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| "Splendour in the Grass" by William Wordsworth |
Though Natalie Wood's legacy remains marred in mystery due to the tragic boating accident that took her life on November 28, 1981, her filmography and acting performances set a clear and picturesque view of who she was as a performer and actress. Few can set a bar so high and achieve every expectation cast before them. Even fewer can say that they've starred in a movie with the one and only James Dean, and approximately none other than Natalie can say that they've accomplished the latter while achieving 3 academy award nominations before the age of 25 - besides Jennifer Lawrence, who has only achieved 4 but, of course, never nabbed an impossible role with Jimmy.
Yes, Natalie's reputation is one to be reckoned with, and her iconic stature is only cemented by the true resonance of each and every one of her roles. Whether she's playing a star crossed lover in "West Side Story" or a marginally pseudo swinger in "Bob & Carol & Ted & Alice", she nails each position with a sly wit and nuanced realism that only someone with her distinct experience could pull off. She definitely had a smooth presence, an often bubbly presence, in her work, thus remaining an engaging figure on and off the screen.
Natalie Wood was born Natalia Zacharenko in San Francisco, California on July 20, 1938 to Russian immigrant parents, both of whom were adamant Russian Orthodox Christians. Despite their conservatism, Natalie's mother was very encouraging of her acting pursuits, and often frequented the movies with her daughter to familiarize Natalie with the craft. With no professional training, just experience going to the movies and watching on-screen stars, Natalie skyrocketed to success in her first major role in "Tomorrow is Forever"at the age of 7. The sky was the limit thereafter, repeatedly nabbing roles in family movies like "Miracle on 34th Street"and "The Star", in which she plays Bette Davis' daughter.
Natalie was once quoted as saying "Today's films are so technological that an actor becomes starved for roles that deal with human relationships." This type of cautionary, minuscule angst is probably why almost all, if not all, of Natalie's performances are so layered -- she didn't want to play one-dimensional figures and your hard pressed to find one in her filmography. So, after hours of study, I have finally compiled a list of her best performances. I didn't rank them, I merely placed them in the order of their respective movie's release date. So, here they are...
"Tomorrow is Forever" (1946)
Natalie's Role: Margaret Ludwig
This film saw Natalie's first credited role as Margaret Ludwig. She plays a young girl who is the adopted daughter of Erik (Orson Welles), formerly known as John in his life before World War I, in which he is enlisted for battle. He was believed dead by his wife Elizabeth (Claudette Cobert), but returns 20 years later under his ulterior identity. He then meets Elizabeth upon his return, discovering that he has a son. The film grapples with the mental toll over whether Erik should reveal his true identity, or keep his identity post-war a secret.
And back to Natalie.
Natalie was only 7 years old when she received the role as a war orphan, and, boy, did this require some range. About an hour into the film in a particularly haunting scene, she displays the psyche of a child who has suffered severe post traumatic stress after the murder of her parents by nazis. Additionally, she was able to flee Nazi-occupied Austria by pretending to be the daughter of John, or Erik as he is dubbed at this point and the latter half of the film. Anyway, in this specific scene, Elizabeth is reminded of the gun warfare in the Austrian home from which she was adopted after a toy snapper goes off. These types of scenes can be incredibly tricky, and, in the wrong hands, can come across as a little manipulative and phony. But, in this circumstance, Natalie pulls it off with an emotional knowledge not understood by most little girls. It is very striking to witness and, for me, is one of the most powerful beats of the film. Yes, there is screaming. Yes, there is crying. But Natalie's ability to smoothly access these feelings of intensity is incredible and a major feat for a young 7 year old girl. At one point Erik reminds her that she mustn't forget about her real father and what happened in Austria, to which she responds with a breath so nuanced and in tune with the gravity of the exchange declaring, "I never do forget."
Even more chilling are the moments at the end of the scene through an apology for her reactionary behavior to the snapper, coolly stating with a smile,
"I'm very sorry I made a disturbance. I apologize"
"Miracle on 34th Street" (1947)
Natalie's Role: Susan Walker
Alright, so. Long story short this movie is about Kris Kringle (Edmund Gwenn) who plays Santa Claus at the annual Macy's Day Thanksgiving Parade after the original 'Santa' is deemed too intoxicated to work. Kringle's true identity is up for debate throughout the feature, and is discovered, in the end, that he actually-could-quite-possibly-be the real Santa. Natalie Wood plays a young second-grader, Susan. In this particular film, it is not necessarily the believability of her performance that strikes me, it is in her ability to make us believe. To believe in things real and not-so-real, really giving a new definition to reality and the notions of the plausibility of mythical-like entities. So, is Santa real?? It's not even a question when it comes to Natalie's performance - one that makes us believe that all things are possible.
Watch how she makes us believe here:
"Rebel Without a Cause" (1955)
Natalie's Role: Judy
Alright anyone who's anyone has heard of or at least seen "Rebel Without a Cause". The film is about a young delinquent Jim Stark (James Dean) and his relationships with fellow troublemakers Plato (Sal Mineo) and Judy (Natalie Wood). Wood's portrayal of Judy is sassy, refined, and totally unique. In a weird way, we all, for a moment, want to be the object of Stark's affections and Natalie Wood gracefully gives us that opportunity. It is certainly one of her finer roles, and one that she was lucky enough to nab before the tragic death of Dean.
"Splendor in the Grass" (1961)
Natalie's Role: Wilma Dean "Deanie" Loomis
There are few cinematic moments that can top the "I'm not spoiled!" scene in "Splendor in the Grass". It is really some of Natalie's finest acting in which she plays Wilma Dean "Deanie" Loomis. I'd love to get into the nitty gritty details of the film, but that can be pretty boring. But, basically, it's about Deanie's relationship with Bud Stamper (Warren Beatty) and the dynamics between his willingness to have sex and her, well, defiance of it. Themes of sexual repression swallow the film whole, and it's like watching the most magnificent, beautiful trainwreck.
Watch the "I'm not spoiled!" scene here:
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