![]() We see the worst of human nature in Fargo, as William H. She has a razor intellect belied by her jaunty folksy Midwestern accent, dontchaknow, but she doesn't turn that blade on anyone except the wrongdoers who deserve it. In a movie that skewers the concept of "Minnesota nice," Marge is the real deal. She's talking to a colleague who has misread a bloody snowbound crime scene, but she leaves her gloves on. "I'm not sure I agree 100 percent with your police work, there, Lou." No single line embodies both the overflowing kindness and fierce competence of small-town Brainerd's chief of police, Marge Gunderson. Related: Jane Fonda's best 20 performancesįargo (1996), directed by Joel and Ethan Coen Fonda would be nominated five more times and win again, for 1978's Vietnam-vet drama Coming Home, but Klute is the one that cemented her as not just her father's daughter or a youthquake sex kitten, but a mesmerizing star in her own right. There's real grit underneath the shag haircut and thigh-high boots, though see the discotheque scene, where her entire body vibrates with a desperate mix of hope, terror, and determination. The whole thing couldn't be more '70s if it were rolled up in a shag carpet and wrapped in macramé-there's endlessly groovy talk of sexual kinks and personality crises, and Bree's mod bra-less wardrobe is justly famous. ![]() As Bree Daniels, a high-class call girl and aspiring actress possibly marked for murder, she's tough but vulnerable, streetwise but aching for approval. The title belongs to Donald Sutherland's nearly affectless private detective, John Klute, but the movie is all Jane Fonda's. Related: 15 classic Tennessee Williams adaptations As she seeks out her husband's alleged mistress, confronts her teenage daughter's resentment, and grapples with a not-very-bright new suitor ( Burt Lancaster), Magnani unleashes a torrent of emotional fire and brimstone that, in lesser hands, would border on camp. But Magnani elevates Serafina into a lightning storm of rage, sorrow, and vengeance. Maggie the Cat, Blanche DuBois, Amanda Wingfield). On the page, Serafina is an archetypical Williams heroine-a woman who feels the world too deeply and is therefore brutalized by its harsh truths and petty cruelties (e.g. As Serafina Della Rose, a seamstress and mother who becomes unmoored when her husband is killed and rumors circulate that he had been unfaithful, Magnani delivers one of the most dynamic performances of her era. Whether or not that's true is now probably beside the point. ![]() The Rose Tattoo (1955), directed by Daniel MannĪccording to legend, Tennessee Williams wrote this role specifically for Italian icon Anna Magnani as her first major role in an English-language film.
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