Pages

Powered by Blogger.
Showing posts with label Robert Shaw. Show all posts
Showing posts with label Robert Shaw. Show all posts

Alternate Best Supporting Actor 1973: Results

Saturday, February 2, 2013

5. Max von Sydow in The Exorcist- Sydow has a limited role but properly gives the weight and power to his role.
4. Edward G. Robinson in Soylent Green- His film is not much but Robinson gives a heartfelt performance that brings weight to a film sorely lacking in it otherwise.
3. Robert De Niro in Mean Streets- De Niro gives an effectively manic performance that infuses a childlike enthusiasm that works perfectly for the part.
2. Robert Ryan in The Iceman Cometh- Ryan gives a powerful performance piercing through the film by realizing his character's cynicism brilliantly by always managing to show that this comes from his broken dreams.
1. Robert Shaw in The Sting- Good Prediction Lezlie. This was a difficult choice to make as Ryan and Shaw are both incredible Ryan realizing his complex character brilliantly, but Shaw making so much more out of a part that is so little. For the moment the win goes to Shaw showing why he is my favorite supporting actor ever tearing into scenes with such conviction, and giving a striking villianous turn.
Overall Rank:
  1. Robert Shaw in The Sting
  2. Robert Ryan in The Iceman Cometh
  3. Robert De Niro in Mean Streets
  4. Edward G. Robinson in Soylent Green
  5. Max von Sydow in The Exorcist
  6. Harold Gould in The Sting
  7. Hal Holbrook in Magnum Force
  8. Michael Lonsdale in The Day of the Jackal
  9. Jeff Bridges in The Iceman Cometh
  10. Robert De Niro in Bang the Drum Slowly
  11. Charles Durning in The Sting 
  12. Barry Dennen in Jesus Christ Superstar 
  13. Lee J. Cobb in The Exorcist
  14. Fredric March in The Iceman Cometh
  15. Bob Bingham in Jesus Christ Superstar
  16. Kurt Yaghjian in Jesus Christ Superstar
  17. Vincent Gardenia in Bang the Drum Slowly 
  18. Lee Marvin in The Iceman Cometh
  19. Ray Walston in The Sting
  20. Tony Roberts in Serpico 
  21. Otis Young in The Last Detail
  22. Randy Quaid in The Last Detail 
  23. Robert Earl Jones in The Sting
  24. Yul Brynner in Westworld 
  25. John Houseman in The Paper Chase
  26. Richard Romanus in Mean Streets
  27. Joe Don Baker in Charley Varrick 
  28. Larry Marshall in Jesus Christ Superstar
  29. Jack Gilford in Save the Tiger
  30. Philip Toubus in Jesus Christ Superstar
  31. William O'Malley in The Exorcist
  32. John Vernon in Charley Varrick
  33. Bob Dylan in Pat Garrett and Billy The Kid
  34. Andy Robinson in Charley Varrick
  35. James Brolin in Westworld 
  36. Don Gordon in Papillon
  37. Warren Oates in Badlands
  38. Josh Mostel in Jesus Christ Superstar
  39. Jack MacGowran in The Exorcist
  40. Yaphet Kotto in Live and Let Die
  41. Robert Deman in Papillon

Alternate Best Supporting Actor 1973: Robert Shaw in The Sting

Thursday, January 31, 2013

Robert Shaw did not receive an Oscar nomination for portraying Doyle Lonnegan in The Sting.

Robert Shaw portrays the main villain of the film an Irish mobster who is chosen to be the mark by con artists Johnny Hooker (Robert Redford), and Henry Gondorff (Paul Newman) due to Lonnegan having ordered the murder of Hooker's mentor. Robert Shaw is one of my favorite actors and he shows exactly why with his performance here as Lonnegan. Lonnegan honestly is not that complex of the role as he  really does fall entirely for the con artists plan all the way. What is great about Shaw's work here is making Lonnegan a compelling villain when he easily could have been a one note and frankly boring performance.

Robert Shaw has a certain screen presence where he just tears into a scene. Shaw honestly has a lot of fun with the role while keeping his performance being entirely serious. Whether it is his Irish accent that only amplifies Lonnegan's characterizations as a hard Irish mobster. He also even incorporates his own personal injury into again suggesting a bit of history of the man by playing Lonnegan a man with a limp, he just adds so much with these smaller elements in his performance. Robert Shaw technically is doing a quite of lot of "acting" here but he has deadly conviction in the role making it so, just like all my favorite actors, it is a completely invisible.

Lonnegan is a fairly small role, and really does get have all that much to say, but Shaw makes the most every moments he has.  This particularly true in the scene where he plays cards with Gondorff as they both try to out cheat each other to win the game. Shaw is the master of the deadly stare, and he is brilliant in the way he shows just how much anger he is cooking up inside himself. When Gondorff repeatedly beats him Shaw conveys that level of disgust in Lonnegan in his steely eyes, and that violence is cooking right beneath his surface. When Lonnegan finally forcible corrects Gondorff on the correct pronunciation of his last name the intensity in Shaw's performance is incredible.

For a harsh villain one needs to look no further than to Robert Shaw for cold brutality never is portrayed by anyone more naturally than Robert Shaw. In one of the earliest scenes with Lonnegan he casually orders the murders of two people, as well as just as casually remarks to one of his men that if those two men are not killed he will have to kill far more people to retain his power. Shaw is brilliant in delivery such unabashed cruelty in Lonnegan. There is not even a second thought in his head about the situation he is just going to have them killed. Shaw shows this as just business as usual something that Lonnegan is very use to by now, and any hesitations would make things bad for business.

In the actual process of the Sting almost everyone around Lonnegan is playing some sort of game, acting out a part, or playing up some sort of angle to set up Lonnegan for the Sting. Shaw is right in the center of it all and he plays a very important role as the mark, because he stands as the man who is acting in a completely honest fashion oddly enough. Shaw therefore gives a very realistic performance here, and his reactions through the process are spot on. This is very important to the film as Shaw runs the fine line of showing Lonnegan going along with the Sting, but as well there is a incisive way in the way he looks that properly suggests at any moment the Sting could be kaput. 

This is a great performance by Robert Shaw, as the role of Lonnegan could have been easily eaten whole by the purposefully more flamboyant performances of the con artists. Shaw never allows this to happen instead he successfully steals scenes (from Redford) or perfectly shares scenes (with Newman) as the villain of the piece. Shaw simple sinks his teeth into this part in a way that most other actors would not have been able to do. If there is one reason more than any other why Robert Shaw is one of my five favorite actors is that he makes me just love to watch him act in a way that very few actors do. I love watching his performance here which absolutely makes Doyle Lonnegan a villain you love to hate.

Alternate Best Supporting Actor 1973

Wednesday, January 30, 2013

And the Nominees Were Not:

Robert De Niro in Mean Streets

Robert Ryan in The Iceman Cometh

Robert Shaw in The Sting

Max von Sydow in The Exorcist

Edward G. Robinson in Soylent Green

Alternate Best Supporting Actor 1974: Results

Thursday, November 1, 2012

5. Marty Feldman in Young Frankenstein- Feldman gives an entertaining and enjoyable performance. 
4. Martin Balsam in The Taking of Pelham One, Two, Three- Balsam does a great job of humanizing his hijacker, and makes it easy to follow through his own small story within the film.
3. John Huston in Chinatown- Huston gives a great villainous performance creating a fantastic mystery within his character who acts warmly, but evil seems lurking beneath his grin.
2. Robert Shaw in The Taking of Pelham One, Two, Three- Shaw gives an excellent performance as a steely cold and calculated villain.
1. John Cazale in The Godfather Part II- Good Prediction RatedRStar. Although I do love Shaw's and Huston's performances Cazale does fairly easily win this year for me. He too could be argued as playing a villain, but Cazale turns his character's pathetic plight into a truly heartbreaking portrait of a brother who just was never good enough. 
Overall Rank:
  1. John Cazale in The Godfather Part II
  2. Robert Shaw in The Taking of Pelham One, Two, Three
  3. John Huston in Chinatown
  4. Robert De Niro in The Godfather Part II
  5. Lee Strasberg in The Godfather Part II
  6. Martin Balsam in The Taking of Pelham One, Two, Three
  7. Marty Feldman in Young Frankenstein 
  8. Harrison Ford in The Conversation
  9. Harvey Korman in Blazing Saddles
  10. Gene Hackman in Young Frankenstein
  11. Hector Elizondo in The Taking of Pelham One, Two, Three
  12. Gene Wilder in Blazing Saddles 
  13. John Cazale in the Conversation
  14. Robert Duvall in The Conversation
  15. Vincent Gardenia in Death Wish 
  16. Michael V. Gazzo in The Godfather Part II
  17. Tony Roberts in The Taking of Pelham One, Two, Three 
  18. Kenneth Mars in Young Frankenstein
  19. Lee Wallace in The Taking of Pelham One, Two, Three
  20. Robert Duvall in The Godfather Part II 
  21. Geoffrey Lewis in Thunderbolt and Lightfoot
  22. James Caan in The Godfather Part II 
  23. Michael Gorrin in The Taking of Pelham One, Two, Three
  24. Allen Garfield in The Conversation
  25. Fred Astaire in The Towering Inferno
  26. John Gielgud in Murder on the Orient Express
  27. Jerry Stiller in The Taking of Pelham One, Two, Three
  28. Perry Lopez in Chinatown
  29. William Daniels in The Parallax View
  30. George Kennedy in Thunderbolt and Lightfoot
  31. Dick O'Neill in The Taking of Pelham One, Two, Three 
  32. G.D. Spradlin in The Godfather Part II
  33. Earl Hindman in The Taking of Pelham One, Two, Three
  34. Anthony Perkins in Murder on the Orient Express 
  35. Larry Hagman in Harry and Tonto
  36. Hume Cronyn in The Parallax View 
  37. Gaston Machin in The Godfather Part II  
  38. Sean Connery in Murder on the Orient Express
  39. Frederic Forrest  in The Conversation
  40. Richard Widmark in Murder on the Orient Express
  41. Joe Mantell in Chinatown
  42. Bruno Kirby in The Godfather Part II
  43. Martin Balsam in Murder on the Orient Express
  44. Robert Vaughn in The Towering Inferno
  45. Denis Quilley in Murder on the Orient Express 
  46. William Holden in The Towering Inferno
  47. Michael York in Murder on the Orient Express
  48. Richard Chamberlain in The Towering Inferno
Next Year: 2011 Supporting

Alternate Best Supporting Actor 1974: Robert Shaw in The Taking of Pelham One, Two, Three

Wednesday, October 31, 2012

Robert Shaw did not receive an Oscar nomination for portraying Bernard Ryder "Mr. Blue" in The Taking of Pelham One, Two, Three.

Robert Shaw portrays the leader of the hijackers who controls the train in his power, and makes the contact with the authorities. Shaw takes unquestionable command with his performance here as Mr. Blue. From his very first scene where he commands the train driver that he is stealing his train, Shaw handles with such insurance. He breaths a constant intensity in the part that is absolutely cold and controlled at all times. From the start he shows that Mr. Blue is a force that is not to be dealt with lightly in any way.

Shaw is master villain here, and it is marvelous to watch him build such a threatening character yet keeping the character extremely calm and cool throughout the film. I particularly love the scene where he tells the hostages they are hostages and tells them that with his machine gun he could kill all of them before they could even get out of their seats. There is an incredible underlying intensity that shows that every threat he makes he will be able to fulfill quickly without a second thought necessary. Shaw makes Mr. Blue a truly imposing force throughout the film.

Shaw, even though Mr. Blue is indeed very calm and collected individual, never for an instance makes this a one note performance. Shaw has a great deal of fun alluding to the background, as well as motivation of Mr. Blue even though this really is not given too much time. These come in his terrific scenes with Martin Balsam's Mr. Green, and as I said in his review the two are great together. Shaw though is spectacular becuase he honestly makes the ability for Blue to go from threatening a group of people with two to casually talking about not wanting to sell insurance both entirely natural, as well as properly humorous. The same goes for every little short aside with Walter Matthau when Matthau's Garber makes a snarky comment toward, and Shaw perfectly comes back with Blue's bluntness to Garber's jokes.

Shaw also has a lot of delicious fun with just the overt Britishness of his character. Blue was a soldier in the British army and it clearly has rubbed off on him. Shaw shows that the way he handles the train is much like the way a strict commander would handle his troops, but as well he has lighter entertaining moments from his outstanding diction and his always proper use of British language. One moment in particular that is superb is when Mr. Blue tells to put two men approaching the train to put their hands in evidence, but quickly has to adjust to telling them to put their hands up. Shaw so well uses such small subtle moments to endless benefit in this performance.

In this great underrated film humor and serious moments are intertwined flawlessly from scene to scene, and Shaw aids in this along the way with the moments with Balsam and Matthau in particular, but he the strongest moments of the film due come in the more dramatic moments. For most of the time things go absolutely according to Blue's plan which he states without hesitations, Shaw presses this point especially well when he lists a long lists of demands and in his entirely confidant fashion says that he'll shoot a hostage if any of the demands are not met. There is no grey area in Shaw performance, Blue will not be convinced to do anything other than he has determined to do.

His two most powerful moments in his performance are the two scenes where Mr. Blue kill someone. The first which is retribution for one of his men being fired on is made especially chilling by Shaw because of how welcoming and pleasant he is toward the man he is leading toward his death. The actually killing is done quickly in a purely business man like fashion, but the equally strong moment of Shaw's performance is the deadly look he gives his psychotic subordinate Mr. Grey who he stares down showing clearly who is in charge. After the killing Shaw important;y does not show remorse in Mr. Blue, but rather when contacting Garber again only angry frustrations for being forced to do his own perceived duty to carry out his personal mission.

The second killing comes in the form of dealing with Mr. Grey, which Shaw again shows purely efficiently, with just the slightest distaste in his face, not for his action, but for having to ever have to deal with the sort that was Mr. Grey. Shaw makes Mr. Blue as the greatest villain he possibly could have been. A portrait of a brilliant commander who has taken on a different endeavor, than his training was for but still handles the new situation with all of his skill. Shaw makes Blue a completely imposing villain that always does things his way no matter what, even at the end of the film where it seems he has only one option Blue still goes out his way, and Shaw portrays this final act like a man who only does things the way he wants. All together Shaw makes Mr. Blue an entertaining, chilling, and imposing villain all at once.

Alternate Best Supporting Actor 1974

Saturday, October 27, 2012

And the Nominees Were Not:

Martin Balsam in The Taking of Pelham One Two Three

Robert Shaw in The Taking of Pelham One Two Three

John Huston in Chinatown

John Cazale in The Godfather Part II

Marty Feldman in Young Frankenstein 

The Sting

Monday, August 6, 2012

The Sting, 1973
Directed by George Roy Hill
Nominated for 10 Oscars, Won 7
Up Against: American Graffiti, Cries & Whispers, the Exorcist, A Touch of Class

The Sting is a story about con artists in the 1930's Depression. Johnny Hooker and his partners Luther and Joe con $11,000 off a man on the streets, not thinking they'd get that rich. Luther announces his retirement and suggests and tells Hooker about a friend he has, Henry Gondorff, saying he should go meet him and learn "the big con". However, things don't go according to plan. The man they conned money off was a numbers racket courier for a famous crime boss named Lonnegan. When a corrupt police officer confronts Hooker and demands part of the pay cut (Hooker had already spent it all), pays in counterfeit bills. Meanwhile, Lonnegan's men murder Luther and Hooker must now flee, and heads to Chicago to meet Gondorff. While Gondorff was a once-great, he's now in hiding and is a bit nervous to take on Lonnegan. But he comes around and the two set up the "big con" for Lonnegan.

The film was an immediate success. It gained positive critic reviews, and was a box office smash. It was also the second pairing of George Roy Hill directed Robert Redford and Paul Newman since Butch Cassidy and the Sundance Kid. It was released Christmas Day in 1973, and went on to win a lot of Academy Awards that year, including Picture, Director, Screenplay.

I really enjoyed this film. This is the first Robert Redford film I've seen, and also my first Paul Newman one (what a treat they both were!) and both were so great. They were great at the double acting (con men, pretending to be several different people, all innocent) and were real trouble-makers. But my favourite part of the entire film was the score. Compiled of mostly Scott Joplin's music composed in the early 1900's, and though not historically accurate for the time period (ragtime was no longer popular in the 30's), but was really really great. It fit the time so well, and was just so fun. It gave the film a bit of a lighter feel when darker music could've made the film more dramatic and sullen. It gave the film a spark quality, and really lit it up.

Additionally, the twists and turns the movie took were great. It really was a thinking movie, and it's so sad how little films like this are made any more. It was well thought out, entertaining, and had a few laughs that balanced the film out well.

Overall, the film was really good. It was a great showcase for Paul Newman and Robert Redford (who looks so much like Brad Pitt. Anyone else notice that?). It was a clever, kind of fun Best Picture as opposed to a lot of the more dramatic, serious, depressing ones.

Acting- 7.5/10
Directing- 8/10
Screenplay- 8/10
Music - 9.5/10
"The look"- 7.5/10
Entertaining- 7.5/10
Emotional Connection- 8/10
Rewatchability- 7/10
Did I like It?- 7.5/10
"Total Package"**- 7.5/10 


Total: 78

Best Supporting Actor 1966: Results

Saturday, April 28, 2012

5. Mako in The Sand Pebbles- Mako gives a good realistic performance. His role is limited, and his character is frankly cut off just when he is becoming interesting.
4. James Mason in Georgy Girl- Mason although has a thankless role in many ways gives a charming, and dryly comic performance, that manages to turn his character into an actual man and not just a creep as he easily could have been.
3. Robert Shaw in A Man For All Seasons- If I was giving the award to my favorite actor Shaw would take this, with close competition from Mason. Nevertheless Shaw gives a strong performance in only two scenes realizing Henry VIII's distinct personality marvelously.
2. George Segal in Who's Afraid of Virginia Woolf?- Segal has an extremely thankless role especially compared to the flashiness of the performances around him, but Segal stays true to his part and creates an effective realistic portrait of a man in the strange situation of the film.
1. Walter Matthau in The Fortune Cookie- Walter Matthau stands on top for this with his consistently hilarious performance. Matthau never wastes a moment as his shyster lawyer deriving comedy from every facet of his character and makes the film.
Deserving Performances:
Richard Attenborough in The Sand Pebbles
Richard Crenna in The Sand Pebbles
Lee Van Cleef in The Good, The Bad, and The Ugly
John Hurt in A Man for All Seasons

Best Supporting Actor 1966: Robert Shaw in A Man For All Seasons

Robert Shaw received his only Oscar nomination for portraying King Henry VIII in A Man for All Seasons.

I should get it out of the way that Robert Shaw is one of my favorite actors. I have loved him in every performance of his that I have seen so far. It is one of the biggest mistakes by the academy that Shaw was only nominated once, frankly he should have been nominated at least for 73 for the Sting, 74 for The Taking Pelham One Two Three, and 75 for Jaws. If Shaw had won for any of those three great performances of his than he would have been a terrific winner. Unfortunately Shaw was only nominated once for portraying the most popular Oscar character ever King Henry VIII.

Henry was previously portrayed by Charles Laughton, and later by Richard Burton who both were nominated in the lead category for their performances as the English King. Although Burton and Shaw both portray Henry at the same time in his life, when he took over the church to marry Anne Boleyn, his portrayal has more in common with Laughton's work than Burton's excessively over the top and sometimes unconvincing performance in Anne of the Thousand Days. Shaw like Laughton focuses on the sort of the spoiled brat personality one can develop over having been given anything he has ever wanted in life as well as being able to do anything he has ever wanted to do.

Unlike Laughton though Shaw is supporting and only has three scenes in which he appears one very very briefly  from far away, but his second scene certainly is his most important. The moment comes as Henry unexpectedly comes to visit his new chancellor Thomas Moore (Paul Scofield) to see if Moore has changed his mind over Henry's decision to marry Anne Boleyn. Shaw knows how to portray Henry and from his first moment coming in through the shine of the sun you know that this man is King. Shaw has an undeniable presence on screen which he exploits perfectly as Henry. There is no question this man is charge his voice his broad manner, Shaw makes Henry a man of absolute sway.

Shaw has a childlike enthusiasm in the role which absolutely represents his portrayal of Henry. He is always childish which Shaw turns into a believable trait of Henry that suggests his history as always a man of wealth and power. Shaw always shows Henry always showing his power pretty much just for fun at times, of course he can act loud, even obnoxious whenever he wants. Shaw shows that Henry is always aware of the fact that he can act this way and no one can say anything about it. Shaw has a constant fun loving quality that is perfect for the immaturity in Henry. Interestingly though Shaw successfully always brings an undercurrent of threatening instability in Henry.

Shaw is terrific in his scene with Scofield as the two men talk over the pressing issue of the marriage and the troubles with church. Shaw is great as he constantly tries to stay friendly as Henry in the scene. He always has a certain smile and warmth toward Thomas that shows that they certainly are friends, but Shaw has just the right degree of uncertainty in his performance to show that Henry knows his friend might not be on his side for once. Shaw is particularly great when he goes on the attack, but it is fast and almost unexpected as his look goes from the of friendship to hatred just from the mentioning of the former chancellor who Henry feels betrayed him. It is a careful simple threat to Thomas which he darts in the middle of the conversation between the warmth, Shaw pulls this off flawlessly.

After this Shaw has one more scene at the wedding with he and Anne Boleyn. Again Shaw is superb in showing the lust in Henry's eyes he has for his eyes. There is passion, and an obvious expectations of much pleasure for himself in just this short moment, which Shaw pulls of brilliantly. Frankly Shaw shows more depth for this relationship with Anne in his single scene than Richard Burton did in the whole of Anne of the Thousand Days. At the end of the scene though he is interrupted as he thinks he sees Thomas. A short moment but an effective one showing that really Henry really did believe Thomas was a friend, and desperately wanted his friend to see things his way.

Shaw is truly quite great in this basically two scene performance. He completely realizes Henry VIII as a character in the film. In his two scenes he seizes control and shows the power of Henry creating the proper impact on the film he needs to. In his few moments he flawlessly creates the antagonist of the film who is almost always working his will off screen and through other men. I actually with there had been more of his Henry VIII. After watching his performance here I actually wish Shaw had gotten a film where he had been the lead as Henry VIII because of what he does with the character despite his extremely limited time. In any case this is a terrific supporting turn that more than fulfills his duties as King Henry.

Best Supporting Actor 1966

Sunday, April 22, 2012

And the Nominees Were:

Robert Shaw in A Man For All Seasons

James Mason in Georgy Girl

Walter Matthau in The Fortune Cookie

George Segal in Who's Afraid of Virginia Woolf?

Mako in The Sand Pebbles

The Taking of Pelham One Two Three

Friday, November 2, 2007

“The Taking of Pelham One Two Three” (1974) is a crackerjack crime thriller, one of the best I’ve seen in a long time. I taped it off TCM awhile ago, and now that Halloween is over, I felt like watching something that wasn’t horror related. I picked a good one.

A quartet of robbers who call themselves Mr. Blue, Mr. Green, Mr. Grey and Mr. Brown (hello, Quentin Tarantino) hijack a New York subway train and demand one million dollars in one hour or they will kill one hostage for every minute the money is not delivered. Robert Shaw plays the head robber and Walter Matthau plays a transit cop who negotiates with them. They’re both marvelous, and Matthau is a particular joy to watch.

I enjoy these gritty 1970s crime dramas that stress realism over fanciful stunts and contrived situations. Director Joseph Sargent doesn’t allow a wasted scene and gives pros like Martin Balsam, Hector Elizando and Jerry Stiller the opportunity to do their stuff.

The film is augmented by a marvelous score by David Shire, a prime example of 1970s funk with the main title being one of the most propulsive to drive a 1970s action movie.

It may be odd for those who only know Matthau from his later day comedies that in the 1970s he made three terrific crime dramas in a row, this one and “The Laughing Policeman” and “Charley Varrick”, both from 1973.

For those looking for big explosions and farfetched action set pieces, the film will disappoint, but I was engrossed throughout and particularly enjoyed the film’s final scene - proof positive that a crime drama doesn’t need to end in an orgy of killing and destruction to be completely satisfying.

Some of the language and stereotypes would not make it today, but one aspect of the film hasn’t dated - the scenes of an unpopular Mayor bemoaning that the transit system is broke and they don’t have one million dollars to spare seem chillingly prophetic.

The film is being remade with Denzel Washington and John Travolta in respectively, the Matthau and Shaw roles. If it stays true to form to current action movies, I can only imagine how loud, stupid and irritating this version will be. I hope I’m wrong, but the only good thing I can glean from it is it may introduce people to the wonderful 1974 original.

Rating for “The Taking of Pelham One Two Three”: Three-and-a-half stars.
 

Blogger news

Blogroll

Most Reading