Showing posts with label Montgomery Clift. Show all posts
Showing posts with label Montgomery Clift. Show all posts

Sunday, 10 January 2016

Alternate Best Actor 1962: Results

10. Oskar Werner in Jules and Jim - Werner's role is limited yet his unassuming charm manages to keep himself from being overshadowed despite the film's apparent desire otherwise.

Best Scene: Jules talks about Catherine's True Nature.
9. Montgomery Clift in Freud - Clift manages to create a compelling portrait of Freud not through mannerisms, but rather finding the emotional core within the man's motivations.

Best Scene: Freud finding the truth behind Cecily's mental trauma.
8. Laurence Harvey in The Manchurian Candidate - Harvey portrays well the cold calculated man turned into a cold killer, but also manages to be extremely moving in portraying the vulnerabilities of the man.

Best Scene: The Assassination
7. Patrick McGoohan in in All Night Long - McGoohan gives a fascinating portrayal of an Iago like drummer, whose greatest joy comes from the torment of others.

Best Scene: Johnnie "accidentally" spills secrets to Rex. 
6. Toshiro Mifune in Sanjuro - Mifune gives a great reprise of his role in Yojimbo, by slanting towards comedy and succeeding quite thoroughly in this regard.

Best Scene: The samurai observes the rescued women. 
5. Tom Courtenay in The Loneliness of the Long Distance Runner - I'll say right now that I had a great difficulty ranking these five, and found it even more impossible when having to include Peck, Wayne and Lemmon. These are all exceptional performances starting with Courtenay's intense yet heart wrenching depiction of young man lashing out due to his hatred of authority but also from his own fear.

Best Scene: The Beach.
4. James Stewart in The Man Who Shot Liberty Valance - Stewart gives one of his best performances as both a young man passionately fighting for what is right, as well as an older man forcing to live with the lie that made his life.

Best Scene: The Senator finishes the story.
3. Robert Mitchum in Cape Fear - Mitchum creates one of the all time great cinematic villains, not through the depiction of a mastermind, but rather a violent creep who's completely content with his actions.

Best Scene: Cady's mentions his wife.
2. Tatsuya Nakadai in Harakiri - Nakadai gives an outstanding performance as he realizes not only an otherworldly spirit of righteous vengeance, but also the man who became it.  

Best Scene: Hanshiro Tsugumo finishes his story. 
1. James Mason in Lolita - Good Predictions JackiBoyz, RatedRStar. Mason gives an outstanding performance as he manages to balance everything in the film. He's the perfect straight man for Sellers's comedy, he manages to make Humbert far more sympathetic than should be possible, while giving an absolutely mesmerizing depiction of man being destroyed mentally and physically by his unhealthy obsession.    

Best Scene: Humbert confronts Quilty.
Overall Rank:
  1. Peter O'Toole in Lawrence of Arabia
  2. James Mason in Lolita
  3. Tatsuya Nakadai in Harakiri
  4. Jack Lemmon in The Days of Wine and Roses
  5. Robert Mitchum in Cape Fear
  6. Gregory Peck in To Kill a Mockingbird
  7. James Stewart in The Man Who Shot Liberty Valance
  8. Tom Courtenay in The Loneliness of the Long Distance Runner
  9. John Wayne in The Man Who Shot Liberty Valance
  10. Terence Stamp in Billy Budd
  11. Toshiro Mifune in Sanjuro
  12. Patrick McGoohan in All Night Long
  13. Laurence Harvey in The Manchurian Candidate
  14. Frank Sinatra in The Manchurian Candidate 
  15. Trevor Howard in Mutiny on the Bounty
  16. Richard Attenborough in Trial and Error 
  17. Phillip Alford in To Kill a Mockingbird
  18. Montgomery Clift in Freud
  19. Sean Connery in Dr. No 
  20. Paul Newman in Sweet Bird of Youth 
  21. Peter Ustinov in Billy Budd
  22. Gregory Peck in Cape Fear
  23. Oskar Werner in Jules and Jim  
  24. Peter Sellers in Trial and Error
  25. Robert Preston in The Music Man
  26. Paul Harris in All Night Long
  27. Burt Lancaster in Birdman of Alcatraz
  28. Henri Serre in Jules and Jim
  29. Marlon Brando in Mutiny on the Bounty
Next: The Waiting Game. 

Tuesday, 24 November 2015

Alternate Best Actor 1962: Montgomery Clift in Freud

Montgomery Clift did not receive an Oscar nomination for portraying Sigmund Freud in Freud.

Freud tells the story of Sigmund Freud attempting to define his theories on the human mind, in which John Huston takes a somewhat strange approach to depict, as the proceedings have this edge of other worldly horror quality to them, although that might partially be because parts of the film's score would later be used in Alien.

Montgomery Clift gives his penultimate performance in a film here, and where his apparent damaged state often coincided with the nature of his characters after his accident, this is not exactly the case for Sigmund Freud, who is stable for the most part. Nevertheless Clift does seem right for the role, not that he wholly hides himself so to speak, but his work finds a way for these attributes to actually seem fitting to Freud's character in the film. Now Freud for the most part is a confident and healthy enough man who wishes to explore his own theories about illnesses that stem from the mind rather than the body, despite the scientific community giving little credence to these views, so the film is mainly about Freud's attempt to try to find the truth of the human mind through various test cases though the main focuses on a troubled young woman Cecily (Susannah York). Now Clift does not exactly try to reflect an exact copy of the real Freud, but his work instead tries to uncover the mind of such a man which seems rather fitting. Clift is able to position though Freud as a sort of soulful man in the way he interacts with his patients, even early on, and whenever he attempts to describe his beliefs.

Clift portrays very well this certain understated yet palatable passion in Freud to attempt to tap into whatever it is that exactly makes the mind work, as well what exactly the mind can reveal to discover past pains. Clift internalizes this incredibly well and in turn helps dial the film back a bit as Huston's direction sometimes does become a bit bombastic. Clift's performance often is reactionary and Clift never fails to make use of these reactions. Clift finds in Freud the right fascination as he brings this excitement in Freud at any given moment, particularly when it seems they might uncover something wholly new to the world in regards to the human psyche. This constant inquisitive nature of the man is very well realized by Clift's portrayal, but importantly Clift avoids making Freud become some sort of man who simply is interested in the suffering of others. Clift instead brings a powerful vein of empathy in his work as in his reactions there is not that distance of a scientist observing nature. Clift instead creates the sense of a man genuinely caring for these people's inner torments, and Clift helps amplify the intense emotions of any scene by showing Freud's own emotional exhaustion at delving into such dark places that are only found within the subconscious.

Although the film is called Freud, it rarely narrows in the man himself. There are a few scenes between him and his wife though they are only brief. To Clift's credit he is good in these scenes because he presents Freud in a less intense fashion, showing that the man is not always captured by his work. Oddly enough the more personal story almost seems to go to Freud's colleague played by Larry Parks. Freud's own psychological problem is found in the film through his troubled reaction to the death of his father. This element of the film is not deeply developed though, and even the conclusion is left on a quick silent note near the end of the film. Clift though is excellent in the brief scenes that cover this as he brings about such a haunting quality in his depiction that effectively represents Freud's own inner turmoil quite well. Even that quick final moment is actually a great moment for Clift because he does not simplify it as an easy fix, showing a bit of solace in Freud along with still a searing grief in reflecting on the relationship with his father once more. The majority of the film squarely keeps to Freud psychoanalyzing others, especially Cecily which the film uses as its dramatic climax as he seems to uncover exactly what troubles her so deeply. Clift makes this often passive act though so compelling to watch by making Freud's method never lose that personal connection in the moment, and in a way develops his technique by becoming specifically active in certain moments. This is a very strong performance by Clift as he artfully elevates the material while carefully avoiding its pitfalls. His portrait of Freud is an engaging one not through mannerisms or a form of imitation, but rather by finding the core that was the key to the emotional motivation of the man. 

Saturday, 21 November 2015

Alternate Best Actor 1962

And the Nominees Were Not:

James Mason in Lolita

Toshiro Mifune in Sanjuro


Montgomery Clift in Freud

Robert Mitchum in Cape Fear

Tom Courtenay in The Loneliness of the Long Distance Runner

Rank Those Five or These Five:

James Stewart in The Man Who Shot Liberty Valance

Tatsuya Nakadai in Harakiri

Laurence Harvey in The Manchurian Candidate

Oskar Werner in Jules and Jim

Patrick McGoohan in All Night Long 

Or both. 

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. Ã…ke 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

Thursday, 2 October 2014

Alternate Best Actor 1953: Montgomery Clift in I Confess

Montgomery Clift did not receive an Oscar nomination for portraying Father Michael William Logan in I Confess.

I Confess is a decent enough, albeit not particularly thrilling film from Alfred Hitchcock, about a priest hearing a murder in confession while later being suspected of that murder.

Montgomery Clift plays a very different from Private Prewitt in From Here to Eternity as he plays the unassuming priest Father Logan. They do share one strong similarity in that they are both men of an intense moral conviction. Prewitt refused to fight in the Captain's boxing team, despite constant harassment for doing so, and Logan refuses to break his vows as a Catholic priest to reveal what was told to him. Technically Clift could have taken the exact same approach for both Logan and Prewitt but it is interesting to see how Clift approaches Logan in a different fashion. Although obviously hearing the confession of the murder obviously bothers him for obvious reasons, even before he is being suspected of the murder, Clift does not portray Logan's conviction in causing him any personal pain rather he uses this to show the nature of Logan as a priest.

Clift portrays Father Logan as a man who has absolute belief in the sacred nature of the confession and therefore there is never a doubt in his mind about not speaking about the confession. Clift is very good in every scene where Logan is pressed for any information associated with the confession only to speak in a way that in no way alludes to anything being held secret. Clift suggests merely the purity of the man's conviction as he keeps Logan's demeanor matter of fact as he refuses to divulge any information about the confession. It technically would probably be tempting to portray some strong internal struggle in the character but Clift stays true to the character by just carrying a pronounced sense of duty in his manner in these scenes. Clift continues to take a seemingly unorthodox approach to the other aspects of the role as well particularly in regards to the past romance that Logan had with a woman before he became a priest.

Logan technically forces himself to be even more quiet about the murderer because he was a blackmailer of his old flame (Anne Baxter), and Logan in no way wants to harm her reputation. Clift again is very much true to his character as a good priest above else. Even in the scenes where she declares her undying love for Logan Clift is very careful in his reaction. Clift is quite effective in showing that Logan's feelings for her have diminished long ago in favor of his devotion to the priesthood. Clift treads quite a fine line in that on one side he makes it clear that Logan no longer shares his sentiments and portrays an understanding of that without being overly warm yet still avoiding presenting Logan as an emotionally cold man. Clift finds the right balance that always feels right for the self-sacrificing character that is Father Logan. Clift simply never cheats the character and creates the selfless nature of the man in an honest and affecting fashion.

Although Clift is lead the film spends a considerable amount of time with Baxter's character or with Karl Malden detective who is slowly building the case against Father Logan. The film never quite bothers to choose if it wants to be a character driven piece on the Father or a more traditional Hitchcock thriller suffering due to that. Clift's performance is forced to be particularly reactive in nature, but he manages to create a fairly powerful portrait of this man through this. The end of the film is especially striking because of Clift's work in the way he so wonderfully realizes the selfless nature of Father Logan. As he stands accused of murder, and considered guilty by many even before the trail begins. Clift reactions are consistently effective in showing the way Father Logan quietly seems to almost absorb the responsibility of the situation. It's poignant soulful work from him here and I only wish the film was not quite so confined by the progression of the plot.

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, 18 August 2011

Best Actor 1953: Results

5. Richard Burton in The Robe- Although I found much of his performance hilarious it was not for the right reasons, also whenever he is not unintentionally funny he is rather dull.
4. Burt Lancaster in From Here to Eternity- His expert command of the character infusing both a dominating presence with an underlying warmness especially well.
3. Marlon Brando in Julius Caesar- Brando really on a whole is not given much to do, but what he has he makes the most of it. His major speech is made a pivotal moment in the film because of Brando's utterly stunning performance.
2. Montgomery Clift in From Here to Eternity-  Clift is outstanding throughout his performance perfectly bringing to life the struggle of Prewitt. In fact his performance is so effective that he actually brings more out of characters he does not even portray.
1. William Holden in Stalag 17- I will admit this is probably my favorite of these performances in terms of how much I enjoy watching them. I could watch Holden brilliantly sardonic turn over and over again that simply could not bring out more in his character.
Deserving Performances:
James Mason in Julius Caesar

Wednesday, 17 August 2011

Best Actor 1953: Montgomery Clift in From Here To Eternity

Montgomery Clift received his third Oscar nomination for portraying Pvt. Robert E. Lee 'Prew' Prewitt in From Here To Eternity.

Montgomery Clift portrays the very much mistreated Private Prewitt. He is mistreated because he refuses to box on the corrupt Captain's boxing team. Prewitt is a hard case who refuses to comply to the Captain's whims, but also refuses to report the abuse by the Captain's officers, as well refuses to quit the army despite the way that he is constantly mistreated.

Montgomery Clift gives a magnetic performance as the troubled Prewitt, and despite the sometimes withdrawn nature of Prewitt as a character he easily brings you into his world, and the troubles he faces with an incredible ease. Clift without ever pandering manages to gain a great deal of empathy. Clift never visibly tries to do this but gains it nonetheless because of his entirely honest method of portraying Prewitt's Struggle. 

Clift never really tries to show that Prewitt is in the end not all that much more than an average career soldier, or at least shows that Prewitt really does not desire to be anything more than a career soldier. Clift really has a rather tricky character in Prewitt, despite how poorly treated he is by the army Prewitt still loves it. It seems almost a contradiction or impossible idea yet Clift portrays it entirely realistically.

Prewitt's love for the army is not some sort of masochism, but Clift rather portrays it as something entirely genuine, something that Prewitt cannot shake, something from his history. There are not too many moments in which Clift is able to express this love, but the few moments he has Clift makes it truly an honest dimension of Prewitt that no cruelty could expunge.

Clift's portrayal of Prewitt's struggle is certainly a strong effective work, that holds the screen throughout every moment. He present Prewitt as a average man in some ways, but he never does this in an average fashion. Clift always manages to give a charismatic performance, that always brings out every interesting facet of Private Prewitt fully to life. 

I think what aspect of Clift's performance is most effective is the fact that he really works as the pivotal facet of the film, which is quite amazing. Although I like Lancaster to a degree, as well as some of the smaller supporting roles from actors like Jack Warden, and particularly Ernest Borgnine, the actors with some of the heavier lifting like Donna Reed, and Frank Sinatra are quite lacking.

What Clift does is amazing though because despite the lacking performance of Donna Reed, and Frank Sinatra the storyline involving their characters still work quite well because of the involvement of Montgomery Clift in their scenes. For example the whole Maggio storyline really could have been an utter waste, but it is not due to Montgomery Clift.

Maggio and Prewitt are friends, but Maggio is a hot head who quickly gets into trouble resulting eventually in a tragedy befalling. Frankly this tragedy could have easily been forgotten if up to Frank Sinatra who overacts Maggio needlessly. Clift though manages to make Maggio's fate through just his heartbreaking reaction to the events, and his final playing of taps something very much moving in spite of Sinatra.

The same goes for Prewitt's relationship with the hostess/prostitute Elma played by Donna Reed. Although Reed both overacts, and underacts her part Clift manages to still turn their relationship into something special despite Reed's lacking performance. Clift again manages more expressing not a wholly love relationship even, at first, but a sort earnest desperation that eventually forms into love.

Clift simply gives an outstanding performance from beginning to end in the film. He takes a integral portrait of  rather tragic man that is fascinating, as well as very moving to watch. Clift never overacts for a moment giving always a completely honest and moving performance. What I do find most outstanding his ability to take the lacking nature of some of his rather important co-stars, and still make their moments and storylines unforgettable.

Thursday, 11 August 2011

Best Actor 1953

And the Nominees Were:

Burt Lancaster in From Here to Eternity

Montgomery Clift in From Here to Eternity

William Holden in Stalag 17

Marlon Brando in Julius Caesar

Richard Burton in The Robe

Wednesday, 22 June 2011

Best Actor 1948

5. Dan Dailey in When My Baby Smiles At Me- Dailey's performance is okay but unimpressive when he is just trying to be charming, but when he tries to present the character's self destructive behavior he becomes quite bad.
4. Lew Ayres in Johnny Belinda- Ayres gives a nice pleasant performance as a really nice guy, it is not anything much more than that, but it is properly pleasant and warm.
3. Clifton Webb in Sitting Pretty- Webb gives a completely deadpan performance, which is quite amusing,effective and properly consistent.
2. Montgomery Clift in The Search- Clift's performance is much like Ayres, but I found it even more effective, in a really nice guy role. Clift portrays his part completely realistically, and has some very warm and honest moments throughout the film.
1. Laurence Olivier in Hamlet- Good prediction Dinasztie Laurence Olivier's performance is the only performance of these nominees that truly dominates his film, and his win really is the only option for me. Olivier is amazing from beginning to end as Hamlet, finding all the nuance, and complexity in the part. He never ever simplifies the part, even when he simplifies the play. This is a great performance by Olivier, and may just be his best.

Best Actor 1948: Montgomery Clift in The Search

Montgomery Clift received his first Oscar nomination for portraying Ralph "Steve" Stevenson in The Search.

The Search tells the story of orphaned children in Europe after World War II, it also tells a specific case of one boy Karel Malik (Ivan Jandl) who runs away from a U.S. camp for children but is befriended and helped by an army engineer.

Maybe I spoke to soon when I said Lew Ayres' character was the nicest ever to be nominated, because boy oh boy Steve the army engineer played by Clift is pretty darn nice as well. Clift actually does not appear until about thirty minutes into the film, and when he shows up all he wants to do is help the runaway and troubled Karel as much as he can. It is rather interesting to see Clift in an entirely nice guy sort of role not being troubled by his past, or his future prospects, as in his other nominated performances. Clift instead here plays a pretty at ease with himself sort of guy, who only really wants to be a good guy.

Steve's only real struggle in the film is to first convince that he is honestly trying to help Karel, and than to try to ensure that Karel is able to have a good life later on. Clift actually is quite good as the entirely decent guy, he plays him as just an entirely average guy in the situation. Clift portrays the part in a nice enough fashion, he does not make him boring despite the fact the character is rather simple in terms of his action. Clift never portrays Steve in a one dimensional fashion, rather he is just honestly portraying Steve in a realistic fashion all the way through which works well for the film.

The most important part of his performance though is his chemistry with Karel. It at first is a bit of struggle, and Clift is good in showing how Steve honestly wants Karel to understand he is not trying to hurt him. They slowly develop a friendly relationship, that is quite warm and honestly portrayed by Clift. Clift has some really nice, scenes with Ivan Jandl, they are movingly and effectively portrayed by Clift, because Clift always shows how earnestly and passionately that Steve really just wants to help the boy, there is not a false moment in all of Clift's performance. Clift's entire performance works because of that reason, sure it is not a complicated characterization by any means but it is an effective one.

Monday, 20 June 2011

Best Actor 1948

And the Nominees Were:

Lew Ayres in Johnny Belinda

Montgomery Clift in The Search

Laurence Olivier in Hamlet

Clifton Webb in Sitting Pretty

Dan Dailey in When My Baby Smiles At Me

Saturday, 4 June 2011

Best Actor 1951: Results

5. Fredric March in Death of a Salesman- March portrays Wily Loman as completely insane, this one performance I really do not what to make of, but I certainly can say that it is not good.
4. Humphrey Bogart in The African Queen- Bogart's performance is largely functional for me. He sometimes goes above functionality and sometimes goes below it.
3. Arthur Kennedy in Bright Victory- Kennedy gives a very good performance as a blinded soldier. He is particularly strong when coming to grips with his situation, the performance becomes less interesting as the film goes on, but overall it is a strong performance.
2. Marlon Brando in A Streetcar Named Desire- Marlon Brando's performance is most certianly a great performance doing wonders with in some ways a simple character. Brando gives virile, as well as brutal performance, that somehow always is a pleasure to watch.
1. Montgomery Clift in A Place in the Sun- This is one big upset I suppose, even an upset to myself I think. Both Clift and Brando are in top form, and each give unforgettable performances. Clift's performance has the even greater emotional pull for me, and it is the performance I believe I will remember most from this year. This is not a slight at all to Brando, their performances are both brilliant, I just loved Clift's performance even more.
Deserving Performances:
Alastair Sim in Scrooge
Robert Walker in Strangers on a Train

Best Actor 1951: Montgomery Clift in A Place in the Sun

Montgomery Clift received his second Oscar nomination for portraying George Eastman in A Place in the Sun.

A Place in the Sun is a terrific film about a young factory worker who aspires to be successful, as well as aspires to gain the affection of upper class young woman Angela Vickers (Elizabeth Taylor), but his success is threatened by his earlier relationship with another factory worker Alice Tripp (Shelly Winters).

Montgomery Clift is the ambitious young man, and I would say the first thing I noticed was Clift does not portray the part as overly ambitious and forceful, as say Laurence Harvey does in Room at the Top. I actually found Clift instead portrayed him as more of a basically average man, who sure wants to get ahead, but it is not the only thing he ever thinks about. Clift actually does have an actual warmness to his performance, and I found this to be rather interesting to way to play this type of character.

Clift really does not push the ambitious but merely having it there like a normal man, and shows really when he is working in just the factory, he really does not have a major problem working in the factory. George begins a relationship with his fellow worker Alice, despite being against the company's policy. Clift is rather charming in his role, and his initial relationship with Alice is made quite sweet through this charm, making how the relationship turns out later all the more disconcerting.

George though eventually receives a promotion, and finally is able to come to one of their fancy parties where he meets Angela of the wealthy family. Taylor's and Clift chemistry is simply amazing together. They have simply the perfect tone together that makes their relationship really an actually one based on love more than anything else. Clift and Taylor being so perfect together is largely what makes this film so effective, because his relationship with Alice is not because of his ambition, but because George honestly does love Angela.

Well what does he do, but decides to murder Alice to make way for his life for Angela. Clift is brilliant because  he really does not show his murdering intent come from evilness, but rather instead foolishness. Clift presents that his passionately love for Angela is simply so great, that it makes him start to think this way, particularly where Clift shows without saying a thing his impulsive plan develop in his head as he hears a radio broadcast on the dangers of swimming in certian waters. 

George decides to enact his plan of sorts, in a sequence that may be Clift best piece of acting in the film. He is outstanding in every moment of the whole affair. First starting out pretending everything is fine, and that he will marry Alice anyways, but still underlying his nervousness he is unable to overcome as he tries to implement the plan. He begins to visibly deteriorate as he tries to rent the boat, and begins to get closer, Clift along with score, and the direction brilliantly build the intensity of the scene to an incredible height.

It reaches its height as they finally are secluded with one another in the middle of lake, as Alice begins to question what George really is thinking. In this moment Clift perfectly conveys how much is going on through his mind. He shows that George is attempting to be a murderer, but at the same time he is not. He also is showing how he sees his life with Angela being impossible, with Alice still around, yet he really does not believe Alice deserves to die. It is simply a stunning for Clift because he flawlessly coveys all of these emotions swirling inside George's head.

After the boat scene, Clift is again terrific because he immediately shows that George will never be the same because of what happened on the boat. Clift shows through the rest of his performance of his guilt that he is unable to ever over come. He really does not show a single moment of happiness in the rest of his performance, because he knows what he has done, and Clift clearly presents how it truly pains George deep within.

(Spoiler Marker) Clift excels in his final scenes of the film, firstly his guilt ridden, yet in an odd way heartfelt court room testimony. Clift shows that George wants to save his own life for sure, as well as really does not believe he murdered Alice, but still was really responsible for her death. Clift manages this amazingly well, as he does his final scenes at the end of the film with his mother, as well as Angela. Clift is heartbreaking really because he shows that George did all that he did never for hatred, but rather he never could stop thinking of the woman he truly loved. Clift is great in every moment of his performance, and it is simply a facinating portrait of a man whose passion drives him to destruction.

Tuesday, 31 May 2011

Best Actor 1951

And the Nominees Were:

Montgomery Clift in A Place in the Sun

Marlon Brando in A Streetcar Named Desire

Humphrey Bogart in The African Queen

Arthur Kennedy in Bright Victory

Fredric March in Death of a Salesman