Sean Penn in Dead Man Walking
Anthony Hopkins in Nixon
Nicolas Cage in Leaving Las Vegas
Richard Dreyfuss in Mr. Holland's Opus
Massimo Troisi in The Postman
Sunday, 5 June 2011
Best Actor 1995
Sean Penn in Dead Man Walking
Anthony Hopkins in Nixon
Nicolas Cage in Leaving Las Vegas
Richard Dreyfuss in Mr. Holland's Opus
Massimo Troisi in The Postman
Saturday, 4 June 2011
Best Actor 1951: Results
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.
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.
Friday, 3 June 2011
Best Actor 1951: Humphrey Bogart in The African Queen
Humphrey Bogart won his only Oscar from his second Oscar nomination for portraying Charlie Allnut in The African Queen.
The African Queen tells the story of a steamboat Captain Charlie, and a missionary Rosie (Katharine Hepburn) who attempt to destroy a large German ship in Africa during World War I.
Humphrey Bogart's win here is usually described as a makeup career award, and it is hard to deny that fact. I do not think this would probably still be a noted Bogart performance even if he had not won the award, because of the style of Bogart's performance here. His performances many other times are largely serious with more of some brief moments perhaps of comedy, this performance though is a rather casual performance from Bogart, that could be described as one of his most comedic.
Bogart is a performer who I sometimes plays parts a little on the dull side, and not infusing enough energy into his performance. Here I will say he tries not to really play the part all that dully a lot of the time, since he in many ways tries to be a more energetic Bogart here, that is a little more wild than in many of his earlier performances. This does not mean I find his performance all that interesting either, but he is at least not overly dull in this performance. Bogart never becomes overly interesting even though not dull, because his performance still is never that good. He is charming at times, but other times he seems to just be acting the part without infusing all that much into the scene. He sometimes does feel more of just going through the motions of the performance a little bit, by not adding the additional charm the performance probably always required.
A big part of his performance is his chemistry with Katharine Hepburn. I have heard many say they love their chemistry together. I myself never felt it to be that amazing, but not extremely lacking either this time around. I think they work well enough together in their basically two person show, but still their work never becomes all that fascinating or entertaining either. Bogart's performance most of the time feels just functional to me. This time around I felt he drifted a bit to a bit more than functional and a few minor scenes I really did think he was quite charming, but other scenes he goes below functional such as with his drunk scene. This is a mixed performance more than it used to be, which is an improvement since I felt had little value at all before. I still can't call this really a good performance but I am now far more reluctant to call it a bad one.
Humphrey Bogart's win here is usually described as a makeup career award, and it is hard to deny that fact. I do not think this would probably still be a noted Bogart performance even if he had not won the award, because of the style of Bogart's performance here. His performances many other times are largely serious with more of some brief moments perhaps of comedy, this performance though is a rather casual performance from Bogart, that could be described as one of his most comedic.
Bogart is a performer who I sometimes plays parts a little on the dull side, and not infusing enough energy into his performance. Here I will say he tries not to really play the part all that dully a lot of the time, since he in many ways tries to be a more energetic Bogart here, that is a little more wild than in many of his earlier performances. This does not mean I find his performance all that interesting either, but he is at least not overly dull in this performance. Bogart never becomes overly interesting even though not dull, because his performance still is never that good. He is charming at times, but other times he seems to just be acting the part without infusing all that much into the scene. He sometimes does feel more of just going through the motions of the performance a little bit, by not adding the additional charm the performance probably always required.
A big part of his performance is his chemistry with Katharine Hepburn. I have heard many say they love their chemistry together. I myself never felt it to be that amazing, but not extremely lacking either this time around. I think they work well enough together in their basically two person show, but still their work never becomes all that fascinating or entertaining either. Bogart's performance most of the time feels just functional to me. This time around I felt he drifted a bit to a bit more than functional and a few minor scenes I really did think he was quite charming, but other scenes he goes below functional such as with his drunk scene. This is a mixed performance more than it used to be, which is an improvement since I felt had little value at all before. I still can't call this really a good performance but I am now far more reluctant to call it a bad one.
Best Actor 1951: Arthur Kennedy in Bright Victory
Arthur Kennedy received his second Oscar nomination for portraying Larry Nevins in Bright Victory.
Bright Victory is a somewhat interesting film about a soldier trying to cope with his recent blindness from a gun shot wound. I liked much of the film, particularly in the military hospital, but after that it really lost a lot of its steam, and its racism subplot, unfortuantely felt tacked on.
Arthur Kennedy received his only lead actor nomination, mostly being a character actor throughout the rest of his career which earned four unsuccessful supporting acting nominations. Arthur Kennedy never became a leading man, but here he does certianly show an ability to carry a picture by himself.
Kennedy portrays Larry Nevins at the beginning of the film as a slightly cocky soldier who quickly gets a huge dose of reality from a bullet wound which blinds him. It is in these initial scenes where Kennedy really stands out well in the part. Kennedy creates a good amount of empathy for his character without ever visibly wanting it, but rather just earning it by showing Larry to be an average guy in his situation.
Kennedy is incredibly good in his scenes where he is first coming to terms with his blindness, and struggles to accept what has happened to him, as well as feeling guilty for the wounding another man because of going foolishly into enemy territory. Kennedy is good because he always is authentic in portraying the harsh complicated emotions that Larry faces.His first phone call to his parents is particularly heartbreaking because Kennedy is spot on, not ringing a single false note.
Larry though becomes to get a little more comfortable, and starts to be able to live with his blindness. Kennedy does a great job of bringing us into his struggle, without ever making it seem melodramatic. I particularly liked Kennedy camaraderie he shows that Larry creates with the other blind soldiers at the hospital. They have the right naturalism together that work extremely well for the film, bringing us into a very special world the men have together.
Kennedy though at the same time has a little bit of a problem here, because one of his friends is a black soldier named Joe. He hurts his friendship with Joe, and everyone else when he utters a racial slur. This comes basically out of nowhere in the film, and Kennedy does very little with it. I suppose one could say look Larry is a decent guy in every other way but unfortuantely also racist, but Kennedy failed to really realize this aspect of Larry well enough, but than again the film gives him about a minute to do so.
After this Larry does start a romance with a local woman Judy, which Arthur Kennedy makes properly sweet as somewhat reluctantly pursues the relationship. It is not a great romance by any means but it is sweetly done. Problems strike though when Larry has to go home, to his old girlfriend Chris. In the return home Larry just shown to be uncomfortable basically, and although Kennedy is fine he also is given very little to do, but be uncomfortable, and annoyed by how some act toward him, and briefly his mothers attitude toward black people (again the racism part is very tacked on feeling).
Larry though at the end of the film does decide to go out on his own, and seems to find happiness in the end, and this very sweetly, done and Kennedy has earned this sweetness through his realistic performance, the happiness at the end does not feel at all corny, it is truly earned at the end.
I must say though that this is a good performance for sure, but one that becomes less interesting as it goes on. Kennedy is best at the very beginning where his character has his life changing experience, he simply becomes less interesting as the film goes on. Also the racism part of the film and the character is never properly realized unfortunately. Kennedy still manages to hold the film together though, and he makes the journey of the blinded soldier one I wanted to see to the end, and one made satisfying through the simple honesty of his performance.
Arthur Kennedy received his only lead actor nomination, mostly being a character actor throughout the rest of his career which earned four unsuccessful supporting acting nominations. Arthur Kennedy never became a leading man, but here he does certianly show an ability to carry a picture by himself.
Kennedy portrays Larry Nevins at the beginning of the film as a slightly cocky soldier who quickly gets a huge dose of reality from a bullet wound which blinds him. It is in these initial scenes where Kennedy really stands out well in the part. Kennedy creates a good amount of empathy for his character without ever visibly wanting it, but rather just earning it by showing Larry to be an average guy in his situation.
Kennedy is incredibly good in his scenes where he is first coming to terms with his blindness, and struggles to accept what has happened to him, as well as feeling guilty for the wounding another man because of going foolishly into enemy territory. Kennedy is good because he always is authentic in portraying the harsh complicated emotions that Larry faces.His first phone call to his parents is particularly heartbreaking because Kennedy is spot on, not ringing a single false note.
Larry though becomes to get a little more comfortable, and starts to be able to live with his blindness. Kennedy does a great job of bringing us into his struggle, without ever making it seem melodramatic. I particularly liked Kennedy camaraderie he shows that Larry creates with the other blind soldiers at the hospital. They have the right naturalism together that work extremely well for the film, bringing us into a very special world the men have together.
Kennedy though at the same time has a little bit of a problem here, because one of his friends is a black soldier named Joe. He hurts his friendship with Joe, and everyone else when he utters a racial slur. This comes basically out of nowhere in the film, and Kennedy does very little with it. I suppose one could say look Larry is a decent guy in every other way but unfortuantely also racist, but Kennedy failed to really realize this aspect of Larry well enough, but than again the film gives him about a minute to do so.
After this Larry does start a romance with a local woman Judy, which Arthur Kennedy makes properly sweet as somewhat reluctantly pursues the relationship. It is not a great romance by any means but it is sweetly done. Problems strike though when Larry has to go home, to his old girlfriend Chris. In the return home Larry just shown to be uncomfortable basically, and although Kennedy is fine he also is given very little to do, but be uncomfortable, and annoyed by how some act toward him, and briefly his mothers attitude toward black people (again the racism part is very tacked on feeling).
Larry though at the end of the film does decide to go out on his own, and seems to find happiness in the end, and this very sweetly, done and Kennedy has earned this sweetness through his realistic performance, the happiness at the end does not feel at all corny, it is truly earned at the end.
I must say though that this is a good performance for sure, but one that becomes less interesting as it goes on. Kennedy is best at the very beginning where his character has his life changing experience, he simply becomes less interesting as the film goes on. Also the racism part of the film and the character is never properly realized unfortunately. Kennedy still manages to hold the film together though, and he makes the journey of the blinded soldier one I wanted to see to the end, and one made satisfying through the simple honesty of his performance.
Thursday, 2 June 2011
Best Actor 1951: Fredric March in Death of a Salesman
Fredric March received his fifth and final Oscar nomination for portraying Willy Loman in Death of a Salesman.
This version of Death of a Salesman is rather strange in that it portrays every flashback, as something Willy is currently seeing, no matter what the situation.
After just speaking of Stanley Kowalski it is interesting to jump to Willy Loman certainly two of the most famous leads of the modern theater. Where Marlon Brando would reprise his role, the original Willy, Lee J. Cobb did not, leaving March in the role. Also what should be noted is the original director of Streetcar Elia Kazan directed the film version, Kazan did not direct the film version of Death of a Salesman, even though he was the director of the original production of the play.
I think all these changes most certainly lead to this bizarre interpretation of both the play and the character that is found in this film. A film that the movie company had so little respect for they almost put a short film "Life of a Salesman" before the main film, to basically contradict everything the film was going to say before it said it. I think with that little piece of trivia, one can see why this film does not work at all, because it seems the people who made it had know idea what the play meant.
This is the most true because of the character of Willy Loman in this film, that is suppose to be a beaten down salesman, beaten down due to his failure to live up to the dream he made up for himself, as well as his disappointment in his son Biff's inability to do the same. In this film though I certainly felt he was on the end of his rope, but I felt what got him there was not so much the failure, but the fact that Willy is plainly insane, not just slowly losing it as the play seems to say, and he just continued to become even more insane as time went on, with the failure simply contributing to that.
Now I do not think the filmmakers meant this really, and the original play most certainly did not mean this, but it comes out this way because of the odd direction, and March's performance. March plays basically every scene as basically a manic insane man, who only comes down on occasion, but only for a short while. It is an odd performance most certainly because of this, and I do not think it is all March's fault since it is the film who always has him talking to himself out loud, thinking he is talking to someone.
I suppose one could say this is how March is trying to show how much of a defeated man Willy is, but even that would seem an odd way to show Willy's defeat. Also he basically plays Willy in this insane fashion in many of the past remembrance scenes as well. March still plays each of these scenes in too manic of a fashion, especially his scenes with his brother Ben. Willy sees Ben as successful, and wants to achieve in the same fashion. March though does not make it like this is an idea Willy has that is extremely important, but instead just a completely insane obsession.
March is an actor I do like, but here the direction makes him go off the deep end. Now I think this is quite the misinterpretation on March's part, as well as the directors. This is an incredibly hammy performance, but Willy here is basically insane, so the hamminess is not entirely misplaced. A misinterpretation that does not work, but I must say a misinterpretation that March is quite consistent about. He seems to be entirely insane, and March's moments of clarity such as his quiet talks with his wife, or his talk with Biff, after Biff sees Willy is having an affair are sort of well handled.
This is a performance I really do not know how to rate. I most certainly can't rate it highly because this is such an odd, and frankly incorrect way to play the part, but really the direction definitely wanted him to play this part in this way as well, so I almost want to say it is not entirely March's fault, they wanted him to play it insane so he did, I guess. I don't know really, his insanity is not exactly poorly done as it very well could have been, but it does work incredibly poorly for the story and the character. All I really can say about March is watch at least part of this one for yourself, it most certainly is something, that is for sure. I will say this is one of the hardest performances I ever have had to judge just due to the strangeness of the whole thing.
After just speaking of Stanley Kowalski it is interesting to jump to Willy Loman certainly two of the most famous leads of the modern theater. Where Marlon Brando would reprise his role, the original Willy, Lee J. Cobb did not, leaving March in the role. Also what should be noted is the original director of Streetcar Elia Kazan directed the film version, Kazan did not direct the film version of Death of a Salesman, even though he was the director of the original production of the play.
I think all these changes most certainly lead to this bizarre interpretation of both the play and the character that is found in this film. A film that the movie company had so little respect for they almost put a short film "Life of a Salesman" before the main film, to basically contradict everything the film was going to say before it said it. I think with that little piece of trivia, one can see why this film does not work at all, because it seems the people who made it had know idea what the play meant.
This is the most true because of the character of Willy Loman in this film, that is suppose to be a beaten down salesman, beaten down due to his failure to live up to the dream he made up for himself, as well as his disappointment in his son Biff's inability to do the same. In this film though I certainly felt he was on the end of his rope, but I felt what got him there was not so much the failure, but the fact that Willy is plainly insane, not just slowly losing it as the play seems to say, and he just continued to become even more insane as time went on, with the failure simply contributing to that.
Now I do not think the filmmakers meant this really, and the original play most certainly did not mean this, but it comes out this way because of the odd direction, and March's performance. March plays basically every scene as basically a manic insane man, who only comes down on occasion, but only for a short while. It is an odd performance most certainly because of this, and I do not think it is all March's fault since it is the film who always has him talking to himself out loud, thinking he is talking to someone.
I suppose one could say this is how March is trying to show how much of a defeated man Willy is, but even that would seem an odd way to show Willy's defeat. Also he basically plays Willy in this insane fashion in many of the past remembrance scenes as well. March still plays each of these scenes in too manic of a fashion, especially his scenes with his brother Ben. Willy sees Ben as successful, and wants to achieve in the same fashion. March though does not make it like this is an idea Willy has that is extremely important, but instead just a completely insane obsession.
March is an actor I do like, but here the direction makes him go off the deep end. Now I think this is quite the misinterpretation on March's part, as well as the directors. This is an incredibly hammy performance, but Willy here is basically insane, so the hamminess is not entirely misplaced. A misinterpretation that does not work, but I must say a misinterpretation that March is quite consistent about. He seems to be entirely insane, and March's moments of clarity such as his quiet talks with his wife, or his talk with Biff, after Biff sees Willy is having an affair are sort of well handled.
This is a performance I really do not know how to rate. I most certainly can't rate it highly because this is such an odd, and frankly incorrect way to play the part, but really the direction definitely wanted him to play this part in this way as well, so I almost want to say it is not entirely March's fault, they wanted him to play it insane so he did, I guess. I don't know really, his insanity is not exactly poorly done as it very well could have been, but it does work incredibly poorly for the story and the character. All I really can say about March is watch at least part of this one for yourself, it most certainly is something, that is for sure. I will say this is one of the hardest performances I ever have had to judge just due to the strangeness of the whole thing.
Wednesday, 1 June 2011
Best Actor 1951: Marlon Brando in A Streetcar Named Desire
Marlon Brando received his first Oscar nomination for portraying Stanley Kowalski in A Streetcar Named Desire.
A Streetcar named Desire is a brilliant film about a mentally troubled aging Southern Belle Blanche (Vivien Leigh) who goes to stay with her sister Stella (Kim Hunter), and her husband Stanley.
This here is a performance that is so hailed, and so examined, this review seems not to matter all that much. I mean Brando's style in this film is to have said to change acting, and this is said to be one of the greatest performances of all time. Well I guess what I should examine if it is the greatest, and look at a few criticism that I have happened to seen from a few small sources.
Well what are these criticisms, well that Stanley is too simplistic of a character for this to be that great of a performance. Well I do believe that Stanley probably is the simplest of Blanche, Stella, and Blanche's possible suitor Mitch (Karl Malden), but that does not at all mean that Stanley is an underwritten character. He is very much complex in his own way, but he is simple in his manner and actions. His manner and actions always are perfectly Stanley, though, and Stanley really is a perfectly written character even if he is a relatively simple man.
I think the somewhat simple nature of Stanley is what makes Brando's performance so fascinating, though, since so much of it is in his style. Anything that Stanley does Brando does indeed make interesting through just the completely original, yet natural way he does everything in the film. Whether it is one of his big angry outbursts or just changing a shirt, somehow Brando no matter what makes it interesting through his incredibly distinct method of performing.
Stanley I suppose could have been portrayed as just a brute, but Brando never does this, not that Stanley is not a brute much of the time. Brando excels in every facet of his portrayal, including obviously Stanley's brutality and cruelty. Brando shows how it is simply Stanley nature to never act completely like a human being, but rather will always jump to his cruel anger, as his defense when ever needed.
Brando brilliantly portrays that anger in such intensity that it is simply outstanding. When Blanche and Stella cower over his trashing the dinner table, there is not a shred of disbelief of their reaction to him. Brando just as well with the cruelty shows Stanley's virility. Brando conveys this perfectly with just his magnetic presence in the film. The desire that Stella has for him despite his brutality is never questioned because it is just about impossible to stop watching Brando, he is that good.
Now is there more to Stanley than just the desirable brute, well yes, and no. Brando has it both ways which is incredible, becuase although he shows a great deal of his character, he leaves the right amount to interpretation, showing that there is always more to a man even a man like Stanley. He does probably show this best in the famous "Stella!" scene, where Brando shows the vulnerability, and pathetic nature of the character that is just as much of a part of his dangerous exterior.
Well I think I addressed the criticisms of the performance well enough, well the criticism anyway. I tried to state why this is so great, but I frankly don't think I really needed to even do that, so I guess I will just wrap it up. There really is no question for me this is a great performance. The greatest, well there are a lot of great performances around, and everyone has their personal favorite, but it is easy to see why many would see this performance that way. Brando most certianly does the absolute most with his character, and turns him into one of the most compelling performance ever to watch.
This here is a performance that is so hailed, and so examined, this review seems not to matter all that much. I mean Brando's style in this film is to have said to change acting, and this is said to be one of the greatest performances of all time. Well I guess what I should examine if it is the greatest, and look at a few criticism that I have happened to seen from a few small sources.
Well what are these criticisms, well that Stanley is too simplistic of a character for this to be that great of a performance. Well I do believe that Stanley probably is the simplest of Blanche, Stella, and Blanche's possible suitor Mitch (Karl Malden), but that does not at all mean that Stanley is an underwritten character. He is very much complex in his own way, but he is simple in his manner and actions. His manner and actions always are perfectly Stanley, though, and Stanley really is a perfectly written character even if he is a relatively simple man.
I think the somewhat simple nature of Stanley is what makes Brando's performance so fascinating, though, since so much of it is in his style. Anything that Stanley does Brando does indeed make interesting through just the completely original, yet natural way he does everything in the film. Whether it is one of his big angry outbursts or just changing a shirt, somehow Brando no matter what makes it interesting through his incredibly distinct method of performing.
Stanley I suppose could have been portrayed as just a brute, but Brando never does this, not that Stanley is not a brute much of the time. Brando excels in every facet of his portrayal, including obviously Stanley's brutality and cruelty. Brando shows how it is simply Stanley nature to never act completely like a human being, but rather will always jump to his cruel anger, as his defense when ever needed.
Brando brilliantly portrays that anger in such intensity that it is simply outstanding. When Blanche and Stella cower over his trashing the dinner table, there is not a shred of disbelief of their reaction to him. Brando just as well with the cruelty shows Stanley's virility. Brando conveys this perfectly with just his magnetic presence in the film. The desire that Stella has for him despite his brutality is never questioned because it is just about impossible to stop watching Brando, he is that good.
Now is there more to Stanley than just the desirable brute, well yes, and no. Brando has it both ways which is incredible, becuase although he shows a great deal of his character, he leaves the right amount to interpretation, showing that there is always more to a man even a man like Stanley. He does probably show this best in the famous "Stella!" scene, where Brando shows the vulnerability, and pathetic nature of the character that is just as much of a part of his dangerous exterior.
Well I think I addressed the criticisms of the performance well enough, well the criticism anyway. I tried to state why this is so great, but I frankly don't think I really needed to even do that, so I guess I will just wrap it up. There really is no question for me this is a great performance. The greatest, well there are a lot of great performances around, and everyone has their personal favorite, but it is easy to see why many would see this performance that way. Brando most certianly does the absolute most with his character, and turns him into one of the most compelling performance ever to watch.
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