by Christopher James
The year 1995 is a pivotal moment in the definition of Nicole Kidman. Both of her films released this year paint different paths her career could go. As Dr. Chase Meridian in Batman Forever, Nicole Kidman pursues mainstream success, hoping to align her name with a big franchise full of stars. Though she eventually returns to the superhero genre (hello, Aquaman), we get the first real glimpse at the prestige actress we know and love today with her seismic turn in Gus Van Sant’s To Die For. At that point, Kidman was best known as Mrs. Tom Cruise, having already starred in Days of Thunder and Far & Away with her husband. In redefining her image as a real actress, Kidman first had to lean into the stereotypes that people saw in her.
Her Suzanne Stone Maretto is a ditzy social climber whose quest for fame greatly exceeds her talent at wielding it. Kidman mined every negative aspect of Suzanne for comedy and, in doing so, created a horribly relatable character we couldn’t get enough of...
I previously wrote about the film and Kidman’s performance for the film’s 25th anniversary in 2020 and Kidman's role was covered in Cláudio's Almost There column. In so many ways, To Die For has been talked about to death; after all, Kidman fans voted it their favorite of her performances in the Kidman World Cup. It’s easy to see why, as Nicole breathes life into Gus Van Sant’s vision. The movie rests on her pinched, smiling and devilish face, which Van Sant loves to press in during key moments. You can see Kidman giving into her director as a vessel, pushing the character further and further to places of gleeful absurdity that weirdly ground the movie, rather than topple it over.
Kidman stars as Suzanne Stone, an ambitious woman who dreams of fame. Told in the style of a true crime expose, we’re led to expect that Suzanne’s ambition will lead to bloodshed. Her eternal mark is Larry Maretto (Matt Dillon), a handsome beefhead who soon becomes Suzanne’s husband. With the perfect hot man on her arm, Suzanne turns her attention towards getting on television almost immediately, looping in a broadcasting news conference the same weekend as her honeymoon.
As the star of the film, Kidman could easily steamroll over her fellow actors. After all, Suzanne exists in her own delusional reality. However, Kidman manages to be a giving scene partner, creating compelling drama by allowing each actor to respond and react to her pervasive narcissism. Matt Dillon is used effectively as Larry. He’s a sweet fool who’s so much of a wife-guy that he’ll knee jerk agree with Suzanne to project normalcy. The second most interesting performance is Illana Douglas’ Janice, Larry’s disapproving sister. Kidman’s intense commitment to her job at the news system gives Wayne Knight’s station manager, Ed, the opportunity to be the audience surrogate. Even the facial reactions of Suzanne’s parents (Kurtwood Smith and Holland Taylor) and in-laws (Dan Hedaya and Maria Tucci).
The trickiest needle to thread is watching Suzanne seduce a trio of teenagers, eventually coaxing them to murder their husband once she believes he’s holding her back from fame. We are ultimately able to laugh and squirm along to the proceedings because Nicole Kidman allows us to understand Suzanne, even if there’s no way we agree with her actions. In making a documentary about the “real life” of a trio of burnout teens - Joaquin Phoenix, Casey Affleck and Alison Folland - Suzanne embarks on an affair with lovestruck Jimmy (Phoenix). It’s clear that she’s grooming him, knowing that he’s a moldable tool that can make her feel gorgeous and powerful, but that she can control at any point. Her nefarious actions are even more clear with Lydia (Folland), a girl clearly struggling to understand her sexuality.
Kidman’s ability to handle the dark comedy expertly, something that she hadn’t gotten a chance to showcase prior. Legendary writer Buck Henry (The Graduate, What’s Up Doc?) gives Kidman a ton of character details that she’s able to construct into this understandable nightmare. We can laugh at her, while also understanding and following her actions towards a clear goal. Kidman’s fierce commitment to embodying Suzanne’s one track mind allows us to believe the character fully. This intense belief in her character is why Suzanne Stone is still one of the defining roles of Kidman’s career.
Ultimately, Nicole Kidman would have to wait another six years for her first Oscar nomination (for Moulin Rouge!). Still, To Die For was a pivotal awards moment for the actress, including her first televised win. Kidman won Best Actress in a Musical or Comedy at the Golden Globes (among a great lineup including Annette Bening, Sandra Bullock, Toni Collette, and Vanessa Redgrave). She also earned nominations from the Critics Choice and BAFTA groups. By the end of the 1995/1996 awards season, one thing was for sure - Nicole Kidman was more than just Mrs. Tom Cruise. This positive reception shone a light to the actress Kidman could become, pointing her towards other exciting auteur collaborators, such as Jane Campion for The Portrait of a Lady (1996) and Stanley Kubrick for Eyes Wide Shut (1999).
Previously in the Nicole Kidman TFE Tribute:
- Introduction + Early Australian Films
- Billy Bathgate (1991) – her first Golden Globe nomination!
- Malice (1993) - when Kidman met Sorkin
With To Die For, we enter one of the most exciting phases of Nicole Kidman's career. Tomorrow, the hot streak continues with Jane Campion's The Portrait of a Lady.