5. Steve McQueen in An Enemy of the People - McQueen doesn't fail entirely in his against type performance, but at the same time it isn't a complete success.
Best Scene: Speech.
4. Elliott Gould in The Silent Partner - Gould delivers a terrific atypical turn as the lead to a thriller who is a bit more calculating than the average "wrong man".
Best Scene: Needing a new key.
3. Harvey Keitel in Fingers - Keitel delivers a fantastic turn of a man defined by a strange pull between a world of art and a world of violence.
Best Scene: Visiting his mother.
2. Alan Bates in The Shout - Bates delivers a wholly a captivating portrayal of a man seemingly empowered by a life of mistakes, and a man broken by them.
Best Scene: The shout.
1. Richard Pryor in Blue Collar - Good predictions
Michael McCarthy and
GM. Pryor proves his abilities are far greater than he was given credit for, in his dynamic, intense, and downright powerful portrayal of a man fed-up by the system he is stuck in.
Best Scene: Explaining his compromise.
Updated Overall:
Next Year: 1978 Supporting (found a lineup)
48 comments:
Louis: Ratings and thoughts on the rest of the lead performances.
Your Female Lead and Supporting top tens with ratings and other 4+ honourable mentions.
Your 1978 wins.
Luke, I’m starting to think that you have that exact comment copied on a Word document somewhere and that the only thing you change on it is the year :)
Anonymous: No, I just write it down incredibly quickly. Always have the same response in my mind. :)
Christopher Plummer - The Silent Partner
Yaphet Kotto - Blue Collar
Bruce Dern - The Driver
Barry Bostwick - Movie Movie
???
Louis, your ratings/thoughts on the cast of The Wiz, Autumn Sonata, Interiors and Ellen Burstyn in Same Time, Next Year.
And your best director choices.
Louis: Your top 11-20 films for 1978?
Louis: As I am a huge fan of The Omen, please watch Damien: Omen II, I'm intrigued as to whether you'd like Goldsmith's follow-up.
Luke: Your rating and overall thoughts on both The Omen and Damien: Omen II?
Bryan: I'd give it a 5. I've watched it more times than any other Horror film. The score is iconic for a reason, when I heard it the first time, it really sent chills down my spine. Billie Whitelaw's outstanding with the hospital scene being the most chilling of all. Peck and Warner are both terrific in bringing much gravitas and the death scenes are some of the most innovative of it's era (Poor Keith's being the most memorable).
Damien: Omen II is actually one of the better Horror sequels I've seen, It's certainly not Exorcist II. The score is very good again from Goldsmith. The cast fulfill their roles well enough though it's the deaths that take centre stage here where it really goes into Final Destination mode. I'd give it a 3.5 personally though I could imagine Louis going a tad lower than that.
Bryan: I've also seen The Final Conflict but it's really mediocre. The only thing it has over the second film is Sam Neill.
Luke: Ratings for the cast of both? And if you made a list of the 1976 films you've seen, where you rank The Omen at?
*would you
The Omen (As of now, it's my #5 behind All The President's Men, Network, Thè Outlaw Josey Wales and Rocky)
Peck - 4.5
Warner - 4
Whitelaw - 5
Remick - 3
Troughton - 3.5
McKern - 3
Stephens - 3
Damien: Omen II
Holden - 3/3.5
Grant - 2.5
Taylor - 3.5 (He's pretty good in his History Lesson scene)
Foxworth - 2.5
Henriksen - 3
My request is Masayuki Mori in Floating Clouds
Louis: You'll find GM's prediction on McQueen's review.
I’m surprised you ended up liking The Driver enough to have it in your top 10. And pleased to see Autumn Sonata at #3.
Christopher Plummer - The Silent Partner
Yaphet Kotto - Blue Collar
Bruce Dern - The Driver
Barry Bostwick - Movie Movie
Ned Beatty - Superman
Luke:
Ganz - 4.5(The better version of Regarding Henry, though not quite great as it gets a bit unwieldy towards the end. Ganz expectedly gives an impressive performance however in portraying the initial state of the wounded man then the slow progress in terms of his physical performance. Ganz's performance though goes beyond that in successfully giving a captivating portrayal of the man's sort of confusion of personalities dictated by others telling who he is. Ganz is terrific then in a way both playing the parts and showing the man attempting to figure out his "part" at the same time. This at times portraying the more affable mistreated man and the more intense claimed criminal. Ganz doesn't go in all either, but this is right in showing the man himself isn't quite aware of what he should be.)
Spengler - 4(I guess I might only be in for Fassbinder's best, as I found both this and to a greater extent Despair a bit difficult to get through, and not due to content. Spengler's best work actually is his voice over work scenes, where he directly reveals the sort of intense anxieties of his character quite powerfully and effectively. I found his work less really tangible the rest of the time, where he was more vague due to the film's ever changing perspectives that put him to the side of so many scenes. He's still good in portraying the sort struggle and depression caused by the character's identity, but it is those voice over moments that truly stand out.)
Lewis - 3.5(Borders on amateurish in the wrong way at times, just as this is occasionally a bit of stiffness in moments, and there are others where you'd wish his performance just was a little more assured than it is. He's still fine most of the time in portraying the character's growing desperation built upon the mistreatment of others. This being particularly good in showing just how the man gets beaten down by it all before he snaps, and after the snap showing the rage that defines his action, however with that a certain sense of sadness of a man whose realized he's gone too far.)
O'Neal - 3.5(He's no Ryan Gosling, but his often indifferent presence I honestly did think often worked here, as the guy who is unpredictable in terms of what he is capable of doing. O'Neal is quite "cool", but he isn't entirely lame, as he often is, which I'll say was fairly impressive for an actor I'm typically not impressed by.)
Falk - 3.5(Falk doing his typical comedy thing, a more than decent example of it.)
Carradine - 3.5(I'll admit the film itself, I don't think was good enough to earn the subject matter it chooses to show, in a way that it is so breezy about it, that it makes it extra disturbing. Carradine though offers his typical charm, which is quite needed for this character who technically becomes the creepiest as the film goes on, even as the film doesn't quite know what to do with that fact.)
Scott - 3.5(Scott gives one decent rendition of the beaten down old trainer that he gives the right grizzled warmth to it, playing it straight against Hamlin's performance that I will get to in a moment. His second performance is a fine turn as the sort of refined impresario type in giving a certain grace to the man's approach, while with just a touch of pathos.)
Foree - 3.5(There is occasionally a slight bit of stiffness in his work, though his voice does add a great deal of gravitas in moments, to deliver some of Romero's more questionable lines. In turn though he also just carries a striking presence as the hero. This also with honestly delivering on a few moments, so quietly internalizing two essential choices powerfully.)
Nicholson - 3(One can see the start of Nicholson going too far, fittingly as he directs himself here, but at least it makes sense for the performance as crazed western lead. This over the top routine is occasionally a little fun, but it also is quite great either.)
Liu - 3(A decent enough sort of stoic lead, more there for physical presence than anything else, but a fine turn.)
Ornaghi - 3(A film that isn't about the acting exactly, although everyone is more than fine, it is more so about the realization of an environment, which in that quality it does so quite vividly. He offers a nice part of that tapestry, but just part of it.)
Bogarde - 2.5(It is a pretty messy performance that is all over the place. This is as he's trying to portraying a man who is having an obvious mental breakdown, however even with that idea I found Bogarde's performance to just come off as over the top acting than some sort of genuine realization of a person in the situation unfortunately.)
Burton - 2.5(He actually begins well in portraying the character's conflict and concern. The problem is once the twists happen he just goes over the top in one scene after the another with some downright ridiculous reactions.)
Mitchum - 2.5(He's really fine, but he can't overcome just how tired the adaptation is. He just seems out of place, more so than ever at this point, he does his job, but it is a waste of a lot of things.)
Guard - 2.5(He's a fine though largely forgettable secondary lead. He's okay at being a sort slimy trickster, but only just that.)
Emgee - 2.5(He has some okay moments of silent reaction, honestly his best acting is probably in his last scene, but there is also a lot of stiffness to his work. This unfortunately coming in most in some particularly important moments in his performance that fail to sell some actions of his character.)
Hamlin - 2(Confuses the whole segment honestly, as he doesn't know how to play it, whether it be as a parody of a performance or the genuine article. The problem is as the former he isn't funny, nor is he believable as the latter. His performance that is fundamental to the problems of the first half of movie movie, which is way too broad without really being a comedy, nor being an earnest recreation)
Alda - 2(Most of the phases of the character he is way too broad, as a sitcom style character more than anything else, and his performance honestly brings most of the material down. His performance gets a bit better later on in the more forced dramatic moments, but honestly is too little too late. He also still falls upon his more shticky elements too often.)
Amplas - 2(I'm not sure what people see in this film, and I'll admit the terrible sound design of Romeros films never really helps. Amplas though is just a bland forgettable performer in a role that could've maybe had something in better hands. He's just kind of there making crazy faces, adding little to the proceedings.)
Gere - 1.5(How this was nominated for "best written" anything is beyond me. It is one of the worst film's I've seen being nominated for a writing award. Gere to his credit is terrible in doing a horribly over the top Guido routine that just comes off a ridiculous every step of the way.)
Actress:
1. Ingrid Bergman - Autumn Sonata
2. Liv Ullmann - Autumn Sonata
3. Jill Clayburgh - An Unmarried Woman
4. Genevieve Bujold - Coma
5. Geraldine Chaplin - Remember My Name - 4.5
6. Glenda Jackson - Stevie
7. Jamie Lee-Curtis - Halloween
8. Jane Fonda - Comes a Horseman
9. Margot Kidder - Superman
10. Ellen Burstyn - Same Time, Next Year - 4
Supporting Actress:
1. Geraldine Page - Interiors
2. Maggie Smith - California Suite
3. Angela Lansbury - Death on the Nile
4. Celine Lomez - The Silent Partner
5. Lena Nyman - Autumn Sonata
6. Veronica Cartwright - Invasion of the Body Snatchers
7. Ingrid Caven - In a Year of 13 Moons
8. Uta Hagen - The Boys From Brazil
9. Meryl Streep - The Deer Hunter
10. Maureen Stapleton - Interiors
And:
Mona Washbourne - Stevie
Diane Keaton - Interiors
Anonymous:
Ross - 2(Horribly miscast, as one needs a specific shy innocence to really pull off Dorothy's key moments, which is difficult to have in your thirties. Ross can't deliver that and her whole performance doesn't work.)
Pryor - 2.5(An example of him being wasted, as he has less than material to work with, as basically he barely has lines, there are words almost there for the filmmakers to say "Pryor make em funny" he can't as it is terrible material.)
Ross, Russell & Jackson - 2.5(All are a far cry from their wonderful counterparts in the original film. They at least bring a little energy to the proceedings but not even enough to make their own numbers really work.)
I'll get to Ullmann, Bergman & Page in a bit.
Nyman - 4.5(I mean I can only give the highest praise as I thought Bergman cast someone honestly with such a condition, as Nyman just is 100 % convincing in the part of portraying the mentally unstable and stunted sister. Although her screentime is very limited she leaves an absolutely striking impression through just how convincing she is, particularly in her final cries showing the human sort of forgotten within the condition.)
Keaton & Hurt - 4/3.5(As sort of the Bergman leads for Allen's riff, I don't think they are quite captivating when compared to say Bergman and Ullmann. Having said that both do a fine job in portraying the sort of festering anxiety within both. Keaton though I think delivers a bit more within the idea, finding at least a sense of the sort of penetrating stare that one needs for Bergmanesque. Not great still, but definitely more than decent.)
Stapleton - 4(Her performance basically exists as an antidote to everyone else. This as she presents someone who is caught up in any anxieties and is just someone trying to live her life. In that Stapleton brings a nice subdued energy of someone a little bit trying to fit in, while also just not being so confined with one's self. It works best though in terms of offering the contrast as this basically normal person within the egos of everyone else.)
Jordan, Waterston & Marshall - 3(All the men aren't terribly interesting as written. Waterston just kind of there, not his fault, then the other two are shallow egotists. Marshall being the confident one, that he delivers more than fine in his Juror 4 type of way, and Jordan as the desperate. Again more than fine, but I hated how repetitive his character was.)
Burstyn - (The film is contrived, as a play less contrived, but that quality stands out brutally in this poorly adapted work. Burstyn though manages to make it a bit less contrived through the virtues of her performance. This as she manages to hit both tonally the different sides of her character, while also showing the waves of time. Not every "version" of her character is as well performed, however she hits enough of them to still leave an impression. Her portrayal of the later stages are particularly effective and affecting, even if I do think she can only do so much with Alda's performance that probably would've worked better on stage. Of course, Burstyn was the one who played the part on stage.)
Aidan Pittman:
11. Death on the Nile
12. Magic
13. Days of Heaven
14. The Chant of Jimmie Blacksmith
15. Dawn of the Dead
16. The Tree of Wooden Clogs
17. Coma
18. The Boys From Brazil
19. The Shout
20. Grease
Calvin:
Well I'm a fan of its off shoots of it in Drive, Thief and Baby Driver. It might be the bare bones original, but I quite liked how upfront it was about that fact. In a way I thought it was the purest form of the film Walter Hill was trying to also make with Hard Times and The Warriors, two films I also liked. It is a film where I do feel its sort of minimalist "pledge" would've been far more respected than how critics treated it when it came out.
Louis: Ratings and thoughts on Jill Clayburgh, Genevieve Bujold, Glenda Jackson, Geraldine Chaplin, Ingrid Caven and Mona Washbourne.
Anonymous
Bergman & Ullmann - (I mean one can speak to the great Bergman performances once again, as everything about them feels absolutely real. Here in two dual performances that are both amazing from in all reality two rather different actresses in Bergman of the "rid" variety and Ullmann. Although fitting in the sense in that we have the great performer mother fittingly by the legendary Bergman, here delivering what is her best performance, against the more naturalistic performance by Ullmann. Such a perfect pairing though, in that when Bergman goes up in a scene, Ullmann essentially goes down, and they down steal the scenes they share them in a way few performers can. This as we are granted such a potent sense of their relationship, their long history in their interactions, this in Ullmann meek delivery of very intense feelings of bitterness towards her seemingly unfeeling mother, against Bergman though being more overt as the deflective mother, fitting to the woman who believes she did nothing wrong. Of course, both have such expressive faces that each speak so many more words.In that sense the one thing, that give Bergman the most minor of edge, is the sheer brilliance of Bergman's reaction to Ullmann playing the piano, which in a silent instance says so much of her character and how she sees her mother. This against Ullmann in then more insistent heartbreaking reaction of the woman who views herself as strictly unable to ever please her mother. It is amazing work. This as when they come to their verbal conflict, each doesn't speak a single point but so many. This in Ullmann attempting to be direct, but as a woman who never has been. This against Bergman portraying a woman trying to be defensive as someone who usually states her distaste quite openly. This though is only on top of the internalization of the conflict that is so powerfully realized in each performance, that grants a sense of each taking in the words of the other, while each finding their own way to in a way avoid wholly seeming to say exactly what they need to in the instance.)
Page - (Also a downright brilliant performance here as Page, very much wields her power as a performer here to incredible effect. This as she on the surface presents the slightly doddering mother, who makes incisive remarks however speaks them so delicately as though it is just a secondary nature of hers. Page though presents someone who has essentially resigned themselves towards this specific position, and to her own mind to this place of comfort for herself at least. Her then breaks away from this, usually in lashing out at others or that of reflecting a deep depression, are earth shattering. This as Page wields that ferocity she has as a performer so carefully, that it is quite amazing, and creates such a powerful force of upheaval within the character. This as the break of the woman's calm, is always a revelatory moment, in portraying a shatter state that in turn knocks all others from their place of comfort. Every one of her scenes is memorable within the narrative through Page's work that uses so effectively not exactly a duplicity, but rather creating sort of the internalized reality of the woman that is particularly painful as it comes out of a state of false modesty. It is amazing work, and one part of the film that is wholly worth of the Bergman comparison.)
Ratings on Jill Clayburgh, Genevieve Bujold, Ingrid Caven and Glenda Jackson.
I watched The Towers for the first time, and obviously I loved it. Incidentally, watching these kinda makes me like Game of Thrones less.
Mortensen-4(He's really the true lead this time and as such it's a rock solid performance to lead this type of film, with the right passion, command and gravitas, as well as effectively showing the softer side of Aragorn.)
Wood-4(He's almost supporting here, although not quite. He's good once again at just being very endearing, but here he's also effective at showing the growing power the ring has on him.)
Astin-4.5(Just completely winning, every step of the way, but the passion he brings to his last few scenes is really the reason for the rating.)
Serkis-5(Just an amazing performance. I don't need to talk about the motion capture, as we all know how good that is, but he just fully delivers on the extreme conflict within Gollum perfectly, being grotesque, pathetic, menacing and at times, heartbreaking. Great work.)
Rhys-Davies-4(Very entertaining as Gimli once again, and this time there's mucho more of him. I particularly like his rivalry with Legolas. Also, extra credit for his voice work as Treebeard.)
Bloom-2.5(I actually don't hate Orlando Bloo, although obviously I would never call him a great actor. I actually think he's fine here, although he could've brought a little more to the character and he's overshadowed by Mortensen and Rhys-Davies to a degree that I think could've been avoided.)
Hill-5(Basically the same thoughts as Louis.)
McKellen-3(He's still absolutely on point as Gandalf he just doesn't have much to do, and most of his best moments actually come more from the direction than his performance.)
Dourif-4(So much better than he was even required to be. He creates a very memorable character that could've easily just been a complete throwaway.)
Lee-3.5(Effortlessly menacing and compelling as usual.)
Boyd-2.5(I still find him more annoying than anything else, but he has some moments here and there.)
Monaghan-2(Just plain annoying.)
Wenham-2.5(He's fine, but I feel like he probably had more to do in the extended cut.)
Liv Tyler, Cate Blanchett and Hugo Weaving are all fine again, as is Karl Urban.
Are there any other performances Ganz might be able to get a review for? Hope so.
Also The Tree of Wooden Clogs looks interesting.
So glad you loved Nyman as well. And it’s a shame Ullmann wasn’t nominated alongside Bergman.
Louis: Could I have your thoughts on these following anime sequences?
91 Days- https://youtu.be/Czj0m3vZhBY (it's a gangster/revenge anime, for context)
Psycho-pass- https://youtu.be/3DSQmBQ9EJk (it's a dystopia anime, will probably be my recommendation this year)
Inuyasha- https://youtu.be/KwCfHVGamn8 (this is a classic anime straight from the 90s, hence the old school animation)
*anime opening sequences
Louis: Where would you rank Maggie Smith in Death On The Nile.
I'm glad Bergman managed to get the Runner-Up spot in Directing and his 3rd Screenplay win. Happy about Watership Down (Rosen) coming 4th in Directing as well and it's Adapted Screenplay win which I believe is a first for an Animated film.
Louis: Your ten best written animated films.
Well Calvin, F&A is Bergman's last chance of a directorial win.
Louis: Your Score top 5. It must've been close between Halloween and Superman.
Louis, If you're doing 83 next, could you make 82 the next year from that decade. I just saw Fanny & Alexander (Rather misleading title aside) and it's an extraordinary piece of work from Bergman and quite honestly, his best. I have to agree with Luke that it should win Best Picture and Best Director.
Thinking of Christopher Plummer, might you review him as Sherlock Holmes in Murder by Decree? Another Holmes performance of some interest is Robert Stephen in The Private Life....
Houndtang: I've got him down for 79 along with Mason.
After 1978, the next few years of Louis’s reanalysis that I’d like to see each decade are: 1929, 1936, 1942, 1946, 1958, 1966, 1972, 1976, 1989, 1998, 2002, 2006, 2009 and 2016.
Luke: happy to see him 2nd.
Louis: thoughts on last BCS episode? Fucking amazing. If the finale goes well I think this might be tied or even surpass season 3. Seehorn, Odenkirk, Dalton all at their A-game.
Louis: Your thoughts on Dawn of the Dead and The Chant of Jimmie Blacksmith?
Also, your top 15 performances in Ingmar Bergman films?
Louis: Could you add Scenes From A Marriage to that list.
Louis: thoughts on The Tree of Wooden Clogs? Can you also post your ratings and thoughts on Adjani in The Driver and Caine in California Suite?
Anonymous:
Guys, if the performance is above the 4.5 marker it's a five, if it is among or below a certain rating it is that rating. So above Chaplin 5, Above Lomez 5.
Clayburgh - (Clayburgh's performance very much makes her film, though I do think it is one of those films that struggles to figure out an ending, although she is amazing in the role. This is as it is really just one of those performances that is so full of life in every regard. This is as you just really feel like you're are meeting her character, getting to know, and finding her at a very intimate level. This as Clayburgh's performance offers a variety in reality in such a believable way. This is as we do have moments of great strife and anxiety, which she realizes powerfully, particularly the scene where her husband makes his announcement. She delivers on the ferocity within the betrayal then the confidence of herself later on as she is more insistent on her own claim over herself. What I love most about her work though are the moments of humor in her work, or just awkwardness of certain situations. Everything feels so honest, while also being so endearing. It's a great performance, and I have to say, while I don't think Fonda is bad in Coming Home, her win is ridiculous over Bergman, Page and Clayburgh.)
Bujold - (This is on one end just a great thriller performance. This as Bujold really pulls you into the mystery with her performance and she is captivating to watch within her character's investigations of the coma. Her work is consistently gripping that regard. Her performance though goes beyond that though in portraying her character as slightly out of place given her sort of insistence to really dominant. I love how convincing Bujold is in this and does not make this quality seem at all forced. This in her moments of sort dispassionate strength are shown so innately and naturally within her work. In turn Bujold does not betray those moments in her portrayal of the emotional desperation of the character as it connects to the thriller elements of the plot. This rather she shows a real connection of the emotional concern for the well being of those seemingly betrayed, giving a striking turn, that quite frankly elevates the entire film to something far greater.)
Jackson - (Her performance is in what is basically just the play as a play, and a little too thin in that regard. Having said that though Jackson does her best to enliven through the sheer virtue of her work. This in her everlasting monologues Jackson is often captivating through her detailed and lurid delivering. This in finding sort of the humanity within the often constrictive approach of the approach to the story, particularly in the off-hand moments with Washbourne which the film should've honestly done more with. Jackson though delivers a terrific performance even if the film could've been far more cinematic.)
Chaplin - (Given it is an Alan Rudolph film things are about to get weird. In this case portraying really deranged ex-con Chaplin is quite remarkable here. This in bringing this sort of underlying intensity that she brings out in moments of extreme emotion. This as she really shows probably her more murderous nature in these moments, that are rather off-putting however she connects within so well the emotional desperation of the woman. The insanity though that she carries here though is quite notably effective in just how well she at being unpredictable. This is as Chaplin is convincing as a longing woman looking for support again, but is just as a convincing as a bully or psychopath terrorizing those around her.)
Caven - (Oddly despite being supporting her performance often seemed to take precedence as the sort of the companion of the journey. Her performance though is intriguing in delivering this off-beat energy, of the person also on the lines kind of as a surrogate experience. It is a good performance that offers sort of an oddball curiosity though with a similar emotional potency of someone also trying to figure things out in a crowded mental space.)
Washbourne - (Although underused as too often spoken of rather than interacted with, her moments of speaking with Jackson are the highlight of the film as they have any sort connection rather than monologue. Her delivering well an unstuffy and unmannred warmth of a loving relative against the more neurotic niece. It's a sweet performance particularly in terms of offering that contrast in personality.)
Tahmeed:
I'm a bit confused as the song seems a bit more outgoing than the more brutal style gangster imagery that I was seeing. Looks intriguing enough in a minor sort of way, though I didn't find the animation that eye catching.
Well I will say the extremer contrast of the colors along with the fluidity of the animation was quite eye catching to be sure, particularly in terms of the movement of every regard, even the smoke of the gun. At the very least memorably animated, though I found the song wasn't entirely suited there.
Well I'll say I found the song quite pleasant. Thoroughly confused by the imagery as usual, though seemed a mix of things I've at least noticed in other animes, from flaming animals, samurais, schoolgirls and of course anthropomorphic animals.
Luke:
Watership Down
The Grave of the Fireflies
Your Name
The Secret of NIMH
The Plague Dogs
The Wind Rises
The Incredibles
Only Yesterday
Nausicaa of the Valley of the Wind
Toy Story 2
Score:
1. Halloween
2. Superman
3. Days of Heaven
4. Watership Down
5. The Boys From Brazil
Indeed it was, between I think Carpenter's best musical work in his more influential than often given credit for minimalistic approach to score, and just an exceptional example of iconic grandiose from Williams.
Razor:
Dawn of the Dead - (I think when Romero gets verbal about his social commentary, he gets really sloppy, loud and obvious. I hate the opening scene of people screaming at each other, the moments of the bikers, or the cutaway from people not getting along on TV. Also the bits of lines about the mall directly are just horrible. Having said that when he leaves it to his survival zombie story, and satire just visually, it's quite great honestly, and a great deal of dark fun. This in creating though a bit more vivid of an experience particularly in terms of realizing the central 4 characters, which might not all be performed particularly brilliantly, but adds a bit more honesty to the work.)
The Chant of Jimmie Blacksmith - (Is quite brutal, but effective portrayal of one person just having had enough of it all. The more gruesome material is actually relatively brief, but effective in portraying bluntly the snap. What's more notable though is just creating this portrait of a society that pushes down one man, based on his heritage, and forces that will over and over again.)
Well get ready for the ladies!
1. Liv Ullmann - Scenes From a Marriage
2. Bibi Andersson - Persona
3. Ingrid Bergman - Autumn Sonata
4. Liv Ullmann - Autumn Sonata
5. Ingrid Thulin - The Silence
6. Liv Ullmann - Persona
7. Ingrid Thulin - Winter Light
8. Liv Ullmann - Shame
9. Gunnar Bjornstrand - The Seventh Seal
10. Liv Ullmann - Face to Face
11. Erland Josephson - Scenes From A Marriage
12. Ingrid Thulin - Wild Strawberries
13. Max von Sydow - Shame
14. Victor Sjostrom - Wild Strawberries
15. Liv Ullmann - Hour of the Wolf
Omar:
The Tree of Wooden Clogs for me, worked best as just sort of a vivid piece in terms of expressing an environment. This being the rural village, in that crafts a real intimacy, and beauty just within the lens. The minor plot detailing within it I probably thought was actually the least interesting aspect of the film, not that it was bad, but works best in a sense of just a window into a life.
Adjani - 3(I think her performance works just fine, though just fine, as sort of the seemingly the innocent bystander with a minor intrigue towards the driver, but then slowly we see a bit more cunning within her performance. Fine work in that regard, and strangely enough probably the most complex, on the page anyways, of the love interests in the "driver' films.)
Caine - 3.5(To me he is very much overshadowed by Smith in their sequence, as the less overtly comical of the two. Although I will give him points for doing a fine job of facilitating her performance. That is he doesn't get in the way from her fantastic work, that is the one great thing about the film. Caine though does some fine secondary stoking though, so kudos still.)
Calvin:
Altogether amazing episode, that is far more than just the "fallout" of last episode and is building towards something great. Fantastic work also by everyone, especially loved the moment between Odenkirk and Banks in the car describing sort of dealing with their situations. I'd say this probably Banks's best season since season 1 of Saul.
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