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Showing posts with label 1970. Show all posts
Showing posts with label 1970. Show all posts
Best Actor 1970: Results
Best Actor 1970: George C. Scott in Patton
George C. Scott won his Oscar from his third nomination for portraying George S. Patton in Patton.
Patton of course tells the story of General George S. Patton's victories, and problems during the second World War.
George C. Scott's performance is quite the legendary performance in this film, not only because of the quality of the performance, but also the effect the performance had on public perception. George C. Scott's portrayal of Patton has many times been almost juxtaposed over how the real Patton was frankly, so much so that many times when one mentions Patton it is the George C. Scott's portrayal of Patton that is thought of, not the actual Patton, it is simply a fascinating side effect of this performance.
There really is no question really why Scott's portrayal has had such an influence, from the very first moment of the film in the iconic American flag scene Scott instantly dominates the part. There simply is never one question in who Scott is in this film, he just is Patton, not for a moment do I feel that there is any apparent acting going in the part, Scott simply becomes the part.
Scott commands every moment with his awesome presence in this film. Patton was a larger than life figure, and Scott made him so just the same. He holds command over every moment, he just is fascinating to watch, because he simply pulls one in with the power for his performance. The most fascinating part is how easy Scott makes this command of Patton look, and that is why his performance is so incredibly effective.
What is amazing about Scott though is the way he combines the various of facets of Patton in such a compelling fashion. He is of course commanding in the part, but he does not ever treat Patton in a way of only the General, but always shows there is more to him than a single aspect of the man. He infuses a multitude of emotions and layers into Patton that never comprises another aspect of Patton, nor the overall towering strength of the performance.
Scott certainly is good as the commanding Patton, and quite entertaining as well, without ever making him anywhere near a parody, instead showing that Patton simply was entertaining. It is interesting to see when he is not as commanding as well, and when he faces disappointment or defeat in some way. Scott brilliantly uses these moments to add layers to Patton.
Scott shows that Patton does certianly feel personal defeats deeply inside himself, in scene which are almost completely silent in reaction. He particularly strong when he hears that he has been overlooked for a commanding position, and instead it has been given to his former second in command Omar Bradley (Karl Malden) instead. Scott reaction is subtle, but extremely effective showing that Patton can still be hurt despite his tough exterior.
Scott also insures that although Patton is a soldier, he shows more deeply into Patton's sense of a soldier. He does not show him as just a man who gives orders, or takes them, but Scott instead shows a deep philosophy behind Patton's view of being a soldier is something profound for him. Scott believes in a pride, and a strong will of a soldier, and his view of the shell shocked soldier is shown by Scott as almost just something he could not understand as a soldier, a soldier not willing to fight for anything from cowardice Scott shows is something simply against Patton's point of view.
Patton though has a deep respect for a wounded, or killed soldier, and it interesting to see the tenderness which Scott brings in his scenes of respect for his soldiers. Scott shows that Patton really does have a heart for his soldiers, and that there is nothing more to him than a true soldier in his view. Scott again never forces this aspect of Patton, but it comes as naturally as his scenes of command.
Perhaps one of the most challenging aspects of the part though might be the presentation of Patton's belief that he was a reincarnated several times as several groups of soldiers. Scott again never makes this seem unnatural which is frankly amazing. Scott once more presents this as part of the whole person who was Patton, as most certianly his belief, a belief he believed in strongly, even if it would seem it would conflict with the rest of the man such as his deep Christian beliefs, Scott though is able to make this contradiction entirely believable though.
George C. Scott performance as Patton is simply an outstanding performance. He takes a large than life figure, and fully realizes that figure. He never seems to be acting, in a performance that could have been filled with that, he never makes him a simple character, but a complex, complicated man. This is just simply one of the best winners in this category, and one of the performances period.
George C. Scott's performance is quite the legendary performance in this film, not only because of the quality of the performance, but also the effect the performance had on public perception. George C. Scott's portrayal of Patton has many times been almost juxtaposed over how the real Patton was frankly, so much so that many times when one mentions Patton it is the George C. Scott's portrayal of Patton that is thought of, not the actual Patton, it is simply a fascinating side effect of this performance.
There really is no question really why Scott's portrayal has had such an influence, from the very first moment of the film in the iconic American flag scene Scott instantly dominates the part. There simply is never one question in who Scott is in this film, he just is Patton, not for a moment do I feel that there is any apparent acting going in the part, Scott simply becomes the part.
Scott commands every moment with his awesome presence in this film. Patton was a larger than life figure, and Scott made him so just the same. He holds command over every moment, he just is fascinating to watch, because he simply pulls one in with the power for his performance. The most fascinating part is how easy Scott makes this command of Patton look, and that is why his performance is so incredibly effective.
What is amazing about Scott though is the way he combines the various of facets of Patton in such a compelling fashion. He is of course commanding in the part, but he does not ever treat Patton in a way of only the General, but always shows there is more to him than a single aspect of the man. He infuses a multitude of emotions and layers into Patton that never comprises another aspect of Patton, nor the overall towering strength of the performance.
Scott certainly is good as the commanding Patton, and quite entertaining as well, without ever making him anywhere near a parody, instead showing that Patton simply was entertaining. It is interesting to see when he is not as commanding as well, and when he faces disappointment or defeat in some way. Scott brilliantly uses these moments to add layers to Patton.
Scott shows that Patton does certianly feel personal defeats deeply inside himself, in scene which are almost completely silent in reaction. He particularly strong when he hears that he has been overlooked for a commanding position, and instead it has been given to his former second in command Omar Bradley (Karl Malden) instead. Scott reaction is subtle, but extremely effective showing that Patton can still be hurt despite his tough exterior.
Scott also insures that although Patton is a soldier, he shows more deeply into Patton's sense of a soldier. He does not show him as just a man who gives orders, or takes them, but Scott instead shows a deep philosophy behind Patton's view of being a soldier is something profound for him. Scott believes in a pride, and a strong will of a soldier, and his view of the shell shocked soldier is shown by Scott as almost just something he could not understand as a soldier, a soldier not willing to fight for anything from cowardice Scott shows is something simply against Patton's point of view.
Patton though has a deep respect for a wounded, or killed soldier, and it interesting to see the tenderness which Scott brings in his scenes of respect for his soldiers. Scott shows that Patton really does have a heart for his soldiers, and that there is nothing more to him than a true soldier in his view. Scott again never forces this aspect of Patton, but it comes as naturally as his scenes of command.
Perhaps one of the most challenging aspects of the part though might be the presentation of Patton's belief that he was a reincarnated several times as several groups of soldiers. Scott again never makes this seem unnatural which is frankly amazing. Scott once more presents this as part of the whole person who was Patton, as most certianly his belief, a belief he believed in strongly, even if it would seem it would conflict with the rest of the man such as his deep Christian beliefs, Scott though is able to make this contradiction entirely believable though.
George C. Scott performance as Patton is simply an outstanding performance. He takes a large than life figure, and fully realizes that figure. He never seems to be acting, in a performance that could have been filled with that, he never makes him a simple character, but a complex, complicated man. This is just simply one of the best winners in this category, and one of the performances period.
Best Actor 1970: Melvyn Douglas in I Never Sang For My Father
Melvyn Douglas received his second Oscar nomination for portraying Tom Garrison in I Never Sang For My Father.
I Never Sang for My Father is rather sad film about a father who tries to create a meaningful relationship with his aging father, after his mother has died.
Melvyn Douglas is the father Tom Gene Hackman is the son Gene. Gene Hackman who was nominated in the supporting category is the true lead in the film not Douglas. Douglas I would say boarders on both categories because he does have a few scenes were he dominates the film, but at the same he disappears from the film for some relatively long stretches.
Douglas first appears being not exactly the most original type of character, which is the stern and sometimes casually cruel father. Douglas is effective in handling this, and does try to make his own mark on this sort of character. Although it is not an entirely original character at this point, Douglas does a good job in showing clearly that this is just standard for Tom in his precise and commanding fashion toward Gene.
Melvyn Douglas is allowed to do more when his wife takes a turn for the worst. Douglas is given two scenes where he shows how much he honestly cared for his wife, which are both quite astounding. Douglas shows the saddening loss in his character quite brilliantly. I think a particularly strong moment in this is when he is looking at the different coffins for his wife's funeral. It is an interesting scene as he tries to sort out the coffins as well as his feelings around the change in his life.
Douglas after these scenes though he certianly disappears for a bit, and comes back when his daughter and his son attempt to deal with him. Douglas is again quite strong in his fight with his daughter, as he constantly defends himself by saying he has had a hard life, and according him his children were not making it in his mind that they owe him. Douglas is again good in showing that this simply his defense mechanism he always uses against his children, but also below it he does suggest a deeper sadness of his character, and a fear of being alone, as well as losing his mental capacity.
The most important moment of Douglas' whole performance is Tom's final talk with Gene at the very end of the film. It begins with them discussing both their own relationship as father and son, but also Tom's own relationship with his father. It is a fascinating scene between Hackman and Douglas because together they create what is an actual connection between father and son, and Douglas shows incredibly well the sad of history of his character, as well as the honest love he does have for his son as well.
After this though their conversation does a 180 when Gene announces he is leaving, but tries to convince Tom to come with him. It is amazing how they change from honest love, to hostility so quickly, but both actors make the change entirely convincing. Douglas is incredibly strong in presenting that Tom simply cannot give in to changing what he sees as right no matter, what even if it means completely losing his relationship with his son. Douglas' flawless change from emotional honesty and love, to emotional brutality, and defensiveness in Tom makes the final scene truly great, and truly heartbreaking. Overall Douglas' whole performance is a strong effective performance, that works exceedingly well with Gene Hackman's true lead performance.
Melvyn Douglas is the father Tom Gene Hackman is the son Gene. Gene Hackman who was nominated in the supporting category is the true lead in the film not Douglas. Douglas I would say boarders on both categories because he does have a few scenes were he dominates the film, but at the same he disappears from the film for some relatively long stretches.
Douglas first appears being not exactly the most original type of character, which is the stern and sometimes casually cruel father. Douglas is effective in handling this, and does try to make his own mark on this sort of character. Although it is not an entirely original character at this point, Douglas does a good job in showing clearly that this is just standard for Tom in his precise and commanding fashion toward Gene.
Melvyn Douglas is allowed to do more when his wife takes a turn for the worst. Douglas is given two scenes where he shows how much he honestly cared for his wife, which are both quite astounding. Douglas shows the saddening loss in his character quite brilliantly. I think a particularly strong moment in this is when he is looking at the different coffins for his wife's funeral. It is an interesting scene as he tries to sort out the coffins as well as his feelings around the change in his life.
Douglas after these scenes though he certianly disappears for a bit, and comes back when his daughter and his son attempt to deal with him. Douglas is again quite strong in his fight with his daughter, as he constantly defends himself by saying he has had a hard life, and according him his children were not making it in his mind that they owe him. Douglas is again good in showing that this simply his defense mechanism he always uses against his children, but also below it he does suggest a deeper sadness of his character, and a fear of being alone, as well as losing his mental capacity.
The most important moment of Douglas' whole performance is Tom's final talk with Gene at the very end of the film. It begins with them discussing both their own relationship as father and son, but also Tom's own relationship with his father. It is a fascinating scene between Hackman and Douglas because together they create what is an actual connection between father and son, and Douglas shows incredibly well the sad of history of his character, as well as the honest love he does have for his son as well.
After this though their conversation does a 180 when Gene announces he is leaving, but tries to convince Tom to come with him. It is amazing how they change from honest love, to hostility so quickly, but both actors make the change entirely convincing. Douglas is incredibly strong in presenting that Tom simply cannot give in to changing what he sees as right no matter, what even if it means completely losing his relationship with his son. Douglas' flawless change from emotional honesty and love, to emotional brutality, and defensiveness in Tom makes the final scene truly great, and truly heartbreaking. Overall Douglas' whole performance is a strong effective performance, that works exceedingly well with Gene Hackman's true lead performance.
Best Actor 1970: Ryan O'Neal in Love Story
Ryan O'Neal received his only Oscar nomination for portraying Oliver Barrett IV in Love Story.
Love Story name certainly does tell you exactly what the film is, it actually is finely made for what it is.
Ryan O'Neal performance here is much like the film, and one should look at it for what is which is the male side of the love story in this Love Story. Firstly and most importantly he does have terrific chemistry with Ali Macgraw, that was integral for the film. They are effective, and very realistic together really showing an honest relationship, especially since the whole film would be a failure if it all seemed at all false, but it doesn't because their properly authentic.
O'Neal and Macgraw show the evolution of their relationship very well. They begin as most Hollywood romances do being slightly antagonistic to one another. They get over this quickly though, and their instant mutual attraction is well handled by both. Their dynamic is quite interesting with her being constantly sardonic, and he being more needy emotionally. Both find the connection between the two that is there to really create the honesty in the love story.
O'Neal really shows a great strength in his performance though when he hears his she is going to die. His reaction is properly heartbreaking, as is his sad almost denial of what is happening, and eventually his acceptance of it. O'Neal is properly empathetic, and because of the honest relationship they built up to this point, this turn of events is made truly effective.
Their relationship continues along quite well, and both are extraordinarily effective in showing how they mature as a couple, and become more connected with one another as time goes on, and their relationship goes further along. They certianly have just an abundance of strong scenes together because they always bring out the true emotions including the scene of the famous(or infamous) line after they had a fight. The line alone sounds incredibly stupid, and perhaps it is, but in context of the film it works, because of their relationship simply works.
O'Neal performance also is slightly risky in that he does in fact play Oliver as a bit of a fancy boy in the manner he speaks, but it actually does work. O'Neal never really forces his emotional manner, or suggesting the upper class breeding of Oliver, he just brings it about quite naturally. O'Neal whole performance is quite effective actually, it is not an overly complex performance, but it is a heartfelt and truthful performance throughout the film.
Ryan O'Neal performance here is much like the film, and one should look at it for what is which is the male side of the love story in this Love Story. Firstly and most importantly he does have terrific chemistry with Ali Macgraw, that was integral for the film. They are effective, and very realistic together really showing an honest relationship, especially since the whole film would be a failure if it all seemed at all false, but it doesn't because their properly authentic.
O'Neal and Macgraw show the evolution of their relationship very well. They begin as most Hollywood romances do being slightly antagonistic to one another. They get over this quickly though, and their instant mutual attraction is well handled by both. Their dynamic is quite interesting with her being constantly sardonic, and he being more needy emotionally. Both find the connection between the two that is there to really create the honesty in the love story.
O'Neal really shows a great strength in his performance though when he hears his she is going to die. His reaction is properly heartbreaking, as is his sad almost denial of what is happening, and eventually his acceptance of it. O'Neal is properly empathetic, and because of the honest relationship they built up to this point, this turn of events is made truly effective.
Their relationship continues along quite well, and both are extraordinarily effective in showing how they mature as a couple, and become more connected with one another as time goes on, and their relationship goes further along. They certianly have just an abundance of strong scenes together because they always bring out the true emotions including the scene of the famous(or infamous) line after they had a fight. The line alone sounds incredibly stupid, and perhaps it is, but in context of the film it works, because of their relationship simply works.
O'Neal performance also is slightly risky in that he does in fact play Oliver as a bit of a fancy boy in the manner he speaks, but it actually does work. O'Neal never really forces his emotional manner, or suggesting the upper class breeding of Oliver, he just brings it about quite naturally. O'Neal whole performance is quite effective actually, it is not an overly complex performance, but it is a heartfelt and truthful performance throughout the film.
Best Actor 1970: Jack Nicholson in Five Easy Pieces
Jack Nicholson received his second Oscar nomination for portraying Robert Dupea in Five Easy Pieces.
Five Easy Pieces tells the story of a young man who seems to be a normal working class guy, but in actuality comes from upper class family of classical musicians.
This is Nicholson's first Oscar nomination for portraying the lead of a film, and it certianly is striking to see him here in his prime as an actor. Nicholson here is quite interesting because although he is quite clearly at the top of his form, there is less if what you normally see in a Nicholson performance, as he has not completely developed some of his trademarks yet, which he perfected in some of his later performance.
That is not a slight to his later performances nor this performance, it is just fascinating to see this incredibly raw Nicholson performance. In the opening of the film it shows him a just a working class man who is working at an oil field, and spends some time with his friends, and his girlfriend Rayette (Karen Black). Nicholson is natural and effective, in showing that Robert's life is a rather day to day routine, but as well he does suggest the underlining secrets of Robert.
A part of these early scenes are Robert's relationship with Rayette. Nicholson portrays this part of his character interestingly in that he is not at all romantic in these scenes, yet he makes the relationship entirely believable, and their scenes together have a fascinating dynamic that is rather harsh, as well as being incredibly interesting of the connection the two people create with one another anyways.
I think it best shown when he leaves to go on his trip where he harshly abandons her, but struggles with himself, and decides to bring her along after all. Nicholson naturally shows the very complex relationship, and all the conflicting emotions in the relationship with astounding ease.
Now soon enough though it is revealed that Robert was raised in the musical family, and that his father is sick, and therefore he goes on a trip to see his family once again. Here again it is just amazing when Nicholson arrives to see his family because of the complex relationship he has with every single members of his family.
Each relationship Nicholson is brilliant in creating, as he shows such a complex range of emotions with each member of his family. Firstly with his sister who he has a good ease with, yet Nicholson still suggests some distance from her, to his brother who he acts in almost a playful manner with but adds underneath it is possibly a more overt hatred of his brother, and just the pompous privilege he represents.
Even more important is his relationship with his brother's fiancee. With her he shows a hostility again, but as well suggests his desire for her as well. Nicholson has the perfect raw charm in these scenes that make her mutual attraction back to Robert completely believable. Than there is his relationship with his father who is unresponsive from a stroke. Nicholson shows the long history of his relation with his father silently but clearly until his final long talk with his father, were Nicholson is simply amazing.
Something I think that should be mentioned past his brilliant relationships Nicholson creates with Robert are just the classic Nicholson moments which can basically stand alone. They each are amazing moments where Nicholson's magnetic screen quality is the most prevalent and vivid. They include his scene where he does his big scene on the highway and plays a piano on the back of the truck, his anger at a diner who cannot fulfill his order, as well as his description of a Las Vegas revue he played at. Each of these scenes are classic moments on their own because just simply how good Nicholson is. Overall this a strong performance throughout punctuated well with classic Nicholson moments.
This is Nicholson's first Oscar nomination for portraying the lead of a film, and it certianly is striking to see him here in his prime as an actor. Nicholson here is quite interesting because although he is quite clearly at the top of his form, there is less if what you normally see in a Nicholson performance, as he has not completely developed some of his trademarks yet, which he perfected in some of his later performance.
That is not a slight to his later performances nor this performance, it is just fascinating to see this incredibly raw Nicholson performance. In the opening of the film it shows him a just a working class man who is working at an oil field, and spends some time with his friends, and his girlfriend Rayette (Karen Black). Nicholson is natural and effective, in showing that Robert's life is a rather day to day routine, but as well he does suggest the underlining secrets of Robert.
A part of these early scenes are Robert's relationship with Rayette. Nicholson portrays this part of his character interestingly in that he is not at all romantic in these scenes, yet he makes the relationship entirely believable, and their scenes together have a fascinating dynamic that is rather harsh, as well as being incredibly interesting of the connection the two people create with one another anyways.
I think it best shown when he leaves to go on his trip where he harshly abandons her, but struggles with himself, and decides to bring her along after all. Nicholson naturally shows the very complex relationship, and all the conflicting emotions in the relationship with astounding ease.
Now soon enough though it is revealed that Robert was raised in the musical family, and that his father is sick, and therefore he goes on a trip to see his family once again. Here again it is just amazing when Nicholson arrives to see his family because of the complex relationship he has with every single members of his family.
Each relationship Nicholson is brilliant in creating, as he shows such a complex range of emotions with each member of his family. Firstly with his sister who he has a good ease with, yet Nicholson still suggests some distance from her, to his brother who he acts in almost a playful manner with but adds underneath it is possibly a more overt hatred of his brother, and just the pompous privilege he represents.
Even more important is his relationship with his brother's fiancee. With her he shows a hostility again, but as well suggests his desire for her as well. Nicholson has the perfect raw charm in these scenes that make her mutual attraction back to Robert completely believable. Than there is his relationship with his father who is unresponsive from a stroke. Nicholson shows the long history of his relation with his father silently but clearly until his final long talk with his father, were Nicholson is simply amazing.
Something I think that should be mentioned past his brilliant relationships Nicholson creates with Robert are just the classic Nicholson moments which can basically stand alone. They each are amazing moments where Nicholson's magnetic screen quality is the most prevalent and vivid. They include his scene where he does his big scene on the highway and plays a piano on the back of the truck, his anger at a diner who cannot fulfill his order, as well as his description of a Las Vegas revue he played at. Each of these scenes are classic moments on their own because just simply how good Nicholson is. Overall this a strong performance throughout punctuated well with classic Nicholson moments.
Best Actor 1970: James Earl Jones in The Great White Hope
James Earl Jones received his only Oscar nomination for portraying Jack Jefferson in The Great White Hope.
The Great White Hope is the story of the first African American world boxing champion Jack Johnson except the names of the characters have been changed. The film despite having an interesting story as its basis is hampered down by the screenplay that did little to differentiate its self from its stage roots.
Jack Johnson is certainly a difficult character to portray since in real life he always carried a larger than life manner to himself, and never strove away from being flamboyant about his skill as a boxer or his ability to anger white people. James Earl Jones at the beginning of the film tries to imitate this aspect of Johnson right down to his very distinct smile.
James Earl Jones actually does do a good job at this aspect of Johnson's character, and Jones has the right charisma and presence in these scenes. He surely is a little annoying, and very flamboyant but that does indeed reflect the way of the real Jack Johnson, and Jones does a very good job suggesting the whole way and manner of Johnson.
Now one of aspect of the film that is heavily focused on is Jack's relationship with a white woman Eleanor (Jane Alexander). This is quite problematic for the film, because their relationship just does not work. I do not think that this is Jones' fault but rather Alexander's who is downright dull and uninteresting. She does nothing to add to the depiction of the relationship, and I although Jones tries to show a genuine relationship Alexander makes any effort on his part entirely wasted.
Jack's boxing wins and relationship with Eleanor gets him into trouble with the authorities, causing him to have to go to Europe, and subside off things like arm wrestling, and putting on a deamining show of Uncle Tom's cabin. Jones is good in showing the slow degradation of the spirits of Jack as he is forced to lower and lower things, eventually being given an offer to throw a fight against a white opponent. Jones is effective in showing his bitterness building up, and slowly losing his his trademark smile that he once had.
Jones's is effective in the role I think, despite the film holding a lot against him. Alexander makes it so the pivotal relationship amounts to nothing, and frankly many of the scenes could have allowed a more interesting performance if it was not so exceedingly stagy. Overall though his performance I think is good, but I think it could have been better with a better co-star and in a better film about the same subject.
Jack Johnson is certainly a difficult character to portray since in real life he always carried a larger than life manner to himself, and never strove away from being flamboyant about his skill as a boxer or his ability to anger white people. James Earl Jones at the beginning of the film tries to imitate this aspect of Johnson right down to his very distinct smile.
James Earl Jones actually does do a good job at this aspect of Johnson's character, and Jones has the right charisma and presence in these scenes. He surely is a little annoying, and very flamboyant but that does indeed reflect the way of the real Jack Johnson, and Jones does a very good job suggesting the whole way and manner of Johnson.
Now one of aspect of the film that is heavily focused on is Jack's relationship with a white woman Eleanor (Jane Alexander). This is quite problematic for the film, because their relationship just does not work. I do not think that this is Jones' fault but rather Alexander's who is downright dull and uninteresting. She does nothing to add to the depiction of the relationship, and I although Jones tries to show a genuine relationship Alexander makes any effort on his part entirely wasted.
Jack's boxing wins and relationship with Eleanor gets him into trouble with the authorities, causing him to have to go to Europe, and subside off things like arm wrestling, and putting on a deamining show of Uncle Tom's cabin. Jones is good in showing the slow degradation of the spirits of Jack as he is forced to lower and lower things, eventually being given an offer to throw a fight against a white opponent. Jones is effective in showing his bitterness building up, and slowly losing his his trademark smile that he once had.
Jones's is effective in the role I think, despite the film holding a lot against him. Alexander makes it so the pivotal relationship amounts to nothing, and frankly many of the scenes could have allowed a more interesting performance if it was not so exceedingly stagy. Overall though his performance I think is good, but I think it could have been better with a better co-star and in a better film about the same subject.
Best Actor 1970
Melvyn Douglas in I Never Sang for My Father
Ryan O'Neal in Love Story
George C. Scott in Patton
Jack Nicholson in Five Easy Pieces
James Earl Jones in The Great White Hope
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