“Happy Birthday, Renee.”

I’ll just come right out and say it – I like Renee Zellweger in Cold Mountain. I don’t like to make excessive use of the superlative, but this is probably the most hated Oscar win of the last decade and with it Zellweger has turned into arguably one of the most loathed Oscar winners of all time – which is a shame because she’s a fine actress, and a talented comedienne. Sure, she’s not my favourite actress – or anywhere especially near, but as it’s her birthday now is as good a time as any to count down my five favourite performances of hers.

Dorothy Boyd in Jerry Maguire (1996)

“This is an occasion for genuinely tiny knickers.”

 Being a romantic/comedy lead is something that seems less than impressive but even though it’s Cuba and Tom who were nominated Renee’s Dorothy is imperative to this one. It’s such a sweet performance (no other words come to mind) and overflows with honesty, which is important to measure of protagonist against. Without her, it would be difficult to love Jerry as much.
         
Bridget Jones in Bridget Jones’s Diary

“ I just want to be inspired.”

It’s her first Oscar nominated role, and it’s become a little less prestigious because of that sequel but the whimsy humour of this one is irresistible. No, it’s not Pride & Prejudice (regardless of what they say) but it’s funny enough and Renee sells it all – the insecurity, the accent and the humour.

Barbara Novak in Down With Love

“This is Barbara Novak.”

This remains as one of the most hilarious romps of the decades. McGregor and Kidman had Moulin Rouge, Zellweger and he have this – and sure, this might not be as great as Moulin Rouge, but it features excellent work from the two leads – especially Renee. She manages to pull off the film’s less than stellar portions (remember that revelation monologue?) and she pulls it all off with a great amount of charm that a number of actors wouldn’t have been able to accomplish.

Mae Braddock in Cinderella Man

“Every time you get hit, it feels like I'm getting hit too.”

In a smack-down, I’d be more willing to support this Crow/Howard film than A Beautiful Mind and it’s a shame it was such a miss with the awards’ bodies. I’d have nominated Zellweger’s excellent turn as wife of boxer Jim Braddock. There’s real potential for this role to turn mawkish, but Zellweger avoids it. It easily triumphs as the strongest dramatic work I’ve seen her do – it’s a shame so few remember this one.

Roxie Hart in Chicago

“He loves me so, that funny honey of mine...”

I don’t understand when persons lament the potentials who Renee won the role from (Colette, Theron) – perhaps they might have been good, but it’s folly to deny that Renee was excellent here. Catherine uses her voice to sell Velma and Renee uses her excellent comedic timing to good use. It’s a tricky character, but Renee sells it excellently. Sure, she wasn’t my favourite of the lot – but I do love the performance nonetheless.
        
To celebrate Renee's birthday, which performance would you rewatch?

Movie Meme, Day 18: Favourite Title Sequence

Though I understand what a title sequence is, I wonder if end credits count. I was uncertain and didn’t wager to research (any musical with Rob Marshall or Bill Condon would win that battle). I’m not too interested in title sequences; they don’t really determine the film either way. I actually like when films are excessively sparse with title sequences – like The Departed or Atonement. All we get is a single title card that’s superimposed (or in the latter’s case – typed) and the film continues. Simple, effective and without pomp or scene.

That being said a nice jaunty title sequence does work – An Education and Down with Love come to mind. There’s the cheerful music, and the humorous sequences – it lifts your mood and you’re not even sure what the movies are about as yet. Then – there are the more sombre ones. I continue to hail last year’s Coraline is a testimony to animation for, for children and adults, done right and I love the title sequence. The needle makes the doll as the solemn music plays and we get a glimpse out into the night sky, and that aspect of creation reminds me of The English Patient – another sombre opening. We spend a good five minutes at least watching a paint brush work its way across a surface. When it was one of my banners, Castor was so kind as to compare it to pee stains from a dog…not quite. Eventually (if you watch the film) you’ll know that the paintings are of a fateful cave, but we know it’s something sombre nonetheless as Gabriel Yared’s brilliant score plays overhead. It’s simple to ignore title sequences but, whether it’s a single shot (sometimes brevity is important) or an elongated sequence they do have their significance, I suppose.   

         

All for the MEME (automated posting).