Fame where fame is due

Anna Paquin
Everyone thought they knew Anna Paquin when, at age 12, she won a 1994 Oscar as Holly Hunter's young daughter in “The Piano.”

Ah, but they grow up so quickly, no? As world-weary street kid Donna in 1998's grim "Hurlyburly," she pulled no punches.  I knew she had escaped the usual child-star trajectory when she matter-of-factly asked one character, “Do you want to ---- me or anything before I go to sleep?” More upbeat, though equally world-wise, was her turn as Polexia in 2000's “Almost Famous,” when she proposed to her fellow Band-Aids that they "deflower" their 15-year-old travelling companion.

Touchstone Anna Paquin continued to hone her perfect bad-girl impression in Spike Lee's “25th Hour.” You still really liked her Mary D'Annunzio, even if she was more than willing to exploit her teacher's awkward little crush on her.

Paquin's roles make her look a bit dangerous, and perhaps a little crazy. This is true even when she's firmly taking a mainstream turn. (As Rogue in “X-Men,” she could literally suck the life out of those she loved.)

Perhaps that's why she shines in ensemble casts, if not — not yet, that is — as a leading lady. After watching Anna as flirtatious Mary in Spike Lee's "25th Hour," tempting her teacher (Philip Seymour Hoffman), you can't envision her in something as obvious as “Charlie's Angels.”

But bad girls are always more interesting — and Paquin has that mischevious Catholic-school girl mix of innocence and corruption that makes you feel somewhat naughty even if you're just watching her sit in class. She also has the emotional chops to back it up; even when she's acting slightly slutty, you figure she must have her reasons.

While lame bad-girl roles come by the bucketful (“Poison Ivy,” anyone?), good ones are rare.  Anna has dug up some gems, and I suspect she'll find plenty more.  Here's hoping she encounters the perfect one, and scores all the fame she's due.  Because being good is just no fun.

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