Hilton Als on Michelle Obama as the lady in red at the White House, the fashion sense of Kim Gordon, Tilda Swinton on screen and Zadie Smith's other gig. From The New Yorker's website on December 10, 2008.
Hilton Als: The Eleven Best Performances of Stage and Screen
Generally, actors are the heart and soul of theatre and film. While
audience members are usually unaware of who wrote a piece, let alone
directed it, they can always pick out a star. Despite a number of
auteur theories, it’s the performer who comprises the heart and mind of
a given piece, still, even when it’s in a photo spread in a magazine or
in a piece of criticism. Herewith, some of the year’s best:
The year ends with a bit of performance poetry: Tilda Swinton in
“The Curious Case of Benjamin Button.” As the quietly despairing
Elizabeth Abbott, Swinton makes us believe in the cinema as a hall of
dreams reasonably peopled by gorgeous women whose thoughts incite a
riot of our own. The more she exposes herself to our titular hero, the
more costuming and mystery she puts on. A primer on how the cinema can
look at female performers, and how they can stare back.
Carey Mulligan as Nina in “The Seagull.” To my mind, Blythe Danner still owns the part, but Mulligan is a close second.
S. Epatha Merkerson in “Come Back, Little Sheba.” A tour-de-force performance. She perverted Inge’s naturalism by emphasizing his theatricality.
Michelle Williams in Kelly Reichardt’s “Wendy and Lucy.” A
transcendant, Bresson-like film about suffering, living among the
despised, and acceptance. With this film, Williams enters Anna Karina
territory.
Kim Gordon. Everything she did this year—from making a Free Kitten album to posing in i.D. wearing clothes by Rodarte—was not only fascinating but galvinizing. She just made everything better.
Michelle Obama, in that red dress in front of the White House, about
to enter her new home. She burned one’s retinas with sexy-back hope.
Robert Downey, Jr., in everything. Yes, yes, “Tropic Thunder,” yes,
yes. But check him out in “Fur.” That last scene, as he hurtles towards
his death. Is there nothing he doesn’t understand?
The entire cast and director of “Let the Right One In.” Exceptional in every sense of the word. Guileless and brilliant.
Zadie Smith on Kafka, in the New York Review of Books. A good novelist becomes an even better critic.
Thomas Bradshaw’s plays. A voice that defied categorization.
Andy Samberg’s S.N.L. “Jizz” video. The b-side to his “Dick in a Box.”