Sunday 10 March 2019

Alternate Best Actor 2013: Terence Stamp in Song For Marion

Terence Stamp did not receive an Oscar nomination for portraying Arthur in Song For Marion. 

A Song For Marion is a tad too cornball as a film about a widower trying to cope with the death of his wife by joining her choir group.

The film itself isn't especially good as it falls too often into scene after scene of "aren't old people wacky" in several scenes of geriantics. The saving virtue of the film is in its lead of Terence Stamp, who you might say is almost in the wrong film as he intends to deliver something that the writer of the film might struggle to comprehend. This is as the film itself isn't too assured in its methods of portraying the struggle of Terence Stamp's Arthur, who as the film opens is dealing with his wife Marion (Vanessa Redgrave) who is dying from cancer, and is outgoing, while Arthur decidedly is not. This film honestly seems to what to treat this almost as something precious as well in the way a lot of scenes are framed, however Stamp's performance intends something far more dramatic in his portrayal of Arthur's general grumpiness. Stamp doesn't hold back in this regard putting a real intensity within the character's bitterness especially as it connects to the decaying state of his wife's health. Stamp doesn't brush it off as nothing, bringing something far deeper in creating the sense of anger in the man, and presents a harsh man in Arthur, who seems frankly not at all at ease with the general excessive goofy portrayal of most of the characters.

The film lacks a proper detail most points, take for example we get only some snippets of Arthur's relationship with his son James (Christopher Eccleston), which we're told is just generally tense, mainly illustrated through a scene where Arthur yells at him for being late, due actually due to Arthur's own confusion. Although the scene is lacking as written, Stamp manages to give it a bit more than is there through his work that offers the blunt disregard and particularly direct forcefulness of a father far too prone to discipline towards his son. Stamp finds just the right approach within this as he gives enough a reality even towards the rather thin material. He does not hold back, even when the film seems to. This is often what Stamp's work amounts to throughout the film, as he tries to consistently grant an honesty to the material that is rather lacking within it. When Marion does die, Stamp is able to find the real heartbreak in the loss, and the immediate hollowness of his state as he initially withdraws to nearly a nothingness at the point. This setting up of course Arthur finding his way towards life again through his wife's old singing group, and especially through their choir leader Elizabeth (Gemma Arterton).

The scenes become pretty obvious where they are going to go, as Arthur is going to become less of grump as he becomes part of the choir and becomes friends with Elizabeth. Again though Stamp is terrific as he does not fall into easy sentiment, in fact outright refuses it. Stamp, even in the somewhat overt humorous moments intended for him, stays true to his honest approach to the character by making his eases away from bitterness gradual. Stamp is so successful in this approach, as he only lightens his delivery a bit, his hard eyes, only a bit, granting appropriate ease in the transformation. He never jumps fully to a man he's not. Now the reason though I'm talking about this film, are the two main songs in the film, the one sung by Marion and then the one for Marion. These scenes are the obvious highlights of the film, and the reason being Terence Stamp's performance in each. The first being Marion's song to Arthur essentially of "True Colors", which takes place obviously before his transformation, however Stamp uses it brilliantly to suggest that possibility. Stamp is quite outstanding in the scene, as it is just the silent reaction to Marion singing. Stamp takes a subtle, so poignant, approach as he shows as the song goes on his look of callousness fades to this quiet affection that so strongly shows his love. What is most powerful though is as the words prod him, Stamp is fantastic in being able to just exude enough of that emotion on the edge, while still showing Arthur trying to hold it in. It's a marvelous moment, only bested by Arthur's solo performance of "Lullaby (Goodnight, My Angel)", at the climactic performance of the choir group. Stamp delivers one of the finest moments of his career in his performance of the song. This is in every second of it as he depicts the initial hesitation of the introverted curmudgeon, before a prompting from his granddaughter, that gets him to sing the song. The actual performance delivered with such a refined passion by Stamp with such heart given to every word. The most heartbreaking touch being Stamp's way of keeping his eyes closed during the song, and with this quiet anguish across his face as though he is indeed singing directly to his deceased wife. Stamp offers only a real emotion in the moment that skirts any cheap manipulation, to grant something so much more potent. That is the highlight of his work, and if you took only the songs, you'd think this was a far greater film, given they focus so directly on Stamp. Although the bridge between these songs is shaky within the film, Stamp still never is, and even though the songs are far away his best moments, this stands nonetheless as a touching portrait of grief by Stamp that rises far above its material.

98 comments:

Bryan L. said...

"Tad too cornball"

Hhmmmm...kind of sounds like another 2010s film starring a British actor born in the 1930s...

Louis: Ratings and thoughts on the cast?

Matt Mustin said...

Bryan L: Funny thing is, I know exactly what you're talking about, but your description doesn't actually narrow anything down all that much.

Michael McCarthy said...

Confession...I thought this film was adorable. Like I get that it was cheesy but never in a way that felt manipulative or exploitive to me.

Also, I think Redgrave deserves a lot more credit than she got for this. Considering she’s known nowadays for playing very poised, dignified, and often icy characters, I thought her sweet and kooky grandma routine was a wonderful change of pace.

1. Ethan Hawke
2. Masaharu Fukuyama
3. Christian Bale
4. Terence Stamp
5. Alden Ehrenreich

Robert MacFarlane said...

Louis: Any chance Cooper could get upgraded for Place Beyond the Pines? Because I atill think that’s his best performance.

Calvin Law said...

I agree with Michael, Redgrave was wonderful, and I really liked Eccleston and Arterton. It is a bit too cheesy but I’m glad we all concur that Stamp gave a deveststing, knockout performance.

Calvin Law said...

Also I absolutely loved the rendition of True Colors which is one of my favourite songs.

Calvin Law said...

For this year, my hopes are upgrades for Jonah Hill, Daniel Bruhl (very unlikely), Dano in Prisoners, and that Abdi might possibly take the year for supporting (that’s an extraordinary performance that has aged better than any other from this year for me).

Robert MacFarlane said...

In complete agreement with Calvin regarding Abdi, he’d be my choice in a landslide.

Michael McCarthy said...

I'd definitely support an upgrade for Hill, as well as Abdi or Fassbender taking the supporting overall. For 2013 though I'm actually more hoping for certain films to improve for Louis on rewatch, particularly The World's End and (if he watches it again) Her.

I also REALLY need to get around to The Place Beyond the Pines.

Emi Grant said...

I'm all in for an upgrade for Hill or Dano, and hopefully (though, I doubt it) one for Jeremy Renner. Abdi is also easily my supporting win for this year.

Charles H said...

I'm for Fassbender or Ali taking the win for supporting. Those are two performances that aged extremely well with me. I'm fine with Jonah Hill being upgraded although i wouldn't go over a 4.

Michael McCarthy said...

A 4 seems perfect for Hill.

Charles H said...

Also, i have a feeling Leto may go down a notch.

Robert MacFarlane said...

Charles: God I hope so. Worst performance to win this decade in any category.

Bryan L. said...

I see Jonah Hill only going up to a 3.5, honestly.

Luke: Can we still submit predictions after the second review in a 10 Lineup?

Tahmeed Chowdhury said...

Bryan: You can post them and change them up until the third review.

Bryan L. said...

Tahmeed: Thank you.

1. Sol
2. Waltz
3. Pegg
4. Gleeson
5. Servillo

1. Fukuyama
2. Bale
3. Hawke
4. Stamp
5. Ehrenreich

GM said...

1. Sol
2. Pegg
3. Waltz
4. Gleeson
5. Servillo

1. Hawke
2. Fukuyama
3. Bale
4. Stamp
5. Ehrenreich

Razor said...

1. Fukuyama
2. Hawke
3. Bale
4. Stamp
5. Ehrenreich

Omar Franini said...

1. Waltz
2. Pegg
3. Sol
4. Gleeson
5. Servillo

1. Bale
2. Hawke
3. Fukuyama
4. Stamp
5. Ehrenreich

Anonymous said...

John Smith:

1. Sol
2. Pegg
3. Servillo
4. Waltz
5. Gleeson

1. Fukuyama
2. Hawke
3. Stamp
4. Bale
5. Ehrenreich

Bryan L. said...

Robert: If you don't mind me asking, your rating and thoughts on Leto in Dallas Buyers Club?

Calvin Law said...

Bryan: Robert doesn’t do ratings anymore, but I suspect it wouldn’t be high at all if he did.

Bryan L. said...

Calvin: Ah right. I knew someone on here doesn't do ratings, but I had forgotten who specifically.

Bryan L. said...

Matt: I'll give you another hint; that other film also involves music as an important part of the plot. :)

Luke Higham said...

Bryan: It's Quartet (2012), both described as corny and led by 2 British Acting Legends.

Anonymous said...

3 or 4, if you count Maggie Smith and Vanessa Redgrave.

Luke Higham said...

1. Fukuyama
2. Bale
3. Hawke
4. Stamp
5. Ehrenreich

Louis Morgan said...

Bryan:

Full disclosure, that line was a carry over from when I was reviewing Stamp with Courtenay originally.

Redgrave - 4(I should say I actually don't have a problem with any of the main cast, it is the choir and some of the other bit roles that are way over played. Redgrave gives a nice sweet turn with a most affectionate optimism that stands well in contrast to Stamp. She nicely does modulate this showing still the sense of sorrow in her state, but as something subtle that still does not define her even as she faces death.)

Eccleston - 3(He does not really have enough to work with to really make much of an impact. He's more than decent in portraying his quiet disgruntled state with Stamp, but there just isn't enough to it.)

Arterton - 3(She does border on the overplaying of things, however her excessively sunny disposition does work in relative to her character who she makes believable at least as the type of person who just is trying to bring the best out of every one all the time.)

Robert:

Yes.

Anonymous said...

Louis who would you say are the ten worst actors to have won Oscars for acting, disregarding the quality of their actual wins?

Louis Morgan said...

Anonymous:

Ten's a bit harder, as they usually don't reward completely disposable actors, however Eddie Redmayne and Anne Revere, in general, aren't very good.

Luke Higham said...

Louis: Your thoughts on the Raiders Of The Lost Ark opening parody in The Simpsons.

RatedRStar said...

Louis: I know it is very early days but, wow, this blog started in 2010, nearly a whole decade Louis, its an amazing achievement good sir, at the end of this year we could all do a Siskel & Ebert and look back at the decades best and worst films lol.

RatedRStar said...

Being that I have continued to struggle at work, I have been watching an awful lot of Siskel and Ebert recently.

I am still keeping up to date with the Siskel & Ebert site and, I watched the remember Gene Siskel episode, there was one particular moment that really moved me and almost felt like I was one of those people who that message was aimed at, and it was when him and Ebert were at the Museum of broadcast communications and he said this:

RatedRStar said...

Gene Siskel: "We have found a job that we love, and I hope that the work that you do, the work that you choose that you will take quick inventory of it and decide do I love this? can I love this? and I dont mean like a lot I mean passionately love that you would hate having it taken away from you, that is a very good test"

Bryan L. said...

Louis: Your past film roles for Michael Shannon and Ben Mendelsohn?

Calvin Law said...

RatedRStar: hang in there buddy! Hope either the job gets better or you find a new placement elsewhere (I know how frustrating it is to work on something you’re not happy with)

Louis Morgan said...

Luke:

Just a classic example of what has been so lost in the lifeless digital animation of new, as there is so much life, and comedy in the bit. Just wonderfully done as well set the music as the actual scene, especially love the bits of Homer as boulder, Maggie's "dart gun", and of course underwear clad Homer brandishing a rake while spouting gibberish. Just wonderfully done.

RatedRStar:

Thanks, and we definitely should do that. Siskel and Ebert are often a pick me up for me too, wish you the best, as always.

Bryan:

Michael Shannon:

Buck Turgidson
Ben Vandergrot
Frank Bigelow

Ben Mendelsohn:

Professor Marcus
Arthur Simpson
Steven Ledbetter
*Also should have played John du Pont*

Calvin Law said...

Louis: A’s per your dream collaborations just now, your thoughts on this 2010s A Midsummer Night’s Dream directed by Taika Waititi

Oberon/Theseus: Jermaine Clement
Titania/Hippolyta: Olivia Colman
Egeus: Clancy Brown
Hermia: Riley Keough
Lysander: Domhnall Gleeson
Helena: Bella Heathcote
Demetrius: Chris Hemsworth
Peter Quince/Prologue: John Magaro
Francis Flute/Thisbe: Alfie Allen
Nick Bottom/Pyramus: Glenn Howerton (his ‘final’ speech would be a great showcase for his dramatic abilities)
Tom Snout/Wall: Oscar Kightley
Snug/Lion: Rhys Darby
Robin Starveling/Moonshine: Rachel House
Puck: Taika Waititi

Bryan L. said...

Louis: Would Shannon also work as a 2010s Clarence Boddicker? Although that might a tad too obvious...

Louis Morgan said...

Calvin:

Those cast and director choices are so perfect...I'm annoyed that it doesn't exist.

Bryan:

Well he'd be good, though I purposefully avoided the more intense villain types, just because I think he's far more capable than that typecast. I'd probably go with someone a perhaps a little more unexpected like maybe Barry Pepper.

Calvin Law said...

Louis: it still can.

Charles H said...

Louis: Your updated top ten Nicholas Cage moments

Bryan L. said...

Louis: What would be your revised thoughts on "Meal Ticket" from Buster Scruggs? If it indeed has grown on you, that is.

Tahmeed Chowdhury said...

Louis: Your top ten Terence Stamp acting moments.

Anonymous said...

Louis, your thoughts on the Aladdin trailer.

Luke Higham said...

Anonymous: Better than the last trailer but they really dropped the ball by not casting Alexander Siddig as Jafar.

Luke Higham said...

Louis: Who would be your choice to play Edward Scissorhands in a 2010s version.

Bryan L. said...

Luke: I'd like to see what Ben Whishaw would do in that role.

Luke Higham said...

Bryan: He'd be an interesting choice though having watched American Horror Story for some time now, I've had Depp vibes from Evan Peters.

Bryan L. said...

Luke: Speaking of Whishaw, your thoughts on him as an actor?

Luke Higham said...

An Incredibly underrated talent who will always deliver when given the chance. He's been allowed to show his talent off more on Television in productions like Richard II, Criminal Justice (The original version of The Night Of), A Very English Scandal (Whishaw's fantastic while Grant gave his best work). Can't wait to see him go against type as Uriah Heep.

Bryan L. said...

Luke: Agreed. I wasn't very keen on Mary Poppins Returns, but that production at least had the decency to give him a meatier role, of all films.

Luke Higham said...

Louis: Your thoughts on Terence Stamp in The Limey.

Bryan L. said...

Louis: Also, your thoughts on The Doors (1991) as a missed opportunity?

Mitchell Murray said...

Anonymous: Eh, I'll probably pass on the film from what I've seen. And I know I'm quite late to this, but Will Smith as the genie....what were they thinking?

Calvin Law said...

Louis: What’re your thoughts on the voice work of Don Rickles, Jim Varney/Blake Clark, Wallace Shawn, and John Ratzenberger in the Toy Story films?

Calvin Law said...

Also with regards to the trailer I actually think Smith looks entertaining. It's whoever's playing Jafar I'm worried about, wished they'd just had Navid Negahban (The Sultan) play him instead.

RatedRStar said...

Calvin: Just get Conrad Veidt he will do it justice lol.

Anonymous said...

Louis: Your thoughts on the cinematography of Baby Driver, Hot Fuzz and the first Matrix film.

Tahmeed Chowdhury said...

Louis: Apparently, a sequel to Zombieland is being made. Thoughts?

Calvin Law said...

Also your thoughts on Richard Lewis in Curb Your Enthusiasm. I’ve been watching a couple of episodes and he’s been an absolute highlight whenever he appears. Should definitely start Seinfeld soon.

Mitchell Murray said...

Tahmeed: I've known about that for a little bit. It will be interesting to see the approach they'll take with the story, and whether or not the characters will have aged as much as its oscar nominated cast. I just hope that we don't have a case of "belated sequel-itis" on our hands.

Luke Higham said...

Mitchell: What happened to your blog.

Mitchell Murray said...

Luke: Due to some upcoming events in my life, some technical issues I had with maintaining the blog, and the fact that, realistically speaking, I wouldn't have been able to keep it going for the foreseeable future, I decided to download its content before deleting its browser. Believe me, my first intention was to keep it online, but certain problems just made it more trouble than it was ultimately worth.

Please understand, this was not meant as an insult to those who followed me, as I still very much appreciated seeing your input. Its not like its entirely erased, anyways - like I said, I've saved much of the details and comments from my posts. If it helps, I'm still going to keep a good presence on this blogspot as best I can, and give my two cents to any film/performance I can. I've even kept my overall rankings and will continue to work towards completing that list for the current century.

My blog, this practice, it was a fun and interesting one for myself as a novice, but I realized it's just wasn't going to be a viable hobby for me in the years to come. Again, this decision wasn't made with the intent of offending any of you guys.. this was something for me, and it doesn't take away from the enjoyment I got doing it overall. Even though I won't blame any of you guys for being rather irritated, I hope you can understand why I decided to back out, and that my enthusiasm for this sort of stuff is no less affected.

And if you have any questions about the line up I was doing, the years that we're left empty, or any films/performances I've hinted at/didn't cover, please feel free to ask.

Luke Higham said...

Mitchell: Your ratings and thoughts on the rest of your Lead Actress Lineup.

Mitchell Murray said...

I assume you mean alternate 2018:

Haven't seen Davis yet.

Blunt - 4 (Really wan't to re-watch the film, actually, as I first saw it in theatres, and I'm wondering how it will hold up on the small screen. In any case, Blunt is an actress who I've come to respect quite a bit, to the point where I was championing the possibility of this being her first oscar nomination. The academy eventually seemed to go with Yalitza Aparicio instead, which is a credible choice I must say, though that's not to take anything away from Blunt.

Blunt very much tries to create her own version of Mary Poppins, which I liked, as it didn't appear like a retread of Julie Andrews in the slightest. One notable difference is the demenour they both give the role, in that while Andrews was composed yet incredibly charming, Blunt portrays a more sassy and self assured nanny. I liked this decision as well, since Blunt has played that note before with great results IE "The Devil Wears Prada". When needed, however, she still adds a legitimate sense of joy and warmth to the role, like her rendition of "Can you imagine that?", or her performance of "Where the lost things go" which, in all honesty, did tug on my heart strings a little bit.

Ultimately Blunt's work effectively captures the tone of her film, I would say, and serves a consistently nice focal point despite some of the missteps the story makes at times. This isn't her most complex role or her strongest performance in my view, but it is a good performance from an actress who really should've garnered more critical mentions by now.)

Mulligan - 4.5 (I'm not in the camp that considers this to be her best performance, but its still a memorable turn from Mulligan that easily ranks among her finest recent outings. Mulligan is particularly good as she realizes the slow descent of her role, charting the unraveled emotional state of a bored housewife in a thoroughly believable fashion.

The technical elements of her performance are also sound, both in her competent American accent, and in the way Mulligan conveys Brinson's progressive narrative arc. What I mean by that is how she implies very early on about the superficial nature of her character's contentment, effectively showing the real sadness within. Mulligan balances this especially well in the frankness of some of her line deliveries, which are handled in a sarcastic but realistic manner, and again expand upon the idea of Brinson's true desires. Mulligan perhaps shines most at the end, however, when Brinson understands how her actions have impacted her son, and she is present to convey her eventual guilt and shame. The final third of the movie contains my favourite scenes of the performance, like Brinson trying to leave Warren Miller's house for the first time, or her son confronting her about the affair. Mulligan delivers in these moments and they serve to highlight the rest of her portrayal, and while I don't hold nearly the same zeal for this performance as some, it is a strong turn.)

Mitchell Murray said...

Collette - 5 (Well this is a performance that perhaps needs to no introduction, giving the nearly universal praise it garnered both then and now. Simply put, its a striking achievement by Collette as she realizes the despair and intensity of her character so well, and without a hint of self awareness. To narrow in on one particular aspect, "Hereditary" really showcases the range of Collette's face, with those elastic expressions of hers being put to such effective use.

What makes this performance really amazing, though, is how Collette grounds her character every step of the way, convincingly portraying the real grief and stress of a worried mother. She expertly builds to those grand emotional moments and makes them have that much more visceral power, as beneath all the screaming and terror, there is a genuine pathos in the character. Collette understood this, and sought to realize the tragedy of her role along with those more extreme, animated displays. All the while she walks that difficult balance of being big and showy, but never in a cringe worthy or self indulgent way. All of that culminates in an outstanding performance, and given her early buzz, it seemed that the academy was almost dared not to recognize Collette, which was a most foolish decision in hindsight.)

Mitchell Murray said...

Also, having just seen "Widows" now I can give my thoughts on Davis.

Davis - 4 (I agree with the majority of people on this blog in saying Elizabeth Debicki is, by a considerable margin, the movie's MVP. Nevertheless, I do like this performance from Davis as she manages to add a good deal of authenticity to the proceedings. Her role goes beyond merely the tough, no nonsense woman Davis is often associated with, and overall serves as a nice backbone to the ensemble. Davis also realizes her own subplot well enough, and is potent in conveying the real grief and sadness of her character. It is an effective performance, and though this might've been my least favourite oscar nominated turn from Davis if she had gotten in, it's still a quality effort.)

OVERALL RANKING

1) Mellissa McCarthy (Can You Ever Forgive Me?)
2) Olivia Colman (The Favourite)*
3) Toni Collette (Hereditary)
4) Charlize Theron (Tully)
5) Mary Elizabeth Winstead (All About Nina)
6) Carey Mulligan (Wildlife)
7) Lady Gaga (A Star Is Born)
8) Yalitza Aparicio (Roma)
9) Rachel McAdams (Disobedience)
10) Viola Davis (Widows)
11) Emily Blunt (Mary Poppins Returns)
12) Glenn Close (The Wife)

Calvin Law said...

Mitchell: What about Thomasin MacKenzie? Thought she was a 5 for you.

Luke Higham said...

Calvin: She's more than likely in Supporting as she was campaigned as such. Same scenario with Weisz & Stone.

Calvin Law said...

Fair enough.

Mitchell Murray said...

Calvin: She's leading, don't worry. That is just a ranking of the performances I have reviewed/we're planning to review. Weisz and Stone aren't there because they were in fact oscar nominated, but in a different category.

If I was to rank them all together it would be:

1) McCarthy
2) Stone
3) Weisz
4) Colman
5) Collette
6) Theron
7) McKenzie
8) Winstead
...

Bryan L. said...

Watched Triple Frontier, which can best be described as Narcos meets Sorcerer. Decent enough action thriller.

Isaac-3.5
Affleck-3.5/4
Hunnam-3/3.5
Hedlund-3
Pascal-3
Arjona-2.5

Michael McCarthy said...

I don’t think it’s fair to the audience to cast Hunnam and Hedlund in the same film. I’m never going to be able to tell them apart if I watch it.

Louis Morgan said...

Charles:

1. The end - Leaving Las Vegas
2. The Soul Dance - Bad Lieutenant
3. Cashing the check - Leaving Las Vegas
4. Bathroom - Mandy
5. Interrogating the Elderly - Bad Lieutenant
6. Brothers in the swamp - Adaptation
7. "Love me tender" - Wild At Heart
8. At the motel - Leaving Las Vegas
9. "Crazy Evil" - Mandy
10. Joe takes action - Joe

Bryan:

The segment is essential to be a segment, in that how it works within the other pieces is required, however I've found on re-watches it works wonderfully, which is common for me and a lot of Coen's most idiosyncratic fair. This is as the piece is a striking work in terms of directing creating such a solemn, atmospheric, winter western that is notably different from the west depicted in the other segments. This being a bare bones, harsh world, that the Coens grant such detail to, along with Delbonnel's more somber yet still vibrant work, and Burwell especially potent and melancholy score. This is also one of the Coen pieces to be interpreted, which is why re-watches typically benefit it, as it becomes more layered in the subtle interactions between the two characters that allude to more, helped greatly by Melling's terrific work beyond his impassioned monologues. It is a testament to the work of the bros. though as they do the artistic intent, without overt pretense, here in the idea of the high art vs commercial entertainment, and funnel it down brilliantly between the man who essentially only has his voice and a chicken that does math.

Tahmeed:

1. Miranda tries to seduce Freddie - The Collector
2. "God Bless Captain Vere" - Billy Budd
3. Swordmanship - Far From the Madding Crowd
4. "Goodnight my Angel" - Song for Marion
5. Miranda suspecting who Freddie is - The Collector
6. "Death by not Proud" - The Hit
7. The Coffin - Far From The Madding Crowd
8. Unexpected visitor - The Collector
9. "Not Today" - The Hit
10. Claggart accusing Billy - Billy Budd

I mean I thought the first film was a moderately entertaining comedy with a great cast. So I'm not against a second go round, though Ruben Fleischer doesn't aspire a lot of faith, especially since it is not as though his work in the first film was impeachable by any means.

Louis Morgan said...

Anonymous:

Well that looks better than the last one. Although one ponders if they could've made a less freaky genie, maybe just color Smith blue and do classic ghost effect techniques with some CGI aids? Nah, lets make him right into that uncanny valley. Having said that this looks only a little beyond Gus Van Sant's Psycho, in terms of the purpose of a remake once again. Of course there can be some appeal if the performances are good, and the remade sequences are done with some panache even if retreads. Those sequences look potentially decent from here, some of the performance look fine...though Jafar does not look too promising. The replicate approach makes me I doubt it will be anything great, but hopefully it won't be outright bad even if probably pointless.

I'll concur with Calvin they should've had Negahban play Jafar instead of the Sultan, as based on his Jafaresque work as The Shadow King (where he even sang) in Legion, he would've knocked it out of the part, Siddig also could've been a good choice.

Luke:

Whishaw seems perfect.

You know not out of the question for a review for 99 for him there, even if I'll have to put up with Soderberg's obnoxious editing style.

Bryan:

Well given Stone had an Ace in the hole in Val Kilmer's performance, any film that didn't match his work would've been a missed opportunity. The film also had such a compelling subject in Morrison. Stone though just gives into his excesses that he too often loses focus. Kilmer's work keeps it together enough, and while it isn't a bad film, it just doesn't properly explore the potential within the downfall of the man. Take for example his relationship with Pamela Courson, she frankly seems a cursory character, but one would imagine should've been far more important. There are so many facets like this though that just seem to have potential that aren't explored like that, his real relationship with fame, his relationship with his father, so many things. It very much seemed like Stone wanted to make his Sid & Nancy in the overall approach, where the style of the man essentially carries the story, however it ended up into a far too messy work though not without merit.

Calvin:

Rickles - (An angry curmudgeon? Perfect casting, though notable that he actually did develop to a bit more than that in the later films, even though that was already more than enough.)

Varney/Blake - (Varney makes for a proper best friend always, Blake does a fine impersonation but they seem to purposefully avoid stretching him too much (no pun intended there)).

Shawn - (Where most are cast within their type Shawn is actually used in kind of an opposite way as the scaredy cat, as opposed to the smug intellectual type. Shawn though makes for wonderful whiner though, and his voice being used in such an atypical way makes for quite the endearing sort strangely enough.)

Ratzenberger - (As typical you get what you pay for with him, as loud jovial, if somewhat questionable type, as usual it works quite well.)

Louis Morgan said...

Calvin:

The performances of Curb, are particular in a way in that I almost view every actor as essentially a sparing partner in a way, not just because the typically conflict oriented nature of the comedy, but also by the extremely improvisational style of the comedy. Lewis is one of the best "fighters" in this regard as he has a particular knack for it and has great chemistry with David. What I really like about him though is he is often a unique bent in the scheme of the show, as he's only a partial combatant, and his more "friendly" disagreements makes for a different dynamic. This one being particularly hilarious in that Lewis essentially offers a different though same demented self-assurance to Larry's.

Anonymous:

I actually might as cover all three at once, since I have essentially the same thoughts on the work by Bill Pope, who I'd say is a workmanlike cinematography who works with great visual filmmakers. This is the case with The Matrix, Hot Fuzz and Baby Driver. The Matrix is definitely a very visual film however what Pope does just fulfills the dynamic shots the Wachowskis came up with rather than expanding that. Pope's lighting does the job, his compositions and framing, as well, though the idea of the shots is already clearly dynamic as directed. Compare that to the work on Cloud Atlas with the great John Toll that pushes that far further. The same I think is true for the collaboration between Edgar Wright and Pope in Hot Fuzz and Baby Driver. Wright's work is already intensely visually minded with every choice being so specific in every shot and scene. Color choices, often preexisting in the set design choices, and costuming as lead by Wright. Pope does his job, but he doesn't push Wright's work past his own visual abilities it seems. After all compare his work to David Dunlap's for Shaun of the Dead, there is no noticeable difference in quality in the cinematography of either film. They both a visually captivating, but on the point of Wright's direction. Pope's work does the job, particularly in terms of realizing kinetic camera movement, that can be easily screwed up, but it doesn't go beyond a strict competency. I'd love to see what a Wright film would look like shot by a Roger Deakins, Bruno Delbonnel, Emmanuel Lubezki, or Vittorio Storaro (who someone really should try to steal away from Woody Allen).

Calvin Law said...

Jess Hall did the cinematography for Hot Fuzz. But I suppose that proves the point even further haha.

Louis Morgan said...

Calvin:

Yeah I was thinking of The World's End, which was also shot by Pope, but yeah point stands.

Bryan L. said...

Michael: Oh that actually comes into play in a scene where both of them have an argument haha.

Louis: Speaking of music biopics, who are some musicians that you'd like to see a film of? And your choice for director and actor for the lead role? Let's pray Lynchs biopic of Robert Johnson comes to fruition btw.

Robert MacFarlane said...

Louis: What do you think of this? https://youtu.be/2RB6POXBJas

Anonymous said...

Louis: Thoughts on Ivan Drago's introduction in the final fight in Rocky 4. It's such a cheesy and corny moment, yet it works.

Emi Grant said...

Mitchell: Oh, that's a shame, but I was glad to be there while it lasted. Great work with what you did. Also, could I have your thoughts on Debicki?

Mitchell Murray said...

Emi: Why thank you.

Debicki - 5 (Ladies and gentlemen, boys and girls, children of all ages - this is your supporting actress winner of 2018. In a film that I would classify as interesting and effective - although perhaps not to the extent its director and cast would suggest - Debicki stands as far as away its most impressive element, delivering the performance that kept me the most invested in the story of these characters. It certainly helps that despite Alice not being on screen all the time, Debicki exudes a strong screen presence to begin with, creating an immediate intrigue in the role. Her performance goes beyond even that, however, in realizing such a moving portrait of an abused woman, finally gaining the confidence to stand up for herself. Debicki is entirely genuine in this challenge as she so potently shows the damage behind Alice's eyes, but also the gradual spark being lit inside her throughout her narrative arc. I'll admit, I think the movie actually does her character a disservice in the end, as I really wanted to see the continuation of Alice's journey. Ultimately I have no one else to credit that with but Debicki, and I loved every second of her criminally underrated performance.)

Calvin Law said...

Right that Endgame trailer was fuckin’ ace.

Luke Higham said...

Calvin: I'm happy Marvel went low-key once again with what should be the final trailer. It's good that they trust their audiences enough without having to show Thanos or any action whatsoever.

Tahmeed Chowdhury said...

Mitchell: While I'll miss reading your reviews, I fully understand and respect your decision. Best wishes for your future writing (if you choose to do so.)

Louis: Your top ten Domhnall Gleeson acting moments.

Mitchell Murray said...

Thank you, Tahmeed. One thing I'm still planning to do, actually, is watch the remaining best actress nominees of the century that I didn't cover IE the years of 2001, 2005, 2007, 2010 and 2012.

Mitchell Murray said...

Also, I'd have to concur with Calvin; The End Game trailer was quite strong, and thankfully low on plot spoilers.

What I'm curious about in regards to the movie is what Thanos will do to fight back against the Avengers. I doubt he would want to use the infinity gauntlet again, because if I'm not mistaken, he would have a 50% chance of erasing himself.

Matt Mustin said...

Louis: What are your thoughts on the cinematography of The Patriot?

Anonymous said...

Louis: your top 10 daniel kaluuya acting moments

Calvin Law said...

2010s The Hireling directed by Steven Knight
Steven Ledbetter; Ben Mendelsohn
Lady Franklin: Lucy Boynton

2010s The Ladykillers directed by Paul King
Professor Marcus: Ben Mendelsohn
Major Harry: Conleth Hill
Louis Harvey: Burn Gorman
Harry Robinson: Robert Pattinson
One-Round Lawson: Rory McCann
Mrs Wilberforce: Julie Walters

2010s Topkapi directed by (not sure)
Elizabeth Lipp: Cate Blanchett
Arthur Simpson: Ben Mendelsohn
Walter Harper: Daniel Bruhl
Page: Paul Chahidi
Hans: Not sure
Giulio: Not sure
The Mad Chef: Not sure

Bryan L. said...

Calvin: Maybe Wes Anderson as director for Topkapi?

Calvin Law said...

Bryan: Excellent shout.

Louis Morgan said...

Bryan:

Off the top of my head:

Roy Orbison (Lynch again, have no idea who should play him though)
David Bowie (Wes Anderson, either Cillian Murphy or Tilda Swinton)

Anonymous:

Wonderfully over the top, entering much more like some monster out of the fog than a man, right down to the absurdly ominous music, another example of why I love that film in all its ridiculous glory.

Tahmeed:

1. Tricked or not tricked - Ex Machina
2. His Scene - Calvary
3. Final chat with dad - About Time
4. Failing to show off a song - Frank
5. Meeting her for the first time - Ex Machina
6. Moon's end - True Grit
7. Meeting her - About Time
8. Dance - Ex Machina
9. Our songs are both great - Frank
10. Seeing his older son - Goodbye Christopher Robin

Matt:

Gorgeous work, as to be expected from Caleb Deschanel, who is sort of underrated as a cinematographer. The greatest part of the film perhaps, which indeed is decidedly not a masterpiece, and one ponders if Emmerich gave him cart blanche, given it is by FAR the best looking Emmerich film. It is also the testament of a great cinematographer if they excel even with a mediocre director. Deschanel's manages to create a real grandeur of scale in his composition and framing, befitting an epic. He goes further though in capturing a real colonial atmosphere in his beautiful lighting choices, that evoke the paintings of the Revolution themselves.

Anonymous:

Kaluuya:

1. Hypnosis - Get Out
2. Checking out a rap - Widows
3. Trying to initially "get out" - Get Out
4. Not leaving during the bidding - Get Out
5. Relaxing during a murder - Widows
6. Ending - Get Out
7. After meeting the family - Get Out
8. Bowling Alley - Widows
9. Asking a question about the black experience - Get Out
10. Just before a car accident - Widows

Calvin:

Great choices for The Hireling (though it may all now take place in a car simulator), and especially the Lady Killers (McCann as One-Round is true perfection).

For Topkapi, I'll concur on Anderson, I'd say someone just a touch more dashing for Harper, maybe Matthias Schoenaerts. Also due to Anderson, you'd need probably Bill Murray as Page, with Bob Balaban, Owen Wilson and Jason Schwartzman as a group of random tourists thrown in there somewhere.

Dave Bautista for Hans, Seymour Cassel for the cook.

Louis Morgan said...

Robert:

An impressive bit of comical magic, especially enjoyable if you compare it to the traditional British magician, who are typically have a rather intense style, which here is done as well though as a buffoonery riff.

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