Best Scene: Describing his views.
4. Ivan Dixon in Nothing But a Man - Dixon gives a powerful low key depiction of a man just trying to get back and live his life.
Best Scene: Ending
3. Eiji Okada in Woman in the Dunes - Okada properly humanizes the allegorical scenario his character is in. A powerful portrayal of a man going down a strange but oddly tangible path.
Best Scene: "performing" for the crowd.
2. Saro Urzì in Seduced and Abandoned - Urzì gives a hilarious and compelling portrayal of the intense pressure of a father trying to maintain his family's "dignity" at any cost.
Best Scene: Pregnancy test.
1. Innokenty Smoktunovsky in Hamlet - Good predictions Calvin, Tahmeed, Lucas Stephen, Matt, Glenn, Thomas, David, Omar, Matthew, and Luke Smoktunovsky gives one of the greatest cinematic Hamlets, granting a compelling portrayal of a particularly cunning and internalized version of the vengeful prince.
Best Scene: The Ghost.
Next: 1964 Supporting, though probably won't be a lineup.
42 comments:
I hope you're reviewing Plummer and Mason.
Louis: Ratings and thoughts on the rest of the lead performances.
Your Female Lead and Supporting top 20s with ratings.
And your 64 wins.
And my request is Karl Markovics in The Counterfeiters.
And what did you think of The Fall Of The Roman Empire.
Finally a win, I'm requesting Yves Montand in Jean De Florette (1986 Lead).
My request is Tim Robbins in Jacob's Ladder.
Louis: Your thoughts on Charulata, Ray's direction, and ratings and thoughts on the cast.
Louis, I'll request Tony Leung in Lust, Caution for 2007 Lead Actor.
Delighted Mukherjee's your Actress win.
Happy you loved Umbrellas of Cherbourg too! And I’ll need a bit of time to figure out my request.
Hey Louis!
Tell me from the year 1964 which are your TOP7 best:
- Score
- Poster
- Editing
- Screenplays (adapted and original)
- Cast
- Character of the year
Louis, I've decided to recommend James Mason in Murder By Decree for a review. It's a great performance.
Luke, if the 2000s are indeed coming up next, which year would you like to see.
Louis: Michael Caine in Little Voice is my request. His rendition of 'It's Over' by Orbison is one of his very best moments on screen.
Glenn: I hope its 2000, given Louis rarely ever diverts from the original alternate order, I believe it will be 2000. 2000 is really lacking in 5s at the moment with only 2, so I would like to see that total go up and I'm really looking forward to the Supporting lineup (I think Irons will be a very entertaining read).
With the remaining years, I'm kind of leaning towards hoping that Louis would actually push 2006 forward and take place before 2009, 2004 and 2007 because those 10 lineups will be red-hot in terms of anticipation.
Plus, I'm more than happy with what has been requested so far for those 3 that I am willing to wait longer for them.
Luke, what about Considine in Dead Man Shoes, you've said many times in the past that he has to be reviewed and he hasn't been requested yet. What happens if those remaining spots are taken.
Glenn: I'm in no way concerned about that. If those spots are taken, I believe Leigh Whannell will be a quickfire bonus review because he easily has the lowest potential out of that entire field. And Considine is one of 3, perhaps 4 that will be the overall winner so I don't think Louis will keep him on the back-burner.
Louis: Is there any possibility that Foster, Harrelson and Buscemi could go up for The Messenger. If they are then I'll request Foster for 2009 Lead.
Thomas: Foster could, don’t know about Harrelson and Buscemi.
Everyone’s thoughts on this teaser trailer for The Power Of The Dog?
https://youtu.be/ELvKuuXdfCU
Looks extremely promising. The visuals look beautiful & Kirsten Dunst has the potential to be the MVP of the movie acting-wise
Mathew: I thought it was great and it makes me more confident about putting Dunst in supporting. I hope Cumberbatch can master the accent for the part.
It also looks gorgeous, I think Ari Wegner's coming for that nomination no matter what.
Getting strong Daniel Plainview vibes from Benny C.
Here's the trailer for Spencer: https://www.youtube.com/watch?v=Lagauhb5GyY
I actually think Stewart might pull this off after all.
Robert: I honestly think Stewart could win for this. I think this because there are reasons to not predict the other contenders: Gaga is doing a weird accent that could prevent her from winning, McDormand is unlikely to win consecutive Oscars, Chastain's movie is very unlikely to get any nominations except for her and Makeup and Hudson's movie is also not getting any other nominations.
Luke:
Grant - 4(He still had it, though the original screenplay win might've been a little much, an immensely charming work with just expectedly strong charm and comedic timing from him. Nothing too notable, but rock solid Grant, which is always a good thing.)
Chatterjee - 4(His performance basically needs to be convincingly innocent in that everything he does well potentially prodding on a possible affair is in fact just the man being earnestly friendly. Chatterjee achieves this tone properly with the right charm but also kind of naivety in the interactions. This though with the right change once he realizes what is going on, and albeit brief, he convey wholly the conflict between his divided thoughts on what exactly it is that he should do.)
Mastroianni - 4(Typical Mastroianni, good but straight forward in his usual way.)
Garner - 4(An ideal role for Garner in that it is a more romantic variation of his Great Escape performance, and Garner does sort of this charming kind of cynicism well. This as it would've been very easy to be extremely obnoxious. Garner though wields his charm well and makes the film work, despite its anti-war sentiment that never entirely works when attributed to World War II in my mind, at least not in this way.)
Boyd - 4(A very wonky movie, but Boyd gives a committed performance. This even his breakdown scene, which as written comes out of nowhere, however portrays the random anxiety of the character effectively. Mostly though Boyd gives a fine curious consistency within the man trying to compassionately get to the bottom of the mystery.)
Hamilton - 3.5(Notable film for the time, though way too melodramatically directed for its own good, but still remarkable just for tackling the subject matter at the time at all. Hamilton finds a nice charming low key chemistry with Barrie, and is largely effective in his moments of showing his frustration. Though compared to say Ivan Dixon's work from the same year feels a bit, for the lack of a better word, Hollywood in comparison.)
Belmondo - 3.5(Basically as the original romancing the stone, found him pretty charming here actually in just a straight forward adventurer way. Nothing overly notable about it, but good.)
Ford - 3.5(Honestly found this to be one of Ford's better performances, as despite the somewhat unwieldy nature of the character at times, Ford delivers a genuine charm and chemistry with Page that carries the film through some questionable writing at times.)
Boyd - 3.5(Not quite Crowe, Heston or Douglas, but I thought he was good as the hero in the biblical lead this time. This not going too hard on the earnest lines and actually knowing to rely on presence more often than not. Also liked some subtle moments like in the finale where he offers a degree of sympathy for a character you wouldn't typically expect.)
Rothe - 3(Wholly overshadowed by the co-star as the titular character but fine on his own.)
Widmark - 3(Limited John Wayne style lead character. He does what he can but there just isn't enough there.)
Castelnuovo - 3(I believe he was overdubbed though you still get a bit of charm from his presence. Did think he was substantially overshadowed by the ladies overall, but he's good on his own.)
Harris - 3(What a waste of Harris to have him overdubbed. Sadly an example of disconnect here, though Harris does what he can non verbally, Harris is an actor you very much want to be able to hear his voice.)
Presnell - 3(The only part of the film that I could stand was what he brought to his songs.)
Randall - 3(A mix as his main Chinese impression is typical Hop Sing styling, not Mickey Rooney bad, but not great. Though I'll say when he drops that and speaks philosophically there is actually a pretty strong passion he brings. In addition he actually really does throw himself into the various other parts and brings some distinct physical manner to each.)
Mitchell - 2.5(Dubbed, but forgettable anyways.)
Lead:
1. Madhabi Mukherjee - Charulata - 5
2. Kim Stanley - Seance on a Wet Afternoon
3. Nobuko Otowa - Onibaba - 4.5
4. Anne Bancroft - The Pumpkin Eater
5. Rita Tushingham - Girl With Green Eyes - 4.5
6. Deborah Kerr - The Chalk Garden
7. Stefanida Sandrelli - Seduced and Abandoned
8. Jeanne Moreau - Diary of a Chambermaid - 4.5
9. Nina Pens Rode - Gertrud - 4.5
10. Catherine Deneuve - The Umbrellas of Cherbourg
11. Sophia Loren - Marriage, Italian Style - 4
12. Julie Andrews - Mary Poppins
13. Geraldine Page - Dear Heart - 4
14. Jitsuko Yoshimura - Onibaba
15. Barbara Barrie - One Potato, Two Potato
16. Melina Mercouri - Topkapi - 4
17. Monica Vitti - Red Desert
18. Julie Andrews - The Americanization of Emily - 4
19. Tippi Hedren - Marnie - 4
20. Bette Davis - Hush....Hush, Sweet Charlotte - 4
Supporting:
1. Lilia Kedrova - Zorba The Greek
2. Anne Vernon - The Umbrellas of Cherbourg - 5
3. Kyoko Kishida - Woman in the Dunes
4. Olivia DeHavilland - Hush...Hush, Sweet Charlotte
5. Francoise Lugagne - Diary of a Chambermaid - 4.5
6. Ava Gardner - The Night of the Iguana
7. Anastasiya Vertinskaya - Hamlet
8. Flora Robson - Guns at Batasi
9. Leslie Caron - Mother Goose - 4
10. Pamela Franklin - The Third Secret
11. Abbey Lincoln - Nothing But a Man
12. Edith Evans - The Chalk Garden
13. Mereille Perry - The Umbrellas of Cherbourg
14. Lynn Redgrave - Girl With Green Eyes - 4
15. Keiko Kishi - Kwaidan - 4
16. Ava Gardner - Seven Days in May
17. Honor Blackman - Goldfinger
18. Agnes Moorehead - Hush...Hush, Sweet Charlotte
19. Ellen Farner - The Umbrellas of Cherbourg - 3.5
20. Irene Papas - Zorba the Greek
Tahmeed:
Just missed out on my top ten, actually a pretty strong year overall I have to say given that fact. The film itself is a testament to how you do a seemingly meek piece of a discontented wife and handle it beautifully. That is what the film realizes, and I would say in rather an Ozu like way, though no *quite* that low key, though similarly effective in terms of its virtues and quiet pointed and poignant understanding of people.
Ray's direction in turn is where we see his great skill in the ability to film conversation. Again seems easy, but when a great filmmaker does it differently, you see in a way it is hard. This isn't to say there is too much flash, though there are the moments where Ray tilts his hand, like using Bollywood songs which for once I liked because they actually were relevant to the emotion of the story rather than getting in the way of it. Also the opening and ending are deft quietly stylistic choices that wholly convey the state of our character in silence that is just wonderfully done. The rest though is Ray showing his great skill to capture all there is you can find in a conversation with another person, this joking, deep feeling, teasing, passion, whatever it may be, he finds it so naturally, and reflectively that he makes it look easy, when of course it is not.
Mukherjee - (What a wonderful performance here as the bored wife essentially yet never so simple is it like that in the least. There is such an innate sense of life in her work that is just splendid. This as even the sense of boredom is shown in a way that is rarely found just by the natural detail she finds in it. This in creating so powerfully the sense of a powerful spirit of a person that is constantly seemingly not quite able to express herself. Therefore then the kind of "affair" we get is something truly special, as like In the Mood for Love, it is entirely an emotional and not physical one. The interactions though might as well be in the sense of the intimacy you get particularly in Mukherjee's work that is all the more active in terms of showing her character's passion and real sense of self when interacting with this man that is not her husband. I love though really in the finale where there is so much beauty in just a moment of a husband and wife finally communicating, as it seems simple, but again her performance grants such a vivid detail to everything she's going through, that it is anything but. So much of the film is her work, in that her performance expresses the specific intimate details of this woman technically just finding a way to remove her boredom, however in her hands it is so much more than that.)
Trailers for Power of the Dog and Spencer have placed Cumberbatch and Stewart as new favorites. Smith and Chastain are the runner ups.
Luke:
Fall of the Roman Empire I'd say is better than the lesser sword and sandal epics (Quo Vadis), but not quite up there with the best (Ben-Hur, Spartacus). I'm surprised at the ire it received, as the character dynamics actually are fairly well established as is the overall conflict, that goes along with some striking spectacle. It's not perfect, longer than it needs to be, but it certainly works largely in its intentions. It doesn't achieve greatness, but goodness most definitely. Also, while someone can come back and say, "it's based on the same historical tale", Gladiator totally remade this film. Yes there are differences, and there is history, but the difference from history in Gladiator, are basically the same differences as we get here. This particularly in the structure that hits a few too many of the same beats, particularly the opening and the ending.
Is Stanley still a 4.5 or has she gone up to a 5.
Thoughts on the Female performances and what is your rating for Deneuve.
And could you give thoughts on Andrews in Mary Poppins once you've posted Tomlinson's write-up because I recall you saying that you haven't seen it since Childhood.
Louis: Your thoughts on the trailers for Power Of The Dog and Spencer.
Brazinterma:
Score:
6. Woman in the Dunes
7. Fall of the Roman Empire
Poster:
1. Woman in the Dunes
2. Dr. Strangelove
3. A Hard Day's Night (Heads with Lester)
4. The Masque of the Red Death
5. Zulu
6. Onibaba
7. The Caretaker
Good movie bad poster: Guns at Batasi (Every poster is severely misleading)
Editing:
1. A Fistful of Dollars
2. Woman in the Dunes
3. Zulu
4. A Hard Day's Night
5. Dr. Strangelove
6. Seven Days in May
7. Fail-Safe
Adapted:
1. Dr. Strangelove
2. Seven Days in May
3. Guns at Batasi
4. Woman in the Dunes
5. Charulata
6. Topkapi
7. Seance on a Wet Afternoon
Original:
1. Seduced and Abandoned
2. Zulu
3. A Hard Day's Night
4. Nothing But a Man
5. The Umbrellas of Cherbourg
6. Onibaba
7. Father Goose
Cast:
1. Dr. Strangelove
2. Seven Days in May
3. Zorba the Greek
4. The Umbrellas of Cherbourg
5. Seduced and Abandoned
6. Charulata
7. Zulu
Character of the year:
1. Bill (The Man with No Name)
2. Mary Poppins
3. James Bond
4. Dr. Strangelove
5. The Beatles
6. Goldfinger
7. Oddjob
Anonymous:
Well first, let's not get overly "predictive" at this point, as let's at least wait for some reception first. Anyway....
The Power of the Dog - (As just a mood/aesthetic trailer, with some minor indication to the potential of Cumberbatch/Dunst, a striking first look on all accounts.)
Spencer - (Love the aesthetic, and Stewart looks very promising from that snippet at the very least.)
Louis: Your rating and thoughts on Shailen Mukherjee in Charulata? (unless you're saving him).
Your #11-20 films from 1964.
And your top 5 for Production Design and Cinematography.
Louis: Your #6-#10 for Director in 1964.
Luke:
5 for Stanley, 4 for Deneuve.
Otowa - (Properly diabolical turn in just portraying really the worst of humanity in whole in her performance. This just as she's constantly seething with this wretched manner. What is remarkable is that she makes it wholly human even while never hiding the terrible nature of this quality of the woman. This in every moment you see either the greed or lust that compels her in her in terrible manner. She finds the right balance between the sense of evil that is innate, but the fact that everything is motivated to some extent, though that hardly excuses her. She's a proper terror in every respect with her downfall wonderfully articulated throughout the tale.)
Tushingham - (A wonderful coming of age performance this in bringing this innate charm within her sort of naive manner. Honestly similar work to Mulligan in An Education in many ways, though a bit meeker to be sure. Tushingham though is excellent in showing how her relationship with the older man defines so much of what she does. This in conveying though the sense of sort of self-worth but also frustration within it. She articulates her constant changing state of attitude towards it so beautifully. This in never simplifying a moment of the sense of discovery that comes with the at times very troubling relationship. Tushingham beautifully shows both the joys but also the sense of learning from the particular kind of hardship within it.)
Kerr - (Speaking of films with conflicting direction and script, this film needed really a more gothic tone. Anyway though Kerr is more than game for the material actually needs. This in bringing the right cutting but still sympathetic manner in her interactions throughout, despite Mills being completely wrong for her part. Kerr acquits herself wonderfully in every respect, getting the most out of her lines, but also believably revealing the vulnerabilities that end up defining her character's history.)
Moreau - (Purposefully kind of detached work in a certain sense of creating this unique kind of ambition and manner. A somewhat obtuse concept that Moreau runs with quite effectively. This in creating just her unique sort of almost deviousness in it. Wonderfully performed to be sure, and just establishes well the unique sort of state of her character.)
Rode - (Would be fitting within the Bergman type performances in terms of dealing with this internalized state of anxiety as defined by relationship. She's good in really expressing each relationship through her own performance's manner. This in creating this sense of sincere joy that segues towards frustrations of state, to sincere regret. She colors each phase of each relationship to properly show the flow of her state as a person within her situation.)
Deneuve - (Just a very charming performance largely in just bringing the right sweetness and later sense of kind of an acceptance of an alternative. Her best work is her final scene in creating the sense of conflict but also history in the manner of their interaction.)
Loren - (Basically my thoughts for Mastroianni but for Loren. Their combo always works, but I preferred other renditions of it. Though she is certainly good in this rendition.)
Page - (A part that as written I think almost demands you to be frustrated to a degree. Page though manages to so articulately realize the woman, who basically admits to being annoying to others, that it doesn't at all matter that there is a lack of depth within the character. Page finds the right sort of honest sense of difficultly in her own state without a relationship, and sweetly shows the growth from finding some connection.)
Yoshimura - (Basically a lighter version of what Otowa is doing, good in her own right though.)
Barrie - (I think the film sacrifices character a bit too much for plot. Having said that though Barrie's performance does deliver on creating the low key chemistry with her co-star, and showing the nature of the woman as seeking love and kind of lost in her life before finding herself. When the plot takes over, her reactions certainly are moving, even if the film doesn't quite grant her enough of a genuine perspective.)
Vitti - 4(Good again though I'd say a lesser similar followup to what she did in L'Avventura.)
Andrews - (A minor change of type for her as this woman with a low key sultriness even if still in her type in projecting this sort of innate passion of character. Either way felt it worked her particularly in her kind of frustrated chemistry with Garner.)
Vernon - (My favorite part of the film maybe actually as there just is such a wonderful life she brings, to the point my only real complaint in the film is her character gets kind of a short shrift at the end. Before that though she is just wonderful in portraying in a way a less vicious version of what Urzi is doing in Seduced and Abandoned. This in creating this sense of genuine empathy for her daughter's situation, but with a sense of levity in her manner about it. Vernon brings such a warmth and in a way naturally makes her suggestions not seem from a place of cruelty but genuine care in terms of thinking what she is doing for the best. This also with just working within the musical nature of the film so beautifully. She just has a great manner and style in every regard here. Loved everything she did, and just perfectly captured the romantic atmosphere of the piece, even if her character is technically getting in the way of it all.)
Lugagne - (Her little asides throughout are rather hilarious through the blunt way that she delivers them. This in creating this comical state that illustrates her particular frustration with her position within her household. Finding a naturalistic satirical delivery that frankly made my favorite moments within the film.)
Caron - (Wonderful companion performance for Grant here. This as she is just wonderfully charming as he is, and the two bounce off each other so well.)
Franklin - (Working again on the child who is perhaps a bit too knowledgeable. Though written less well here, Franklin acquits herself well in showing that she may not be all quite there, while also being so direct and intense all the same.)
Evans - (Doing her typical thing here, though effectively so by actually showing a genuine sense of concern even when it seems like she is doing the wrong thing. Evans portrays a very reasonable manner to every moment, and I love that she doesn't at all make a villain out of her character.)
Perry - (Just charming work in creating the right moving manner by showing her physical decaying manner though in her eyes just the most sincere care and joy for others.)
Redgrave - (Good truly supporting work in just bringing the right sort of callousness, cheekiness and genuine empathy in this equal type of measure.)
Kishi - (Good in portraying the two distinct sides that of just the warm wife and the rather coldly intense other thing that she might be.)
Farner - (Like the luminous quality she brings and the manner of suggesting what is always apparent but without overdoing it.)
Razor:
11. Charulata
12. A Hard Day's Night
13. The Train
14. Seance on a Wet Afternoon
15. Fail-Safe
16. Zorba The Greek
17. Onibaba
18. Kwaidan
19. Nothing But a Man
20. Becket
Production Design:
1. Dr. Strangelove
2. Kwaidan
3. The Umbrellas of Cherbourg
4. Hamlet
5. Fail-Safe
Cinematography:
1. Woman in the Dunes
2. Dr. Strangelove
3. Kwaidan
4. The Umbrellas of Cherbourg
5. Onibaba
Marcus:
6. Masaki Kobayashi - Kwaidan
7. Cy Endfield - Zulu
8. Satyajit Ray - Charulata
9. Richard Lester - A Hard Day's Night
10. Kaneto Shindo - Onibaba
Thoughts/rating for Debbie Reynolds in The Unsinkable Molly Brown
Louis: Rating and thoughts on Sophia Loren in The Fall Of The Roman Empire.
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