Lead Michel Simon in Panique Charles Boyer in Cluny Brown Michael Redgrave in The Captive Heart Franco Interlenghi in Shoeshine Sydney Greenstreet and Peter Lorre in The Verdict
Supporting Alastair Sim in Green For Danger Claude Rains in Deception Pierre Brasseur in Gates Of The Night
Anonymous: Premiered in Paris on 19 December 1946. If Louis decides to put it in 47 then I'll replace him with either Vincent Price in Dragonwyck or Boris Karloff in Bedlam.
Colman - 4(For both films it really is just him being charming and making not always great dialogue sing far more than most actors. Really just about the ease he had on screen when stiffness quite frankly was the norm.)
Ayres - 4(Interesting contrasting performance where he plays a hardbitten and already retired gangster. Theoretically mistcast but there is something about the youthful intensity that Ayres brings that does offer an interesting variation. Combine that with his ability to genuinely bring some nuanced and powerful emotions, particularly in his reaction to an unexpected death that Ayres really suggests a great deal of potential particularly if he had a great script. As is, an imperfect situation but he is compelling.)
Bartheless - 4(Very much delivers just a leading man energy early on with the right sense of heroic determination with a bit of a paternal manner towards his fellow pilots. When his jobs switches though Bartheless is also good in showing the weight of the situation fairly effectively, building up towards his final moments where it is mostly silent, fittingly for him, and he’s quite good in conveying the sense of determination. There’s the occasional overly dramatic delivery but mostly pretty good.)
Marx - 4(Just particularly good material for him here, especially his alternative delivery in his one monologue where he keeps cutting off the women to suddenly turn deadpan which I found the funniest bit in the film.)
Diessl - 4(Many scenes initially are taking in the weight of the situation where he is compelling in presenting that arduousness though maybe not as memorable as Ayres in the transformation to an aged man in youth. His best scene though is his coming home where he delivers on the bit of insanity of the moment of a man not quite knowing what to do but bringing a vicious force that is menacing but also very honest in its emotion. Then has a good moment in just delivery of his final moment of reflection.)
Powell - 3.5(Not premium Powell. He’s good, you get a degree of his charm but he’s not at his Thin Man Powers here. Mostly a presence performance but not on the level of say Colman comparatively.)
Saitō - 3.5(More so about general vibes where he manages to carry a combination between this certain comic levity of trying out the tricks with certain moments of a degree of pathos.)
Chaney - 3.5(He has a strong presence though really uninteresting material. Even his grandmother routine delivers with the right mischievousness. Sadly the script is terrible but he finds bits of general nuance in presenting the less malicious parts of the character.)
Cagney - 4(He delivers on not his most interesting gangster role but makes it look easy. Has a strong presence that just makes every line sing, while also managing to convey the secret affair of his character largely between the lines effectively. Particularly in the way Cagney portrays genuine care for his friend even while presenting as genuine fear at thinking what his friend might do when he finds out the truth. Strong work that you wish the film had allowed him to take it even further.)
Hamilton - 3.5(Interesting to see Commissioner Gordon being quite a bit more confrontational when giving out missions. Anyways brings a fierce intensity that occasionally borders on too much but overall is effective in presenting a man driven to a slight madness in the weight of his job. Hamilton makes the most of certain quieter moments of the detachment and distance of the man from the rest. Managing to accentuate the humanity in those moments, and his later scenes where even in the overall harsh demeanor he does suggest empathy he has to force down.)
Beery - 3.5(One of the few times where he manages to actually be a bit charming with his whole loutish demeanor. There’s something less overt about him here, maybe because apparently Dressler didn’t take his nonsense, but either way results in Beery actually coming across in a way that works. Where his manner enlivens the character rather than getting in the way.)
Horton - (His typical thing but a good part for it.)
Actress:
1. Norma Shearer - The Divorcee - 4.5 2. Greta Garbo - Anna Christie - 4.5 3. Marie Dressler - Min and Bill - 4.5 4. Joan Crawford - Paid - 4 5. Greta Grabo - Romance - 4 6. Loretta Young - The Devil to Pay - 4 7. Emiko Yagumo - That Night’s Wife - 4 8. Nancy Carroll - The Devil’s Holiday - 3.5 9. Ann Harding - Holiday - 3.5 10. Barbara Stanwyck - Ladies of Leisure - 3.5
Supporting Actress:
1. Marie Dressler - Anna Christie - 4 2. Mary Astor - Holiday - 3.5 3. Jean Harlow - Hell’s Angels - 3.5 4. Myrna Loy - The Devil To Pay - 3.5 5. Kinuyo Tanaka - I Flunked But… - 3.5 6. Claire Luce - Up the River - 3.5 7. Marie Prevost - Paid - 3.5 8. Hedda Hopper - Holiday - 3.5 9. Florence Eldridge - The Divorcee - 3.5 10. Hanna Hoessrich - Westfront 1918 - 3
Brazinterma:
The song is good at five.
For score I REALLY listed more than enough, given 3 of the films listed are essentially “best title music”.
Poster:
1. All Quiet on the Western Front 2. Prix de beauté 3. Feet First 4. Westfront 1918 5. The Light of Western Stars
Editing:
1. All Quiet on The Western Front 2. The Dawn Patrol 3. Westfront 1918 4. Earth 5. L’Age D’Or
Screenplays, especially Original, were already stretching in my top five.
Cast:
1. All Quiet on the Western Front 2. The Devil To Pay 3. The Dawn Patrol 4. Westfront 1918 5. Anna Christie
Louis: I didn't expect Jannings being dropped to 11 (im actually watching Blue Angel as of writing). Hope Bogart gets reviewed for The Big Sleep next cause its honestly about time.
Matt: didnt now he covered it in his Maltese review (possibly because i cant find it). I will say from what i remember from watching Big Sleep years ago, I did find Bogart's work to be more unique in comparison to his equally brilliant Sam Spade; mostly due to how different The Big Sleep is.
The Bogey turn, I want to see get reviewed some day, is In a Lonely Place. I personally really love that movie and that turn. I really liked his and Grahame's chemistry, and how that arc(or lack of) unfolds. I believe Louis is not a fan.
Louis: What are some acting races in Oscar history where you feel the strength of the winner's film played the most important part in securing their win, rather than quality of performance?
If you haven't answered this before, which among the current actors and actresses with multiple Oscar wins, do you feel are most likely to win at least one more statue.
Marcus: If Sean Penn can do it, anyone, that's not retired already, can do it. but man, can I tell you the one actor that is an Oscar winner but I hope wins his 2nd before curtains close..... I really hope Pacino pulls off something like The Irishman again, and gets his second Oscar for that. It's genuinely heartbreaking that Scent is his only Oscar. God, he should have won in 2019 over fucking Cliff Booth. What a load of crap.
Kampers - 3.5(Slightly more comedic quality to his performance as kind of the wise soldier. Makes enough of an impact in bringing the energy combined with a hidden exasperation within his slightly off-beat delivery and manner.)
Takada - 3(Wholly fine but doesn’t really leave too much of an impact beyond the general surface needs of the part.)
Bogart - 3(His presence isn’t all there but part of it is there. Mostly he just needs to stand around reciting inane dialogue so he can’t do too much but he’s good with what he has.)
Tracy - 3(Also much inane dialogue and he as a wacky gangster is a strange combination. He brings kind of energy that kind of works but also kind of doesn’t. He’s a bit all over the place like the film but mostly better than bad.)
Buchanan - 3(Not quite leading man material in terms of his general presence, but there is a certain charm to him. He also has effective singing chemistry with his co-star that makes up for his somewhat stilted line deliveries.)
March - 3(Doesn’t get to do much interesting here though he’s completely serviceable in being just enough within the scheme of the film.)
Marion - 3(Slightly too big for his own good that gets in the way of the more dramatic parts. When he’s just trying to be the overly eager dad his performance works better but again when the shift happens it just falls apart a bit.)
Ames - 2.5(Doesn’t quite have the leading man energy to carry things much. He is a little too formal and theatrical in an overly refined delivery way. He has some okay moments but the stiff ones add up to more overall.)
Clive - 2.5(Basically the same performance as Frankenstein, which worked there because he was a mad scientist, as a mad soldier feels like the same over the top delivery and just after a while doesn’t work so well. Occasionally in moments that ask for more of a mania he does have a certain effectiveness but overall it does seem like he maybe fell on a certain approach.)
Charlia - 2.5(Uncharming husband where manly needs to make some different forms of grimaces eventually. Leaves little impression overall.)
Cantor - 2.5(He certainly is trying to the point you see where maybe this could’ve worked on stage where he could be fed by the audience, here though he’s just consistently stilted within the quiet space of the film screen.)
Graves - 2(Dull love interest who is dull.)
Morris - 2(Dull love interest who is dull)
Holmes - 2(Dull love interest who is dull.)
Barrymore - 2(Totally wacky all over the place love interest and he’s Captain Ahab? What??? Anyway Barrymore is just going all ridiculous here in a way that in no way plays to his strengths as a performer. Rather than righting the ship of the bad adaptation he goes right into its ridiculous choices and is ridiculous himself as a result.)
Gordon - 1.5(Super dull love interest is super dull)
Garrick - 1.5(Dull actor is dull)
Brendel - 1(With Canton maybe I could see how his shtick worked, with Brendel it is so immediately unfunny and grating I struggle to see how it ever worked. Plays the note of wacky foreigner in a way that is not for a moment endearing or enjoyable.)
Harris:
Finished Pitt Season 2, more of the same in a way that works though I thought Robby’s arc felt a little disjointed at times. Caught up with Invincible, which consistently works, particularly season 4 and its multi-episode arc that absolutely earned its taking over the narrative fully. I started watching Spider-Noir which I enjoyed enough to keep watching.
Shearer - (Shearer finds maybe the ideal role for her performance style that feels very fitting to the position and nature of the character. Shearer finds so much nuance within the character of the titular divorcee consistently. As even the early scenes of being swept up in the love of it Shearer goes for more complication in creating the sense of unhappiness that is pushed back by the seeming success of finding a greater reason for life. When the progression of the plot happens Shearer is able to articulate so well this specific societal betrayal where she can only contain her anguish in a certain way and express it in a certain fashion. Shearer does so that meets that need while also allowing the audience fully in on it. She creates then as captivating a sense of the willful expression as she decides to also move on and portrays specifically this determination within that independence. Sadly the film falls into the requirements of the time. Shearer does her best to sell the final bit but everything he does up until that point suggests a far more compelling ending than we get.)
Garbo - Anna Christie (You can sense a certain degree of rust from the switch from silence to sound. Garbo isn’t the complete perfection of her later work in sound, but she’s still pretty close. There’s just a few moments here and there where you feel very much trying slightly too hard with the performance. Having said that she still just has such a tremendous presence here particularly in her early scenes of the woman just strangely owning her state in life even while she wallows in it. Garbo fills her up with a genuine history, something so frequently lacking in many performances, Garbo tells you where Anna came from before we get going. Within the progression of the story is where you have some of those less captivating moments, though she’s still consistently effective and never loses presence even as she needs to keep selling the same note of distress over her past. Something the film sadly gets stuck on in a not particularly interesting way though Garbo does her best to find what nuance she can.)
Garbo - Romance - (Technically maybe the more consistent of the two performances although less is asked from her. As Garbo mainly needs to be confident and more than a little flirty. Garbo though is wonderful and quite alluring in her way. Although there exists a problem because you do ponder how such a fascinating woman is interested in this annoying dullard, and the whole setup of her needing to “repent” is horribly realized. Garbo honestly makes the best choice by basically ignoring the misguided plotline and just being genuine within herself and succeeds to the degree that she can.)
Dressler - Min And Bill - (She has a great atypical presence and here actually shares a strong chemistry with Beery where they are both people very much owning their lot in life. Dressler’s wonderful in the sense of power she brings to her character and that innate strength of someone who knows exactly who she is without apolozing for it. She elevates every scene no matter how tired as written she remains dynamic by bringing so much reality within her work. Even when the film tilts to the melodramatic Dressler only ups the ante, completely delivering on that moment by just finding the combination of emotional empathy and disgust in her extreme reaction to the threat. Then in the final sequence she’s great in silently saying every single word of love but also regret in needing to sacrifice herself for that love.)
Anna Christie - (Only has a few scenes and honestly it is basically the extreme comical reverse of her work in Min and Bill. As here we get her as a far bigger drunk who just sort of wanders within her space. Dressler not focusing on reality but very much a slightly tinged absurdity of the type. Dressler delivers on this and brings a much needed degree of levity in every single one of her reactions. Bringing to life a completely different character, who could’ve felt exactly the same, and showing her great ability as a character actor just as she technically did as an unexpected leading lady.)
Crawford - (She’s good in her first scene in showing genuine distress and creating the backbone of humanity. Then she is great in the middle section in bringing the hardened determination of the changed woman. Crawford brings a fascinating combination between intense manipulation with a very specific cold allure that is so powerful. Sadly the film chooses to push her aside and basically turn her into a hysterical woman for scene after scene afterwards. Going from a possible 5 to a 4 thanks to just bad writing she has to contend with. A shame because she is truly great in the first half.)
Young - (Interesting just to see her in a very different presence from what she would be presented as later in her career. She’s just so much more fluid and open in this performance it is pretty fascinating comparatively. Beyond that this is really about the chemistry she shares with Colman, which is rather considerable and splendid in their quietly disarming way.)
Yagumo - (Within her silent work is able to convey the different states from the very concerned mother, to a change in a slightly more grit within seeing her husband’s choices but still going along with them, then in her interactions with the inspector where she goes from moments of strong empathy to great intensity with a natural ease and grace.)
Marcus:
These choices have nothing to do with my feelings on the performances rather if the strength of the film was unquestionably essential for the win.
Michael B. Jordan - Sinners Jean Dujardin - The Artist (Though I’d argue his performance was fundamental to making it such a major player but his lack of name recognition makes him fair for a spot). Kevin Spacey - American Beauty Charlton Heston - Ben-Hur Bing Crosby - Going My Way Frances McDormand - Nomadland Jane Fonda - Coming Home George Chakiris - West Side Story Martin Balsam - A Thousand Clowns Jason Robards - Julia Troy Kotsur - CODA Tilda Swinton - Michael Clayton Jamie Lee Curtis - Everything Everywhere All At Once (Though really because Michelle Williams didn’t run supporting)
Some might say Russell Crowe in Gladiator however he was redhot with the academy regardless, and his arguably closest competition was a 2 time winner.
For the second question, I will always say you never know because before they won their second, you’d never guess Zellweger and Brody would’ve done it.
But just not to cop out and considering where their career is now:
Emma Stone (Producing at the very least least) DDL (If he puts a concerted effort for a better return) Cate Blanchett (Given she almost had a third for Tar)
27 comments:
Lead
Michel Simon in Panique
Charles Boyer in Cluny Brown
Michael Redgrave in The Captive Heart
Franco Interlenghi in Shoeshine
Sydney Greenstreet and Peter Lorre in The Verdict
Supporting
Alastair Sim in Green For Danger
Claude Rains in Deception
Pierre Brasseur in Gates Of The Night
Louis: Ratings and thoughts on the rest of your lead top 15 and supporting performances with a 3.5 or more.
Your Female top 10s with ratings and other 4+ honourable mentions.
Hello Louis!
Tell me from the year 1930 which are your TOP10 best:
- Song
- Score
- Poster
- Editing
- Screenplays (adapted and original)
- Cast
Luke: Panique is a 1947 film.
Anonymous: Premiered in Paris on 19 December 1946. If Louis decides to put it in 47 then I'll replace him with either Vincent Price in Dragonwyck or Boris Karloff in Bedlam.
Luke:
Colman - 4(For both films it really is just him being charming and making not always great dialogue sing far more than most actors. Really just about the ease he had on screen when stiffness quite frankly was the norm.)
Ayres - 4(Interesting contrasting performance where he plays a hardbitten and already retired gangster. Theoretically mistcast but there is something about the youthful intensity that Ayres brings that does offer an interesting variation. Combine that with his ability to genuinely bring some nuanced and powerful emotions, particularly in his reaction to an unexpected death that Ayres really suggests a great deal of potential particularly if he had a great script. As is, an imperfect situation but he is compelling.)
Bartheless - 4(Very much delivers just a leading man energy early on with the right sense of heroic determination with a bit of a paternal manner towards his fellow pilots. When his jobs switches though Bartheless is also good in showing the weight of the situation fairly effectively, building up towards his final moments where it is mostly silent, fittingly for him, and he’s quite good in conveying the sense of determination. There’s the occasional overly dramatic delivery but mostly pretty good.)
Marx - 4(Just particularly good material for him here, especially his alternative delivery in his one monologue where he keeps cutting off the women to suddenly turn deadpan which I found the funniest bit in the film.)
Diessl - 4(Many scenes initially are taking in the weight of the situation where he is compelling in presenting that arduousness though maybe not as memorable as Ayres in the transformation to an aged man in youth. His best scene though is his coming home where he delivers on the bit of insanity of the moment of a man not quite knowing what to do but bringing a vicious force that is menacing but also very honest in its emotion. Then has a good moment in just delivery of his final moment of reflection.)
Powell - 3.5(Not premium Powell. He’s good, you get a degree of his charm but he’s not at his Thin Man Powers here. Mostly a presence performance but not on the level of say Colman comparatively.)
Saitō - 3.5(More so about general vibes where he manages to carry a combination between this certain comic levity of trying out the tricks with certain moments of a degree of pathos.)
Chaney - 3.5(He has a strong presence though really uninteresting material. Even his grandmother routine delivers with the right mischievousness. Sadly the script is terrible but he finds bits of general nuance in presenting the less malicious parts of the character.)
Cagney - 4(He delivers on not his most interesting gangster role but makes it look easy. Has a strong presence that just makes every line sing, while also managing to convey the secret affair of his character largely between the lines effectively. Particularly in the way Cagney portrays genuine care for his friend even while presenting as genuine fear at thinking what his friend might do when he finds out the truth. Strong work that you wish the film had allowed him to take it even further.)
Hamilton - 3.5(Interesting to see Commissioner Gordon being quite a bit more confrontational when giving out missions. Anyways brings a fierce intensity that occasionally borders on too much but overall is effective in presenting a man driven to a slight madness in the weight of his job. Hamilton makes the most of certain quieter moments of the detachment and distance of the man from the rest. Managing to accentuate the humanity in those moments, and his later scenes where even in the overall harsh demeanor he does suggest empathy he has to force down.)
Beery - 3.5(One of the few times where he manages to actually be a bit charming with his whole loutish demeanor. There’s something less overt about him here, maybe because apparently Dressler didn’t take his nonsense, but either way results in Beery actually coming across in a way that works. Where his manner enlivens the character rather than getting in the way.)
Horton - (His typical thing but a good part for it.)
Actress:
1. Norma Shearer - The Divorcee - 4.5
2. Greta Garbo - Anna Christie - 4.5
3. Marie Dressler - Min and Bill - 4.5
4. Joan Crawford - Paid - 4
5. Greta Grabo - Romance - 4
6. Loretta Young - The Devil to Pay - 4
7. Emiko Yagumo - That Night’s Wife - 4
8. Nancy Carroll - The Devil’s Holiday - 3.5
9. Ann Harding - Holiday - 3.5
10. Barbara Stanwyck - Ladies of Leisure - 3.5
Supporting Actress:
1. Marie Dressler - Anna Christie - 4
2. Mary Astor - Holiday - 3.5
3. Jean Harlow - Hell’s Angels - 3.5
4. Myrna Loy - The Devil To Pay - 3.5
5. Kinuyo Tanaka - I Flunked But… - 3.5
6. Claire Luce - Up the River - 3.5
7. Marie Prevost - Paid - 3.5
8. Hedda Hopper - Holiday - 3.5
9. Florence Eldridge - The Divorcee - 3.5
10. Hanna Hoessrich - Westfront 1918 - 3
Brazinterma:
The song is good at five.
For score I REALLY listed more than enough, given 3 of the films listed are essentially “best title music”.
Poster:
1. All Quiet on the Western Front
2. Prix de beauté
3. Feet First
4. Westfront 1918
5. The Light of Western Stars
Editing:
1. All Quiet on The Western Front
2. The Dawn Patrol
3. Westfront 1918
4. Earth
5. L’Age D’Or
Screenplays, especially Original, were already stretching in my top five.
Cast:
1. All Quiet on the Western Front
2. The Devil To Pay
3. The Dawn Patrol
4. Westfront 1918
5. Anna Christie
Louis: Your ratings and thoughts on the rest of the lead performances you've seen?
Louis: I didn't expect Jannings being dropped to 11 (im actually watching Blue Angel as of writing). Hope Bogart gets reviewed for The Big Sleep next cause its honestly about time.
Louis, anything to report regarding your TV-viewing habits lately?
Dom: Is there anything to say about him in The Big Sleep that he didn't cover in his review for Maltese Falcon?
Matt: didnt now he covered it in his Maltese review (possibly because i cant find it). I will say from what i remember from watching Big Sleep years ago, I did find Bogart's work to be more unique in comparison to his equally brilliant Sam Spade; mostly due to how different The Big Sleep is.
Dom: His Maltese review is right here, dude. https://actoroscar.blogspot.com/2015/04/alternate-best-actor-1941-humphrey.html
Louis: Thoughts on Shearer, Garbo (Anna Christie and Romance), Dressler (Min And Bill and Anna Christie), Crawford, Young and Yagumo.
I'd suggest Charles Boyer in Cluny Brown (Jennifer Jones will get her first 5 for that, I think).
And for Actress, remember to watch Deborah Kerr in I See a Dark Stranger - one of her more underrated turns.
Harris: I mean, when I first came to blogspot, I found it hard to make sense of years and rankings too. I think it's reasonable he didn't find it.
The Bogey turn, I want to see get reviewed some day, is In a Lonely Place. I personally really love that movie and that turn. I really liked his and Grahame's chemistry, and how that arc(or lack of) unfolds. I believe Louis is not a fan.
Louis: What are some acting races in Oscar history where you feel the strength of the winner's film played the most important part in securing their win, rather than quality of performance?
If you haven't answered this before, which among the current actors and actresses with multiple Oscar wins, do you feel are most likely to win at least one more statue.
Marcus: If Sean Penn can do it, anyone, that's not retired already, can do it. but man, can I tell you the one actor that is an Oscar winner but I hope wins his 2nd before curtains close..... I really hope Pacino pulls off something like The Irishman again, and gets his second Oscar for that. It's genuinely heartbreaking that Scent is his only Oscar. God, he should have won in 2019 over fucking Cliff Booth. What a load of crap.
Louis: Your thoughts on these scenes https://m.youtube.com/watch?v=tg35U3CcCpE https://m.youtube.com/watch?v=MbIeB1TqTk4
Perfectionist: Wasn't criticizing him.
Lucas:
Kampers - 3.5(Slightly more comedic quality to his performance as kind of the wise soldier. Makes enough of an impact in bringing the energy combined with a hidden exasperation within his slightly off-beat delivery and manner.)
Takada - 3(Wholly fine but doesn’t really leave too much of an impact beyond the general surface needs of the part.)
Bogart - 3(His presence isn’t all there but part of it is there. Mostly he just needs to stand around reciting inane dialogue so he can’t do too much but he’s good with what he has.)
Tracy - 3(Also much inane dialogue and he as a wacky gangster is a strange combination. He brings kind of energy that kind of works but also kind of doesn’t. He’s a bit all over the place like the film but mostly better than bad.)
Buchanan - 3(Not quite leading man material in terms of his general presence, but there is a certain charm to him. He also has effective singing chemistry with his co-star that makes up for his somewhat stilted line deliveries.)
March - 3(Doesn’t get to do much interesting here though he’s completely serviceable in being just enough within the scheme of the film.)
Marion - 3(Slightly too big for his own good that gets in the way of the more dramatic parts. When he’s just trying to be the overly eager dad his performance works better but again when the shift happens it just falls apart a bit.)
Ames - 2.5(Doesn’t quite have the leading man energy to carry things much. He is a little too formal and theatrical in an overly refined delivery way. He has some okay moments but the stiff ones add up to more overall.)
Clive - 2.5(Basically the same performance as Frankenstein, which worked there because he was a mad scientist, as a mad soldier feels like the same over the top delivery and just after a while doesn’t work so well. Occasionally in moments that ask for more of a mania he does have a certain effectiveness but overall it does seem like he maybe fell on a certain approach.)
Charlia - 2.5(Uncharming husband where manly needs to make some different forms of grimaces eventually. Leaves little impression overall.)
Cantor - 2.5(He certainly is trying to the point you see where maybe this could’ve worked on stage where he could be fed by the audience, here though he’s just consistently stilted within the quiet space of the film screen.)
Graves - 2(Dull love interest who is dull.)
Morris - 2(Dull love interest who is dull)
Holmes - 2(Dull love interest who is dull.)
Barrymore - 2(Totally wacky all over the place love interest and he’s Captain Ahab? What??? Anyway Barrymore is just going all ridiculous here in a way that in no way plays to his strengths as a performer. Rather than righting the ship of the bad adaptation he goes right into its ridiculous choices and is ridiculous himself as a result.)
Gordon - 1.5(Super dull love interest is super dull)
Garrick - 1.5(Dull actor is dull)
Brendel - 1(With Canton maybe I could see how his shtick worked, with Brendel it is so immediately unfunny and grating I struggle to see how it ever worked. Plays the note of wacky foreigner in a way that is not for a moment endearing or enjoyable.)
Harris:
Finished Pitt Season 2, more of the same in a way that works though I thought Robby’s arc felt a little disjointed at times. Caught up with Invincible, which consistently works, particularly season 4 and its multi-episode arc that absolutely earned its taking over the narrative fully. I started watching Spider-Noir which I enjoyed enough to keep watching.
Luke:
Shearer - (Shearer finds maybe the ideal role for her performance style that feels very fitting to the position and nature of the character. Shearer finds so much nuance within the character of the titular divorcee consistently. As even the early scenes of being swept up in the love of it Shearer goes for more complication in creating the sense of unhappiness that is pushed back by the seeming success of finding a greater reason for life. When the progression of the plot happens Shearer is able to articulate so well this specific societal betrayal where she can only contain her anguish in a certain way and express it in a certain fashion. Shearer does so that meets that need while also allowing the audience fully in on it. She creates then as captivating a sense of the willful expression as she decides to also move on and portrays specifically this determination within that independence. Sadly the film falls into the requirements of the time. Shearer does her best to sell the final bit but everything he does up until that point suggests a far more compelling ending than we get.)
Garbo - Anna Christie (You can sense a certain degree of rust from the switch from silence to sound. Garbo isn’t the complete perfection of her later work in sound, but she’s still pretty close. There’s just a few moments here and there where you feel very much trying slightly too hard with the performance. Having said that she still just has such a tremendous presence here particularly in her early scenes of the woman just strangely owning her state in life even while she wallows in it. Garbo fills her up with a genuine history, something so frequently lacking in many performances, Garbo tells you where Anna came from before we get going. Within the progression of the story is where you have some of those less captivating moments, though she’s still consistently effective and never loses presence even as she needs to keep selling the same note of distress over her past. Something the film sadly gets stuck on in a not particularly interesting way though Garbo does her best to find what nuance she can.)
Garbo - Romance - (Technically maybe the more consistent of the two performances although less is asked from her. As Garbo mainly needs to be confident and more than a little flirty. Garbo though is wonderful and quite alluring in her way. Although there exists a problem because you do ponder how such a fascinating woman is interested in this annoying dullard, and the whole setup of her needing to “repent” is horribly realized. Garbo honestly makes the best choice by basically ignoring the misguided plotline and just being genuine within herself and succeeds to the degree that she can.)
Dressler - Min And Bill - (She has a great atypical presence and here actually shares a strong chemistry with Beery where they are both people very much owning their lot in life. Dressler’s wonderful in the sense of power she brings to her character and that innate strength of someone who knows exactly who she is without apolozing for it. She elevates every scene no matter how tired as written she remains dynamic by bringing so much reality within her work. Even when the film tilts to the melodramatic Dressler only ups the ante, completely delivering on that moment by just finding the combination of emotional empathy and disgust in her extreme reaction to the threat. Then in the final sequence she’s great in silently saying every single word of love but also regret in needing to sacrifice herself for that love.)
Anna Christie - (Only has a few scenes and honestly it is basically the extreme comical reverse of her work in Min and Bill. As here we get her as a far bigger drunk who just sort of wanders within her space. Dressler not focusing on reality but very much a slightly tinged absurdity of the type. Dressler delivers on this and brings a much needed degree of levity in every single one of her reactions. Bringing to life a completely different character, who could’ve felt exactly the same, and showing her great ability as a character actor just as she technically did as an unexpected leading lady.)
Crawford - (She’s good in her first scene in showing genuine distress and creating the backbone of humanity. Then she is great in the middle section in bringing the hardened determination of the changed woman. Crawford brings a fascinating combination between intense manipulation with a very specific cold allure that is so powerful. Sadly the film chooses to push her aside and basically turn her into a hysterical woman for scene after scene afterwards. Going from a possible 5 to a 4 thanks to just bad writing she has to contend with. A shame because she is truly great in the first half.)
Young - (Interesting just to see her in a very different presence from what she would be presented as later in her career. She’s just so much more fluid and open in this performance it is pretty fascinating comparatively. Beyond that this is really about the chemistry she shares with Colman, which is rather considerable and splendid in their quietly disarming way.)
Yagumo - (Within her silent work is able to convey the different states from the very concerned mother, to a change in a slightly more grit within seeing her husband’s choices but still going along with them, then in her interactions with the inspector where she goes from moments of strong empathy to great intensity with a natural ease and grace.)
Marcus:
These choices have nothing to do with my feelings on the performances rather if the strength of the film was unquestionably essential for the win.
Michael B. Jordan - Sinners
Jean Dujardin - The Artist (Though I’d argue his performance was fundamental to making it such a major player but his lack of name recognition makes him fair for a spot).
Kevin Spacey - American Beauty
Charlton Heston - Ben-Hur
Bing Crosby - Going My Way
Frances McDormand - Nomadland
Jane Fonda - Coming Home
George Chakiris - West Side Story
Martin Balsam - A Thousand Clowns
Jason Robards - Julia
Troy Kotsur - CODA
Tilda Swinton - Michael Clayton
Jamie Lee Curtis - Everything Everywhere All At Once (Though really because Michelle Williams didn’t run supporting)
Some might say Russell Crowe in Gladiator however he was redhot with the academy regardless, and his arguably closest competition was a 2 time winner.
For the second question, I will always say you never know because before they won their second, you’d never guess Zellweger and Brody would’ve done it.
But just not to cop out and considering where their career is now:
Emma Stone (Producing at the very least least)
DDL (If he puts a concerted effort for a better return)
Cate Blanchett (Given she almost had a third for Tar)
Harris: I'll admit its been a while since i checked this blog overall and i've been going over the old posts earlier
Louis: I assume you're doing a 2026 catch up at the moment so could you give ratings on the casts once complete.
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