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Showing posts with label Best Actor. Show all posts
Showing posts with label Best Actor. Show all posts

Tuesday, February 15, 2011

Biutiful(2010)

Alejandro Gonzalez Inarritu who has directed three award worthy films in the last decade with Amores Perros, 21 grams and Babel, now delivers his fourth. Just that Biutiful follows a linear storyline could give you the idea that it'd be a notch under its predecessors, however, its narrative stays steady. The main character Uxbal is described as "Devoted father, tormented lover, mystified son, underground businessman, ghost seeker, spiritual sensitive, consumer-goods pirate, guilty conscience and urban survivor." All personified by actor Javier Bardem whose face expresses a multitude of emotions just by the slightest twitch of a muscle. He nails every nuance of the role. What he embodies is more a human being than a character. You're in his state of mind when you're watching Bardem's visceral projection of a man who eventually concedes to the bitter truth that his end is near and it's all over, but still remains someone who's trying to keep everything from going to pieces.

Every minute you're watching the screen, you're not in your seat. You're right there, in the film. You're in the world the Inarritu has created. The film tells you little about Uxbal, nonetheless, he seems familiar. The time capsule of the film comprises just a slice of his life which is penetrated with shrill humanity. Biutiful lives up to its title in every way. The streets of bedraggled tenements in Barcelona are turned pretty by cinematographer Rodrigo Prieto's magic touch. You might be unable to connect the dots after the first watch, but it won't matter. It's the heartfelt journey that counts. If there's something terrific about the film, it is the film itself. When I think back on what was good about the film, I don't know what to put my finger on, although its greatness is one that can be sensed early in the film. Nothing stands out; everything seems to have been channeled through a pipeline. What comes out is something that is experienced with palpable melancholy and leaves you in emotional shambles. You're in for a work out.

Rating- 10/10

Tuesday, September 21, 2010

On The Waterfront (1954)

One thing I can guarantee about On the Waterfront, is that it is a film you won’t be able to admire on the first watch. You’ll just wonder, is this what the hype is all about? When a film is made so well, you get engulfed into the world and become part of the world. You just perceive everything in a matter of fact way. On second watch, you don’t get into the world because you’re already familiar with it. It isn't a complex psychological thriller or a Tarantino film. This time, you remain an external entity. You enjoy the pleasures the film has to offer.

Terry Malloy (Marlon Brando), a simple minded dockworker winds up being a witness to a murder. One that he has been made an accessory to, coming to know of it only after the murder's been committed. No, all of this is given straightforward. It's his guilt that determines the future of his actions which is the film's main focus and how his lawyer brother, his rags to riches boss, an enraged priest and the sister of the murdered guy, try to bring him to their side of the fence.

Let me get done with the flaws first. One part of the film that seemed completely unnecessary was the relationship between the sister of the murdered guy(who also happens to be a sister in the church) and Terry Malloy. The poor chemistry is something a five year old can ascertain and bet his life on. How can she love a person whom she believes "lives like an animal and has no feelings." But considering the epic feat the film achieves as a whole, we forgive this. There's a very memorable scene in a car between the two brothers which sticks to you long after it's gone. You see what has brought Terry Malloy to such a sense of resignation. And Brando in those scenes.. it's worth writing an entire paragraph on.

From The Godfather and A Streetcar named desire, we saw Brando work on two different planes. With On the Waterfront, he reaches a new dimension. It’s simply impossible to tell which of the three is better than the other. All three of them are delivered with the same magnitude, on three different axes. It just amazes me, how acting had evolved so much in the 50's but now, over fifty years later, we hardly have any of that caliber.

The main strength of the film lies in a co-ordinated effort between its cinematography and its editing. Although each scene stands on its own merit, it’s the cohesiveness of the scenes that makes the film feel spontaneous. Just great.

The supporting actors are excellent. Eva Marie Saint, Rod Steiger, Lee J. Cobb and Karl Malden, all of them. The actors were all nominated for an Academy award with none of them winning. It seems to me that the Academy loved all of them so much they couldn’t choose between the three.

The soundtrack is old school and it is the best fit. Elia Kazan has shown to be one of the best talents of the 50s. Considered an actor’s director, he brought out the best female performance ever on screen from Vivien Leigh in A Streetcar Named desire, a performance and film I strongly admire and recommend as much as I do with On The Waterfront.

Rating- 9/10

Monday, February 1, 2010

Oscar Predictions

Best Picture-
An Education
Up in the Air
District 9
The Hurt Locker
Avatar
Inglourious Basterds
500 days of summer
Precious
Invictus
A Serious Man

Best Director-
Kathryn Bigelow- The Hurt Locker
James Cameron- Avatar
Jason Reitman- Up in the Air
Lee Daniels- Precious
Neill Blomkamp- District 9

Best Actor-
Jeff Bridges - Crazy Heart
Colin Firth- A Single Man
Morgan Freeman- Invictus
Jeremy Renner- The Hurt Locker
Sharlto Copley- District 9

Best Actress-
Sandra Bullock- The Blind Side
Meryl Streep- Julie and Julia
Carey Mulligan- An Education
Gabourey Sidibe- Precious
Emily Blunt- The Young Victoria

Best Supporting Actor-
Christoph Waltz- Inglourious Basterds
Alfred Molina- An Education
Peter Sarsgaard- An Education
Woody Harrelson- The Messenger
Anthonie Mackie- The Hurt Locker

Best Supporting Actress-
Mo'Nique- Precious
Anna Kendrick- Up in the Air
Vera Farmiga- Up in the Air
Paula Patton- Precious
Melanie Laurent- Inglourious Basterds

Best Original Screenplay-
Mark Boal- The Hurt Locker
Quentin Tarantino- Inglourious Basterds
Joel and Ethan Coen-A Serious Man
Scott Neustadter & Michael H.Webber-500 days of summer
Bob Peterson & Pete Docter-Up

Best Adapted Screenplay-
Jason Reitman and Sheldon Turner- Up in the Air
Neill Blomkamp- District 9
Nick Hornby- An Education
Spike Jonze & Dave Eggers- Where the Wild things are
Geoffrey Fletcher- Precious
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