“This may be a strange thing to say about a six-time Academy Award nominee and fixture of American movies, but I worry that we undervalue Amy Adams.”
) are far more in line with the types of conspicuous performances that tend to sway voters and garner trophies than Adams’ stripped-down depiction. When it comes to audience attention, Adams faces serious competition even from within her own show: Emmy nominee Patricia Clarkson, as Camille’s mother-slash-torturer, so dominates her many scenes with Adams that the latter often becomes a taciturn and terrified observer in her presence.
Clarkson brilliantly reveals the mortal frailty of her antagonist, but Adams’ assignment is the more difficult. Camille has been irreparably damaged by voracious men, maternal malice and a blazing self-hatred that no amount of care and counseling can erase — and while director Jean-Marc Vallée‘s manic, crisscross construction of the series effectively evokes a shattered head space, it’s up to Adams to be its human manifestation.
chipper Southern innocent or “Enchanted’s” giddy storybook princess. In “Sharp Objects,” the actress buries all traces of these warmhearted women — as well as her own her beaming off-screen persona — beneath a downcast demeanor, vibrating with intensity and wearing loathing like a second skin. Dropping her voice an octave, she speaks with a convincing drawl scorched by liquor and coated with irony; her whisper requires rapt concentration.
A character this inclined to contempt could have grown alienating and monotonous, but Adams’ engaging characterization is far from one-note. Adams gives Camille the poker-faced inquisitiveness of a true reporter — an eagle eye for veiled words and tell-all behavior.
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