Saturday 14 March 2020

Alternate Best Actor 1996: Max von Sydow in Hamsun

Max von Sydow did not receive an Oscar nomination for portraying Knut Hamsun in Hamsun.

Hamsun, as per usual it seems for Jan Troell, is an underrated film following the later life of a celebrated writer turned Nazi supporter.

It is of course with a heavy heart that one must learn of the departure of a true legend of an actor such as Max von Sydow, but within that we may all also appreciate the life, career and legacy that he left behind. Max von Sydow's career was remarkable in itself as his managed to traverse across directors, language barriers, genres, and decades of ever changing film. Unlike so many actors, there was never a truly "off" decade or period for von Sydow as he managed to find notable work from his humble beginnings in Sweden all the way to the very end of his career that included highest budgeted Hollywood films. One of the definite reasons for this was as von Sydow was a notable performer in that he not only broke out internationally but he never lost touch with his roots either. Perhaps an even greater reason for this was that no matter the film, the genre, the story, the size of the part, or even the quality of the film, it never seemed to matter for von Sydow. He's one of the very few actors I can name who I never saw truly phone in a performance. This is even in the cases where he was given a role that wasn't notable, where he was cast to try to make it so, like The Force Awakens. That part was frankly unworthy of his talent, however von Sydow still brought a gravitas to the role that would've been absent without him. I continue to speak towards von Sydow's successes, because honestly that was largely where he existed, and it seemed in his own philosophy, reflected by his work, that if wasn't a great role, he'd do his best to at least offer his commanding presence to it, but if it was a great role he'd attempt to make the most out of it.

Well I am overjoyed to return to von Sydow, and though this will not be the last time, in a great part. This in the role of the noted writer Knut Hamsun, who as we enter into the story is already seen as such, as we see the man earning his Noble prize, that is only part of his accomplishments as a man. This as we are invited into the world of Hamsun, already considered to be this "great man" of Norway, and with that von Sydow seems to take as his starting point. Of course von Sydow is already ideal for any authority figure. von Sydow simply exudes that force of personality so naturally, aided by his stature, that instantly establishes any character he plays with a degree of a type of might to them. This is evident here in von Sydow's work though utilized here in a way that helps us to infer a great deal of the man even before we really learn much about him. von Sydow's demeanor here though goes beyond creating that idea though as we are granted the age of the character, which as was so often the case for von Sydow, is considerably older than he was at the time. He also though goes beyond in his work manages to convey the specific age of the man as it relates to Hamsun, as a nearly deaf man, who seems to beyond his own expected years for life. This as von Sydow defines the somewhat doddering nature of the man, that crafts such a sense of the specific wear within the man, that is most certainly of performance, as his presentation of Hamsun's wavering physical manner is a far cry from his smooth power of his manner as Leland Gaunt in Needful Things, just a few years before.

von Sydow embodies the age so well, and that statue, in that he always walks with the gaunt of really that of the true intelligentsia, yet even in the way he parts his lips, it is that of an elderly somewhat detached old man. This in lines though an absolutely brilliant idea that von Sydow realizes in his work that is fundamental in so many of the actions of Hamsun throughout the film. This as the man is comfortable with dying, not that he is suicidal, but it is rather his time in his own view. von Sydow is amazing in the way he is able to exude this seemingly peculiar comfort and make it feel so natural within the idea of the man. This is as when he speaks of the idea is as though it is a long thought of his, something he's payed much mind to. His delivery of these words is as though it is a strict understanding of where he should be and that his time simply is at an end. von Sydow portrays this wholly without anguish, but rather at times, when specifically Hamsun is presented with the troubles of his current world, a great frustration. This frustration though not towards dying, but the fact that he has to still live when he feels he should be gone. von Sydow crafts in his eyes as this understanding, as we see in one scene where he appears as though he will die in the snow, it is not of fear, but of just a contentment that the bell has rung for him as he's expected. This is an essential idea that von Sydow realizes so vividly as von Sydow presents us with a man who basically has pulled up his personal stakes, making it so his actions in a way in the world shouldn't matter as much, in his own view.

Another key motivating factor for the life of Hamsun however is in his wife Marie (Ghita Nørby), where early on we have a outstanding scene between von Sydow and Nørby. This as they suffer a row between one another where direct hostilities come out with Nørby bringing a fiery emotion against von Sydow who is great in his way of playing as potent of emotions however fittingly internalized within the Hamsun. Their conversation is excellent as we are granted the sense of their relationship so quickly as we see all the frustrations in Marie come out in Nørby's work against von Sydow who plays it so well as Hamsun's way of attempting to be as though he is above such a fight. von Sydow's eyes though, and the edges of his deliveries though very much paint the same type of anguish within Hamsun towards their wife. Frustrations that allude to years of troubles, but honestly the intensity within both that could only exist in a long lasting relationship. This as even as they fight we instantly are granted a sense that there is a connection, and understanding in a way, though now broken towards a venomous bitterness between the two. We see the struggle of their relationship continue in his noble prize ceremony, which is a lower key scene yet is a just about perfect bit of acting from both, as we get some classic elderly married couple bickering as Hamsun admonishes his wife for not translating his words exactly to their German audience. The two manage to even be a bit comic in a sense, however more than anything grant the sense of the festering anger in the relationship that both actors draw out so naturally.

That seemingly minor interaction again though is part of the "case" that von Sydow is making in creating really the motivation we will find as Hamsun becomes a Nazi proponent. This being an idea far more enthusiastically found within his wife, as we see in that earlier scene where her added words where convenient towards the Nazi cause. Hamsun of course did not attempt a full correction that to made natural within von Sydow's work in showing the man, who has a certain allowance for such things since he believes he'll be leaving the world soon. This as the war begins we see von Sydow portray the man as this elder statesman of his country seemingly falling into what he believes will be the expected line of thinking based on his wife's sentiments, and honestly to a degree his lack of concern for the matter. This as we see in the scenes of speaking words that are support of the Nazi line, von Sydow depicts it as though he was giving an authorized commendation to just any colleague, this even in his praise of Hitler. von Sydow again emphasizing a man going through the motions in interacting with the world with often this sense of unawareness towards the rest of the world, initially. This begins to crack as one of his sons wishes to join the army to fight on the front lines, and we see the conflict between Hamsun and his wife, over her fanatical beliefs and his nearly perfunctory beliefs. von Sydow delivers beautifully this anxiety of the man within his expression as he fails to really fight for those beliefs in any way, and instead emphasizes the sense of confusion regarding the intensity shown by others to "push" it.

von Sydow then is incredible as we see so much of talent as an actor here by his way of crafting the image of the "great man" who has become so certain in the expectation of his life, that it will be his downfall. One early one, that would be hilarious if it were not for the gravity of the situation, is when Hamsun directly speaks to one of the party men quietly questioning Hitler's views and treatments towards Jews as though it was an academic exercise. This is even as when asked if he read Mein Kampf, von Sydow's delivery of Hamsun's having not got around to it, is simply marvelous as he brings almost a sense of disinterest again in emphasizing the man's detachment from that world that he is commenting on. This continues though as we see von Sydow's great emotional range here in particularly, though used so effectively here in a slightly alternative way, as he breaks down that expectation the man has set for himself, as he is truly looked at by others as a statesman. This includes those whose family members are being rounded up and killed by the puppet government set up by Hitler. When one such mother comes to him, von Sydow's reactions in the scenes show a man just trying to avoid the thought of it as he attempts to push through, however when she finally stops von Sydow's moment of thought before asking for the name to help, is performed so well as this moment of clarity and finally a bit of an attachment for Hamsun as he reflects finally a bit of genuine concern. This even though as von Sydow brings it out as this frustration at needing to be part of something he thought he was done with.

This continues as it becomes quite clear that the Nazis are not timid about committing atrocities, to which Hamsun attempts to do something about by being granted an audience with Hitler himself. von Sydow's portrayal of Hamsun preparations are terrific as he presents now a real nervousness and now an anxiety for the world he is in. His eyes fashion now a sense of real fear reflective as he must actually look into the world in a way he hasn't for some time. This found all the more in his harried way of speaking as Hamsun recites his practiced words for Hitler, which is a mix of praise and actual critique. von Sydow's performance in the scene where Hamsun finally speaks to Hitler, is spectacular. This as we see the man attempting the initial pleasantries for the leader he has deemed that he must respect, but this with a confused attempt to offer a real critique. This made all the more broken through translators, Hitler and his completely different intentions for the meeting and Hamsun's deafness. von Sydow captures this sort of madness though with a powerful heartfelt emotion though as in his words there is now a real strain within the idea of concern for the needless violence and brutality of the puppet regime in Norway. von Sydow gradually portraying this degradation into a true confusion as Hitler cannot brush his thoughts aside, though while Hamsun cannot hear his words brushing his concerns aside either. von Sydow doesn't make the scene a simple one of righteous passion, though there are signs of that, but this incredible mess of an attempt at of a once so articulate man attempting to speak in terms his chosen audience simply would never understand or care to understand.

This leaving Hamsun to look like a foolish old man, though what I love is that von Sydow shows in the moment the earnest attempt in the man to do the right thing, but unfortunately failing to make any real impact. After that failure we see Hamsun return to the contentment to die, until that Germany falls, and now Hamsun and his wife are arrested to be processed as potential collaborators. Hamsun being sent to a mental hospital to attempt to discredit any previous actions of his as that of a man with dementia. von Sydow's work is so well textured again, in the way we are given such a sense of Hamsun's state of mind, as though he is a mystery to the authorities von Sydow gives us the essential insight into the man. This is as I love the poignancy in a brief moment where he notices a bicycle, as he sits in a form of house arrest, and that moment of appreciation in von Sydow's hands grants such a sense of appreciation for youth and somberness regarding the loss of agency. When sent to the institution von Sydow is masterful in creating such a quiet yet potent sense of the man's confusion and distaste of the circumstances. This as dealing with the prodding questions his eyes evoke such an unpleasantness as this is such an alien experience for him, with the doctors questioning his mind rather than praising it.von Sydow shows so well the shattered state that results, as it is this state of contemplation towards his own self while being troubled by the questions he must endure. This eventually includes watching film of the holocaust, where von Sydow is outstanding in his reaction that manages to not only show the heartbreak of the image, along with the uneasiness of a slowly building guilt out of confusion as he comes to understand the nature of the images. This is almost immediately followed up with being betrayed by his wife, through a long confession that accuses Hamsun of being the fanatical one.

von Sydow is great in as we see Hamsum, if briefly, lose any attempt at his stature of the "great man" as he berates his wife and von Sydow puts bluntly the sense of betrayal. From these trials, an eventual real trial is led to based upon Hamsun's mental state more than anything. The trial scene is again one of von Sydow's great scenes of his career, though again bringing to life a difficult scene with an an unexpected result. This as again this is not a traditional defense, rather von Sydow manages to convey the complexity as there are sense of a sense of guilt in what his words had helped contributed to in his eyes, though his speaking of the words that have  some of that, but enough of a passion of man desperately attempting to clearly explain his position. This is as untenable of a position as it is, von Sydow manages to show a man both suffering in his state, but also in his element as a man who made his life through words. This is within the sense of partial excuse as he explains his deafness, where von Sydow shows a wavering resolve, that while his delivery is still earnest, we see the man's inability to wholly speak these words without a least a slight sense of shame. The film ends with Hamsun being left to fighting against a slight exile, while initially rejecting his wife, before slowly inviting her back into his life as he nears the end of his. The final scenes between himself and Nørby are particularly special as the two finally show some tenderness in the forgiveness, though what makes it so notable is that it feels as though it comes from that same connection we witnessed within their bitter fights. This as the warmth in the reconciliation found to be as complex as their fights were. This though is what we find throughout Max von Sydow's work here, that grants such a uniquely powerful and complex portrayal of essentially a difficult man of history. He is neither a hero nor a villain, he is a man with qualities and numerous faults. This which von Sydow details so profoundly. This is a great performance by Max von Sydow, that is part of the legacy that the man has gifted to all of us. This again in marking his work through intelligence, striking presence, and always  an absolute conviction to the material and character he was giving himself to. Although the loss of von Sydow is of course hard, may we all continued to appreciate Max von Sydow for all that he left us, including this incredible work.

61 comments:

Luke Higham said...

Louis: Would you consider this Sydow's best performance and ratings/thoughts on the cast.

Mitchell Murray said...

Here Here...

As unfortunate as his loss is, Sydow has still left behind a very accomplished body of work, for viewers of multiple generations to appreciate. In his passing, let us continue to admire him as a great actor and enjoy the many strong films he got to be a part of. May he rest in ever lasting peace.

Mitchell Murray said...

Also, this is a re-post of a comment I made on the initial line up page:

I finally got around to watching “Bombshell” recently, and it was...well...I’m still trying to decide what I thought of it, actually. The film has a certain effectiveness at times, most notably in how it portrays the objectification of Fox’s female anchors. There are scenes where it finds the uneasiness and power of a stronger film, such as when Roger forces Kayla to expose herself, or when Gretchen nearly breaks into tears after her kids come home. And yet despite these better elements, the overall movie still comes across as too superficial, too safe, and too routine, strangely. There just is this weird conventional template hanging over the film, and it really takes away from the incendiary, powerful subject matter at hand. Also, I think a revision of the editing and screenplay could’ve helped, as a lot of the weaker dialogue is a bit on the nose, and a lot of the weaker scenes could’ve been cut altogether. Again, it’s not a bad picture, just one I wanted to find more substance in than I ultimately did.

Theron - 4
Kidman - 4
Lithgow - 3.5
Robbie - 3
Duplass - 2.5
Janney - 2.5
McDowell - 2.5
McKinnon - 2

And with that, “Bombshell” completes the 2019 best actress field for myself. My ranking would be as followed:

5) Erivo (4)
4) Theron (4)
3) Zellweger (4)
2) Ronan (5)
1) Johansson (5)

Calvin Law said...

Well, once again another Von Sydow performance I need to see. Didn't go too in depth into the review since I've yet to see Hamsun but I agree wholeheartedly with everything you said in the opening paragraph. Truly a phenomenal talent.

Mitchell: Robbie's down to a 2.5 for me.

Mitchell Murray said...

Calvin: Well I'm really of two minds with regards to her performance. Her first couple scenes are pretty shaky, to be honest, as Robbie seems to go for a very extroverted, almost naive personality in Kayla. She frankly overdoes it, though, and it really squanders the set up of a role, which she had quite a bit of leeway with anyways given its composite nature. Also, her more intimate scene with McKinnon just feels "off" from both parties, and it is one of the sequences I would've cut from the film, sadly.

Now when Kayla is first harassed by Roger, that's when Robbie's performance improves, thankfully. She does make Kayla's discomfort and fear completely tangible, both in that "undressing" scene and in her distraught phone call to McKinnon's character later on. Robbie is more than decent in these dramatic moments, as she does find the emotional power of such violation. That said, a lot of what she's doing is not all that extraordinary, and doesn't succeed in making these two halves of her performance all that cohesive. So I guess I would say Robbie is fine here, though when's she not fine she's kind of spotty. Still, the emotional heights of her later scenes are performed ably enough.

Mitchell Murray said...

Also, in terms of 2019 supporting actress, I only have Bates to see now.

GM said...

Oh, my first request to get a 5 o/. Thank you for the review, great writing.

Anonymous said...

Louis: I've read that Armand Assante and Anthony Quinn are pretty good in the 1996 Gotti, though it seems that the film is a typical "This happened, then this happened" type. Could be fun to compare against the Travolta version at least, though.

Bryan L. said...

Louis: Your cast and director for...

1940s Fury (HAS to be Wellman)
1980s The Gift (Maybe Michael Douglas for Simon?)
1960s Interstellar

Louis Morgan said...

Luke:

Well without a doubt one of his best, as I'll say for the moment.

Nørby - 4.5(Well on top of what I mentioned in the review, she's also quite remarkable in a tricky part of her own, which is quite a bit different from the other female leads for Troell's film, which have at least some quality of the ethereal. That's not the case for Marie, however Nørby's performance is terrific in managing to create such a striking reality in the idea of human flaws that help to fuel her fanaticism and selfishness. Her performance importantly while showing the gargantuan flaws of the person, does do so in with a sense of real humanity within crafting a desperation within the action. This crafting what is technically a pathetic character, but not one bereft of humanity.)

Ousdal - 3.5(An effective turn in creating sort of the ego developed through fanaticism, this as he brandishes himself with this smooth manner as though he is a great man, when there is nothing in fact notable about him.)

Selge - 3.5(Quite effectively disturbing by portraying the ease of the character's manner throughout and the blithe bureaucratic attitude in ignoring any pleas and going through with atrocities without a second thought. I love his final scene, where he brings a similar attitude within even his own demise.)

Jacobi - 3.5(An interesting turn as Hitler in a way, in that his performance is more of just an average sort of guy. In a way this works particularly well for the lens in which we see Hitler in this film, who initially approaches as a fan to Hamsun, then just an angry man unwilling to be suddenly questioned about his morality.)

GM:

You're welcome.

Anonymous:

Maybe, but definitely a back burner for me when it comes to catching up with the different films of the year.

Bryan:

1940's Fury directed by Willaim Wellman (indeed)

Wardaddy: James Cagney
Bible: Karl Malden
Machine: Ricardo Montalban
Gordo: Thomas Gomez
Grady: Dan Duryea

The Gift 1980's directed by Roman Polanski:

Simon: Harrison Ford
Robyn: Christine Lahti
Gordo: Dennis Hopper

1960's Interstellar directed by Robert Wise:

Cooper: Kirk Douglas
Amelia: Carroll Baker
Murphy: Janet Leigh
Young Murphy: Veronica Cartwright
Old Murphy: Sybil Thorndike
Donald: Raymond Massey
Professor Brand: Otto Kruger
Tom: William Windom
TARS: Jack Oakie
Mann: Burt Lancaster

Calvin Law said...

Karl Malden would kill it as Bible. Incidentally, reversing it around a bit:

2020s On the Waterfront directed by Matt Ross
Terry Malloy: George MacKay
Father Barry: Shia Labouef
Johnny Friendly: Brian Tyree Henry
Charley Malloy: Jesse Plemons
Edie Doyle: Sarah Goldberg

Bryan L. said...

Louis: Actually, yeah, Harrison Ford subverting his image back then could’ve been something special.

Would you say that Kubrick would’ve been too clinical/cold for Interstellars emotional thrust? He definitely would’ve aced the visual effects, but besides that...

Also, cast and director for a 70s Interstellar?

Bryan L. said...

*60s/70s Kubrick anyway

Louis Morgan said...

Bryan:

Yes, though he would not have been in the 50's evidenced by Paths of Glory, which is part of the reason why I think that is Kubrick's best dramatic film. Although for accuracy in a way Kubrick would make more sense, to reflect Nolan, who while not as detached as Kubrick became, isn't a sentimental director. The tone of the material I'd actually say would be most befitting Spielberg, who was attached to the project at one point, however post-Schindler's List Spielberg would go too far in that regard where Nolan seemed perhaps uncomfortable with it, but 70/80's Spielberg....well

70's Interstellar directed by Steven Spielberg:

Cooper: Roy Scheider
Amelia: Melinda Dillon
Murphy: Shirley Knight
Young Murphy: Linda Blair
Old Murphy: Lillian Gish
Donald: Burgess Meredith
Professor Brand: Jean Renoir
Tom: Tom Skerritt
TARS: Frank Oz
Mann: Robert Duvall

Calvin Law said...

Louis: could I have your ranking of all the Bond songs (with the exception of Billie Eillish obviously since her film hasn’t come out yet so not fair to judge).

Louis Morgan said...

Calvin:

Included the 3 instrumentals:

1. "Skyfall" - Skyfall
2. "James Bond Theme" - Dr. No
3. "You Know My Name" - Casino Royale
4. "Live and Let Die" - Live and Let Die
5. "You Only Live Twice" - You Only Live Twice
6. "Goldfinger" - Goldfinger
7. "On Her Majesty's Secret Service" - On Her Majesty's Secret Service
8. "From Russia With Love" - From Russia With Love
9. "Tomorrow Never Dies" - Tomorrow Never Dies
10. "The World Is Not Enough" - The World Is Not Enough
11. "Nobody Does it Better" - The Spy Who Loved Me
12. "For Your Eyes Only" - For Your Eyes Only
13. "Thunderball" - Thunderball
14. "Golden Eye" - Golden Eye
15. "The Living Daylights" - The Living Daylights
16. "A View to a Kill" - A View to A Kill
17. "Writing's On the Wall" - Spectre
18. "Moonraker" - Moonraker
19. "Diamonds Are Forever" - Diamonds Are Forever
20. "The Man With The Golden Gun" - The Man With The Golden Gun
21. "License to Kill" - License to Kill
22. "Never Say Never Again" - Never Say Never Again
23. "Time to Get Out" - Quantum of Solace
24. "All Time High" - Octopussy
25. "Fingernails on a Chalkboard" - Fingernails on a Chalkboard
26. "Die Another Day" - Die Another Day

Calvin Law said...

What about We Have All the Time in the World? Although maybe you don’t count it since it never actually appears in the film?

Calvin Law said...

Also lol at #25. Could I have your extended thoughts on Madonna’s work there then?

Louis Morgan said...

Calvin:

Well I'll admit I used a Bond opening playlist to quickly remind myself of the songs, but it'd be #17 if had included it.

Well thankfully both that song and film were followed by one of the best Bond songs and perhaps the best Bond film. The song I believe was constructed to represent what Bond is going through just before the sequence, which is torture. This as Madonna's vocals are synthesized I assume only to make them harder on the eardrums (I don't even typically hate Madonna's vocals). Their syncopation of that along with the obnoxious and bizarre though most of all repetitive instrumentation to grant you maximum pain. In a song that has no purpose I can sense other than to make you suffer, which it does do quite effectively, so mission accomplished.

Anonymous said...

Louis: Could I have your updated thoughts on Ryan Gosling as an actor? The last time you gave them was before Blade Runner 2049 and First Man

Luke Higham said...

Louis: What about 'Another Way To Die' from Quantum Of Solace.

Louis Morgan said...

Anonymous:

I don't have any additional thoughts there that aren't covered in the reviews of those performances.

Luke:

Incorrectly listed the name, but that track is the one I was referring to in the list.

Tahmeed Chowdhury said...

Louis: Your top 10 TV show ensembles?

Louis Morgan said...

Tahmeed:

1. Twin Peaks: The Return
2. Breaking Bad
3. Wolf Hall
4. It's Always Sunny in Philadelphia
5. Fargo
6. Band of Brothers
7. Seinfeld
8. Tinker Tailor Soldier Spy
9. Peaky Blinders
10. Arrested Development

Anonymous said...

Louis have you seen any other tv other than Better Call Saul this year?

Louis Morgan said...

Anonymous:

The Outsider and McMillions which both should've been feature films. The Outsider begins promising enough but drags towards ridiculousness and nothingness. The documentary McMillions has an interesting story but there's no reason it couldn't have been handled in 2 hours, it's not the Jinx.

I tried to watch Hunters, but hated its approach so much, that I honestly didn't make it through the first episode...and have no intention to go back.

RatedRStar said...

Louis: I always hate having to tell you this in the same way Oliver hates asking for more porridge lol. I look up a film and find out oh no it didn't come out in this year, I am sorry Louis we have found another one lol.

The Miracle of Morgans Creek was released in 1943 in London.

Calvin Law said...

So that Westworld premiere was actually pretty...straightforward. Definitely miss being inside the Park but I know what they're getting at by changing things up. Mixed bag in terms of how engaged I was throughout, though I did find Dolores' escapades decent enough with one particularly great scene in terms of direction, Paul has been good so far in a role that plays to his strengths, and everything else has been build up but done decently enough at that.

Calvin Law said...

And all the technical elements have been great.

Bryan L. said...

Louis: Your past film roles for Daniel Craig?

Calvin Law said...

Bryan: I'd say Craig has a bit of a Burt Lancaster in him, I could see him thriving in a lot of his roles.

Anonymous said...

Louis: Also present film roles for Lee Van Cleef and Eli Wallach?

Bryan L. said...

Calvin: Like Lancaster, you could also say Craig is covertly versatile, although many are taking notice after his last two films.

Anonymous: He covered Wallach in Jim Carrey's review for The Majestic.

As for Van Cleef, he would've been perfect for Anton Chigurh.

Razor said...

Louis: Your cast ranking for The Outsider?

Luke Higham said...

Louis: Are you going to review Max Von Sydow in Flight Of The Eagle.

Anonymous said...

Luke, if he does review him, what rating do you think Sydow will get?

Luke Higham said...

Anonymous: A strong 4.5 at least. I hope he reviews him there as it's the last Troell directed turn left to see but it's a difficult film to find. I only managed to see it two years ago when a friend of mine(An ardent Sydow fan) got a copy of it from overseas with English subs.

Louis Morgan said...

RatedRStar:

Very well...at least no major changes required.

Calvin:

Haven't gotten to the pilot yet, I will, but given how season 2 ended, it won't take much for me to drop it.

Bryan:

Daniel Craig:

Otto West (Even though he's English, I think he'd be perfect, even if one were to retain the anti-English sentiments of the character.)
Joe Bass
Peachy Carnehan

Anonymous:

Brett Ridgeman (Dragged Across Concrete)
Mr. Arthur (The Ballad of Buster Scruggs)
Frank James

Razor:

1. Jason Bateman (Though spoilers, this is a problem)
2. Julianne Nicholson
3. Ben Mendelsohn
4. Mare Winningham
5. Bill Camp
6. Marc Menchaca
7. Paddy Considine
8. Yul Vazquez
9. Derek Cecil
10. Cynthia Erivo
11. Max Beesley
12. Jeremy Bob

Luke:

He's a definite possibility there.

Calvin Law said...

Sucks to see Erivo so low, I’m guessing that’s part of the problem. And damn such a shame, since that cast seems tailored for exactly what you like Louis.

Luke Higham said...

Louis: Would you consider anyone very good to great from that cast.

Mitchell Murray said...

So I just saw "Moonstruck" for the first time, which I ended up liking a lot. It was simply an enjoyable lighter film with good direction, consistent humour and some endearingly broad characters.

Cher - 4 (Could go up)
Dukakis - 4.5
Gardenia - 4
Aiello - 3.5
Cage - 3/3.5

Bryan L. said...

Louis: Did you purposely avoid casting Craig as Daniel Dravot or do you just think he'd be a better fit for Peachy Carnahan lol?

Speaking of Twin Peaks: The Return, your thoughts on Koechner, Clarke and Edelstein?

Calvin Law said...

Well with Louis' choices in mind...

2020s A Fish Called Wanda directed by Paul King
Archie: Steve Coogan
Wanda: Rachel Mcadams
Otto: Daniel Craig
Ken: Stephen Graham (think he'd have the chops to pull this about-turn)
George: Noah Taylor
Wendy: Michelle Dockery

2020s The Scalphunters directed by Rian Johnson
Joe Bass: Daniel Craig
Joseph Lee: Adewale Akinnuoye-Agbaje
Jim Howie: Rory Cochrane
Kate: Michelle Williams

2010s The Man Who Would Be King directed by Sam Mendes
Daniel Dravot: Damian Lewis
Peachey Carnahan: Daniel Craig
Rudyard Kipling: Ewan McGregor

Louis Morgan said...

Calvin:

Well Erivo gives an "out on a limb" performance. I could someone liking her more here, but though she definitely goes for it, what she did, didn't work for me in the least. This wasn't to the point that I thought she was horrible, in that she has enough innate talent when not doing her "shtick" she has fine sort of "between the lines" moments, but that "shtick" I found immediately tiresome, a bit forced and honestly a bit grating.

Luke:

Bateman is very good given how brief his role is, and does the most he can with it. Nicholson also deserves mention given her scenes are filler, but she does the most to make them meaningful based solely on the honesty of her work.

3-9 are all good, but no one is working with the best material. Considine is particularly wasted, this is even with a revelation where I went "ah now I know why they cast him", but even that doesn't lead to all that interesting of material for him.

Bryan:

No, as I think there's a natural sly cynical quality to Craig's presence that is a better fit for Peachy.

Well the three of them are a hilarious group of basically three stooges cop. Each of them offering just the right type of buffoonery that is hilarious but stops short of being too much. This as they do offer just enough of a semi-seriousness in their questioning. I especially love though their immediate of "Dougie"'s DNA match, or their overly satisfied reaction at catching Ike "The Spike".

Michael McCarthy said...

Oh dear, in all the chaos I forgot to post predictions:

1. Max von Sydow
2. Jeffrey Wright
3. Timothy Spall
4. Philippe Torreton
5. Christopher Eccleston

Luke Higham said...

Michael: Your ratings for Sydow, Wright, Spall, Torreton and Eccleston.

Michael McCarthy said...

Wright: 5
Spall: 5
Eccleston: 4

Haven’t seen the other two yet, hoping to watch Hamsun tomorrow sometime but I’m not sure how I’d be able to watch Captain Conan so some of this is guesswork.

Luke Higham said...

1. Sydow
2. Wright
3. Spall
4. Torreton
5. Eccleston

Luke Higham said...

Guys, I know this is extremely late but Clemency is finally online.

Luke Higham said...

Louis: Given the current global situation, do you think 2020 could possibly be a write-off.

Calvin Law said...

It’s a shame but a necessary shame. Worried every day about the elderly/those with underlying health conditions. And there’s always Netflix :)

Calvin Law said...

Luke: and for me personally, Mackay-Moss-Hoult-Swinton is a more than fine lineup for the year for me, if it be that.

Calvin Law said...

I also have to say Louis' reviews have been such a good way of killing time in this situation. Particularly some of the older ones :)

Bryan L. said...

RIP Stuart Whitman

Luke Higham said...

RIP Stuart Whitman

Calvin Law said...

RIP Stuart Whitman.

Mitchell Murray said...

RIP Stuart Whitman.

And in response to Calvin's comments, I'm still hopeful it that we will collectively stop the spread of the virus. I think the real fear with COVID-19 isn't that it's all that lethal, but that its transmitted very easily and is of course more dangerous to those with weakened immunity.

But in response to Luke's comment, there is always DVD/Netflix. Take "A Quiet Place 2", for instance..if it doesn't get its cinematic release a in few months, they can always transfer it to digital streaming. Either way, the studio gets its film out and can hopefully move onto their next project.

Tahmeed Chowdhury said...

I really do hope everyone stays safe and takes care of themselves and their families during these trying times. I think it's worthwhile to remember that during challenging situations, it's almost always art that gets us through it.

Bryan L. said...

Mitchell: Nah, A Quiet Place 2 is expected to make a lot of money, so they’ll keep delaying it until it can get a proper theatrical release. There’s another reason FF9 got rescheduled for 2021.

However, smaller films that aren’t expected to make much anyways will most likely go straight to digital.

RatedRStar said...

RIP Stuart Whitman

Louis Morgan said...

Luke:

Well, at the very least it will probably have the most limited output since the 40's war years I'd say.

I will say regarding my own methods, any year that has any input will be the year's output.

Calvin:

Glad to hear they are providing something for you.












RIP Stuart Whitman, who delivered perhaps the most underrated Oscar nominated performance ever.