They Shoot Horses, Don’t They? (1969)
Nominee: Best Actress
Character: Gloria Beatty, a determined woman trapped in a never-ending dance competiton.
And the Oscar Went to…: Maggie Smith for “The Prime of Miss Jean Brodie”

Thoughts: Her first performance for arguably one of her best performances. “They Shoot Horses, Don’t They?” isn’t an easy movie to watch, and Fonda’s character certainly isn’t the most uplifting. But here Fonda is so convincing in the role that it’s impossible not to root for her. We want her to win, whether that means the dance marathon or simply getting the hell out of there in tact. A great start for Fonda overall.
Klute (1971)
Nominee: Best Actress
Character: Bree Daniels, a hooker with a nasty client on her trail
And the Oscar went to…: Jane Fonda.
Thoughts: Easily the crowing moment of her career. And I’m always a little surprised to find how little people know about “Klute” because this is one case where Oscar got it right. If you haven’t seen it yet, I beg of you, rent it now!. You will be floored, even if you’re not as obsessed with Jane Fonda as I am. Winning moment: her shrink confessionals; truly acting at its very best.Julia (1977)
Nominee: Best Actress
Character: Lillian Hellman, an up and coming playwright in search of her best friend
And the Oscar went to…: Diane Keaton for “Annie Hall”
Thoughts: “Julia” can be all over the place at times, but thankfully Fonda remains a consistently strong presence throughout. Sure, Vanessa Redgrave totally upstages her at the pub, but credit must be given to Fonda for building and later maintaining the suspense. The train montage in particular would have been, well, a train wreck, without her.Coming Home (1978)
Nominee and Winner: Best Actress
Character: Sally Hyde, a conflicted volunteer during the Vietnam War
And the Oscar went to…: Jane Fonda
Thoughts: Sometimes you have to look at certain Oscar wins with historical context, and I think this is one of those instances. ‘78 was a big year for Vietnam movies, with both “Coming Home” and “The Deer Hunter” winning nearly everything, so it’s easy to see why Fonda got swept into the mix.Having said that, I didn’t find this to be a very memorable Oscar-winning performance. Again, this could be because “Coming Home” is a little dated. But where Fonda was astonishing in “Klute”, she’s merely serviceable here. Nomination? Sure. But Oscar? Nah.
The China Syndrome (1979)
Nominee: Best Actress
Character: Kimberly Wells, an eager TV reporter tracking the story of her career
And the Oscar went to…: Sally Field for “Norma Rae".
On Golden Pond (1981)
Character: Chelsea Thayer Wayne, a resentful daughter coming to terms with her elderly parents
And the Oscar went to…: Maureen Stapleton for “Reds”
Thoughts: Despite this having my favorite Jane Fonda moment ever (the back flip!) I’ll admit the performance was a little silly. Same goes for the nomination - and, to an extent, the Oscars for Henry and Katharine Hepburn. It’s a nice little movie, sure, but…that’s about it.However, after watching Fonda’s Private Screenings interview on Turner Classic Movies I have a newfound interest in “On Golden Pond.” I didn’t know her relationship with Henry was so rocky, which is why I want to see it again. Stay tuned.
The Morning After (1986)
Nominee: Best Actress
Character: Alex Sternbergen, a frantic woman in search of clarity after an inconvenient blackout
And the Oscar went to…: Marlee Matlin for “Children of a Lesser God".
Thoughts: An inexplicable nomination - and this is coming from a huge Jane Fonda fan. Some say it was a makeup nomination for the 1985’s “Agnes of God.” I’m personally as clueless as Alex. What were they thinking? I wish I knew.Also: be sure to check back next week for week 2 of the "A Look Back At..." series!
And finally: for the 2 Renee Zellweger fans left out there, JustJared has some 







---ShoWest has released a number of 
Cate Blanchett, I'm Not There


Nicole Kidman, Margot at the Wedding
The Cast of "Evening"

Russell Crowe, American Gangster
Despite a number of hits, Fincher has remained relatively under the radar. And while "Zodiac" won't do much for his career awards wise, it's nevertheless a testament to his consistency behind the camera. At nearly 3 hours, Fincher dives deep into the case in a way that's both engaging and down right scary. In fact, certain scenes are such a mind fuck that become reminiscent of great thrillers like "The Silence of the Lambs."
