Best Scene: Falling from comfort.
Best Scene: Failing to murder.
Best Scene: Confrontation.
Best Scene: Interrogating the boy.
Best Scene: Pondering the Yakuza.
Updated Supporting Overall
Next Year: 1975 Lead
Showing posts with label Robert Donat. Show all posts
Showing posts with label Robert Donat. Show all posts
Wednesday, 29 August 2018
Alternate Best Actor and Supporting Actor 1948: Results
Best Scene: Falling from comfort.
Best Scene: Failing to murder.
Best Scene: Confrontation.
Best Scene: Interrogating the boy.
Best Scene: Pondering the Yakuza.
Updated Supporting Overall
Next Year: 1975 Lead
Monday, 13 August 2018
Alternate Best Supporting Actor 1948: Robert Donat in The Winslow Boy
Robert Donat did not receive an Oscar nomination for portraying Sir Robert Morton in The Winslow Boy.
The Winslow Boy is another, as to be expected it seems, assured and compelling stage adaptation by Anthony Asquith, this time about the case of a boy being expelled from a naval academy that slowly snowballs to become a matter of national importance in England.
Playing a barrister or a lawyer seems like a type of role that an actor will play at least sometime in their life, or perhaps they should given the nature of the profession. That of a showman in a certain sense, though with that with a specific intention that isn't entertainment but rather persuasion. This grants a performer a unique challenge, but also opportunity to essentially create a method of their own to fulfill this unique need. It is then with much appreciation that I find the underrated Robert Donat in such a role. Robert Donat enters into the film near the middle point of the film as the boy's father Arthur Winslow (Cedric Hardwicke) continues to seek justice for his son who was expelled from a naval academy for an alleged theft despite receiving no trail whatsoever, despite so many being against with his main support coming from his free spirited feminist daughter Catherine (Margaret Leighton). Sir Robert initially appears as just a potential barrister, who may not even have much of an interest in the case as he seems more concerned with his upcoming dinner appointment as he arrives to meet the family. Donat is particularly good at seeming indifferent with a certain calm that is so very suitable to that the sincere face of his. Donat presents a man though especially calm in this state which will soon mean far more than indifference as it can initially be misinterpreted as.
Before Sir Robert leaves, he interrogates the boy himself though in the manner of the prosecutor rather than the boy's prospective defense. Donat is mesmerizing in the scene as he plays it as essentially Sir Robert switching onto barrister mode. Donat is fantastic as he commands every moment with his still gentle in terms of his accent, yet now fierce in his pointed delivery, as Sir Robert goes about weeding the truth out of the situation. Donat's method of intensity is particularly effective as he brings so much ease within it yet with such palatable determination as well. There is overarching calm command in his demeanor as he makes it wholly convincing that he not only "breaks" the boy as he does, but also manages to grasp the situation through his approach. My favorite moment of this though is perhaps when Sir Robert is finished, and instantly switches back to the seemingly disinterested tardy diner. In this Donat reveals his approach within the part which is to play Sir Robert as a man who very much reserves his energy only to what it is absolutely pivotal to do so, while the rest of the time presenting the man of a strict ease and grace. This is not to say either are static though, however this setup is rather effective for Donat in terms of developing the personal power of the barrister.
Sir Robert out of court Donat does not show as someone you ignore still rather actually reveals his own persuasive ability even within this state. Donat in his calm delivery though finds its own incisiveness however he realizes this through a very dry wit. What's so wonderful in these moments is how presents the way Sir Robert is not phased in these moments. Donat's manner captures this inherent power through this as exudes the presence of man so assured within himself, and his own ability that he need not "show off". This makes it most dynamic then when we do so a more overt expression from Donat's performance. This is of course in the courtroom scenes where Donat delivers the more direct passion as you'd expect, with the right persuasive flavor within the appropriate potency in every word. Again Donat doesn't exactly break in either rather nearly weaponizes the character's emotions in a way, by essentially revealing the more direct emotion only when it is most useful. My favorite moment within this idea through Donat's performance actually comes not in grandiose speech, but rather a single gesture. That being when parliament speaks against giving the Winslow boy a proper trial by stating public safety should overcome individual rights. Donat says nothing, only closes a book, yet his reaction captures in a moment the severity of Sir Robert's conviction, and you can feel the outrage in the man even without muttering a single phrase.
Donat creates such a dynamic force in the film, and enlivens every scene through his captivating turn. Although Sir Robert doesn't have a major arc, Donat also excels in the bit we are granted of one. This largely being his own investment into the case, which is more obvious in the courtroom scenes, however Donat also has some wonderfully low key moments as he projects a growing empathy in the man's eyes as he explains his ongoing support of their endeavor. This is just a light touch, yet just another facet that Donat so effortlessly realizes in his performance. Donat's performance absolutely amplifies the material at every turn even when the material itself is perhaps imperfect. This comes in the final scene of the film where it attempts to insinuate a possible romance between the daughter Catherine and Sir Robert. An unneeded scene perhaps, however I can almost forgive it for how well it is executed by Donat and Leighton. The moment being that of playful banter as Catherine comments how little Sir Robert knows women when asking if she has dropped her feminist endeavors, to which Robert counters how little she knows men when she doubts the two will ever see each other again. Donat's delivery of the line is again filled with such a cool wit, but also his reaction is downright swoon worthy to be honest with the charm he infuses into the moment. It's a great moment due to Donat's performance, which is representation of the work he delivers in this film giving one of his best performances by never wasting an instance of potential within the part.
The Winslow Boy is another, as to be expected it seems, assured and compelling stage adaptation by Anthony Asquith, this time about the case of a boy being expelled from a naval academy that slowly snowballs to become a matter of national importance in England.Playing a barrister or a lawyer seems like a type of role that an actor will play at least sometime in their life, or perhaps they should given the nature of the profession. That of a showman in a certain sense, though with that with a specific intention that isn't entertainment but rather persuasion. This grants a performer a unique challenge, but also opportunity to essentially create a method of their own to fulfill this unique need. It is then with much appreciation that I find the underrated Robert Donat in such a role. Robert Donat enters into the film near the middle point of the film as the boy's father Arthur Winslow (Cedric Hardwicke) continues to seek justice for his son who was expelled from a naval academy for an alleged theft despite receiving no trail whatsoever, despite so many being against with his main support coming from his free spirited feminist daughter Catherine (Margaret Leighton). Sir Robert initially appears as just a potential barrister, who may not even have much of an interest in the case as he seems more concerned with his upcoming dinner appointment as he arrives to meet the family. Donat is particularly good at seeming indifferent with a certain calm that is so very suitable to that the sincere face of his. Donat presents a man though especially calm in this state which will soon mean far more than indifference as it can initially be misinterpreted as.
Before Sir Robert leaves, he interrogates the boy himself though in the manner of the prosecutor rather than the boy's prospective defense. Donat is mesmerizing in the scene as he plays it as essentially Sir Robert switching onto barrister mode. Donat is fantastic as he commands every moment with his still gentle in terms of his accent, yet now fierce in his pointed delivery, as Sir Robert goes about weeding the truth out of the situation. Donat's method of intensity is particularly effective as he brings so much ease within it yet with such palatable determination as well. There is overarching calm command in his demeanor as he makes it wholly convincing that he not only "breaks" the boy as he does, but also manages to grasp the situation through his approach. My favorite moment of this though is perhaps when Sir Robert is finished, and instantly switches back to the seemingly disinterested tardy diner. In this Donat reveals his approach within the part which is to play Sir Robert as a man who very much reserves his energy only to what it is absolutely pivotal to do so, while the rest of the time presenting the man of a strict ease and grace. This is not to say either are static though, however this setup is rather effective for Donat in terms of developing the personal power of the barrister.
Sir Robert out of court Donat does not show as someone you ignore still rather actually reveals his own persuasive ability even within this state. Donat in his calm delivery though finds its own incisiveness however he realizes this through a very dry wit. What's so wonderful in these moments is how presents the way Sir Robert is not phased in these moments. Donat's manner captures this inherent power through this as exudes the presence of man so assured within himself, and his own ability that he need not "show off". This makes it most dynamic then when we do so a more overt expression from Donat's performance. This is of course in the courtroom scenes where Donat delivers the more direct passion as you'd expect, with the right persuasive flavor within the appropriate potency in every word. Again Donat doesn't exactly break in either rather nearly weaponizes the character's emotions in a way, by essentially revealing the more direct emotion only when it is most useful. My favorite moment within this idea through Donat's performance actually comes not in grandiose speech, but rather a single gesture. That being when parliament speaks against giving the Winslow boy a proper trial by stating public safety should overcome individual rights. Donat says nothing, only closes a book, yet his reaction captures in a moment the severity of Sir Robert's conviction, and you can feel the outrage in the man even without muttering a single phrase.
Donat creates such a dynamic force in the film, and enlivens every scene through his captivating turn. Although Sir Robert doesn't have a major arc, Donat also excels in the bit we are granted of one. This largely being his own investment into the case, which is more obvious in the courtroom scenes, however Donat also has some wonderfully low key moments as he projects a growing empathy in the man's eyes as he explains his ongoing support of their endeavor. This is just a light touch, yet just another facet that Donat so effortlessly realizes in his performance. Donat's performance absolutely amplifies the material at every turn even when the material itself is perhaps imperfect. This comes in the final scene of the film where it attempts to insinuate a possible romance between the daughter Catherine and Sir Robert. An unneeded scene perhaps, however I can almost forgive it for how well it is executed by Donat and Leighton. The moment being that of playful banter as Catherine comments how little Sir Robert knows women when asking if she has dropped her feminist endeavors, to which Robert counters how little she knows men when she doubts the two will ever see each other again. Donat's delivery of the line is again filled with such a cool wit, but also his reaction is downright swoon worthy to be honest with the charm he infuses into the moment. It's a great moment due to Donat's performance, which is representation of the work he delivers in this film giving one of his best performances by never wasting an instance of potential within the part.
Saturday, 28 July 2018
Alternate Best Actor 1948
Takashi Shimura in Drunken Angel
Rex Harrison in Unfaithfully Yours
Ray Milland in The Big Clock
Robert Donat in The Winslow Boy
John Garfield in Force of Evil
Tuesday, 7 March 2017
Alternate Best Actor 1937: Results
Best Scene: Broken Cup.
Best Scene: Final Confrontation.
Best Scene: Train escape.
Best Scene: Final Battle.
Best Scene: Watching the boat.
Updated Overall Supporting
Next Year: 1947 Lead (I'll take any supporting suggestions as well)
Friday, 3 March 2017
Alternate Best Actor 1937: Robert Donat in Knight Without Armour
Robert Donat did not receive an Oscar nomination for portraying A.J. Fothergill also known as "Peter Ouranoff" in Knight Without Armour.
Knight Without Armour is a somewhat effective film that follows a British spy within the Russian revolution attempting to save a Russian countess.
Robert Donat again is one of the more underrated actors from the period known only today, if at all, as the man who beat James Stewart and Clark Gable for the 1939 best actor Oscar. Donat deserves more and here's a good example why in his role as a British ex-patriot recruited to spy for the Russians. The film's synopsis though might sound like it might offer a bit more complications with the whole being a spy thing, but really that is just the set up to place our hero into the setting. Old Fothergill's close calls come just with the habit of the Reds and the Whites executing whoever they feel like whenever they feel like it, they almost never come from him actually being a spy. This makes his performance perhaps a bit less duplicitous than you might expect, although this is not a criticism against Donat by any means. The character of Fothergill is simply a hero for us to follow through the chaos of the Russian Revolution.
Donat of course works very well as that hero as he has this very low key appeal to him. Donat finds charm just basically in his unassuming style which works particularly well for this role where his character wants to keep a low profile. Again though the spying is not focused upon too much in a way Donat does a good job of showing the way he fits in by being basically that guy off to the side in any given situation. Donat exudes the right lack of pretense showing a man who there is no reason to notice since it does not appear as though he means any harm to anyone. Although this approach works for awhile for Fothergill a problem arises when he crosses path with the Russian Countess Alexandra Adraxine (Marlene Dietrich) who he decides to save from certain death from the revolutionaries due to her family heritage and social standing.
Now I have to admit the biggest surprise for me in this film as Dietrich's performance since she's not doing that worldly colder style that defined many of her performance. Dietrich plays her character here with a certain naivety which I actually took be aback I have to admit. As one would expect the focus in the film becomes a romance between the two as they attempt to escape Russian alive. Donat, from what I've seen, seems particularly proficient at striking up chemistry with his co-stars. Even in very rushed circumstances he just seems to make it work, and that's is the case herre as well. They become quite the endearing pair and the romance feels honest, perhaps it's because Donat is just so likable. The two make it work and in turn make the film actually work as they manage to create an investment in seeing the two get out of it alive together. Donat furthers this though by offering such a genuine presence throughout the film. He creates so much of the tension through his silent reactions throughout the film, and is particularly effective later on in realizing the horror of the constant executions in such a nuanced fashion. Although I will admit going in I did expect a more complex character for Donat to work with, this is still another strong performance from the underrated actor.
Robert Donat again is one of the more underrated actors from the period known only today, if at all, as the man who beat James Stewart and Clark Gable for the 1939 best actor Oscar. Donat deserves more and here's a good example why in his role as a British ex-patriot recruited to spy for the Russians. The film's synopsis though might sound like it might offer a bit more complications with the whole being a spy thing, but really that is just the set up to place our hero into the setting. Old Fothergill's close calls come just with the habit of the Reds and the Whites executing whoever they feel like whenever they feel like it, they almost never come from him actually being a spy. This makes his performance perhaps a bit less duplicitous than you might expect, although this is not a criticism against Donat by any means. The character of Fothergill is simply a hero for us to follow through the chaos of the Russian Revolution.
Donat of course works very well as that hero as he has this very low key appeal to him. Donat finds charm just basically in his unassuming style which works particularly well for this role where his character wants to keep a low profile. Again though the spying is not focused upon too much in a way Donat does a good job of showing the way he fits in by being basically that guy off to the side in any given situation. Donat exudes the right lack of pretense showing a man who there is no reason to notice since it does not appear as though he means any harm to anyone. Although this approach works for awhile for Fothergill a problem arises when he crosses path with the Russian Countess Alexandra Adraxine (Marlene Dietrich) who he decides to save from certain death from the revolutionaries due to her family heritage and social standing.
Now I have to admit the biggest surprise for me in this film as Dietrich's performance since she's not doing that worldly colder style that defined many of her performance. Dietrich plays her character here with a certain naivety which I actually took be aback I have to admit. As one would expect the focus in the film becomes a romance between the two as they attempt to escape Russian alive. Donat, from what I've seen, seems particularly proficient at striking up chemistry with his co-stars. Even in very rushed circumstances he just seems to make it work, and that's is the case herre as well. They become quite the endearing pair and the romance feels honest, perhaps it's because Donat is just so likable. The two make it work and in turn make the film actually work as they manage to create an investment in seeing the two get out of it alive together. Donat furthers this though by offering such a genuine presence throughout the film. He creates so much of the tension through his silent reactions throughout the film, and is particularly effective later on in realizing the horror of the constant executions in such a nuanced fashion. Although I will admit going in I did expect a more complex character for Donat to work with, this is still another strong performance from the underrated actor.
Monday, 27 February 2017
Alternate Best Actor 1937
Ronald Colman in The Prisoner of Zenda
Robert Donat in Knight Without Armour
Jean Gabin in Pepe Le Moko
Henry Fonda in You Only Live Once
Edward G. Robinson in Kid Galahad
Sunday, 15 June 2014
Alternate Best Supporting Actor 1958: Results
Best Scene: Dracula attacks.
Best Scene: The Mandarin's message to his people as the Japanese invade.
Best Scene: Holden helps his wife test out the infant gas mask.
Best Scene: Big Daddy recounts the death of his own father.
Best Scene: Quinlan visits Tanya
- Orson Welles in Touch of Evil
- Burl Ives in Cat on a Hot Tin Roof
- Burl Ives in The Big Country
- Anthony Quayle in Ice Cold in Alex
- Harry Andrews in Ice Cold in Alex
- Gunnar Björnstrand in The Magician
- Richard Attenborough in Dunkirk
- Leslie French in Orders to Kill
- Lee J. Cobb in The Brothers Karamazov
- Gig Young in Teacher's Pet
- Richard Attenborough in The Man Upstairs
- Tulsi Lahiri in Jalsaghar
- Michel Simon in It Happened in Broad Daylight
- Philip Pine in Murder by Contract
- Herschel Bernardi in Murder By Contract
- Ganjirō Nakamura in Summer Clouds
- Trevor Howard in The Key
- Gérard Séty in Lovers of Montparnasse
- Tadeusz Fijewski in The Noose
- Myron McCormack in No Time For Sergeants
- Eddie Albert in Orders to Kill
- Lee Van Cleef in The Bravados
- Ernest Borgnine in The Vikings
- Stephen Boyd in The Bravados
- Lino Ventura in Lovers of Montparnasse
- Walter Matthau in King Creole
- Erich Maria Remarque in A Time to Love and A Time to Die
- Robert Donat in The Inn of the Sixth Happiness
- Christopher Lee in Horror of Dracula
- Klaus Kinski in A Time to Love and A Time To Die
- Ray Walston in Damn Yankees
- James Robertson Justice in Orders to Kill
- Joseph Calleia in Touch of Evil
- Lon Chaney Jr. in The Defiant Ones
- John Dehner in Man of the West
- Maximilian Schell in The Long Lions
- Murray Hamilton in No Time For Sergeants
- Robert Ryan in Lonelyhearts
- Dennis Weaver in Touch of Evil
- Leslie Nielsen in The Sheepman
- Thayer David in A Time to Love and a Time to Die
- Chishū Ryū in Equinox Flower
- Kieron Moore in The Key
- Richard Attenborough in Sea of Sand
- Gert Frobe in It Happened in Broad Daylight
- Robert Keith in The Lineup
- Harry Dean Stanton in The Proud Rebel
- Jean Desailly in Maigret Sets a Trap
- Paul Scofield in Carve Her Name With Pride
- Bengt Ekerot in The Magician
- Susumu Fujita in The Hidden Fortress
- Dean Jagger in The Proud Rebel
- Peter Sellers in Tom Thumb
- Terry Thomas in Tom Thumb
- Torin Thatcher in 7th Voyage of Sinbad
- Adam Pawlikowski in Ashes and Diamonds
- Ernest Thesiger in The Horse's Mouth
- Vic Morrow in King Creole
- Keenan Wynn in A Time to Love and a Time to Die
- Arthur O'Connell in Man of the West
- Ray Walston in South Pacific
- Akim Tamiroff in Touch of Evil
- Alan Young in Tom Thumb
- David Ladd in The Proud Rebel
- Richard Basehart in The Brothers Karamazov
- Akim Tamiroff in Me and the Colonel
- Kali Sarkar in Jalsagar
- Henry Silva in The Bravados
- Bernard Miles in Tom Thumb
- Jack Warner in Carve Her Name With Pride
- Jack Lord in Man of the West
- Albert Salmi in The Bravados
- Ernie Kovacs in Bell Book and Candle
- Valetin de Vargas in Touch of Evil
- Richard Jaeckel in The Lineup
- Jack Lemmon in Bell Book and Candle
- Royal Dano in Man of the West
- Tom Helmore in Vertigo
- Mike Morgan in The Horse's Mouth
- Robert Shafer in Damn Yankees
- Chuck Connors in The Big Country
- Takashi Shimura in The Hidden Fortress
- Lars Ekborg in The Magician
- Max von Sydow in The Brink of Life
- Vincent Price in The Fly
- Cecil Kellaway in The Proud Rebel
- Murray Hamilton in Houseboat
- Herbert Marshall in The Fly
- Nick Adams in No Time For Sergeants
- Dan O'Herilhy in Home Before Dark
- Lino Ventura in Elevator to the Gallows
- Theodore Bikel in The Defiant Ones
- Don Rickles in Run Silent Run Deep
- Efrem Zimbalist Jr. in Home Before Dark
- Rod Taylor in Separate Tables
- John Carradine in The Last Hurrah
- Jack Warden in Run Silent Run Deep
- James Donald in The Vikings
- Orson Welles in The Long, Hot Summer
- Albert Salmi in The Brothers Karamazov
- Michael Gough in The Horse's Mouth
- Charlton Heston in The Big Country
- Basil Rathbone in The Last Hurrah
- Michael Gough in Horror of Dracula
- Pat O'Brien in The Last Hurrah
- Stephen Chase in The Blob
- Brad Dexter in Run Silent Run Deep
- Robert Fields in The Blob
- Lee Van Cleef in The Long Lions
- Dean Martin in Some Came Running
- John Benson in The Blob
- Jack Carson in Cat on a Hot Tin Roof
- John Van Eyssen in Horror of Dracula
- Nick Adams in Teacher's Pet
- Ray Collins in Touch of Evil
- James Bonnet in The Blob
- Theodore Bikel in I Want to Live!
- Arthur Kennedy in Some Came Running
- Earl Rowe in The Blob
- Maurice Chevalier in Gigi
- Jeffrey Hunter in The Last Hurrah
- Georges Poujouly in Elevators to the Gallows
- Charles McGraw in The Defiant Ones
- Harry Guardino in Houseboat
- Alfonso Bedoya in The Big Country
- Larry Gates in Some Came Running
- Curt Jurgens in The Inn of the Sixth Happiness
- Charles Bickford in The Big Country
- Audie Murphy in The Quiet American
- Felipe Pazos Jr. in The Old Man and the Sea
- Keith Almoney in The Blob
- Anthony Franciosa in The Long, Hot Summer
Alternate Best Supporting Actor 1958: Robert Donat in The Inn of the Sixth Happiness
Robert Donat did not receive an Oscar nomination, despite being nominated for a Golden Globe, The Mandarin of Yang Cheng in The Inn of the Sixth Happiness.
The Inn of the Sixth Happiness tells the life of Gladys Aylward (Ingrid Bergman) who leaves England to aid at a mission in China. It's a decent enough film helped greatly by a particularly winning turn by Bergman.
Robert Donat technically is quite miscast here in his final role as a Chinese Mandarin, and obviously someone who was actually Chinese would have been more fitting for the role especially since there are actual Chinese actors in the film to begin with. Robert Donat thankfully does not play the role in some stereotypical fashion, and avoids putting on some over the top mannerisms that are often found in the portrayals of these types of character. Instead Donat tries to give a fairly dignified portrayal of the character, and avoids the pitfalls of playing such a character for the most part even if he still has to dress like a Mandarin as well as have the obligatory facial hair that is of course needed for a Mandarin.
Robert Donat is always a charming presence and that is certainly the case here. Donat contains his performance appropriately by keeping that manner of a reserved man who has some power at his disposal. The film portrays the Mandarin as a purely good man though who wants to help the various people in his community and even does not mind helping Gladys despite the fact that she is foreigner. Donat while still keeping the stature of the character intact exudes a nice degree of warmth along with it. Donat makes the character of the Mandarin quite likable in fact because Donat is the one playing him. It is often the case with these characters that they are so serious that they are stiff, Donat keeps the serious points of his character, btu brings a nice ease in his performance that avoids making the Mandarin a boring presence.
The only major problem for Donat is that the Mandarin ends up being a relatively simple part. He shows up from time to time offering some support or some sort of wisdom to Gladys, and that's really about it. Donat is good in these limitations though creating that sense of wisdom the Mandarin should convey, while doing it in a way that is not boring. It's not a great role all together and obviously it is very hard to ever forget that Donat was far from perfect for the role for the most obvious of reasons. Donat still manages to give a good performance though despite what ways against him in the part, and does a good job of bringing some energy and life to any scene that he appears. It's far from his best performance, but not a bad one to be his last.
Robert Donat technically is quite miscast here in his final role as a Chinese Mandarin, and obviously someone who was actually Chinese would have been more fitting for the role especially since there are actual Chinese actors in the film to begin with. Robert Donat thankfully does not play the role in some stereotypical fashion, and avoids putting on some over the top mannerisms that are often found in the portrayals of these types of character. Instead Donat tries to give a fairly dignified portrayal of the character, and avoids the pitfalls of playing such a character for the most part even if he still has to dress like a Mandarin as well as have the obligatory facial hair that is of course needed for a Mandarin.
Robert Donat is always a charming presence and that is certainly the case here. Donat contains his performance appropriately by keeping that manner of a reserved man who has some power at his disposal. The film portrays the Mandarin as a purely good man though who wants to help the various people in his community and even does not mind helping Gladys despite the fact that she is foreigner. Donat while still keeping the stature of the character intact exudes a nice degree of warmth along with it. Donat makes the character of the Mandarin quite likable in fact because Donat is the one playing him. It is often the case with these characters that they are so serious that they are stiff, Donat keeps the serious points of his character, btu brings a nice ease in his performance that avoids making the Mandarin a boring presence.
The only major problem for Donat is that the Mandarin ends up being a relatively simple part. He shows up from time to time offering some support or some sort of wisdom to Gladys, and that's really about it. Donat is good in these limitations though creating that sense of wisdom the Mandarin should convey, while doing it in a way that is not boring. It's not a great role all together and obviously it is very hard to ever forget that Donat was far from perfect for the role for the most obvious of reasons. Donat still manages to give a good performance though despite what ways against him in the part, and does a good job of bringing some energy and life to any scene that he appears. It's far from his best performance, but not a bad one to be his last.
Monday, 9 June 2014
Alternate Best Supporting Actor 1958
Burl Ives in Cat on a Hot Tin Roof
Orson Welles in Touch of Evil
Richard Attenborough in Dunkirk
Christopher Lee in Horror of Dracula
Robert Donat in The Inn of the Sixth Happiness
Wednesday, 27 March 2013
Alternate Best Actor 1935: Results
Best Scene: I guess when he finds out his girlfriend has left him.
Best Scene: Any of the swashbuckling scenes.
Best Scene: Ruggles recites the Gettysburg Address.
Best Scene: Hannay finds himself handcuffed to a woman who believes him to be a murderer.
Best Scene: The Monster meets his Bride.
- Victor McLaglen in The Informer
- Boris Karloff in Bride of Frankenstein
- Robert Donat in 39 Steps
- Charles Laughton in Ruggles of Red Gap
- Edward G. Robinson in The Whole Town's Talking
- Boris Karloff in The Black Room
- Clark Gable in Mutiny on the Bounty
- Ronald Colman in A Tale of Two Cities
- Fredric March in Les Miserables
- Claude Rains in The Mystery of Edwin Drood
- Charles Laughton in Mutiny on the Bounty
- Robert Donat in The Ghost Goes West
- Fredric March in The Dark Angel
- James Cagney in G Men
- Peter Lorre in Crime and Punishment
- Groucho Marx in Night At the Opera
- Errol Flynn in Captain Blood
- Fred Astaire in Top Hat
- Franchot Tone in The Lives of the Bengal Lancers
- Charles Boyer in Private Worlds
- Bela Lugosi in The Raven
- Peter Lorre in Mad Love
- Freddie Bartholomew in David Copperfield
- Fredric March in Anna Karenina
- Boris Karloff in The Raven
- Fred MacMurray in Alice Adams
- Franchot Tone in Dangerous
- Colin Clive in Mad Love
- Frank Lawton in David Copperfield
- Seymour Hicks in Scrooge
- Gary Cooper in The Lives of the Bengal Lancers
- Douglass Montgomery in The Mystery of Edwin Drood
- Paul Muni in Black Fury
- Henry Wilcoxon in The Crusades
- Chester Morris in Public Hero No. 1
Monday, 25 March 2013
Alternate Best Actor 1935: Robert Donat in 39 Steps
Robert Donat did not receive an Oscar nomination for portraying Richard Hannay in 39 Steps.
39 Steps is an enjoyable thriller about a man who by chance gets involved with espionage involving a ring of foreign agents trying to get some sort of information out of the country.
Robert Donat here plays the Alfred Hitchcock staple of the wrong man. The wrong man being the man who only by sheer bad luck not only gets into the central situation but also finds himself wanted for the crimes that were caused by the villain. Donat plays the wrong man as just an average fellow who happens to be in the wrong place that leads him into the sort of trouble he gets into. Early on in the film when he first hears of the plot and later that he has been framed for the murder of the person who have him that information Donat is very good at acting just like how just about anyone would in the sitauton which is being very much taken aback, and very confused.
Robert Donat here is being the leading man in the most traditional sense of the word. He is the man we follow through the plot and we have to go along with him through the various twist and turns that come up along the way. Donat is very good in allowing on in through two way. He gives the appropriate reactions to the various events that take place and gives the right down to earth approach that allows us to go right along with. Also importantly Donat gives a very charming portrayal of Hannay. He is fun just to follow through his troublesome affair and he keeps the right sort of the tone for the film with his portrayal.
Donat has some great lighter moments in the film such as when he tries to get through a political rally speech by winging it making for a very entertaining moment. He also is great in his scenes with woman Pamela (Madeleine Carroll) who he also brings in on the mystery and the two end up handcuffed together. Again Donat has a great deal of fun in their scenes together as he shows Richard trying to keep her in control as well as tries to convince her that he is not a murderer. Donat brings the best out of these scenes playing the part with a great deal wit, and terrific comedic timing. Importantly he never overplays his hand in this regard though, and keeps the proper thriller tone intact.
This is just a great leading man performance by Robert Donat and the perfect type of performance to lead a thriller of this sort. He is able to play the central role as the ordinary man in the extraordinary situation incredibly well. He does both properly reflect the problems his character faces so we can properly emphasize with him throughout the adventure, but at the same time he does manage to just have his performance enjoyable all on its own as well through his well placed humorous moments. Donat just makes for a charismatic hero that allows this to be a thriller that is a very easy one to watch go through its course.
Robert Donat here plays the Alfred Hitchcock staple of the wrong man. The wrong man being the man who only by sheer bad luck not only gets into the central situation but also finds himself wanted for the crimes that were caused by the villain. Donat plays the wrong man as just an average fellow who happens to be in the wrong place that leads him into the sort of trouble he gets into. Early on in the film when he first hears of the plot and later that he has been framed for the murder of the person who have him that information Donat is very good at acting just like how just about anyone would in the sitauton which is being very much taken aback, and very confused.
Robert Donat here is being the leading man in the most traditional sense of the word. He is the man we follow through the plot and we have to go along with him through the various twist and turns that come up along the way. Donat is very good in allowing on in through two way. He gives the appropriate reactions to the various events that take place and gives the right down to earth approach that allows us to go right along with. Also importantly Donat gives a very charming portrayal of Hannay. He is fun just to follow through his troublesome affair and he keeps the right sort of the tone for the film with his portrayal.
Donat has some great lighter moments in the film such as when he tries to get through a political rally speech by winging it making for a very entertaining moment. He also is great in his scenes with woman Pamela (Madeleine Carroll) who he also brings in on the mystery and the two end up handcuffed together. Again Donat has a great deal of fun in their scenes together as he shows Richard trying to keep her in control as well as tries to convince her that he is not a murderer. Donat brings the best out of these scenes playing the part with a great deal wit, and terrific comedic timing. Importantly he never overplays his hand in this regard though, and keeps the proper thriller tone intact.
This is just a great leading man performance by Robert Donat and the perfect type of performance to lead a thriller of this sort. He is able to play the central role as the ordinary man in the extraordinary situation incredibly well. He does both properly reflect the problems his character faces so we can properly emphasize with him throughout the adventure, but at the same time he does manage to just have his performance enjoyable all on its own as well through his well placed humorous moments. Donat just makes for a charismatic hero that allows this to be a thriller that is a very easy one to watch go through its course.
Sunday, 24 March 2013
Alternate Best Actor 1935
Boris Karloff in Bride of Frankenstein
Paul Muni in Black Fury
Robert Donat in 39 Steps
Charles Laughton in Ruggles of Red Gap
Errol Flynn in Captain Blood
Tuesday, 12 April 2011
Best Actor 1938: Results
Saturday, 9 April 2011
Best Actor 1938: Robert Donat in The Citadel
Robert Donat received his first Oscar nomination for portraying Doctor Andrew Manson in The Citadel.
The Citadel tells the story of an idealistic young doctor who slowly loses his idealism for money.
The underrated Robert Donat portrays Andrew Manson from his beginnings as an idealist in a rough mining village. In these early scene Donat is just great showing the youthful exuberance of his character as he takes an energetic approach to his work as a doctor. Donat portrays really feeling for the people he cares for, show the right earnestness in these scenes.Donat through his performance creates an honest passion for his successes, and a sadness with the failures suffered.
Well in this village he has two very important relationship the first is with another doctor Denny (Ralph Richardson) as well as a school teacher Christine (Rosalind Russell). With Richardson, Donat creates a nice warm friendship based in the belief of the good that being an honest doctor can do. This is an important relationship shown very well by the both of them, which is especially important later on in the film.
Donat's also shows a romantic relationship with the school teacher Christine. I will admit their relationship is extremely rushed in the film, and it is meant to be since he needs to get married for his new job. Although the overall rushed nature keeps their romance from being completely believable, Donat's honest quiet charm does make the romance still works quite well.
Not all goes well for the doctor, and after moving to London he has many troubles properly finding work as a doctor. This is another aspect a little too rushed, since the film jumps really quickly into their problems in London, without much of a transition time. Donat though still is very successful anyways, because he still is able to show authenticity in Manson slow tiring from his lack of success in London.
Manson though undergoes a change after he meets and begins to hang around a group of doctors who care about nothing but making money off of hypochondriac patients who rich. Donat makes his transition to becoming like the rest of these doctors, because of his frustrations, but also just showing how easy it is to go the money making way. Manson forgets his ideals, and Donat makes this change entirely realistic, by at first showing some angered regret when questioned about it, but going into his complicity quite well. Donat makes this transformation entirely believable, which makes his loss of his ideals much more effective.
After a tragic event partially caused by Manson's general uncaring for any ideas that are inconvenient, he makes a sudden change back to his old self. This completely works because the tragedy striking, so deeply made sense do to his relationships he established so well in the film, and also because Donat was able to make Manson look like he was basically sleepwalking through his life before this moment that finally snaps him out of it. His moment where he finally snaps out of it is very powerful due to Donat's anger, shock and sadness at his tragedy, making his transformation back to idealism incredibly effective. Overall Donat's is a strong performance showing the full story of this Doctor very honestly and effectively.
The underrated Robert Donat portrays Andrew Manson from his beginnings as an idealist in a rough mining village. In these early scene Donat is just great showing the youthful exuberance of his character as he takes an energetic approach to his work as a doctor. Donat portrays really feeling for the people he cares for, show the right earnestness in these scenes.Donat through his performance creates an honest passion for his successes, and a sadness with the failures suffered.
Well in this village he has two very important relationship the first is with another doctor Denny (Ralph Richardson) as well as a school teacher Christine (Rosalind Russell). With Richardson, Donat creates a nice warm friendship based in the belief of the good that being an honest doctor can do. This is an important relationship shown very well by the both of them, which is especially important later on in the film.
Donat's also shows a romantic relationship with the school teacher Christine. I will admit their relationship is extremely rushed in the film, and it is meant to be since he needs to get married for his new job. Although the overall rushed nature keeps their romance from being completely believable, Donat's honest quiet charm does make the romance still works quite well.
Not all goes well for the doctor, and after moving to London he has many troubles properly finding work as a doctor. This is another aspect a little too rushed, since the film jumps really quickly into their problems in London, without much of a transition time. Donat though still is very successful anyways, because he still is able to show authenticity in Manson slow tiring from his lack of success in London.
Manson though undergoes a change after he meets and begins to hang around a group of doctors who care about nothing but making money off of hypochondriac patients who rich. Donat makes his transition to becoming like the rest of these doctors, because of his frustrations, but also just showing how easy it is to go the money making way. Manson forgets his ideals, and Donat makes this change entirely realistic, by at first showing some angered regret when questioned about it, but going into his complicity quite well. Donat makes this transformation entirely believable, which makes his loss of his ideals much more effective.
After a tragic event partially caused by Manson's general uncaring for any ideas that are inconvenient, he makes a sudden change back to his old self. This completely works because the tragedy striking, so deeply made sense do to his relationships he established so well in the film, and also because Donat was able to make Manson look like he was basically sleepwalking through his life before this moment that finally snaps him out of it. His moment where he finally snaps out of it is very powerful due to Donat's anger, shock and sadness at his tragedy, making his transformation back to idealism incredibly effective. Overall Donat's is a strong performance showing the full story of this Doctor very honestly and effectively.
Thursday, 7 April 2011
Best Actor 1938
Robert Donat in The Citadel
Leslie Howard in Pygmalion
Spencer Tracy in Boys Town
James Cagney in Angels With Dirty Faces
Charles Boyer in Algiers
Friday, 1 October 2010
Best Actor 1939: Results
2. James Stewart in Mr. Smith Goes to Washington- James Stewart using his charm which only has really gives a very strong performance. Stewart really is great in his way as the innocent Smith, to his transition to the lone man fighting for what is right.
1. Clark Gable in Gone With The Wind- Clark Gable gives a truly legendary performance as Rhett Butler. Rhett is made is into the extremely memorable character by Gable. Gable is able to stand out in this epic, and stand with Vivien Leigh which is an incredible achievement. An iconic performance that is truly a great performance. This whole year was a great year for acting performances, and each would have been deserving in any year, but I feel Gable happens to be the most powerful, most effective performance, and really was the most challenging character. For such achievement Gable becomes my second two time lead winner now tying with Walter Huston.
John Wayne in Stagecoach
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