Robert Mitchum in The Night of the Hunter
Henry Fonda in Mister Roberts
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Showing posts with label 1955. Show all posts
Showing posts with label 1955. Show all posts
Best Actor 1955: Results
Robert Mitchum in The Night of the Hunter
Henry Fonda in Mister Roberts
Best Actor 1955: Ernest Borgnine in Marty
Ernest Borgnine won an Oscar from his only nomination for portraying a lonely butcher Marty Piletti in Marty.
Marty I found to be quite enjoyable romantic film that I felt really had a sense of place in the Italian neighborhood in New York City, and simply had a nice story with some strong performances.
Ernest Borgnine before this role was only ever cast as a heavy, which he did play very effectively especially in From Here to Eternity and A Bad Day At Black. He excelled quite well in these fairly simple, abrasive roles, as Marty Borgnine plays a very different role, that of a very simple butcher with rather low self-esteem. Marty is a decent guy who really tries to be nice to everyone, but he he fails to find romance.
Marty is just a normal and guy, no extreme psycho drama, here just a pleasant man, and Borgnine shows that you can bring out a great performance even out of just a character who really is a pretty normal person. Borgnine begins in the film as just a normal guy, and Borgnine adds a certain realism to the film, and his performance, since not for a second did I question that he was Marty, he just was the part instantly. I like how he shows Marty go through his daily routine at the butcher shop, and then later hanging out with his rather thin headed friend Angie (Joe Mantell). He is just great showing his normal routine of Marty, how he somewhat passively goes through the motions of the day, clearly having done them for awhile and clearly bit tired of them too.
Borgnine perfectly shows the lonely disposition of the man in these early scenes. One scene he calls a potential romantic interest, but is quickly turned down. Borgnine is perfect at showing Marty's anxiousness at first, and his shy way of talking, then he truly effective in his very honestly sad reaction to being turned down once again. An even more powerful scene comes from his talk with his mother at the dinner table. Borgnine is brilliant in this scene, as Marty talks about himself, and his inability to find any one to like him. Marty frustrations, anger, sadness about his situation, are made absolutely powerful by Borgnine, especially in the way he says the "fat ugly man" line. Borgnine simply could not be better in showing all of Marty hangups which all shown so well in this one scene.
Marty later goes to a dance which he really had no interest in but was coaxed in to it. Marty happens to come across a school teacher Clara Snyder (Betsy Blair) who was left by her blind date. Borgnine really simply lights up the screen in the scene where he first meets her. The way he can't stop talking to her, because he finds someone who actually likes him for once. He is perfect in showing Marty downright uncontrollable enthusiasm with meeting her, and the way he tries to keep her happy at the same time. The way he keeps talking being perfectly amazed at his situation, but also always asking to make sure she is still fine with him. Borgnine and Blair work perfectly together because neither forget the certain aspects of the character. They do not instantly become perfect romantics. He does not act as he really has been on a lot dates and shows the right uneasiness and enthusiasm to the situation, and Blaire still stays properly shy.
Borgnine than brings her home, and after awhile he tries to get once kiss out of her, but she does not let him. Borgnine is again absolutely great in showing how Marty just wants to stop his loneliness and her slight rejection which more of comes from her shyness, causes Marty frustrations to come out once again. Later though when he takes her home, and is told that he should call her guaranteeing another date. Borgnine shows the truly happy Marty as well as possible. But Marty chances at true love are challenged by his friends and mother who do not like Clara.I like one more time Marty going into his usual routine of loneliness and boredom. Marty though finally forgets all that, saying he can't take it anymore and calls her. Borgnine is absolutely brilliant bringing Marty to this final moment. His performance is simply a brilliant natural performance. He shows everything there was to Marty and I really felt I met someone when I met Borgnine as Marty. That is a truly great performance.
Ernest Borgnine before this role was only ever cast as a heavy, which he did play very effectively especially in From Here to Eternity and A Bad Day At Black. He excelled quite well in these fairly simple, abrasive roles, as Marty Borgnine plays a very different role, that of a very simple butcher with rather low self-esteem. Marty is a decent guy who really tries to be nice to everyone, but he he fails to find romance.
Marty is just a normal and guy, no extreme psycho drama, here just a pleasant man, and Borgnine shows that you can bring out a great performance even out of just a character who really is a pretty normal person. Borgnine begins in the film as just a normal guy, and Borgnine adds a certain realism to the film, and his performance, since not for a second did I question that he was Marty, he just was the part instantly. I like how he shows Marty go through his daily routine at the butcher shop, and then later hanging out with his rather thin headed friend Angie (Joe Mantell). He is just great showing his normal routine of Marty, how he somewhat passively goes through the motions of the day, clearly having done them for awhile and clearly bit tired of them too.
Borgnine perfectly shows the lonely disposition of the man in these early scenes. One scene he calls a potential romantic interest, but is quickly turned down. Borgnine is perfect at showing Marty's anxiousness at first, and his shy way of talking, then he truly effective in his very honestly sad reaction to being turned down once again. An even more powerful scene comes from his talk with his mother at the dinner table. Borgnine is brilliant in this scene, as Marty talks about himself, and his inability to find any one to like him. Marty frustrations, anger, sadness about his situation, are made absolutely powerful by Borgnine, especially in the way he says the "fat ugly man" line. Borgnine simply could not be better in showing all of Marty hangups which all shown so well in this one scene.
Marty later goes to a dance which he really had no interest in but was coaxed in to it. Marty happens to come across a school teacher Clara Snyder (Betsy Blair) who was left by her blind date. Borgnine really simply lights up the screen in the scene where he first meets her. The way he can't stop talking to her, because he finds someone who actually likes him for once. He is perfect in showing Marty downright uncontrollable enthusiasm with meeting her, and the way he tries to keep her happy at the same time. The way he keeps talking being perfectly amazed at his situation, but also always asking to make sure she is still fine with him. Borgnine and Blair work perfectly together because neither forget the certain aspects of the character. They do not instantly become perfect romantics. He does not act as he really has been on a lot dates and shows the right uneasiness and enthusiasm to the situation, and Blaire still stays properly shy.
Borgnine than brings her home, and after awhile he tries to get once kiss out of her, but she does not let him. Borgnine is again absolutely great in showing how Marty just wants to stop his loneliness and her slight rejection which more of comes from her shyness, causes Marty frustrations to come out once again. Later though when he takes her home, and is told that he should call her guaranteeing another date. Borgnine shows the truly happy Marty as well as possible. But Marty chances at true love are challenged by his friends and mother who do not like Clara.I like one more time Marty going into his usual routine of loneliness and boredom. Marty though finally forgets all that, saying he can't take it anymore and calls her. Borgnine is absolutely brilliant bringing Marty to this final moment. His performance is simply a brilliant natural performance. He shows everything there was to Marty and I really felt I met someone when I met Borgnine as Marty. That is a truly great performance.
Best Actor 1955: James Dean in East of Eden
James Eden received his first posthumous Oscar nomination for portraying Caleb "Cal" Trask in East of Eden.
East is an okay film, although as an adaptation of the novel it is extremely truncated and some of the characters are poorly reduced especially the mother of Cal and Aron.
James Dean is simply one of the most mannered actors ever. He never stops doing his mannerisms ever through the film. He is moving around in his weird ways. Walking oddly, and looking at the ground constantly for no foreseeable reason, sitting in his own way on the train. He most certainly is over the top as Cal with the way he almost acts like a worm during time in the film. Something very interesting about that is that most actors who would give this sort of performance I and probably many others would not let the actor get away with it. Saying that the actor is just going over the top, and plays the role oddly.
But there is just something about Dean that lets him get away with it. Dean had some sort of certain charisma about him that enabled him to get away with his mannerisms. He some how despite the oddity of everything he does seems natural coming out of him. Still over the top but from Dean somehow it works. A reason perhaps why it works is that the character himself is suppose to be an outcast. Cal is not really suppose to get along with anyone despite seeking an acceptance of some sort, despite believing that he himself is bad. He particularity tries to gain acceptance from his distant father Adam (Raymond Massey), but finds they have trouble connecting. Dean's mannered performance certainly comes into conflict with Massey's much more to the point type of acting, but that actually adds to their relationship showing a clear disconnection from each other.
Dean I must say is fascinating from beginning to end in the film. Yes what he does seems odd, and strange at all times, but it does work well. His portrait of the angst ridden young man really is a perfect portrait, because of Dean. Yes it is because of his odd mannerisms, because they just add well to his performance. Odd for sure but I never felt they exactly seemed forced. Somehow Dean finds the way that his strange actions do add to his performance. They make Cal a memorable character and a full realized one. He has his mannerisms but Dean still does not forget to add a certain subtlety to his performance. Not a whole lot but enough so it is not always just over the top. But his over the top scenes do add the power of his performance. Such as when he tries to embrace his father after his father rejects his gift. Many scenes are strong just merely because of Dean performance even if it over the top. Due to Dean this film has one aspect that certainly is hard to forget.
East is an okay film, although as an adaptation of the novel it is extremely truncated and some of the characters are poorly reduced especially the mother of Cal and Aron. James Dean is simply one of the most mannered actors ever. He never stops doing his mannerisms ever through the film. He is moving around in his weird ways. Walking oddly, and looking at the ground constantly for no foreseeable reason, sitting in his own way on the train. He most certainly is over the top as Cal with the way he almost acts like a worm during time in the film. Something very interesting about that is that most actors who would give this sort of performance I and probably many others would not let the actor get away with it. Saying that the actor is just going over the top, and plays the role oddly.
But there is just something about Dean that lets him get away with it. Dean had some sort of certain charisma about him that enabled him to get away with his mannerisms. He some how despite the oddity of everything he does seems natural coming out of him. Still over the top but from Dean somehow it works. A reason perhaps why it works is that the character himself is suppose to be an outcast. Cal is not really suppose to get along with anyone despite seeking an acceptance of some sort, despite believing that he himself is bad. He particularity tries to gain acceptance from his distant father Adam (Raymond Massey), but finds they have trouble connecting. Dean's mannered performance certainly comes into conflict with Massey's much more to the point type of acting, but that actually adds to their relationship showing a clear disconnection from each other.
Dean I must say is fascinating from beginning to end in the film. Yes what he does seems odd, and strange at all times, but it does work well. His portrait of the angst ridden young man really is a perfect portrait, because of Dean. Yes it is because of his odd mannerisms, because they just add well to his performance. Odd for sure but I never felt they exactly seemed forced. Somehow Dean finds the way that his strange actions do add to his performance. They make Cal a memorable character and a full realized one. He has his mannerisms but Dean still does not forget to add a certain subtlety to his performance. Not a whole lot but enough so it is not always just over the top. But his over the top scenes do add the power of his performance. Such as when he tries to embrace his father after his father rejects his gift. Many scenes are strong just merely because of Dean performance even if it over the top. Due to Dean this film has one aspect that certainly is hard to forget.
Best Actor 1955: Frank Sinatra in The Man With the Golden Arm
Frank Sinatra received his second and final Oscar nomination for portraying Frankie Machine in The Man With the Golden Arm.
The Man with the Golden Arm is a film that has some good moments but it is a bit dull at other times, and it bit too repetitive.
Frank Sinatra plays here a heroin addict who has kicked the habit and wants to become a drummer, but finds that getting away from the drugs is harder than he would have expected. Apparently Sinatra commented that this performance would have been more deserving of an Oscar than his one in From Here to Eternity. I will agree that this performance is better than that one but that this one would not have been deserving either. Sinatra here begins the film as Frankie as he tries to make something of himself. Sinatra is okay at best in these standard scenes, of the guy who hangs out in the wrong places. The problem with these early scenes is that his performance just merely is not that interested. It is not that bad it just is a bit boring at times, he really does not make his character into anything special.
Later though Frankie finds he will have bigger problems when he falls back into his heroine habit. Sinatra is okay showing his depression as he goes back into the habit but he never is that good. He has some big scenes involving him going cold turkey to get off the drugs. These scenes would be challenging for any actor and Sinatra really does not succeed but he does not fail completely. I am glad that he does not overact these scenes at all, he tries to just portray them realistically. But Sinatra does come off as a bit false, I can see he is clearly trying hard to play the scene realistically, he does not overdo it, but he never comes off as a man really going cold turkey.
Sinatra really never has a great scene in this film, his best scene is his last scene with Eleanor Parker. He still is not amazing but again he does a fine job showing how the character has grown from his experiences. Overall though his performance is sometimes a bit dull, and only okay at best. He tries his best with the difficult scenes but never fully succeeds with them. I want to say that I do not hate Sinatra as an actor completely. I think he was very good in Von Ryan's Express and great in The Manchurian Candidate. I think he tries hard here he just does not succeed. I really wish he had been great and I was hoping this performance was going to be like his in The Manchurian Candidate but unfortunately it just is not.
Frank Sinatra plays here a heroin addict who has kicked the habit and wants to become a drummer, but finds that getting away from the drugs is harder than he would have expected. Apparently Sinatra commented that this performance would have been more deserving of an Oscar than his one in From Here to Eternity. I will agree that this performance is better than that one but that this one would not have been deserving either. Sinatra here begins the film as Frankie as he tries to make something of himself. Sinatra is okay at best in these standard scenes, of the guy who hangs out in the wrong places. The problem with these early scenes is that his performance just merely is not that interested. It is not that bad it just is a bit boring at times, he really does not make his character into anything special.
Later though Frankie finds he will have bigger problems when he falls back into his heroine habit. Sinatra is okay showing his depression as he goes back into the habit but he never is that good. He has some big scenes involving him going cold turkey to get off the drugs. These scenes would be challenging for any actor and Sinatra really does not succeed but he does not fail completely. I am glad that he does not overact these scenes at all, he tries to just portray them realistically. But Sinatra does come off as a bit false, I can see he is clearly trying hard to play the scene realistically, he does not overdo it, but he never comes off as a man really going cold turkey.
Sinatra really never has a great scene in this film, his best scene is his last scene with Eleanor Parker. He still is not amazing but again he does a fine job showing how the character has grown from his experiences. Overall though his performance is sometimes a bit dull, and only okay at best. He tries his best with the difficult scenes but never fully succeeds with them. I want to say that I do not hate Sinatra as an actor completely. I think he was very good in Von Ryan's Express and great in The Manchurian Candidate. I think he tries hard here he just does not succeed. I really wish he had been great and I was hoping this performance was going to be like his in The Manchurian Candidate but unfortunately it just is not.
Best Actor 1955: Spencer Tracy in A Bad Day At Black Rock
Spencer Tracy received his fifth Oscar nomination for portraying a one armed war veteran John J. Macreedy in A Bad Day At Black Rock.
A Bad Day At Black Rock is a very strong film in my opinion. Telling a incredibly suspenseful story of a stranger who comes into an isolated town looking for a Japanese man. The film moves along incredibly well, its acting, cinematography, and direction are all incredibly well handled. It was not nominated for best picture, but I would certainly have given John Sturges the win for best director.
If you have been reading my reviews I am sure you noticed I have not the biggest fan when it comes to Tracy's nominated performances. But still I always said I did not ate all of his performances or really him as an actor because of some of hit non nominated performances, and this performance. Here is the performance which shows the Spencer Tracy that is always talked about.
Tracy gives a mostly quiet performance here as the mysterious John J. Macreedy a mysterious man who does not receive much of a welcome into the isolated town of Black Rock. Tracy stays pretty withdrawn throughout his performance, and this begins when he first gets off the train. He always stays very unassuming, walking in an introverted way and never really standing up straight precisely. He walks along in a specific man that suggests a tired man who keeps to himself well, even though now he is looking for someone. Tracy is just perfect in the way he begins to ask around about a Japanese man he is looking for and gets less than friendly answers. Tracy carries himself perfectly letting us know enough about his character but still keeping a mystery about him that is incredibly effective.
I love the particular scenes where he shows the hidden strength of the character that is so subtly shown by Tracy. Especially strong scenes are when he questions the local King pin (Robert Ryan) about what exactly happened to the man. He is sitting down looking at the ground at times, only saying a few words, yet Tracy is just magnetic in this scene, as he tears apart the other man's lies, and reveals the man's hidden side. Every inflection in his voice, and the way he moves around even though he stays in the same spot is just brilliantly handled by Tracy. Another strong scene is when he stands toe to toe with another local tough (played by Co-Nominee Ernest Borgnine). Again Tracy is perfect in his quiet way of breaking down the man's threats and showing him for the stupid man he is.
His power in all of these scenes are amazing because Tracy is so quiet and withdrawn, he actually does not say that much but the little he says is as powerful as possible. There is only one scene where he really raises his voice and that is an all important scene where he can finally find out the truth about the man he is looking for. The way Tracy questions the guilty and the compliant is excellent. The way he dissects about everyone in the two is perfect and believable even with how withdrawn he always remains. The greatest part of his performance though I believe is what he shows about his character. Not very much is said about Macreedy, but Tracy very carefully gives little hints to who he really is. He never blurts it out loud but I felt I really met the man due to Tracy's brilliant hints he displayed very carefully throughout his performance. Here is the great Tracy performance, the one that should be talked about, where he does all that is said about him. He never seems like he really is acting but gives a truly great performance.
A Bad Day At Black Rock is a very strong film in my opinion. Telling a incredibly suspenseful story of a stranger who comes into an isolated town looking for a Japanese man. The film moves along incredibly well, its acting, cinematography, and direction are all incredibly well handled. It was not nominated for best picture, but I would certainly have given John Sturges the win for best director.If you have been reading my reviews I am sure you noticed I have not the biggest fan when it comes to Tracy's nominated performances. But still I always said I did not ate all of his performances or really him as an actor because of some of hit non nominated performances, and this performance. Here is the performance which shows the Spencer Tracy that is always talked about.
Tracy gives a mostly quiet performance here as the mysterious John J. Macreedy a mysterious man who does not receive much of a welcome into the isolated town of Black Rock. Tracy stays pretty withdrawn throughout his performance, and this begins when he first gets off the train. He always stays very unassuming, walking in an introverted way and never really standing up straight precisely. He walks along in a specific man that suggests a tired man who keeps to himself well, even though now he is looking for someone. Tracy is just perfect in the way he begins to ask around about a Japanese man he is looking for and gets less than friendly answers. Tracy carries himself perfectly letting us know enough about his character but still keeping a mystery about him that is incredibly effective.
I love the particular scenes where he shows the hidden strength of the character that is so subtly shown by Tracy. Especially strong scenes are when he questions the local King pin (Robert Ryan) about what exactly happened to the man. He is sitting down looking at the ground at times, only saying a few words, yet Tracy is just magnetic in this scene, as he tears apart the other man's lies, and reveals the man's hidden side. Every inflection in his voice, and the way he moves around even though he stays in the same spot is just brilliantly handled by Tracy. Another strong scene is when he stands toe to toe with another local tough (played by Co-Nominee Ernest Borgnine). Again Tracy is perfect in his quiet way of breaking down the man's threats and showing him for the stupid man he is.
His power in all of these scenes are amazing because Tracy is so quiet and withdrawn, he actually does not say that much but the little he says is as powerful as possible. There is only one scene where he really raises his voice and that is an all important scene where he can finally find out the truth about the man he is looking for. The way Tracy questions the guilty and the compliant is excellent. The way he dissects about everyone in the two is perfect and believable even with how withdrawn he always remains. The greatest part of his performance though I believe is what he shows about his character. Not very much is said about Macreedy, but Tracy very carefully gives little hints to who he really is. He never blurts it out loud but I felt I really met the man due to Tracy's brilliant hints he displayed very carefully throughout his performance. Here is the great Tracy performance, the one that should be talked about, where he does all that is said about him. He never seems like he really is acting but gives a truly great performance.
Best Actor 1955: James Cagney in Love Me or Leave Me
James Cagney received his third and final Oscar nomination for portraying gangster Martin Snyder in Love me or Leave Me.
Love Me or Leave Me is an okay film about a wannabe singer Ruth Etting (Doris Day) whose career is helped by Martin "The Gimp" Snyder through his gangster connections, but after awhile as Martin gains more control over her, the more Etting wants to get out.
Cagney was not a stranger to gangsters, having played them all the time throughout his career. His voice, his shape, his face just always worked well for the part. Snyder here is not the most violent gangster he played, or the most evil, in fact this is almost a lighter gangster for him, well until later in the film when the tone of the film becomes darker.
Something interesting about this gangster is that Snyder is that he is called "the gimp" therefore Cagney always walks with a limp. For Cagney I feel is a huge hindrance. That is because Cagney is such a physical actor in most of his performances. Cagney usually uses his whole body and his physical motions quite effectively in his performances, here he cannot do that due to the limp that the character has. Now this is not a huge problem since most performances from most actors do not contain such physicality, but still when Cagney does not do it, it feels like he is hindered.
Cagney's role here is a bit simple as the gangster. He as written is not too complicated. He is an easily irritated gangster who wants things one way his way. His character does not really change all that much through the film except getting more jealous and attempting to be more controlling. I must say Cagney does fit the part there is no doubt about that. He just looks and feels the part throughout the film. He has the right way of acting tough, and talking out of the side of his mouth, as he yells. His level of meanness is basically consistent throughout the film, except in one scene where he won't take no for an answer anymore from Ruth. Cagney actually in that scene is rather chilling. Most of the time though he is a pretty lightweight meanie, since the film tries to be that way most of the time.
Cagney shows the controlling nature of Marty very well, and certainly is always believable with his hair trigger into anger. Cagney does make it believable that Marty can get things done the way he is and can influence Ruth the way he does especially in a scene where he will not let her blow him off as she had done several times before. He gives Marty the right confidence and demeanor, with the right pathetic nature. The part though overall is not that much because Snyder is mostly just perpetual in his anger except for the very last scene of the film. I feel Cagney tries to add more from than in the words of the film showing some ambition in the character through his face, but still that is limited by the film. His biggest scene where he changes a little is the final scene where Marty must swallow his pride finally. Cagney is just fine in this scene just as he is in the role. He never is amazing, and a part like this seems pretty easy for Cagney, but still Cagney certainly fulfills the requirements of the limited role.
Cagney was not a stranger to gangsters, having played them all the time throughout his career. His voice, his shape, his face just always worked well for the part. Snyder here is not the most violent gangster he played, or the most evil, in fact this is almost a lighter gangster for him, well until later in the film when the tone of the film becomes darker.
Something interesting about this gangster is that Snyder is that he is called "the gimp" therefore Cagney always walks with a limp. For Cagney I feel is a huge hindrance. That is because Cagney is such a physical actor in most of his performances. Cagney usually uses his whole body and his physical motions quite effectively in his performances, here he cannot do that due to the limp that the character has. Now this is not a huge problem since most performances from most actors do not contain such physicality, but still when Cagney does not do it, it feels like he is hindered.
Cagney's role here is a bit simple as the gangster. He as written is not too complicated. He is an easily irritated gangster who wants things one way his way. His character does not really change all that much through the film except getting more jealous and attempting to be more controlling. I must say Cagney does fit the part there is no doubt about that. He just looks and feels the part throughout the film. He has the right way of acting tough, and talking out of the side of his mouth, as he yells. His level of meanness is basically consistent throughout the film, except in one scene where he won't take no for an answer anymore from Ruth. Cagney actually in that scene is rather chilling. Most of the time though he is a pretty lightweight meanie, since the film tries to be that way most of the time.
Cagney shows the controlling nature of Marty very well, and certainly is always believable with his hair trigger into anger. Cagney does make it believable that Marty can get things done the way he is and can influence Ruth the way he does especially in a scene where he will not let her blow him off as she had done several times before. He gives Marty the right confidence and demeanor, with the right pathetic nature. The part though overall is not that much because Snyder is mostly just perpetual in his anger except for the very last scene of the film. I feel Cagney tries to add more from than in the words of the film showing some ambition in the character through his face, but still that is limited by the film. His biggest scene where he changes a little is the final scene where Marty must swallow his pride finally. Cagney is just fine in this scene just as he is in the role. He never is amazing, and a part like this seems pretty easy for Cagney, but still Cagney certainly fulfills the requirements of the limited role.
Best Actor 1955
Spencer Tracy in A Bad Day At Black Rock
James Dean in East of Eden
Ernest Borgnine in Marty
Frank Sinatra in The Man With The Golden Arm
James Cagney in Love Me Or Leave Me
So for my year which will reach for me the mark of 100 nominees reviewed in the lead category, who is that you pick? Who do you predict?
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