Dudley Moore in Arthur
Warren Beatty in Reds
Henry Fonda in On Golden Pond
Paul Newman in Absence of Malice
Burt Lancaster in Atlantic City
Who do you pick and predict?
Tuesday, 30 November 2010
Best Actor 1981
Dudley Moore in Arthur
Warren Beatty in Reds
Henry Fonda in On Golden Pond
Paul Newman in Absence of Malice
Burt Lancaster in Atlantic City
Who do you pick and predict?
Best Actor 1998: Results
4. Tom Hanks in Saving Private Ryan- Tom Hanks stays as a man to follow through the war epic of a film, and finds time to develop his character despite the nature of the film.
Best Actor 1998: Tom Hanks in Saving Private Ryan
Tom Hanks received his fourth Oscar nomination for portraying Capt. John Miller in Saving Private Ryan.
Saving Private Ryan certainly is well made in some aspects, most certainly, but I feel the writing fails to be really all that great. Although when it originally came out it was praised for a lack of cliche, and although John Wayne is not the leader, the crew is just as cliched in a lot of ways than the ones in some of his movies that I have seen. There is the straight laced religious sniper, the crusty right hand man, the cynical guy, the wet behind the ears guy, the cannon fodder, or basically the one dimensional guy besides a token scene or one aspect of the character.
Tom Hanks is the leader of the small group of men searching for Private Ryan to bring him home. Hanks works as the normal man in an extreme situation who can be followed throughout the film. He maintains presence in the film despite the fact that it is a big war movie, and an ensemble piece in some ways. He does work as the common man well, and can be fairly well identified with. I never fully believed Tom Hanks as a World War II solider, but that is hardly his fault, and his performance is good enough to get around this. He keeps realism in the film, and despite Miller being a standard character in a few ways Hanks still allows room for development.
Much of his performance are reactions though, whether it is to the battles he is in, to what he sees, reaction to his men, or something else. Hanks' reactions are always authentic, and always properly reinforce the feelings of the scenes he is in. Hanks is able to find the right tone for the scenes, and even can handle the scenes of a little humor well without spoil the tone of the film by ever seeming to actory in his performance. Despite many of his scenes being mostly functional such as giving orders or being in the action, or reactionary Hanks still finds moments in which he shows Miller's development and complexity. He never really says everything about Miller but he suggests incredibly well, especially when speaking of the man he has possibly saved or his quiet reactions to the deaths of his men.
The other main aspect of Miller that Hanks does a good job handling is his leadership. He is not a loud or imposing leader who calls out his orders, rather a more quiet man who is quiet in his control and motivation of his troops through his own respect he sort of earns. Hanks seems believable as a leader, and as a quiet leader like this. A leader who resolves his issues quietly. I would say though when he is doing a few scenes of the large command he is less believable. Especially at the end when he organizes the plan, I just did not at all fully believe his performance there or a few other scenes where he perhaps could have used just a little strong command. Still though a very good performance, still sticks out in a film of this type, and fulfills his role for the most part and adds more when he can.
What I can say to add to what I've already written is that Hanks did accomplish something in being believable in this part at all, because as a man of war, that really wasn't something you'd have immediately expected to him, even in his previous part, yet Hanks works as that, while maintaining the right degree of humanity. His performance is very much working within his presence yet fully adapting it to the period and tone of the film to not make himself feel forced, yet to utilize what makes him such a strong performer on screen at the same time. And really while Hanks is terrific in all his big moments, like his teacher speech, it is all those little moments like his "Why don't you shut up", that really add the most within the overarching scheme of the film. And I'll say as much as Spielberg sometimes goes too hard into the sentiment, Hanks actually doesn't finding a far more consistent balance to earn his cynical moments and his few impassioned earnest ones.
Monday, 29 November 2010
Best Actor 1998: Roberto Benigni in Life is Beautiful
Roberto Benigni won an Oscar from his only acting nomination for portraying Guido Orefice in Life is Beautiful.
It is hard to know what quite to make out of this film, comedy simply does not seem to be the right tone for a holocaust movie especially one that takes itself somewhat seriously. I'd say it would have to be like a pitch black comedy of sorts like Seven Beauties to work.
Who was the first actor to win in this category for a foreign language performance, was it Giancarlo Giannini's brilliant performance in Seven Beauties, or perhaps one of Marcello Mastroianni's performances, no not one of those who could have been incredibly deserving no the first was for Benigni.
There is not that much to his performance really. All he really does is smile, and clown around throughout the film, with the occasional sad face. He really just keeps smiling throughout doing his clown act, and that is it no matter what the situation is. I understand that this is what Guido's character is suppose to be, but even if that seems right for the character it does not make his performance here an impressive one.
Now after the fact that he does the same thing over and over again, does this thing that he does over and over again work? Well not for me really. I never found him to be all that funny or charming. I will grant him that he tries very hard to get a laugh, and to seem really really charming but I never really found him to be. He did not grow on me in the least, and his performance does not make his own film work either, despite being essential for it to. He never made the story convincing for me even in a fantastical sort of way, his performance simply failed to work.
Who was the first actor to win in this category for a foreign language performance, was it Giancarlo Giannini's brilliant performance in Seven Beauties, or perhaps one of Marcello Mastroianni's performances, no not one of those who could have been incredibly deserving no the first was for Benigni.
There is not that much to his performance really. All he really does is smile, and clown around throughout the film, with the occasional sad face. He really just keeps smiling throughout doing his clown act, and that is it no matter what the situation is. I understand that this is what Guido's character is suppose to be, but even if that seems right for the character it does not make his performance here an impressive one.
Now after the fact that he does the same thing over and over again, does this thing that he does over and over again work? Well not for me really. I never found him to be all that funny or charming. I will grant him that he tries very hard to get a laugh, and to seem really really charming but I never really found him to be. He did not grow on me in the least, and his performance does not make his own film work either, despite being essential for it to. He never made the story convincing for me even in a fantastical sort of way, his performance simply failed to work.
Sunday, 28 November 2010
Best Actor 1998: Edward Norton in American History X
Edward Norton received his second Oscar nomination for portraying Neo Nazi Derek Vinyard in American History X.
American History X is an effective enough film about racism although there are few problematic elements within its structure.
The film is not in chronologically told film but we see early scenes before Derek is turned either way. He firsts listens to some extreme remarks by his father, and then we later see him in his grief after the killing of his father. Norton is decent enough in portraying the natural reactions of Derek in both circumstances but these scenes are too simplistic for him to really give a us a pinpoint on the cause of Derek's path to being a Neo-Nazi.
Derek instantly becomes an integral member of a local groups of Neo-Nazi white supremacists. Norton terrific in a very chilling way in these scenes. He is oddly charismatic while he makes his racist remarks. Norton shows the right oddly misplaced passion in these scenes, that makes these scenes especially disconcerting. Norton shows that Derek is not a dumb guy really, and that even a smart person can simply be lead this way. Norton makes Derek's hatred very realistic and that is pivotal for the film. He never seems to be acting the racism but rather that it is simply part of Derek's world view.
Two scenes in particular are especially made very effective due to Norton. The first when he gets in to an argument with his family over his views, and fights with everyone. The strongest moment though is when he shows some regret to his mother and sister of the violent way he reacted. Norton correctly shows here that although Derek is a racist, he still yet is a human. The other scene though is his scene where he kill two black men who break into his car. Norton is chilling here showing Derek's hate in its purest form. His smile at the very end of the scene is especially effective. Norton portrays the true viciousness of Derek in this state and the real nature of his hatred in this moment.
Derek is sent to prison after his murders, and meets up with other supremacists inside the prison. Norton performance here is essential to the film, and an extreme challenge. He at first still acts like he has before, but becomes disillusioned with his cohorts due to their lack of beliefs. He is then beaten and raped by them for leaving their group, and for befriending a black inmate. Norton transformation is effective as he acts his cocky self at the beginning of his prison, but starts to see his hate as pointless as incorrect. A lesser part of his performance is in his friendship with a black inmate which is probably a bit too simplistic in terms of its writing. Norton can't quite sell this aspect of it, the abuse of the others turning him is more believable, as this side shows Derek basically losing his hatred due to finding the other inmate being funny. He's never bad, but he can't fully overcome the materials limits.
After getting out prison Derek has become just about completely reformed, now wishing to help his struggling family and set straight his Neo Nazi younger brother (Edward Furlong). Derek is now a man who regrets his actions, and tries his best to rectify them. His portrait of Derek is honest and absolutely convincing as he confronts his brother and his former friends over their racism. He handles all of these scenes with the the right poignancy. It is fascinating how Norton can make the transition from a chilling hate filled character to a honest good man. Norton also is quite heartbreaking at the tragic ending of thee film. Although moments of the transition are weakened by the writing involved with the film the two sides of the performance Norton does pull off incredibly well.
The film is not in chronologically told film but we see early scenes before Derek is turned either way. He firsts listens to some extreme remarks by his father, and then we later see him in his grief after the killing of his father. Norton is decent enough in portraying the natural reactions of Derek in both circumstances but these scenes are too simplistic for him to really give a us a pinpoint on the cause of Derek's path to being a Neo-Nazi.
Derek instantly becomes an integral member of a local groups of Neo-Nazi white supremacists. Norton terrific in a very chilling way in these scenes. He is oddly charismatic while he makes his racist remarks. Norton shows the right oddly misplaced passion in these scenes, that makes these scenes especially disconcerting. Norton shows that Derek is not a dumb guy really, and that even a smart person can simply be lead this way. Norton makes Derek's hatred very realistic and that is pivotal for the film. He never seems to be acting the racism but rather that it is simply part of Derek's world view.
Two scenes in particular are especially made very effective due to Norton. The first when he gets in to an argument with his family over his views, and fights with everyone. The strongest moment though is when he shows some regret to his mother and sister of the violent way he reacted. Norton correctly shows here that although Derek is a racist, he still yet is a human. The other scene though is his scene where he kill two black men who break into his car. Norton is chilling here showing Derek's hate in its purest form. His smile at the very end of the scene is especially effective. Norton portrays the true viciousness of Derek in this state and the real nature of his hatred in this moment.
Derek is sent to prison after his murders, and meets up with other supremacists inside the prison. Norton performance here is essential to the film, and an extreme challenge. He at first still acts like he has before, but becomes disillusioned with his cohorts due to their lack of beliefs. He is then beaten and raped by them for leaving their group, and for befriending a black inmate. Norton transformation is effective as he acts his cocky self at the beginning of his prison, but starts to see his hate as pointless as incorrect. A lesser part of his performance is in his friendship with a black inmate which is probably a bit too simplistic in terms of its writing. Norton can't quite sell this aspect of it, the abuse of the others turning him is more believable, as this side shows Derek basically losing his hatred due to finding the other inmate being funny. He's never bad, but he can't fully overcome the materials limits.
After getting out prison Derek has become just about completely reformed, now wishing to help his struggling family and set straight his Neo Nazi younger brother (Edward Furlong). Derek is now a man who regrets his actions, and tries his best to rectify them. His portrait of Derek is honest and absolutely convincing as he confronts his brother and his former friends over their racism. He handles all of these scenes with the the right poignancy. It is fascinating how Norton can make the transition from a chilling hate filled character to a honest good man. Norton also is quite heartbreaking at the tragic ending of thee film. Although moments of the transition are weakened by the writing involved with the film the two sides of the performance Norton does pull off incredibly well.
Best Actor 1998: Nick Nolte in Affliction
Nick Nolte received his second Oscar nomination for portraying small town cop Wade Whitehouse in Affliction.
Re-watching the film again I had a greater appreciation for it, which I'll admit started to creep up on me long since I reviewed Nolte originally, though there are some slightly iffy moments in direction I'd say this has some of the best writing of Schrader's career even if in a way he explores less than it could.
Part of the choices are fundamental within the character of Wade Whitehouse, who I think is really a brilliant subversion of the rough and tumble type that Nick Nolte was often cast in, but here it is turned on its head. Perhaps I needed more exposure to Nolte's body of work to fully appreciate it, or perhaps for whatever reason I just wasn't able to see it at the time. Because Nolte's performance is as a fundamentally broken man that we slowly uncover that fact, while it being readily apparent right away, however within the sort of Nolte oeuvre of this era. Nolte's early scenes are potentially of the tough guy actor who might be onto something, the town is against him, his ex-wife is against him, he might have something to do about it, however none of that is really the case. Nolte's physical work here is remarkable in creating this alternative setting, helped by great costuming where he always seems to have clothing a few sizes too big, however Nolte's typical physical manner is as a man who doesn't at all know how to stand, how to move, how to do much of anything. Nolte isn't lumbering as a giant, rather he is lumbering as a klutz who can barely keep it together one way or another. His whole early scenes of attempting to act as a small town cop, or even trying to be a parent to his daughter, is of the same fumbling fool who can't stand up straight when speaking to anyone, rambles in his delivery to his daughter that is tries to be warm however fails to be so, and even as a cop his acts of trying to "uphold the law" are of the most tepid kind of spineless acts that barely even register. Even the toothache he begins with, Nolte's performance realistically brings that pestering pain as just another thing that sits on the man, and seems to make him far less than what he claims to be.
I think key to his performance is the potential for a better nature, that soon is used up within the narrative, however seems to have some chance by honestly Wade's best moments as a human early on with Sissy Spacek's Margie, where Nolte portrays not this manly man, or even charming lead, rather there seems to be any genuine tenderness in his interactions with her. Again Nolte subverts typical posturing to be really honestly quite meek in the moments of speaking to her with some real warmth, such as when he asks her to marry him as just an idea. Nolte's delivery of the scene brings Wade most unlike how we will see him in terms of being his father's son, because he not only seems to be genuine in his affection, Nolte's performance is without force, rather a wholly honest gentle ask that suggests there is some care within Wade, even if that will be quickly covered up by so many things as the film progresses. Or really regresses very quickly as Wade visits his tyrannical father Glenn (James Coburn), who we previously saw via flashbacks where we saw him a heavy drinker, an alcoholic and violent abuser of his children. Although the strangeness is perhaps, though perhaps painful reality, in this film it is merely part of the reality, the reality that becomes ever present when Wade becomes once again the realm of his father, due to his mom having died from Glenn's neglect that led to death from the cold of their home. An especially disturbing moment due to the way it plays out so matter factly, and we see Wade's discovery as this very subdued, yet potent reaction of resignation to see his mother having died by his father's lack of care.
Coinciding with the family tragedy is the red herring of the film, the Nick Nolte "vehicle" plot where a local hunting guide goes out with a wealthy visitor, the latter who is killed in a strange hunting accident leaving Wade a bit suspicious of the whole thing. Something that Nolte approaches in his performance however with certainty but not the certainty you'd expect from other hard boiled Nolte characters. Nolte's performance though has almost a humorous undercutting quality of the man playing detective as he makes a curious glance here or there whenever it seems like there is some tidbit of information he might be taking from it. Nolte's performance is key in that there is no great genius behind any of Wade's thinking, rather deep down it is something entirely different. We are allowed to play in the vehicle a bit more when Wade converses over the phone, and eventually in person, with his brother Rolfe (Willem Dafoe) who plays into Wade's ideas of the murder and uncovering an entire conspiracy within the town built around the murder. Something where Nolte's performance is inflamed with passion of figuring out this complex situation against Dafoe who seems to push every idea but in this passive way that encourages, but doesn't entirely involve himself. Wade's pursuit finding little other than freaking out his murder suspect to shoot Wade's vehicle, but even Nolte's reaction to that isn't of some eureka but this simplistic befuddlement. Because all of this paranoia nonsense, where such certainties are lacking in Nolte's performance, not against the performance, but rather illustrative of the man going off on completely nonsensical connections of a man seeking purpose out of anything, even deranged conspiracy.
The third act of the film is both that has some of the best moments, but the whole thing seems like too much of a running train to get to the end of things, that is a little surprising as every mistake Wade makes pile on each other, seemingly the catalyst by the introduction of his dad back into his home life and the death of his mother. I would say I think all maybe could've been told in this time, just it isn't paced perfectly as either scripted or edited, regardless Nolte's performance I think most manages to embody the growing tension. Part of that as we see the man's mistake just adds up and Nolte's performance I think works because of the shoddy sort of foolishness of the way he portrays Wade's more brutish actions that scare away all the women in his life, and he seems to represent his father. What I think Nolte does so well by portraying this is because he doesn't show Wade suddenly becoming his dad, rather he shows the man basically replicating the behavior truly learned, but not understood. A strange idea perhaps, but rather what Nolte's performance does is have the moment of the man in conflict with himself, however the fundamental choice is that Nolte portrays this all as a man who isn't aware of that. When we see him lash out randomly at a bar tender, or even at Margie and his daughter he plays this quick instinctual reaction to distress wholly learned, because after each time Nolte looks at it with not quite demented, but very much a man lost in himself as he realizes what he's done not as shame but more of "oh, what'd I do". Nolte presenting a man completely lost in state of inadequacy symbolized in part by the man broken by himself, in this case symbolized, but also literalized by his infected tooth driving him insane to the point he rips it out with pliers, which is great visceral acting by Nolte in making you feel every bit of that pain in the scene. But that isn't the cause of it all, the cause of it is Glenn, and the adult reactions between Wade and Glenn are key to understanding Wade's broken state. The first being his protective outrage when Glenn gets pushy at the funeral, where it is fascinating to see Nolte, common as the tough guy, bring the rage, yet seem so weak in his physical grappling, and Nolte manages to convey the stunted boy in these moments in the way you see the fear in his eyes even as he's tackling an old man. Their final confrontation in particular is brilliant work from Nolte, and what might seem one of the most nonsensical choices, I think is one of his most incredible, when he accidentally kills Glenn in their final fight. Nolte's playful way of pointing the gun at him, with this grin on his face like it is all a game, might seem insane, but rather speaks to the state of Wade as this child forever still in that infantile state by the abuse of his father. It is this strange father/son game even in the fight, and he reacts as though it is all part of that relationship even when it results in this death as Nolte shows the man completely lost within this state of delusion. Which gives logic to his final action of killing the man he's come to believe is a murderer, with this satisfied grin, of a man completely gone mentally, having fully become lost in the delusions so easily created from his traumatic life.
Part of the choices are fundamental within the character of Wade Whitehouse, who I think is really a brilliant subversion of the rough and tumble type that Nick Nolte was often cast in, but here it is turned on its head. Perhaps I needed more exposure to Nolte's body of work to fully appreciate it, or perhaps for whatever reason I just wasn't able to see it at the time. Because Nolte's performance is as a fundamentally broken man that we slowly uncover that fact, while it being readily apparent right away, however within the sort of Nolte oeuvre of this era. Nolte's early scenes are potentially of the tough guy actor who might be onto something, the town is against him, his ex-wife is against him, he might have something to do about it, however none of that is really the case. Nolte's physical work here is remarkable in creating this alternative setting, helped by great costuming where he always seems to have clothing a few sizes too big, however Nolte's typical physical manner is as a man who doesn't at all know how to stand, how to move, how to do much of anything. Nolte isn't lumbering as a giant, rather he is lumbering as a klutz who can barely keep it together one way or another. His whole early scenes of attempting to act as a small town cop, or even trying to be a parent to his daughter, is of the same fumbling fool who can't stand up straight when speaking to anyone, rambles in his delivery to his daughter that is tries to be warm however fails to be so, and even as a cop his acts of trying to "uphold the law" are of the most tepid kind of spineless acts that barely even register. Even the toothache he begins with, Nolte's performance realistically brings that pestering pain as just another thing that sits on the man, and seems to make him far less than what he claims to be.
I think key to his performance is the potential for a better nature, that soon is used up within the narrative, however seems to have some chance by honestly Wade's best moments as a human early on with Sissy Spacek's Margie, where Nolte portrays not this manly man, or even charming lead, rather there seems to be any genuine tenderness in his interactions with her. Again Nolte subverts typical posturing to be really honestly quite meek in the moments of speaking to her with some real warmth, such as when he asks her to marry him as just an idea. Nolte's delivery of the scene brings Wade most unlike how we will see him in terms of being his father's son, because he not only seems to be genuine in his affection, Nolte's performance is without force, rather a wholly honest gentle ask that suggests there is some care within Wade, even if that will be quickly covered up by so many things as the film progresses. Or really regresses very quickly as Wade visits his tyrannical father Glenn (James Coburn), who we previously saw via flashbacks where we saw him a heavy drinker, an alcoholic and violent abuser of his children. Although the strangeness is perhaps, though perhaps painful reality, in this film it is merely part of the reality, the reality that becomes ever present when Wade becomes once again the realm of his father, due to his mom having died from Glenn's neglect that led to death from the cold of their home. An especially disturbing moment due to the way it plays out so matter factly, and we see Wade's discovery as this very subdued, yet potent reaction of resignation to see his mother having died by his father's lack of care.
Coinciding with the family tragedy is the red herring of the film, the Nick Nolte "vehicle" plot where a local hunting guide goes out with a wealthy visitor, the latter who is killed in a strange hunting accident leaving Wade a bit suspicious of the whole thing. Something that Nolte approaches in his performance however with certainty but not the certainty you'd expect from other hard boiled Nolte characters. Nolte's performance though has almost a humorous undercutting quality of the man playing detective as he makes a curious glance here or there whenever it seems like there is some tidbit of information he might be taking from it. Nolte's performance is key in that there is no great genius behind any of Wade's thinking, rather deep down it is something entirely different. We are allowed to play in the vehicle a bit more when Wade converses over the phone, and eventually in person, with his brother Rolfe (Willem Dafoe) who plays into Wade's ideas of the murder and uncovering an entire conspiracy within the town built around the murder. Something where Nolte's performance is inflamed with passion of figuring out this complex situation against Dafoe who seems to push every idea but in this passive way that encourages, but doesn't entirely involve himself. Wade's pursuit finding little other than freaking out his murder suspect to shoot Wade's vehicle, but even Nolte's reaction to that isn't of some eureka but this simplistic befuddlement. Because all of this paranoia nonsense, where such certainties are lacking in Nolte's performance, not against the performance, but rather illustrative of the man going off on completely nonsensical connections of a man seeking purpose out of anything, even deranged conspiracy.
The third act of the film is both that has some of the best moments, but the whole thing seems like too much of a running train to get to the end of things, that is a little surprising as every mistake Wade makes pile on each other, seemingly the catalyst by the introduction of his dad back into his home life and the death of his mother. I would say I think all maybe could've been told in this time, just it isn't paced perfectly as either scripted or edited, regardless Nolte's performance I think most manages to embody the growing tension. Part of that as we see the man's mistake just adds up and Nolte's performance I think works because of the shoddy sort of foolishness of the way he portrays Wade's more brutish actions that scare away all the women in his life, and he seems to represent his father. What I think Nolte does so well by portraying this is because he doesn't show Wade suddenly becoming his dad, rather he shows the man basically replicating the behavior truly learned, but not understood. A strange idea perhaps, but rather what Nolte's performance does is have the moment of the man in conflict with himself, however the fundamental choice is that Nolte portrays this all as a man who isn't aware of that. When we see him lash out randomly at a bar tender, or even at Margie and his daughter he plays this quick instinctual reaction to distress wholly learned, because after each time Nolte looks at it with not quite demented, but very much a man lost in himself as he realizes what he's done not as shame but more of "oh, what'd I do". Nolte presenting a man completely lost in state of inadequacy symbolized in part by the man broken by himself, in this case symbolized, but also literalized by his infected tooth driving him insane to the point he rips it out with pliers, which is great visceral acting by Nolte in making you feel every bit of that pain in the scene. But that isn't the cause of it all, the cause of it is Glenn, and the adult reactions between Wade and Glenn are key to understanding Wade's broken state. The first being his protective outrage when Glenn gets pushy at the funeral, where it is fascinating to see Nolte, common as the tough guy, bring the rage, yet seem so weak in his physical grappling, and Nolte manages to convey the stunted boy in these moments in the way you see the fear in his eyes even as he's tackling an old man. Their final confrontation in particular is brilliant work from Nolte, and what might seem one of the most nonsensical choices, I think is one of his most incredible, when he accidentally kills Glenn in their final fight. Nolte's playful way of pointing the gun at him, with this grin on his face like it is all a game, might seem insane, but rather speaks to the state of Wade as this child forever still in that infantile state by the abuse of his father. It is this strange father/son game even in the fight, and he reacts as though it is all part of that relationship even when it results in this death as Nolte shows the man completely lost within this state of delusion. Which gives logic to his final action of killing the man he's come to believe is a murderer, with this satisfied grin, of a man completely gone mentally, having fully become lost in the delusions so easily created from his traumatic life.
Saturday, 27 November 2010
Best Actor 1998: Ian McKellen in Gods and Monsters
Ian McKellen received his first Oscar nomination for portraying homosexual movie director James Whale in Gods and Monsters.
Gods and Monsters is certainly an interesting movie. I am not sure though if it really succeeds in terms of the development of its themes and ideas.
Ian Mckellen portrays James Whale throughout the film seemingly without challenge. He shows an instant ease with the role instantly. He instantly is comfortable in the role from the first moment he is on the screen. This relaxation in this role is essential for its effectiveness. Whale is a homosexual who still in fact tries to attempt being active, even if his attempts are many times covert, in a slight way to get some sort of thrill for himself. This is some ways an important aspect of this character, which McKellen never exploits in his performance, but rather makes it the natural way Whale is and wants to be. This lusting from Whale is not overdone to be overly creepy, nor is it underdone to seem some overly romantic idea, instead McKellen find the right realistic tone which works well.
Another aspect of Whale is his enormous past, both his painful memories of his wartime, and childhood experiences, but also that of his more glorious days as a successful film artist. McKellen again excels in his scenes showing Whale's love for his art and his artistry. He finds the perfect note to convey this though, since Whale does not simply love his whole artistry. He shows a distinct hatred for the treatment of some of his work, and how his film making ended. Also a distaste for only being remembered for his monster pictures. He though still shows a true admiration for what he has done, and shows a sense of an accomplishment of his work. McKellen balances these feelings well, also Whale as he speaks of these films states everything as the real director of the film, which McKellen brings the right vivid quality to.
His most dramatic moments are when Whale thinks about his past. McKellen really excels here because the past is shown to us, therefore he could have simply spoke of it and done nothing else but McKellen shows Whale own feelings on the matters mostly without words. He conveys both the happiness in his past with the pain of his losses exceedingly well. McKellen tells of these stories always with the right passive passion in a way that rings true to the character. McKellen brings out all his past, his current lusts, and pains the most in his final moments. The final scene where he tries to bring his gardener Clay Boone (Brendan Frasier) to kill him by sexually advancing on him. McKellen is terrific in this penultimate scene, mixing the right intensity in his attempts to enrage the man to killing, along with showing his past once more, and his current pain he wants to end. It is a odd scenes in many ways but McKellen stays realistic and effective in this scene just as he is throughout the film.
Ian Mckellen portrays James Whale throughout the film seemingly without challenge. He shows an instant ease with the role instantly. He instantly is comfortable in the role from the first moment he is on the screen. This relaxation in this role is essential for its effectiveness. Whale is a homosexual who still in fact tries to attempt being active, even if his attempts are many times covert, in a slight way to get some sort of thrill for himself. This is some ways an important aspect of this character, which McKellen never exploits in his performance, but rather makes it the natural way Whale is and wants to be. This lusting from Whale is not overdone to be overly creepy, nor is it underdone to seem some overly romantic idea, instead McKellen find the right realistic tone which works well.
Another aspect of Whale is his enormous past, both his painful memories of his wartime, and childhood experiences, but also that of his more glorious days as a successful film artist. McKellen again excels in his scenes showing Whale's love for his art and his artistry. He finds the perfect note to convey this though, since Whale does not simply love his whole artistry. He shows a distinct hatred for the treatment of some of his work, and how his film making ended. Also a distaste for only being remembered for his monster pictures. He though still shows a true admiration for what he has done, and shows a sense of an accomplishment of his work. McKellen balances these feelings well, also Whale as he speaks of these films states everything as the real director of the film, which McKellen brings the right vivid quality to.
His most dramatic moments are when Whale thinks about his past. McKellen really excels here because the past is shown to us, therefore he could have simply spoke of it and done nothing else but McKellen shows Whale own feelings on the matters mostly without words. He conveys both the happiness in his past with the pain of his losses exceedingly well. McKellen tells of these stories always with the right passive passion in a way that rings true to the character. McKellen brings out all his past, his current lusts, and pains the most in his final moments. The final scene where he tries to bring his gardener Clay Boone (Brendan Frasier) to kill him by sexually advancing on him. McKellen is terrific in this penultimate scene, mixing the right intensity in his attempts to enrage the man to killing, along with showing his past once more, and his current pain he wants to end. It is a odd scenes in many ways but McKellen stays realistic and effective in this scene just as he is throughout the film.
Subscribe to:
Posts (Atom)