kingrat
-
Posts
4,574 -
Joined
-
Last visited
-
Days Won
2
Posts posted by kingrat
-
-
My favorite performance by a supporting actress for 1966 comes from a film I don't much like, Morgan. This is one of those cases where what the filmmakers want me to feel--that David Warner's title character is one cool dude, wacked out but basically in a good way--doesn't coincide with what I actually feel, that Morgan is dangerous and obnoxious. David Warner makes Morgan all too believable, and it's not surprising that Warner would go on to a career of playing villains.
This may be the only film where Vanessa Redgrave, as Morgan's estranged wife, plays a featherbrain, and it is interesting to see an actress as intellectual as Redgrave dumbing down for the part. Admirable, too, is Robert Stephens as her businessman lover. In one big scene Morgan, complete with a gun, goes to threaten his wife's lover at his place of business. Clearly, we are meant to empathize with Morgan; I mean, Stephens is even wearing a suit! How uncool is that? In fact, Stephens takes control of the situation quite calmly and capably, and I wind up admiring him, even if he is sleeping with some other guy's ditzy wife.
By far the best part of the film, however, consists of the brief scenes with Irene Handl as Morgan's salt-of-the-earth mother--also Salt of the Earth mother, for she's a dedicated Communist. To hear the cliches of Communist propaganda coming from the lips of this uneducated Cockney is really hilarious. Irene Handl brings a welcome energy to every moment she's on screen, and she walks off with the film.
-
2
-
-
Don't forget Kings Row; Now, Voyager; The President's Analyst; and (giggle giggle giggle) The Chapman Report and Shock Corridor.
-
Sandy Dennis had a very mannered persona, filled with physical tics and vocal affectations. I find that any performer who regularly employs these kind of mannerisms tend to rub a lot of people the wrong way, and in Dennis's case she's extra annoying due to the overload of said mannerisms. Some people find them fascinating, while others endlessly irritating.
To join with speedracer and Lawrence: I almost gave a special "Twittering, Jittering, Fluttering, and Stuttering" Award to Sandy Dennis. I wish Mike Nichols had reined in her performance more. However, what you see on screen probably is the reined-in version.
She first attracted attention in a Broadway comedy, Any Wednesday. Most of the theater critics loved her mannerisms. Gene Hackman did not enjoy working with her in this play because he never knew what she was going to do. Two of the best film critics of her time, Pauline Kael and John Simon, utterly loathed every performance of hers.
It's funny: I'd swear Melinda Dillon, who originated the role of Honey on Broadway, is a much better actress, but I have a little trouble calling up what she looks like, despite having seen A Christmas Story many times. Sandy Dennis has an unusual face which registers strongly on screen. She's well cast as Honey, but one has to put up with the mannerisms. Or not. I'd love to have seen Melinda Dillon, Eileen Fulton (who did matinees on Broadway), and Beverlee McKinsey (who played the role in London opposite Uta Hagen) to compare. It doesn't hurt Dennis that she had a role in a great play, well directed and photographed, and that the supporting actress competition was really weak.
-
2
-
-
Soap opera fans probably remember Patricia Barry best as Addie Horton on Days of Our Lives. Question, guys: if you were a soap opera leading man (Doug Hayes), what would you do if the beautiful woman (Susan Seaforth Hayes) you loved and who was going to leave her husband for you wanted to bring along her young son? Answer: 1) You would reject her bringing along her son as being unfair to her husband and 2) would promptly marry her mother (Patricia Barry). Patricia Barry, Doug Hayes, and Susan Seaforth (soon to become Mrs. Hayes IRL) gave committed performances to this less than probable storyline.
Some years later, Patricia Barry also had fun playing an international villain known as Cobra on All My Children.
-
3
-
-
I would gladly watch Hombre again just for Diane Cilento's marvelous performance. She would have my vote as the best actress of 1967. Richard Boone is a most dashing villain. Martin Balsam is a very hit or miss actor--he's fairly dreadful in Catch-22 and The Anderson Tapes--but he is truly outstanding in Hombre. Barbara Rush, as usual, gives a good performance. Hombre is a Paul Newman movie where Newman himself is rather peripheral to the best stuff in the movie.
-
1
-
-
For once, the top three nominees for Best Actor were the top competitors for the Oscar. For me, it's so close among the three that I could flip a coin. All are marvelous, as are the top two candidates for Best Actress. Not much depth in most of the acting categories.
Best Actor of 1966:
Richard Burton, WHO'S AFRAID OF VIRGINIA WOOLF?****
Paul Scofield, A MAN FOR ALL SEASONS
Michael Caine, ALFIE
Zero Mostel, A FUNNY THING HAPPENED ON THE WAY TO THE FORUM
Jean Martin, THE BATTLE OF ALGIERS
Honorable mention: Rock Hudson, SECONDS; John Randolph, SECONDS
Best Actress of 1966:
Bibi Andersson, PERSONA****
Liv Ullmann, PERSONA
Lynn Redgrave, GEORGY GIRL
Shirley MacLaine, GAMBIT
Best Supporting Actor of 1966:
George Segal, WHO'S AFRAID OF VIRGINIA WOOLF?****
Michael Hordern, A FUNNY THING HAPPENED ON THE WAY TO THE FORUM
Jack Gilford, A FUNNY THING HAPPENED ON THE WAY TO THE FORUM
Walter Matthau, THE FORTUNE COOKIE
Will Geer, SECONDS
Best Supporting Actress of 1966:
Irene Handl, MORGAN!****
Vivien Merchant, ALFIE
Frances Reid, SECONDS
Lila Kedrova, TORN CURTAIN
Vanessa Redgrave, BLOW-UP
Honorable mention: Joan Hackett, THE GROUP
-
3
-
-
I believe that Salvatore Giuliano, The Organizer, I Am Cuba, Bay of Angels, and The Rise to Power of Louis XIV have all been shown on TCM, which is where I saw the first four, so keep an eye out for them. They are all worth seeing. Some of the others skimpole mentions should be available on Criterion. and the closer connection between Criterion and TCM may bring some of them to our TV sets.
-
2
-
-
Before we move on from 1965, I ought to mention the performance at the top of my list for this year, from the film that is at the top of the list for this year: James Fox in King Rat. I believe that Bogie agrees on both counts.
In the early to middle 1960s, James Fox had the lock on playing young upper class Englishmen, the kind who were educated at one of the top public schools (Eton or Harrow) and then on to university at Oxford or Cambridge. In The Loneliness of the Long Distance Runner he has the small role of the public school's best runner, and thus the rival of Tom Courtenay as the best at reform school. His character is sympathetic enough, but of course our real sympathies are with Courtenay.
In The Servant James Fox plays the master, except that the point of the film is that the servant becomes the master. For Joseph Losey (and perhaps Harold Pinter, who adapted the script from a Robin Maugham novel) the aristocracy is weak and corrupt, and the weakness of the master symbolizes the weakness of the entire class. Fox plays the weakness and corruption without our completely despising him, though Dirk Bogarde has the showier role and makes the most of his opportunity.
Because Fox and Courtenay bring up such strong class resonances, their casting in King Rat is perfect. Now Fox has the sympathetic role, showing us the virtues of his class at their best, whereas Courtenay shows us the dark side of this working class man, full of spite and envy, absolutely right when he denounces the corruption of the officers, yet inevitably going too far.
Much of King Rat is shown from the viewpoint of Marlowe, Fox's character, who becomes fascinated by the one prisoner in the camp who seems to know how to get things done, Corporal King (George Segal, also perfectly cast). I don't believe he's identified as a New Yorker, but Segal as Cpl. King is the essence of the streetwise New Yorker who knows how to manipulate every kind of system, legal and illegal, even a Japanese prison camp, for his own benefit and sometimes for the benefit of others. Marlowe has never met anyone like this.
James Fox doesn't have the kind of showy scenes which often win awards for an actor, with lots of emotional outbursts, for that isn't the way Marlowe was brought up. Instead of speeches which proclaim various moral values, Fox's reactions let us know clearly enough of his amazement at King's behavior, the way he is drawn into King's circle and King's schemes, and the kind of moral compromises he himself is willing to make to survive. It would be almost true to say that our moral guide to the complex world of the film is James Fox's face. Because of Fox and the rest of the great cast, writer and director Bryan Forbes can always imply rather than state, knowing that the actors will make everything clear to the attentive viewer.
George Segal is one of those unusual actors who are attractive enough to play romantic leads yet blend perfectly into an ensemble. (Think of how Paul Newman or Steve McQueen would have upset the balance of King Rat had one of them played King.) If Segal didn't quite have the career as a leading man that briefly seemed possible, he has had a long and successful career as a character actor.
-
4
-
-
Concerning a few of the films that have been mentioned:
Simon of the Desert is one of my favorite Bunuel films, and it's only about 45 minutes long. Definitely worth a watch.
I liked Shakespeare Wallah better when I saw it in college than when I saw it again a few years ago, but this story of a traveling Shakespeare troupe in India, an early film by James Ivory, is certainly worth a look.
Visconti's Sandra (Vaghe stelle dell' orse) is hard to find, and the online site where I saw it is now gone. It may be available on YouTube. Nicely photographed in black and white, it recounts the story of a young woman (the lovely Claudia Cardinale) who cannot escape her possessive brother, even after her marriage to an Englishman. It might especially be recommended to those who find some of Visconti's more ambitious films too long and slow. Sandra is a much tighter film, like Visconti's adaptation of Camus' The Stranger.
The Ipcress File, directed by Sidney J. Furie, was another of the films that propelled Michael Caine to stardom. The very flashy and aggressively directed style created something of a sensation at the time, but some find it dated. Michael Caine, a spy story, swinging England--I'd say it's worth a try.
When I commented online that The Knack looks awfully dated, another poster made the valid point that the datedness of it is precisely what's most interesting about it. Richard Lester made a freewheeling adaptation of a popular play by Ann Jellicoe. All the directorial tricks that made it look new then seem old hat now. Very much "swinging England," and gosh, how I wanted to go there. Remember "dolly birds"? You'll see a lot of them in this movie. Rita Tushingham and Michael Crawford are among the stars.
If you didn't know that William Conrad had ever directed a film, neither did I. Brainstorm is a belated film noir. Some noir enthusiasts rate it more highly than I do. I've always liked Viveca Lindfors, who plays a psychiatrist here.
-
2
-
-
Wouldbestar, I believe that Carolee Campbell left The Doctors when Hector Elizondo's career heated up and he began doing more movies and primetime TV in Hollywood. I'm glad you mentioned her, because no one else on TV was quite like Carolee Campbell. She began as a day player, just one of the nurses in the background who had a few lines now and then. She was especially good at adding realistic humorous touches to her lines and actions. Not a beauty queen, she nonetheless had so much vivacity and humor that she was very appealing. Down to earth, but never a dull moment: sounds like a great combination to me.
Eventually the powers that be realized what a gem they had and made her a regular, also giving her first name to the character. When they paired her with David O'Brien, things just kept getting better. They liked working together so much that they said in interviews they would never want to play their roles opposite anyone else. I'd love to see those early courtship episodes.
The Doctors made the great move of replacing a star with a star when Carolee Campbell left. Jada Rowland had started on The Secret Storm when she was young (about five or so) and literally grew up on the show, with occasional departures and returns. When I first saw her, she was an adult, beautiful and intelligent, the center of the show. She could do lightly comic or heavily dramatic scenes with equal skill. When The Secret Storm was canceled, she eventually took over the role of Carolee on The Doctors, and when The Doctors was canceled, she went on to have another career as an artist and book illustrator. In fact, she illustrated a book by a friend of mine.
Because of Jada Rowland, quite a number of girls were named Jada, pronounced "Jayda," like Jada Pinkett Smith. However, Jada Rowland was named for the song "Ja-Da," pronounced "Jahda." She has a website which shows some of her artwork.
-
2
-
-
This will encourage me to search out more of his films. Ashes and Diamonds is a sublimely great film. I often wonder what our perception of foreign directors would be if the films of Wajda (or Satyajit Ray, or many another director) had been as available to the English-speaking public as the films of Truffaut.
-
Good suggestion, skimpole. I have a hard time supporting the skillful performances in Daisies from a film that isn't especially to my taste.
-
Chimes at Midnight has indeed been beautifully restored visually--the problems with the audio are probably beyond fixing--and looks great on the big screen. It's probably the best Kurosawa film not directed by Akira Kurosawa. The opening shot immediately made me think of Kurosawa, and the influence is felt not only in the battle scenes, but in the interiors of Mistress Quickly's inn, which look a good bit like the interiors of Yojimbo. It's interesting that Welles learned and assimilated so much from the Japanese director.
For me, the best performances are from Keith Baxter, an excellent Prince Hal; John Gielgud, who makes the most of every line Henry IV has; and Margaret Rutherford as Mistress Quickly. Jeanne Moreau is bizarrely cast as Doll Tearsheet. She and Marina Vlady are most attractive, but a more idiomatic grasp of English would have helped. Welles is physically right for Falstaff, and he has the useful Wellesian voice, but for me his interpretation is sometimes generic, without enough attention to a specific scene. Welles seems to have spent more time on the visual aspect of the film than on his own performance, which is not necessarily a bad thing, given the strength of the visuals. However, I would have sent Alan Webb's Justice Shallow to the gallows early in the film. Welles has a great fondness for irritating supporting performances that are allowed to run on and on, not only Alan Webb here, but Dennis Weaver in Touch of Evil, Glenn Anders in The Lady from Shanghai, and Akim Tamiroff in Mr. Arkadin, to name a few.
About the other Shakespearean film of 1965: I always think of it as the Olivier Othello, but Olivier didn't direct it, more's the pity. Stuart Burge directed what is essentially a film version of the stage production. I'm not complaining; too bad that more of the great Olivier, Gielgud, Richardson, Redgrave etc, performances weren't preserved on screen. Olivier learned to lower his voice an additional octave to play Othello. It would be worthwhile to watch the film simply to watch what Olivier is doing in each scene. Even if you don't think he's making the right choices, what he does is always interesting. Frank Finlay gets the class difference exactly right; this is just how I envision Iago. Maggie Smith makes a fine Desdemona. Despite her skill, Joyce Redman makes Emilia too middle class for my taste, too close in rank to Desdemona. An earthier Emilia can then surprise and move us when she rises to denounce Iago and Othello in the final act.
-
Top 10 Films of 1966:
Seconds
Persona
Who's Afraid of Virginia Woolf?
Closely Watched Trains
The Battle of Algiers
Alfie
Blow-Up
Gambit
A Funny Thing Happened on the Way to the Forum
The Professionals
Alternate: A Man for All Seasons
A matter of black and white: The first five films on the list are all in black and white, and in different ways the first four have remarkable cinematography.
-
3
-
-
Thanks for the info about OPW. If I recall, Edouard Aleata was supposed to be Italian, but why he had a French first name was never explained.
Like you, I enjoy seeing the excerpts from contemporary magazines on the soapoperanetwork,com website. Among other things, it's fun to see the messages for those in the know about actors who were "confirmed bachelors" or who had never met the right girl, etc.
-
1
-
-
Leading vs. Supporting Categories in 1966 …
Candice Bergen is a lead actress in The Sand Pebbles.
Both Liv Ullmann and Bib Andersson are leads in Persona.
Michael Caine and Nanette Newman are the leads in The Wrong Box.
Both Zero Mostel and Michael Crawford are co-leads in A Funny Thing Happened on the Way to the Forum.
Bogie, some might wonder whether Candice Bergen is any kind of actress in The Sand Pebbles, although she has a leading role and is very beautiful. I would never have believed that she would become such a polished comic actress in future years.
If I move Liv Ullmann to the lead actress category, at least I'll have four nominees instead of three. This strikes me as a weak year for female performances, despite one overwhelmingly great performance. The supporting actress category isn't much better. And I've seen about fifty movies from 1966; perhaps some of you will remind me of actresses I've overlooked.
Zero Mostel is on my top five best actor list, and Forum will be mentioned in the supporting actor list, too.
-
Darling hasn't aged well in some respects, but in other ways it has. We can't recapture the impact that Julie Christie had on audiences as a new star. Some had seen her in Billy Liar, but in 1965 Darling and Doctor Zhivago were big hits, and she became a star. I'll admit to being a big fan, but in some ways she was more a movie star than an actress, although, I think, a capable actress within a relatively narrow range of roles.
One of the more remarkable aspects of Darling is that it is the first movie, as far as I can tell, that has 21st century views of homosexuality. We're about as far as possible from The Children's Hour (1963) where a character feels impelled to commit suicide when she recognizes romantic feelings for her female friend. In Darling homosexuality isn't a problem, it's just a fact of life, and that's exactly what John Schlesinger intended. When the model's gay friend goes off for a date with a handsome Italian waiter, we're pleased for him. That makes it easier for me to overlook some of the less than subtle moments in the film (e.g., when the model's face replaces a story about famine on a bank of magazine covers).
I also think that everything in the film related to Dirk Bogarde's character is a complete success. This film producer, rather smug with his success, has an affair with the beautiful new model mainly because he can, and then falls desperately in love with her. After all, it's Julie Christie, for whom many a man would have destroyed his marriage, given the chance. The portrayal of adultery is actually more powerful by not showing the full effect of the adultery on the wife and child; what happens to the man himself is devastating enough. Bogarde's performance is great, probably his best, and I would gladly have given him top acting honors if it hadn't been for the larger role played by James Fox in King Rat.
-
4
-
-
Thanks, TB. Like you, I was wondering if it was just me or my computer! I don't know anyone who is registered at soapoperanetwork.com. It's sobering to read posts by people saying how much they would love to see shows or eras of shows that I have actually seen.
As much fun as it was to see the young Christopher Reeve on Love of Life and think, "That guy has everything. He's going to be a star," it's sobering to think of all the great work by people who did not have movie careers.
I did see an episode of Our Private World from YouTube, the short-lived primetime spinoff of As the World Turns, apparently the one episode without Eileen Fulton as Lisa. This particular episode was so slow-paced, with no real action in any storyline, and two actresses playing neurotic women who looked too much alike. that it's no surprise that the show was cancelled. It was nice to see actors like Nicolas Coster, David O'Brien, and Millette Alexander who would go on to better roles on daytime soaps, but too bad that neither Eileen Fulton, Geraldine Fitzgerald, nor Sam Groom was in this particular episode.
-
I don't know if any of you are registered to post as soapoperanetwork.com. I have had trouble trying to register on the site.
Lee Patterson is in a number of movies, and if you are a fan of his, as I am, you might want to check out The Story of Esther Costello, where he plays the nice young journalist who falls in love with the girl played by Heather Sears (obviously based on Helen Keller).
The part of Jennifer Richards on Guiding Light was played by the fine actress Geraldine Court, who played Dr. Ann Larimer on The Doctors, generally a nice person the first time she was on the show, and anything but when she returned, keeping poor Carolee (then played by the wonderful Jada Rowland, who had replaced the also wonderful Carolee Campbell) locked in a sanatorium. Jada Rowland was so expressive with her eyes as she lay helpless in bed that the producer dragged out this storyline to take advantage of it. For weeks the only thing the poor woman could say was her husband's name: "STEEEEEVE!!!!"
I'm glad others also have such fond memories of these talented actors, much of whose work has been needlessly lost.
-
2
-
-
A little more about Young Cassidy, one of those messy movies which is still worth seeing. John Ford began directing it, and I believe there are two scenes of his left in the movie: 1) a bar fight which is like every other bar fight in a John Ford film and 2) the very moving death scene of Flora Robson. The rest was directed by Jack Cardiff, competently if not at the level of brilliance of his cinematography in so many films. One riot scene copies elements from Battleship Potemkin.
Young Cassidy is based on a memoir by Sean O'Casey. Apparently his family did Anglicize their name to Cassidy at one point, but it does seem strange to see "The Plough and the Stars by John Cassidy" on a theater marquee. Rod Taylor doesn't seem intellectual enough to play O'Casey, but he's certainly handsome and likable, and a better actor than I had once thought.
In addition to Maggie Smith before she became a star, the film also has Julie Christie before she became a star. Julie Christie is gorgeous with star quality for days, and it's unfortunate that she disappears so soon from the story. The cast includes Michael Redgrave as Yeats, Edith Evans as Lady Gregory, Flora Robson as O'Casey's mother, and Sian Phillips as the sister who is starving to death. Jack MacGowran, T.P. McKenna, and Donal Donnelly have small roles, too. I can enjoy the film just to see the actors at work.
-
3
-
-
Beginning with some aspects of The Prime of Miss Jean Brodie and continuing to Downton Abbey Maggie Smith has primarily been known for campy comedy. Sometime after Brodie I saw her in Noel Coward's Private Lives on stage. Ideally, that play has matching stars in the lead roles which Coward and Gertrude Lawrence originally created. Maggie Smith simply inhaled her co-star, John Standing, the other two actors in the quadrangle, and some of the scenery as she turned the play into a showcase for her comic technique, which was formidable. The most memorable part of the evening was a bit of comic business when Maggie discovered something beside her on the couch, which turned out to be the purse of her rival, Sybil. Holding the purse as far away from her body as possible she hurried across the room to deposit it near Sybil. This was completely over the top, very funny, pretty much irrelevant to Coward's play, and magnificently executed.
This is not what one would have expected from seeing Maggie Smith as Desdemona, which suggested the presence of a great Shakespearean actress, or in Young Cassidy, where she plays a romantic role to perfection. With her red hair and flawless pale complexion, she looks very beautiful as the innocent young Irish girl, and ready to play romantic leads opposite the top actors of the day. Her career took a different path, and I can't help feeling some regret, despite the delights of her flair for comedy that made her one of our most beloved stars today.
-
3
-
-
Some random thoughts about 1965: I've already mentioned the British invasion theme and the prominence of B&W films. Another theme: groups of men in extreme situations: King Rat, The Hill, The Flight of the Phoenix. All three films have passed the test of time very well, with acute psychological insights into the way men interact under these unusual pressures.
The Hill has the great Oswald Morris as its cinematographer. Look at the opening of the film and the remarkable camera movements which introduce us to the physical and emotional set-up of the prison. Unfortunately, the credits are overlaid on this opening sequence. Morris also shot The Spy Who Came In From the Cold.
Speaking of Spy, I think this is one of Richard Burton's best performances. Over the years he will turn out some just-treading-water historical performances and some gotta-pay-for Liz's-baubles-somehow movies, but it's a pleasure to watch when he's really working. Claire Bloom and Oskar Werner are perfectly cast, and this is one of Martin Ritt's best films.
Again speaking of Spy, I'm fascinated by the moment of time that gave us these thrillers in the same year: Mirage, Return from the Ashes, The Spy Who Came In From the Cold, The Collector, Repulsion, Bunny Lake Is Missing. Mirage is a throwback to classic noir, with yet another version of the amnesia story directed by one of the classic noir directors, Edward Dmytryk. The quick fragmentary flashbacks are a new technique. Return from the Ashes gives noir a Euro setting and reverses the sexes, with Maximilian Schell as the femme fatale.
The Spy Who Came In From the Cold had been a huge best-seller, and both novel and film establish the paradigm for the new spy movie where "we" are seen to be almost as morally dubious as "they" are. The Collector establishes another genre, the story of the psycho who kidnaps a beautiful girl. This has become such a staple of movies and television that it's difficult to realize how little this motif was used in earlier films. Repulsion sets the paradigm for the arthouse thriller and arthouse horror movie.
Bunny Lake Is Missing, on the other hand, tells the kind of story which in the future will primarily belong to television detective shows.
-
3
-
-
1965 was a great year for lead actors. As I noted in the Top Ten Films thread, this is the last year when black-and-white films dominate the best film lists. That won't happen again, although my two favorite American films from 1966 are both in black and white. After 1966 the Oscars discontinued the awards for B&W cinematography and B&W art direction.
I'll agree to move Claire Bloom to the supporting category, but must regard Desdemona as a leading role. All the great actresses would think so, too. The lead actress category is weak.
The year has a distinct "British invasion" flavor.
Best Actor of 1965:
James Fox, KING RAT****
George Segal, KING RAT
Dirk Bogarde, DARLING
Richard Burton, THE SPY WHO CAME IN FROM THE COLD
Terence Stamp, THE COLLECTOR
Frank Finlay, OTHELLO
Honorable mention: Keith Baxter, CHIMES AT MIDNIGHT; Laurence Olivier, OTHELLO; Gregory Peck, MIRAGE; Sidney Poitier, A PATCH OF BLUE; Oskar Werner, SHIP OF FOOLS
Best Actress of 1965:
Elizabeth Hartman, A PATCH OF BLUE****
Maggie Smith, OTHELLO
Julie Christie, DOCTOR ZHIVAGO
Ingrid Thulin, RETURN FROM THE ASHES
Simone Signoret, SHIP OF FOOLS
Honorable mention: Diane Baker, MIRAGE; Julie Christie, DARLING
Best Supporting Actor of 1965:
Harry Andrews, THE HILL****
Ossie Davis, THE HILL
Tom Courtenay, KING RAT
Hardy Kruger, THE FLIGHT OF THE PHOENIX
Walter Matthau, MIRAGE
Honorable mention: Michael Dunn, SHIP OF FOOLS; Wallace Ford, A PATCH OF BLUE; John Gielgud, CHIMES AT MIDNIGHT; Edward G. Robinson, THE CINCINNATI KID; Oskar Werner, THE SPY WHO CAME IN FROM THE COLD
Best Supporting Actress of 1965:
Claire Bloom, THE SPY WHO CAME IN FROM THE COLD****
Martita Hunt, BUNNY LAKE IS MISSING
Maggie Smith, YOUNG CASSIDY
Flora Robson, YOUNG CASSIDY
Margaret Rutherford, CHIMES AT MIDNIGHT
Honorable mention: Joan Blondell, THE CINCINNATI KID; Viveca Lindfors, BRAINSTORM
-
5
-
-
Return from the Ashes is a Euro-noir which turns up on TCM from time to time. The most interesting aspect is that the sexes are reversed. The femme fatale role is played by Maximilian Schell. Ingrid Thulin plays a wealthy Jewish doctor who is returning from a concentration camp after the war. Samantha Eggar plays her stepdaughter. Schell, a chess player with little money of his own, goes after Thulin and her money, and, of course, her stepdaughter, too.
I don't want to oversell the movie, but I found it quite interesting, with a good cast. The first scene is a real shocker, one you will remember.
-
1
-
Lead or Supporting Role?
in Your Favorites
Posted
Lawrence, here are some of mine:
Jo Van Fleet, Cool Hand Luke - only one scene, but it's a beauty
Billie Whitelaw, Charlie Bubbles
Estelle Parsons, Bonnie and Clyde
Katharine Ross, The Graduate
Barbara Rush, Hombre
Mildred Natwick, Barefoot in the Park
Genevieve Page, Belle de Jour
I agree with all of Bogie's calls on the 1967 categories. Thanks for reminding us to add The Producers.