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Going crazy in real life is about as glamorous as sleeping in a bowling alley, but going crazy on-screen? Plan your Oscar outfit early. There is scenery to be chewed, fits to be pitched on an epic scale, fantasies to spin, and a kind of canny brilliance to the crazy character’s lunacy.       Maybe we are drawn to movie crazies as a kind of proxy nervous breakdown, the one we’d like to have, if only we could spare the time. In the more extreme cases, such as director Alfred Hitchcock’s criminally insane killers in “Psycho” (1960) and “Frenzy” (1972), we are watching a bomb blast from a safe distance, marveling at the potential for distortion within the human mind. And then there are characters that are driven crazy, like Ophelia (Jean Simmons) in “Hamlet” (1948), or Jasmine (Cate Blanchett), the shattered widow of an unscrupulous New York financier, in “Blue Jasmine” (2013).

During the Second World War, there was no bigger female star in Hollywood than Greer Garson. She was nominated for a Best Actress Oscar five consecutive times over that period, from 1941-1945. (Only Bette Davis matched Garson’s record, between 1939-1943).

I will always remember my middle son’s devotion to Doris Day movies when he was very young. This otherwise very rough-and-tumble kid would look at me on a rainy Saturday afternoon and ask quietly, “Got any more Doris?” This always amused me. I couldn’t help thinking that Doris Day seemed so far removed from the 21st century, belonging exclusively to that bygone era of clean movies, saccharine songs, and prescribed gender roles.

Ever have a bad hair day? Sure you have. You do everything you can to make things right, but nothing seems to work. “Oh, well,” you think. “At least it’ll be better tomorrow.”