The Year is...
And the Smackdowners for the 28th Annual Academy Awards are...
And featuring...
A SPECIAL NATREEL FOR 1955
click image to be routed to video
1955's Supporting Actresses are...
(Each Smackdowner's comments are arranged according to ascending levels of love. Click on the nominee's name/film to see StinkyLulu's Supporting Actress Sunday review.)Betsy Blair in Marty
NATHANIEL 
The old sexist chestnut: a woman who exists solely to find beauty in the beast. She's not a "dog" but the role is. Depth eludes but the surface is right: shy rote politeness and short bursts of an introvert opening up.
RBURTON It's a warm, sweet performance that reveals loneliness, sadness, and then hope. Though likable, it's also nothing to write home about. She works well with Borgnine, but his characterization is stronger. A minor problem is her character's not just plain, but ugly ("a dog") and Blair doesn't match that.
BRAD 
Nice, serviceable performance of a thankless role. She mostly listens, and suffers nobly. The interest she gives in the steeliness with which she refuses Marty a kiss. She may be sad and sweet, but she's resolute. It's the flash of steel that I liked the most. Still, in some ways the third girl in this year that's full of them.
KEN Blair’s a kind of lower-case Julie Harris, gently delivering her spinsterish lines like melting snowflakes. She’s talented. But “Marty” ’s an artifact – one of Hollywood’s awkward baby-steps toward “realism”. Brandishing a cement rattle, but leaving potentially explosive issues timidly unexplored. Blair’s blameless. But the film keeps shifting tones half-heartedly without ever quite committing to any of them.
GOATDOG It's hard to separate Blair from the film's relentless frumpishness, but her silences and pauses are so sparkling and alive that she emerges as the best thing about the film, even though for long stretches her task is to silently occupy 1/3 of the screen while Borgnine carries on.
STINKYLULU Blair’s breathy warble of a voice belies the sharp clarity of her Clara. Using only silence and smalltalk, Blair deftly charts a complex emotional journey for this smart, opinionated, desperately lonely woman, in whose eyes Marty transforms from life-preserver to mildly annoying schlub to prince charming.
NICK 
While preserving the character's protective, carefully cultivated shield of muted politeness, Blair shows us the sincerity and intelligence that Marty sparks to without making her too overtly "attractive." A great listener, and a vaguely uncanny presence.
TOTAL: 20
s Peggy Lee in Pete Kelly's Blues
NICK Yep, she sells her tunes, but Peggy only registers when she's singing or ghosting around the back of a shot. When called on to sustain a scene, she seems stolid and unsure of herself. The mad scenes at the end are pitiable.
GOATDOG She's a step closer to acting than Ella Fitzgerald's get-me-outta-here nervousness, but it's a baby step--unsure what to do when she's on camera, and unhelped by Joe Friday's leaden acting and directing, she plays every scene exactly the same--immobile. I'm baffled by this nomination.
RBURTON She gets to look melancholy, drink, sing, and then go nuts. It's the stuff Oscars are made of, but Lee lacks the necessary charisma and talent. There are hints of intelligence, but a rotten screenplay, worse direction, and Lee herself thwart what might have been a rounded, sympathetic performance.
KEN The kind of doomed lush part Shelley Winters might’ve torn into. Sometimes less is more. But Lee delivers a bit less than less – a whisper of a performance. Seriously charismatic when she’s singing (dig that killer smile in “Sugar”) but rather tentative in dialogue segments. Muted stunt casting. But I enjoyed the film.
STINKYLULU All the makings of something great – ethereally apt line readings, vividly enigmatic screen presence, an intuitive understanding of the role – squandered by the film’s flat-footed, obsequious direction. The 2nd heart is for Lee’s reading of the line (“He was mean to my baby”) – a haunting description of this tragically failed performance.
BRAD Jack Webb is like Medusa or Midas, but everything he touches turns wooden. Lee is the single performer to avoid this, but she still seems lost. I love her laugh line "I won't here the pitter patter of little feet-unless I rent some mice", and it's the only laugh in the movie. Once she's gone, there's no reason to care about this story. I would give her 4 hearts, but it's still somewhat a sketch of what could've been an award-winner.
NATHANIEL Initially I felt concerned: try to act, Peggy. There's beauty in her singing but limited drama in her face. Finally, this same muted expressiveness serves the character, a slightly wooden woman zombified by internal miseries.
TOTAL: 13s Marisa Pavan in The Rose Tattoo
STINKYLULU Pavan’s performance is tentative, shrill and defensive when it should be strident, bold and bursting with youthful confidence. A misreading of the character that pitches the entire film off-balance.
NATHANIEL Perfectly adequate in individual scenes but it's difficult to see a full characterization. In a movie so attuned to (and reflective of) its emotionally volatile star, she doesn't have the chops or the star quality to keep up.
GOATDOG She embodies a dizzying array of types--rebellious against the mother she's ashamed of, wallflower and oversexed hoyden--and she manages the screenplay's rapidly shifting gears with little evidence of strain,but unfortunately with all of the rest of the film's piercing shrillness. This one goes to 11.
NICK A hard performance to rate, because Pavan seems capable of more, and the script, like the play, can't decide whether to explore the character in earnest. As is, she's fully competent as a sad, restless teen, but this feels like a default ingénue nomination.
BRAD Who is she? I kind of felt like it was Natalie Wood doing Anna Magnani – a little girl trying to act like her mother. Pavan gets the hysteria right, but lacks the depth to help us understand the character’s frustration. Perhaps the limitations of the role, but she was the most “high 50s” and the least interesting to me of the field.
KEN Transplanted from her neo-realistic habitat to the more decorous confines of Paramount’s VistaVision preserve, Magnani sometimes seems more exhibit than character. But Pavan manages to dodge and weave gracefully through the diva’s fireworks display, delivering some lovely, honest emoting - her scaled-down outbursts and quiet moments frequently more affecting than Magnani’s (admittedly impressive) showboating.
RBURTON Pavan holds her own against Magnani, which is a remarkable feat in itself. As 1955's other angsty teen (though Pavan looks too old for the part), she manages to be vulnerable, alluring, and rebellious as Williams' script demands. Accordingly, her subplot with Ben Cooper works wonderfully.
TOTAL: 16s Jo Van Fleet in East of Eden
RBURTON It's a terribly dark performance, and one I find more admirable than extraordinary. Her expressiveness is formidable, manifesting itself in grimaces, smirks, and a range of other emotions. But Van Fleet simply seems weak beside Dean, and he's not only better in the film, but far more memorable.
NICK Totally working that walk and that big hat on that misty path between towns, Van Fleet comes to fascinating life once she spars with Dean: treacherous but surprisingly receptive and trusting. Adds gravity, force, and her own peculiar mysteries to the part as written.
NATHANIEL Small performances around which entire films orbit, are tricky to judge. How much is the actor doing versus the audience projecting? Van Fleet is cooly impressive continually sizing up her lost son and shooing away less familiar emotions.
STINKYLULU Vivid, meticulous, and memorable – a horrific, biblically-inflected, psychoanalytic archetype made human by surprisingly vulnerable actressing. A haunting, fascinating spectacle.
BRAD 
Expert performance of a ghost of a role. She does what is required, that is to be the ghost over the proceedings, and also creates a nuanced, fearless portrayal of a woman has lived trapped and running. It's fascinating, and arguably the only real, full woman of the pack.
GOATDOG I'd love her just for the way she says, "We don't exactly move in the ... same circles," but that's just the beginning of that dazzling bonding/apologia scene with James Dean. She's the only person (besides Dean) who reaches past the artifice to grab hold of the real, damaged person inside the labored allegory.
KEN Icebergs are often 80% underwater. Van Fleet (who’s marvelous) doesn’t suggest ice – but rather a nearly submerged mountain of radioactivity. What’s above the surface - impressive and alarming; what’s suggested below - mind-boggling. Kate’s caught in her own lacerating, destructive rays but she’s still standing. And a more imposing gate-keeper to Hell would be hard to find.
TOTAL: 30s Natalie Wood in Rebel without a Cause
KEN Though Rebel marked the beginning of her real stardom, the acclaim hardly seems justified by this performance. She just appears to be biting off more than she can chew. And – unlike Marisa Pavan – never finds a way to share the screen with a flamboyant icon in any interesting or creative way.
NICK Wood's opening monologue in the police station augurs a standout performance to follow. The script doesn't hold up its bargain with her, and she's a little rote at times, but her kissing scene with her father, especially in her reactions, is memorably pained, spontaneous, and persuasive.
BRAD Surprisingly interesting performance that's more than it seems at first glance. She's all about the looks here, and for me it's all in what she doesn't say. She brilliantly makes us realize that we can't trust a word she says, and telegraphs the lost-ness of the character to show us why she belongs with the other two misfits, and perhaps nowhere else.
GOATDOG Wood's edge-of-adulthood confusion manifests in her constantly adjusting which version of Judy we're seeing, often within the space of a glance: sometimes she's a scared adolescent, sometimes a woman, and sometimes an adolescent's idea of a woman. It's a remarkable performance from so young an actress.
STINKYLULU Smart, effective, understated. Wood’s at her best when she’s not speaking and, in the in-betweens of this role, Wood crafts an enduring, ecvocative portrait of teen identity experimentation. Powerfully subtle work.
RBURTON Half femme fatale, half gawky teenager, and all daddy issues, it's a legendary performance because it lives up to every bit of the hype. Wood pulled it off seamlessly at age seventeen. Her layered Judy has a powerful, convincing story arc that makes you hate her, love her, and desire her in under two hours.
NATHANIEL She vacillates wildly: psychosexual panic, studied 'too cool for school' mannerisms, little girl tremulousness -- but the character coheres beautiful. Judy is trying too hard and Natalie (an actress often accused of the same) nails this classic role.
TOTAL: 28s Oscar chose...
Jo Van Fleet in East of Eden!
And, dagnabbit, for the 2nd month in a row...
the SMACKDOWN agrees:
So, lovely reader, what do YOU think?
