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About Kay

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  1. No, I still don't know what it is. I'm just bumping-up to keep track of this thread and add a tiny piece of info that I realized I never added. That "mad doctor-looking fellow" that I mentioned, initially a semi-neutral character, eventually kidnaps the leading lady, or holds her life hostage in some way or another. I think. That's all. I'm not expecting closure, but there you have it. G'night.
  2. Kay

    Noir Alley

    Yeah, all of them definitely proved themselves as actors later on. If they hadn't then their popularity probably wouldn't have been so durable. But their looks, especially those of Lee Van Cleef and Jack Elam, I feel were no small reason that they made their careers in film, (on Van Cleef's wiki page it says he was asked to get his nose hook corrected to play a different, more sympathetic part in High Noon. Wouldn't that have been a tragedy?) Neville Brand, on the other hand, was very impressive as an actor right out of the gate. I can't claim that it was just his looks that made his crazy frightening gunman in D.O.A. so effective. So I guess I meant what I said a bit less literally for Brand. I keep reflecting on this George Sanders quote: The important thing for a star is to have an interesting face. He doesn't have to move it very much. Editing and camerawork can always produce the desired illusion that a performance is being given.
  3. Thanks for the recommendation.
  4. I admit that I never understood why he was. Or... why he was in movies. Or at least why he was the star of movies. He never seemed particularly talented or likable insofar as dozens of other character actors were. The best performance I've ever seen him give was in The Boy with Green Hair (1948).
  5. Kay

    Noir Alley

    I love Elisha Cook, Jr.. I don't know that there's anyone who ever shared his specialty before or since, (though I see some parallels between him and Dwight Frye and somewhat Steve Buscemi more recently, don't you?) That is, being the fall guy, or culprit, or victim, or some manner of hysterical, disposable character in just about every film he played in. Yeah, he isn't properly celebrated, but I think he had a great career. How was he not murdered by an enthusiastic fan? I'm not sure I'd be able to resist. Just to see the look on his face.
  6. Kay

    Noir Alley

    Speaking of unique looks being exploited to project menace, I also watched Kansas City Confidential last night. I was impressed at what a really excellent film this was, but I want to mention the beautiful trio of baddies, Lee Van Cleef, Jack Elam and Neville Brand. Talk about getting by on your looks. Not that I don't like all of them as actors, but who can honestly claim that it was really their acting that made them so effective in roles such as these. There are plenty of amazing actors who can play a villain well, but the advantage of looking the part can be more viscerally effective than a merely great actor hope to compete with. A combination of the two is a veritable juggernaut. This aesthetic casting one beloved thing I regard as being leftover from the silent era, even if body-acting a largely lost art. Visual acting, exploiting one's looks to project a feeling. I'll start a thread about it eventually.
  7. Kay

    Noir Alley

    I didn't listen to Eddie Muller's intro, but I assume he must have made mention of all these German expressionist influences. Hollywood seemed to have a short-lived obsession with expressionism, which was more prevalent some years earlier, but this film reeeally indulged itself, not excepting the intense visual acting that all but died with silent movies. Peter Lorre was an incredible actor, but it is his unique look that is being exploited in this film to project menace. The way his hand creeps around doorways, preceding his panicked face; and the long-held poses and expressions of the lead. I find it unfortunate that this energetic and flamboyant acting style has largely vanished in favor of naturalistic acting. Along with all the nice surreal imagery it made it seem like it was just as much the last expressionist film as it was the first noir. Maybe I don't know where one ends and the other begins. That's what I get for not listening to the intro, (so I don't like to analyze a film before I've seen it. Indigestion before dinner, y'know.) I love these poses. Acting set against the tune of his reeling, paranoid mind. Just as effective as music. Nice idea.
  8. Kay

    Need help finding the name of a movie

    The first scene in Vacation From Marriage (1945) is similar to this, though not exact. Worth a look: https://ok.ru/video/276190071438
  9. Well... no. Is that so hard to believe?
  10. Hate is a funny thing. I feel that The Tin Drum, Cinema Paradiso, Brazil, and the first 20 minutes of Wings of Desire are about the least-enjoyed films I've experienced; but when I think hate, all I can think of is The Moon is Blue... I think I more deeply resent tasteless mediocrity than these things I find to be flagrantly offensive monstrosities. I can at least admire a horribly pretentious misfire for the blatant ego and ambition it took to create it, and my opinion softens over time, but sometimes something that just sorta blows can mutate in one's mind into this depressing, unwithstandable thing that truly has no redeeming aspects. Something about indifference being emptier than hatred.
  11. 1971 - Not a bad year so far as villainous performances go- but the genuinely scariest one, from Duel, unjustly wins no awards. Actor Malcolm McDowell - A Clockwork Orange*** Gene Wilder - Willie Wonka & the Chocolate Factory Walter Matthau - A New Leaf Richard Attenborough - 10 Rillington Place Vincent Price - The Abom inable Dr. Phibes Chuck McCann - The Projectionist [for the Captain Flash scenes alone] Actress Elaine May - A New Leaf***** Jessica Walter - Play Misty for Me Supporting Actor John Hurt - 10 Rillington Place*** Michael Bates - A Clockwork Orange Patrick Magee - A Clockwork Orange Jack Albertson - Willie Wonka & the Chocolate Factory Rodney Dangerfield - The Projectionist Omar Sharif - The Burglars Donald Sutherland - Little Murders Supporting Actress Judy Geeson - 10 Rillington Place*** Miriam Karlin - A Clockwork Orange
  12. 1970 - Only a small number of favorites this year among the few films I've seen. Actor Jean-Pierre Cargol - The Wild Child***** (juvenile) Fernando Rey - Tristana Dustin Hoffman - Little Big Man Yves Montand - The Confession Peter Boyle - Joe Ron Moody - The Twelve Chairs Actress Catherine Deneuve - Tristana*** Shelley Winters - Bloody Mama Supporting Actor Dom DeLuise - The Twelve Chairs*** Richard Mulligan - Little Big Man Chief Dan George - Little Big Man Martin Balsam - Little Big Man Hugh Griffith - Start the Revolution Without Me Robert De Niro - Bloody Mama Gabriele Ferzetti - The Confession Supporting Actress Judith Anderson - A Man Called Horse*** [i like her more than I like the film] Mary Jane Higby - The Honeymoon Killers (moved from '69) Delphine Seyrig - The Donkey Skin Susan Sarandon - Joe
  13. The 60s- Now it all comes down to bias and fate. Actor Sterling Hayden - Dr. Strangelove (1964) [A choice so difficult I couldn't even make it. I flipped a coin- and I'm proud.] Actress Lee Eun-sim - The Housemaid (1960) Supporting Actor Rod Steiger - The Loved One (1965) Supporting Actress Ayllene Gibbons - The Loved One (1965) Juvenile Martin Stephens - The Innocents (1961)
  14. 1968/69 - I knew that my fashionable lateness would one day cause me to fall fashionably behind. Tolerate me while I make this obscene, unwieldy double-post. My know-how has been going downhill rapidly, anyway, so put together they make a decent-sized list. Actor Dustin Hoffman - Midnight Cowboy***** Jon Voight - Midnight Cowboy Anthony Quinn - The Secret of Santa Vittoria Actress Anna Magnani - The Secret of Santa Vittoria*** Maggie Smith - The Prime of Miss Jean Brodie Nelly - One Day Honeymoon [not all obscure films are lost treasures] Supporting Actor Danny Kaye - The Madwoman of Chaillot*** Hardy Kruger - The Secret of Santa Vittoria Paul Henried - The Madwoman of Chaillot Supporting Actress Mary Jane Higby - The Honeymoon Killers*** Jane Carr - The Prime of Miss Jean Brodie Previously in 1968... Actor Burt Lancaster - The Swimmer***** Walter Matthau - The Odd Couple Rod Taylor - Dark of the Sun Jack Lemmon - The Odd Couple Max von Sydow - Hour of the Wolf Jack Palance - The Mercenary Akihiro Miwa - Black Lizard Kichiemon Nakamura - Kuroneko Actress Joanne Woodward - Rachel, Rachel*** Judith O'Dea - Night of the Living Dead Supporting Actor Alastair Sim - Cold Comfort Farm (TVM)*** Brian Blessed - Cold Comfort Farm (TVM) Kei Sato - Kuroneko Jason Robards - The Night They Raided Minsky's Supporting Actress Monica Evans & Carole Shelley - The Odd Couple*** [how can I possibly separate them?] Rosalie Crutchley - Cold Comfort Farm (TVM) [give it to this lady if two people don't count,] Estelle Parsons - Rachel, Rachel [and give it to this lady if TV movies ain't allowed, neither.]
  15. 1967 - Bedazzled and The Producers do well to eclipse what all else came out this year, according to me, but the rest is pretty good too- particularly in the one category, apparently. Actor Gene Wilder - The Producers***** Zero Mostel - The Producers Dirk Bogarde - Our Mother's House Rod Steiger - In the Heat of the Night Peter Cook - Bedazzled Dudley Moore - Bedazzled Toshiro Mifune - Samurai Rebellion Robert Blake - In Cold Blood Alan Arkin - Wait Until Dark Scott Wilson - In Cold Blood George C. Scott - The Flim-Flam Man Jack Palance - Torture Garden Actress Audrey Hepburn - Wait Until Dark*** Pamela Franklin - Our Mother's House (juvenile(?)) Catherine Deneuve - Belle de Jour Supporting Actor Kenneth Mars - The Producers*** Dick Shawn - The Producers Gene Wilder - Bonnie and Clyde Anthony James - In the Heat of the Night Supporting Actress Estelle Parsons - Bonnie and Clyde*** Lee Grant - In the Heat of the Night

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