Scott Wilson did not receive an Oscar nomination, despite being nominated for a Golden Globe, for portraying Capt. Billy Cutshaw in The Ninth Configuration.
The reliable Scott Wilson portrays one of the main men in the asylum Captain Billy Cutshaw, who actually is a minor character in the Exorcist, a former astronaut who seemed to go insane just before a moon launch. The film is largely made by the cast of the men of the hospital, even if very briefly, they all have a great deal of character to them either in bits of comedy, in Jason Miller's Shakespeare loving patient, or more dramatically inclined. That is the case for Wilson's performance here that is rather fascinating in his portrayal of Cutshaw a man seemingly inflicted by an unknown. We see the moment of true mania, via flashback, which Wilson delivers as the vicious bit of intensity needed for the man's failure of seeming to understand reality. It is a freakout within himself in that moment. The rest of his performance is as intense if far less overt as Wilson effectively establishes a man who seemingly has lived with this state for awhile. This as we open the film in a moment contemplation as the new resident CO Vincent Kane (Stacy Keach) is coming to the hospital. Wilson's performance is remarkable in the moment of the man just within his room. This as his eyes are looking up towards something, and there is a sense of the weight the man suffers within his current existence. Wilson powerfully suggesting that what ails Cutshaw is beyond a minor deficiency.
Wilson's performance conveys a near constant anxiety even when he is with the other mentally unstable man in the act of openly mocking the institute. This as Wilson even in a way plays the "mad man" his eyes suggest the greater paranoia of the man. There is a haunting quality within Wilson's work even when Cutshaw seems to be attempting to disregard any notion. Wilson is terrific though in the man more so in the state of trying to prod those who are seemingly trying to help him. Wilson's performance captures this as this kind of attack against the notion even as his performance borders on the comical. Wilson dances on the line impeccably well though as this kind of sense of the man trying to fulfill a role in this attack. A kind of defense mechanism he depicts in these moments while his eyes seem to tell the truth of Cutshaw consistently. The mockery is something that hides whenever there are words that seem to speak towards his painful contemplation. Wilson brings a remarkable energy within the man's reactions that are both outgoing yet introverted. There is a combination that crafts the sides of the man. The outgoing in those mocking defense, meanwhile he physically tightens when the man's mind seems to fall upon his real anxiety, that being his failed mission and its implications.
Every one of Wilson's scenes work on the level of Wilson's own portrayal of the insanity of his character. This through his rambling speeches Wilson makes sing in their own way as they are both this hostile act of hate, but also this cry for help. These as Wilson's wields away from mocking and more so towards the intense connect towards his contemplation on the nature of God. This as Kane seems to slowly come closer to understanding the man and the mocking eases away. This leading to just an amazing monologue by Wilson as Cutshaw admits that he wouldn't go to the moon due to fear of nothingness. Wilson's performance in the moment is incredible. This as he so quietly yet so intensely shows the real sense of a existential speaks of the loneliness of space. Wilson speaks while looking up and his eyes capture such a painful sense of the man's terrible anxieties that are nearly petrifying him in the moment. Every word is spoken so quietly yet so powerfully in Wilson's delivery that exhibits this difficulty in speaking the words, that evoke so well that penetrating doubt in the man. Wilson's performance in the scene though is really so special by the sense of connection seemingly as he speaks to Kane. There is faint hint of warmth in the interactions now, a tenderness even as Scott instead projects an empathy and understanding towards Kane. I'll say while the Kane story-line didn't entirely work for me, within there is something notable due to Wilson's work. This as his ending work in presenting Cutshaw rediscovering his sanity by rediscovering his faith, is truly poignant. This really just through Wilson's silent work, and in his silent reactions though Wilson wholly conveys the anxiety leaving the man and a sense of heart-wrenching joy that acknowledges both the joy of the discovery but also a sense of sacrifice in this realization.
Next Year: 2015 Lead
78 comments:
Tom Courtney - 45 Years (That's a given i think)
John Cusack - Love and Mercy
Kurt Russell - Bone Tomahawk
Michael Caine -Youth
Tobey Maguire - Pawn Sacrifice
+ the requests of course
Christopher Plummer-Remember
Jason Mitchell, Corey Hawkins and O’Shea Jackson, Jr.-Straight Outta Compton
Kurt Russell-Bone Tomahawk
Andrew Garfield-99 Homes
Gaza Röhrig-Son of Saul
That’d be enough for me.
Viggo Mortensen - Far From Men
Geza Rohrig - Son Of Saul
Adam Driver - Hungry Hearts (Won Venice)
Jason Mitchell/Corey Hawkins - Straight Outta Compton
Tom Hardy - Mad Max: Fury Road
Tom Courtenay- 45 Years
Paul Dano/John Cusack - Love And Mercy
Kurt Rusell - Bone Tomahawk or Tobey Maguire - Pawn Sacrifice
And trust me, there will be no Supporting lineup from this year.
Röhrig in Son of Saul and the Straight Outta Compton boys. And I hear Song Kang-ho and Yoo Ah-in are great in The Throne but don't take my word for it (and the film isn't that great apparently).
Glad to see Wilson get a good rating.
As for 2015 film recommendations, I have:
Songs My Brothers Taught Me
Amy
The Assassin
Right Now, Wrong Then
Veteran
Kumiko the Treasure Hunter
Embrace of the Serpent (one I have yet to see but I've heard nothing but raves about it)
Oh yeah, and also heard great things about Christopher Abbott in James White, but again, I cannot confirm.
Geza Rohrig - Son Of Saul
Christopher Plummer- Remember
Viggo Mortensen- Far From Men
Adam Driver - Hungry Hearts
Ulrik Munther - The Here After
And the 2 yet to be reviewed fives:
Tom Courtenay - 45 Years
Tom Hardy - Mad Max: Fury Road
Thoughts on:
Used Cars
The Long Riders
The Fog
Somewhere in Time
For 2015, Victoria is also worth checking out I think.
Louis: Ratings and thoughts on the rest of the lead performances, supporting performances with a 3.5 or higher plus Olivier in The Jazz Singer.
And Any updates to the female rankings.
Viggo Mortensen - Far From Men
Geza Rohrig - Son Of Saul
Jason Mitchell/Corey Hawkins - Straight Outta Compton
Tom Hardy - Mad Max: Fury Road
Tom Courtenay- 45 Years
Paul Dano/John Cusack - Love And Mercy
Tobey Maguire - Pawn Sacrifice
Abraham Attah - Beasts of No Nation
Ulrik Munther - The Here After
Kurt Russell/Patrick Wilson - Bone Tomahawk
*Kurt Russell - Bone Tomahawk
I did not take all that much to this film, unfortunately. Felt it wasn't as cutting or funny as it wanted to be, and indeed messy. Good performances though, and I quite liked the biker bar brawl scene.
If there's a few performances that could possibly get upgraded to a five, I would rather they were saved for the next backlog as it is rather stacked but it's up to you Louis.
Upgrade Keaton for Spotlight and make him lead. Idk, I hate this year for Lead Actor.
I guess review Courtenay and Hardy since they were fives. Especially the former, who does so much in spite of his film actively sabotaging by its conceit.
And downgrade Cranston already. He’s even worse than Redmayne and Ruffalo.
Louis: Rating and thoughts on John Adames in Gloria.
On the subject of Paul Dano, I have a feeling his upcoming role as Steven Speilberg's father could be his first 5.
Calvin: Might be War & Peace if he gets to it first.
How would you rank all the portrayals of Elizabeth I that you have seen?
Regarding 2015...
Geza Rohrig in Son of Saul (I recall this being more of a director's film, though he is pretty good)
Jason Mitchell, Corey Hawkins and O’Shea Jackson, Jr in Straight Outta Compton
Adam Driver in Hungry Hearts
Christopher Plummer in Remember
Ulrik Munther in The Here After
Tom Courtenay - 45 Years
Tom Hardy - Mad Max: Fury Road
Louis: Any additions/changes to your Actress and Supporting Actress top 10s for 1980?
Louis: Can I have your ratings and thoughts on Adrienne Barbeau and Jamie Lee Curtis in The Fog.
For 2015 aside from the requests and upgrades, I'd heavily suggest Song Kang-Ho and Yoo Ah-In on The Throne. I think Yoo Ah-In in particular has a bit of 5 potential.
Either way, I'm really looking forward to this year.
Christopher Plummer - Remember
Viggo Mortensen - Far From Men
Adam Driver - Hungry Hearts
Geza Rohrig- Son Of Saul
Straight Outta Compton trio
Ulrik Munther - The Here After
Paul Dano and John Cusack - Love & Mercy
Song Kang-Ho and Yoo Ah-In - The Throne
Tom Hardy - Mad Max: Fury Road
Tom Courtenay - 45 Years
Robert: Still a sore spot, I take it? I'll say this in regards to Cranston VS Redemayne...
With the former, even though it's a hammy performance, I do see the shades of Cranston's work; I saw the the frustrations of Trumbo's ordeal and the stresses of his close relationships IE his daughter and work colleagues. His portrayal offered me that kind of earnesty there, and in retrospect, also serves as a precursor to his work as LBJ - which is a superior turn overall but similar enough in regards to tone.
With the latter, I just got nothing out of the performance. I was never able to get an emotional investment from Lili's story because Redemayne was so bland in his early scenes, and so artificial in his later ones. Whereas Crasnton was able to temper his excesses in the right areas, Redemayne seemed off from the very core of his approach, and simply never became genuine with anything he tried to do.
I'll admit, however, that I wouldn't be super interested in revisiting either film.
Louis, your ratings and opinions on the cast of Shining?
I came from the future to tell you McKellen wins!
Not taking this bonus round into account but McKellen should be 2nd minimum.
Nothing against Jacob Tremblay but I hope we get a new winner that could potentially make the top 25/30.
*of the decade
Louis: Did you watch any of the TV suggestions for 1980.
I'm actually all for Tremblay keeping his win.
Calvin: I'm fine with it too but again, really want someone to make that top 30.
Nice ranking. Happy to see Pesci keep his win. To bad you dit not get time to watch Aakrosh because Om Puri would be my runner up for that year.
I'd be happy with Tremblay staying as our winner, but McKellen, Courtenay, Segel, Bateman, Fassbender (and Hardy in Mad Max) have all stayed with me more than Hardy's work in Legend. It's a fantastic year.
Tahmeed: Hardy's still great in Legend but it's such a mediocre film that I would love to see a few of those above him especially his turn in MM:FR, McKellen, Courtenay, Bateman and Fassbender.
Mitchell: If anything those moments were even worse than his most overtly hammy diatribes. Let me ask this (without any judgment, I swear): What if that same exact performance was given by, say, Sean Penn? Or Johnny Depp? I get that we all were in the afterglow of Breaking Bad, but I feel like most on this blog was unwilling to throw shade because of it.
Also, I noticed Freddie Jones is in the top 10 now? Was he always there? I thought he was the obvious weak link of Elephant Man. It's like 80% mugging. Granted, those passages of the movie are my least favorite outside of him.
Louis and everyone else: What are some of your favorite 'one-hit wonder' songs? (anything that's peaked in the Top 40 counts). Some of mine are:
'Take on Me'- A-ha
'You Get What You Give'- New Radicals
'Closing Time'- Semisonic
'Face Down'- The Red Jumpsuit Apparatus
'Come on Eileen'- Dexys Midnight Runners (although it's aged terribly)
'Return of the Mack'- Mark Morrison
'I'm Gonna Be (500 Miles)- The Proclaimers
'Wherever You Will Go'- The Calling
'What is Love'- Haddaway
'I Ran (So Far Away)'- A Flock of Seagulls
Tahmeed:
“99 Luftballoons”
“Tequila”
“Take On Me”
“I Ran (So Far Away)”
“The Boys Are Back in Town”
“My Own Worst Enemy”
“Save Tonight”
“Bittersweet Symphony”
“Tom’s Diner” - Suzanne Vega
“An Honest Mistake” - The Bravery
“Somebody That I Used to Know”
I’m sure I have more favs, but that’s what I got right now.
Robert: For myself, if Penn and Depp gave a performance of equal quality, I would've said the same thing. Sure, there both known for being more mannered and theatrical compared to Cranston (At least pre-2013), but they've also given good biopic portrayals within that tone/approach (IE "Milk" or "Ed Wood").
That is also to say that regardless of my personal thoughts towards Depp or Penn (Of which I have a few), I've never denied their talent when they've offered quality work.
Suggestions for 2015:
Varun Dhawan-Badlapur
Irfaan Khan-Talvaar
Ranbir Kapoor-Tamasha
Vicka Kaushal-Masaan (I got a feeling that you would really like this movie Louis)
Rolf Lassgård-En Man Som Heter Ove
To everyone in the blog i would give the advice not to underestimate Plummers performance in Remember. Its a masterfull piece of work that pull the rug off under you
John Smith: Yup.
John and Matt: I'm praying he gets another five for that one.
Tahmeed: Any Rock song that was a one hit wonder I like lol, aside from Butterfly from Crazy Town which I think is awful.
"Come my lady come come my lady your my butterfly sugar baby" I mean what were they snorting when they wrote that lol.
Louis: Nicol Williamson was originally cast as Vincent Kane. How well do you think he would've fared in the role.
Not relevant to anything, but would anyone else want to see Leslie Odom Jr. play Othello? I think he'd have a real cool take on it.
your thoughts on the Screenplay and Direction of Love Story?
Random question for everyone: Is anybody here versed with "Street Fighter" beyond the 1994 live action film? And if so/not, what would be your thoughts on this animated fight between Ryu and Jin (Tekken)?
https://www.youtube.com/watch?v=MsPflTeMQ5w
I would consider myself an avid fan, in that I know a good amount of the characters/story and have played some of the games (most notably USF4).
Luke:
Takakura - 4.5(A powerful subdued portrayal that manages to be both heart warming and heartbreaking. This as his work really powerfully earns the sense of mystery but also compassion in the role. He gradually portrays well the changes within the man in terms of embracing the family while there is the sense of the things that are haunting him all the same. Takakura as he sort of reveals his own emotions more directly also shows all the greater tenderness. Beautifully drawn work from him.)
Andorai - 4(A moving portrayal of the man stuck within his own state in a different way to his co-star. Effective in being colder though while showing that the man's grief is as penetrating for the man just in a different way. His portrayal crafting a right sense of both the anxieties of the separation but also the conviction to maintain his own survival in the difficult situation.)
Yoshioka - 4(Just a rock solid child performance. This as he brings the right naturalism and more than anything has a great evolving chemistry with Takakura.)
Forde - 4(Very much a director's film though I thought he brought the right interesting kind of off-beat charisma. This though with enough nuance in detailing the more dramatic moments in terms of dealing with random hostilities.)
Keach - (His performance is good but I think there might've been someone who could've brought more of a dynamic energy. Keach I think works better less internalized. He's still good to be sure and delivers on some of the key moments. His performance doesn't resonate as much as I think another character could.)
Allen - (Typical Allen.)
Spetters boys - (Director's film almost entirely, they're super limited but serve their purpose.)
Atkins - (Honestly baffled how he was attempted as any sort of leading man as he's bland and really lacks any charisma.)
McCloskey - (Terribly uninteresting and downright amateurish. He takes you out of the horror in almost every moment he's on screen.)
Walken - 4(Walken gives a compelling performance but the film just doesn't commit to fully developing his arc which could've been fascinating on its own. Walken does his best to try to make up between the lines. Walken gives though the right sense of detached intensity early on as the assassin, and is rather interesting in showing the man's quiet empathy that seems to develop. This sadly just doesn't have enough written wise for him to truly make something of it, but Walken still manages to convey it to a degree which is impressive given how he is limited by that writing.)
Miller - 4(Miller is such a fascinating performer it is a real shame that he had a fairly limited career. Here being an example as the most comedic character which Miller has a lot of fun with. This interestingly though by really playing into the intensity though by doing so being quite comical by showing the man's most striking devotion to dog related Shakespeare.)
Kotto - 4(Rock solid work but shows the flaws of the film which it is way too unfocused. I think the film would've been far greater if the relationship between Kotto and Redford was more focused upon. This is as it stands Kotto makes the most out of every one of his asides. This just bringing so much character in his reactions of this man with secrets but also a sense of morality. Kotto manages to creating the most consistently captivating figure, and best verbalizes the sort of sense of discontent at the center of the film.)
Gielgud - 4(He'd be higher if not for the totally random overdubbing, given it is his own voice some of the time and there's no consistency here. Gielgud, as usual with any complicated part, runs with what he does have. This in creating the right enigmatic power within the man. There is so much more though in his interactions with Janda where he manages to convey this ambiguous yet potent connection. This man with a great deal of past, too much really.)
Warden - (A funny performance from in being both a good crazed old man than just an irascible sort the rest of the time. Brings the right comic energy with both and makes for a good comic antagonist.)
Carradines - (Both stand out the best in just delivering properly charismatic turns each. Both are just ideal in these roles and are wonderful every second they're on screen.)
Keitel - (Mainly there as exposition but his performance manages to be quite remarkably unique in that approach. This as he plays around both with the personal style in his manner but also the way he interrogates the man. This as Keitel never quite makes you know what he is after for sure, but brings the right curiously penetrating quality to his work.)
Hurt - (I think the film probably would've worked better if the part had not been split between him and Bridges. Having said that Hurt manages to be quite compelling in portraying the sort of spirited manner of the man early on, and is excellent in crafting the anxieties of the man as he becomes culpable in an act he obviously doesn't agree with on a fundamental level.)
Waterston - (Makes for a proper pompous slime ball.)
Farnsworth - (Always will take a good bit of Farnsworth who I found to be the most intriguing part of the film, even if randomly and mainly just built on that unique charm of his.)
Keach - (Brings the right gravitas to Frank James and the sense of the man as the calm head against his over the top brother. Makes the most of his little moments particular his final one in creating the sense of a man defined by his own sense of honor.)
Poiret - (Interesting performance in finding a low key charm but more so a kind of strange manner of a man who is living in a kind of very strange space and frame of mind.)
Holbrook - (Does his absolute best to deliver some gravitas to the proceedings to a whole lot of exposition and does not fail.)
Blossom - (Always good, and while I think his character is under served still convincingly delivers on creating both the hurtful and loving aspects of the father.)
Olivier - 2(Probably his worst performance, but even then he's a little bit fun in his badness here. He gives a completely over the top portrayal of a rabbi and what you'd imagine there. Even then though he's still one of the most energetic things about the film. Not good, but I couldn't even hate him here.)
Adames - 0(Obnoxious, atrocious, just against anything that makes a performance good. Yep that's Adames. You don't believe him for a second, yet he's also completely grating as well. A fascinating failure by just how abysmal he is.)
1. Sissy Spacek - Coal Miner's Daughter
2. Mary Tyler Moore - Ordinary People
3. Theresa Russell - Bad Timing
4. Susan Sarandon - Atlantic City
5. Catherine Deneuve - The Last Metro
6. Ildikó Bánsági - Confidence
7. Krystyna Janda - The Orchestra Director
8. Tamiko Kazami - A Distant Cry of Spring
9. Shelley Duvall - The Shining
10. Ellen Burstyn - Resurrection
11. Shabana Azmi - Sparsh
12. Gena Rowlands - Gloria
13. Ana Torrent - El Nido
14. Vera Alentova - Moscow Does Not Believe in Tears
15. Irina Muravyova - Moscow Does Not Believe in Tears
16. Raisa Ryazanova - Moscow Does Not Believe in Tears
17. Isabelle Huppert - Loulou
18. Goldie Hawn - Private Benjamin
19. Nicole Garcia - Mon Oncle d'Amerique
20. Blair Brown - Altered States
Supporting Actress:
1. Beverly D'Angelo - Coal Miner's Daughter
2. Renee Soutendijik - Spetters
3. Carrie Fisher - The Empire Strikes Back
4. Wendy Hiller - The Elephant Man
5. Anne Bancroft - The Elephant Man
6. Cathy Moriarty - Raging Bull
7. Glenda Jackson - Hopscotch
8. Stephane Audran - The Big Red One
9. Mary Steenburgen - Melvin & Howard
10. Pamela Reed - Melvin & Howard
11. Eva Le Gallienne - Resurrection
12. Barbara Hershey - The Stunt Man
13. Amy Wright - Inside Moves
14. Trish Van Devere - The Changeling
15. Eileen Brennan - Private Benjamin
16. Deborah Harmon - Used Cars
17. Olympia Dukakis - The Idolmaker
18. Anne Meera - Fame -
19. Bernice Stegers - City of Women
20. Marthe Villalonga - The Big Red One
Anonymous:
1. Helen Mirren
2. Glenda Jackson
3. Cate Blanchett
4. Miranda Richardson
5. Flora Robson
6. Judi Dench
7. Margot Robbie
8. Quentin Crisp
Luke:
Barbeau - 3.5(She's pretty good in bringing a lot of personality into the sort of sultry radio personality, while also portraying just the woman trying to do a job at the same time. She's also effective though in creating the sense of fear in the horror moments. She doesn't have much of a character but she runs with what she has.)
Curtis - 2.5(Not sure why she was in the film honestly...I mean she's fine, but has a non character...a problem with the fog in general despite some great atmosphere)
Robert:
Jones's was always there.
Louis: Rating and thoughts on Oliver Reed, never got them.
And thoughts on Bansagi, Kazami and Soutendijik.
Louis: What about Dinah Manoff in Ordinary People?
Gregg Turkington - Entertainment
The film is kinda a mess but great performance imo.
Louis: It's Chieko Baisho in A Distant Cry From Spring.
Delighted that 2015 is the next year.
Viggo Mortensen in Far From Men (an underrated gem of a film with a great score by Cave and Ellis. Mortensen gives one of his strongest performances and has a tremendous chemistry with his co-star Reda Kateb)
Christopher Plummer in Remember
Geza Rohrig in Son Of Saul
Song Kang-Ho and Yoo Ah-In in The Throne
Adam Driver in Hungry Hearts
Luke, how many fives has Louis given to the Lead Actor category for the entire 2010s decade.
Glenn: It's currently at 97. There's a good chance it'll hit 100 with this year.
Louis: thoughts on the new candyman trailer?
Hello folks. This list that I'm going to show you is for those who know this blog for a long time.
2021 it's been five years since Louis Morgan decided to make reviews on the Best Actor blog. One of the things that I really liked about this return was surprising us with new names occupying #1 in the rankings, whether with actors that were already on the list or with new candidates who had still received evaluations. So, tell me your TOP 10 Best New Overall Rank Winners.
10º James Mason - Odd Man Out
9º Angus Macfadyen - Braveheart
8º Stephen Boyd - Ben-Hur
7º Max von Sydow - Hamsun
6º Daniel Day-Lewis - Gangs of New York
5º Russell Crowe - Master and Commander
4º Michael Redgrave - The Browning Version
3º Tim Robbins - The Shawshank Redemption
2º Ben Kingsley - Shutter Island
1º Paul Newman - Hud
Brazinterma: Should be no secret, but my favorite change in overall winners was when the gentleman in my profile picture finally got a win.
Robbins and Macfayden getting wins was also pretty awesome.
Brazinterma: I am the happiest about your 6 and 1, as they each are my favorites by these two actors
Brazinterma: Pretty thrilled about your #1.
What is your top 10 Woody Allen performances?
Louis: Your thoughts on the cinematography of Thief. Also your cast for a 40's Thief with Walsh directing.
I’d be more pleased with Day-Lewis if I agreed with placement. I’m happy about Crowe the most, because my attempts to watch Gods and Generals have not been… pleasant.
Brazinterma: I love your list. Newman was the best because not just any actor can take Mifune's place.
I hope that someday Ian McKellen will defeat Jacob Tremblay or Brendan Gleeson.
My ranking:
1. Newman
2. Robbins
3. Macfadyen
4. Day Lewis
5. Eastwood
6. Brolin
7. Lancaster
8. Hopkins
9. Isaac
10. Kingsley
Actually, Isaac would probably be my favorite unseating, mostly because I hate Filth.
Tahmeed:
"99 Luftbaloons"
"Come on Eileen"
"I'm Gonna Be (500 Miles)"
"Kung Fu Fighting"
"Rhythm on the Rain"
"Sleep Walk"
"Stuck in the Middle With You"
"Take on Me"
"Video Killed the Radio Star"
"When A Man Loves a Woman"
Luke:
I think Williamson would've been great as Kane, and might've offered it bit of a introverted kind of intensity.
Tim:
Love Story's screenplay helped to define the modern tear-jerker, though that melodrama existed before then, but is that a good thing? Not so sure. This as the class division is about as surface as it gets. The relationship is schmaltzy with Jenny's "Potty mouth" almost a gimmick to distinguish it. The late turn being just there seemingly to grant the story "depth" which doesn't feel all that well earned. I think the most unfortunate element of the writing being its most famous line which actually is both untrue and rather dumb. By the way I don't even hate the film actually, but it isn't particularly inspired as written.
The direction is extremely workmanlike bordering on very tv movie. This as every scene is pretty much directed on the "first idea" and every expected choice is the choice. This in every musical sting choice, every setup, decision is about as straight forward as possible, and not necessarily even in an efficient way. There's nothing notable about it. Again I don't even hate the film, but Arthur Hiller really just does his job, nothing more.
Luke:
Reed - (He's good in managing to portray the kind of respectful antagonist. This in showing the vicious drive of his character, but in the moments of reflection still showing the sense of care for his opponent nonetheless. He's particularly good in his final scenes in bringing some nuance to the man's reactions towards his enemy refusing to give up on his own convictions.)
Bansagi - (Just a powerful performance in creating this state of near broken state early on. Showing very much the effort the woman has to put in to be able to project even a vague confidence. She's good in showing the slight comfort but also complication that results in her strange relationship. This in that there is this fascinating mixture of tenderness and brokenness in this. Most of all though she depicts the sense of connection.)
Soutendijik - (She was very much the film for me. This in creating this rather captivating kind of seductress. This as she really modulates her performance for each man creating this different shading to her. This though always feeling very much in control of each man though in a different way each time.)
Baisho - (Her performance is this wonderful reflection of Takakura's work in creating a most unique relationship. This in crafting early on the sense of suspicion to this strange man, though also intrigue and strength in the mother in dealing what is around his appearances. This though as it goes on doing so much in her silent reactions that convey the sense of real care and affection over time. She's particularly good in Takakura's big scene by her reactions conveying so much empathy and care as the man bares his soul.)
John Smith:
I was not able to find a copy with an English Sub same with Omar's recommendation of La Terrazza, which is a shame as the film sounded up my alley.
Robert:
I do rather like her single scene to be sure. This in that she manages to effectively convey the sense of camaraderie with Hutton on the surface as just a friendship, yet below it the sense of mutual "damage" they share in their traumatic experiences. Manoff creating that sadness within the surface of someone trying to move on, but obviously it isn't quite working even as she smiles.
Regarding Day-Lewis, he'd be my win in either category.
Anonymous:
Didn't watch it, I've seen enough if it gets decent reviews.
Anonymous:
1. Geraldine Page - Interiors
2. Martin Landau - Crimes and Misdemeanors
3. Dianne Wiest - Hannah and Her Sisters
4. Cate Blanchett - Blue Jasmine
5. Gena Rowlands - Another Woman
6. Jeff Daniels - The Purple Rose of Cairo
7. Diane Keaton - Annie Hall
8. Diane Keaton - Love and Death
9. Michael Caine - Hannah and Her Sisters
10. Marion Cotillard - Midnight in Paris
8000's:
Excellent cinematography by Donald E. Thorin within the Mann style of the naturalistic style lighting, yet stylish in that naturalism. Excellent work here in emphasizing sort of neon even fluorescent light in a truly special way. The Leo's threat shot is just amazing for example with what they do with the blues in that scene. They never compromise the overall choice yet do so much with it. Additionally just some fantastic composition in the typical strong Mann way of dynamic yet to the point.
Thief 1940's:
Frank: James Cagney
Jessie: Olivia de Havilland
Okla: Pat O'Brien
Barry: Jackie Gleason
Leo: Edward Arnold
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