Word: pryce
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Dates: during 1990-1999
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...teenager in 1936 Eva makes her first conquest, the troubadour Agustin Magaldi (Jimmy Nail), whom she accompanies to Buenos Aires, a glittering Hollywood of hope for Eva. Her gift for attracting men of position leads her to Juan Peron (Jonathan Pryce), a junta colonel who becomes Argentina's President in 1946. Eva's glamour--less a natural attribute than a triumph of her will--and her urge to help the poor humanize Peron's stolid majesty; they also come close to bankrupting the country, even as they drain her. She fulfills the rock-age hagiography: live big, die young...
...musical. Buenos Aires becomes a character in the movie less by re-creating period exteriors than by focusing on the extras' faces--gorgeous, pensive reflections of Eva's sultry magnetism. But this is, essentially, a three-character play, demanding that the stars must sing, swagger and act with style. Pryce, consummate pro, lives fully in all three realms. Banderas parades his sex appeal as the one man who is not a father figure to Evita; he is the skeptical stud who can match her arrogance with...
...After the drought, the deluge: five new movie musicals. The big news is the Tim Rice-Andrew Lloyd Webber Evita, a stage hit that Hollywood has wanted to film for nearly two decades. Alan Parker (Fame) finally got it done, with Madonna as Argentina's Material Girl, Jonathan Pryce as Juan Peron and Antonio Banderas as the narrator...
...that neither one was nominated. Hanks gave a stolid performance, unexciting and annoyingly self-righteous, as usual. Travolta was amusing in "Get Shorty" but his role gave him nothing to do; he was much better in "Pulp Fiction." An actor, however, who really should have been nominated is Jonathan Pryce, for his stellar performance as the eccentric Lytton Strachey in "Carrington...
...Pryce is awfully good at this, and his hard, gleaming performance as Strachey--a physically frail, morally strong man who never asks for sympathy but somehow elicits it--almost redeems the film. Thompson, however, keeps undoing it. Hers is a commonsensical presence, and try as she may, she cannot catch the fever of hopeless love. Or the suicidal despair to which Carrington eventually came. You want her--and the movie--to rattle the teacups with rage. But they never...