Thursday, 15 July 2021

Alternate Best Actor 2015: Tom Hardy in Mad Max: Fury Road

Tom Hardy did not receive an Oscar nomination for portraying "Mad" Max Rockatansky in Mad Max: Fury Road.

Mad Max: Fury Road is the greatest action film ever made. 
 
The success of Mad Max: Fury Road can be perhaps most immediately described through its streamlined and visually stunning approach to action. That is but an element though that is part of its greatness, however the whole of the greatness in a way comes from all the seemingly more minor elements around that action, which makes the meaning of the action all the greater. This in the richly designed world of the apocalypse with all the different strange characters making up the world, all whom seem to have their own story even if we only get a glimpse of them. The writing of the work in itself is underrated, yes the plot is simple, and effectively simple I'd say, however the world is complex, the development of the themes is remarkable, and the actual dialogue I'd argue is iconic already. As much as performances aren't the first thing one thinks of with an action film, they can be essential in distinguishing a good one from a great one, and in Mad Max you have a myriad of impressive performances within the supporting cast, again even with some you only get a glimpse of, but the main three performances within the film are Nicholas Hoult's Nux that has the most dynamic character arc of the film as the henchmen turned hero, Charlize Theron as Furiosa as the driven action heroine of the piece, and of course Mad Max himself, though the latter perhaps received the least amount of kudos throughout the film's much lauded run. 

Tom Hardy I'd actually say does not really fill the shoes of Mel Gibon as Mad Max, because the character really isn't the same in terms of role, Gibson's I'd say was more overtly sarcastic and cynical, where with Hardy's we get this embodiment of a singular survivor in a sense. What does match, despite some poor commentary upon the time of the release, is the role of Max in the series who while is the "lead" of the film doesn't lead the film. Just like in Road Warrior and Thunderdome, Max essentially wanders into someone else's story and basically sees what he can do. Hardy's performance in this sense then becomes a bit of a performance that isn't ever really on his own, yet in a way is within his own experience in a way, offering a particular challenge then in Hardy's often silent performance. Tom Hardy though is an actor with a tremendous presence, as for example a few later he would show in Dunkirk where he somehow held the screen despite being a set of eyes and infrequently used voice. Mad Max though is a greater example of this in his use of expression that is all his own, and essential to the film in a way that I don't think gets enough credit. This as his portrayal of Max both is filled with character while being one of the greatest audience surrogates of all time. This as this is not Max's story really, but Max is how we see this story each step of the way. 

We open the film and just from the opening do we get a sense of Hardy's Max instantly, and he is instantly captivating as well. This just as he's attempting to run from the war boy henchmen of the ultimate bad-guy Immortan Joe (Hugh Keays-Byrne). Hardy manages to portray a definite doggedness in his forceful manner in the opening chase. There is more though as sense of near mania in his eyes, though a specific kind of haunted mania. This as Max is haunted by his past failures that we see as hallucinations, and Hardy matches those images with his own performance. His face is that of a man with all sorts of deaths he has seen, and his mania is that of a man whose past is a constant sort of a particular kind of sorrow. That sorrow though again something Hardy depicts so pitch perfectly though in that it just seems to fuel the innate madness of the man. When the chase begins, activated by Furiosa running off with Immortan's brides leading the villain to lead all his men to capture them once again. We then get basically this brilliant tapestries of action scenes, each though that are a phase in Max's development conveyed almost entirely through Hardy's silent performance. Meanwhile though Hardy also needs to make Max consistently a captivating feature in these actions scenes while technically just being one part of them. 

I think it is so easy to ignore what Hardy is doing here, which is a major disservice to his work which on its own is a major service to the film. This as there is so much, for the lack of a better word, character in everything that he does, and he just adds that much more color to the film by the virtue of his existence. Now Hardy is good, he has that presence, he has all that, and maybe that would be enough for a good action movie, but this is a great action movie, and Hardy delivers a great action performance. Watch any second of Hardy's performance here he is actually doing something interesting that conveys not only what Max is going through in a given scene but also who Max is. Take the extended initial chase. Hardy, as Max is literally used as a blood bag for Nux, conveys just this tight near disbelief of his terrible state, and just a kind of anger at the insanity of his plight. There is still a sense of the fight and we get that as soon as he's released, and the glint of a dogged survival when his shackles are briefly removed is just brilliant work from Hardy. Hardy never just in a scene, as he's so consistently dynamic in his reactions. This as the scene continues and Hardy takes us through every thought of Max as he's attached to the kamikaze henchmen in Nux. This with a particular highlight being Hardy's face of a perfectly hilarious "you gotta be kidding me" when Nux asks Max to "witness him", that being Nux using his own car, which Max is attached to, as a suicide bomb to kill Furiosa. 

After barely surviving that we follow this with a series of consistent scenes where we see Max meet up with Furiosa and the wives, who he'll treat as an obstacle at first, again as Hardy portrays a man just looking for his own survival at first. Here's where we get masterful physical work by Hardy, that is that of a great silent comedian basically though here as the action hero. Take two scenes in particular, one where he confronts the wives to try to steal their supplies, and every motion and movement, and little sound effect is perfection by Hardy. This as we know everything that Max is saying without saying a single thing. We get the same thing when he hitches a ride with the group, after initially fighting with them, and he collects all the guns in their truck fortress. Hardy's performance again is that of silent brilliance as it is such a simple scene of just gathering things, but there is so much fun, and character in the method in which he does it. This in his ways his eyes dart around, the way he snaps and asks for the gun, again Hardy entirely conveys what Max wants, his belief in the moment as just survivor ensuring his own safety, while doing it in kind of a covertly entertaining way. Hardy is fantastic in the same way in the action scenes by being entirely within the action scenes in terms of creating their stakes, yet doing so with that slightly off-kilter manner of his that gives Max a particularly unique flavor as a hero for the film. 
 
What we also get is Hardy's work in the action scenes that crafting the arc of Max going from a man only interested in running from any danger to ensure his own survival to wanting to turn around to face that danger through seeing a chance for those around him. Hardy does this by being so dynamic in every scene. This as initially his actions are personal and reactions of concern for oneself. In each successive scene though we get a greater sense of compassion and care in these scenes. There is a greater ease in Hardy's manner that appears, and slowly a real sense of concern for the others around him and not just himself. The emotional element here is entirely earned by this silence as Hardy is just so pitch perfect in every moment of just creating this man slowly caring again. We also get this through his scant few lines, where Hardy's delivery is particularly unique. This as in much of the film Hardy speaks very quietly, almost as a man who is speaking to himself and no one else, this befitting a man who hasn't spoken to anyone else for years. Hardy's quiet little rumblings say much about Max, and each little delivery of his is memorable in this approach, particularly adore his way of saying "that's bait" which just immediate illustrates a clear understanding of a knowledgeable survivor as he notes a naked woman "alone" is a little too obvious. The most important delivery though is his final moment directly with a potentially dying Furiosa, where the whole scene Hardy's shows the absolute sincere urgency of a man saving someone who truly deeply wants to help. The finale of this being his simple delivery of "my name is Max". Hardy's delivery of this is again greatness in delivering his character, as he first says it internally one more time though now almost this realization of himself again, and a recognition of his humanity. This before turning to say it externally to everyone around him and fully becoming a man connecting with others rather just trying to escape them. This is a great performance by Tom Hardy that is one of the essential features to the film's success. Although it is easy to take his work for granted, that is part of his greatness. Hardy's not fussy within the film, instead he's just part of every moment, creating his own unique take on the iconic character, that naturally realizes an arc, while doing this so smoothly you barely notice, but his presence always adds that certain something to every scene he is in. This extra bit of character that isn't just a someone to follow through the story, but rather  someone to amplify every bit of it.

114 comments:

Michael McCarthy said...

I’m glad you mentioned his voice, I loved the way he managed to portray so vividly how a man who just wasn’t used to speaking anymore would sound. Also fingers still crossed for a Hoult mutiny in supporting.

Calvin Law said...

Hoult should easily take supporting. Also, I think I've come round to this being Hardy's best performance of 2015.

Mitchell Murray said...

"'Mad Max: Fury Road' is the greatest action film ever made"....

I'd be hard pressed to name any person I've met who would disagree.

Matt Mustin said...

Mitchell: I know a couple.

Emi Grant said...

Louis: I guess we already now #1, but which are your 2-10 for Best Action Films Ever?

ruthiehenshallfan99 said...

Have you guys ever watched a movie that left you incredibly confused when it shouldn't have? For me, that honor goes to I Married an Angel. IT just gets more and more bizarre as it goes on.

Matt Mustin said...

Ruthiehenshallfan99: Redbelt.

Tahmeed Chowdhury said...

I really wish Hardy gives another great performance soon, the fact that he hasn't contended for any Alternate reviews since 2015 is pretty tragic

Michael McCarthy said...

Ruthiehenshallfan99: The Witches of Eastwick

Robert MacFarlane said...

ruthiehenshallfan99: Of all of the Malick films, Days of of Heaven was the only one that made me say "Wait, what?"

Marcus said...

Louis: Like that you mentioned the ridiculous nitpicks Fury Road got about Hardy not being the sole lead, all of it just gave very misogynistic vibes to me at the time.

Could I also have your top twenty favorite ending scenes in movies?

Anonymous said...

One of my favorite lines in this movie is "that's bait".

Psifonian said...

Tom Hardy: man of a thousand grunts. And I love him for it.

Mitchell Murray said...

I asked this on the last post, but is anyone here familiar with the "Clone Wars" TV show?

I finished the first season this afternoon, and would already label it a highly enjoyable series.

Shaggy Rogers said...

Hardy had an impressive feat: three performances at 5 in one year.
Too bad after this peak his career declined in the movies, I didn't see Peaky Blinders and Taboo.

8000S said...

Great review.

Luke Higham said...

Adore this film. Hardy's 2014-15 run was phenomenal.

Anonymous said...

Louis: What director do you think would make an actually good version of Capone with Hardy still as the main star?

Louis Morgan said...

Emi Grant:

Suppose I should clarify slightly, in that best action movies as has been defined by what is seen as the modern action film that basically started with Raiders of the Lost Ark, where the action is a near constant throughout the film.

1. Mad Max: Fury Road
2. The Dark Knight
3. Indiana Jones and the Last Crusade
4. Aliens
5. Raiders of the Lost Ark
6. Die Hard
7. Casino Royale
8. Skyfall
9. Mission Impossible: Fallout
10. Crouching Tiger Hidden Dragon

Ruthiehenshallfan99:

Apropos to 2015, The Dressmaker.

Marcus:

The very last scene only. Also for my sanity decided to make arbitrarily a pre-70's post-70's list.

Butterfly/The Men and Graves - All Quiet on the Western Front

"Let's go and say a prayer for a boy who couldn't run as fast as I could" - Angels With Dirty Faces

Bloody Death - Bonnie and Clyde

Madness Madness - The Bridge on the River Kwai

Beautiful Friendship - Casablanca

You're Next - The Devil and Daniel Webster

I steal - I Am A Fugitive From a Chain Gang

That a boy Clarence - It's A Wonderful Life

Rich and the poor - High and Low

Civilization coming as the past leaves - Once Upon a Time in the West

The Faithful Hussar - Paths of Glory

Some hope - Rashomon

Arrows - Throne of Blood

Bloody Death - Sanjuro

Second surgery - Seconds

Shoot me too - The Spy Who Came in From the Cold

Violent ends - Sword of Doom

Ready for my closeup - Sunset Blvd.

Looking down - Vertigo

Made it Ma! - White Heat

Post 70's:

No eulogies for Bob - The Assassination of Jesse James By the Coward Robert Ford

Last laugh - Amadeus

"Brazil" - Brazil

"Wallace" - Braveheart

Forget it Jake - Chinatown

Losing race - Gallipoli

Where is he - Halloween

Breakdown - I Saw the Devil

Blind man with nothing - Ran

Going the distance - Rocky

Sad smile - Planes, Train and Automobiles

One last sneeze - Taking of Pelham One Two Three

What if - La La Land

Memories - Memories of Murder

Chief's escape - One Flew Over the Cuckoo's Nest

The "future" - Parasite

I did Lyle - The Straight Story

Whiplash - Whiplash

The titular man - The Wicker Man

Hurdy Gurdy Man - Zodiac

8000S said...

Louis: Your thoughts on the scene where Marge investigates the triple homicide crime scene. Also thoughts on the scene with Mr. Mohra.

Tim said...

really? not The Graduate? huh ...

Anonymous said...

What is your top 10 best performances nominated for a razzie(with ratings for the performances)?

Anonymous said...

Thoughts on the voices of Glenda Jackson, Judi Dench, Gwyneth Paltrow, Juliette Binoche, Meryl Streep, and Glenn Close

Louis Morgan said...

Perfectionist:

I'm sure I've given those before, but I enjoy him there.

8000's:

I think I've given the Mohra thoughts before.

Marge scene is great as you get the bits of character through the incompetence of Norm, the quiet insightful quality of Marge and her dealing with pregnancy which punctuates each moment with the right degree of comedy, well that and Norm's vacant expressions.

Tim:

Great ending to a film that isn't one of my favorites, so it is unlikely going to make my list.

Anonymous:

1. Shelley Duvall - The Shining
2. Kris Kristofferson - Heaven's Gate
3. Ben Stiller - Dodgeball
4. Michael Caine - Dressed to Kill
5. Mel Gibson - The Expendables 3
6. Milla Jovovich - The Fifth Element
7. James Coco - Only When I Laugh
8. Richard Dreyfuss - The Competition
9. Betsy Palmer - Friday the 13th
10. Kristen Wiig - Wonder Woman 1984

Unknown:

Jackson - (Regal embodiment with a striking quality of it innate to her.)

Dench - (Kind of a less intense version of Jackson.)

Paltrow - (More distinct when doing an accent actually her normal voice is quite just run of the mill.)

Binoche - (Just a sharply sweet voice that embodies a natural warmth about it.)

Streep - (Regular voice is actually interesting in its way, though more distinct is her myriad of accents, which as much as I don't love her work, her accent work is strong.)

Close - (Similar to Streep in that there is something slightly unique about her own voice, though typically she shrouds it in an accent.)

Tahmeed Chowdhury said...

Mitchell: Would you be interested in checking out FMAB? While the 2003 anime does pack a deeper emotional punch, I'd say it's still worth checking out as well, while being more of a traditional shonen (and a strong one at that).

Robert MacFarlane said...

*angry cat hiss*

Anonymous said...

Louis, could I have your thoughts on this scene and the voice acting in it?

https://youtu.be/YT6cguwIJTU

Anonymous said...

Tahmeed: Robert actually rated it 3/10 on letterboxd.

Tahmeed Chowdhury said...

Anonymous: Different strokes for different folks I guess. That show alongside DBZ was how I got into anime, so even with their flaws, I'll always have a certain nostalgia about both.

Marcus said...

Louis: That's a great list of endings, was Another Round's one close to making it onto the post-70s list?

Mitchell Murray said...

Tahmeed: It's a possibility, since I've exhausted a lot of the other Animes I wanted to seeked out, and since it's popular enough that I'll likely be asked about it.

As for right now, however, I'd say theres a stronger chance of me finishing "Clone Wars" first - and possibly starting "Legend of Korra" or "Ben 10", if I'm able to find them in their entirity.

Luke Higham said...

Mitchell: I've seen The Clone Wars and it becomes great whenever Darth Maul enters the picture. Sam Witwer is the MVP of the show for me.

Mitchell Murray said...

Luke: I'm already liking the show from season one alone, so I look forward to when Maul is introduced.

From what I've seen so far, I'd say my favourite part of the series is just how much of a smart ass they made Obi Wan.

Anonymous said...

So, Fury Road is on the spotlight again, because apparently there was a lengthy scene of the new Space Jam movie where Wile E. Coyote chases the Road Runner in the car chaase scene (with the fire guitar) from Fury Road.
Because all kids LOVE Mad Max, right?

Luke Higham said...
This comment has been removed by the author.
Ytrewq Wertyq said...

Louis, in which 2000s and 2010s roles you would've cast Brendan Fraser and Brad Dourif in?

Luke Higham said...

I haven't posted much lately but I can't wait for Plummer's review next week.

Louis: Not giving anything away but did you see Far From Men, The Throne and A Second Chance.

8000S said...

When it comes to FMA vs. FMAB, I prefer how Lust is portrayed in the 2003 anime and I find Mustang more likable in FMAB. And I prefer his voice in FMAB too.

Louis: Thoughts on the voices of Olivia Colman, Samantha Eggar and Joan Greenwood.

Anonymous said...

Caleb Landry Jones won Best Actor at Cannes for Nitram. Possible Oscar contender?

Anonymous said...

Anonymous: Maybe considering that Issacs (Mass) is going supporting and Ramos's chances seems dead.

Anonymous said...

What is your top 10 Joan Fontaine performances?

BRAZINTERMA said...

Hello Louis and folks! How are you?
Very well, now that the Cannes Film Festival is over, let's start talking about our first predictions of the 2022 Oscar nominees.
PS: I don't mention Frances McDormand because I don't know what category she's going to be placed in, let's let time answer that. OK let's start ...

ADAPTED SCREENPLAY
House of Gucci
Next Goal Wins
Nightmare Alley
The Power of the Dog
The Tragedy of Macbeth

ORIGINAL SCREENPLAY
Don't Look Up!
The French Dispatch
A Hero
Mass
Soggy Bottom

SUPPORTING ACTRESS
Ann Dowd - Mass
Jayne Houdyshell - The Humans
Marlee Matlin - CODA
Olga Merediz, In the Heights
Martha Plimpton - Mass

LEAD ACTRESS
Ana de Armas - Blonde
Jessica Chastain - The Eyes of Tammy Faye
Kirsten Dunst - The Power of the Dog
Lady Gaga - House of Gucci
Kristen Stewart - Spencer

SUPPORTING ACTOR
Bradley Cooper - Soggy Bottom
Jason Isaacs - Mass
Richard Jenkins - The Humans
Al Pacino - House of Gucci
Jesse Plemons - The Power of the Dog

LEAD ACTOR
Benedict Cumberbatch - The Power of the Dog
Adam Driver - House of Gucci
Brendan Fraiser - The Whale
Will Smith - King Richard
Denzel Washington - The Tragedy of Macbeth

DIRECTOR
Paul Thomas Anderson - Soggy Bottom
Jane Campion - The Power of the Dog
Joel Coen - The Tragedy of Macbeth
Ridley Scott House of Gucci
Steven Spielberg - West Side Story

PICTURE
Don't Look Up!
Dune
The French Dispatch
House of Gucci
Mass
Nightmare Alley
The Power of the Dog
Soggy Bottom
The Tragedy of Macbeth
West Side Story

Comment on your predictions

RatedRStar said...

BRAZINTERMA: Sorry its still a little too early for Oscar Predictions I feel, I feel September is when the Oscar Season truly starts, especially since things are getting back to normal Oscar wise, I don't really know what to expect.

I mean does Next Goal Wins even exist, I keep having to convince myself that the film is coming out in 2021 even though I have seen nothing of it, same with The Whale.

Matt Mustin said...

BRAZINTERMA: Nope. Still too early.

Calvin Law said...

I’m very excited to see all the Cannes winners, this seemed like a really interesting festival.

I’m still figuring out my predictions but my big NGNG is still Tang Wei for Decision to Leave.

Louis: your thoughts on Natalie Holt’s work on Loki? The more I think about it the more I think she might have delivered my favourite musical work in the MCU.

And thoughts on Hiddleston, Wilson, Di Martino and Grant in the series.

BRAZINTERMA said...

Okay. So let's talk about this in September.

Tahmeed Chowdhury said...

These early predictions are always fun to look back on in hindsight. I remember last year we all thought Mank was going to be the best film of the year and win everything lol.

Bryan L. said...

To be fair, Mank did have a lot of going for it on paper (Fincher, Reznor & Ross, a fascinating period in Hollywood, Gary Oldman in a leading role, a solid supporting cast), although the film didn't up being "great", per se.

Calvin Law said...

I also remember when everyone was ruling out Minari everywhere ;)

Tahmeed Chowdhury said...

Louis: What are your thoughts on this rather recent trend of people predicting the greatness of a film by its distributor. Like sure, A24 distributed some great films, but to think that they were involved in the creative process at all just boggles the mind.

Anonymous said...

Tahmeed: Remember when we thought Charles Dance would be Louis's win?

Luke Higham said...

Anonymous: I was quite gutted when that didn't come to fruition. I really would've liked Dance to get his first 'film' 5 on the blog.

Luke Higham said...

Calvin and Bryan: Your rating for Nicolas Cage in Pig.

Luke Higham said...

Less than 2 weeks until The Green Knight's release. Anything less than a career best turn from Patel will be disappointing.

Luke Higham said...

Louis: Have you also seen Hungry Hearts.

Calvin Law said...

Luke: a strong 4.5, possibility of going higher.

I’m not going to be able to see The Green Knight in a cinema at all sadly but I’m hoping it does well.

Anonymous said...

Louis: You interested in watching Ted Lasso? Sudeikis is brilliant, and it's got quite the supporting cast.

Bryan L. said...

Luke: A strong 4.5 for me as well.

Glenn said...

Luke, who do you think will take the overall for 2015 lead.

Luke Higham said...

Glenn: Tremblay, McKellen or Plummer.

Also, I've given up on Mortensen and The Throne guys getting write-ups. 4.5s for all of them.

Tahmeed Chowdhury said...

I'd be ecstatic to see Plummer make the top 5 in all honesty. He's terrific, but the film around him just doesn't deserve a performance like the one he gave.

Anonymous said...

I know it's a low chance, but I want Last night in SoHo to get nominated for screenplay so we can finally call Edgar Wright an Oscar nominated director.

Louis Morgan said...

Marcus:

Decided to leave it off for the sake of recency, though I considered it.

Ytrewq:

Well Fraser could've played Mark Wahlberg's roles in both Deepwater Horizon and All the Money in the World (As he did the latter more successfully anyways.) or Perhaps Justin Theroux's role Maniac.

Can't think of any obvious roles that screamed ideal for Dourif and were poorly portrayed.

8000's:

Colman - (Colman has a wonderful voice similar to Emma Thompson actually, this as basically joyful English.)

Eggar - (Fairly typical English accent though likable enough.)

Greenwood - (One of the most imperious both incredibly sultry and rather commanding)

Anonymous:

Sounds unlikely by virtue of the subject matter.

Anonymous:

Fontaine:

1. Rebecca
2. Letter From an Unknown Woman
3. The Constant Nymph
4. Ivy
5. This Above All
6. Suspicion
7. Jane Eyre
8. The Women
9. Ivanhoe
10. Gunga Din

Note: I've seen exactly ten of her performances.

Louis Morgan said...

Calvin:

The score is the greatest of the element of series I'd argue and one of the few Marvel properties where the score beyond the film as its own character. This as it actually gets to be stylistically its own in this rather fascinating combination of sci-fi and mythic merged into one. This as you get the Theremin and the tech percussion, used beautifully as a pocket watch styling, though wielded within a particularly grand approach.

Hiddleston - (Easy to take his work for granted I think, because he just simply is Loki at this point. This performance though is everything he was as Loki in a single performance in that you get every shade of the character here, both in his literal variations we see, but also in his main performance in showing the changes and growth within the character. Hiddleston's portrayal manages to break new ground with the character successfully here, while also delivering on everything that managed to make him an entertaining and compelling figure in all of his other appearances.)

Wilson - (Perhaps Wilson's best performance and definitely in the Owen Wilson style of performance, however the role is properly tailored to that style so he thrives with it. This as he just brings his innate kind of charm to the part that manages to be a bit more incisive than usual as his sort of folksy manner is part of the way he is so cutting at times. Wilson's turn manages to in a way weaponize his innate kind of kindness he projects as a performer to naturally depict a guy who is trying to bring the best out of people and situations. It's an ideal character for him and he runs with it.)

Di Martino - (Essentially becomes the secondary protagonist as the series goes on and is a terrific traveling companion for Hiddleston in more ways than one. This in bringing enough of a mischievous flavor and confidence in villainy while also projecting just enough of a genuine vulnerability at times that suggests what is fueling her character. I think what works most is her chemistry with Hiddleston which is appropriately complicated as these kind of sparing partners but also mutual understanding moments that work by the way they play off of each other throughout.)

Grant - (Runs in and is just an expected knock out in his few scenes. This first just bringing this blunt kind of exasperation of a man with once delusions of some grander purpose now with just a blunt understanding of what it takes to survive. Grant is wonderfully refreshing in how straight forward he is in portraying his character's kind of "wisdom". This though is against his final scene though where Grant is terrific in giving what basically could've been his grand villain turn, and doing so with the sort of theatrical magnificence you'd expect from him.)

Tahmeed:

It's a little strange how people word, given that most of A24's films were acquired by them not produced by them. I would say A24 has set a bit of standard for themselves in terms of the typical types of films that they distribute, just in terms of typically from a certain kind of independent cinema.

Anonymous:

As with any TV show, I'm not *not* interested, but it is just a matter of time.

Anonymous said...

On the subject of predicting anyone have any super early predictions for Louis's acting winners?

Anonymous said...

Anonyomous:
Best Adapted Screenplay: The Power Of The Dog.
Best Original Screenplay: Last Night In Soho or Soggy Bottom.
Best Supporting Actress: No Idea.
Best Supporting Actor: Bradley Cooper for Soggy Bottom.
Best Actress: Kristen Dunst for The Power Of The Dog or Ana De Armas for Blonde.
Best Actor: Denzel Washington for The Tragedy Of Macbeth.
Best Director: Paul Thomas Anderson for Soggy Bottom.
Best Picture: Soggy Bottom.
Could be wrong on a lot of these.

RatedRStar said...

I had completely forgotten that Brendan Gleeson is starring in The Tragedy of Macbeth, I hope his King Duncan is a meaty role in this version.

Anonymous said...

Your top 20 Glenda Jackson acting moments?

Tim said...

your thoughts on Patrick Dempsey as an actor?

Anonymous said...

Are you interested in seeing any of Mary Pickford's silent films?

Anonymous said...

Louis: Thoughts on Mosaku, Strong and Mbatha-Raw in Loki.

Louis Morgan said...

Anonymous:

1. Despair - Hedda
2. Full breakdown - Elizabeth is Missing
3. Last talk with Mary - Mary Queen of Scots
4. The assassination - Marat/Sade
5. Seeing the truth - The Return of the Soldier
6. Commenting on her Aunt - Stevie
7. Final scene - Sunday Bloody Sunday
8. Talk With her Husband - The Return of the Soldier
9. Strange encouragement - Hedda
10. Newspaper lash out - Elizabeth is Missing
11. The ending - Marat/Sade
12. Hearing about Mary - Mary Queen of Scots
13. Remembering Sukey - Elizabeth is Missing
14. Her relationships - Stevie
15. Speaking on the past - Elizabeth is Missing
16. Listening to the doctor's report - The Return of the Soldier
17. State of her - Hedda
18. Dinner - Elizabeth is Missing
19. Seeing another man - Sunday Bloody Sunday
20. Innuendo - Hopscotch

Tim:

Well of the like 2 performances of his I've seen, I wasn't impressed by his work in Enchanted which was a bit of a failure as a straight man attempt, came off as more smug than suave to me. His work as the plant in the Super Mario Brothers Super Show though is one of the greatest performances I've ever seen. I mean I think several actors wanted to donate their Oscars to him after seeing that performance by just how brilliant it was, and I can't help but agree.

Unknown:

I mean if they're good sure.

Anonymous:

Mosaku - (A good performance if a bit expected early on where we get the "tough guard" routine that is a bit routine, however some of the later scenes that ask more of her. Whether it be her little puppet Loki routine where she does a nice riff on that style, or her later more emotional moments, she certainly delivers with.)

Mbatha-Raw - (She's fine, and I hope she'll have more to do in the future, because here she just more than anything didn't have much to do. I guess you could argue she could've conveyed more with what she had, and I'd say that's true to a degree, but mostly the writing for her just wasn't very interesting.)

Can't avoid spoilers with Strong, but she makes a strong vocal impression is what I'll say.

Anonymous said...

Thoughts on Glenda Jackson in Elizabeth is Missing?

Anonymous said...

What actresses do you think are worst represented by the oscars?

Luke Higham said...

Louis: Rating for Jackson as well.

Tahmeed Chowdhury said...

Louis: Since Ted Lasso was brought up, could I have your thoughts on this scene from it discussing Scorsese's films?

https://youtu.be/u0uaW8_9CF8

Anonymous said...

Tahmeed: Louis is going to hate the fact that the color of money is Ted's favorite Scorsese movie.

Louis Morgan said...

Unknown:

Jackson - 5(I mean it is essentially her "The Father" though the film itself is far inferior, but she makes it easy to imagine how she would've done with that superior material. Jackson is terrific here, and it obvious she's lost not of her grace or intensity onscreen despite her long absence from it. This as she delivers well in creating initially the right kind of a likable if a bit doddering grandmother just finding her way along. This with a degree of confusion but not the overt dementia. This creating the sense of the woman trying to make it work. She then is heartbreaking then in showing the decay of this state of the woman as she goes down the path, here obscured slightly by a melodramatic trapping thrown in via a unneeded mystery that takes us too often away from Jackson. Jackson wholly carries every scene she is and is dynamite in portraying both the most moving and most unpleasant moments of her character's mental decay. Jackson really letting loose all the way in delivering the blunt ferocity of the woman who has no idea what is going on and expressing the palatable fear that realizes itself in cruelty and violence at times. It is truly exceptional work that itself is great, and suggests she would've been game for a far better film about mental decay. Still even within this flawed one she gives a great performance.)

Anonymous:

If we're talking about those actually recognized:

1. Lillian Gish
2. Genevieve Bujold
3. Margaret Leighton
4. Marlene Dietrich
5. Ava Gardner
6. Norma Aleandro
7. Ruby Dee
8. Samantha Morton
9. Lauren Bacall
10. Alicia Vikander

Tahmeed:

I don't know, Color of Money isn't if the best Fast Eddie Movie, and it also is the only movie directed by Scorsese that I could believe was directed by Ron Howard. Also I don't really see Mean Streets as being the consensus pick. Having said that, funny little bit, particularly enjoy the double meaning use of Silence.

Luke Higham said...

Louis: Any moments from A Touch Of Class.

Tahmeed Chowdhury said...

Did I miss something with Vikander, because I remember Louis gave her a 4 for The Danish Girl.

Louis Morgan said...

Luke:

Obviously not.

Tahmeed:

Although she's the best part of that bad film, it's not great representation of her overall, not even for that singular year even.

Tahmeed Chowdhury said...

Louis: As someone who has Vikander as their win for Ex Machina, 100% agreed that she won the Oscar for the wrong performance.

8000S said...

Louis: Regarding stories of Kubrick's on set behavior, do you feel that some people tend to overblow them much like the stories of Kurosawa's on set behavior? Back in February, Shelley Duvall said that when they were not filming anything for The Shining, he was warm and friendly towards her and would spend hours talking with her and Nicholson. David Prowse told Kubrick that he wasn't known as one-take Kubrick, which made him laugh, and Marisa Berenson has also said that he wasn't a difficult ogre and that he had a great sense of humor.

Luke Higham said...

Louis: Rating and thoughts on Liv Ullmann and Norma Aleandro in Gaby: A True Story.

Marcus said...

Louis: How would you explain Roger Ebert's difference in reaction to The Straight Story and The Eleohant Man? Given that they are both Lynch's most straightfotward films, I'm surprised he loved the former and hated the latter.

Louis Morgan said...

Perfectionist:

I wouldn't really qualify either performance as "better" because they're both great.

8000's:

Well I think the thing is any extreme story is more likely to be printed and reprinted just by the nature of what gets views and interest. The truth is "the set was peaceful and encouraging" just is less "Dramatic" than "the set was a nightmare", so I think in general the more extreme stories will take hold.

Luke:

No real reason to, both are wasted in uninteresting parts, with Aleandro's being perhaps one of the most obvious immediate makeup nominations this side of Paul Giamatti.

Marcus:

Two things I think. One is Ebert just was anti-Lynch, didn't like his style or choices, which hey they are idiosyncratic so if you don't like them, you don't like them. He eventually turned around on him with Straight Story and Mulholland Drive, so perhaps if he had been asked to he might've been kinder if given the chance for a reevaluation. The other is this is just one of the examples where he seems to get caught on something overly specific to the point of missing the big picture. This being the perception that the film is about Merrick's courage, which I don't think that's the case. I'd argue its about contrasting compassion and exploitation, and the humanity in Merrick despite his condition. He fixates on that perceived view, which I think honestly just isn't what the film is about. Ebert will occasionally do this, and it is typically when I disagree with him the most. This making a film defined by a sole element, like his review of Die Hard that fixated on Paul Gleason's character to the point of believing it ruined the film.

Anonymous said...

Louis: Your thoughts on the direction, screenplay and editing of the departed

Anonymous said...

Louis: What would be the first Japanese animated film you'd recommend to someone? (Studio Ghibli and one outside of Studio Ghibli)

Tahmeed Chowdhury said...

Anonymous:
Studio Ghibli: Spirited Away/My Neighbour Totoro
Non-Studio Ghibli: Your Name (have gotten plenty of my friends into anime by recommending this first).

Jack Chung said...

Anonymous:

Unpopular opinion, I found Princess Mononoke to be the most digestible anime film for a Western audience.

Outside Ghibli, Miyazaki's directorial debut, The Castle of Cagliostro is also a good choice.

Luke Higham said...

Louis: In regards to Christopher Plummer, do you think it was an absolute travesty that he didn't perform Shakespeare on screen.

Luke Higham said...

Louis: Thoughts on The Last Duel trailer.

Louis Morgan said...

Anonymous:

Tahmeed's choices are excellent. I'd say definitely Spirited Away for Ghibli as I think it is probably the best temperate mix between plot driven and atmosphere driven to give someone the right idea about Ghibli while not throwing them into the deep end.

Luke:

Most definitely regarding Plummer, given that closest we got within an actual feature film was his performance as the Shakespeare quoting Klingon in Star Trek 6.

Much more centered around Comer than I expected to, who looks very promising. Still not sure about Damon's casting, but I didn't think he looked bad here actually. Driver looks far less dastardly than I would have expected, however again this appears to be connected to that somewhat unexpected approach. The technicals seem to be on point, as expected for Scott, the story looks like it has a great deal of potential though it will depend on the execution. This look definitely has my interest though I think it could hit or miss still. Hoping for the former obviously, though particularly given Scott opened with a great success with a film built around dueling.

Louis Morgan said...

Anonymous:

William Monahan's screenplay and Scorsese's direction are an exercise on how to do a foreign remake, because their "re-write" of the material is built upon America, specifically Boston. Monahan plants these seeds via Costello's opening speech, and every little bit throughout, particularly Costigan's background, and is emphasized all the more through Scorsese's direction. Monahan heavily re-writes the dialogue, not just to translate, but to properly translate the men and characters to the new setting. To very much justify the change. It never feels within as written as a forced upon new casing to an old product, it is the heart of the remake. Scorsese takes this and runs with it. This as his direction very much reinforces the sense of place in every choice in location, the detail given to both the "prestige" of the government buildings, against the grit of everywhere else, and actually the decidedly harder edged way he shoots throughout, particularly compared to the original film. I love comparing the two films, because it shows how the same story can work two very different ways. Infernal Affairs is overtly emotional in its examination of both men and work as such, The Departed is far more invested in the Hero pretending to be a criminal, and creates the emotion through the kind of intensity of the situation, this that he ratchets up through his expectedly kinetic work. Where the directors of Infernal Affairs emphasize the big emotional moments, fitting for that film's approach, with Scorsese they just happen and that is fitting for his version of the story, aptly named the departed, as it creates a dog eat dog world, where Affairs is more hopeful. Both also just go about manipulating and modulating the original work to create really a more tense film overall. Monahan keeping the general plot points, slightly to a detriment as he does keep the one major plot hole that always bugs me a little, but fashions them through a narrative that is at a far more constant momentum, from the way he introduces us to the men, to the whole operation that the Departed puts in a far shorter time frame. Scorsese emphasizing that further in his musical choices, cinematography and camerawork choices that emphasize a never stopping thrust within the story, creating a greater since of anxiety befitting our lead. The major departures as written are Costello being expanded considerably, the merging of the love interest, and the crooked cop being far less sympathetic. All three choices work in creating an alternative flow for the story and justifying the remake. This even with the first two creating a more heightened story, it works within its overarching greater intensity approach. Now I don't think either are flawless. Well actually Monahan's screenplay just includes the final rat bit which is a bit much. Scorsese on the other hand I feel just needed to temper Nicholson a bit. I think actually Costello could've worked entirely as written, the most over the top things about him were suggested by Nicholson himself, and I could easily imagine say Gene Hackman in the part giving just a great performance. Scorsese seemingly just let Nicholson do whatever, and in turn I think it makes Costello more cartoony overall than scary. Still the majority of his choices create a proper remake that finds a different life to the story, not a copied one.

The editing I think is good in creating the tension and kinetic quality as to be expected by Scorsese. I think though Schoonmaker here is occasionally a little too abrupt with a couple of transitions in this goal. Again the wrong idea by design just executed slightly more roughly than needed, like the opening music cut when Billy arrives home for example. Not that I would ever equate this to bad editing, rather just seemed an attempt to up the ante even from the kinetic work in Goodfellas, and doesn't quite succeed despite still carrying much is what is needed for the piece.

Luke Higham said...

Perfectionist: He will be reviewed eventually.

Anonymous said...

Do you think an actor/actress will ever match or beat Katherine Hepburn's record?

Luke Higham said...

Anonymous: I think McDormand has enough time left to replicate it.

Mitchell Murray said...

To the comment regarding japanese animation...

For what its worth, I have fond memories of watching studio Ghibi films (Specifically "Princess Mononoke" and "Nausicaa") WELL before I my recent venture into Anime.

Anonymous said...

What is your top 10 worst against type performances by an actor/actress?

Louis Morgan said...

Anonymous:

Beat feels unlikely, Streep and McDormand I think both have the potential to match. I wouldn't have said McDormand, but the seeming ease in which she won for Nomadland, despite her two previous wins with one so recent, says she can do it again. It is always in the cards for Streep given she can get in for performances there isn't even that much passion for, so she's over one hurdle to begin with. What she needs though is a performance that people are truly passionate for. Her last 4 nominations, even my personal opinion aside, were of very respectful kind of praise, with little to no critical support in terms of critic awards. If she turns out a performance that is seen as late career defining, I think she wins again.

Louis Morgan said...

Unknown:

1. Mickey Rooney - Breakfast at Tiffany's
2. Wes Bentley - Ghost Rider
3. Eddie Redmayne - Jupiter Ascending
4. John Travolta - Battlefield Earth
5. John Wayne - The Conqueror
6. Jamie Foxx - The Amazing Spider-Man 2
7. Mark Wahlberg - The Happening
8. Amy Adams - Hillbilly Elegy
9. Paul Rudd - Mute
10. Jason Schwartzman - Fargo

Anonymous said...

Thoughts on Pamela Franklin as an actress?

Louis Morgan said...

Anonymous:

Well I've only seen two of her performances, and I've given thoughts on those two performances.

Matt Mustin said...

Plummer's performance of The Tempest at the Stratford Festival in Canada was filmed and that film is why I'm actor. So there's at least one document of his Shakespeare work.

8000S said...

Louis: Thoughts on this.

https://www.youtube.com/watch?v=tDP_n7C-V14
https://www.youtube.com/watch?v=FPNxM-bGbZ0

Shaggy Rogers said...

Louis: Talk to Fury Road cast in the 80s and 90s with George Miller as director and Mel Gibson as Max

Tim said...

your thoughts on the Editing of the 3 Godfather films?

Bryan L. said...

Shaggy: He gave a 90s MMFR version with Mel Gibson in Lily Franky’s review for Like Father, Like Son.

Aidan Pittman said...

Louis: What's your cast and director for a 1960s version of The Father?

Anonymous said...

Can I have your overall thoughts of these actresses: Laura Linney, Gong Li, Gwyneth Paltrow, Samantha Morton, and Marcia Gay Harden?

Louis Morgan said...

Shaggy:

Hugh Keayes-Byrne maintains as well.

Furiosa: Sigourney Weaver
Splendid: Kelly LeBrock
Capable: Rebecca De Mornay
Toast: Angela Bassett
The Dag: Genevieve Picot
Slit: Steve Bisley
Nux: Willem Dafoe

Aidan:

The Father 1960's directed by Jack Clayton:

Charles Laughton: Charles Laughton
Anne: Celia Johnson
Paul: Jack Hawkins
Laura: Joan Plowright
The Woman: Kay Walsh
The Man: William Hartnell

8000s:

Goodman's interviews always a little bit somber as he's clearly very hard on himself, even while managing to find some humor in it, that one is no different.

Anonymous said...

Louis: Could I get an updated MCU ranking, including all the recent TV shows that have been released?

8000S said...

Louis: Your thoughts on these casting choices for a 50s No Country for Old Men and a 50s L.A. Confidential.

Ed Tom Bell: Victor McLaglen
Llewelyn Moss: Robert Mitchum
Anton Chigurh: Anthony Quinn
Carson Wells: Richard Widmark
Carla Jean Moss: Patricia Neal
Wendell: Tim Holt
Loretta Bell: Lillian Gish
Gas Station Proprietor: J. Carrol Naish

Ed Exley: Kirk Douglas
Bud White: Burt Lancaster
Jack Vincennes: Ray Milland
Lynn Bracken: Ava Gardner
Dudley Smith: Pat O'Brien
Sid Hudgens: Burgess Meredith
Pierce Patchett: Brian Donlevy
Ellis Loew: Hume Cronyn

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