Fred MacMurray in Double Indemnity
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Showing posts with label 1944. Show all posts
Showing posts with label 1944. Show all posts
Best Actor 1944: Results
Fred MacMurray in Double Indemnity
Best Actor 1944: Charles Boyer in Gaslight
Charles Boyer received his third Oscar nomination for portraying Gregory Anton in Gaslight.
Gaslight is a quite effective film about a woman who is does not know if she is going, or if there really is something nefarious going on around her.
Like most films which are thrillers like this film, spoilers must be mentioned to be able to really speak of the details of Charles Boyer's performance in this film. Charles Boyer's performance is in the line of the many mysterious man roles, which not that much is known of the past, but he is certainly is hiding something. This type of role honestly can make cause an actor to turn out some great performances example including my personal winner of 37 Robert Montgomery in Night Must Fall, as well as the unnominated Joseph Cotton in Shadow of a Doubt.
Charles Boyer was cast apparently cast against his usual type which is interesting because Boyer, always has a certain coldness to all his performances even his romantic ones. His coldness comes well into play in this film, that is most certian. The film begins though as Gregory Anton is the mysterious suitor of Ingrid Bergman's Paula. Boyer in these earliest of scenes just suggest the more usual Boyer performance, of the commanding , and not all the lovey French romantic.Boyer as usual though is fully believable in his romantic prowess as he had also been in Algiers.
There is more to be revealed of Gregory though when he marries Paula and they move into her old home where her famous Aunt had been murdered. It is here that Gregory shows a much darker side to himself. I think Boyer is properly effective in just these earliest of the scenes, by suggesting that Gregory certainly is hiding something, but still keeps a good enough of his romantic facade so that Paula does not possibly catch on to his true motives.
I think one key moment Boyer has is one of the few scenes after he and Paula get married where they actually go out which is to the tower of London. Boyer again is good in always showing how Gregory always is hiding something, and has the proper anxiousness when he slips up. Also important is when he looks at the crown jewels, and he shows a true lust in his body over the special jewelry, this is an important character trait to the story that Boyer establishes quite well and with believability, without bringing two much attention to it.
Soon though more of Gregory comes out as he starts controlling Paula in rather brutal, and extremely cold fashions. He never allows her to go out of there home, and constantly tells here that she is losing her mind. Boyer is quite chilling in these scenes, and I think it is not only what he does to her but how he does it. Boyer always is perfect here because he makes Gregory always act like what he is doing for her own good, and tries to act like he still is being warm to her, even though he is in fact being terribly cruel to her.
These scenes are rather difficult to watch because of his terrible cruelty he has to her, but they as well strangely fascinating because Boyer shows that he has almost absolute sway over her due to his constant manipulations of her. Boyer holds so much power over her it certainly is striking to watch. His very best scene though probably comes with Ingrid Bergman's best scene at the very end of the film where their roles are reversed. It is amazing to see Boyer completely lose his grasp on the situation, and finally reveal the cowardly pathetic man behind his cruel exterior. Boyer whole performance is strong effective layered performance, that works exceedingly well with Ingrid Bergman's performance.
Like most films which are thrillers like this film, spoilers must be mentioned to be able to really speak of the details of Charles Boyer's performance in this film. Charles Boyer's performance is in the line of the many mysterious man roles, which not that much is known of the past, but he is certainly is hiding something. This type of role honestly can make cause an actor to turn out some great performances example including my personal winner of 37 Robert Montgomery in Night Must Fall, as well as the unnominated Joseph Cotton in Shadow of a Doubt.
Charles Boyer was cast apparently cast against his usual type which is interesting because Boyer, always has a certain coldness to all his performances even his romantic ones. His coldness comes well into play in this film, that is most certian. The film begins though as Gregory Anton is the mysterious suitor of Ingrid Bergman's Paula. Boyer in these earliest of scenes just suggest the more usual Boyer performance, of the commanding , and not all the lovey French romantic.Boyer as usual though is fully believable in his romantic prowess as he had also been in Algiers.
There is more to be revealed of Gregory though when he marries Paula and they move into her old home where her famous Aunt had been murdered. It is here that Gregory shows a much darker side to himself. I think Boyer is properly effective in just these earliest of the scenes, by suggesting that Gregory certainly is hiding something, but still keeps a good enough of his romantic facade so that Paula does not possibly catch on to his true motives.
I think one key moment Boyer has is one of the few scenes after he and Paula get married where they actually go out which is to the tower of London. Boyer again is good in always showing how Gregory always is hiding something, and has the proper anxiousness when he slips up. Also important is when he looks at the crown jewels, and he shows a true lust in his body over the special jewelry, this is an important character trait to the story that Boyer establishes quite well and with believability, without bringing two much attention to it.
Soon though more of Gregory comes out as he starts controlling Paula in rather brutal, and extremely cold fashions. He never allows her to go out of there home, and constantly tells here that she is losing her mind. Boyer is quite chilling in these scenes, and I think it is not only what he does to her but how he does it. Boyer always is perfect here because he makes Gregory always act like what he is doing for her own good, and tries to act like he still is being warm to her, even though he is in fact being terribly cruel to her.
These scenes are rather difficult to watch because of his terrible cruelty he has to her, but they as well strangely fascinating because Boyer shows that he has almost absolute sway over her due to his constant manipulations of her. Boyer holds so much power over her it certainly is striking to watch. His very best scene though probably comes with Ingrid Bergman's best scene at the very end of the film where their roles are reversed. It is amazing to see Boyer completely lose his grasp on the situation, and finally reveal the cowardly pathetic man behind his cruel exterior. Boyer whole performance is strong effective layered performance, that works exceedingly well with Ingrid Bergman's performance.
Best Actor 1944: Alexander Knox in Wilson
Alexander Knox received his only Oscar nomination for portraying President Woodrow Wilson in Wilson.
Wilson is a very old fashioned biography, where the subject of the biography is just about perfect, and this certainly is an enjoyable film of this type.
Alexander Knox must portray the just about perfect Wilson. Wilson is probably not the greatest character, or least displayed in this movie to have to portray. It automatically reduces the actors ability at portraying range, sense Wilson is shown to almost always as a calm controlled man, in fact when he becomes the least like himself it is only stated as such off screen.
Knox therefore has quite a challenge lined out for himself, since it is required to portray Wilson in a fairly restrained fashion, but at the same time he must also make him a compelling character nonetheless. The fascinating thing is Knox does indeed manage to be interesting as Wilson, and finds a colorful way to portray Wilson's properness, to make it actually rather endearing, while still making Wilson a rather upright citizen.
Knox manages to make Wilson a very likable character, when he could have been easily an overly stuffy character. Knox though manages to find the right charm within Wilson, even if it is a rather proper charm for this proper man. Knox always finds the humanity within the character, he never portrays him as just an espouser of principals, but instead a man first of all, but a man with principals.
Knox is able to delve into Wilson's personal life, and he carefully handles these scenes without comprises the whole of the character, but adding the right amount of heart into his performance. He shows Wilson's softer sides in two scenes especially one where he talks about his early days with his first days, where Knox has the perfect honest emotion to make the scene quite heartbreaking. Later Knox once again is able to show Wilson's more personal life with Wilson's courting of his second wife. A lot of time is not devoted to their relationship, but Knox takes what he has and always shows the right underlying warmness he has for his second wife, that really works well.
The most important aspect of his performance though is whether or not he can come off as presidential material, which Knox does with ease. Knox has a whole slew of scenes of speeches, and with each one he holds absolute attention with his precise, and passionate delivery. Knox does a great job in showing how Wilson has to adjust for every different situation, and finds the right tone for each scene, showing the right charisma and passion whether it is a huge crowd, in front of just his cabinet, or facing against the German ambassador.
His best speech though is his closing speech where he is exhausted from trying to promote accepting the league of nations. It is an incredible scene where he struggles to get through to with his ideal he holds so high, and eventually is unable to continue. It is an extremely powerful moment, and probably his best scene. His whole performance is good, Knox shows here that even though a character can be just about perfect, it can most certainly still be an interesting character.
Alexander Knox must portray the just about perfect Wilson. Wilson is probably not the greatest character, or least displayed in this movie to have to portray. It automatically reduces the actors ability at portraying range, sense Wilson is shown to almost always as a calm controlled man, in fact when he becomes the least like himself it is only stated as such off screen.
Knox therefore has quite a challenge lined out for himself, since it is required to portray Wilson in a fairly restrained fashion, but at the same time he must also make him a compelling character nonetheless. The fascinating thing is Knox does indeed manage to be interesting as Wilson, and finds a colorful way to portray Wilson's properness, to make it actually rather endearing, while still making Wilson a rather upright citizen.
Knox manages to make Wilson a very likable character, when he could have been easily an overly stuffy character. Knox though manages to find the right charm within Wilson, even if it is a rather proper charm for this proper man. Knox always finds the humanity within the character, he never portrays him as just an espouser of principals, but instead a man first of all, but a man with principals.
Knox is able to delve into Wilson's personal life, and he carefully handles these scenes without comprises the whole of the character, but adding the right amount of heart into his performance. He shows Wilson's softer sides in two scenes especially one where he talks about his early days with his first days, where Knox has the perfect honest emotion to make the scene quite heartbreaking. Later Knox once again is able to show Wilson's more personal life with Wilson's courting of his second wife. A lot of time is not devoted to their relationship, but Knox takes what he has and always shows the right underlying warmness he has for his second wife, that really works well.
The most important aspect of his performance though is whether or not he can come off as presidential material, which Knox does with ease. Knox has a whole slew of scenes of speeches, and with each one he holds absolute attention with his precise, and passionate delivery. Knox does a great job in showing how Wilson has to adjust for every different situation, and finds the right tone for each scene, showing the right charisma and passion whether it is a huge crowd, in front of just his cabinet, or facing against the German ambassador.
His best speech though is his closing speech where he is exhausted from trying to promote accepting the league of nations. It is an incredible scene where he struggles to get through to with his ideal he holds so high, and eventually is unable to continue. It is an extremely powerful moment, and probably his best scene. His whole performance is good, Knox shows here that even though a character can be just about perfect, it can most certainly still be an interesting character.
Best Actor 1944: Cary Grant in None But the Lonely Heart
Cary Grant received his second and final Oscar nomination for portraying Ernie Mott in None but the Lonely Heart.
None but the Lonely heart is a film about aimless young cockney on the streets of London before World War II.
Cary Grant is of course a wrongly nominated as well as under-nominated performer, who despite excelling best as romantic comedy lead, he was never nominated for a role in that genre. Instead he was nominated in a romance Penny Serenade, but also unfortunately for this film which should be an intense character study of the aimless Ernie Mott.
The filmmakers really severely miscast Grant as Ernie Mott. Firstly the character is suppose to be in his teens in the film, but Grant was already 40 at the time of the films release. It is incredibly noticeable not only because characters mention Mott's age, and it just comes off a laughable when Grant is mentioned as going to be 17. His age though is further problematic, becuase it throws the whole story off, since the film is written as a young man being aimless not as an almost middle aged man being aimless.
Another reason Grant is miscast is because the character is cockney. The usually suave Grant is just not very believable as a cockney. Archie Leach really had become Cary Grant by this time, and really he just is not convincing as a cockney. He does not make it anymore convincing through his cockney accent he attempts. A rather inconsistent, and distracting accent. It is easy to tell that Grant is always trying to cover up his suave refined voice, and it just doesn't work.
Being severely miscast does not automatically mean a performance will be bad, in fact some actors show a great range when being miscast, but Cary Grant does not do this in this role. His whole performance is a misplaced effort to begin with, it is not much of an effort to begin with. Grant is most certainly quite handicapped in the role. He is not able to use any of his ample charm, or comedic power in this extremely serious role, but still that is not all that is wrong with his performance.
The character of Ernie Mott should be that of a pained angry, but still an exuberant young man. Grant is none of these things, His aimlessness seems like it would come more from laziness in Grant's Mott than due to his anger with society or anything like that. Grant's whole performance just lacks any sort of passion that one would think should be in the character of Mott. Mott should have some sort of raw quality in the character, but Grant shows none of this.
Grant fails to ever give a compelling characterization because the character really is just out of his range at this time in Grant's career, he really is just too old for any part of the performance. He is not anything special in this film, his romances seem a little forced, because he lacks the energy the part probably needed. His whole struggle on the streets comes off as uninteresting, because of his entire lack of command in this performance.
Grant is miscast in this role, and he never invests very much into the role. This is made abundantly clear by the way some of his line readings are extremely stilted. I will say that I do think he does have a few good reactions here, and there, and I do give him credit for attempting at least attempting to be a convincing street cockney, but still this just is a lackluster performance, that shows little to none of Grant's considerable charisma and screen presence. This performance stands as a reminder to one the academy most obvious mistreatment of an actor.
Cary Grant is of course a wrongly nominated as well as under-nominated performer, who despite excelling best as romantic comedy lead, he was never nominated for a role in that genre. Instead he was nominated in a romance Penny Serenade, but also unfortunately for this film which should be an intense character study of the aimless Ernie Mott.
The filmmakers really severely miscast Grant as Ernie Mott. Firstly the character is suppose to be in his teens in the film, but Grant was already 40 at the time of the films release. It is incredibly noticeable not only because characters mention Mott's age, and it just comes off a laughable when Grant is mentioned as going to be 17. His age though is further problematic, becuase it throws the whole story off, since the film is written as a young man being aimless not as an almost middle aged man being aimless.
Another reason Grant is miscast is because the character is cockney. The usually suave Grant is just not very believable as a cockney. Archie Leach really had become Cary Grant by this time, and really he just is not convincing as a cockney. He does not make it anymore convincing through his cockney accent he attempts. A rather inconsistent, and distracting accent. It is easy to tell that Grant is always trying to cover up his suave refined voice, and it just doesn't work.
Being severely miscast does not automatically mean a performance will be bad, in fact some actors show a great range when being miscast, but Cary Grant does not do this in this role. His whole performance is a misplaced effort to begin with, it is not much of an effort to begin with. Grant is most certainly quite handicapped in the role. He is not able to use any of his ample charm, or comedic power in this extremely serious role, but still that is not all that is wrong with his performance.
The character of Ernie Mott should be that of a pained angry, but still an exuberant young man. Grant is none of these things, His aimlessness seems like it would come more from laziness in Grant's Mott than due to his anger with society or anything like that. Grant's whole performance just lacks any sort of passion that one would think should be in the character of Mott. Mott should have some sort of raw quality in the character, but Grant shows none of this.
Grant fails to ever give a compelling characterization because the character really is just out of his range at this time in Grant's career, he really is just too old for any part of the performance. He is not anything special in this film, his romances seem a little forced, because he lacks the energy the part probably needed. His whole struggle on the streets comes off as uninteresting, because of his entire lack of command in this performance.
Grant is miscast in this role, and he never invests very much into the role. This is made abundantly clear by the way some of his line readings are extremely stilted. I will say that I do think he does have a few good reactions here, and there, and I do give him credit for attempting at least attempting to be a convincing street cockney, but still this just is a lackluster performance, that shows little to none of Grant's considerable charisma and screen presence. This performance stands as a reminder to one the academy most obvious mistreatment of an actor.
Best Actor 1944: Barry Fitzgerald in Going My Way
Barry Fitzgerald received his only lead actor nomination, the same year he won his supporting Oscar, he received both of the nominations for portraying Father Fitzgibbon in the same film Going My Way.
Barry Fitzgerald's dual nomination most certainly is an Oscar oddity, the academy must have really liked this performance to nominate him in both categories, but apparently they were confused as well as whether or not he was co-lead with Bing Crosby or was supporting to him.
Fitzgerald's character certainly is important to the story, and he does have a good amount of screen time. He still has considerable less screen time than Bing Crosby though. There are many scenes, and storyline that involve him only a little or not at all. Fitzgerald in fact only really interacts with Crosby, although he has some very minor moments with a few other characters, but not very long moments.
Barry Fitzgerald I would say is a supporting actor in the film, despite being a very important supporting player. His part of the story, I also feel is the best part of the film, and his story is most certainly the most interesting, and most effective part of the film. His story concerns the fact that Father Fitzgibbon is getting on in years, he is not as sharp as he use to be, and is having trouble being able to keep his church going due to the church's financial debt.
Barry Fitzgerald actually creates quite an interesting and vivid portrait of this nice old priest. This performance may seem less than it is if you have not seen other performances by Fitzgerald. Fitzgerald actually has a whole distinct manner as the modest, quiet priest, that is very distinctly original, and different from Fitzgerald's other performances. Fitzgerald has the manner in the way he walks and talks that really feels like just an authentic old Irish priest.
Fitzgerald's whole performance feels quite natural, in a film that certainly has some artificial feeling sentimentality. This is despite the fact that Fitzgerald "acts" more than one may think in the role, but you can't notice it because Fitzgerald does all of it in such a subtle and honest fashion. He never seems to be acting out in any way, but rather finds just the actual humanity of the character.
Fitzgerald's story is the most effective because of Fitzgerald. He makes Fitzgibbon such a likable character, even when he is fighting with Crosby's character, because Fitzgerald portrays the part in his honest way, his whole portrait of Fitzgibbon is just hard to resist not liking.He has his own distinct charm, a quiet charm, but hard to resist one that Fitzgerald perfectly utilizes as Fitzgibbon.
Fitzgerald's story in the film is the most deeply moving in showing how much his character has given up for his parish, and how he feels his betrayal by being replaced by Father O'Malley. Fitzgerald does not show Fitzgibbon's feelings of disappointment in anger, but rather in a just a subtle disappointment, and sadness that shows a deeper effect on Fitzgibbon than if he was more external about his feelings.
Fitzgerald though just as well, displays Fitzgibbon's slow coming around to O'Malley quite well. It is not an incredible transformation by any means, but one handled well by Fitzgerald nonetheless. Fitzgerald presents his his eventual friendship with Crosby, well, and Fitzgerald shows it not as a change in character, but more of just an acceptance, and understanding of the situation.
Fitzgerald's best moments come from his reflections about his mother though. Fitzgerald is able to convey a true honest love that Fitzgibbons has for his mother beautifully. He attaches this along with Tura lura Lural, which although the film does not say it, Fitzgerald makes it quite clear that Fitzgibbons attaches the song with his mother who he holds so dear, but has not seen in a very long time. It this honest love that makes his story the only part of the film that is honestly effecting, as that Fitzgerald's final reaction at the end of the film gets me every single time.
This is indeed a supporting performance, but that does not all take away from the strength of the performance. It is a delightful performance nonetheless filled with genuine emotion, that succeeds in being a natural authentic performance. This is all despite being amidst some rather forced and sometimes artificial emotion. Fitzgerald manages to rise high above the rest of the film in his wonderful performance.
Fitzgerald's character certainly is important to the story, and he does have a good amount of screen time. He still has considerable less screen time than Bing Crosby though. There are many scenes, and storyline that involve him only a little or not at all. Fitzgerald in fact only really interacts with Crosby, although he has some very minor moments with a few other characters, but not very long moments.
Barry Fitzgerald I would say is a supporting actor in the film, despite being a very important supporting player. His part of the story, I also feel is the best part of the film, and his story is most certainly the most interesting, and most effective part of the film. His story concerns the fact that Father Fitzgibbon is getting on in years, he is not as sharp as he use to be, and is having trouble being able to keep his church going due to the church's financial debt.
Barry Fitzgerald actually creates quite an interesting and vivid portrait of this nice old priest. This performance may seem less than it is if you have not seen other performances by Fitzgerald. Fitzgerald actually has a whole distinct manner as the modest, quiet priest, that is very distinctly original, and different from Fitzgerald's other performances. Fitzgerald has the manner in the way he walks and talks that really feels like just an authentic old Irish priest.
Fitzgerald's whole performance feels quite natural, in a film that certainly has some artificial feeling sentimentality. This is despite the fact that Fitzgerald "acts" more than one may think in the role, but you can't notice it because Fitzgerald does all of it in such a subtle and honest fashion. He never seems to be acting out in any way, but rather finds just the actual humanity of the character.
Fitzgerald's story is the most effective because of Fitzgerald. He makes Fitzgibbon such a likable character, even when he is fighting with Crosby's character, because Fitzgerald portrays the part in his honest way, his whole portrait of Fitzgibbon is just hard to resist not liking.He has his own distinct charm, a quiet charm, but hard to resist one that Fitzgerald perfectly utilizes as Fitzgibbon.
Fitzgerald's story in the film is the most deeply moving in showing how much his character has given up for his parish, and how he feels his betrayal by being replaced by Father O'Malley. Fitzgerald does not show Fitzgibbon's feelings of disappointment in anger, but rather in a just a subtle disappointment, and sadness that shows a deeper effect on Fitzgibbon than if he was more external about his feelings.
Fitzgerald though just as well, displays Fitzgibbon's slow coming around to O'Malley quite well. It is not an incredible transformation by any means, but one handled well by Fitzgerald nonetheless. Fitzgerald presents his his eventual friendship with Crosby, well, and Fitzgerald shows it not as a change in character, but more of just an acceptance, and understanding of the situation.
Fitzgerald's best moments come from his reflections about his mother though. Fitzgerald is able to convey a true honest love that Fitzgibbons has for his mother beautifully. He attaches this along with Tura lura Lural, which although the film does not say it, Fitzgerald makes it quite clear that Fitzgibbons attaches the song with his mother who he holds so dear, but has not seen in a very long time. It this honest love that makes his story the only part of the film that is honestly effecting, as that Fitzgerald's final reaction at the end of the film gets me every single time.
This is indeed a supporting performance, but that does not all take away from the strength of the performance. It is a delightful performance nonetheless filled with genuine emotion, that succeeds in being a natural authentic performance. This is all despite being amidst some rather forced and sometimes artificial emotion. Fitzgerald manages to rise high above the rest of the film in his wonderful performance.
Best Actor 1944: Bing Crosby in Going My Way
Bing Crosby won his Oscar from his first nomination for portraying Father Chuck O'Malley in Going My Way.
Going My Way is a rather sugary film, and I do sort of like it in its bits and pieces. Not really so much for some of its plot lines like the runaway girl, the mean banker, the rowdy local boys, the opera singer, or even so much about saving the church, but rather more of for just the songs, and the story of the aging priest Father Fitzgibbon (but I will get to that in my next review).
Bing Crosby was twice nominated for portraying Father O'Malley. This being this first time, and I must say one can defend this performance just a little by comparing it to his reprise in Bells of St. Mary's. In Bells he was exceedingly dull, and his character acted quite strangely. In Going My Way he is indeed a little better, because he is not nearly as dull, since he does infuse a bit of energy in this performance, and O'Malley is basically perfect in this film which suits Crosby better than the bizarrely written O'Malley of Bells.
Crosby though still does not do all that much with old O'Malley. O'Malley basically just needs to be a charming guy, who does not go any actual emotional changes throughout the film. O'Malley instead just stays a nice guy throughout the film. Crosby is indeed fine enough as being O'Malley, having a nice enough charm, as well as being a nice singer of course. After just being charming enough though, although not exceedingly so. Crosby is nor required to much of anything, leaving his performance I suppose a nice enough display of charm, but nothing that ever needed to be rewarded acting wise.
Bing Crosby was twice nominated for portraying Father O'Malley. This being this first time, and I must say one can defend this performance just a little by comparing it to his reprise in Bells of St. Mary's. In Bells he was exceedingly dull, and his character acted quite strangely. In Going My Way he is indeed a little better, because he is not nearly as dull, since he does infuse a bit of energy in this performance, and O'Malley is basically perfect in this film which suits Crosby better than the bizarrely written O'Malley of Bells.
Crosby though still does not do all that much with old O'Malley. O'Malley basically just needs to be a charming guy, who does not go any actual emotional changes throughout the film. O'Malley instead just stays a nice guy throughout the film. Crosby is indeed fine enough as being O'Malley, having a nice enough charm, as well as being a nice singer of course. After just being charming enough though, although not exceedingly so. Crosby is nor required to much of anything, leaving his performance I suppose a nice enough display of charm, but nothing that ever needed to be rewarded acting wise.
Best Actor 1944
Alexander Knox in Wilson
Charles Boyer in Gaslight
Bing Crosby in Going My Way
Barry Fitzgerald in Going My Way
Cary Grant in None But the Lonely Heart
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