Best Scene: Acts of violence.
4. Richard Harris in The Molly Maguires - Harris gives a strong understated leading turn, portraying both the technique and guilt as an undercover policeman in a outlaw group of miners.
Best Scene: Jail cell.
3. Peter Sellers in Hoffman - Sellers gives one of his most raw, and also effective portrayals of a man trying to hide from his desperation.
Best Scene: False confrontation.
2. Jason Robards in The Ballad of Cable Hogue - Robards gives a wonderful funny and just lively turn as a idiosyncratic western sort.
Best Scene: Cable's goodbye.
1. Nicol Williamson in The Reckoning - Good predictions Mitchell, Razor and Bryan. Williamson takes this fairly easily for me in giving such a powerful and captivating portrayal of a man defined by his heritage both in his vulnerabilities and his cruelties.
Best Scene: Getting revenge.
Next: 1970 Supporting
34 comments:
Glad to see Scott keep the win.
Louis: Your thoughts on "Let it Be"? Sometimes I forget that it was an original track.
Louis: Ratings and thoughts on the rest of the lead performances.
Your Female Lead and Supporting top 15s with ratings and other 4+ mentions.
And 1970 wins.
For Supporting:
Cribbins
Warner
Plummer
Heston
Kinski
Another winning request for me! Nice.
There's a couple performances I've been mulling over, so I'll submit my choice in time.
On a different note, I'm 3 episodes into "My Hero Academia" and already liking it.
Winning Request:
Emilio Echevarria - Amores Perros (2000......his category placement is up for debate.)
Bryan: I think he's Lead.
Luke: That's what I'm leaning towards, since he's the sole lead of his own segment, and shows up a little bit in the first two. There's a reason it was compared to Pulp Fiction when it came out.
Hey Louis!
Tell me from the year 1970 which are your TOP7 best:
- Score
- Poster
- Editing
- Screenplays (adapted and original)
- Cast
- Character of the year
Louis: Again, you've made the right call doing a 5 lineup, I can't wait for your thoughts on Steiger.
Your thoughts on Waterloo, Le Cercle Rouge, The Confession, Bed and Board and The Wild Child.
And this is the first time I predicted your director top 5 correctly.
Louis, I guess that Abdicate/I will not scene killed Steiger's portrayal stone dead.
Tahmeed:
Side note, by virtue of the song score win, The Beatles actually have one of the best Score wins technically as well. Love this song, and for me is a worthy follow up of "Hey Jude" as basically one of The Beatles's epic style ballads. This with the rich and indeed almost gospel like nature of the lyrics that are beautiful, particularly in McCartney evoking his mother's memory within it. Equally rich is the instrumental greatness of the piece of the build from the moving piano, that slowly broadened so effectively and eloquently by the rest of the band. This in creating such powerful segue and energy as each piece comes in from the light drums with the piano, and the likes of the Hammond organ, without seeming overproduced, until reaches that luscious solo. Love it, obviously.
Luke:
Bondarchuk & Smotunovsky - 4.5(Side note the most cinematic and best Uncle Vanya that I have seen of the three. This also featuring performances up there with Olivier and Redgrave. Bondarchuk bringing the right degree of really the needed suave quality though with a certain innate sadness within his performance. He finds a remarkable balance within it to create him as that ideal kind of man, and everything that Vanya is not in some ways, despite having a similar degree of sadness. Smotunovsky is a terrific Uncle Vanya though in creating all the more detail, aided by the direction, in creating the man's state often within the silences of his performance. This though certainly also finding the power of his essential moments of a man being basically suffocated by his constricted state.)
Montand - 4.5(Strong work in portraying just the slowly decaying state of the man both physically and mentally. This in crafting just well the sense of confusion and at times exasperation over each method of his interrogator. Montand finding the right state of a consistent degree of horror that the man cannot escape from. This though in portraying well a certain resolve within it that slowly is beaten down from it. This against his final moments though where he is effective in presenting the distaste in the man who has recovered from his experience but certainly has not forgotten it.)
Courtenay - 4.5(I knew this likely wasn't going to be five, and what really guaranteed why I wouldn't do a 10 spot as I've read the novel, so I knew what to expect. Having said that Courtenay does everything he can though within the confines of basically a reactionary performance of a man living a day of a harsh life. This in creating just the right exhaustive state and the slowly defeated nature of the man.)
Marvin - 4.5(One of his best performances actually. It is pure Marvin, but the most really articular Marvin we get in a lot of qualities. This in that we get a lot of moments of tenderness, more than usual, that he runs away with. This finding a real powerful poignancy in still doing it in that casual Marvin way, but wholly excelling with it. This is against just a more traditionally fun performance from him, with his usual very particular sort of swagger and manner.)
Delon - 4(For me this performance was a good, though lesser riff on what he did in his more notable previous collaboration with Melville. It is a good performance to be sure, as he can do a whole lot with silence which he does once again. When compared to that previous performance though there is just whole lot less in comparison. Good on his own to be sure still, but just doesn't make the same impact here.)
Mastroiannis - 4(Referring to both of his performances, which are very similar turns, for Sunflower half of it is almost the same turn. This in him doing more of his kind of wacky manic turn. He does this well with his grand romantic overtures to be sure. Sunflower though does transition though to something more somber, where however I feel he gets a bit overshadowed by Loren. It is a good performance on its own, and he does make enough of the transition convincing, if less impactful overall.)
Harris - 4(Rock solid leading turn from him once again. This in this being the far less technically impressive, but far more compelling Dances with Wolves basically. Harris though is a far more compelling lead than Costner at perhaps his most boring. Harris brings his typical charisma, but also his emotional range in hitting the ups and downs of the man basically going from slave to chief of a tribe. He never really skips a step so to speak, giving a consistently compelling depiction of the film.)
Leaud - 4(A fine reprise once again, almost just a continuation of his take in Stolen Kisses essentially.)
Chatterjee - 4(Both Ray from this year are the least impressive I've seen from him, though still good. Chatterjee though is effective here in a perhaps limited role of a young man just pent up in his anger and frustrations. This staying that way for almost the entire film. He realizes this state with enough nuance to be sure, and hits his final unleashing note well. It just doesn't leave that much of an impact overall.)
Rey - 4(He's good to be sure in portraying the strange state of the man both seemingly loving but also with this degree of suspicion. Rey manages to tip toe around in the part effectively without coming off as overly vague either.)
Stephens - 3.5(I have to say I'm not sure what was really the point of this Sherlock Holmes films, which given the name and Billy Wilder it was decidedly uninteresting overall. Stephens does a fine, if not overly sensational rendition of Holmes. Basically a riff on the Rathbone standard setter, without doing so with a great degree of ingenuity but certainly the right degree of competence.)
Bianco - 3.5(Having watched both versions of this story, I have to say I'm not sure why these cruel psychopaths needed two films about them honestly as both resulted in unpleasant and repetitive experiences. Bianco though is more than fine in creating sort of not overly slick but properly slimy con man. The focus isn't really on him much of the time, but he does offer the right presence in his own scenes.)
Truffaut - 3.5(Traffaut always acts with a degree of calm and with an intelligent understanding of his limitations. That is the case here again where his rather calm demeanor is ideal for his doctor if somewhat limited on purpose. He suits the needs of his film effectively, and with just the right kind of consistency.)
Moulder-Brown - 3.5(We've all seen this performance before as the not wholly interesting coming of age lead, he acquits himself within the part well enough. It isn't overly distinctive but suits the needs of the film.)
Cargol - 3.5(He's convincing enough, though the character is purposefully limited. He successfully carries the idea and the transformation properly.)
Gazzara, Falk, Cassavetes - 2.5(I mean how much can you stand obnoxious drunk guys for? Over 2 hours, not so much. That is all Husbands is as a film. All three are fine in the depiction of this behavior but it didn't make the film any less obnoxious to deal with.)
Brialy - 2.5(Not a film that really focuses on performance exactly. He's fine within the scheme of the film however.)
Hudson - 2.5(Weak central role, and doesn't have great chemistry with Andrews.)
Bridges - 2.5(Doesn't make for a particularly endearing lead here, in what is a particularly unlikable character. He's not terrible or anything but needed to be a lot more charming here.)
Langella - 2.5(Often a bit overcooked and a bit theatrical here. He's better than his "rival" within the film but only by a little.)
Steiger - 2(Poster boy for the terrible style of Steiger performances, thank goodness he turned down Patton if this is what he was going to offer in 1970. This is pretty much every bad trait of Steiger as a performer upped to 11 without just how overblown and hammy. It doesn't help that the film opens with Napoleon on his wits ends, but in turn we get Steiger just being absolutely ridiculous in this depiction. He comes off as laughable rather than deeply emotional. I'll say this is sadly as he really brings down the whole film with his performance, as Plummer steals it whole sale far more than he should. Steiger should be the emotional core, but he's not. He's not lower because I do think he has some moments, brief as they may be, later on, but this is a case of just completely starting out on the wrong foot. Again its a shame, as the film probably would be pretty good if Steiger had been great.)
Benjamin - 1.5(I get he's supposed to be annoying, but this is going overboard. Worse is he's just as annoying in the scene where he's supposed to be honest and vulnerable. Just a complete cartoon that really hurts the entire film because of it.)
Actress:
1. Sophia Loren - Sunflower - 4.5
2. Sarah Miles - Ryan's Daughter
3. Shirley Stoler - The Honeymoon Killers - 4.5
4. Carrie Snodgress - Diary of a Mad Housewife - 4.5
5. Claude Jane - Bed and Board - 4
6. Sinead Cusack - Hoffman - 4
7. Jaroslava Schallerova - Valerie and Her Week of Wonders - 4
8. Catherine Deneuve - Tristana - 4
9. Monica Vitti - The Pizza Triangle - 4
10. Genevieve Page - The Private Life of Sherlock Holmes - 3
Supporting Actress:
1. Karen Black - Five Easy Pieces
2. Irina Kupchenko - Uncle Vanya - 4.5
3. Dominique Sanda - First Love - 4.5
4. Lee Grant - Landlord - 4
5. Simone Signoret - The Confession - 4
6. Stella Stevens - The Ballad of Cable Hogue
7. Faye Dunaway - Little Big Man
8. Rachel Roberts - Reckoning
9. Anita Pallenberg - Performance - 4
10. Helena Kallianiotes - Five Easy Pieces - 3.5
Waterloo - (Technically marvelous, Bondarchuk knows his way around an epic. The emotional core though that should bring you along is lost due to Steiger's overblown performance leaving the film a little too hollow at times. There are definitely quite a few merits, and it is worth watching overall, but here's a film that really gets hurt due to a single performance. You should feel Napoleon in his last gamble but instead Steiger alienates you.)
Le Cercle Rouge - (I have to note, this was not a year of hidden gems for me, rather many with disappointing in that I was hoping for a great film, sadly there were only just some good ones. In some ways this film is kind of the lesser sequel to Le Samourai, this as Melville seems to be testing himself with minimalist storytelling but he's just not as effective by living the script a little too spare. Having said that it overall it still compelling through the technical execution and his direction that creates a captivating intimacy in following this "job" play out in such detail. I just wish I cared about the men a little more. In some ways this is Melville's Tenet, but you can easily follow it, and is more compelling overall.)
The Confession - (WAY too drawn out overall, still once it gets going it effective in its quiet execution of showing the way a political trial is created and unfolds with such intimate detail. It overall gets perhaps too detailed in a certain sense, really I think it takes too long to get going but still overall effective.)
Bed and Board - (Falls apart a bit in its final act, but still enjoyable romp again with Antoine Doinel, which I find hilarious how comic these films are compared to 400 Blows. It's a fun sexual romp though both in the comic central relationship but also in showing just the various goings ons around their apartment.)
The Wild Child - (A masterpiece compared to Nell. On its own though it is just an interesting film focused more on the sort of process of dealing with a wild child rather than cloying melodrama, which appreciate. Not amazing, but makes that process properly engaging throughout.)
Louis: Thoughts on the Actress performances (Leading and Supporting). This is actually the first year from the bonus rounds where neither category got a 5.
Could I also have updated thoughts on Miles, since she was a 4 the last time.
Thoughts ratings on Glenda in Women in Love?
Oops nvm Women in Love was 1969.
Anonymous: Women In Love is 69.
Brazinterma:
Score:
1. Patton
2. Investigation of a Citizen Above Suspicion
3. The Molly Maguires
4. Sunflower
5. Valerie and Her Week of Wonders
6. Scrooge
7. Love Story
Poster:
1. Catch-22
2. Performance
3. Ryan's Daughter (Umbrella)
4. The Confession
5. The Landlord
6. Mash
7. Bed and Board
Editing:
1. Patton
2. Woodstock
3. Le Cercle Rouge
4. Ryan's Daughter
5. Little Big Man
6. Waterloo
7. Bed and Board
Original Screenplay:
1. Ryan's Daughter
2. The Ballad of Cable Hogue
3. Five Easy Pieces
4. Sunflower
5. Cromwell
6. El Topo
7. Pratidwandi
Adapted Screenplay:
1. Patton (How it won Original, when based on two books is beyond me.)
2. The Confession
3. Little Big Man
4. Bed and Board
5. Scrooge
6. Valerie and Her Week of Wonders
7. Dodes’ka-den
Ensemble:
1. The Ballad of Cable Hogue
2. Five Easy Pieces
3. Ryan's Daughter
4. Uncle Vanya
5. Little Big Man
6. Le Cercle Rouge
7. The Reckoning
Character of the year:
1. George Patton
2. Hawkeye Pierce
3/4. Jenny & Oliver
5. Ebenezer Scrooge
6. Robert Dupea
7. "Hot Lips" Houhlihan
Louis: Thoughts on Dodes’ka-den.
For supporting all I hope is Chief Dan George might go up to a 4.
Luke:
Loren - (Just a very heartfelt performance from here. As usual her chemistry with Mastroianni is strong as to be expected. She plays into that well as per usual, and this is kind of bit of different examples of their chemistry together. This as we get there more wacky qualities as the two of them plan to get his character to avoid war. This creating the right endearing quality in these moments. Loren particularly powerfully segues this though within creating the distress as she awaits his possible death, and initially portraying that grief directly. What is most remarkable and moving of her work is within the later scenes of the film in creating the right powerful combination between the sense of love, grief and even bitterness related to the relationship. She never loses an element in the work by presenting how potent the betrayal feels due that love. Wonderful work.)
Stoler - (Again after watching this film and its Spanish pseudo-remake I had little patience overall. Stoler though does give a striking portrayal. This in presenting the woman defined by her insecurities and jealousy. This in presenting with a terrifying kind of ferocity within the most over moments. Although also terrific in presenting just the insidious qualities of her character as she watches on and moves towards murderous intent. This she balances effectively though with her moments of portraying such a blunt kind of need for affection with her attempted "romantic" moments, that are just as rotten as the rest in nature, though in a different way.)
Snodgress - (Basically the messy version that was better refined, if still imperfect, in an Unmarried Woman. Snodgress though does her best to hold it together against her overacting co-stars and generally odd tone of the film. This in creating a convincing emotional center to the piece. This in presenting a moving quality even as the film loses itself to its own strangeness. She gives an honest portrayal of really this quality of just being beaten down by the societies indifference towards her particular problems. Effective work even in a film I found quite ineffective overall.)
Jane - (Wholly charming work that plays particularly well again Leaud. She finds just a wonderful chemistry in showing the endearing nature towards her reactions towards his childishness initially. She effectively in turn though switches to being rather moving in showing her distress in his betrayal of her. This which she finds the right believable qualities in her considerations as she is able to show both the sense of betrayal and love that still exists.)
Schallerova - (A truly bizarre film, though I kind of liked it for that. Her performance included that is quite all over the place, but in a way that works. This as she's a victim, an innocent, as seductress, a devil, an angel, all in this bizarre mix of things. She hits each of these notes even if they last only for a moment, with quite the effectiveness, as weird as it all is.)
Deneuve - (Only saw her dubbed, however even in that still found her performance effective in creating the sense of her character's struggle in her interactions with her older husband and young potential lover. Deneuver creating the right complexity just in these reactions by creating a sense of the struggle, and never makes it a simple idea in these moments.)
Vitti - (A fun playful performance that works well against Mastroianni's madness. Equally mad herself at times, and effectively so in just changing on a dime in moments. She manages though to importantly somewhat endearing if still vexing in many ways.)
Page - (Filler nomination by me)
Kupchenko - (Although far too strikingly beautiful for the role, she still is terrific in the part. This as even as she doesn't convince me physically of that vulnerability that defines her character, her emotional qualities she presents do that. This in offering such a heartbreak sense of dismay, that is particularly powerful in the way she establishes with a sense of acceptance over the entire situation, that makes her reactions particularly heartbreaking as she is only continued to be forgotten and denied. I love how she's still quietly warm in the essential moments showing as much as there is pain she is never destroyed by it.)
Sanda - (Properly all over the place, and makes sense of these different places. This as she is this right combination of petulance, with youthful lust, and just sort of greed of affection. This in showing how she pulls in our central young man, but also how she finds her ways of driving him mad in equal measure. This though with marvelous little moments of reflection where she finds the right nuance that grants a degree of understanding within her actions.)
Grant - (She's actually a bit of fun in what otherwise is not a particularly good film. She manages to bring just the right combination of absurdity within the satire, to give a funny turn that doesn't become too much either. She creates the right balance and is the highlight of the film that is fairly sloppy otherwise.)
Signoret - (One could argue underused, however still powerful in creating the wholly internalized heartbreak of someone completely outraged by her situation, while also artfully trying to keep it together against the cruelty of her government if she tried to act out for even a moment.)
Pallenberg - (Side note, whoever came up with having Mick Jagger and her, Keith Richards's girlfriend, together either wasn't thinking all that much or was a devious genius. Either way she's quite effective in her performance in creating this sort of drugged out state that is both demented and also seeming ambivalent. She plays along her own wavelength in the right strange kind of way.)
Dodes'ka-den feels very much Kurosawa trying something out, while also calling back and attempting against his The Lower Depths though with less of a plot to connect things. It is a bit unwieldy in turn, but not without merit. The joy of the character who states the titular line, in particular is something special of Kurosawa's flower in the cesspool idea. The individual stories also are not ineffective, or without merit, but become perhaps too much of collage ideas. None bad within themselves, but perhaps it is a little too unfocused overall. Still even if I'd categorize it as lesser Kurosawa, it still is often fascinating in its own right.
Louis: If he hadn't gotten health problems which lead to his retirement, which roles do you think William Powell would have been great in the 60's?
Louis: Are you gonna watch Kes during Supporting.
I know you're not a fan of Loach but it is his most acclaimed effort.
Louis, any possiblity you could review Colin Welland if he's worthy. He did win the Bafta after all.
Just finished Cobra Kai Season 3, quite the improvement over season 2 (which I still loved).
I loved every single throwback they put in there, and I just think the show just had a brilliantly natural progression.
Louis: Whenever you get around to it, your thoughts on the season, your cast ranking, and your updated thoughts on the cast (I'll only ask for the reprise thoughts if you have something new to add).
Tahmeed: I had absolutely NO idea that was out. Look forward to checking it out.
Louis: Your ratings and thoughts on Susan Sarandon & Dennis Patrick in Joe, and Patrick Mulligan & Faye Dunaway in Little Big Man?
I was always curious: if the internet and social networks had existed for over 50 years, what would Scott's rejection reaction be like? And even if he required bloggers not to include his name in the rankings?
Tahmeed:
Will do, like Calvin wasn't aware it was already out.
Bryan:
Previously covered I believe.
Shaggy:
Scott's distaste actually was specifically with the Academy as he did not reject the NYFCA win.
Anonymous:
Let me get to that on the next post.
Luke & Anonymous:
I will be watching it, I owe the writer of Chariots of Fire that much.
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