Supporting Actress Smackdown 1990

For those of you who love the wonders of actressing on the edges, Stinkylulu's Supporting Actress Smackdowns need no introduction. This month, Stinkylulu tackled the lovely ladies of 1990, and yours truly is one the panelists. Make sure to head over there and discuss Oda Mae Brown, Marietta Fortune, Karen Hill, Myra Langtry, and Stands With a Fist (seriously, has there ever been such variety in the names of the supporting ladies?)

I, who have to admit I wasn't greatly impressed with the film output of 1990, will readily proclaim that my favorite of the ladies was Ms. Annette Bening, turning in one of her (to date) three Oscar-nominated performances. Bening's delicious con artistl in The Grifters was a true delight, and a nice throwback to the supporting actresses who have populated the film noir genre (my personal favorite film genre). When I first started looking into Bening's perf, I kind of figured that noir, like most genre pieces, would have largely been ignored in this category. Boy was I wrong! Roles as diverse as Angela Lansbury's floozy maid in Gaslight to Cathy Moriarty's childlike bride in Raging Bull have been recognized by the little golden guy. Winners, as Bening illustrates, are far less common; only Claire Trevor's lush mistress in Key Largo has come out on top of the category.

And yet, as any Oscar watcher knows, nitpicking must ensue when discussing Oscar's rather fickle choices. And when it comes to film noir supporting actresses, Oscar's dismissal of Marlene Dietrich in Touch of Evil was one of his biggest mistakes. Granted, 1958 was a year filled with snub miscalculations (Jimmy Stewart and Orson Welles were not included amongst the Best Actor lineup), but Dietrich's snub is particularly grating because she does so much with so little screentime. She can't be onscreen for more than ten minutes, but she flies to mind when I think about the film. The ladies of The Grifters (particularly Anjelica Huston) seem to have borrowed a bit from the world-weary Tanya; each has a history that is alluded to in the film more than actually viewed, leaving the plot largely in the hands of the male protagonists. Dietrich's whisky-worn vocal timbre indents each line-reading, and her eyes and eyebrow raises with Welles show that she's the only true equal to Hank Quinlan in the film. While Charlton Heston may be able to one-up Quinlan due to circumstance, Dietrich's Tanya is his equal, and therefore her place at the stunning conclusion of the tale seems fitting.

Unlike Touch of Evil, Bening's Myra is not the equal to Huston's Lilly Dillon, but she is definitely her only challenge in the film. The real genius to Bening's performance is that one is never quite sure how much this woman is capable of; whilst we know that Huston has a lot of tricks up her sleave, the enigmatic, seemingly bubbleheaded Myra doesn't show her cards, leaving the audience and her co-grifters guessing what she would do for success. Sometimes this is a bit problematic (at times, I wonder if even Bening herself knew Myra's intentions), but as a whole this is a wildly entertaining performance, and a grand counterpart to Huston's epic turn.

I personally would have handed both Dietrich and Bening Oscars in their respective years, but what about you? Head over to the Smackdown and voice your opinions on the actresses of 1990's edges!