Best Scene: Dealing with the prostitute.
9. Steve Martin in The Jerk - Martin gives an entertaining turn of just emphasizing the blunt dumbness of his character.
Best Scene: Unearned excitement.
8. Frank Langella in Dracula - Langella successfully reworks the role of Dracula to that of a cunning and alluring romantic figure, though still vicious in his own right.
Best Scene: Introduction.
7. George C. Scott in Hardcore - Although I wouldn't say the film around him is the strongest, Scott gives a compelling portrayal of a man descent into both violence and the world of pornography.
Best Scene: Attempted apology.
6. Klaus Kinski in Woyzeck - Kinski gives one of his most subdued performances, powerfully showing a man pushed around until he's pushed too far.
Best Scene: The murder.
5. Malcolm McDowell in Time After Time - McDowell delivers a surprisingly charming and endearing turn that makes for a proper hero, a proper romantic and a proper man out of his time.
Best Scene: Negotiations with Ripper.
4. Ben Gazzara in Saint Jack - Gazzara gives a vivid characterization that so well realizes this man who seems to not care, but probably cares more than anyone would ever believe.
Best Scene: CPR
3. Alexander Kaidanovsky in Stalker - Kaidanovsky gives a brilliant portrayal of a guide who treats his particular expertise with a religious like reverence, conviction and even anxiety.
Best Scene: Ending.
2. Patrick Dewaere in Série Noire - Dewaere delivers a brilliant completely off the wall performance, that just has so many weird choices yet they all pay off so wonderfully well.
Best Scene: Final conversation with his wife.
1. Ken Ogata in Vengeance is Mine - Good prediction Bryan. Ogata gives a great uncompromising depiction of a serial killer, showing the callousness of the man through ever step of his merciless journey. I'll admit in this list, and the overall, my winner isn't decided by unanimous thought, nor is this even an example of having to choose between two performances, I could make a case in my mind for any of my top five. Ogata's cold brilliance, Burns's heartbreaking earnestness, Dourif's pure id, Dewaere's off the wall insanity, or Scheider going against type and achieving sheer greatness. I could swing to any five on the right day, I'll admit that but for now #1 is the #1.
Best Scene: Final conversation with his father.
Next: 1979 Supporting
49 comments:
Really glad Scheider is your win.
As for supporting, I'm sure you have a lineup ready, but I'd just throw out Strasberg/Carney and Hurt/Kotto for Alien.
Scheider wins. :)
Louis: Your ratings and thoughts on the rest of the performances.
Your Female Lead and supporting tip 20 rankings with ratings and other 4+ honourable mentions.
It's nice to see Hoffman and Lemmon with upgraded ratings.
Louis: Thoughts on I As In Icarus and Siberiade.
And again, there's no need to give any suggestions for Supporting.
Louis: Tell me from the year 1979 which are your Top 7 with ranking of
- Song
- Score
- Poster
- Editing
- Screenplays (adapted and original)
- Character of the year (name and the film)
- Cast
Art Carney and Lee Strasberg - Going in Style
John Hurt and Yaphet Kotto - Alien
Oliver Reed - The Brood
David Warner - Time After Time
Laurence Olivier - A Little Romance
I'm just happy Hoffman got upgraded, though i had wished he would surpass Lemmon
Aside from Reed, Warner and Carney/Strasberg, I'm going to assume you've got someone in Siberiade for that lineup.
Louis: Your favorite actor is Laurence Olivier if I remember.
Laurence Olivier, making possibly his final appearance on this blog, in his final award nominated performance, in a film that won an Oscar for original score.
Its been a while since I suggested a 5, but I will do so now.
Laurence Olivier - A Little Romance
Art Carney and Lee Strasberg - Going in Style
John Hurt, Harry Dean Stanton, Tom Skerritt and Yaphet Kotto - Alien
Oliver Reed - The Brood
David Warner - Time After Time
Roy Scheider is a fully deserving winner, I wished that he got better parts after 1979, all that seemed to happen was Saturday Night Live and then nothing.
Louis: Your thoughts on Tess, The Elephant God and The Black Hole.
Nice to see Hoffman back to his original rating.
Luke:
Volonté - 4.5(A film where I did ponder if I might've liked the original cut more, as while I definitely liked the film there were moments of clear inspiration between more standard, though never less than good moments. Anyway in the lead, though we have the typical villain who here plays a directly good man. He's terrific in managing to portray this innate goodness just as he was always great at playing villainy. Here creating the right sense of the complex humanitarian who grows to love the rural community more and more, the more he truly becomes part of it and gets to know it.)
Chatterjee - 4.5(Looking forward to seeing his other detective films as this one was a winning delight with Chatterjee being a key to this. Chatterjee is a very different detective than most as neither arrogant nor subversive in a typical way, rather Chatterjee presents a very calm man with an easy-going demeanor. In this, though he shows a naturally disarming man who in that seems to be able to penetrate towards the truth. There's an innate intelligence that Chatterjee delivers about him making every moment of precise though so potent, and even more so there is this fantastic way he brings out the real force of the character as a secret weapon. Bringing this blunt power that is rather remarkable.)
Winstone - 4(I'll admit along with Siberaide I'm not sure exactly the release nature (tv or film) or the when as the info online was a bit confusing, so just gave both the benefit of the doubt. Anyway, Winstone's powerful presence here is felt once again and it is a bit fascinating to see him so young. Although barely lead, there is a real power to his presence and he makes for a dynamic part of the film even if seemingly a slightly incomplete part.)
Montand - 4(Rock solid lead investigator performance. Brings the right stoicism with the right undercurrent of emotion that seems to propel him forward from one moment to the next. He finds the right sense of connection to each moment of investigation while also conveying just the right nuance to bring you into his thinking as he goes from one clue to next)
Leaud - 4(Although I liked the film it is nearly a clipshow of the previous films featuring the character. He's good once again in maybe the most straightforward of his portrayals.)
Schell - 4(Despite a memorable score, and two memorable Maximilians this film is pretty terrible. Schell though is a lot of fun in getting to go full mad scientist and does so though still with the nuance of a great actor, even if the script is hardly that. A good performance that makes the film as a whole a bit more tolerable.)
Stuhr - 4(Gives a good portrayal of a man slowing becoming a director, which depicted here is an interesting conflict of ambition, frustration, joy but also loss of modesty. Stuhr gives an effective portrayal that hits each of these points with the needed sense of just this regular man slowly becoming much more than that, though not exactly becoming comfortable with this at any step in reality.)
Sugawara & Sawada - 4/3.5(A film that I liked some elements of but it just becomes repetitive at a certain point. Anyway, Sugawara is good in portraying just the blunt and dogged investigator against Sawada in portraying the enigmatic psychopath of sorts. Sawada I'll say while good in the broad stroke moments, there is something missing in his performance that in turn left the film not quite working that depends on you wanting to follow his character through his evil course, which I don't think Sawada was fully able to do.)
Olbryschski - 4(A good performance that really is all about just these little reactions throughout of the man dealing with the different relationships of the women all a bit differently and in turn detailing his inability to perhaps make sense of any of them. An effective performance though gives the sense of both history and disconnect in each relationship.)
Zaki - 4(A nice low-key coming-of-age style performance. He brings the right kind of easy and believable charm to his part. Nothing major but consistently good.)
Moore - 4(The only thing that stood out about his film was pretty disposable overall. Moore though brings a whole lot of charm as per usual, and really does deliver on the more emotional moments even if the film itself I don't think has anything particularly substantial to say.)
Nakadai - 4(A real shame that the film is a complete mess in terms of writing because it has such a promising premise and villain. Nakadai makes for of course a properly cool and collected war monger type. Bringing his typical cool to a role like this, and does well despite the writing giving him truly not much to do.)
Williams - 3.5(Wasn't as crazy about his early scenes, but thought he was quite good once he seemed more than just a hippy type. There I thought he began to find some genuine charm and eventual genuine emotion in showing the character becoming more genuine in every regard.)
Williamson - 3.5(What a brutally dull film. Williamson does what he can but this film is like watching paint dry despite the best efforts of some first-class thespians. )
Nolte - 3.5(Kind of a haphazard film, I like some of what Nolte does in his sort of exasperated energy at all times, though I never thought it built towards anything too substantial.)
Yueh - 3.5(Another film that was nice to look at but way too slow in the progress of its story. Yueh though bringing a decent very low-key charisma with a bit of an oddball swing within it. Nothing amazing but wholly decent.)
Holbrook - 3.5(I HATED this movie so much, but Holbrook certainly tried to make something honest in its repetitive content of murderous depression. He can only take it so far with the weak writing he's working with, though he's not the problem with the film.)
Redford - 3.5(Found him reasonably charming in a very straightforward Redford performance, but I'll say that in a good way even in a fairly weak movie overall.)
Reynolds - 3(What an oddly realized tone for a movie. I actually thought Reynolds was decent all things considered with the movie that never quite knows if it wants to be funny or dramatic, it certainly doesn't balance the two things very well. I'll give Reynolds some credit he doesn't falter too much given that, but he certainly doesn't become truly compelling either however.)
Savage - 3(He's perfectly fine but just that. And I actually rather liked the film, though I think that was largely due to Forman's various touches on the musical sequences.)
Bennent - 3(Those critics who so objected to Licorice Pizza's central relationship best not watch this, they would positively faint. Anyways, not really even referring to that aspect, I kind of hated this movie despite all the praise it did receive. Just its whole style rubbed me consistently the wrong way, and I don't know heightened reality and Nazi atrocity seems to consistently thud for me. Anyway, Bennent is kind of annoying, but that seems to be the point to an extent. I'll give him credit in that he definitely has a presence to be sure, even if it isn't the most pleasant of ones.)
Voight - 3(There are some genuinely good moments he has here in the most emotional ones typically. Overall though I just thought his accent and general presence just were a bit too broad that it was hard to really become invested in his character.)
Murray - 2.5(He tries to do the riffing he'd become famous for, but his technique I'd say just wasn't entirely set yet. Not terrible, but a lot of it falls flat.)
Wahl - 2.5(It's actually funny in that I wasn't overly impressed by a lot of the cast, but I actually rather liked the film overall. Testament to Philip Kaufman's directorial skill I suppose. Wahl though is kind of rather uncharismatic even not even a little off-putting at times.)
Caan - 2.5(Credit to his performance in Misery all the more because he pulled off there what he didn't pull off here, although everything about the former film is so much better anyways. This is a pretty phony feeling despite dealing with Simons's own personal life. There has to be some kind ego for a guy who looks like Woody Allen's cousin to say "Yeah, James Caan, that's my surrogate everybody". Caan just was miscast as essentially Neil Simon, and the weak material doesn't help things.)
Devane/Gere - 2.5/2(Okay, BAFTA what were you thinking with all those noms??? This film is a whole lot of not much. Anyway, Devane is okayish in a thin part. Gere less than that, in another fairly awkward early turn from him where he always seems just a bit off.)
Bernard - 1.5(Not to be mean but I can see why his career didn't take off. Found him actively boring and uninteresting, of course, it doesn't help that he's paired with Diane Lane who really as far as I can tell didn't become a good actress until the 90's. Bernard though has this sort of pompous and altogether annoying presence that just grates and grates in a film that I kind of hated outside of like one aspect.)
Barry - 1(Of course talk about a masterpiece compared to La Luna, which is horrendous. Barry is terrible and not for a moment convincing as this strange drug-addled teenager. He overacts or is just extremely dull, and has no sense of what he should be doing in a given scene. Just atrocious work.)
Louis: Thoughts on Alan Alda in Joe Tynan?
Actress:
1. Hanna Schygulla - The Marriage of Maria Braun
2. Bette Midler - The Rose
3. Sally Field - Norma Rae
4. Sigourney Weaver - Alien
5. Judy Davis - My Brilliant Career - 4.5
6. Isabella Adjani - Nosferatu The Vampyre
7. Nastassja Kinski - Tess - 4.5
8. Marsha Mason - Promises in the Dark - 4.5
9. Jane Fonda - The China Syndrome
10. Geraldine Chaplin - Mama Turns 100 - 4
11. Hsu Fang - Raining In the Mountain
12. Marsha Mason - Chapter Two - 4
13. Jill Clayburgh - La Luna - 4
14. Beverly D'Angelo - Hair - 3.5
15. Lee Remick - The Europeans - 3.5
16. Jill Clayburgh - Starting Over - 3.5
17. Jane Fonda - The Electric Horseman - 3.5
18. Julie Andrews - 10 - 3
Supporting Actress:
1. Veronica Cartwright - Alien
2. Keiko Kishi - Hunter in the Dark - 5
3. Eva Mattes - Woyzeck
4. Anna Seniuk - The Maids of Wilko - 4.5
5. Maja Komorowska - The Maids of Wilko - 4.5
6. Krystyna Zachwatowicz - The Maids of Wilko - 4.5
7. Rafaela DÃaz Valiente - Mama Turns 100 - 4.5
8. Barbara Harris - The Seduction of Joe Tynan - 4.5
9. Louise Fletcher - Natural Enemies - 4.5
10. Blythe Danner - The Great Santini
11. Barbara Barrie - Breaking Away
12. Amy Wright - Wise Blood
13. Meryl Streep - Kramer vs. Kramer
14. Mitsuko Baisho - Vengeance is Mine
15. Faye Dunaway - The Champ - 4
16. Marie-France Pisier - Love on the Run - 4
17. Alisa Freindlich - Stalker
18. Nijiko Kiyokawa - Vengeance is Mine
19. Claude Jade - Love on the Run - 4
20. Meryl Streep - The Seduction of Joe Tynan - 4
I as In Icarus is essentially French JFK, and it's pretty great, though I think its slight detour to examining a real-life psyche study is drawn out a bit more than it needed to be. A terrific procedural thriller though as it gives such fantastic detail in breaking down the various aspects of a JFK esque assassination, with the right sense of building paranoia and dread throughout.
Sieberaide is essentially Konchalovsky doing Jan Troell, and I mean that as the best compliment. This in creating just compelling depictions of everyday life within Siberia that changes over the years, in both big ways and small. The length is earned, as it is where the power of the film is to see the changing nature of society of people and really of history in general as we see how one area is changed ever so substantially by the changing nature of Russia and eventually the Soviet Union. Honestly, since he's still making films I'd love to see him come back for maybe two more chapters.
Ebert's review of La Luna: "He's got a soap opera and a Freudian case history (traditional enemies in their natural states) and he's forcing them to copulate".
Lmao. Guess I'll pass.
Love to see Scheider as your win, and flat out DELIGHTED that Schygulla is your win in Actress.
Brazinterma:
Song:
1. "Always Look on the Bright Side of Life" - Life Of Brian
2. "Rainbow Connection" - The Muppet Movie
3. "Movin' Right Along" - The Muppet Movie
4. "Moonraker" - Moonraker
5. "Finale: The Magic Store" - The Muppet Movie
6. "All of My Life" - Rocky II
I would not include any other songs from that year on the best of anything. The Rose, if it were elligble, which it is not, would probably be #1.
Score:
6. A Little Romance
7. The Man Who Stole the Sun
I'll probably watch Amityville Horror before I'm done with the year, even though the reviews are bad, just because the snippets I've heard from the score are legimately great.
Rocky II I have to disqualify I feel.
Poster:
1. Alien
2. Nosferatu The Vampyre
3. Apocalypse Now
4. The Warriors
5. The Man Who Stole the Sun
6. Being There (Floating on air)
7. Vengeance is Mine
Editing:
1. Apocalypse Now
2. Alien
3. All That Jazz
4. Rocky II
5. The Warriors
6. I As in Icarus
7. Hair
Original Screenplay:
1. Alien
2. I As in Icarus
3. Siberiade
4. Going in Style
5. All That Jazz
6. The Marriage of Maria Braun
7. Camera Buff
Adapted Screenplay:
1. Apocalypse Now
2. Stalker
3. Nosferatu The Vampyre
4. Escape From Alcatraz
5. Vengeance is Mine
6. Wise Blood
7. Rocky II
Character:
1. The Xenomorph
2. Ripley
3. Rocky
4. Apollo Creed
5. Kurtz
6. Killgore
7. Kermit the Frog
Cast:
1. Alien
2. Apocalypse Now
3. Stalker
4. Going in Style
5. Nosferatu the Vampyre
6. Wise Blood
7. Série Noire
Razor:
Tess - (Found it to be a wholly good, though not great, adaptation built most on its technical prowess, sense of place and Kinski's performance. Where I say it lacks most is in the key male parts, while neither is bad they just don't quite make the impact I think they could've, leaving the film not quite as emotionally resonate as I think it would've been if they had been able to make more of an impact overall.)
The Elephant God - (Just a very fun and charming detective story. An overall good mystery and just tells its story with the right pace, humor and just the right amount in terms of its emotional pull. In a year where I thought there were quite a few duds actually, this was breath of fresh air.)
The Black Hole - (A complete mess in terms of direction and storytelling. It is such a weird film though that it is kind of watchable just to see how odd and ill-fitting it is as a singular piece. Still wouldn't recommended it but as a faliures go it is kind of strangely interesting.)
Matt:
As with most of his early film performances he's relying too much on his MASH sitcomy presence (which is funny because he wasn't always even doing that in MASH), and it makes it rather hard to fully believe him as the character.
Calvin:
Definitely, definitely pass on La Luna, not worth it.
Louis: Thoughts on the female performances.
And have you completely settled on Kinski in Nosferatu or do you still need a re-watch.
Thoughts on The Muppet Movie and 'Rainbow Connection'.
Louis: your top 20 malcolm mcdowell acting moments
It's nice to see Scheider winning something. I always liked him.
Can't believe this. R.I.P. David Warner. Fantastic in everything he did.
Noooooo :( RIP David Warner and just before he's getting reviewed again.
Louis: You're gonna have to review him first.
RIP David Warner.
A review of him would be a welcome tribute.
R.I.P. David Warner
R.I.P. David Warner
I think my favourite performance from the great David Warner is one that I cannot believe didn't get any awards traction and never gets talked about, and that is as Kenneth Branaghs father in Wallander, his portrayal of Alzheimer's disease I thought was second only to Anthony Hopkins in how brutally honest and frank it was.
it's not a role that many will first think about when one mentions his name, but i think Warner will always be my favorite Bob Cratchit
RIP David Warner.
Love seeing Ogata win the line-up, and of course Scheider winning the overall is just wonderful.
RIP David Warner and Bob Rafelson
RIP David Warner
Louis: your #6-#10 for Director in 1979.
RIP David Warner and Bob Rafelson
Two outstanding personalities of the year 1970
RIP Bob Rafelson
RIP Bob Rafelson
RIP David Warner, Bob Rafelson, and Paul Sorvino. Jesus, what a day.
RIP Paul Sorvino
Well, crap.
RIP Bob Rafelson and Paul Sorvino.
Luke:
Schygulla - (Absolutely brilliant work from beginning to end in crafting this most unique and chaotic approach in creating the journey of this character. As we follow her essentially through her different relationships. Each that Schygulla naturally, and often silently, portrays a strict different meaning towards what Maria is getting out of it, and also what it is to be in this place. Take her earliest scenes where she portrays a greater need and desire within it as connected towards a place of desperation for any love for herself after the seeming tragic end to her first marriage. We see then through her greater agency that grows as she finds new ways to explore her existence, however, this in itself is never a simplistic thing within her performance. As Schygulla presents the way these changes are crafting a greater sense of the woman making claim for herself, while also though may be more overtly manipulative in her choices. It is effortless work in making these extreme changes both natural and absolutely potent in realizing the changes of Maria from this rather meek war widow, to an overly confident woman whose seen far too much in terms of the relationship. This isn't a moralizing performance either, rather she creates such dynamic energy in just showing a woman making mistakes, but also making accomplishments, but more than anything be this person who always seems distinctly tangible in her off-beat journey.)
Davis - (A fascinating off-kilter "romantic" leading turn by Davis who excels here in wielding eccentricity with such an authentic kind of naturalism within her performance. Her portrayal delivers a captivating quality by so naturally being kind of unnatural in a certain sense, in that her character doesn't conform to the expectations set upon her. She beautifully realizes this vibe in a way that not only delivers a unique charisma to the character but also makes her behavior have a completely true logic within herself.)
Kinski - (I'll admit Kinski's presence alone does about half the work to begin in creating such a distinct and alluring figure in her version of Tess. Where she does excel in her own terms in creating this palatable state of the greater intelligence that she essentially has to hide in the society that decides her role for her, and Kinski is fantastic in showing the quiet frustrations in reacting to these throughout. A frustration that grows and shows the more painful changes as she has to grapple with the choices of the two key men that make more understanding in some ways and colder in others. Kinski in both though I think finds a natural change in this place of constant difficulty.)
Mason - (The better of her two performances, the one not as herself, in a film that really isn't very good at all and is about as TV movie drama as you can get. I do think though Mason admirably elevates it with her performance where she manages to find some genuine emotion in the cold doctor trying to allow herself to feel in a particularly fraught cause in terms of the emotions behind it. Although the film itself is never more than its trappings Mason is fantastic in working within them nonetheless.)
Chaplin - (I mean when she's getting to be a bit off-beat she's typically is enjoyable in playing within her character's curiosities which she does so rather wonderfully well here.)
Fang - (Liked her charismatic turn that managed to carry me along to a degree in a film that I think was overstuffed with just "Stuff" in terms of the plot developments. Her presence though was most appreciated in just how naturally dynamic her presence is.)
Mason - (Second try and here we get a little bit of overemphasis theater in some moments of Simon's more labored dialogue. Having said that I did like the overall charm she brought and felt she managed to find some truths in essentially playing herself even if the material for playing herself wasn't particularly good.)
Clayburgh - (The film is atrocious but I actually did believe Clayburgh's performance so that is worth some credit. In that I thought she managed to find something within her own work in revealing the manner of the diva even if I never believed the writing around her for a moment.)
D'Angelo - (Basically a "presence" performance through and through, but I liked her presence here to be sure with the right sort of taken aback and then supportive earnestness.)
Remick - (The film is fully dull but it comes slightly to life when Remick is around. This is mainly just due to her presence having a bit more energy to it innately even within the confines of the more upper crust style society.)
Clayburgh - (Thought there were times where she severely overacted into ridiculous screaming. Offsetting that though are the quieter scenes with Reynolds where I thought she was quite moving and good in portraying the meek sort of earnest love within her character.)
Fonda - (Once again as a reporter but now less dramatically. For the purposes of the role, I thought she was decent enough with decent enough chemistry with Redford.)
Andrews - (Lead is probably a stretch, but trying to fill out the 20. I thought she was fine...)
Kishi - (I believe I got the actress right, but anyway it is a shame the film doesn't properly exploit her character because she is brilliant every second she is onscreen. This in bringing such a charismatic power to her power player who seems simply the concubine yet is the one who is wholly in power. In her moments of brandishing her early seeming victory she brings such a potent sadism. Her then the portrayal of her violent seduction not only seems wholly convincing she brings such taut brutality towards her moment of lustful villainy. She's terrific in every second of creating such a dynamic fiend who seems always ready to find her means of escape no matter how difficult it may be. Every moment she was onscreen the film did come to life and through her performance, the film does have a great villain, even though the sloppy screenplay doesn't seem to realize it so she's not exploited properly. Still on her own terms she's great even with such messy material.)
Maids of Wilko - (Each in a way play off each other in their own ways in portraying different kinds of relationships and different kinds of potential history one might've shared. Each doing so in a way that feels natural in the way of playing around with the different emotions of the situations, showing the moments of the hidden bitterness, love or lust, or just even in reacting towards the man who had been away as a curiosity. Each craft a striking sense of their characters that truly succeed in the way their performances play off each other in each able to represent a certain idea while feeling properly honest characters as themselves.)
Valiente - (Properly larger than life performance in bringing this sort of commanding kind of charisma that is potent in being this sort of over the-top seemingly loving mother yet with that there is almost a sort of intimidating factor within that. She makes her properly never the simple kind of mother but the one this film needs, who you might love but the feelings are never so simple because she's never so simple.)
Harris - (Even though the film, which is a bad riff on Mr. Smith Goes to Washington seems to disregard her, I thought Harris was actually terrific in bringing this real humanity to the character. Starting at first in presenting the seemingly vapid politician's wife, yet in each subsequent scene showing the very real woman within all of that gloss, who isn't just a caricature but a woman who has been betrayed. A film with properly re-working could've worked, and Harris in part shows why by just giving a real depth to a part that could've been one note.)
Fletcher - (All the credit in the world that I found her actually heartbreaking in a film I detested so much. Fletcher though is just so genuinely honest that she manages to cut through the garbage of the film's cruel and repetitive manipulations. She manages to show a real woman loving but also frustrated in every honest ways with her husband's distance. She manages to elevate her weak material by just being absolutely real even when the film itself feels so orchestrated. To the point that I might've hated the film even more because of it, as she pours her heart out so earnestly only for the next scene to be basically a "yeah too bad viewer we hate humanity aren't we shocking!!!")
Dunaway - (Another strong performance in a bad film, don't know what those Non-Razzies were complaining about either as I don't think she's even doing an accent. Anyway I really liked Dunaway who really tries hard to give such a real human substance to that of the mother trying to connect to her son, whom the film wants to treat with a distance, yet Dunaway actually always connects rather magnificently.)
Pisier & Jade - (Both are wonderful in giving these almost fourth wall breaking performances where their work seem to comment on the very idea of their relationships with the central man. Each though granting this sort of warm commentary even when being more dismissive and finding the right tone that works wonderfully for the material.)
Streep - (An entirely good performance by Streep as I think she managed to avoid caricature as well in creating some very honest moments of the character revealing her feelings even as she is set up just to be this sort of type. She goes beyond though the type of bringing some substance into a role that like Harris goes beyond the call of the expectation.)
I didn't just watch the Muppet Movie, I've seen it as far as I can remember. And I've actually never been the biggest fan despite liking the muppets. I like the first act a lot but I think it starts to meander and by time Mel Brooks shows up I don't care, then I care a little once they get to Welles.
Rainbow Connection in its 79 version is a wonderfully simple tune, that is a little odd when you pay attention to the lyrics too much, but anyways has a nice build from the slow banjo as it pulls more into as it builds on its strange idea about rainbows.
Anonymous:
1. "Number One" - Gangster No. 1
2. "I was cured" - A Clockwork Orange
3. Singin in the Rain - A Clockwork Orange
4. "I deserve some love" - Gangster No. 1
5. Confronting Freddie - Gangster No. 1
6. Adversion Therapy - A Clockwork Orange
7. Recounting Lennie's demise - Gangster No. 1
8. Successful "Therapy" - A Clockwork Orange
9. Negotiations - Time After Time
10. Unable to fight back - A Clockwork Orange
11. Meeting Amy - Time After Time
12. Routine Beating - A Clockwork Orange
13. Hotel Room - Time After Time
14. "I'm an English person" - South Park
15. "What do you take me for" - Gangster No. 1
16. Audition - O Lucky Man
17. The Window - A Clockwork Orange
18. Going Back - Time After Time
19. Seeing Eddie - Gangster No. 1
20. Hospital - O Lucky Man
Shaggy:
1. Andrei Konchalovsky - Siberiade
2. Walter Hill - The Warriors
3. Henri Verneuil - I As In Icarus
4. Shohei Imamura - Vengeance is Mine
5. Milos Forman - Hair
Come on now...
R.I.P. Paul Sorvino, Bob Rafelson & David Warner(more to be said soon).
Louis: I don't know if anyone has said before, your thoughts on Lin-Manuel Miranda playing Scheider in Fosse/Verdon.
Anonymous:
A terrible choice. Doesn't look like Scheider, doesn't have his vibe, and didn't adjust his performance to have it. To be fair it is just a quick bit from the series, but even as such his performance is very underwhelming. Given he executive produced it and the series was developed by his creative partner Thomas Kail, I imagine they were just looking for a spot for him, but not a great choice as small of a part as it was. The same though went for a few of the other minor parts where they seemed like they probably were giving a broadway buddy a part rather than someone ideal for the part. As also Tyler Hanes didn't evoke Jerry Orbach in the slightest.
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