What about the sympathy vote for Adrienne Shelley who was murdered after filming Waitress? Though with her part being relatively small, perhaps a writing award might be more in line for her superb work on that movie...

If it's remembered and they want to honor her, they'd probably go w/writing. However, the Oscars usually don't hand out sympathy nods for the deceased, however cruel that may sound.

I disagree with Jon about posthumous awards. It's just rare to have someone die and then have their work released after their death AND have it be Oscar worthy.

The film suddenly jolts to life at the 40-minute mark with the cataclysmic New England Jazz & Folk Festival; not only is the music now plugged in, but the central figure, "Jude," is impersonated by Cate Blanchett. Scrawny, her eyes often concealed by large shades and topped by a curly mop identical to Dylan's at the time of "Don't Look Back," Blanchett is, appropriately enough, truly electrifying at first; she's uncannily got down the skittish movements, wary eyes, curt mumble and occasional flashes of brilliance, and comes far closer than anyone else to approximating the Dylan the public knows.

As the performance goes on -- it's by a fair distance the dominant turn in the picture, both in impact and duration -- and the character becomes increasingly wigged out by drugs and paranoia, the reliance on mannerisms over psychological depth becomes more apparent. Still, Blanchett's casting and performance rep a daring coup, and she can now rightly claim to be the only thesp on Earth ever to have been asked to channel both Bob Dylan and Katharine Hepburn, and to have done so successfully.

Still, the film's tour de force is Cate Blanchett as Jude, playing Dylan in the mid-'60s, when he toured Britain and switched abruptly and controversially to electric music. She is astonishing: with the help of trademark shades, wild corkscrew curls and killer cheekbones, she perfectly captures his jittery, amphetamine-fuelled body language and his defiant attitude.

From what I've read this is gonna be way too whack for the Academy's tastes. I still think they'll nom Blanchett though, simply because it seems to be the standout part of the film, and being portrayed by a woman only adds to the appeal.

I wonder whether Meryl will strike again this year...

Is Saorise Ronan getting any talk?

Since its screening at Venice she appears to have become the most buzzed-about Briony, not an easy feat. I think she'll get in myself, mainly since her section is apparently the showiest, and the S. Actress category has always been kind to child actors.

After that though, who do think is more likely to make it - Garai or Redgrave? I figure one or te other will make it, but I have no idea who.

Is Saorise Ronan getting any talk?

She's also playing Susie in The Lovely Bones, right?

An Oscar nomination for Atonement would just serve to bolster that film even more.

I can't see Redgrave getting in, it's really just a glorified Cameo. Granted its a brilliant cameo but still.

hehe... you do know we're talking about the Oscars, right? Judi Dench anyone...?

William Hurt also comes to mind, another Oscar vet. Basically, for Garai vs. Redgrave its screentime vs. professional status. Should be interesting to watch.