Film Series and Performances

Total Page:16

File Type:pdf, Size:1020Kb

Film Series and Performances gender, power, and representation Theme Semester Winter 2002 Co-organized by the Women’s Studies Program and the University of Michigan Museum of Art A semester of courses and programs focusing on themes arising from the exhibition Women Who Ruled: Queens, Goddesses, Amazons 1500–1650 University of Michigan Museum of Art, February 17–May 5, 2002 film series and performances Dynamic Women Film Series All films will be screened in the historic Michigan Theatre, 603 East Liberty Street, except for the opening event of the Theme Semester on January 15, which will be held at the Michigan Union, Kuenzel Room, 530 South State Street. Tickets: $5 admission, with free entry to UM students with a UM ID. The opening event on Tuesday, January 15 is free and open to the public. Sponsors: Program in Film and Video Studies, University of Michigan Museum of Art, Women’s Studies Program, Institute for Research on Women and Gender La Passion de Jeanne d’Arc (1928 France), with live organ music Directed by Carl Theodor Dreyer, starring Maria Falconetti, Eugene Silvain, and Antonin Artaud Sunday, January 13 at 2 pm, Michigan Theatre, 603 East Liberty Street Theme Semester Opening Event: DVD screening of The Heroic Trio (1992 Hong Kong) Directed by Siu-Tung Ching, starring Anita Mui, Michelle Yeo, and Maggie Chung Tuesday, January 15 at 6 pm, Michigan Union, Kuenzel Room, 530 South State Street Welcome by LS&A Dean Shirley Neuman and Museum of Art Director James Steward Dessert reception following film screening Queen Christina (1933 USA) Directed by Rouben Mamoulian, starring Greta Garbo, John Gilbert, and Ian Keith Sunday, January 27 at 2 pm, Michigan Theatre, 603 East Liberty Street The Lion in Winter (1968 UK) Directed by Anthony Harvey, starring Katharine Hepburn, Peter O’Toole, and Anthony Hopkins Sunday, February 10 at 2 pm, Michigan Theatre, 603 East Liberty Street Bandit Queen (1994 India), DVD screening Directed by Shekhar Kapur, starring Aditya Srivastava, Agesh Markam, and Ajai Rohilla Saturday, February 16 at 2 pm, Michigan Theatre, 603 East Liberty Street Elizabeth (1998 UK) Directed by Shekhar Kapur, starring Cate Blanchett and Geoffrey Rush Thursday, February 21 at 7 pm, Michigan Theatre, 603 East Liberty Street Pirandello: A work-in-progress adapted for performance Friday, January 25, noon, Lane Hall Seminar Room, 204 South State Street Luigi Pirandello’s ambivalence to women emerges in the letters from the great Italian playwright to the young actress Marta Abba, who was his muse. Carolyn Balducci’s adaptation features Martin Walsh in the title role. Admission is free, seating is limited. Sponsor: Residential College, Institute for Research on Women and Gender Community Day and Celebration Sunday, February 17 from 1–5 pm, University of Michigan Museum of Art, 525 South State Street A community event for all ages featuring performances and hands-on activities. Free tickets are required for this event. Call Tickets PLUS @1.800.585.3737 for tickets. Sponsor: University of Michigan Museum of Art Dance Performance Saturday, March 16 at 8:00 pm and Sunday, March 17 at 5:00 pm University of Michigan Museum of Art, 525 South State Street Choreographers Jessica Fogel and Gay DeLanghe of the UM Dance Department, and choreographers Whitley Setrakian Hill and Christina Sears Etter present original works of dance in response to the UMMA exhibition. Admission is free, seated is limited. Sponsors: University of Michigan Museum of Art, School of Music The Consolation of Poetry: A dialogue with Elizabeth Barrett Browning Performance by Barbara Neri, Friday, March 22 at 8 pm and Saturday, March 23 at 8 pm Media Union, Video Production Studio, 2281 Bonisteel, North Campus In celebration of Women's History Month, Neri transforms herself into Victorian poet Elizabeth Barrett Browning, a woman who defied the odds to establish a serious voice for women in poetry. Admission is free, seating is limited. Sponsor: Center for the Education of Women Sign Language Interpreter provided upon advance request; please call (734) 647-0774 to arrange. Women Who Ruled: Queens, Goddesses, Amazons 1500–1650 is made possible by Ford Motor Company. Additional support has been provided by the Samuel H. Kress Foundation, the National Endowment for the Arts, the University of Michigan Office of the Provost, the Friends of the Museum of Art, and other generous donors Women's Studies Program This Theme Semester is sponsored through a collaboration among the Women’s Studies Program, the University of Michigan Museum of Art, and the College of LS&A.
Recommended publications
  • Shine Tail Credits
    With thanks to David and Gillian Helfgott for their assistance and co-operation in the making of this film Cast (in order of appearance) David as an adult Geoffrey Rush Tony Justin Braine Sylvia Sonia Todd Sam Chris Haywood David as a child Alex Rafalowicz Eisteddfod Presenter Gordon Poole Peter Armin Mueller-Stahl Ben Rosen Nicholas Bell Suzie as a child Danielle Cox Margaret Rebecca Gooden Rachel Marta Kaczmarek Jim Minogue John Cousins David as an adolescent Noah Taylor State Champion Announcer Paul Linkson Isaac Stern Randall Berger Boy Next Door Ian Welbourn Louise as a baby Kelly Bottrill Rabbi Beverley Vaughan Synagogue Secretary Phyllis Burford Society Hostess Daphne Grey Soviet Society Secretary Edwin Hodgeman Katharine Susannah Prichard Googie Withers Sonia Maria Dafnero Postman Reis Porter Roger Woodward (younger) Stephen Sheehan Announcer Brenton Whittle Suzie as a teenager Marianna Doherty Louse as a child Camilla James Cecil Parkes John Gielgud Viney David King Registrar Danny Davies Sarah Helen Dowell Muriel Louise Dorling Student Sean Carlsen Ashley Richard Hansell Robert Robert Hands Ray Marc Warren RCOM Conductor Neil Thomson Suzie as an adult Joey Kennedy Nurse Ellen Cressey Beryl Alcott Beverley Dunn Bar Customer Andy Seymour Gillian Lynn Redgrave Jessica Ella Scott Lynch Rowan Jethro Heysen-Hicks Roger Woodward (older) John Martin Celebrant Bill Boyley Opera singers Teresa La Rocca Lindsey Day Grant Doyle Musicians Leah Jennings Kathy Monaghan Mark Lawrence Gordon Coombes Luke Dollman Margaret Stone Tom Carrig Helen Ayres Vocalists Suzi Jarratt Samantha McDonald Hand double for Noah Taylor Martin Cousin Hand double for Alex Rafalowicz Simon Tedeschi Hand double for Geoffrey Rush Himself Standin for Sir John Gielgud Ronald Markham (UK) Standin for Mr.
    [Show full text]
  • Our TIFF: Geoffrey Rush Smoking with the Riff-Raff 11-01-28 1:24 PM Our TIFF: Geoffrey Rush Smoking with the Riff-Raff
    Our TIFF: Geoffrey Rush smoking with the riff-raff 11-01-28 1:24 PM Our TIFF: Geoffrey Rush smoking with the riff-raff TIFF most down-to-earth celebrity? Geoffrey Rush casually shared a smoke or two with regular folks on the sidewalk outside the It Might Get Loud party at the George Pimentel for National Post SoHo Metropolitan. National Post · Friday, Sept. 12, 2008 How the Post’s team of reporters saw this year’s film festival. By Nathalie Atkinson, Vanessa Farquharson, Shinan Govani, Ben Kaplan, Chris Knight, Adam McDowell, Katherine Monk, Jay Stone and Bob Thompson Best festival motto OK, there is only one: For the love of film. But it’s so flexible. Say it in a straight voice and it’s about how much you enjoy movies. Add a sarcastic tone and it doubles as an epithet for when you’ve just been turned away from a party, or had your cab snatched by Julianne Moore: “Oh, for the love of film!” C.K. Best star-sighting vantage point If you can, land this coveted spot: the corner table behind the mesh divider at the Hazelton’s lobby bar, which offers perfect sightlines to the hotel’s patio, restaurant, lobby, elevators and washroom corridor, so you don’t miss a single star. It’s celebrity central: Mickey Rourke, Marilyn Manson and Evan Rachel Wood, Adrian Brody, Mark Ruffalo, überpublicist Stephen Huvane and the last emperor himself, Valentino, all waltzed through. Within the same hour. (Bonus: Harvey Weinstein is often ensconced at a side table taking pitches, like an audience with the Pope.) N.A.
    [Show full text]
  • Emmy Nominations
    69th Emmy Awards Nominations Announcements July 13, 2017 (A complete list of nominations, supplemental facts and figures may be found at Emmys.com) Emmy Noms to date Previous Wins to Category Nominee Program Network 69th Emmy Noms Total (across all date (across all categories) categories) LEAD ACTRESS IN A DRAMA SERIES Viola Davis How To Get Away With Murder ABC 1 3 1 Claire Foy The Crown Netflix 1 1 NA Elisabeth Moss The Handmaid's Tale Hulu 1 8 0 Keri Russell The Americans FX Networks 1 2 0 Evan Rachel Wood Westworld HBO 1 2 0 Robin Wright House Of Cards Netflix 1 6 0 LEAD ACTOR IN A DRAMA SERIES Sterling K. Brown This Is Us NBC 1 2 1 Anthony Hopkins Westworld HBO 1 5 2 Bob Odenkirk Better Call Saul AMC 1 11 2 Matthew Rhys The Americans FX Networks 2* 3 0 Liev Schreiber Ray Donovan Showtime 3* 6 0 Kevin Spacey House Of Cards Netflix 1 11 0 Milo Ventimiglia This Is Us NBC 1 1 NA * NOTE: Matthew Rhys is also nominated for Guest Actor In A Comedy Series for Girls * NOTE: Liev Schreiber also nominamted twice as Narrator for Muhammad Ali: Only One and Uconn: The March To Madness LEAD ACTRESS IN A LIMITED SERIES OR A MOVIE Carrie Coon Fargo FX Networks 1 1 NA Felicity Huffman American Crime ABC 1 5 1 Nicole Kidman Big Little Lies HBO 1 2 0 Jessica Lange FEUD: Bette And Joan FX Networks 1 8 3 Susan Sarandon FEUD: Bette And Joan FX Networks 1 5 0 Reese Witherspoon Big Little Lies HBO 1 1 NA LEAD ACTOR IN A LIMITED SERIES OR A MOVIE Riz Ahmed The Night Of HBO 2* 2 NA Benedict Cumberbatch Sherlock: The Lying Detective (Masterpiece) PBS 1 5 1
    [Show full text]
  • “SHINE” Thurs JUN 16TH 7:30 PM at Pacific Cinémathèque 1131 Howe Street, Vancouver
    The UBC Dept. of Psychiatry and Pacific Cinémathèque present “SHINE” Thurs JUN 16TH 7:30 PM at Pacific Cinémathèque 1131 Howe Street, Vancouver TICKETS “SHINE” $8.50 regular / Australia/United Kingdom, 1996. Director: Scott Hicks $7.00 students & seniors Cast: Geoffrey Rush, Lynn Redgrave, John Gielgud, Noah Taylor, Armin Mueller-Stahl, Googie Withers Tickets available at the door An unexpected international box office sensation, Shine grossed well over $100 million and online at worldwide and garnered seven Academy Award nominations (including Best Film), with www.cinematheque.bc.ca newcomer Geoffrey Rush taking home the Best Actor Award. The film is based on the Pacific Cinémathèque annual true story of David Helfgott, an Australian pianist and child prodigy who is emotionally brutalized by his father (Armin Mueller-Stahl), suffers a catastrophic mental breakdown membership ($3.00 per year) and is confined to a mental hospital. Many years later, the adult David (Geoffrey Rush) is required for this event. meets Gillian (Lynn Redgrave), and with her help, makes the arduous journey back to the stages of great concert halls. Despite its considerable success, the film caused great controversy and discontent, especially from members of Helfgott's own family who felt CALL that many of the aspects in this 'true story', and the portrait of the family and father in particular, were unjust and inaccurate (the real father, by his children's account, was a For Information kind man who wished only the best for his children). The film has also been taken to Call (604) 822-7610 taskfor what some see as its superficial and misleading account of mental illness as experienced by David Helfgott.
    [Show full text]
  • Shine (Claroscuro / El Resplandor De Un Genio); La Tragedia No Siempre Tiene La Última Palabra
    ISSN electrónico: 1885-5210 DOI: https://doi.org/10.14201/rmc2020164289296 SHINE (CLAROSCURO / EL RESPLANDOR DE UN GENIO); LA TRAGEDIA NO SIEMPRE TIENE LA ÚLTIMA PALABRA Shine (light and shadow / the genius´ shining); the tragedy not always has the latest word Oscar BOTTASSO Instituto de Inmunología Clínica y Experimental de Rosario (Universidad Nacional de Rosario-Consejo Nacional de Investigaciones Científicas y Técnicas), Rosario (Argentina). Correo electrónico: [email protected] Fecha de recepción: 27 de febrero de 2020 Fecha de aceptación: 5 de marzo de 2020 Fecha de publicación: 15 de diciembre de 2020 Resumen El filme dirigido por Scott Hicks narra la historia del pianista australiano David Helfgott, a partir de su niñez y juventud jalonada por notables éxitos musicales, luego truncados a raíz de una enfermedad mental, en cuya génesis subyace una infancia impregnada de conflictos familiares. Tras un prolongado período de institucionalización, David comienza a reinsertarse en sociedad, y su situación se recompone ostensiblemente al conocer a Gillian quien posteriormente se convertirá en su segunda esposa y lo ayudará a reconciliarse con su existencia como para encarar un proyecto de vida en plenitud. Palabras clave: esquizofrenia; poesía; música. Abstract The film directed by Scott Hicks uncovers the story of the Australian pianist David Helfgott, from his early years and youth denoted by prominent musical achievements, further curtailed because of a mental illness preceded by a childhood full of familial conflicts. After a prolonged period of psychiatric institutionalization, David starts to reintegrate into the society. His situation clearly improves upon meeting Gillian who will later become his second wife helping him to accomplish an existential reconciliation as well as facing up to a «fullness of life» project.
    [Show full text]
  • Movie Data Analysis.Pdf
    FinalProject 25/08/2018, 930 PM COGS108 Final Project Group Members: Yanyi Wang Ziwen Zeng Lingfei Lu Yuhan Wang Yuqing Deng Introduction and Background Movie revenue is one of the most important measure of good and bad movies. Revenue is also the most important and intuitionistic feedback to producers, directors and actors. Therefore it is worth for us to put effort on analyzing what factors correlate to revenue, so that producers, directors and actors know how to get higher revenue on next movie by focusing on most correlated factors. Our project focuses on anaylzing all kinds of factors that correlated to revenue, for example, genres, elements in the movie, popularity, release month, runtime, vote average, vote count on website and cast etc. After analysis, we can clearly know what are the crucial factors to a movie's revenue and our analysis can be used as a guide for people shooting movies who want to earn higher renveue for their next movie. They can focus on those most correlated factors, for example, shooting specific genre and hire some actors who have higher average revenue. Reasrch Question: Various factors blend together to create a high revenue for movie, but what are the most important aspect contribute to higher revenue? What aspects should people put more effort on and what factors should people focus on when they try to higher the revenue of a movie? http://localhost:8888/nbconvert/html/Desktop/MyProjects/Pr_085/FinalProject.ipynb?download=false Page 1 of 62 FinalProject 25/08/2018, 930 PM Hypothesis: We predict that the following factors contribute the most to movie revenue.
    [Show full text]
  • Representing History
    Representing History The Pianist To Kill A King Why use film? History is currently `in vogue’ with the media. Documentaries cover the five terrestrial channels, historical non-fiction tops the best selling charts and Simon Schama, Michael Wood and David Starkey are now superstar presenters. Time Team and Restoration positively encourage us to take a `hands on’ approach – we can now affect what happens to our heritage directly. Historical films are also as popular as ever, with Pirates of the Caribbean currently topping the UK Box Office (although historians may argue exactly which historical period it is from!) and there are still many costume drama classics that draw in audiences across the world. Films that attempt to show history are sometimes derided by historians and critics for their lack of accuracy and sometimes hilariously bad casting - John Wayne as Genghis Khan anyone? However, if we view historical films as documents to begin an investigation, and if we look at how the film itself works, as well as examining how it purports to tell us about the past, the result can be a rewarding and enjoyable journey. A film can capture a feeling for a time; can create a mood and a picture of the past that perhaps, with further historical research and examination of the other contemporary art forms (drama, literature, painting, music etc.) can make that world come to life. © Film Education 2003 1 Curriculum Links The case study films below have been chosen both for their specific links to historical topics but also because of their filmic interest, either as a new take on a particular subject or an innovative way of telling a story.
    [Show full text]
  • Academy Award Winners Academy Award WINNERS
    Academy Award Winners Academy award WINNERS BEST Actress 1970-2013 BEST Actor 1970-2013 ☐ Patton (1970) George C. Scott ☐ Women in Love (1970) Glenda Jackson ☐ The French Connection (1971) Gene Hackman ☐ Klute (1971) Jane Fonda ☐ The Godfather (1972) Marlon Brando ☐ Cabaret (1972) Liza Minnelli ☐ Save the Tiger (1973) Jack Lemmon ☐ A Touch of Class (1973) Glenda Jackson ☐ Harry and Tonto (1974) Art Carney ☐ Alice Doesn’t Live Here Anymore (1974) Ellen Burstyn ☐ ☐ One Flew Over the Cuckoo’s Nest (1975) Louise Fletcher One Flew Over the Cuckoo’s Nest (1975) Jack Nicholson ☐ Network (1976) Peter Finch ☐ Network (1976) Faye Dunaway ☐ The Goodbye Girl (1977) Richard Dreyfuss ☐ Annie Hall (1977) Diane Keaton ☐ Coming Home (1978) Jon Voight ☐ Coming Home (1978) Jane Fonda ☐ Kramer vs. Kramer (1979) Dustin Hoffman ☐ Norma Rae (1979) Sally Field ☐ Raging Bull (1980) Robert De Niro ☐ Coal Miner’s Daughter (1980) Sissy Spacek ☐ On Golden Pond (1981) Henry Fonda ☐ On Golden Pond (1981) Katherine Hepburn ☐ Gandhi (1982) Ben Kingsley ☐ Sophie’s Choice (1982) Meryl Streep ☐ Tender Mercies (1983) Robert Duvall ☐ Terms of Endearment (1983) Shirley MacLaine ☐ Amadeus (1984) F. Murray Abraham ☐ Places in the Heart (1984) Sally Field ☐ Kiss of the Spider Woman (1985) William Hurt ☐ The Trip to Bountiful (1985) Geraldine Page ☐ The Color of Money (1986) Paul Newman ☐ Children of a Lesser God (1986) Marlee Matlin ☐ Wall Street (1987) Michael Douglas ☐ Moonstruck (1987) Cher ☐ Rain Man (1988) Dustin Hoffman ☐ The Accused (1988) Jodie Foster ☐ My Left Foot (1989)
    [Show full text]
  • GEOFFREY RUSH He’S Always Taken a Shine to Extreme Roles and Now the Oscar Winner, 62, Is Ready to Play a Mythological God
    (the_interview) ACTOR GEOFFREY RUSH He’s always taken a shine to extreme roles and now the Oscar winner, 62, is ready to play a mythological god I imagine, has an element of because I’d had no income and we only had pressure to it [Rush laughs]. the two fights. So Nine took her to watch the How do plaudits like that sit live feed – in those days, they used to hold with you? To know we’ve reached the broadcast ’til night-time – and when they a point where so many of our actors put up the little pictures of the nominees, now are not only household names they also added abox for my mother. You’ve in Australia, but internationally… got fve people, all with expectant looks, It’s not so much for David Denby’s when my name’s read out… And the accolade, but the fact we can now audience probably didn’t see anyone’s even be considered in that kind of reaction because all they saw was my mother reference from an American critic just all of a sudden bouncing out of frame You’ve said that what appealed to you in New York who, you know, two generations in a state of ecstasy. about the character of Hans, in the ago would have probably not even known You live in Melbourne with your wife, World War II drama The Book Thief, where Australia was, there’s acertain sense Jane, an actor, and your children was that he was an ordinary man. of reward in that.
    [Show full text]
  • The King, the Queen, the Virgin, and the Cross: Catholicism Versus Protestantism in Elizabeth and Elizabeth: the Golden Age
    The King, the Queen, the Virgin, and the Cross: Catholicism versus Protestantism in Elizabeth and Elizabeth: The Golden Age Aidan Norrie University of Otago The way that historical films depict conflict often says much more about the contemporary religious and political climate than it does about the period depicted on the screen. Both of Shekhar Kapur’s films about Queen Elizabeth I of England – Elizabeth (1998) and Elizabeth: the Golden Age (2007) – clearly reflect and repurpose contemporary religious tensions. While a film about Elizabethan England cannot avoid engaging with religious politics, with this paper I will argue that Kapur took contemporary religious debates, and repurposed them for his films. This repurposing is visible in the depictions of Catholics and Protestants: Catholics are depicted as evil and scheming – a metaphor for modern religious fundamentalism; whereas the Protestants, embodied by Elizabeth, are depicted as being moderate, rational, and secular—people who wish to rise above religious divides, and rule for the common good. Due to time constraints, my paper will only look at one particular scene in detail—the passing of the Act of Uniformity—but will devote more time to looking at the criticisms that were levelled at the films for their depiction of Catholics, and suggest that repurposing the past to comment on the present is often rather fraught. Elizabeth premiered at the Venice Film Festival on the 8th of September 1998. It received its cinematic premier in London the 2nd of October. Much of the writing and principal photography of the film took place against the backdrop of the Troubles—a very modern and contemporary parallel of Kapur’s subject matter.
    [Show full text]
  • David Stratton's STORIES of AUSTRALIAN CINEMA
    David Stratton’s STORIES OF AUSTRALIAN CINEMA **David Stratton: A Cinematic Life (a feature version of this series) has been selected to screen at the 70th Cannes Film Festival which opens May 17. “When I started championing Australian cinema at the Sydney Film Festival I couldn’t have imagined the richness of movies that would follow,” says David. “These are the stories of the films that changed the way the world saw us and how we saw ourselves … a story of how the films and those who made them broke through the status quo.” Revered critic David Stratton tells the glorious story of Australian cinema, focusing in on the films that capture the nation’s true nature with candour, emotion and humour. David is superbly qualified for this task. While he adapted to a new country and turned his passion for cinema into a profession as a film festival director and film critic, a growing band of courageous Australians turned their enthusiasm for storytelling into an extraordinary body of work. “A nation found its identity through cinema and so did I; this is my journey through the movies that made our nation,” he says. Those movies are wildly diverse but strong themes echo throughout the body of work. Screen Australia, The Australian Broadcasting Corporation and Screen NSW in association with the Adelaide Film Festival present A Stranger Than Fiction Production Episode one: Game Changers (June 6) Filmmakers gained confidence with: the boldness of Picnic at Hanging Rock and Mad Max; the global success of Crocodile Dundee and Shine; the flamboyance of Strictly Ballroom; the substance and style of Samson & Delilah.
    [Show full text]
  • Best Actor Oscar Winners Best Actress Oscar Winners Year Actor Age Movie Year Actress Age Movie 1980 Dustin Hoffman 42 Kramer Vs
    Best Actor Oscar Winners Best Actress Oscar Winners Year Actor Age Movie Year Actress Age Movie 1980 Dustin Hoffman 42 Kramer vs. Kramer 1980 Sally Field 33 Norma Rae 1981 Robert De Niro 37 Raging Bull 1981 Sissy Spacek 31 Coal Miners Daughter 1982 Henry Fonda 76 On Golden Pond 1982 Katharine Hepburn 74 On Golden Pond 1983 Ben Kingsley 39 Gandhi 1983 Meryl Streep 33 Sophies Choice 1984 Robert Duvall 53 Tender Mercies 1984 Shirley MacLaine 49 Terms of Endearment 1985 F. Murray Abraham 45 Amadeus 1985 Sally Field 38 Places In The Heart 1986 William Hurt 36 Kiss of the Spider Woman 1986 Geraldine Page 61 The Trip to Bountiful 1987 Paul Newman 62 The Color of Money 1987 Marlee Matlin 21 Children Of A Lesser God 1988 Michael Douglas 43 Wall Street 1988 Cher 41 Moonstruck 1989 Dustin Hoffman 51 Rain Man 1989 Jodie Foster 26 The Accused 1990 Daniel Day-Lewis 32 My Left Foot 1990 Jessica Tandy 80 Driving Miss Daisy 1991 Jeremy Irons 42 Reversal of Fortune 1991 Kathy Bates 42 Misery 1992 Anthony Hopkins 54 The Silence of the Lambs 1992 Jodie Foster 29 The Silence of the Lambs 1993 Al Pacino 52 Scent of a Woman 1993 Emma Thompson 33 Howards End 1994 Tom Hanks 37 Philadelphia 1994 Holly Hunter 36 The Piano 1995 Tom Hanks 38 Forrest Gump 1995 Jessica Lange 45 Blue Sky 1996 Nicolas Cage 32 Leaving Las Vegas 1996 Susan Sarandon 49 Dead Man Walking 1997 Geoffrey Rush 45 Shine 1997 Frances McDormand 39 Fargo 1998 Jack Nicholson 60 As Good as It Gets 1998 Helen Hunt 34 As Good As It Gets 1999 Roberto Benigni 46 Life Is Beautiful 1999 Gwyneth Paltrow 26
    [Show full text]