Friday, 29 August 2014

Alternate Best Actor 2004: Will Ferrell in Anchorman

Will Ferrell did not receive an Oscar nomination for portraying Ron Burgundy in Anchorman: The Legend of Ron Burgundy.

Anchorman is a very funny comedy about the life and times of one local news anchor.

I will start right off in saying I'm no fan of Will Ferrell as a comedian. I find his usual shtick of the man child who gets loud and noisy gets very tiresome very quickly. I just don't find it particularly funny and I find he too often just devolves into repetition in his performances. I was not even looking forward too much to watching this film, but I was very encouraged by other non-Will Farrell fans who claimed this was the Will Farrell film that they did enjoy. Well watching the film proved their claim to be true, and I actually don't dislike Farrell in this film. The main reason being that he does not exactly do his usual thing exactly. Well Ron Burgundy is not exactly a normal functioning adult by any means, and Farrell is in no way avoiding his usual style of comedy there's a certain factor that makes his performance here far more enjoyable than usual for me. That factor being that he is playing a 70's local news anchor who at least seems to suffer the delusion of being somewhat intelligent.

Ferrell is very enjoyable in the fact that he plays the role to actually be at least marginally convincing as a news anchor. Obviously its still entirely comedic in nature, but Ferrell's proper newsman man voice and whole physical manner are quite good. Ferrell is convincing just enough with his semi refined manner here that it makes his stupidity all the funnier. His completely moronic statements such as first believing San Diego's name is something that it definitely does not stand for then proceeds to retract that statement claiming scientists are still trying to determine what the name means exactly would not be nearly as funny if it were not for the semi-intellectual manner in which Ferrell speaks. That pretty much goes throughout his whole performance as he makes something rather endearing out of the foolishness expressed by Burgundy because Burgundy always states the foolishness in such way in which you feel as though Burgundy is really trying.

This is not a terribly complex comedic role as Ferrell technically keeps up with this same style throughout the film and Burgundy does not really change all that much by the end of it. Of course that does not matter since this is a comedy that is particularly goofy after all it has various news teams duke it out in a particularly hilarious and absurd brawl. The biggest change that occurs is when Burgundy gets fired from the news leaving him a broken man. The best parts of the brief set of scenes is when Ferrell really goes extremely dramatic in portraying Burgundy as haunted beyond belief by his failure as a newsman. When Ferrell plays rather "seriously" it is when he is at his most hilarious actually. Of course this scene does not last long and as soon he is hired Burgundy is back to his old self again. There's no big character arc past that, but there does not have to be. Ferrell is rather funny, certainly the most I've liked him, and although I would not put this as an all-time great comic performance it is a good one.

Wednesday, 27 August 2014

Alternate Best Actor 2004

And the Nominees Were Not:

Bruno Ganz in Downfall

Javier Bardem in The Sea Inside

Jim Carrey in Eternal Sunshine of the Spotless Mind

Paul Giamatti in Sideways

Kevin Bacon in The Woodsman

And Bonus Review:
Will Ferrell in Anchorman

Tuesday, 26 August 2014

Alternate Best Actor and Best Supporting Actor 1933: Results

5. Paul Robeson in The Emperor Jones- Robeson has some good moments throughout but his performance is always a little too stagy. He also can never quite make up for the rushed nature of the film.

Best Scene: Jones pretends to be invincible.
4. Warner Baxter in 42nd Street -Baxter's role is somewhat limited for most of the film but once he gets going he gives quite a compelling portrayal of the various tricks of the director to make his show a success.

Best Scene: Marsh teaches Ann how to act.
3. Groucho Marx in Duck Soup- Marx does his usual shtick here, which is just fine since his usual shtick is quite amusing.

Best Scene: Firefly cross examines the spy.
2. John Barrymore in Counsellor At Law- Barrymore is in absolute command of his film giving a charming and compelling portrayal of a driven lawyer.

Best Scene: The counsellor finds out the truth about his wife.
1. Claude Rains in The Invisible Man- Good Predictions Luke and Anonymous. Rains might just be a voice for some of the film but what a voice he is. He carries the right menace as the villainous invisible man, but he also is supremely entertaining with just a dash of pathos for good measure.

Best Scene:  The Invisible Man tells about his plans.
Overall Rank:
  1. Charles Laughton in The Private Life of Henry VIII
  2. Claude Rains in The Invisible Man 
  3. John Barrymore in Counsellor At Law
  4. Oliver Hardy in Sons of the Desert
  5. Stan Laurel in Sons of the Desert
  6. Groucho Marx in Duck Soup
  7. Warner Baxter in 42nd Street
  8. William Powell in The Kennel Murder Case
  9. Robert Armstrong in King Kong
  10. Paul Robeson in The Emperor Jones
  11. Cedric Hardwicke in The Ghoul
  12. Warren William in Lady For a Day
  13. Bruce Cabot in King Kong 
  14. Robert Armstrong in The Son of Kong 
  15. Leslie Howard in Berkeley Square
  16. Douglas Fairbanks Jr. in Morning Glory
  17. Clive Brook in Cavalcade
Supporting Top Ten:
  1. Robert Donat in The Private Life of Henry VIII 
  2. John Barrymore in Dinner At Eight 
  3. Rudolf Klein-Rogge in The Testament of Dr. Mabuse
  4. Lionel Barrymore in Dinner At Eight
  5. Boris Karloff in The Ghoul
  6. Ralph Morgan in The Kennel Murder Case
  7. Melvyn Douglas in Counsellor At Law 
  8. Eugene Palette in The Kennel Murder Case
  9. Henry Travers in The Invisible Man
  10. Ralph Richardson in The Ghoul
Next Year: 2004 lead

Alternate Best Actor 1933: Groucho Marx in Duck Soup

Groucho Marx did not receive an Oscar nomination for portraying Rufus T. Firefly in Duck Soup.

Duck Soup is a very enjoyable film about the hijinks involving a ruler of a free country who butts heads with a dictator.

Groucho Marx plays Rufus T. Firefly who is elected to be the new leader of Freedonia even if it takes a while for him to realize it. Who Groucho plays does not really matter as even though his name may be different this Groucho Marx doing his routine as Groucho. Marx's routine is not really to play a character, and his whole thing is to almost be separate from the story at hand. Now it is true of many of the early comics like Chaplin, and Laurel & Hardy in that they would play the same characters in their films, but those characters could still become emotionally involved with the plot of the film. This is not the case of Groucho Marx whose whole bit is to be kinda disassociated with everything to the point that he will often comment toward the camera to voice his insult or general disinterest at anything that is going on around him. That is perfectly fine though as the film is almost wholly built around Groucho's comedic manner to the outrageous situation he finds himself in.

Well Marx certainly is entertaining in his constant cracking of wise throughout the film as he basically never stops making insults of one form or another at anything and all things. Marx's whole method is to be as rapid fire as possible really, and rarely does he stop except for a slightly absurdest reaction to something. Therefore not every single joke he makes is going to perfectly land perhaps but a whole bunch of them certainly do. My favorite instance of his wordplay insults is when Firefly is interrogating a spy (Chico Marx) for the other nation and says everything as positive while twisting it quickly into actually something quite negative. Marx is very purposefully extremely one note in his performance as Marx never changes from his rather disingenuous attitude. Even in a scene where Firefly accidentally gets angry at the dictator of the other nation causing a war, Marx still plays it all the same, which is the whole point of his comedic character, which is just fine since Marx is consistently funny here.

Well what's a comic performance from the period if one does not count the physical aspect of the comedy? Well Marx actually takes a similair approach to the physical comedy as he does his verbal comedy with again being purposefully withdrawn from the whole thing. Marx often has just a big grin on his face, quite enjoying the hijinks himself, while walking around in a purposefully casually goofy sort of way. Marx actually has quite a bit of energy in the big musical numbers, or the scenes of great physical comedy in his manner of not caring. Marx's timing is excellent even though it all seems to lack a technical purpose, it's an odd trick, but one that Marx pulls off quite brilliantly. Now reading just the synopsis of the film you may be tricked into thinking this performance, and film has some greater purpose like Charlie Chaplin's The Great Dictator. That's not the case as the whole idea about the countries is merely just a springboard for some various comedic situations for the Marx brothers to participate in. Marx's performance does not strive to be anything more than it is which is a very enjoyable example of his usual shtick.

Monday, 25 August 2014

Alternate Best Actor 1933: Claude Rains in The Invisible Man

Claude Rains did not receive an Oscar nomination for portraying Dr. Jack Griffin also known as the titular character in The Invisible Man.

The Invisible Man is a very enjoyable film about a scientist who has undergone a most peculiar sort of experiment.

Claude Rains one of the greatest character actors of all time had a rather peculiar breakout role to be sure. The Invisible Man was only the second film Rains was in, only having a supporting role in a silent beforehand, and despite being in the starring role of the film we only witness his actual face at the very end of the film for a brief moment. For the rest of the film Rains is either fully covered by clothing, or well rather hard to see. Nevertheless the film did give Rains the start to quite his long lasting cinematic career, and the main reason for that must have been his voice. This is actually somewhat similair to John Hurt in The Elephant Man in that both actors are physically onscreen during their performance, but technically speaking their work is almost vocal work in nature. This is even more true for Rains than it was for Hurt, as the disability involving Rains character simply only makes it so he can never be seen. Technically speaking Rains's physical performance is pretty straight forward which makes since in that Griffin is not suffering from his ailment at least no in a normal way.

Rains's voice is perfection for this role though as his voice does exude a certain class and intelligence just naturally. We don't need to know Griffin is a brilliant man because Rains sounds like such a brilliant man anyways. Rains in his earliest scenes, when he is all covered up, is actually quite good in portraying a more introverted quality in his voice in these scenes. He suggests a certain desperation in these moments as Griffin actually is trying to save himself from his invisibility, and Rains very nicely gives us the tragic side of the character before the villain side of Griffin comes out. This happens when, instead of being left alone to try and find a cure, Griffin is hassled by all of the town people leaving no choice for Griffin to reveal himself which reveals that there isn't much of him. Rains quickly becomes the monster who laughs his way through as he terrorizes the people who dare get in his way. Rains's is extremely entertaining in these scenes as there is such a relish of his evil acts through Rains's voice, and really Rains let's you basically in on the fun of all the acts random annoyance that Griffin is committing.

Where James Whale's earlier foray into monsters, that being the Frankenstein Monster, there was a great deal of woe in the monster. The Invisible Man on the other hand becomes a bit more directly evil even if there is a slight tragedy stated in that his evil is suppose to be a side effect of the chemicals that turned him invisible. For most of the film except for the beginning, and brief moments where Griffin interacts with his former love interest, The Invisible Man is evil and loves being so. There is extra degree of enjoyment of it as Rains's performance rather slyly makes a lot of what the Invisible Man is doing is the rather crude and cruel ego stroking of a once cultured and brilliant man. My favorite moments of Rains's performance are easily when he is terrorizing a former colleague of his who foolishly decides to call the cops on the invisible man. My favorite moment of these scenes is when Griffin discusses his plans which naturally include a few murders just for good measure. Rains is hilarious in the way he so matter factually states these things, and portrays the insanity Griffin in such an enjoyably proper sort of fashion. 

Rains's performance here oddly enough is most comedic and Rains is actually quite funny in his portrayal of The Invisible Man's personal enjoyment of his random acts of evil. Rains though, even while being funny, does always carry himself with the right sort of menace at the same time, and manages to really make the fun of Griffin's behavior really a great deal of the basis of his evil. It's kind of a weird way for a performance as a monster to be, but everything that Rains does here does work for the film. This might not ever be the same type of challenge as some of his later, more physical, roles later in his long career, but it is its own challenge all the same. The fact that he is only a voice for most of the film never feels like a problem for Rains as a realizes Griffin as a compelling character all the same, and you have to think there is not even an animation of the character or something to help him the rest of the way. It's on Rains voice, and with his great voice Rains completely delivers in giving quite a marvelous performance of a marvelous character.

Sunday, 24 August 2014

R.I.P. Richard Attenborough

The world has lost one of its greatest actors

Alternate Best Actor 1933: John Barrymore in Counsellor at Law

John Barrymore did not receive an Oscar nomination for portraying George Simon in Counsellor at Law.

Counsellor at Law is a rather solid film about the personal and professional trials of a lawyer.

John Barrymore was a name synonymous with great acting as was later the case with Laurence Olivier, then Robert De Niro, and most currently Daniel Day-Lewis. It has been said that his film career never reached the heights of his stage career and it is interesting that he could be cast in especially small roles like in Marie Antoinette for example. That is not the case for Counsellor at Law where he is front and center for almost the entirety of the film. The film's opening minutes even begin as basically a build up to Barrymore's entrance as we simply hear his secretaries keep telling many people that Mr. Simon is not in yet, until finally the film reveals Barrymore taking care of business. Once Barrymore comes on the scene the film practically becomes an almost nonstop acting showcase for him as the lawyer George Simon has to go from one problem to another whether it has to deal with his work as a lawyer or his marriage to a shallow wasp.

Barrymore begins in basically a rapid fire sort of approach as Simon juggles one case to another in quick succession. Barrymore actually is a bit of a marvel her and it is wonderful watch him in the role here. Barrymore certainly has a theatrical style of performance to be sure, but he still knows how to attune himself for film. His style though also really works for the character of the driven lawyer who obviously would not be opposed to doing a bit of theatrics in the courtroom if it called for it. The film almost plays a bit like a screwball comedy with the way Barrymore handles the dialogue in a rapid fire way early on. Barrymore though is great in selling the material and really giving it a constant energy. All the various exposition in these early scenes could quickly just have become muddled in no time or just could have come off as simply boring. Barrymore brings the material to life making it all clear in concise while doing it with a great deal of style.

Barrymore is in absolute command every minute as he is on screen and he is absolutely convincing as this powerful and passionate lawyer. We don't even need to see him in the courtroom to know how good he would be as Barrymore is so assured in his portrayal of Simon's various wheeling and dealings. When on task Barrymore shows Simon to be always assertive and have his situations within his grasp when they are technically just routine matters for the counsellor. Barrymore is exceptional here though in there is a palatable wit he brings to the part that may very well not have been there with a lesser performer. There really aren't any lines that are innately funny in nature, this is no a screwball comedy by any means, but whenever there is a chance to make a comment a bit comedic Barrymore does. It's particularly fine work because Barrymore makes these little humorous moments completely naturally, and just along with everything else that is going on with his character.

The character of George Simon does not have it easy though and many things from his past come to haunt him all in a short period of time. One of the first things is his shallow wife who quickly demands that he leave a case that would otherwise be a social faux pas, although at the same time she is obviously about to embark on affair away from Simon with a man much of her world. Then he finds himself threatened by disbarment due to having helped guy with somewhat questionable methods earlier on, and finally he has to try and help a radical from his old neighborhood. Barrymore is really quite interesting in the way he plays Simon's reactions to these various things in that he still is pretty rapid fire with it showing that seemingly nothing can stop Simon's drive as a lawyer. It's an odd trick but one that Barrymore pulls off quite graciously. When Simon deals with his wife Barrymore eases back on the intensity rather nicely but only for a moment to show that in one place in his life he has hesitations is in his troubled relationship with his wife.

So many of these films from the early 30's are rather brisk in their running time, and this is film is no exception to that rule. Barrymore's rather swift manner though makes it so he himself avoids ever seeming rushed in his portrayal of Simon's difficulties. Barrymore plays it well by showing as a growing intensity in Simon as one thing after another seems to go wrong for him, but Barrymore never stops keeping Simon on task even when things are going all wrong for him. It's never seems odd though as it always seems exactly how his character should behave as the only thing he really knows in life is too work hard, and constantly. Barrymore does not stop really until a final moment when he finally realizes that his wife has basically left him. Barrymore suddenly completely drops the drive of man, showing that in his wife is one place that Simon never fully understood leaving him completely confused and out of his element for once. It has a powerful impact because Barrymore built to the moment so carefully and convincingly throughout his performance. Although apparently there were many difficulties faced by William Wyler, who directed the film, in regards to Barrymore none of this can be seen in the film itself. The tremendous of Barrymore as an actor can be seen in this performance that stood as a true challenge, a challenge he more than met.