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While perhaps not "playing against type" (which does seem the subject topic in TB's thread here) I have to say the following might be one of the bravest performances in any film I've ever seen... Harold Russell in The Best Years of Our Lives. (...and in a manner of speaking, with Mr. Russell being a non-professional actor but still holding his own in this film against some great professional actors, I believe makes his performance especially brave)

Yes. It's fine if someone doesn't want to watch old movies, whatever, that's their loss. But to be so proud of the fact that you've placed all these arbitrary restrictions on yourself is mind-boggling. Unfortunately, this tweet has served as a catalyst for all these other hot takes on classic film, including one person (a filmmaker, supposedly) who stated that she doesn't watch any old movies, especially b&w, because they're problematic for their sexism and racism. Then proceeded to say that classic film fans are often elitist towards those who don't care for classic film by jumping on them, and called them pretentious "I went to an expensive film school" people. Then said old movies rarely hold up. She's been raked through the coals for this take, which in some cases, I don't know if those responding to her are proving or disproving her point.

Dustin Hoffman in LENNY (1974) It's never, ever on tv. I'd also put Diane Keaton up there in LOOKING FOR MR GOODBAR (1977) These were made relatively early in their careers, but still, they were tough roles for any actor.

First of all I think Lina Lamont is one of the cinema's bravest performers. She had a lot of guts, going before the cameras when she didn't know how to sing or speak properly. If talkies hadn't started, she would have been able to give us many more great performances. Without a doubt! On a serious note...here's what I consider the top 10 Brave Performances: 10. Rock Hudson in SECONDS (1966). 9. Charlize Theron in MONSTER (2003). 8. Anne Bancroft in THE MIRACLE WORKER (1962). 7. Diahann Carroll in EVE'S BAYOU (1997). 6. Stuart Whitman in THE MARK (1961). 5. Vivien Leigh in A STREETCAR NAMED DESIRE (1951). 4. Tom Hanks in PHILADELPHIA (1993). 3. Matthew McConaughey in DALLAS BUYERS CLUB (2013). 2. Elizabeth Taylor in THE DRIVER'S SEAT (1974). 1. Dennis Hopper in MAD DOG MORGAN (1976).

Ann Bancroft - The Pumpkin Eater:

I have a couple of choices. Winona Ryder in Girl Interrupted because of her personal life. Tom Hanks in Philadelphia. Jon Voigt in Midnight Cowboy The four actors in Whose Afraid of Virginia Wolf (heart wrenching to watch - I felt like I was watching a boxing match with gloves on). Sal Mineo in Rebel Without a Cause Paul Newman in Cat on a Hot Tin Roof, The Hustler, The Verdict, and Sweet Bird of Youth (plus a few others like the Young Philadelphians).

I thought I'd elaborate on a few of my choices in the original post. I chose Diahann Carroll because I find it ballsy that she performed her entire role in EVE'S BAYOU (1987) in white face. She is a black performer turning racism on its head, literally. But it's more than face paint. She gives us a somewhat sinister yet slightly kooky character without veering into camp, no easy feat. Especially when playing a medium/clairvoyant in a Hollywood movie. She was assisted by strong writing and I do feel she should have been nominated for Supporting Actress. It's a perfectly realized character. She skillfully combines different strategies to put it across and make a statement-- voice, eyes, posture and make-up. I chose Rock Hudson because I think SECONDS is the first film where he's allowing himself to explore the dichotomy that exists when reality is at odds with a manufactured image. In an unexpected way he seems more relaxed in this movie than his other movies, even though the subject matter is anything but relaxed. I think he was taking risks and learning about himself and learning how to let go. I chose Vivien Leigh because as sad as it is to say this, I think she was putting a lot of her own fragile qualities into the role of Blanche Dubois. She had performed the character numerous times on the London stage prior to the filming of STREETCAR. So it must have been a regular ritual of taking the metaphoric razor and slicing herself open. The breakdown scene at the end feels hauntingly real. I think she allows her own psyche to merge with the broken psyche of the woman she's playing. Most actresses won't do that, won't go that far into the role. I chose Elizabeth Taylor because in THE DRIVER'S SEAT she allows herself to go over the edge and beyond, a lot like Vivien Leigh but in a much more frenzied way. Very violent things happen to the character and she doesn't seem to shy away from the material at all. She allows herself to be photographed at unflattering angles with poor lighting. She lets the hair go, wears gaudy clothes, because it's how the character of Lise is written in Muriel Sparks' novella upon which the movie is based. She believes in this particular woman, in her damnation almost, but the coarseness and volatility is conveyed with sympathy and sincerity. In many regards, Lise is a logical extension of Martha from VIRGINIA WOOLF. When I watched THE DRIVER'S SEAT recently, I found the film itself to be a bit uneven in spots (probably deliberate by the director) but Liz/Lise is mesmerizing. She proves that sometimes you have to play a polarizing character to get to the truth, even if the truth is not exactly pretty. I chose Dennis Hopper because MAD DOG MORGAN is a shocking film on multiple levels and Hopper does not hold back at all. When I watch him, I get a sense of the actor as an artist. He's brave because like Liz in THE DRIVER'S SEAT he is willing to go all the way with a character or set of situations that may not be very audience friendly or commercial. He is metaphorically naked all throughout this movie. And in one key sequence, a prison rape scene, he is literally naked. I have to discuss the rape scene for a moment. He allows himself to be photographed by the camera in a way that when his clothes are torn off him, it exposes his buttocks. Then he is on the ground getting assaulted by one inmate while another inmate looks on. As the brutal inmates presses against Hopper, we see this very strange expression of pain (horror) and pleasure (a different kind of horror) on Hopper's face. Then in a subsequent shot, we see Hopper's face lowered over a grate and through the bars of the grate there is an inmate in the cell below who is reaching up and fondling his face. It's just such a shocking and memorable scene and Hopper is not afraid to take us on a journey through this experience the character is having. I read that Martin Sheen wanted to play the part and was almost hired but then the producers went with Hopper. To be honest, I don't think Sheen would have gone all the way with it...some of this important sequence in the movie probably would have been toned down, cut altogether or implied off screen. I don't see Sheen doing this type of nudity or making himself as vulnerable as Hopper does. Of course the rape is only about two or three minutes of footage near the beginning, and much more happens to the character as the rest of the story plays out. Anyway, I just feel that Hopper believes in the overall quality of the story and how to take a character to the brink more than once to depict true-life horrors that will cause viewers to think. I just admire him so much in this film. Incidentally MAD DOG MORGAN is an Australian picture, and THE DRIVER'S SEAT is an Italian picture. So like Liz Taylor, Dennis Hopper had to travel overseas to make what was perhaps the most important movie of his career. These types of films just are not made in Hollywood. In Hollywood, bravery is not allowed unless it fits into some sort of commercially viable formula.

Charlize was one of the producers. I think she's the one that pushed for it to get made, because she wanted to demonstrate her range as an actress. It never would have gotten to the "green light" stage without her.

I wonder if he won't read any books before then. Or look at sculpture or painting before then. Are Boccaccio, Chagall, Cervantes, Twain, Raphael, and--oh, yes, Shakespeare--hieroglyphics?

Friday, February 19 8 p.m. Gun Crazy (1950). Seeing this who would have thought Peggy Cummins was from Wales. Note to TCM: We get St. Patrick’s Day every year. How about doing something for St. David’s Day, March 1st and celebrate Welsh actors and stories!

Paroo, Winthrop--little Ronny Howard in The Music Man

Another brave performance is the one Dirk Bogarde gives in VICTIM (1961). He portrays a married man who has a homosexual affair and ends up blackmailed. Off camera Bogarde himself was closeted and remained so for the rest of his life, even after homosexuality was decriminalized in Britain. I can imagine that his choosing to do VICTIM was not an easy decision for him to make. He might have feared it would not be well-received and that it could potentially sabotage his career as a leading man in British cinema.

Our eighth character actor or actress is FAY BAINTER She played Priscilla Lane's mother in DAUGHTERS COURAGEOUS (1938). She earned an Oscar for her supporting work in JEZEBEL (1938). She was lovely in WOMAN OF THE YEAR (1942). There was a starring role in THE WAR AGAINST MRS. HADLEY (1942). And she helped Danny Kaye keep his eyes on the road in THE SECRET LIFE OF WALTER MITTY (1947).

Madonna has 9 Razzies (Shanghai Surprise, Who's That Girl, Body of Evidence, Four Rooms, The Next Best Thing, Swept Away [2 here, one for being in the Worst Screen Couple of the year] , Die Another Day [which was only a 2 minute camo], and a special designation for Worst Actress of the 20th Century), plus 7 more nominations. As Meryl Streep is to the Oscars, Madonna is to the Razzies.

COCO BEFORE CHANEL 2009

Not a problem at all! ps- Also no need to ever apologize for disliking a film I like or liking a film I dislike, Lord knows we all got different tastes. pss- I own JAWS 3 and JAWS THE REVENGE on DVD, (and watch them both annually) So really *None* of you should never take my opinion on whether anything is good or not ever.

UNDER THE CHERRY TREE 2013

Fairchild, Morgan

Zanders, Zelda, played by Rita Moreno in "Singing in the Rain"

Svengali (1931) An Officer and a Gentleman (1982) The Stunt Man (1980) controlling movie director Seinfeld "The Contest" episode. Self-control

Donovan's Brain controls everyone around it Craig's Wife likes controlling everything and everyone (same with the remake, Harriet Craig) Bell, Book and Candle--Kim Novak and kitty Pi control James Stewart

Fay Bainter occasionally gets to play a villain, too, as in Dark Waters and especially The Shining Hour. She's also wonderful in Deep Valley as Ida Lupino's neurotic mother, as TB mentioned. All of us seem to agree that she's consistently outstanding.

SKIPPING X Yardley, Alexander -- played by Sydney Greenstreet in CHRISTMAS IN CONNECTICUT (1945)

Some people don't like the old social norms and mores that are incidental to old movies. I used to live tweet Svengoolie broadcasts with a group of regulars and there would be newcomers now and then popping in when they saw the tag trending. I remember a few who couldn't get over actors who smoked. One lady took exception to Frankenstein's monster not handling his bride's rejection very well.

Not watching films made before 1975 is about as silly an attitude as not eating food whose name begins with the letter "P." What magical event happened in '75 to make that year Mr. Rojas' cutoff date? Does he refuse to watch THE GODFATHER (and GODFATHER PART II)? What about THE STING or THE FRENCH CONNECTION? All made before 1975, so I guess he's never seen them. And Mr. Rojas writes for the New York Times? God help the Times.

I'd go with the "against type" concept because it's not only hard for many actors to get out of that trap, but it might also mean them getting out of their "comfort zone", which makes the performance brave. like; SYLVESTER STALLONE in COPLAND both MICHAEL DOUGLAS and ROBERT DUVALL in FALLING DOWN TONY CURTIS in SWEET SMELL OF SUCCESS JERRY LEWIS in KING OF COMEDY. PETER SELLERS in BEING THERE Any other choices I can make have been made already. Sepiatone

Born Yesterday (Original) The Jazz Singer

A CHRISTMAS STORY (1983) Next: lots of scenes in a warm or hot climate

Code of the Sea (1924)

BRINGING UP BABY (1938)

I was commenting in another thread about Audrey Meadows' great supporting performance in That Touch of Mink and it reminded me of how well Doris played off of other women. Not every top female star could say that. Some seemed only to be able to interact well with other women if there were a clearly defined hierarchy and it was obvious who was the star; they saved all their energy for "the man." Doris and Audrey were believable roommates. Doris was endearingly bemused by Spring Byington as her mother in Please Don't Eat the Daisies. Her intimacy with Myrna Loy as her aunt in Midnight Lace was clear. She seemed very comfortable with a potentially overwhelming Martha Raye in Jumbo. It's another part of what made Doris so special.

Oh yes, thank you for mentioning OUR TOWN (1940). I just love that film. An incredible amazing super talented cast and she steals that one too! She's even good in thankless roles like Bette's friend in JUNE BRIDE (1948) and as a rural mother in THE VIRGINIAN (1946). Another one to check out is DEEP VALLEY (1947) where she gets to work with Ida Lupino again. If you look at her filmography you can see that nearly every film she appeared in was top of the line and usually she's the best thing in them. https://en.wikipedia.org/wiki/Fay_Bainter#Filmography

Glad you mentioned those two films, especially THE CHILDREN'S HOUR. There are so many excellent Fay Bainter performances-- such as her lead role in WHITE BANNERS (1938) where she is paired with Claude Rains. She was nominated as Best Actress, the same year she was nominated and won as Supporting Actress for JEZEBEL. I also enjoy watching her in MAKE WAY FOR TOMORROW (1937) where she is cast as the ungrateful, ignorant daughter-in-law of Beulah Bondi and Victor Moore. She practically steals it from Bondi and Moore, no easy feat. Plus we've got another carefully etched performance in THE PRESIDENT'S LADY (1953). I thought she worked very well with Susan Hayward in that one.

I saw the original Tweet and TCM's reply. It was awesome. The original Tweet stated that he won't watch any old movie made before 1975 (not sure if that is the year he was born, or an arbitrary date) and then went on to say that watching Citizen Kane is like trying to read hieroglyphics. TCM referenced the hieroglyphics statement in their response. Basically a subtweet is talking to someone without talking to them directly. Original Tweet TCM's Reply

Fay Bainter always gave a good performance and added something to the films she was in regardless of the size of the role. One interesting film she did for Columbia was The Lady and the Mob with Ida Lupino (right before she signed with WB). It is humorous crime film and a fun romp. And of course she ended her film career on a very high note in The Children's Hour, being nominated for Best Support Actress. (23 years after her prior nomination in Jezebel).

I hear you, but I look at this differently; E.g. each time I do a survey and they ask for a comment I mention that I would like them to go outside the Turner library of films and include more films from Fox, Paramount, Columbia, Republic, United Artist, Universal, Eagle-Lion etc... Granted, such lobbying hasn't been very successful, so in that way maybe I am a sucker for continuing to make the same request over and over again.

Yep, Sepia. Both the naratives and the visual style of noir are present in every one of these westerns. In particular, I remember the first time I watched Station West and Blood on the Moon years ago and being struck by how "noir" these oaters seemed. It also might especially seemed so to me because both of these film's leads are icons of classic film noir, Dick Powell and Robert Mitchum, respectively. (...I suggest you record these two in particular...they're two of my favorite "western noirs"...I think you'll like them too)

Nice example Dargo. As you've noted, an actor doesn't have to play against type in order to render a brave performance. What makes something brave is that the person is showing vulnerability and depth in what may be a tricky or difficult role. Harold Russell certainly shows vulnerability and depth as Homer Parrish in THE BEST YEARS OF OUR LIVES (1946).

THE CROSS AND THE SWITCHBLADE (1970)

THE GUNS OF FORT PETTICOAT (1957)

CRAIG’S WIFE (1936)

JESSE JAMES (1939)

Tom Cruise in BORN ON THE FOURTH OF JULY was outside his comfort zone. I commend ye. He was pretty outside his normal milieu in TROPIC THUNDER even as I don't think he was credited. How 'bout John Savage in THE DEER HUNTER?

OUR MAN HIGGINS

I think they started it a few years ago. I remember creating a thread about it. But I wasn't aware they were still conducting the surveys. Some of us lost interest, to be honest. Though I am glad James and the others still find value in it. The main reason I stopped participating is because I felt they were using the information to fine-tune their marketing and advertising (the wine club, cruise and festival). Also I felt they were using the info to figure out how to get people to sign up for the Backlot scheme, which I found rather distasteful (seeing if people would pay money for a chance to choose Star of the Month or Summer Under the Stars honorees). If I believed they were being genuine and using the information to improve the way TCM does business and to bring in more films outside their MGM/WB/RKO/UA library, then I would have continued to support it and would have continued to participate in the surveys.

There's a documentary made in 1956 called THE JAZZ AGE. It's narrated by Fred Allen and includes footage of Josephine Baker, F. Scott Fitzgerald, Al Capone and Herbert Hoover among others. https://www.imdb.com/title/tt0947458/?ref_=fn_al_tt_1

Don't forget that Boys Will Be Boys dance number. LOL.

From February 17-19, 1921, the feature at the Poli was She Couldn’t Help It, starring Bebe Daniels as Nance Olden. The film’s release date is uncertain, but it was five reels, and is presumed lost. Plot: Nance Olden, an orphan, is trained in the art of theft by Tom Dorgan, an experienced crook. During one heist at a railroad station, Nance pretends to faint in front of a man who has just shown her a diamond necklace. While the man assist her, Dorgan takes the necklace from the man’s pocket. Ramsey, the victim of the theft, discovers the necklace is missing and connects the robbery with the girl. Nance hides in a carriage. When the occupant returns, he is Bishop Van Wagenen. Nance pretends to be mentally unbalanced, and calls the Bishop “papa.” He pities the girl, and takes her to the home of his friend, who happens to be Mrs. Ramsey. There she meets William Latimer, who is engaged to Nellie Ramsey. Dorgan trails Nance to the home, but is arrested. Latimer learns the truth about Nance, and encourages her to pursue a career in art. Nance is accused of theft, but she has been framed by the jealous Nellie. Dorgan, just escaped from jail, sees Nellie’s deception and clears Nance. “Brace Up! Be a regular fellow” Nance tells Dorgan, who is on his way back to prison. Nance and Latimer find happiness together. The film was adapted from a novel entitled In The Bishop’s Carriage, written by Miriam Michelson. The novel was also turned into a stage play. Exhibitor’s Herald wrote “here is a pleasantly presented picture in society setting that brings Bebe Daniels to the front in a role of which she makes a great deal. …Bebe Daniels is a favorite with picture patrons and her good looks, smartness of costuming and skillful work will carry the feature’s popularity far.” Wid’s Daily remarked that the film was “first of all a crook story but there are some rather good bits of comedy that register and make you wish there were more.” The daily added “there are some matters of detail which may be criticized. The star is taken from the orphan asylum and she’s close enough to the camera for the makeup to be plainly visible. Not likely they allow such things in orphan asylums.” Motion Picture News was unimpressed, writing “the chief fault of the picture is its lack of action. Once the characters and their motives are planted, there is nothing to do but wait for the orthodox conclusion with suspense relegated entirely to the background. It will surprise many to see Bebe Daniels in legitimate drama and those who appreciate her comedy talent will find occasion to be dissatisfied with her present vehicle.” Frank Browne, The manager of Clune’s Broadway Theatre in Los Angeles took advantage of an incident involving Bebe Daniels to promote the film at his theater. Daniels was pulled over for speeding, just outside Los Angeles, and the case drew coverage in the Los Angeles newspapers. So Browne made up a card which read “Bebe Daniels Arrested for Speeding but She Couldn’t Help it,” with all the words except “but” being in boldface. Under the announcement, in small type, was printed “is the name of her latest photoplay to be shown at Clune’s Broadway starting Sunday, March 13th.” (Daniels was given a short jail sentence.) Tom Dorgan was played by prolific character actor Wade Boteler, who was nicknamed the “No. 1 cop of the movies.” In his later years, Boteler served as Community Air Warden in the War Activities Office in North Hollywood. He once tried to explain, in vain, to a woman, that she could not hang Japanese lanterns in her backyard, not because of cultural bias, but because lanterns of any kind were prohibited during blackouts. Boteler also served as President of the North Hollywood Rotary Club. Upon his death in 1943, the North Hollywood Chamber of Commerce issued several resolutions, citing Boteler’s civic work and generosity. Boteler had three sons, each of whom served in a different branch of the armed forces. Here is Boteler as the train conductor in a funny scene from Hit The Ice, at the 23:50 mark:

The 'Trivia' page on IMDb.com for the movie includes: "In her autobiography, Doris Day wrote: "Of all the people I performed with, I got to know Cary Grant least of all. He is a completely private person, totally reserved, and there is no way into him. Our relationship on That Touch of Mink (1962) was amicable but devoid of give-and-take...Not that he wasn't friendly and polite - he certainly was. But distant. Very distant. But very professional - maybe the most professional, exacting actor I ever worked with. In the scenes we played, he concerned himself with every little detail: clothes, sets, production values, the works. Cary even got involved in helping to choose the kind of mink I was slated to wear in the film.""