Updated Supporting Overall
Next Year: 1999 Lead
Showing posts with label 1952 Alternate Best Actor. Show all posts
Showing posts with label 1952 Alternate Best Actor. Show all posts
Saturday, 2 November 2019
Alternate Best Actor and Best Supporting Actor 1952: Update
Well here are some supporting turns I rather enjoyed.
James Mason in The Prisoner of Zenda - Well as to be expected Mason takes on the role of the villainous Rupert with great relish. In the 37 version we had Douglas Fairbanks Jr. out of his typical element stealing the show, here we get Mason very much in his element. Although this performance is less of a surprise to be sure, he steals the entirety of the film wholesale with his turn where he very much emphasizes just how much fun the man is having as tries to find a way to rule a kingdom he has no right to, or at least benefit in its power plays in some way. Mason is cheerfully evil here, in a classic Mason way, and you can really get the sense of the joy of performance in Mason's work here. It is very much Mason in his most well known element, and in turn he of course does not disappoint. This as he shows a man who loves the games he gets to play for his schemes, perhaps more than the prizes he may gain from it. I especially love his work in two elements in particular. This being his relationship with his co-villain, the attempted usurper Michael's mistress. Mason does his lusty sleaze with such a devious style by playing the whole moment into how Rupert just finds any way to enjoy himself quite frankly. This of course even with Mason pulling off a bit of that charm of his, though funneled through some expertly performed creepiness. The other element are the action scenes where Mason isn't content to just be in them, but owes them with granting such a sense of sheer joy in every moment of Rupert's attempts at murder.
Ralph Richardson in The Sound Barrier and The Holly and The Ivy - Speaking of actors I suppose in his element here Richardson in two roles that share a great similarity yet are very different. In each film, for much of the film, Richardson's character is assumed to be something by the other characters in the film. In David Lean's The Sound Barrier, he's a research scientist whom his daughter views as heartless as he takes part in experiments that lead to the death of one test pilot after another, many of whom are very close to both of them. Richardson here has a purposefully limited role for much of the film, though that isn't to say he isn't still remarkable in the role throughout. Richardson projects this cold conviction rather effectively and in his eyes delivers that determination of a man intent on changing the world. His performance though is this time bomb of a way, as it builds up until the daughter confronts her father for what she perceives as uncaring and unconcerned. This is until she actually sees him as he listens to an ongoing test and a potential pilot death. Richardson in this moment is fantastic in portraying the sheer distress within the man eyes, powerfully showing the very real weight of the sacrifice within the man who is well aware of what is being lost. This only be amplified by his subtle yet striking silent relief in his expression as he hears one of his pilots survive. Richardson showing the good man within the cold conviction in a particularly believable way, because he portrays the moment not as a different man but rather this honest reflection of how this type of man who reveal his empathy.
This is essentially the same structure, though a very different character in The Holly and the Ivy, an early, and effective, example of the ennui filled family reunion genre. Richardson though here played a white haired parson, who for much of the film is man who is seen, but mostly spoken of by others. Richardson serves the role well actually by just portraying his part as a man who appears contented in the presence of quite simply his life. This with the occasional interested, curious if not perhaps concerned interest in his children as they visit, though they speak too little to him for him to be able to speak more. Of course as his family visits for Christmas, all with their own personal problems, they all assume that their pastor father will not understand their problems. This is until he directly confronts his son and daughter who both went drinking the night before Christmas. This as each first assume he will not know anything based upon two separate issue. The first with his son assuming he cannot understand troubles as a pastor. Richardson is downright amazing in the scene by playing such genuine befuddlement at the claim, which is followed by such outwardly moving portrayal of empathy. This being a far more open empathy than seen in his aforementioned performance, fitting to the pastor who is nothing by a loving caring father. I love Richardson's delivery of the pastor's response to his son, where his delivery finds this eloquent combination of disbelief but also the utmost sincerity as the man only speaks words of care and support towards every problem his son reveals to him. This soon followed by a similar conversation with his daughter, who believes him unable to understand her feelings of doubt towards her faith, because again of his place as a pastor. Richardson again is fantastic in the moment in now showing even more this sense of disbelief. Again within this Richardson wraps in this loving warmth in this though of a man hurt, though only hurt only towards his own apparent inability to prevent his family from misconstruing his personality and the nature of his faith. Richardson again excels though in only depicting a fundamentally good man, even as he speaks of his religion not in boisterous piousness, but rather through quiet reasoned words of a man whose own struggles helped cement his beliefs. Richardson is terrific as he once again makes this considerable impression, as this impeccably placed performance, by delivering the essential brunt of his film's emotional impact in one major revelation. In each, Richardson earns the build up, and doesn't waste the surprise in granting two powerful portrayals of two rather different men poignantly revealing their true natures.
Updated Lead Overall
Updated Supporting Overall
Next Year: 1999 Lead
Updated Supporting Overall
Next Year: 1999 Lead
Friday, 28 June 2013
Alternate Best Actor 1952: Results
Best Scene: Diello finds out he's been had.
Best Scene: Hurstwood confesses his love to Carrie.
Best Scene: His reactions to the final revelations.
Best Scene: Remembering the fatal fight.
Best Scenes: "Gondola no Uta" the first and the last time.
- Takashi Shimura in Ikiru
- John Wayne in The Quiet Man
- Michael Denison in The Importance of Being Earnest
- Laurence Olivier in Carrie
- James Mason in 5 Fingers
- Dirk Bogarde in Hunted
- Charlie Chaplin in Limelight
- Marlon Brando in Viva Zapata!
- Orson Welles in Othello
- James Stewart in Bend of the River
- Gary Cooper in High Noon
- Carlo Battisti in Umberto D.
- Robert Mitchum in The Lusty Men
- Kirk Douglas in The Bad and the Beautiful
- Ray Milland in Thief
- Burt Lancaster in Come Back Little Sheba
- Alec Guinness in The Card
- Jack Palance in Sudden Fear
- Michael Redgrave in The Importance of Being Earnest
- Shin Saburi in The Flavor of Green Tea Over Rice
- Richard Burton in My Cousin Rachel
- Micheal MacLiammoir in Othello
- John Payne in Kansas City Confidential
- Kirk Douglas in The Big Sky
- Charles McGraw in The Narrow Margin
- Gene Evans in Park Row
- Spencer Tracy in Pat and Mike
- Arthur Kennedy in The Lusty Men
- Georges Poujouly in Forbidden Games
- Humphrey Bogart in Deadline USA
- Serge Reggiani in Casque D'or
- Danny Kaye in Hans Christian Anderson
- Stewart Granger in The Prisoner of Zenda
- Jose Ferrer in Moulin Rouge
- Gene Kelly in Singin in The Rain
- Charlton Heston in The Greatest Show on Earth
- Spencer Tracy in Plymouth Adventure
- Nigel Patrick in The Sound Barrier
- Robert Taylor in Ivanhoe
- John Beal in My Six Convicts
- Cornel Wilde in The Greatest Show on Earth
- Gregory Peck in The Snows of Kilimanjaro
- Robert Mitchum in Angel Face
- Bob Hope in The Road to Bali
- Bing Crosby in The Road to Bali
- Dewey Martin in The Big Sky
- John Whiteley in Hunted
Alternate Best Actor 1952: Michael Denison in The Importance of Being Earnest
Michael Denison did not receive an Oscar nomination for portraying Algernon Moncrieff in The Importance of Being Earnest.
The Importance of Being Earnest is a very enjoyable film adaptation of Oscar Wilde's comedy about two men who pretend to be someone they are not.
Michael Redgrave plays Jack Worthing the more timid of the two, when it comes to their little games they play to make it so they can do what they want with their social lives. Redgrave is just fine as Worthing who is a bit uneasy as he tries to maneuver through his game of names in order to woo Gwendolen (Joan Greenwood), the man who steals the show though is Michael Denison as Algernon who is Worthing's friend? who also likes to use a fake name to get out of situations. Algernon's attitude though is quite different from Wothing's. Algernon though seems far less uneasy about the problems that could arise from the names, and instead seems to just wish to enjoy himself with whatever comes.
Denison is brilliant in his method of playing Algernon who he portrays as a bit of the constant critic, who pretty much loves to pester Worthing for even the slightest thing. Denison finds the most entertaining tone to play his character which is he loves the way he condescends whenever it is possible. In his devilish smile there is always an unbridled glee he takes throughout the proceedings of the story. Denison finds just that perfect tone for his performance that always adds to the comedic value of every scene. Just as important is Denison somehow never is off putting even though Algernon is always pestering Worthing and really does not have too many problems with his falsifications.
It is hard to say how exactly Denison finds this tone precisely as he doesn't hold back in any way. He is absolutely biting as Algernon the entire film. It would be easy to fall off and just coming off as smug or overly pretentious, but Denison never has this problem for whatever reason. What probably makes this performance work so well is that there is not any coldness to the joy that he expresses as he makes his comments throughout. Of course this is not to say he comes off as really a warm fellow either but he treads the line just so incredibly well so he is the carper he should be, but one who allows us to enjoy his critiques right along with him.
Much of the strength of the film is the wordplay in the dialogue and Denison is the best of the cast when it comes to delivering these colorful lines. Denison handles everyone such a rhythm that really makes the words come to life, and the scenes play out quite wonderfully with his precise precision. Not a single line falls flat with Denison everyone of his lines are delightful because of how he works them in with the style of his character and of course his comedic timing is flawless. His line deliveries though are not even the best part of his film, and actually my favorite moments of his performance is when he is just in the background.
Denison even when he technically is not the focus of the scene does not allow himself to be left as just in the background. He has great moments that do take the scene in his favor even when it is not a scene that favors Algernon. The snide method of his character is always present and he has some hilarious moments as he reacts to Worthing's own actions. His little knowing smiles and eye turns are always funny and in fact always amplify the comedic value of any scene. Denison just is on no matter how slight the reaction may be it is always something that can be enjoyed.
An interesting thing is that even when Algernon gets involved by trying to woo his own woman Cecily (Dorthy Tutin), Denison still keeps Algernon steady in his style. Even when his plans go wrong with the woman even Denison still keeps Algernon as Algernon. I don't take it as Denison being lazy though instead he stays true to his character. Honestly the later scenes would not be nearly as easy to enjoy if Denison did not keep it up and stay true to Algernon nature which allows him to eat calmly even as both his and Worthing's future with the women is definitely in question.
Michael Denison's performance is one that finds one note to play his character and sticks with it. What makes it work though is that it is such a note of brilliance. Denison portrayal of Algernon never falls short and really makes the film. He livens up every scene with his performance whether or not he even has the best lines in a particular scene. The moment in this version of the play is apparently best remembered Dame Edith Evans's delivery of the line "A Handbag!", although I won't say anything negative about that, but for me the best moment has to be Denison's absolutely perfect reaction when he learns that Worthing is his brother. That fantastic moment though is just all that Denison does throughout the film, and I have to say I simply loved this portrayal of Algernon.
Michael Redgrave plays Jack Worthing the more timid of the two, when it comes to their little games they play to make it so they can do what they want with their social lives. Redgrave is just fine as Worthing who is a bit uneasy as he tries to maneuver through his game of names in order to woo Gwendolen (Joan Greenwood), the man who steals the show though is Michael Denison as Algernon who is Worthing's friend? who also likes to use a fake name to get out of situations. Algernon's attitude though is quite different from Wothing's. Algernon though seems far less uneasy about the problems that could arise from the names, and instead seems to just wish to enjoy himself with whatever comes.
Denison is brilliant in his method of playing Algernon who he portrays as a bit of the constant critic, who pretty much loves to pester Worthing for even the slightest thing. Denison finds the most entertaining tone to play his character which is he loves the way he condescends whenever it is possible. In his devilish smile there is always an unbridled glee he takes throughout the proceedings of the story. Denison finds just that perfect tone for his performance that always adds to the comedic value of every scene. Just as important is Denison somehow never is off putting even though Algernon is always pestering Worthing and really does not have too many problems with his falsifications.
It is hard to say how exactly Denison finds this tone precisely as he doesn't hold back in any way. He is absolutely biting as Algernon the entire film. It would be easy to fall off and just coming off as smug or overly pretentious, but Denison never has this problem for whatever reason. What probably makes this performance work so well is that there is not any coldness to the joy that he expresses as he makes his comments throughout. Of course this is not to say he comes off as really a warm fellow either but he treads the line just so incredibly well so he is the carper he should be, but one who allows us to enjoy his critiques right along with him.
Much of the strength of the film is the wordplay in the dialogue and Denison is the best of the cast when it comes to delivering these colorful lines. Denison handles everyone such a rhythm that really makes the words come to life, and the scenes play out quite wonderfully with his precise precision. Not a single line falls flat with Denison everyone of his lines are delightful because of how he works them in with the style of his character and of course his comedic timing is flawless. His line deliveries though are not even the best part of his film, and actually my favorite moments of his performance is when he is just in the background.
Denison even when he technically is not the focus of the scene does not allow himself to be left as just in the background. He has great moments that do take the scene in his favor even when it is not a scene that favors Algernon. The snide method of his character is always present and he has some hilarious moments as he reacts to Worthing's own actions. His little knowing smiles and eye turns are always funny and in fact always amplify the comedic value of any scene. Denison just is on no matter how slight the reaction may be it is always something that can be enjoyed.
An interesting thing is that even when Algernon gets involved by trying to woo his own woman Cecily (Dorthy Tutin), Denison still keeps Algernon steady in his style. Even when his plans go wrong with the woman even Denison still keeps Algernon as Algernon. I don't take it as Denison being lazy though instead he stays true to his character. Honestly the later scenes would not be nearly as easy to enjoy if Denison did not keep it up and stay true to Algernon nature which allows him to eat calmly even as both his and Worthing's future with the women is definitely in question.
Michael Denison's performance is one that finds one note to play his character and sticks with it. What makes it work though is that it is such a note of brilliance. Denison portrayal of Algernon never falls short and really makes the film. He livens up every scene with his performance whether or not he even has the best lines in a particular scene. The moment in this version of the play is apparently best remembered Dame Edith Evans's delivery of the line "A Handbag!", although I won't say anything negative about that, but for me the best moment has to be Denison's absolutely perfect reaction when he learns that Worthing is his brother. That fantastic moment though is just all that Denison does throughout the film, and I have to say I simply loved this portrayal of Algernon.
Thursday, 27 June 2013
Alternate Best Actor 1952: John Wayne in The Quiet Man
John Wayne did not receive an Oscar nomination for portraying Sean Thornton in The Quiet Man.
Against type usually refers to an actor who plays good guys playing bad guys or vice versa. Wayne sort of plays against type here although not in the way one usually sees an against type performance. John Wayne is of course best known for all the westerns he starred in and he often carried a gun. This is one film where Wayne does not even hold a gun once and is a very different story about an American raised but Irish born who tries to return to his birth place to settle down and escape his old life. Maybe it was that different nature of the role is what caused his snub despite the fact that the film was nominated for best picture and actually won best director for John Ford.
This is not to say this is not a John Wayne performance, instead rather he uses what is best about his on screen persona to portray his character in this film. The title the Quiet Man is apt for Wayne. This is not to say he is some sort of George Smiley sort here, but rather Wayne just plays him in a modest fashion. This is a great example of a true low key charm. Wayne doesn't try to pile on anything about his character instead lets his character to be a very likable sort by just letting his natural charisma play out with ease. There is no question that why most everyone would take a liking to Sean Thornton, because Wayne makes him just a man with a nice warm personality.
Wayne in this film acts as the perfect guide for us through the pleasant setting of the small Irish village of Innisfree. Wayne does this carefully and very effectively. There is a nostalgia and distinct pleasure in his performance that adds to the pleasure of watching the film. One moment in particular that is excellent is just the moment as he looks upon his old childhood home and remembers his mother's words about the place. Wayne in his face tells us a large portion of the motivation in his smile as he looks at the place, and we see the genuine joy that Thornton feels in his homecoming which suggests properly that Thornton is trying to find that wonderful place his mother always spoke of.
As with many films of this nature the town is filled with various characters. The Quiet Man really works because all these character only add to the film with none of them being too over the top or out of place. Wayne adds to all of their more flamboyant performances for his own performance which is a little more easy going in a few ways. Wayne is great in his reactions to everyone in the town which he always handles well. Wayne is quite endearing in all of these scenes as he shows only an honest enjoyment of almost all those around him, and he becomes the perfect sort of welcomed outsider. He never blends right in with them, but Wayne shows that he can be comfortable with them in his own way.
The core of the story of this film is a love story though between Sean and the fiery Mary Kate Danagher (Maureen O'Hara), although it is not an easy one due to the objections of her brutish brother 'Red' Will Danagher (Victor McLaglen). Wayne and O'Hara have excellent chemistry here, and once again it is established in rather quiet way. Much of the attraction and love between them is shown through only really the smallest reactions to one another. They are beautifully handled by both actors as this is not a romance that involved big speeches, or even the usual romantic comedy back and forth insult routine. Instead they portray a powerful attraction and connection through mostly their manner to one another, and it works incredibly well.
Wayne and O'Hara do well to establish their character's love as something always underlying so even when they to have quite the conflict it is believable that they would stay together. Their conflict comes from her believing him to be a coward as he refuses to fight her brother despite that her brother will not give her rightful inheritance. Wayne is excellent in portraying the way Sean does not want or even entirely understand why to deal with Will. Wayne shows in part what this comes from is being the outsider to a certain degree and just doesn't see what's important about it. Wayne importantly never makes Sean seem foolish, instead he allows us to entirely empathize with Sean's lack of cultural understanding.
There is another reason though and that is also the secret reason why Thornton came from America which is that he was a professional boxer who killed a man in the ring. Once again Thornton's battle with his own guilt over the death and the fear of fighting again. Wayne again handles this all in very subtle moments, and mainly silent. Once again though Wayne's method is absolutely works in the role and these scenes are quite powerful in portraying what haunts the man as well. One especially great moment is in a flashback where we see Sean reaction to the man's death. It is a terrific moment for Wayne as he says nothing but we see just how it tears him apart inside. Sean is able to get over it, but again Wayne handles the realization in an unassuming yet entirely satisfying fashion.
This is definitely a different character for Wayne with his character trying to avoid violence, and all he ends up doing is getting in a rather comedic fight. Wayne shows here that he does not need to shoot someone to be a compelling screen presence. He uses his charm to give one of the very best romantic comedic performances. It is a shame that the Academy failed to recognize Wayne for this film despite the amount of nominations and support the Quiet Man found in other categories. Wayne focuses on the basics of the character finding his place in the film wonderfully, and just all around giving a winning performance that really brings this great film together.
This is not to say this is not a John Wayne performance, instead rather he uses what is best about his on screen persona to portray his character in this film. The title the Quiet Man is apt for Wayne. This is not to say he is some sort of George Smiley sort here, but rather Wayne just plays him in a modest fashion. This is a great example of a true low key charm. Wayne doesn't try to pile on anything about his character instead lets his character to be a very likable sort by just letting his natural charisma play out with ease. There is no question that why most everyone would take a liking to Sean Thornton, because Wayne makes him just a man with a nice warm personality.
Wayne in this film acts as the perfect guide for us through the pleasant setting of the small Irish village of Innisfree. Wayne does this carefully and very effectively. There is a nostalgia and distinct pleasure in his performance that adds to the pleasure of watching the film. One moment in particular that is excellent is just the moment as he looks upon his old childhood home and remembers his mother's words about the place. Wayne in his face tells us a large portion of the motivation in his smile as he looks at the place, and we see the genuine joy that Thornton feels in his homecoming which suggests properly that Thornton is trying to find that wonderful place his mother always spoke of.
As with many films of this nature the town is filled with various characters. The Quiet Man really works because all these character only add to the film with none of them being too over the top or out of place. Wayne adds to all of their more flamboyant performances for his own performance which is a little more easy going in a few ways. Wayne is great in his reactions to everyone in the town which he always handles well. Wayne is quite endearing in all of these scenes as he shows only an honest enjoyment of almost all those around him, and he becomes the perfect sort of welcomed outsider. He never blends right in with them, but Wayne shows that he can be comfortable with them in his own way.
The core of the story of this film is a love story though between Sean and the fiery Mary Kate Danagher (Maureen O'Hara), although it is not an easy one due to the objections of her brutish brother 'Red' Will Danagher (Victor McLaglen). Wayne and O'Hara have excellent chemistry here, and once again it is established in rather quiet way. Much of the attraction and love between them is shown through only really the smallest reactions to one another. They are beautifully handled by both actors as this is not a romance that involved big speeches, or even the usual romantic comedy back and forth insult routine. Instead they portray a powerful attraction and connection through mostly their manner to one another, and it works incredibly well.
Wayne and O'Hara do well to establish their character's love as something always underlying so even when they to have quite the conflict it is believable that they would stay together. Their conflict comes from her believing him to be a coward as he refuses to fight her brother despite that her brother will not give her rightful inheritance. Wayne is excellent in portraying the way Sean does not want or even entirely understand why to deal with Will. Wayne shows in part what this comes from is being the outsider to a certain degree and just doesn't see what's important about it. Wayne importantly never makes Sean seem foolish, instead he allows us to entirely empathize with Sean's lack of cultural understanding.
There is another reason though and that is also the secret reason why Thornton came from America which is that he was a professional boxer who killed a man in the ring. Once again Thornton's battle with his own guilt over the death and the fear of fighting again. Wayne again handles this all in very subtle moments, and mainly silent. Once again though Wayne's method is absolutely works in the role and these scenes are quite powerful in portraying what haunts the man as well. One especially great moment is in a flashback where we see Sean reaction to the man's death. It is a terrific moment for Wayne as he says nothing but we see just how it tears him apart inside. Sean is able to get over it, but again Wayne handles the realization in an unassuming yet entirely satisfying fashion.
This is definitely a different character for Wayne with his character trying to avoid violence, and all he ends up doing is getting in a rather comedic fight. Wayne shows here that he does not need to shoot someone to be a compelling screen presence. He uses his charm to give one of the very best romantic comedic performances. It is a shame that the Academy failed to recognize Wayne for this film despite the amount of nominations and support the Quiet Man found in other categories. Wayne focuses on the basics of the character finding his place in the film wonderfully, and just all around giving a winning performance that really brings this great film together.
Wednesday, 26 June 2013
Alternate Best Actor 1952: Laurence Olivier in Carrie
Laurence Olivier did not receive an Oscar nomination, despite being nominated for a Bafta, for portraying George Hurstwood in Carrie.
Carrie is a decent enough drama about a young woman of the same name (Jennifer Jones) who tries to make her way in the city of Chicago.
Olivier plays the one of the men she encounters in Chicago who manages a high class restaurant that Carrie is meeting a rather unscrupulous man Charles (Eddie Albert) who she is in a relationship with for mostly monetary reasons. Olivier in his first appearances as Hurstwood portrays him a rather unassuming but also rather charming man. In his usual Olivier fashion he has an adjusted accent which is a lowered Americanized voice that Olivier uses that actually is rather well done, and gives Hurstwood a natural warmth. He quickly makes Hurstwood just a likable and amiable face that works quite well in the contrast to Eddie Albert's portrayal of Charlie who always seems to be putting on his charm a little too much.
Hurstwood does not just stay as the nice manager of a restaurant though as he quickly becomes infatuated with Carrie. Olivier plays this quite well and he is a bit of the master of that face of longing. Olivier importantly builds this up quite well and honestly establishes the way Hurstwood's feelings toward her grow. Olivier always makes it rather clear in Hurstwood's glowing expression toward her that slowly build as he spends more time with it. He is very understated in his depiction of Hurstwood's interest in her, but very effective in the subtle fashion that he portrays the growing passion in Hurstwood which slowly becomes more and more pronounced.
Of course there is a reason why Hurstwood stays so understated about the whole thing, and the reason is that he himself is married to a wife who could care less about him. Again Olivier mainly internalizes the emotions within Hurstwood where they are quite evident in him and plays it as burning bitterness as well as a sadness in Hurstwood. Olivier is careful to put this right in his happier moments with Carrie that even when there is an expression of joy in Hurstwood he never forgets his terrible predicament with his own wife either. Olivier shows us a man trapped really in a difficult state of two kinds of repression one of the hate for his wife, and the other for his love of Carrie.
Hurstwood eventually does run right off with Carrie, but things do not improve for the man as he suffers financial difficulty with Carrie as well as his vengeful wife. The rest of Olivier portrayal is that of a man slowly decaying emotionally as the whole world seems to be against him. Olivier is quite moving in this depiction as just about everything goes wrong for the man, and Olivier manages to reflect what this is doing to him. What makes this never repetitive though is that Olivier has short little moments where there is the chance for something better to come from Hurstwood. There still is that genuine love for Carrie, and Olivier powerfully establishes a happiness that slowly fades from him.
I personally will never understand those who think Olivier could not attune himself for film, as this is a perfect example of exactly how well he did understand the medium. There is such a great attention Olivier pays to the close up here and that is where the strength of his performance is found. His characterization is always based on what is going on through the mind of this lonely man and throughout the film he calmly lets us into the man's great pains and his meager joys he has in his life. I would not put this up there with the all time great Olivier performances, but this is a very strong portrayal that made this film worth watching.
Olivier plays the one of the men she encounters in Chicago who manages a high class restaurant that Carrie is meeting a rather unscrupulous man Charles (Eddie Albert) who she is in a relationship with for mostly monetary reasons. Olivier in his first appearances as Hurstwood portrays him a rather unassuming but also rather charming man. In his usual Olivier fashion he has an adjusted accent which is a lowered Americanized voice that Olivier uses that actually is rather well done, and gives Hurstwood a natural warmth. He quickly makes Hurstwood just a likable and amiable face that works quite well in the contrast to Eddie Albert's portrayal of Charlie who always seems to be putting on his charm a little too much.
Hurstwood does not just stay as the nice manager of a restaurant though as he quickly becomes infatuated with Carrie. Olivier plays this quite well and he is a bit of the master of that face of longing. Olivier importantly builds this up quite well and honestly establishes the way Hurstwood's feelings toward her grow. Olivier always makes it rather clear in Hurstwood's glowing expression toward her that slowly build as he spends more time with it. He is very understated in his depiction of Hurstwood's interest in her, but very effective in the subtle fashion that he portrays the growing passion in Hurstwood which slowly becomes more and more pronounced.
Of course there is a reason why Hurstwood stays so understated about the whole thing, and the reason is that he himself is married to a wife who could care less about him. Again Olivier mainly internalizes the emotions within Hurstwood where they are quite evident in him and plays it as burning bitterness as well as a sadness in Hurstwood. Olivier is careful to put this right in his happier moments with Carrie that even when there is an expression of joy in Hurstwood he never forgets his terrible predicament with his own wife either. Olivier shows us a man trapped really in a difficult state of two kinds of repression one of the hate for his wife, and the other for his love of Carrie.
Hurstwood eventually does run right off with Carrie, but things do not improve for the man as he suffers financial difficulty with Carrie as well as his vengeful wife. The rest of Olivier portrayal is that of a man slowly decaying emotionally as the whole world seems to be against him. Olivier is quite moving in this depiction as just about everything goes wrong for the man, and Olivier manages to reflect what this is doing to him. What makes this never repetitive though is that Olivier has short little moments where there is the chance for something better to come from Hurstwood. There still is that genuine love for Carrie, and Olivier powerfully establishes a happiness that slowly fades from him.
I personally will never understand those who think Olivier could not attune himself for film, as this is a perfect example of exactly how well he did understand the medium. There is such a great attention Olivier pays to the close up here and that is where the strength of his performance is found. His characterization is always based on what is going on through the mind of this lonely man and throughout the film he calmly lets us into the man's great pains and his meager joys he has in his life. I would not put this up there with the all time great Olivier performances, but this is a very strong portrayal that made this film worth watching.
Tuesday, 25 June 2013
Alternate Best Actor 1952: Takashi Shimura in Ikiru
Takashi Shimura did not receive an Oscar nomination, despite being nominated for a Bafta, for portraying Kanji Watanabe in Ikiru.
Ikiru is a powerful film about a bureaucrat who learns he is dying.
Takashi Shimura is the other frequent collaborator with Akira Kurosawa and was often featured with Toshiro Mifune sometimes in smaller supporting parts, but as well in lead roles who often were calmer wiser character in comparison to the more reckless and crazed characters played by Mifune. Although I do have to admit I did feel Mifune stole the show of those earlier film Shimura never was a slouch either usually giving a strong performance himself particularly in Drunken Angel. In Ikiru though Shimura is the sole lead, and Ikiru also stands as the only film by Kurosawa from Drunken Angel to Red Beard not to feature Mifune in any role, so Shimura stands as the true focus of the film.
The early scenes of Shimura's performance are some of the most depressing moments ever put on film. When we first meet him Shimura portraying Kanji as that of a man who might as well be dead due to the way in which he goes about his life. There is nothing to the man whatsoever as Shimura portrays him. He occupies a desk and that is all that he does. There is not a hint of anything else other than a man wasting away only doing the most mundane things in a most mundane fashion as a bureaucrat who just basically stamps one document then another, and nothing else. Even worse is that there is not even a sadness in Shimura's performance instead he goes to an extra level with Kanji as the bureaucrat who seems to be connected to absolutely nothing in the world.
Kanji soon finds out that he has stomach cancer, and the sadness of the man finally comes out. Shimura is absolutely brutal in just how he never is shy about portraying just how little happiness there is in this man's life. Kanji even as he tries to reflect back on a better time can only still think what was wrong in his past as well. Shimura shows us a depression in his performance that is truly memorable because of how overpowering he portrays this in this man. Shimura shows the in no way compromised feelings of a man who has never really lived learning he is going to die. It is not a depression that there is even a feeling of anger in, instead Shimura is all the more striking by making us see a man who almost resigns to his fate.
Kurosawa's protagonists tend to have a strong will, Ikiru presents us a protagonist who is almost exactly the opposite. Shimura himself in Stray Dog, Seven Samurai and Drunken Angel plays his roles with always a great strength of personality, as Kanji he creates one of the most meek characters ever put on screen. This goes beyond just his actions and Shimura makes every physical attribute meek in this man. He always has a hunched back, a hunched back fitting of a man who only ever hunched over his desk for year upon year, and his voice is that of a man who has almost never spoken. Shimura's voice here is weak, unassuming, and at times comes out with barely any mouth motions. This physical depiction Shimura gives us the results of a life not spent.
Kanji in an attempt to do something decides to live is to basically party and gets a young man to go take him around the night life. Shimura shows a man here reaching from the void trying to find something to change his lot that has befallen him in at least someway. In the night life Shimura is very good channeling the different emotions going on in this man's mind as he experiences something he was not aware of. There are moments with a smile where we see the man enjoying himself in at least some way, but even in the happiness Shimura portrays a certain confusion at the same time. He never seems to fully understand even what exactly he is trying to do, and Shimura even in the moments of brief pleasure shows that the overpowering depression within in the man never does leave him.
In the middle of the night of at least an attempted pleasure there is a moment where they stop for a moment and Kanji requests a piano player to play the song "Gondola no Uta". The song is about the briefness of life, and as the song is played on the piano Kanji sings along. Shimura is absolutely heartbreaking in this scene as he sings the words in such a quiet yet powerful fashion in that meek voice of Kanji's. Although his voice may not be strong the emotions in that voice are. Shimura as he sings shows us the thoughts of Kanji of the song that speaks to him all to well. The sadness of the man in this moment is not hidden in anyway and for a moment here this passionless man gains a passion even if it is a passion for his own depression. It is an absolutely incredible scene by Shimura.
Although there are moments of momentary enjoyment Kanji is still left depression by the end of the night, and still confused over what he can do to really live. Kanji believes he can find though out from his young co-worker who seems to enjoy life named Toyo Odagiri (Miki Odagiri), and he decides to spend time with her. Shimura again is terrific because he does not give an easy answers to Kanji in his plight. Again with Toyo Shimura suggests some enjoyment he has as he speaks to someone he thinks knows the path. It is purer pleasure here though, not something just of the moment, and we do see him honestly enjoy himself. Shimura though still keeps his depressed state as something that clearly never leaves his mind, and his wasted life and bitter feelings to his son even seem to over take the bit of happiness from the young woman.
The happiness is challenged even further though as Toyo quickly becomes suspicious of the intentions of Kanji and confronts on the issue forcing Kanji to finally reveal what he really wants. Shimura is excellent because even when he must blurt out what he wants he still keeps the nature of Kanji as a character. He tries several times to verbalize his desire with what remains of his life, and when he finally gets it out Shimura delivers it in a humble but with earnestness. When Toyo offers something very small as her reason for enjoying life, which is that she creates toys, Kanji takes off in attempt to do something like that himself in his short time left. Shimura's expression as he leaves is particularly notable because although we see finally a hope and even a drive these are still but a glimmer and desperation still remains the dominating emotion.
After this point we mainly get flashbacks to Kanji as he finally attempts to do something himself which is to take action in his work, and finally help a group of people by building a park over a cesspool. In these scenes we finally meet Kanji who has gained a purpose. Shimura importantly does not change the whole nature of Kanji as physically he stays much the same man, as it would be impossible for him to change the type of man in such a short time. Shimura instead shows the change in Kanji in a far more subtle fashion. There now is a passion as he works to make the park. Although still modest in his depiction Shimura is able to suggests an understanding of himself, and now an inner strength portrayed. As he tirelessly tries to make something worthwhile Shimura suggests that Kanji does not find something foreign, but instead that this potential was always was possible in the man.
This all ends in what is one of the most incredible moments in cinema which is the last time we see Kanji as he has finally realized his dream. It is a triumph of Kurosawa and his cinematographer Asakazu Nakai in the beautiful staging of the scene as we see the lone figure of Kanji swinging in the park swing all while it snows around him. The poignancy of the scene though is achieved through the final moments of Shimura performance. He once again sings "Gondola no Uta". Although his singing voice obviously has not improved or changed in some way the expression of the man most certainly has. Where intense sadness was the overlying emotion in his face before now there is the face of contentment as he sings finally having lived his life even if it had been only for the brief time.
The power of Shimura's work is in his firm approach for the character. Shimura portrayal of the man's plight is fiercely tragic, and it is never something that he eases away in his performance either. Due to this the redemption of the man is far more inspiring because the low the man finds himself in is realized so strongly beforehand. He never forgets the resigned nature of the man, and his fervor that does come is found in this same man. The redemption is not something that is found in an instance or a moment, but instead Shimura finds it slowly and in a heartfelt fashion that makes Kanji's journey of self discovery unforgettable. Takashi Shimura's performance as Kanji is an outstanding performance which is remarkable as he allows his character's plight to be properly mournful but eventually inspiring as well.
Takashi Shimura is the other frequent collaborator with Akira Kurosawa and was often featured with Toshiro Mifune sometimes in smaller supporting parts, but as well in lead roles who often were calmer wiser character in comparison to the more reckless and crazed characters played by Mifune. Although I do have to admit I did feel Mifune stole the show of those earlier film Shimura never was a slouch either usually giving a strong performance himself particularly in Drunken Angel. In Ikiru though Shimura is the sole lead, and Ikiru also stands as the only film by Kurosawa from Drunken Angel to Red Beard not to feature Mifune in any role, so Shimura stands as the true focus of the film.
The early scenes of Shimura's performance are some of the most depressing moments ever put on film. When we first meet him Shimura portraying Kanji as that of a man who might as well be dead due to the way in which he goes about his life. There is nothing to the man whatsoever as Shimura portrays him. He occupies a desk and that is all that he does. There is not a hint of anything else other than a man wasting away only doing the most mundane things in a most mundane fashion as a bureaucrat who just basically stamps one document then another, and nothing else. Even worse is that there is not even a sadness in Shimura's performance instead he goes to an extra level with Kanji as the bureaucrat who seems to be connected to absolutely nothing in the world.
Kanji soon finds out that he has stomach cancer, and the sadness of the man finally comes out. Shimura is absolutely brutal in just how he never is shy about portraying just how little happiness there is in this man's life. Kanji even as he tries to reflect back on a better time can only still think what was wrong in his past as well. Shimura shows us a depression in his performance that is truly memorable because of how overpowering he portrays this in this man. Shimura shows the in no way compromised feelings of a man who has never really lived learning he is going to die. It is not a depression that there is even a feeling of anger in, instead Shimura is all the more striking by making us see a man who almost resigns to his fate.
Kurosawa's protagonists tend to have a strong will, Ikiru presents us a protagonist who is almost exactly the opposite. Shimura himself in Stray Dog, Seven Samurai and Drunken Angel plays his roles with always a great strength of personality, as Kanji he creates one of the most meek characters ever put on screen. This goes beyond just his actions and Shimura makes every physical attribute meek in this man. He always has a hunched back, a hunched back fitting of a man who only ever hunched over his desk for year upon year, and his voice is that of a man who has almost never spoken. Shimura's voice here is weak, unassuming, and at times comes out with barely any mouth motions. This physical depiction Shimura gives us the results of a life not spent.
Kanji in an attempt to do something decides to live is to basically party and gets a young man to go take him around the night life. Shimura shows a man here reaching from the void trying to find something to change his lot that has befallen him in at least someway. In the night life Shimura is very good channeling the different emotions going on in this man's mind as he experiences something he was not aware of. There are moments with a smile where we see the man enjoying himself in at least some way, but even in the happiness Shimura portrays a certain confusion at the same time. He never seems to fully understand even what exactly he is trying to do, and Shimura even in the moments of brief pleasure shows that the overpowering depression within in the man never does leave him.
In the middle of the night of at least an attempted pleasure there is a moment where they stop for a moment and Kanji requests a piano player to play the song "Gondola no Uta". The song is about the briefness of life, and as the song is played on the piano Kanji sings along. Shimura is absolutely heartbreaking in this scene as he sings the words in such a quiet yet powerful fashion in that meek voice of Kanji's. Although his voice may not be strong the emotions in that voice are. Shimura as he sings shows us the thoughts of Kanji of the song that speaks to him all to well. The sadness of the man in this moment is not hidden in anyway and for a moment here this passionless man gains a passion even if it is a passion for his own depression. It is an absolutely incredible scene by Shimura.
Although there are moments of momentary enjoyment Kanji is still left depression by the end of the night, and still confused over what he can do to really live. Kanji believes he can find though out from his young co-worker who seems to enjoy life named Toyo Odagiri (Miki Odagiri), and he decides to spend time with her. Shimura again is terrific because he does not give an easy answers to Kanji in his plight. Again with Toyo Shimura suggests some enjoyment he has as he speaks to someone he thinks knows the path. It is purer pleasure here though, not something just of the moment, and we do see him honestly enjoy himself. Shimura though still keeps his depressed state as something that clearly never leaves his mind, and his wasted life and bitter feelings to his son even seem to over take the bit of happiness from the young woman.
The happiness is challenged even further though as Toyo quickly becomes suspicious of the intentions of Kanji and confronts on the issue forcing Kanji to finally reveal what he really wants. Shimura is excellent because even when he must blurt out what he wants he still keeps the nature of Kanji as a character. He tries several times to verbalize his desire with what remains of his life, and when he finally gets it out Shimura delivers it in a humble but with earnestness. When Toyo offers something very small as her reason for enjoying life, which is that she creates toys, Kanji takes off in attempt to do something like that himself in his short time left. Shimura's expression as he leaves is particularly notable because although we see finally a hope and even a drive these are still but a glimmer and desperation still remains the dominating emotion.
After this point we mainly get flashbacks to Kanji as he finally attempts to do something himself which is to take action in his work, and finally help a group of people by building a park over a cesspool. In these scenes we finally meet Kanji who has gained a purpose. Shimura importantly does not change the whole nature of Kanji as physically he stays much the same man, as it would be impossible for him to change the type of man in such a short time. Shimura instead shows the change in Kanji in a far more subtle fashion. There now is a passion as he works to make the park. Although still modest in his depiction Shimura is able to suggests an understanding of himself, and now an inner strength portrayed. As he tirelessly tries to make something worthwhile Shimura suggests that Kanji does not find something foreign, but instead that this potential was always was possible in the man.
This all ends in what is one of the most incredible moments in cinema which is the last time we see Kanji as he has finally realized his dream. It is a triumph of Kurosawa and his cinematographer Asakazu Nakai in the beautiful staging of the scene as we see the lone figure of Kanji swinging in the park swing all while it snows around him. The poignancy of the scene though is achieved through the final moments of Shimura performance. He once again sings "Gondola no Uta". Although his singing voice obviously has not improved or changed in some way the expression of the man most certainly has. Where intense sadness was the overlying emotion in his face before now there is the face of contentment as he sings finally having lived his life even if it had been only for the brief time.
The power of Shimura's work is in his firm approach for the character. Shimura portrayal of the man's plight is fiercely tragic, and it is never something that he eases away in his performance either. Due to this the redemption of the man is far more inspiring because the low the man finds himself in is realized so strongly beforehand. He never forgets the resigned nature of the man, and his fervor that does come is found in this same man. The redemption is not something that is found in an instance or a moment, but instead Shimura finds it slowly and in a heartfelt fashion that makes Kanji's journey of self discovery unforgettable. Takashi Shimura's performance as Kanji is an outstanding performance which is remarkable as he allows his character's plight to be properly mournful but eventually inspiring as well.
Monday, 24 June 2013
Alternate Best Actor 1952: James Mason in 5 Fingers
James Mason did not receive an Oscar nomination for portraying Ulysses Diello in 5 Fingers.
5 Fingers is a good enough thriller about the valet to an English ambassador who sells secrets to the Nazis.
James Mason plays the main character who is the spy who has no hesitations in making a deal with the Nazis to trade his employer's secrets for money. Mason is such a cool customer it is no surprise that he was cast as a spy where that sort of attitude is a must. Ulysses is not exactly your usual sort of spy in that he does not work for anyone in the way one would usually expect. He does not work for the Nazis in the traditional sense as an agent he technically is always a freelance, he does not have a connection directly to the Nazis he only corresponds with them to give the information he has only so he can get the money that he wants.
What the main feeling that Mason conveys in his performance as Diello is a truly intense cynicism in his performance. When he talks to the Nazis and deals with them for the money there is not any passion in giving the secrets. Mason does not suggest in any way that he wants to hurt the British Empire or help the Nazis. Mason instead plays him as a man who does not care, the only thing he cares about is the money. Mason is brilliant with just how brutally cynical he is in his characterization of Diello. There is nothing optimistic or positive in his portrayal in anyway, and it is all the more chilling because there isn't a passion in the evil he is doing either.
Mason portrays him as completely unscrupulous man and tells us exactly why he would act this way through his demeanor that feels no love for almost anything. Mason adds to this even more by portraying Diello as quite a different man in his role as the valet. Mason does not over do it as a big fascade in any way, but really just makes him a pretty pleasant sort of servant. He is entirely unassuming does not suggest any cynicism just a man you would not necessarily notice in any way, and he is convincing that he could go unnoticed as long as he does. As Diello in his mode on the valet he is the speck in the room that can hear and listen to the secrets well never seeming like he could ever leak them.
Diello does care about one thing in that he tries to win over an equally unscrupulous Countess (Danielle Darrieux). Mason is very good in these scenes because we do see a little more to Diello although Mason very much underplays it. He does it well to suggest that he does care for the Countess, and there is a slight warmth, but slight because his nature forbade him from offering any more. His attachments comes to bite him as the Countess betrays him several times. Each time Mason is terrific showing a vulnerability in his otherwise thick hide in excellent moments where we see just how much the revelations of his betrayal do cause him pain.
Mason though does show that Diello tries to keep up his style of cynicism and he is quite excellent in the late scenes as he tries to play off both the allies and the Nazis and get off Scot free doing so. Mason absolutely knows how to be the devious sort that Diello is. He plays the scenes with an assured intelligence as well as a certain pleasure. The pleasure is adds so much to these scenes and adds just the right extra element of villainy in the man. Mason lets us see that the smugness of the man enjoying being able to trick basically the whole world, and in doing so being able to make himself a nice lump sum of cash at the same time.
Diello in a twist finds himself the fool, and because he made Diello so smug we as the audience can quite enjoy him losing all of his assumptions as Mason leaves him almost a loss for words. He does leave with a last laugh of sorts when he finds out the Countess who betrayed him has suffered the same fate as him. Mason final gesture is a perfect end for his character as we see the nature of the man one more time who will forget his unfortunate circumstance to entertain himself with the thoughts of the suffering the woman who has betrayed him. That final action really sums up Mason's performance. Mason never asks for sympathy, nor does he earn it instead he gives a compelling turn simply by emphasizing just how much a cold bastard Diello really is.
James Mason plays the main character who is the spy who has no hesitations in making a deal with the Nazis to trade his employer's secrets for money. Mason is such a cool customer it is no surprise that he was cast as a spy where that sort of attitude is a must. Ulysses is not exactly your usual sort of spy in that he does not work for anyone in the way one would usually expect. He does not work for the Nazis in the traditional sense as an agent he technically is always a freelance, he does not have a connection directly to the Nazis he only corresponds with them to give the information he has only so he can get the money that he wants.
What the main feeling that Mason conveys in his performance as Diello is a truly intense cynicism in his performance. When he talks to the Nazis and deals with them for the money there is not any passion in giving the secrets. Mason does not suggest in any way that he wants to hurt the British Empire or help the Nazis. Mason instead plays him as a man who does not care, the only thing he cares about is the money. Mason is brilliant with just how brutally cynical he is in his characterization of Diello. There is nothing optimistic or positive in his portrayal in anyway, and it is all the more chilling because there isn't a passion in the evil he is doing either.
Mason portrays him as completely unscrupulous man and tells us exactly why he would act this way through his demeanor that feels no love for almost anything. Mason adds to this even more by portraying Diello as quite a different man in his role as the valet. Mason does not over do it as a big fascade in any way, but really just makes him a pretty pleasant sort of servant. He is entirely unassuming does not suggest any cynicism just a man you would not necessarily notice in any way, and he is convincing that he could go unnoticed as long as he does. As Diello in his mode on the valet he is the speck in the room that can hear and listen to the secrets well never seeming like he could ever leak them.
Diello does care about one thing in that he tries to win over an equally unscrupulous Countess (Danielle Darrieux). Mason is very good in these scenes because we do see a little more to Diello although Mason very much underplays it. He does it well to suggest that he does care for the Countess, and there is a slight warmth, but slight because his nature forbade him from offering any more. His attachments comes to bite him as the Countess betrays him several times. Each time Mason is terrific showing a vulnerability in his otherwise thick hide in excellent moments where we see just how much the revelations of his betrayal do cause him pain.
Mason though does show that Diello tries to keep up his style of cynicism and he is quite excellent in the late scenes as he tries to play off both the allies and the Nazis and get off Scot free doing so. Mason absolutely knows how to be the devious sort that Diello is. He plays the scenes with an assured intelligence as well as a certain pleasure. The pleasure is adds so much to these scenes and adds just the right extra element of villainy in the man. Mason lets us see that the smugness of the man enjoying being able to trick basically the whole world, and in doing so being able to make himself a nice lump sum of cash at the same time.
Diello in a twist finds himself the fool, and because he made Diello so smug we as the audience can quite enjoy him losing all of his assumptions as Mason leaves him almost a loss for words. He does leave with a last laugh of sorts when he finds out the Countess who betrayed him has suffered the same fate as him. Mason final gesture is a perfect end for his character as we see the nature of the man one more time who will forget his unfortunate circumstance to entertain himself with the thoughts of the suffering the woman who has betrayed him. That final action really sums up Mason's performance. Mason never asks for sympathy, nor does he earn it instead he gives a compelling turn simply by emphasizing just how much a cold bastard Diello really is.
Sunday, 23 June 2013
Alternate Best Actor 1952
John Wayne in The Quiet Man
Michael Denison in The Importance of Being Earnest
Takashi Shimura in Ikiru
Laurence Olivier in Carrie
James Mason in 5 Fingers
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