.MJSchulman breaks down this year’s Best Actress contest: the out-of-nowhere nomination for Andrea Riseborough, the front-runner race between Michelle Yeoh and Cate Blanchett, and more.
”—but in Andrew Dominik’s bio-pic she was out of her depth, restricted from showing Monroe’s wit or charm and condemned to nearly three hours of breathy suffering, as her character is subjected to the drooling predations of various men. And yet there’s no better route to an Oscar campaign than playing a messy show-biz icon , backed by a hefty campaign budget.
Then there’s Williams, whose appearance in this category comes with its own mishegoss. In Steven Spielberg’s “The Fabelmans,” she plays Mitzi, the eccentric, love-addled mother of the director’s young alter ego, Sammy. Based on Spielberg’s late mother, Leah Adler, Mitzi is a thwarted concert pianist, full of brassy, nervous energy, who takes up an affair with her husband’s best friend.
Nevertheless, the contest will come down to Blanchett versus Yeoh, both of whom give indelible performances that stand atop decades-long careers. Blanchett, who has won two Oscars , channels her mesmerizing powers of self-possession into Lydia Tár, a world-renowned conductor whose reputation collapses under abuse allegations. Blanchett doesn’t do anything radically different than in past roles—there are shades of “Carol,” “Blue Jasmine,” “Mrs.
Whoever wins this nail-biter of a race, one thing is heartening. The Best Actress field is often disconnected from the Best Picture lineup, perhaps reflecting an unconscious bias that films led by strong female performances are just “women’s pictures.” But “Tár,” “Everything Everywhere All at Once,” and “The Fabelmans” are in the top tier of this year’s Best Picture race, which also includes the feminist ensemble drama “.
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