On Tuesday, Nicole Kidman was in Paris playing Grace Kelly in the upcoming biopic “Grace of Monaco.” Hours later she was on a stage in New York, being feted by the New York Film Festival in a Gala career retrospective and conversation. "Life's a dream," she marveled.
Kidman may be one of the biggest stars in the world, but celeb factor aside, it’s sometimes easy to forget that she’s a tremendous actor with an affinity for taking on difficult and challenging roles that other A-listers might normally turn down. What these roles could mean to her career doesn't even occur to Kidman, which may be best represented, at least recently, by her outrageous and oversexed turn as a seductive vamp in Lee Daniels' pulpy and swampy thriller "The Paperboy." At Wednesday night's New York Film Festival Gala tribute, the Film Society put on a dazzling sizzle reel of the Australian actress’ work that only served to remind just how bold some of her choices have been and how electric she can be in them. Think of Grace in "Dogville" who, in the film's climax tells her ruthless gangster father to burn down the small town she just left and to ensure the children are killed first. Or Suzanne Stone, the chilling, sociopathic would-be news anchor in "To Die For."
Auteurs understand that the Academy Award-winning actress is much more than just a marquee name. She's worked with Stanley Kubrick, Lars von Trier, Gus Van Sant, Jane Campion, Baz Luhrmann, and Jonathan Glazer in "Birth" -- a hauntingly good psychological thriller that NYFF program director Richard Peña called one of the most underrated films of the last twenty years (we can’t agree more).
An unnerving drama about a woman who becomes convinced that a 10-year-old boy is the reincarnation of her dead husband, Kidman said that movie was overlooked and made headlines for all the wrong reasons. “It created a lot of controversy because of a bathtub scene [with me] and a 10-year-old boy. But I never saw the film that way,” she said. “It’s fascinating when choose roles how you perceive them and how they’re perceived on the outside.”
Having also delivered fantastic performances with Alejandro Amenábar ("The Others") and John Cameron Mitchell ("Rabbit Hole" for which she earned her third Oscar nomination), when asked what she looked for in director she said, a filmmaker that she feels connected to, but not necessarily safe with. Someone who can trigger emotions in her she may not be aware she’s possessing at the moment.
“It's a relationship. It's like a love affair in a way because you have to be completely devoted to someone in that time,” she said. “The one thread runs through them: they're obsessives, usually.” Having worked with the late Stanley Kubrick on “Eyes Wide Shut” (his last picture, completed just before his sudden death), Peña was curious what it was like working with that elusive American master.
“Everyone said to me, ‘Oh my god, he’s crazy and reclusive,' ” she said. “I saw Stanley as normal so I don’t know what that says about me. But I didn’t feel like the way he approached the world was odd. He was a great teacher, I found him to be a philosopher. I found him to have some unusual traits, but he was extraordinary and not at all crazy.”
When Kidman first met Kubrick she was nervous and worried the film she and Cruise were going to make (“Eyes Wide Shut”) would never actually happen because of the filmmaker’s notorious habit of investing years into a picture’s development, but never actually making it. Rehearsals went on for six months, but eventually it was bliss for her. "And we weren't even rehearsing, we were just sort of hanging out and talking,” she explained. “But for me, this is how I work, so I thought, 'This is fantastic.' It was the same with the film. I didn’t care if this went on for two, three, four years, because it was like being around a professor of life, not just cinema.”
In retrospect, Kidman said the first time she met him she thought he was frail. “And if I were more intuitive I would have realized that he was not well.”
"That was one of the worst things that happened in my film career life," she said of Kubrick's unexpected death the night after the film was screened for Cruise and Kidman. The actress said she had meant to call him to congratulate him that evening, but it was getting late, so she decided to wait until the morning. She then awoke to a fateful call to tell her that Kubrick had passed away that night in his sleep. "It's one of my great regrets that I didn’t call him that night," she said.