Showing posts with label Masayuki Mori. Show all posts
Showing posts with label Masayuki Mori. Show all posts

Saturday, 27 November 2021

Alternate Best Actor 1955: Masayuki Mori in Floating Clouds & Results

Masayuki Mori did not receive an Oscar nomination for portraying Kengo Tomioka in Floating Clouds. 

Floating Clouds another artfully realized melodrama by Mikio Naruse, here about a lonely woman seeking stability after the war.

Masayuki Mori is perhaps the enigmatic of the great Japanese actors of his period. When discussing the nature of presence as related to an actor Mori was one of the actors that came to my mind who almost seems to erase his given presence per film and starts over. This as watching this film I honestly had no memory of his bitter samurai from Rashomon, his hapless potter in Ugetsu or his heartless businessman from The Bad Sleep Well. He might as well be a whole different actor, well other than Mori has an innate ability to become whatever it is that his role is, and does so without a hint of fuss. That is the case here once again here as we meet him through the perspective of his lover, Yukiko Koda (Hideko Takamine), as her lover during the war. The two would later be paired in similarly tense circumstances in When a Woman Ascends the Stairs, also by Naruse, however again even there Mori seemed so different as the distant though intrigued wealthy man cheating on his wife. He is a man in an affair again, however his manner denotes a different kind of man then in that later performance. 
 
Mori makes his Kengo kind of lost in himself in his ways about himself, there is a lack of certainty in his interactions so much, and portrays a man also lost who perhaps finds himself at times with Yukiko. The film looks upon this unique relationship through glimpses of different phases of both of their lives. Mori, while I would say is co-lead, he is in general the more distant of the two as we often see him through how Yukiko is seeing him. Mori's performance is one of shades in turn. Shades of the man which Mori portrays well in this kind of balance between giving some sense of love to her, while in the same moment seeming to drift more from her. The first romantic scene in a way summing up their relationship to a degree in the matter of fact and blunt way Mori projects his affection for her. This almost a matter of fact though just as he seems to struggle. As we see him throughout the man is shown as someone weighted by all things other than perhaps his most obvious choices in a way. 
 
Mori in turn is a performance that is basically defined by a constant conflict. Mori bounces back from genuinely seeming to have compassion towards Yukiko and care for her, but as quickly he will show the shattered state of the man ripped apart in the other factors of his life that stop him from really any consistency. Mori's portrayal is granting a kind of knowable quality to the unknowable. This as much as Kengo seems all over the place, he never seems truly random rather he is what the world allows him to be in a way. This as in the moment he can be the lover, but in another he is the grieving husband. Where Yukiko is defined so much by the relationship, Mori shows a man who unfortunately defines himself by anything other than the relationship. The power of the performance is creating the logic of Kengo with this, and never making the character as random as his interactions often appear to be. Mori's performance is really tremendous at times by showing how much the man is going through in just the briefest silent interactions, and as hard to comprehend he is at times, Mori grants a difficult understanding to the man's complexities. Mori delivers a frustrating performance in the right way. This as much as Kengo never lets us in fully in an emotional sense, much as he does not for Yukiko, he does allow us to see the repressions of the man within his defenses and evasions in the name of duty, or just for himself. Mori's portrait of this man is appropriately difficult and near impenetrable, but not entirely impenetrable. This making the moments of the truth of the men particularly powerful, as subtle as they are, yet still so keenly felt, such as his surprisingly heartbreaking final reaction that is so simple yet so powerful. He reveals the complexities of the man even within this state, creating a fascinating and very atypical lead for a seemingly well worn tale of two star crossed lovers.
Updated Supporting Overall

Next: 1933 Lead (Doubt it will be a lineup)

Monday, 6 October 2014

Alternate Best Actor 1953: Results

5. Montgomery Clift in I Confess- Clift gives a solid performance that always remains true to his character even if I wish it was a little less overshadowed by the plot.

Best Scene: Father Logan confronts the murderer.
4. Marlon Brando in The Wild One- Brando's performance is mostly repetitive but fitting for his character, and the few moments where he breaks the mold are quite effective.

Best Scene: Johnny runs from the mob.
3. Glenn Ford in The Big Heat- Ford might not reach the heights that the role seems to offer, but he still gives a fairly striking subversion of his usual decent average man type of character.

Best Scene: Bannion confronts the murderer.
2. Masayuki Mori in Ugetsu- Mori's performance is somewhat limited but good in portraying every moment of his character's rather odd journey.

Best Scene: Genjuro reunites with his "wife". 
1. James Mason in Julius Caesar- Good predictions Luke, JackiBoyz, and Kevin. Mason gives a powerful performance bringing such poignancy to his depiction of a man who stands by his convictions no matter how dark of a place they bring him to.
 
Best Scene: Brutus stabs Caesar.
Overall Rank:
  1. Montgomery Clift in From Here to Eternity
  2. James Mason in Julius Caesar
  3. Chishū Ryū in Tokyo Story
  4. James Stewart in The Naked Spur 
  5. James Mason in Charade
  6. Burt Lancaster in From Here to Eternity 
  7. Masayuki Mori in Ugetsu
  8. Charles Boyer in The Earrings of Madame de….
  9. Masayuki Mori in Love Letter 
  10. Clifton Webb in Titanic   
  11. Charles Vanel in The Wages of Fear
  12. Yves Montand in The Wages of Fear
  13. Hans Conried in Peter Pan 
  14. Trevor Howard in The Heart of the Matter  
  15. Glenn Ford in The Big Heat
  16. Marlon Brando in The Wild One
  17. Montgomery Clift in I Confess
  18. James Mason in The Man Between 
  19. Lars Ekborg in Summer With Monika 
  20. Eitaro Ozawa in Ugetsu
  21. Charles Winninger in The Sun Shines Bright
  22. Jack Hawkins in The Cruel Sea 
  23. Alan Ladd in Shane 
  24. Vincent Price in House of Wax 
  25. Gregory Peck in Roman Holiday 
  26. Richard Widmark in Pickup on South Street 
  27. Arturo de Córdova in El
  28. Louis Jourdan in Rue de l’estrapade 
  29. Fred Astaire in The Band Wagon  
  30. David Niven in The Moon is Blue 
  31. Fredric March in Man on A Tightrope 
  32. Laurence Olivier in The Beggar's Opera 
  33. Charlton Heston in The President's Lady 
  34. Alec Guinness in The Captain's Paradise 
  35. Åke Grönberg in Sawdust and Tinsel 
  36. Kazou Hasegawa in Gate of Hell  
  37. William Tallman in The Hitch-Hiker 
  38. Van Heflin in Shane 
  39. Niall MacGinnis in Martin Luther
  40. Howard Keel in Kiss Me Kate 
  41. Jack Palance in Man in the Attic
  42. John Wayne in Hondo 
  43. Raf Vallone in Thérèse Raquin
  44. Jacques Tati in Monsieur Hulot's Holiday 
  45. Richard Burton in The Desert Rats 
  46. Edmond O'Brien in The Hitch-Hiker 
  47. William Holden in The Moon is Blue
  48. Spencer Tracy in The Actress
  49. Stewart Granger in All The Brothers Were Valiant 
  50. Tyrone Power in The Mississippi Gambler 
  51. Richard Widmark in Take the High Ground 
  52. Michael Wilding in Torch Song 
  53. Frank Lovejoy in The Hitch-Hiker 
  54. Kenneth Moore in Genevieve 
  55. Bobby Driscoll in Peter Pan
  56. Clark Gable in Mogambo  
  57. Bud Abbott in A & C meet Dr. Jekyll and Mr. Hyde
  58. Lou Costello in A & C meet Dr. Jekyll and Mr. Hyde
  59. Dean Martin in The Caddy 
  60. Max Showalter in Niagara 
  61. John Gregson in Genevieve 
  62. Edmond O'Brien in The Bigamist 
  63. Robert Taylor in All The Brothers Were Valiant 
  64. Richard Burton in The Robe
  65. Cary Grant in Dream Wife 
  66. Mel Ferrer in Lili
  67. Stewart Granger in Salome  
  68. Tommy Rettig in The 5000 Fingers of Dr. T 
  69. Gene Barry in The War of the Worlds 
  70. Elroy Hirsch in Crazylegs  
  71. Jerry Lewis in The Caddy 
  72. Robert Wagner in Beneath the 12-Mile Reef 
  73. Robert Taylor in Knights of the Round Table 
  74. Ed Wood in Glen or Glenda
  75. Richie Andrusco in Little Fugitive
  76. John Brown in Robot Monster
  77. George Nader in Robot Monster
  78. John Mylong in Robot Monster
Next Year: 1953 Supporting

Saturday, 4 October 2014

Alternate Best Actor 1953: Masayuki Mori in Ugetsu

Masayuki Mori did not receive an Oscar nomination for portraying Genjuro in Ugetsu.

Ugetsu becomes a rather haunting tale of two men attempting to change their lives during a war.
 
Masayuki Mori is a bit of the Japanese Chameleon as far as I can tell as I have failed to recognize him as the same man in his performances such as the corrupt businessman in The Bad Sleep Well, the quiet "fool" in The Idiot (A performance and film I very much ought to reexamine), or the bitter shades of a samurai from Rashomon. Mori once again seems like a wholly different individual as Genjuro who technically is a fairly average guy not really that much different than Ken Ogata's character in The Ballad of Narayama. Genjuro is a bit a different though unlike Ogata's character who was content enough with his hardship as a peasant Genjuro has an ambition to become rich through his pottery business. It's technically made even worse that both he and his neighbor in a way see the war raging around them as a chance for their own personal gain.

Mori is quite good in the role by portraying Genjuro having a bit of a simple charm in the role. He does particularly well in regards to showing Genjuro's various ideas about being rich even as their village is threatened by violent soldiers. Mori doesn't portray Genjuro's ambition as some sort of unshakeable drive in his personality, but rather presents it as something far more down to earth as well as fitting to an average man like Genjuro. Mori shows both the greed and the ambition to be pretty simple fitting the simple man as he is as just the search for the pleasure the money will bring. There is no scheming or grand ideas in his eyes instead Mori is quite good, almost like a game show contestant, in portraying this particular sort of desire. Mori handles this well because he manages to be endearing in the role even though Genjuro begins to do some rather reprehensible things.

Genjuro eventually leaves his wife and son, supposedly for their own safety, as leaves with his friend, who is ever worse in his own dream of becoming a samurai, and heads off to sell his pottery for a great profit. While there Genjuro comes across a strange alluring woman who seems to be oddly interested in him. At this point in the film Mori's performance mostly reactionary in nature as Genjuro allows himself to be manipulated by this odd woman and her servant. Mori does not get to do all that much but he's actually quite good in his depiction of Genjuro being pulled into this odd world the woman seems to inhabit. Mori's performance works especially well in tandem with the film's direction. It creates this otherworldly scene and Mori does well to amplify that through his reaction as Genjuro. Mori portrays a true astonishment and entrancement as he is brought into the woman's house and eventually seduced by her. 

Masayuki Mori's performance is always consistent and allows the moments to play out well by always showing Genjuro to act as most normal man would in his situation. The ending of the film is very powerful and poignant and Mori aids in this. He always makes the situations feel real in the world allowing every revelation to have the needed impact. The moment where Genjuro believes he's met his wife again is moving as Mori portrays just a honest happiness at finding his old life again. He makes it all the more heartbreaking when things turn out differently than they appeared as Mori portrays Genjuro's sadness in such an unassuming yet so perfectly tender. This is a very good performance from Mori, and I have to give credit for once again disappearing in a role. 

Wednesday, 1 October 2014

Alternate Best Actor 1953

And the Nominees Were Not:

Masayuki Mori in Ugetsu

Glenn Ford in The Big Heat

James Mason in Julius Caesar

Montgomery Clift in I Confess

Marlon Brando in The Wild One

Thursday, 29 August 2013

Alternate Best Supporting Actor 1950: Results

5. Louis Calhern in The Asphalt Jungle- I hate to put Calhern fifth as I really liked everyone in this line up. Calhern gives an effective performance bringing a nice complexity to his role as an amoral lawyer.

Best Scene: Emmerich tries to double cross the Doc.
4. Alastair Sim in Stage Fright-Sim gives an entertaining performance that up shows the entire film around him.

Best Scene: Eve Gill brings Johnathan to Commodore Gill's home.
3. Takashi Shimura in Rashomon- Shimura performance gives an interesting and moving performance as a seemingly moralistic woodcutter who might be hiding something himself.

Best Scene: The woodcutter is called out by the commoner.
2. Richard Attenborough in Morning Departure- Richard Attenborough gives a very strong turn being appropriately intense as a man who goes to extremes due to fear, but as well quite tender as the very same man who finds courage within himself.

Best Scene: The remaining crew play a game of cards.
1. Masayuki Mori in Rashomon- Good Prediction Psifonian feel free to name another year and performance to go with it. Mori gives an incredible performance giving four different perceptions of the same doomed man. He is able to be chilling then heartbreaking, brave then cowardly, and his reserved style here works perfectly in creating a very memorable dynamic with Toshiro Mifune's flamboyant turn. I will keep Sanders as the winner for the moment but I will say he is on thin ice. I will have to get around to watching All About Eve again as that will make or break his placement over Mori.

Best Scene: The samurai tells his version of the story.
Overall Rank:
  1. George Sanders in All About Eve
  2. Masayuki Mori in Rashomon
  3. Sam Jaffe in The Asphalt Jungle
  4. François Périer in Orpheus
  5. Richard Attenborough in Morning Departure
  6. Takashi Shimura in Rashomon
  7. Alastair Sim in Stage Fright
  8. Louis Calhern in The Asphalt Jungle
  9. Anton Walbrook in La Ronde
  10. Minoru Chiaki in Rashomon 
  11. Victor Sjorstrom in To Joy
  12. Francis L. Sullivan in Night and the City
  13. Sessue Hayakawa in Three Came Home 
  14. Juano Hernandez in Young Man With A Horn
  15. Alec Guinness in The Mudlark
  16. Edmund Gwenn in Louisa
  17. Luis Van Rooten in Cinderella  
  18. Herbert Lom in Night and the City
  19. Ward Bond in Wagon Master
  20. Charles Coburn in Louisa
  21. Kichijiro Ueda in Rashomon
  22. Juano Hernandez in The Breaking Point
  23. Stanislaus Zbyszko in Night and the City
  24. Wallace Ford in The Breaking Point
  25. James Whitmore in The Asphalt Jungle  
  26. Jack Warner in The Blue Lamp
  27. Erich von Stroheim in Sunset Blvd.
  28. Juano Hernandez in Stars in My Crown
  29. George Cole in Morning Departure 
  30. Karl Malden in Where the Sidewalk Ends
  31. Cecil B. DeMille in Sunset Blvd.
  32. Mario Vitale in Stromboli 
  33. Ivan Desny in Madeleine
  34. Hugh Marlowe in Night and the City 
  35. Michael Brennan in Morning Departure
  36. Marc Lawrence in The Asphalt Jungle
  37. Nigel Patrick in Morning Departure
  38. Jack Webb in The Men  
  39. Denis O'Dea in Treasure Island
  40. Everett Sloane in The Men 
  41. Gary Merrill in Where the Sidewalk Ends
  42. Edmund Gwenn in Mister 880
  43. Richard Erdman in The Men
  44. Stephen McNally in Winchester '73
  45. Millard Mitchell in The Gunfighter
  46. Jack Palance in Panic in the Streets
  47. Wendell Corey in The Furies
  48. Cecil Kellaway in Harvey 
  49. John McIntire in Winchester 73'
  50. Anthony Caruso in The Asphalt Jungle
  51. Miles Malleson in Stage Fright
  52. Jack Hawkins in Morning Departure
  53. Zero Mostel in Panic in the Streets 
  54. Basil Sidney in Treasure Island
  55. Stephen McNally in No Way Out
  56. Brad Dexter in The Asphalt Jungle
  57. Wallace Ford in Harvey
  58. Karl Malden in The Gunfighter
  59. Barry Kelley in The Asphalt Jungle
  60. Will Geer in Winchester '73
  61. Paul Douglas in Panic in The Streets
  62. Millard Mitchell in Winchester '73 
  63. Tod Andrews in Outrage
  64. Luther Adler in D.O.A 
  65. Norman Woodland in Madeleine
  66. Michael Wilding in Stage Fright
  67. Patric Knowles in Three Came Home
  68. Jeff Chandler in Broken Arrow  
  69. Robert Clarke in Outrage
  70. William Prince in Cyrano de Bergerac
  71. Hugh Marlowe in All About Eve 
  72. Richard Carlson in King Solomon's Mine
  73. Charles Drake in Harvey
  74. Skip Homeier in The Gunfighter
  75. Gary Merrill in All About Eve
  76. Charles Drake in Winchester '73
  77. John McIntire in The Asphalt Jungle
  78. Neville Brand in D.O.A.
  79. Gregory Ratoff in All About Eve
Next Year: 1966 lead

Monday, 19 August 2013

Alternate Best Supporting Actor 1950: Masayuki Mori in Rashomon

Masayuki Mori did not receive an Oscar nomination for portraying Takehiro Kanazawa in Rashomon.

Akira Kurosawa's films are not always known for their ensembles. This is not a problem as I never believe this causes any actual problems for the film, but they are usually driven by one or two performances. Rashomon though is an exception. Yes, as usual, it contains a great performance by Toshiro Mifune but almost every actor in the film has a moment to shine. Out of the supporting characters the man who shines the most is Masayuki Mori as the samurai Takehiro Kanazawa whose fate is the constant of the four different stories of the same event. The samurai's fate being that he is killed one of the many things that are disputed though is who killed him not to mention how he was murdered and why exactly he was killed.

Mori like Toshiro Mifune gives four different sides of apparently the same man. The samurai though is a little different though from his wife and the bandit because we never see the samurai as himself in the court we only know him through the perspectives of the story tellers. Mori's work is very different form Mifune's almost the polar opposite particularly in terms of how little he says as well as the fact he very much downplays the emotions of his character whereas Mifune revels in them. As Mifune's fiery performance reflected the free spirited nature of his character Tajomaru the infamous bandit, Mori's icy turn reflects his role as the controlled samurai who at first is just very normally moving one place to another through a forest with his wife.

Tajomaru's version of the events is told like an adventure despite the results of it therefore the samurai is pictured as an adversary although importantly a worthy adversary. Mori in this version is just about silent in his portrayal of the samurai. Every action he takes seems to be deducing what the bandit wants to do and attempting to thwart him the best that he can. Even when he is tied to the tree in defeat Mori portrays the samurai with a strong willed defiance like even though he is defeat he will not lay down, the perfect enemy to say that the bandit eventually defeats. When they do finally fight Mori once again portrays the samurai as a worthy foe who is brave, tough, and someone that makes it so the bandit can be very proud of his victory within his story.

In the wife's story Mori brings a subtle variation on the first story's version. Where Mori portrayed the samurai as most certainly unhappy in the first story the focus of the second his his intense disgust not at the bandit but at his wife for succumbing to the bandits advances. Mori portrayal of this disgust is particularly effective because of just how cold he is yet still forceful in the emotional intensity of his hatred. Mori barely says anything again yet there is such power in his stare without any remorse as he condemns his wife in his eyes. This version of the samurai is killed by his wife leaving her an emotional wreck and Mori makes both the wife's actions as well as her emotional state in the court believable through his bitter scowl.

I will skip over his version as that is the strongest point of his entire performance and go to the woodcutter's version. The woodcutter's version seems the most pathetic and perhaps the most realistic as the whole event leaves a terrible taste in the mouth. Mori's work is particularly interesting here as the samurai once again denounces his wife yet Mori plays it in a completely different fashion yet somehow it seems like it still could have come from the same man. Mori's plays this denouncement in a far more open and to the point manner probably far more like how most men would turn from their wives. Mori is still very harsh but it is fascinating the way in this version how he portrays the same action in such a different fashion yet still seems as though he is portraying the same character.

Mori is particularly effective in showing not only how their fatal battle starts but also how it ends. In this version it is being emasculated by the wife that leads both men to fight. Instead of being the stoic worthy adversary of the first story Mori's portrays the samurai much more as a normal man who is forced by pride to try and fight like a man. As I said in Mifune's review he and Mori are terrific in the portrayal of the battle particularly when compared to the bandit's version. Where the first was made a rousing affair by the actors in this version it is a particularly unpleasant sight to watch as both are frightened as they attempt to kill one another. Mori is very powerful as in the end does not portray the finale of the fight as a worthy opponent accepting defeat but rather just a very scared man pleading for his life.

Mori's greatest moment though is when the samurai himself tells the story through a medium, a person who speaks for the dead. Mori says the most as we hear his voice but do not see him. Mori's voice is extremely haunting and it is as it should be the voice of a dead man suffering in darkness. Through his voice we hear the samurai's version of the events. Mori is incredible because where the other scenes his performance properly acts as a man closed off from us, in this one he opens up to us as we see samurai as he sees himself. Mori still stays reserved in his performance but although there is not warmth precisely there is not that same coldness instead we are allowed see the basic human feelings in this man.

In this version of the story the samurai does not hate his wife for letting the bandit have his way with her but rather because she insists that the bandit murder him. Mori is actually quite heartbreaking in this version as he so honestly portrays how this tears the samurai inside. There is not anger that Mori portrays in this version but only sadness in the samurai due to all that he has lost from the event. It is especially moving because of the difference in this quietly emotional depiction in contrast to the cold version as he is seen by the other observers. That is the achievement of this performance by Masayuki Mori as he is able to create four different sides of the samurai yet never making it an entirely different character. His performance just like Mifune's is compelling complex portrait of the four perceptions of a man which Mori makes a particularly effective counterpart through his far more restrained portrayal to Mifune's flamboyant work.

Friday, 16 August 2013

Alternate Best Supporting Actor 1950

And the Nominees Were Not:

Masayuki Mori in Rashomon

Takashi Shimura in Rashomon

Louis Calhern in The Asphalt Jungle

Alastair Sim in Stage Fright

Richard Attenborough in Morning Departure