Cher’s films – classified! | Movie
10. If These Walls Could Talk (1996)
HBO produced this brutal yet moving abortion-themed anthology film, premiering it at the Toronto Film Festival under the combined influence of Demi Moore, Sissy Spacek and, of course, Cher, who also achieved the third (and best) of its segments. This remains her only directorial credit, and she would have done well to stick to it. She shows safe contact with the cast, herself included, unusually retained as a benevolent abortion doctor working through a violent anti-choice protest. That’s enough to make you wonder if HBO should have kept it on their books. Surely there could have been a place in The Sopranos for Cher.
By the 2000s, Cher had mostly quit acting: cue a brief phase of cameos as herself, including two funny appearances in Will & Grace, and a slightly more extended gag role in this surprisingly tame comedy from Farrelly Brothers on Siamese twins attempting to make it in Hollywood. As the haughty superstar Cher, who has the exploitation idea of sabotaging a terrible sitcom in which she is contractually obliged to star by choosing one of the twins as co-lead, she caricatures herself skillfully and with humor, not letting her mere casting be the joke. His salty comedic timing is more relevant than anything else in this quirk.
8. Suspect (1987)
With three featured vehicles, 1987 was Cher annus mirabilis As an actor; the year it looked like she could become a full-time movie star and put her pop career at # 2. This gripping legal thriller, though hideously plotted, was the strangest solution for her. As a Washington DC Public Defender assigned to a deaf and homeless Vietnamese vet charged with high level murder, she struts around in her character’s drab gray suits as if she could throw them away at any time to reveal a leotard in leather and lace underneath. . What she does bring, however, is the fierce conviction needed to pull off a ridiculous and twisted audience monologue to the climax.
In the first of her 1987 hits, Cher had a lot of star power to contend with. She was one of the titular suburban witches, of course, but so was Michelle Pfeiffer and Susan Sarandon, and all three worked opposite Jack Nicholson as the evil lothario they summoned to. And yet, in this popular but overblown adaptation of John Updike’s more subtle, meaner sex satire, she does the best. As Alexandra, an ironic and suspicious artist and single mother, her slightly jaded sensuality feels closer to Updike’s tone than others, and she is the sharpest training partner in Nicholson’s manic aggression. . She beat her then-lover Anjelica Huston for the role, but Huston would have the final say, pushing Cher to roles in The Grifters and The Addams Family.
Having initially been cast opposite then-rising British starlet Emily Lloyd in this adorable, quirky family drama, Cher objected that they weren’t alike enough to be convincing as mother and daughter. Lloyd was kicked out in favor of star’s favorite pick, Winona Ryder, and successfully sued the studio for a six-figure sum. It was worth it: as an introverted teenager and voluptuous mother who repeatedly mortifies her, the two clash and argue onscreen with an intensity that gives ballast to otherwise bouncy proceedings. Meanwhile, it’s also the film that gave Cher (who had so far kept her singing and acting careers largely separate) that cheerful, chart-topping cover of The Shoop Shoop Song (It’s in His Kiss) – a victory at all levels.
5. Come back to 5 & Dime, Jimmy Dean, Jimmy Dean (1982)
No one has a kind word for the Golden Globes these days, but here’s one: They were the only grand prizes to name Cher for this scenic curiosity, oddly haunting Robert Altman’s curiosity, and they were right to do so. . She’s imaginative and deeply moving as Sissy, a small town attending a rather tragic reunion for a James Dean fan club. It was Cher’s first serious role in a movie after a few shaky attempts to cash in on his celebrity Sonny & Cher over a decade ago, and Altman thoughtfully plays on his then clingy public persona: the sexual and bodily insecurities gradually revealed by the character surprise us.
Unless you count her cinematic cameo at the end of Mamma Mia! Here We Go Again, this garish and wonderfully well-known behind-the-scenes musical was Cher’s last major movie role, as well as her first in more than a decade. The verve and good humor with which she attacks him make her wish for more. Apparently, it’s Christina Aguilera’s vehicle: she plays an aspiring artist who makes her the star attraction of Cher’s Sunset Strip burlesque club. But the elder diva eats her alive, from her first bashing (“And you’re in my mirror because?”), And also knocks out the movie’s funniest musical number in Welcome to Burlesque: equally Bob Fosse Zazz and Mae West leer. Why Cher hasn’t made more movie musicals is a question for Hollywood consciousness, but this burgeoning camp classic is one to be cherished.
Cher often tells an anecdote about being in the back of a public theater when the first trailer for the Karen Silkwood biopic targeting Mike Nichols’ Oscars aired, and being devastated by the laughter from the audience. when his name appeared on the screen. Surely no one was laughing – for whatever reason – when they finally saw this solemn drama, in which Meryl Streep excels as the eponymous nuclear whistleblower. This was to be expected: The surprise was that Cher matched her pace to beat as Silkwood’s rough lesbian roommate, Dolly Pelliker, her glow by a distant memory beneath skinny, shadowy locks and gangly body language. But it wasn’t a shot of empty deglam: there is a real injured person underneath the unflattering outfit.
2. Mask (1985)
After winning Best Actress at Cannes for that surprise Peter Bogdanovich hit, Cher was annoyed that she wasn’t nominated for an Oscar. Introducing herself as a presenter with a gorgeous headdress, she pointedly joked, “As you can see I got my manual on how to dress like a serious actress.” His sharpness was justified. As Rusty Dennis, the fiercely protective biker-chick mother of a teenager with disfiguring craniodiaphyseal dysplasia, she had finally found the role that matched her transformative acting ambitions with her naturally larger-than-life character, while her pungent tenderness saves the maudlin film. disease territory of the week. It should have been his Erin Brockovich or The Blind Side, although the Academy would fix it two years later.
“Regain consciousness!” With an apology to her formidable group of rivals for the Academy Award for Best Actress of 1987 – including her best friend Meryl Streep and eternal bridesmaid Glenn Close – Cher probably won it the second she slapped the face. Nicolas Cage on the face with this much cited but unrivaled line. reading. It all came together perfectly for her here: a fun, heart-filled storyline, a perfectly integrated support set, and a starring role as romantically baffled Italian-American widow Loretta Castorini, cleverly synchronized with the mix of her own. character. -blocks wizarding weariness and glamor. No wonder her interest in the theater seemed to wane after getting the gong: she had nothing more to prove.