Almost There: Viola Davis in "Widows"

by Cláudio Alves

Last week, Nick Taylor wrote a beautiful piece about the early days of Viola Davis' screen career, specifically her tryptic of stellar supporting performances in 2002. The article highlights the actress's formidable talent for creating full characterizations with minimal screen time, how she conjures rich humanity from people on the margins of the story, imbuing every glance and spoken word with mountains of meaning. After reading that, I felt compelled to revisit some of the actress's best works and, here we are, exploring the only time Viola Davis was legitimately in contention for an Oscar nomination and missed. Coincidently, it's also my favorite performance of hers in what is probably the best film she's ever been in - Widows…

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That scene from "Unfaithful"

by Cláudio Alves

Oscar voters aren't the greatest fans of erotic thrillers. Despite that, there are some times when a cinematic achievement is so undeniable that AMPAS' usual prejudices are thrown out the window. One good example is Adrian Lyne's Fatal Attraction, a cultural phenomenon that, in 1987, managed to nab six Academy Award nominations, including for Best Picture and Best Actress. Years later, another of Lyne's erotic reveries would be honored with an important nod, though this time it was just in the Best Actress category. The picture was 2002's Unfaithful and the actress was Diane Lane delivering one of the most magnificent performances of her career. Her work as Connie Sumner is a masterclass in sexual discovery and abandonment, guilt, and desire.

If for nothing else, Lane earned the nomination for a scene in the middle of the movie, when her adulterous character is returning home by train, after her first tryst with Olivier Martinez's sexy bookdealer…

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Joan Crawford in '47

by Cláudio Alves

After more than a decade as one of MGM's brightest and most formidable stars, the 1940s were a turning point for Joan Crawford. While she struggled to reinvent herself during these middle years of her career, many of the actress's best movies came from this phase. She left behind a series of lackluster offerings from her original studio, finding new power when carefully choosing projects at her new home, Warner Brothers. It wasn't easy, but she triumphed, winning an Oscar for 1945's Mildred Pierce and going on to get two other Best Actress nominations. More importantly, she solidified her legacy, challenged herself as an actress, and proved to everyone she was more than a flapper or talentless glamour girl.

During this period of Crawford's filmography, 1947 was a particularly auspicious year. She broke our hearts in a romantic tragedy, impressed AMPAS with explosive neurosis, and went on to star in one of Hollywood's most interesting post-war melodramas…

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Loretta vs. Roz: A Surprise Best Actress Win

Please welcome first time contributor Baby Clyde, weighing in on 1947, the year we're celebrating this week... 

Rosalind & Loretta, friends and Best Actress rivalsSuch a forgone conclusion was the result of the final award at the 20th Academy Awards, that the audience at the back of the Shrine Auditorium had already started filing out as Frederic March rose to announce the Best Actress winner. They soon stopped in their tracks as a huge gasp swept around the room. No one was more surprised than the previous year’s Best Actor champ who is said to have started reading the name of the expected winner, Rosalind Russell for Mourning Becomes Electra, before stopping and declaring that the awards was, in fact, going to rank outsider Loretta Young for the comedic trifle The Farmers Daughter. The next day noted gossip columnist Hedda Hopper, sitting directly behind her, reported that Russell had already started rising from her seat when Young’s name was called, but styled it out beautifully to lead a standing ovation for her good friend...

Loretta swept up to the stage with all the poise and elegance for which she was famous, wearing a voluminous green gown that would still cause a sensation on any red carpet today...

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Emmy Watch: Lead Actress in a TV Movie or Miniseries

by Abe Fried-Tanzer

Will "Unbelievable" score big with nominations... or will its early release in the eligibility period be a problem?

This year’s Best Actress lineup for limited series and TV movies is populated with a LOT of deserving contenders. This category is no stranger to double nominees from the same project, with four instances occurring in just the past four years. In 2017, there were two sets of nominated actresses from the same shows, and it’s pretty likely that’s going to happen again this time…

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