Wednesday 19 June 2019

Alternate Best Actor 1963: Maurice Ronet in The Fire Within

Maurice Ronet did not receive an Oscar nomination for portraying Alain Leroy in The Fire Within.

The Fire Within is a rather effective film following a depressed man as he tries to find a reason for living through a single day.

Maurice Ronet's performance is at the center of this unusual film, for the period, as it takes on its potentially melodramatic setup with this calm mostly naturalistic approach. Ronet's work in turn is essential to the film's approach. This is in the realization of Alain who initially appears as though he may be your typical romantic lead. This is as we see Ronet with a quiet passion as he shows affection to his apparent paramour who leaves for New York. Ronet portrays a somber ponderer, as we see a man prepared for a descent. The film actually skips over the traditional more extreme of the alcoholic, as we jump ahead to Alain as he is prepared to leave a treatment facility, though more of forced out in a way, and is told essentially he must face his life as is. Ronet's performance evokes most vividly this most unbearable state of mind in Alain. This as this quiet anxiety of Alain as he looks off with a distant fear it seems as he is given his supposedly positive prognosis. Ronet effectively underplays this, and naturally creates this internalized agony as the man seems to look inward even as he listens. This creating a most difficult state when within his mind is the last place the man ought to look given his situation.

Ronet's performance sets up initially this terrible state, that does not hide its intention, as Alain decides that he will commit suicide the following day in thought. This thought granted as just a quiet statement within Ronet's work which captures a quietly harrowing certainty regarding this intention. This will contrast with the rest of Alain's life, however in this aspect Ronet shows a man who has already mentally prepared for this action, not even decision, requiring some shattering change to change him from this course. Ronet's work powerfully establishes an atypical lead with this thought as a central element to the character. This element that is an overarching facet of the man. Ronet captures this as this underlying weight within his work, as this understood fact within the man's mind that propels him forward. This in this internalized depression that doesn't reveal itself as open sobs, but rather is this painful constant. This detachment that Ronet so effectively portrays, not from emotion, but rather this certain detachment form the world. This as Ronet reflects this position nearly as the observer combined with this sense of withdrawn sadness that compels his search for essentially a meaning for his life.

The rest of the film then is following Alain around Paris he checks in with his old friends, and just some random people in this quest for meaning. Although as much as this could sound like a directorial exercise, and in some ways it is, Ronet's performance is always an essential element within the success of this approach. This is as Ronet grants a real texture to every situation in creating the man's pointed yet also aimless state. This is as no scene that is merely taken for granted within Ronet's work which captures this act of searching beautifully. There's a brief moment in particular where he grants a ride with some workers where he mentions his state of illness to which they are a bit incredulous towards. Ronet is fantastic in this scene portraying this certain shame and awkwardness in this interaction with people he doesn't really know. This is as Ronet delivers this right stilted quality in Alain as he can't really explain his situation to those who don't know him, as they wouldn't know how, and he may no garner the sympathy from those who have no sense of the fragility of the man's ego. Ronet doesn't undercut the journey in these moments, but rather makes it all the more vivid in granting this honest alternative perspective of sorts.

Alain's quest though is really to attempt to find meaning from his friends, who are all sympathetic to him, to a point. One of his stops is with a friend who is now a family man who tries to essentially convince him there is much to be enjoyed in maturation. Ronet captures this blithe attitude in this scene where he still carries this distance that grows all the stronger as the man essentially tells him he needs to grow up. Ronet's reactions are that of a man who cannot accept this, as this would destroy his idea of life and happiness, even though such a path is the destructive one he is now on. He finds a potential alternative in regression towards a life again towards mind altering substances, which are encouraged by old friends. Ronet is excellent in creating this initial greeting with the smile of an old friend, however this too shifts as he spends more time with these "old friends". This life of meaningless pleasure though is equally worthless in Alain's eyes, as reflected in Ronet's performance which delivers this uneasiness of the one sober man in a room. Ronet delivers this physical discontent as he wanders around the room of the intoxicated. He creates the sense of a pent up energy against this thin contentment that again is a failure in his personal quest. Alain ends up at a dinner party of caring friends who too suggest he try to seek happiness in his past loves. Ronet's performance again is so captivating as a man out of place though this time differently than among the workers, the family or the rakes. This is as Ronet becomes less the reactor and more so the active party. Ronet's performance creates this swell of discontent know as he effectively creates these rather fascinating understated emotional outbursts. This is as again Ronet maintains the state of depression, and fitting to this downtrodden state. He has his moments of anger though of this festering withdrawn bitterness to the one man who outwardly looks down at him. He also though has a wistful moment of trying to express love to his friend's wife. This being not some grand plan but rather this near whimper of a man just trying to grasp onto anything at all. This too is denied, though again with suggestion he can find happiness in his past, to where Ronet returns to a state of resignation. A state all the more certain in a way within its conviction to sorrow. Ronet's work crafting such a unusual power in his portrayal of a man's hopeless crusade, that manages to still lead to the same end, but with a change in the complexity of the final choice.

62 comments:

Luke Higham said...

Louis: Thoughts on anyone else of note.

Charles H said...

Never seen it but looking forward to it

GM said...

1. Björnstrand
2. McGoohan
3. Redgrave
4. Sordi
5. Breck

1. Lancaster
2. Shaw
3. Ronet
4. Mastroianni
5. McQueen

Tahmeed Chowdhury said...

Louis: Your thoughts on the following South Park episdoes:

"You Got Served"(has one of my favourite Butters moments)
"Raisins"
"Pre-School"

Also, your thoughts on Kerry Ingram's work on Game of Thrones.

Luke Higham said...

Louis: Have you seen any TV in the past month, I know Legion is returning next week.

Razor said...

1. Lancaster
2. Shaw
3. Ronet
4. Mastroianni
5. McQueen

Luke Higham said...

Louis: Who would you pick to play Frodo Baggins in a 40s, 50s, 60s, 70s, 80s and 10s Lord Of The Rings Trilogy.

Calvin Law said...

Like: well the ending to The Door was just pure powerful emotional material, while that of Hardhome was just bone chilling and equally powerful in its own way. Honestly I’m sad to see that apparently they don’t do the White Walkers justice in the end because quite frankly I think they’ve been one of the highlights of the show thus far.

I just got through the Riverrun episodes and I have to say that’s the first time I’ve found Jamie to be interesting in quite a while, since Season 3 for me personally. Those interactions with Blackfish, Edmure (holy fuck was Tobias Menzies great), and Brienne really brought a lot more out of the character in terms of the despicable/honourable conundrum surrounding him. So a question for y’all: do you think in his conversation with Edmure Jamie is playing the heel or is he being ‘genuine’?

Calvin Law said...

Louis: do you think Battle of the Bastards could’ve been even more satisfying with Roose Bolton watching from the sidelines? I’m imagining the same scenario of overall events (i.e. Ramsay had forced him into keeping him alive by killing Walda and the young Bolton) but when Ramsay retreats, Roose decides to take matters into his own hands (killing Wun Wun too), and then proceeds to duel Jon one on one only to be soundly defeated (allowing him to avenge Robb’s death). Then Sansa can do her thing with the dogs.

Although this is all pretty fan fiction-y and I’ll admit I can’t complain too much since it’s a masterful episode. I even liked the Meereen parts (although I have to say, Tyrion annoys me far more than Danaerys in every regard. I’ve felt from the beginning of Season 6 that the writing behind him has an air of decidedly unearned self-righteousness).

Luke Higham said...

Calvin: Menzies is indeed great. I kind of wish Edmure had more of a presence within the show instead of a few scenes from Seasons 6 and 8. He's brilliant in Outlander, amazing in The Terror (Though Jared Harris is my MVP) and he's really good to great in Rome as well though a rushed season 2 does diminish it slightly unfortunately. Looking forward to his Prince Philip in The Crown.

I think myself and Louis completely agree with you on Roose though I recall him saying that he would've preferred Roose killing Ramsay near the beginning of Season 6.

RatedRStar said...

1. Lancaster
2. Shaw
3. Mastroianni
4. Ronet
5. McQueen

Louis Morgan said...

Luke:

Everyone else is more fine, but are purposefully distant.

No.

40’s: Dirk Bogarde
50’s: Ian Holm
60’s: David Hemmings
70’s: Timothy Bottoms
80’s: Aidan Quinn
10’s: Jack Lowden

Tahmeed:

“You Got Served” - (Hilarious if definitely niche towards the 2000’s bad dance movie genre. Hilarious though in just skewing that formula by taking the dancing so seriously, particularly Randy becoming a physical wreck after having been served, and of course through just the ridiculous elements. Whether that be the duck, who is injured in the last moment, or the over the top gore fest as Butters’s dark past.)

“Raisins” - (Both jokes are semi-one note I find both with the titular restaurant then the Goth kids. There are funny things in both but they stretch them a bit thin.)


Pre-School - (Well I’m always in for both a Cape Fear and a Captain Christopher Pike parody (even if they reuse the same joke that Futurama had for their Pike parody, still funny though.) The former is no Simpsons Cape Fear, but it is enjoyable in its own as well. I’ll also grant the tiniest bit of sort of depth in the old crime story, if expectedly they don’t learn much in the end.)

Ingram - (A wonderful performance as she brings such a genuine warmth into Shireen without every seeming cloying or incapable of existing in the world. Instead we see just a most honest realization of this purity though with this certain incisive quality within this. This in her lessons to Davos as well as her one major confrontation with Melisandre. I will say though what makes it all is her chemistry with Cunningham which is just so genuinely heartwarming. She’s equally great though with Dillane in creating a certain distance with the stern father but still with such a sense of desire for a genuine connection with her dad.)

Calvin:

Well in the books Jaime is playing the part of the heel, I also think that was the way Coster-Waldau plays it, as he only makes the turn after it becomes obvious Edmure won’t give him a chance. Unfortunately season 8 suggest otherwise...that’s all I will say.

Well I think ousting Roose as quickly as they did denied some potential complications from the battle, which I think was far more straight forward then it needed to be. That could have been one possible way to add a bit more to it.Though it was very well done in its straightforward approach.

Luke Higham said...

Louis: Your choice to play Jimmy Markum instead of Sean Penn in Mystic River and your choice for a 2010s version.

Louis Morgan said...

Luke:

Mickey Rourke

Jeremy Renner for 2010.

Mitchell Murray said...

Louis: Thoughts on the bar scene from "Man of Steel"?

I mean, it is a little ridiculous how Clark could smash an 18 wheeler truck, and seemingly not draw any attention to it. Still, I found it to be one of the better moments in the film, and a sequence where Snyder showed a real understanding of the character's power and reticence.

Luke Higham said...

Louis: Your thoughts on the Tornado scene from Man Of Steel.

Bryan L. said...

Rourke as Markum would've been awesome, since I think "IS THAT MY DAUGHTER IN THERE?!" could've had a greater visceral impact with Rourke.

Emi Grant said...

With Rourke, that line would have actually had impact. Period.

Anonymous said...

Louis: Your thoughts on the cinematography of Jarhead and Revolutionary Road.

Bryan L. said...

Anonymous: I think he hasn't seen Jarhead.

Calvin Law said...

Season 6 cast ranking for me:

1. Kit Harington
2. Sophie Turner
3. Liam Cunningham (top 3 are pretty interchangeable though)
4. Carice van Houten
5. Bella Ramsey
6. Essie Davis
7. Tobias Menzies
8. Natalie Dormer
9. Jonathan Pryce
10. Diana Rigg

HM: Ian McShane, Clive Russell, Maisie Williams

Final two episodes were outstanding, and the King in the North sequence is probably one of my favourite scenes throughout the whole show.

Anonymous said...

Louis: Your thoughts on the direction, screenplay and editing of Seven.

Calvin Law said...

2010s Mystic River directed by Michaël R. Roskam
Jimmy Markum: Jeremy Renner
Dave Boyle: Ben Mendelsohn
Sean Devine: Nikolaj Coster-Waldau
Whitey Powers: Adewale Akinnuoye-Agbaje
Celeste: Noomi Rapace
Annabeth: Sarah Polley

Tahmeed Chowdhury said...

Calvin: Your thoughts on The Winds of Winter.

Tahmeed Chowdhury said...

Louis: Your thoughts on these scenes from Silicon Valley-
Bachmann Cross Examination-https://youtu.be/ojlNfpsiljk
Erlich saves Pied Piper-https://youtu.be/mVWid90Wwxs

Calvin Law said...

Tahmeed: Well I have to say that was a brilliant episode, easily the best of the season (and I loved Battle of the Bastards), quite possibly my favourite one, and definitely the best season finale. Ramin Djiwadi's score, which incidentally I consider to be the overarching MVP across the seasons, really carried each sequence brilliantly particularly that outstanding Kings Landing sequence in building from piano to the cello (incidentally, Finn Jones was actually pretty good in this particular episode), and creating a tension even though I knew exactly what was going to happen - and also making complete sense of Cersei's arc this season.

Everything in the North was also outstanding in a more low-key fashion, for the most part, and I honestly think the greatest strength of the series lies in the character interactions and how they build upon the histories, with particular note to Liam Cunningham and Carice Van Houten. Of course as I've mentioned that transition from the terrific Tower of Joy scene to the King in the North scene was simply outstanding, and I have to say I completely bought into every second of them. I even liked the Dorne sequence, and I actually really loved the Meereen scenes, particularly in Danerys giving Tyrion the official Hand of the King title. So yeah. Brilliant episode, and I'm kinda dubious about whether I should continue on since apparently it's all downhill from here.

Bryan L. said...

1. Lancaster
2. Shaw
3. Mastroianni
4. Ronet
5. McQueen

Bryan L. said...

Louis: Your thoughts on the direction for Mandy?

And your present film roles for Paul Newman?

Louis Morgan said...

Anonymous:

Seven’s screenplay does have plenty of strong virtues from the outset. The plot is inspired, especially its method of the revelation of the villain and each gruesome set piece for every “sin”. It importantly though is backed up with two great characters in the central detectives, which takes the mentor/rookie cliche, and shows that cliches don’t matter if you find an original and honest approach. It does so in creating compelling figures that become all the more captivating in their dynamic interactions with one another. The screenplay, as fashioned by the writers time in NY, is almost a classical horrors of the city pulp novel in how it treats its setting as this festering wound. I don’t mind this as this anti-romanticism essentially that goes within the language which occasionally teeters towards the poetic. I will say most of the time these flourishes are fantastic, basically anything said by Somerset (though that is helped a lot by performance), but in at least one instance does tip its hand just a bit (the doctor’s “he’s still got hell to look forward to” regarding the sloth victim is just a little too much). That’s really the exception however as it is a fantastic work that balances the horrors there with a real humanity in its central character.

Fincher’s work however is an essential facet in ensuring the realization of a needed balance within the narrative. Although the strengths of the screenplay would've been evident no matter what, Fincher amplifies it brilliantly through the lurid atmosphere of the rain soaked grungy locations, with the one bit of sunshine in the most horrible situation of all. Of course, just like Zodiac, the work is punched up in the film version in Fincher's film, again seems to be a trend there with every change being for the better. Fincher's work infuses the script with the needed style to bring the urban rot to life, but it doesn't over do it, as a lesser director might've done (or maybe even 99 Fincher but I digress). This is as he delivers so effectively these important moments. This is as he lets the human conversations play out so quietly actually, allowing the power of the performances to carry it. He also just has these careful tender moments, finding something powerful even in the act of researching the library. Every murder set piece is genius work from a directorial stand point, in again by going far, but never too far in capturing a uniquely terrifying set of murders. The finale though is the highlight from the point of John Doe's memorable arrival, which from then is just a masterclass by Fincher, well all except using that one take of "what's in the box?" by Pitt. Again though it is the restraint at times that is so amazing, he doesn't show the deed, rather just suggests it, and in the shot of the lonely box/Freeman's reaction does he provides such an unforgettable horror.

The film's editing is one of its great achievement and if you watch the film it isn't really all the flashy. It's just brilliant. Mind you there are moments of just amazing creation of sequences, namely that finale, especially that insert of Tracy, but throughout the film it never over does its flash. Those moments that it does have are just extremely effective yet sparing. So much of it is just fantastic by the second work, both in the key moments, like the Sloth moment, or just in how it plays carefully in those conversational moments as well.

Louis Morgan said...

Bryan:

Mandy's direction is in many ways the film, of course Cosmatos also co-write it, however outside of Jeremiah Sand and the scene with Bill Duke it is all left to the visuals. Now in this, after watching the film multiple times, I've come to appreciate his technique of this slow eerie burn in the first half, then the sheer unadulterated madness of the second half. Cosmatos's work is this combination of dreamlike splendor and nightmare at the same time. Whether you take the ethereal shots of Mandy, and her quiet romance with Red, against the gathering of the demonic bikers, each is out of a very different dreamscape yet cohere all the same. Cosmatos's work though manages within that such marvelous individual moments, a personal favorite of mine being when the sacrifice cult member gets taken away. As much as the film is stylistic flourishes of the insanity of the world, I love again the certain subdued qualities within it, as well as the touches of humor, mostly through Roache's performance, that he allows to play out, and the poignancy of the romance, especially in the second half. The animations of Mandy, staying on Red's reaction/allowing Cage to have his moments, and the ashes in the shape of her are downright beautiful and heartbreaking moments.

Calvin:

Eh, you can drop off just before they go on the nonsense northern expedition in Season 7, as there are good things before that.

Tahmeed:

Cross Examination - (As I believe I've mentioned before, this is just a hilarious scene with Matt McCoy being the highlight in giving such a convincing performance the entire time even in the ridiculousness of the parody of a courtroom breakdown.)

Erlich Saves Pied Piper - (An excellent, hilarious yet also captivating monologue, shame Miller is evidently a deranged egomaniac.)

Newman:

Mud
Mr. O'Brien
Ben Cash

Bryan L. said...

Louis: With that in mind, your thoughts on the ending where Red drives off after burning the church? And the shot of the sky at the very end?

It's impressive how much Cosmatos accomplished with the film.

Tahmeed Chowdhury said...

Louis: Could Terence Stamp go up for Far From the Madding Crowd?

Tahmeed Chowdhury said...

Louis: You haven't added Heath Ledger's performance in A Knight's Tale to the list of winning requests.

Tahmeed Chowdhury said...

After rewatching Endgame, I've decided to use my previous winning request on Robert Downey Jr. for 2019 Alternate Supporting.

Luke Higham said...

Louis: Ledger is my latest request.

Tahmeed: Good idea, though I guess it was partly motivated by his 2016 miss.

Deiner said...

Louis, your thoughts and ratings on:
- Doris Day in The Man Who Knew Too Much
- Dorothy McGuire in Friendly Persuasion
- Jayne Mansfield in The Girl Can't Help It
- Jennifer Jones in The Man in the Grey Flannel Suit
- Lauren Bacall in Written on the Wind
- Pier Angeli in Somebody Up There Likes Me
- Vera Miles in The Wrong Man

Tahmeed Chowdhury said...

Luke: That is indeed part of the reason, as I want Downey Jr and Evans to be reviewed at least once for what they've achieved. With that being said, I also think they've never been better than they were in Endgame.

Matt Mustin said...

I saw Godzilla. It's fun, don't know what people were expecting.

Chandler-3.5
Farmiga-2
Brown-3
Watanabe-3.5
Whitford-3.5
Dance-2.5
Middleditch-2
Hinds-3
Ziyi-3

Hawkins and Strathairn are wasted once again, as is O'Shea Jackson Jr.

Anonymous said...

Louis: Your thoughts on the voices of Michael Hordern and Christine Baranski.

Tahmeed Chowdhury said...

Louis: Although the song may not exactly be of your taste, (and I don't think the film it's from is of anyone's taste) could I have your thoughts on Christina Perri's 'A Thousand Years' from The Twilight Saga: Breaking Dawn Part I?

Calvin Law said...

Alright. I don’t know if I’ll be able to handle the rest of Season 7. This breakneck pace is *way* too much. Like there are individual scenes that are really good (Emilia Clarke, Maisie Williams, John Bradley and especially Diana Rigg, one of the best acted scenes in the series by far). But everything is going by TOO quickly. I can just tell how rushed the pacing is by how abruptly characters are being brought together and interacting without much being established beforehand while continually denying the opportunities to build up established relationships (like come on. Jon and Arya.) I will say one aspect I do actually like a lot is Sam/Jorah, now that’s a combo that works surprisingly well.

Luke Higham said...

Louis: Biggest missed opportunities in the careers of Jeremy Irons, Viggo Mortensen, Meryl Streep and Carey Mulligan.

Tahmeed Chowdhury said...

Calvin: 'The Spoils of War' is the only respite you'll probably have watching this season. That being said, that is a masterful episode.

Luke Higham said...

Tahmeed: The Field Of Fire was probably the last battle scene that really impressed me.

Anonymous said...

Louis: your rating and thoughts on Ernesto Gomez Cruz in El Infierno

Bryan L. said...

Luke: As for Irons, I think he's taken way too many standard villain roles post-Die Hard 3, when he can do much more than that.

Bryan L. said...

Luke: Your rating for GOT Season 8 and your thoughts on it as a missed opportunity?

Luke Higham said...

Bryan: 2.5, Like Season 7, it needed 10 episodes to help develop payoffs that were far more earned than what we had. So many nonsensical character decisions, D&D butchering many of our favourite characters just so that they could move on to Star Wars. The Battle Of Winterfell scene prior to the ending I've appreciated abit more lately due to Re-Edited clips on youtube with better lighting but doesn't erase that initial feeling of irritation on first viewing.

Luke Higham said...

Aside from that, the first two episodes were pretty good, especially the second. Young Umber's scream was something to remember and Jenny Of Oldstones & The Knighting Scene were really great moments.

Anonymous said...

Louis, Any major missed opportunities for Michael Fassbender and Tom Hardy.

Luke Higham said...

Anonymous: I'd say that David deserved far better films than Prometheus and Covenant. I personally feel Hardy was the right choice for Ricki Tarr.

Luke Higham said...

And Suicide Squad could've benefited from Hardy's presence.

Bryan L. said...

Luke: Thanks.

Anonymous: Agree with Luke, though I don't hate Prometheus. Also, I think Fassbender has just had bad luck recently, as The Light Between Oceans and The Snowman were from filmmakers with solid reputations. And...the X-Men series...well that's just been a disaster...

As for Hardy, maybe Venom, since there might've been a way that the film could've worked.

Louis Morgan said...

Anonymous:

Revolutionary Road is beautifully shot, and really Deakins is great no matter the given quality of the film (One of the trademarks of truly great cinematographer in my mind. Deakins's work manages to capture this sort idyllic atmosphere in his lighting choices, however his composition and framing of shots evokes an eerie isolation within it. Quite honestly his work better realized the attempted themes of the film than anything else within the film, through his calming, though limited, palette, and the distant figures of the frame.

Bryan:

All the credit to finding a different way to end a revenge film, as instead of leaving towards nothing, he is off towards an unknown we've never seen before, as his world has forever changed from the experience...or at least his mind.

Tahmeed:

Yes.

Deiner:

Day - 4(She is always rather charming in her roles, and that is certainly the case in this film even as a lesser Hitchcock. She makes a fine heroine however in just bringing that charisma that helps make the somewhat tepid mystery a bit more captivating. Most importantly though she does nail her main moments the first her breakdown to the scream in the assassination orchestral piece and her emotional performance of the Oscar winning song.)

McGuire - 3(McGuire I've never found overly captivating, not that she was a bad actress however she was often a little bland. She's more than decent here however in just bringing that sort of combination of warmth though factored within a certain stricter quality within her manner. Honestly her best moment is her turn to "violence" when saving the most unusual pet which is a nice sorta comic moment from her.)

Mansfield - 2.5(Ewell, O'Brien and Jones make the film. Mansfield does her Marilyn Monroe knock off turn, and she really isn't Monroe by any measure. She's not awful however she doesn't really deliver on the timing of such an act, and her work defers towards the men than it probably needed to.)

Jones - 3(In many ways not the most invigorating role which in a way also factors into the miscasting of Peck in a way, as there isn't enough of an inherent conflict in the pairing. Jones finds enough nuance within the role, as much as she can anyways, in creating her character's position beyond that of the reactionary point.)

Louis Morgan said...

Bacall - 2.5(Really anytime she was given the straight woman role it was a detriment to her. When she plays it straight she just becomes rather stilted which I thought was the case here.)

Angeli - 3.5(She gives a nice performance in capturing really a properly sweet chemistry with Newman. It is more than anything just an earnest loving turn that she manages to deliver in every moment. I especially like her portrayal of the sheer enthusiasm when Rocky finally makes it to the top.)

Miles - 4(One of her stronger turns, and I will admit that she is another one that I do think can be a little bland. Her approach though works very well for just the equally, if not even more so, downtrodden woman working with her husband to get through the terrible situation. She's very effective though in conveying the physical and emotional turmoil that comes from her ongoing state, and each instance of coming up short for exoneration.)

Anonymous:

Hordern - (The magnificent, proper, English manner is personified through his voice perhaps even more so than contemporaries like Ralph Richardson. This with such a class, and striking precision that does manage to be both so regal but not entirely cold.)

Baranski - (Kind of a throw back to the old diva hams of the golden age of Hollywood, but I actually mean that in a good way. This with this quite frankly robust extravagance that is sort of one of a kind.)

Luke:

Irons - (It seems to me after a few consistent misses in terms of prestige projects, that could've been great theoretically (M. Butterly, Lolita), he stopped having the same passion for quality projects. I'll give him credit though he typically still seemed like he was having fun. After those misses his "I'm doing it for the money" became a lot more frequent, which is a shame.)

Mortensen - (I wouldn't say he really has any major ones. He's been doing quite well for himself, and even Green Book, while a nadir in my view, could open some greater opportunities going forward.)

Streep - (Well technically none, I mean I wished to tone down the obvious technique as always, but she essentially been given the majority of the opportunities for an actress of her age, with the missed opportunities being her contemporaries never really even being considered.)

Mulligan - (Too young to have any real ones. Shame Suffragette was so bad though, but then again she was still good in it. Her latest work, while not receiving too much awards attention, is still getting her plenty of praise, if she keeps it up, frankly she'll be back sooner than later.)

Anonymous:

Cruz - 3(A fine sleazy turn to be sure, but in the scheme of that film he didn't leave too much of an impression for me.)

Anonymous:

For Fassbender he is making the "right" choices in terms of who's working with, for the most part, the probably is he keeps getting them on their off "days". The same thing that essentially happened to McConaughey after Interstellar. The missed opportunity is just a waste of his potential, with some strange choices from the filmmakers, looking at you Alfredson!

Hardy's been doing just fine since his breakout, even with Venom, while not very good, was such a huge success it very well could benefit him going forward.

Bryan L. said...

Louis: Speaking of Mortensen, your thoughts on his upcoming directorial debut, with Henriksen as the other lead?


And your thoughts on Edgar Wrights' upcoming horror film that he co-wrote, with Taylor-Joy in the lead and Chung Chung-hoon as cinematographer?

Louis Morgan said...

Bryan:

Well I love the idea of Lance Henriksen in a potentially prominent role, as I do Mortensen in a leading role (Green Book cannot besmirch is track record for me), but actor turned director doesn't always work out. For a Charles Laughton there's a Jack Nicholson, for a Ben Affleck there's a Casey Affleck. Hopefully he'll fall into the former category, but we'll see.

Well not too much to take from it yet, as I can't even say the tone he's going to be going for. Promising cast though in Anya Taylor-Joy and Thomasin McKenzie. Am very excited though to see how the film looks though, as Chung Chung-hoon could be mean a major a step up in terms of cinematography for Wright.

Anonymous said...

Louis: Biggest missed opportunities of Greta Garbo, Clark Gable, James Cagney and Boris Karloff's careers in your opinion?

Luke Higham said...

Louis: Have you seen the 1997 Lolita, because I might request Irons at a later date to see how he compares to Mason's extraordinary work.

Calvin Law said...

Saw Toy Story 4. Give me a bit more to think about how I felt about it exactly. Although it is probably my least favourite of the franchise. And going to see Parasite later on this week or next.

Hanks - 4
Allen - 3
Potts - 4
Hale - 3
Key and Peele - 3.5
Hendricks - 3.5
Reeves - 3.5
Maki - 3
Cusack - 3
The OG gang - sadly underused.

Luke Higham said...

I saw Toy Story 4 yesterday. My Least favourite but still rather great. Some of the early Forky stuff was quite hilarious and Hanks gave his best vocal performance.

Louis Morgan said...

Luke:

No.

Anonymous:

Garbo - (Didn't really miss much when she was working, but it was a missed opportunity that her career was so purposefully short.)

Gable - (I wouldn't say he had many, he had his downtime in the 40's but it didn't seem to go from any lack of purpose on his part. I guess it's a shame though we only got a single film for a possible reinvention in The Misfits.)

Cagney - (Like Garbo, the missed opportunity was that he cut himself off "thanks Horst Buchholz, yah ham!", as I think he definitely could've found places for himself later on in the 60's and 70's. Otherwise Cagney consistently found interesting work throughout his career, though I do wish Foreman had given him a more interesting role in Ragtime.)

Boris Karloff - (That he didn't play Karloff lookalike in Arsenic and Old Lace, not that Massey was a bad replacement, but Karloff was quite simply perfect for that role. Otherwise it's unfortunate he became rather pigeonholed completely to the horror genre, where he was able to find a balance of roles in during the 30's. It's a shame since as much as he remained such a consistently good actor, even in rather flimsy films, he had probably one of the stronger ranges for that time, that was sometimes limited by his projects.)