In Contention

Tag: Sally Field

  • The model for this year’s acting presentations?

    I mentioned yesterday that the multi-presenter format used for the acting awards in the last two Oscar ceremonies is being scrapped this year. However, while we’re doing away with the five-way individual tributes, producer Bruce Cohen claimed they were adopting an idea from the “1970 Oscars” that would ensure every nominee gets duly celebrated.

    Looking at footage from that year’s awards, it wasn’t clear what he meant — though it seems he might have been misquoted, and actually said “1970s Oscars.”

    With that in mind, helpful reader Michael Amir Bina got in touch to inform me that this presentation format (embedding disabled, I’m afraid), from the 1979 awards, is what we should be expecting. Nothing groundbreaking, just brief rundown of each nominee’s career and achievements to date. Fine, I suppose, though it slightly steps on the notion of the Oscar being for a single performance. Meanwhile, how much telecast time will the show’s writers be able to wring from poor Hailee Steinfeld’s résumé?

    [Photo: Libero.it]

  • Nice to be wrong: actresses who changed my mind

    Kristin Scott Thomas in I\'ve Loved You So LongHaving been a film critic for more than a quarter of a century now (my God) and a film junkie for more than 40 years, I have never gotten over the joy of surprise when an actor or actress comes out of left field with a performance of such brilliance it eliminates every single bad performance or bad film they have ever been associated with.

    As a critic and a journalist, I tend to call it as I see it, sometimes to a fault.  I remember a stunned Al Pacino looking at me flabbergasted when I asked why the devil an all powerful evil being would have to shout so much as he did in “The Devil’s Advocate.”  He eyed me up and down for a few uncomfortable seconds before answering, beginning with, “So your one of the honest guys.”

    And there have been those delicious moments when I have been forced to eat my words. And you you know what?  I love it.  I love seeing an actor I had written off or dissed deliver a breathtaking portrayal to the point that I can scarcely believe what I’ve seen.

    It happened this year for me with Kristen Scott Thomas in “I’ve Loved You So Long,” a stunning piece of acting from a thesp I had previously loathed. I remember being at press screening for “The English Patient” in the fall of 1996, after barely enduring the film.  Thomas was ice cold, leaving me to wonder who could love this woman, and worse, why would they?  Nothing else she has done since impressed me much until now, and frankly, her performance left me in awe.

    There have been others, of course.  Sally Field had been written off as “The Flying Nun” and Burt Reynolds’s latest squeeze in those goofy “Smokey and the Bandit” films in the late 1970s.  She gave a remarkable performance on TV in “Sybil” as a woman with multiple personalities, but nothing prepared me for her superb performance in Martin Ritt’s beautiful little film “Norma Rae,” about a woman recognizing her potential amid textile union politics. Field was astounding, winning every major acting award there was, including the Oscar.  The performance remains one of the finest ever captured on film.

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  • The evolution of the actress, part two

    Jessica Lange in King KongThis is the second of a two-part study of legendary screen actresses through the years.  Click here for part one.

    Diane Keaton and Sally Field emerged at the end of the 1970s with strong performances that defined them as actresses of the future. Keaton won an Oscar for her kooky “Annie Hall” and became a regular performer  for Woody Allen. But she was also taking risks with other filmmakers, giving a darkly brilliant performance, for instance, in “Looking for Mr. Goodbar” as a promiscuous young teacher.

    Keaton gave a sublime performance in “Shoot the Moon,” a critically acclaimed box office failure, and was excellent in “Crimes of the Heart,” “The Little Drummer Girl,” “Marvin’s Room” and most recently, “Something’s Gotta Give.” Equally at home in comedy or drama, Keaton never ceases to amaze.

    Sally Field’s career is a bit more bizarre.  A two-time Oscar winner for genuinely brilliant performances, she truly arrived with “Norma Rae,” claiming all major lead actress awards.  Five years later she won again for a wonderful performance in “Places in the Heart,” which yielded the infamous “you like me” speech.  In the years since, she should have been nominated for “Forrest Gump,” but was not, and now she’s an Emmy Award winner on television. Easily miscast, though, Field can come across as too earnest in some roles, as she was in “Murphy’s Romance.”  But in the right material, she is terrific.

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  • Will Spielberg turn his attentions to ‘Lincoln’ after withdrawing from ‘Chicago 7?’

    Abraham LincolnSteven Spielberg announced quite some time ago, a year and a half at least, that he planned to make a biography of President Lincoln with Liam Neeson as the 16th American President. Excited about this right away, I sat and waited, and waited, and waited, while he did the latest Indiana Jones film (no argument, it was fun) and then moved on to “The Trial of the Chicago 7,” or so it seemed.

    Word is that he has not withdrawn from the Lincoln project.  I am hoping he goes at it with a vengeance.  Liam Neeson was announced as Lincoln with Sally Field as his wife Mary Todd. They seem like roles of a lifetime for each.

    When Spielberg throws himself into an important film, there is no stopping him, as we have seen with “Empire of the Sun,” “Schindler’s List,” “Saving Private Ryan,” “A.I.: Artificial Intelligence” and “Munich,”etc. “Lincoln” sounds to me the stuff of legend, a film that could be for the ages and might bring the man his third Oscar for directing. Hopefully this one is on the near horizon for him. The story is fascinating and deserves proper treatment. He was a great man who fought to unite the nation and treat all men as equals, with a tragic home life, and finally the victim of an assassin’s bullet.

    Please Mr. Spielberg, get to “Lincoln”.