In 2002, Moore was considered a heavy favorite to win the Oscar for her excellent lead work as Cathy Whitaker in Todd Haynes’ Far from Heaven or her equally powerful supporting in Stephen Daldry’s The Hours as Laura Brown. Joining a list that includes Emma Thompson and Sigourney Weaver, she went home empty-handed that fateful night.
Deja-vu: watch out for her upcoming two-category sweep in 2010: First up is a much-discussed lead turn in Atom Egoyan’s Chloe, a sexually-charged drama in which Moore’s tony doctor hires an escort (Amanda Seyfried) to bed her husband. Remember that nobody does “sexually-charged” quite like Moore. This is the woman who gave us Boogie Nights’ Amber Waves and the tawdry, delicious Savage Grace last year, after all.
Then comes the pièce de résistance for the awards season: Moore’s supporting turn in designer-turned-film director Tom Ford’s A Single Man, opposite Colin Firth as a gay man who has just lost his long-time lover.
The Almodóvar -esque movie has just been picked up in Toronto by The Weinstein Co., who know their way around an Oscar campaign. In fact, they handled Moore’s film The Hours back in ‘02. The Hot Blog over at MCN says of Moore and the film: “It’s practically made in Gay-O-Vision, with the most beautiful men on the planet, Julianne Moore as The Ultimate Fag Hag beautiful, drunk, and desperate to sleep with our gay hero because she no longer can deal with the idiocy—and ungroomed hair—of straight men), and even a color scheme change to signal the audience that sexual arousal is occurring.”
That seals the deal for me, what about you?
If any actress is “owed” an Oscar, it is Julianne Moore—who looks like she could possibly snag the trophy finally this year at the expense of other expected nominees such as Precious’ Mo’Nique and the Weinstein Co.‘s lovely Nine ladies: Marion Cotillard, Penelope Cruz, Judi Dench and Sophia Loren.
We all know how critical it is to keep independent voices alive and strong online. Please consider a donation to support our work as an independent publisher devoted to the arts and humanities. Your donation will help PopMatters stay viable through these changing and challenging times where advertising no longer covers our costs. We need your help to keep PopMatters publishing. Thank you.