation.

The Academy-Award-winning screenplay tells the story of Joel Barish who learns that his ex-girlfriend Clementine Kruczynski had her memory of their relationship erased. Hurt and angry, Joel wants to do the same but during the process, his mind realizes that even though the relationship ended, he doesn’t want to lose the memory of Clementine and he desperately tries to save it while Dr. Mierzwiak, played by Tom Wilkinson, keeps erasing all traces of her in Joel’s memory.

It’s a crazy, fascinating and completely original story executed in the most perfect way which makes the whole movie one of the most thrilling experiences ever. And Kate Winslet’s performance as the quirky, strong and insecure Clementine who wants independence but is also looking for love and support fits perfectly into this. She meets all the challenges of this unusual script and creates a character who is a firework of emotions, sometimes impossible to bear, sometimes selfish and mean but strangely fascinating and loveable at the same time.

In the role of Clementine, Kate Winslet wisely avoids to focus solely on the eccentricities and quirkiness of the character and also develops a real character underneath the colorful hair. She wonderfully mixes scenes of Clementine as an unpredictable, happy-go-lucky character with scenes of moving depth. Kate Winslet never lets the exterior of Clementine influence her performance but instead believably creates a woman who is all the things the scripts asks her to be. Clementine is mostly an escaping memory but Kate Winslet uses every moment of her performance to show that she is a woman who, as different as she may be from him, Joel wouldn’t want to lose. Every moment of her performance is filled with humor, originality and a certain sadness that creates an unforgettable heroine and perfectly add to the style of the movie itself.

Kate also works wonderfully with Jim Carrey. Both create characters that seem like outsiders, both seem rather lost and alone in the world but they cope differently with their feelings. Joel is rather shy and silent while Clementine tries to hide her personality behind constant layers of eccentricities and openness and shows that Clemintine is very nonstandard.

Even though Eternal Sunshine of the Spotless Mind is an extraordinary story, Kate Winslet never tries to make Clementine an extraordinary character. Yes, she adds a lot of humor and unusualness that evoke memories of Diane Keaton in Annie Hall (but Kate Winslet’s performance never feels like a rip-off and instead is able to stand on its own two feet) but at the same time, Clementine is a rather average character: a young woman looking for love and wanting it in her own way. She can also be unreasonable and unpleasent, she is in no way the perfect heroine of a romantic comedy but instead a very real and believable character. It’s probably the greatest achievement of Kate Winslet that she was able to carry the fairytale aspects of the story just as easily as the more realistic ones and that she found the perfect balance in her character for these two complements.

Kate Winslet wonderfully handles the comedy and the drama of her part and is able to turn Clementine into a fascinating, captivating and most of all believable character. When she talks to Joel about being ugly, Kate Winslet allows the viewer to look right into Clementine's most inner feelings and emotions.

Even though her character is mostly seen through the eyes of Joel, Kate Winslet never lets Clementine become an object of affection who is defined by others and instead constantly surprises with her fresh and exciting characterization. While Jim Carrey works as the protagonist and carries the story, it is Kate Winslet who adds the allure and enchantment to the movie.

Just like Eternal Sunshine of the Spotless Mind itself, Kate Winslet’s performance sprinkles with creativity and originality. For this, she gets

4/02/2010

Best Actress 2004: Annette Bening in "Being Julia"

To play a great diva of the theatre world is always a challenge and a reward for each actress. If she succeeds in the part, then critical praise and awards attention are guaranteed. But to succeed, she must be able to meet all the challenges of this part.
An actress has to be confident enough in her own talent to be able to fill both her own performance and the constant performances of her character with all the qualities that make a diva so unique. She must be able to be a complete bitch to everyone else in the movie but make the audience love her at the same time. She has to walk a thin line between being an eccentric diva and a hateful woman. She has to be larger-than-life but never go over-the-top. She must also know when to show a real character behind the grand exteriors. In a part like this, an actress must constantly act but avoid to appear unrealistic. And most of all, an actress has to have enough personality to be believable as this diva.

In the part of Julia Lambert, a great star of the London stage during the 30s, Annette Bening achieved all these demands wonderfully. Her eccentric, larger-than-life diva who is full of self-assurance but also very insecure is an unforgettable portrayal that is able to entertain and astonish the audience with its humor, wit and originality. Julia Lambert is not a rip-off of other famous divas like Margo Channing, instead Annette Bening created a character that is totally her own. She also succeeds in bringing the screenplay to a greater level since Julia is not that well written and brings together a lot of clichés but Annette is able to combine these well-known clichés with a lot of depth and creates a real, three-dimensional character.

Annette Bening almost bursts of confidence in her performance. She makes Julia a force of nature, a true diva of the theatre who knows who she is: a true star and a gifted actress. Julia has no doubt in her own talents and her own success but she slowly learns that life outside of the theatre is not going according to her own script. But when everything seems to slip away from her, she is confident and strong enough to fight back – and what else could she be using as her battlefield but her own territory, the stage of the theatre? She needs that stage to bring her personal life back into order.

Annette is a totally commanding presence on the screen and both she and Julia reduce everyone around her to mere props. But the gift of Annette is that she may take full spotlight with her performance but she allows others to shine, too, and is always able to create great chemistry with all her co-stars.

Annette Bening’s biggest success is how she is able to show so many sides of Julia. Her Julia on the stage talks and moves totally differently from the Julia off-stage but even the off-stage-Julia has more than one personality. There is the off-stage-Julia who is still acting and reading lines to get what she wants and there is the honest, the real Julia who sometimes becomes visible. It’s thrilling to watch Annette Bening turn Julia into a real tour-de-force and how she constantly plays with her intentions, motives and behaviors.

Annette is able to make Julia’s constant acting and awareness very natural and believable which is probably the biggest challenge of them all. It is clear that Julia is never letting her real personality become apparent and instead puts on an act for everyone but Annette presents this as a natural part of Julia’s character. When she is visiting her young lover at night and starts to cry one is never certain if she is acting or really honest. Only when she later breaks down in the quietness of her own room, it seems to become clear that this time, Julia really is herself. She constantly has to trick both the audience and the characters around her about her real intentions.

As said before, Annette Bening also has to be able to be really unpleasant to the characters around her but at the same time make the audience care about her and she also succeeds in this part. The most famous scene of the movie when Julia takes revenge on a young, upcoming actress on the stage during a premiere is certainly the highlight of Annette’s performance. One feels sorry for the young woman whose most important night of her life is turned into a personal fiasco but at the same time it’s impossible to not love Julia while she is doing it. Annette Bening’s smile can brighten up the whole screen and she is able to turn Julia into a character so crazy, eccentric, real and loveable that one finds oneself always on her side.

The only thing working against Annette is that she is in a movie that certainly adores her and gives her every opportunity to shine but is never able to catch up with her. Sometimes, Annette’s performance is too big for the movie because while she has to struggle with the eternal problems for every theatre diva – age, love and a new young rival – it is done in a rather simple way that can’t live up to Annette’s performance. Everything that happens to and around Julia is never as epic as Julia herself. Sometimes, Annette’s performance is too spectacular for its own good.

Still, Annette Bening turns Julia Lambert into one of the most extravagant, stylized, real and memorable divas ever and for this, she gets

4/01/2010

Best Actress 2004: Catalina Sandino Moreno in "Maria Full of Grace"

At the age of 23 Catalina Sandino Moreno gave her film debut in Maria Full of Grace – and received an Oscar nomination for it. She played Maria Alvarez, a young pregnant woman who lives in a poor village in Colombia. To earn money, she agrees to work as a ‘mule’ by carrying drugs into the United States by swallowing drug-filled pellets.

In a lot of scenes, it is rather visible that this is Catalina’s film debut. Sometimes her face appears a little too blank, sometimes her inexperience becomes a bit too obvious. But the wonderful thing is that Miss Moreno never lets this hurt her performance in any way but rather makes all these features a part of Maria’s character which results in a very raw and realistic performance that could easily be a role-model for every beginning actor.

Catalina never overacts or tries to ‘act’ too obviously which would be possible considering her inexperience. Instead, she gives a beautifully understated and subtle performance which helps to make Maria a very captivating character and her dangerous journey so riveting. Everything that Catarina does feels very naturally. She plays Maria as exactly what she is – a 17-year old girl who is unsatisfied with her life and her job at a flower plantation. She has to give most of her money to her sister who has a little baby and she is also not too happy with her boyfriend. When she gets pregnant and tells him about it, he wants to marry her but Maria refuses – she sees the world realistically, she knows that they don’t love each other and that they would never have a happy life. Instead, Maria wants her freedom and her own life. Like all young people, she rejects the authority from her sister and her mother and when her boss at the flower plantation treats her unjustly, she quits even though she doesn’t know where else she could earn money. When she meets a young man who offers her a job as a ‘mule’ which could give her financial security, she doesn’t need much time to accept it – even though the transport of the drugs might kill her if one of the pellets rips inside of her.

Catalina flawlessly demonstrates all the different feelings that Maria is experiencing in her preparation for the journey. Her hope for a better life but also her fear of being caught – or worse. Catalina’s success in the part is that she doesn’t show Maria as a naïve young woman but instead that Maria is always aware of what she is doing – or at least that’s what she thinks. Like a lot of 17-year olds, she thinks that she already knows everything and that she can handle a situation like this. By never overplaying the fear and worries of Maria, Catalina is able to add a lot of tension to the scenes when Maria takes off to America.

Catalina also wonderfully shows how Maria grows in a very short time in America. She doesn’t only have to deal with the police and brutal drug dealers but she also has to take care of her friend who also decided to smuggle drugs into the country and with whom she later flees from the criminals. In a few days, Maria has learnt the realities of life. But even though Maria is a different country and has to deal with criminals, she hasn’t lost her own willpower and her own sense of right and wrong. She openly tells the criminals that she wants the money that should have gone to another girl who died and give it to the family of the girl. Maria is not willing to be repressed by anyone.

Catalina is amazing able to show all the complexities of Maria and carry the movie with a wonderfully simple performance that never draws attention to itself. Instead, she completely disappears into the character and gives a face to all the people who have no other choice but risking their life and taking part in crimes. But in the part of Maria, Catalina never asks for forgiveness or tries to show Maria as a suffering heroine. She simple demonstrates her situation, her dreams, her hopelessness and how she finally ended up in a little room, swallowing over 60 drug-pellets.

Catalina’s prim charm is wonderfully suited for her part as the headstrong but also insecure Maria. She hits all the right notes and makes Maria an unforgettable character by giving a very subtle, relaxed and natural performance that dominates the movie and helps to tell this very moving and gripping story. For this, she gets



3/30/2010

Best Actress 2004: Hilary Swank in "Million Dollar Baby"

Hilary Swank received the second Oscar of her career for her role as Maggie Fitzgerald, a woman who aspires to become a professional boxer in Clint Eastwood’s Million Dollar Baby.

Hilary Swank is certainly not among the greatest actresses ever, but she has the ability to sink her teeth into a certain type of role: an underdog who has to fight for her dreams and gets beaten down more than once.

So it is nor surprise that she is magnificent as Maggie who seems to be too old to be a boxer but too young to give up. She is already doing some boxing and she is winning, but she wants more – she wants to get to the top and she is determined to get Frankie Dunne as her trainer. She openly tells him “If I’m too old for this, then I got nothing” – and this is right. She knows that she is ‘white trash’ and life will never change for her unless she actively tries to change it herself. And boxing is the only thing in her life that makes her feel good.

The first appearances of Maggie make her seem like a rather strange character. Frankie is unwilling to train her, openly rejects her over and over again but she keeps training in his gym, trying to make him change his mind. She calls him “boss” even though he doesn’t want it and she refuses to be trained by anyone else but him. It is never told why Maggie is so interested in having Frankie in her life – because she doesn’t only want a trainer, but also a friend, maybe even a father. It’s not clear why she chose Frankie for this but what does becomes clear is why this woman is so desperate to be loved and accepted – her own family looks down on her for her profession and never show Maggie anything but disinterest. Hilary Swank wonderfully shows how hurt Maggie is when her family rejects her – this strong woman who can beat anyone in the ring grew emotionally lonely. Hilary successfully shows a woman who is desperate to be loved and who tries to reject but also accept her own roots.

Hilary Swank could easily be accused of trying to get the audience’s sympathy by constantly smiling and showing no complaints even when her character is at its lowest. But she wonderfully shows how Maggie’s past in an unloving family turned her into a rather needy character who is looking for acceptance and affection. She throws herself at Frankie’s feet, hoping not only to find a trainer but also a friend. She tries to please everyone but at the same time she also wants her own way as she tells Frankie when she shouts “Don’t you say that if it ain’t true!”

Hilary Swank is able to show both the weakness and the strength of Maggie’s character without jumping back and forth between these two extremes but rather merges them most effectively. From the first moment she appears out of the dark to her last shot, she creates a strong-willed, determinant, but also insecure and uncertain character. Maggie knows what she is worth and what she can achieve but she not sure what life will give her.

Hilary Swank also has a wonderful chemistry with Clint Eastwood. Both lonely in their own way, both comfortable around each other. It’s a relationship that never becomes romantic but they both develop a loving, relaxed and open connection.

The performance by Hilary Swank contrasts of two parts, as far apart from each other as possible. In the first half, she does a lot of physical work while the second part of her performance is completely done by her face. Hilary is able to make both parts of her performance as effective as possible and shows how Maggie never loses her spirits even when her willpower weakens.

The highlight of Hilary’s performance is her final plea to Frankie which is an unforgettable moment. Hilary Swank shows so much with her eyes and delivers every line perfectly. Maggie may have lost her independence but she still wants to decide her life for herself. A wonderful portrayal of a fighter who is ready to stop fighting – and who is not afraid to ask for help.

Hilary is able to make Maggie both a dreamer and a worn-out character at the same time. She combines her hopes and dreams, her fears and disappointments in the greatest way and gets

3/27/2010

Best Actress 2004


The next year will be 2004 and the nominees were

Annette Bening in Being Julia

Catalina Sandino Moreno in Maria Full of Grace

Imelda Staunton in Vera Drake

Hilary Swank in Million Dollar Baby

Kate Winslet in Eternal Sunshine of the Spotless Mind