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Michelle Williams- a winner's profile

Since winning Best Actress in a Comedy or Musical at The Golden Globes, Elle Hoppe takes a look at some of Michelle Williams' finest works.

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Since winning Best Actress in a Comedy or Musical at The Golden Globes, Elle Hoppe takes a look at some of Michelle Williams' finest works:

DVD's were still a pretty new and hip phenomenon and 2001 was still a year when many of us couldn't quite bring ourselves to make the switch from watching Father of The Bride on VHS or on this new-fangled disk. Me Without You (starring Michelle Williams and Anna Friel) was one of the few DVD's in our family collection - it was probably on a deal because it was still in the plastic and my mother only watches something if it has a ye olde shag, none of this 'shouty' music and unflattering lights rubbish.

The DVD is still in my room now. I really can't remember much of what happened but it was a 15 and watching it felt quite naughty. Not because I was four years too young, please, I'd already stuffed my bra to go and see Bridget Jones's Diary at my very small local cinema - I was wise beyond my years. But because I was so desperate to watch teenagers going to parties and having sex, also, who doesn't love a mousy brown haired bookworm kick ass and have a moral victory? Michelle Williams captivated me and her performance (from what I recall) was nothing short of perfect. I loved watching her be caved in by submission from her overpowering best friend and marvelled in her secret love. Not many probably would wish these scenarios upon themselves but this is coming from me, a child who would ask for cardboard boxes for Christmas and beg my mother to pretend I was a dwarf friend of hers in public.

Her next moment to wow me was when she played against Heath Ledger (where their relationship started) in Brokeback Mountain. Ang Lee's film really showed off the whole cast's acting abilities (Anne Hathaway even surpassed herself) and was such a beautiful portrayal of being torn between duty and love. And even if people didn't enjoy the movie, it succeeded in rocking the boat of homophobes - showing off how stupid they really are. Win win. Michelle Williams' performance gave the audience a really tough job deciding where their sympathy lies and the love she exuded for her husband was so raw. This is probably due a lot to the fact they were at it like rabbits in the hair and make-up trailers. What a Stanislavski approach to acting - hats off.

Quite a big jump to 2011, which saw Blue Valentine when Williams' played the counterpart of the alcoholic Ryan Gosling. The film moved back and forth in time mapping out their turbulent relationship and when it ended I actually questioned the point of life and relationships. 'I think I don't want to fall in love. Ever.' Were my last thoughts that night, 'I shall pursue film and nothing else. Other than maybe knitting, my bed could do with a new throw.' Because I'd been told I would probably want to slit my wrists afterwards, I knew it was never going to end well and even during the scene when she receives cunnilingus to Penny & The Quarter's 'You and Me' (a moment I'd usually would probably rewind and watch again) all I could think was - No! It will never work out. You're a doctor, you should know better! For someone who wells up daily at Don't Tell The Bride on Really at dinnertime, their wedding did anything but release magical endorphins. But after I had survived the night and apologised to my cat and promised to love her again, I was astounded at how Williams had made me feel like that, how the audience had gone on that rollercoaster. I don't think I ever need to be trapped in a relationship where you're pulled between utter hatred and total infatuation because she did it for me. And I've got knitting now.

Michelle Williams' part as Marilyn was as every bit as sexy as I hoped she would be. Still too skinny for Monroe, but sexy nonetheless. Williams oozed beauty and elegance, capturing identical gestures and vocal structure. The film floundered in places as she had yet another hissy fit and I did check my watch a couple of times but her characterisation was mesmerising and the moments she shared with Eddie Redmayne were touching. We see her as Norma Jean surrounded by pills and hugely insecure without all the pretence of the lipstick and curves. Williams managed to switch between being Marilyn and Norma seamlessly and intrigued the audience by shifting without warning. Despite being aware that Marilyn would always return to her husband, Arthur Miller, we did feel for the boy who had shared these amazing experiences with a woman people could only fantasise about and wished that maybe they would end up together (or at least another frolic in a lake).

Michelle Williams is a well-deserved recipient of the award last week, her performances always bewitching, always honest and tangible. Since that day in 2001 when I watched a film that I liked purely on the fact there were two pairs of upside-down legs on the DVD cover and I thought that was cool (still do) to now, Michelle Williams has given performances that always prove effective at communicating the films message more than successfully to an audience. She gives performances where I have either desperately wanted to be her or anything but - Williams has always done it with conviction.

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