We know how much the Academy loves movies about movies, and a film that follows an actor’s process could be the tipping point that propels it into front-running consideration.Įven though the music is one of the movie’s best features, it’s likely not eligible as it uses previously recorded material. The film could find the most love from the Writers Branch members. It’s been 21 years since Haynes picked up his sole Oscar nom for writing “Far from Heaven.” So how long will the Academy wait to recognize one of our greatest living filmmakers? Hopefully, not too much longer. So will Portman go lead while Moore competes for supporting actress or vice versa?
Take Sarah Paulson, also from “Carol” or O’Neal’s nominated “Paper Moon” co-star Madeline Kahn. Is it right or fair? No, because this prevents other performers who do give supporting performances from getting recognized.
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Mara eventually lost to Alicia Vikander for “The Danish Girl,” another performance many deemed lead.įor movie studios and awards strategists, it’s about putting an actor (and a film) in the best position to garner Academy attention. She is the second-longest performance ever recognized in the category. According to Matthew Stewart, who professionally tracks screen times for Oscar nominated performances on his website Screen Time Central, Mara appears in nearly 60% of the film. That awards campaign sparked a debate within the industry community. In recent years, the topic bubbled up when Rooney Mara successfully campaigned as a supporting actress for Haynes’ “Carol” (2015), with her co-star Cate Blanchett pushing for lead actress. Sprinkled throughout history, the worst offenses can be seen with Al Pacino’s supporting actor nominated turn for 1972’s “The Godfather” (which resulted in the actor boycotting the ceremony) or Tatum O’Neal winning supporting actress for 1973’s “Paper Moon,” despite being in just about every scene. There’s been a growing disdain for actors, widely thought of as leading performers, being campaigned for supporting recognition, more widely known as “category fraud.” In best actress history, only five movies have managed to receive double noms in that category – “All About Eve” (1950) with Anne Baxter and Bette Davis, “Suddenly, Last Summer” (1959) with Katharine Hepburn and Elizabeth Taylor, “The Turning Point” (1977) with Anne Bancroft and Shirley MacLaine, “Terms of Endearment” (1983) with MacLaine (who won) and Debra Winger and “Thelma & Louise” (1991) with Geena Davis and Susan Sarandon. So, here’s the thing… how do you campaign such equally talented and charged female roles for Oscar attention? It’s her delivery of a bracing line, “This is what grown-ups do,” towards the end of “May December” that bring all the film’s themes back into focus. But her Hollywood chic barely covers up a certain voyeuristic ruthlessness. At first, Portman’s Elizabeth is ingratiating and unfailingly polite. The same goes for Portman, who’s picked up three career noms for “Closer” (2004), “Jackie” (2016) and her best actress winning “Black Swan” (2010).
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