In the music world, this singular, sensational name connotes a superstar who
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has transformed herself several times over, with each new incarnation different
from and, most times, more interesting than the one before. Madonna continuously
puts herself out there–pushing the envelope and being as outrageous as she wants
to be. That’s because she can. She holds all the strings.
In the movie world, Madonna’s name doesn’t necessarily hold the same power.
In cinematic surroundings, she is mostly at the mercy of others. When allowed
to break free and be truly daring–to be quintessentially Madonna–she shines.
But when she is asked to be subdued, submissive or, well, normal, the results
have usually been less than stellar. And honestly, we won’t even go into Who’s
That Girl?–no one knows what she was doing in that mess.
Here’s a look at those films that accentuate her talents–and those that do
not.
Expresses herself
From her debut performance in the quirky and fun Desperately Seeking Susan, it was apparent Madonna knew what to do in front of the camera. But it was an easy role for her–mostly because it was her. Madonna once said about the role, "I felt immediately that I could play the part. Susan is the quintessential femme fatale. Everyone wants to know her, everyone wants to be like her. She has
no roots, she represents freedom and adventure and all the things that normal
people think they can’t do."
Yep, sounds pretty familiar. From that point on Madonna’s film successes have,
at least to some degree, incorporated some part of her essence.
In Dick Tracy, Madonna got to be the Marilyn Monroe she always wanted to be, with the blonde hairdo and the well-endowed, taut physique. Her Breathless Mahoney, the "Vogue"-esque femme fatale for hapless Dick Tracy, wasn’t
necessarily a deep role, but Madonna was somehow able to capture a sadness in
her. Just like Marilyn.
In A League of Their Own, Madonna played Mae "All-the-Way-Mae"
Mordabito–all brass, balls (literally and figuratively) and sex appeal. Playing
a female baseball player, Madonna’s inner tomboy was exposed, and her chemistry
with comedian Rosie O’Donnell, who played Mae’s best friend, Doris, was hilarious.
But the two films that truly stand out in Madonna’s repertoire are Evita
and Madonna: Truth or Dare. The full-blown musical Evita appears to have been a labor of love for Madonna. Even if the film did not meet with critical
success, Madonna poured her heart, soul and voice into the role of Eva Peron–and
earned herself a Golden Globe for Best Actress in a Motion Picture for a Comedy/Musical.
Evita is about a strong-willed woman who captured the hearts of an entire nation. Right up Madonna’s alley.
Truth or Dare, the Alex Keshishian-directed documentary that followed
Madonna through her smash "Blonde Ambition" tour in 1991, is one of
the best concert movies ever made. Madonna wasn’t playing a role, per se, but
she still managed to show a wide emotional range most actresses would envy. No
one will forget her candid moments with then-boyfriend Warren Beatty or her honest
feelings about her failed marriage to Sean Penn. Forget about the magnetism she
showed on stage. Please. Madonna as Madonna was simply mesmerizing.
Don’t push her down
Madonna’s film flops prove that a movie should never try to suppress the "Madonna"
in Madonna. She may have thought she wanted to branch out and take on roles different
from herself, but one hopes Madonna has learned her lesson. Horrible films such
as Shanghai Surprise,Body of Evidence and last year’s The Next
Best Thing have one constant–the Madonna we’ve grown to love is just not
there. And that’s a problem.
Madonna again explores the femme fatale quality in Body of Evidence,
as a woman accused of killing her lover while having sex with him. Not really
a stretch for Madonna, one would think. Yet she tried too hard to be like Sharon
Stone in Basic Instinct–and didn’t succeed. This failure may be why Madonna
came up with the whole Sex/dominatrix thing. Just a thought.
The Next Best Thing had been done before–the straight woman/gay man
relationship with a baby thrown into the mix. Anyone remember The Object of
My Affection with the cuter-than-cute Jennifer Aniston and Paul Rudd? Madonna
and actor Rupert Everett tried their best to create chemistry, but unlike Everett‘s
immediate connection with Julia Roberts in My Best Friend’s Wedding, it
just didn’t happen with Madonna. Plus, she just couldn’t quite play the uptight
character she was supposed to.
Shanghai Surprise was simply an excuse to do a film with her then-husband
Penn. Madonna as a missionary nurse? On what planet?
Madonna said it best, "Acting is just another kind of performing. It’s
just an expression, it’s just being honest with your audience. So to me it’s just
an extension of what I already do."
Remember those words, Madonna, when they’re pitching you a Victorian period
piece where you play the suppressed wife of a farmer.
