Wednesday 8 July 2020

Alternate Best Actor 1966: Paul Newman in Harper

Paul Newman did not receive an Oscar nomination for portraying Lew Harper in Harper.

Harper is a decent enough if largely forgettable detective mystery.

Paul Newman plays the role of the largely detached detective, honestly most detective stories are helped by a larger degree of personal connection. This is not that case as it is largely a procedural of uncovering one part of a conspiracy after another. Newman plays our hero of Lew Harper, who we see as a slightly hapless sort essentially from an opening scene where he reuses old coffee ground in his disheveled office. Newman really making the most out of that scene just in his less than enthused reaction to the coffee he's made somewhat questionably. After this point is essentially Newman doing his best approach to the detective, who is largely driven to solve the mystery though does do it in a fairly unique way. Newman brings of course a certain definite charm here as is usually the case for him, though he doesn't overly emphasize it here actually. He actually plays Harper with a generally sort of wry and often sardonic manner. This with certain shrugs at certain news and eye glances of disbelief when hearing about the various ins and outs of all those he encounters. Newman portraying all of these interactions as though he really doesn't take any of them that seriously in the sense that as the detective he must second guess every one. Newman creating sort of the false sense of incompetence as though Harper doesn't care at all, though in his eyes there he emphasizes the method within that he does make his moves. Newman playing well though into sort of the joking way that successfully suggests Harper's way of both disarming each person while also prying in his own way.

The procedure in this mystery doesn't have too much of real personal stakes, there is a slight friendship angle with one of the suspects but even that doesn't amount to much. Outside of the main story though we do get moments of Harper dealing with the fact that his wife (Janet Leigh) is divorcing him. These are small moments however effectively played as the bit of entirely earnest work in Newman's portrayal when other ask abut it. His quiet frustrations are well played as one thing Harper isn't going to joke about to others about. Although this is in contrast to his scene of trying to win his wife back by calling her with a obviously fake crank call. Newman's delightful in this scene in bringing the right flirtations playfulness in the moment and all the moments of speaking to Leigh. Newman shows in these moments both how he probably won her over but also how he lost her as he still doesn't quite take it seriously enough. These are good moments but only really brief moments outside of the main narrative. The main narrative that takes Newman through the various expected detective tropes, false leads, incompetent law enforcers, double crosses, and of course suspects denying their true motivations. Newman maneuvers these scenes effectively with the sardonic charm here. It doesn't add up to too much mainly as Harper has limited connection really to the case. Even in his one major personal moment at the end of the film, Newman's delivering still is a sardonic brush off, it works in his character, but just shows the limitation here. The case really though is simply never *that* compelling. Newman though makes it more compelling than it would be otherwise through his reliable performance. Newman though does best when he has more material to really sink his teeth in. When he's coasting he can be good, which he is here, but just good. This stands as a more than decent straight forward detective performance, and stands as a more than decent Newman turn, though it isn't too remarkable in either category.

59 comments:

Luke Higham said...

If there had to be an extra, Rock Hudson would've been more interesting.

Anonymous said...

Okay, I regret not choosing Hudson though at least you gave Newman a good score.

Aidan Pittman said...

Seems like a pretty typical Newman, which is still a good thing overall.

And just on a completely unrelated note, one of the documentaries I saw at True/False Film Festival this year, Mucho Mucho Amor, is now streaming on Netflix in the US. It's a sweet documentary that makes for a heartwarming watch, even if it's nothing too outstanding. I'd recommend it.

Michael McCarthy said...

Just gonna float this out here, should we maybe try to avoid requesting performance from whichever year we know is going to be next? It just feels like it often leads to unnecessarily crowded lineups.

Louis Morgan said...

Michael:

I concur, going forward no official requests for the next scheduled year, as I also found myself trying to rush to get the lineup together to try to prevent any other sudden requests/switches that happened here and last year.

Luke Higham said...

Louis: I'll happily take that.

Lucas Saavedra said...

Louis: ratings and thoughts on the rest of the cast.

Anonymous said...

Louis: your top 15 rhea seehorn acting moments

Louis Morgan said...

Lucas:

Leigh - 3(She has an underwritten role but she at least strikes up the decent complicated chemistry with Newman needed for the part. Really they're good together to the point it's a shame she's really superfluous within the part.)

Bacall - 3(More than decent in basically delivering exposition with a shade of antagonism. She's good at being cutting in just her voice as usual, but again very limited part.)

Harris - 3(She's okay though there is something severely missing within her work. This being both seemingly harmless while simultaneously diabolical. Again expansion sadly needed.)

Hill - 3(His performance is alright as this seemingly harmless goofball, with a bit of comedy and a bit of questionable glance. Alright but repeating the theme underdeveloped.)

Tiffin - 2.5(Standard sexy and vapid daughter routine. )

Wagner - 2.5(Young Wagner is often terrible so it's nice he's okayish here, but there could've been more in his gee whiz kid who might be hiding a few things.)

Martin - 3(Find bit of creepy one note zealotry from him.)

Winters - 3.5(Although really just has to be a sous for a few scenes leave it to Winters to make the most of that. She's wonderful in being a completely flirtatious and all over the place drunkard. She's fun in her bit of screentime, and wish everyone could've brought more the way she did.)

Anonymous:

1. Parking lot fight with Jimmy
2. Alibi with Lalo
3. "We have to get married"
4. Depending Jimmy on Chuck's charges
5. Arguing with co-counsel
6. Meeting Lalo
7. Railing against Chuck's letter
8. Defending her stance against her boss
9. Hearing Better Call Saul for the first time
10. Feeling sorry for Chuck
11. Scheming with Jimmy against Howard
12. Pondering on To Kill a Mockingbird
13. Plot to the Verdict
14. Wexler vs Goodman
15. Imitations

Matt Mustin said...

Hamilton is amazing. I've heard the soundtrack many times before, of course, but seeing it adds a whole new dimension to it. Don't know how the rest of the year's gonna turn, but it's pretty damn easily my pick for Best Editing, especially considering what actually went into it.

Miranda-3.5
Odom-5
Soo-4 (She was a 3.5 for the majority of it, but that was one amazing final reaction. Incidentally,the Tonys put her in the wrong category, I think.)
Diggs-5 MVP, everything single thing he did was amazing.)
Goldsberry-5
Groff-5
Jackson-4
Ramos-4
Jones-3
Onaodowan-3.5

Robert MacFarlane said...

Has anyone heard “First Burn”, which is based on Miranda’s first draft of “Burn”? Obviously this arrangement is meant to accommodate five singers and has a more pop music tone, but the lyrics arguably have more bite to them: https://youtu.be/r2ys-AimNbE my personal favorite of the different lyrics;

Heaven forbid someone whisper
“He’s part of some scheme”
Your enemies whisper, so you have to scream

Calvin Law said...

My Hamilton ratings for the timbering would be:

Miranda: 3.5
Odom Jr.: 4.5 (MVP)
Soo: 4.5
Diggs: 4.5
Goldsberry: 4.5
Groff: 4.5
Jackson: 4
Ramos: 3.5
Jones: 3
Onaodowan: 3

Definitely could have some upgrades though.

Aidan Pittman said...

Watched The Good, the Bad, and the Ugly for the first time. Undeniably as good as everyone says it is. And of course Ennio Morricone's score is one the very best ever composed. Loved the whole thing.

Eastwood - 5
Wallach - 5
Cleef - 5

Also worth noting how even the smallest of characters stood out in some way, especially Tuco's brother and the drunken general.

Matt Mustin said...

By the way, I'd just like to say that the main reason Odom is a 5 for me and not a 4.5 is everything he does from "The Election of 1800" until the end.

Tahmeed Chowdhury said...

Matt: I'm tempted to upgrade him for his performance in "The World Was Wide Enough" alone.

Also, what was everyone's favorite non-music related moments? I absolutely adored Diggs's and Groff's reactions in "The Reynolds Pamphlet", as well as Eliza's final gasp.

Matt Mustin said...

And since everyone else did their top 10 Hamilton songs, I guess I will too.
1. Satisfied (Honestly one of my favourite musical theatre songs ever.)
2. You'll Be Back
3. Who Lives, Who Dies, Who Tells Your Story
4. It's Quiet Uptown
5. What'd I Miss
6. Wait For It
7. Guns and Ships
8. My Shot
9. Alexander Hamilton
10. The Room Where It Happens

Matt Mustin said...

Tahmeed: My two favourite non-music moments were the final gasp and Odom's reaction when he finds out the results of the election.

Anonymous said...

Louis: Thoughts on the cinematography of The Prince of Tides and Batman Forever?

Luke Higham said...

Louis: Your thoughts on Georges Delerue.

Anonymous said...

Luke, can I have your updated 2002 Lead lineup.

Luke Higham said...

Anonymous: Sure but this is now finalized as 2002 will come after 66.

Leslie Cheung - Inner Senses
Chiwetel Ejiofor - Dirty Pretty Things
Sol Kyung-Gu - Oasis
Olivier Gourmet - The Son
Hugh Grant - About A Boy
David Gulpilil - The Tracker
Bill Paxton/Matthew McConaughey - Frailty (I'm completely fine with McConaughey taking the 10th spot now)
Hiroyuki Sanada - The Twilight Samurai
Campbell Scott - Roger Dodger

Anonymous said...

Luke, will Louis be doing another year from the 90s after 195# or will it be one from the 30s?

Anonymous said...

Luke, I fully agree on a 10 lineup. Mustn't forget that Scott won the NBR award and Gourmet won at Cannes.

Luke Higham said...

Anonymous: It's up to him. I know 1994's next in line from that decade but it would probably be best if the 90s start off the remaining cycles from now on then the 70s as usual.

Anonymous said...

Luke, I would agree. This is currently the fifth go-around and it would be best to finish all the remaining years in it (‘02, 50s, 30s, 40s) before starting Round 6, so to speak.

Luke Higham said...

Anonymous: Also, I think most are just dying to get to the halfway point of this venture because I think we'll get 94 and 79 back to back and they're 10 lineups without a doubt.

Anonymous said...

Louis, would I be allowed to request Rock Hudson in Seconds for the next backlog.

Bryan L. said...

Louis: Your Top Fifteen Sam Mendes directing moments?

Also, do you intend on watching Jarhead and/or Away We Go in the future (to be a Mendes completist)? I’m actually a bit surprised you haven’t seen the former, considering it’s high-profile cast, though I’ll admit it’s not as good as his epics.

Louis Morgan said...

Anonymous:

The Prince of Tides is the meeting of two minds who just adore overdone soft lighting in Streisand and Stephen Goldblatt. That is what you get here in The Prince of Tides and a whole lot of it. This attempting to make the film look so nice that it looks a little ridiculous with just how this approach is used no matter the tone of the film. This hammering a real sense of schmaltz as the lighting itself seems to want to evoke some emotion in the most obvious manipulative way possible. I focus on that as the composition and framing of shots is generally competent though not distinctive in any ways.

Not Stephen Goldblatt's nomination for Batman Forever, one of the worst tech nominations ever? Perhaps. This as Schumacher (RIP, but he wasn't a good director) loves kitsch, but sadly he really didn't how to do it in anyway. That is what we get here where there is nothing subtle about how any shot or the lighting. The lighting choosing the thickest neon one can find, and also sadly at their ugliest. Schumacher's choices of angles of course is ridiculous with no method within the madness sadly, and again are more just annoying than effectively disorienting or something else...When not over the top it is often just under-lit, with poorly done attempts at noir styling. The composition is always kind of off, even what would seem simple enough in having two-face in the middle of his two sided layer is very clumsy as the background being blurry against in focus Jones diminishes even that intention. For a big studio budget film, it's stylized work, but it's bad work.

Luke:

Fine...well Delerue I'd say was often a fairly minimalistic composer with how so much of his work was used in films at least, and there I think his work is typically low key and atmospheric. When a filmmaker pushed him to be more overt though his work I think is a more acquired taste, a taste I didn't always shore, as for example his work in Contempt I found absolutely overbearing, however I blame that more on Goodard. His style though was typically attuned towards filmmaker in a sense that he often adapted his style heavily per film, like Anne of a Thousand days where he very much sought to replicate the sound of the period, or Confidentially yours where he basically did a Bernard Hermann score for Traffaut. He's definitely one where one can note his adaptability was quite evident, and honestly that's where I preferred his work against what was his more pervasive style.

Anonymous:

No, if he's a five I will review him, as I did for Brandauer for Hanussen.

Bryan:

Jarhead is just one that sort of slipped my view for whatever reason, should get around to it.

Mendes:

1. "I'm glad it's you" - Road to Perdition
2. Sixteen Hundred Men - 1917
3. The Wayfaring Stranger - 1917
4. Helicopter Attack - Skyfall
5. Crossing No Man's Land - 1917
6. Silhouette fight - Skyfall
7. Beach House - Road to Perdition
8. Night Window - 1917
9. Silva's introduction - Skyfall
10. Englander - 1917
11. Shoot out with Maguire - Road to Perdition
12. Tube chase - Skyfall
13. Opening - Road to Perdition
14. Plan Crash - 1917
15. Witnessing a hit - Road to Perdition

Luke Higham said...

Louis: What are your 3 favourite Delerue scores. A Man For All Seasons is easily my favourite of his.

Luke Higham said...

Louis: I'm glad to hear that about Hudson. I trust you to make the right call regardless what will happen in the end.

Luke Higham said...

And it also gives me hope for Considine and Murray.

Luke Higham said...

Bryan: Your ratings for the cast of Jarhead.

Bryan L. said...

Luke:

Gyllenhaal: 4
Foxx: 3
Sarsgaard: 3.5
Haysbert: 3

Everyone else I remember being good or ok.

Luke Higham said...

By the way Louis, I definitely think you've made the right call in going with a 5 because it appears that Van Cleef's more important scenes in The Big Gundown were dubbed and I understand not going with Ventura when he was reviewed for Melville's more well-known Army Of Shadows.

Luke Higham said...

Calvin: Your ratings for the cast of Where The Wild Things Are.

Michael McCarthy said...

Louis: Since you’ve clearly taken a liking to Daveed Diggs, could he ever be upgraded for Blindspotting? Or for that matter do you see anything about that movie improving for you on rewatch?

I’ve decided it’s my Best Picture winner for 2018, I’ve seen it four times now I think and it’s stayed every bit as compelling each time.

Anonymous said...

Louis, your thoughts on HBO remaking Scenes From A Marriage with Oscar Isaac and Michelle Williams.

Louis Morgan said...

Luke:

1. A Man For All Seasons
2. The Conformist
3. Confidentially Yours

Michael:

Unlikely on both accounts, though I liked the film and was quite impressed by Diggs's performance.

Anonymous:

I mean didn't Noah Baumbach just essentially do that? I mean there's much to be mined there in the scenario in a generalized interpretational sense, so it's a little odd to want to just remake, I mean just make your own miniseries about the dissolution of marriage. Anyways, I think that's what it probably will be, so I guess they want the "brand" name I guess. Good cast though, hopefully a decent part for Isaac again at the very least.

Calvin Law said...

Luke:

Records: 3.5
Keener: 3
Gandolfini: 4.5
Ambrose: 4
Cooper: 3.5
Whitaker: 3
O’Hara: 3
Dano: 3.5

Michael McCarthy said...

That’s too bad. One more question about Blindspotting, do you have a rating and thoughts for Utkarsh Ambudkar’s one scene performance? I know it’s just him telling a story, but I really think his off-beat delivery while accounting the incident is largely what makes the sequence a major highlight of the film.

Calvin Law said...

First time I watched Blindspotting I'll admit I found him to be a bit of a weak link. On rewatch though, definitely stuck with me a bit more, might have helped that I'd subsequently seen more videos and performances of his and grown to like his distinctive style. Plus it's kind of cool he originated the role of Burr, though I can't imagine him topping Odom that must have been an interesting performance to watch.

Robert MacFarlane said...

Calvin: Isn’t Gandolfini just something special in WTWTA? It’s rare you hear a vocal performance allowed that much breathing room for emotional nuance and complexity. I don’t entirely love the movie, but I think he’s a 5 for me.

Luke Higham said...

Well, Gandolfini's definitely in my Supporting five for 2009 and I can't see why Philip Seymour Hoffman couldn't be reviewed for Mary And Max in the Lead lineup.

Calvin Law said...

Robert: it’s one of the most genius casting choices ever as well. I kind of love the film myself but certainly agree with you so much otherwise.

Luke: I concur for both.

Anonymous said...

Luke, your updated 2009 Lead lineup.

Luke Higham said...

Anonymous:

Darin
Rahim
Giamatti
Holbrook
Taylor-Johnson
Ben Whishaw (Bright Star)
Song Kang-Ho (Thirst)
Ben Foster (The Messenger, I think he's going up to a 5 for it)
Michael Sheen (The Damned United, I greatly appreciate his work here, would love an evaluation and I'm expecting an upgrade too)
Philip Seymour Hoffman (Mary & Max, I initially had Dafoe in this spot for Antichrist but no matter Louis' feelings on the film, I expect Gainsbourg to be the stronger of the two)

Bryan L. said...

Louis: Oh for sure, in regards to Jarhead.

Speaking of Mendes, your 2000s cast for The Bridge on The River Kwai with him as director? To start, maybe Ralph Fiennes for Nicholson and Sam Rockwell for Shears?

Luke Higham said...

Calvin: I saw your recent Instagram post and I'd love to see Ejiofor's Othello one of these days.

Calvin Law said...

Luke: I honestly couldn’t think of a better choice. I’d also love to see him take on Brutus. Damian Lewis could play Mark Antony, of course.

Luke Higham said...

Calvin: Your top 5 director predictions.
Mine are:
Sergio Leone - The Good, The Bad And The Ugly
Andrei Tarkovsky - Andrei Rublev
Kihachi Okamoto - The Sword Of Doom
Fred Zinnemann - A Man For All Seasons
John Frankenheimer - Seconds

I've got Ingmar Bergman in 6th for Persona.

Calvin Law said...

Louis: thoughts on this scene from Y Tu Mama Tambien? https://www.youtube.com/watch?v=s5qJTstUOwg

Calvin Law said...

Luke: Same as you, although I reckon Bergman could crack the top 5 still.

Luke Higham said...

Calvin: Your category placements for Richardson, Robards and Stockwell in Long Day's Journey Into Night.

Matthew Montada said...

Louis: your top 10 favorite comedy films of all time?

Mitchell Murray said...

So I just watched "The Sweet Hereafter" for the first time, and wow...what a great film. How I went so long without seeing it is truly baffling, because I honestly admired everything about the movie: Direction, atmosphere, writing, performances - they all fell into place, and made for one of the most somber, absorbing film viewings I've had in recent memory.

Holm - 5 (You will be missed, Sir Ian)
Polley - 4
Greenwood - 4
Rose - 4
McCamus - 3.5
Khanjian - 3.5
Watson - 3.5
Morgenstern - 3.5
Banks - 3

Anonymous said...

Louis have you listened to any of the Hamilton mixtape, if so thoughts?

Louis Morgan said...

Michael:

Although my favorite rambling story is Ray's in Good Time, this is a good one, and far superior to the similarly styled Ant-Man rendition for sure. Anyway his performance works as a wholly comical retelling, in what for Diggs's character isn't at all comical, and he just borders on fully ridiculous in his oversell of every moment, however it works as an over told story.

Calvin:

I mean such a scene is pretty much how you take a talented director against a non-talented director or a workman. This as so much would technically make it so simple, yet Cuaron's camerawork, that sort of pulls the work within sort of the emotional thrust of the moment that makes it far more than a simple dance so to speak.

Bryan:

I'll concur on your choices then.

Warden: Mark Strong
Saito: Ken Takakura
Clipton: Linus Roache
Joyce: Dan Stevens

Matthew:

Okay, so based on nearly no direct drama (so no In Bruges, which is both hilarious and heartbreaking) and no "heavy" romantic element (romcoms, sorry Chaplin).

1. Dr. Strangelove
2. A Christmas Story
3. Hot Fuzz
4. Clue
5. A Fish Called Wanda
6. Shaun of the Dead
7. The Death of Stalin
8. Ghostbusters
9. Galaxy Quest
10. Spinal Tap

Louis Morgan said...

Anonymous:

In a word "overproduced".