Eli Wallach in The Good, The Bad, and the Ugly
Showing posts with label 1966. Show all posts
Showing posts with label 1966. Show all posts
Friday, 2 September 2011
Best Actor 1966: Results
Eli Wallach in The Good, The Bad, and the Ugly
Best Actor 1966: Paul Scofield in A Man for All Seasons
Paul Scofield won his Oscar from his first nomination for portraying Thomas More in A Man For All Seasons.
A Man for All Seasons follows Thomas More as he must stand by what he believes in therefore against the King of England Henry VIII.
In some instances when an actor reprises a stage role actors fail to refine their performance for film, and can come off as somewhat theatrical in terms of their performance. Paul Scofield though as Thomas More never for moment has the problem, giving one of the most restrained performance in this category. As More Scofield attunes his performance perfectly for film, making the silence, and the dignity of the character truly come to life.
Although playing slimy characters certianly can result in great performances like Richard Burton's and Michael Caine's from this year, there perhaps is not enough credit given when an actor manages to give a truly effective performance when portraying a wholly good character. More as portrayed here is a man of quiet dignity, who believes in what he believes in and refuses to comply with any other if they wish for him to forget his conscience, frankly More could have been very dull, but Scofield never is.
Scofield never makes More some sort of above human character, instead he always realizes the idea that More is still just a man, an intelligent passionate, with a great deal of inner strength, but still a man. I think what helps so much in this is how natural the dignity of More is through Scofield. Scofield never seems to be trying to be dignified, he simply is a man of that stature. Scofield's voice, and manner just has class that simply of its own, and completely as More should be in the film.
Throughout all of More's trials and tribulations Scofield brings out the power in theses scenes because of how natural he is in them. More has many verbal fights defending his choice to remain silent despite the pressure being put on him, by many of the King's men. Scofield does not ever make his case seem pompous, because he genuinely shows that his beliefs are those true to his heart and himself, and simply cannot be comprised no matter what the cost.
More speaks of a many laws, and the various complexities of ones conscience and responsibility in many longs speeches, speeches that easily could have been overblown by any other actor, but Scofield does not do this because he has such truthful conviction in his words. There is a moment of artificiality in any of More words Scofield shows that they are the honest belief, of More and his ability to speak at such lengths and so well, comes naturally from his intelligence, because Scofield has the utmost consistency in what he says.
Scofield slow exhaustion through his trial is well handled through both his physical disintegration, and just his mental exhaustion from his constant harassment, and ill treatment. Scofield although shows his body weaken he always shows how steadfast More is in his beliefs. His slow transition into realizing how far his trial will go is natural, and what is terrific is his final scenes at the trial where he finally speaks out against the King. It is certainly a slow transition, but an earned one since when he finally yells he shows Thomas in his full force of will which has the strength it needs.
What I particularly like about Scofield's performance are the little moments in his performance with his family. They are not exactly the warmest of families, really but there is an honest love between them which Scofield carefully shows throughout through small honest reactions. Scofield never becomes overly emotional even in this last heartfelt goodbye, yet Scofield still manages to make it a meaningful, and heartbreaking relationship Thomas has with his family. Their final scene together is more moving I think because Scofield stays restrained enough to be true to Thomas, yet still subtly portrays the devastating effect seeing his family, for what he knows to be the last time.
Scofield's whole performance is an effect subtle work for the most part, that excels in a fashion few performances do. He makes Thomas an interesting man, even though he is a wholly good man. More's characterization easily could have been a boring performance, that feels just like one really long lecture on politics, and religion. Scofield though never turns his performance into lecture, and Scofield never fails to bring the honest natural passion performance that serves appropriately serves the Thomas More, and the film itself.
In some instances when an actor reprises a stage role actors fail to refine their performance for film, and can come off as somewhat theatrical in terms of their performance. Paul Scofield though as Thomas More never for moment has the problem, giving one of the most restrained performance in this category. As More Scofield attunes his performance perfectly for film, making the silence, and the dignity of the character truly come to life.
Although playing slimy characters certianly can result in great performances like Richard Burton's and Michael Caine's from this year, there perhaps is not enough credit given when an actor manages to give a truly effective performance when portraying a wholly good character. More as portrayed here is a man of quiet dignity, who believes in what he believes in and refuses to comply with any other if they wish for him to forget his conscience, frankly More could have been very dull, but Scofield never is.
Scofield never makes More some sort of above human character, instead he always realizes the idea that More is still just a man, an intelligent passionate, with a great deal of inner strength, but still a man. I think what helps so much in this is how natural the dignity of More is through Scofield. Scofield never seems to be trying to be dignified, he simply is a man of that stature. Scofield's voice, and manner just has class that simply of its own, and completely as More should be in the film.
Throughout all of More's trials and tribulations Scofield brings out the power in theses scenes because of how natural he is in them. More has many verbal fights defending his choice to remain silent despite the pressure being put on him, by many of the King's men. Scofield does not ever make his case seem pompous, because he genuinely shows that his beliefs are those true to his heart and himself, and simply cannot be comprised no matter what the cost.
More speaks of a many laws, and the various complexities of ones conscience and responsibility in many longs speeches, speeches that easily could have been overblown by any other actor, but Scofield does not do this because he has such truthful conviction in his words. There is a moment of artificiality in any of More words Scofield shows that they are the honest belief, of More and his ability to speak at such lengths and so well, comes naturally from his intelligence, because Scofield has the utmost consistency in what he says.
Scofield slow exhaustion through his trial is well handled through both his physical disintegration, and just his mental exhaustion from his constant harassment, and ill treatment. Scofield although shows his body weaken he always shows how steadfast More is in his beliefs. His slow transition into realizing how far his trial will go is natural, and what is terrific is his final scenes at the trial where he finally speaks out against the King. It is certainly a slow transition, but an earned one since when he finally yells he shows Thomas in his full force of will which has the strength it needs.
What I particularly like about Scofield's performance are the little moments in his performance with his family. They are not exactly the warmest of families, really but there is an honest love between them which Scofield carefully shows throughout through small honest reactions. Scofield never becomes overly emotional even in this last heartfelt goodbye, yet Scofield still manages to make it a meaningful, and heartbreaking relationship Thomas has with his family. Their final scene together is more moving I think because Scofield stays restrained enough to be true to Thomas, yet still subtly portrays the devastating effect seeing his family, for what he knows to be the last time.
Scofield's whole performance is an effect subtle work for the most part, that excels in a fashion few performances do. He makes Thomas an interesting man, even though he is a wholly good man. More's characterization easily could have been a boring performance, that feels just like one really long lecture on politics, and religion. Scofield though never turns his performance into lecture, and Scofield never fails to bring the honest natural passion performance that serves appropriately serves the Thomas More, and the film itself.
Thursday, 1 September 2011
Best Actor 1966: Richard Burton in Who's Afraid of Virginia Woolf
Richard Burton received his fifth Oscar nomination for portraying George in Who's Afraid of Virginia Woolf.
Who's Afraid of Virginia Woolf details a night in the relationship of a volatile married couple, and another younger one the older ones bring in for the ride.
I must say from doing these Oscar reviews one of the biggest joys I get out of it is being able to see the various highs and lows of the careers of various actors. Burton is a very interesting case since the last review of Burton I did was the Robe which was rather negative since he was able to be both wooden and laughably over the top at the same time. Luckily for Burton I end the reviews of his performances with this particularly performance not only heralded as his best but one of the best ever nominated in this category.
George certainly is challenging role since he might be the most difficult character to pull of correctly in the entire cast of this film, which in light of the other characters that is really saying something. George is a strange character in that we learn a great deal about, but at the same time were may learn far less about than we might think since all of his stories he tells may or may not be true, and or may or may not really be about George truly and completely.
Burton does not show that there is any really effort to meet this challenge of George, he simply embodies George from beginning to end without question. What I find fascinating about this performance is how easily Burton takes on George seamlessly. This technically is an actory role, with much yelling and all that yet Burton never comprises his performance into any cheap sideshow or freak show instead he fully realizes George as the odd enigma very naturally despite the type of character George is.
What I find amazing for me anyways, is how Burton is always able to captivate attention on the screen at all times, certainly it is true that he has the most screen time out of anyone and that I purposely was watching the film for his performance, but the first time I watched the film I had the same reaction. Burton is able to keep attention on himself even when others are talking, which is an effective, and interesting way he portrays the condition of George in the earlier moments of the film.
Burton really underplays the condition of George which is quite effective, he shows George to be almost shell, only almost, as since in the other film it shows he still has a lot left in him, but in his lowly position at least according to Martha (Elizabeth Taylor) he seems to have just been basically wasting away. Burton never visibly tries this to show this, instead he simply embodies the history of George, and the current state he is in.
Burton and Taylor's chemistry is perfectly effective for the film, having the best dynamic really possible. Taylor as Martha is always more obviously angry, and discontented with George, whereas Burton underplays the hatred, at least first, he subtly suggests his utter distaste for his wife beneath his cold stares. I think what makes their dynamic special is that although they certianly hate each other, and Burton and Taylor establish that this goes far beyond one night, there is small attempts at tenderness, or intimacy, inserted by the actors to appropriately show that they were not always that way.
Burton early on is fascinating in particular the early moment where Matha continually speaks ill of George to their younger married guests Nick (George Segal), and Honey (Sandy Dennis). Martha is the one speaking, but Burton certainly keeps are attention as well as George just sits there seemingly just taking it. Burton does not just sit there doing nothing, but suggests George's history of certainly hearing this many many times before through his casual way with Martha, as well as though that there still is certianly hatred always simmering underneath, but George is better at hiding it than Matha.
Burton's casualness he brings to the part frankly makes George all the more disturbing and chilling, such as in that early scene where he just slowly walks off and finds the fake gun, Burton's total nonchalant fashion in which he slowly walks to do it like he was moseying through a grocery store has the perfect ghastly quality, sure it turns out in to be a joke but Burton certianly portrays it as a true desire of George's. He also in this scene shows that to George this life with Martha is one long game he is playing.
In every scene where George is alone with either of the guests, Honest and especially when with Nick we see a different side of George. Burton shows George to frankly more outgoing with Martha, around suggesting he must be more on the defense with Martha, but here George takes the offensive with the guests. George becomes devilishly playful fellow, rather happy, in the most disturbing fashion. Burton here always is outgoing entertaining most certianly, but still always shows the undercurrent of George's mind working the way he is pulling everything out of the guests in order to use to best it will serve him.
Burton handles all of these scenes with absolute ease, and naturalism, which is amazing considering how easy it would have been to overact them. Burton manages though to always stay absolute on the mark with George which is simply incredible considering the oddity George is. Burton excels even with the incredibly difficult moments where George may be talking about his past, maybe not, or maybe some sort of form of his past. When George tells the story of the boy who killed his parents, Burton has the right haunted quality showing the story is deeply connected to George in some way whether in his actual personal history or just in his mind, Burton always keeps the perfect ambiguity making George impossible to fully know, but still be satisfied that you know certainly something about him.
Burton's greatest moments come though as the film continues on and the battle begins between him and Martha. Martha always begins her attacks, and Burton certianly shows slowly and utter convincingly that George slowly no longer is able to take Martha constant attacks on him, it is a slow burn, and his eventual outburst was unavoidable George who was attempting to hold in his anger. What is best though is his reversal attack on the guests to purge his anger against them since they were used against him, Burton has the a visceral quality that is more violent in his verbal attacks than when he tries to strangle Martha.
The final act of Burton's performance is the powerful and chilling though, where Martha tries her best to truly farm George. Burton initial reaction to what Martha does is in its own way heartbreaking because it shows that George really still is hurt, and it does suggest that hate is not all that he really has for Martha. What is most impressive though is the way Burton returns to seek his revenge on Martha as George. His final scene is absoultely bone chilling, as he tears Martha apart emotionally to "win". It is brilliantly savage performance, that always remains in Burton's hands the savagery of a well spoken educated man. His final scene tops off what is an incredible moments, that never stops being a powerful unforgettable characterization for a single moment. This is a truly great performance by Richard Burton.
I must say from doing these Oscar reviews one of the biggest joys I get out of it is being able to see the various highs and lows of the careers of various actors. Burton is a very interesting case since the last review of Burton I did was the Robe which was rather negative since he was able to be both wooden and laughably over the top at the same time. Luckily for Burton I end the reviews of his performances with this particularly performance not only heralded as his best but one of the best ever nominated in this category.
George certainly is challenging role since he might be the most difficult character to pull of correctly in the entire cast of this film, which in light of the other characters that is really saying something. George is a strange character in that we learn a great deal about, but at the same time were may learn far less about than we might think since all of his stories he tells may or may not be true, and or may or may not really be about George truly and completely.
Burton does not show that there is any really effort to meet this challenge of George, he simply embodies George from beginning to end without question. What I find fascinating about this performance is how easily Burton takes on George seamlessly. This technically is an actory role, with much yelling and all that yet Burton never comprises his performance into any cheap sideshow or freak show instead he fully realizes George as the odd enigma very naturally despite the type of character George is.
What I find amazing for me anyways, is how Burton is always able to captivate attention on the screen at all times, certainly it is true that he has the most screen time out of anyone and that I purposely was watching the film for his performance, but the first time I watched the film I had the same reaction. Burton is able to keep attention on himself even when others are talking, which is an effective, and interesting way he portrays the condition of George in the earlier moments of the film.
Burton really underplays the condition of George which is quite effective, he shows George to be almost shell, only almost, as since in the other film it shows he still has a lot left in him, but in his lowly position at least according to Martha (Elizabeth Taylor) he seems to have just been basically wasting away. Burton never visibly tries this to show this, instead he simply embodies the history of George, and the current state he is in.
Burton and Taylor's chemistry is perfectly effective for the film, having the best dynamic really possible. Taylor as Martha is always more obviously angry, and discontented with George, whereas Burton underplays the hatred, at least first, he subtly suggests his utter distaste for his wife beneath his cold stares. I think what makes their dynamic special is that although they certianly hate each other, and Burton and Taylor establish that this goes far beyond one night, there is small attempts at tenderness, or intimacy, inserted by the actors to appropriately show that they were not always that way.
Burton early on is fascinating in particular the early moment where Matha continually speaks ill of George to their younger married guests Nick (George Segal), and Honey (Sandy Dennis). Martha is the one speaking, but Burton certainly keeps are attention as well as George just sits there seemingly just taking it. Burton does not just sit there doing nothing, but suggests George's history of certainly hearing this many many times before through his casual way with Martha, as well as though that there still is certianly hatred always simmering underneath, but George is better at hiding it than Matha.
Burton's casualness he brings to the part frankly makes George all the more disturbing and chilling, such as in that early scene where he just slowly walks off and finds the fake gun, Burton's total nonchalant fashion in which he slowly walks to do it like he was moseying through a grocery store has the perfect ghastly quality, sure it turns out in to be a joke but Burton certianly portrays it as a true desire of George's. He also in this scene shows that to George this life with Martha is one long game he is playing.
In every scene where George is alone with either of the guests, Honest and especially when with Nick we see a different side of George. Burton shows George to frankly more outgoing with Martha, around suggesting he must be more on the defense with Martha, but here George takes the offensive with the guests. George becomes devilishly playful fellow, rather happy, in the most disturbing fashion. Burton here always is outgoing entertaining most certianly, but still always shows the undercurrent of George's mind working the way he is pulling everything out of the guests in order to use to best it will serve him.
Burton handles all of these scenes with absolute ease, and naturalism, which is amazing considering how easy it would have been to overact them. Burton manages though to always stay absolute on the mark with George which is simply incredible considering the oddity George is. Burton excels even with the incredibly difficult moments where George may be talking about his past, maybe not, or maybe some sort of form of his past. When George tells the story of the boy who killed his parents, Burton has the right haunted quality showing the story is deeply connected to George in some way whether in his actual personal history or just in his mind, Burton always keeps the perfect ambiguity making George impossible to fully know, but still be satisfied that you know certainly something about him.
Burton's greatest moments come though as the film continues on and the battle begins between him and Martha. Martha always begins her attacks, and Burton certianly shows slowly and utter convincingly that George slowly no longer is able to take Martha constant attacks on him, it is a slow burn, and his eventual outburst was unavoidable George who was attempting to hold in his anger. What is best though is his reversal attack on the guests to purge his anger against them since they were used against him, Burton has the a visceral quality that is more violent in his verbal attacks than when he tries to strangle Martha.
The final act of Burton's performance is the powerful and chilling though, where Martha tries her best to truly farm George. Burton initial reaction to what Martha does is in its own way heartbreaking because it shows that George really still is hurt, and it does suggest that hate is not all that he really has for Martha. What is most impressive though is the way Burton returns to seek his revenge on Martha as George. His final scene is absoultely bone chilling, as he tears Martha apart emotionally to "win". It is brilliantly savage performance, that always remains in Burton's hands the savagery of a well spoken educated man. His final scene tops off what is an incredible moments, that never stops being a powerful unforgettable characterization for a single moment. This is a truly great performance by Richard Burton.
Tuesday, 30 August 2011
Best Actor 1966: Michael Caine in Alfie
Michael Caine received his first Oscar nomination for portraying Alfie Elkins in Alfie.
Alfie tells about Alfie who is a perpetual womanizer, who through many events slowly reexamines himself.
Michael Caine does indeed have a challenge to begin with in this role, since he must strive to make Alfie a likable character, likable enough to follow through the film, while making him charming enough to make his constant "conquests" believable. Alfie could have easily been one loathsome fellow in the wrong hands, oh he still certianly is loathsome but Caine manages to make him a likable loathsome fellow.
Caine has the perfect needed ease in the role. This a very much required for a role that frequently requires one the break the fourth wall and constantly address the audience. Caine stays natural even in these moments, which is very much necessary, since he makes it seems like taking to the viewer directly is just a natural thing for Alfie to do, there really is nothing strange about it and it ever helps develop Alfie relaxed way toward life quite well.
Caine always has the right charm in the role that is never frankly overly charming, Alfie really shouldn't be being the low level player he is, but it still is a prevalent charisma to the right degree for Alfie, particularly in his scenes with women. He does not just constantly beaming with overwhelming charm, but there is a certianly low key charm that Caine uses to great effect.
Alfie is many times billed as a comedy, although I frankly feel there more drama than comedy to it, but nonetheless most of the comedy comes from the contradictory nature of the character. Where he says he is doing one thing, but really not doing it well. Caine excels at this showing that Alfie's irresponsibility is not just something he does but Alfie absolute nature something he really cannot really even help. Caine never shows Alfie trying to be this way, he simply is that way.
Caine best moments as Alfie really come from his more dramatic scenes where Alfie must really see the emptiness in his lifestyle as well as possibly change what he really wants in life. It is interesting because his scenes of charming various women are a more externally driven performance, but Caine balances these scenes extremely well with very subtle moments that suggest maybe Alfie is not as uncaring and irresponsible as he thinks he is or he wants to be.
Caine has some small moments at the beginning with one of his many girl friends. She has his child, and Caine carefully shows that Alfie puts on a facade really to show he views the child as nothing more than an inconvenience, but through little moments of reactions Caine shows that Alfie really does have underlying warmness, and honestly does love the boy, even though he tries to act like he doesn't. A particularly great scene comes later near the end of the film where he sees the family might have had, Caine reaction is entirely silent but shows the emptiness his character feels all to well.
A bit more external yet as powerful moments of reflection come in when a particularly inconvenient pregnancy occurs due to Alfie's irresponsibility. Caine is great through this whole scene of the dealing with this pregnancy as he begins showing Alfie putting only slight bit of care in the situation barely even recognizing his responsibility in what is occurring. Caine is absolutely heartbreaking though when he sees the result of special treatment of the pregnancy. Caine reaction is perfect and Caine brilliantly shows how Alfie's conscience suddenly catches up with him.
Caine after these events, and more that change Alfie's view of life does not show that Alfie is absolutely a different man. He still attempts to get through life the way he did before, with his same charm, yet Caine carefully does transition him to the right degree no longer seeing life as just a ride as he did at the beginning of the film, instead showing a great deal of sadness in the man, who finally started to see the emptiness in the life he made for himself.
This was a breakthrough star making role for Caine and it is very easy to see why. Caine is able to bring the right amount of charm and humor through his performance, while bringing the right depth and reflection to the part as well. Caine not only entertains with Alfie but he also manages to fully realize the character of Alfie becuase he excels both through his early more slight moments and even more so with his transition to deeper moments where he brings a great deal of power to them.
Michael Caine does indeed have a challenge to begin with in this role, since he must strive to make Alfie a likable character, likable enough to follow through the film, while making him charming enough to make his constant "conquests" believable. Alfie could have easily been one loathsome fellow in the wrong hands, oh he still certianly is loathsome but Caine manages to make him a likable loathsome fellow.
Caine has the perfect needed ease in the role. This a very much required for a role that frequently requires one the break the fourth wall and constantly address the audience. Caine stays natural even in these moments, which is very much necessary, since he makes it seems like taking to the viewer directly is just a natural thing for Alfie to do, there really is nothing strange about it and it ever helps develop Alfie relaxed way toward life quite well.
Caine always has the right charm in the role that is never frankly overly charming, Alfie really shouldn't be being the low level player he is, but it still is a prevalent charisma to the right degree for Alfie, particularly in his scenes with women. He does not just constantly beaming with overwhelming charm, but there is a certianly low key charm that Caine uses to great effect.
Alfie is many times billed as a comedy, although I frankly feel there more drama than comedy to it, but nonetheless most of the comedy comes from the contradictory nature of the character. Where he says he is doing one thing, but really not doing it well. Caine excels at this showing that Alfie's irresponsibility is not just something he does but Alfie absolute nature something he really cannot really even help. Caine never shows Alfie trying to be this way, he simply is that way.
Caine best moments as Alfie really come from his more dramatic scenes where Alfie must really see the emptiness in his lifestyle as well as possibly change what he really wants in life. It is interesting because his scenes of charming various women are a more externally driven performance, but Caine balances these scenes extremely well with very subtle moments that suggest maybe Alfie is not as uncaring and irresponsible as he thinks he is or he wants to be.
Caine has some small moments at the beginning with one of his many girl friends. She has his child, and Caine carefully shows that Alfie puts on a facade really to show he views the child as nothing more than an inconvenience, but through little moments of reactions Caine shows that Alfie really does have underlying warmness, and honestly does love the boy, even though he tries to act like he doesn't. A particularly great scene comes later near the end of the film where he sees the family might have had, Caine reaction is entirely silent but shows the emptiness his character feels all to well.
A bit more external yet as powerful moments of reflection come in when a particularly inconvenient pregnancy occurs due to Alfie's irresponsibility. Caine is great through this whole scene of the dealing with this pregnancy as he begins showing Alfie putting only slight bit of care in the situation barely even recognizing his responsibility in what is occurring. Caine is absolutely heartbreaking though when he sees the result of special treatment of the pregnancy. Caine reaction is perfect and Caine brilliantly shows how Alfie's conscience suddenly catches up with him.
Caine after these events, and more that change Alfie's view of life does not show that Alfie is absolutely a different man. He still attempts to get through life the way he did before, with his same charm, yet Caine carefully does transition him to the right degree no longer seeing life as just a ride as he did at the beginning of the film, instead showing a great deal of sadness in the man, who finally started to see the emptiness in the life he made for himself.
This was a breakthrough star making role for Caine and it is very easy to see why. Caine is able to bring the right amount of charm and humor through his performance, while bringing the right depth and reflection to the part as well. Caine not only entertains with Alfie but he also manages to fully realize the character of Alfie becuase he excels both through his early more slight moments and even more so with his transition to deeper moments where he brings a great deal of power to them.
Monday, 29 August 2011
Best Actor 1966: Alan Arkin in The Russians Are Coming, The Russians Are Coming
Alan Arkin received his second Oscar nomination for portraying Lt. Rozanov in The Russians Are Coming, The Russians are Coming.
The Russians Are Coming, The Russians are Coming tells the story of a Soviet Submarine accidentally landing on a New England Island town, chaos ensues.
Alan Arkin plays one of the Russians in the odd situation. This is a performance that is rather hard to say all that much about because Arkin just does very little in this film.It is not due to a lack of screen time, but rather just the amount of what his character actually does is incredibly little. The main point of his character is he is one of the few level headed characters in the film as everyone else goes crazy.
All that Arkin does is basically run around say how he is looking for a boat to get the submarine out, as well as react in disbelief at the various crazy actions of the town. Arkin is perfectly fine in the role I suppose, his accent is entirely natural enough. His reactions to the various are fine, and slightly humorous I suppose, but not particularly funny still.
There is very little total that can be said about Arkin otherwise than he is fine with the small amounts of requirements in the part, but at the same there is nothing really required of him on a whole. I also do not really think he could have pulled more out of the part than he does, he really is about as good as he could be with so little material to deal with. Arkin is entirely fine, but this nomination really makes no sense.
Alan Arkin plays one of the Russians in the odd situation. This is a performance that is rather hard to say all that much about because Arkin just does very little in this film.It is not due to a lack of screen time, but rather just the amount of what his character actually does is incredibly little. The main point of his character is he is one of the few level headed characters in the film as everyone else goes crazy.
All that Arkin does is basically run around say how he is looking for a boat to get the submarine out, as well as react in disbelief at the various crazy actions of the town. Arkin is perfectly fine in the role I suppose, his accent is entirely natural enough. His reactions to the various are fine, and slightly humorous I suppose, but not particularly funny still.
There is very little total that can be said about Arkin otherwise than he is fine with the small amounts of requirements in the part, but at the same there is nothing really required of him on a whole. I also do not really think he could have pulled more out of the part than he does, he really is about as good as he could be with so little material to deal with. Arkin is entirely fine, but this nomination really makes no sense.
Sunday, 28 August 2011
Best Actor 1966: Steve McQueen in The Sand Pebbles
Steve McQueen received his only Oscar nomination for portraying Jake Holman in The Sand Pebbles.
The Sand Pebbles tells the story of a U.S. gun ship's troubles during its time in the troubled 1920's China.
Steve McQueen received this as his only Oscar nomination, which is rarely ever considered to be his greatest or most notable role. It is also a rather different kind of character for McQueen because here he is considerably less in utter command of his situation as with many of his characters. With the character of Holman McQueen is required a far less of a character who is able to control his fate.
McQueen to me is a rather strange actor who sometime puts in odds tics, and mannerisms for absolutely no reason in his performances. In this performance he does not use these tics but there are still oddities to his performance, such as almost randomly through odd line readings that seem out of place with the rest of his performance.
I will say that the stilted line readings, or weird ones tend to come from two places in his performances one being early on when Holman is required to say things in a derogatory fashion about various Chinese, as well as his romantic scenes with Candice Bergen a school teacher at a missionary. McQueen never seems to have his heart in any of these moments leaving them quite empty.
This is not to say all of McQueen does is bad in this performance at all, in fact it is quite the contrary. McQueen although strange sometimes as one is still an actor I like for some reason, a reason I cannot exactly explain why, but I just do. I certianly liked a good deal of what he did here as well, he is very easy to watch having a strong presence on screen almost throughout.
He also in his scenes with just he other men on the ship, and his scenes with the ship's captain (Richard Crenna) he has the right rebellious strength in his performance. McQueen manages to channel this attitude of Holman's well in a sort of quiet discontent and hatred of certian things, but with a certain bit of repression since Holman still does follow the majority of his orders.
These moments McQueen has the perfect rather quiet simple strength in his performance, in most of the scenes on the ship, or the scenes in the club where he helps another fellow crewman Frenchy (Richard Attenborough). McQueen in these moments where Holman is in charge in his own ways is quite effective, and strong showing Holman's resolve, even if a somewhat cynical resolve.
McQueen is never quite great, but he has moments of near greatness such as the difficult moment where Holman must mercy kill his friend. McQueen is very good in this moment realistically portraying Holman's rather heartbreaking struggle in this short scene almost silently. Scenes like that one, are not common in his performance, but they are there, but so are his strange moments as well. It is a mixed performance in many ways, and I would say in the end it does serve its purpose most of the time, sometimes it does far less, but sometimes it does more.
Steve McQueen received this as his only Oscar nomination, which is rarely ever considered to be his greatest or most notable role. It is also a rather different kind of character for McQueen because here he is considerably less in utter command of his situation as with many of his characters. With the character of Holman McQueen is required a far less of a character who is able to control his fate.
McQueen to me is a rather strange actor who sometime puts in odds tics, and mannerisms for absolutely no reason in his performances. In this performance he does not use these tics but there are still oddities to his performance, such as almost randomly through odd line readings that seem out of place with the rest of his performance.
I will say that the stilted line readings, or weird ones tend to come from two places in his performances one being early on when Holman is required to say things in a derogatory fashion about various Chinese, as well as his romantic scenes with Candice Bergen a school teacher at a missionary. McQueen never seems to have his heart in any of these moments leaving them quite empty.
This is not to say all of McQueen does is bad in this performance at all, in fact it is quite the contrary. McQueen although strange sometimes as one is still an actor I like for some reason, a reason I cannot exactly explain why, but I just do. I certianly liked a good deal of what he did here as well, he is very easy to watch having a strong presence on screen almost throughout.
He also in his scenes with just he other men on the ship, and his scenes with the ship's captain (Richard Crenna) he has the right rebellious strength in his performance. McQueen manages to channel this attitude of Holman's well in a sort of quiet discontent and hatred of certian things, but with a certain bit of repression since Holman still does follow the majority of his orders.
These moments McQueen has the perfect rather quiet simple strength in his performance, in most of the scenes on the ship, or the scenes in the club where he helps another fellow crewman Frenchy (Richard Attenborough). McQueen in these moments where Holman is in charge in his own ways is quite effective, and strong showing Holman's resolve, even if a somewhat cynical resolve.
McQueen is never quite great, but he has moments of near greatness such as the difficult moment where Holman must mercy kill his friend. McQueen is very good in this moment realistically portraying Holman's rather heartbreaking struggle in this short scene almost silently. Scenes like that one, are not common in his performance, but they are there, but so are his strange moments as well. It is a mixed performance in many ways, and I would say in the end it does serve its purpose most of the time, sometimes it does far less, but sometimes it does more.
Friday, 26 August 2011
Best Actor 1966
Well here it is, finally the last year of my Best Actor reviews (well until this year's nominees anyway).
And the Nominees Were:
Michael Caine in Alfie
Richard Burton in Who's Afraid of Virginia Woolf
Paul Scofield in A Man for All Seasons
Steve McQueen in The Sand Pebbles
Alan Arkin in The Russians Are Coming, The Russians Are Coming
Michael Caine in Alfie
Richard Burton in Who's Afraid of Virginia Woolf
Paul Scofield in A Man for All Seasons
Steve McQueen in The Sand Pebbles
Alan Arkin in The Russians Are Coming, The Russians Are Coming
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