Kate Winslet did herself no favors by attempting to earn #MeToo cred by presenting herself in interviews as a reformed Woody Allen and Roman Polanski collaborator.
Forgive me if I’ve misread, but the idea seemed to be that open repentance (“what was I thinking?” or words to that effect) would help to launch or at least clear the way for a would-be campaign as a Best Actress Ammonite contender.
Her late-to-the-table, after-the-fact opinions about Allen (Moses Farrow be damned, pre-Allen v. Farrow) and Polanski, disputable but legit in and of themselves, struck many of us as convenient and calculating on her part.
I for one was therefore delighted when Ammonite fizzled on the award circuit and any hoped-for award recognition factor failed to materialize.
Winslet pitch: “Now that I’ve condemned these two men and appropriately flagellated myself for showing bad judgment in deciding to work with them on Carnage (‘11) and Wonder Wheel (‘17), I trust that no one will hold this against me,” etc.
This left a bad taste, to put it mildly.
As far as I’m concerned Winslet has cast herself in a dubious light for the foreseeable future. I’m sure I’m not the only one to regard her askance in a present-day context.
That said, if Mare of Easttown is regarded as approvable and worthy of respect (as appears to be the case) then so be it. She’s always been a top-tier actress. Is Winslet currently operating under a cloud? In my opinion, yes. But things change and life eventually moves on.