The Wife starring Glenn Close and Jonathan Pryce

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  • Andrew Carden
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    #1202211298

    No way this is sent to Lifetime. Odds are a distributor on the level of Roadside Attractions bites.

    OSCAR FLASHBACK: Nicholson at the Oscars (1981) – Reds

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    GusCruz
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    #1202211324

    Everything about this sounds trashy. But good luck to Close!

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    M
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    #1202211346

    Meryl Streep beat Glenn Close on her last nomination.

    Streep beat Close on her third Oscar win. Lange beat Close on her first Oscar win.

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    Jeffrey Kare
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    #1202211347

    Oh, my mistake.

    Though it is true that on Glenn Close’s first Oscar nomination, Jessica Lange won. On her most recent nomination, Meryl Streep won.

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    Robert Russaw
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    #1202211420

    Would love to see Close get some traction. This year, however, is such a strong year for actresses, that you’d wish the Academy could expand the category to nominees! Nevertheless, I thought out of all of Close’s nominations, a win would have been justified for The World According to Garp and especially Dangerous Liaisons.

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    Atypical
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    #1202211475

    Thrilled for the positive ink that Glenn Close is getting! Meg Worlitzer also wrote one of my favorite novels of recent years, so I’m excited to see what’s done with this material. Jane Anderson doing the adaptation is a great start.

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    Will
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    #1202212914

    Festival Preview: Glenn Close is Spectacular as ‘The Wife’

    by Nathaniel Rogers
    September 13, 2017 | 6:00pmShare236

    Glenn Close and Jonathan Pryce are happily married, or not, in THE WIFE.

    Reporting from the Toronto Film Festival to share with you a heads up on Glenn Close’s next possible Oscar bid “The Wife”

    Joan Castleman (Glenn Close) is a long-suffering wife who would bristle at that very description. She’s married to a famous novelist Joe Castleman (Jonathan Pryce) and their homophonic names are no coincidence. The silver-haired couple have been together for nearly half a century and are inseparable if not quite interchangeable.

    As THE WIFE begins we learn that Joe has just been named the Nobel prize winner in literature and the couple are to travel to Stockholm together for the ceremony. They’re so happy they actually jump on their bed in a singularly charming scene. This slow burn starts out playful but it deepens as it goes thanks to Close’s brilliant star turn…

    Close’s own daughter Annie Starke plays The Wife as a young college student.

    When the cracks in the happy marriage facade begin to show you see what Björn Runge, a Swedish director making his first English language film, and Glenn Close are up to in their concise adaptation of Meg Wolitzer’s bestseller.

    All the principle characters in Joe’s orbit also happen to be writers and resent him, if not quite his enormous success, for different reasons: his son David (Max Irons) never gets the encouragement he needs, his wife Joan was a promising writer who set her own career aside when she married him, and then there’s Nathaniel (Christian Slater) who’s been trailing the family for years trying to get permission to write Joe’s biography.

    The interpersonal dynamics and face-offs are the savory meat of the film. To my personal astonishment Glenn Close restricts herself to chewing on it rather than the scenery! Put simply it’s the best work she’s done in over 20 years.

    Close’s opacity as an actress, the unknowability of that glacial face, has often been disguised by her sheer volume and ferocity in so many gorgon roles. Here in Joan’s quieter less sinister register, she’s spectacular. You constantly attempt to figure Joan out but Joan will not have it. She prefers to remain a mystery, hiding her true feelings from everyone, including possibly herself. Her mercurial moods will shift within scenes — just when you expect her to double down on anger she’ll throw compassion at you, and vice versa keeping you off balance. At one point in a brilliantly acted private ‘date’ with that would-be biographer, she says “I’m shy” with something like mock flirtation. It sounds like a lie, but it’s actually the truth of this mesmerizing character.

    The film isn’t quite as coy as Close, eventually revealing its hand. Joan Castleman and her poker face would not approve. But that, in a nutshell, is the satisfying friction of the film, a star vehicle wherein the star keeps threatening to jump from her own limo.

    The Wife currently has no firm release date but if it wins distribution by the end of the year, expect a Best Actress campaign for Glenn Close.

    http://www.towleroad.com/2017/09/glenn-close-wife/?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+towleroad%2Ffeed+%28Towleroad+Gay+News+%29

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    Will
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    #1202212920

    The Wife
    BY SUSAN G. COLE SEPTEMBER 12, 2017 6:32 PM

    Glenn Close has never won an Oscar, though she’s been nominated six times. She’s again a magnificent screen presence as Joan, the wife of a Nobel prize-winning novelist Joseph (Jonathan Pryce).

    The film opens with the couple getting word that he’s won the prize and all appears well. But in the run-up to the awards ceremony in Stockholm, it’s clear that something’s simmering beneath Joan’s quiet, supportive demeanour.

    It could be any number of things. Joe hasn’t been attentive to his children, including his aspiring writer son (Max Irons). He’s had his affairs – and later looks to have another with the Nobel’s in-house photographer. And a writer hoping to pen Joe’s biography (Christian Slater at his weaselly best) is pestering them mercilessly.

    Jane Anderson’s screenplay, from Meg Wolitzer’s novel, keeps us guessing and reveals the answer to the mystery with a strong sense of pace. Pryce plays the literary lion with gusto, while revealing pathetic weakness.

    But Close carries the pic, letting her silence speak volumes and then exploding with a righteous rage when she’s had enough.

    Why doesn’t this woman have an Oscar?

    https://nowtoronto.com/movies/tiff2017/the-wife-review/

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    RobertPius
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    #1202213329

    I always wonder why Close lost for Dangerous Liasons. It seemed to be everything Oscar voters like plus it was her fifth nomination.

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    Eddy Q
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    #1202213354

    I always wonder why Close lost for Dangerous Liasons. It seemed to be everything Oscar voters like plus it was her fifth nomination.

    There might have been sentimental value in awarding a former child star all grown up and tackling such adult material. (Though she already did that in Taxi Driver.) It’s a shame though, because Glenn’s role and performance are classic and Jodie had another chance only three years later.

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    Robert Russaw
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    #1202213504

    I always felt Close would have been a lock for Dangerous Liaisons-her film had more nominations than Foster’s, and by that time Close was on her fifth nomination. She seemed to have such a strong narrative even back then. Looking back, it’s sort of easy to see how Foster won, but at the same time, Close had so much in her favor.

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    Andrew Carden
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    #1202213524

    Dangerous Liaisons had a quirky awards season run. Warner Bros managed to get it into limited release barely in time for Oscar consideration and it had little presence to speak of at all during the precursors. It did manage a bunch of Oscar nominations but I suspect the super-late release wasn’t helpful to Close.

    OSCAR FLASHBACK: Nicholson at the Oscars (1983) – Terms of Endearment

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    M
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    #1202213554

    I always wonder why Close lost for Dangerous Liasons. It seemed to be everything Oscar voters like plus it was her fifth nomination.

    Close was taken for granted as a perennial presence. And I bet many voters forgot she’d never won one. Also, Foster had a couple of things in her favor. One, they had always intended to give her one despite losing her first nod when she was still a girl. Two, assassination attempt on the president made her the ultimate Hollywood victim / sympathetic character. Three, the graphic nature of her role. A public gang rape and this is a true story. Four, Close and Weaver ate into each others votes.

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    Will
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    #1202213771

    God, I hope it will get a decent distributor. Close could totally win this thing with a right campaign.

    Toronto: With ‘The Wife,’ Glenn Close Could Find Herself in the Best Actress Race

    The widely respected veteran could garner her seventh Oscar nom — and maybe even a long-overdue win — if a capable distributor picks up her latest film and releases it before the end of the year.

    Three years ago, during the latter days of the annual Toronto International Film Festival, a pretty good movie featuring a great performance by its lead actress was acquired by a top-tier art house distributor and wound up bringing that actress a long-overdue Oscar. That film was Still Alice and the actress was Julianne Moore.

    Three years later, history may be repeating itself with The Wife, an acquisition title that was unveiled for the first time at the same fest. Glenn Close, its widely respected 70-year-old leading lady, has thus far accumulated six Oscar nominations over her long career, but not yet a win.

    This year’s best actress race already is much more competitive than it was in the year of Still Alice. But I still believe that if a competent distributor picks up The Wife — one like Sony Classics, which picked up Still Alice — and decides to release it before the end of this year, there’s a great chance that we will be able to cross Close off the list of the all-time greatest Oscar-less performers by the beginning of spring.

    Bjorn Runge’s drama centers on a long-married couple, played by Close and the equally excellent Jonathan Pryce, living in Connecticut in 1992, just as the husband’s career as an author is being celebrated with a Nobel Prize for literature. Layers upon layers are pulled back, over the course of the film, to reveal that nothing is quite as it initially appears, and chickens begin coming home to roost.

    Without giving away any major plot twists, I can say that the film and the nature of its characters, as much as the caliber of the performances, reminds me of the 2015 art house standout 45 Years, for which Charlotte Rampling ultimately received a best actress Oscar nomination.

    Close is, as she always has been, as comfortable and impressive in moments of silence as in moments of explosion, and watching her character simmer and eventually boil over is a master class in acting of the sort that the Academy likes to reward. Also, she may benefit from the zeitgeist, in a way, as some, at least, begin to reconsider Hillary Clinton.

    In the wake of last November’s election and all that has followed, there’s something extra moving about watching an older, smart and accomplished woman who has been wronged by her husband in more ways than one, but nevertheless stood by him — “a stoic wife with repressed rage,” as the film itself winkingly describes Close’s character — come to realize her own worth and stand up for herself. In fact, at one point in the middle of the movie, it even caused the audience to break into applause.

    http://www.hollywoodreporter.com/race/toronto-glenn-close-could-find-best-actress-race-1039672?utm_source=twitter

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    Atypical
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    #1202213937

    Variety just gave Close a rave!

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