(Continued)

5. "Scarface" (1983)
"Scarface" is, of course, legendary for its intense violence, over-the-top swagger and combustible dialogue that has remained quote-worthy to this day. But amidst all the chainsaw-wielding, coke-snorting and psychotic Al Pacino/Tony Montana adages ("Say hello to my little friend!") was Pfeiffer's Elvira Hancock, the cool blonde wife turned desperately lost druggie. Proving her stunning presence, Pfeiffer was immediately unforgettable when she emerged, goddess-like, down an elevator and into Tony's capitalism-loving heart. Pfeiffer showed there was more to her impossibly angular, icy exterior, making what could have been a pretty, one-note bitch character into a sympathetic loser. Embodying the pristine glamour a guy like Montana would seek as the ultimate showpiece of American success, she was also a fractured screw-up, more so because she knew exactly why men wanted her (certainly not for her soul). Witnessing the couple's domestic exchanges becomes a thing of almost Edward Albee-like proportions with Michelle holding her own against a scene-chewing Pacino. And that takes some doing.

4. "White Oleander" (2002)
Where was the Academy on this one? As a homicidal Los Angeles artist, Pfeiffer gave one of her finest performances to date. Playing a beautiful, self-sufficient single mother who nearly ruins the life of her delicate daughter (Alison Lohman), Pfeiffer is sublime -- a picture of dysfunctional narcissism, yet weirdly, commendably strong. Sitting in prison for killing a lover in a fit of rage and enduring the stories of her daughter's varied foster mothers, Pfeiffer never makes her character likable but she's so compelling you begin to feel for her. Exceedingly demanding of her daughter (even while in prison) and viciously manipulative, Pfeiffer's character is so full of herself that when her daughter exclaims, "You're so beautiful" she says, without a hint of irony, "Prison agrees with me." By artfully melding her gorgeous Grace Kelly qualities with the cold eyes of a Ted Bundy, Michelle creates a classic performance for a real "Woman's Picture." This ain't no chick flick.

3. "The Age of Innocence" (1993)
With "Dangerous Liaisons," Pfeiffer had already proven herself "period piece and corset-worthy" years earlier, so it wasn't surprising that she could deliver the fragile world of Edith Wharton to the big screen. More surprising was Martin Scorsese, the genius of "Mean Streets," "Taxi Driver" and "GoodFellas," helming such a pretty, understated picture. Upon first look at Pfeiffer's "racy," and finally, anguished Countess Ellen Olenska, we see what a perfect match Scorsese, the material and Pfeiffer are. Taking place in the upper crust of the late 19th century, the film features Daniel Day-Lewis as a man set to marry a supposed suitable woman as a merging of two wealthy families. But when he first sees Pfeiffer (filmed with the camera moving slowly toward her) they exchange one of the first of many knowing glances that will permeate the picture with passionate anguish -- something Scorsese knows a lot about. Pfeiffer is subtly powerful, sensual and tragically romantic; her chemistry with an equally superb Lewis is so intense it becomes vigorously palpable. Without nudity, cursing or baseball bats to the head, Pfeiffer managed to convey the violence of repressed emotions.

2. "Batman Returns" (1992)
You really have to wonder what Halle Berry was thinking. Sure, she's gorgeous and talented and fills a PVC cat suit quite beautifully -- but come on! Even she had to know there's no touching Mama Michelle in the foxy feline department. Michelle marked that territory. As the kitty-licious split personality of Selina Kyle ("mousy" secretary to Christopher Walken's corporate scumbag) and Catwoman (whip wielding, mask wearing, kick-butt symbol of female vengeance and sex appeal), Pfeiffer absolutely commanded a performance, which could have been all vamp and no soul. But, Michelle made the wonderfully effective move of crafting a character who was both fun to watch and immensely complicated -- a comic book heroine women wanted to be. By making the film so dark, cynical and morbidly funny, director Tim Burton helped (of course), but a non goody-goody Pfeiffer was such a powerfully scintillating überwoman -- so fetching in that suit -- that you wished she was on-screen even more. Her own movie, perhaps? Oh wait... thanks a lot, Halle Berry.

1. "The Fabulous Baker Boys" (1989)
Though Pfeiffer had done her own singing in "Grease 2" (yes, it counts), the world had yet to experience how magnificently bewitching the actress could be in a musical role. "The Fabulous Baker Boys" stars brothers Jeff and Beau Bridges as jazzmen unhappily enduring an endless parade of schmaltz via the club-and-hotel touring circuit. Their act is transformed, however, when they discover the vocal talents of ex-escort, trash-talking Suzie Diamond (Pfeiffer). A tough broad with questionable class just happens to ooze the kind of jazz credibility that the brothers (especially Jeff) have been pining for. So when it comes to Pfeiffer's Julie London-like chops, "pine" is the proper word. Slinking over the piano while singing her own version of "Makin' Whoopee," Pfeiffer is a smoky sensation. Famous movie critic Pauline Kael praised her performance perfectly when she wrote the actress had "the grinning infectiousness of Carole Lombard and the radiance of the very young Lauren Bacall." That's right -- Pfeiffer was now a real movie star.

What's your favorite Pfeiffer performance? Write us at heymsn@microsoft.com

Kim Morgan is a film writer who runs MSN's Movies Filter blog and has contributed to many outlets including LA Weekly, Reel.com, DVD Journal, Salon and The Huffington Post. She was a film critic for The Oregonian and served as DVD critic on Tech TV's The Screen Savers. She's also appeared as guest film critic on AMC's The Movie Club, E! Television, Reelz and Ebert & Roeper. You can read her at her blog SunsetGun.com.

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