Points for ambition as Kate Winslet joined the comeback effort of Australian director Jocelyn “Proof” Moorhouse, who hadn’t released a film since the mid-1990s. Winslet plays a star dressmaker at a horrible revenge trip to the backcountry town where she grew up. Tonally, The Dressmaker is everywhere, but Winslet is a game.
Winslet plays an epidemic intelligence operative – of all the most horribly relevant things – in Steven Soderbergh’s pandemic thriller that everyone is now digging out of the DVD crate. Winslet puts together a decent show in an ensemble cast of big names, but his role is necessarily small.
Richard Eyre’s Iris Murdoch biopic was dominated by the heartbreaking relationship between Judi Dench and Jim Broadbent as the author and her husband took over their relationship. Winslet has been cast to play the younger counterpart of Dench, a free-spirited college student cycling around Oxford – a role she could play in her sleep.
A solid war thriller – now somewhat eclipsed by The Imitation Game – adapted from Robert Harris’ novel about the activities of the Bletchley Park codebreakers. Winslet, in the intellectual specs of the Coca-Cola bottle, helps a delighted Dougray Scott track down the missing glamourpuss Saffron Burrows; Winslet was starting to come out of this sort of thing, but she realizes herself.
One of the first days before the Titanic. As usual, Winslet gives her both barrels of Ophelia in Kenneth Branagh’s impressive production: She’s a Screaming Fury.
Winslet in one of its less glamorous parts: his laundress Madeleine, in the famous Charenton hospital, attracts the attention of the Marquis de Sade, confined there in his last years. It all seems a bit uncomfortable now, and Winslet – stronger than ever – has to deal with a bit of a boring role.
Starring alongside Christopher Eccleston, Winslet illuminates the solid Thomas Hardy adaptation of Michael Winterbottom as thief Sue Bridehead. While perhaps a bit unmoved by what happened later, Winslet looks very good here, going from mood to mood as the story demands.
With a severely altered patina following Aardman’s decision to ditch stop-motion for a full CGI, this is, if we’re honest, the least distinguished feature of the animated outfit. It’s also their most star-studded, with Winslet joining Hugh Jackman, Ian McKellen and Jean Reno for a sewer-related middleweight yarn. Decent, without being spectacular.
Once she hit industry weight, Winslet always sought out major director names, so her connection with Jane Campion was a no-brainer. It once seemed a bit bizarre in Campion’s canon, an idiosyncratic change of pace after Portrait of a Lady’s great Hollywood literacies, with Winslet playing a guru-adept being deprogrammed by advisor Harvey Keitel. Now, however, it feels a bit like a repeat for Top of the Lake.
Winslet isn’t the type to spread too lightly, so the trendy flood of event TV doesn’t feature much on her resume. That, however, must have been a refusal: the role made famous by Joan Crawford, with the impeccably stylish Todd “Far From Heaven” Haynes at the helm. Winslet picked up some of his best reviews for another try in the Glamorless Challenge.
Winslet became a Hollywood heavyweight in the mid-2000s, and this ensemble drama – by fellow high-profile director Todd Field – earned its third Oscar nomination for Best Actress. She offered a finely detailed performance as an ill-married woman who hooks up with an equally ill-married father (Patrick Wilson) in a John Cheever-esque study of suburban malaise and emotional immaturity.
While the vast majority of the Acting Fireworks belong to Michael Fassbender in the title role (“Charismatic Maverick” turns 11), Winslet is excellent in the dressy, wavy role of Apple marketing guru Joanna Hoffman. and provider of emotional content in this centerpiece scripted by Aaron Sorkin and directed by Danny Boyle. Winslet got another Oscar nomination – for Best Supporting Actress – which was well deserved; but she is a little under-served by the drama, where Hoffman is mildly cataloged boringly as the Voice of Consciousness. She makes it work though.
Winslet has publicly stated that she regrets working with Polanski (as well as Woody Allen), so it’s unclear how to take this now. Take Polanski’s name out of the equation and it looks like a showcase of high-caliber actors (albeit a little consciously). Winslet and her husband Christoph Waltz, businessman, meet with Jodie Foster and John C Reilly to talk about their sons’ struggle; politeness soon turns into irritation, then into total rage. It’s another heavy turn for Winslet, another one of the high end American guys she’s very good at.
Great. As Rose Dewitt Bukater, Winslet delivers a bit of a road performance as a teenage socialite smothered in a financially-beneficial engagement, unleashed by contact with Leonardo DiCaprio’s tough artist. But in such an epic and thrilling popular show, that was definitely what was needed. (Cameron said he originally wanted some type of Audrey Hepburn, which Winslet basically isn’t.) Oddly, DiCaprio seemed to do a little better with the success of Conquering Planet Titanic, almost getting immediately images of Spielberg and Scorsese; it took Winslet a little longer to crack the Hollywood elite.
So, what did Winslet do with his Titanic congratulations? She went straight to this adaptation of Esther Freud’s novel from the 1970s about a woman in search of spirituality who decamps in Morocco with her children. Winslet’s free-spirited side was let loose in what was his first solo solo; other than anything else, she’s proven she can direct a movie on her own – something she strangely hasn’t had the chance to do since.
Photographie: The Weinstein Company / EPA
Winslet finally got her long-awaited Best Actress Oscar for this adaptation of Bernard Schlink’s acclaimed novel on Guilt of War. Directed by Stephen Daldry, written by David Hare and co-star of Ralph Fiennes, it’s about as awarded as it gets – and that’s even before the Holocaust-themed subject matter. Winslet has the delicate task of making an empathetic study of the character of a former warden in the closed death camp: an impressive achievement, given his naturally outgoing personality.
Winslet wasn’t totally unknown when she was cast to star in Peter Jackson’s remarkable crime drama: she had done Dark Secrets on television and had a bit of involvement in the medical soap Casualty. But in that first feature film, she was a revelation as well-off English teenage Juliet, who develops an obsessive relationship with New Zealand working class Pauline and ends in murder. Jackson’s deployment of pioneering visual effects at the time to evoke the elaborate fantasy world of girls is what sets the film apart. But Winslet’s ability to infuse her complex character with an unwavering naturalness put her on the map.
Winslet’s looks make her perfect for vintage material; that she has largely deviated from crinoline-based roles is undoubtedly due to a wish not to be typed. This first one, however, is really special; she embodies Marianne Dashwood, shameless and in love, overcoming the dashing Greg Wise to meet up with Alan Rickman soberly intense. One of those movies where, by chance, absolutely everyone is at their peak (and neither is Emma Thompson, as a writer-star), it was Winslet’s opportunity to prove she could get by with the great beasts of the British game.
A prestigious adaptation, directed by Sam Mendes, then husband of Winslet and reuniting her with his colleagues from the Titanic DiCaprio and Kathy Bates. Revolutionary Road’s status as a literary cult meant that this film couldn’t have been more engineered as an Oscar contender; the only surprise is that he only won three nominations and won none. Winslet, arguably, has the most powerful role, as a frustrated housewife in the New England suburbs of the 1950s, in a troubled marriage and failing in an acting career attempt. Even more than Little Children, it showed Winslet’s rise in the Hollywood actor roster: perfectly groomed, beautifully dressed, and extracting every shade possible from a given scene. Cate Blanchett level stuff, in other words.
Winslet was still – right – in her scruffy early-career mode when she had that mind-blowing fantasy in the face of a cast-very counter-type Jim Carrey – though she was clearly savvy enough to line up with top talent. to push the envelopes Michel Gondry and Charlie Kaufman. Few actors could have survived this outright romcom recall with multiple hair dye jobs, but Winslet once again successfully gains access to his free-spirited record (so much so that his Clementine is often cited as one of the first examples of the Manic Pixie Dream Girl phenomenon that marred mid-2000s independent comedy). Either way, Winslet is extremely engaging here, and handles time jumps and perspective shifts with aplomb. Perhaps more importantly, however, it showed that she could do contemporary as effectively as period, giving her the chance to make forays into modern drama and thus solidify her place in the big leagues. Plus, it’s just a great movie.