I like Oscars that go a little crazy. And not in those golly-gee speeches where someone -- say, Anne Hathaway (the inevitable winner tonight) -- reacts with such feigned shock that she giddily exhibits an actorly, cute-as-a-button manic depressive episode.
In the early 1960s, when Streisand was just starting out, gay audiences instinctively recognized something very familiar about her, a shared sensibility. That was only logical, given that her sensibility had been nurtured by gay men, after all. And this was hardly a new phenomenon.
Dale was the voice of damage-control, the pen of Oscar campaigns, and the heart of a movement that cultivated compassion in modern Hollywood. Laughter and caring were Dale Olson's trademark, entertainment was his business.
Hollywood is finally making an effort to give women and their stories the blockbuster treatment. In doing so, the film industry is hearkening back to what was once a strength of classic Hollywood: the blockbuster women's film.
Todd Haynes has spent his filmmaking career working far outside the mainstream -- yet he seems surprised when a reporter refers to his new miniseries, HBO's Mildred Pierce, as surprisingly conventional for him.
To paraphrase a famous quote: "Hilary -- I've seen you act, and I've seen Faye Dunaway act, and Miss Duff -- you're no Faye Dunaway." This truth is of course self-evident if you watch Faye in her prime.