Clint Eastwood in Dirty Harry
Michael Caine in Get Carter
Gene Wilder in Willy Wonka and the Chocolate Factory
|
|
|---|
Showing posts with label 1971. Show all posts
Showing posts with label 1971. Show all posts
Best Actor 1971: Results
Clint Eastwood in Dirty Harry
Michael Caine in Get Carter
Gene Wilder in Willy Wonka and the Chocolate Factory
Best Actor 1971: Gene Hackman in The French Connection
Gene Hackman won his first Oscar from his third nomination for portraying Jimmy "Popeye" Doyle in The French Connection.
The French Connection tells the story of a plan to transfer heroine from France to the United States, and the method in which the police found and unraveled the plot.
There are certian types of performances, that certainly can be written off quickly, because perhaps there are not constant dramatic scenes involved in their performances, a performance like this is by Gene Hackman's in the French Connection. A performance like his should not be written off as a lacking or unspectacular because it is not filled with scenes which main purpose is to simple allow him to dramatically act out a scene.
Gene Hackman's performance here I find is quite strong as the tough, loud, narcotics detective "Popeye" Doyle. I find part of what is so strong about his performances is that it does not have scenes that are there to develop his character, yet I find his character is incredibly well developed nonetheless. Hackman develops Popeye as the film the proceeds rather doing it in specific scenes just for that. Hackman manages to do it well the plot proceeds forward through the film, and quite well, because I felt I found out a lot about Popeye from his time in the film.
Hackman portrays Doyle's tough complete command of the street particularly well. Now I think this is something that is generally not given enough credit. Being tough, and really being street smart is something is not really as easy as some might think, and to seem really authentically a cop like Popeye is an achievement. Hackman does this quite well, and I particularly find him strong in this aspect when ever he is dealing with a suspect. His dominance over them is appropriately controlling, commanding, and most of all realistic.
Also something else I think Hackman really does well is give charming memorable performance that one can easily follow through the complex story of finding the crime. He is simply a charming strong presence that permeates throughout the film quite well. Due to Hackman I could easily follow along with him to the end of the crime, and more thoroughly feel the set backs and the successes of the investigation.
The strongest part of his performance though perhaps is the incredible drive he shows in Popeye. Perhaps an insane, obsessive drive to get what he wants. I really like Hackman whole process through Popeye's obsession from the start of the crime to its end. From the beginning where he obsessively searches for suspects although interestingly in a casual fashion. The obsession grows in Hackman's performance quite well. He pretty subtly shows it through earnestness for awhile untill near the end of the film where it is sparked the most. When his full on obsession comes out Hackman becomes quite chilling in the role, showing the full extent of Popeye's uncontrolled need for closure and control of the case. Overall Hackman gives a performance I enjoy very much, an interesting, effective and most of all memorable performance.
There are certian types of performances, that certainly can be written off quickly, because perhaps there are not constant dramatic scenes involved in their performances, a performance like this is by Gene Hackman's in the French Connection. A performance like his should not be written off as a lacking or unspectacular because it is not filled with scenes which main purpose is to simple allow him to dramatically act out a scene.
Gene Hackman's performance here I find is quite strong as the tough, loud, narcotics detective "Popeye" Doyle. I find part of what is so strong about his performances is that it does not have scenes that are there to develop his character, yet I find his character is incredibly well developed nonetheless. Hackman develops Popeye as the film the proceeds rather doing it in specific scenes just for that. Hackman manages to do it well the plot proceeds forward through the film, and quite well, because I felt I found out a lot about Popeye from his time in the film.
Hackman portrays Doyle's tough complete command of the street particularly well. Now I think this is something that is generally not given enough credit. Being tough, and really being street smart is something is not really as easy as some might think, and to seem really authentically a cop like Popeye is an achievement. Hackman does this quite well, and I particularly find him strong in this aspect when ever he is dealing with a suspect. His dominance over them is appropriately controlling, commanding, and most of all realistic.
Also something else I think Hackman really does well is give charming memorable performance that one can easily follow through the complex story of finding the crime. He is simply a charming strong presence that permeates throughout the film quite well. Due to Hackman I could easily follow along with him to the end of the crime, and more thoroughly feel the set backs and the successes of the investigation.
The strongest part of his performance though perhaps is the incredible drive he shows in Popeye. Perhaps an insane, obsessive drive to get what he wants. I really like Hackman whole process through Popeye's obsession from the start of the crime to its end. From the beginning where he obsessively searches for suspects although interestingly in a casual fashion. The obsession grows in Hackman's performance quite well. He pretty subtly shows it through earnestness for awhile untill near the end of the film where it is sparked the most. When his full on obsession comes out Hackman becomes quite chilling in the role, showing the full extent of Popeye's uncontrolled need for closure and control of the case. Overall Hackman gives a performance I enjoy very much, an interesting, effective and most of all memorable performance.
Best Actor 1971: Peter Finch in Sunday Bloody Sunday
Peter Finch received his second Oscar nomination for portraying Doctor Daniel Hirsh in Sunday Bloody Sunday.
Sunday Bloody Sunday tells the story of a young man Bob Elkin (Murray Head) and his affairs with a young woman Alex Greville (Glenda Jackson) and a homosexual Doctor Daniel Hirsh.
Peter Finch's character here is quite original, and unique for its time. This because his character is actually fairly comfortable with his homosexuality, although still hides it from his family. The fact that he is an homosexual is not shown to be Hirsh's trouble in his life. His problems rather come from his lack of love in his life, and his concern over the soon departure of his lover.
Finch's performance actually was a little surprising for me in that he is far more withdrawn than I expected him to be. It is basically the polar opposite of his winning performance in Network. Finch's performance here is especially quiet throughout the film. Finch's performance much of what he shows is a rather simple facade of Hirsh's he presents to his patients and his family.
Finch handles this quite well because he does not show it to be as putting up a front of a completely different person than himself. It is instead in many ways a repressed facade of himself he uses to get through his day to day life. He presents the doctor to his family and patients as a quietly charming rather seemingly simple man who seems content enough with his life.
Underneath that Finch puts quietly though a sadness that is perpetual in the character. It is quite subtle but well handled by Finch, as he shows behind his somewhat content facade is a rather sad man, who clearly yearns for love. I think this is especially well shown in just the opening scene where he is talking to a patient in a kindly doctor fashion, but when answering the phone he shows his sadness over his life in a brilliant subtle fashion by Finch.
Hirsh though does show even more himself, although he still hides a quite a bit of his constant sadness due his knowledge of Bob's eventual departure, when he is with his lover. Finch is especially good here because he shows a difference between his actual happiness he has with Bob, in contrast to his false contentment he tries to show otherwise. Even here though Finch does still show the undercurrent of sadness to his character.
A subtle strong performance throughout the film, and I find he is particularly good in his one scene with Glenda Jackson where the two different yet very similar characters have a meeting. It is a great scene where they meet with one another. An there is a understanding between the two that is exceptionally well shown between the two actors. Overall I think Finch gives a strong performance, although I never became overly invested into the performance, but it is still is clearly a great performance.
Peter Finch's character here is quite original, and unique for its time. This because his character is actually fairly comfortable with his homosexuality, although still hides it from his family. The fact that he is an homosexual is not shown to be Hirsh's trouble in his life. His problems rather come from his lack of love in his life, and his concern over the soon departure of his lover.
Finch's performance actually was a little surprising for me in that he is far more withdrawn than I expected him to be. It is basically the polar opposite of his winning performance in Network. Finch's performance here is especially quiet throughout the film. Finch's performance much of what he shows is a rather simple facade of Hirsh's he presents to his patients and his family.
Finch handles this quite well because he does not show it to be as putting up a front of a completely different person than himself. It is instead in many ways a repressed facade of himself he uses to get through his day to day life. He presents the doctor to his family and patients as a quietly charming rather seemingly simple man who seems content enough with his life.
Underneath that Finch puts quietly though a sadness that is perpetual in the character. It is quite subtle but well handled by Finch, as he shows behind his somewhat content facade is a rather sad man, who clearly yearns for love. I think this is especially well shown in just the opening scene where he is talking to a patient in a kindly doctor fashion, but when answering the phone he shows his sadness over his life in a brilliant subtle fashion by Finch.
Hirsh though does show even more himself, although he still hides a quite a bit of his constant sadness due his knowledge of Bob's eventual departure, when he is with his lover. Finch is especially good here because he shows a difference between his actual happiness he has with Bob, in contrast to his false contentment he tries to show otherwise. Even here though Finch does still show the undercurrent of sadness to his character.
A subtle strong performance throughout the film, and I find he is particularly good in his one scene with Glenda Jackson where the two different yet very similar characters have a meeting. It is a great scene where they meet with one another. An there is a understanding between the two that is exceptionally well shown between the two actors. Overall I think Finch gives a strong performance, although I never became overly invested into the performance, but it is still is clearly a great performance.
Best Actor 1971: Walter Matthau in Kotch
Walter Matthau received his second Oscar nomination for portraying Joseph P. Kotchner in Kotch.
Kotch is not much of a film, about an old man who refuses to be put away in a old people's home. A much better similar film is Harry and Tonto made a few years little.
Something I did not point out, but I guess I should have mentioned in my last review was how convincing the 35 year old Topol was as the much older Tevye in The Fiddler on The Roof. I was really reminded how good he was at playing older, when I watched Walter Matthau in this film. The fifty year old Matthau is just not particularly convincing as the Elderly Kotch. He had white hair sure, but I never saw Matthau as an old man. He really did not do anything to be convincing as a Grandfather. Also I personally I have noticed I much prefer Matthau when he acts as a character his own age.
Kotch is one of those nice old men, who still has energy and energetically takes to life. Although really too energetically, because he seemed more like a fifty year old guy to me, since Matthau honestly does nothing to seem older. Now I should get off his age I guess, but unfortunately there is not that much to talk about. Kotch is not too much of a character, just a nice old guy who is mistreated by a few people, and misunderstood by others.
All Walter Matthau has to do for Kotch is be charming and a nice old guy. Well is an actor I like and he certainly is charming, and a nice enough guy in the role, but he is nothing more than. I really do not have anything more to say, he is nice charming, and sweet, but nothing more. His character stays consistent throughout as a nice charming old guy, and never changes, or shows anything more than he always was a nice charming old guy.
I think I really prefer Walter Matthau when he is portraying a clever, or sly guy, and I guy who is his actual age. Matthau is technically fine throughout the role, except for the weakness of his age believability. He is never asked to do much, but what he does do he does do warmly I suppose.
Something I did not point out, but I guess I should have mentioned in my last review was how convincing the 35 year old Topol was as the much older Tevye in The Fiddler on The Roof. I was really reminded how good he was at playing older, when I watched Walter Matthau in this film. The fifty year old Matthau is just not particularly convincing as the Elderly Kotch. He had white hair sure, but I never saw Matthau as an old man. He really did not do anything to be convincing as a Grandfather. Also I personally I have noticed I much prefer Matthau when he acts as a character his own age.
Kotch is one of those nice old men, who still has energy and energetically takes to life. Although really too energetically, because he seemed more like a fifty year old guy to me, since Matthau honestly does nothing to seem older. Now I should get off his age I guess, but unfortunately there is not that much to talk about. Kotch is not too much of a character, just a nice old guy who is mistreated by a few people, and misunderstood by others.
All Walter Matthau has to do for Kotch is be charming and a nice old guy. Well is an actor I like and he certainly is charming, and a nice enough guy in the role, but he is nothing more than. I really do not have anything more to say, he is nice charming, and sweet, but nothing more. His character stays consistent throughout as a nice charming old guy, and never changes, or shows anything more than he always was a nice charming old guy.
I think I really prefer Walter Matthau when he is portraying a clever, or sly guy, and I guy who is his actual age. Matthau is technically fine throughout the role, except for the weakness of his age believability. He is never asked to do much, but what he does do he does do warmly I suppose.
Best Actor 1971: George C. Scott in The Hospital
George C. Scott received his fourth and final Oscar nomination for portraying Dr. Herbert Bock in The Hospital.
The Hospital is a dark satire on hospitals by Paddy Chayefsky who later did the dark satire on television Network, both film have a very similar feeling.
George C. Scott's performance here is quite interesting in that it is his only nominated performance where he was not portraying a domineering commanding character. Dr. Herbert Bock is just a stressed out surgeon, who is very tired of his work and his life. I have to say I was a little surprised but how little of Scott is in the film. He is the lead certainly, but he really is only partially the focus, which I think is a bit of a problem with his character. The film only gives a little bit of time to the actual of development of his character, and the time that is given is quite rushed feeling.
Frankly this film seemed to me Paddy Chayefsky's picture more than anyone else's, since every facet of the characters and the performances seemed mostly there just to orchestrate his satire. This leaves Bock fairly underdeveloped in my opinion, otherwise than to show him a doctor who is almost a little mad do to stress, and can't take it anymore. Now this worked marvelously in Chayefsky's later film with Peter Finch's Howard Beale, but here Herbert Bock is still made to still seem human, so it does not work as well.
George C. Scott is good in the role, he shows the emotions of the character well. He is great at being stressed out, and his big yelling scene about impudence is well done, but I frankly wanted more out of his character. I understood exactly who he was in basically the first scene he was in, which was not Scott's fault, but rather the script's. Bock as a character just really leaves Scott to do all the work for the performance.
Scott's unique presence does work interestingly with this stressed character. His reaction to the craziness around him is well timed, and his sort of sanity is a good grounding for the film brought on by Scott, but still he could not make everything about his performance believable. I think mostly is his character's relationship with Diana Rigg's character. Well I certainly believed he jump on her the first chance he got, but the love relationship seemed rather phony to tell you the truth. Again I do not blame Scott so much but rather the script, it gives them little more than a dramatic monologue each to develop their relationship.
Overall this is a hard performance for me to rate. On the surface it is a finely acted performance. Scott does know what he is doing, and is good technically in the role. He was not perfect though, and the role itself left a whole lot to be desired for me. I don't know really this is a tough one for me, am I being too hard on Scott because of the weakness of the role, or am I giving Scott too much credit. I am not sure, he definitely hit the right emotional notes, and was realistic, but his character never became compelling or in many ways convincing.
George C. Scott's performance here is quite interesting in that it is his only nominated performance where he was not portraying a domineering commanding character. Dr. Herbert Bock is just a stressed out surgeon, who is very tired of his work and his life. I have to say I was a little surprised but how little of Scott is in the film. He is the lead certainly, but he really is only partially the focus, which I think is a bit of a problem with his character. The film only gives a little bit of time to the actual of development of his character, and the time that is given is quite rushed feeling.
Frankly this film seemed to me Paddy Chayefsky's picture more than anyone else's, since every facet of the characters and the performances seemed mostly there just to orchestrate his satire. This leaves Bock fairly underdeveloped in my opinion, otherwise than to show him a doctor who is almost a little mad do to stress, and can't take it anymore. Now this worked marvelously in Chayefsky's later film with Peter Finch's Howard Beale, but here Herbert Bock is still made to still seem human, so it does not work as well.
George C. Scott is good in the role, he shows the emotions of the character well. He is great at being stressed out, and his big yelling scene about impudence is well done, but I frankly wanted more out of his character. I understood exactly who he was in basically the first scene he was in, which was not Scott's fault, but rather the script's. Bock as a character just really leaves Scott to do all the work for the performance.
Scott's unique presence does work interestingly with this stressed character. His reaction to the craziness around him is well timed, and his sort of sanity is a good grounding for the film brought on by Scott, but still he could not make everything about his performance believable. I think mostly is his character's relationship with Diana Rigg's character. Well I certainly believed he jump on her the first chance he got, but the love relationship seemed rather phony to tell you the truth. Again I do not blame Scott so much but rather the script, it gives them little more than a dramatic monologue each to develop their relationship.
Overall this is a hard performance for me to rate. On the surface it is a finely acted performance. Scott does know what he is doing, and is good technically in the role. He was not perfect though, and the role itself left a whole lot to be desired for me. I don't know really this is a tough one for me, am I being too hard on Scott because of the weakness of the role, or am I giving Scott too much credit. I am not sure, he definitely hit the right emotional notes, and was realistic, but his character never became compelling or in many ways convincing.
Best Actor 1971: Topol in Fiddler on the Roof
Topol received his only Oscar nomination to date for portraying Tevye in Fiddler on the Roof.
Fiddler on the Roof is a musical that tells the story of Tevye the poor Jewish milkman and the marriages of his daughters that go further and further away from Jewish tradition. Fiddler on the Roof has some good moments and songs, but it goes on for a little too long.
Fiddler on the Roof is a musical, and certianly old fashioned in many ways, one way being the very obvious acting that often goes with a musical. After all it is pretty hard to break into song in any subtle fashion. Throughout the film there are several overacted performances, or underacted performances. I must say the overacted performances tend to work better for the musical, rather than some of the dull underacted ones. Topol portrays the center of all of these performances.
Tevye is a character that is hard to not portray in at least partially flamboyant fashion. After all he is a character who directly talks to God (the camera) in many scenes. Topol actually handles these particularly well. He is quite convincing in his character's constant questioning, telling or asking God about what is happening to him currently. Topol does in fact make this aspect of the film and Tevye's character aspect pretty natural.
Topol actually handles all the more flamboyant parts of Tevye well. Topol conveys well just the distinct enjoyment, and his distinct jovial attitude Tevye takes toward life. He really throws the right energy into the role that is perfect for Tevye, and do to the fact that he instantly sets up this manner of the character he actually makes breaking out into song for the character pretty natural, well as natural as it can be anyways.
Topol of course sings the songs well enough, but that really does not matter precisely, what I care more about is indeed how they perform the song. He always throws either the right heart or energy into his performances of the songs. I think "If I were a rich man" shows this quality the best, he just completely throws himself into the performance, which is terrific.
I won't say there is a lot of subtle moments in his performance, but he does show more of Tevye than just external colorfulness of the character. He does develop a core of the character showing his character's honest love for his family, sadness for the way the world treats him, and his reluctance to lose the Jewish tradition. It is not a lot but Topol makes sure it is there, and does weave it along with the more flamboyancy of the character. Overall Topol gives the best performance in the film because it appropriately expresses the usual aspects of a musical performance well, without being an excessively over the top performance.
Fiddler on the Roof is a musical, and certianly old fashioned in many ways, one way being the very obvious acting that often goes with a musical. After all it is pretty hard to break into song in any subtle fashion. Throughout the film there are several overacted performances, or underacted performances. I must say the overacted performances tend to work better for the musical, rather than some of the dull underacted ones. Topol portrays the center of all of these performances.
Tevye is a character that is hard to not portray in at least partially flamboyant fashion. After all he is a character who directly talks to God (the camera) in many scenes. Topol actually handles these particularly well. He is quite convincing in his character's constant questioning, telling or asking God about what is happening to him currently. Topol does in fact make this aspect of the film and Tevye's character aspect pretty natural.
Topol actually handles all the more flamboyant parts of Tevye well. Topol conveys well just the distinct enjoyment, and his distinct jovial attitude Tevye takes toward life. He really throws the right energy into the role that is perfect for Tevye, and do to the fact that he instantly sets up this manner of the character he actually makes breaking out into song for the character pretty natural, well as natural as it can be anyways.
Topol of course sings the songs well enough, but that really does not matter precisely, what I care more about is indeed how they perform the song. He always throws either the right heart or energy into his performances of the songs. I think "If I were a rich man" shows this quality the best, he just completely throws himself into the performance, which is terrific.
I won't say there is a lot of subtle moments in his performance, but he does show more of Tevye than just external colorfulness of the character. He does develop a core of the character showing his character's honest love for his family, sadness for the way the world treats him, and his reluctance to lose the Jewish tradition. It is not a lot but Topol makes sure it is there, and does weave it along with the more flamboyancy of the character. Overall Topol gives the best performance in the film because it appropriately expresses the usual aspects of a musical performance well, without being an excessively over the top performance.
Best Actor 1971
Peter Finch in Sunday Bloody Sunday
Walter Matthau in Kotch
Gene Hackman in The French Connection
George C. Scott in The Hospital
Topol in Fiddler on the Roof
Subscribe to:
Posts (Atom)
