Supporting Actress Smackdown '20: Bakalova, Close, Colman, Seyfried, and Youn!
Saturday, April 17, 2021 at 8:20AM Welcome back to the Supporting Actress Smackdown. Each month we pick an Oscar vintage to explore through the lens of actressing at the edges. For the season premiere we're starting with the current Academy Awards competition honoring the films of 2020.
THE NOMINEES 2020's shortlist, chosen much later than we're used to in 2021 due to the pandemic reschedulings, collects one breakout young Bulgarian actress (Maria Bakalova), one Hollywood legend (Glenn Close), a popular recently Oscar-winning British treasure (Olivia Colman), a former Mean Girl who continues to expand her range (Amanda Seyfriend), and a revered South Korean actress (Youn Yuh-Jung).
THE PANELISTS Here to talk about their performances and films are, in alpha order: actress/playwright/comedian Grace Aki (Tell Me on a Sunday), awards columnist Scott Feinberg (The Hollywood Reporter), writer/producer Peter Knegt (CBC Arts), writer/podcaster Jorge Molina (Just to Be Nominated), and awards pundit Matt Neglia (Next Bext Picture). As ever the event is hosted by TFE's mastermind, Nathaniel R. Let's begin...
SUPPORTING ACTRESS SMACKDOWN + PODCAST
The companion podcast can be downloaded at the bottom of this article or by visiting the iTunes page...
MARIA BAKALOVA as "Tutar Sagdiyev" in Borat Subsequent Moviefilm
Synopsis: A young woman, shipped in a crate to her journalist father is to be presented as a bride or 'prodigous bribe' to Vice President Mike Pence. After a few misadventures she begins to think for herself prompting her father to reevaluate his plans.
Stats: 24 yrs old, 5th film, 2nd billed. First nomination. 40 minutes of screen time (or 42% of the running time)
Grace Aki: Maria delivers CAMP in this docu-comedy-something. I enjoy the fact that she was nominated purely for selfish reasons however... I’m not sure she really belongs in this list. She is 100% committed and I LOVE when a comedic performance is recognized but I don’t believe she will win. ♥♥♥
Scott Feinberg: An impressive debut under very challenging circumstances. ♥♥♥♥
Peter Knegt: I'm honestly just so elated this actually happened. It's one thing for an explicitly comedic performance to be recognized (which happens like once a decade, usually in this category) but entirely another for it to happen for an improvised performance from an unknown Bulgarian actress in a mockumentary sequel. But other than the fact that this is undeniably a co-lead performance, Maria Bakalova deserves all the supporting actress attention that has come her way for her work in Borat Subsequent Moviefilm. What she has to simultaneously pull off as Borat's daughter Tutar is extraordinarily complex, and she nails all of it: broad physical comedy, an emotional arch that is imperative to the film succeeding and, you know, interviewing and seducing the sitting U.S. president's lawyer in character. ♥♥♥♥♥
Jorge Molina: it can't be easy to go up against one of the most culturally penetrative comedic characters of the past decade. But Maria Bakalova manages not only to hold her own against Sacha Baron Cohen's Borat, but also crafts a fully-realized character that doesn't feel like a mere spawn (pun intended) of the "stupid foreign reporter", but has her own voice and personality. Maria's Tutar, in her self-discovery journey of femininity, independence, and agency, is the emotional core of the movie, and her character arc is what anchors the story among all the cringe comedy. It's because of her that the movie feels more strongly a father-daughter story than a political satire. But don't be mistaken, she can get a room of Republican women on their toes as effectively as she carries the emotional weight of the movie. ♥♥♥♥
Matt Neglia: Fearless, bold and hilarious. An exciting breakthrough performance that announces to the world a new star.. ♥♥♥♥
Nathaniel R: A master class in improv, and above all else lunatic high-wire commitment to unreality -- perfect for our fake news modern world; we believe it because she never doesn't. Inspired from her filthy caged introduction to assured newswoman / new woman liberation. ♥♥♥♥
Reader Write-Ins: "Bakalova performs a high-wire act of improvisation, grotesquerie and comic earnestness. I don't think anyone could have imagined Baron Cohen being outperformed in his own film!" - Andrew F. (Reader average: ♥♥♥½)
Actress earns 27½ ❤s
GLENN CLOSE as "MaMaw" in Hillbilly Elegy
Synopsis: An Appalachian woman must frequently intervene and eventually take over parenting her grandson when her daughter succumbs to drug addiction
Stats: 74 yrs old, 46th film, 2nd billed. 8th nomination. 24 minutes of screentime (or 20% of the running time)
Grace Aki: Oh Glenn... You’re so damn good. It’s just that the making of this film is just... offensive. As a southern person who regularly see poverty porn in film... just no. Glenn’s performance however... is the best in the film and worthy of this nomination. She once again makes herself disappear in the character. I hope she doesn’t win because she isn’t my pick, but she is extremely convincing. ♥♥♥♥
Scott Feinberg: A great actress rising above a terrible film. ♥♥♥
Peter Knegt: So I probably would never have seen Hillbilly Elegy if it wasn't for this Smackdown. I just had heard too many horrible things and felt like I didn't need to witness this alleged stain of Oscar desperation on the careers of both Glenn Close and Amy Adams. But I have no regrets. The movie, yes, is absolute garbage - and so are most of the performances (sorry, Ms. Adams but yes, you included). But Glenn Close? Hillbilly Elegy doesn't deserve her, and she certainly didn't deserve a Razzie nomination for her performance in it. She's by far the best thing about it, committing to Mamaw and elevating her scenes as much as anyone possibly could given the material. Do I think this is one of the worst movies to recieve a major Oscar nomination in the last few decades? Sure. Is it the movie Glenn Close should finally win her Oscar for? Absolutely not. But it's also not something we should embarrass her for. ♥♥♥
Jorge Molina: Ron Howard paints the characters and situations of Hillbilly Elegy with the broadest strokes he could find. It's as if he created empty vessels that somehow resemble real-life people, and let the performers fill them out with baggy clothes and outrageous wigs. And yes, Glenn Close does the best job filling out her character with an empathetic personality. But she's swimming upstream all the way through. It's hard to have a performance stand successfully on its own when so many things around her just do not work. As opposed to the rest of the people in the category, where the performances are elevated because of the material, Glenn sadly seems to survive despite of it. ♥♥
Matt Neglia: Ferocious, intense, transformative but always empathetic, Close was the only performance from this movie worth celebrating. ♥♥♥♥
Nathaniel R: She gives "Mamaw" emotional power and a lived-in undertow. You get her ambivalence about her second round of parenting as well as her feelings about her first round that didn't go so well. Yes, any actress of a certain age could have handled this role but they wouldn't have done as good of a job modulating the ludicrous text and avoiding the overwrought tone. That's heavy lifting on Glenn's part but when we talk about actors being challenged, we aren't wishing for the challenge of "thrive during this mess!" but "get a juicy complex part in a good film and ace it!" ♥♥♥
Reader Write-Ins: "There’s some ridiculousness of the garbage screenplay that Close simply cannot overcome, but in equal measure, greatness just falls out of her." - Roge S. (Reader average: ♥♥½)
Actress earns 21½ ❤s
OLIVIA COLMAN as "Anne" in The Father
Synopsis: A middle aged Londoner, relocating to Paris for a job, struggles to make peace with leaving her dementia-addled father behind and moving him into a elder facility.
Stats: 47 yrs old, 19th film, 2nd billed. 2nd nomination (1 previous win). 36 minutes of screen time (or 37% of the running time).
Grace Aki: Awe hell yeah, I don’t really like British accent but this bitch is FIERCE. Olivia once again KILL audiences with her stares and reactions in the silence. I was really moved by her. I hope she doesn’t win. ♥♥♥♥
Scott Feinberg: A talented actress making the very most of a part. ♥♥♥♥
Peter Knegt: I also didn't see The Father until this assignment, mostly because I just didn't feel I could handle the emotions of a dementia narrative during "these times." And while it is certainly a challenging watch at times, watching the performances of both Anthony Hopkins and Olivia Colman makes for such a mesmerizing experience it mostly just made me yearn to have seen them on a big screen. Colman's work as Anne is so meticulous and devastating, a performance about the performances we give the people we love and ourselves during challenging times. It confirms her as one of our greatest living actresses, one that can seemingly do absolutely anything. ♥♥♥♥
Jorge Molina: Even though The Father is told in the most painful ways through the eyes of Anthony Hopkins' elderly man suffering from dementia, when Olivia Colman is on screen we are able to perceive Anthony and his world as he no longer can: spinning out of control, grasping to any of normalcy before it's taken from under his feet. For a movie that's intentionally built to be a subjective, disorienting experience, Olivia feels like an anchor. A reassuring presence that helps us make sense of the reality, even if it's for just a few seconds. As Anne, Anthony's daughter who's taking charge of his care, Olivia is simultaneously a balm for the character, and a heartbreaking reminder for the audience that he may be too far gone. ♥♥♥♥♥
Matt Neglia: Deeply emotional and highly complex work that earns our sympathy. ♥♥♥♥
Nathaniel R: Colman provides an intoxicating and deeply felt mix of soldiering-on stoicism and overwhelming guilt and anguish as a grown daughter dealing with a dementia-addled father. Even better she shifts nimbly to the needs of each scene and scene partner while always remaining coherent as a character even amidst the confusion of The Father's disorienting POV. ♥♥♥♥
Reader Write-Ins: "I can't love this film and this performance enough. Anthony Hopkins is an actor at the top of his game, matched only by Colman's wonderfully emotional performance." - Matthew C (Reader average: ♥♥♥♥)
Actress earns 29 ❤s
AMANDA SEYFRIED as "Marion Davies" in Mank
Synopsis: A fading movie star and newspaper tycoon's mistress is betrayed by her witty writer friend, who paints an unflattering portrait of her in a screenplay that has the whole town talking.
Stats: 34 yrs old, 33rd film, 2nd billed. First nomination. 18 minutes of screentime (or 14% of the running time.)
Grace Aki: No. ♥♥
Scott Feinberg: A perfect pairing of actress and part. ♥♥♥♥
Peter Knegt: I've been a big fan of Amanda Seyfried ever since her debut (yes, debut!) performance in Mean Girls, and I was very happy to see her shaky road to an Oscar nomination come to fruition for Mank. She lights every second of the 19 minutes she's on screen as Marion Davies, conveying so much about the historically misrepresented actress with limited screen time that it made me (and surely many others) wish the movie was about her (I wasn't a huge fan of however many hundred minutes of the film without her in it). ♥♥♥♥
Jorge Molina: Amanda Seyfried fills this black-and-white movie with color anytime she's on screen. Amanda's big eyes and sense of naiveté have become staples of her acting, and she utilizes them to embody Marion Davies, a constantly underestimated woman that had to learn how to hold her own in the elite society she found herself trapped in. Marion's interactions with Mank are full of melancholy, longing, and quiet wisdom that come from always being the pretty thing in the room; someone that observes but never gets to act. Amanda embodies this quiet power so well, and it's a shame that her presence in the movie seems to be so flickering. ♥♥♥
Matt Neglia: She completely disappears and becomes Marion Davies right before our very eyes. Can’t give any higher praise than that. ♥♥♥♥
Nathaniel R: I kept hearing "all she does is hold a cocktail well". Maybe I'm sentimental about boozy wisecracking Golden Age glamour, but I would counter that she doesn't hold a cocktail well, but superbly. She's also marvelous at selling the light comic charms of an actual 30s film star, while suggesting a warm friend/lover who (ambivalently) lets men define her. And that's more from Seyfried's playing than the screenplay. ♥♥♥♥
Reader Write-Ins: "Injects humanity into the enigma of Marion Davies. You understand her platonic relationship with Mank and the relationship with Hearst. " - Lenard W. (Reader average: ♥♥♥)
Actress earns 24 ❤s
YOUN YUH-JUNG as "Soonja" in Minari
Synopsis: A good humored but eccentric old Korean woman relocates to rural Arkansas to help her lonely daughter and connect to her grandchildren.
Stats: 73 yrs old, 28th film, 10th billed. First nomination. 26 minutes of screentime (or 23% of the running time.)
Grace Aki: YES THAT’S WHAT WE LIKE TO SEE BABY. Okay from the very start of Youn is extremely charismatic as the grandmother. I want to throw my arms around her and I hate hugs. The ability to convey so much emotion in multiple languages with a CHILD I mean... and then there’s the turn. I was truly astonished. She should win, no competition here. ♥♥♥♥♥
Scott Feinberg: A scene-stealing performance of the first order. ♥♥♥♥♥
Peter Knegt: There's something so brilliantly unexpected about everything Youn Yuh-jung does in Minari. She keeps it dialed in while often simultanueously offering us hilarity and heartbreak, lending such a nuanced emotional core to a movie that is already working so well on many other levels. It's my favourite performance in any category this year, and one I was just as nervous as Bakalova's would not end up making Oscar's cut due to historical precedent (as in, the voting body's tendency to regularly overlook astounding work from Asian actors). So I'm certainly elated to see all the Stateside attention that has come the legendary Korean actress's way, and will always be grateful for the joy her performance provided me on a cold winter's night of lockdown. ♥♥♥♥♥
Jorge Molina: Yuh-Jung Youn's delightfully subversive take on the "wacky grandma" role plays a big part in what makes Minari such an invigorating family drama. At times quiet, at times silly, and at times full of pain, Yuh-Jung Youn's Soon-ja represents so many aspects of the first-generation immigrant experience: someone that is fundamentally out of place, and is doing her best to learn and assimilate, but that ultimately is guided by her roots. Her chemistry with the ensemble is palpable, especially with young Alan Kim. We feel her happiness at being part of the family unit, and her desperation when she accidentally betrays them. Soon-ja helplessly staring at the burning barn is one of the images that has most imprinted on me from last year. ♥♥♥♥
Matt Neglia: Strikes a balance between comedy and drama that is completely natural, fascinating and heartbreaking by the film’s climax. My personal preference of the category. ♥♥♥♥
Nathaniel R: This acting legend effortlessly enriches every scene and the family dynamic as a light-hearted imp who willfully brings the old country into the new world for her daughter and grandchildren. Soonja is there to provide her daughter with a sense of security and familiarity but Yuh-jung wonderfully plays against this blunt emotional purpose, and acts more like a moody agent of chaos, albeit a totally benevolent one. ♥♥♥♥♥
Reader Write-Ins: "Steals the movie with a lived-in performance you love from the first swig of Mountain Dew" - Anthony K. (Reader average: ♥♥♥♥)
Actress earns 32 ❤s
RESULT: We don't know yet who Oscar will name "Best" but the Smackdown enthusiastically crowns Youn Yuh-Jung as the winner. We imagine she emphatically accepts while cracking wise about it!
THE FULL PODCAST CONVERSATION
Download at the bottom of this post 👇 or on iTunes to hear the in-depth discussion with our marvelous guests. [All Previous Smackdowns]
Reader Comments (71)
Nathaniel, I personally don't listen to podcasts so I can understand the reader's feelings. I kind of agreed with them, but with your very strict m*deration I was a bit scared to mention a valid criticism. Personally I think the Smackdown should be able to stand on its own and not require supplementary listening to whelm. I think there is room for different views including valid criticism when it is appropriate and worded well like the readers in this thread, but I do respect if at this time you would prefer to keep the comments more of a hugbox, no negativity under any circumstances thing. Whatever keeps you able to run this wonderful blog for us all to enjoy.
TLDR; the crtiques on Scott and Grace are very valid. Not everybody lsitens to podcasts.
I just listened to "Just to be Nominated" episode 1 - thanks for introducing me to Jorge Molina's podcast which made me laugh - hope more TFE readers give it a try.
I want to compliment Scott and Grace on their pithy written remarks. "Brevity is the soul of wit"
LadyEdith, you still need wit in the brevity ha :p. To quote a famous pithy wit: No.
Scott's contributions to the podcast were very interesting. I hope you have him back. (I'm also a big fan of Matt Neglia; his twitter is great.)
I also was taken with how many Smackdown contributors weren't intending to watch certain nominated films... until they had to do so for the Smackdown. I'm a bit surprised about this, but I also feel better about avoiding the two most depressing-sounding documentary short nominees now.
Nathaniel and Rob beat me to it, but for those complaining about the brevity of some of the writeups, have you listened to the podcast? If not, seems premature to judge the contributions.
Strong lineup overall - I pretty much agree with the consensus ranking. Youn and Colman are neck and neck for me, but Youn has to play a wider range. Bakalova is a marvelous comedic tour de force, but to me she's definitely a lead. For that matter, Colman is borderline lead, but I consider pretty much everyone in THE FATHER, by design, subordinate/supporting to Hopkins' character.
I have a hard time articulating why I like Amanda Seyfried so much in MANK. It's not just the costumes and hair, it's just this charm she projects that really helps hold the film together.
I didn't hate HILLBILLY ELEGY quite as much as some, but it was very blah. Glenn Close was definitely the best thing about it, but not enough to outshine her co-nominees.
I also echo the love for Olivia Williams, who's one of my favorites any time and is really excellent in THE FATHER. I think both Olivias would make my own top 5, and a third Olivia (Cooke, in SOUND OF METAL) would be in my top 10. Let's hear it for the Olivias!
@Nathaniel - Just for your consideration, I'm not a native English speaker and I use Google Translator to get you better. I would really appreciate if your pamelist could put in my shoes and put a little effor on writting than speaking. Not sure if I'm clear about my point.
LynnLee, with all due respect if panellists are going to emit the meat of their Smackdown thoughts for outside of the Smackdown (ie a podcast) then maybe they would be better served just sharing in the comments or on a related post/podcast. If you skip the main event you shouldn't get lauded and excused from not fulfilling your duty. If you know what I mean. Like J, english isn't my main or strongest language and I do much better with the written form than verbal.
It's been interesting to read this and realize that people view the podcast as "separate" when I view it as half of the whole. And the podcast has become more of the draw for guests than the post itself. I am hearing what some of you are all saying about different languages and such though. Everyone likes to guest on podcasts. It's harder to get people to just write something.
dont blame the panelists though who are giving their time freely to discuss these things -- you can instead blame me ;) as I dont give them a lot of instruction on the blurbs themselves. Going forward I will be careful to reiterate that you all like to read as well as listen to their thoughts.
I can't shake the feeling that Glenn Close will win the Oscar.
Remember when everybody was "Meryl deserves a 3rd Oscar!!" and immediately after she won everybody started complaining "But not for The Iron Lady!!!"?
I keep thinking that the same will happen again this year, that the Glenn Close's Oscar will come associated with the instantaneous remorse that we'll all know that she didn't won for her best work and at the cost of bypassing a more deserving actress of color (Viola Davis then, Yuh-Jung Youn now).
I like this result and an Oscar for this performance is what I hoped for Youn Yuh-jung when I first saw Minari. I wish that Talia Ryder in Never Rarely... had somehow gained traction, but these five in retrospect looked really difficult to dislodge from the top once this race got going. I never lost faith that Bakalova's nod was going to happen--for all the reasons that have pointed out, it's a great 'honor to be nominated' kind of performance, given the bias against comedy.
Hmm. I have (inoffensive, valid, friendly and useful) thoughts but I'm not sure how to put them to be seen here if you know what I mean. Some good Smackdown content may be all i'm allowed to say...
Archimedes -- i'm not sure why this is difficult for people. Just be nice. We're all here because we love movies. we've made it clear already in the comments that we've heard and understand that not everyone is listening to the podcast. Which was a bit of a surprise. We view the podcast as 50% of this event and some readers apparently don't. which is fine but no need to keep hammering on the point. Those of you who didn't like this one will hopefully like the next one more. And if not, oh well i guess. because nothing will ever please *everyone*.
simply doing this time out with moderating comments to try to retrain people to find ways of expressing themselves without being mean / negative. in short (too late) this should be enjoyable for everyone and everyone should ask themselves if they're contributing to good feelings or bad feelings about discussing movies and tv and celebrities and whatever. Positive vibes only. Retrain our brains.
Bakalova 5
Youn 4.5
Close 4
Colman 4
Seyfried 4
... it's one of the best line ups I can remember in an acting category at the Oscars. Any of them would be a great winner, but I am double impressed by Bakalova's challenge and how she pulled it off to perfection, and I think that it is the only one of the 5 that becomes an instant classic of acting, and she's only 24!!!
Crossing my fingers for her chosing the right roles, in the near future. I would be happy if she just follows the Anna Paquin career, you know, the one that gets to work with the best directors but shies off from becoming an A-Lister that would quickly trap her in blockbuster cinema (Paquin only made the X-Men franchise and then moved back to autheur and indies and TV). Bakalova's next is a comedy by Judd Apatow with an impresive comedic cast, "The Bubble", and a Bulgarian film "Women do cry" that probably now will have all eyes over it. She is obviously talented, but we all know that talent is not enough, in Hollywood.
everyone -- i will not be publishing any more negative comments about this event. Please note that I have hard the complaints and responded to them. I have taken notes about what some of you value. There is no need for you to keep stating AGAIN what you didn't like about it or to disparage our guests. Once something has been stated a few times there really is no reason to harp on the negativity. Perhaps it's a foolish dream for the comments to be fun again but we'd reallylike to move away from the excessive negativity. We thank you for trying to understand.
jesus -- anna paquin is an interesting comparison point as I never would have thought of that but Paquin has had quite a varied career (even if currently it doesn't seem to be working spectacularly well). but she had a good and diverse run of projects and challenged herself in different genres.
zig -- isn't htat funny about oscar races how they look so 'done deal' in retrospect but the feel like anything but as they play out!
A fairly great lineup. Really enjoyed this one.
I'm so sorry you're dealing with these negative comments Nathaniel. So ridiculous given the amount of work and time you put it into this - you can't please everyone. People love to zap the joy out of things so quickly.
I personally enjoy the podcasts, especially if it’s a year I’m interested in.
Seyfried, Bakalova and Youn Yuh-Jung are about even for me, loved them all. At this point, even if my least fav in both actress categories (Mulligan, Close) wins, Carey and Glenn are clearly talented actresses with strong bodies of work so can't really complain....
Grading (and punishing) Glenn, not by her performance, but for the movie (you didn't like) around her is...annoying and unfair.
I knew she had no shot with this group.
And the recency bias is on full display. I recall the Smackdown being far stingier with the stars, but lawd y'all giving stars out like Chicklets. I like the original format, when folks have to sit with a performance that's been in existence for years and grade it outside of the heat of Oscar season.
KBjr -- one of the things that's curious about reactions is all the projecting and conflating that goes on. The original format of the Smackdown is very much still in place. We do one episode a season (sometimes less than that) that deals with the current year. Otherwise it's all past years! And StinkyLulu did that too. We had stinkylulu's blessing to continue this and he guested a few times and thought adding the podcast was a great idea. StinkyLulu will return as a guest this season.
Another thing i've noticed is that before the smackdown some readers were commenting "you can tell this group will give Glenn extra hearts" and "i have no idea who is going to win" and after the smackdown "you weren't fair to Glenn" or "You were telegraphing Youns" win and all of this.So there's lost of projecting going on we've been accussed of totally opposed things.
I totally agree with you that the past years are more interesting having though. I've stated this several times especially because people keep asking for very recent years and I've had to tell people we dont do anything recent (i prefer nothing until 20 years previous but readers convinced us that 12-15 which is why we started adding Aughts years) because there's not enough time to reevaluate . But we do the current season once a year because people have generally demanded it.
Just finished listening to the podcast. I enjoyed listening.