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Fonda's career breakthrough came with ''[[Cat Ballou]]'' (1965), in which she played a schoolmarm-turned-outlaw. This comedy [[Western (genre)|Western]] received five [[Academy Awards|Oscar]] nominations, with [[Lee Marvin]] winning best actor, and was one of the year's top ten films at the box office. It was considered by many to have been the film that brought Fonda to [[bankable]] stardom. The following year, she had a starring role in ''[[The Chase (1966 film)|The Chase]]'' opposite [[Robert Redford]], in their first film together, and two-time Oscar winner [[Marlon Brando]]. The film received some positive reviews, but Fonda's performance was noticed by ''[[Variety (magazine)|Variety]]'' magazine: "Jane Fonda, as Redford's wife and the mistress of wealthy oilman James Fox, makes the most of the biggest female role."<ref>{{cite web |url=https://variety.com/1965/film/reviews/the-chase-2-1200421014/ |title=Film Review: The Chase |date=January 1, 1966 |access-date=January 5, 2019}}</ref> After this came the comedies ''[[Any Wednesday]]'' (1966), opposite [[Jason Robards]] and [[Dean Jones (actor)|Dean Jones]], and ''[[Barefoot in the Park (film)|Barefoot in the Park]]'' (1967), again co-starring Redford.
In 1968, she played the title role in the [[science fiction]] spoof ''[[Barbarella (film)|Barbarella]]'', which established her status as a [[sex symbol]]. In contrast, the tragedy ''[[They Shoot Horses, Don't They? (film)|They Shoot Horses, Don't They?]]'' (1969) won her critical acclaim and marked a significant turning point in her career; ''Variety'' magazine wrote, "Fonda, as the unremittingly cynical loser, the tough and bruised babe of the Dust Bowl, gives a dramatic performance that gives the film a personal focus and an emotionally gripping power."<ref>{{cite web |url=https://variety.com/1968/film/reviews/they-shoot-horses-don-t-they-1200421765/ |title=They Shoot Horses, Don't They? |date=January 1, 1969 |access-date=January 5, 2019}}</ref> In addition, renowned film critic [[Pauline Kael]], in her ''[[The New Yorker|New Yorker]]'' review of the film, noted of Fonda: "[She] has been a charming, witty nudie cutie in recent years and now gets a chance at an archetypal character. Fonda goes all the way with it, as screen actresses rarely do once they become stars. She doesn't try to save some ladylike part of herself, the way even a good actress like Audrey Hepburn does, peeping at us from behind "vulgar" roles to assure us she's not really like that. Fonda stands a good chance of personifying American tensions and dominating our movies in the seventies as Bette Davis did in the thirties."<ref name="newyorker.com">{{cite news |url=https://www.newyorker.com/magazine/2011/05/09/queen-jane-approximately |title=Queen Jane, Approximately |last=Als |first=Hilton |magazine=The New Yorker |date=May 2, 2011 |access-date=July 16, 2019 |issn=0028-792X}}</ref> For her performance, she won the [[New York Film Critics Circle Award for Best Actress]] and earned her first [[Academy Awards|Oscar]] nomination for Best Actress. Fonda was very selective by the end of the decade, turning down lead roles in ''[[Rosemary's Baby (film)|Rosemary's Baby]]'' and ''[[Bonnie and Clyde (film)|Bonnie and Clyde]]''.<ref>{{
===1970s===
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