The curious case of Isabelle Huppert
Two French actresses won the Academy Award for Best Actress, namely Simone Signoret and Marion Cotillard. Some would include Claudette Colbert, a Parisian by birth. Isabelle Huppert might join this distinguished company.
The 26th annual Gotham Independent Awards was held on November 28, and Huppert was named Best Actress for "Elle". This was the latest motion picture on women treading the morally ambiguous terrain, which Virginie Despentes and Coralie Trinh Thi made attention (in a notorious manner) in "Baise-moi" (2000). Gillian Flynn also explored this theme in "Gone Girl" (2014), but David Fincher's adaptation would confuse some moviegoers. Who would want to glamorize such a character? Huppert happened to be renowned for playing such kind of characters, which could come off as strong to some viewers. It would be ironic that many Hollywood actresses turned down the role of Michèle Leblanc, prompting Paul Verhoeven to go to Europe. It might be too much for American sensibilities or (American) audience may not be ready to meet such character on a street. Nonetheless, Huppert was delighted upon receiving her award.
“I didn't expect that to happen, I promise. They told me it's an American award: ‘You're French, and you'll never get it,'” she said.
The New York Film Critics Circle and the Los Angeles Critics Circle announced the Best of 2016 a few days ago, and the members from both sides of America judged Huppert's performance as the finest for this year. It may not guarantee an Oscar on February 26, 2017, but history would suggest that Huppert was certain of a nomination. Three (American) actresses might stand on Huppert's way, namely Amy Adams, Annette Bening, and Natalie Portman.
The members of National Board of Review thought that Adams's performance in "Arrival" was good enough to net her the Best Actress Award. Adams seemed to be a long shot at this point, though. Moreover, her A-list status might affect her chances. Bening, on the other hand, had been an Oscar bridesmaid. It would remain the same next year. Portman's performance as Jackie Kennedy could appeal to the nostalgic mood of Academy voters. Some rather called it conservative, yet the stars don't align in Portman's favor. (Luck will play a part at times.) How about Huppert?
The French actress isn't a stranger to Hollywood, appearing in Michael Cimino's "Heaven's Gate" (1980). She is one of the top actresses in the French film industry, having been nominated for a César Award fifteen times. And the publicity surrounding the casting of the lead actress in "Elle" would give her an early advantage. It's a certainty that the Hollywood Foreign Press Association will recognize her, and there's a good chance that she'll nab the Golden Globe for Best Actress (in Musical/Comedy). The Screen Actors Guild might favor another actress, but it wouldn't matter. Cotillard's path to the Oscar set a precedent.
For those who are unfamiliar with Huppert's filmography, here are three of her most memorable performances:
Madame Bovary (1990) by Claude Chabrol. This is the definitive, if not best, version of Gustave Flaubert's masterpiece, which explored the unhappy existence in a sleepy French countryside. There's more to adultery, which is the main theme of the novel (and the movie), and Huppert's Emma Bovary struggled to contain her tormenting emotions that would bring to her downfall. Some viewers would prefer the Hollywood version, where Jennifer Jones played the titular character, but Huppert could be the only one could understand the complexity of the character.
La Cérémonie (1995) by Claude Chabrol. Some moviegoers would see it as the triumph of the proletariats over the elitists while others called it an extreme case of close-mindedness (and how this type of people could be a menace to society). Huppert's Jeanne was an insecure postmistress, who would be a bad influence to an illiterate housekeeper. It would be simple to judge her as a person without redeeming values, as Chabrol's incisive screenplay prompted the audience to examine their values. Otherwise, it could be savage comedy.
The Piano Teacher (2001) by Michael Haneke. Erika Kohut could be a representation of a modern-day Viennese after decades of psychoanalysis (brought by two wars). She was far from a feminist, she wasn't a victim of her upbringing either. This complex character would be too much for the American audience, but this might be Huppert's best performance to date.
