“She’s 100% a professional, and this is a great night for professionals,” said the actor Juliet Mills as she accepted Glenda Jackson’s first Best Actress Oscar on the absent winner’s behalf at the …
’s first Best Actress Oscar on the absent winner’s behalf at the 1970 Academy Awards. On the face of it, it sounds an oddly impersonal thing to say in the circumstances — almost as if Mills knew nothing of Jackson, and opted for the vaguest praise possible.
It was an eye-catching big-screen debut, equal parts vulnerable and fearlessly deranged, and palpably colored by the hunger of an actor who had waited for such an opportunity. The confirmation of that promise came with Ken Russell and Larry Kramer’s bristlingly sensual adaptation of D.H. Lawrence’s “Women in Love,” a period piece that nonetheless chimed with a New Hollywood spirit of feminist and sexual rebellion.
But that same year, playing that same Virgin Queen, it was a more nuanced, expansive turn in the BBC miniseries “Elizabeth R” that cemented her in the minds of mainstream audiences, and won her a pair of Emmys to boot. The daughter of a builder and a checkout worker, Jackson brought a welcome lack of hat-in-hand deference to her portrayals of royalty.
But Hollywood’s interest in her dissipated: Either they didn’t know what to do with her or she had little interest in what they had to offer. The ‘80s confined her to TV movies, modest charmers like the Pinter-scripted “Turtle Diary” and further, lesser collaborations with Russell; all the while, her left-wing political interests grew, as she campaigned against apartheid in South Africa and courted offers to stand for Labour.
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