GREAT PERFORMANCES THAT MADE MOVIE HISTORY...Part I
I recently had the privilege of seeing Charlize Theron give the performance of the year in Monster, one of the very best films of 2003. ‘Priviledge’ is an understatement; because seeing Theron play Aileen Wuornos is like witnessing a cinematic miracle. Not only is this the best performance of the year, it’s clearly one of the greatest performances of all time – one that, in my opinion, has already made movie history. Not because Theron’s eerie physical transformation is so extraordinary, but because Theron’s portrayal of Wuornos is nothing less than supernatural, transcending the realm of performance and entering the realm of mediation. Theron doesn’t just play Wuornos, she channels Wuornos, to a degree that is almost unprecedented. And it’s not simply a matter of imitation, but of occupation – Theron completely occupies the mind, body and soul of this character in a way that is nothing less than miraculous. As a result, Theron has considerably raised the bar when it comes to playing real life characters – giving her contemporaries something to strive for, as many of them will try in vain to achieve the same level of artistry. In fact, I have no doubt that her performance will be used in acting classes as an example of the highest level of achievement possible with the craft. Theron has given good performances before, but nothing I’ve from her so far could prepare me for this total transformation into the character of Aileen Wuornos – a transformation that is both awe inspiring and unnerving in its magnitude.
Theron’s phenomenal achievement had me thinking about other great performances that also made movie history. Performances that are so outstanding, they left a lasting impression on myself and on the industry. The following is a selection of such performances. The focus is on American films, because like most Canadians, they represent the majority of films I see. And this is by no means an exhaustive or definitive selection, as I’m well aware there’s plenty I’m omitting. However, keep in mind that Part II is yet to come.
CHARLIE CHAPLIN Modern Times (1936)
Charlie Chaplin’s characterization of the Little Tramp struck such a chord, that at the time, it made him the biggest entertainer in the world - proving to Hollywood that when it comes to box office, comedy is king. With a brilliant combination of physical comedy, wide-eyed naiveté, and the unfortunate ability to always be in the wrong place at the wrong time, Chaplin’s Little Tramp is the most memorable ‘loveable loser’ in movie history, dominating the silent era with an infectious charm that elicits strong reactions of both sympathy and laughter from the audience. In fact, Chaplin’s Little Tramp is one of the most perfect marriages between tragedy and comedy in the cinema – representing with irrepressible wit, all those times we have felt lost, lonely, misunderstood, marginalized, and exploited. And even though Chaplin played this part in several earlier films, I chose to focus on Modern Times simply because: a) it’s one of the greatest realizations of the Little Tramp in Chaplin’s career, b) it's one of the best examples of how successfully he used the character for social satire, and c) one of the first films to really question the merits of the industrial revolution. In fact, this particular depiction of the Tramp by Chaplin is one of the best cinematic expressions of how truly dehumanizing unrestrained capitalism can be.
VIVIEN LEIGH Gone with the Wind (1939)
Long before the age of the ‘event film’, Gone with the Wind debuted in 1939 and Hollywood has never been the same since. Up until that point, the industry had never experienced the kind of cultural phenomenon that this technicolour epic had become. Gone with the Wind was a colossal success in every way imaginable, and key to that success is Vivien Leigh’s portrayal of Scarlet O’Hara, which is simply one of the greatest screen performances of all time – an element of high art amid Hollywood’s greatest work of mass appeal.
Theron’s phenomenal achievement had me thinking about other great performances that also made movie history. Performances that are so outstanding, they left a lasting impression on myself and on the industry. The following is a selection of such performances. The focus is on American films, because like most Canadians, they represent the majority of films I see. And this is by no means an exhaustive or definitive selection, as I’m well aware there’s plenty I’m omitting. However, keep in mind that Part II is yet to come.
CHARLIE CHAPLIN Modern Times (1936)
Charlie Chaplin’s characterization of the Little Tramp struck such a chord, that at the time, it made him the biggest entertainer in the world - proving to Hollywood that when it comes to box office, comedy is king. With a brilliant combination of physical comedy, wide-eyed naiveté, and the unfortunate ability to always be in the wrong place at the wrong time, Chaplin’s Little Tramp is the most memorable ‘loveable loser’ in movie history, dominating the silent era with an infectious charm that elicits strong reactions of both sympathy and laughter from the audience. In fact, Chaplin’s Little Tramp is one of the most perfect marriages between tragedy and comedy in the cinema – representing with irrepressible wit, all those times we have felt lost, lonely, misunderstood, marginalized, and exploited. And even though Chaplin played this part in several earlier films, I chose to focus on Modern Times simply because: a) it’s one of the greatest realizations of the Little Tramp in Chaplin’s career, b) it's one of the best examples of how successfully he used the character for social satire, and c) one of the first films to really question the merits of the industrial revolution. In fact, this particular depiction of the Tramp by Chaplin is one of the best cinematic expressions of how truly dehumanizing unrestrained capitalism can be.
VIVIEN LEIGH Gone with the Wind (1939)
Long before the age of the ‘event film’, Gone with the Wind debuted in 1939 and Hollywood has never been the same since. Up until that point, the industry had never experienced the kind of cultural phenomenon that this technicolour epic had become. Gone with the Wind was a colossal success in every way imaginable, and key to that success is Vivien Leigh’s portrayal of Scarlet O’Hara, which is simply one of the greatest screen performances of all time – an element of high art amid Hollywood’s greatest work of mass appeal.
Gone with the Wind is pure melodrama, but it’s Hollywood’s best and most successful one. In fact, Gone with the Wind is the quintessential melodrama - so much so, that it has earned the distinction of modern mythology, having become an essential part of American folklore. Indeed, Gone with the Wind is so engrained in American culture, that when inflation is taken into account, it’s still the biggest blockbuster of all time - a lasting testament to its enormous appeal. And again, the cornerstone of this achievement is Leigh’s performance which is so effective that Scarlet O’Hara remains the most memorable female character in movie history – a character whose screen impact is virtually unrivalled to this day – a character who is all at once exhilarating and exasperating, sympathetic and unsympathetic.
And despite the fact that the multi-Oscar winning classic is not politically correct, it is nonetheless a landmark film - one which signalled the end of the black and white era, the dawn of the huge Hollywood colour spectacle, and America’s first real cinematic taste of popular culture.
HATTIE MCDANIEL Gone with the Wind (1939)
Before Halle Berry’s historic Oscar win in 2002, Hattie McDaniel single-handedly broke Hollywood’s colour barrier with her tremendous portrayal of Mammy in Gone with the Wind. So effective was McDaniel that she was the first African American to receive an Oscar nomination in any category (Best Supporting Actress), the first African American to win the golden statuette, and the first African American to attend the ceremony as a guest. And despite the fact that her portrayal of Mammy is embarrassingly stereotypical, remember that this was 1939, and in the context of that period of American society, her performance was truly significant, both artistically and historically – a performance that broke new ground and opened many doors for other minority talent, in spite of its unflattering representation of African Americans. In other words, for a black person to be recognized for any performance on screen is a monumental achievement for that era, one that should not be taken lightly. Besides, McDaniel’s performance is so exemplary, that even today, her enormous talent and charisma shine through the lack of political correctness inherent in the role, effectively transcending cultural stereotypes to create one of the most memorable supporting characters in movie history.
ORSON WELLES Citizen Kane (1941)
This rendering of Charles Foster Kane by Orson Welles is remarkable by any account. But it’s even more remarkable when you consider that Welles was only 25 years old at the time, that he directed his own performance, and that he portrayed Kane at very different stages of the character’s life with equal veracity. Welles’ performance is also remarkable because it helped establish the flawed and complex anti-hero as a viable protagonist in American cinema. But more importantly, Citizen Kane had a huge impact on film history, breaking every convention of its time to significantly advance the cause of film as an artistic medium in America, rather than a mere commercial one. Indeed, Kane considerably elevated motion pictures from the level of studio assembly line product (which was predominantly the case in the U.S. at the time) to that of an art form; making it more of a director’s medium and less of a producer’s one. Essentially, Kane showed the industry how truly visionary film can be, and in so doing, changed American cinema forever, as the visionary, auteur director now becomes the principle creative agent on a production. And this is due just as much to Welles’ exceptional performance, as it is to his gifts as the film’s writer and director. After all, Kane is basically an intimate character study and Welles’ ability to play the media mogul so convincingly is crucial to the film’s success. Finally, Welles’ performance is remarkable because it’s the perfect cinematic expression of one of the great psychosocial conditions of our time - how self-loathing can truly distort our perception of reality and alienate us from others.
INGRID BERGMAN Casablanca (1942)
To one watching Casablanca for the first time, the film might seem absurdly cliché, but the truth is that before this cinematic milestone, many of these clichés didn’t exist. So essentially, Casablanca created these clichés, which have been so imitated by others, that they feel familiar, even if we’ve never seen the Oscar winning film. Lines like “We’ll always have Paris.” and “Here’s looking at you kid.” only sound cliché because they are now forever embedded in public consciousness, having been imitated at nausea, in some form or another. But they were first used and heard in Casablanca, a film so celebrated that it has entered the realm of pop culture mythology. Still, part of me can’t help but feel that it’s a little dated with its romanticized treatment of the greatest tragedy of the twentieth century – using World War II as a backdrop for a sentimental love triangle. Nevertheless, to this day, Casablanca remains one of the most beloved films of all time and this is largely due to the fact that it boasts two of the greatest performers of all time – Humphrey Bogart and Ingrid Bergman. Bogart is great, but it’s Bergman that we will never forget. She is nothing less than a revelation – radiating an aura of enormous magnitude, overwhelming the audience with her awesome screen presence, and becoming a screen legend the minute she enters the frame. In fact, all the Hollywood starlets of today combined could not do in two hours what Bergman does in a single moment in Casablanca, burning her image into our minds forever, with nothing more than a simple glance.
BARBARA STANWYCK Double Indemnity (1944)
World War II saw the advent of many movies in the film noir tradition in America, as the dark tone and mood of the genre complemented the feeling of doom and uncertainty that characterized the war torn period. With its roots in German Expressionism, film noir also reflected America’s growing uneasiness with the new and emerging role of women in society as the femme fatale is one of the key features of the noir tradition. Double Indemnity is one of the best American films in that tradition, while Barbara Stanwyck is one of Hollywood’s best representations of the femme fatale. With a magnetism wrought with danger, excitement and the promise of eternal pleasure, Stanwyck makes it easy to understand how she could be the downfall of not only the Fred MacMurray character, but of many a male character.
MARLON BRANDO A Streetcar Named Desire (1951)
Marlon Brando’s work in A Streetcar Named Desire is nothing less than miraculous, and one of the true high points in American cinema. Seeing Brando portray the character of Stanley Kowalski is the first time I can remember being completely awestruck by a performance, so much so, that in my mind, the performance itself stands out as a separate and different experience than the film as a whole. Indeed, Brando’s portrayal of Stanley Kowalski is so astonishing, that it virtually transcends the medium itself, taking on a life of its own to create a distinct, existential experience independent of the film. Of course everyone is familiar with the famous scene when Kowalski cries out “Stella!” in a fit of penitential anguish. But for me it’s the quiet moments in Brando’s performance that have the most power. For instance, the first time the character is introduced to us as he enters a room, standing just inside a doorway, is one of the most awe inspiring moments in movie history. For at that moment, the legend of Marlon Brando, one of acting’s truly great and influential artisans, is revealed. Yet incredibly, we never really see Brando, only Stanley Kowalski - because at that moment, he is completely the character of Stan Kowalski and no one else. At that moment, he doesn't say a word, but with every gesture, every glance, every twitch, every breath, Brando is Kowalski. So much so, that the tradition of acting in American cinema changed forever. For Brando played the part with such abandon, such power and such veracity, that he inspired an entire generation of actors to adopt the Stanislavski technique (i.e. method acting) as the predominant approach to their craft – giving them greater freedom to access their raw emotions and create a heightened sense of realism on screen.
MARLON BRANDO On the Waterfront (1954)
Following his stunning success in A Streetcar Named Desire, Brando once again makes movie history, creating a character that is the quintessential cinematic expression of the poor working stiff. In fact, On the Waterfront is one of Hollywood’s first gritty, real and unglamorous representations of the working class poor in America, and Brando’s performance is the focal point of this accomplishment. In addition, Brando’s portrayal of Terry Malloy represents a huge departure from the typical glamour boys that characterized Hollywood films of that period, opening doors for all kinds of unromantic male characters to inhabit the movies in a leading role. Essentially, Brando helped turn Hollywood’s gaze off the ideal and unto the real, making everyday people the focus of cinema, rather than the larger than life characters that dominated the medium.
ERNEST BORGNINE Marty (1955)
Marty, the best picture winner of 1955, stars Ernest Borgnine who, if only for a brief time, reinvented the leading man in Hollywood. With his less than classic good looks, Borgnine represented the common man in a way that had been scarcely seen in American cinema. Along with 1954’s Best Picture winner, On the Waterfront, Marty reflected a turning point in film history as lavish productions were suddenly being over looked for smaller films with modest budgets – as evidenced by the fact that Marty was the first film to ever win both the Palme D’Or at Cannes and the Academy Award for Best Picture. Consisting of characters and stories that were more faithful to the lived experience of everyday men and women, these smaller films reflected the growing number of people who wanted to see their struggles represented on screen, rather than the usual escapist fare that characterized Hollywood productions.
JAMES DEAN Rebel without a Cause (1955)
Before the expression ‘teen angst’ was coined, the late James Dean introduced the notion to movie audiences in this 1950’s classic. Following in Brando’s footsteps, Dean brought such a level of emotional truth and power to the role of Jim Stark, that it made him into a screen legend and a teen icon, virtually overnight. And it’s not difficult to see why, because Dean not only gave a great performance, he also channelled an entire generation of teen disillusionment and rebellion. In addition, this is the first time Hollywood experienced the phenomenon that films with complex, angst ridden, teen protagonists, could be a commercially viable venture. And even though the film as a whole feels a little dated, it’s still hard to resist Dean’s overwhelming presence and charisma. In fact, his screen persona is so extraordinary that even though he only made three feature films in his short-lived career, James Dean remains one of the most beloved and emulated actors in movie history.
GUILIETTA MASINA Nights of Cabiria (1957)
I purposely avoided foreign language films in this article because, to be honest, I haven’t seen enough to do their tradition justice. However, I couldn’t help but include this one in my selection because it boasts one of the most memorable characters in movie history, thanks to one of the truly great lead performances of all time. In this Fellini classic, Guiletta Masina (Fellini’s own wife) plays Cabiria, a prostitute who searches the streets of Rome for love and belonging. Her heart-wrenching quest leads to one disappointment after another as her yearning for something greater in life eludes her. Reminiscent of Chaplin’s Little Tramp, Masina’s performance is truly amazing, and one of the most striking examples of the union between tragedy and comedy in the cinema. So much so, that Masina’s Cabiria is nothing less than the perfect cinematic expression of the human condition’s desperate search for meaning and happiness, and its inability to find them. Her famous smile at the end of the film is universally regarded as one of the greatest moments in the history of the medium.
JIMMY STEWART Vertigo (1958)
Recently named the second best film of all time in Sight and Sound’s critics’ and directors’ poll (taken every ten years), Vertigo is Alfred Hitchcock’s unforgettable exploration of the dark side of “love.” And although I personally wouldn’t qualify it as the second best film of all time (at least at this point), it is certainly Hitchcock’s greatest achievement, which is indeed saying a lot considering the plethora of great work he’s done. In any case, Vertigo, a truly haunting vision of obsessive love, is one of the most perfect marriages between art and commerce in the history of film, as Hitchcock, one of the most commercial directors of his time, creates a work of pure high art in the realm of cinema. For on the surface Vertigo is a superb mystery thriller, and most of the audience at the time would have regarded it as simply that and nothing more. However, at its core, Vertigo is a brilliant social commentary about the twisted nature of erotic love – i.e. the objectification of the opposite sex, not only in a physical sense, but in a romantically idealized sense, when a person is not valued for who they are, but for how they make the other feel. It is this warped idea of love that Vertigo exposes and denounces, as the Jimmy Stewart character is condemned to suffering of his own making. Stewart’s performance is so extraordinary, that he becomes the embodiment of the film’s dark theme and cynicism, as well as the ultimate cinematic representation of this sociological pathology.
ANTHONY PERKINS Psycho (1960)
There should have been no doubt that Anthony Perkins would be included in this selection for his work in Psycho. Perkins was so effective and so chilling as Norman Bates that movie audiences have never been the same since. In fact, Perkins’ depiction of Bates is nothing less than a rite of passage for the entire movie going public, who were suddenly forced to grow up, forsaking their innocence and naiveté for a more savvy and suspicious movie going disposition. Suddenly, monsters in the movies weren’t just creatures from outer space anymore, now monsters could be anyone. And suddenly, danger in the movies wasn’t just in dark alleys and haunted houses anymore, now danger could be anywhere, and even a shower could hold unspeakable terror. And suddenly, the star of the movie wasn’t safe anymore, for now she could die half way through the plot and the villain end up being the real focus of the story. In fact, Psycho turned so many tables on the audience that it seemed anything was now possible in the movies. But none of this would have been accomplished if not for Perkins’ unforgettable depiction of Norman Bates – one that will forever haunt our collective nightmares.
GEORGE C. SCOTT Dr. Strangelove (1964)
George C. Scott’s performance is the best cinematic critique ever about the insanity of the Cold War. And Scott, who inexplicably did not receive an Oscar nomination, chose the perfect approach to the role, playing the part absolutely straight so that the character has no idea how ludicrous he sounds – making him that much funnier to us. But apart from that, Scott’s characterization of General 'Buck' Turgidson is nothing less than the embodiment of how absurd and dangerous paranoid thinking in politics can be, while proving to Hollywood that comedy is the best method of exposing a society’s dysfunction.
FAYE DUNAWAY Bonnie and Clyde (1967)
Arthur Penn’s 1967 classic, Bonnie and Clyde is a landmark film in many ways, but primarily because it so brilliantly blurs the line that separates victims from villains. Bonnie and Clyde, as represented in the film, were criminals and indeed murderers, but to a large extent they were also victims – victims of a shallow society that celebrates materialistic values and encourages its citizens to do the same - victims of a consumer society that markets the American dream as the pinnacle of happiness. And though this might sound like a justification of the characters’ behaviour, I think the genius of Bonnie and Clyde is not that it justifies their behaviour, but that it explains it. After all, justification and explanation are not the same thing, even though one is often mistaken for the other. Dunaway’s exceptional performance is evidence of this as she successfully makes Bonnie’s actions understandable without making them justifiable. In fact, much of the film’s artistic success is rooted in Dunaway’s superb characterization of Bonnie – a woman who eagerly embraces crime as a means of escaping the desperate boredom of her life. Dunaway is so perfect, she’s able to successfully balance all the conflicting elements of Bonnie’s personality, making every thing the legendary outlaw does seem absolutely credible. Bonnie’s sexual boldness, her affection for her family, her love for excitement, her frustration with an ordinary existence, her desire for the good life, her ruthlessness in the face of danger - all are represented brilliantly by Dunaway, whose performance really does justice to the character’s complexity. But more importantly, her performance is the perfect expression of the film’s bold theme - how the right combination of suffocating boredom, limited options, and chance occurrences can seduce someone into a life of crime and result in tragedy.
DUSTIN HOFFMAN The Graduate (1967)
Far more than a sexual comedy, The Graduate is one of the best social commentaries of its time - a brilliant reflection of the disillusionment with traditional values that characterized much of the sixties. Known for its bold representation of sexuality, which was a little shocking at the time, The Graduate echoed the revolutionary cultural changes taking place during that decade. In fact, the genius of this Mike Nichols’ classic is how well it disguises its sociological themes with sexual comic fare, tackling many relevant, contemporary issues with enormous wit and intelligence. So much so, that The Graduate doesn’t feel at all dated, tackling such modern day struggles as: the breakdown in communication, the loss of meaning, the disenchantment with the American dream, the questioning of traditional values, the re-defining of sexual mores – all issues that plagued the sixties and that are still very relevant today. Dustin Hoffman’s performance, which is the ultimate cinematic representation of these themes, also helped to establish a new kind of leading man in Hollywood. One who doesn’t have the classic good looks of his predecessors, but one who reflects the softer, more sensitive modern man that was becoming increasingly popular in society. Hoffman is the ideal realization of this new leading man – one whose charm and appeal lies more in their ability to be weak and vulnerable, than in their macho screen persona.
JON VOIGT Midnight Cowboy (1969)
Midnight Cowboy is one of the earliest American films to really address the topic of urban isolation. So effectively, that it was the first X-rated film to win the Oscar for best picture. And although personally I think the film is a little overrated, Voigt’s performance certainly isn’t, as he gives one of the most devastating and unflinching looks at how truly overwhelming and alienating urbanization can be. In fact, Voigt’s characterization of Joe Buck is so real and so memorable, it will haunt you long after the experience of the film, as Voigt channels the entire post-modern feeling of aimlessness and disillusionment in the midst of ever increasing urban expansion.
HATTIE MCDANIEL Gone with the Wind (1939)
Before Halle Berry’s historic Oscar win in 2002, Hattie McDaniel single-handedly broke Hollywood’s colour barrier with her tremendous portrayal of Mammy in Gone with the Wind. So effective was McDaniel that she was the first African American to receive an Oscar nomination in any category (Best Supporting Actress), the first African American to win the golden statuette, and the first African American to attend the ceremony as a guest. And despite the fact that her portrayal of Mammy is embarrassingly stereotypical, remember that this was 1939, and in the context of that period of American society, her performance was truly significant, both artistically and historically – a performance that broke new ground and opened many doors for other minority talent, in spite of its unflattering representation of African Americans. In other words, for a black person to be recognized for any performance on screen is a monumental achievement for that era, one that should not be taken lightly. Besides, McDaniel’s performance is so exemplary, that even today, her enormous talent and charisma shine through the lack of political correctness inherent in the role, effectively transcending cultural stereotypes to create one of the most memorable supporting characters in movie history.
ORSON WELLES Citizen Kane (1941)
This rendering of Charles Foster Kane by Orson Welles is remarkable by any account. But it’s even more remarkable when you consider that Welles was only 25 years old at the time, that he directed his own performance, and that he portrayed Kane at very different stages of the character’s life with equal veracity. Welles’ performance is also remarkable because it helped establish the flawed and complex anti-hero as a viable protagonist in American cinema. But more importantly, Citizen Kane had a huge impact on film history, breaking every convention of its time to significantly advance the cause of film as an artistic medium in America, rather than a mere commercial one. Indeed, Kane considerably elevated motion pictures from the level of studio assembly line product (which was predominantly the case in the U.S. at the time) to that of an art form; making it more of a director’s medium and less of a producer’s one. Essentially, Kane showed the industry how truly visionary film can be, and in so doing, changed American cinema forever, as the visionary, auteur director now becomes the principle creative agent on a production. And this is due just as much to Welles’ exceptional performance, as it is to his gifts as the film’s writer and director. After all, Kane is basically an intimate character study and Welles’ ability to play the media mogul so convincingly is crucial to the film’s success. Finally, Welles’ performance is remarkable because it’s the perfect cinematic expression of one of the great psychosocial conditions of our time - how self-loathing can truly distort our perception of reality and alienate us from others.
INGRID BERGMAN Casablanca (1942)
To one watching Casablanca for the first time, the film might seem absurdly cliché, but the truth is that before this cinematic milestone, many of these clichés didn’t exist. So essentially, Casablanca created these clichés, which have been so imitated by others, that they feel familiar, even if we’ve never seen the Oscar winning film. Lines like “We’ll always have Paris.” and “Here’s looking at you kid.” only sound cliché because they are now forever embedded in public consciousness, having been imitated at nausea, in some form or another. But they were first used and heard in Casablanca, a film so celebrated that it has entered the realm of pop culture mythology. Still, part of me can’t help but feel that it’s a little dated with its romanticized treatment of the greatest tragedy of the twentieth century – using World War II as a backdrop for a sentimental love triangle. Nevertheless, to this day, Casablanca remains one of the most beloved films of all time and this is largely due to the fact that it boasts two of the greatest performers of all time – Humphrey Bogart and Ingrid Bergman. Bogart is great, but it’s Bergman that we will never forget. She is nothing less than a revelation – radiating an aura of enormous magnitude, overwhelming the audience with her awesome screen presence, and becoming a screen legend the minute she enters the frame. In fact, all the Hollywood starlets of today combined could not do in two hours what Bergman does in a single moment in Casablanca, burning her image into our minds forever, with nothing more than a simple glance.
BARBARA STANWYCK Double Indemnity (1944)
World War II saw the advent of many movies in the film noir tradition in America, as the dark tone and mood of the genre complemented the feeling of doom and uncertainty that characterized the war torn period. With its roots in German Expressionism, film noir also reflected America’s growing uneasiness with the new and emerging role of women in society as the femme fatale is one of the key features of the noir tradition. Double Indemnity is one of the best American films in that tradition, while Barbara Stanwyck is one of Hollywood’s best representations of the femme fatale. With a magnetism wrought with danger, excitement and the promise of eternal pleasure, Stanwyck makes it easy to understand how she could be the downfall of not only the Fred MacMurray character, but of many a male character.
MARLON BRANDO A Streetcar Named Desire (1951)
Marlon Brando’s work in A Streetcar Named Desire is nothing less than miraculous, and one of the true high points in American cinema. Seeing Brando portray the character of Stanley Kowalski is the first time I can remember being completely awestruck by a performance, so much so, that in my mind, the performance itself stands out as a separate and different experience than the film as a whole. Indeed, Brando’s portrayal of Stanley Kowalski is so astonishing, that it virtually transcends the medium itself, taking on a life of its own to create a distinct, existential experience independent of the film. Of course everyone is familiar with the famous scene when Kowalski cries out “Stella!” in a fit of penitential anguish. But for me it’s the quiet moments in Brando’s performance that have the most power. For instance, the first time the character is introduced to us as he enters a room, standing just inside a doorway, is one of the most awe inspiring moments in movie history. For at that moment, the legend of Marlon Brando, one of acting’s truly great and influential artisans, is revealed. Yet incredibly, we never really see Brando, only Stanley Kowalski - because at that moment, he is completely the character of Stan Kowalski and no one else. At that moment, he doesn't say a word, but with every gesture, every glance, every twitch, every breath, Brando is Kowalski. So much so, that the tradition of acting in American cinema changed forever. For Brando played the part with such abandon, such power and such veracity, that he inspired an entire generation of actors to adopt the Stanislavski technique (i.e. method acting) as the predominant approach to their craft – giving them greater freedom to access their raw emotions and create a heightened sense of realism on screen.
MARLON BRANDO On the Waterfront (1954)
Following his stunning success in A Streetcar Named Desire, Brando once again makes movie history, creating a character that is the quintessential cinematic expression of the poor working stiff. In fact, On the Waterfront is one of Hollywood’s first gritty, real and unglamorous representations of the working class poor in America, and Brando’s performance is the focal point of this accomplishment. In addition, Brando’s portrayal of Terry Malloy represents a huge departure from the typical glamour boys that characterized Hollywood films of that period, opening doors for all kinds of unromantic male characters to inhabit the movies in a leading role. Essentially, Brando helped turn Hollywood’s gaze off the ideal and unto the real, making everyday people the focus of cinema, rather than the larger than life characters that dominated the medium.
ERNEST BORGNINE Marty (1955)
Marty, the best picture winner of 1955, stars Ernest Borgnine who, if only for a brief time, reinvented the leading man in Hollywood. With his less than classic good looks, Borgnine represented the common man in a way that had been scarcely seen in American cinema. Along with 1954’s Best Picture winner, On the Waterfront, Marty reflected a turning point in film history as lavish productions were suddenly being over looked for smaller films with modest budgets – as evidenced by the fact that Marty was the first film to ever win both the Palme D’Or at Cannes and the Academy Award for Best Picture. Consisting of characters and stories that were more faithful to the lived experience of everyday men and women, these smaller films reflected the growing number of people who wanted to see their struggles represented on screen, rather than the usual escapist fare that characterized Hollywood productions.
JAMES DEAN Rebel without a Cause (1955)
Before the expression ‘teen angst’ was coined, the late James Dean introduced the notion to movie audiences in this 1950’s classic. Following in Brando’s footsteps, Dean brought such a level of emotional truth and power to the role of Jim Stark, that it made him into a screen legend and a teen icon, virtually overnight. And it’s not difficult to see why, because Dean not only gave a great performance, he also channelled an entire generation of teen disillusionment and rebellion. In addition, this is the first time Hollywood experienced the phenomenon that films with complex, angst ridden, teen protagonists, could be a commercially viable venture. And even though the film as a whole feels a little dated, it’s still hard to resist Dean’s overwhelming presence and charisma. In fact, his screen persona is so extraordinary that even though he only made three feature films in his short-lived career, James Dean remains one of the most beloved and emulated actors in movie history.
GUILIETTA MASINA Nights of Cabiria (1957)
I purposely avoided foreign language films in this article because, to be honest, I haven’t seen enough to do their tradition justice. However, I couldn’t help but include this one in my selection because it boasts one of the most memorable characters in movie history, thanks to one of the truly great lead performances of all time. In this Fellini classic, Guiletta Masina (Fellini’s own wife) plays Cabiria, a prostitute who searches the streets of Rome for love and belonging. Her heart-wrenching quest leads to one disappointment after another as her yearning for something greater in life eludes her. Reminiscent of Chaplin’s Little Tramp, Masina’s performance is truly amazing, and one of the most striking examples of the union between tragedy and comedy in the cinema. So much so, that Masina’s Cabiria is nothing less than the perfect cinematic expression of the human condition’s desperate search for meaning and happiness, and its inability to find them. Her famous smile at the end of the film is universally regarded as one of the greatest moments in the history of the medium.
JIMMY STEWART Vertigo (1958)
Recently named the second best film of all time in Sight and Sound’s critics’ and directors’ poll (taken every ten years), Vertigo is Alfred Hitchcock’s unforgettable exploration of the dark side of “love.” And although I personally wouldn’t qualify it as the second best film of all time (at least at this point), it is certainly Hitchcock’s greatest achievement, which is indeed saying a lot considering the plethora of great work he’s done. In any case, Vertigo, a truly haunting vision of obsessive love, is one of the most perfect marriages between art and commerce in the history of film, as Hitchcock, one of the most commercial directors of his time, creates a work of pure high art in the realm of cinema. For on the surface Vertigo is a superb mystery thriller, and most of the audience at the time would have regarded it as simply that and nothing more. However, at its core, Vertigo is a brilliant social commentary about the twisted nature of erotic love – i.e. the objectification of the opposite sex, not only in a physical sense, but in a romantically idealized sense, when a person is not valued for who they are, but for how they make the other feel. It is this warped idea of love that Vertigo exposes and denounces, as the Jimmy Stewart character is condemned to suffering of his own making. Stewart’s performance is so extraordinary, that he becomes the embodiment of the film’s dark theme and cynicism, as well as the ultimate cinematic representation of this sociological pathology.
ANTHONY PERKINS Psycho (1960)
There should have been no doubt that Anthony Perkins would be included in this selection for his work in Psycho. Perkins was so effective and so chilling as Norman Bates that movie audiences have never been the same since. In fact, Perkins’ depiction of Bates is nothing less than a rite of passage for the entire movie going public, who were suddenly forced to grow up, forsaking their innocence and naiveté for a more savvy and suspicious movie going disposition. Suddenly, monsters in the movies weren’t just creatures from outer space anymore, now monsters could be anyone. And suddenly, danger in the movies wasn’t just in dark alleys and haunted houses anymore, now danger could be anywhere, and even a shower could hold unspeakable terror. And suddenly, the star of the movie wasn’t safe anymore, for now she could die half way through the plot and the villain end up being the real focus of the story. In fact, Psycho turned so many tables on the audience that it seemed anything was now possible in the movies. But none of this would have been accomplished if not for Perkins’ unforgettable depiction of Norman Bates – one that will forever haunt our collective nightmares.
GEORGE C. SCOTT Dr. Strangelove (1964)
George C. Scott’s performance is the best cinematic critique ever about the insanity of the Cold War. And Scott, who inexplicably did not receive an Oscar nomination, chose the perfect approach to the role, playing the part absolutely straight so that the character has no idea how ludicrous he sounds – making him that much funnier to us. But apart from that, Scott’s characterization of General 'Buck' Turgidson is nothing less than the embodiment of how absurd and dangerous paranoid thinking in politics can be, while proving to Hollywood that comedy is the best method of exposing a society’s dysfunction.
FAYE DUNAWAY Bonnie and Clyde (1967)
Arthur Penn’s 1967 classic, Bonnie and Clyde is a landmark film in many ways, but primarily because it so brilliantly blurs the line that separates victims from villains. Bonnie and Clyde, as represented in the film, were criminals and indeed murderers, but to a large extent they were also victims – victims of a shallow society that celebrates materialistic values and encourages its citizens to do the same - victims of a consumer society that markets the American dream as the pinnacle of happiness. And though this might sound like a justification of the characters’ behaviour, I think the genius of Bonnie and Clyde is not that it justifies their behaviour, but that it explains it. After all, justification and explanation are not the same thing, even though one is often mistaken for the other. Dunaway’s exceptional performance is evidence of this as she successfully makes Bonnie’s actions understandable without making them justifiable. In fact, much of the film’s artistic success is rooted in Dunaway’s superb characterization of Bonnie – a woman who eagerly embraces crime as a means of escaping the desperate boredom of her life. Dunaway is so perfect, she’s able to successfully balance all the conflicting elements of Bonnie’s personality, making every thing the legendary outlaw does seem absolutely credible. Bonnie’s sexual boldness, her affection for her family, her love for excitement, her frustration with an ordinary existence, her desire for the good life, her ruthlessness in the face of danger - all are represented brilliantly by Dunaway, whose performance really does justice to the character’s complexity. But more importantly, her performance is the perfect expression of the film’s bold theme - how the right combination of suffocating boredom, limited options, and chance occurrences can seduce someone into a life of crime and result in tragedy.
DUSTIN HOFFMAN The Graduate (1967)
Far more than a sexual comedy, The Graduate is one of the best social commentaries of its time - a brilliant reflection of the disillusionment with traditional values that characterized much of the sixties. Known for its bold representation of sexuality, which was a little shocking at the time, The Graduate echoed the revolutionary cultural changes taking place during that decade. In fact, the genius of this Mike Nichols’ classic is how well it disguises its sociological themes with sexual comic fare, tackling many relevant, contemporary issues with enormous wit and intelligence. So much so, that The Graduate doesn’t feel at all dated, tackling such modern day struggles as: the breakdown in communication, the loss of meaning, the disenchantment with the American dream, the questioning of traditional values, the re-defining of sexual mores – all issues that plagued the sixties and that are still very relevant today. Dustin Hoffman’s performance, which is the ultimate cinematic representation of these themes, also helped to establish a new kind of leading man in Hollywood. One who doesn’t have the classic good looks of his predecessors, but one who reflects the softer, more sensitive modern man that was becoming increasingly popular in society. Hoffman is the ideal realization of this new leading man – one whose charm and appeal lies more in their ability to be weak and vulnerable, than in their macho screen persona.
JON VOIGT Midnight Cowboy (1969)
Midnight Cowboy is one of the earliest American films to really address the topic of urban isolation. So effectively, that it was the first X-rated film to win the Oscar for best picture. And although personally I think the film is a little overrated, Voigt’s performance certainly isn’t, as he gives one of the most devastating and unflinching looks at how truly overwhelming and alienating urbanization can be. In fact, Voigt’s characterization of Joe Buck is so real and so memorable, it will haunt you long after the experience of the film, as Voigt channels the entire post-modern feeling of aimlessness and disillusionment in the midst of ever increasing urban expansion.
posted by Rix Flix at 8:18 PM
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