Charles Boyer did not receive an Oscar nomination for portraying General André de... in The Earrings of Madame de….
It’s been quite some time since I’ve covered a Charles Boyer performance, and the only time I’ve covered a Charles Boyer performance where he was speaking in his native French. An actor I’ve always thought had presence but his standout role for me has always been Gaslight because his cold imperious demeanor seemed to fit the manipulative horrible husband of that character. Boyer once again plays a manipulative husband although the situation is quite a bit different here as we follow his relationship with the fairly shallow Madame de… first name Louise (Danielle Darrieux). The opening act follows Louise as she sells her earrings to support her lifestyle while putting on an elaborate act of “losing” them at the theater to convince her husband of such. Honestly throughout this sequence I found Boyer to be the most charming I’ve seen him in anything, not because he presents any sort of great loving husband or anything of that ilk, rather it is the way he presents the General as a man so very much in comfort both with himself and his wife’s approach to life as obviously imperfect as it is. Boyer’s quite a bit of fun as he goes along with the act with the sense that the General has some doubts to begin with and is just having fun playing along with it. One moment particularly worthy of note is a tradeoff with a servant of a man who accuses the General of having stared at his wife. Boyer’s playful delivery of deflecting while also completely admitting to the notion via a compliment of the beauty of the man’s wife before talking with pride of his own is just a wonderful bit of work, and genuinely charming in that very specific ownership of the situation.
An approach by Boyer that only continues as he learns from their jeweler of his wife’s deceit. Boyer’s reaction though isn’t of any negativity whatsoever, in fact his reaction presents a certain enjoyment of the whole situation. I will admit particular affection for his reaction to his wife bemoaning the loss after he fully knows and Boyer’s exuding this particular joy of someone just loving the game more than anything. An aspect that only continues when the General chooses to give the earrings off to his own departing mistress as a gift. Boyer in that scene brings a playful energy as a man making the gift a bit of a trick of his own. The film then switches its focus more so on the romance between Louise and Baron Fabrizio Donati (Vittorio De Sica). Where the General is just occasionally checked into. Boyer supposedly had arguments with writer/director Max Ophüls over the motivation of the General, and understandably so as the character becomes a bit more enigmatic. Boyer apparently responded by choosing to play his scenes as omnipotent and taking that info manages to make some sense of the General’s switch from being amused by his wife’s actions to becoming a imperious judge against them. Boyer I think does maintain the thread though presenting the General essentially as this force for the social order and less so on a specific personal level. The scene of him pleading for her to maintain the arrangement is less of a desperate or even jealous husband, and more of an authoritarian ruler making quite clear the specific laws of his nation. An idea only extended upon later in the film where he challenges Donati to a duel. Again a scene where Boyer actually doesn’t play it all emotional, and I found his approach even slightly comical as the General speaks around the true infraction in a way. Boyer delivers the scene so rapidly and as a matter-of-fact, as again more so this is a requirement of the society that he make the duel challenge more than this is an emotional man trying to keep his wife. Boyer I think finds an internal logic within the film and his own performance. As much as I think Max Ophüls is the true star of the film, Boyer I think manages to stay present beyond the vision even when working in the vision by finding some genuine entertainment within presenting the General in consistently more satirical terms.
57 comments:
Louis: I know Cannes hasn't started yet but do you think its feasible for Pattinson to be a double nominee in Supporting Actor this year.
Ratings and thoughts on the cast.
Luke:
Darrieux - 3.5(Thinking about it maybe my certain reservation of the film has a little to do with her only that I didn’t feel her performance pulled me in the later scenes any more than the former. The former where I did think she effectively brought this slightly comedic blithe manner of just always being a little much. When the film seemed to shift I didn’t really care any more about her and her declarations of love felt just as thin to me as her lies about the earrings. Maybe again that was the intention but an aspect that didn’t entirely work for me then performance or film wise.)
De Sica - 3.5(He has a generally charming demeanor and brings kind of a general sunny energy. Again I didn't feel that much complication with the man however so I didn’t really care what happened to him, particularly as he just kind of smiled and an “oh yeah?” attitude in his main scene with Boyer. Which again I think worked well enough but certainly didn’t make me feel this was a deeply tragic situation either.)
Even if he’s the best performance in both films, I doubt it. One because Pattinson’s yet to break out with the academy, two while genre performances are more popular than ever with the academy there still is a certain hump, Odyssey and Dune III would both need to be top fivers and while I think both will receive many nominations, it’s very early in the game. I think more likely, because he’s having so many films come out, they would focus on one of his performances and just from this venture probably Dune III as the main villain. Or they focus on him as possibly Chris Hanson in Primetime if that turns out to be great.
Louis: Can Pacino get a proper picture for The Godfather Part 2 review?? I think that photo doesn't load anymore.
Louis: My request is Jesse Plemons in Game Night.
Nice to see Boyer get a 4.5, my predictions remain the same
Louis: Thoughts on the “Tony” trailer?
Two recent series completions:
DTF St. Louis refer to Letterboxd thoughts.
Cast Ranking:
1. David Harbour
2. Richard Jenkins
3. Linda Cardellini
4. Jason Bateman
5. Peter Sarsgard
6. Chris Perfetti
7. Joy Sunday
8. Arlan Ruf
Beef season 2, to echo Calvin's thoughts, is bad. I think it starts out shaky but it only gets progressively worse as it goes along. And while there are heightened elements in the original season this one goes way overboard with them, and more importantly the genuine sense of empathy for the characters feels minimal here. Additionally its style choices here frequently fall flat and all the "kids speak" from Spaeny and Melton is particularly clunky.
Cast Ranking:
1. Oscar Isaac
2. Youn Yuh-jung
3. Charles Melton
4. Seoyeon Jang
5. Song Kang-ho (Although what a waste outside of one scene)
6. William Fichtner
7. Carey Mulligan
8. Matthew Kim
9. Cailee Spaeny
10. Mikaela Hoover
Bryan:
Well first off seems like Johnson isn't just doing shaky cam and zoom-ins so that's a good start at least. The trailer otherwise is vibes and maybe that will be most of the film, which definitely could work and I'm glad to see Sessa having potentially a juicy role here. I'm certainly intrigued and hope it all comes together as more of an atypical biopic.
Yeah, I couldn't even get past the second episode of Beef season 2. The dialogue given to Melton and Spaeny in particular I found ridiculous.
RatedRStar and anyone else who's seen Bullet in the Head: Is Jacky Cheung Lead or Supporting in it?
Louis: Thoughts on your #1-4, Joy Sunday in DTF St. Louis and Isaac, Mulligan, Melton and Spaeny in Beef S2.
Louis: What are your thoughts on Peter Sarsgaard, Arlan Ruf and Chris Perfetti in DTF St. Louis, and Youn Yuh-jung in Beef?
Harris: I consider him a co-lead.
And yeah with time I'm probably coming around to Isaac as my MVP, probably the closest anyone in the series came to selling the emotional beats of his character. Song was definitely a waste, though actually I'd opine Youn kind of was too - felt a bit like a role that just got her to coast on her (obviously tremendous) screen presence rather than any actual juicy material.
And glad you liked this, and agree that Ophuls' work is the star - thoughts on his direction?
Hi Louis, what are your thoughts on these Community episodes?
Introduction to Film and Higgins's performance
Environmental Science
Physical Education
Tony: Not like super well versed with TV shows, but this is what it's probably like.
The Sopranos
The Wire
Twin Peaks
Fargo (S2)
Lost
Breaking Bad
The Walking Dead
Deadwood (Yet to complete S3)
True Detective (S1)
Succession
I should add GOT here, but I guess the rewatchability factor hurts it.
Louis: What are your thoughts on Alec Baldwin and Kate Beckinsale in The Aviator, which I can't find? And your thoughts on Blanchett in the scene where she's thanking Howard?
Louis: With his passing today, who would you cast as Ted Turner in a biopic.
Anonymous:
Harbour - (The most interesting part of the series as I thought he managed to very effectively realize different aspects so naturally even within such extremes. As he brings in such a potent degree of sorrow within his performance particularly in conveying the sense of someone not only taking in his pain but also the pain of others. Harbour finds this very moving quality within his performance where he manages to be so differently revealing of his deep suffering while also creating this real warmth and even inspiring moments in his performance where we see his encouragement of others. Harbour wonderfully is able to make the mess of his character this tangible sight where in one scene he can play the note of such suffering and the next there is a genuine even slightly cheerful quality to him within Harbour's performance when he sees joy in someone else. His balancing act is easily the highlight of the series as every moment of such a tricky part feels absolutely authentic.)
Jenkins - (The whole investigator part of the series is very repetitive and in that aspect Jenkins is the saving grace because he brings so much straight man comedic timing for every bit of exposition that he gets. Jenkins emphasizes both a “routine” investigator type and essentially a little bit of a fuddy duddy. In doing so being quite amusing in his slightly disbelieving reaction to the various revelations in the case. Jenkins manages to find a slightly off angle to every bit of repetition of a line by just managing to play the edges of the character’s discomfort in such an effectively amusing fashion.)
Cardellini - (I will say a weakness of the series is it does have a little bit of the false twist elements where certain actions make sense to set up revelation that never happens. Leaving Cardellini to have to play certain scenes with a slight sinister quality which she does fine though they don’t add up to much of anything. Cardellini however is genuine very good in portraying the desperate urgency around her son’s mental well being playing well the notes of the combination of genuinely warm care with intense exasperation. Then in the sexual escapades she delivers in just playing it as this combination of joy seeking though with a certain natural awkawrdness of someone wanting to discover but not being too experienced.)
Bateman - (He’s wholly fine though in terms of his dramatic work didn’t find this to be truly anything new for him in that regard. He’s good but I thought he was consistently overshadowed by Harbour and Cardellini. He more often is a fine facilitator of scenes that bring a combination between a certain sleaze of the man quite enjoying cheating on his wife but with the quiet moments of empathy where he is genuinely caring for Harbour’s character. He manages to balance those sides well even if I wouldn’t say he is amazing here.)
Sunday - (As the scene partner with Jenkins and the random bits of her work I’ve seen from Wednesday, no haven’t seen the series just parts of random episodes, both performances are very samey where her delivery is consistent to a fault and no matter the emotion it is mostly just about projecting this internal confidence and some minor variation around that. It’s not terrible but she’s not all that dynamic either.)
Isaac - (The one performance that I don’t have any reservations for one way or another. As I thought he did manage to keep his head up by finding a strain to work with in both a comedic and dramatic sense. Playing into this certain kind of personal mania of a guy just kind of going with whatever it is with a degree of slight insanity about it all fitting for a guy just past it all in more ways than one. Isaac I think managed to take this note and find a combination between genuine comedy of the man’s sort of “whatever” take towards many aspects of life whether it is blithely treating others, or just dropping everything for a moment of his own personal interest. Isaac manages to sell that flow consistently even when the character shifts towards some redemptive qualities. I thought Isaac managed to pull it off by presenting as really from that same kind of personal mania just funneled in a better direction. I believe his performance made me believe in his character, which honestly with the writing I think many actors would’ve failed to deliver on.)
Mulligan - (I’ll admit in the early scenes I was wondering if I simply have stopped liking Mulligan as a performer because so many of her choices just felt so calculated and over delivered in the same way I felt about her work in She Said. As the season went on I did think she got a little better and reminded me at least a little of why I do like her. However it is all a bit lopsided, when she stops playing overly into the type of the “bored elite wife”, and began to show some genuine emotion, I thought she improved however as such not in a way where it felt like illumination of the rest of the work, just felt like a different performance in many ways.)
Melton - (I will say his writing is such a challenge that I will praise him for managing to do anything with this character. As the series so frequently wants to write him as a dolt, then suddenly decide he’s not a dolt that Melton is basically playing catch up with whatever a given scene wants him to be whether it is to sell the joke or be an actual person. Melton I will say does struggle in the very worst scenes where I sense him trying to figure it out but doesn’t get there. Having said that, I did think he at least managed to find a little comedy in playing the dolt moments, and when his character was written better I thought he fully thrived in conveying the tricky conflicting emotions of the people pleaser combined with so many uncertainties. When they give him a purely dramatic scene he delivers on that need quite effectively multiple times. Unfortunately there’s all the random wonky bits throughout where he can’t quite sell it all.)
Spaeny - (This is probably the most challenging role I’ve seen her attempt and I can’t say she delivers. She is all over the place here, and yes the writing is definitely a problem but where like Melton found some moments to deliver on when the writing was a little better, Spaeny I think frequently fails to deliver regardless of the writing. She feels very forced within any of the comedic moments she has, like her rating her pain scale scene was just atrocious though to be fair the writing was worse than her delivery of that writing. But even in her big emotional scenes, she occasionally has a moment where I felt she was convincing but frequently I found her more trying to get to the emotion of a given scene than just feeling naturally within it.)
Lucas:
Sarsgaard - (He doesn’t have much screentime and the screentime he does have is basically just selling a guy who’s totally comfortable with his kink and kink philosophy essentially. Sarsgaard delivers on that specific note speaking everything quietly as a secret but sincerely as the man confident in sharing that secret.)
Ruf - (Tricky note for a young performer to play off extreme emotional outbursts, and while I don’t think he’s terrible I wouldn’t say I wholly believed him either. He more of is fine in the quieter moments with Harbour the bigger he gets the more of a stretch he becomes, never horrible certainly not great.)
Perfetti - (Pretty limited role though he is entirely fine in just bringing believable reactions to first coming into an idea then quickly backing out.)
Youn - (The role is very repetitive of just a power broker essentially but at least she doesn’t have to deal with the extreme inconsistencies of the role. Youn delivers on bringing a cold incisive presence consistently though not much is asked of her other than that vaguely menacing note. She certainly delivers on that consistently however.)
Calvin:
It is easy to see why Ophlus’s work here is so admired by so many notable directors given just how precise of a vision it is and just feel as though you are in the safest of hands despite how daring it is. As Ophuls seeks to make any moment dynamic as just take selling the earrings to jeweler could just be a simple scene of walking into a shop, the dialogue, then leaving, yet the staging and camerawork make it anything but rudimentary as there is this elegant dance in the filmmaking with how Ophuls executes his scenes. Commanding the visual language with such ease of precision, and just such captivating images, I will note in particularly the mirror ball shots, which could be a gimmick in a lesser filmmaker’s hands, yet Ophuls instead makes potentially a scene you’ve seen before in a way you’ve never seen before that is absolutely fascinating to see. Even within the last act which personally I felt the least compelling in a certain sense, the grace of it, such as how the duel and result is so seamlessly realized. And that isn’t even talking about the utilization of the production design and costumes, in crafting the world so tangibly in every frame.
BuscemiFan:
Introduction to Film I thought was alright like most early episodes there is a bit of getting the rhythm down so to speak but did enjoy the Britta vs. Jeff on how to deal with the Abed situation with the result being a nice capper. The Dead Poet’s Society bit was as deep as that film is, and by that I mean not at all, however I can’t enjoy too much just as Higgins for me gave the performance he almost gives and while there are worse examples I’m still “eh” on it.
Environmental Science, always enjoy an episode where a plan comes together, and in this instance each of the different threads each wrapping into one nicely, particularly enjoy the singing of “Somewhere Out There” coinciding with the dance finale and the back and fourths in that situation being quite effective leading up to that moment.
Physical Education, enjoyed both the matchmaking of Abed, particularly enjoyed his Don Draper skills and the totally random ending to the situation, however the highlight is the strangeness of the Color of Money parody based on the clothing situation and just how that leads to the full parody ending just so wonderfully.
Harris:
Baldwin - (Standard jerk performance from him.)
Beckinsale - (I would say she's a more generic starlet than Ava Gardner so to speak, but she does deliver on that kind of presence effectively enough. And I’ll say she’s pretty good in her scene of helping Howard bringing this combo between toughness and warmth in that scene.)
Blanchett I think gets progressively better in the film as the Hepburn mannerisms become a bit less forced from scene to scene honestly. This scene is the highlight just because the mannerisms seem the most natural at this point, along with letting the genuine emotion come through where she effectively brings the sense of the appreciation and love for the man, even as she also conveys someone who has moved on from him.
Luke:
Hugh Laurie.
RIP Ted Turner
Thank you for creating the TCM, TNT, and Cartoon Network channels.
Louis: What are your thoughts on Seoyeon Jang, Song Kang-ho, William Fichtner, Matthew Kim, Mikaela Hoover, Patti Yasutake and Rek Lee in Beef?
Luke: Do you happen to know which years have had the most 5s in Actress and Supporting Actress?
Tony:
Lead Actress - 12 (2017)
Supporting Actress - 7 (2021)
Rest In Peace Ted Turner.
What do you all think of the new Odessey trailer?
Damon saying “Let’s Go!” has myself and other commentors worried.
J96: I gave my take on the previous post. The dialogue is the one thing I personally have concerns about. Wasn't a fan of American accents being primarily used to begin with but I'll have to get used to it.
It's not like if they all had British accents it would be more accurate.
Matt: Doesn't have to be, a European mix was what I envisaged.
Louis: what are your thoughts on Jarmila Novotná in The Search? Just watched it and I was very impressed with her (wonder if she was close at all to a surprise Best Actress nom but can't really imagine her getting over any of that final 5 besides maybe Stanwyck).
on that whole accent thing:
As a german, i cannot stand watching Schindler's List in english. I have only done it once, and never will again. (Same goes for Jojo Rabbit, or virtually any movie that takes place entirely in Germany) The simple reason being that Liam Neeson and Ralph Fiennes having an accent is hella distracting. Not just because they are both pretty terrible at it (and believe me, they are AWFUL), but there is no reason to have them at all.
Ben Kingsley having a slight polish accent makes sense to make him stand out, but not them, as when Schindler and Göth are talking to eachother, in universe, they sound "normal" to each other. German is the status quo for these characters, so they should talk how they normally do. They are two anglo actors talking english to each other anyway, an accent still doesn't make that seem particuarly german!
I like how Amadeus did that. Everybody in universe really spoke german to each other, Salieri was originally from Italy. So in the movie, a bunch of american actors speek english in american accents, slight italian intonation from F. Murray Abraham.
Having accents is not realistic and frankly kind of talking downm to the audience. This is not actual international communication here, it's a depiction. A depiction through an american lense. English speaking actors speaking english to each other. Just talk normally for christ's sake!
Luke: Since you're probably Louis's biggest fan here, I'd like to ask you - what about his writing grabbed your attention when you first came across the blog, and made you want to keep reading? What do you think it is about his perspective that makes people so curious about his opinions?
Tony: I'll give a response on Sunday once I've finished work for the week.
Louis: I hope you consider my earlier request for the photo for Pacino's review for The Godfather Part II... Actually, neither of Hoffman's, Finney's or Pacino's photos for their 1974 performances review load properly, but of course, Pacino's work holds greater priority for me haha.
Unfortunately due to all the noise around the Odyssey trailer I broke my rule and watched the damn thing. I will say it isn’t a great trailer, however I don’t think so in terms of a reflection of the content of the actual film rather just the choppy editing of the trailer itself where I think it was trying to convey the whole story of the Odyssey which was a faulty endeavor given the nature of the story, where the teaser wisely just gave the general vibe and starting idea. In terms of the language, I think it is all if it works as a singular piece, which trailers can sometimes fail to convey. Amadeus for example used more modern language, and American accents and is the greatest film ever made, so it will all depend if it works when we see the film constructed together…as it is meant to be seen.
Lucas:
Jang - (Another character who in many ways behaved just through the needs of the plot rather than a real person, as she goes from manipulative flirt to impassioned do gooder rather randomly in terms of the writing. Jang though I think manages to really bring a lot of honesty to every moment she does have. Giving some life to those random sides by just bringing real emotion to those random bits she’s given. I wouldn’t say it makes her character fully work, but I’ll give her credit in that she avoided becoming just a one dimensional obstacle of sorts which I think was a possibility.)
Song - (I’m sorry but why cast him if this is what you’re going to do with him? Showrunners you should know better. As mostly he’s just looking scared and foolish for the majority of his screentime. He gets one moment towards the end where he gets a monologue to explain his actions and Song owns it as you’d expect him to do. He brings the emotional nuance, complexity and even nails his comedic bit when he realizes no one knows what he’s saying. But too little too late, and then they end up even wasting what he did there in frankly an insulting exit for such a great actor.)
Fichtner - (Really just needs to bring the “Good ole boy” energy from one scene to another and I’ll give him credit in that he keeps above becoming just a caricature to the best he can. As written he really is but I liked how he brought some genuine warmth with Isaac and found any depth he really could in such a role.)
Kim - (Just there really for one scene which he’s decent in with Youn in conveying nuanced truth in the moment with certain fear and regret. Not much more than that. Otherwise he’s just kind of there.)
Hoover - (Now she is pure caricature every second she is onscreen and it didn’t work for me in the slightest. Completely over the top but I didn’t find her funny at all, just ridiculous.)
Patti Yasutake and Rek Lee, don’t really remember either their performances that strongly one way or another.
Calvin:
Unfortunately I haven’t watched the review since I reviewed Clift so I don’t remember all that well, but I recall her being good and bringing a lot of empathetic reality to her scenes.
Unknown:
I feel the broken links, due to not capturing my own screenshots like I do today, are in themselves representative of my feelings towards those early reviews.
Louis: Oh I totally understand. Hopefully, I didn't come off as entitled lol, it's just one of my favorite performances of all time, so I thought a badass still would be great for aesthetics haha.
Louis: Thoughts on the cast of The Drama.
As I noticed you have only moderately positive feelings on the first two seasons of Better Call Saul on Film Thoughts, would you say your opinion of those seasons are final and unlikely to change? Also, what are your thoughts on Juan Carlos Cantu's performance, which I can't find if you've given before?
Luke: Your 2020 Lead and Supporting suggestions?
Ytrewq:
All I have is Mads Mikkelsen in Riders Of Justice and Duke & Wong in Nine Days.
So, for anyone still in The Bear bandwagon here, "Gary" is a good-ish special, though not without the usual issues that have marred the last 2 seasons of the show.
Watch it for Bernthal and Bachrach having a bunch of fun together, maybe a bit too much. I do think the episode at least successfully grants an interesting angle to Mikey, fwiw.
Louis: Your thoughts on this Succession scene, and Macfadyen and Kanye West's performances in it?
https://youtu.be/Rk3lcEeoEy8?si=6jfMbX8WizllrLeu
Anonymous:
Zendaya - (Her performance in a way is all about not really giving an answer, and purposefully her character is kept vague to a degree in order to torture Pattinson’s all the more. Zendaya though I think delivers on the note of ambiguity where you can’t fully know what to make of her on the whole but doesn’t use that as an excuse to be completely vague. She’s effective in playing speaking about the old things with a hollowness to her performance where you can’t fully discern how she feels, but in terms of the current situation of the relationship she brings a more direct sense of frustrations over the fallout but also sincerity of attempting to keep the connection with Pattinson. Creating artfully a lot of distance but with a few moments of connection.)
Haim - (By far her best role since Licorice Pizza and she bits into it beautifully. Starting so much as the somewhat overbearing friend who is just trying to push buttons while underplaying everything she does with a casual dismissiveness. Then after the reveal, playing her disgust in such a properly overdone way. Leading to everything she does in the final sequence where every glance is just perfection of horrible cattiness, leading to her passive aggressive speech which is just wonderfully done to that extreme where she makes it biting though also comical in the darkest of fashions.)
Athie - (I don’t know about his range as this is awfully similar to his performance in Kinds of Kindness, but once again he’s playing essentially the wingman to a guy going through a thing with his spouse in a dark comedy. So that’s a specific niche but his sort of stilted deliveries once again works for this very specific tone. I don’t know if he has something else in the tank but he certainly can do this role.)
Gates - (Kind of an anti-performance in one where it is about not really being in the scene that much and more of this casual not quite indifference but close to it manner that wouldn’t work in many circumstances but works ideally for this very specific role.)
Harris:
Completely unlikely to change. As I will never not find those side characters, like the Kettlemans and Wormald (and Mark Proksch can be hilarious but his style of comedy was too broad for the show) to be cartoonish. And I think leftover from a tone which felt like they were purposefully going far broader than Breaking Bad ever did overall on the Saul/Jimmy half something they ended tempering closer to maybe just slightly sillier than Badger and Skinny Pete stuff from Breaking Bad which worked far better. But I also won’t ever find Mike’s son’s death backstory any more rote and tired, and I never really cared for the Marco stuff either. And the first season in particular is why I never can be on board with the “even better than Breaking Bad” talk even remotely.
Cantu’s performance is all about bringing a reality check to essentially the criminal horror Mike and the other characters casually live with. Cantu brings just an earnestness that is so contrasting from everyone else starting with just his quiet disappointment in his son and his blunt disgust and sadness when being spoken to by Hector for even a moment. He instantly gains your sympathy because he brings just the right “honest Joe” energy in such a low key but believable fashion. With his standout moment being Mike’s scene who tries to justify his actions, where Cantu is heartbreaking in showing just how much sadness he has and in turn love he had for his son, but also is cutting where you see just how delusional Mike is in a way as Cantu so bluntly puts down any notions of “justice” that Mike is trying to espouse.
Marcus:
A masterpiece of dark comedy. As the scene is written so brilliantly on the two sides from Tom wanting to run through the questions so quickly to the answers which are magnificent punchlines by starting as casual hand waves to reveal fiendish in the nuances each time. Macfadyen being a master of the corporate speak in such a wonderfully phony way here, maximized in his attempts to get through with him then playing the genuine human in there both in his little additional asks and his increasing nervousness. Contrasting that is Robidas's performance where he's essentially one note that works of this essentially confidence of both hiding the truth while also stating exactly what he is with the knowledge of basically feeling he needs to justify to a minor degree while taking total ownership of his evil.
Louis: Your thoughts on Jeremy Levick and Zoë Winters in The Drama?
Lucas:
Levick - (It's really just for a tonally out of whack bit where he's in another movie about a guy totally jazzed for audio equipment, and I loved that random bit thanks in part due to Levick's tonally out whack performance.)
Winters - (From what I've seen at this point she really does just kind of have one setting she goes for, which leads to an amusing enough bit through that delivery, but not seeing much range here overall.)
Louis: What are your thoughts on the cast of Hokum?
Lucas:
Hard to avoid spoilers and it seems I'm the only one who has seen it, so wait on that.
Louis: Could Jimmy O'Dea and Albert Sharpe go up for Darby O'Gill and the Little People?
Louis: If you've been watching season 2of Community, how far along are you with it.
Louis: Where'd you read that Jill Clayburgh turned down Alien? Through a Google search I can only find that on notstarring.com, which isn't the best source.
Lucas:
I'm a obviously a fan of both performances but probably not.
Tahmeed:
Was finishing those other series but will get back to it soon.
Harris:
I don't remember as I recall reading it while ago, although given Meryl Streep was considered I think Clayburgh in a similar age/breakout would make enough sense as someone else being considered. Although I'll say even without hindsight, Norma Rae was probably the more questionable role to turn down at that time, where obviously Alien could've potentially have been schlock if you were only given the general pitch for the film.
Tahmeed: What are some of your favourite shows outside of Community?
Perfectionist: Who would you say gives the 4 best performances on The Sopranos after Gandolfini? No need to rank them.
Tony:
Arrested Development
Breaking Bad
Blackadder
Courage the Cowardly Dog
Toradora!
Succession
South Park
The Bear
Mob Pscyho 100
Key and Peele
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