Film

Best Supporting Actress Rewind 1996

1996 was one of the strongest years for potential nominees in this category in recent memory. As usual, most were overlooked by voters for some inexplicable reason.

Oscar's Nominees:

Joan Allen ... The Crucible

Fine nominee who was gifted with a great role that was slightly underplayed. The Crucible had many facets that were overlooked -- such as the impeccable production and costume design, as well as the the volcanic lead performances of Daniel Day Lewis and Winona Ryder-- so that Allen's supportive wife was the element singled out is a tad baffling. Even more baffling is how Allen would fail to get Academy recognition for her far superior work in The Ice Storm (1997), Pleasantville (1998), The Upside of Anger (2005) in relatively less-competitive years than 1996.

Lauren Bacall ... The Mirror Has Two Faces

Weakest performance of the bunch, it is unbelievable that this is dreck is Legend Bacall's first and to date only Oscar nomination. Completely insane that a) this dreadful turn from a dreadful movie was the favorite to win B) it was nominated in the first place in such a strong year for supporting actresses.

Juliette Binoche ... The English Patient

Riding a tidal wave of love for her film past the finish line, Binoche's sympathetic nurse was surprise winner this year, beating out the widely-expected and predicated Bacall.

Barbara Hershey ... The Portrait of a Lady

A cunning, commanding performance that landed Hershey in the race would have won in almost any other year. As Madame Serena Merle, the woman at the center of Jane Campion's visionary film pulling all of the strings, Hershey emotionally tortures Nicole Kidman with aplomb, spars admirably with John Malkovich and implodes like a crushed flower by the film's end, a result of her own bad planning and terrible judgment. She my personal pick as Supporting Actress this year and it is a miracle Oscar voters nominated such a tempestuous, savage character. Credit must be given to Hershey's impeccable career trajectory from the early 1980s through 1996, where her work in films such as The Entity (1981), Hannah and Her Sisters (1986),The Last Temptation of Christ (1988), and her double Cannes-winning performances Shy People (1987), and A World Apart (1988); as well as her award-winning small-screen work in A Killing in a Small Town and Paris Trout received much notice. To say she was due is an understatement.

Mazur's Nominee Picks

Any of the women listed below could have made the cut for the top five, delivering some of the year's most fearless and memorable acting.

Drew Barrymore … Scream

Kathy Bates … The War at Home

Katrin Cartlidge ... Breaking the Waves

Julie Christie … Hamlet

Goldie Hawn … Everyone Says I Love You & The First Wives Club

Linda Henry … Beautiful Thing

Queen Latifah … Set it Off

Courtney Love ... The People vs. Larry Flynt

Elizabeth Pena … Lone Star

Annabella Sciorra … The Funeral

Kristin Scott Thomas … Angels and Insects & The English Patient

Marisa Tomei … Unhook the Stars

Special Mention to the female supporting cast of Flirting With Disaster: Patricia Arquette, Tea Leoni, Mary Tyler Moore, Lily Tomlin & Celia Weston.

The year in song reflected the state of the world around us. Here are the 70 songs that spoke to us this year.

70. The Horrors - "Machine"

On their fifth album V, the Horrors expand on the bright, psychedelic territory they explored with Luminous, anchoring the ten new tracks with retro synths and guitar fuzz freakouts. "Machine" is the delicious outlier and the most vitriolic cut on the record, with Faris Badwan belting out accusations to the song's subject, who may even be us. The concept of alienation is nothing new, but here the Brits incorporate a beautiful metaphor of an insect trapped in amber as an illustration of the human caught within modernity. Whether our trappings are technological, psychological, or something else entirely makes the statement all the more chilling. - Tristan Kneschke

Keep reading... Show less

This has been a remarkable year for shoegaze. If it were only for the re-raising of two central pillars of the initial scene it would still have been enough, but that wasn't even the half of it.

It hardly needs to be said that the last 12 months haven't been everyone's favorite, but it does deserve to be noted that 2017 has been a remarkable year for shoegaze. If it were only for the re-raising of two central pillars of the initial scene it would still have been enough, but that wasn't even the half of it. Other longtime dreamers either reappeared or kept up their recent hot streaks, and a number of relative newcomers established their place in what has become one of the more robust rock subgenre subcultures out there.

Keep reading... Show less
Theatre

​'The Ferryman': Ephemeral Ideas, Eternal Tragedies

The current cast of The Ferryman in London's West End. Photo by Johan Persson. (Courtesy of The Corner Shop)

Staggeringly multi-layered, dangerously fast-paced and rich in characterizations, dialogue and context, Jez Butterworth's new hit about a family during the time of Ireland's the Troubles leaves the audience breathless, sweaty and tearful, in a nightmarish, dry-heaving haze.

"Vanishing. It's a powerful word, that"

Northern Ireland, Rural Derry, 1981, nighttime. The local ringleader of the Irish Republican Army gun-toting comrades ambushes a priest and tells him that the body of one Seamus Carney has been recovered. It is said that the man had spent a full ten years rotting in a bog. The IRA gunslinger, Muldoon, orders the priest to arrange for the Carney family not to utter a word of what had happened to the wretched man.

Keep reading... Show less
10

Aaron Sorkin's real-life twister about Molly Bloom, an Olympic skier turned high-stakes poker wrangler, is scorchingly fun but never takes its heroine as seriously as the men.

Chances are, we will never see a heartwarming Aaron Sorkin movie about somebody with a learning disability or severe handicap they had to overcome. This is for the best. The most caffeinated major American screenwriter, Sorkin only seems to find his voice when inhabiting a frantically energetic persona whose thoughts outrun their ability to verbalize and emote them. The start of his latest movie, Molly's Game, is so resolutely Sorkin-esque that it's almost a self-parody. Only this time, like most of his better work, it's based on a true story.

Keep reading... Show less
7

There's something characteristically English about the Royal Society, whereby strangers gather under the aegis of some shared interest to read, study, and form friendships and in which they are implicitly agreed to exist insulated and apart from political differences.

There is an amusing detail in The Curious World of Samuel Pepys and John Evelyn that is emblematic of the kind of intellectual passions that animated the educated elite of late 17th-century England. We learn that Henry Oldenburg, the first secretary of the Royal Society, had for many years carried on a bitter dispute with Robert Hooke, one of the great polymaths of the era whose name still appears to students of physics and biology. Was the root of their quarrel a personality clash, was it over money or property, over love, ego, values? Something simple and recognizable? The precise source of their conflict was none of the above exactly but is nevertheless revealing of a specific early modern English context: They were in dispute, Margaret Willes writes, "over the development of the balance-spring regulator watch mechanism."

Keep reading... Show less
8
Pop Ten
Mixed Media
PM Picks

© 1999-2017 Popmatters.com. All rights reserved.
Popmatters is wholly independently owned and operated.

rating-image