3. Ian Holm in Chariots of Fire- Holm gives a great performance as a very particular athletics coach realizing the humanity, the humor and intelligence of the man extremely well.
Showing posts with label 1981 Best Supporting Actor. Show all posts
Showing posts with label 1981 Best Supporting Actor. Show all posts
Sunday, 30 October 2011
Best Supporting Actor 1981: Results
3. Ian Holm in Chariots of Fire- Holm gives a great performance as a very particular athletics coach realizing the humanity, the humor and intelligence of the man extremely well.
Saturday, 29 October 2011
Best Supporting Actor 1981: John Gielgud in Arthur
John Gielgud won his Oscar from his second nomination for portraying Hobson in Arthur.
John Gielgud I imagine helped secure his victory by also being in the eventual best picture nominated Chariots of Fire this same year. Where portrays the master of Trinity College. In that role I found Gielgud to be quite hilarious actually in finding the humor in just how proper and prejudice the Master of Trinity is, in fact I would not have minded if he had one for Chariots of Fire as well because his scenes are some of my favorite scenes in that film, and I love basically all the scenes of that film. Gielgud though instead won for his larger role in Arthur, as billionaire playboy Arthur Bach(Dudley Moore)'s butler.
The role of Hobson is a pivotal role in Arthur since a good deal of the film is made up Hobson's and Arthur's various verbal barbs to one or another. Gielgud in particularly has a great deal of various little comments about just about everyone he comes by. As with Chariots of Fire Gielgud shows exactly how to play a superior snobbish fellow just perfectly. Gielgud although is rather different here than his Chariots Of Fire snob, as Hobson is a nice fellow at heart who just enjoys a good old verbal comeback.
John Gielgud always has the perfect presence in this film always acting as the comeback to Arthur's antics perfectly. There is always such great precision in everything he says which is absolutely great for the dynamic between Gielgud and Moore. Every single line that Gielgud has is spoken with the utmost certainty that makes everything he says rather amusing. Gielgud knows he has good lines to say and makes the most of everyone that he has.
What is interesting about his performance though is how it also has a more dramatic side that goes along right with his comedic side. This basically comes out with his final scene with Dudley Moore which is simply great. Gielgud in this scene with Moore shows that their relationship together was not simply that of master and servant but instead actually of father and son.They have a great final heartfelt moment that is earned by both actors completely, and Gielgud fits this scene of fatherly warmness as well as with his moments of comedy. Gielgud gives a great supporting performance that truly makes the film.
The role of Hobson is a pivotal role in Arthur since a good deal of the film is made up Hobson's and Arthur's various verbal barbs to one or another. Gielgud in particularly has a great deal of various little comments about just about everyone he comes by. As with Chariots of Fire Gielgud shows exactly how to play a superior snobbish fellow just perfectly. Gielgud although is rather different here than his Chariots Of Fire snob, as Hobson is a nice fellow at heart who just enjoys a good old verbal comeback.
John Gielgud always has the perfect presence in this film always acting as the comeback to Arthur's antics perfectly. There is always such great precision in everything he says which is absolutely great for the dynamic between Gielgud and Moore. Every single line that Gielgud has is spoken with the utmost certainty that makes everything he says rather amusing. Gielgud knows he has good lines to say and makes the most of everyone that he has.
What is interesting about his performance though is how it also has a more dramatic side that goes along right with his comedic side. This basically comes out with his final scene with Dudley Moore which is simply great. Gielgud in this scene with Moore shows that their relationship together was not simply that of master and servant but instead actually of father and son.They have a great final heartfelt moment that is earned by both actors completely, and Gielgud fits this scene of fatherly warmness as well as with his moments of comedy. Gielgud gives a great supporting performance that truly makes the film.
Best Supporting Actor 1981: Ian Holm in Chariots of Fire
Ian Holm received his only Oscar nomination so far for portraying Sam Mussabini in Chariots of Fire.
Chariots of Fire depicts what drives two Olympic runners during the 1924 Olympic games.
Ian Holm portrays an athletic coach who is not exactly praised highly simply because of the time the amateur approach to running was the strongly suggested approach. Holm chooses to fully create Sam Mussabini into a very particular, and original character in the film. Sometimes this sort of approach can easily lead to some overacting, but Holm extremely well with making Mussabini an unusual man but still creates a realistic portrait of that man as well.
He has a very particular way about himself that works quite well to establish that old Sam has been a bit of oddity in the athletics world since he was a professional coach. Holm has a nice way about himself showing that Sam certainly has seen it all basically and has been around a long time. There is a quiet intelligence in his performance, that even though he might not always look ti eh knows basically everything there is to know about being a professional runner.
Holm makes Sam a man of his time in the way he walks and talks without ever doing it. There are certainly even moments in the film where you cannot even tell what he is saying exactly. I never minded it though actually because Holm actually made it enhance his character as a whole, and really set the particular Sam in his period. Sam could have been an uninteresting or immaterial character but Holm never allows that to happen do to this realization of Sam as a character.
Holm always has a special charm in his performance that works very well in his scenes with Ben Cross as Harold Abrahams. In these scenes Holm shows a natural knowledge in Sam that shows Sam to be the master of the sport he is, as well as also slowly shows a camaraderie between Abrahams and Sam. He and Cross have a low key but effective chemistry together. Although much of the work together is professional both actors manage to show a mutual respect and friendship the two men have together.
My personal favorite scenes of Holm though come near the end of the film where Sam and Harold achieve their goals together. They are short moments but Holm makes them quietly heartfelt as he honestly portrays just how much this achievement truly means to him. In these short moments Holm carefully lets us know exactly why Sam does what he does, and how he gets the same or even more a thrill from a victory than the runner themselves. This to me is always an enjoyable performance that makes the most his character and only adds to the film itself.
Ian Holm portrays an athletic coach who is not exactly praised highly simply because of the time the amateur approach to running was the strongly suggested approach. Holm chooses to fully create Sam Mussabini into a very particular, and original character in the film. Sometimes this sort of approach can easily lead to some overacting, but Holm extremely well with making Mussabini an unusual man but still creates a realistic portrait of that man as well.
He has a very particular way about himself that works quite well to establish that old Sam has been a bit of oddity in the athletics world since he was a professional coach. Holm has a nice way about himself showing that Sam certainly has seen it all basically and has been around a long time. There is a quiet intelligence in his performance, that even though he might not always look ti eh knows basically everything there is to know about being a professional runner.
Holm makes Sam a man of his time in the way he walks and talks without ever doing it. There are certainly even moments in the film where you cannot even tell what he is saying exactly. I never minded it though actually because Holm actually made it enhance his character as a whole, and really set the particular Sam in his period. Sam could have been an uninteresting or immaterial character but Holm never allows that to happen do to this realization of Sam as a character.
Holm always has a special charm in his performance that works very well in his scenes with Ben Cross as Harold Abrahams. In these scenes Holm shows a natural knowledge in Sam that shows Sam to be the master of the sport he is, as well as also slowly shows a camaraderie between Abrahams and Sam. He and Cross have a low key but effective chemistry together. Although much of the work together is professional both actors manage to show a mutual respect and friendship the two men have together.
My personal favorite scenes of Holm though come near the end of the film where Sam and Harold achieve their goals together. They are short moments but Holm makes them quietly heartfelt as he honestly portrays just how much this achievement truly means to him. In these short moments Holm carefully lets us know exactly why Sam does what he does, and how he gets the same or even more a thrill from a victory than the runner themselves. This to me is always an enjoyable performance that makes the most his character and only adds to the film itself.
Friday, 28 October 2011
Best Supporting Actor 1981: Jack Nicholson in Reds
Jack Nicholson received his sixth Oscar nomination for portraying Eugene O'Neil in Reds.
Reds is not a film I particularly care for because it takes too much of a sentimental and romantic view of its subject matter. In turn I thought many of the performances did exactly the same, but one person who rips right through any sort of sentimental ideas is Jack Nicholson as Eugene O'Neil. For me he is the only real reason to watch the film because he is almost on an entirely different level than the rest of the actors in this film, and is the only character I was really at all interested in.
Nicholson successfully steals every single scene he is in as the cynical Eugene O'Neil. He even steals the scene when he barely says anything, or does not say anything at all. Nicholson is very good in these basically silent scenes as he channels O'Neil complete disbelief in the fervor that rules the people he is around, as well as subtly channels the clear attraction he has Louise Bryant (Diane Keaton). Nicholson does an enormous amount with no dialogue far more than say Warren Beatty as Jack Reed who sometimes never stops talking.
His best scenes though come when he does get to talk a little bit more which are the scenes where O'Neil attempts to go after Louise despite her being attached to Jack. Nicholson is simply amazing in this scene as he portrays O'Neil attempt to show how he loves Louise. Nicholson is brilliantly subtle of honestly showing this without for a moment overplaying it. O'Neil never fawns over her, but rather shows it with O'Neil it something deeper within him that really makes him want her for his own. Nicholson is calm, and concise in these scenes and his performance always has a low key charisma that makes not at all question the affair.
This is a fascinating performance by Nicholson because of how well he realizes O'Neil as a person despite the fact that he is given little screentime and very little background information. O'Neil is always looking for a drink Nicholson never plays him drunk but rather shows that he has been an alcoholic for a very long time, since Nicholson always shows O'Neil drinking to be simply something he just does. It is part of his always state of a sort of semi depression that Nicholson conveys brilliantly, he never forces it on the viewer but it is clearly always a part of O'Neil.
Nicholson though never lets one aspect of O'Neil override all the aspects as characters with a little screentime can sometimes be reduced to. He has enough nuance in his performance to turn Eugene O'Neil in to a full fledged human being. In fact he brings O'Neil more to life than some of the other actors do with their characters. He creates a fascinating performance of a cynical somewhat depressed man, who finds a certain joy, as well as pain with his affair with a married woman. This is great performance that not only stands out in this long film, but is in fact by far the best part of the film.
Nicholson successfully steals every single scene he is in as the cynical Eugene O'Neil. He even steals the scene when he barely says anything, or does not say anything at all. Nicholson is very good in these basically silent scenes as he channels O'Neil complete disbelief in the fervor that rules the people he is around, as well as subtly channels the clear attraction he has Louise Bryant (Diane Keaton). Nicholson does an enormous amount with no dialogue far more than say Warren Beatty as Jack Reed who sometimes never stops talking.
His best scenes though come when he does get to talk a little bit more which are the scenes where O'Neil attempts to go after Louise despite her being attached to Jack. Nicholson is simply amazing in this scene as he portrays O'Neil attempt to show how he loves Louise. Nicholson is brilliantly subtle of honestly showing this without for a moment overplaying it. O'Neil never fawns over her, but rather shows it with O'Neil it something deeper within him that really makes him want her for his own. Nicholson is calm, and concise in these scenes and his performance always has a low key charisma that makes not at all question the affair.
This is a fascinating performance by Nicholson because of how well he realizes O'Neil as a person despite the fact that he is given little screentime and very little background information. O'Neil is always looking for a drink Nicholson never plays him drunk but rather shows that he has been an alcoholic for a very long time, since Nicholson always shows O'Neil drinking to be simply something he just does. It is part of his always state of a sort of semi depression that Nicholson conveys brilliantly, he never forces it on the viewer but it is clearly always a part of O'Neil.
Nicholson though never lets one aspect of O'Neil override all the aspects as characters with a little screentime can sometimes be reduced to. He has enough nuance in his performance to turn Eugene O'Neil in to a full fledged human being. In fact he brings O'Neil more to life than some of the other actors do with their characters. He creates a fascinating performance of a cynical somewhat depressed man, who finds a certain joy, as well as pain with his affair with a married woman. This is great performance that not only stands out in this long film, but is in fact by far the best part of the film.
Thursday, 27 October 2011
Best Supporting Actor 1981: Howard Rollins in Ragtime
Howard Rollins received his only Oscar nomination for portraying Coalhouse Walker Jr. in Ragtime.
Ragtime rather ineptly attempts to string together various stories from the Ragtime period in New York. I'm still not sure why Forman seemed to keep changing his mind on what type of film he is making, but when it sticks to the plot of Coalhouse Walker it is genuinely good.
The story that becomes focused on in the second half of the film is about Coalhouse Walker. Coalhouse first appears in the film as the father of an abandoned child. He comes to take responsibility. In these early scenes Rollins has great deal of pride in his performance that shows Walker to genuinely accept his responsibility, as well as someone who wants to be treated with respect by others. He has a quite dignity and intelligence in his performance that is necessary to set him up before his fall. Later though Coalhouse runs into some serious problems when he is mistreated by a few local firemen, which sets up a tragic chain of events. Rollins is very good at first showing how Coalhouse just wants to be treated with a little human decency, nothing more. Rollins makes it clear that all he wants is the genuine respect he deserves as any man deserves nothing more. Rollins really is good at showing how the frustrations are slowly bursting below the surface that works to his radical decision that he eventually comes to. Rollins's performance is a terrific dissection of the character of the man who wishes for a specific success, even as early on he is a near-do-well when not quite being there for the mother of his child. Rollins shows this affable charm about the man that suggests how he charmed her even as there is this kind of hopeless optimism in a way in his eyes. Not hopeless in terms of himself, Rollins shows the man that believes it, hopeless because it is going to be crushed sooner than later, despite the man finding success as a piano player and coming back to be a proper father.
The story that becomes focused on in the second half of the film is about Coalhouse Walker. Coalhouse first appears in the film as the father of an abandoned child. He comes to take responsibility. In these early scenes Rollins has great deal of pride in his performance that shows Walker to genuinely accept his responsibility, as well as someone who wants to be treated with respect by others. He has a quite dignity and intelligence in his performance that is necessary to set him up before his fall. Later though Coalhouse runs into some serious problems when he is mistreated by a few local firemen, which sets up a tragic chain of events. Rollins is very good at first showing how Coalhouse just wants to be treated with a little human decency, nothing more. Rollins makes it clear that all he wants is the genuine respect he deserves as any man deserves nothing more. Rollins really is good at showing how the frustrations are slowly bursting below the surface that works to his radical decision that he eventually comes to. Rollins's performance is a terrific dissection of the character of the man who wishes for a specific success, even as early on he is a near-do-well when not quite being there for the mother of his child. Rollins shows this affable charm about the man that suggests how he charmed her even as there is this kind of hopeless optimism in a way in his eyes. Not hopeless in terms of himself, Rollins shows the man that believes it, hopeless because it is going to be crushed sooner than later, despite the man finding success as a piano player and coming back to be a proper father.
Going back to the scene of the man being harassed by scummy firehouse racists, who take exception to his ownership of a model T. Rollins really is brilliant through the scene by showing in such heartbreaking detail the attempts at the man in trying to resolve the situation with decency. First in his affable disbelief at the men's behavior however with a calm resolute manner of just kindly delivering every word as the man tries not to escalate the situation. Then when asking for a useless cop to help, Rollins again continues with this strict sincerity that compounds with it this internalized frustration, sadness but also firm conviction for dignity as he asks the firemen to clean up their vandalism. This sadly only getting him arrested and Rollins creates the tragedy by showing each painful step in the descent towards bitterness caused by the cruelty of the men, though even more so the system that refuses to recognize his equality as it should. Rollins always keeps the passion in Coalhouse as absolutely pure and true in the state of the man, and shows not a man waiting to radicalize, rather a man forced into it.
Eventually he goes to his radical plan to get what he wants which includes killing, bombing, and overtaking a historic building to get his demands. Rollins is fantastic in portraying the man who has in a way become a terrorist leader even though his cause is righteous in terms of just wanting to be treated decently. The scene of seeing Rollins are strong work as he manages to so naturally play with his presence. This as he goes from moments of where we see a new man, the man who uses bombs and guns, the ease in his command now as the gang leader and there is this ease in the man's power. There is a charisma, no longer the charisma of a hopeful man, but rather the charisma of a man with power through violence. Rollins is reflexive in his performance though as he's amazing in the scene where Booker T. Washington tries to talk him into surrendering. Rollins touches upon the old Coalhouse as he treads on such genuine heartbreak as he speaks his demands with the sense of his losses in every breath and true poignancy. The shift then is so powerful when he goes from complementing Washington for his words as an "angel" as the old Coalhouse, before segueing so naturally, despite being an unnatural thing, as it changes to a blunt cynicism as he reminds Washington that they live in cruel earth. Rollins in the conclusion is great again when he makes his final choices, after being visited by the Father character. Rollins play the cool again of basically a gangster at first before sacrificing himself for his men. Rollins in this moment though just delivering so much humanity in his plea for his men to leave with such heart wrenching concern for them. You see again the real man who was mistreated even within the way the man is playing into that menace that has given him any sway. Rollins in his final moment is outstanding through his eyes and extremely content delivery. Contentment not for life but for basically accepting his death. His final "Get the hell out of her, don't you understand anything white man" is basically his last bit of rage, and last bit of life of a man who knows he's finished. This is a great performance, that honestly I might've honestly not appreciated just having been soured by the film's aimless first half, but knowing this was coming made me see the strength of this performance fully. It is a great feature film debut and it is a shame that Rollins ended up having a rather tragic career trajectory.
Eventually he goes to his radical plan to get what he wants which includes killing, bombing, and overtaking a historic building to get his demands. Rollins is fantastic in portraying the man who has in a way become a terrorist leader even though his cause is righteous in terms of just wanting to be treated decently. The scene of seeing Rollins are strong work as he manages to so naturally play with his presence. This as he goes from moments of where we see a new man, the man who uses bombs and guns, the ease in his command now as the gang leader and there is this ease in the man's power. There is a charisma, no longer the charisma of a hopeful man, but rather the charisma of a man with power through violence. Rollins is reflexive in his performance though as he's amazing in the scene where Booker T. Washington tries to talk him into surrendering. Rollins touches upon the old Coalhouse as he treads on such genuine heartbreak as he speaks his demands with the sense of his losses in every breath and true poignancy. The shift then is so powerful when he goes from complementing Washington for his words as an "angel" as the old Coalhouse, before segueing so naturally, despite being an unnatural thing, as it changes to a blunt cynicism as he reminds Washington that they live in cruel earth. Rollins in the conclusion is great again when he makes his final choices, after being visited by the Father character. Rollins play the cool again of basically a gangster at first before sacrificing himself for his men. Rollins in this moment though just delivering so much humanity in his plea for his men to leave with such heart wrenching concern for them. You see again the real man who was mistreated even within the way the man is playing into that menace that has given him any sway. Rollins in his final moment is outstanding through his eyes and extremely content delivery. Contentment not for life but for basically accepting his death. His final "Get the hell out of her, don't you understand anything white man" is basically his last bit of rage, and last bit of life of a man who knows he's finished. This is a great performance, that honestly I might've honestly not appreciated just having been soured by the film's aimless first half, but knowing this was coming made me see the strength of this performance fully. It is a great feature film debut and it is a shame that Rollins ended up having a rather tragic career trajectory.
Wednesday, 26 October 2011
Best Supporting Actor 1981: James Coco in Only When I Laugh
James Coco received his only Oscar nomination for portraying Jimmy in Only When I Laugh.
Only When I Laugh depicts the story of an alcoholic stage actress who has trouble staying sober while dealing with problems with her friends and her daughter.
James Coco is the one of only two actors, the other being Amy Irving, to receive both an Oscar nomination and a Razzie nomination for the same performance. I must say first off that Coco should never have had this distinction because this is not a bad performance and most certainly not one of the worst supporting performances of the year. James Coco gives an relatively early example of a flamboyant gay character who admits to be such. The idea of a flamboyant gay character can commonly lead to some big overacting, but not automatically as shown by say William Hurt in Kiss of a Spiderwoman. This is actually less acting by Coco though as if you see him in an interview he actually has basically the same mannerisms, just he talks with less one liners.
Coco really though never becomes just a caricature though and manages to make Jimmy an actual person who happens to be flamboyant rather than just a series of flamboyant mannerisms. Coco does well giving his one liners putting a great deal of energy in each of his scenes. The snappy comeback friend is most certainly a cliche but Coco does a fine job with that sort of character nonetheless. His best scenes though are his more dramatic ones such as where he attempts to comfort Georgia (Marsha Mason). He really shows an honest caring for her that works well for the film. His single best moment though most certianly comes when he is distraught over losing an acting part he thought for sure he had. Coco really shows the heartbreak in Jimmy and effectively portrays how it saddens him. Coco manages to find the comedy in the part as well as the drama. Although I can't say they are perfectly balanced as I greatly preferred his dramatic moments over his comedic ones he effectively kept both aspects within a single character. This is not an amazing performance by any means it is most certainly a good enough one that well maybe did not need to be Oscar nominated but it certainly was not at all deserving of its Razzie nomination.
James Coco is the one of only two actors, the other being Amy Irving, to receive both an Oscar nomination and a Razzie nomination for the same performance. I must say first off that Coco should never have had this distinction because this is not a bad performance and most certainly not one of the worst supporting performances of the year. James Coco gives an relatively early example of a flamboyant gay character who admits to be such. The idea of a flamboyant gay character can commonly lead to some big overacting, but not automatically as shown by say William Hurt in Kiss of a Spiderwoman. This is actually less acting by Coco though as if you see him in an interview he actually has basically the same mannerisms, just he talks with less one liners.
Coco really though never becomes just a caricature though and manages to make Jimmy an actual person who happens to be flamboyant rather than just a series of flamboyant mannerisms. Coco does well giving his one liners putting a great deal of energy in each of his scenes. The snappy comeback friend is most certainly a cliche but Coco does a fine job with that sort of character nonetheless. His best scenes though are his more dramatic ones such as where he attempts to comfort Georgia (Marsha Mason). He really shows an honest caring for her that works well for the film. His single best moment though most certianly comes when he is distraught over losing an acting part he thought for sure he had. Coco really shows the heartbreak in Jimmy and effectively portrays how it saddens him. Coco manages to find the comedy in the part as well as the drama. Although I can't say they are perfectly balanced as I greatly preferred his dramatic moments over his comedic ones he effectively kept both aspects within a single character. This is not an amazing performance by any means it is most certainly a good enough one that well maybe did not need to be Oscar nominated but it certainly was not at all deserving of its Razzie nomination.
Best Supporting Actor 1981
Ian Holm in Chariots of Fire
James Coco in Only When I Laugh
John Gielgud in Arthur
Howard Rollins in Ragtime
Jack Nicholson in Reds
Subscribe to:
Posts (Atom)