-Compiling this list was perhaps one of the hardest experiences I have had to date during my short time as a blogger. How do you go about selecting just one film from each decade which was absolutely winning in virtually all of its aspects but for some reason didn't connect with the Academy?? I thought long and hard about which films to select for this category. My first impulse of course was to pick films I liked regardless of the topic they were presenting or the way in which they were made. But then I wisened up. The list I compiled in the end in my opinion, not only represents some personal favorites of mine, but also reinforces why people go to the cinema in the first place; to be entertained, enlightened, moved, and inspired. Each of the films in this list received some kind of recognition of acclaim and while not all of them have gone on to become the classics they deserved to be, they all definitley deserve to be rememebred. So without any further ado, here are 7 films from past decades that deserved a Best Picture nomination, but for various reasons, were not given one.
1940s:
-Lifeboat (1944) instead of Wilson
-As with many Hitchcock films made during WWII, the director decided to focus more on the personal than on the political. In this film, which chronicles the survivors of an ocean liner that has gone down after being attacked by a German u-boat, Hitchcock does just that. In full-on experimental mode, the director shot the entire film inside a lifeboat and focused on the passengers within it, which includes a German soldier whose own ship was sunk as a result of the attack. No other film during this era has ever been able to portray various attitudes and beliefs during wartime quite like this one. The cold facts of war combined with human prejudices and behavior were all explored here in a truly riveting way.
http://www.youtube.com/watch?v=cLUvLL-QCz4
1950s:
-Executive Suite (1954) instead of The Country Girl
-One of the few motion pictures ever made to not have a musical score attached, Executive Suite explores the various individuals who comprise a successful furniture company including vice presidents, secretaries, shareholders, and wives. This insider look at the many human components who call themselves part of corporate America may seem base, but not when it comes to examining the motivation, drive and commitment required to exist in that world. There isn't a false moment throughout Executive Suite from its sterling performances to its main themes which states that in order for a company to work, its integrity must never falter.
http://www.youtube.com/watch?v=d7ONBkmc_pQ&feature=related
(please watch up to 5:10 in order to avoid spoilers)
1960s:
-Divorce American Style (1967) instead of Doctor Dolittle
Its astonishing how so few remember this 60s comedy written by evenlope pusher Norman Lear. In Divorce American Style Dick Van Dyke and Debbie Reynolds play a couple whose trouble marriage prompts a divorce. What follows is a hilarious look at the manaical state of divorce that was taking over in the 1960s. From the couple's meeting with their lawyers to the partners they eventually end up with, each moment of this film is overflowing with a satire that knows no boundaries. While this film may have seemed dated in the conservative 80s, the film which was eerily timely when first released is just as relevant today.
http://www.youtube.com/watch?v=VYvZpikpljg
1970s:
-Voyage of the Damned (1976) instead of Bound for Glory
-One of the most overlooked films about Jews during WWII also happens to be one of the most compelling. Voyage of the Damned is about the true-life account of a ship full of Jewish citizens who were fleeing from Nazi Germany to Cuba in hopes of finding safety only to be turned away. The film not only features a variety of storylines; each more fascinating than the other, but it also contains an impressive cast including Faye Dunaway, Orson Welles, James Mason, Katherine Ross, Malcom McDowell, and Lee Grant, who received a Supporting Actress nomination for her role. With some many films made about the history of WWII, its seems almost shameful that this heartwrenching, but beautiful story should be forgotten.
http://www.youtube.com/watch?v=0d4qA0YVssI
1980s:
-Steel Magnolias (1989) instead of My Left Foot
-So often considered a "chick flick," Steel Magnolias is in actuality more than just a weepie woman's picture. The story of a group of female friends who share their lives over the course of yearsout of a beauty parlor in Louisiana, Steel Magnolias is quite honestly one of the great American filmso f the 1980s. The main themes of the film: hope, perseverance, loyalty and laughter have been some of the fundamental elements that have made so many great American films so essential. Anchored by a remarkable cast, Steel Magnolias was one of the decades finest moments in capturing the crux of the human spirit.
http://www.youtube.com/watch?v=Zno0xeap0hU
1990s:
-Everyone Says I Love You (1996) instead of Secrets & Lies
-Woody Allen's tribute to the golden age of Hollywood musicals is not only one of the director's most enjoyable films in recent years, but can also be viewed in two distinct ways. One could say that by casting actors not known for their singing abilities (except for Goldie Hawn who proves she CAN sing), some said that he cared more about the acting in the film than the singing. Yet others see the cast, some of which are tone deaf, as Allen's own personal joke toward the genre as a whole. Yet the film which tells the story of a large, extended upper-class New York family and their individual struggles with love is not only free of Allen's trademark cynicism, but also invokes a truly honest sensibility about the many wonders of love.
http://www.youtube.com/watch?v=_ZkbVM7UAcc
2000s:
-Bobby (2006) instead of Little Miss Sunshine
-Its pretty rare that a film with so much buzz surrounding it is actually able to deliver the goods expected. Yet Bobby, written and directed by Emilio Estevez, which chronicled the lives of various Los Angelites on the day of Robert Kennedy's assassination did just that. With an abundance of actors and plotlines, the film could easily have come off as phony. Yet each element works as a dead-on snapshot of America during the lat 1960s when the war was escilating and the country needed a change. More importantly, Bobby represents a society not toally overtake with cynicism, but who genuinely believed that a politician like Kennedy had the power to make a difference.
http://www.youtube.com/watch?v=Y_dIhSOyjRs
Next Week...The most overlooked performances and films of 2009!!
Friday, 26 February 2010
Thursday, 25 February 2010
They weren't even nominated!! Best Actor nominees that never were...
-Its hard to single out what classifies as a "best actor" performance. Every year so many actors give performances that are labeled as "the best of his career," "the performance of the decade," or "a shoe-in for an Oscar!" With heaps of critical praise such as this, its no wonder that so many performances garner awards out of sheer buzz more than anything else while truly great work by gifted actors goes by unwarranted. One of the most noticeable examples of this is Benicio Del Toro's oustanding work in Che I & II which took home the Cannes Film Festival's Best Actor award in 2008 but was nowhere to be seen come awards season. This is surprising given the magnitude and electricity of Del Toro's work in the ambitious 2-part biopic. Of course there isn't room at the Oscars for every brilliant male performance that comes along. Case in point: the 2002 Oscars. 2002 saw a handful of great performances turned away come Oscar time for sheer lack of space. Such performances included: Richard Gere for Chicago, Kieran Culkin for Igby Goes Down, Adam Sandler for Punch Drunk Love and Leonardo Dicaprio for BOTH Gangs of New York and Catch me if you can. In the end I suppose that it must be quite hard with so many enriching male performances given year after year that it might just be easier to vote for someone with lots of buzz surrounding their performance or film rather than examine all the work done by actors in film throughout the year. In any case, here are some fine examples of excellent performances given by some of the screen's finest actors that the Academy shamefully overlooked.
1940s:
-Joesph Cotten for Shadow of a Doubt (1943) instead of Paul Lukas for Watch on the Rhine
-For many, Cotten's career was at its peak when he gave a charming, yet chilling performance as a murderous uncle in Hitchcock's Shadow of a Doubt. As a serial killer who murders wealthy widows before robbing them, Cotten gave his most memorable performance. His portrayal of Uncle Charlie is perhaps one of the most captivating serial killers brought to the screen due to the compelling and charismatic nature of the character. Cotten plays him as debonair, but also allows his disdain for certain aspects of society to shine through.
http://www.youtube.com/watch?v=Z5XCz4B_ejg
1950s:
-Robert Mitchum for Night of the Hunter (1955) instead of Frank Sinatra for The Man With the Golden Arm
-Mitchum has long since been considered one of the screen's most underappreciated actors depsite having given a plethora of powerhouse performances that went by unheralded by the Academy. The most glaring oversight of all these however was the actor's work in Charles Laughton's disturbing The Night of the Hunter. Playing a an escaped convict posing as a preacher who marries then kills a widowed mother of two whose children hold the key to a hidden pile of money, Mitchum is positively unnverving. His speech on good vs evil is given as if he were a real preacher and the way he is able to put everyone underneath his spell makes the film all the more unsettling.
http://www.youtube.com/watch?v=X20XIg38GcE
1960s:
-Warren Beatty for Splendor in the Grass (1961) instead of Stuart Whitman for The Mark
-It was obvious Beatty was destined for stardom just from watching his conflicted turn as the son of a rich family who falls for a girl from the opposite side of town in the steamy drama Splendor in the Grass. Beatty's film debut was one of the most impressive given in film history as he successfully helped carry the entire production. His role as a young man torn between his family's expectations, the girl he loves, and the dreams he has for his own life gave the actor plenty to work with, which Beatty did in an outstanding way.
http://www.youtube.com/watch?v=WiFeVc7s7TQ&feature=related
(please watch up to 1:15)
1970s:
-Gene Hackman for The Poseidon Adventure (1972) instead of Peter O'Toole for The Ruling Class
-The Poseidon Adventure was a landmark film that ushered in a whole wave of disaster films in the 70s, many of which were helmed by super-producer Irwin Allen. Yet before the genre turned into campy satire, there were performances such as Gene Hackman's in The Poseidon Adventure which brought forth the main themes of the genre: courage, perserverance, endurance and hope. As the minister who leads a group of passengers to safety aboard an ocean liner that capsizes on New Year's Eve, Hackman gave one of his most powerful and popular roles. Playing Reverend Scott, Hackman presents a man so torn by his faith, yet who clings to it tirelessly as he tries to bring his fellow passengers to safety. His belief in God's existence is never questioned at all throughout the film making Hackman one of the most believable men of the cloth ever to be shown on screen.
http://www.youtube.com/watch?v=FMuguMyYvQ4
1980s:
-Jack Nicholson for The Shining (1980) instead of Jack Lemmon for Tribute
-So many stories have been reported with regards to the notorious filming of Stanley Kubrick's adaptation of Stephen King's The Shining. Yet what remains is an excruciatingly enthralling horror film and a dynamic performance from Jack Nicholson. As a writer hired to caretake an isolated hotel for the winter, the actor is given the chance to turn his sly, slick persona into one of maddening lunacy. The duality of the role is interesting; one the one hand there's traces of the Jack audiences know, but also an unstable maniac out to wreak havoc on his family. It is one of the actor's best performances and one which definitley deserved more critical acclaim than it got.
http://www.youtube.com/watch?v=bt9E1_KFfMY&feature=related
1990s:
-Jim Carrey for Man on the Moon (1999) instead of Denzel Washington for The Hurricane
-Film critic Roger Ebert said once that Jim Carrey had been underappreciated as an actor in the past. He had to have been referring to Carrey's work in this biopic of the late, offbeat comedian Andy Kaufman. As Kaufman, Carrey abandons literally ALL trademark gestures and traits and instead focuses his performance on channeling the late Kaufman himself. This is not a vanity project or a star vehicle by any means. The film is most definitley a well-deserved tribute to one of comedy's most intriguing figures as well as Carrey's most daring and surprising performance.
http://www.youtube.com/watch?v=0ezPotNSNqg
2000s:
-Hugh Grant for About a Boy (2002) instead of Michael Caine for The Quiet American
-Grant has always been one of film's most endearing British actors with his unique charm, comedic abilites and an overall likeability. Yet some were quick to write him off as a leading man whose talents couldn't stretch past romantic comedies. However in the moving and intelligent comedy/drama About a Boy, Grant delivers a multi-layered performance that alternates between the dramatic and comedic; at times blending the two together. Grant nails every scene as a carefree bachelor who is content to engage in one relationship after another without letting anyone in until he befriends a young schoolboy with whom he forms a kinship with and who shows him what's missing from his life.
http://www.youtube.com/watch?v=YPgbiSbYzfg
Tomorrow...Best Picture!!
1940s:
-Joesph Cotten for Shadow of a Doubt (1943) instead of Paul Lukas for Watch on the Rhine
-For many, Cotten's career was at its peak when he gave a charming, yet chilling performance as a murderous uncle in Hitchcock's Shadow of a Doubt. As a serial killer who murders wealthy widows before robbing them, Cotten gave his most memorable performance. His portrayal of Uncle Charlie is perhaps one of the most captivating serial killers brought to the screen due to the compelling and charismatic nature of the character. Cotten plays him as debonair, but also allows his disdain for certain aspects of society to shine through.
http://www.youtube.com/watch?v=Z5XCz4B_ejg
1950s:
-Robert Mitchum for Night of the Hunter (1955) instead of Frank Sinatra for The Man With the Golden Arm
-Mitchum has long since been considered one of the screen's most underappreciated actors depsite having given a plethora of powerhouse performances that went by unheralded by the Academy. The most glaring oversight of all these however was the actor's work in Charles Laughton's disturbing The Night of the Hunter. Playing a an escaped convict posing as a preacher who marries then kills a widowed mother of two whose children hold the key to a hidden pile of money, Mitchum is positively unnverving. His speech on good vs evil is given as if he were a real preacher and the way he is able to put everyone underneath his spell makes the film all the more unsettling.
http://www.youtube.com/watch?v=X20XIg38GcE
1960s:
-Warren Beatty for Splendor in the Grass (1961) instead of Stuart Whitman for The Mark
-It was obvious Beatty was destined for stardom just from watching his conflicted turn as the son of a rich family who falls for a girl from the opposite side of town in the steamy drama Splendor in the Grass. Beatty's film debut was one of the most impressive given in film history as he successfully helped carry the entire production. His role as a young man torn between his family's expectations, the girl he loves, and the dreams he has for his own life gave the actor plenty to work with, which Beatty did in an outstanding way.
http://www.youtube.com/watch?v=WiFeVc7s7TQ&feature=related
(please watch up to 1:15)
1970s:
-Gene Hackman for The Poseidon Adventure (1972) instead of Peter O'Toole for The Ruling Class
-The Poseidon Adventure was a landmark film that ushered in a whole wave of disaster films in the 70s, many of which were helmed by super-producer Irwin Allen. Yet before the genre turned into campy satire, there were performances such as Gene Hackman's in The Poseidon Adventure which brought forth the main themes of the genre: courage, perserverance, endurance and hope. As the minister who leads a group of passengers to safety aboard an ocean liner that capsizes on New Year's Eve, Hackman gave one of his most powerful and popular roles. Playing Reverend Scott, Hackman presents a man so torn by his faith, yet who clings to it tirelessly as he tries to bring his fellow passengers to safety. His belief in God's existence is never questioned at all throughout the film making Hackman one of the most believable men of the cloth ever to be shown on screen.
http://www.youtube.com/watch?v=FMuguMyYvQ4
1980s:
-Jack Nicholson for The Shining (1980) instead of Jack Lemmon for Tribute
-So many stories have been reported with regards to the notorious filming of Stanley Kubrick's adaptation of Stephen King's The Shining. Yet what remains is an excruciatingly enthralling horror film and a dynamic performance from Jack Nicholson. As a writer hired to caretake an isolated hotel for the winter, the actor is given the chance to turn his sly, slick persona into one of maddening lunacy. The duality of the role is interesting; one the one hand there's traces of the Jack audiences know, but also an unstable maniac out to wreak havoc on his family. It is one of the actor's best performances and one which definitley deserved more critical acclaim than it got.
http://www.youtube.com/watch?v=bt9E1_KFfMY&feature=related
1990s:
-Jim Carrey for Man on the Moon (1999) instead of Denzel Washington for The Hurricane
-Film critic Roger Ebert said once that Jim Carrey had been underappreciated as an actor in the past. He had to have been referring to Carrey's work in this biopic of the late, offbeat comedian Andy Kaufman. As Kaufman, Carrey abandons literally ALL trademark gestures and traits and instead focuses his performance on channeling the late Kaufman himself. This is not a vanity project or a star vehicle by any means. The film is most definitley a well-deserved tribute to one of comedy's most intriguing figures as well as Carrey's most daring and surprising performance.
http://www.youtube.com/watch?v=0ezPotNSNqg
2000s:
-Hugh Grant for About a Boy (2002) instead of Michael Caine for The Quiet American
-Grant has always been one of film's most endearing British actors with his unique charm, comedic abilites and an overall likeability. Yet some were quick to write him off as a leading man whose talents couldn't stretch past romantic comedies. However in the moving and intelligent comedy/drama About a Boy, Grant delivers a multi-layered performance that alternates between the dramatic and comedic; at times blending the two together. Grant nails every scene as a carefree bachelor who is content to engage in one relationship after another without letting anyone in until he befriends a young schoolboy with whom he forms a kinship with and who shows him what's missing from his life.
http://www.youtube.com/watch?v=YPgbiSbYzfg
Tomorrow...Best Picture!!
Wednesday, 24 February 2010
They Weren't Even Nominated!! Best Actress nominees that never were...
-Over the years the the Academy has definitley bestowed a number of coveted Best Actress nominations to some questionable individuals. Such examples include Hilary Swank, whose work in Million Dollar Baby was standard at best, Bette Midler for For the Boys; nothing more than a vanity project which gave her a reason to sing for an entire movie, or Nicole Kidman for Moulin Rouge who I feel received her nomination more on the basis of everyone's surprise that she could actually carry a tune. Yet during those years there were great female performances which far surpassed the abovementioned that went unheralded by the academy. Nicole Kidman's work in the haunting drama Birth saw the actress at her most vulnerable and conflicted, but was passed over for Swank's boxer. Midler's period musical deserved its Golden Globe win for the actress but was far less superior to Michelle Pfeiffer's damaged waitress in Frankie and Johnny. And Thora Birch's brilliant work in the indie comedy Ghost World revealed a performance of much more depth than Kidman's singing showgirl. In honor of some of the great performances of the past that went by without notice, here are 7 Best Actress performances that never made it to the Oscars.
1940s:
-Rita Hayworth for The Lady From Shanghai (1947) instead of Susan Hayward for Smashup: The Story of a Woman
-Hayworth will forever be immortalized as the kittenish Gilda, but her seductive turn in then-husband Welles' noir mystery is one of her finest. As the wife of a wealthy yachtsman who falls in love with a crew member, Hayworth is truly compelling. The role requires a revolving door of emotions and motivations which in the hands of another actress wouldn't have worked. Yet becasue of Hayworth's definite talent, her resonance with the audience, as well as her leading man, she manages it quite well.
http://www.youtube.com/watch?v=yKk1iw1k1GM&feature=related
1950s:
-Doris Day for The Man Who Knew Too Much (1956) instead of Nancy Kelly for The Bad Seed
-Hitchcock's update of The Man Who Knew Too Much is considered by many to be far more superior than his earlier version for many reasons. One of the biggest is the performances of the two leads, and in particular Doris Day who delivers a powerful dramatic performance as a doctor's wife who discovers that her son has been kidnapped as part of a political assassination plot. Day is truly heartbreaking in the role and acquits herself well with Hitchcock's style. In a career that consisted of playing the same character repeatedly, The Man Who Knew Too Much, sees Day proving herself to be a true actress.
http://www.youtube.com/watch?v=g8AQsHg31Ac
(please watch 3:00-7:00)
-Rosalind Russell for The Trouble With Angels (1966) instead of Anouk Aimee for Un homme et une femme
-Russell made a career out of playing no-nonsense, independent characters, yet her role as the mother superior in the comedy The Trouble With Angels slightly went against that screen persona. As the reverend mother at an all-girls boarding school, Russell exerted discipline and order in front of the students, but privately proved to be a romantic dreamer of sorts who not only proved her devotion to students, but also her zest for life and the path she chose. Russell's work in the film is a classic example of a multi-facted actress in a role that requires true passion and understanding which she delivers effortlessly.
http://www.youtube.com/watch?v=ypLsmQRvWS8
-Vanessa Redgrave for Agatha (1979) instead of Marsha Mason for Chapter Two
-In the mid-twenties, faced with a divorce request from her adulterous husband, the celebrated author Agatha Christie disappeared for nearly two weeks leaving no clue as to her whereabouts. While the film, which deals with the author's mysterious vanishing and the quest to locate her, is entirely full of speculation, Redgrave perfectly embodies the troubled Christie during this time of her life. Her conflicting torment between her literary success and her failed marriage is devastatingly captured by the actress in one of her most underrated roles. Its not often that Redgrave comes across as anything but self-assured, but in roles such as Agatha, the actress more than excels.
http://www.youtube.com/watch?v=c4uS9h95fF0
(watch up to 3:00)
1980s:
-Barbra Streisand for Nuts (1987) instead of Sally Kirkland for Anna
-I am not one of those people who believes that Streisand is a multi-faceted performer mainly because I feel her entire career blends together so much, its hard to distinguish one project from the other. Yet in the psychological mystery Nuts, Streisand is at her level best. As a hooker who is placed in a mental hospital after killing a client in self-defense, Streisand lets forth a variety of dramatic techniques that the actress had failed to display before. To say Streisand is powerful in the role is not enough. She is absolutely dynamic and riveting from the moment she is on screen. Not only is she defending her character's sanity, but also her life choices and her rights as an individual while having to battle demons from the past.
http://www.youtube.com/watch?v=2al8CoL_M3A
1990s:
-Jessica Lange for A Thousand Acres (1997) instead of Julie Christie for Afterglow
-The adaptation of Jane Smiley's puliter-prize winning novel about a trio of Iowa farm sisters who must battle their monstrous father was defeintley an underwhelming exercise. Yet what succeeds in the film is the performances from Michelle Pfeiffer and especially Jessica Lange in one of her most subtantial times on screen. As the tranquil farm wife Ginny, Lange is at her most vulnerable; a trait not inherently seen in many of the actress' previous roles. Yet here she plays a character so filled with lost dreams and regret who must somehow find a way to confront her past and carve out her own future.
http://www.youtube.com/watch?v=OHoiv5BqKXQ
(watch from 1:20-4:20)
2000s:
-Jodie Foster for The Brave One (2007) instead of Cate Blanchett for Elizabeth: The Golden Age
-Constantly referred to as "the thinking woman's actress," Foster lived up to that title in this debate-driven story of a New York radio host who embraces vigilantism as a way of recovering from a brutal attack which took her fiance's life. This is perhaps Foster's best role in years and one which allows her to not only provide strong evidence for both sides of a controversial issue, but her overall presence adds credibility to what could have been a standard exploitation film. As a woman whose lost everything, Foster carefully presents the pain of a shattered life and the difficult task of existing in a society afterwards.
http://www.youtube.com/watch?v=F1NNDwYKAyU&feature=related
Tomorrow...Best Actor!!
1940s:
-Rita Hayworth for The Lady From Shanghai (1947) instead of Susan Hayward for Smashup: The Story of a Woman
-Hayworth will forever be immortalized as the kittenish Gilda, but her seductive turn in then-husband Welles' noir mystery is one of her finest. As the wife of a wealthy yachtsman who falls in love with a crew member, Hayworth is truly compelling. The role requires a revolving door of emotions and motivations which in the hands of another actress wouldn't have worked. Yet becasue of Hayworth's definite talent, her resonance with the audience, as well as her leading man, she manages it quite well.
http://www.youtube.com/watch?v=yKk1iw1k1GM&feature=related
1950s:
-Doris Day for The Man Who Knew Too Much (1956) instead of Nancy Kelly for The Bad Seed
-Hitchcock's update of The Man Who Knew Too Much is considered by many to be far more superior than his earlier version for many reasons. One of the biggest is the performances of the two leads, and in particular Doris Day who delivers a powerful dramatic performance as a doctor's wife who discovers that her son has been kidnapped as part of a political assassination plot. Day is truly heartbreaking in the role and acquits herself well with Hitchcock's style. In a career that consisted of playing the same character repeatedly, The Man Who Knew Too Much, sees Day proving herself to be a true actress.
http://www.youtube.com/watch?v=g8AQsHg31Ac
(please watch 3:00-7:00)
-Rosalind Russell for The Trouble With Angels (1966) instead of Anouk Aimee for Un homme et une femme
-Russell made a career out of playing no-nonsense, independent characters, yet her role as the mother superior in the comedy The Trouble With Angels slightly went against that screen persona. As the reverend mother at an all-girls boarding school, Russell exerted discipline and order in front of the students, but privately proved to be a romantic dreamer of sorts who not only proved her devotion to students, but also her zest for life and the path she chose. Russell's work in the film is a classic example of a multi-facted actress in a role that requires true passion and understanding which she delivers effortlessly.
http://www.youtube.com/watch?v=ypLsmQRvWS8
-Vanessa Redgrave for Agatha (1979) instead of Marsha Mason for Chapter Two
-In the mid-twenties, faced with a divorce request from her adulterous husband, the celebrated author Agatha Christie disappeared for nearly two weeks leaving no clue as to her whereabouts. While the film, which deals with the author's mysterious vanishing and the quest to locate her, is entirely full of speculation, Redgrave perfectly embodies the troubled Christie during this time of her life. Her conflicting torment between her literary success and her failed marriage is devastatingly captured by the actress in one of her most underrated roles. Its not often that Redgrave comes across as anything but self-assured, but in roles such as Agatha, the actress more than excels.
http://www.youtube.com/watch?v=c4uS9h95fF0
(watch up to 3:00)
1980s:
-Barbra Streisand for Nuts (1987) instead of Sally Kirkland for Anna
-I am not one of those people who believes that Streisand is a multi-faceted performer mainly because I feel her entire career blends together so much, its hard to distinguish one project from the other. Yet in the psychological mystery Nuts, Streisand is at her level best. As a hooker who is placed in a mental hospital after killing a client in self-defense, Streisand lets forth a variety of dramatic techniques that the actress had failed to display before. To say Streisand is powerful in the role is not enough. She is absolutely dynamic and riveting from the moment she is on screen. Not only is she defending her character's sanity, but also her life choices and her rights as an individual while having to battle demons from the past.
http://www.youtube.com/watch?v=2al8CoL_M3A
1990s:
-Jessica Lange for A Thousand Acres (1997) instead of Julie Christie for Afterglow
-The adaptation of Jane Smiley's puliter-prize winning novel about a trio of Iowa farm sisters who must battle their monstrous father was defeintley an underwhelming exercise. Yet what succeeds in the film is the performances from Michelle Pfeiffer and especially Jessica Lange in one of her most subtantial times on screen. As the tranquil farm wife Ginny, Lange is at her most vulnerable; a trait not inherently seen in many of the actress' previous roles. Yet here she plays a character so filled with lost dreams and regret who must somehow find a way to confront her past and carve out her own future.
http://www.youtube.com/watch?v=OHoiv5BqKXQ
(watch from 1:20-4:20)
2000s:
-Jodie Foster for The Brave One (2007) instead of Cate Blanchett for Elizabeth: The Golden Age
-Constantly referred to as "the thinking woman's actress," Foster lived up to that title in this debate-driven story of a New York radio host who embraces vigilantism as a way of recovering from a brutal attack which took her fiance's life. This is perhaps Foster's best role in years and one which allows her to not only provide strong evidence for both sides of a controversial issue, but her overall presence adds credibility to what could have been a standard exploitation film. As a woman whose lost everything, Foster carefully presents the pain of a shattered life and the difficult task of existing in a society afterwards.
http://www.youtube.com/watch?v=F1NNDwYKAyU&feature=related
Tomorrow...Best Actor!!
Tuesday, 23 February 2010
They Weren't Even Nominated!! Best Supporting Actor Nominees that Never Were!!
-This year's crop of nominees for the Best Supporting Actor Oscar is without question one of most interesting in recent years. No one doubts that Christoph Waltz will be awarded the prize for his turn in Inglorious Basterds, but there would be little disappointment if one of the other fine actors proved to be an Oscar upset. Both Stanley Tucci and Christopher Plummer are both up for their first nominations for The Lovely Bones and The Last Station respectively; nominations I might add which are long overdue, and Woody Harrelson and Matt Damon are also both nominated for The Messenger and Invictus respectively for performances which went beyond the typical sort of roles they are offered and showcasing their unique skills. While these four men are honored for their work this past year, I can't help but be reminded of the fine performances each has done in the past which went unnoticed by the Academy and for that matter, the work of other brilliant supporting actors which suffered the same fate. In celebration of these long overdue nominations, I have decided to take a look back at some of the great supporting performances from past years that never made it to the Oscars.
1940s:
-Farley Granger for Rope (1948) instead of Oskar Homolka for I Remember Mama
-So many have labeled this film as "experimental Hitchcock," (the legendary director tried to make the entire film appear as if it had been shot in one long, continuous take) without giving it much more credit. Besides being a great suspense thriller, the film contains an excellent turn by Farley Granger. As one of two young men who murder an old friend from prep school, Granger is positively riveting as the more fragile of the two who exerts his nervous energy through piano playing and drinking. Perhaps it was the implied homosexual aspects of the film which prevented Rope from succeeding and Farley from getting the nomination he deserved. But deserve it, he did.
http://www.youtube.com/watch?v=L52MJNdZpMs
1950s:
-Orson Welles for The Long Hot Summer (1958) instead of Gig Young for Teacher's Pet
-The Long Hot Summer comes along in the tradition of southern family dramas complete with picnics, sun and family pride. While Newman and Woodward were meant to be the stars of the film, it was the legendary Welles as patriarch Will Varner who truly steals the show. Welles gives one of his most powerhouse performances as a prosperous businessman trying desperately and selfishly to steer his children in what he feels is the right direction. Its a Welles performance unlike any other given by the actor before and one of his most dynamic times on screen.
http://www.youtube.com/watch?v=cVGgcILWIXQ&feature=related
1960s:
-Paul Newman for What a Way to Go! (1964) instead of Lee Tracy for The Best Man
-Its hard for an actor to make himself distinguishable in a cast which also includes the likes of Dean Martin, Dick Van Dyke, Robert Mitchum, Robert Cummings and Gene Kelly. Yet Paul Newman manages quite easily in the dark comedy What a Way to Go! As one of Shirley Maclaine's many husbands, Newman is able to bring a required level of depth and intensity to the film as a bohemian artist. While this film is considered more of a classic of Maclaine's than of any of the actors involved, one should not overlook Newman's fine work in this film.
http://www.youtube.com/watch?v=y3JU-knnk0k
1970s:
-Truman Capote for Muder by Death (1976) instead of Jason Robards for All the President's Men
-This might seem an odd choice at first. Yet Truman Capote made quite an impressive acting debut in the Neil Simon comedy/mystery Murder By Death. Capote plays famed mystery writer Lionel Twain, who invites his fellow writers and rivals to his isolated mansion for a real-life murder mystery. The author, in his first role, was definitley sinsiter bordering on creepy, yet also funny. Although he is only in the film for a brief period of time, he more than leaves his mark. Despite earning a Golden Globe nomination for Best Newcomer, its a shame nothing more came of Capote's acting career.
http://www.youtube.com/watch?v=4hbL029LRwA
1980s:
-Robert Downey Jr. for Less Than Zero (1987) instead of Vincent Gardenia for Moonstruck
-The film adaptation of Bret Easton Ellis' breakthrough novel Less Than Zero was considered lackluster at best by most ardant followers. Yet the one aspect of the film which everyone agrees works is the captivating brilliance of Downey's performance. As Julian, a Beverly Hills drug addict whose lost everything, the actor is at his best. His portrayal of the character is heartbreaking to watch yet at the same time so compelling with his false optimism and hopeless attempts at escape from the life he has made for himself.
http://www.youtube.com/watch?v=iQSGS5-7QI4&feature=related
1990s:
-Greg Kinnear for Sabrina (1995) instead of Tim Roth for Rob Roy
-Many have seemed to embrace Sidney Pollack's dicey remake of the classic Sabrina. Yet the film works for many reasons, not least of all Greg Kinnear's performance as David Larabee. In what was his debut performance, Kinnear plays a rich Long Island playboy who spends his time living the good life instead of helping his brother (Ford) to run the family business. Its hard to believe that Kinnear had no previous film experience since this is clearly a performance given by a professional. As David, Kinnear makes good use of what is definitley the film's flashiest role and injects it with the pitch-perfect comedic timing and charisma that it requires.
http://www.youtube.com/watch?v=pQv3u_aj5m4
2000s:
-Ben Affleck for Hollywoodland (2006) instead of Mark Wahlberg for The Departed
-Affleck took a decidedly Hollywood route after winning his Oscar for Best Original Screenplay by attempting to carve out a leading man niche for himself in films like Bounce and Paycheck while doing favors for good friend Kevin Smith. Yet none of those roles was ever successfully able to capture his abilities as an actor quite like the true-life mystery Hollywoodland. As actor George Reeves (TV's Superman) who was found shot dead mysteriously in his home in the Hollywood Hills, Affleck showed a side of himself no one thought existed. He portrays Reeves the way many believe he was in real life; scared, angry, frustrated, and depressed. Affleck has truly never been better and one can only hope that a role such as this finds him in the future.
http://www.youtube.com/watch?v=iZvDDWQfgFA
Tomorrow...Best Actress!!
1940s:
-Farley Granger for Rope (1948) instead of Oskar Homolka for I Remember Mama
-So many have labeled this film as "experimental Hitchcock," (the legendary director tried to make the entire film appear as if it had been shot in one long, continuous take) without giving it much more credit. Besides being a great suspense thriller, the film contains an excellent turn by Farley Granger. As one of two young men who murder an old friend from prep school, Granger is positively riveting as the more fragile of the two who exerts his nervous energy through piano playing and drinking. Perhaps it was the implied homosexual aspects of the film which prevented Rope from succeeding and Farley from getting the nomination he deserved. But deserve it, he did.
http://www.youtube.com/watch?v=L52MJNdZpMs
1950s:
-Orson Welles for The Long Hot Summer (1958) instead of Gig Young for Teacher's Pet
-The Long Hot Summer comes along in the tradition of southern family dramas complete with picnics, sun and family pride. While Newman and Woodward were meant to be the stars of the film, it was the legendary Welles as patriarch Will Varner who truly steals the show. Welles gives one of his most powerhouse performances as a prosperous businessman trying desperately and selfishly to steer his children in what he feels is the right direction. Its a Welles performance unlike any other given by the actor before and one of his most dynamic times on screen.
http://www.youtube.com/watch?v=cVGgcILWIXQ&feature=related
1960s:
-Paul Newman for What a Way to Go! (1964) instead of Lee Tracy for The Best Man
-Its hard for an actor to make himself distinguishable in a cast which also includes the likes of Dean Martin, Dick Van Dyke, Robert Mitchum, Robert Cummings and Gene Kelly. Yet Paul Newman manages quite easily in the dark comedy What a Way to Go! As one of Shirley Maclaine's many husbands, Newman is able to bring a required level of depth and intensity to the film as a bohemian artist. While this film is considered more of a classic of Maclaine's than of any of the actors involved, one should not overlook Newman's fine work in this film.
http://www.youtube.com/watch?v=y3JU-knnk0k
1970s:
-Truman Capote for Muder by Death (1976) instead of Jason Robards for All the President's Men
-This might seem an odd choice at first. Yet Truman Capote made quite an impressive acting debut in the Neil Simon comedy/mystery Murder By Death. Capote plays famed mystery writer Lionel Twain, who invites his fellow writers and rivals to his isolated mansion for a real-life murder mystery. The author, in his first role, was definitley sinsiter bordering on creepy, yet also funny. Although he is only in the film for a brief period of time, he more than leaves his mark. Despite earning a Golden Globe nomination for Best Newcomer, its a shame nothing more came of Capote's acting career.
http://www.youtube.com/watch?v=4hbL029LRwA
1980s:
-Robert Downey Jr. for Less Than Zero (1987) instead of Vincent Gardenia for Moonstruck
-The film adaptation of Bret Easton Ellis' breakthrough novel Less Than Zero was considered lackluster at best by most ardant followers. Yet the one aspect of the film which everyone agrees works is the captivating brilliance of Downey's performance. As Julian, a Beverly Hills drug addict whose lost everything, the actor is at his best. His portrayal of the character is heartbreaking to watch yet at the same time so compelling with his false optimism and hopeless attempts at escape from the life he has made for himself.
http://www.youtube.com/watch?v=iQSGS5-7QI4&feature=related
1990s:
-Greg Kinnear for Sabrina (1995) instead of Tim Roth for Rob Roy
-Many have seemed to embrace Sidney Pollack's dicey remake of the classic Sabrina. Yet the film works for many reasons, not least of all Greg Kinnear's performance as David Larabee. In what was his debut performance, Kinnear plays a rich Long Island playboy who spends his time living the good life instead of helping his brother (Ford) to run the family business. Its hard to believe that Kinnear had no previous film experience since this is clearly a performance given by a professional. As David, Kinnear makes good use of what is definitley the film's flashiest role and injects it with the pitch-perfect comedic timing and charisma that it requires.
http://www.youtube.com/watch?v=pQv3u_aj5m4
2000s:
-Ben Affleck for Hollywoodland (2006) instead of Mark Wahlberg for The Departed
-Affleck took a decidedly Hollywood route after winning his Oscar for Best Original Screenplay by attempting to carve out a leading man niche for himself in films like Bounce and Paycheck while doing favors for good friend Kevin Smith. Yet none of those roles was ever successfully able to capture his abilities as an actor quite like the true-life mystery Hollywoodland. As actor George Reeves (TV's Superman) who was found shot dead mysteriously in his home in the Hollywood Hills, Affleck showed a side of himself no one thought existed. He portrays Reeves the way many believe he was in real life; scared, angry, frustrated, and depressed. Affleck has truly never been better and one can only hope that a role such as this finds him in the future.
http://www.youtube.com/watch?v=iZvDDWQfgFA
Tomorrow...Best Actress!!
Monday, 22 February 2010
They Weren't Even Nominated!! Best Supporting Actress Nominees that Never Were...
-This year's race for Best Supporting Actress was rather interesting with regards as to which actresses would make up the final five nominees. Some were sure Julianne Moore would get in for her turn in A Single Man, which was unlike anything she had ever turned in before, while others expected at least one of the ladies from Inglorious Basterds to score a nomination. While none of them made it into the final five, their snubs are just the latest in a long line of overlooked performances. The Academy has been faced with a great number of supporting actress performances over the years that have stood out, yet not quite enough to be considered worthy of a nomination. To pay tribute to some of these great performances, here are 7 past supporting actress turns that were excellent on the screen, yet didn't even get a nomination...
1940s:
-Lucille Ball for The Big Street (1942) instead of Agnes Moorehead for The Magnificent Ambersons
-The future comedy legend was truly remarkable as a sought after nightclub singer who takes the world around her for granted until a devastating accident leaves her handicapped. There's no trace of the carefree and whimsical Lucy in this film whatsoever. Instead, the audience sees Ball as an accomplished actress, playing a character that is not necessarily likable, yet still somehow elicits sympathy. It was a worthwhile performance worthy of more recognition than it got.
http://www.youtube.com/watch?v=5ljzn3BxIZ4
1950s:
-Marlene Dietrich for Stage Fright (1950) instead of Hope Emerson for Caged
-Not many remember Hitchcock's first entry in the decade 0f the 50s, but the theatrical murder mystery Stage Fright is not only a worthy entry into the cannon of 50's Hitchcock, but also features one of Dietrich's greatest turns on screen. As a vain stage legend who persuades an admirer to cover up her husband's murder, Dietrich literally steals the show. Dietrich plays her character as not just vain, but in a way also philosophical and surprisingly level-headed. As with most roles she was offered, Dietrich plays a woman who is captivating and intimidating and she does it well.
http://www.youtube.com/watch?v=_7u3wyxjTaQ
1960s:
-Ethel Merman for It's a Mad, Mad, Mad, Mad World (1963) intead of Joyce Redman for Tom Jones
-Ethel Merman has gone down in history as a stage legend, but her broad, comic turn in Stanley Kramer's all-star farce bears no trace of the Merman that came before. Merman plays Milton Berle's domineering mother-in-law who, like everyone else in the film, is after a suitcase full of money hidden somewhere in California. Her consistent whining, nagging, and outright bullying would definitley get to be tiresome after a while, yet the actress' comic timing is excellent enough that she ilicits laughs throughout her entire performance.
http://www.youtube.com/watch?v=Ee3CPfH2O_I
1970s:
-Jane Fonda for California Suite (1978) instead of Penelope Milford for Coming Home
-While her costar Maggie Smith's worthy performance went on to win the Oscar for this film, Jane Fonda's turn in this Neil Simon ensemble is the true stand out. Fonda plays a divorcee who travels from New York to Los Angeles to reunite with her ex-husband (Alan Alda) to discuss their daughter's future. This is perhaps one of Fonda's best onscreen moments. As a woman who has not been able to completely let go of her bitterness toward the past, the actress projects an air of self-control coupled with emotional fragility that is impeccable. Its not often one sees this kind of Jane Fonda.
http://www.youtube.com/watch?v=F9KsZHMxzw8
1980s:
-Ally Sheedy for The Breakfast Club (1985) instead of Amy Madigan for Twice in a Lifetime
-The Breakfast Club was one of the seminal films of the 1980s. The story of a group of diverse high schoolers forced to spend an etire Saturday together in detention resonated with many teenagers who saw themselves in at least one of the now iconic characters. Without a doubt the most unique amongst the group was Sheedy's Allison. As the slient, all-black wearing, reclusive outcast, Sheedy represented a girl wise beyond her years whose outlook on life was decidedly bleak, but somehow optimistic with regards to the possibilities she could have outside of high school. Its one of Sheedy's most famous roles, and by far, her most touching.
http://www.youtube.com/watch?v=OaLJPjLIdRQ
1990s:
-Isabella Rossellini for Death Becomes Her (1992) instead of Joan Plowright for Enchanted April
-I imagine it would be hard to try and stand out in a film when your entire role consists of scenes opposite Meryl Streep and Bruce Willis. Yet Rossellini manages to quite easily as a mysterious enchantress in this dark comedy. As a madonna-like figure who holds the key to eternal youth, Rossellini is positively captivating. Oozing sexuality and dispersing romantic notions of the bilssfulness of youth while possessing an air of control, Rossellini is without question, at her greatest. Its a shame the film was so heavily edited that the actress' role consists of mainly two large extended scenes. But memorable, they are.
http://www.youtube.com/watch?v=fN3L7umTdTU
2000s:
-Michelle Pfeiffer for White Oleander (2002) instead of Catherine Zeta-Jones for Chicago
-Pfeiffer did some of her best work in this female-driven ensemble drama about a young girl's struggle with her dangerous mother. Pfeiffer plays a single mother/artist who kills her last boyfriend after their relationship ends causing her to be sent to prison, but is still able to maintain a hold on her teenage daughter. This is without question one of the actress' most complex roles. As Ingrid, Pfeiffer plays a woman who truly loves her child, but who manipulates that love and uses it as a weapon against her daughter. Her love and need for control knows no bounds as she is willing to silently destroy anyone she feels is trying to take her child away from her. Its a Pfeiffer that is both chilling and heartbreaking.
http://www.youtube.com/watch?v=An6T_66uHLI
Tomorrow...Best Supporting Actor!!
1940s:
-Lucille Ball for The Big Street (1942) instead of Agnes Moorehead for The Magnificent Ambersons
-The future comedy legend was truly remarkable as a sought after nightclub singer who takes the world around her for granted until a devastating accident leaves her handicapped. There's no trace of the carefree and whimsical Lucy in this film whatsoever. Instead, the audience sees Ball as an accomplished actress, playing a character that is not necessarily likable, yet still somehow elicits sympathy. It was a worthwhile performance worthy of more recognition than it got.
http://www.youtube.com/watch?v=5ljzn3BxIZ4
1950s:
-Marlene Dietrich for Stage Fright (1950) instead of Hope Emerson for Caged
-Not many remember Hitchcock's first entry in the decade 0f the 50s, but the theatrical murder mystery Stage Fright is not only a worthy entry into the cannon of 50's Hitchcock, but also features one of Dietrich's greatest turns on screen. As a vain stage legend who persuades an admirer to cover up her husband's murder, Dietrich literally steals the show. Dietrich plays her character as not just vain, but in a way also philosophical and surprisingly level-headed. As with most roles she was offered, Dietrich plays a woman who is captivating and intimidating and she does it well.
http://www.youtube.com/watch?v=_7u3wyxjTaQ
1960s:
-Ethel Merman for It's a Mad, Mad, Mad, Mad World (1963) intead of Joyce Redman for Tom Jones
-Ethel Merman has gone down in history as a stage legend, but her broad, comic turn in Stanley Kramer's all-star farce bears no trace of the Merman that came before. Merman plays Milton Berle's domineering mother-in-law who, like everyone else in the film, is after a suitcase full of money hidden somewhere in California. Her consistent whining, nagging, and outright bullying would definitley get to be tiresome after a while, yet the actress' comic timing is excellent enough that she ilicits laughs throughout her entire performance.
http://www.youtube.com/watch?v=Ee3CPfH2O_I
1970s:
-Jane Fonda for California Suite (1978) instead of Penelope Milford for Coming Home
-While her costar Maggie Smith's worthy performance went on to win the Oscar for this film, Jane Fonda's turn in this Neil Simon ensemble is the true stand out. Fonda plays a divorcee who travels from New York to Los Angeles to reunite with her ex-husband (Alan Alda) to discuss their daughter's future. This is perhaps one of Fonda's best onscreen moments. As a woman who has not been able to completely let go of her bitterness toward the past, the actress projects an air of self-control coupled with emotional fragility that is impeccable. Its not often one sees this kind of Jane Fonda.
http://www.youtube.com/watch?v=F9KsZHMxzw8
1980s:
-Ally Sheedy for The Breakfast Club (1985) instead of Amy Madigan for Twice in a Lifetime
-The Breakfast Club was one of the seminal films of the 1980s. The story of a group of diverse high schoolers forced to spend an etire Saturday together in detention resonated with many teenagers who saw themselves in at least one of the now iconic characters. Without a doubt the most unique amongst the group was Sheedy's Allison. As the slient, all-black wearing, reclusive outcast, Sheedy represented a girl wise beyond her years whose outlook on life was decidedly bleak, but somehow optimistic with regards to the possibilities she could have outside of high school. Its one of Sheedy's most famous roles, and by far, her most touching.
http://www.youtube.com/watch?v=OaLJPjLIdRQ
1990s:
-Isabella Rossellini for Death Becomes Her (1992) instead of Joan Plowright for Enchanted April
-I imagine it would be hard to try and stand out in a film when your entire role consists of scenes opposite Meryl Streep and Bruce Willis. Yet Rossellini manages to quite easily as a mysterious enchantress in this dark comedy. As a madonna-like figure who holds the key to eternal youth, Rossellini is positively captivating. Oozing sexuality and dispersing romantic notions of the bilssfulness of youth while possessing an air of control, Rossellini is without question, at her greatest. Its a shame the film was so heavily edited that the actress' role consists of mainly two large extended scenes. But memorable, they are.
http://www.youtube.com/watch?v=fN3L7umTdTU
2000s:
-Michelle Pfeiffer for White Oleander (2002) instead of Catherine Zeta-Jones for Chicago
-Pfeiffer did some of her best work in this female-driven ensemble drama about a young girl's struggle with her dangerous mother. Pfeiffer plays a single mother/artist who kills her last boyfriend after their relationship ends causing her to be sent to prison, but is still able to maintain a hold on her teenage daughter. This is without question one of the actress' most complex roles. As Ingrid, Pfeiffer plays a woman who truly loves her child, but who manipulates that love and uses it as a weapon against her daughter. Her love and need for control knows no bounds as she is willing to silently destroy anyone she feels is trying to take her child away from her. Its a Pfeiffer that is both chilling and heartbreaking.
http://www.youtube.com/watch?v=An6T_66uHLI
Tomorrow...Best Supporting Actor!!
Friday, 19 February 2010
They Shoulda Won!! Best Picture Winners From Past Years...
-I honestly cannot imagine a single category that's harder to judge at the Academy Awards than Best Picture. The film which is awarded the top prize not only represents what the Academy as a whole liked the most over the past year, but the film chosen in a way also signifies the state of society over the past year as well as the mood and tone of the country. Sometimes films are awarded because of prestige. It looks good to vote for a film directed by one of the most edgy underground filmmakers around. Other times a film can make it based on sheer popularity. Big box-office returns often times sit comfortably with the voters. Still, at other times full-on campaigning can be a constant for a Best Picture nominee. A studio can push, and push, and push a nominated film relentlessly in front of voters until they have no choice but to select it as their pick for film of the year. This year the Academy has allowed 10 nominees to be entered into the Best Picture category even though only 7 of those deserve to actually be there (sorry District 9, A Serious Man, and The Blind Side). Still, it will be interesting to see with such a broad range of films, just which one of the three methods the Academy will succumb to. In any case, I'm taking this opportunity to look back on some past Best Picture nominees that fell victim to at least one of the above-mentioned tactics.
1940s:
Double Indemnity (1944)- lost to Going My Way
-The original blueprint for the classic film noir, this Billy Wilder classic was grossly robbed when it came time to had out the Best Picture Oscar. The film told the story of an insurance man played by Fred Macmurray who falls for the wife of one of his clients who convinces him to take part in the murder of her husband. The film was heavily criticized by censors of the day for being too racy with certain bits of dialogue. Yet the taut plot, solid direction and the pitch perfect performances from the two leads (especially Stanwyck who herself received a nomination for her role) led Double Indemnity to not only helping to establish a new genre, but also to become one of the best films of the decade.
http://www.youtube.com/watch?v=r69dQZHjkmY
1950s:
Giant (1956)- lost to Around the World in 80 Days
-One of the most grand and beloved films ever made about Texas, Giant was a sprawling epic spanning two generations of the wealthy Benedict family. Based on the novel by Edna Ferber, Giant was a classic Hollywood production if there ever was one. Not only did the film have a top cast including Rock Hudson, Elizabeth Taylor and James Dean (in his final screen role), but also one of the most sought after directors (George Stevens) at the helm. Only a film like Giant could capture the feeling of Texas within the different eras. The racism, the pride, the tradition, the way of life and the changing of times are all captured accurately here and for all that is depicted, good and bad, Texas has never looked better.
http://www.youtube.com/watch?v=ot1PmYwdXq8&feature=related
1960s:
Guess Who's Coming to Dinner? (1968)- lost to In the Heat of the Night
-I have always said that Guess Who's Coming to Dinner was one of the films that defined the decade of the 1960s. The film tells the story of a liberal couple who are caught off guard when their daughter announces she is marrying a black man; causing them to question their own beliefs. This film so brilliantly captures the many views on interracial couples from all sides and angles and does so in quite an entertaining way. Its speeches about society and the way of the future are presented not as sermons, but rather as wise observations and lessons. Above all, the film is about the enduring power of love and how it is an emotion which truly knows no bounds.
http://www.youtube.com/watch?v=9Yt0wxoFl4o
1970s:
The Last Picture Show (1971)- lost to The French Connection
-It's absolutely appalling that one of the most seminal films of the 1970s was not given the Oscar for Best Picture. The Last Picture Show told the story of the citizens of a small Texas town in the 1950s. Shot in black and white and painted with a true authenticity by Peter Bogdanovich, The Last Picture Show truly feels like it came out of 1955. More than just an homage to the decade though, the film was also a love letter to the small town America which was rapidly disappearing.
http://www.youtube.com/watch?v=uU0ddrNtZ-k
1980s:
The Killing Fields (1984)- lost to Amadeus
-One of the most compelling journalistic pieces ever put to film, The Killing Fields explicitly depicts the Cambodian war and how it affected the two men covering the events. On the one side is New York Times reporter Sydney Schanberg who was able to leave Cambodia before the opposing force took over. On the other is Dith Pran, a photographer from Cambodia who worked alongside Sidney during this time. The film chronicles Pran's detention in Cambodia and his struggle to stay alive during this time of war and Schanberg's neverending efforts to locate his friend and bring him to the saftey of his family in America. It is one of the most incredible survivor stories ever and certainly one of most touching depcitions of cross-cultural friendship.
http://www.youtube.com/watch?v=_Z1sj7gzpCk
1990s:
As Good as it Gets (1997)- lost to Titanic
-While comedies don't seem to fare well with the Academy, James L. Brooks' humorous film about an obsessive-compulsive romance novelist, a sweet Manhattan waitress and a gay artist warmed the hearts of the film industry. The film offers plenty of laughs thanks to a rich script and high caliber actors, all of whom are at their career bests. But more than just a simple comedy, As Good as it Gets is a tesament to the strength of the human spirit in times of uncertainty and how human beings possess the ability to endure and win out against any kind of strife. Its a film about damaged people and how, in spite of their flaws can save one another.
http://www.youtube.com/watch?v=BXHxg6Ug9GM
2000s:
Finding Neverland (2004)- lost to Million Dollar Baby
-While merely looked upon as a weepy drama, Finding Neverland is much, much more than that. Inspiried by the true story of how playwright J.M. Barry came to write the classic Peter Pan, the film is about the power of imagination and the importance of carrying it with you throughout life. The film is overflowing with many elements that make movies essential, real charactrs, a compelling story, and an overall magical quality that never ceases til the end.
http://www.youtube.com/watch?v=hqXYTSYHFKI
1940s:
Double Indemnity (1944)- lost to Going My Way
-The original blueprint for the classic film noir, this Billy Wilder classic was grossly robbed when it came time to had out the Best Picture Oscar. The film told the story of an insurance man played by Fred Macmurray who falls for the wife of one of his clients who convinces him to take part in the murder of her husband. The film was heavily criticized by censors of the day for being too racy with certain bits of dialogue. Yet the taut plot, solid direction and the pitch perfect performances from the two leads (especially Stanwyck who herself received a nomination for her role) led Double Indemnity to not only helping to establish a new genre, but also to become one of the best films of the decade.
http://www.youtube.com/watch?v=r69dQZHjkmY
1950s:
Giant (1956)- lost to Around the World in 80 Days
-One of the most grand and beloved films ever made about Texas, Giant was a sprawling epic spanning two generations of the wealthy Benedict family. Based on the novel by Edna Ferber, Giant was a classic Hollywood production if there ever was one. Not only did the film have a top cast including Rock Hudson, Elizabeth Taylor and James Dean (in his final screen role), but also one of the most sought after directors (George Stevens) at the helm. Only a film like Giant could capture the feeling of Texas within the different eras. The racism, the pride, the tradition, the way of life and the changing of times are all captured accurately here and for all that is depicted, good and bad, Texas has never looked better.
http://www.youtube.com/watch?v=ot1PmYwdXq8&feature=related
1960s:
Guess Who's Coming to Dinner? (1968)- lost to In the Heat of the Night
-I have always said that Guess Who's Coming to Dinner was one of the films that defined the decade of the 1960s. The film tells the story of a liberal couple who are caught off guard when their daughter announces she is marrying a black man; causing them to question their own beliefs. This film so brilliantly captures the many views on interracial couples from all sides and angles and does so in quite an entertaining way. Its speeches about society and the way of the future are presented not as sermons, but rather as wise observations and lessons. Above all, the film is about the enduring power of love and how it is an emotion which truly knows no bounds.
http://www.youtube.com/watch?v=9Yt0wxoFl4o
1970s:
The Last Picture Show (1971)- lost to The French Connection
-It's absolutely appalling that one of the most seminal films of the 1970s was not given the Oscar for Best Picture. The Last Picture Show told the story of the citizens of a small Texas town in the 1950s. Shot in black and white and painted with a true authenticity by Peter Bogdanovich, The Last Picture Show truly feels like it came out of 1955. More than just an homage to the decade though, the film was also a love letter to the small town America which was rapidly disappearing.
http://www.youtube.com/watch?v=uU0ddrNtZ-k
1980s:
The Killing Fields (1984)- lost to Amadeus
-One of the most compelling journalistic pieces ever put to film, The Killing Fields explicitly depicts the Cambodian war and how it affected the two men covering the events. On the one side is New York Times reporter Sydney Schanberg who was able to leave Cambodia before the opposing force took over. On the other is Dith Pran, a photographer from Cambodia who worked alongside Sidney during this time. The film chronicles Pran's detention in Cambodia and his struggle to stay alive during this time of war and Schanberg's neverending efforts to locate his friend and bring him to the saftey of his family in America. It is one of the most incredible survivor stories ever and certainly one of most touching depcitions of cross-cultural friendship.
http://www.youtube.com/watch?v=_Z1sj7gzpCk
1990s:
As Good as it Gets (1997)- lost to Titanic
-While comedies don't seem to fare well with the Academy, James L. Brooks' humorous film about an obsessive-compulsive romance novelist, a sweet Manhattan waitress and a gay artist warmed the hearts of the film industry. The film offers plenty of laughs thanks to a rich script and high caliber actors, all of whom are at their career bests. But more than just a simple comedy, As Good as it Gets is a tesament to the strength of the human spirit in times of uncertainty and how human beings possess the ability to endure and win out against any kind of strife. Its a film about damaged people and how, in spite of their flaws can save one another.
http://www.youtube.com/watch?v=BXHxg6Ug9GM
2000s:
Finding Neverland (2004)- lost to Million Dollar Baby
-While merely looked upon as a weepy drama, Finding Neverland is much, much more than that. Inspiried by the true story of how playwright J.M. Barry came to write the classic Peter Pan, the film is about the power of imagination and the importance of carrying it with you throughout life. The film is overflowing with many elements that make movies essential, real charactrs, a compelling story, and an overall magical quality that never ceases til the end.
http://www.youtube.com/watch?v=hqXYTSYHFKI
Thursday, 18 February 2010
They Shoulda Won!! Best Actor Nominees From Past Years...
-What classic performance comes to mind when one thinks of the term "best actor??" For some its Gregory Peck's Atticus Finch in To Kill A Mockingbird or James Cagney's classic footwork in Yankee Doodle Dandy, Jack Nicholson's manic McMurphy in One Flew Over the Cuckoo's Nest, or Anthony Hopkin's Hannibal Lecter in The Slience of the Lambs, among countless others which have come to represent the very best in screen acting. All of the aforementioned examples contained fire, intensity, passion, beauty, and above all a commitment to the role and the art of filmmaking. It seems as if there are no limits with regards to the kinds of roles the Oscar chooses to recognize. Villians and saviors, savants and charlatans have all been portrayed on the screen and the men who have brought them to life have been honored for thier fine work. This year's crop of nominees up for Best Actor contain one of the mosst diverse groups in years thereby reinforcing my point. A washed up country singer, a suicidal college professor, an army officer, a disconnected businessman and one of the greatest world leaders in history have all been brought to life on screen this year and now stand amongst each other for the Best Actor Academy Award. In honor of these roles as well as the many other nominated performances from before, I present to you seven Oscar-nominated performances that sadly went unrewarded.
1940s:
Lew Ayres for Johnny Belinda- lost to Laurence Olivier for Hamlet
-While the main focus of Johnny Belinda focuses on Jane Wyman's performance as a deaf mute farm girl who is raped by a local, many neglect to mention the beauty and intensity of Ayres' work. As the new town doctor who falls in love with Wyman, Ayres is incredibly heroric in a decidely low-key fashion, taking the troubled Belinda under his wing and believing in her ability to learn. The audience feels for his character which has the purest of intentions, a kind heart and an open mind; making what happens to Belinda all the more painful.
http://www.youtube.com/watch?v=OSlBeXCIhi8
1950s:
Charles Laughton for Witness for the Prosecution (1957)- lost to Alec Guiness for The Bridge on the River Kwai
-In all of the screen performances of that decade, there was hardly one as unique as Laughton's turn in the film adaptation of Agatha Christie's Witness for the Prosecution. As a famous lawyer recovering from a heart attack who takes on a murder case, Laughton is positively at his best. Only a skilled performer like Laughton is able to inject the proper doses of drama during the many courtroom scenes and delicious comedy in the sequences with his cheery nurse. Such a role requires an actor not afraid to juggle the two sides, which Laughton does masterfully.
http://www.youtube.com/watch?v=Fq3UK04pNrY
1960s:
Richard Burton for The Spy Who Came in From the Cold (1965)- lost to Lee Marvin for Cat Ballou
-John La Carre's stories have always seemed to translate well to the screen; captivating audiences with his tight plots of intrigue and complex male protagonists. For many, Richard Burton represents the quintessential La Carre hero with his gruff persona and cynical outlook on life. There isn't a shred of the dashing shakesperean leading man audiences had grown accustomed to, instead this film sees a different Burton in a role which remains one of the standouts of his entire career.
http://www.youtube.com/watch?v=lNrjAMV0HJk
1970s:
Albert Finney for Murder on the Orient Express (1974)- lost to Art Carney for Harry and Tonto
-Of the various actors who have portrayed Agatha Christie's famous sleuth Hercule Poirot, Finney's portrayal was reportedly the closest to the author's inital image of the character. As the world-famous detective called upon to solve a murder aboard a train, Finney is unrecognizable with a waxed moustache and gleaming black hair. His performance is truly a tour de force that only gets better as he loses himself more and more in the role to the benefit of the film. If there was ever a time when the actor deserved the top prize, it was here.
http://www.youtube.com/watch?v=5w-KfnLShIc
1980s:
Edward James Olmos for Stand and Deliver (1988)- lost to Dustin Hoffman for Rain Man
-While most feel that no one but Dustin Hoffman was entitled to the Oscar that year, no one can deny the Olmos' performance as a high school math teacher who changes the lives of a group of inner-city students comes a close second. Olmos has always been one of the screen's most dependable actors, but in Stand and Deliver he is truly inspiring playing this real-life figure. In what has otherwise become a tired and cliche-infested genre, the script and Olmos' portrayal make this a truly enriching movie experience.
http://www.youtube.com/watch?v=cIlHJsv0Joc&feature=related
1990s:
Richard Dreyfuss for Mr. Holland's Opus (1995)- lost to Nicholas Cage for Leaving Las Vegas
-While most films about inspirational teachers focus on the students they teach, Mr. Holland's Opus looks at the teacher as an individual. As a struggling composer whose life is transformed after accepting a teaching job, Richard Dreyfuss is nearly flawless in one of best latter day roles. He plays Mr. Holland as a man whose dreams have escaped him leaving him deep in regret, yet finds meaning in a path he never expected to take.
http://www.youtube.com/watch?v=4tQJBBY7X6I
2000s:
Tommy Lee Jones for In the Valley of Elah (2007)- lost to Daniel Day-Lewis for There Will Be Blood
-I would venture to call Jones' performance in this film the culmination of his career. Jones plays a retired military officer investigating the disappearance of his son who has recently returned from Iraq. The beauty of the actor's performance here lies in how he is able to project worry and grief while remaining completely contained throughout; its a challenge for most actors, yet somehow it seems tailor-made for Jones.
http://www.youtube.com/watch?v=1EwmvAEetTs
Tomorrow...Best Picture!!
1940s:
Lew Ayres for Johnny Belinda- lost to Laurence Olivier for Hamlet
-While the main focus of Johnny Belinda focuses on Jane Wyman's performance as a deaf mute farm girl who is raped by a local, many neglect to mention the beauty and intensity of Ayres' work. As the new town doctor who falls in love with Wyman, Ayres is incredibly heroric in a decidely low-key fashion, taking the troubled Belinda under his wing and believing in her ability to learn. The audience feels for his character which has the purest of intentions, a kind heart and an open mind; making what happens to Belinda all the more painful.
http://www.youtube.com/watch?v=OSlBeXCIhi8
1950s:
Charles Laughton for Witness for the Prosecution (1957)- lost to Alec Guiness for The Bridge on the River Kwai
-In all of the screen performances of that decade, there was hardly one as unique as Laughton's turn in the film adaptation of Agatha Christie's Witness for the Prosecution. As a famous lawyer recovering from a heart attack who takes on a murder case, Laughton is positively at his best. Only a skilled performer like Laughton is able to inject the proper doses of drama during the many courtroom scenes and delicious comedy in the sequences with his cheery nurse. Such a role requires an actor not afraid to juggle the two sides, which Laughton does masterfully.
http://www.youtube.com/watch?v=Fq3UK04pNrY
1960s:
Richard Burton for The Spy Who Came in From the Cold (1965)- lost to Lee Marvin for Cat Ballou
-John La Carre's stories have always seemed to translate well to the screen; captivating audiences with his tight plots of intrigue and complex male protagonists. For many, Richard Burton represents the quintessential La Carre hero with his gruff persona and cynical outlook on life. There isn't a shred of the dashing shakesperean leading man audiences had grown accustomed to, instead this film sees a different Burton in a role which remains one of the standouts of his entire career.
http://www.youtube.com/watch?v=lNrjAMV0HJk
1970s:
Albert Finney for Murder on the Orient Express (1974)- lost to Art Carney for Harry and Tonto
-Of the various actors who have portrayed Agatha Christie's famous sleuth Hercule Poirot, Finney's portrayal was reportedly the closest to the author's inital image of the character. As the world-famous detective called upon to solve a murder aboard a train, Finney is unrecognizable with a waxed moustache and gleaming black hair. His performance is truly a tour de force that only gets better as he loses himself more and more in the role to the benefit of the film. If there was ever a time when the actor deserved the top prize, it was here.
http://www.youtube.com/watch?v=5w-KfnLShIc
1980s:
Edward James Olmos for Stand and Deliver (1988)- lost to Dustin Hoffman for Rain Man
-While most feel that no one but Dustin Hoffman was entitled to the Oscar that year, no one can deny the Olmos' performance as a high school math teacher who changes the lives of a group of inner-city students comes a close second. Olmos has always been one of the screen's most dependable actors, but in Stand and Deliver he is truly inspiring playing this real-life figure. In what has otherwise become a tired and cliche-infested genre, the script and Olmos' portrayal make this a truly enriching movie experience.
http://www.youtube.com/watch?v=cIlHJsv0Joc&feature=related
1990s:
Richard Dreyfuss for Mr. Holland's Opus (1995)- lost to Nicholas Cage for Leaving Las Vegas
-While most films about inspirational teachers focus on the students they teach, Mr. Holland's Opus looks at the teacher as an individual. As a struggling composer whose life is transformed after accepting a teaching job, Richard Dreyfuss is nearly flawless in one of best latter day roles. He plays Mr. Holland as a man whose dreams have escaped him leaving him deep in regret, yet finds meaning in a path he never expected to take.
http://www.youtube.com/watch?v=4tQJBBY7X6I
2000s:
Tommy Lee Jones for In the Valley of Elah (2007)- lost to Daniel Day-Lewis for There Will Be Blood
-I would venture to call Jones' performance in this film the culmination of his career. Jones plays a retired military officer investigating the disappearance of his son who has recently returned from Iraq. The beauty of the actor's performance here lies in how he is able to project worry and grief while remaining completely contained throughout; its a challenge for most actors, yet somehow it seems tailor-made for Jones.
http://www.youtube.com/watch?v=1EwmvAEetTs
Tomorrow...Best Picture!!
Wednesday, 17 February 2010
They Shoulda Won!! Best Actress Nominees from Past Years...
-One of the age-old claims concerning film has been that there are very little substantial roles for women. This is a claim that has been goin on since the early days of contract players from Hollywood's golden age. Yet each year, more and more female actresses seem to defy the notion by appearing in roles which go against the typical female prototype. For example, stars such as Meryl Streep and Hilary Swank rely on their cameleon-like abilities to transform themselves into a bevy of characters thereby avoiding typecasting. Others such as Barbra Streisand and Jane Fonda take a more active role as producers and directors to ensure that they play only parts of quality while some, like Jodie Foster primarily take on roles originally written for men. In spite of these actresses' valiant efforts, some have felt the roles for women seem remain stuck in limbo; falling in between the neurotic, hard businesswoman and the poor girl who needs rescuing with very little variety in between. This year's collection of actresses nominated for Oscars all contain roles which point to just the opposite showing just how far the standards for women are changing and where they are headed. In celebration of this, I've decided to pay tribute to some of the great Oscar-nominated female performances given over the years; all of which should have taken home the gold.
1940s:
Barbara Stanwyck- Sorry, Wrong Number (1948)- lost to Jane Wyman for Johnny Belinda
-Stanwyck received her fourth and final nomination for her work in this gripping mystery playing a wealthy bedridden woman who, thanks to crossed wires, overhears two men plotting a murder over the telephone. An actress known for her tough as nails characters, the part was a quintessential Stanwyck role in which the actress portrayed fear, anger, romance, resentment, and regret. Never before has Stanwyck been asked to deliver so much on screen than here and she does so magnificently. While some of the films she did after this vaired with regrads to importance, Sorry, Wrong Number remains not just a brilliant film noir, but a classic example of Stanwyck at her best.
http://www.youtube.com/watch?v=X5Sm7jLNtmU&feature=related
(please watch up to 5:00)
1950s:
Deborah Kerr in Separate Tables (1958)- lost to Susan Hayward for I Want to Live!
-Before Kate Winselt became known as that superb Brit who never took home an Oscar, Kerr had already garnered 6 Oscar nominations without a single win. In Separate Tables, her fifth nomination, Kerr portrays a woman who is bound to her overbearing mother, but who is also curiously attracted to a child molesting Major (Niven). Its perhaps one of Kerr's most heartbreaking roles in which she must project emotional fragility and social awkwardness throughout the film. Kerr made her name with dramatically charged roles and here she found what is perhaps her most compelling and despite the fact that Separate Tables is an ensemble film, Kerr's character manages to stand out the most.
http://www.youtube.com/watch?v=h9ZEhiiYFpc
1960s:
Audrey Hepburn for Wait Until Dark (1967)- lost to Katherine Hepburn for Guess Who's Coming to Dinner?
-Film lovers typically think of Audrey Hepburn playing charming roles in whimsical films, yet the actress did some of her best work in this underrated thriller based on the play by Frederick Knott. Hepburn plays a recently-blinded woman who, unbeknownst to her, has come into the possession of a child's doll containing drugs and is being stalked by three men out to retrieve the object. This film offers one of the few glances at Hepburn in peril (an excruciating experience for the audience who always felt protective of the actress). In what could have otherwise been an empty role, Hepburn plays her character as a real person rather than a stock character used as a plot device. While she may have been one of cinema's most sprightly and carefree actresses, here Hepburn gives a terror-filled performance unlike any seen before.
http://www.youtube.com/watch?v=ogGKBiMX8KU
1970s:
Faye Dunaway for Chinatown (1974)- lost to Ellen Burstyn for Alice Doesn't Live Here Anymore
-Not many actresses can claim to have as many classics attached to their name quite like Faye Dunaway (Bonnie and Clyde, Network, The Towering Inferno, Three Days of The Condor, The Thomas Crown Affair, to name a few...). In Polanski's Chinatown, the ultimate neo-noir, Dunaway gave a new image to the tradtional femme fatale character. As the secretive, but alluring Evelyn Mulwray, Dunaway is both cold and callous, and later quite deep and open with the detective investigating her husband's murder. For an actress used to giving high-strung and neurotic performances, Dunaway is at her most controlled and subtle in Chinatown giving a performance of carefully precisioned skill and measure.
http://www.youtube.com/watch?v=FueLhmwT8E4
1980s:
Michelle Pfeiffer for The Fabulous Baker Boys (1989)- lost to Jessica Tandy for Driving Miss Daisy
-Some people were quick to write Pfeiffer off in this role of a former prostitute turned lounge singer who comes between two musician brothers. While most actresses would have played the character of Susie Diamond as hard and cold, Pfeiffer plays her as strong, showing that she's been through alot but has made her new life her own. With such a character, it would seem hard to display her vulnerable side, yet Pfeiffer is able to do just that while never losing the character's toughness. Its an extraordinary performance from Pfeiffer, and perhaps her best to date.
http://www.youtube.com/watch?v=P2swHprmKwM
1990s:
Stockard Channing for Six Degrees of Separation (1993)- lost to Holly Hunter for The Piano
-For many, Channing will always be the tough-as-nails Rizzo from Grease, but her true talent as an actress shines brightly in this film adaptation of the Tony-winning play. As an upper class Manhattan wife who is deceived by a young Will Smith, Channing gave a performance that explored many levels of drama and comedy. There's an intensity in Channing's work here which is coupled by an air of pensive wisdom which the actress uses wisely at different times throughout the film. Its a crime that the actress received few other lead roles (or supporting roles for that matter) in her career which gave her the opportunity to truly excel as an actress the way she does here.
http://www.youtube.com/watch?v=e4vLgn3yBew
2000s:
Annette Bening for Being Julia (2004)- lost to Hilary Swank for Million Dollar Baby
-One of the greatest Oscar upsets was Annette Bening's loss for Being Julia in 2004. As an actress who rarely gets to shine, Bening gave an impeccible performance as an aging British stage star who questions her own mortality when she gets involved with a younger male admirer. The actress has always been at her best when allowed to attack a role with wreckless abandon and nowhere is this more true than here where Bening projects endless amounts of gusto and comedy. Only a truly gifted actress has the ability to make skilled thespians like Irons and Gambon fade into the background.
http://www.youtube.com/watch?v=6ydegVSkDO8
Tomorrow...Best Actor!!
1940s:
Barbara Stanwyck- Sorry, Wrong Number (1948)- lost to Jane Wyman for Johnny Belinda
-Stanwyck received her fourth and final nomination for her work in this gripping mystery playing a wealthy bedridden woman who, thanks to crossed wires, overhears two men plotting a murder over the telephone. An actress known for her tough as nails characters, the part was a quintessential Stanwyck role in which the actress portrayed fear, anger, romance, resentment, and regret. Never before has Stanwyck been asked to deliver so much on screen than here and she does so magnificently. While some of the films she did after this vaired with regrads to importance, Sorry, Wrong Number remains not just a brilliant film noir, but a classic example of Stanwyck at her best.
http://www.youtube.com/watch?v=X5Sm7jLNtmU&feature=related
(please watch up to 5:00)
1950s:
Deborah Kerr in Separate Tables (1958)- lost to Susan Hayward for I Want to Live!
-Before Kate Winselt became known as that superb Brit who never took home an Oscar, Kerr had already garnered 6 Oscar nominations without a single win. In Separate Tables, her fifth nomination, Kerr portrays a woman who is bound to her overbearing mother, but who is also curiously attracted to a child molesting Major (Niven). Its perhaps one of Kerr's most heartbreaking roles in which she must project emotional fragility and social awkwardness throughout the film. Kerr made her name with dramatically charged roles and here she found what is perhaps her most compelling and despite the fact that Separate Tables is an ensemble film, Kerr's character manages to stand out the most.
http://www.youtube.com/watch?v=h9ZEhiiYFpc
1960s:
Audrey Hepburn for Wait Until Dark (1967)- lost to Katherine Hepburn for Guess Who's Coming to Dinner?
-Film lovers typically think of Audrey Hepburn playing charming roles in whimsical films, yet the actress did some of her best work in this underrated thriller based on the play by Frederick Knott. Hepburn plays a recently-blinded woman who, unbeknownst to her, has come into the possession of a child's doll containing drugs and is being stalked by three men out to retrieve the object. This film offers one of the few glances at Hepburn in peril (an excruciating experience for the audience who always felt protective of the actress). In what could have otherwise been an empty role, Hepburn plays her character as a real person rather than a stock character used as a plot device. While she may have been one of cinema's most sprightly and carefree actresses, here Hepburn gives a terror-filled performance unlike any seen before.
http://www.youtube.com/watch?v=ogGKBiMX8KU
1970s:
Faye Dunaway for Chinatown (1974)- lost to Ellen Burstyn for Alice Doesn't Live Here Anymore
-Not many actresses can claim to have as many classics attached to their name quite like Faye Dunaway (Bonnie and Clyde, Network, The Towering Inferno, Three Days of The Condor, The Thomas Crown Affair, to name a few...). In Polanski's Chinatown, the ultimate neo-noir, Dunaway gave a new image to the tradtional femme fatale character. As the secretive, but alluring Evelyn Mulwray, Dunaway is both cold and callous, and later quite deep and open with the detective investigating her husband's murder. For an actress used to giving high-strung and neurotic performances, Dunaway is at her most controlled and subtle in Chinatown giving a performance of carefully precisioned skill and measure.
http://www.youtube.com/watch?v=FueLhmwT8E4
1980s:
Michelle Pfeiffer for The Fabulous Baker Boys (1989)- lost to Jessica Tandy for Driving Miss Daisy
-Some people were quick to write Pfeiffer off in this role of a former prostitute turned lounge singer who comes between two musician brothers. While most actresses would have played the character of Susie Diamond as hard and cold, Pfeiffer plays her as strong, showing that she's been through alot but has made her new life her own. With such a character, it would seem hard to display her vulnerable side, yet Pfeiffer is able to do just that while never losing the character's toughness. Its an extraordinary performance from Pfeiffer, and perhaps her best to date.
http://www.youtube.com/watch?v=P2swHprmKwM
1990s:
Stockard Channing for Six Degrees of Separation (1993)- lost to Holly Hunter for The Piano
-For many, Channing will always be the tough-as-nails Rizzo from Grease, but her true talent as an actress shines brightly in this film adaptation of the Tony-winning play. As an upper class Manhattan wife who is deceived by a young Will Smith, Channing gave a performance that explored many levels of drama and comedy. There's an intensity in Channing's work here which is coupled by an air of pensive wisdom which the actress uses wisely at different times throughout the film. Its a crime that the actress received few other lead roles (or supporting roles for that matter) in her career which gave her the opportunity to truly excel as an actress the way she does here.
http://www.youtube.com/watch?v=e4vLgn3yBew
2000s:
Annette Bening for Being Julia (2004)- lost to Hilary Swank for Million Dollar Baby
-One of the greatest Oscar upsets was Annette Bening's loss for Being Julia in 2004. As an actress who rarely gets to shine, Bening gave an impeccible performance as an aging British stage star who questions her own mortality when she gets involved with a younger male admirer. The actress has always been at her best when allowed to attack a role with wreckless abandon and nowhere is this more true than here where Bening projects endless amounts of gusto and comedy. Only a truly gifted actress has the ability to make skilled thespians like Irons and Gambon fade into the background.
http://www.youtube.com/watch?v=6ydegVSkDO8
Tomorrow...Best Actor!!
Tuesday, 16 February 2010
They Shoulda Won- Best Supporting Actor Nominees from Past Years
-Todays post pays tribute to some of the great past Supporting Actor performances from the 1940s- the present. I have personally always found the performances given by supporting actors to fall between decidedly opposite sides of the spectrum. On the one hand, a performance can be flashy and larger than life with the actor making the most of his limited screen time and seizing the opportunity to make sure everyone knows which moments are his. By contrast, some of the best performances by supporting actors are the ones which are subtle and understated; radiating grace, class and beauty as they are not afraid to let the leads have the spotlight. In any case, the role of a supporting actor is a quintessential one. He is many times the emotional anchor (Louis Gossett Jr.- An Officer and a Gentleman), the malevolent force (Javier Bardem- No Country For Old Men) or the voice of reason (Ben Johnson- The Last Picture Show). In all, the supporting actor is an integral part of almost any film experience. Here are tributes to 7 brilliant Oscar-nominated supporting turns from actors who sadly went home empty handed.
1. Clifton Webb- Laura (1944)- lost to Barry Fitzgerald for Going My Way
-The first of three Academy Award nominations for character actor Webb, the actor's loss remains questionable since that year's winner was also nominated in the Best Actor category for the SAME performance. Webb's characterization of an elisist critic who, like many others in the film, becomes enthralled with a beautiful woman, was clearly one of the decades best turns in the category. As Waldo Lydecker, Webb perfectly plays up the snobbery of his character, but also his devotion and slightly sadistic protection of the title character played by Gene Tierney. With a character that can be witty one minute and manipulative the next, Webb found the role of his career.
http://www.youtube.com/watch?v=xC8A-MJ1ML4
2. Ed Wynn- The Diary of Anne Frank (1959)- lost to Hugh Griffith for Ben-Hur
-There is hardly anyone who cannot picture the great Ed Wynn as anybody but Mary Poppins' delightful Uncle Albert, but the actor's truly greatest role on screen came with his turn in the classic The Diary of Anne Frank. As a Jewish man living in Holland who is forced into hiding during WWII, Wynn shocked many with his sensitive portrait of a man whose life is turned upside down in the midst of world-altering events. There is no trace of the classic Wynn at all throughout the film; instead what the audience is left with is a truly moving performance from a great actor.
http://www.youtube.com/watch?v=85v6tX5MH-w
(apologies for not being able to find a better clip)
3. Montogmery Clift- Judgement at Nuremberg (1961)- lost to George Chakiris for West Side Story
-Clift earned his fourth and final Academy Award nomination (his only one as Best Supporting Actor) for his role in the powerful war-crimes drama Judgement at Nuremberg. Playing a victim of Nazi Germany gave the already-troubled actor one of his best turns in front of the camera; delivering a truly gut-wrenching performance that at times can be difficult to watch. Its a testament to Clift's talent that in such a stirring and dynamic film with actors such as Spencer Tracy, Burt Lancaster, and Judy Garland, among many others that the actor is able to hold is own for his all too brief screen time.
http://www.youtube.com/watch?v=mjMiwGHTffc
4. Ned Beatty- Network (1976)- lost to Jason Robard for All the President's Men
-Network is without question one of the greatest films to come out of the 1970s. Its satirical look at the outrageous agenda-setting tactics of news-media corporations remains potent to this day. Nowhere is the film's core theme more explicit than in Ned Beatty's speech to recently-liberated news anchor Howard Beale (Peter Finch). With a performance consisting mainly of one long take, Beatty channels a truly otherworldy force as he educates about the importance and vitality of corporate America. Its truly one of the film's most powerful scenes and one of Beatty's most captivating moments as an actor.
http://www.youtube.com/watch?v=CeCMSLP3Wy8
5. Dan Aykroyd- Driving Miss Daisy (1989)- lost to Denzel Washington for Glory
-Aykroyd became the first of (to date) three SNL performers to receive an Academy Award nomination, which was rightly deserved as the long-suffering son of Jessica Tandy in this classic southern comedy. As Boolie Werthan, Aykroyd gave a sensetive turn as a man who is constanly faced with his own mortality as his mother refuses to accept hers. The native Canadian is authentically convincing as a southern gentleman as well as a loving son always concerned for his mother's welfare.
http://www.youtube.com/watch?v=KucQk8xFE94
(please watch from 3:20 onwardss)
6. Leonardo Dicaprio- What's Eating Gilbert Grape? (1993)- lost to Tommy Lee Jones for The Fugitive
-Anybody who saw the film could clearly see a true talent emerging. As Johnny Depp's mentally-impaired younger brother, Dicaprio gave what many feel to be his finest onscreen performance. His role as Arnie is both humorous in his childlike innocence and curiosity and equally heartbreaking in times of great hardship. Its no small feat to steal a film away from Johnny Depp, but with a truly flawless performance, that's just what Dicaprio did.
http://www.youtube.com/watch?v=jCjXQtU_YfQ
7. Michael Shannon- Revolutionary Road (2008)- lost to Heath Ledger for The Dark Knight
-Had it been any other year, Michael Shannon would have taken home the gold for his show-stopping work in this 1950s-set drama of suburban angst. As a mental patient out for a temporary visit, the character of John Givings acts as the only voice of reason amongst a society drenched in conformity. Though Shannon's role is only 3 scenes long, the actor literally brings the story of the main characters to a pause with an electrifying performance that never lets up.
http://www.youtube.com/watch?v=8I-56Xyr0Bw
Tomorrow...Best Actress!!
1. Clifton Webb- Laura (1944)- lost to Barry Fitzgerald for Going My Way
-The first of three Academy Award nominations for character actor Webb, the actor's loss remains questionable since that year's winner was also nominated in the Best Actor category for the SAME performance. Webb's characterization of an elisist critic who, like many others in the film, becomes enthralled with a beautiful woman, was clearly one of the decades best turns in the category. As Waldo Lydecker, Webb perfectly plays up the snobbery of his character, but also his devotion and slightly sadistic protection of the title character played by Gene Tierney. With a character that can be witty one minute and manipulative the next, Webb found the role of his career.
http://www.youtube.com/watch?v=xC8A-MJ1ML4
2. Ed Wynn- The Diary of Anne Frank (1959)- lost to Hugh Griffith for Ben-Hur
-There is hardly anyone who cannot picture the great Ed Wynn as anybody but Mary Poppins' delightful Uncle Albert, but the actor's truly greatest role on screen came with his turn in the classic The Diary of Anne Frank. As a Jewish man living in Holland who is forced into hiding during WWII, Wynn shocked many with his sensitive portrait of a man whose life is turned upside down in the midst of world-altering events. There is no trace of the classic Wynn at all throughout the film; instead what the audience is left with is a truly moving performance from a great actor.
http://www.youtube.com/watch?v=85v6tX5MH-w
(apologies for not being able to find a better clip)
3. Montogmery Clift- Judgement at Nuremberg (1961)- lost to George Chakiris for West Side Story
-Clift earned his fourth and final Academy Award nomination (his only one as Best Supporting Actor) for his role in the powerful war-crimes drama Judgement at Nuremberg. Playing a victim of Nazi Germany gave the already-troubled actor one of his best turns in front of the camera; delivering a truly gut-wrenching performance that at times can be difficult to watch. Its a testament to Clift's talent that in such a stirring and dynamic film with actors such as Spencer Tracy, Burt Lancaster, and Judy Garland, among many others that the actor is able to hold is own for his all too brief screen time.
http://www.youtube.com/watch?v=mjMiwGHTffc
4. Ned Beatty- Network (1976)- lost to Jason Robard for All the President's Men
-Network is without question one of the greatest films to come out of the 1970s. Its satirical look at the outrageous agenda-setting tactics of news-media corporations remains potent to this day. Nowhere is the film's core theme more explicit than in Ned Beatty's speech to recently-liberated news anchor Howard Beale (Peter Finch). With a performance consisting mainly of one long take, Beatty channels a truly otherworldy force as he educates about the importance and vitality of corporate America. Its truly one of the film's most powerful scenes and one of Beatty's most captivating moments as an actor.
http://www.youtube.com/watch?v=CeCMSLP3Wy8
5. Dan Aykroyd- Driving Miss Daisy (1989)- lost to Denzel Washington for Glory
-Aykroyd became the first of (to date) three SNL performers to receive an Academy Award nomination, which was rightly deserved as the long-suffering son of Jessica Tandy in this classic southern comedy. As Boolie Werthan, Aykroyd gave a sensetive turn as a man who is constanly faced with his own mortality as his mother refuses to accept hers. The native Canadian is authentically convincing as a southern gentleman as well as a loving son always concerned for his mother's welfare.
http://www.youtube.com/watch?v=KucQk8xFE94
(please watch from 3:20 onwardss)
6. Leonardo Dicaprio- What's Eating Gilbert Grape? (1993)- lost to Tommy Lee Jones for The Fugitive
-Anybody who saw the film could clearly see a true talent emerging. As Johnny Depp's mentally-impaired younger brother, Dicaprio gave what many feel to be his finest onscreen performance. His role as Arnie is both humorous in his childlike innocence and curiosity and equally heartbreaking in times of great hardship. Its no small feat to steal a film away from Johnny Depp, but with a truly flawless performance, that's just what Dicaprio did.
http://www.youtube.com/watch?v=jCjXQtU_YfQ
7. Michael Shannon- Revolutionary Road (2008)- lost to Heath Ledger for The Dark Knight
-Had it been any other year, Michael Shannon would have taken home the gold for his show-stopping work in this 1950s-set drama of suburban angst. As a mental patient out for a temporary visit, the character of John Givings acts as the only voice of reason amongst a society drenched in conformity. Though Shannon's role is only 3 scenes long, the actor literally brings the story of the main characters to a pause with an electrifying performance that never lets up.
http://www.youtube.com/watch?v=8I-56Xyr0Bw
Tomorrow...Best Actress!!
Monday, 15 February 2010
They Shoulda Won- Best Supporting Actress Nominees from Past Years
-Last week on my blog I paid tribute to some of this year's current academy Award nominees by looking back at some of their past work. This week, with the Oscars just 3 weeks away, I decided to look back over the years and take a look at those who almost took home the gold. All week long, I will be looking at the top 5 Oscar categories (supporting actress, supporting actor, actress, actor and picture) and picking one nominee in each category from each decade to pay tribute to. I'm not doing this to take anything away from those who DID win those years, but simply stating that this is who I felt should have won had I been alive and/or eligible to vote that year!!
I begin with the Best Supporting Actress Category. This is a rather tricky one in terms of performances; an actress can carry a majority of the film alongside an actor, yet be relegated to the supporting sidelines (Eva Marie Saint- On the Waterfront) or be onscreen for a handful of mintues and still take home the gold (Judi Dench- Shakespeare in Love). In any case, the debate still lingers that perhaps some voters don't know what constitues a supporting performance. There has usually been some arguments raised with regards to how the nominees/winners of this category have been selected, but rather than go on about cases such as Marisa Tomei's legendary Oscar upset for My Cousin Vinny (she has actually maintained a decent post-Oscar career since her deserved win), or Kim Basinger's L.A. Confidential prostitute beating Gloria Stuart's Titanic older Rose, I thought I'd just look at some of the past "supporting" performances that, despite being nominated, wrongfully went home empty handed.
1940s:
Judith Anderson- Rebecca (1940) -lost to Jane Darwell for The Grapes of Wrath
-If there was one person credited with stealing the show in Alfred Hitchcock's haunting love story, its Anderson as the head housekeeper of an old English mansion who silently torments her employer's new wife out of a twisted adoration for her predecessor. As Mrs. Danvers, the actress gives in many people's opinion, the greatest acting job in any Hitchcock production. Her portryal of the housekeeper filled with love for her late employer and hatred for her new one is chilling and mesmerizing all at once. Its little compensation that Rebecca won Best Picture after losing out in most of the other categories, such as Best Director. Yet it was Anderson's loss that remains that night that stings the most.
http://www.youtube.com/watch?v=7r43B3e1JTU
(please watch up to 2:20)
1950s:
Thelma Ritter- Pillow Talk (1959)- lost to Shelley Winters for The Diary of Anne Frank
-Nominated for six times as Best Supporting Actress without a single win, Ritter has been looked at as one of the greatest character actresses of all time. As the lovable alcoholic maid in the romantic comedy Pillow Talk, Ritter is at her best in her trademark working-class no-nonsense role. She holds attention better than most leading performers and delivers each line with proper timing. While Winter (already a past Oscar winner) gave a performance that was heartwrenching, Ritter's role, just like her impeccible body of work, truly defined support.
http://www.youtube.com/watch?v=-FNGZnlSj1o
1960s:
Edith Evans- The Chalk Garden (1964)- lost to Lila Kedrova for Zorba the Greek
-A classic example of how a supporting performance can double as a leading one, Edith Evans' work as Hayley Mills' grandmother in the poignant drama The Chalk Garden is so powerful that the actress easily outshadows Mills and Deborah Kerr in all of their scenes. Her character is domineering but also frightened and vulnerable. To do all of the above seems like an impossible feat, but Evans, one of Britain's finest performers, pulls it off well.
http://www.youtube.com/watch?v=TirgGbbvQg0
(please watch until 4:00)
1970s:
Piper Laurie- Carrie (1976)- lost to Beatrice Straight for Network.
-How such a performance went by unrewarded is beyond me. The second of actress Piper Laurie's Oscar nominations is also perhaps her most deserving. As Carrie White's religion-frenzied mother who sees her daughter's progression into womanhood as a devilish act, Lauire was absolutely riveting in a most difficult role; creating one of the most frightening portraits of motherhood ever shown on screen. While winner Beatrice Straight's performance in Network was powerful, it contained none of the magnetic force that made Laurie so chillingly unforgettable.
http://www.youtube.com/watch?v=n5pL1PUJ59A
1980s:
Diane Weist- Parenthood (1989)- lost to Brenda Fricker for My Left Foot
-Many seem to remember Ron Howard's Parenthood as a funny and heartfelt look at the adventures of raising a family. Yet Weist's portrayal of a divorced working mother trying to raise a rebellious daughter and an introverted son are the film's most real moments. Weist perfectly embodies the frustrations presented to many women faced with doing it all on thier own. Her love for her children and her devotion to them are the emotional core of this brilliant performance and truly deserved Oscar praise.
http://www.youtube.com/watch?v=qicbxao1o7A
1990s:
Rosie Perez- Fearless (1993)- lost to Anna Paquin for The Piano
-To be honest, the image that comes to mind when one mentions Rosie Perez is not "accomplished actress." But that's just what Perez proved herself to be with her turn in the drama Fearless. As the survivor of a plane crash, Perez' character is wracked with guilt over the loss of her infant son in the accident and struggles to rebuild her life in the aftermath. The actress is typically utilized in comedic roles in urban comedies, but with a part that requires deep emotion and vulnerability, Perez proved she more than has what it takes.
http://www.youtube.com/watch?v=RUBaRqY_NqA
2000s:
Holly Hunter- Thirteen (2003)- lost to Renee Zellweger for Cold Mountain
-Though she had already won for The Piano and gave nominated turns in Broadcast News and The Firm, Hunter gave one of her best performances ever with her role as the mother of a young teenage girl whose behavior is spiraling out of control. Her character is not the perfect mother and she knows this, but does the best she can with whatever she has all for the ones she loves. For an actress, who at the time had no children of her own, Hunter was required to be nurturing, supportive, concerned, paniced, and above all, loving; which she managed convincingly without a hitch.
http://www.youtube.com/watch?v=wScczSXpM4k
Tomorrow...Best Supporting Actor!!
I begin with the Best Supporting Actress Category. This is a rather tricky one in terms of performances; an actress can carry a majority of the film alongside an actor, yet be relegated to the supporting sidelines (Eva Marie Saint- On the Waterfront) or be onscreen for a handful of mintues and still take home the gold (Judi Dench- Shakespeare in Love). In any case, the debate still lingers that perhaps some voters don't know what constitues a supporting performance. There has usually been some arguments raised with regards to how the nominees/winners of this category have been selected, but rather than go on about cases such as Marisa Tomei's legendary Oscar upset for My Cousin Vinny (she has actually maintained a decent post-Oscar career since her deserved win), or Kim Basinger's L.A. Confidential prostitute beating Gloria Stuart's Titanic older Rose, I thought I'd just look at some of the past "supporting" performances that, despite being nominated, wrongfully went home empty handed.
1940s:
Judith Anderson- Rebecca (1940) -lost to Jane Darwell for The Grapes of Wrath
-If there was one person credited with stealing the show in Alfred Hitchcock's haunting love story, its Anderson as the head housekeeper of an old English mansion who silently torments her employer's new wife out of a twisted adoration for her predecessor. As Mrs. Danvers, the actress gives in many people's opinion, the greatest acting job in any Hitchcock production. Her portryal of the housekeeper filled with love for her late employer and hatred for her new one is chilling and mesmerizing all at once. Its little compensation that Rebecca won Best Picture after losing out in most of the other categories, such as Best Director. Yet it was Anderson's loss that remains that night that stings the most.
http://www.youtube.com/watch?v=7r43B3e1JTU
(please watch up to 2:20)
1950s:
Thelma Ritter- Pillow Talk (1959)- lost to Shelley Winters for The Diary of Anne Frank
-Nominated for six times as Best Supporting Actress without a single win, Ritter has been looked at as one of the greatest character actresses of all time. As the lovable alcoholic maid in the romantic comedy Pillow Talk, Ritter is at her best in her trademark working-class no-nonsense role. She holds attention better than most leading performers and delivers each line with proper timing. While Winter (already a past Oscar winner) gave a performance that was heartwrenching, Ritter's role, just like her impeccible body of work, truly defined support.
http://www.youtube.com/watch?v=-FNGZnlSj1o
1960s:
Edith Evans- The Chalk Garden (1964)- lost to Lila Kedrova for Zorba the Greek
-A classic example of how a supporting performance can double as a leading one, Edith Evans' work as Hayley Mills' grandmother in the poignant drama The Chalk Garden is so powerful that the actress easily outshadows Mills and Deborah Kerr in all of their scenes. Her character is domineering but also frightened and vulnerable. To do all of the above seems like an impossible feat, but Evans, one of Britain's finest performers, pulls it off well.
http://www.youtube.com/watch?v=TirgGbbvQg0
(please watch until 4:00)
1970s:
Piper Laurie- Carrie (1976)- lost to Beatrice Straight for Network.
-How such a performance went by unrewarded is beyond me. The second of actress Piper Laurie's Oscar nominations is also perhaps her most deserving. As Carrie White's religion-frenzied mother who sees her daughter's progression into womanhood as a devilish act, Lauire was absolutely riveting in a most difficult role; creating one of the most frightening portraits of motherhood ever shown on screen. While winner Beatrice Straight's performance in Network was powerful, it contained none of the magnetic force that made Laurie so chillingly unforgettable.
http://www.youtube.com/watch?v=n5pL1PUJ59A
1980s:
Diane Weist- Parenthood (1989)- lost to Brenda Fricker for My Left Foot
-Many seem to remember Ron Howard's Parenthood as a funny and heartfelt look at the adventures of raising a family. Yet Weist's portrayal of a divorced working mother trying to raise a rebellious daughter and an introverted son are the film's most real moments. Weist perfectly embodies the frustrations presented to many women faced with doing it all on thier own. Her love for her children and her devotion to them are the emotional core of this brilliant performance and truly deserved Oscar praise.
http://www.youtube.com/watch?v=qicbxao1o7A
1990s:
Rosie Perez- Fearless (1993)- lost to Anna Paquin for The Piano
-To be honest, the image that comes to mind when one mentions Rosie Perez is not "accomplished actress." But that's just what Perez proved herself to be with her turn in the drama Fearless. As the survivor of a plane crash, Perez' character is wracked with guilt over the loss of her infant son in the accident and struggles to rebuild her life in the aftermath. The actress is typically utilized in comedic roles in urban comedies, but with a part that requires deep emotion and vulnerability, Perez proved she more than has what it takes.
http://www.youtube.com/watch?v=RUBaRqY_NqA
2000s:
Holly Hunter- Thirteen (2003)- lost to Renee Zellweger for Cold Mountain
-Though she had already won for The Piano and gave nominated turns in Broadcast News and The Firm, Hunter gave one of her best performances ever with her role as the mother of a young teenage girl whose behavior is spiraling out of control. Her character is not the perfect mother and she knows this, but does the best she can with whatever she has all for the ones she loves. For an actress, who at the time had no children of her own, Hunter was required to be nurturing, supportive, concerned, paniced, and above all, loving; which she managed convincingly without a hitch.
http://www.youtube.com/watch?v=wScczSXpM4k
Tomorrow...Best Supporting Actor!!
Friday, 12 February 2010
The Best of Meryl Streep
-Its hard to know what to say about Meryl Streep; the woman most consider to be one of the greatest screen actresses of all time. Any one of her impressive performances would be enough to sustain most actresses for the length of an entire career. By now Streep has proven that she can tackle virtually any genre, character, nationality, or time period to the point that when an actor, director, writer or audience member is presented with Meryl Streep in a role, they know they can rest easy. This year Streep reinvented herself yet again as the iconic chef Julia Child in Julie & Julia; a performance which earned her, among various other accolades, her 16th Oscar nomination. While she is near the top of the pack to win what would be her third Oscar, Streep still remains down to earth about her success and continued longevity with regards to film roles. I remember watching her be interviewed about this very subject to which she simply responded with a slight chuckle: "oh, I usually find something to do." In celebration of one of the greats, here are five classic Streep performances.
1. Postcards From the Edge (1990)
-Based on Carrie Fisher's novel/autobiography, Streep plays Suzanne Vale; a Hollywood actress just out of rehab who is trying to rebuild her life and career while coming to terms with her former movie star mother (Maclaine). The film itself is a brilliant take on Hollywood's attitude toward the fallen and its comedy and message are anchored brilliantly by Streep in a role which required her to be both frenzy and funny. Her Oscar nomination for Best Actress solidified the notion that Streep is a true chameleon evidenced from the opening scene to the musical performance which closes the film.
http://www.youtube.com/watch?v=NBWNFobsfVs&feature=related
2. The River Wild (1993)
-Streep proved an unlikely, yet winning choice for this action film directed by Curtis Hanson in which the actress plays a former rapids guide taking her family on a white water vacation when they run into some criminals. The film itself provides some excellent action sequences in the water especially when the characters are faced with trying to survive the river's most gigantic drop. Yet its Streep's manic performance as a wife and mother going up against one of nature's strongest forces in a bid to keep her family alive that proves to be the highlight.
http://www.dailymotion.com/video/x38afo_the-river-wild-1994_shortfilms
3. The Manchurian Candidate (2004)
-Its incredibly touchy territory to try and remake a classic like John Frankenhiemer's The Manchurian Candidate, yet Jonathan Demme's version succeeds mostly due to the performances of Washington and Streep. As a senator who is hell bent on making sure her congressman son gets elected as the next vice president, Streep is all fire in a role that is truly once again, like nothing she has ever done. Her portrayal of Eleanor Shaw is so cold and horrifying in even the smallest of scenes. Perhaps Voight's character says it best when he tells her: "when I think of you, I fear for this country."
http://www.youtube.com/watch?v=0xL6q94CFd4
4. Prime (2005)
-Its a shame this little-seen comedy didn't receive much fanfare since it is one of the only truly romantic comedies to be made in recent years that is actually grounded in reality. Streep plays a therapist treating a woman (Thurman) who, unbeknownst to anyone, also happens to be dating her much younger son. Streep is perfectly cast as the quintessential Jewish New York mother who takes an active interest in her children's lives. When her character becomes the only one who is aware of the three characters' connections, the actress proves once agian that she is comic gold.
http://www.youtube.com/watch?v=SPzIvgs9iLo
5. Lions for Lambs (2007)
-This telling and insightful politcal drama which tracks three different storylines including a meeting between a professor and his student, two soldiers on a mission in Iraq, and a journalist's interview with a republican senator was considered too "talky" by some. Yet each character represents an aspect of America since the war in Iraq first began. The most potent of all these characters is Streep who plays a Washington journalist given an excluisve interview by a republican senator (Cruise) concerning a questionable new plan of attack. Her character questions, perhaps too late, her profession's impact on the war, the damage it has caused and her own morality and beliefs.
http://www.youtube.com/watch?v=iGYEGWx4lAI
Congratulations once again Meryl Streep!!
1. Postcards From the Edge (1990)
-Based on Carrie Fisher's novel/autobiography, Streep plays Suzanne Vale; a Hollywood actress just out of rehab who is trying to rebuild her life and career while coming to terms with her former movie star mother (Maclaine). The film itself is a brilliant take on Hollywood's attitude toward the fallen and its comedy and message are anchored brilliantly by Streep in a role which required her to be both frenzy and funny. Her Oscar nomination for Best Actress solidified the notion that Streep is a true chameleon evidenced from the opening scene to the musical performance which closes the film.
http://www.youtube.com/watch?v=NBWNFobsfVs&feature=related
2. The River Wild (1993)
-Streep proved an unlikely, yet winning choice for this action film directed by Curtis Hanson in which the actress plays a former rapids guide taking her family on a white water vacation when they run into some criminals. The film itself provides some excellent action sequences in the water especially when the characters are faced with trying to survive the river's most gigantic drop. Yet its Streep's manic performance as a wife and mother going up against one of nature's strongest forces in a bid to keep her family alive that proves to be the highlight.
http://www.dailymotion.com/video/x38afo_the-river-wild-1994_shortfilms
3. The Manchurian Candidate (2004)
-Its incredibly touchy territory to try and remake a classic like John Frankenhiemer's The Manchurian Candidate, yet Jonathan Demme's version succeeds mostly due to the performances of Washington and Streep. As a senator who is hell bent on making sure her congressman son gets elected as the next vice president, Streep is all fire in a role that is truly once again, like nothing she has ever done. Her portrayal of Eleanor Shaw is so cold and horrifying in even the smallest of scenes. Perhaps Voight's character says it best when he tells her: "when I think of you, I fear for this country."
http://www.youtube.com/watch?v=0xL6q94CFd4
4. Prime (2005)
-Its a shame this little-seen comedy didn't receive much fanfare since it is one of the only truly romantic comedies to be made in recent years that is actually grounded in reality. Streep plays a therapist treating a woman (Thurman) who, unbeknownst to anyone, also happens to be dating her much younger son. Streep is perfectly cast as the quintessential Jewish New York mother who takes an active interest in her children's lives. When her character becomes the only one who is aware of the three characters' connections, the actress proves once agian that she is comic gold.
http://www.youtube.com/watch?v=SPzIvgs9iLo
5. Lions for Lambs (2007)
-This telling and insightful politcal drama which tracks three different storylines including a meeting between a professor and his student, two soldiers on a mission in Iraq, and a journalist's interview with a republican senator was considered too "talky" by some. Yet each character represents an aspect of America since the war in Iraq first began. The most potent of all these characters is Streep who plays a Washington journalist given an excluisve interview by a republican senator (Cruise) concerning a questionable new plan of attack. Her character questions, perhaps too late, her profession's impact on the war, the damage it has caused and her own morality and beliefs.
http://www.youtube.com/watch?v=iGYEGWx4lAI
Congratulations once again Meryl Streep!!
Thursday, 11 February 2010
The Best of Jeff Bridges
-For so long Jeff Bridges has been continuously regarded as one of the screen's most dependable actors. His four previous Oscar nominations in both supporting and leading turns have proved this to be true. Likewise, the fact that many of his films such as The Last Picture Show, Tron, The Fabulous Baker Boys, The Big Lebowski, Seabiscuit, and Iron Man have managed to strike a chord with audiences; further cementing Bridges as one of the great American actors of the last 40 years. His performances, which always contain unique levels of honesty and realism, are all marvels to behold. Nowhere is this more true than in Crazy Heart; Bridges' latest role as a beaten-down, aging country singer. The actor's work is so strong that he has replaced George Clooney as the frontrunner for this year's Best Actor Oscar. Anyone who has seen the film knows he deserves it. Everybody familiar with his work as a whole, knows that he deserved this a LONG time ago. Please enjoy some classic quintessential Bridges performances in celebration of this incredible actor...
(apologies if the sound is a little off on some of the clips)
1. Texasville (1990)
-The Last Picture Show was without question a success. Director Peter Bogdanovich skillfully adapted Larry McMurty's classic literary love letter to small town America; bringing him and his cast (including Bridges who received his first Oscar nomination) great critical acclaim. To try and film the novel's sequel, which saw Bridges' character Duane, now a wealthy townsman/family man whose life is crumbling around him, was a risky venture that some feel just didn't pay off. However, Bridges knows the character of Duane and all of his loves and frustrations and carries them with him throughout the film. In one of his more relaxed performances, the actor portrays a man faced with a life crisis, a family that's uncontrollable and future that is uncertain. Its because of Bridges that the film is able to capture some of the magic from the original.
http://www.youtube.com/watch?v=x-pEpBzR4f0
2. Fearless (1993)
-As an ordinary man who survies a plane crash only to be given a new lease on life, Bridges breathes new air into what could otherwise been a "George Bailey" type of role. Never has Bridges given such a whimsical performance so filled with life and vitality. Although the film has some truly devastating moments, the actor is able to lift the spirits of the audience with the notion that life is indeed worth living.
http://www.youtube.com/watch?v=Tm5jBa4LzxQ&feature=related
3. The Mirror Has Two Faces (1996)
-While Bridges isn't known primarily for his comedic roles or his romantic side, the actor is perfectly able to handle both as evidenced by his work in this romantic comedy. Bridges plays a professor frustrated with sex and seeks only love for his future relationships. Rarely has Bridges given a performance more carefree and lighthearted than this. The film and his performance work largely because of Bridges' credibility as an actor which allows an otherwise conventional storyline to rise to a higher level.
http://www.youtube.com/watch?v=8U0VLR-EWgs
4. Arlington Road (1999)
-In this tense and taut thriller, Bridges plays yet another professor; this time one who suspects his neighbor of terrorist acts. While he has the least flashy of the two lead roles in the film, Bridges brings endless amounts of intensity and desperation while trying to prevent his neighbor from succeeding. The fact that no one believes Bridges is an excruciating factor for the audience thanks to the actor's excellently frenzied performance.
http://www.youtube.com/watch?v=nk2CPzIgBRo
5. The Door in the Floor (2004)
-Bridges and author John Irving proved a good match for the story of a children's author whose son's untimely death has led to the crumbling of his marriage. Here, Bridges faces the challenge of playing a character that at times can be unlikable, but must also elicit sympathy from the audience. With emotions ranging from playfulness to grief, and despair, this is truly a role of great complexity. It's not an easy feat by any means, but Bridges makes it work in what is perhaps one of his most haunting performances on screen.
http://www.youtube.com/watch?v=Nwwpdz9K9tg&feature=related
Well done Mr. Bridges!!
(apologies if the sound is a little off on some of the clips)
1. Texasville (1990)
-The Last Picture Show was without question a success. Director Peter Bogdanovich skillfully adapted Larry McMurty's classic literary love letter to small town America; bringing him and his cast (including Bridges who received his first Oscar nomination) great critical acclaim. To try and film the novel's sequel, which saw Bridges' character Duane, now a wealthy townsman/family man whose life is crumbling around him, was a risky venture that some feel just didn't pay off. However, Bridges knows the character of Duane and all of his loves and frustrations and carries them with him throughout the film. In one of his more relaxed performances, the actor portrays a man faced with a life crisis, a family that's uncontrollable and future that is uncertain. Its because of Bridges that the film is able to capture some of the magic from the original.
http://www.youtube.com/watch?v=x-pEpBzR4f0
2. Fearless (1993)
-As an ordinary man who survies a plane crash only to be given a new lease on life, Bridges breathes new air into what could otherwise been a "George Bailey" type of role. Never has Bridges given such a whimsical performance so filled with life and vitality. Although the film has some truly devastating moments, the actor is able to lift the spirits of the audience with the notion that life is indeed worth living.
http://www.youtube.com/watch?v=Tm5jBa4LzxQ&feature=related
3. The Mirror Has Two Faces (1996)
-While Bridges isn't known primarily for his comedic roles or his romantic side, the actor is perfectly able to handle both as evidenced by his work in this romantic comedy. Bridges plays a professor frustrated with sex and seeks only love for his future relationships. Rarely has Bridges given a performance more carefree and lighthearted than this. The film and his performance work largely because of Bridges' credibility as an actor which allows an otherwise conventional storyline to rise to a higher level.
http://www.youtube.com/watch?v=8U0VLR-EWgs
4. Arlington Road (1999)
-In this tense and taut thriller, Bridges plays yet another professor; this time one who suspects his neighbor of terrorist acts. While he has the least flashy of the two lead roles in the film, Bridges brings endless amounts of intensity and desperation while trying to prevent his neighbor from succeeding. The fact that no one believes Bridges is an excruciating factor for the audience thanks to the actor's excellently frenzied performance.
http://www.youtube.com/watch?v=nk2CPzIgBRo
5. The Door in the Floor (2004)
-Bridges and author John Irving proved a good match for the story of a children's author whose son's untimely death has led to the crumbling of his marriage. Here, Bridges faces the challenge of playing a character that at times can be unlikable, but must also elicit sympathy from the audience. With emotions ranging from playfulness to grief, and despair, this is truly a role of great complexity. It's not an easy feat by any means, but Bridges makes it work in what is perhaps one of his most haunting performances on screen.
http://www.youtube.com/watch?v=Nwwpdz9K9tg&feature=related
Well done Mr. Bridges!!
Wednesday, 10 February 2010
The Best of Sandra Bullock
-There's much to like about Sandra Bullock. She's funny, down to earth, extremely charitable, speaks german, and above all else she has that certain likability factor that only certain actresses such as Julia Roberts and Meg Ryan can attain. People associate themselves with Bullock when they see her on the screen. They feel like they know her. Throughout the years the actress has lovingly met audiences' expectations of her by doing stellar turns in many popular films of the 90s. Recently she achieved her first Oscar nomination with her turn as a southern socialite in the football drama The Blind Side. The movie's success has astounded me given how, given the circumstances, it should have failed. Not only did it have the bad luck of being released the same weekend as the second Twilight installment, but it also came out after Precious: Based on the Novel 'Push' by Sapphire and before Invictus; two films which provided a more compelling portrait of troubled inner-city youth and sport success stories respectively in a way The Blind Side didn't. Its pretty clear that the main reason people flocked out in droves to see The Blind Side had MUCH less to do with the subject matter and MUCH more to do with seeing one of America's most beloved actresses give the performance of her career. In celebration of her nomination, subsequent accolades and overall winning year, here is a look at some of Bullock's other performances which show that she never was just America's sweetheart, but also a first rate actress...
1. The Vanishing (1993)
-Though she's only in the film for the first 10-15 minutes, Bullock makes a real impression in her handful of scenes as the girlfriend of a writer who disappears mysteriously from a gas station. While the rest of the film is devoted to Sutherland trying to find her and Bridges exercising his villain skills, Bullock's presence is felt throughout and makes the film so much more intense. While the original film is much more superior to this otherwise lackluster remake, Bullock's work alone makes this a film worth examining.
http://www.youtube.com/watch?v=AmXPYfHAMf4
2. 28 Days (2000)
-By now, already an established star, Bullock took a considerable risk with her screen image playing an alcoholic writer who is ordered by the court to spend a month in rehab. The result is one of her finest moments on screen in which she conveys a toughness coupled with insecurity. Had there not been such an attempt to infuse the film with an abundance of comedic elements, but rather stick to the dramatic, perhaps 28 Days would have been more acclaimed and Bullock wouldn't have had to wait so long for a nomination. While the comedy in the film works, its moments like Bullock's confessional to Buscemi in which the film and the actress both come to life.
http://www.youtube.com/watch?v=VRW_iVajmfA
3. Crash (2005)
-In the rush to (dutifully) praise the overall film, as well as standout turns from Matt Dillon and Thandie Newton, Bullock's fine work as a Los Angeles housewife sadly went unlauded. Bullock shed all traces of likability to portray a woman who has everything most people want, yet who is still angry at the world. It is a performance full of rage, anger and despair. If ever there was a textbook performance to signify "best supporting actress," it was this one.
http://www.youtube.com/watch?v=U51r7295YFQ
4. The Lake House (2006)
-Most dismissed this time-traveling romance drama as a sloppy piece of Hollywood stock with the only appeal being the re-teaming of Speed stars Bullock and Reeves. Yet if you re-examine the film, you get some of Bullock's most beautiful work. So many times the actress has been asked to be overty physical in both comedy and action films; a challenge she can definitley handle. Here, we see another side to bullock; one which is gentle, warm, and heartfelt. She embodies the ideal romantic film heroine while maintaining her trademark charm.
http://www.youtube.com/watch?v=4hYO8b4u3po
5. Infamous (2006)
-Released the same year as The Lake House, Infamous saw the actress do a complete 180 turnaround from her last film to play author Harper Lee who assists friend and fellow-writer Truman Capote in the creation of his book "In Cold Blood"; based on the real-life slayings of a mid-western family. The movie's release one year after the similarly-themed Capote ensured this film would go unnoticed. Its a shame since of the two films made on the subject, Infamous is hands down the better choice. As Lee, Bullock abandons all traces of her movie star persona and instills life and energy into the character; two elements missing from Catherine Keener's performance in the same role a year before. Again, another missed Oscar nomination for Bullock.
http://www.youtube.com/watch?v=Z-5iO49ojJA
Way to go Sandy!!
1. The Vanishing (1993)
-Though she's only in the film for the first 10-15 minutes, Bullock makes a real impression in her handful of scenes as the girlfriend of a writer who disappears mysteriously from a gas station. While the rest of the film is devoted to Sutherland trying to find her and Bridges exercising his villain skills, Bullock's presence is felt throughout and makes the film so much more intense. While the original film is much more superior to this otherwise lackluster remake, Bullock's work alone makes this a film worth examining.
http://www.youtube.com/watch?v=AmXPYfHAMf4
2. 28 Days (2000)
-By now, already an established star, Bullock took a considerable risk with her screen image playing an alcoholic writer who is ordered by the court to spend a month in rehab. The result is one of her finest moments on screen in which she conveys a toughness coupled with insecurity. Had there not been such an attempt to infuse the film with an abundance of comedic elements, but rather stick to the dramatic, perhaps 28 Days would have been more acclaimed and Bullock wouldn't have had to wait so long for a nomination. While the comedy in the film works, its moments like Bullock's confessional to Buscemi in which the film and the actress both come to life.
http://www.youtube.com/watch?v=VRW_iVajmfA
3. Crash (2005)
-In the rush to (dutifully) praise the overall film, as well as standout turns from Matt Dillon and Thandie Newton, Bullock's fine work as a Los Angeles housewife sadly went unlauded. Bullock shed all traces of likability to portray a woman who has everything most people want, yet who is still angry at the world. It is a performance full of rage, anger and despair. If ever there was a textbook performance to signify "best supporting actress," it was this one.
http://www.youtube.com/watch?v=U51r7295YFQ
4. The Lake House (2006)
-Most dismissed this time-traveling romance drama as a sloppy piece of Hollywood stock with the only appeal being the re-teaming of Speed stars Bullock and Reeves. Yet if you re-examine the film, you get some of Bullock's most beautiful work. So many times the actress has been asked to be overty physical in both comedy and action films; a challenge she can definitley handle. Here, we see another side to bullock; one which is gentle, warm, and heartfelt. She embodies the ideal romantic film heroine while maintaining her trademark charm.
http://www.youtube.com/watch?v=4hYO8b4u3po
5. Infamous (2006)
-Released the same year as The Lake House, Infamous saw the actress do a complete 180 turnaround from her last film to play author Harper Lee who assists friend and fellow-writer Truman Capote in the creation of his book "In Cold Blood"; based on the real-life slayings of a mid-western family. The movie's release one year after the similarly-themed Capote ensured this film would go unnoticed. Its a shame since of the two films made on the subject, Infamous is hands down the better choice. As Lee, Bullock abandons all traces of her movie star persona and instills life and energy into the character; two elements missing from Catherine Keener's performance in the same role a year before. Again, another missed Oscar nomination for Bullock.
http://www.youtube.com/watch?v=Z-5iO49ojJA
Way to go Sandy!!
Tuesday, 9 February 2010
The Best of Morgan Freeman
-There are very few movie people in film who have been able to be both an actor and a movie star quite like Morgan Freeman. Not only has he been able to commit himself fully to every project he's in like the consummate actor, but very few actors have been so lovingly accepted by the moviegoing public as well. Most say its the intensity in his eyes during scenes of fire and rage, others feel its the calm wisdom dispersed through his characters words, while some adamantly believe its his unique voice that accounts for his enduring quality. When it came time to play the lead in Clint Eastwood's Invictus, there was logically only one choice for the role of Nelson Mandella, and as usual, it proved to be the right one. Freeman's portrayal of the legendary leader was heralded by critcs and admirers who feel the actor gave the performance of his career and has resulted in his fifth Oscar nomination; his 3rd as Best Actor. Even though Freeman has already won for his work in Million Dollar Baby, everyone would welcome a second victory for the esteemed performer. Here is a look at some of his most popular and poetic roles.
1. Lean on Me (1989)
-Considered a film classic now, Lean on Me has remained one of the most classic examples of the educators who fight for their students regardless of their lower-class backgrounds. As no-nonsense principal Joe Clark who turns an inner-city school around, Freeman exuded endless amounts of passion and fire within his performance. Its almost as if he wasn't giving a performance, but instead really seemed to be Joe Clark!! Some say its one of his finest hours on screen and I'm inclined to agree. While the actor was grossly overlooked for his work in the film by the Academy, Lean on Me and Freeman's Joe Clark have lived on gloriously!!
http://www.youtube.com/watch?v=FWW4KogocfQ
2. Glory (1989)
-The story of a black soldier squad during the civil war was one of the most critically acclaimed films of the 80s. There are great performances from Broderick, Washington (who won an Oscar for his role) and especially Freeman who remains calm and serene throughout the proceedings. His character of Rawlins stands out as perhaps the one man who has made his peace with God, and is well aware that even though he is fighting for the future, he suspects he might not live to see it. Released the same year as Lean on Me, Glory features Freeman at his most beautfiully understated best.
http://www.youtube.com/watch?v=BBBk0q6AK-0&feature=related
3. Deep Impact (1998)
- A surprise hit in the early days of summer in 1998, Deep Impact saw Morgan Freeman take on the role of the President with the difficult task of telling the world that a life-threatening comet is headed for earth. While most dismiss the film as just another entry into the disaster-film genre, everyone agrees that Freeman's time on screen manages to raise the story to a much higher level. As a result, Freeman's turn as the commander-in-chief has become one of the top choices of "movie Presidents."
http://www.youtube.com/watch?v=fLgSKv2P-ow&feature=related
4. An Unfinished Life (2005)
-Its a shame this well-made drama wasn't seen by many people when it first came out, and hasn't since quite frankly. Freeman plays Mitch, a man who suffered an attack with a wild bear years earlier which left him an invalid. After years of living an unfulfilling life, Mitch stops feeling sorry for himself and begins to live again. This is perhaps one of his more subtle roles, but is also one filled with strength and perseverance which have become Freeman's trademark.
http://www.youtube.com/watch?v=6_C_8K_KnG8
5. The Bucket List (2007)
-As cancer-ridden mechanic Carter Chambers who embarks on a series of adventures with a fellow patient (Nicholson), Freeman once again triumphed on screen. While lead roles are written with 20-something year olds in mind, Freeman demonstared he still had pull with audiences as was evidenced by this film's box-office success. The legendary actor also proved he could hold his own opposite fellow legend Nicholson. Such a feat would seem impossible, but Freeman pulls it off magnificently!!
http://www.youtube.com/watch?v=PX8XEXmhHss&feature=fvw
Well done Mr. Freeman!!
1. Lean on Me (1989)
-Considered a film classic now, Lean on Me has remained one of the most classic examples of the educators who fight for their students regardless of their lower-class backgrounds. As no-nonsense principal Joe Clark who turns an inner-city school around, Freeman exuded endless amounts of passion and fire within his performance. Its almost as if he wasn't giving a performance, but instead really seemed to be Joe Clark!! Some say its one of his finest hours on screen and I'm inclined to agree. While the actor was grossly overlooked for his work in the film by the Academy, Lean on Me and Freeman's Joe Clark have lived on gloriously!!
http://www.youtube.com/watch?v=FWW4KogocfQ
2. Glory (1989)
-The story of a black soldier squad during the civil war was one of the most critically acclaimed films of the 80s. There are great performances from Broderick, Washington (who won an Oscar for his role) and especially Freeman who remains calm and serene throughout the proceedings. His character of Rawlins stands out as perhaps the one man who has made his peace with God, and is well aware that even though he is fighting for the future, he suspects he might not live to see it. Released the same year as Lean on Me, Glory features Freeman at his most beautfiully understated best.
http://www.youtube.com/watch?v=BBBk0q6AK-0&feature=related
3. Deep Impact (1998)
- A surprise hit in the early days of summer in 1998, Deep Impact saw Morgan Freeman take on the role of the President with the difficult task of telling the world that a life-threatening comet is headed for earth. While most dismiss the film as just another entry into the disaster-film genre, everyone agrees that Freeman's time on screen manages to raise the story to a much higher level. As a result, Freeman's turn as the commander-in-chief has become one of the top choices of "movie Presidents."
http://www.youtube.com/watch?v=fLgSKv2P-ow&feature=related
4. An Unfinished Life (2005)
-Its a shame this well-made drama wasn't seen by many people when it first came out, and hasn't since quite frankly. Freeman plays Mitch, a man who suffered an attack with a wild bear years earlier which left him an invalid. After years of living an unfulfilling life, Mitch stops feeling sorry for himself and begins to live again. This is perhaps one of his more subtle roles, but is also one filled with strength and perseverance which have become Freeman's trademark.
http://www.youtube.com/watch?v=6_C_8K_KnG8
5. The Bucket List (2007)
-As cancer-ridden mechanic Carter Chambers who embarks on a series of adventures with a fellow patient (Nicholson), Freeman once again triumphed on screen. While lead roles are written with 20-something year olds in mind, Freeman demonstared he still had pull with audiences as was evidenced by this film's box-office success. The legendary actor also proved he could hold his own opposite fellow legend Nicholson. Such a feat would seem impossible, but Freeman pulls it off magnificently!!
http://www.youtube.com/watch?v=PX8XEXmhHss&feature=fvw
Well done Mr. Freeman!!
Monday, 8 February 2010
The Best of Helen Mirren
-If there's ever been a female performer that encompasses class and grace, it has to be Helen Mirren. With her offbeat looks and chameleon-like talents, Mirren's instincts have allowed her to equip herself well in almost any genre of film. Even in the most lurid of films (Caligula, anyone?), this actress can provide an air of dignity to the proceedings; giving life to whatever character she takes on and elevating whatever film she is in to higher levels. Its only fitting though that Mirren should find herself with her fourth Oscar nomination (her second as Best Actress) for playing author Leo Tolstoy's wife in the period drama The Last Station. Her work in the film will undoubtedly (if it hasn't already) bring her the attention of a slew of new fans who have yet to discover her. But for those who already know of Mirren's talent, here is an appreciation of some of her finer roles.
1. The Comfort of Strangers (1990)
-In this creepy and disturbing tale from Ian McEwan, a young British couple vacationing in Venice become associated with a dark and deeply eccentric husband and wife. Mirren plays Caroline; a woman who, along with her husband Robert, takes pleasure in the perverseness of life. Her views on obsession, danger, and sex are strong just on the written page, but Mirren brings to them a haunting quality of a woman who is both a tranquil romantic and a silent manipulator. It is truly one of the actress' more offbeat performances.
http://www.youtube.com/watch?v=8JYxhS9bQhw
2. Teaching Mrs. Tingle (1999)
-While a collaboration between the writer of Scream and one of Britain's finest actresses seems improbable to say the least, the matching was a winning one as Mirren takes on the role of the monstrous Eve Tingle; a history teacher who, after years of tormenting students, finds herself held captive in her own home by three pupils in this dark comedy/light thriller. While most other actresses would have overplayed the character's sinister qualities, Mirren instead administers Mrs. Tingle's evil with such careful precision to make sure we take her seriously. Through this method, Mirren also makes sure the audience knows that even though she's the victim, she's also calling the shots.
http://www.youtube.com/watch?v=-mXbszOPC0g
3. Calendar Girls (2003)
-Even though one might not think of Mirren as a comedic actress, she proved her versatility in this true-life story about a group of British women who pose nude for a charity calendar. Mirren is many things throughout the film; she's zany, foolish, driven, charming, and delightful. It may be one her least flashy roles to date, but it still contains the same amount of passion and commitment that makes up a Helen Mirren performance.
http://www.youtube.com/watch?v=_cr2dR6-wZ4
4. The Clearing (2004)
-In the criminally underappreciated film, Mirren plays the wife of a successful businessman who is kidnapped by a disgruntled former employee. Mirren's performance in this film is one of her best as far as transformations go. The character of Eileen goes from content to bitter, to worried, to desperate, to fierce, to finally brave all within the course of the film. It takes a high level of skill to bring the aformentioned elements to the table, which Mirren does almost effortlessly. At times her work is so good that she manages to steal the spotlight from both Redford and Defoe.
http://www.youtube.com/watch?v=nwrK0fyDgro&feature=related
5. State of Play (2009)
-There is so much going on in this thriller, which deals with the mysterious death of the aide of a congressman; not least of which is a surplus of characters all vying for the chance to stand out against leading men Crowe and Affleck. Yet the only one who succeeds is Mirren as a tough newspaper editor. Though its a supporting role (Mirren is onscreen for no more than 20 minutes) she literally has the power to stop the film whenever she comes on screen like any good performer can.
http://www.youtube.com/watch?v=2ME87tEX9Qw
Congratulations Helen Mirren!!
1. The Comfort of Strangers (1990)
-In this creepy and disturbing tale from Ian McEwan, a young British couple vacationing in Venice become associated with a dark and deeply eccentric husband and wife. Mirren plays Caroline; a woman who, along with her husband Robert, takes pleasure in the perverseness of life. Her views on obsession, danger, and sex are strong just on the written page, but Mirren brings to them a haunting quality of a woman who is both a tranquil romantic and a silent manipulator. It is truly one of the actress' more offbeat performances.
http://www.youtube.com/watch?v=8JYxhS9bQhw
2. Teaching Mrs. Tingle (1999)
-While a collaboration between the writer of Scream and one of Britain's finest actresses seems improbable to say the least, the matching was a winning one as Mirren takes on the role of the monstrous Eve Tingle; a history teacher who, after years of tormenting students, finds herself held captive in her own home by three pupils in this dark comedy/light thriller. While most other actresses would have overplayed the character's sinister qualities, Mirren instead administers Mrs. Tingle's evil with such careful precision to make sure we take her seriously. Through this method, Mirren also makes sure the audience knows that even though she's the victim, she's also calling the shots.
http://www.youtube.com/watch?v=-mXbszOPC0g
3. Calendar Girls (2003)
-Even though one might not think of Mirren as a comedic actress, she proved her versatility in this true-life story about a group of British women who pose nude for a charity calendar. Mirren is many things throughout the film; she's zany, foolish, driven, charming, and delightful. It may be one her least flashy roles to date, but it still contains the same amount of passion and commitment that makes up a Helen Mirren performance.
http://www.youtube.com/watch?v=_cr2dR6-wZ4
4. The Clearing (2004)
-In the criminally underappreciated film, Mirren plays the wife of a successful businessman who is kidnapped by a disgruntled former employee. Mirren's performance in this film is one of her best as far as transformations go. The character of Eileen goes from content to bitter, to worried, to desperate, to fierce, to finally brave all within the course of the film. It takes a high level of skill to bring the aformentioned elements to the table, which Mirren does almost effortlessly. At times her work is so good that she manages to steal the spotlight from both Redford and Defoe.
http://www.youtube.com/watch?v=nwrK0fyDgro&feature=related
5. State of Play (2009)
-There is so much going on in this thriller, which deals with the mysterious death of the aide of a congressman; not least of which is a surplus of characters all vying for the chance to stand out against leading men Crowe and Affleck. Yet the only one who succeeds is Mirren as a tough newspaper editor. Though its a supporting role (Mirren is onscreen for no more than 20 minutes) she literally has the power to stop the film whenever she comes on screen like any good performer can.
http://www.youtube.com/watch?v=2ME87tEX9Qw
Congratulations Helen Mirren!!
Friday, 5 February 2010
The Best of Woody Harrelson
-I'm so glad Woody Harrelson got a second Oscar nomination. Of course anyone who has been following along this awards season knew he was shoe in for his turn in The Messenger. Its almost certain that Christoph Waltz will walk away with the prize for his work in Inglorious Basterds, but regardless, I'm still glad that Harrelson is getting the recognition he deserves.
In honor of Woody's nomination, I have selected five Woody Harrelson performances which I feel exercise his genunie gifts as an actor: namely that everyman quality coupled with an intense passion for whatever film he's doing as well as that rare quality he has of losing himself in the character at hand.
1. The People vs. Larry Flynt (1996)
-Harrelson might have seemed like the most unlikely of choices to play Larry Flynt, the founder of Hustler magazine, who overcame numerous scandals and obstacles throughout the magazine's life. The real Flynt is a larger than life personality who never excersises a filter between what he says or thinks. Harrelson embraces this quality and runs wild with it throughout the film, but remains watchful enough to bring it back when necessary. Its no wonder that Harrelson received SAG, Golden Globe and Oscar nominations for his brilliant portrayal.
http://www.youtube.com/watch?v=vY0nC-y_Bvw
2. Palmetto (1998)
-Unlike most stars, Harrelson has never been interested in dipping his toes into different genres simply to showcase his versatility, but instead has chosen projects based on their own merit. Such a case is his turn in the noir-ish mystery Palmetto. Harrelson plays anti-hero Harry Barber; a man who returns home after being shortly released from prison and quickly gets involved in a kidnapping scheme involving a rich tycoon, his trophy wife and their teenage daughter. As the twists and double-crossings abound, Harrelson proves he is up to the task and follows in the tradition of Fred Macmurray and Robert Mitchum in this underrated film.
http://www.youtube.com/watch?v=IO7iDhDJC3k
3. After the Sunset (2004)
-Out of all the actors from the cast of Cheers, Harrelson has been the only one who has been able to sustain a successful movie career due to such hits as White Men Can't Jump and Indecent Proposal. Such an acheivement has afforded him the luxury to switch between smaller indie fare and big-budget spectacles such as After the Sunset. In this film, Harrelson exercises the main attributes that have made him a bankable leading man: charm, charisma and an overall likability.
http://www.youtube.com/watch?v=ZLOwRK2rKJY
4. A Prairie Home Companion (2006)
-In this film, Harrelson takes advantage of his roots playing one half of a singing cowboy duo performing on Garrison Keilor's longrunning-radio program. Under the direction of the legendary Robert Altman, Harrelson displays both his dry sense of humor and surprisingly decent singing skills in this touching tribute to small town America. Its a more down-home Harrelson than people are used to seeing, but one that bears his unique stamp nonetheless.
http://www.youtube.com/watch?v=_PGPSjB4INU
5. The Walker (2007)
-When I first saw this small film in a London cinema, my heart sank because I knew that by that point the film had already played its limited run in America and that Harrelson's brilliantly haunting performance would have no chance of being remembered come awards time. I was right. Set against the backdrop of Washington, Woody plays Carter Page III, a gay socialite/real estate agent who occupies his free time escorting wealthy women to events and parties while becoming their confidant during ritualistic card games. When one of his friends becomes invovled in a murder, he steps in to take care of things, ultimately leading him to discover a side of Washington's social politics he never knew existed.
http://www.youtube.com/watch?v=1ffkyMbAioQ
Congratulations Woody Harrelson!!
In honor of Woody's nomination, I have selected five Woody Harrelson performances which I feel exercise his genunie gifts as an actor: namely that everyman quality coupled with an intense passion for whatever film he's doing as well as that rare quality he has of losing himself in the character at hand.
1. The People vs. Larry Flynt (1996)
-Harrelson might have seemed like the most unlikely of choices to play Larry Flynt, the founder of Hustler magazine, who overcame numerous scandals and obstacles throughout the magazine's life. The real Flynt is a larger than life personality who never excersises a filter between what he says or thinks. Harrelson embraces this quality and runs wild with it throughout the film, but remains watchful enough to bring it back when necessary. Its no wonder that Harrelson received SAG, Golden Globe and Oscar nominations for his brilliant portrayal.
http://www.youtube.com/watch?v=vY0nC-y_Bvw
2. Palmetto (1998)
-Unlike most stars, Harrelson has never been interested in dipping his toes into different genres simply to showcase his versatility, but instead has chosen projects based on their own merit. Such a case is his turn in the noir-ish mystery Palmetto. Harrelson plays anti-hero Harry Barber; a man who returns home after being shortly released from prison and quickly gets involved in a kidnapping scheme involving a rich tycoon, his trophy wife and their teenage daughter. As the twists and double-crossings abound, Harrelson proves he is up to the task and follows in the tradition of Fred Macmurray and Robert Mitchum in this underrated film.
http://www.youtube.com/watch?v=IO7iDhDJC3k
3. After the Sunset (2004)
-Out of all the actors from the cast of Cheers, Harrelson has been the only one who has been able to sustain a successful movie career due to such hits as White Men Can't Jump and Indecent Proposal. Such an acheivement has afforded him the luxury to switch between smaller indie fare and big-budget spectacles such as After the Sunset. In this film, Harrelson exercises the main attributes that have made him a bankable leading man: charm, charisma and an overall likability.
http://www.youtube.com/watch?v=ZLOwRK2rKJY
4. A Prairie Home Companion (2006)
-In this film, Harrelson takes advantage of his roots playing one half of a singing cowboy duo performing on Garrison Keilor's longrunning-radio program. Under the direction of the legendary Robert Altman, Harrelson displays both his dry sense of humor and surprisingly decent singing skills in this touching tribute to small town America. Its a more down-home Harrelson than people are used to seeing, but one that bears his unique stamp nonetheless.
http://www.youtube.com/watch?v=_PGPSjB4INU
5. The Walker (2007)
-When I first saw this small film in a London cinema, my heart sank because I knew that by that point the film had already played its limited run in America and that Harrelson's brilliantly haunting performance would have no chance of being remembered come awards time. I was right. Set against the backdrop of Washington, Woody plays Carter Page III, a gay socialite/real estate agent who occupies his free time escorting wealthy women to events and parties while becoming their confidant during ritualistic card games. When one of his friends becomes invovled in a murder, he steps in to take care of things, ultimately leading him to discover a side of Washington's social politics he never knew existed.
http://www.youtube.com/watch?v=1ffkyMbAioQ
Congratulations Woody Harrelson!!
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