misguidedly strives – but ultimately fails – to belie its instincts as an assembly-line movie-of-the-week." Robert Pardi of TV Guide gave a mixed review, "All the elements for a splendid film about the early days of the women's rights are in place, but director Katja von Garnier's use of distracting cinematic trickery and jarringly modern music meshes poorly with the period setting... Blessed with a flawless physical production, von Garnier distorts her epic tale with music that belongs on a Lilith Fair tour; it sometimes feels as though she and her writers conceived the fight for women's suffrage as a 1912 version of Sex and the City. Only when the anachronisms finally subside in the film's final third is the moving core is allowed to shine." Historians have been critical about the movie for several reasons. Director Katja von Garnier created a 21st-century soundtrack and remade the early 20th-century suffragists into "third-wave" feminists that would be more familiar to modern audiences. The depiction of Alice Paul's sexuality in the film had no basis in historic fact; Paul was single-minded in her devotion to winning suffrage for women. There is no evidence she had a sexually intimate relationship with anyone, male or female. The movie even creates a fictional character to play a love interest for Paul, cartoonist Ben Weissman. This suggests that Paul needed the assistance of a newspaperman to get publicity for her activist campaign, when in reality, Paul was a highly talented publicist in her own right. The film was also portrayed Paul welcoming Ida B. Wells-Barnett with a smile when Wells-Barnett joined the procession from the mass of spectators along the route. This never happened in reality, and was perhaps the director's attempt to soften the event's racist aspect. Paul marched in the college section in her cap and gown, not with the Illinois delegation that Wells-Barnett joined. Wells-Barnett marched with two white Illinois women who had supported her right to march with the state delegation: Belle Squire and Virginia Brooks. Accolades The film was nominated for five awards at 56th Primetime Emmy Awards, none of which were won; three awards at the 62nd Golden Globe Awards, winning one; and two awards at the 9th Golden Satellite Awards, winning one. Anjelica Huston won the Golden Globe Award for Best Supporting Actress – Series, Miniseries or Television Film and the Satellite Award for Best Supporting Actress – Series,