Mia Farrow started a war of words with Woody Allen while watching the tribute to him at this year’s Golden Globes. That she chose this particular moment to raise two-decade-old issues was even more confusing as she had consented to the inclusion in the montage of a clip from her appearance in his 1985 comedy “The Purple Rose of Cairo.”
Was Farrow reminded that she had lost at the Golden Globes for that film, as well as for two others she made with Allen, while a slew of women — including Diane Keaton who accepted the Cecil B. DeMille award on his behalf — had won Globes (and Oscars) under his direction?
Indeed, Cate Blanchett — who is the overwhelming favorite to win Best Actress at the Oscars — won the Golden Globe on the drama side this year for her work in Allen’s “Blue Jasmine” and in her acceptance speech made note of his ability to write for women.
Allen certainly resurrected Farrow’s once promising career after it had faltered in the 1970s by casting her in his 1982 hit “A Midsummer Night’s Sex Comedy.” “The Purple Rose of Cairo” marked their fourth film together in as many years and earned Farrow a Golden Globe nomination for Best Comedy/Musical Actress; she lost to Kathleen Turner (“Prizzi’s Honor”).
She had been bested by Turner at the previous year’s Globes as well when nominated for another Allen laffer, “Broadway Danny Rose.” Turner won that race with “Romancing the Stone.” Farrow went on to contend in this category again in 1990 for the Allen film “Alice.” She lost that time to Julia Roberts (“Pretty Woman”) but did win the National Board of Review award for Best Actress.
None of these Golden Globe nominations translated into Oscar bids for Farrow. Turner too was snubbed by the academy while Roberts did reap her first Best Actress nomination.
Though Farrow has never been nominated for an Oscar, she has lost all seven of her Golden Globe races. These defeats are even more damning given that she was feted by the Hollywood Foreign Press Assn. as one of the New Stars of the Year in 1964, sharing the Actress award with former Miss America Mary Ann Mobley and ingenue Celia Kaye. While she was cited for her film debut in “Guns of Batasi,” Farrow was also the breakout star on TV’s version of “Peyton Place.” Indeed, she contended for TV Actress the following year but lost to Anne Francis (“Honey West”).
In 1968, Farrow was back at the Globes, competing as Best Actress (Drama) for her starring role in the smash hit “Rosemary’s Baby.” She lost to Joanne Woodward (“Rachel, Rachel”) who went on to contend at the Oscars, as did Globe nominees Katharine Hepburn (“The Lion in Winter”) and Vanessa Redgrave (“Isadora”). However, Farrow was snubbed by the academy. Hepburn tied for the Oscar with Globe Comedy/Musical Actress champ Barbra Streisand (“Funny Girl”); the fifth Oscar nominee was Patricia Neal for her comeback appearance after a stroke in “The Subject Was Roses.”
That Farrow did not reap an Oscar bid was made even more glaring by all the attention heaped on co-star Ruth Gordon. That Hollywood veteran won both the Globe and the Oscar for her scene-stealing performance as the nefarious neighbor in “Rosemary’s Baby.”
Farrow was back in contention at the Globes the following year for “John and Mary” but lost the Comedy/Musical Actress prize to Patty Duke (“Me, Natalie”). She made no films of note in the 1970s with her misfires including “The Great Gatsby” (1974), “Avalanche” (1978) and “Hurricane” (1979).
Then came her storied partnership with Allen. In 1986, he showcased her in “Hannah and Her Sisters” but it was featured players Dianne Wiest and Michael Caine who won Oscars as did Allen for his original script. He also reaped a bid for Best Director — he won that prize in 1977 for Best Picture champ “Annie Hall” — while the film was also nominated as were the Art Direction and Editing. However, Farrow was snubbed in the Best Actress race.
In 1992, Farrow and Allen finished their final film together — “Husbands and Wives” — as their relationship imploded. While Allen reaped yet another Original Screenplay bid, it was Farrow’s co-star Judy Davis who earned the only acting nomination; she lost to Marisa Tomei (“My Cousin Vinny”).
Prior to working with Farrow, Allen had won one of his three Original Screenplay Oscar races (“Annie Hall,” 1977). He won one of his seven bids for their collaborations (“Hannah and Her Sisters,” 1986). And, after the end of their relationship, he remained an Oscar magnet, winning one more (“Midnight in Paris,” 2011) of his five screenplay nominations. He extended his Oscar record in that race to 16 this year with a nomination for “Blue Jasmine.”
Blanchett is likely to be the second woman to win Best Actress at the Oscars for one of his movies. Allen’s then-partner Keaton won in 1977 for her work in “Annie Hall” after having taken home the Comedy/Musical Actress Globe. Weist won the Supporting Actress Oscar again in 1994 for Allen’s “Bullets over Broadway” after having won the Globe as well and Mira Sorvino pulled off this double play the following year for Allen’s “Mighty Aphrodite.” And in 2009, Penelope Cruz won an Oscar for her featured role in Allen’s “Vicky Christina Barcelona.”
Five other women earned Oscar nominations under Allen’s direction: Geraldine Page and Maureen Stapleton (“Interiors,” 1978); Mariel Hemingway (“Manhattan,” 1979); Jennifer Tilly (“Bullets over Broadway,” 1994); and Samantha Morton (“Sweet and Lowdown,” 1999).
Farrow has only contended for one major award since splitting with Allen — she lost the 1999 Globe race for TV Movie/Mini Actress for “Forget Me Never” to Halle Berry (“Introducing Dorothy Dandridge”). Add that to those six losses detailed above and she has had an unlucky seven Golden Globe nominations in all.
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