Breathe easy film and gay twitter, Michelle Pfeiffer is officially your fan-favorite Best Actress contender. The three time Oscar nominee stars in Azazel Jacobs’ “French Exit,” an unconventional dramedy that closed the 2020 New York Film Festival on Saturday night and is currently dated to hit theaters on February 12. 2021. And, as hoped, it’s arguably Pfeiffer’s best performance in years.
The star of such classics as “Scarface,” “Dangerous Liaisons” and “Batman Returns” plays Frances, a fixture of New York City’s wealthy elite in the “third stage” of her life. When she learns that the inheritance from her dead husband has all but vanished she is at a loss at how to continue. After a sympathetic friend offers her apartment in Paris, Francis grabs her son Malcolm (Lucas Hedges), all the remaining cash she can muster and their cat for the transatlantic journey (on a cruise liner, no less). Oh, and did we mention the cat contains the soul of the aforementioned husband (voiced by Tracy Letts)? It’s certainly described as “surreal” in the official synopsis for a reason, but don’t let that fool you.
The role allows Pfeiffer to showcase her mastery of witty dialogue and tease the heartbreak behind Francis’ often sarcastic and steely exterior. Pfeiffer hasn’t been given a role this juicy since Stephen Frears’ “Cheri” (settle down “Where Is Kyra?” defenders, that’s a debate for another day) and it puts her smack dab in the middle of a crowded race for a Best Actress nomination. The one advantage Pfeiffer has over most of her competition, however, is that outside of Carey Mulligan (more on her in a minute), she has been gifted the funniest role of the bunch. Thankfully, screenwriter Patrick deWitt (who adapted his own novel) and Jacobs craft a memorable character in Francis who is more than just a mechanism for sassy one-liners.
The candidacy of Mulligan, who was the buzz of Sundance for her incredible turn in “Promising Young Woman,” resurfaced this week after Focus Features released a new trailer for the dramedy and revealed it’s now scheduled to hit theaters on Dec. 25. The “Drive” and “Great Gatsby” star will vie with Pfeiffer for the fairly loud twitter commentators who often influence the growing number of Academy and SAG voting members online. Those members then spread buzz to their peers who aren’t on the social platform, encourage them to make sure they watch the screener, and so on and so on. Does that mean either actress is guaranteed to make the final five? Far from it. At this point, only “Nomadland’s” Frances McDormand and “Ma Rainey’s Black Bottom’s” Viola Davis seem assured of that. But, its certainly Pfeiffer’s best shot this century.
In any other year, of course, it would be easy to assume Pfeiffer would almost assuredly make it. The movie may entertain in fits and starts, but Pfeiffer often assures that Jacobs’ unique tone works as much as it does. Sony Classics are also masters at working the traditional awards season mechanisms with nominations for performances by Glenn Close, Antonio Banderas, and Isabelle Huppert, among others, to their credit. Classics rarely spend at the level of other studios in terms of media buys. Instead, they smartly use Q&As, press opportunities, tributes and public appearances for an almost entirely “on the ground” approach. How that strategy can be flipped for a COVID affected awards season remains to be seen and will be their toughest challenge even if Pfeiffer is game to hit the “virtual” road (and it should be noted they aren’t the only distributor who will have to manage expectations in this regard).
Keeping all this in mind, let’s take a quick look at the state of the Best Actress race so far.
Frances McDormand, “Nomadland”
I think Frances deserves a third Oscar, you might think Frances deserves a third Oscar, but does The Academy think she should join the three-timer club?
Viola Davis, “Ma Rainey’s Black Bottom”
The second biggest lock of a nomination of the season and the movie hasn’t officially screened for critics yet.
Vanessa Kirby, “Pieces of a Woman”
Already won Venice. Are the year-end critics’ awards, next?
Kate Winslet, “Ammonite”
May need the Brit contingent in full force to get this nod across the finish line.
Michele Pfeiffer, “French Exit”
Get ready for the memes.
Carey Mulligan, “Promising Young Woman”
There will be a justifiable drumbeat.
Andra Day, “The United States vs. Billie Holliday”
Potentially, the surprise performance of the season.
Jennifer Hudson, “Respect”
Aretha Franklin was a legendary artist, but does that make her a good casting director?
Amy Adams, “Hillbilly Elegy”
Do we really want to put Amy through all this again?
Rachel Brosnahan, “I’m Your Woman”
Opening AFI. We’ll know soon enough.
Felicity Jones, “The Midnight Sky”
Is she Sandra Bullock or Jennifer Lawrence in space? There is a difference.
Sophia Loren, “The Life Ahead”
An intriguing contender depending when it drops.
Elisabeth Moss, “The Invisible Man”
You forgot how great she was in this, didn’t you? Don’t blame you, February seems like a decade ago.
Rashida Jones, “On the Rocks”
Hello HFPA.
Sienna Miller, “Wander Darkley”
We’ve been down this road before. Good luck.
2021 Contenders and Predictions
Best Picture
Best Director
Best Actress
Best Actor
Best Supporting Actress
Best Supporting Actor
