奥林匹亚杜卡西斯， WHO5月1日去世了在89年，有一张脸，就像其他人一样。船尾但永远被逗乐，热情的笑容可以点亮一个场景，她看起来像喜剧和悲剧掩饰融合在一起。这是一个拟合的参考，因为杜卡里斯是希腊遗产，并且在延伸到1961年的舞台职业中，从“电器”到“Titus Andronicus”的经典，以“漫长的一天的旅程”。Yet even when she was carving out her place in movies and TV, often cast as the Grande Dame Who’s Smarter Than Anyone in the Room (it’s telling that she took on that role as far back as the 1969 Dustin Hoffman/Mia Farrow trifle “John and Mary,” when she was just 38), the Dukakis face, part cherub and part statue, made it seem that whatever reality she was confronting, she saw the absurdity of it, and the heartbreak as well. She hopscotched from one ethnicity to the next: Italian in “月亮，“南方贵族”钢木兰，“犹太电影”墓地俱乐部“。但这是因为杜卡里斯是众多的普通语言。在角色后的角色，她说话妈妈：透射，睾丸，善良，傲慢，到底，总是为你望出去。
在“moonstruck”中，1987年的童话般的怪异，歌剧和肮脏的沮丧，歌剧学习如何绽放，杜卡里斯，作为罗萨克妻子和母亲的罗斯，试图为她的女儿提供劝告洛拉塔（CHO），到做正确的事情。但是，究竟是什么？当罗斯了解到Loretta让自己参与了一个中年平庸，她不爱，她提供了以下建议：“善。当你爱的时候，他们会让你发疯。因为他们知道他们可以。“这是跟踪顽耍的那种线条 - 她的粉丝会在街上想到她想要她重复的街道。In “Moonstruck,” she turned lines like that (or the even more indelible “What’s the matter with you? Your life’s going down the toilet!”) into addled diva classics, but the reason the film won her the Oscar for supporting actress is that she cut right to the romantic paradox that Rose was the only one in the movie wise enough to see. Should marriage be everyday drudgery or moonstruck craziness? Should men act responsibly or were they put on Earth to be wolves? Dukakis, with that noodgy droll gleam, let you know the answer was both.
在“Moonstruck”的胜利之后，她在“钢木玉兰”（1989年）中扮演了一场替代舌头母系，这是一个八卦小镇尼吞耳，她一直掉进她最好的事情：主持。这就是她继续做的事情。像“先生先生一样的毛法理”荷兰的opus“或Trans Landlord Anna Madrigal超过四部分”城市故事，“她有一个精神科医生的Mien：Debonair Emath用X射线视野和腐败的白色蛋羹，阐明了顽固的真理，其他角色受到抗拒。You could easily have envisioned her as the shrink on “The Sopranos” — but then, with a nudge, it wouldn’t be hard to imagine her as Tony Soprano’s mother, since even in the quaintest settings Olympia Dukakis had a stealth power and an old-world comfortableness with the dark side. As Rose says to her unfaithful husband, Cosmo (Vincent Gardenia), in “Moonstruck,” “Your life is not built on nothing. Te amo.” Dukakis’ was built on seeing (and loving) the world as it is.