John Lone in The Last Emperor
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Showing posts with label Marcello Mastroianni. Show all posts
Showing posts with label Marcello Mastroianni. Show all posts
Best Actor 1987
John Lone in The Last Emperor
Best Actor 1987: Marcello Mastroianni in Dark Eyes
Marcello Mastroianni received his third and final Oscar nomination for portraying Romano in Dark Eyes.
Dark Eyes is a romantic, tragic, comedy, that has its moments I suppose.
Dark Eyes concerns Mastroianni's character Romano who is married to a wealthy Italian woman who he does not love, but instantly falls in love with a Russian woman he meets, and than later seeks in Russian to love. This means basically that Mastroianni whole performance is going to be a big romantic performance in his scenes of the past, as well as a tragic performance in his scenes in the present where he reflects on his past relationship.
If there is one thing I have noticed in all of his past nominated performances, Mastroianni always plays at least in some way a rather romantic character, as well as I notice Mastroianni is always a very physical performance. He always tends to act out in his performances in some way, and usually infuses at least some sort of playful quality in his performances.
Here Romano is always a rather playful fellow in the past scenes anyways, always doing some sort of special walk or dance that certianly is colorful. Mastroianni is very good at this because he is quite effective in displaying all of this playful parts of his performance as simply the flamboyant way Romano is, and makes even his walking like a bird chirping, seem natural to the character.
One of the most important aspects of Mastroianni performance is how charming he is in this film, and he is extremely charming. His face just simply glows in this film, and that work perfectly for the story. Due to the fact that he is exceedingly likable, it makes it far easier to follow him and enjoy with him through his romantic adventures.
Mastroianni is always constantly being charming as Romano, on this journey, which results in a large amount of scenes devoted to either his romantic gestures, or his actions needed to get his romantic ends. Not all of these scenes work completely, but Mastroianni is always trying hard to make each scene work anyway.
Some of the scenes most certainly do though like when he attempts to convince various rich Russians to sign his pass, to get to the woman he desires. He has to do it by showing his glass, off, which he does in various theatrical fashions, and each Mastroianni, is very entertaining, and most of all incredibly charming.
Well Mastroianni certainly makes us care for his romance, and romantic intentions, but he as well creates the right amount of sadness in his scenes during the present as well. Mastroianni shows his sad history in his face, where he was never able to finalize his love really. Mastroianni shows a distinct loss in Romano at the end, which is quite saddening due to the difference in that sad face, and the glowing face of before. I think this whole performance depends on if you find Mastroianni charming, I do so I therefore like this performance, it is not his best (I prefer when he is trying to murder for his romances) but it is most certainly a good performance of his.
Dark Eyes concerns Mastroianni's character Romano who is married to a wealthy Italian woman who he does not love, but instantly falls in love with a Russian woman he meets, and than later seeks in Russian to love. This means basically that Mastroianni whole performance is going to be a big romantic performance in his scenes of the past, as well as a tragic performance in his scenes in the present where he reflects on his past relationship.
If there is one thing I have noticed in all of his past nominated performances, Mastroianni always plays at least in some way a rather romantic character, as well as I notice Mastroianni is always a very physical performance. He always tends to act out in his performances in some way, and usually infuses at least some sort of playful quality in his performances.
Here Romano is always a rather playful fellow in the past scenes anyways, always doing some sort of special walk or dance that certianly is colorful. Mastroianni is very good at this because he is quite effective in displaying all of this playful parts of his performance as simply the flamboyant way Romano is, and makes even his walking like a bird chirping, seem natural to the character.
One of the most important aspects of Mastroianni performance is how charming he is in this film, and he is extremely charming. His face just simply glows in this film, and that work perfectly for the story. Due to the fact that he is exceedingly likable, it makes it far easier to follow him and enjoy with him through his romantic adventures.
Mastroianni is always constantly being charming as Romano, on this journey, which results in a large amount of scenes devoted to either his romantic gestures, or his actions needed to get his romantic ends. Not all of these scenes work completely, but Mastroianni is always trying hard to make each scene work anyway.
Some of the scenes most certainly do though like when he attempts to convince various rich Russians to sign his pass, to get to the woman he desires. He has to do it by showing his glass, off, which he does in various theatrical fashions, and each Mastroianni, is very entertaining, and most of all incredibly charming.
Well Mastroianni certainly makes us care for his romance, and romantic intentions, but he as well creates the right amount of sadness in his scenes during the present as well. Mastroianni shows his sad history in his face, where he was never able to finalize his love really. Mastroianni shows a distinct loss in Romano at the end, which is quite saddening due to the difference in that sad face, and the glowing face of before. I think this whole performance depends on if you find Mastroianni charming, I do so I therefore like this performance, it is not his best (I prefer when he is trying to murder for his romances) but it is most certainly a good performance of his.
Best Actor 1987
William Hurt in Broadcast News
Marcello Mastroianni in Dark Eyes
Michael Douglas in Wall Street
Robin Williams in Good Morning Vietnam
Jack Nicholson in Ironweed
Best Actor 1977: Results
3. Richard Burton in Equus- Richard Burton does his best as he can without the very bad film he is in. He makes the monologues powerful despite the fact that the writing is so bad.
2. Marcello Mastroianni in A Special Day-Mastroianni is very good here creating a fascinating portrait of a very much repressed man who, slowly breaks open. Mastroianni is terrific all the way through.
Paul Newman in Slap Shot
Best Actor 1977: Marcello Mastroianni in A Special Day
Marcello Mastroianni received his second Oscar nomination for portraying Gabriele in A Special Day.
A Special Day is an interesting Italian film set during the fascist reign of Mussolini. A fascinating and simple tale of an anti-fascist homosexual, and a lonely housewife from a Fascist household.
Marcello Mastroianni first appears as a rather mysterious neighbor Gabriele to the lonely housewife Antonietta(Sophia Loren). She initially comes to her house to gather her families pet bird who had flown away from its cage. Mastroianni as with his performance in Divorce Italian Style, his creation character is instantly apparent as he as on screen and has not said even a single word. He shows a man who is unassuming at first but shows that the man clearly is hiding something, not only his full personality, but also he clearly hiding a pain of sorts that is fully apparent in Mastroianni faces but somehow never is obvious which is rather spectacular. His first scene with Loren is very strong, since he tries to be welcoming and charming, he tries to interest her in a book of his, and show her a dance step, but Mastroianni always suggests a very haunting element in his character that is very effective.
The character is slowly revealed carefully, by Mastroianni. I particularly thought when he talks on the phone immediately when Loren first leaves is just about outstanding. He shows Gabriele certainly has far more troubles than he originally lets on, his nervousness, combined with sadness and anger is absolutely brilliantly shown by Mastroianni. He mixes all these emotions incredibly well, and he does not just show in his voice, or his face, but he shows this throughout his body. Mastroianni fully utilizes his entire being to suggest Gabriele troubles, but he never seems to be forcing his performance at all, and this makes his performance all the more effecting.
He later again meets Antoneitta with the in an attempt to have some sort of friendship before his eventual fate. He and Loren really create at fascinating relationship between these two rather different in some ways but also similar people. Mastroianni really builds his character well as he talks to her, because he shows the man to trying to have life, well his life will shortly be changed very much. He tries to make the woman happy with his little jokes here, and there with his fairly gentle charm. But he is unable to fully hide his sadness, and Mastroianni always keeps this even when he is smiling. He also slowly shows his very angry and sad feelings toward the nature of Italy and its fascism. Also toward the housewife's support of the current regime. He never lets an overtly but subtly shows his pains over the matter.
He though does finally breaks open completely, in a moment of absolute brilliance on Mastroianni's part, as he slowly shows his inability to repress himself and he conveys Gabriele's problems which become harder and harder to hide. Though what really breaks him wide open is when Antoneitta tries to advance sexually toward him but she is surprised by his lack of emotion from her advances. Her partial disgust from when she finally realizes that he is homosexual causes Gabriele finally to make an outburst. He finally shows his utter hatred loud and clear of being mistreated and hated by people. Mastroianni really hits the right nerve in this scene and reached it perfectly along his earlier suggestions of these feelings. It is incredibly powerful and striking scene which is all due to Mastroianni.
Later after his outburst they sort of make up in a way, as Gabriele quietly opens up about his troubles, and she opens up about hers. He shows a truly authentic man who has had to lie, and poignantly opens up to her in a very moving scene. She and He than in a very different scene have sex, in one of the most essential sex scenes in a movie. She sort of forces herself on him, he reacts in a way of a pained face, and inability to really respond properly, yet he still tries to respond to her, knowing that it seems to be something that he needs even though he cannot exactly respond. This scene is not at all exploitative and possibly that is because Mastroianni is so absolutely stunning in his emotional power all without saying anything. In end the two become acquainted and develop a relationship with true poignancy. The script certainly helps their final moments to be so powerful, as does Loren, but I believe Mastroianni is the one who is absolutely essential for this with his incredible performance.
A Special Day is an interesting Italian film set during the fascist reign of Mussolini. A fascinating and simple tale of an anti-fascist homosexual, and a lonely housewife from a Fascist household.
Marcello Mastroianni first appears as a rather mysterious neighbor Gabriele to the lonely housewife Antonietta(Sophia Loren). She initially comes to her house to gather her families pet bird who had flown away from its cage. Mastroianni as with his performance in Divorce Italian Style, his creation character is instantly apparent as he as on screen and has not said even a single word. He shows a man who is unassuming at first but shows that the man clearly is hiding something, not only his full personality, but also he clearly hiding a pain of sorts that is fully apparent in Mastroianni faces but somehow never is obvious which is rather spectacular. His first scene with Loren is very strong, since he tries to be welcoming and charming, he tries to interest her in a book of his, and show her a dance step, but Mastroianni always suggests a very haunting element in his character that is very effective.
The character is slowly revealed carefully, by Mastroianni. I particularly thought when he talks on the phone immediately when Loren first leaves is just about outstanding. He shows Gabriele certainly has far more troubles than he originally lets on, his nervousness, combined with sadness and anger is absolutely brilliantly shown by Mastroianni. He mixes all these emotions incredibly well, and he does not just show in his voice, or his face, but he shows this throughout his body. Mastroianni fully utilizes his entire being to suggest Gabriele troubles, but he never seems to be forcing his performance at all, and this makes his performance all the more effecting.
He later again meets Antoneitta with the in an attempt to have some sort of friendship before his eventual fate. He and Loren really create at fascinating relationship between these two rather different in some ways but also similar people. Mastroianni really builds his character well as he talks to her, because he shows the man to trying to have life, well his life will shortly be changed very much. He tries to make the woman happy with his little jokes here, and there with his fairly gentle charm. But he is unable to fully hide his sadness, and Mastroianni always keeps this even when he is smiling. He also slowly shows his very angry and sad feelings toward the nature of Italy and its fascism. Also toward the housewife's support of the current regime. He never lets an overtly but subtly shows his pains over the matter.
He though does finally breaks open completely, in a moment of absolute brilliance on Mastroianni's part, as he slowly shows his inability to repress himself and he conveys Gabriele's problems which become harder and harder to hide. Though what really breaks him wide open is when Antoneitta tries to advance sexually toward him but she is surprised by his lack of emotion from her advances. Her partial disgust from when she finally realizes that he is homosexual causes Gabriele finally to make an outburst. He finally shows his utter hatred loud and clear of being mistreated and hated by people. Mastroianni really hits the right nerve in this scene and reached it perfectly along his earlier suggestions of these feelings. It is incredibly powerful and striking scene which is all due to Mastroianni.
Later after his outburst they sort of make up in a way, as Gabriele quietly opens up about his troubles, and she opens up about hers. He shows a truly authentic man who has had to lie, and poignantly opens up to her in a very moving scene. She and He than in a very different scene have sex, in one of the most essential sex scenes in a movie. She sort of forces herself on him, he reacts in a way of a pained face, and inability to really respond properly, yet he still tries to respond to her, knowing that it seems to be something that he needs even though he cannot exactly respond. This scene is not at all exploitative and possibly that is because Mastroianni is so absolutely stunning in his emotional power all without saying anything. In end the two become acquainted and develop a relationship with true poignancy. The script certainly helps their final moments to be so powerful, as does Loren, but I believe Mastroianni is the one who is absolutely essential for this with his incredible performance.
Best Actor 1977
Richard Burton in Equus
Woody Allen in Annie Hall
Richard Dreyfuss in The Goodbye Girl
John Travolta in Saturday Night Fever
Marcello Mastroianni in A Special Day
I won't make any potential jokes about certain actors playing themselves, and just ask who do you pick who do you predict?
Best Actor 1962: Results
Deserving Performances:
James Mason in Lolita
Best Actor 1962: Marcello Mastroianni in Divorce, Italian Style
Marcello Mastroianni received his first Oscar nomination for portraying Ferdinando Cefalù in Divorce Italian Style.
Divorce, Italian Style is a really enjoyable Italian film. It is very strange at times, but also interesting to watch, and most importantly is very funny.
Marcello Mastroianni's performance in this film is a comedic performance the type that the academy does not like to nominate too much, since his performance is almost entirely comedic. His type of comedic is dead pan brilliance. Mastroianni creates Ferdinanado so perfectly from the opening shot, where there is simply just something funny about him. Specifically what he does physically as Ferdinanado. His posture he uses and that face he makes is just perfect. The way he is always looking is simply hilarious and really works brilliantly along with a character who is planning to murder his own wife to go marry his cousin. This concept could seem too dark but is instead hilarious due to the script, and due to Mastroianni perfect expressions throughout the movie.
Mastroianni is great in every scene getting every laugh he can possibly get with the script with his perfect timing and delivery. I really like how you hear his thoughts along with his voice. You know what he is thinking but the other character do not. Do to this there is always a joke to be let in on by his reactions which are always perfect always adding the humor to his scenes. I like him throughout the film but there are some specific scenes I thought were incredibly good. I like especially the scene where he looks at himself in the mirror admiring his looks and charm, but slightly saddened by his stomach. Simply brilliant Mastroianni is because it is a pretty simple moment, but Mastroianni makes the most of it with his humorous performance. One other scene I really liked was a pivotal scene where he is partially beaten too his objective, his reaction with "What about my honor?" he could not be better his hangdog expression is perfectly hilarious.
This performance really is a simple brilliant comedic performance, that despite the fact his character never really changes, nor does he have that many emotional scenes it is an incredible accomplishment. I found myself liking this amoral jerk, because of Mastroianni is so funny and charming. He really takes this role and shows how good a comedic performance can be in the simplest sense. It really is genius work because he never seems to go for laughs precisely but he certainly got them from me. He created his whole character brilliantly with his face his cigarette, and walk. He never misses a chance for humor with his character. I could not get enough of him in this he is that good, I could have certainly watched the further adventures of this rather stupid man who thinks he is so smart, because Mastroianni's performance is just comedic gold.
Marcello Mastroianni's performance in this film is a comedic performance the type that the academy does not like to nominate too much, since his performance is almost entirely comedic. His type of comedic is dead pan brilliance. Mastroianni creates Ferdinanado so perfectly from the opening shot, where there is simply just something funny about him. Specifically what he does physically as Ferdinanado. His posture he uses and that face he makes is just perfect. The way he is always looking is simply hilarious and really works brilliantly along with a character who is planning to murder his own wife to go marry his cousin. This concept could seem too dark but is instead hilarious due to the script, and due to Mastroianni perfect expressions throughout the movie.
Mastroianni is great in every scene getting every laugh he can possibly get with the script with his perfect timing and delivery. I really like how you hear his thoughts along with his voice. You know what he is thinking but the other character do not. Do to this there is always a joke to be let in on by his reactions which are always perfect always adding the humor to his scenes. I like him throughout the film but there are some specific scenes I thought were incredibly good. I like especially the scene where he looks at himself in the mirror admiring his looks and charm, but slightly saddened by his stomach. Simply brilliant Mastroianni is because it is a pretty simple moment, but Mastroianni makes the most of it with his humorous performance. One other scene I really liked was a pivotal scene where he is partially beaten too his objective, his reaction with "What about my honor?" he could not be better his hangdog expression is perfectly hilarious.
This performance really is a simple brilliant comedic performance, that despite the fact his character never really changes, nor does he have that many emotional scenes it is an incredible accomplishment. I found myself liking this amoral jerk, because of Mastroianni is so funny and charming. He really takes this role and shows how good a comedic performance can be in the simplest sense. It really is genius work because he never seems to go for laughs precisely but he certainly got them from me. He created his whole character brilliantly with his face his cigarette, and walk. He never misses a chance for humor with his character. I could not get enough of him in this he is that good, I could have certainly watched the further adventures of this rather stupid man who thinks he is so smart, because Mastroianni's performance is just comedic gold.
Best Actor 1962
Peter O'Toole in Lawrence of Arabia
Jack Lemmon in Days of Wine and Roses
Gregory Peck in To Kill a Mockingbird
Marcello Mastroianni in Divorce, Italian Style
Burt Lancaster in Birdman of Alcatraz
Who do you predict, who do you pick?
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