Cecil Kellaway did not receive an Oscar nomination for portraying Daniel in I Married a Witch.
Jules Berry did not receive an Oscar nomination for portraying the Devil in The Devil's Envoys.
Cecil Kellaway is a character best known really for his warm and affable characters, as found in his two Oscar nominations for example. This though is a far cry from that, and more evocative of his career best turn found in his guest spot on The Twilight Zone as a most unusual curator of sorts. Kellaway's performance here is as Lake's warlock father who we initially meet, along with Lake, as a disembodied voice. Kellaway's vocal performance alone is memorable in the sheer degree of the deviousness of it as he encourages Lake's Jennifer to essentially be her worst self. Kellaway playing this with a wonderful, and fitting devilishness within the character, and finds the right combination between the comical and the sinister. Kellaway really is the essential ingredient within the film as his consistent appearances take what is an enjoyable romantic comedy and really turning up the latter nicely. I mention these two performances in tandem though as much as the films are different, they are in some way companion pieces about supernatural "creatures" engaging in romance even though the intention is the opposite. As Kellaway is the wrench in the romantic clockwork, as is Jules Berry, who is the titular devil. Where first we establish each romantic pairing or triangle, that involves misleading and maybe some genuine love, this is turned on its head when the actual devil appears to mess things up for all. Berry's performance is one of literal devilishness. He comes in with the right fanfare of someone just loving his state as the prince of darkness and of all lies. Berry shows just the greatest of joys in this state of the man just eager to make all the lovers suffer in any way in which he devise. His expression only brimming with this sinister glee, similar to Kellaway in bringing this sense of fun within the nefarious nature of the character.
As the romance goes along for both film these two act as the antagonists at any path that leads towards some sort of true love, though in very different ways. Berry's performance is one actually that is of a shift towards the more dramatic as the devil foresees a certain plan and has a distaste when it starts to go away from his chosen path. Berry bringing this quiet egotistical pompousness to the devil's assurance that all will be left unhappy and in his own words "belong to him". There is a certainty of the fiend, however he effectively brings a certain annoyed demeanor as the plan isn't quite going to plan. He still brings this confidence as though it is something that he's seen before and will again, and in that sense is sure, while still creating this slowly growing undercurrent of cause of concern that everything isn't in his power. Kellaway on the other hand is just whole lot of fun in portraying Daniel ever trying to be fiendish and keep anyone from falling in love as well, though his methods decidedly less suave or confident than the devil's. Kellaway is a hoot in portraying the sort of mania in Daniel as he goes about his schemes with this sort of craziness that is befitting a creature of a truly chaotic disposition. Kellaway is just fun to watch whether he's incompetently framing March's character for his own murder, or trying to drive the lovers to their doom. There is just this hilarious sort of insanity he brings to every line though with the right demonic glee of his own. Kellaway's performance brings the right extra ingredient overall to the film that really takes it up a notch overall by providing not just a proper antagonist, but also such a source of fun. Of course this is true for both performances which provide this nice swerve in both film's romantic narratives. Each giving their own memorable turns as sinners with a smile.
Next: Backlog Vol. 3 & Recommendations
71 comments:
Yep, 5's for Bogart and Rains. As it should be :)
Also watched The Worst Person in the World, which is practically a reminder of "The trick William Potter is in the execution" as if you were to tell me the general outline of the film I might question if it is not some truly insufferable indie. Fantastic writing, directing and acting though is what is makes something work not, work it this film does. Just a terrific piece of cinema, and shows how one can find new ways within well worn ideas or scenes.
Reinsve - 5
Nordrum - 4
Also watched the other Swan Song (The Ali one), which I thought was decentish overall, but works best as just a vehicle for Ali to act...which hey is basically a good enough reason to watch something honestly. Touches on some interesting ideas, but never quite dives deep in the way you might want, beyond the aforementioned element that is.
Harris - 3.5
Awkwafina - 3.5
Close - 3
Have you by chance rewatched The Pied Piper or Yankee Doodle Dandy Louis? I’d love to see upgrades for Wiley and Cagney.
Louis: Thoughts on the casts of both films and seeing anything else this week?
Louis: My recommendations are:
Animated film: A Silent Voice
TV: Ted Lasso Season 1
Recommendations:
Animated film: Perfect Blue
TV: Angels in America
TV: Community
Movie: Assassination Nation (if I had to suffer, you do too)
Louis: Would you agree that The Worst Person in the World is essentially if something like Frances Ha worked? And I love, love, LOVE that Reinsve is a 5 for you.
Thoughts on the casts of both films, and on Joachim Trier’s direction for the former?
I basically agree with you on Swan Song too, nothing interesting explored really thematically but damn if Ali isn’t damn good.
I'll recommend Stop Making Sense if Louis hasn't seen that already.
Also finally just watched The Power of the Dog, and I'll agree with some of the reservations towards the narrative/writing though I felt that Campion's craft was enough to win me over and make up for some of those problems.
Cumberbatch - 5
Smit-McPhee - 4.5
Plemons - 3.5
Not sure what to rate Dunst right now.
TV: The Haunting of Hill House
I’ll get back to you on movie.
Also just got around to watching Annette on Amazon prime. I hated most of it, but I gotta say that opening number was a bop.
Recommendations: Alias Nick Beal (1949) and The Hidden (1987).
Louis: thoughts on ‘Frank’s Pretty Woman’ episode of Always Sunny? And have you watched any of the new season yet.
Louis: Ratings and thoughts on the rest of the lead performances and your female top 15 rankings with ratings.
My recs are Blackadder Goes Forth and Down To The Bone.
And I'm so pleased we got fives after all.
And for Backlog Vol. 3
Kiefer Sutherland - Phone Booth
Alastair Sim - An Inspector Calls (I hope you finally get around to these 2 in particular)
Vincent Price - Theatre Of Blood
Uttam Kumar - Nayak
Toshiro Mifune - The Bad Sleep Well
And Alan Cumming in Josie and The Pussycats
Matt: Thanks for taking my Angels In America request. :)
Louis: I recommend Captain Horatio Hornblower and Cry, The Beloved Country (Both 1951).
Louis, my recommendations are a re-watch of The Caine Mutiny (Another 5 perhaps for Bogie) and Two-Lane Blacktop.
My Recommendations:
The Death Of Mr. Lazarescu (2005)
Ludwig (1973, I recommend the 4 hour cut with the english audio as it was filmed in that language)
Louis: I'm recommending a re-watch of Keane (2005) and Stalingrad (1993).
Louis: I'm recommending Holiday Affair (https://ok.ru/video/266660874915), His Kind Of Woman (https://ok.ru/video/266661399203) and Man With the Gun (https://www.youtube.com/watch?v=NqVq3MDvb1Q).
Butley (1974, one of Alan Bates best performances) and The Last Of Sheila (1973)
Louis: Are you going to re-post Irons review for D&D.
Louis: Recommendations...
Movie: The Admiral: Roaring Currents (2014)
TV: BoJack Horseman Season 1 (or you can switch this with Black Mirror: White Christmas if the TV recs are a bit too many for now.)
Louis: And your wins for 1942.
I will recommend Anonymous (2011) and Walker (1987).
Louis: Your thoughts on Casablanca's screenplay.
Louis
Tell me from the year 1942 which are your TOP7 best:
- Song
- Score
- Poster
- Editing
- Production
- Character of the year (name of character and the film)
- Cast
- Screenplays (adapted and original)
Recommendation: Sleep Tight (2011)
Louis: Thank you for the Christmas present I didn't know I needed lol =D.
Recommendations:
Day of the Wacko (https://www.youtube.com/watch?v=00kf1DXr81U)
Boys Don't Cry (2000) (https://www.youtube.com/watch?v=HqGAnY-qy1g)
Louis: Looking at the recommendations, you might get at least 2-3 contenders for Backlog Vol. 4.
Oscars shortlists have been released: https://www.oscars.org/sites/oscars/files/94th_oscars_shortlists.pdf
Sad not to see Titane anywhere (specifically International Film, of course) even if I didn't think it would get in regardless.
I’ll throw in Hugo Weaving in Proof for the Backlog.
Will get to all previous thoughts.
Regarding the longlists:
International Feature:
Titane missing is the "surprise" (not that I mind) but honestly I knew the academy would never go for it. Drive My Car for the win, thank you very much.
Makeup & Hairstyling:
Of course The Green Knight gets snubbed. Unless your name is Dune, you're not even close to the quality of the work there.
Score:
Which of course the academy saw Green Knight as it managed to get in here. The major miss here being Nightmare Alley which is a bit of a shame when it was snubbed in favor of the overbearing score of Being the Ricardos. Notable that Burwell made the cut, and minimalist score can be nominated (e.g. The Hurt Locker) though his chances still seem very low. Greenwood could be coming up on the double nom and potentially the win.
Sound:
Shame The Last Duel missed out and a little perplexing, inspired recognition of Last Night in Soho though, and deserved (though Nightmare Alley would have also been deserving in a similar way.)
Visual Effects:
Well glad Don't Look Up was left off (at least means it might not be overkill with nominations)...though Black Widow's third act effects left much to be desired as well.
Michael:
I have not.
Razor:
What I can honestly, so we'll see.
Calvin:
Yes.
I'll do Reinsve last to give the proper time on the thoughts.
Nodrum - (Fine enough as the "other guy" brings enough of a low key charm and doesn't overplay the role. Works as being in many ways everything his theoretical rival isn't some ways, while actually being similar in a few others. Liked actually the goofy energy about him, and their chemistry together in their initial meeting is fantastic.)
Harris - (Does the supportive loving wife here well. Limited role in many ways but she handles with a nice honesty even with those limitations.)
Awkwafina - (I felt got to move slightly out of her comfort zone in a few moments, while still using her presence well here. It would be interesting to see if she can do something that is a complete separation from it, rather than a reduction of it like her work in the Farewell. Still fine work.)
Close - (Just fine as basically there for gravitas in the exposition.)
Calvin:
Trier's direction (which is kind of the opposite of another famous Scandinavian Trier) is indeed in so many ways what I think so many films of its ilk are going for it just pulls it off. I honestly think it upped anything Danny Boyle did in Trainspotting for example in its own sort of personal kinetic exposition, which Trier does so masterfully here. It never feels like a gimmick but rather this natural expression within the work. This two in the moments of the flights of fancy in the work that I thought were handled, for the most part thought the mushroom scene indulged just a little, wonderfully by knowing when to unleash them. The world standing still for example is just an amazing scene in terms of the execution seen in the direction. Trier finds though the right hand by letting certain conversations just play out, or amplifying others with the narration used or a song choice. There's a remarkable consistency in the choices by creating a vibrancy in variety that realizing itself in a way that is not overpowering rather amplifying. It uses style so well by making it service the story and characters, rather than forgetting them in favor of it.
Heartbroken my favourite film of the year missed out on the shortlist but hey, it’s a Palme d’Or winner anyway, and agreed with Louis about Drive My Car all the way now. Largely fine with them otherwise besides the Green Knight makeup snub, and also love seeing Burwell get in, I think you’ll love his score Louis.
COMPLETELY agree with all your Worst Person thoughts so far.
Calvin:
Reinsve - (Her performance is too the execution of a concept that I don't always love, in fact I often find a bit hard to take, this of the wayward "free spirit" attempting to find one's self. As always t'is how it is played and Reinsve is pitch perfect here in every respect. This as everything is such a truth that is both tangible while also being the most wonderful kind of luminescent work. She is a balance within the whole film in a sense in bringing such an honesty to every moment while also being such just this presence of true, for the lack of a better word, spirit. Her work accentuates every moment in creating such a sincerity while never losing complexity of the character. In that as much as this type of character I think is easy to make one note, that is never the case. There is the right nuance in her moments of immaturity just as there are the moments of endearing likability. She is never one thing yet everything she is also feels completely whole within this character. This as just a performance that is winning as every aspect and transition of the story so naturally segues within her own work. This as she is just simply wonderful in moments, just frustrating in others, but also often with a very honest pathos. There's much that can be said to describe this work, as she is that much, but to put it simply it is a great performance.)
I have, probably the more accurate portrayal of such a situation, and certainly hilarious in the crassness of the situation, particularly in the final result while adhering to sort of the formula.
I have been watching the new season, I've enjoyed the episodes though there hasn't been a classic yet for me, however I haven't seen them all.
Luke:
Flynn - 4(I mean maybe he thought it was his best because he got to show off so much of his physique? It is a good performance from him however. This in bringing the expected charisma of his that is a great fit for a blustery boxer. I think the role, much like Colman's Oscar nominated turn from this year, gets less interesting as the film goes on. This as Flynn has fun with a lot of the con man aspects early on Jim being a hustler before taking on boxing. We get that a little with his romantic element, and Flynn does well with it. It just progressively falls into a typical heroic biopic lead. A good performance to be sure though.)
Mason - 4(Typical tortured romantic lead from Mason, I mean join the club, this on the more heroic side of things as kind of a variation on Maxim De Winter and...the wolfman? The material isn't quite there to make something truly special out of it, but it is a good performance on its own measure thanks to Mason's always dynamic presence. I wish though the role pushed him a bit more here, but he's good with what he does have.)
Howard - 4(One more go around for the ill-fated Howard, and a captivating charismatic turn in a pretty straight forward role...fitting as a man going head first no matter what in a war effort. Not as good as the underrated Pimpernel Smith in that regard, but Howard once again delivers a quiet passion that really rings powerful in the context of the film both regarding the war and his own fate.)
Colman - 4(I think the film needed to push his and Grant's contrast more as I do like them in theory as two romantic types. Colman being the more quiet and gracious sort, and effective as such. The opposite of his Oscar nominated turn he's more interesting as the film goes on in portraying the professor dealing with things out of his comfort zone. This as he's a great deal of fun in particular as the faulty attempted seducer. I wish there was more of this, but overall still a good turn to be sure.)
Tracy - (Typical across from Hepburn form for him in a romantic comedy...which he's always good at. This as it brings a natural life out of him, and he excels with his chemistry with Hepburn as always. Not their best together but a good example of it.)
Sanders - 4(Kind of limited in the method of the film, but Sanders makes for an effectively callous fool in so many ways. This as he does heartless so effectively with this kind of detachment yet strange sort of misguided passion of sorts.)
Robinson - 4(Comedic gangster Robinson, decent example.)
Redgrave - 4(Does an effective stance of bitterness then passion. Not quite enough glue between the sides as written, but Redgrave delivers the two sides of the man with a definite effectiveness.)
Arnold - 4(I have to say surprised this film doesn't get a bit more mention as we get a wonder dog with a blind detective who thrives in his blindness. Anyways Arnold's performance brings an effective confidence with the right combination of comedic understatement and clear righteous passion. He makes for an atypical but effective detective style lead.)
March - 3.5(Decent enough March romantic comedic turn, but slightly overshadowed by Kellaway and Lake.)
Grant - 3.5(Overshadowed by Arthur and Colman. Kind of lesser Grant turn in this regard, though he is more than fine as such.)
Milland - 3.5(Milland doing Cary Grant, and doing it more than decently. Ginger Rodgers steals the show wholesale though.)
Marshall - 3.5(Limited by concept as the passive narrator, but great voice for such a narration.)
Ladd - 3(Decent enough if somewhat underwhelming Ladd turn. Basically a less edgy rendition of this Gun for Hire overall, though not bad really.)
Recommendation: Birdy (1984)
Louis: Your thoughts on the cinematography of Gilda and The Lady From Shanghai.
Louis: Along with the female rankings, could I have your ratings and thoughts on Arletty, Marie Dea, Veronica Lake, Ginger Rogers and Katharine Hepburn.
Louis: Could you add James Woods in The Virgin Suicides to the 2000 Supporting ranking.
Luke, who do you think are potential saves for Backlog Vol. 4.
Glenn:
Ray Milland in Alias Nick Beal
Canada Lee in Cry, The Beloved Country
Warren Oates in Two-Lane Blacktop
Ioan Fiscuteanu in The Death Of Mr. Lazarescu
Helmut Berger in Ludwig
Alan Bates in Butley
Ed Harris in Walker I must admit I'm really curious about. He could go either way.
Louis: Thoughts on the Dr. Strange: Multiverse Of Madness trailer.
Absolutely loved The Matrix Resurrections, probably my favourite blockbuster of the year.
Calvin: ratings for the cast of The Matrix: Resurrections?
PS: just finished watching it myself. Solid film, but i was still kinda left with mixed feelings about the story and writing. Maybe if i discuss it with more people and rewatch it, i’ll determine whether not those 2 aspects worked for me or not. I do think it’s a good film though and i still give it a 7/10
Cast Ratings:
The Matrix: Resurrections:
Keanu Reeves - 3
Yahya Abdul-Manteen II - 2.5
Carrie-Anne Moss - 3
Jessica Henwick - 3
Jonathan Groff - 1.5
Neil Patrick Harris - 2
Priyanka Chopra Jonas - 2.5
Jada Pinkett Smith - 3
Reeves: 4.5
Abdul-Manteen II: 3.5
Moss: 4
Henwick: 4
Groff: 3.5
Harris: 4
Chopra Jonas: 3
Smith: 4
I just found out that The Worst Person In The World made the Oscar short-list and I am completely ecstatic about it. Me and my fellow Norwegians are praying it will get a nomination. This is the best film to come out from Norway in decades, so it has to get one.
Also, nice to hear that Louis enjoyed it. Agree on a 5 for Reinsve.
Calvin: You said Worst Person was online? Where would that be?
Man not sure there's a year that has had more disagreements between myself and Calvin, but...I thought Matrix was a mess. Definitely some interesting ideas regarding self and repetition of IP, but I didn't find any of it particularly well explored. I thought the extension of the previous narrative sloppy and not particularly inspired. The dialogue often clunky, to put it lightly with WAY TOO MUCH exposition (just when you think they're done with it, another character comes in to deliver another monologue). I think there's a great spark of an idea here, but just never found the right direction for it. Doesn't help that I felt the direction here was unimpressive particularly a lot of the grand flourishes, which were more reminiscent of Jupiter Ascending than the original Matrix. Never thought I'd say it, but thought Toll's cinematography was often...kind of ugly. There's attempts for a new innovation, but sadly they come off as a clumsy gimmicks. Also as much as I've also come around to Reeve in many ways, not sure self-contemplation and existential crisis internalized is his strong suit, in fact I know it's not. Though I did like Henwick and Moss.
Luke:
Actress:
1. Ginger Rogers - The Major and Minor - 5
2. Joan Fontaine - This Above All
3. Ingrid Bergman - Casablanca
4. Katherine Hepburn - Woman of the Year - 4.5
5. Veronica Lake - I Married A Witch - 4.5
6. Claudette Colbert - The Palm Beach Story
7. Rosalind Russell - My Sister Eileen - 4
8. Jean Arthur - The Talk of the Town - 4
9. Pricilla Lane - Saboteur
10. Suzy Delair - The Murderer Lives At Number 21
11. Greer Garson - Random Harvest
12. Greer Garson - Mrs. Miniver
13. Teresa Wright - Pride of the Yankees
14. Veronica Lake - This Gun For Hire
15. Joyce Howard - The Night Has Eyes - 3
Supporting Actress:
1. Arletty - The Devil's Envoys - 4.5
2. Marie Dea - The Devil's Envoys - 4.5
3. Agnes Moorehead - The Magnificent Ambersons
4. Celia Johnson - In Which We Serve
5. Teresa Wright - Mrs. Miniver
6. Gladys Cooper - Now, Voyager
7. Diana Lynn - The Major and The Minor - 4
8. Anne Baxter - The Pied Piper
9. Mary Clare - The Night Has Eyes - 4
10. Mary Astor - The Palm Beach Story
11. Ann Sheridan - King Row
12. Donna Reed - Eyes in the Night - 3.5
13. Katherine Emery - Eyes in the Night - 3.5
14. Ann Hardin - Eyes in the Night - 3.5
15. Dame May Whitty - Mrs. Miniver
Matthew:
Casablanca's screenplay has been much lauded, as it should be, though Curtiz's impeccable direction is equally essential. This as if you take Casablanca it probably is a film when it was made seems in conception a run of the mill film from the period. This becomes more obvious the more films you see from the period where there were endless films about the war effort, Nazis, and spies. But most have been largely forgotten by time but this was never the case for Casablanca. Most of them go from fine to completely disposable, so why is this one great? Well for many reasons, but a critical one is the screenplay. The screenplay, though not even in terms of plot, the letters of transit really there just to provide forward momentum which they do, but really don't matter beyond that. What makes it great is all that is in-between. This is the definition of the setting is so much greater here than every other film of its ilk. This is as there is such detail and substance in depicting this strange, not quite, neutral zone of the war. This is you have the Nazis, the Vichy French, the refugees, the exploiter criminals, the heroes, and all those in-between. Each together creates the detailed substance of the situation, and the setting is truly a place, not just somewhere for the film to take place in. Little details like the pickpocket, the young woman making a deal with Louie, or each of Rick's staff make so much of what makes the film special. This as time is granted even in a moment to adding character to the space and place. And this isn't even broaching the main characters yet, because there is so much, so quickly, yet never does the film feel slightly overstuffed. Rather everything is just simply worthwhile in its own right and almost a film in itself. This is not to forget the central love story which intertwines itself with the typical thematic notions of the period, yet so much more palatably than in most comparable films. The ideas of sacrifice are not forced, nor feel like propaganda here. It is rather a genuine conflict in Rick who is the classic hard man with a soft heart character for a reason. This is so well earned in the exploration of the conflict of all three of the characters in here, each sacrificing something, and through the narrative explore the idea so beautifully. Wrap that in with the right x fact in Louie, who is a fantastic character in so many ways, and in many ways one of the earliest film examples of a complex villain with a heel to face turn. This with one not forgetting the greatness of the dialogue here, with multiple classic lines that punctuate the screenplay. A true work of art, and the greatness of what old Hollywood was capable of, if almost in some ways seems nearly on accident.
Louis: Where would you rank Bette Davis in Now, Voyager.
Accidentally deleted her, she' be #4.
And thoughts on Russell, Arthur, Lynn and Clare.
Brazinterma:
Song:
1. "White Christmas" - Holiday Inn
2. "Little April Show" - Bambi
3. "I've Heard that Song Before" - Youth on Parade
4. "Happy Holiday" - Holiday Inn
5. "Knock On Wood" - Casablanca
6. "Constantly" - Road to Morocco
7. "Love is a Song" - Bambi
Score:
6. The Black Swan
7. I Married A Witch
Note: Had to personally disqualify Casablanca due to how important "As Time Goes By" is to the score, though all its variations are absolutely brilliantly realized as a largely "adapted" score.
Poster:
1. Casablanca
2. Bambi (Tree circle)
3. Saboteur
4. The Devil's Envoys
5. I Married A Witch
6. The Murderer Lives At Number 21
7. The Night Has Eyes
Editing:
1. Casablanca
2. Saboteur
3. Yankee Doodle Day
4. The Murderer Lives on Number 21
5. Wake Island
6. The Palm Beach Story
7. To Be Or Not To Be
Production:
1. Casablanca
2. The Magnificent Ambersons
3. Yankee Doodle Dandy
4. Bambi
5. The Devil's Envoys
6. Saboteur
7. I Married A Witch
Character of the year:
1. Rick
2. Ilsa
3. Bambi
4. Louie
5. Thumper
6. Ugarte
7. Lou Gehrig
Adapted Screenplay:
1. Casablanca
2. The Magnificent Ambersons
3. The Murderer Lives At Number 21
4. Bambi
5. The Major and the Minor
6. I Married A Witch
7. This Gun For Hire
Original Screenplay:
1. There Was a Father
2. Saboteur
3. The Devil's Envoys
4. The Palm Beach Story
5. To Be Or Not To Be
6. Woman of the Year
7. Wake Island
Louis: particularly interesting given our top 10s and favourites last year were virtually identical.
It’s giving a Miller’s Crossing vibe with our disagreements…I hope to not be the Eddie Dane in this instance…
Thoughts on the female performances?
Louis: Ratings for The Matrix cast?
8000's:
Gilda's cinematography is something of largely how to accentuate a great beauty as just as Hayworth is shot is a kind of perfection particularly with the rightfully famed "Who me" shot. Every bit of lighting, framing and composition of just Hayworth is magnificent here, in accentuating every bit of her. This though otherwise is some frequently striking noir work, though beyond Hayworth's scenes it tends to be less interesting overall though never anything less than good.
The Lady Shanghai's work is awe inspiring, as typical for Welles, the highlight of course being the mirror sequence which is just spell binding in crafting every one of those shots. The use of deep focus in particular here is so striking and used so effectively in crafting such distinct environments and moments within the film. This with brilliant gorgeous moody lighting that again finds such a pristine and fascinating look towards this particular noir, that is distinctly Welles and distinctly noir.
Luke:
Arletty - (Although one can feel as though she leaves the film just a little early she is terrific here in creating the right sort of spellbinding seductress. This in accentuating the constant interest she has in all though with this allure but also sort of callousness in her manner. This as she is pestering just as she is seductive in a way in crafting a certain type demonic quality within the work. She's effective as well later on though in creating a quiet sense of the character's unique sort of frustrations towards her situation, though well maintaining a constant sort of mystery about her exact beliefs and motivations. Her work in particular is effective against the other set of seemingly purer lovers, in portraying this greater viciousness within the whole affair.)
Dea - (Dea's performance is that of a contrast to Arletty's as this pure kind of sincerity of spirit. To her credit she avoids a boring state, finding the right luminous quality within that seemingly straight forward quality. As much as she is consistent with the sweetness of her character, she also brings a nice sort of quiet strength in her work. This in particular her confrontational scenes with the devil where her manner is that of the softness yet in that is such a strong sense of conviction.)
Lake - (It is where Lake seemed to thrive most in the screwball quality. This as she just has the right kind of energy for it. This as she does well here with this certain combination of petulant humor and earnest romantic quality. She meets both quite effectively giving quite the funny portrayal, while still delivering on the needs of being the romantic lead wholly.)
Rogers - (I mean here is a performance where I had to just admit that this was my favorite, even if in technically lighter fair, I loved everything that Rogers did here. This in that her child performance already is fantastic, even as the performance itself isn't supposed to be THAT convincing anyways, however Rogers finds a real humor in these moments and brings the right playfulness in showing the act of the act. This in playing up the childlike moments and being more subtle about in others depending on the situation of her character. What really works brilliantly about it though are the moments where she snaps out of those moments to reveal the adult, that are quite pointed and her presence in switching between the two is just fantastic. In turn this creates such an unusual but dynamic lead for the romcom of this ilk. She's great in realizing every moment of the ruse and is masterclass in comic timing here. This though with wholly delivering on the moments of the more earnest adult, or as the older mother. The latter of which is a great portrayal of a one scene sorta extra character that she absolutely delivers on in creating the right shade of a more earnest situation. This is just a brilliantly realizes work by Rogers that does challenge her in the very conception of the character, and she simply runs away with it. Loved everything she did here, and was the most pleasant surprise for me in revisiting this year.)
Hepburn - (This is very much in Hepburn's wheelhouse of the strong passionate woman who is defined by her intelligence and her sort of manic passion. Hepburn excels with it to be sure in every facet while of course thriving with her moments of wholly genuine chemistry with Tracy. She though doesn't overplay it finding the right nuance in the moments where her ideals come to contrast with reality and she brings a nice grace to these quieter moments as well.)
Russell - (In some ways a lesser version of His Girl Friday as the tough writer, here more vulnerable, though Russell was greater in that earlier film. She's still good her in bringing her typical winning presence, however it just isn't nearly as dynamic here.)
Arthur - (Arthur doing her usual thing of screwball comedy with some moments of strong passion. As per usual she thrives with both and gives a nice dynamic with both men.)
Lynn - (Best in her scenes with Rogers by providing an additional dynamic between her, which again given my love for Rogers's work I will always take more. Lynn bringing the right sort of no nonsense straight work that contrasts well against all the silliness that Rogers is doing. Frankly I think they could've done more with Lynn however she performs her function more than admirably.)
Clare - (I mean all spoilers really here, as this performance is all about her twisted last scene where she effectively goes from seemingly concerned nurse to terrible villain. She makes for a proper villain in just that scene and brings such a nefarious sneer that is just perfect.)
Calvin:
Well I do love "Danny Boy" so...best be careful.
Seriously though, guess due to last year we were due.
Matt:
Reeves - 2.5
Moss - 3.5
Abdul-Manteen II - 3
Henwick - 3.5
Groff - 2.5
Harris - 3
Chopra Jonas - 2.5
Smith - 3
Wilson - 1.5
Completely random side note: Anyone else think the Scottish designer was like a literal younger clone of Robert Carlyle
Random question: What are some of everyone's least favorite performances of the year? Some of mine:
Rami Malek in The Little Things
Whoever the hell played Emma Stone's department store boss in Cruella
Synnøve Karlsen in Last Night in Soho
Ben Platt in Dear Evan Hansen
Eugenio Derbez in CODA
Mary Steenburgen in Nightmare Alley
Robert: I honestly can't think of many performances I've seen this year that I downright dislike, though Garrett Hedlund in The United States vs. Billie Holiday and Tye Sheridan in The Card Counter are certainly worth mentioning in that field.
Jake Gyllenhaal - The Guilty
Rami Malek - The Little Things
Kate Hudson - Music
David Dencik - No Time to Die
Taika Waititi - Free Guy
Garrett Hedlund - Billie Holiday
Shailene Woodley - The Mauritanian
Mark Rylance - Don’t Look Up
Robert: Random? Don’t you always ask that question this time of year on the blog?
Anyways…
Rami Malek - The Little Things
Garrett Hedlund- Billie Joe biopic
Tye Sheridan - The Card Counter
Shailene Woodley - The Mauritanian
David Dencik - No Time to Die
Still don’t know what to fully make of Jared Leto in House of Gucci tbh.
I liked Leto a lot actually, especially in his scenes with Pacino. I’d give him a 3.5.
Robert: I haven't seen many movies this year since Oscar season, but now that I remember The Little Things I'd definitely have to include Jared Leto in my list. I kinda give Malek a pass because his performance just spells out terrible miscast to me, whereas whatever Leto tried is just obnoxious.
Also, I tried to watch The Guilty remake, but it was becoming such a frustrating experience I decided to turn it off. I didn't want to go through another Me and Earl and The Dying Girl-kind-of experience.
I watched Trapped in Paradise, one of the fifteen hundred Christmas movies released in 1994. Pretty terrible.
Cage-3.5(It's basically the Three Stooges, and he's Moe)
Lovitz-2
Carvey-1.5(I'm gonna say it, I don't understand the reverence people have for this guy, he always annoys me)
Nobody else is worth mentioning, except...
Richard Jenkins-3.5(He actually made me glad I watched the whole thing, because his performance in the finale is priceless.)
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