LAWRENCE. Portrays self-made millionaire who invented the Miracle Mop.
WITH HER box office triumphs (“The Hunger Games,” “X-Men”) and prolific run at the Oscars (four nominations and one win, for “Silver Linings Playbook”), Jennifer Lawrence is without a doubt Hollywood’s current “it” girl.
This year, J Law is once again in the running for an award for portraying self-made millionaire Joy Mangano, who overcame bankruptcy, a failed marriage and other personal obstacles after inventing the Miracle Mop.
But, Brie Larson isn’t doing badly herself. In fact, she is attempting to parlay her awards-circuit visibility—for her astute characterization of a young woman who is held captive against her will for seven years, in Lenny Abrahamson’s “Room”—into mainstream popularity.
After besting her peers at the Golden Globes, the Bafta, the Critics’ Choice Awards, the National Board of Review and the Screen Actors Guild Awards, Larson has become the front-runner in her category this year.
Lawrence and Larson, whose Oscar entries began their run in our local cineplexes this week, are going mano a mano against Charlotte Rampling (“45 Years”), Saoirse Ronan (“Brooklyn”) and Cate Blanchett (“Carol”) for the coveted best actress Oscar on Feb. 28 (morning of the 29th in Manila).
David O. Russell’s “Joy” scintillates with its female-empowerment theme. Unfortunately, it is weighed down by a screwy first-half that has trouble settling into a coherent story—it’s eager to please, but it plays out like a cookie-cutter melodrama fraught with tedious clichés.
But, Lawrence’s confidence and thespic stamina keep her film’s disparate elements together, and prevent them from falling apart.
LARSON. Vivifies her character’s complex journey.
Irony
The irony of the curious coincidence that Larson’s character is also named Joy isn’t lost on us.
Larson is given the difficult task of vivifying the complex journey of Joy Newsome, who gives birth to her love child two years after she finds herself still being held hostage by the stranger who kidnapped and raped her.
She has to keep her wits about her as she attempts to keep her impressionable son, Jack (Jacob Tremblay), safe and sane!
Larson’s thespic vision is greatly enhanced by the power of Abrahamson’s provocative storytelling. “Room” effectively eschews melodrama by turning the predicament of Joy and her 5-year-old son, who was born “in captivity,” from a story about abuse into a tale about rebirth—and the film cleverly and cogently juggles these intriguing themes!
Joy kept her resolve to stay strong for the sake of her child. But, when Jack was already in safe hands, she knew that it was OK to “crumble” and display her vulnerability!
Will Larson win best actress at the Oscars—and does she deserve it? You bet—it’s a done deal!