Top Ten: The Best of Kristin Scott Thomas

DON'T LEAVE! Don't check out of the movies now. 

I'd like to speak to your manager."
-Kristin Scott Thomas as "Crystal" in Only God Forgives

As you may have heard the great Kristin Scott Thomas, who first broke through as Hugh Grant's deliciously tart unfortunately platonic friend in 4 Weddings and Funeral and was Oscar nominated way back when for her ice hot sand- blasted eroticism in The English Patient and who has elevated countless films since has rather casually tossed off a 'good riddance' to cinema. 

I just suddenly thought, I cannot cope with another film. I realised I've done the things I know how to do so many times in different languages... I can't do it any more. I'm bored by it. So I'm stopping

Oh come on Kristin, Only God Forgives wasn't that bad. [More...]

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Reader Spotlight: Paul Outlaw

If you spend time in the comments section of The Film Experience you might have noticed Paul Outlaw before. He's today's Reader Spotlight. I recently had the privilege of seeing him on stage at the Bootleg in L.A. (three more shows, readers - go see it!) in an experimental theater piece. I took an actress friend of mine and we had a great time.

So let's talk to Paul as we revive the weekly "Reader Spotlight" series!

NATHANIEL R: Why do you read The Film Experience?

PAUL OUTLAW: For one thing, I like serious film criticism that doesn't take itself too seriously; for another, there's more going on at the blog than just cinema talk. Theater, TV and film-tangential pop culture are all up for grabs. Oh yeah—it's a queer site that's not all about the gay. I guess I like contradiction and interesting juxtapositions.

In 1993 you starred in an Oscar winning short film. Did you attend the Oscars? What's your strongest memory from that?

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True Oscar Stories: Hey Nonny, Nonny

Emma Thompson was nominated for Best Actress in 1993 for Remains of the Day in which she is very good but it really should have been for Much Ado About Nothing, in which she is utterly radiant, the classiest and most consummate romantic comedy lead the 90s could have ever dreamt up.

The following year, the Oscars made the same mistake nominating Winona Ryder for period drama Little Women instead of the post-collegiate comedy Reality Bites, which I'd argue is her single greatest screen performance if less iconic than her star turns in Beetlejuice or Heathers. 

The moral of this story: Even when they're great, comedies have such a tough time being appreciated in their time. Soon you'll be able to add Frances Ha (2013) to that infinite list of under-rewarded laughers!

Monologue: "Sense and Sensibility"

Andrew here with your weekly monologue.

Of the half dozen, or so actresses, who ruled the awards’ races in the nineties Emma Thompson’s reign of the decade is my favourite, especially for how it subverts the notions of what kind of performances awards bodies like to honor. Usually, dissenters of award competitions cry out that they're intrinsically terrible always mistaking the Biggest for the Best but the love affair with Emma in the 90s is proof as good as any that quiet excellence can be appreciated, too. Emma’s exceptionally worthy Oscar win for Margaret Schlegel in Howards End (1992) is one of the most low-key turns to have earned the statue. Yet more muted is her Elinor Dashwood three years later in Sense and Sensibility (1995), the deliverer of this week's monologue. 

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Monologue: Judi Dench in “Shakespeare in Love” (and at the Oscars )

Andrew here. Jose was just talking about Romeo & Juliet so there's our blogging segueway to Shakespeare in Love! I love this movie, despite the less than stellar reputation it's built up since its release 15 years ago. I’d argue that it’s the most successfully executed romantic comedy in the past 20 years. Those that claime that Shakespeare in Love is little more than a bauble often forget that it was penned by one of the finest English language dramatists of the 20th century, Tom Stoppard. Films written by playwrights work well for this column because playwrights are innately aware that monologues are like great set-pieces to show off the acting craft. Shakespeare in Love is filled with monologues and sotto voce asides and it’s not just because of Stoppard’s playwright sensibilities. The very best trick Stoppard plays in Shakespeare in Love is delightfully imping Shakespeare’s technique in the film.

But the monologue. Today we focus on that slight, but effective Supporting turn which won the Oscar.

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