Cary Grant in His Girl Friday
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Showing posts with label 1940. Show all posts
Showing posts with label 1940. Show all posts
Best Actor 1940: Results
Cary Grant in His Girl Friday
Best Actor 1940: James Stewart in The Philadelphia Story
James Stewart won an Oscar from his second nomination for portraying tabloid journalist Macaulay 'Mike' Connor in The Philadelphia Story.
The Philadelphia Story is of course a film of romantic hijinks about a divorced couple (Cary Grant, Katharine Hepburn), her impending marriage to someone else, some snooping tabloid journalists, as well as some crazy family members.
James Stewart is an actor that I usually enjoy very much, as he can be a both a very charming screen presence, and a powerful one as well. Here as Macaulay Connor I really just could not really enjoy his performance very much. In particular his opening scenes in the film where he questions the degrading job of snooping in on people's private lives.
In these early moments I really felt Stewart was simply just unpleasant. He seemed to have no joy at all in his performance, as he shows Connor being annoyed by his job and the Socialites' way of life. Now he obviously did need to show some consternation in his performance, but he could have had a little bit fun with being annoyed, but instead I felt like Stewart himself did not want to be playing the part.
Stewart stops being perpetually annoyed though when Mike becomes quickly in love with the soon to be married Tracy Lord(Katharine Hepburn). Frankly I did not entirely believe his instant infatuation on his part, yes Hepburn has the right hard to resist charm but Stewart just did no make me believe his entirely head over heals fall for her.
Stewart in the romantic scenes does finally get to show some of his Stewart charm, but frankly it does not seem to be as charming as he usual is. He still is charming and makes the scenes with Hepburn nice enough, but he never really reaches his level of charm he does in his best roles such as in It's A Wonderful Life, or Mr. Smith Goes to Washington.
Also in his screwball scenes, particularly his big one with Cary Grant, Stewart shows a certian lack of comfort in his performance. I will give credit to Stewart for trying, trying very hard, and possibly succeeding a little bit, but everything he tries to do to make the scene seem crazy, seem a little bit forced, since he never becomes comfortable enough in his performance or the scene. That is how I really felt about his whole performance. Overall he is fine, but lacking especially for Stewart who can usually be great. This is one of the best examples of the right actor winning an Oscar but for the wrong role.
James Stewart is an actor that I usually enjoy very much, as he can be a both a very charming screen presence, and a powerful one as well. Here as Macaulay Connor I really just could not really enjoy his performance very much. In particular his opening scenes in the film where he questions the degrading job of snooping in on people's private lives.
In these early moments I really felt Stewart was simply just unpleasant. He seemed to have no joy at all in his performance, as he shows Connor being annoyed by his job and the Socialites' way of life. Now he obviously did need to show some consternation in his performance, but he could have had a little bit fun with being annoyed, but instead I felt like Stewart himself did not want to be playing the part.
Stewart stops being perpetually annoyed though when Mike becomes quickly in love with the soon to be married Tracy Lord(Katharine Hepburn). Frankly I did not entirely believe his instant infatuation on his part, yes Hepburn has the right hard to resist charm but Stewart just did no make me believe his entirely head over heals fall for her.
Stewart in the romantic scenes does finally get to show some of his Stewart charm, but frankly it does not seem to be as charming as he usual is. He still is charming and makes the scenes with Hepburn nice enough, but he never really reaches his level of charm he does in his best roles such as in It's A Wonderful Life, or Mr. Smith Goes to Washington.
Also in his screwball scenes, particularly his big one with Cary Grant, Stewart shows a certian lack of comfort in his performance. I will give credit to Stewart for trying, trying very hard, and possibly succeeding a little bit, but everything he tries to do to make the scene seem crazy, seem a little bit forced, since he never becomes comfortable enough in his performance or the scene. That is how I really felt about his whole performance. Overall he is fine, but lacking especially for Stewart who can usually be great. This is one of the best examples of the right actor winning an Oscar but for the wrong role.
Best Actor 1940: Henry Fonda in The Grapes of Wrath
Henry Fonda received his first Oscar nomination for portraying Tom Joad in The Grapes of Wrath.
The Grapes of Wrath tells the story of the former sharecropping Joad family who struggle to find a living during the Great Depression.
The film opens with Tom Joad coming home after being in prison for a few years for manslaughter. Fonda as soon as he is on screen refuses to give a sympathetic performance as Tom Joad, instead he instantly shows Tom Joad as an angry man who refuses to be pushed around and also does not have any regrets over what he has done in his past either.
As Tom Joad, Fonda does not always stick out among the family, and nor should he. In many of the scenes he shows himself to simply be part of the family, and not the main point of the film, but rather an aspect of it. Fonda has the right believability in the family and creates a particularly effective relationship with Jane Darwell as Ma Joad. The have the right attitude and feeling with one another that honestly suggests the loving relationship between the two people.
Much of the film Fonda's performance is quite reactionary as he deals with the problems he and his family face as migrant workers. Fonda is quietly effective as Tom Joad though always being completely honest in displaying the struggle, and pain his character goes through in his story. Fonda performance has the right restrained passion of sorts in the film. He shows Joad quite interestingly because he never makes him a hero, or even a man who understand what is against him, but just a normal man who wants a decent life for decent people.
The actions Tom takes during his travels are well portrayed by Fonda, because he never does make Joad look like a hero, but just an honest man who is trying to do what is right, even when it results in even greater troubles for him. Fonda carefully only shows a subtle growth, and understanding Joad gains for himself, and for the plight of his people, which finally is revealed in his powerful and effective "I'll be there" speech.
Overall Fonda's performance is a strong subtle performance which never goes to easy route of what could have been an overly sympathetic or heroic portrayal, but rather is a far more memorable portrayal of a honest troubled man in a troubled situation. It is not always a performance that is constantly visible or at all actory but it is most certianly an effective portrait of this angry troubled man.
The film opens with Tom Joad coming home after being in prison for a few years for manslaughter. Fonda as soon as he is on screen refuses to give a sympathetic performance as Tom Joad, instead he instantly shows Tom Joad as an angry man who refuses to be pushed around and also does not have any regrets over what he has done in his past either.
As Tom Joad, Fonda does not always stick out among the family, and nor should he. In many of the scenes he shows himself to simply be part of the family, and not the main point of the film, but rather an aspect of it. Fonda has the right believability in the family and creates a particularly effective relationship with Jane Darwell as Ma Joad. The have the right attitude and feeling with one another that honestly suggests the loving relationship between the two people.
Much of the film Fonda's performance is quite reactionary as he deals with the problems he and his family face as migrant workers. Fonda is quietly effective as Tom Joad though always being completely honest in displaying the struggle, and pain his character goes through in his story. Fonda performance has the right restrained passion of sorts in the film. He shows Joad quite interestingly because he never makes him a hero, or even a man who understand what is against him, but just a normal man who wants a decent life for decent people.
The actions Tom takes during his travels are well portrayed by Fonda, because he never does make Joad look like a hero, but just an honest man who is trying to do what is right, even when it results in even greater troubles for him. Fonda carefully only shows a subtle growth, and understanding Joad gains for himself, and for the plight of his people, which finally is revealed in his powerful and effective "I'll be there" speech.
Overall Fonda's performance is a strong subtle performance which never goes to easy route of what could have been an overly sympathetic or heroic portrayal, but rather is a far more memorable portrayal of a honest troubled man in a troubled situation. It is not always a performance that is constantly visible or at all actory but it is most certianly an effective portrait of this angry troubled man.
Best Actor 1940: Laurence Olivier in Rebecca
Laurence Olivier received his second Oscar nomination for portraying Maxim de Winter in Rebecca.
Rebecca tells the story of a young bride of a wealthy man who finds out the dark secrets of his home Manderley, and of his relationship with his deceased wife Rebecca.
Laurence Olivier is an actor, who at his best, I am always amazed by his ability create very unique characterization, and his ability never to really seem to portray himself, but always his character. This quality is true of how work in Rebecca as it is in his best work. He finds a unique way to present Maxim de Winter that is entirely his own, without ever seeming to be acting to create these unique characters of Maxim de Winter.
Laurence Olivier early in the film creates an interesting and mysterious portrait of Maxim de Winter from his at first brief interactions with the young woman (Joan Fontaine). In these early moments he comes in and out, and Olivier simply is terrific, in doing just about everything he can do with the time that he has. He suggests a charming man, in a quiet fashion, but also suggests the perfect subtle haunted quality deep with Maxim which is incredibly fascinating.
Olivier romantic scenes with Joan Fontaine are quite interesting, because it is not an extremely warm or overly lovely relationship. Yet with the little time in which they are given I do believe both actors make the relationship work. They show an interesting dynamic between the two, that makes the romance understandable, and even still romantic in an internal fashion.
After they marry, Olivier comes in and out of the film as the new Mrs. de Winter deals this mysterious place. Olivier although he is not always on the screen, he still finds his ways into creating a fascinating character, that one does think of even when he is absent. Olivier when on screen though further displays something that is eating away at Maxim on the inside. It is something he covers up with anger and avoidance, and Olivier is brilliant creating the mystery behind the character without giving away what he really means.
When he finally does get to reveal the truth behind what haunts him, which is not what was to be expected. This is Olivier's showcase scene where he finally gets to show all of his hidden emotions completely upfront. It is simply a marvelous scene, which Olivier brilliantly indicated to through the rest of performance. It is a fascinating scene because of the rawness of Olivier performance in comparison to how his character had been before this scene. Olivier handles this pivotal scene perfectly showing every haunted and repressed emotion completely in a incredibly powerful scene.
After this scene Olivier once again does finally gain the focus of the film on him rather than on Fontaine as the rest of the film had been. Olivier once again shines as his character faces to lose all that he has due to the past with his deceased wife. Olivier is once again subtle and excellent in showing his hidden fear, pain, but as well as an outward strength to fight against his deceased wife's past, as well as her former lover. I really found his ending scene particularly fascinating where he finally shows a relief and a final loss of his haunted quality at last. Overall Olivier's performance is a strong, subtle, minimalistic performance, that is exceedingly effective.
Laurence Olivier is an actor, who at his best, I am always amazed by his ability create very unique characterization, and his ability never to really seem to portray himself, but always his character. This quality is true of how work in Rebecca as it is in his best work. He finds a unique way to present Maxim de Winter that is entirely his own, without ever seeming to be acting to create these unique characters of Maxim de Winter.
Laurence Olivier early in the film creates an interesting and mysterious portrait of Maxim de Winter from his at first brief interactions with the young woman (Joan Fontaine). In these early moments he comes in and out, and Olivier simply is terrific, in doing just about everything he can do with the time that he has. He suggests a charming man, in a quiet fashion, but also suggests the perfect subtle haunted quality deep with Maxim which is incredibly fascinating.
Olivier romantic scenes with Joan Fontaine are quite interesting, because it is not an extremely warm or overly lovely relationship. Yet with the little time in which they are given I do believe both actors make the relationship work. They show an interesting dynamic between the two, that makes the romance understandable, and even still romantic in an internal fashion.
After they marry, Olivier comes in and out of the film as the new Mrs. de Winter deals this mysterious place. Olivier although he is not always on the screen, he still finds his ways into creating a fascinating character, that one does think of even when he is absent. Olivier when on screen though further displays something that is eating away at Maxim on the inside. It is something he covers up with anger and avoidance, and Olivier is brilliant creating the mystery behind the character without giving away what he really means.
When he finally does get to reveal the truth behind what haunts him, which is not what was to be expected. This is Olivier's showcase scene where he finally gets to show all of his hidden emotions completely upfront. It is simply a marvelous scene, which Olivier brilliantly indicated to through the rest of performance. It is a fascinating scene because of the rawness of Olivier performance in comparison to how his character had been before this scene. Olivier handles this pivotal scene perfectly showing every haunted and repressed emotion completely in a incredibly powerful scene.
After this scene Olivier once again does finally gain the focus of the film on him rather than on Fontaine as the rest of the film had been. Olivier once again shines as his character faces to lose all that he has due to the past with his deceased wife. Olivier is once again subtle and excellent in showing his hidden fear, pain, but as well as an outward strength to fight against his deceased wife's past, as well as her former lover. I really found his ending scene particularly fascinating where he finally shows a relief and a final loss of his haunted quality at last. Overall Olivier's performance is a strong, subtle, minimalistic performance, that is exceedingly effective.
Best Actor 1940: Charlie Chaplin in The Great Dictator
Charlie Chaplin received his second, or only acting nomination (depending how one looks at his nomination of sorts for the Circus) for portraying the dictator Adenoid Hynkel, and a Jewish barber in The Great Dictator.
The Great Dictator is a comedy which satirizes Adolf Hitler, and was made back when Adolf Hitler was still around.
Charlie Chaplin portrays a dual role of course so it is best to examine the two performances separately. Firstly Adenoid Hynkel clearly a parody of Adolf Hitler, especially since Chaplin's on screen persona strongly resembled Hitler. He plays this half his performance entirely for laughs. I would say he does succeed in doing this, although the question is how much of the humor comes from his direction and how much does it come from his actual performance.
For example his Hynkel speech that opens his scenes as Hynkel is certainly enjoyable. He is certainly good at being satirical in his over the top speeches that do satirize Hitler's speeches quite well. I will say though that the funniest part of this scene though is the translators quiet responses to Hynkel's overly emotional statements, which certianly are not part of Chaplin's performance but rather his script and direction.
I will say his performance does go back and forth to the matter of the comedy of Hynkel. It is always in part with many of the crazy things Hynkel does, but I will give Chaplin most certianly credit for his physical movements, and comedic timing which are both strong. I will say also though that Hynkel is not a particularly consistent character since after all shouldn't he have the Hitler voice all the time, and not revert to Chaplin's voice, but hey its a comedy so it really is fine anyways.
Now how about his performance as the Jewish Barber. Well I will say he does contrast the two characters well, showing Hynkel to be forceful but the Barber to be very restrained and quiet. The Barber is made certianly a nice little character by Chaplin. He is a charming nice man who really wants nothing more than to have a quiet life.
With the Jewish Barber I would again say the comedy that comes from his performance does come from both from his direction, but also most certainly his comedic reactions. I would say this is shown best with the scene where the five men are going to be chose for a suicidal mission by which one finds a coin in their pudding, but the problem is there is a coin in each of their puddings. The set up is funny, the music Chaplin uses is funny, as well is the reaction of the other men, but Chaplin's reactions are great as well, so his performance does compliment, or complete much of the comedy from Chaplin's direction.
The Barber is not a particularly complicated character though, he is just a nice little man with a nice little barbershop and a nice little lover interest. Chaplin though is good at being nice though. He is only really required to do more than be funny and nice, in his final scene. The final scene being a big dramatic speech not only to end the film, but also gives a message to the viewing audience basically to fight against the way of the Nazis. Chaplin's performance of the speech is intense, passionate, and powerful. I must say it really is technically out of character, but hey it does work, and he was doing it for a good cause so I really cannot fault him too much.
Overall this is a performance I admire very much, as well as enjoy. The only question is how much great acting does Chaplin technically do. Well that it hard to say, but being funny should not be overlooked I think, and I felt he was funny here. He did not make too really complex characters, but rather two effective ones still. He is not always consistent with either characters, but I feel these inconsistencies do work in his favor. I will say I am not completely sure of this rating but I will stay with it nonetheless, because although I might not let other actors get away with some of what he does, I also do not think any other actor really could have given a performance as effective as him in either part.
Charlie Chaplin portrays a dual role of course so it is best to examine the two performances separately. Firstly Adenoid Hynkel clearly a parody of Adolf Hitler, especially since Chaplin's on screen persona strongly resembled Hitler. He plays this half his performance entirely for laughs. I would say he does succeed in doing this, although the question is how much of the humor comes from his direction and how much does it come from his actual performance.
For example his Hynkel speech that opens his scenes as Hynkel is certainly enjoyable. He is certainly good at being satirical in his over the top speeches that do satirize Hitler's speeches quite well. I will say though that the funniest part of this scene though is the translators quiet responses to Hynkel's overly emotional statements, which certianly are not part of Chaplin's performance but rather his script and direction.
I will say his performance does go back and forth to the matter of the comedy of Hynkel. It is always in part with many of the crazy things Hynkel does, but I will give Chaplin most certianly credit for his physical movements, and comedic timing which are both strong. I will say also though that Hynkel is not a particularly consistent character since after all shouldn't he have the Hitler voice all the time, and not revert to Chaplin's voice, but hey its a comedy so it really is fine anyways.
Now how about his performance as the Jewish Barber. Well I will say he does contrast the two characters well, showing Hynkel to be forceful but the Barber to be very restrained and quiet. The Barber is made certianly a nice little character by Chaplin. He is a charming nice man who really wants nothing more than to have a quiet life.
With the Jewish Barber I would again say the comedy that comes from his performance does come from both from his direction, but also most certainly his comedic reactions. I would say this is shown best with the scene where the five men are going to be chose for a suicidal mission by which one finds a coin in their pudding, but the problem is there is a coin in each of their puddings. The set up is funny, the music Chaplin uses is funny, as well is the reaction of the other men, but Chaplin's reactions are great as well, so his performance does compliment, or complete much of the comedy from Chaplin's direction.
The Barber is not a particularly complicated character though, he is just a nice little man with a nice little barbershop and a nice little lover interest. Chaplin though is good at being nice though. He is only really required to do more than be funny and nice, in his final scene. The final scene being a big dramatic speech not only to end the film, but also gives a message to the viewing audience basically to fight against the way of the Nazis. Chaplin's performance of the speech is intense, passionate, and powerful. I must say it really is technically out of character, but hey it does work, and he was doing it for a good cause so I really cannot fault him too much.
Overall this is a performance I admire very much, as well as enjoy. The only question is how much great acting does Chaplin technically do. Well that it hard to say, but being funny should not be overlooked I think, and I felt he was funny here. He did not make too really complex characters, but rather two effective ones still. He is not always consistent with either characters, but I feel these inconsistencies do work in his favor. I will say I am not completely sure of this rating but I will stay with it nonetheless, because although I might not let other actors get away with some of what he does, I also do not think any other actor really could have given a performance as effective as him in either part.
Best Actor 1940: Raymond Massey in Abe Lincoln in Illinois
Raymond Massey received his only Oscar nomination for portraying Abraham Lincoln in Abe Lincoln in Illinois.
Abe Lincoln is a standard 40's biography film about Lincoln's early life to his success as a passionate politician.
Raymond Massey's portrayal of Lincoln is certainly aided by Massey's physique. He is quite believable as Lincoln, since he does resemble him quite well, which certainly does add to his portrayal. I will say though that this believability is not throughout his performance because at the beginning of the film he must portray the pretty young Lincoln. His early scene in the home is a bit silly, and Lincoln performance can't really be entirely realistic.
After this initial scene though Massey is able to come back well enough still, even though he does use a very particular voice as Lincoln. It is a bit unusual most certainly, but Lincoln was an unusual man, so I did feel it worked in that aspect. Although again as the younger exuberant Lincoln the over 40 Massey is not entirely believable but he still is fine and better than his first scene.
This is a 40's biography film so one thing that must be remembered is that there really is not too much negative material to found about Lincoln in the film. He is portrayed almost as an entirely great guy especially in the early scene of the film where he tries to find his place in the world. Lincoln is portrayed as properly nice by Massey and charming in a down home sort of way without laying on the niceness of Lincoln too much.
As the film goes on the believability of Massey certianly does grow. Massey is particularly good at showing the passion and strength behind Lincoln as he fights for the causes he believes in. He is particularly good in certian moments such as the debate scene with Stephen Douglas for Senator. Massey as Lincoln puts the right strong by respectful passion into his speech, which has the proper, power and strength.
Surprisingly enough there is just a little bit of a darker side shown involving Lincoln in the film which is his romantic life. He first has his loving but tragic relationship with Ann Rutledge , where Massey is properly charming, as well as properly saddened when tragedy hits. Lincoln though marries the cold Mary Todd. Massey shows actually shows a colder side of Lincoln in regards to this relationship that does work quite well without overriding the more heroic aspects of the character.
Overall I found this to be a fairly good performance as Abraham Lincoln. Not always completely believable in every aspect of Lincoln, but manages to be very strong in others. I will say it is a mixed performance that is I think more good, despite some lacking qualities. Massey does manage to still make an interesting portrait of Lincoln, that I would have actually liked to seen his Lincoln's journey during the civil war to his eventual death.
Raymond Massey's portrayal of Lincoln is certainly aided by Massey's physique. He is quite believable as Lincoln, since he does resemble him quite well, which certainly does add to his portrayal. I will say though that this believability is not throughout his performance because at the beginning of the film he must portray the pretty young Lincoln. His early scene in the home is a bit silly, and Lincoln performance can't really be entirely realistic.
After this initial scene though Massey is able to come back well enough still, even though he does use a very particular voice as Lincoln. It is a bit unusual most certainly, but Lincoln was an unusual man, so I did feel it worked in that aspect. Although again as the younger exuberant Lincoln the over 40 Massey is not entirely believable but he still is fine and better than his first scene.
This is a 40's biography film so one thing that must be remembered is that there really is not too much negative material to found about Lincoln in the film. He is portrayed almost as an entirely great guy especially in the early scene of the film where he tries to find his place in the world. Lincoln is portrayed as properly nice by Massey and charming in a down home sort of way without laying on the niceness of Lincoln too much.
As the film goes on the believability of Massey certianly does grow. Massey is particularly good at showing the passion and strength behind Lincoln as he fights for the causes he believes in. He is particularly good in certian moments such as the debate scene with Stephen Douglas for Senator. Massey as Lincoln puts the right strong by respectful passion into his speech, which has the proper, power and strength.
Surprisingly enough there is just a little bit of a darker side shown involving Lincoln in the film which is his romantic life. He first has his loving but tragic relationship with Ann Rutledge , where Massey is properly charming, as well as properly saddened when tragedy hits. Lincoln though marries the cold Mary Todd. Massey shows actually shows a colder side of Lincoln in regards to this relationship that does work quite well without overriding the more heroic aspects of the character.
Overall I found this to be a fairly good performance as Abraham Lincoln. Not always completely believable in every aspect of Lincoln, but manages to be very strong in others. I will say it is a mixed performance that is I think more good, despite some lacking qualities. Massey does manage to still make an interesting portrait of Lincoln, that I would have actually liked to seen his Lincoln's journey during the civil war to his eventual death.
Best Actor 1940
Henry Fonda in The Grapes of Wrath
Charlie Chaplin in The Great Dictator
James Stewart in The Philadelphia Story
Laurence Olivier in Rebecca
Raymond Massey in Abe Lincoln in Illinois
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