20 Years of Streep: 1983 ("Silkwood")

In her first eight appearances on the silver screen, Meryl Streep portrayed a diverse host of characters, all fictional. In 1983, Streep at last took on a real-life role, that of the plutonium technician-turned-nuclear safety whistleblower Karen Silkwood in Silkwood. The project marked Streep's first of four career collaborations with filmmaker Mike Nichols and first of three efforts alongside screenwriter Nora Ephron. (The gang would get back together three years later for Heartburn, which gave all three talents a lot of heartburn.)

No one had more riding on the success of Silkwood than the picture's director. After a string of acclaimed box office hits in the late '60s, into the early '70s, including Who's Afraid of Virginia Woolf, The Graduate (which won him the Best Director Oscar) and Carnal Knowledge, Nichols stumbled with two misfires - The Day of the Dolphin and The Fortune. He left Hollywood for Broadway, where at this point in his career he'd already racked up five Tony Awards for Best Direction of a Play. He produced and directed several productions, winning a Tony for producing Annie and netting two more direction nods, for Comedians and The Gin Game.

Sans his direction of the stage-to-stage production Gilda Live, however, Nichols did not direct any feature film between 1975 and 1983, the year of Silkwood's release. Thankfully for the filmmaker, Silkwood not only garnered critical acclaim but solid box office receipts to boot, knocking Terms of Endearment from the top slot after that film spent four consecutive weeks as the highest grosser. Terms would, however, soon get its revenge on Oscar night...

The 1983 Oscar nominees in Best Lead Actress were...

Jane Alexander, Testament

Alexander portrays Carol Wetherly, a wife and mother whose quiet suburban existence is irreversibly shattered by the onslaught of nuclear war. Cities across the United States, including nearby San Francisco, are hit, and while residents try to proceed with business as usual for some time, it is not long before many, particularly children and the elderly, fall gravely ill. Carol guides her family and other stranded survivors toward a future with no light at the end of the tunnel. This performance marked Alexander's fourth (and to date, final) Oscar nomination.

Shirley MacLaine, Terms of Endearment

MacLaine portrays Aurora Greenway, the brash but loving mother of Emma (Debra Winger). Aurora's relationship with her daughter has its share of tumultuous moments, especially on the heels of Emma's marriage to Flap (Jeff Daniels), a man Aurora isn't terribly fond of. Aurora also finds love, becoming romantically involved with the charming former astronaut (Jack Nicholson, in an Oscar-winning turn) who for years has lived next door without much interaction. This performance, which also won MacLaine a Golden Globe and Best Lead Actress honors from the Los Angeles Film Critics Circle, National Board of Review and New York Film Critics Circle, marked her sixth (and to date, final) Oscar nomination and first victory.

Meryl Streep, Silkwood

Streep portrays Karen Silkwood, a nuclear facility technician who lives alongside boyfriend Drew (Kurt Russell) and friend and co-worker Dolly (Oscar-nominee Cher). A union activist with concerns about nuclear plant safety practices, Karen believes her employers are placing her and fellow personnel at risk of radiation contamination. With union officials of negligible help, Karen investigates on her own and comes across evidence that could bring down the nuclear site but also place her at great risk. This performance marked Streep's fifth Oscar nomination.

Julie Walters, Educating Rita

Walters portrays Rita, a twentysomething hair dresser, with a dud of a husband, who decides to go back to school before having children. She studies with Dr. Bryant (Michael Caine), an alcoholic professor of literature who lost passion for teaching long ago but is completely won over by Rita's enthusiasm. Before long, Rita sees Dr. Bryant as her hero and he sees her as the apple of his eye. This performance, which won Walters a BAFTA Award and Golden Globe, marked Walters' first Oscar nomination.

Debra Winger, Terms of Endearment

Winger portrays Emma Greenway Horton, daughter of the strong-willed Aurora (MacLaine) and wife of the mild-mannered Flap (Daniels). Emma has roller coaster rides of relationships with both. Her marriage sours on account of Flap's cheating, which leads to Emma briefly taking on a lover (John Lithgow, somehow Oscar-nominated) of her own. Tragedy strikes when Emma is diagnosed with terminal cancer, a development that draws her closer than ever to Aurora and Flap. This performance, which won Best Lead Actress honors from the National Society of Film Critics, marked Winger's second Oscar nomination.

Overlooked: Anne Bancroft, To Be or Not to Be; Louise Fletcher, Brainstorm; Mariel Hemingway, Star 80; Dee Wallace, Cujo

Won and should've won: Shirley MacLaine, Terms of Endearment

1983 was a rough awards season, even though I'm ultimately fond of most of the year's Oscar-winners. This was a season in which garbage (albeit nicely scored garbage) like Flashdance was garnering recognition left and right and middling performances like Tom Conti in Reuben, Reuben; Charles Durning in To Be or Not to Be; and (the also Razzie-nominated) Amy Irving in Yentl scored Oscar nominations. That and, much as I love John Lithgow, his Oscar nod for seven minutes of screen time in Terms of Endearment is the epitome of riding a picture's coattails.

Best Lead Actress, thankfully, was a mostly splendid affair in '83, nearly on-par overall with the leading ladies from the year prior, even if none of the turns is quite on the level of a Lange in Frances or Streep in Sophie's Choice.

Even the weakest of the five, Julie Walters, is still a plenty commendable performance, though I would've much preferred seeing Louise Fletcher (brilliant in the strange and completely fascinating Brainstorm) or Mariel Hemingway (all too convincing playing out the tragic life of the late Dorothy Stratten in Bob Fosse's terrifying Star 80) in her slot.

I think Walters is a fabulous actress - I probably would've voted for her in Best Supporting Actress for Billy Elliot nearly two decades down the line - but I'm just not fond of Educating Rita at all. The film, based on the 1980 stage play (which was a two-person show, in contrast to the film, which is packed with supporting players who feel entirely unnecessary) has a stagebound, claustrophobic feel and it reminds me all too much of another piece I'm not fond of - My Fair Lady. Also, even if it's not among his best career turns, I think Caine is more compelling than Walters here. So, while I'm delighted the success of Educating Rita opened up heaps of career opportunities for Walters, I'm not so enamored with this nomination.

Beyond Walters, though, this is a pretty dynamite line-up.

Oscar nomination number two for Debra Winger was a nice step-up from the doldrums of LOVE LIFT US UP WHERE WE BELONG. I adore Terms of Endearment and am committed to defending its victory over The Right Stuff (just like I'll go to bat for Kramer vs. Kramer over Apocalypse Now and Ordinary People over Raging Bull). I guess I'm just a sucker for an all-star family drama, especially from this era.

Winger has plenty of remarkable moments in Terms, most of them in the second half. The big 'holy shit' scene is of course Emma's final conversation with Teddy and Tommy in the hospital (I get a lump in my throat just writing about it). Winger plays it pitch-perfectly there, as does she in the devastating last scene with MacLaine - her facial expressions say everything. And she has several great moments earlier in the film with both Daniels and Lithgow too. That being said, I do tend to prefer the MacLaine/Nicholson stuff in Terms, not because those scenes don't drive me to the tissue box but because I frankly think, for the most part, they're a bit better-written and directed.

When it comes to restrained acting, Winger is on-point but she still hasn't a thing on the Queen of Nuance, that quiet scene-stealer Jane Alexander. If you found her Oscar-nominated Supporting work in All the President's Men and Kramer vs. Kramer riveting, just wait 'til you discover (presuming you haven't already seen the film) her Lead turn in Testament.

'83 was THE year for nuclear war cinema. There were two much-buzzed-about, Emmy-winning television specials - The Day After and Special Bulletin - and then a big screen feature, Testament. None of the three hold up terribly well, I'm afraid, but I do think the most compelling and moving of the films is Testament, even if it too largely has the look and feel of a humdrum '80s 'Movie of the Week.'

Unlike those two aforementioned TV projects, Testament has a performer willing to take on considerable heavy-lifting. Indeed, Alexander is essentially the only reason to seek out the picture but, for her turn alone, Testament becomes something of a must-see. What's so powerful and ultimately overwhelming about Alexander's performance is the sense of just how deep Carol goes in suppressing her emotions - that is, her commitment to remaining cool while the world around her is literally exploding. There comes a point when Carol at last loses it (a rare obvious 'Oscar scene' from Alexander) and the moment is equal parts heartbreaking and cathartic. There was a time when I actually thought of Alexander as my favorite of this category (I love the idea of her having an Oscar) but, in revisiting the line-up, I think Testament is just too vastly inferior to Terms and Silkwood for me to go that distance. I love Alexander here but the film is a middling ball and chain constantly tugging at her.

Decidedly not middling is Silkwood, one of my very favorite Mike Nichols pictures and, in a close call with When Harry Met Sally..., probably the best Nora Ephron script too (she co-wrote with Alice Arlen). Cher is phenomenal in her breakout big screen appearance and Kurt Russell doesn't get nearly enough credit for his fine work - he certainly should've garnered an Oscar nod over the likes of Charles Durning and John Lithgow.

Streep is, of course, splendid as well. The performance and film, for obvious reasons, remind me a lot of Norma Rae, though I think the Nichols picture is ultimately even more infuriating and engrossing (I tend to think Sally Field carried most of that film on her shoulders). Like watching a superhero flick, the audience is cheering and on the edge of their seats for Karen from start and finish and Streep is convincing throughout. Even though I'm not picking her for the win, this has to be among the five or so best Streep turns recognized by the Academy.

I do, however, think the Academy got this one right - the first time I'm agreeing with them on a Streep category.

Some, I know, tend to view the MacLaine victory as something of a career win, which makes sense, given how absurdly overdue she was at the time. She should have totally triumphed in 1960 for The Apartment, as opposed to Elizabeth Taylor's eyebrow-raising sympathy victory for the dreadful BUtterfield 8. To write it off as a mere "she was just due" win, however, I don't think is quite fair, given how absolutely fabulous she is in Terms.

MacLaine's scenes with Nicholson are a delightful hoot - you can tell how much of a ball these two had finally working together. Her performance really comes to life, however, in the film's second half, with the onset of Emma's illness. The "give my daughter the shot" moment is of course legendary but I'm even more taken with Aurora knocking some sense into Tommy outside the hospital; her lunch with Flap; and Aurora's final moments with her daughter. The turn is a masterful blend of hilarity and heartbreak and I don't think MacLaine has come the least bit close to topping it since.

Like Lange vs. Streep the year before, it's downright agonizing to have to choose among MacLaine, Streep and Alexander, and with Winger not terribly far behind. I've gone from once preferring Alexander to now thinking the Academy got MacLaine right...maybe in another five years I'll be siding with Streep?

The performances ranked (thus far)...

1. Jessica Lange, Frances
2. Meryl Streep, Sophie's Choice
3. Shirley MacLaine, Terms of Endearment
4. Meryl Streep, Silkwood
5. Jane Alexander, Testament
6. Maureen Stapleton, Interiors
7. Mariel Hemingway, Manhattan
8. Marsha Mason, Only When I Laugh
9. Debra Winger, Terms of Endearment
10. Diane Keaton, Reds
11. Meryl Streep, Kramer vs. Kramer
12. Meryl Streep, The Deer Hunter
13. Julie Andrews, Victor/Victoria
14. Sissy Spacek, Missing
15. Jane Alexander, Kramer vs. Kramer
16. Susan Sarandon, Atlantic City
17. Julie Walters, Educating Rita
18. Candice Bergen, Starting Over
19. Maggie Smith, California Suite
20. Katharine Hepburn, On Golden Pond
21. Debra Winger, An Officer and a Gentleman
22. Meryl Streep, The French Lieutenant's Woman
23. Dyan Cannon, Heaven Can Wait
24. Penelope Milford, Coming Home
25. Barbara Barrie, Breaking Away

20 Years of Streep: 1982 ("Sophie's Choice")

After discovering the cure to insomnia with The French Lieutenant's Woman in 1981, Meryl Streep lined up two exciting projects for the following year, both lead turns and both given prime late-year release dates for Oscar contention.

First on tap was Streep's much-anticipated reunion with Kramer vs. Kramer director Robert Benton. Still of the Night would mark her first big screen thriller to date, pairing Streep with two-time Oscar-nominee Roy Scheider (still pretty hot off All That Jazz). Exciting, right? Well, the Benton picture came and went that November in the blink of an eye, failing to even crack the box office top 10. Not only were reviews for the Hitchcockian film itself lukewarm but critics argued both Scheider and Streep were woefully miscast and devoid of the faintest chemistry. Streep herself went on to label Still of the Night the worst picture of her career.

Three weeks after the Benton film barnstormed theaters with a whimper, Streep's second 1982 release hit the screen in New York and Los Angeles and well, to put it mildly, let's just say this effort was a bit of an improvement.

The 1982 Oscar nominees for Best Lead Actress were...

Julie Andrews, Victor/Victoria

Andrews portrays Victoria Grant, a down-and-out entertainer who is discovered in Paris by cabaret performer Toddy (the delightful, Oscar-nominated Robert Preston). Toddy has an eyebrow-raiser of an idea - what if Victoria were to put on shows as a male impersonator...who's pretending to be a female impersonator? The desperate Victoria goes for it and proves a grand success in the City of Lights. Enter a Chicago gangster (James Garner), who finds himself curiously taken with "Victor," and his daffy moll (Lesley Ann Warren, also Oscar-nominated) and heaps of screwball comedy ensue. Andrews won a Golden Globe for this performance, which marked her third (and to date, final) Oscar nomination.

Jessica Lange, Frances

Lange portrays Frances Farmer, the brilliant, beautiful and notoriously rebellious actress whose modest stardom on the stage and screen in the 1930s was steadily derailed by substance abuse, a reputation as impossible to work with and the ultimate Mother from Hell (Kim Stanley, in a quietly terrifying, Oscar-nominated turn), who institutionalizes her daughter after a nervous breakdown. This performance, alongside 1982's Tootsie (in Best Supporting Actress), marked Lange's first appearance at the Oscars.

Sissy Spacek, Missing

Spacek portrays Beth, wife of the American journalist Charles Horman who mysteriously disappeared in the aftermath of the 1973 Chilean coup d'etat that removed from power President Salvador Allende. Beth finds no support from the American consulate and ultimately teams up with Charles' father Ed (Jack Lemmon, also Oscar-nominated) in the search for her husband. While Ed can't fathom there could possibly be some sort of conspiracy or cover-up, Beth isn't so convinced. This performance marked Spacek's third Oscar nomination.

Meryl Streep, Sophie's Choice

Streep portrays Sophie Zawistowski, a Polish immigrant who resides in a Brooklyn boarding house alongside her paranoid schizophrenic lover Nathan (Kevin Kline) and new tenant Stingo (Peter MacNicol), an aspiring writer. Stingo comes to learn of Sophie's survival in a concentration camp and the devastating decision she had to make upon arrival at Auschwitz. Streep made a killing in the precursors this year, winning Best Lead Actress honors from the Golden Globes, Los Angeles Film Critics Association, National Board of Review, National Society of Film Critics and New York Film Critics Circle. Her sole loss came at BAFTA, where she fell short to Julie Walters (Educating Rita). This performance marked Streep's fourth Oscar nomination and second victory.

Debra Winger, An Officer and a Gentleman

Winger portrays Paula Pokrifki, an unhappy factory worker whose rinky-dink town offers negligible opportunities. Enter fellow lost soul/aviator-in-training Zack Mayo (Richard Gere), however, and love might just lift her up where she belongs. This performance marked Winger's first Oscar nomination.

Overlooked: Carol Burnett, Annie; Diane Keaton, Shoot the Moon; Jennifer Jason Leigh, Fast Times at Ridgemont High; Shelley Long, Night Shift; Dolly Parton, The Best Little Whorehouse in Texas; JoBeth Williams, Poltergeist

Won: Meryl Streep, Sophie's Choice

Should've won: Jessica Lange, Frances

Talk about a Sophie's Choice.

The 1982 ceremony stands as one of the all-time most-watched Oscar telecasts, no doubt in part due to the year's two highest-grossing films - Steven Spielberg's E.T.: The Extra Terrestrial and Sydney Pollack's Tootsie - being up for a plethora of prizes. Moviegoers rooting for those two box office smashes watched in awe that evening as the films lost one award after another to Richard Attenborough's bloated epic Gandhi, which scored eight wins on 11 nominations.

There was scant suspense in that year's acting categories. Ben Kingsley (Gandhi), Streep, Louis Gossett, Jr. (An Officer and a Gentleman) and Lange were the overwhelming favorites in their respective line-ups. That is not to say, however, they had no impressive competition. Dustin Hoffman (Tootsie), Jack Lemmon (Missing), Robert Preston (Victor/Victoria), Teri Garr (Tootsie) and Kim Stanley (Frances) were all dead-on brilliant too and probably could've prevailed in another cycle.

The contenders in Best Lead Actress were no slouch either, though it could have, frankly, been an even stronger line-up. Diane Keaton's devastating dramatic turn in Shoot the Moon is, for my money, the finest work of her entire career and the picture should've netted acting nods for Albert Finney and Dana Hill to boot. Keaton should've grabbed the slot of an actress who was richly deserving of her nomination the year following but certainly did not deserve recognition for the cornball romance that is An Officer and a Gentleman.

I adore Debra Winger, not only in her Oscar-nominated turns in Terms of Endearment and Shadowlands, but also pictures like Urban Cowboy, Betrayed and Forget Paris. Even an actress of Winger's calibur, however, could not make much out of Paula Pokrifki, an underwritten, borderline-Supporting character in a real underwhelmer of a film. The kindest thing I can say about Winger's performance is she's the most compelling part of the picture but that just isn't saying a whole lot here. Even Legal Eagles had more to offer.

Now, on to the good stuff.

Just as I have an impossible time deciding between Lange and Streep, I find myself see-sawing between Andrews and Spacek in the second tier. These are two dynamite actresses and I support their nominations, even if neither is quite the strongest part of her respective film.

Contrary to how it might sound on paper, Andrews is actually very much the straight man of Victor/Victoria. That isn't to say she isn't wonderful - this is arguably the last truly great Andrews turn on the silver screen - but she (and Garner, for what it's worth) is constantly upstaged by fellow Oscar-nominees Robert Preston and Lesley Ann Warren, who really have the juicier, more fun roles here. Andrews is still great, a master of screwball comedy (directed here by husband Blake Edwards), and "Le Jazz Hot" is one hell of a musical number, but it just isn't a performance in the same league as Lange or Streep.

Likewise, Spacek is in strong form in the very underrated Missing (the best film overall of these five) but she's largely playing second banana to Lemmon, whose Ed Horman runs a roller coaster of emotions (whereas Spacek's hitting the same note for most of the picture). The nomination reminds me somewhat of Susan Sarandon's from the year prior, in that both turns are terrific but just as Atlantic City was the Burt Lancaster show, Missing belongs to Lemmon.

While Andrews and Spacek turned in commendable work in 1982, this category is of course all about Lange and Streep for me, both turns among the strongest performances of any category in the decade, arguably - and if this sounds like bombastic hyperbole, it's not - of all-time. It kills me that Lange had to compete here, as I suspect she would've prevailed in virtually any other year in the 1980s, sans maybe vs. Shirley MacLaine, Geraldine Page and Jessica Tandy (for career Oscar reasons).

Since I'm head-over-heels for these two turns at roughly the same level, I'll start alphabetically with Lange, whose Frances Farmer is the most flat-out phenomenal work she's ever done and ever will do - no small feat, considering she's turned in a dozen or more brilliant performances over the past half-century.

Frances as a film is a bit sloppy, and may not be the most accurate biographical take on Farmer's tragic life. What it does work superbly as, however, is a showcase for two gangbusters actresses, Lange and Kim Stanley, who is legitimately horrifying in her first big screen appearance in more than a decade. When these two acting titans go at it, it's about as riveting as cinema can get. Lange also has several nice scenes (and heaps of chemistry) with future husband Sam Shepard, who portrays Farmer's on-and-off lover Harry.

The Lange film isn't a subtle picture by any stretch, yet she manages to completely transcend the haphazard direction and screenwriting, even in scenes that otherwise raise eyebrows. The picture's ending, in which Frances meets up with Harry for the first time since an involuntary lobotomy turned her into something out of The Stepford Wives, is downright devastating because Lange makes it so damn convincing.

Speaking of imperfect cinema lifted by pitch-perfect performances, Sophie's Choice is also not without its issues. It's about half an hour too long and long stretches of the picture are simply tedious. Alan J. Pakula directed several marvelous films in the 1970s, among them Klute and All the President's Men, but by the 1980s, his output was decidedly less-than-exemplary. Sophie's Choice, in fact, might well be the only watchable picture Pakula delivered in the decade, before making a late-career comeback in 1990s with box office successes like Presumed Innocent and The Pelican Brief.

Still, like Frances, Sophie's Choice remains a must-see for its performances. Peter MacNicol's mesmerized turn as Stingo marked a memorable breakthrough for him. Even better is Kevin Kline, oozing with charisma yet also petrifying as the violently unstable Nathan. Fine as MacNicol and Kline may be, Streep of course still owns the film, in one of the most harrowing turns of her career.

Streep feels less constrained here than in prior pictures. It's her first great non-Supporting turn on the big screen and at last, she has the license to tear the screen apart from start to finish without sharing the camera with a leading man. Her Polish-American accent is remarkably convincing and while the performance is a heartbreaker, she has also rarely been so glowing or charming.

Having to choose between these two extraordinary performances is truly unfair. It's an impossible decision right on-par with, for instance, Peter O'Toole in Lawrence of Arabia vs. Gregory Peck in To Kill a Mockingbird. Lange and Streep are both just so, so, SO fantastic. I lean ever-so-slightly toward the former for now, as there's just something about Lange's Frances that lingers with me after viewing her picture - a real gut-punch - that isn't quite there with Streep and Sophie's Choice. But who knows, I can easily see myself flip-flopping on this one in the future.

The performances ranked (thus far)...

1. Jessica Lange, Frances
2. Meryl Streep, Sophie's Choice
3. Maureen Stapleton, Interiors
4. Mariel Hemingway, Manhattan
5. Marsha Mason, Only When I Laugh
6. Diane Keaton, Reds
7. Meryl Streep, The Deer Hunter
8. Meryl Streep, Kramer vs. Kramer
9. Julie Andrews, Victor/Victoria
10. Sissy Spacek, Missing
11. Jane Alexander, Kramer vs. Kramer
12. Susan Sarandon, Atlantic City
13. Candice Bergen, Starting Over
14. Maggie Smith, California Suite
15. Katharine Hepburn, On Golden Pond
16. Debra Winger, An Officer and a Gentleman
17. Meryl Streep, The French Lieutenant's Woman
18. Dyan Cannon, Heaven Can Wait
19. Penelope Milford, Coming Home
20. Barbara Barrie, Breaking Away

20 Years of Streep: 1981 ("The French Lieutenant's Woman")

After blowing the roof off the joint in 1979 with a trio of gangbusters performances - including an Oscar-winning one with Kramer vs. Kramer - Meryl Streep took 1980 off from the big screen, instead focusing her energies on a stage musical of Alice in Wonderland that premiered at New York's Public Theater in December 1980. While the production itself garnered mixed notices, Streep herself, of course, received wall-to-wall raves.

The following year, Streep not only returned to the screen but took on her very first leading role - a screen adaptation of John Fowles' acclaimed 1969 novel The French Lieutenant's Woman. The marvelous playwright Harold Pinter would adapt the book to the screen and British filmmaker Karel Reisz - who worked wonders with leading lady Vanessa Redgrave on Morgan! and Isadora in the 1960s - signed on to direct. Moreover, another hot up-and-comer would star opposite Streep - the dashing future Oscar/Emmy/Tony-winner Jeremy Irons.

The result then simply had to be an incredible motion picture, right? Well, the Academy, to some extent at least, evidently thought so. In my humble opinion, however...not so much.

The 1981 Oscar nominees for Best Lead Actress were...

Katharine Hepburn, On Golden Pond

Hepburn portrays Ethel Thayer, who, alongside husband Norman (Henry Fonda, at last taking home an Oscar), makes the annual summer trip up to New England and her beloved cottage that overlooks Golden Pond. Norman may be the ultimate curmudgeon but Ethel's love for him is unconditional and particularly critical at a time when, on the heels of his 80th birthday, Norman finds his memory fading and physical health declining. This performance, which also won Hepburn her second BAFTA Award, marked her 12th and final Oscar nomination and fourth victory.

Diane Keaton, Reds

Keaton portrays Louise Bryant, the famed American journalist known for her sympathetic coverage of the Bolsheviks throughout the Russian Revolution. Initially a bored, married socialite, Louise ultimately leaves her husband for journalist John Reed (Warren Beatty, who picked up an Oscar here for his directing) and from there, it's a roller coaster ride of a life as Louise emerges a proud radical, has an affair with playwright Eugene O'Neill (Jack Nicholson) and goes off to Europe to write as a war correspondent. This performance marked Keaton's second Oscar nomination.

Marsha Mason, Only When I Laugh

Mason portrays Georgia Hines, a boozy Broadway actress who emerges from rehab hell-bent on staying sober and revitalizing her career. Such sobriety is tested, however, by the drama of her two best friends (James Coco and Joan Hackett, also Oscar-nominated) and the entrance of estranged daughter Polly (Kristy McNichol) who moves in with her recovering mother. This performance marked Mason's fourth (and to date, final) Oscar nomination.

Susan Sarandon, Atlantic City

Sarandon portrays Sally Matthews, an Atlantic City waitress with big dreams of one day working in Monte Carlo. She becomes involved with has-been gangster Lou (the brilliant Burt Lancaster, in his final Oscar-nominated turn) after Sally's estranged husband, in town to sell cocaine with Lou, is killed by mobsters. Sally and Lou are left with heaps of cocaine to sell but it isn't long before they too are in danger. This performance marked Sarandon's very first Oscar nomination.

Meryl Streep, The French Lieutenant's Woman

Streep portrays contemporary actress Anna, who in turn plays Sarah Woodruff in a film set during the Victorian Era. During the filming of their picture, Anna carries on an affair with British actor Mike (Jeremy Irons) but loses interest in the romance after production wraps. Meanwhile, in the film within the film, Sarah is a mysterious outcast who becomes the apple of biologist Charles' (Irons again) eye. Take a wild guess what happens on that end. This performance, which (inexplicably) won her a BAFTA Award, Golden Globe and Best Actress honors from the Los Angeles Film Critics Association, marked Streep's third overall Oscar nomination and first nod in Best Lead Actress.

Overlooked: Nancy Allen, Blow Out; Elizabeth Berridge, The Funhouse; Jill Clayburgh, First Monday in October; Faye Dunaway, Mommie Dearest; Sally Field, Absence of Malice; Audrey Hepburn, They All Laughed; Sissy Spacek, Raggedy Man; Kathleen Turner, Body Heat; Sigourney Weaver, Eyewitness

Won: Katharine Hepburn, On Golden Pond

Should've won: Marsha Mason, Only When I Laugh

1981, the year Chariots of Fire scored a jaw-dropper of an upset over Reds for the Best Picture Oscar, was an embarrassment of riches for leading ladies on the silver screen. You wouldn't necessarily know that, however, based on the Academy's selections that year in Best Lead Actress. (Not that Dunaway's terrifying Joan Crawford likely had a prayer of winning approval from the Academy.) For while I generally adore the five actresses up for recognition here, I'm not super-enamored with any of their nominated performances. In fact, I would be hard-pressed to label this line-up one of the weaker Lead Actress affairs at the Oscars in the 1980s.

The least compelling of the nominees, by a country mile, is, I'm afraid, Streep. I suspect most Streep aficionados would label Music of the Heart as the worst Streep turn recognized at the Oscars in Best Lead Actress (or is it August: Osage County now?) but I'd make a strong case The French Lieutenant's Woman is actually far more egregious a nomination - it might well be my least favorite of all Streep performances. It's not entirely her fault, however - the picture she's in is the epitome of drab, a dreary romance that's devoid of any romantic feeling and may run only two hours but feels like at least three. Even the usually reliable Freddie Francis' photography is oddly lackluster. Streep herself has said she was miscast in the roles of Anna and Sarah and while I think she's right to some extent, I think she understates the fault Pinter and Reisz deserve for their sleepy adaptation. Just imagine what Merchant and Ivory could have done with this!

Now, on to Katharine Hepburn and Bette Dav..scratch that...Susan Sarandon! I'm coupling these two ladies together, as I have immense fondness for them and their pictures here but both are ultimately playing second banana to superior, more notable late-career turns from Henry Fonda and Burt Lancaster, respectively.

Hepburn's a delight to watch - then again, Hepburn reading from a thesaurus would be awe-inspiring - but, beyond that amazing "you are my knight in shining armor" scene late in the film, there's nothing Hepburn does in On Golden Pond that I would place alongside the all-time great Hepburn moments in film. I think I even prefer her Oscar-winning turn in Guess Who's Coming to Dinner, which also, frankly, shouldn't have won the Lead Actress prize, over this. It's too bad she didn't win Oscars instead for superior work in films like Summertime and Long Day's Journey Into Night. That said, I'm hardly devastated Hepburn has the all-time record for Oscar victories, even if they're not for career-best performances.

Like Hepburn with Fonda, Sarandon is mostly upstaged by leading man Lancaster in Atlantic City, even if it's a thoroughly credible performance. Sarandon is sumptuously photographed here, much like she was a few years prior in director Louis Malle's Pretty Baby. It's an immensely sensual turn, like so many Sarandon performances, and she has a fine grasp on the wonderful playwright John Guare's dialogue. I have no qualms about Sarandon here other than to say the meat simply isn't there on the bone for her to chew as it is for her co-star. She would go on to upstage the likes of Nick Nolte, Kevin Costner and Sean Penn, among others, but Atlantic City is the Lancaster show through and through.

Ultimately, I find myself see-sawing between the final two contenders, Keaton and Mason.

I consider Keaton an astoundingly underappreciated dramatic talent. Her turns in Annie Hall, Baby Boom, Something's Gotta Give, etc. are all packed with subtle comic brilliance, of course, but it's her more somber work in pictures like Looking for Mr. Goodbar and especially Shoot the Moon (sadly neither of which she was Oscar-nominated for) that most floors me. Keaton is very compelling in Reds too, especially in the film's first half (Louise's transformation is pretty remarkable), but she doesn't quite command or flat-out own the screen in the same way she did those aforementioned dramas.

There's so much to like in the Warren Beatty picture (though I'd argue the Chariots victory was a deserving one) but I think the sprawling nature of it all and meticulous attention to detail with the film's design and look ultimately overshadow a lot of the acting. So, while Beatty, Keaton, Jack Nicholson and Maureen Stapleton are all terrific, I'm often more awe-struck by the scenery around them, and that incredible Vittorio Storaro photography too. In an even more anemic year, I could see myself siding with Keaton, even if it's not among her strongest work.

Alas, I think I lean ever-so-slightly toward Mason, who of course duked it out with (and lost to) Keaton in the 1977 Oscar race for The Goodbye Girl. (Mason and Keaton famously tied at that year's Golden Globes, where the Hollywood Foreign Press Association much preferred Neil Simon's The Goodbye Girl to Woody Allen's Annie Hall. The Academy was not on the same page.)

Mason might well be the least-remembered performer to garner four or more Best Lead Actress Oscar nominations. After a handful of small roles on stage and both the big and small screens, Mason floored critics with her turn as a hooker with a heart of gold, opposite James Caan, in 1973's Cinderella Liberty. There, she garnered her first Oscar nod and it was also in '73 that Mason married the much-celebrated screenwriter/playwright Neil Simon. Mason took four years off from the silver screen and returned in '77 with the most prominent role of her career, Paula McFadden in The Goodbye Girl, written by her husband. She quickly followed that one up with a third Lead Actress Oscar nomination, again in a Simon-penned picture, for 1979's Chapter Two.

The best of the four Oscar-nominated Mason performances, by far, is her final one, as on-edge recovering alcoholic actress Georgia in Only When I Laugh. The film itself, while no Atlantic City, On Golden Pond or Reds, is still one of the better Simon pictures, adapted from his play The Gingerbread Lady, which won a Tony Award for Maureen Stapleton in the Mason role. Mason is dead-on convincing as a woman desperate to maintain her sobriety and sanity, if only she weren't surrounded by such self-absorbed and needy people. The Mason-McNichol relationship has shades of Terms of Endearment and Postcards from the Edge and, like those superior pictures, Only When I Laugh goes for equal parts laughter and tears.

Mason may not be an actress on the spectacular level of the other four nominees here but in Georgia Hines she found the pitch-perfect role of her career. It would ultimately mark her penultimate performance in a Simon film (behind Max Dugan Returns) prior to the couple's divorce in 1983.

The performances ranked (thus far)...

1. Maureen Stapleton, Interiors
2. Mariel Hemingway, Manhattan
3. Marsha Mason, Only When I Laugh
4. Diane Keaton, Reds
5. Meryl Streep, Kramer vs. Kramer
6. Meryl Streep, The Deer Hunter
7. Jane Alexander, Kramer vs. Kramer
8. Susan Sarandon, Atlantic City
9. Candice Bergen, Starting Over
10. Maggie Smith, California Suite
11. Katharine Hepburn, On Golden Pond
12. Meryl Streep, The French Lieutenant's Woman
13. Dyan Cannon, Heaven Can Wait
14. Penelope Milford, Coming Home
15. Barbara Barrie, Breaking Away

20 Years of Streep: 1979 ("Kramer vs. Kramer")

In 1978, Meryl Streep, already renowned for her work on the New York stage, grabbed the attention of moviegoers across the country with her Oscar-nominated turn in the Best Picture-winning The Deer Hunter. That year, however, would prove a nothingburger in comparison to what was on the horizon in 1979.

Streep was about to work with three of the decade's hottest directors - Woody Allen (in Oscar heaven after Annie Hall and Interiors), Robert Benton (whose The Late Show killed with critics in 1977) and (Jerry Schatzberg, underappreciated even after brilliant efforts like The Panic in Needle Park and Scarecrow).

The resulting trio of Manhattan, Kramer vs. Kramer and The Seduction of Joe Tynan would wow the pants off critics, audiences and, of course, members of the Academy.

The 1979 Oscar nominees in Best Supporting Actress were...

Jane Alexander, Kramer vs. Kramer

Alexander portrays Margaret Phelps, neighbor and close friend of Ted and Joanna Kramer (Dustin Hoffman and Meryl Streep). Margaret encouraged the unhappy Joanna to leave Ted but, a single parent herself, grows quite close to Ted when Joanna indeed leaves her husband and son Billy (Justin Henry). This performance marked Alexander's third Oscar nomination.

Barbara Barrie, Breaking Away

Barrie portrays Evelyn Stoller, mom of Dave (Dennis Christopher), the film's protagonist. While father Ray (Paul Dooley) is bewildered by Dave's infatuation with Italian cyclists and their culture, Evelyn proves a bit more supportive. This performance marked Barrie's first (and to date, only) Oscar nomination.

Candice Bergen, Starting Over

Bergen portrays Jessica Potter, a negligibly talented wannabe-singer/songwriter, recently divorced from Phil (Burt Reynolds), who discovered she's been having an affair. Phil relocates from New York to Boston and strikes up a new romance with schoolteacher Marilyn (Jill Clayburgh) but complications arise when Jessica resurfaces, looking "better than ever" (as the film's Marvin Hamlisch-composed original song goes) and an inexplicable success in the music industry. This performance marked Bergen's first (and to date, only) Oscar nomination.

Mariel Hemingway, Manhattan

Hemingway portrays Tracy, who, at 17 years old, is enamored with her 42-year-old boyfriend Issac (Woody Allen), a uber-neurotic New York TV comedy writer. Issac spends most of their time together trying to break up with Tracy and strongly encourages her to go off to London on a scholarship. When he at last succeeds in driving her away, Tracy is devastated but it isn't long before Issac, who moves on to the erratic Mary (Diane Keaton), begins to have second thoughts. This performance marked Hemingway's first (and to date, only) Oscar nomination.

Meryl Streep, Kramer vs. Kramer

Streep portrays Joanna Kramer, a deeply unhappy wife and mother who finally decides to leave her husband Ted (Dustin Hoffman) and son Billy (Justin Henry). More than a year later, Joanna resurfaces in their lives and wages a contentious custody battle with Ted over their son. Streep won the Golden Globe, plus honors from the Los Angeles Film Critics Association, National Board of Review, National Society of Film Critics and New York Film Critics Circle for this performance, which marked her secondOscar nomination and first win.

Overlooked: Veronica Cartwright, Alien; Colleen Dewhurst, When a Stranger Calls; Valerie Harper, Chapter Two; Carol Kane, When a Stranger Calls; Ann Reinking, All That Jazz

Won: Meryl Streep, Kramer vs. Kramer

Should've won: Mariel Hemingway, Manhattan

I, no doubt, will get a ton of shit for this one.

Much like in the year prior, this Best Supporting Actress line-up is a strong affair overall, though I think there's a clear Tier 1 and Tier 2. If only Cartwright and Kane were here!

Bringing up the rear this time around are Barrie and Bergen, both fabulous actress (how awesome it is that Bergen has an Oscar nom under her belt, on top of the gargantuan Emmy love?) but neither mind-blowingly amazing in their turns here.

Barrie, like Penelope Milford in 1978, was clearly riding her film's coattails here. Breaking Away is a marvelous coming-of-age film, sadly kind of forgotten even with the Best Picture nod, but it's Dooley's funny performance, not Barrie's, that leaves a greater impression. She does have some nice moments and I'm always fond of the parents in this genre (think of all the Emmy nominations Alley Mills was robbed of for The Wonder Years) but Evelyn is an underwritten character and Barrie spends most of her scenes relegated to the background.

A bit more notable, though still saddled with a rather ho-hum character, is Bergen. She looks flat-out fantastic in Starting Over, a dead-ringer for Lauren Bacall, and has dynamite chemistry with Reynolds (in possibly his finest leading man turn ever) but the role is too often a distraction from the heart and soul and reason to sit through the film in the first place, that being the romance that blossoms between Reynolds and Clayburgh. Bergen has one side-splittingly funny scene in which she tries to seduce her ex with a godawful disco track but still, it's the third-best performance in a picture that's largely carried on the shoulders of its two leads.

Beyond Barrie and Bergen, the line-up sports a lot more to write home about and it especially excites me as Kramer vs. Kramer and Manhattan are among my all-time favorite films.

Alexander's Margaret, much like Barrie's Evelyn and Bergen's Jessica, isn't the most fleshed-out of characters. This is an actress, however, with a history of making a lot out of a little - just look at her Oscar-nominated turn in All the President's Men a few years prior, for instance, in which Alexander, with about five minutes of screen time and no Beatrice Straight-level material to really work with, nonetheless managed to deliver a haunting performance that lingered through the rest of that picture.

In Kramer vs. Kramer, Alexander, unlike Streep, is not provided half a dozen or more scenes that automatically scream "Oscahhhhhhhh!" on paper. Instead, the actress makes the most out of her quieter moments opposite Hoffman. It's a warm, lived-in performance and Alexander's screen presence is always a welcome one in the film, even with Hoffman and Streep dominating. She does get one kinda-sorta "Oscar scene" toward the film's end when Margaret, who counseled Streep's Joanna to leave Hoffman's Ted in the first place, pleads with Joanna to see what a great single dad Ted's turned out to be. It's a wonderful moment in a film full of them.

Alas, much as I love Alexander, this race is very much a two-contender affair for me, and I suppose poses something of a "head vs. heart" dilemma.

It's a no-brainer how and why Streep prevailed in 1979. Not only was she the hot up-and-comer, already beloved by critics and audiences alike, but Streep had three terrific performances this year. I would argue, in fact, that her turn in The Seduction of Joe Tynan - in which she portrays a brilliant attorney who starts hooking up with a married U.S. senator (Alan Alda) - is even more compelling than her Oscar-winning one in Kramer vs. Kramer (which is no jab at that performance, a superb one too). Streep steamrolled her way through the precursors this season, her competition picking up nothing beyond runner-up notices at the critics' awards. (Streep's only loss period was at the 1980 BAFTAs, where she garnered a Lead nomination and lost to My Brilliant Career's Judy Davis.)

Unlike the critics and probably countless Academy members, however, I'm not so keen on factoring her Joe Tynan and Manhattan performances into my decision-making in 1979 Best Supporting Actress. (Just like I wouldn't give Dennis Hopper the 1986 Best Supporting Actor prize for Hoosiers on account of his superior work that year in Blue Velvet.) This has to be all about Kramer vs. Kramer, which is no slouch, since she's amazing in this one film alone.

Streep's Joanna is a heartbreaker, even if you spend nearly all of the picture rooting for Hoffman's Ted to prevail. As noted, she has a plethora of devastating scenes in the film, from her farewell to son Billy at the film's start, to the film's A-M-A-Z-I-N-G ending, in which Joanna pays a key visit to Ted following the end of the custody trial. Streep legit kills it in all of her scenes - Joanna's first meeting with Ted after being away for so long, in which she reveals the legal battle she's about to wage, is unforgettable too.

In most years of Best Supporting Actress, I'd award Streep. But, not unlike in the year prior, my great affection for Woody Allen cinema gets in the way.

Manhattan is not only my favorite Allen picture, it's among my 10 favorite films ever. Critical to the film's success, beyond the glorious Gordon Willis cinematography and Allen's dead-on-brilliant dialogue, is the witty and quietly moving performance of Hemingway, in only her second-ever feature film performance. (It's the first of two incredible turns in her all-too-sparse career, the other being 1983's Star 80.) Her Tracy may be half the age of everyone else in the film but she's infinitely more rational, maybe even more sophisticated. In fact, Tracy often comes off as the only sane character around.

Hemingway has strong comic timing and nails Allen's lines but it's the dramatic moments that most hit home. Isaac's long-awaited breakup with Tracy feels all too real and her reaction ("now I don't feel so good") leaves viewers feeling just as shattered as she does. Just as jolting, in a much different way, is the film's ending, when Isaac literally runs back to Tracy as the 11-'o-clock-hour, though it might be too late. Tracy, now taking Isaac's prior advice to study abroad, tries to reassure the regretful Isaac - "not everybody gets corrupted. You have to have a little faith in people."

This, followed by one final round of George Gershwin, concludes one of the finest pieces of American cinema. Should most of the credit go to Allen himself? Sure. But count me as skeptical that another actress could have captured Tracy in the unaffected, down-to-earth way Hemingway so appropriately does.

Choosing between Streep and Hemingway (with Alexander not terribly far behind) is a legit Sophie's Choice but, in the end, I've got to go with the latter...even if 'Oscar-winner Mariel Hemingway' has a curious ring to it.

20 Years of Streep: 1978 ("The Deer Hunter")

Prior to 1978, Meryl Streep was not exactly a household name. Her sole big screen appearance was a small, albeit memorable turn opposite Jane Fonda in 1977's Oscar-winning Julia. At the time, Streep was best-known for her acclaimed New York stage work. She made five Broadway appearances between 1975 and 1977 alone, including a 1976 turn in A Memory of Two Mondays/27 Wagons Full of Cotton that brought Streep her first - and to date, only - Tony Award nomination.

Streep's name recognition spiked in a huge way in 1978. First, there was a much-heralded performance in the epic NBC miniseries Holocaust that resulted in a Best Lead Actress Primetime Emmy Award. It was her second-ever appearance in a feature film, however - and in a Best Picture winner, no less - that really put Streep on the map and awarded her with the first of her 20 (so far) Oscar nominations.

The 1978 Oscar nominees in Best Supporting Actress were...

Dyan Cannon, Heaven Can Wait

Cannon portrays Julia Farnsworth, a scheming shrew of a wife who is flabbergasted when her uber-wealthy husband - who she thought she'd drowned to death - suddenly re-appears. Cannon won the Golden Globe for this performance, which marked her third (and to date, final) Oscar nomination.

Penelope Milford, Coming Home

Milford portrays Viola "Vi" Munson, a free-spirited party girl who befriends Sally Hyde (Jane Fonda, in an Oscar-winning turn) when their respective partners are shipped off to Vietnam. Vi and Sally both work at the local military hospital, where the former spends much of her time bonding with brother Bill (Robert Carradine), who was discharged from service after mere weeks abroad for mental health reasons. This performance marked Milford's first (and to date, only) Oscar nomination.

Maggie Smith, California Suite

Smith portrays Diana Barrie, a washed-up British actress who is at last nominated for an Academy Award in Best Lead Actress. She is convinced a victory will lead to a revival in her career but supremely skeptical she can actually win. Barrie rides a roller coaster of emotions, alongside husband Sidney (Michael Caine), in the lead-up to and aftermath of the big ceremony. Smith won the Golden Globe (in Lead Actress, tied with Ellen Burstyn for Same Time, Next Year) for this performance, which marked her fourth Oscar nomination and second victory.

Maureen Stapleton, Interiors

Stapleton portrays Pearl, an effervescent firecracker of a woman whose presence rattles the family of husband-to-be Arthur (E.G. Marshall) upon her introduction. Arthur's children are still reeling from his separation from depressed matriarch Eve (Geraldine Page), not to mention a suicide attempt by their mother, and are hardly keen on future step-mama Pearl. Stapleton scored honors from the Los Angles Film Critics Association and New York Film Critics Association for this performance, which marked her third Oscar nomination.

Meryl Streep, The Deer Hunter

Streep portrays Linda, fiancee of Nick (Oscar-winner Christopher Walken) but the apple of Mike (Robert De Niro)'s eye. With Nick AWOL in Vietnam, Mike returns home to their small, working-class town in Pennsylvania, where he grows close to Linda, both of them distraught over their beloved missing friend. Streep garnered honors from the National Society of Film Critics for this performance, which marked her very first Oscar nomination.

Overlooked: Kelly Bishop, An Unmarried Woman; Stockard Channing, Grease; Bette Davis, Death on the Nile; Mary Beth Hurt, Interiors; Angela Lansbury, Death on the Nile; Mona Washbourne, Stevie.

Won: Maggie Smith, California Suite

Should've won: Maureen Stapleton, Interiors

1978 marked one hell of a year at the Oscars, especially in the acting categories. Just look at Best Lead Actress, for instance:

Ingrid Bergman, Autumn Sonata
Ellen Burstyn, Same Time, Next Year
Jill Clayburgh, An Unmarried Woman
Jane Fonda, Coming Home
Geraldine Page, Interiors

Yowsa. All of them legit could've been Oscar-winning turns in the right year. Ditto losers Bruce Dern (Coming Home), Robert De Niro (The Deer Hunter) and yes, the stunningly great Gary Busey (The Buddy Holly Story). Best Supporting Actress was pretty exceptional too. While it's easy to see why Smith prevailed - she is, after all, playing basically the most Oscar-baity role possible - at least two of the other performances could have totally prevailed in a different cycle.

First, the two weakest links here - Cannon and Milford - are still fine, commendable performances. They're just not among the more memorable parts of their respective films at all.

Cannon's Julia is hardly a presence in Heaven Can Wait - it's a far less meaty turn that her first Oscar-nominated performance, in Bob & Carol & Ted & Alice, which one could probably an argument she should've won for (even if I personally prefer Catherine Burns in Last Summer). Cannon does have great comic timing and looks phenomenal in the film but the screen time isn't quite there to warrant any sort of awards recognition, I don't think. She also has the misfortune of being paired with Charles Grodin, who is downright insufferable in the film.

Likewise, Milford, while convincing and a nice screen presence, is clearly, far and away, the least compelling of the central foursome in Coming Home. Moreover, Carradine, as Vi's brother, actually leaves a bit more of an impression, and with significantly less screen time. Milford is a classic case, ala Talia Shire in The Godfather Part II and Kathleen Quinlan in Apollo 13, of a very modest performance riding her film's momentum to an Oscar nod. Go watch Channing in Grease or Washbourne in Stevie and try to tell me Milford was more deserving.

The other three performances are all really fantastic. I just wish Smith's was featured in a more watchable film.

California Suite, while a box office hit at a time and even (somehow) an Oscar nominee in Best Adapted Screenplay, is an absolutely terrible film. If you've never seen it before, the film follows four pairs of guests who are visiting Los Angeles from New York (Jane Fonda and Alan Alda), Chicago (Richard Pryor and Bill Cosby), Philadelphia (Elaine May and Walter Matthau) and London (Smith and Caine). The scenes featuring the Chicago and Philadelphia duos are unwatchable - what the hell were director Herbert Ross and writer Neil Simon thinking? The Fonda/Alda parts are pretty sluggish, too.

To be fair, the stuff involving Smith and Caine is interesting but boy, it's tough to fully appreciate it when three-fourths of the film they're in is so dreadful. And honestly, I'm not sure their scenes are amazing enough to make California Suite worth a look, beyond to Oscar completists. It's a shame Ross and Simon didn't opt to scrap the rest of the film and just shoot an entire picture around the Brits. If not for the Oscar element, I'm not convinced Smith would've won this.

As for the remaining two, I love both The Deer Hunter and Interiors and adore Streep and Stapleton in them. Why I lean ever-so-slightly toward Stapleton is she legit blows the roof off the joint upon her entry into the Woody Allen picture - without her presence, Interiors is a solid family drama, much like Allen's September, which dropped about a decade later. With Stapleton in the mix, however, it becomes something truly extraordinary - she enters the film like a tornado and does some career-best work here, frankly more exhilarating a turn that her Oscar-winning one for Reds a few years later.

Streep is marvelous too but doesn't walk away with her scenes like Stapleton does. She has several enormously moving, heartbreaking moments in The Deer Hunter, especially in the film's final third, but never takes over her scenes alongside Walken and De Niro, both at the very tops of their game. It's a lovely and lived-in performance and, in another year, I could probably see awarding her the win on her first nomination.

Alas, the combo of Stapleton and Allen is too much for me to resist.