Masayuki Mori did not receive an Oscar nomination for portraying Kengo Tomioka in Floating Clouds.
Masayuki Mori is perhaps the enigmatic of the great Japanese actors of his period. When discussing the nature of presence as related to an actor Mori was one of the actors that came to my mind who almost seems to erase his given presence per film and starts over. This as watching this film I honestly had no memory of his bitter samurai from Rashomon, his hapless potter in Ugetsu or his heartless businessman from The Bad Sleep Well. He might as well be a whole different actor, well other than Mori has an innate ability to become whatever it is that his role is, and does so without a hint of fuss. That is the case here once again here as we meet him through the perspective of his lover, Yukiko Koda (Hideko Takamine), as her lover during the war. The two would later be paired in similarly tense circumstances in When a Woman Ascends the Stairs, also by Naruse, however again even there Mori seemed so different as the distant though intrigued wealthy man cheating on his wife. He is a man in an affair again, however his manner denotes a different kind of man then in that later performance.
Mori makes his Kengo kind of lost in himself in his ways about himself, there is a lack of certainty in his interactions so much, and portrays a man also lost who perhaps finds himself at times with Yukiko. The film looks upon this unique relationship through glimpses of different phases of both of their lives. Mori, while I would say is co-lead, he is in general the more distant of the two as we often see him through how Yukiko is seeing him. Mori's performance is one of shades in turn. Shades of the man which Mori portrays well in this kind of balance between giving some sense of love to her, while in the same moment seeming to drift more from her. The first romantic scene in a way summing up their relationship to a degree in the matter of fact and blunt way Mori projects his affection for her. This almost a matter of fact though just as he seems to struggle. As we see him throughout the man is shown as someone weighted by all things other than perhaps his most obvious choices in a way.
Mori in turn is a performance that is basically defined by a constant conflict. Mori bounces back from genuinely seeming to have compassion towards Yukiko and care for her, but as quickly he will show the shattered state of the man ripped apart in the other factors of his life that stop him from really any consistency. Mori's portrayal is granting a kind of knowable quality to the unknowable. This as much as Kengo seems all over the place, he never seems truly random rather he is what the world allows him to be in a way. This as in the moment he can be the lover, but in another he is the grieving husband. Where Yukiko is defined so much by the relationship, Mori shows a man who unfortunately defines himself by anything other than the relationship. The power of the performance is creating the logic of Kengo with this, and never making the character as random as his interactions often appear to be. Mori's performance is really tremendous at times by showing how much the man is going through in just the briefest silent interactions, and as hard to comprehend he is at times, Mori grants a difficult understanding to the man's complexities. Mori delivers a frustrating performance in the right way. This as much as Kengo never lets us in fully in an emotional sense, much as he does not for Yukiko, he does allow us to see the repressions of the man within his defenses and evasions in the name of duty, or just for himself. Mori's portrait of this man is appropriately difficult and near impenetrable, but not entirely impenetrable. This making the moments of the truth of the men particularly powerful, as subtle as they are, yet still so keenly felt, such as his surprisingly heartbreaking final reaction that is so simple yet so powerful. He reveals the complexities of the man even within this state, creating a fascinating and very atypical lead for a seemingly well worn tale of two star crossed lovers.
141 comments:
Louis: Your rating and thoughts on the rest of the cast.
Your thoughts on Pather Panchali and Ray's direction, and ratings and thoughts on its cast.
Saw Dark City for the first time. Pretty much loved it.
Cast ratings
Sewell-4.5
Sutherland-5
Connelly-2.5
Hurt-3
O'Brien-3.5(What's funny is for a split second I thought it might be him and then immediately went "Nah", but it turns out it was indeed him)
(I support a Surtherland review for 1998)
Robert: He was gonna be my next request.
Louis: Have you settled on Massey and Shimura's ratings.
Your ratings and thoughts on the lead performances.
Ratings and thoughts on the supporting performances with a 3.5 or higher.
And Female top 20s with ratings and other 4+ honourable mentions.
Louis: And for 1933, I'm only really interested in Queen Christina and Little Women.
And thoughts on Mr. Arkadin, Ordet and Smiles Of A Summer Night.
Louis, your rating and thoughts on Rod Steiger in The Big Knife. How bad was he this time.
Louis: Before you move onto 1933, could you watch The Big Combo.
Louis: Thoughts on Ordet?
Louis: So apparently Journey to the Beginning of Time is said to be the greatest science fiction that the Czech Republic has made, any good?
Louis: Your top 5 for Cinematography, Production Design and music compositions (from film scores).
Louis
Tell me from the year 1955 which are your TOP7 best:
- Score
- Poster
- Editing
- Screenplays (adapted and original)
- Character of the year (name of character and the film)
- Cast
Fredric March, Design for Living
Gary Cooper, Design for Living
Paul Lukas, By Candlelight
Feodor Chaliapin Sr., Don Quixote
Spencer Tracy, Man's Castle
William Powell, The Kennel Murder Case
Edward G. Robinson, The Little Giant
Spencer Tracy, The Power and the Glory
James Cagney, Footlight Parade
Roland Young, His Double Life
John Barrymore, Topaze
Edward Everett Horton, Desgin for Living
Franchot Tone, Bombshell
Harry Baur, La Tête d’un Homme
Louis: Aside from The Big Combo, watch All That Heaven Allows too.
GM: Curious if Louis is going to like Cooper in that film since he thinks he's far more comfortable in comedy.
Louis: This isn't necessarily for 1933, but one person who keeps catching my eye, whenever I see your rankings, is Edward Everett Horton. Every time I see him he always seems to be ranked in consistently solid positions, so maybe you might be interested in seeking out one of his not seen performances.
Alice in Wonderland also, might be a film to look at for 1933, just out of curiosity to see how bad, good or weird it might be.
Watched Nitram, which I thought did a pretty good job in navigating tricky real life tragedy by not sugarcoating how ugly exploring the humanity of a tragic but terrible person can be. Excellent performances across the board.
Calvin: ratings for the cast of Nitram?
Louis: your 10 best Thomas Haden Church and Ron Perlman scenes?
Louis: You've ranked Elroy Hirch in We're No Angels instead of Unchained.
Tahmeed:
Takamine - 4.5(Delivering yet another impressive from her in creating the emotional desperate state of her character. Effective in terms of showing herself as the opposite of Mori in portraying the emotions far more on the sleeve and blunt in trying to reach out unlike the man that is so closed off. She delivers in creating the right sense though how this connection is as much trying to find some grounding with the world now as much as it is being in love with this particular man.)
I would say Pather Panchali differs from most of the other Ray films I've seen in that where the others were combinations of a strong script and direction, here the emphasis is far more on the direction than his writing. This as it is more about exploring this sense of place more than anything as a coming of age defined by atmosphere. Not my favorite Ray in turn, though certainly a good film in its specific approach.
I liked all the performances to an extent though they are limited t creating mostly an authenticity of the place. I think all did this admirably particularly Kanu and Karuna Banerjee and Uma Dasgupta. Despite being the "lead" technically Subir Banerjee is the most kind of their as this place of observation. The other three get a bit more in expressing the family life, particularly the hardship of it later on, and find an appropriate nuance within it, even the most theoretically melodramatic moments.
Luke:
Bogarde - 4(Rather randomly I suppose he reminds me a bit of Tim Curry here, this in I guess the sort of shamelessness in his manner. This as the sinister murderer, who really just likes to almost boast about his villainy, Bogarde is effectively sleazy and self serving. There isn't quite the missing ingredient to make this a truly special performance of this ilk. It is still effective on its own particularly in the moments of Bogarde being so unashamed when the man is most himself, or the moments of frustration when things turn out the opposite of what he would wish.)
Jurgens - 4(Largely a rather withdrawn performance of a man who is always not exactly saying what he means while also having this force of personality about him. It is a good performance though I guess, like the film itself, it never quite pulled me to the extent that I would have hoped. Still he is quite terrific in his final moments where we get a bit more of a reveal of the man at his strange end.)
Crawford & Basehart - 4(I have to say I wish I could hear an original voices dub because I did find both quite impressive in their technically silent performances. Crawford and Basehart both being effective in putting on the different stylings of the conman whether that be of a reverent priest or a slick huxster. They're both effective the most though in the purely silent moments, naturally, of them reflecting upon their lives that seem rather hollow in the end, with both giving some truly moving moments of the men seeming to realize the nothing that comes from their choices.)
Bjornstrand - 4(I mean only kind of lead in that he seems to be the most important character. Bjornstrand though is good in dealing with some seemingly lighter Bergman material in playing this certain glint in his character's eye who is both giving himself towards certain lusts while also in a state of constant frustration. Again finding this right balance in finding a humor in this situation, while also honestly portraying a real man's frustrations from it all.)
Ewell - 4(Pretty much makes the movie with his little ramblings aside here and there when his character lets his imagination get the best of him. Ewell's appeal honestly is how unspecial and unromantic he is, and it is an atypical energy that works rather well. He does not seem like he should be a leading man, and that is what makes it work.)
Kumar - 4(Another example where the musical numbers/pacing kept me at arms length from a Bollywood production unfortunately. I liked Kumar's performance well enough even if it felt a bit too broken up as edited. Still he is effective in going from the eager romantic to the man slowly disintegrating in front of us from scene to scene.)
Malberg - 4(A fine stately performance this in very much being the state of consistency that the more broken people sort of bounce against. Malberg though is good in creating some substance within the stoicism of the father trying to hold things together.)
Gabin - 4(Not exactly stressing Gabin's dramatic muscles too much here, but this is an endearing turn here as the impresario. This in managing to bring the appropriate ease and charm to the role.)
Ustinov & Bogart - 4(Fascinating pairing honestly and it is fun to see them act against one another with such atypical material. This particularly with Bogart as this helpful sort was rather fun to see.)
Wilde - (His performance is a bit mixed. There are some great moments in here where he gets the hard edge down as well as the emotional desperation of his situation of the cop doing anything he can. This against though some moments where his stiffness randomly comes into the performance. A mixed bag, but when he's good here he is very good.)
MacRae - 3.5(Brings the boisterous bravado as required by the part, particularly in his delivery of the songs.)
Hudson - 3.5(I mean in many ways he is mainly meant to be the "hunk" though there is a bit more to do than that. Well he's good as the hunk, and does hit that minor bits of desperation as those come in even if the focus is more so on Wyman overall.)
Palance - 3(Just feels miscast as the overt leading man type. He tries, and isn't bad overall, but he can't overcome that miscasting at a certain level.)
Sinatra/Brando - 2.5(Well the former does the singing well, while the later does have a few dramatic moments. Unfortunately the two can't quite cohere everything that is needed. That is Sinatra needs to be less Sinatry in his non-singing scenes, and Brando needs a bit more of a showman in his showman scenes.)
Smith - 2.5(Pretty forgettable lead, though the part itself is very under written, which it seems like Kubrick finally grew when he finally wrote a decent script.)
Arden - 2.5(Strange choice for a lead as he's really unappealing overall and seems like a guy who should play a random heavy not the lead.)
Ford - 2.5(Pretty forgettable "romantic" turn from him here.)
Webb - 2.5(Honestly it is always comical for me to see Webb not as Joe Friday a bit, as he typically plays the role the same type of way, even when ill fitting as it is here.)
Ray - 2(Completely overshadowed by his cast mates, and I questions who thought of him as leading man timber anyways, he's fairly unappealing on screen.)
Hirsch - 2(Seems like a random guy from the street casting as there's nothing remarkable or notable about his screen presence in the slightest.)
Journey boys - (Um they're really mainly there to look around with a face of wonder, not much more.)
Conte - 4(The Big Combo is a pretty good noir and one of the reasons is here it actually gives more to the villain. Conte being effective here in the pompous manner and the rather reprehensible control he seems to show at all times. This with the sleaze he wears with this ease of power. This is combined though with moments of depth in there though as he speaks towards his minor uncertainties, and is quite effective in these moments as well.)
Kulle - 4(Effective as this counter to Bjornstrand as portraying the man who seems so much more comfortable within himself and his choices. He has this right kind of ease right down to the climactic final moment of the film where he engages in an unlikely test of mental might.)
Welles - 4.5(Fittingly I suppose he's the best part of his film here. This as he brings such a powerful and ominous presence to the titular man. This though as he creates this innate mystery as it is hard to tell if the man is defined by menace or by sadness. Welles plays with this enigmatic quality brilliantly, this to the point that it carries even beyond the reveals to show in a way that the man is kind of both all along. This creating quite the captivating figure throughout, particularly in his final moments of showing the man wholly out of his comfort zone both physically and emotionally.)
Auer, Redgrave & Tamiroff - (Not surprising that the film is from radio serials as these guys would all be perfect for that in just how much color there are to each of their characters all ready to tell a story. The three here all fantastic in their little bits of portraying different men who are part mystery part sleaze, and just are each fun to watch here.)
Rye - (A fairly fascinating performance on its own as the man speaks in such a idiosyncratic way, and finds the right sort of human quality that of just a broken men, though still with this certain ethereal manner to him all the same.)
Duncan - (Wish the film was about him honestly, as he not only brings such a powerful pathos to the notable song from the film, he also just gives the right sense of the prisoner who is stuck in more ways than one.)
Steiger - 3.5(Steiger actually is more subtle here than his other performance, and to be fair playing a villain in a musical is when you can go a little bigger. Steiger though is appropriately restrained though actually in playing quietly with the darkness of the character, while also just bringing that right presence of the creep.)
Albert - 3.5(Brings the right comedic sleaze here, right down to his accent honestly that is overplayed in the right way.)
Nelson - 3.5(He on the other-hand brings the right dopey earnestness that plays well against Albert, even if both have a terrible scene partner in Gloria Grahame.)
Frabizi - 3.5(Kind of just largely in on the con moments of Crawford and Basehart, however certainly effective as they are in these moments.)
Actress:
1. Anna Magnani - The Rose Tattoo
2. Simone Signoret - Les Diaboliques
3. Katie Johnson - The Ladykillers
4. Hideko Takamine - Floating Clouds
5. Katherine Hepburn - Summertime - 4.5
6. Vera Clouzot - Les Diaboliques
7. Jane Wyman - All That Heaven Allows - 4
8. Eleanor Parker - Interrupted Melody - 4
9. Jean Simmons - Guys & Dolls - 4
10. Vyjayanthimala - Devdas - 4
11. Suchitra Sen - Devdas - 4
12. Marilyn Monroe - The Seven Year Itch - 3.5
13. Susan Hayward - I'll Cry Tomorrow - 3.5
14. Shirley Jones - Oklahoma! - 3.5
15. Barbara Luddy - Lady and the Tramp
Supporting Actress:
1. Lillian Gish - The Night of the Hunter
2. Margaret Lockwood - Cast a Dark Shadow - 5
3. Betsy Blair - Marty - 5
4. Eva Dahlbeck - Smiles of a Summer Night
5. Shelley Winters - The Night of the Hunter - 4.5
6. Eleanor Parker - The Man With the Golden Arm - 4
7. Birgitte Federspiel - Ordet
8. Margit Carlqvist - Smiles Of a Summer Night
9. Glynis Johns - The Court Jester
10. Ulla Jacobsson - Smiles of a Summer Night
11. Giulietta Masina - Il Bidone
12. Karuna Banerjee - Pather Panchali
13. Kay Walsh - Cast a Dark Shadow
14. Uma Dasgupta - Pather Panchali
15. Shelley Winters - The Big Knife
16. Peggy Lee - Lady and the Tramp - 4
17. Jean Wallace - The Big Combo - 4
18. Ida Lupino - The Big Knife - 3.5
19. Jo van Fleet - I'll Cry Tomorrow - 3.5
20. Francoise Arnoul - French Cancan - 3.5
Louis: Your rating for Eva Dahlbeck.
Your thoughts on the Female performances.
Louis: Thoughts on the cinematography of The Big Combo and All That Heaven Allows.
your thoughts and rating on Burt Lancaster in The Rose Tattoo?
Luke:
Mr. Arkadin is a pretty strong mystery and one of Welles's better "midtier" films from him. It makes for just a fun ride even with the less than stellar lead, all the fun side character make up for it. And as per usual the techs are stellar.
Smiles of a Summer Night is terrific lower key "light" Bergman, though even light Bergman is getting at some deeply human darkness. This does so eloquently as one of the best mixing of lovers films I've seen. This as Bergman just does so in a way that always feels so keenly observed and authentic.
HTT:
I will preface that I found the ending absolutely extraordinary. Having seen more of his sound work though I feel Dreyer is served best in his most visual moments, and those that exist here, are indeed striking. I did feel, though I felt this more so with Gertrud, that when scenes are strictly speaking he can occasionally get a little staid. I felt that was the case here in certain scenes, though overall the heights of the achievement though are quite striking, though I think in terms of Scandinavian filmmakers, I think Bergman would kind of show how to handle dialogue driven scenes of contemplation more so than Dreyer does so here.
RatedRStar:
Um the effects are cool for the time...really it is otherwise just really going from one effect to another as this pseudo documentary.
Razor:
Cinematography:
1. The Night of the Hunter
2. Les Diaboliques
3. All That Heaven Allows
4. Ordet
5. Summertime
Production Design:
1. The Night of the Hunter
2. French Cancan
3. Richard III
4. East of Eden
5. Samurai II
Score Pieces:
1. "Murder" - The Night of the Hunter
2. "Bella Notte" - Lady and the Tramp
3. "Main Theme" - East of Eden
4. "Main Theme" - Rebel Without a Cause
5. "Riverboat" - The Night of the Hunter
Brazinterma:
Score:
6. Samurai II
7. Picnic
Poster:
1. Rififi
2. French Cancan
3. I Live in Fear
4. The Seven Year Itch
5. Rebel Without A Cause
6. To Catch A Thief
7. We're No Angels
Editing:
1. Rififi
2. Bad Day At Black Rock
3. Les Diaboliques
4. The Night of the Hunter
5. Mr. Arkadin
6. The Big Combo
7. Rebel Without a Cause
Original Screenplay:
1. The Ladykillers
2. I live in Fear
3. Smiles of a Summer Night
4. The Big Combo
5. Il Bidone
6. The Court Jester
7. All That Heaven Allows
Adapted Screenplay:
1. Bad Day At Black Rock
2. Rififi
3. The Night of the Hunter
4. Les Diaboliques
5. Marty
6. Mister Roberts
7. East of Eden
Characters:
1. Jim Stark - Rebel Without Cause
2. Harry Powell - The Night of the Hunter
3. The Girl - Seven Year Itch
4. The Tramp
5. The Lady
6. Marty
7. Ensign Pulver - Mister Roberts
Cast:
1. The Ladykillers
2. Les Diaboliques
3. Rififi
4. Smiles of a Summer Night
5. Marty
6. Cast a Dark Shadow
7. Il Bidone
Anonymous:
Steiger - 1.5(Early example of late Steiger. This is just one bellowing fit of hot air every second on screen. He's just so over the top and ridiculous. This using every ounce of his voice and bit of his eyeballs to express, and it is all far too much. This is particularly since this film seems to be going for a realistic approach, which everyone other than Steiger seems to understand.)
RatedRStar:
Well he basically comes from the time of the inconsistent supporting performers period, where he was remarkably consistent. Now he was usually doing a minor variation on a theme, but he was good at that theme, which is far more than what can be said of most supporting performers from the early 30's.
Also watched Nitram, and have to say I hope Kurzel continues this trend away from style for the sake of style, as now he's actually using to tell his stories rather than frequently getting in the way of them. I found this to be his most assured work yet (as even Kelly Gang which I largely liked had those go-pro shots). Providing a striking examination of a figure who seemed cut from the wrong cloth, here infused with the chilling atmosphere of Snowtown, however here with less repetitiveness in that style, and far more room for the development of the central disturbed character and his out of their depths parents.
Saving LaPaglia and Jones (Who I won't say more on overall at the moment, but I have to give him credit as I said to myself "Wait was Jones always an Australian actor?" with how convincing his accent is).
Judy Davis - 5
Essie Davis - 4.5
Luke:
Hepburn - (Does the spinster well to be sure, and here is a performance that actually mainly asks for Hepburn to be just natural more than anything. She delivers on that and succeeds in low key creating the sense of the character's initial loneliness and later expansion to trying to understand her new surroundings. It is lovely work that in many ways very much makes the film.)
Wyman - (Although I would argue slightly miscast in that she's clearly not that old here, and I think the film might've made slightly more sense with an older actress, though I think it still works in a class sense. Having said that Wyman brings a nice grace to the part here, and is particularly good in showing the slowly growing discontent in the woman as her anxieties of the situation slowly builds around her.)
Parker - (A then this happens biopic to be sure, but Parker is good in bringing a genuine life to it all. This is even in her non-singing song sequences that she still throws herself into physically quite effectively. Overall though she just gives a nice dogged quality and hits the expected emotional beats well.)
Simmons - (The best part of the film with ease as she brings the right showman's ease and hits the minor dramatic beats of the piece as well. She brings the right endearing charm to it all, and just gives a lovely turn, as to be expected.)
Devdas ladies - (Honestly they give two shades of the same coin though in showing the state of the nature interaction with Kumar, showing on one side the willingness of warm but also the hesitation of her state, against the comfort of her state but the lack of willingness to fully express her warmth.)
Monroe - (Doing her thing here in a role primed for her, that works in just bringing the right sort of daffy energy as she's seductive in a completely innocent way.)
Hayward - (A little mixed here. There are some genuinely good moments in her portrayal of the emotional desperation of her character, particularly later on when in recovery. She also though has a tendency to go overboard with the melodrama and the breathy nature of her delivery that feels old Hollywood in a bad way.)
Jones - (Just straight forward charming work in a straight forward role.)
Lockwood - (I'd argue better than the film deserves in a way as the film doesn't quite make her lead when it should. This as she's wholly brilliant in portraying a woman in total control of her powers who is using Bogarde's character from the instant she spots him, despite his beliefs to the contrary. Lockwood is brilliant in just how in control she with her performance. This with such a blunt earthy quality that feels so lived in and brings such an unexpected angle to every one of her scenes. She makes it all so sincere though which is particularly fascinating, and just owns the screen every second she is on it. This as she grants such honest detail to this role, that I think could've been a throwaway shrew, however she isn't that, she's so much more. It's brilliant work that I wish was in a superior film worthy of just how good she is, though the film is actually okay.)
Dahlbeck - 4.5(Surprised Bergman didn't use her more, then again both major times it is in his comedies, where she excels with his particular sense of humor and wit. Dahlbeck is wonderful in expressing her character who is most in possession of her immediate powers it would appear. This with such an innately seductive chemistry and this certain sense of understanding of herself. She's wonderful though in bringing this quiet sense of her own desires that while hidden by her degree of confidence is not all that there is to her. She's terrific in creating both the sense of a seductress and a genuinely caring lover.)
Federspiel - (There is just a calm striking ethereal power to her work. This as she stands out in a way by portraying a character who isn't burdened in a way the others are. This finding a moving quality in this sincerity of spirit.)
Carlqvist - (Moving in portraying the character who may have most on the line. She is incredibly effective in building on the state of showing someone who is far more comfortable with her situation than she actually is. This showing the bubbling discontent always below the surface, and the real harsh reality she is living in.)
Jacobsson - (Wonderful in portraying this near one note, however effectively so in this sort of frustrating kind of innocence that is just beautifully done.)
Masina - (Always wonderful really, and lends just such a potent honesty to anything she does. This included her in portraying effectively this sort of blunt reality in reaction towards the men around her and their sort of self-delusion. She bites right through that effectively with a greater agency than her characters typically have.)
Walsh - (Effective in both being ambiguous but not vague. This in her work is to lead to something, which she wholly delivers on as effectively as possible, but does so in a way that feels honest without giving it away either.)
Winters - (Wonderfully ditsy yet moving work in a single scene where she kind of steals the whole film that I felt. This as she brings so much character to every second she is on screen and just makes for such a endearing if also troubled figure.)
Wallace - (Effective in portraying the depressed state of the character that slowly segues towards some kind of conscience for her character. She avoids overplaying the moments giving the right sense of purpose away from depression in the character basically finding herself.)
Lupino - (As she often does, occasionally falls into a bit of melodrama, but overall I did like her more sincere moments with Palance in giving a sense of their more honest romantic connection.)
Fleet - (Found this more consistent than her Oscar winning turn in bringing the right combination of overbearing yet still caring as the mother who wants to help but also doesn't quite know how to.)
Arnoul - (Absolutely endearing every moment she is onscreen. A limited role overall but she's just a burst of energy for every second of it.)
Magnani - (Just a tremendous performance that shows how one can make the most of material. This as the film itself I don't think is particularly great, but Magnani is outstanding. This in creating such a remarkable force of personality. She always feels absolutely real in this at every point. Whether that be as the over protective mother with a strict religious conviction, or one wishing to support her daughter. Magnani makes one as natural as the other by providing such nuance to every moment. This is the same in her chemistry with Lancaster in that she can do a near dead pan, but also be so filled with warmth and love. This the same in the frustrations of her lost husband where we see both such quiet frustration but also that of explosive. Magnani earns it all in such powerful strides. It is incredible work as she just dominants the screen, and even makes scenes work when her scene partners might be struggling. It is amazing work as she picks up any slack and just deliver in every moment of the film.)
Ytrewq:
Church:
1. Wallet Story - Sideways
2. "You got my wallet back" - Sideways
3. What really happened - Spider-man 3
4. Excuse - Sideways
5. Reappearing - Peanut Butter Falcon
6. First "romantic" intro - Sideways
7. Ending - Killer Joe
8. Trying to comfort Miles - Sideways
9. Waitress Seduction - Sideways
10. Brawndo motto - Idiocracy
Perlman:
1. First scene - Hellboy
2. He's gotta go - Drive
3. Choice - Hellboy
4. Bit of bonding with the boss - Hellboy
5. About to be burned - The Name of the Rose
6. How's the leg - Drive
7. Relationship woes - Hellboy 2
8. They look back - Pacific Rim
9. Argument with Krauss - Hellboy 2
10. Argument with Chuck - Chuck
Not gonna lie, was expecting a 1 for Steiger. Must have been a pain for Aldrich to deal with him on the set of that film.
Thoughts/rating on Marisa Pavan in The Rose tattoo?
8000's:
Russell Metty's work for All That Heaven Allows is just gorgeous work. The vibrancy of the colors here is just outstanding. This is particularly the blues of the snow scenes that just are so filled with the atmosphere of winter from that alone. There isn't a shot that doesn't honestly doesn't look like some sort of gorgeous near Rockwellian type of painting of a distinct fifties Americana. This though with that style in the lighting that lends such vividness to every scene, and all while composed and shot with such a distinction.
There is some fantastic work from John Alton in the Big Combo, the highlight is the ending that is all about lighting that is truly a classic noir sequence in highlight only the figures so beautifully. The rest of the work though is worthy of praise in bringing the noir in the film noir, in just creating that dynamic moodiness one seeks. whether that be perfectly place figures in the shade, or the looming figures together in a smoky room.
Tim:
Lancaster - 2.5(I mean a bit like Nicolas Cage, it is hard to accuse of Lancaster of phoning it in even when he's going in the wrong direction. That is the case here, where I see what he's going for as this earthy average guy manner, but he's honestly miscast as such. Frankly they probably should've gotten someone a little more average in a way. Lancaster does have some good moments in there with Magnani, but there are also moments where he goes off the deep end with his mannerisms of the character.)
8000's:
There's a couple moments before he starts barking where he's quiet and not saying anything where he's okay, that's the only thing that keep him above a 1 for me.
Anonymous:
Pavan - 2.5(Really was not impressed by her work where she too struggles with her English it seems but unlike Magnani she isn't amazing and makes that naturally part of the character. She really goes far into melodrama more often than not in over emphasizing lines. She has some okay moments with Magnani at times where she's more reactive, but overall I found she amplified the weaker elements of the material.)
Louis: Thoughts on the two Davis's and what are the category placements for the cast of Nitram.
How did you guys see Nitram?
Luke:
Jones is the sole lead to me.
Matt:
You can do a free thirty day trial on the Australian streaming service "Stan" to see it, though you may need to "fudge" a few addresses to do so.
Louis: On the note of Nitram, what would be your favourite and least favourite "australian/kiwi" accents in film/TV, from non australian/kiwi actors?
Dev Patel from "Lion" immediately comes to my mind - even watching trailers for the film I was taken back by how genuine it sounded.
Louis: Your #6-#10 for Director in 1955.
Louis: Also, what would be your thoughts on the scene from "Layer Cake" where Gene beats up XXX after finding out he killed Jimmy?
I don't know why, but the way Craig slumps to the ground after crawling out of the freezer makes me laugh every time.
Louis: Thoughts on these tributes to Frank Capra from Jimmy Stewart, Bette Davis, Donna Reed and Claudette Colbert.
https://www.youtube.com/watch?v=1AGbKhMDXoY
https://www.youtube.com/watch?v=HV9Ovo7rVcs
https://www.youtube.com/watch?v=zKWM9gHcINw
https://www.youtube.com/watch?v=TI8XetlS-uU
Louis: Your thoughts on Summertime.
Louis, your thoughts on Judy and Essie Davis in Nitram.
Luke, who do you think will win Best Actress 1933.
Glenn: It's going to be a very easy win for Greta Garbo.
RIP David Gulpilil
RIP David Gulpilil
RIP David Gulpill
Personally, Ordet is a perfect film for me. I'm not christian, I'm infact an atheist, but I do not think you need to believe in God to resonate with Ordet. It isn't christian propaganda, it's a film about the power and importance of faith. On my first viewing, I experienced chills several times, and I wept like a little baby during the ending. I honestly think it's Dreyer's best alongside Joan Of Arc. Capital M Masterpiece.
Also, RIP David Gulpilil
RIP David Gulpilil
R.I.P. David Gulpilil
RIP David Gulpilil.
R.I.P. David Gulpilil
RIP David Gulpilil
R.I.P. David Gulpilil
Luke:
Essie Davis - (Her performance is relatively brief however she is fascinating in realizing the lonely desperation of her character albeit briefly. She tip toes brilliantly in terms of eccentricity of the character in showing this potent combination of her own sort of misplaced hopes though with a genuinely endearing quality in terms of seeming wish for some sort of comfort in the very unlikely and off-beat relationship that develops. She's effective in showing the way that the relationship is a way to ease her desperation but is also genuine in the moments of connection. She plays particularly well with the sort of line between knowingly deceiving one's self and being genuinely out of her depth.)
Judy Davis - (She's fantastic here in creating the sense of really a mother who so much so has just kind of given up her son, but she never makes this simple quality. Her performance rather shows the weight of the history of this suggesting that this choice of hers has long been coming in this sense. This as she never makes it a simple wish to break off the idea rather shows the consistent struggle basically when she still cares pushing against her sort of despair in the frustrations represented by her son. She never makes the role a villain but rather shows the sort of broken nature of a woman whose good intentions at one time seemingly have destroyed her over time. There is so much in her performance in creating the right nuance of showing really the whole childhood of the titular figure even though we don't see it, we see it in this woman who has the strangest views of her son that she goes from phases of defeated trying to disbelief, towards ambivalence. It is remarkable work in creating really someone who has been wounded by the experience in her own way.)
Mitchell:
Best:
Patel, Jones, Kate Winslet
Worst:
Coburn & Bronson (The Great Escape though I like their performances overall)
Quentin Tarantino
HTT:
Fair enough.
Anonymous:
6. Elia Kazan - East of Eden
7. Akira Kurosawa - I Live in Fear
8. Ingmar Bergman - Smiles of a Summer Night
9. Carl Theodor Dreyer - Ordet
10. Sanjit Ray - Pather Panchali
Mitchell:
I mean who better to perform a beat-down than Colm Meaney? Agreed though in the more comic manner of Craig's reaction, plus Meaney's casual delivering when he admits to how he knew.
8000's:
I mean we should all inspire to have our lives told with such reverence from Jimmy Stewart, which in a way is proper Americana in every sense, just as Capra's story was.
Enjoyable to hear Davis admitting the contention of their working relationship while praising his standard.
Reed's and Clbert's both are just a sweet thank you.
Has anyone here asked Louis if hes seen Squid Game yet?
Louis: Have you ever given your thoughts on Olivier specifically as a director?
Louis: Your top ten favourite performers who you feel best exemplify the 'leading man' or 'star.'
The Great Season 2 is fucking fantastic.
Anonymous:
He has been several times. I'll watch it eventually, probably sooner than later.
Matt:
I think I have, but to dive into it a little bit, I think he's underrated as such. Now forgetting Prince and The Showgirl, which actually is a decent enough adaptation of a lesser Rattigan play, his Shakespeare adaptations sought to make truly cinematic adaptations, that perhaps still aren't given enough credit for how daring they were. Whether it be making Henry V a proper war epic, with that brilliant staging device of going from the Globe theater to the fields of war, although he admitted himself he perhaps overdid it a bit, shooting Hamlet as a film noir was a fascinating choice, and does work wonders in parts. And then his Richard, I think might've invented the villain who conspires with the audience. Each are brought to life with obvious technical skill but a real artistry in crafting a cinematic treatment for each play. It is a true shame we never got his Macbeth, which supposedly was his performance apex on stage.
Marcus:
Paul Newman
James Stewart
Sidney Poitier
Cary Grant
Clark Gable
Humphrey Bogart
Sean Connery
Tom Cruise
Denzel Washington
Harrison Ford
If we're speaking throughout their career, as I feel someone like Jack Nicholson lost that quality to a degree after a certain point.
Robert:
Indeed, I'm on episode 4, and everything Hoult has been doing has been pure gold, though I've been loving the whole thing.
Louis: The supporting cast is just fucking ace this year, and I already liked them a lot in the first season. Hodge, Bromilow, Fox, Godley, Lee, everyone firing on all cylinders. (Also, somewhat spoiler-y, Freddie Fox's return is GOLD)
Luke:
Perhaps Lean's least substantial and ambitious film, well other than Madeleine where I'm not sure what was going on there, but as Lean's sort of vacation travelogue film, I liked it. Beautifully filmed of course, and that's about half of it, but benefits greatly from Lean's keen sense of place. The story is relatively thin, but the style and Hepburn's work makes up for it, more than a bit.
Robert:
Agreed from what I've seen so far.
Your top ten favourite performers who you feel best exemplify a 'leading lady"?
Louis: Your thoughts and MVP on last night's Succession? Felt that Strong and Macfadyen were terrific, and that Culkin was at his smarmy best as well.
Louis: Thoughts on Roy William Neill's direction in The Black Room. Watching the film made me wish that Karloff had done more films where he plays multiple roles. I mean, just imagine him playing multiple servants of some haunted house or something, wouldn't that have been awesome?
your thoughts on this scene?
https://www.youtube.com/watch?v=ueVPUsyrT0s
Anonymous:
Greta Garbo
Audrey Hepburn
Ingrid Bergman
Vivien Leigh
Michelle Pfeiffer
Olivia De Havilland
Sophia Loren
Marion Cotillard
Joan Fontaine
Irene Dunne
Tahmeed:
Thought it was a fantastic episode just seeing the basic slow dissolution of any sense of happiness or confidence in Kendall in his quiet and slow meltdown. Hard to really go against Strong here, as he pulls off the painful arc beautifully, however also thought Culkin, MacFadyen were great, and honestly was tempted to say Braun as the best levity possible in his hilarious awkward flirting.
8000's:
Neill's direction is just a triumph of gothic atmosphere, though largely a vehicle for Karloff to be a magnificent creep, and with a bit of a gentle side. It wholly work as such, in part because Neill's matches Karloff's offering with his own thick atmosphere. Whether that just be in the detailed costumes, the magnificent sets or the dynamic cinematography. I think what holds the film back is there isn't too much beyond Karloff and the atmosphere/aesthetic as the script overall is pretty thin, particularly the development of the characters outside of the brothers. Still Neill matches his monster well in his own work, and does indeed make one wish we had gotten more of Karloff playing multiple roles at once.
Tim:
A scene among scenes of strangeness, given it comes out so randomly in terms of the scene execution and I have to be honest Cates's delivering isn't exactly the most stellar. In a way something very much emblematic of Joe Dante's dark humor, though not 100% certain on the execution of it, though on its own a colossal creepy idea.
What exactly do you think qualifies an actress to be seen as a leading lady?
Because I know Sissy Spacek and Geraldine Page are two of your favorite actresses yet you didn't include them
Anonymous:
If we're talking about kind of the classic out and out charismatic idea of an actress. Spacek and Page are both amazing actresses, and are capable of charm and charisma, however it isn't their innate presence, nor is their typical charm that kind of "Hollywood" charm so to speak. Best actresses, or even just most charming in anyway, would be an entirely different list. Same with actor, I mean Richard Farnsworth I find one of the most charming on screen presences period, but I definitely would not consider him a "leading man" in a traditional sense.
Louis: What's your vote for most infuriating waste of an actor for this year? I'm leaning Nicholas Hoult in Those Who Wish Me Dead.
Robert:
That's a good one (also one of those films I often forget even exists). Maybe Willem Dafoe in The Card Counter (guess we needed more dull Sheridan) or maybe Marion Cotillard in Annette.
Watched CODA. Was not a fan. Between this, King Richard, and tick, tick… BOOM, thinking maybe crowdpleasers aren’t my thing this year.
Robert:
With you all the way on that one.
Louis, your rating and thoughts on Joan Greenwood in The Importance Of Being Earnest. Can't find them anywhere.
your Top 10 greatest truly supporting Performances? Like those that don't have a lot of scenes or even a single scene for their own?
Louis: Has King Richard not been staying with you then?
He could be referring to CODA.
RIP David Gulpilil
Anonymous:
Well then a relatively limited role, however Greenwood, an underrated actresses of the period, is an expert in flirtatious wit. She has just a wonderful cutting no matter what. Here playing one of her more virtuous roles, however her presence makes a certain greater incisiveness than the part likely would've had regardless.
Tim:
I mean I've given my list of "one scene wonders" before, however do you mean like near bit parts?
Michael:
I was referring to CODA there specifically, though the more I think about King Richard the more it's falling into the "it's fine" category for me.
Louis: You finish Season 2 of The Great?
no, i meant those that are not the focus a lot. That don't have scenes mainly about them, but always just working in tandem with others.
Sam Rockwell in Jesse James, Karl Malden in Streetcar and the likes
Louis: Your thoughts on the Dead Ringers scene where Claire confronts the twins at the restaurant. Can I just say that Genevieve Bujold has the loveliest French-aCanadian accent?
Louis: you'll be pleased to hear that apparently there's no touch of the supernatural in Del Toro's Nightmare Alley.
I'm hearing this is a career best turn from Cooper and Blanchett's best performance in a long time.
Really hoping Cooper gets his first 5 for it, and also that Power gets upgraded for the original.
Before I forget, for 1933, I would like to recommend Louis watch The Story of Temple Drake, which contains what might be my favorite Miriam Hopkins performance.
What strikes me most about the West Side Story reviews are how many are singling out Mike Faist as Riff. I guess Kushner expanded on the role?
Robert:
Not yet, though I'll let you know when I do.
Decided, unfortunately, to instead watch Beatles: Get Back which I honestly would only recommend to a Beatles Completest (which I am not).
Tim:
Hmm...let me ponder that one a bit.
8000's:
Fantastic scene really in terms of all three performances honestly. From Bujold disgusted discontent against Irons who is fantastic in both roles of showing Beverly's shame and Elliot's smarmy lack of it.
Calvin:
Well certainly glad to hear that, sounds like it's faithful to the novel, so definitely interested to see what it has to offer, since again Del Toro I find struggles with story, and he already has the story right in front of him.
ruthiehenshallfan99:
I'll certainly check that one out then.
Robert:
I mean one would assume he brought Kushner in for a reason. Reactions certainly have been impressive (outside unsurprisingly for Elgort) , and this definitely would be a project that would be easy to tear Spielberg a new one on.
Louis: Any thoughts on the NBR winners.
Luke:
Predictions Wise:
The acting winners don't usually say *too* much, out of the four it benefits Hinds the most as it sets him potentially as the one from Belfast (if only he or Dornan can get it in, though I don't think Dornan is it out of the fight by any means). Followed by Zegler, who could be NBR only, but that at the very least puts her in the race, which no one was predicting really up till this point.
Otherwise everyone who got in were more or else expected to be players. Though notable for The Last Duel (over Gucci)and Red Rocket.
The major misses being Gucci, The Power of Dog and The Lost Daughter, though the NBR usually loses at least a couple eventual Oscar contenders so nothing to worry about yet.
Quality Wise:
Well looking forward to seeing Licorice Pizza, Nightmare Alley and Red Rocket, Macbeth, now West Side Story, and less so...my civic duty to see Don't Look Up (yes I should be more open minded but you know I was for Vice...and we see where that got me).
Otherwise great to see Dune and, The Last Duel. Don't really mind King Richard or Belfast being there either, though I personally would've put the Power of Dog over both.
I'm starting to feel that Oscar excitement, one of the many great things about December =D.
I swear, Adam Mckay must be one of the most affable directors to work with, because if "Vice" was made by any other film maker with comedy roots, I'm not sure it would've attracted such a cast or had been recieved quite as well.
Thoughts on the Beatles doc?
I just watched Belfast and that was a well deserved win for Hinds (easy MVP), but boy did I absolutely NOT care for this film at all. Branagh's win, if it happens, will be my least favourite since Hooper, so I really hope it doesn't. Also what the hell is the praise for that cinematography? Not all B&W films should automatically be deemed Oscar nomination worthy.
Calvin: ratings for the cast of Belfast?
PS: i watched it this morning and loved it!
Here is how i would rate the cast:
Jude Hill - 3
Caitriona Balfe - 4.5
Jamie Dornan - 4
Judi Dench - 3.5
Ciarán Hinds - 4.5
Must say, I'm most pleased with one of my country's most underrated performers getting the recognition he deserves.
Louis: Oh, definitely do! If I'm honest, she has very quickly become a pretty major favorite of mine.
Calvin: Glad I'm not the only one who didn't like the cinematography. It felt really overly dramatic to me and I would bet money that if we counted up all the shots in the film that it at least half of them would be close-ups.
Hill: 2.5
Balfe: 3.5
Dornan: 3.5
Dench: 4
Hinds: 4.5
Aidan: Very underwhelming work, also those colour shots…less said about them the better.
Louis: Rating and thoughts on Teresa Wright and Judith Anderson in Pursued and Sam Jaffe and Richard Conte in 13 Rue Madeleine.
Luke: I presume your talking about Hinds (obviously), but in any case, I didn't know you were Irish, dude...
Beyond Hinds, who would you say are some other underrated Irish performers working today. I'll include those from Northern Ireland in this question (Ex. Liam Neeson, Jamie Dornan), even though I'm versed enough to know it's a seperate country from the Republic of Ireland.
Mitchell: I'm from the North. Stephen Rea, Conleth Hill, Adrian Dunbar and Richard Dormer.
Luke: I'm not overly familar with the other two, but I've liked Rea and Hill in what I've seen them in.
Might I ask what part of Northern Ireland your from?
Mitchell: Banbridge, County Down
Luke: From google maps, I would guess thats about 100 km north of Dublin...
That's something I find very interesting about UK geography; Namely, the idea that you can travel 100-200 km and be in an entirely different country, but if you do the same in Canada, you're not even half way across the 401.
I'll also admit, it's sort of a life dream of mine to travel across the UK. I haven't decided where I'd want to go first, but the major cities (IE Belfast, Dublin, London, Glasglow) wouldn't be a bad start. Plus, it's in my heritage (see my last name).
Mitchell: Don't forget Cardiff (I love Wales deeply) and Edinburgh (It's much nicer than Glasgow. Very little of it has been modernized compared to other UK cities and alot less sectarian violence goes on there too).
Anonymous:
First amazing restoration, and I really hope Jackson restores more footage because that is incredible work. He barely makes a doc, and while had more hours than are present, it honestly doesn't feel like he cut anything out in its ponderous approach. This actually works for the roof top concert, but too often it just is nearly dead air, or just repeated (barely) riffs of the same song (I never ever wanted to destroy every copy of "Get Back" the song until this doc, which I just genuinely hated at the end of the doc, a song I used to like. As in I never want to hear it again, and I think that's a problem, the amount of repetition is nauseating). There are fascinating moments in there to be absolutely sure, but like probably 2 hours or so worth, not 7 or more. It needed to be cut down, I mean release the "for the fans" cut that's over seven hours, and release a fan of compelling docs cut that just takes the best bits out. I mean if you love anything the Beatles, and I mean anything, sure take it, but I like the Beatles when the Beatles are interesting, which is only some of the time.
8000's:
Probably should re-watch Pursued as my brain keeps merging it with Blood on the Moon.
Jaffe - (Always can deliver gravitas and that is certainly the case here. This bringing quickly and bluntly the sort of emotional stakes of the situation in addition to the sort of needed intensity. Brings the right kind of humane intensity to the part of a man seemingly trying to do the right thing that requires though a degree of viciousness.)
Conte - (Effective in not being of note early on then reveals a dark sleaze of the character is reveled the truth of himself. Just bringing the right accomplished villainous glee, but also this kind of matter of fact manner befitting the nature of the villain.)
Luke, your top five Stephen Rea performances
Anonymous:
1. The Crying Game
2. Citizen X
3. The End Of The Affair
4. War & Peace
5. Interview With The Vampire
So I watched Drive My Car, the perfect antidote to the shameless Oscar bait of Belfast, just a brilliant film with two of the best performances of the year and three hours just flew by like nothing even with its slow and gradual story, it's quite something. I think it'll end up being one of Louis' favourites of the year.
Nishijima: 5 (definitely in my top 3 with Cumberbatch and Rogowski, could even possibly be my win)
Miura: 5 (runner-up to Negga)
Okada: 4.5
Kirishima: 4
Park: 4/4.5
Everyone else is excellent too and at least a 3.5
The Lead Actor category looks insane this year. I'll be devastated if Louis doesn't get to review all his 5s.
Kodi Smit-McPhee just won NYFCC, fucking awesome.
Cumberbatch, Gaga, and Kathryn Hunter the other three winners
Having seen all four acting winners, that’s a strong quartet, can’t complain at all really. Hunter is particularly inspired.
Oh shit Drive My Car, this is so good for it.
Louis: Thoughts on the NYFCC winners.
Louis: Are you following the World Chess Championship, and if so, who are you rooting for.
Watched C'Mon C'Mon which is a nice low key sweet and moving film. Simple as that.
Hoffmann - 4.5
Norman - 3.5
McNairy - 3.5
Luke:
Predictions Wise: Cumberbatch's path to victory is through critical support, though I don't think he needed extra for the nomination, this is an important get to put him any sort of winning conversation. Same with Smit-McPhee.
Gaga I expected to be more so the populist (televised) player, so major get for her in a way.
Hunter benefits the most though as again she has to contend with potential category switch with McDormand (despite what anyone says Lady Macbeth is a supporting role), however if McDormand (who really doesn't seem to care) and stays lead no matter what, Hunter might be able to make it. I think it will be a tough road no matter what, but this gives an actual realistic potential.
Expected bounce back for The Power of the Dog and Campion. Also maybe PTA can finally get his win via screenplay at least .
Drive My Car I think is mostly helped in International Feature by something like this, though it never hurts. I'd need to see it as a consistent winner (the way Parasite was) to believe it can go any further. It could easily be like last year's winner, First Cow, which obviously made not actual impact later on.
Quality Wise: Obviously no comment on the Dog boys, but cool with Campion taking directing wins (my relatively limited reservations almost entirely are with the screenplay). Also can support the Gaga win.
Anonymous:
I am not.
Hey guys. I watched The Hand Of God at an advanced screening at my film school. Wow. I am blown away by this film, but in the best way possible. What an extraordinary, special film
Letterboxd Review: https://boxd.it/2kJb0n
Cast Ratings:
Filippo Scott - 5
Toni Servillo - 5
Teresa Saponangelo - 4.5
Marlon Joubert - 4
Luisa Ranieri - 4
Renato Carpentieri - 3.5
Massimilano Gallo - 3
Betti Pedrazzi - 4
Biagio Manna - 3.5
Enzo Decaro - 3.5
Watched Power of the Dog. Pretty good, but it feels like there’s 20 minutes missing. Cumberbatch and Smit-McPhee are both great. Dunst… well, I think Louis is a little harsh in terms of her approach, but yeah, Rose was underdeveloped. George even more so (why did the film not explore his cluelessness/cowardice more? But the vibe is strong. Weaves some great themes. GREENWOOD!
Louis: I remember you chose Cagney as Little Bill for a 60's Unforgiven. For whatever reason, people can't imagine him in a Western because of his accent. Thoughts? I personally see no real problem and think he would have rocked that part.
If you want to, check Cagney in a Western called Run for Cover which is also from 1955.
Got to see Licorice Pizza today. Delightful seeing Anderson’s take on what is largely a breezy story. The film is pretty much told through vignettes but each one does well in revealing new truths and developments for the two central characters. Alana Haim is the easy MVP, but the cast universally nails it.
Louis: Thoughts on the C'mon C'mon cast.
I was a bit worried about hearing about some initial things with LP, but a friend seeing it and telling me about the two scenes in questions has me more at ease.
Michael: ratings for the cast of Licorice Pizza?
Louis: Thoughts on the rest of the Ghostbusters: Afterlife cast?
I really liked C’mon C’mon too, might go even higher for Hoffmann personally honestly.
Calvin: ratings for the cast of C’mon C’mon?
Who would say are the best actresses to never be nominated for an Oscar (that presumably were in contention at some point)?
I also saw C'mon C'mon last night and really liked it. Incredibly sincere and down to earth, and I was a big fan of how much of it was built around Johnny's role as a documentarian.
Phoenix - 5
Norman - 4
Hoffman - 4.5
Matthew:
Hoffman: 4.5
Haim: 5
Everyone else pretty much is only in one vignette of the story, but here’s about how I’d rate them:
Ebersole: 3
Harris: 4
Penn: 3.5
Waits: 3.5
Cooper: 4
Safdie: 3.5
8000's:
Well given western people could be from the New York theoretically anyways, that is nonsensical to me. Also my reason for Cagney is the same capability as Hackman for a casual intensity, ability to switch tone on a dime and find sympathy for the villain. I'd love to hear the theoretically Cagney delivery of "I was building a house" for example.
Luke:
Hoffmann - (Great work in terms of so eloquently creating really a history of a person and three relationships in the film. Hoffman's performance gives you a sense for each. The extremely complex one with Phoenix where we get old bitterness and frustrations, but also just a casual understanding of siblings. There is a sweetness just as there is an understanding of the difficulties there that feels so keenly felt. That is also with Norman though different in we get unquestioned motherly love though with the very real motherly frustrations of dealing with a difficult kid to raise at times. She is spot on in creating the complexity. The McNairy is the most limited, however she does a lot of lifting in really sort of the moments out of the climax and in that you get a real sense of the relationships and her heartbreak with it. Altogether fantastic work, shame she's not seen in any sort of a running for recognition here.)
Norman - (I was just slightly mixed on this performance, but I will give credit in that it is such a tricky role in playing a child with an atypical mental manner. And really 9 times out of 10 this could've been a terrible performance. I think there is the occasional moment where it felt like child acting rather a genuine child. Only occasional as I felt most the time he made the frustrating behavior feel genuine and not overplayed as eccentric cloying sort of thing. Also his chemistry with Phoenix sings across the board in every scene and there he really does excel in putting in his input in the uncle/nephew relationship.)
McNairy - (Brief work and purposefully one note in a way, though I thought he was effective in showing the state of the borderline personality.)
Aidan:
Also loved how it made reading genuinely cinematic.
Anonymous:
Rudd - (Hmm I guess proof that he's no Bill Murray as his jokes just weren't hitting for me here, didn't think he was bad, but just his work didn't come to life here.)
Wolfhard - (He honestly doesn't really have much of a character beyond "teenager" so I won't put his lack of impact too much on him. He's there, he's not really bad, but just the material really isn't there anyways.)
Coon - (Kind of interesting material she is working with for a mother character in this kind of film, in a dark way that honestly I would've liked the film to go further with. Coon though does hit the few notes she gets well even if with such brevity at times.)
Original Trio - (They all hit there marks again, and all are alive, which is particularly important for Murray who has never been more dead on screen than in the 2016 film. Aykroyd in particular is game bringing back his exposition style, but also some genuine moments of emotion in there. Hudson and Murray are mostly there just to be Venkman and Winston one more time, and do that.)
Anonymous:
Bibi Andersson
Giulietta Masina
Ingrid Thulin
Jeanne Moreau
Maureen O'Hara
Kathleen Byron
Joan Greenwood
Michelle Yeoh
Emily Blunt
Myrna Loy
My review of The Graduate is finally out on my blog! Some feedback would be appreciated.
Louis, Your rating and thoughts on Kinuyo Tanaka in The Ballad Of Narayama. You haven't given them before.
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