Supporting Smackdown '03: Holly, Marcia, Patty, Renée & Shohreh
Thursday, April 24, 2014 at 9:12PM For the latest edition of StinkyLulu's Supporting Actress Smackdown -- which was delayed for reasons I won't bore you with again -- Stinky and I welcome you to a much-discussed Oscar contest, ten years back. This was not, as we've rediscovered, a particularly strong vintage despite a certain nostalgic pull for any storied shortlist that combines five very distinct performers. The truth of it is that most of 2003's acting races were messy affairs with little precursor agreement or too much of it. Further complicating matters was a mix of various stages of career momentum, a frontrunning film without any acting bids (Return of the King), and that semi-annual deadly combo that always mucks with Academy discernment: weak prestige pieces and much of the best work occuring in genres Oscar doesn't care for. The Best Actress race, for example, was historic but totally odd and disatisfying, and Best Supporting Actress coalesced around these five players...
THE NOMINEES
Shohreh Aghdashloo, a "discovery" at 51 though she was already famous in Iran, and previously snubbed character actress sensation Patricia Clarkson were the first timers. Oscar winners Marcia Gay Harden and Holly Hunter were also included for anchoring gritty dramas as desperately confused mothers. And finally Renée Zellweger, the eventual winner, on her third consecutive nomination but her first for a drama after two lead nominations for popular comedies. (All legitimately supporting roles. That doesn't happen over a whole supporting field anymore)
You know who won the Oscar but who will win the Smackdown? Read on...
Nick Davis, Guy Lodge, Joe Reid, Nathaniel R, Tim Robey, Stinkylulu and You (we tabulate reader votes as well and quotes from your ballots appear).
2003
SUPPORTING ACTRESS SMACKDOWN
SHOHREH AGHDASHLOO as "Nadi" in House of Sand and Fog
Synopsis: A regal Iranian wife fears becoming no better than a gypsy in her new country when her husband buys a home to flip
Stats: Then 51 yrs old. First nomination! 32 minutes of screen time (or 25% of running time).
Nick: Like many of these nominees, suffers from vague writing. Nadi manifests high, sudden tempers but also scared docility, acute intuition and totally perplexity. Perelman’s script obscures how pill-dependent Nadi is, how depressed, how excited or not about the new house. These could play as fascinating paradoxes, but the slightly stiff Aghdashloo doesn’t suture these disparate impressions. Charismatic, deft at playing awkward exchanges, but her Nadi never fully comes into view. ♥♥
Guy: An exemplary Best Supporting Actress nominee, in that it’s genuinely unforeseen, perceptive character work from the sidelines that valuably enhances the work of the lead – and yet the performance itself isn’t quite as vital as I’d remembered. I love that she’s out to build scenes, not steal them, but the script too quickly corners her into noble stances of pride and anger: I’d like to hang out with her a bit more. ♥♥♥
Joe: The trembling subservience of Nadi at times threatens to infantilize her, but Aghdashloo pulls the character's feet out of the fire, time and again. The scene where she insists Kathy write down what she's saying; the bathtub incident. The intersection of pride and helplessness inside her helps fill in the blanks for Ben Kingsley's character. In that respect, she acts as classic support, for Kingsley, for Jennifer Connelly, even for poor, inept Ron Eldard. ♥♥♥
Nathaniel: We see her three times before she gets a line (it’s a sizeable role but not at all what I remembered and rarely the focus or even in focus) already a victim of the movie’s distracting ‘this equals that’ cross-cutting. The regal actress nails her key moments on the strength of screen presence. She often seems to be reacting to the previous thing that occurred (I love the delayed acqueisence to her husband’s petulant demands) rather than keeping pace with the scenes, which is a smart touch for a character so completely thrown by cultural barriers and her husband's secret crisis. ♥♥♥
Readers: "Doing more with small gestures and shaded vocal intonations that most actresses could do with pages of dialogue you ache for her gentle character and remember her long after the film is over. Appalling that she hasn't been better utilized in the years since." - Joel (reader avg: ♥♥♥¾)
Tim: The movie sinks faster each time I go back, but Aghdashloo totally holds her head above the rising peasouper. Particularly good as a smiling but speechless hostess, she presents a figure of believable contradictions – furious only at her Behrani, meek and terrified in every other way. Good, bulwark playing, lacking only the third-act chances to bump her up a ♥. ♥♥♥
StinkyLulu: In the decade since I first saw this film, I forgot pretty much everything about it — except Shohreh Aghdashloo’s face. Her capacity to convey who this specific woman was, who she is, and who she’s terrified of becoming — all with a single look. Yes, Kingsley and Connelly churn with meticulously angsty conflict, but it’s the often wordless eloquence of Aghdashloo’s Nadi that makes this movie the tragedy it is. ♥♥♥♥♥
Actress earns 22¾ ❤s
PATRICIA CLARKSON as "Joy Burns" in Pieces of April
Synopsis: a dying cancer patient takes a road trip to visit her daughter for Thanksgiving dinner
Stats: Then 44 yrs old. First nomination! (apologies. forgot to record screen time).
Nick: Depressing to award Clarkson one star, but what can you do? She’s stuck in a horrendous experimental film, omitting human behavior as strenuously as The Artist omits dialogue. Clarkson doesn’t (and couldn’t) make the script worse, but Joy never jells. She doesn’t seem about to die. Her prickly, often appalling comments are sitcommy insincerities. Her despondent roadside breakdown is totally rigged. Her jokes aren’t that funny. Her epiphany is unfathomable. ♥
Guy: If I were thinking like an Oscar voter, I’d give Patricia Clarkson five hearts just for being Patricia Damn Clarkson, not watch this wretched movie, and be done with it. But this isn’t even valiant slumming: she has a dry way with a quip, rolls her eyes probably more than the script instructed, and suggests not one new thing about her character from first scene to last. It’s the performance the film deserves, but... ♥♥
Joe: You guys, I just don't know. She's not particularly terrible, given the material she was given and the film surrounding her, but this is not the kind of "overcoming bad material" that sometimes characterizes a nominee. There are moments when Joy's frustration and impish sense of humor peek through, but just as often they're blown up by a script and by direction that don't want to let Clarkson's acting speak for itself. ♥
Nathaniel: We shouldn’t grade on a curve but it’s difficult to imagine why the Academy saw fit to bestow this great actress with her sole Oscar nomination for a turn this unchallenging. It asks so little of her beyond gallows humor and deadpan pathos both of which she hits hard like a concert pianist bored and angrily plinking on a child’s toy keyboard. Joy's face is sometimes completely blank – I imagine Patty was dreaming of her other films and the fertile soil they gave her to grow whole characters in. ♥♥
Readers: "A wonderful biting performance but I wish she had been nominated for her wonderful work in The Station Agent instead." - Chris D. (reader avg: ♥♥♥)
Tim: Can’t save a wretchedly sketchy picture – of all things, Clarkson got in for this? – but nor does she do it any great disservice. Never has opportunities to sculpt much detail, but little moments here and there, especially her silent bathroom check-in, suggest where she may have taken the part in a better context. At least Joy seems as bored with every other character as we are. ♥♥
StinkyLulu: The role prevents Clarkson from drawing upon the knowing sensitivity that is perhaps her greatest actressing strength. Perhaps as a result, Clarkson’s Joy (check that irony!) relies on her other gift for acid line-readings to make this woman (whose disposition is as discomfiting as her wig) almost believable. Still, Clarkson’s abiding soulfulness shines through, so I never quite buy her as this particular monster mother. ♥♥♥
Actress earns 14 ❤s
MARCIA GAY HARDEN as "Celeste Boyle" in Mystic River
Synopsis: a confused wife begins to question her husband's sanity and innocence when she learns a friend's daughter was killed one night while he was out.
Stats: 44 yrs old. 2nd nomination after a surprise win three years prior. 21½ minutes of screen time (or 16% of running time).
Nick: That brow! Those features! Harden sometimes appears to overact even before she speaks or gestures. That wordless interlude where she tremulously passes silverware to Katie’s mourners while clocking her shaky husband summarize everything that’s overdone about Harden’s Celeste but also what’s special about her. She seems gripped by real emotions, if maybe too emphatic about them, while other castmates get mired in accents or unsellable affectations. Her finale is spellbinding. ♥♥♥
Guy: I recall a number of people being surprised by this nomination, and me not being among them – revisiting it ten years later, I’m still not. More than anyone, I think, in this wildly mixed ensemble, Harden gets the key of earnest but heightened intensity Eastwood is going for: the sheer fretfulness of the performance, with all that darting and hand-wringing, is contagious, which should be more of a compliment than it sounds. ♥♥♥
Joe: Harden is -- like all the actors in this film, to one degree or another -- hamstrung by a character who doesn't make much sense. In all the scenes she shares with Tim Robbins, the audience gets zero indication of what their marriage was like before The Incident. Part of that is the film's fault, and part of that is on Robbins, but Harden doesn't exactly spin straw into gold either. She's far more effective in her scenes with Penn, but there are one too many scenes of wide-eyed, telegraphed horror for her own good. ♥♥
Nathaniel: The women in Mystic River are pointedly mute, through death, narrative disinterest or, well, "other" (I can't with those phone calls) but she manages to find a character within the rigid confines of skittish meekness. It's as if each sentence is a reckless toe stuck in water that might scald her as her hands and arms reflexively cross her body in protection (her husband isn't the only one who's been manhandled). Harden is very smart about how dumb to play her, Celeste's eyes widening in full horror but half-comprehension. ♥♥♥♥
Readers: "River is often too lurid and grandiose but Harden brings this high-headedness down to real, quaking life. She's a bit shaky when it comes to Celeste's almost impetuous stupidity, but she's tremendous at building an arc for her character... setting the seeds for that horrifying stagger through the parade." - Matthew Eng (reader avg: ♥♥♥)
Tim: Harden’s best when she’s ferocious, and crumpling, confused Celeste is never really playing to her strengths. Even so, she strives to make the best of a non-ideal situation, finding a genuine arc in a role that might have been flat and functional. Points for holding it together opposite Robbins, and giving the coda what shivery charge it has; still, only just worth a nom. ♥♥♥
StinkyLulu: Harden’s wracked-with-worry Celeste reminds me so of Maureen Stapleton’s nominated turn in Airport (1970), as that other wife terrified that her husband might be responsible for something awful. Like Stapleton then, Harden here is a workhorse, driving the narrative tension — introducing, then escalating, the devastating suspicion that implicates her husband. Harden’s is a haunting, efficient performance — one that this tautly-managed mystery needs in order to work. ♥♥♥
Actress earns 21 ❤s
HOLLY HUNTER as "Melanie" in Thirteen
Synopsis: a recovering alcoholic realizes her daughter is descending into cutting and drug use
Stats: Then 45 yrs old. Fourth nomination after a win ten years earlier! 44 minutes of screen time (or 44% of running time).
Nick: Incorporates Hunter’s real-life persona: spry but laidback; naturally but self-consciously sexy; unpretentious but whipsmart; centered but volatile. Then again, Hunter submerges her Southernness, flirts atypically with self-delusion, and conveys thirteen tortuous years of parenting despite having rarely played mothers. Her underplaying—of single lines, of the former addict’s desperation—tempers her film’s and castmates’ excesses. An epitome of supporting actressing, grounding the film and making it work without pulling focus. ♥♥♥♥
Guy: The film hasn’t aged well: what once seemed nervy and hell-for-leather now reads a bit tawdry and smug, and I was worried the same would go for Hunter’s performance. It doesn’t: she’s still a lightning bolt of authentically frayed energy in a designer-distressed environment. I love how she balances the beseeching desperation of any teen’s parent with flickers of almost envious recognition, one bad girl to another. ♥♥♥♥
Joe: Hunter does such a great job conveying the inconsistent jumble that is Melanie's parenting strategy. She sways from meekly ingratiating "cool mom" to naggy suspicion without ever once stepping over the line into plot service. She and Evan Rachel Wood make for a natural/combustible duo, and it's in her raw helplessness that Thirteen finds its non-exploitive reason for being. ♥♥♥♥♥
Nathaniel: Hunter gifts her Bohemian mom with such vivid interior life that there isn’t one scene where she’s not multi-tasking as she tracks the strange new temperatures of her daughter in the room. Mel is so many people: “hot big sister,” chill friend, recovering addict, tactile mom, overextended friend. Her many selves braid together as tightly as she holds her daughter in the intervention climax. Hardwicke didn’t need a shaky-cam; Holly makes the whole film vibrate with raw feeling. ♥♥♥♥♥
Readers: "Eloquently conveys the predicament of a mother torn between tightening her grip on her obstinate daughter and the fear that disciplining her will only push her further away. Hunter’s performance is remarkable ... she single-handedly elevates an otherwise mediocre film." - Cameron (reader avg: ♥♥♥♥)
Tim: Jeremy Sisto is Sorry, distracted. While not always helped by the fickle editing, Hunter makes working motherhood multi-dimensional and practically defines generous, movie-elevating support here. Wood’s constantly better in their scenes than elsewhere, and Holly’s gifts with rapidly communicative close-ups of shock and hurt are aces up Hardwicke’s sleeve. ♥♥♥♥
StinkyLulu: The film creaks as noisily as one those afterschool specials I grew up with, but Holly Hunter’s performance endures. Few can play paradox as plausibly and as palpably as Hunter. She’s utterly vulnerable yet steely strong. Steady yet equivocal. Terrified yet brave. In a film that delights in letting the girls run wild, Hunter’s incomparable grip holds the reins, helping me both to understand and to care. ♥♥♥♥♥
Actress earns 31 ❤s
RENEE ZELLWEGER as "Ruby" in Cold Mountain
Synopsis: a weird tactless hillbilly comes to the rescue of a dainty southern belle during the Civil War arming her with farming and survival skills.
Stats: Then 34 yrs old. Third consecutive nomination. 36½ minutes of screen time (or 24% of running time).
Nick: To be fair, virtually everyone in Cold Mountain flails with Charles Frazier’s marble-mouthed dialogue, facing insuperable hurdles in passing off prolix conceits as human characters (though I love Law). As Minghella mandated across the board, Zellweger slathers on a “Carolina” accent that fools nobody. But those uninflected line readings, graceless movements, jutting grimaces, opaque close-ups, and garish stabs at comedy? Zellweger’s alone to answer for. She squashes every conceivable nuance. ♥
Guy: Stomp! Stomp! Stomp! Zellweger strides into this slightly porridgey movie with a sense of purpose, as if she knows there’s livening-up to be done – and that’s the only correct call she makes here. For it’s the wrong kind of livening-up: all movement and exclamation and grimacing, and no inner life or logic from one scene to the next. Comic relief should never look like this much work. ♥
Joe: Oh, Renée. My impression of her performance in Cold Mountain is the same after this recent rewatch as it was the first time around: in a film with as many dead spots and lulls as this one, I was incredibly thankful whenever Ruby bushwhacked her way onto the screen. It's a complete cartoon turn in a film that needed to adapt to her wavelength way more or way less. Seen in a vacuum, it's every bit as terrible as people say it is. In the context of the movie, it's a more welcome -- if not trophy-worthy -- distraction. ♥♥
Nathaniel: Ruby has enough tics in the writing from truthy catchphrases to vocalized spelling / counting that the only reasonable approach is minimalist; let the character play itself. Instead Renee doubles down on mannerisms: robotically jerky arms (akimbo or swinging), bird-like head-tilting, lip pursing, and so much more. My favorite note in the performance is the way her frantic face-pulling stops abruptly whenever music plays. Music soothes the savage beast. But which beast? Ruby is neither recognizably animal nor human. What remains is some kind of unholy hybrid species: Thespian Extremus. ♥
Readers: "People just jumped on the bandwagon and exaggerated how awful her performance was. She is in fact the best part of the movie. Based on her physicality, I believed she could survive in the Carolina wilderness. Her best moments are the quiet ones with Kidman though..." - Tom G (reader avg: ♥¾)
Tim: Is it even worth saying? Stomps in, stomps out of scenes with the same muddy-boots emphasis on every last line. Works the comedy in with a trowel. Somehow both inadequately defined and very specifically disastrous. A rare, cloth-eared failure when it comes to Minghella’s casting instincts. Makes NO sense, not even Renéesense. I’d rather she had an Oscar for Case 39. ♥
StinkyLulu: It’s one of the enduring mysteries of Supporting Actressness: whose idea was it to give Ruby Thewes that mouth? With that upperlip cramping ever upward, as if sprained by a lifetime of eating corn through a barbed-wire fence? And without even a bucky dental appliance to justify it? Though Zellwegger invests Ruby with a sensible and even sensitive emotional arc, those HeeHaw externals foul what might have been a worthy performance. ♥♥
Actress earns 9¾ ❤s
AND THE SMACKDOWN GOES TO...
Oscar chose Renée, surely due to career momentum. (When it's time it's time, damn the actual performances!) But the Smackdown gives the prize wholeheartedly to... Holly Hunter in Thirteen
Thank you for attending!
If you enjoyed it, share it on facebook or twitter or other social media sites. Surely you have a friend who you saw some of these movies with you ten years ago! If you're new to the Smackdown we've revisited 1968's sinister sapphics, September's 1980's warm hugs, and 1952's pie-throwing brawl plus the old archives @ StinkyLulu.
you might also want to read the "introducing" piece that features each of these nominees first scenes in their movie
What's next for the Smackdown?
Despite the long looooong wait for this one, we'd like to continue if you'll forgive us. Let me think on a year we should revisit and get back to you. I'll try to choose something with less than five films represented to ease us back in less painfully
Reader Comments (87)
i do want to do an early one but not all of the films are available so we'll see.
Boring. You want people to get excited about these things cover years when they were either alive or just about to be.
1943 would be a great choice. The early years are always full of great revelations (like Hope Emerson in 1950's "Caged") and I'm thankful when the panel takes the time to point out such choice performances.
1979!!!! MERYL MERYL MERYL !!!!!
To chime in with others, some other deserving non-nominees from 2003:
Scarlett Johansson, "Lost in Translation"
Ludivine Sagnier, "Swimming Pool"
Patricia Clarkson, "The Station Agent"
Melissa Leo, "21 Grams"
Entertainment Weekly once did a thing where they looked back at certain categories for certain Oscar years and this was one of them. They did a poll asking Academy members who would they vote for if they could do their vote again and I think Shoreh ended up winning.
(I also remember Frances McDorman being chosen over Geena Davis in The Accidental Tourist for that re-vote.)
/3rtful -- i don't really care about people getting bored by pre-70s cinema. The site has always been about the entirety of cinematic history and always will be (obviously there is a lot of 80s and 90s and the now but i'm never going to be there exclusively. *that* is boring to me. I need EVERYTHING. Voracious movie-love.
The Smackdown is probably my favorite TFE feature. I love to hear the different perspectives. Keep 'em coming!
I'm curious: What is the criteria for being crowned Stinktress?
Please do 1973:
Tatum O'Neal vs Linda Blair vs Candy Clark vs Madeline Kahn vs Sylvia Sidney.
Two from the same movie; two kids; one comedienne; one cult actress; a Golden Age Hollywood legend.
What more do you need?
I was really hoping Shohreh would take this (I've always thought she was a quiet revelation in House of Sand and Fog), but cannot complain too much about Holly Hunter winning.
As for the next year you do: I would throw my vote to 1994 or 1973.
Doesn't surprise me Renée got the last place.
Her character was supposed to "stomp around", or not?
Though from the other nominees, I've only seen Marcia Gay Harden (*lol* What a name BTW) and I've completely forgotten her.
So maybe the others are worthier, but I thought the other nominees in 2007 were worthier than Tilda Swinton. I know that win is adored, I just don't know why.For an actress her gigantic talent it's such a thrown away win.
Yes yes, enough people say that about Meryl's win for TIL, but that win is not adored and comes from a different situation anyway, so whatever.
I just don't think Renée's win is one of the worst win ever. Just my opinion. ;)
polivamp and paul -- 1973 would be great. but i'm afraid one of the films is very difficult to find (summer wishes winter dreams). you can buy it only and it aint cheap. same problem in 1977 where looking for mr goodbar is inexplicably out of print (that movie is so good) and very expensive.
BD -- it's unofficial but from my understanding you have to get all "1 star" votes. and the only person that did was ingrid bergman for murder on the orient express... i believe at the time though the stars were required to rank (as in best was 5 worst was 1). not sure. But my rules are slightly different. If everyone is stupendous they should all get 4 or 5 stars. some years are treasure troves and others are dross.
Happy to see so much support for Clarkson in the comments. I ranked her pretty high, and think that although the film is an unmitigated disaster, she somehow manages to have beautiful moments in it.
And any one of those from the '80s would be great! Serious lacking in my knowledge of acting nominees from that decade.
Almost wasn't even a smackdown, since the opinions here seemed pretty similar across the board. Everyone loved Hunter, think Aghdashloo and Harden generally work, that Clarkson's immense talent couldn't overcome such crappy material, and Zellweger sucked all the way around.
Shame about Summer Wishes, Winter Dreams, cause I would also love 73. Especially would love to hear everyone's opinion on Linda Blair, one of the toughest performances to judge (how much of it was her vs everything else that went into creating that character.)
There's gotta be a Joanne Woodward fan here who already owns Summer Wishes, Winter Dreams or would be willing to buy it for $15 at Amazon and upload it to YouTube...no?
You said you wanted to do a year that has two actresses from the same film and I believe 1941, 1943, 1948, 1954, 1957, 1963, 1965, 1973, 1979, 1989, 2000, 2001, and 2002 fit that description of the years that are left. 1963 is actually special because it has THREE actresses from the same film, so that would be easy. And Lilies of the Field, Tom Jones, and The VIPs can't be too hard to find. I'd recommend 1957 though as it has quite a few good performances and movies.
Another vote for 1963! We already had that great write-up on Tom Jones.
Loved Aghdashloo so much that this performance is the only nominated performance of 2003 that really resonated with me on a such a level to this day. Indeed this the year in which Joe Reid himself coined the phrase "Zelwegerian March To The Sea." For snarkiness sakes, I do wish we would get more these campy in a horrific way type of performances to slip into the awards races.
@Nathaniel
As a writer your interests come first. But when those postings receive little to zero response from the readership. You have yourself to blame. For proudly being indifferent to their boredom.
You know what year has two nominees from the same film, films that are all readily available, and is from a decade that hasn't been heavily represented in the Smackdown? 1989.
I must sound like a broken record, but I would really like for more people to screen 'Enemies, A Love Story.' Really nice film and such great actressing at the edges. ;)
3rtful-You have made it clear that you don't like early cinema, that's your prerogative. Simply don't read those posts, there are many readers of the site who enjoy those articles as well as the ones for more contemporary film. You constant carping and negative comments are tedious and themselves boring in their predictability. I don't know why you even bother to read the site since so much of apparently displeases you.
Paul -- I WISH. 73 would be an awesome year
par that is an excellent list, You have good taste.
@Joel6: Please post your address and I will send you flowers.
I'm so glad Holly stormed through this. I like Harden a lot in Mystic River and, like a lot of the other contributors, liked her even more this time. And what Aghdashloo's going for is really great, even if it doesn't always come out. But for real.
My other favorites who were technically eligible in this category that year included Essie Davis in Girl with a Pearl Earring, Ellen Degeneres in Finding Nemo, Eileen Walsh in The Magdalene Sisters, Marie-Josée Croze in The Barbarian Invasions, Melonie Diaz in <I>Raising Victor Vargas, and Jessica Lange in Masked and Anonymous, a giant Oscar juggernaut.
Nick -- " a giant Oscar juggernaut" you delight me. I should probnably watch Pearl Earring again. I remember your love for Essie but all i could see that year was SCARLETT... (so happy i'm feeling that way again... but christ it took a whole ten years)
I haven't seen the films since 2003, but I remember being all about Aghdashloo and Harden, then Hunter, wishing Clarkson was up for The Station Agent, and being blegh to Zelweger. Some things never change.
everyone -- i will keep an eye out for some movement on summer wishes, winter dreams because 1973 would be my first choice if it were available to smack down.
Ben -- yeah, it's interesting that the votes were so samey-samey. especially since we never see each other's ballots before posting. (I asked the panel not to discuss with each other beforehand either)
Fingers crossed, Nathaniel!
I am a rabid Jessica Lange fan and I've never heard of this movie!
Team Zellweger here, I'm afraid. It's a commanding performance that obviously does something noteworthy to manage to win the Oscar despite also inspiring so many people to love to hate it.
Plus, it inspired this fake commentary from Nicole Kidman on the film.
http://www.youtube.com/watch?v=OE4dyN4tPqo#t=3m53s
Summer Wishes, Winter Dreams is a good movie, but you know who was snubbed of the three main characters? Martin Balsam. He was my favorite part, especially his story about his time in the war. He should have been up for Supporting Actor.
I would love to finally be able to see Summer Wishes, Winter Dreams (and of course there is that great clip of the announcement of the Best Actress winner that year).
Essie Davis was fantastic in Girl with a Pearl Earring. She's got one of those faces you never get tired of looking at.
P.S. I would love to watch Summer Wishes, Winter Dreams. I love the title.
I've only seen Aghdashloo, Hunter and Zellweger's performances and I have to agree that Holly is the best of the five, hands down. She was gripping and her scenes with Evan Rachel Wood were sensational.
In case Summer Wishes, Winter Dreams (a last-minute retitle that Woodward despised) is sounding even less available than it actually is, you can order a DVD for $17.95 from WBShop. Not the most convenient and not sure if they ship outside the US, but a huge step up from when the film was genuinely a rarity.
for more details please visit the site
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