So what’s the idea behind the relay? I’ve created a list of what I think are the best actors. At the end I, just like in a real relay race, hand over the baton to another blogger who will write his own post. The blogger will have to remove one actor (that is an obligation) and add his own choice and describe why he/she did this. At the end the blogger chooses another blogger to do the same. The idea is to make this a long race, so that each blogger gets a chance to remove and add an actor. We will end up with a list (not ranked in order) which represents a common agreement of the best actors.
Those were the words of Nostra from MyFilmViews, who has in the Biblical fashion, passed it on to at least two dozen bloggers before it came down to Andrew from Encore Entertainment and eventually from me, who is receiving this baton with excitement and trepidation.
The Previous Entries:
- My Film Views
- The Focused Filmographer
- Front Room Cinema
- I Love That Film
- All Eyes On Screen
- Time Well Spent
- The Warning Sign
- And So It Begins…
- cinematic corner.
- Andy Buckle’s Film Emporium
- Duke and the Movies
- Southern Vision
- Defiant Success
- Cinematic Paradox
- Encore Entertainment
Daniel Day Lewis
Robert De Niro
Procrastination made me think about the person I was going to excise, flip-flopping between two actors. I chose to oust Jack Lemmon from the list – sorry Anna – and it sucks because I hope to see a comedian before this relay ends. But I did it because of his grating performance in…Irma La Douce, relying on the cutesy America’s Best Friend laurels and unnecessarily prolonging his gags. I can also never see his as a statesman nor as a villain, just like the other actors who remind me of him. He also spends his later years as the ‘cowering senior citizen’ stereotype, letting stronger personalities like Walter Matthau, Kevin Costner and Kevin Spacey dominate him in scenes.
Before I tell you what I’m looking for in my best actor, before I could even think of a name, that despite bigger box office returns when their names are in the marquee, men aren’t expected to act. Men are the rock of a movie, the star who doesn’t change even the world around them does. And we don’t really want to watch them suffer neither. Or maybe I’m expecting too much from men, wanting to see them embody the two extremes of male form – being their the masculine or the lanky charity case. I also expect them, as any actor of any gender, to transcend not just gender and sexuality but race, class – as a non white straight male these criteria are important to me, despite the limitations age and other divisions. But bodies do betray their thespian inhabitants.
So the person I choose to add can’t be a star and thus has to be a character actor, and we already have a shape shifter or two up there. I first saw – and had a crush on – Bruce Greenwood as the grieving Ontarian father in The Sweet Hereafter. Do yourself a favour and see that and his collaboration with Atom Egoyan before it – Exotica, where he plays a haunted, tenor voiced man addicted the lap dances of his former baby sitter. Even after those movies, you can list the ones he’s been in as part of a new canon, I’m Not There, Star Trek, Super 8 and Meek’s Cutoff. You can call those his defaults – the toothless hick and the effete bourgeois, but even in the fourth decade in his career – he was in First Blood, for God’s sakes – he can still be as versatile as the spectrum, the same way as he has been since we first saw him onscreen.
I pass this on to my good friend Amir (Amiresque) who should take on this challenge quickly and more soberly than I can.
I saw this movie a week or two ago and I was really worried that this article might be too late. The politics in this film doesn’t fit like a puzzle piece in the events this week. Nonetheless, how timely is it with riots going on to write about a movie with riots going on?
This movie’s so ambitious and powerful I don’t know where to start. It’s a hidden highlight of the careers of the film’s actors like Brando, Fonda and Redford. It’s also one of the best movies I’ve ever seen, but then again I change my mind about that a lot.
“The Chase,” directed by Arthur Penn by and is a Lillian Hellman adaptation from a Horton Foote novel. It centres on small town Texas, troubled by one of their own, Bubber Reeves (Robert Redford), who escapes from prison. I’ve read a lot of Lillian Hellman lately, who fills her stage mostly with a family or group of friends who exploit the unseen lower classes. However, the movie is just as much an Arthur Penn vehicle, shaping this film as a western in plain clothes, as American decadence while putting violence and the youth’s rebellion in the mix.
I understand that the film uses its first act for introductions, which some viewers see as a bit tedious, but it’s better for the film to answer those questions in the beginning instead of doing so for the rest of the movie. Bubber’s escape is a problem for the town’s citizens. Sheriff Calder (Marlon Brando) wants to keep Bubber safe from a mob, but his good intentions and clouded by Val Rogers’ (E.G. Marshall) bribing. Bubber’s wife, Anna (Jane Fonda, the best actress of New Hollywood, but we’ll talk about that later), wants to leave him for Val’s son Jake. Bubber’s mother (Miriam Hopkins) wants his son back and even considers selling it to her contemptuous neighbours. Edwin (Robert Duvall, subtle this time) becomes paranoid since he’s taken money that all has accused Bubber of stealing.
Unlike Hellman’s earlier plays, we finally get to see in Bubber, a lower class victim, as a fleshed out character. Robert Redford’s amazing as Bubber that I always wonder why I doubt his acting. He’s dangerous, troubled, trashy and childlike. The movie itself divides critics then and now and Sam Kashner called him miscast. However Redford’s good looks, distracting in half of his earlier films, helped his character. If he was less attractive and more gruff, the audience wouldn’t have sympathized with him. His mother is another face of the oppressed, yet she is just as flawed. Her blind maternal love makes her lash out at Calder and despite of the little truth she bellows to the town, she can’t see his true intentions.
Besides from being a ‘contemporary western,’ it’s also a part of the ‘lynching’ sub-genre, more popular in the 1930’s and early 1940’s. In 1966 this movie adds to the genres and making the mob’s methods more terrorizing. They already don’t respect Calder, branding him as paid help by the Rogers’s and they invade his privacy about the news of Bubber’s escape. Calder takes a three-minute gang beating in his own office and home. Learning that Bubber’s in the wharf, the town leaves their sexually and alcohol-charged parties and congregates with their guns and alcohol. Instead of other ‘lynching’ films when the mob is already marching in numbers, the film lets the audience watch the mob grow. A car and then another car and then the rest of them. These people aren’t as single-minded but just as dangerous, some just wanna kill Bubber, others make him as a strange sexual icon, the rest disapprove and cynical but don’t express outrage and watch the lynching happen.
The film, however, shows larger differences in the younger generations. There is Bubber, Anna, Jake in the wharf and technically Lester is part of their group though the latter gets thrown in jail. Class and race divide the four characters yet they still found a way to grow together and help each other. Redford and Fonda shows great chemistry and rawness as a couple, finding romance just before the end. Unfortunately the town separates them from each other. I felt dread when the teenagers started throwing Molotovs and burning tires and throwing them at Bubber’s direction, the visuals effectively horrifying in the big screen. Kids should know not to follow their parents bad behaviour but they do. The youth’s participation in this brutality shows Hellman and Penn’s stark worldviews and makes the town hopeless. And yes, for those things it makes this movie more shocking than Penn’s next film, “Bonnie and Clyde.”
1966 and to a lesser extent 1965 were crap yet some films release in those years seemed to have opened the floodgates for 1967 and New Hollywood. To understand the films of 1967, we have to look at some of the films a director did a year before. “The Chase” gave way to “Bonnie and Clyde.” Mike Nichols gave us “Who’s Afraid of Virginia Woolf” before giving us “The Graduate,” which should have won Best Picture that year. Stanley Kramer’s troubled idealism in “Ship of Fools” helps him and us into “Guess Who’s Coming to Dinner.” Richard Brooks shows the guns in “The Professionals” and eventually in “In Cold Blood” (To be honest, Richard Brooks is the Cezanne of New Hollywood in a way that he was pedantic until he discovered the rebellion of the 60’s).
And for every week era in Hollywood, foreign films step in to do the job. Godard followed the cool “Masculin Feminin” with the dangerous “Le Weekend.” Melville follows “Le Deuxieme Souffle” with the slick “Le Samourai.” Films released in 1966 include “The Battle of Algiers,” “Blow-Up,” “Aflie” and many more that I haven’t gotten into. 1967 is an all out party while 1965-6 is a tight rope walk, but I kinda wanna see the latter instead.
Inspired by Nathaniel, Nick, and Tomas. My A Star is Born posts will be out when the movie plays in my rep theatre. ETA: This post is also now a part of Nathaniel’s ‘Hit Me With Your Best Shot’ series.
I was screen capping A Streetcar Named Desire for my “Godfather” cast career post. Get some good caps of Brando, get out. Something really captivated me while skimming through this movie, because it felt like watching the frills and frenetic images of a silent movie at parts. Streetcar has that ‘silent’ German feel while the weaker On the Waterfront has Neorealist touches. East of Eden and Splendor in the Grass brings the crazy, which I like, but despite of how much I love them, I think colour drowns out the emotional punch that his black and white films had. [ETA: It’s been nine months since I wrote that sentence, I’m not sure if I agree with that now.]
The silent-era feel of the film was especially true when Vivien Leigh was on-screen. It helps since her character is a relic of the past, and the silent aesthetics compliment her. The camera captures her through overhead shots and full body long shots. It zooms and zeroes in her shamelessly as if Kazan wants us to feel her emotions by exposing her so closely on-screen. The mise-en-scene helped a lot into the mood of this film, enveloping Blanche with its draperies and decay.
I’ve been ambivalent with the movie, since it was one of the first classic-era films I’ve been introduced to. I saw this before Gone with the Wind. The film astounded me on my first viewing, watching Leigh’s vulnerability and Brando’s wavelengths. Seeing Brando in a suit seems even scarier because he’s calm at the moment and the audience knows he’s just waiting to snap.
But then it’s dialogue-heavy, like most early film adaptations of plays, and I’m more of a visual guy and I didn’t appreciate what this movie did visually back then. And since it’s one of my first outings on classical film, I ran to iMDb and most of when were cheering for the film. There’s a few who deride her performance, although it’s clearly the best of the bunch.
I got around to reading the play and I interpreted the ‘following morning’ scene – when Blanche makes it seem that she’s encountering trash for the first time, specifically the lines where Blanche tells Stella that the latter has forgotten about Belle Rive – as more sorrowfully than Leigh and Kazan did (honestly, I’m probably not gonna be the most subtle director ever, and that’s why I don’t plan to become one). So there was a brief period of slight dislike there.
But then this last time I saw Leigh playing Blanche strong to protect her sister, worn out both physically and mentally, convulsing on the floor. None of that was fake. Enjoy the screen grabs.
This is what was distracting me while watching “The Godfather.” This is also probably a proof that the epic ‘lit a fire under everyone’s careers,’ but it didn’t let most of the people involved feel like this is their magnum opus. The same, however, could be said about “Gone With the Wind or “The Dark Knight.”
Al Pacino – “Serpico,” more of an Al Pacino vehicle than “Dog Day Afternoon.” Him in “DDA” is hailed as his best, and it’s surprising how his best role is his gay one, but it also owes a lot to Lumet’s stage-like directing.
James Caan – “Dogville,” where he plays a cameo that’s a polar opposite of his character in “The Godfather.”
Robert Duvall – “Apocalypse Now.” It could have been “Network” if there was more for him to do.
Sterling Hayden – “Asphalt Jungle,” just because of that last scene.
Diane Keaton – “Reds,” where she’s acidic. And in this movie directed by Alan Parker which I have yet to see.
John Cazale – “Dog Day Afternoon.” Cool, calm, sadistic.
Sofia Coppola – Not as an actress, but “Lost in Translation.”
Cast in Sequel:
Robert de Niro – “Taxi Driver,” obviously.
Francis Ford Coppola – “The Conversation.” I love this movie so much I wanna marry it.
Nino Rota – See (or hear) Fellini’s crazy, psychedelic, surrealist, fun yet moody films.
- The Conversation (notreallyworking.wordpress.com)
Finally! And just to let TV folks know that no one can sit through four hours of this with commercials. Luckily, I caught this on the Bloor on Thursday. I was still slightly distracted, partly because I’ve seen most of this movie until the baptism massacre. I’ve read some of the criticism of this movie listed here, so seriously, what else is there to say?
That I’m flip flopping as to whether or not this is nature or nurture – either his safe distance from the family business made him learn enough and to stay temperamental or that Michael (Al Pacino) was ordained to be Don, despite everyone else’s plans. That this is “greatest movie ever” despite that all the principle players with the exception of Abe Vigoda have been better somewhere else.
That Michael, brandishing an Anglo name, had the swagger of Jimmy Cagney once he turned into the hat-wearing gangster.
That this movie’s pretty meditative until the murder scenes, all having the punch of William Wellman gangster movies.
That I couldn’t remember Sterling Hayden’s name and that bugged me for the whole movie, so I just kept calling him Robert Ryan instead.
That Italians really like Italian stage blood.
That where are the women?
That one reviewer actually pointed out Sonny’s (James Caan) shoulder and back hair and yes, I would still hit it.
And lastly, that there’s a place in my heart for Godfather III because Michael and Kay (Diane Keaton) make the cutest old divorced couple ever and that I can turn that into a drinking game, unlike this one.
p.s. CHCH is gonna be airing on pan-and-scan and HD versions of “The Godfather” on June 13th at 7, and the respective sequels will be aired at Sunday June 20th and 27th at the same time slot.