10 Reasons to Remember Albert Finney (1936-2019)

08 Friday Feb 2019

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Actor, Albert Finney, Career, Cinema, Hercule Poirot, RADA, Theatre

Albert Finney (9 May 1936 – 7 February 2019)

You could argue that Albert Finney was destined for acting greatness by the company he kept in his first outings on the stage. Fresh from the Royal Academy of Dramatic Art (RADA), one of Finney’s earliest roles was alongside Charles Laughton in The Face of Love, and later he replaced an unwell Laurence Olivier in a production of Coriolanus. He made his first appearance on the big screen, and this time with Olivier, in The Entertainer (1960), but his breakthrough role came in the same year, as the disaffected factory worker, Arthur Seaton, in Karel Reisz’s Saturday Night and Sunday Morning. It was a blistering, angry performance, and one that put him in the running to play T.E. Lawrence in David Lean’s Lawrence of Arabia (1962). But at the point of being offered the part, he baulked at the idea of being signed to a multi-year contract, and returned to the stage until another screen role came along that did change his life: that of the lust-driven rogue Tom Jones.

Established internationally as a major star, Finney eschewed the limelight for further returns to the stage, and throughout the Sixties he would alternate between treading the boards and appearing on the silver screen. His body of work during this period – and on into the Seventies – was astonishing for the breadth of the roles he took on, and the consistent high quality of his acting. Finney became dependable in a way that few stars would ever match in their careers, turning his hand equally well to dramas, comedies, and musicals. He was versatile, and unafraid to take risks, though his role as Hercule Poirot in the star-studded Murder on the Orient Express nearly typecast him with audiences for years. In the early Eighties he had a string of roles that cemented his position as one of the leading actors of his generation, and even though the projects he chose from the middle of the decade onwards weren’t as successful as his previous choices, Finney always gave his best, and in the case of movies such as Orphans (1987), was often the best thing about them.

The Nineties saw Finney continue to work steadily across all media, and on television he made memorable contributions to a couple of plays by Dennis Potter, even appearing in one of them, Cold Lazarus (1996), as a disembodied head. He had something of a banner year in 2000, thanks to a wonderfully expressive performance in Steven Soderbergh’s Erin Brockovich, and by refusing a knighthood from the Queen because he felt the UK honours system “perpetuated snobbery” (though he did accept a BAFTA Fellowship in 2001). The rest of the decade again saw Finney working steadily, and continuing to pick up awards for his work, and maintaining a level of quality in his work that was always hugely impressive (and which over time was heavily rewarded, though he never won an Oscar, despite being nominated five times). He was always a challenging, instinctive actor, true to the characters he played, and no stranger to versatility. Like many of his peers – he was at RADA with Peter O’Toole, and he was born on the same day as Glenda Jackson – Finney came to prominence at a time when cinema and the theatre were pushing at the boundaries of what both disciplines could achieve, and to his credit, he continued to do the same for the rest of his career.

1 – Saturday Night and Sunday Morning (1960)

2 – Tom Jones (1963)

3 – Two for the Road (1967)

4 – Murder on the Orient Express (1974)

5 – Shoot the Moon (1982)

6 – The Dresser (1983)

7 – Under the Volcano (1984)

8 – Miller’s Crossing (1990)

9 – Erin Brockovich (2000)

10 – The Gathering Storm (2002)

10 Reasons to Remember Burt Reynolds (1936-2018)

07 Friday Sep 2018

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Action, Actor, Career, Comedy, Deliverance (1972), Smokey and the Bandit (1977), Thriller

Burt Reynolds (11 February 1936 – 6 September 2018)

If it hadn’t been for a series of injuries that ended his college football career, we might never have heard of Burt Reynolds. Faced with rethinking his future, Reynolds at first opted to follow in his father’s footsteps and become a police officer. But his father, with tremendous foresight, persuaded him to finish college (albeit with the intention of becoming a parole officer afterwards). There, Reynolds impressed his English teacher so much that he was given the lead role in a production of Sutton Vane’s Outward Bound (for which he won a state drama award). A career in the theatre followed on from this, and through the Fifties Reynolds honed his craft on the stage before transferring to television at the end of the decade.

Reynolds made his movie debut in Angel Baby (1961), but it would be a further decade before he found his breakout role as Lewis Medlock in John Boorman’s survivalist thriller Deliverance (1972). Finally given a role that he could make something of, Reynolds impressed critics and audiences alike, and thanks to a number of canny career choices that saw him take the action comedy genre to new box office heights. Always perceived as an easy-going, likeable actor, Reynolds channelled this perception into an on-screen good ole boy character that saw him become a major star across a succession of movies such as White Lightning (1973) and Smokey and the Bandit (1977). In the Eighties he segued from action comedies to action thrillers, but his star began to wane and his success at the box office was no longer guaranteed. Reynolds kept working steadily though, and returned to television at the start of the Nineties, particularly in the series, Evening Shade (1990-94).

Reynolds enjoyed something of a career resurgence with Paul Thomas Anderson’s Boogie Nights (1997), and his performance gained him a Best Supporting Actor Oscar nomination, which must have felt good after his previous two movies, Meet Wally Sparks and Bean (both 1997) (and even though he hated the movie itself). But though he continued to appear on both the big and the small screen, often it was in supporting or guest roles, with an occasional lead role thrown in. Health issues plagued him throughout his later years, and by the time he gave what might be called a valedictory performance, in Adam Rifkin’s The Last Movie Star (2017), his obvious frailty made it seem unlikely he would appear in any more lead roles. That said, he was due to appear in Quentin Tarantino’s upcoming Once Upon a Time in Hollywood, but he passed away before he could begin shooting his scenes.

Reynolds was once asked to play James Bond but he wisely turned it down, saying an American couldn’t play Bond; it wouldn’t be right. You could argue that he was an actor of limited range, but a more apt description would be that he was a movie star for nearly two decades, and an actor on either side of that period. And with a movie career that spanned fifty-seven years, that makes him an actor first and foremost – and one who will be sorely missed.

1 – Sam Whiskey (1969)

2 – Deliverance (1972)

3 – The Longest Yard (1974)

4 – Nickelodeon (1976)

5 – Smokey and the Bandit (1977)

6 – Hooper (1978)

7 – Sharky’s Machine (1981)

8 – City Heat (1984)

9 – Breaking In (1989)

10 – Boogie Nights (1997)

A Brief Word About R. Lee Ermey and Vittorio Taviani

16 Monday Apr 2018

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Actor, Careers, Director, Full Metal Jacket, Movies, Padre Padrone, Paolo Taviani

With the recent death of Miloš Forman, this past weekend has been made even sadder by the passing of actor R. Lee Ermey, and director Vittorio Taviani.

R. Lee Ermey (24 March 1944 – 15 April 1987)

A character actor whose career blossomed thanks to his portrayal of Gny Sgt. Hartman in Stanley Kubrick’s Full Metal Jacket (1987), Ermey was the epitome of the gruff, no-nonsense soldier he so often portrayed. He was also a much in demand voice actor, lending his easily recognisable tones to the likes of Starship Troopers: The Series (1999-2000), Batman: The Brave and the Bold (2009-2011), and of course, the Toy Story trilogy. Ermey’s military background made him somewhat typecast, but he did have solid supporting roles in movies such as Fletch Lives (1989), Dead Man Walking (1995), and The Texas Chainsaw Massacre (2003). His signature role as Hartman, though – one of the few occasions where Kubrick allowed an actor to improvise his dialogue – will always be remembered for its vitriolic intensity, and some of the most inventive insults ever committed to screen: “Private Pyle, your ass looks like about a hundred and fifty pounds of chewed bubblegum!”

Vittorio Taviani (20 September 1929 – 15 April 1987)

With his brother, Paolo, Vittorio Taviani was repsonsible for some of the most impressive Italian movies of the last fifty years, including Under the Sign of Scorpio (1969), the Palme d’Or prize-winning Padre Padrone (1977), The Night of the Shooting Stars (1982), Good Morning, Babylon (1987), and Caesar Must Die (2012). Also a writer, a producer and an editor like his brother, Taviani favoured a poetic, visually arresting style that is both attractive to watch, and an often powerful backdrop for the stories he and his brother told. He began his career as a journalist, but switched to making movies in the Sixties, a decision that allowed him to express his own personal political beliefs through features such as A Man for Burning (1962) (which the brothers co-directed with Valentino Orsini). Inspired to make movies by a chance viewing of Roberto Rossellini’s Paisà (1946), Taviani and his brother have given us a wonderful selection of movies that explore human truths with honesty and sincerity, and which have held up a mirror to the irrepressible nature of Italian culture.

10 Reasons to Remember Shashi Kapoor (1938-2017)

05 Tuesday Dec 2017

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Actor, Bollywood, Career, James Ivory, Top 10

Shashi Kapoor (18 March 1938 – 4 December 2017)

That Shashi Kapoor became an actor and producer should be no surprise given that he was born into Indian acting royalty. His father, Prithviraj, was a leading light in Hindi silent cinema, and went on to become a successful theatre producer and director. Shashi was soon inducted into his father’s touring theatre troupe, and it wasn’t long after that that he was appearing in movies. During the late Fifties he worked as an assistant director before making his debut as an adult actor in Dharmputra (1961). It was the start of a career that would span nearly forty years and see him appear in over a hundred and fifty movies (though he had a rocky start, with most of his early movies being box office flops).

Kapoor had an ebullient screen presence, and though he was often called upon to play the leading man, he wasn’t afraid to take a back seat when needed to some of his co-stars, such as Amitabh Bachchan or Sanjeev Kumar. For Kapoor his theatrical background ensured that the story was the main thing, and whether he was appearing in a Bollywood production, or an English language movie – he was the first Indian actor to move comfortably between the two arenas, and he worked particularly well with James Ivory – Kapoor’s commitment to the roles he played was unwavering. Even if a movie he appeared in wasn’t successful (and there were many), Kapoor retained his popularity, and his career maintained a momentum that, at its height, saw him appear in six or seven movies a year for a number of years. The Sixties and Seventies were perhaps his best period, but he continued to give good performances right up until his last movie, the unfortunately titled Dirty British Boys (1999).

In his home country he will always be remembered as the handsome leading man of so many Bollywood musical extravaganzas, while his appearances in the movies of James Ivory will keep his memory alive in the West. He had a much more substantial tie to the West, of course, through his marriage to the actress Jennifer Kendal, who he appeared with in Shakespeare-Wallah (1965). With her he continued the Kapoor family dynasty, and now he has children who work in the industry as well as various nieces and nephews. He made a couple of forays into directing, and could be called upon to provide the odd guest appearance in a movie from time to time, but it will be those traditional leading man roles from the Sixties and Seventies for which he will be best remembered, roles that showcased both his star quality and his commitment to acting.

1 – Shakespeare-Wallah (1965)

2 – Jab Jab Phool Kihle (1965)

3 – Pyar Ka Mausam (1969)

4 – Bombay Talkie (1970)

5 – Deewaar (1975)

6 – Kabhie Kabhie (1976)

7 – Junoon (1979)

8 – Shaan (1980)

9 – Heat and Dust (1983)

10 – New Delhi Times (1986)

The Hero (2017)

04 Wednesday Oct 2017

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Actor, Brett Haley, Cancer, Comedy, Drama, Krysten Ritter, Laura Prepon, Nick Offerman, Review, Romance, Sam Elliott, Western Appreciation Guild

D: Brett Haley / 93m

Cast: Sam Elliott, Laura Prepon, Nick Offerman, Krysten Ritter, Katharine Ross, Max Gail

Ah, mortality. It gets us all in the end, sometimes without warning, and sometimes it gives us plenty of time to get used to the idea (or not). For Lee Hayden (Elliott), an aging actor best known for his appearances in Westerns during the Seventies and Eighties, work is a little on the slow side. Movie offers have dried up, and his agent can only get him voice over work on radio ads. Lee spends most of his time mooching around his home in the hills outside Los Angeles, or smoking pot with his friend, Jeremy (Offerman), who co-starred with him in a TV series called Cattle Drive. Lee is divorced, and has a daughter, Lucy (Ritter). He doesn’t see either of them very much as he was a poor husband and father. One day he receives good news and bad news. The good news is that a Western Appreciation Guild want to honour him with a Lifetime Achievement award. The bad news is that he has pancreatic cancer.

The news that he has a terminal condition sends Lee into a bit of a tailspin. He makes an attempt at telling his ex-wife, Valarie (Ross – Elliott’s real life wife), but can’t bring himself to say the words. He makes a further attempt to reconnect with Lucy, and she agrees to have dinner with him the following week. Meanwhile he meets a woman, Charlotte (Prepon), at Jeremy’s house, and later they bump into each other. They begin a relationship, one that’s more tentative on his part than hers, and she agrees to go with him to the guild ceremony. There, his acceptance speech – which isn’t what people were expecting – goes viral, and suddenly, movie offers are coming in, with one in particular looking as if it will thrust him back into the spotlight. However, while his career appears to be getting back on track, his personal life remains a mess. He misses his dinner with Lucy, takes exception to Charlotte using their relationship as part of her stand-up routine, and keeps putting off making a decision about his oncology treatment.

Some roles are written with specific actors or actresses in mind, and Lee Hayden seems like he was written with Sam Elliott at the top of the list of actors to be considered. It’s on these occasions that wondering how the movie would have turned out if someone else had taken the role, proves to be an impossible task, as the actor who is in the role is so good you can’t even begin to replace them with someone else. Such is the case here. While there are a small handful of actors who could have played Lee Hayden, it’s unlikely that any of them could have done as good a job as Sam Elliott. It’s a performance that perfectly gauges the doubts and insecurities and fears of a man in his early seventies who no longer trusts good things will happen to him, and who is hesitant about accepting them when they do. Elliott captures the character’s sense of having been alone for so long that even the idea of engaging emotionally with his family is painful to him, or with someone new like Charlotte. Lee also hopes that if he doesn’t talk about his condition, then he won’t have to deal with it (at one point Lee researches a procedure that could extend his life expectancy by five years, but is put off by pictures of how he would look after the surgery).

Elliott’s laconic, gravel-voiced delivery is also perfect for the role, as is his tall, rangy physique. If you’re going to employ someone to play an aging Western actor, then Elliott has got to be top of the list after Clint Eastwood, but here there’s a level of introspection and vulnerability that Eastwood probably wouldn’t have been able to make convincing. Elliott also embodies the role of Lee in such a way that there’s not one false note to be seen or heard, and if anyone has any doubts as to his ability as an actor, then two scenes should be enough to dissuade them: Lee’s acceptance speech at the guild ceremony, and Lee’s reading of lines from Galactic, the YA sci-fi epic that could be his ticket back to the big time. In both scenes, Elliott wrings out every last drop of nuance and emotion, and his delivery is impeccable. And then there’s Lee’s qualms about his relationship with Charlotte, and why she’s with him. It all adds up to a performance that is completely awards worthy (and yet, it will likely go unrewarded come the awards season in a few months’ time).

Elliott’s performance aside, there is much else to savour, with the script by director Haley and co-writer Marc Basch, confident in its handling of the other characters, and with a series of dreams Lee has that reflect on his glory days in the only movie he’s ever been proud of (The Hero), and his hope that he’ll be able to make one last movie that’s on a par with it. These dream sequences are vivid and affecting, and speak to Lee’s state of mind throughout, just as a handful of scenes set at the ocean’s edge see him contemplating just walking into the waves and foregoing any further pain. The movie isn’t just a bittersweet drama, however, but also an understated comedy, with moments of inspired humour such as Lee and Charlotte being stoned at the guild ceremony, and Lee being asked to “do one more” line reading for a barbeque sauce ad (when he’s just done “one more”).

Though the movie as a whole is engaging and holds the viewer’s interest and attention with ease, it has to be noted that there’s not a lot that’s new or hasn’t been tried before in The Hero. Fast approaching mortality isn’t exactly an unexplored theme in the movies, and neither is the idea of a relationship with an extended age gap, but Haley and Basch have done more than enough to offset any familiarity by investing heavily in the characters, and by concentrating on providing them with believable dialogue. Ultimately, it’s a movie about legacies and second chances and coming to terms with just how much actual control anyone has over these aspects of our lives, and on that level, it’s very successful indeed.

Rating: 8/10 – Elliott is The Hero‘s MVP, and he dominates the movie in a way that raises the material and makes it more impressive than its basic premise would suggest; backed by good performances from Prepon and Offerman, a very poignant use of the Edna St Vincent Millay poem Dirge Without Music, and vibrant cinematography courtesy of Rob Givens, this is a movie that is quietly potent and well worth finding the time for.

10 Reasons to Remember Harry Dean Stanton (1926-2017)

16 Saturday Sep 2017

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Actor, Career, Movies, Paris Texas, Repo Man, The Harry Dean Stanton Band, The Harry Dean Stanton Fest

Harry Dean Stanton (14 July 1926 – 15 September 2017)

For a long time he was just plain old Dean Stanton, appearing here and there in supporting roles in a gamut of movies and TV shows from 1954 (where for once he was Harry Stanton) through to 1971. During that time he was an Hysterical Patient in Psychiatric Ward in Voice in the Mirror (1958), Poetry-reciting Beatnik in The Man from the Diner’s Club (1963), and even Blind Dick in Ride in the Whirlwind (1966). He was the character actor who popped up seemingly everywhere, appeared in a few scenes, got himself noticed in an “oh it’s him” kind of way, and then vanished again only to repeat the same scenario in his next movie or TV episode. In the Fifties and Sixties there were lots of actors like Stanton making minor impressions on audiences, but Stanton stuck to it, and even if audiences weren’t always aware of who he was (aside from in an “oh it’s him” kind of way), the industry certainly did.

Stanton was a versatile actor whose career never really took off in the way that some of his contemporaries’ – such as Jack Nicholson – did. He never seemed to mind though and often took roles just because he liked them (he was a great advocate of the saying, there are no small parts, only small actors). But his career did take a huge leap forward in 1984 when he made two movies that sealed his fame as an actor forever. Alex Cox tapped him for the role of Bud in Repo Man, and Sam Shepard wrote the part of Travis Henderson for him in Wim Wenders’ Paris, Texas. The role of Travis, a lost soul trying to reunite with his family after having vanished years before, required Stanton to be still and silent for long stretches of the movie, but he used his weather-worn features and skill and experience to ensure the character retained a whole host of recognisable emotions and feelings. It was a performance that perfectly encapsulated his abilities as an actor, and should have allowed him to take on more leading roles, but again, he was happy with his choices, and his career continued to keep him busy.

Away from acting, Stanton was also an accomplished musician, appearing internationally as part of The Harry Dean Stanton Band, and garnering rave reviews for the band’s unique spin on mariachi music. He’s also one of the few actors to have an annual movie festival created to honour him; The Harry Dean Stanton Fest has been running since 2011 in Lexington, Kentucky (this year’s event runs 28-30 September). But perhaps the highest praise Stanton ever received was from critic Roger Ebert. Ebert stated that “no movie featuring either Harry Dean Stanton or M. Emmet Walsh in a supporting role can be altogether bad.” And aside from Dream a Little Dream (1989), he was absolutely right.

1 – Straight Time (1978)

2 – Wise Blood (1979)

3 – Alien (1979)

4 – Escape from New York (1981)

5 – Repo Man (1984)

6 – Paris, Texas (1984)

7 – Wild at Heart (1990)

8 – The Mighty (1998)

9 – Sonny (2002)

10 – INLAND EMPIRE (2006)

10 Reasons to Remember Jerry Lewis (1926-2017)

20 Sunday Aug 2017

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Actor, Career, Comedy, Dean Martin, Humanitarian, Jerry Lewis, Telethons

Jerry Lewis (16 March 1926 – 20 August 2017)

For many movie lovers, the quintessential Jerry Lewis performance involved a plethora of facial contortions, a unique range of vocal gymnastics, and a willingness to appear very, very, very silly. As a performer, Lewis was irrepressible, a mercurial performer who could delight and enthuse audiences in a way that nobody else could match or improve upon. In short, he was the very definition of unique.

He began his career at an early age, performing alongside his parents at venues in the Catskill Mountains in New York state. After World War II, Lewis met a singer named Dean Martin, and together they formed a double act that lasted until 1956. Their act began in night clubs, with Lewis’s clumsy busboy interrupting Martin’s singing. It was successful, and paved the way for radio shows, TV guest spots, and of course, movies. Lewis and Martin made sixteen pictures together, but as time went on, Lewis’s star waxed higher than Martin’s, and the movies began to focus more on Lewis’s comedy antics than they did on the pair as a team.

The duo’s break up worked for both of them, but for Lewis it brought him to a whole new level of stardom. He became a successful recording artist, appeared by himself on several TV shows, and began a second movie career as a leading actor, appearing in a variety of comedies that he often wrote or co-wrote himself, and which established even further his credentials as one of the best comic performers of the Fifties and Sixties. But his own particular brand of humour began to lose favour with audiences during the mid-Sixties, and the projects he initiated failed to reach the level of success he’d achieved over the previous twenty years. In the late Sixties, he taught movie directing at the University of Southern California; two of his pupils were Steven Spielberg and George Lucas. During the Seventies, Lewis was more active on the stage, and he didn’t return to making movies until the early Eighties.

His acting career over the last thirty-five years was sporadic, yet full of interesting choices, and he gained a further reputation as a dramatic supporting actor. One area in which he maintained a distinctive consistency was in his role as a humanitarian. Lewis hosted a series of fund-raising telethons for the Muscular Dystrophy Association during the Fifties, and again between 1966 and 2010. They were incredibly successful shows, and over the course of fifty years, Lewis helped raise over $2.6 billion in donations. And in France – still – he is regarded as a comic genius. Lewis was a versatile performer who did things his own way, and was frequently right for doing so. And besides, anyone who encouraged Christopher Walken to pursue a career in show business can’t be that bad.

1 – The Stooge (1951)

2 – Living It Up (1954)

3 – The Geisha Boy (1958)

4 – The Bellboy (1960)

5 – The Nutty Professor (1963)

6 – Who’s Minding the Store? (1963)

7 – The King of Comedy (1982)

8 – Arizona Dream (1993)

9 – Funny Bones (1995)

10 – Max Rose (2013)

10 Reasons to Remember Sam Shepard (1943-2017)

01 Tuesday Aug 2017

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Actor, Career, Playwright, Pulitzer Prize, Sam Shepard

Sam Shepard (5 November 1943 – 27 July 2017)

If Sam Shepard had never gone into acting, he still would have left a lasting legacy in so many other areas. He was a Pulitzer Prize-winning playwright, an author, a screenwriter, an occasional drummer during the late Sixties with The Holy Modal Rounders, and a two-time movie director. And he co-wrote the Bob Dylan song, Brownsville Girl. Shepard was a true virtuoso, comfortable in a variety of disciplines and able to excel in pretty much all of them.

He made a name for himself in the Sixties, writing a series of plays that won him award after award and a degree of brand-name recognition. He had a way of depicting the emotional and psychological lives of “normal” people in a way that was sincere and affecting, and several of his plays were adapted into movies, often to critical acclaim. He continued to write plays and work in the theatre even though he could have settled into acting as a single career, but Shepard always seemed to be a restless man who was always looking to be creative. As an actor, Shepard was often a calm, purposeful presence in his movies, portraying men of honour and sincerity, and his quiet, stoic demeanour was always a plus. He appeared in supporting roles for the most part, but showed when he was given a leading role that he could carry a movie and often with an ease that some of his more experienced peers couldn’t match. But even though he had tremendous skill as an actor, an innate quality that was unique to him, he didn’t quite see it that way. Let’s leave the last word to Shepard (he’d probably have appreciated it): “I didn’t go out of my way to get into this movie stuff. I think of myself as a writer.”

1 – Days of Heaven (1978)

2 – Resurrection (1980)

3 – The Right Stuff (1983)

4 – Fool for Love (1985)

5 – Crimes of the Heart (1986)

6 – Thunderheart (1992)

7 – Don’t Come Knocking (2005)

8 – The Assassination of Jesse James by the Coward Robert Ford (2007)

9 – Brothers (2009)

10 – Blackthorn (2011)

10 Reasons to Remember John Heard (1946-2017)

22 Saturday Jul 2017

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Actor, Career, Emmy nomination, Home Alone, John Heard

John Heard (7 March 1946 – 21 July 2017)

John Heard was an actor who could have been a star – and briefly he was. Early on in his career, it looked as if A-list status was only a movie or two away. But it wasn’t to be, and though Heard continued to work steadily on both the big screen and on TV, he never achieved the level of fame or fortune that his skill as an actor warranted. He was sanguine about his lack of success, and in 2008 he had these very perceptive words to say about his career:

“I guess I went from being a young leading man to being just kind of a hack actor. When I came to Hollywood, I was pretty much a stage actor, and I expected everybody to be quiet. And they weren’t. They were doing their job, and you’re expected to do your job, and you’re sort of this ongoing co-existence. I was a little bit of an arrogant jerk. Now, it’s a little bit more like, ‘Okay, I realize you have to pat me down with powder every three seconds.’ And I stand there, and I’m a little more tolerant…. I think I had my time. I dropped the ball, as my father would say. I think I could have done more with my career than I did, and I sort of got sidetracked. But that’s OK, that’s all right, that’s the way it is. No sour grapes. I mean, I don’t have any regrets. Except that I could have played some bigger parts.”

Event though from the Eighties onwards he could be found quite low down on cast lists in often minor supporting roles, Heard could still infuse the characters he played with an honesty and a sincerity that often made them better roles than intended. Even in something as bad as Sharknado (2013), he was still worth watching, and he gave several other movies a boost just by being in them. Some careers don’t pan out in the way that actors expect or plan for, and even though Heard was capable of much better roles than he was given, and much better performances when given the chance, he was still an actor who could surprise an audience, as the Emmy nomination for his role as Detective Vin Makazian in The Sopranos (1999/2004) proved. However his career may be viewed now, one thing can be said with certainty: his was a talent that was never fully exploited, and that was, and continues to be, a detriment to us all.

1 – Head Over Heels (1979)

2 – Cutter’s Way (1981)

3 – Cat People (1982)

4 – The Trip to Bountiful (1985)

5 – Big (1988)

6 – Beaches (1988)

7 – Home Alone (1990)

8 – My Fellow Americans (1996)

9 – The Great Debaters (2007)

10 – Too Big to Fail (2011)

10 Reasons to Remember Martin Landau (1928-2017)

17 Monday Jul 2017

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Actor, Actors Studio, Bela Lugosi, Career, Cartoonist, Mission: Impossible, Oscar winner, Rollin Hand, Space: 1999

Martin Landau (20 June 1928 – 15 July 2017)

Before he became an actor, Martin Landau was an editorial cartoonist for the New York Daily News, a job he held from the age of seventeen before the lure of the stage claimed his attention at the age of twenty-two. In 1955 he auditioned – along with five hundred others – for the Actors Studio. There were only two successful applicants, Landau, and a young actor named Steve McQueen. While there he was also best friends with another young actor, James Dean. Two years later he made his debut on Broadway, and two years after that he made an impact playing a ruthless villain in Hitchcock’s North by Northwest.

However, despite further roles on stage and the big screen, Landau’s career really took off thanks to the small screen. Guest spots on shows such as Bonanza, The Outer Limits, and The Man from U.N.C.L.E. led to a recurring, then permanent role on Mission: Impossible (1966-69). The role of Rollin Hand gave Landau the chance to employ a variety of accents and disguises, and it brought him international recognition. But he was never able to capitalise on the show’s success and transpose it into a better big screen career. TV continued to dominate, and during the Seventies he was best known for appearing in Space: 1999 (1975-77). It wasn’t until Francis Ford Coppola offered Landau a plum role in Tucker: The Man and His Dream that he began to experience the kind of career upsurge that he was long overdue for.

In the years that followed, Landau did some of his best work, and earned very high praise indeed from Woody Allen: “Of all the actors I’ve ever worked with, he gives expression to my dialogue exactly as I hear it. His colloquialisms, his idiom, his inflection is exactly correct. So of all the people who’ve ever read my lines, he makes them correct every time…” And in 1995 he won an Oscar for his role as an aging Bela Lugosi in Tim Burton’s excellent biopic Ed Wood. From then on, Landau continued to work as steadily as before, but often adding a much needed lustre to some of the movies and shows he appeared in. It could be argued that Landau had to wait until he was much older before he could give the performances that were tailor-made for him, but even if that were true, he still leaves behind a tremendous body of work – from the Fifties to the current decade – that we can enjoy for many more years to come.

1 – North by Northwest (1959)

2 – Cleopatra (1963)

3 – Decision at Midnight (1963)

4 – They Call Me Mister Tibbs! (1970)

5 – Tucker: The Man and His Dream (1988)

6 – Crimes and Misdemeanors (1989)

7 – Max and Helen (1990)

8 – By Dawn’s Early Light (1990)

9 – Ed Wood (1994)

10 – Harrison Montgomery (2008)

10 Reasons to Remember Michael Nyqvist (1960-2017)

28 Wednesday Jun 2017

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Actor, Career, Malmö Theatre Academy, Michael Nyqvist, Millennium Trilogy, Movies, Sweden

Michael Nyqvist (8 November 1960 – 27 June 2017)

Although he was born in Sweden, Michael Nyqvist’s interest in acting began when he was a teenager living as an exchange student in Omaha, Nebraska. He made several stage appearances while he was a senior in high school, but on his return to Sweden he was accepted into ballet school; he gave it up though after a year. When he was twenty-four he was accepted into the Malmö Theatre Academy, and his career as an actor began in earnest. But for a long while he appeared solely on the stage before he made his first appearance on screen in a TV movie called Kamraterna (1982) (as The Model). However, it wasn’t until the mid-Nineties that Nyqvist began to get regular work as an on-screen actor, and it wasn’t until he appeared in Lukas Moodysson’s Together (2000) that he really made an impression on audiences and critics.

From then on, Nyqvist made a number of Swedish movies that traded on his ability to portray fierce yet vulnerable male characters, and with a great deal of sincerity and intelligence. But it was his role as the journalist Mikael Blomkvist in the Millennium Trilogy – The Girl With the Dragon Tattoo (2009), The Girl Who Played With Fire (2009), and The Girl Who Kicked the Hornet’s Nest (2009) – that brought him to the attention of international audiences, and in particular, Hollywood’s casting agents. Two years later and he was making his English language debut in the sadly less than enthralling Abduction (2011). From there he combined working in Hollywood with working in Sweden, and maintained an integrity in his work that guaranteed good performances, even if the material he was working with wasn’t quite up to the standard required. Regarded unfairly perhaps as a “serious” actor, Nyqvist was always able to find the light and shade in most of the characters he played, and he was always a magnetic presence when on screen. In short, he was one of that select band of actors who always improved a movie they appeared in, and you could count on him to deliver a thoughtful, considered performance whatever the genre. For that, he will be sorely missed, and even more so for dying at such a relatively young age.

1 – Together (2000)

2 – The Guy in the Grave Next Door (2002)

3 – As It Is in Heaven (2004)

4 – Suddenly (2006)

5 – The Black Pimpernel (2007)

6 – The Girl With the Dragon Tattoo (2009)

7 – Mission Impossible: Ghost Protocol (2011)

8 – My So-Called Father (2014)

9 – John Wick (2014)

10 – The Colony (2015)

A Brief Word About Daniel Day-Lewis

20 Tuesday Jun 2017

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Actor, Career, Daniel Day-Lewis, Lincoln, My Left Foot, Oscar winner, Retirement, There Will Be Blood

The sudden, and unexpected, announcement that Daniel Day-Lewis is to retire from acting has definitely come as a shock, and though there will be many who will hope he changes his mind at some point in the future, it’s unlikely that will be the case. Day-Lewis has always maintained a strict control over his career, and it’s also unlikely that he will have made this decision lightly. Whatever his reasons (which at the moment remain personal), the loss of such a highly talented actor at such a relatively young age – he’s 60 – will no doubt be heavily discussed and analysed over the coming days and weeks. But what we can rely on, and indisputably so, is the body of work he’s left us with.

With Paul Thomas Anderson’s 50’s-set fashion drama, Phantom Thread, still to come at the end of 2017, the only person to win the Best Actor Oscar three times – for My Left Foot (1989), There Will Be Blood (2007), and Lincoln (2012) – will have made just twenty-one movie appearances, from his first, uncredited role as a child vandal in Sunday Bloody Sunday (1971), all the way to Anderson’s latest. It’s an incredibly impressive body of work, and one that highlights Day-Lewis’s versatility and commitment to his craft. Famed for staying in character for the duration of shooting a movie, his approach to inhabiting a character was to immerse himself as much as possible into the world that character was a part of, whether his role was that of an adopted Indian tracker called Hawkeye in The Last of the Mohicans (1992), the wrongly imprisoned Gerry Conlon in In the Name of the Father (1993), or the vicious gang leader Bill the Butcher in Gangs of New York (2002).

Arguably the finest actor of his generation, Day-Lewis’s absence from our screens – albeit something that we’ve become used to over the last thirty years as he’s pursued other interests between projects – may potentially rob us of even greater performances. But the movies and the appearances he does leave us with will remain exceptional examples of his skills as an actor, and his willingness to give everything of himself to a role.

A Brief Word About Peter Sallis (1921-2017)

05 Monday Jun 2017

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Aardman, Actor, Career, Last of the Summer Wine, Peter Sallis, Wallace & Gromit

Peter Sallis (1 February 1921 – 2 June 2017)

While Peter Sallis will probably be best remembered for his portrayal of Clegg in the long-running British TV series Last of the Summer Wine (he was the only cast member to appear in all 295 episodes), for many he will always be known as the voice of the not-quite-so-brilliant inventor Wallace in Aardman’s wonderful series of shorts – A Grand Day Out (1989), The Wrong Trousers (1993), A Close Shave (1995), and A Matter of Loaf and Death (2008) – and the movie, Wallace & Gromit in the Curse of the Were-Rabbit (2005). His voice could be mellifluous, mournful, mischievous or gleeful, and he was a respected character actor who could always be relied upon to flesh out a role beyond sometimes obvious limitations. Like many actors of his generation, he acted with a commitment and a relish that is rarely seen today, and which add to the many reasons why his career was so rewarding. A true gentleman, he’ll be sorely missed… but thanks to his work on the small screen, never forgotten.

10 Reasons to Remember Roger Moore (1927-2017)

23 Tuesday May 2017

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Actor, Career, James Bond, Movies, Television, The Saint, UNICEF Goodwill Ambassador

Roger Moore (14 October 1927 – 23 May 2017)

Looking back over Roger Moore’s career, it’s tempting to wonder just how it would have continued if the role of a certain British spy hadn’t come along in 1972. Up until then, Moore’s movie career had been occasional and not very successful, with early try-outs with MGM and Warner Bros. doing little to further his career. As he said himself, “At MGM, RGM (Roger George Moore) was NBG (no bloody good).” In the early Sixties he made a couple of movies in Italy, but by then he’d already made important in-roads in the format that would stand him in good stead throughout the rest of the decade. Television gave Moore true recognition with featured roles in series such as Ivanhoe (1958-9), The Alaskans (1959-60), and Maverick (1959-61). But it was the role he played between 1962 and 1969, that of Leslie Charteris’s suave, sophisticated anti-hero, Simon Templar, in The Saint, that brought him international attention.

The early Seventies saw Moore team up with Tony Curtis for The Persuaders! (1971-72), and then Cubby Broccoli came calling with the offer to play James Bond. At this point, Moore’s career went into overdrive, and he became a worldwide star. His interpretation of Bond has had its detractors over the years, but there has always been the sense that the producers of the series adapted the role to suit Moore’s abilities rather than the other way round. He remained in the role for twelve years and made seven appearances, and though each entry was successful there was a recognisable falling off of quality, and sometimes, Moore looked tired. In between saving the world, Moore made a number of action movies during the Seventies that cemented his position as an international star and celebrity, and if some of those movies attracted controversy (such as the trio he made in South Africa), Moore stayed clear of all the fuss and bother and he remained popular in the eyes of the public.

Post-Bond, Moore’s movie career never maintained the heights he’d achieved throughout the Seventies and early Eighties, but by then he was in his sixties and it was perhaps inevitable that he would take on less work. The early Nineties saw him appear in a number of less than remarkable comedies, but he also began his tenure as a UNICEF Goodwill Ambassador, work that was rewarded by his receiving a knighthood in 2003. In the last ten years his career had gravitated to voice roles, and he made increasingly fewer public appearances. Moore was a charming man with an awareness of his limitations as an actor, and he was always quick to agree when anyone brought this up. The British satirical show Spitting Image (1988-91) included Moore in their roster of recurring puppets. In it, the writers had Moore respond to a director’s call for “more emotion” by raising an eyebrow. Such was Moore’s lack of ego that he expanded on this, saying that as Bond he’d had three expressions: “right eyebrow raised, left eyebrow raised, and eyebrows crossed when grabbed by Jaws”. Just for his personality and his sense of fun alone he’ll be missed, but as an actor who never really took things too seriously but still managed to entertain millions of moviegoers, he’ll be missed even more.

1 – Gold of the Seven Saints (1961)

2 – The Man Who Haunted Himself (1970)

3 – Live and Let Die (1973)

4 – Shout at the Devil (1976)

5 – Sherlock Holmes in New York (1976)

6 – The Spy Who Loved Me (1977)

7 – The Wild Geese (1978)

8 – The Sea Wolves (1980)

9 – The Cannonball Run (1981)

10 – For Your Eyes Only (1981)

10 Reasons to Remember Powers Boothe (1948-2017)

15 Monday May 2017

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Actor, Career, Emmy winner, Movies, Powers Boothe, Stage, Television

Powers Boothe (1 June 1948 – 14 May 2017)

For the first ten years of his acting career, Powers Boothe was on stage appearing in a range of Shaespearean productions that included Troilus and Cressida to Henry IV, Part II to Richard III. Quite a difference in terms of his background as the youngest of three boys growing up on a ranch in Texas (he was also the first person in his family to go to university). Those early years helped Boothe hone his acting skills, and though he began his movie career with a bit part in The Goodbye Girl (1977), it was only three short years before he was impressing television audiences with his performance as the doomed cult leader in Guyana Tragedy: The Story of Jim Jones (1980). Boothe won an Emmy, and that auspicious portrayal heralded the arrival of a real talent.

During the Eighties Boothe consolidated his success with a variety of movie, television (particularly as Philip Marlowe) and stage roles that reaffirmed his skill as a performer, but as the decade progressed he appeared more and more as both a supporting actor, and as a villain as well. With his stern features, penetrating stare and sonorous voice, Boothe was equally suited to the various law enforcement roles he began playing as he got older, before moving on to senior politician roles such as Alexander Haig in Oliver Stone’s Nixon (1995). He was able to inject a sense of gravitas to these roles that often helped tremendously when a movie was lacking in other areas, but a glance through his filmography shows that he didn’t make too many bad choices during his career, and he was able to work with directors of the calibre of John Boorman, Walter Hill and Robert Rodriguez.

From the late Nineties onwards, Boothe gravitated more and more towards television, and appeared in a number of well received shows including Attila the Hun, Deadwood, and 24. In recent years he also appeared in the likes of Nashville and Marvel’s Agents of S.H.I.E.L.D. But whatever the format, Boothe was always an actor worth paying attention to, someone who could take a role and spin something unexpected out of it. And despite the often serious nature of the parts he played – he never did comedy – he could be relied on to appreciate the benefits of his profession: “Hell, I’ve played as many guys who get the girl as I have heavies. I’ve done love scenes with Jessica Lange and Jennifer Lopez, and I won’t kid you, they’re fun”.

1 – Guyana Tragedy: The Story of Jim Jones (1980)

2 – Southern Comfort (1981)

3 – The Emerald Forest (1985)

4 – Extreme Prejudice (1987)

5 – Into the Homeland (1987)

6 – By Dawn’s Early Light (1990)

7 – Tombstone (1993)

8 – Blue Sky (1994)

9 – U Turn (1997)

10 – Sin City (2005)

10 Reasons to Remember Bill Paxton (1955-2017)

26 Sunday Feb 2017

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Actor, Bill Paxton, Career

Bill Paxton (17 May 1955 – 25 February 2017)

Can you imagine what The Da Vinci Code (2006) would have been like if Bill Paxton had played Professor Robert Langdon, and not Tom Hanks? It should have happened, but Fate (in the form of TV show Big Love) dictated otherwise. If you’re having trouble imagining Paxton reeling off tons of symbolic exposition in an overly earnest manner, then that’s a disservice to an actor whose career included a wide variety of roles, and whose skill as an actor was often under-appreciated.

Starting out as a set dresser for Roger Corman’s New World Pictures, Paxton spent the early part of his career in bit parts, but eventually it was a part in Franc Roddam’s The Lords of Discipline (1983) that brought him to the public’s attention (and casting directors). A year later he began a fruitful relationship with James Cameron, playing one of the three punks unfortunate enough to meet Arnold Schwarzenegger’s T-800 at the beginning of The Terminator (1984). Two years later and it was the very opposite of “Game over, man!” as Paxton’s role as Private Hudson in Cameron’s sequel to Alien (1979) gave him all the exposure an up-and-coming actor could need. From then on, Paxton’s career was assured.

He hit his peak in the Nineties, appearing in a succession of well received roles in a succession of popular, well received movies that often found him being one of the best things in them. But in amongst a run of Hollywood blockbusters (including some movie about a sunken ship), Paxton made several movies that may not have been as successful, but still provided examples of his range and skill as an actor, from the misfire that was Boxing Helena (1993), to offbeat crime drama Traveller (1997), and even turning up in horror portmanteau Future Shock (1994). Paxton wasn’t afraid to dive into roles, and even in something as daft as Club Dread (2004), you could still see the effort he was making in bringing his character to life and making him as credible as possible given the nature of the movie.

As well as acting, Paxton was a director, producer and writer, and he worked equally well on television, particularly on the aforementioned Big Love, a show that demonstrated how good he was in leading roles, though it’s likely he’ll be remembered more for his supporting roles over the years. Paxton’s last movie is The Circle (2017), and it’s hard to believe that he won’t be making any more, that we won’t see that infectious, mischievous grin anymore, or hear that distinctive Texan drawl. He’ll be sorely missed. After all, who else could have taken a line like “I’m navel lint!” and made it funny, pathetic, heartrending, and despairing all at the same time?

1 – Aliens (1986)

2 – Near Dark (1987)

3 – One False Move (1992)

4 – Tombstone (1993)

5 – True Lies (1994)

6 – Apollo 13 (1995)

7 – Twister (1996)

8 – A Simple Plan (1998)

9 – Frailty (2001)

10 – Hatfields & McCoys (2012)

Nicolas Cage’s Top 10 Movies at the International Box Office

08 Wednesday Feb 2017

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Actor, Career, International Box Office, Nicolas Cage, Top 10

The career of Nicholas Kim Coppola has had its fair share of ups and downs (though in recent years it’s consisted mostly of downs). Inhabiting the strange netherworld of DtV movies nowadays, Cage seems to be flitting from one career-killing project to another with no apparent concern for his legacy as an actor (something that could be attributed to a lot of other actors as well – eh, John Travolta?). But overall, Cage has had a great career, and appeared in several modern classics over the years, and this is reflected in the movies that make up the list below (though it doesn’t include his Oscar win for Leaving Las Vegas (1995). The most recent movie in the list is an unexpected success from 2013, but his recent cameo in Snowden (2016) and a well-received outing in Army of One (2016) are, hopefully, signs that the tide is turning. Cage has six movies due for release in 2017, but if none of them improve his standing, we’ll still have all these (mostly) great movies to remember him by.

10 – The Sorcerer’s Apprentice (2010) – $215,283,742

Surprisingly enjoyable on a “don’t-expect-too-much” level, Cage enters into the spirit of things (along with a wonderfully hissable Alfred Molina as the villain) in this barmy fantasy movie. As the ever-so-slightly po-faced Balthazar, Cage has to make one too many trips to Exposition Central, but acquits himself well in a role that could have been played oh-so-seriously. The movie has its fans, and if you haven’t seen it yet, it’s well worth seeking out as an undemanding treat.

9 – Con Air (1997) – $224,012,234

After making the very downbeat Leaving Las Vegas, Cage surprised everyone by making a string of big-budget, high-concept action movies, including this riotous romp where he plays the one good guy on a prison transport plane full of murderers, rapists, thieves, and Steve Buscemi. Cage goes for laconic, brooding and ironically mirthless (“Put… the bunny… back… in the box”), and cements the action credentials he established for himself in The Rock. He’s the calm at the centre of the storm, and all the more convincing for it.

8 – Ghost Rider (2007) – $228,738,393

The first of two outings as stunt motorcyclist turned demonic revenger Johnny Blaze, Ghost Rider sees Cage play the flame-headed title character against the backdrop of an increasingly silly script, and a lacklustre plot. But against the odds, Cage’s interpretation of the character works better than expected, and his understanding of the role lends some gravitas when it’s most needed, making this a definite guilty pleasure, and whether you’re a Marvel fan or not.

7 – Gone in Sixty Seconds (2000) – $237,202,299

Cage saw in the new century with this remake of H.B. Halicki’s 1974 counter-culture classic, but somewhere along the way it failed to replicate what made the original so memorable. Cage gives an unremarkable performance, and the movie’s surface sheen hides a superficial storyline that no amount of slickly produced car chases can hide. That it did so well at the box office is a testament to Cage’s popularity at the time, and a vigorous marketing campaign that promised more than the movie could actually deliver.

6 – Face/Off (1997) – $245,676,146

John Woo given (nearly) free rein + Nicolas Cage + John Travolta + more mayhem and carnage than you can shake a church full of doves at = an even barmier and over the top movie than The Rock. Face/Off is one of the maddest, strangest, but totally enjoyable action movies of the Nineties. Woo directs as if he doesn’t care how looney it all is, and Cage – along with his future DtV compatriot Travolta – goes along for the ride, hamming it up as much as he can and having a whale of a time. He’s out there, and he wants you to come with him… and how can you refuse?

5 – G-Force (2009) – $292,817,841

Cage has contributed his vocal talents to a handful of other movies, but his role as Speckles the mole in G-Force may just be his goofiest performance yet. And it’s made all the more impressive by the fact that, for the most part, it doesn’t even sound like it’s Cage. A kids’ movie that doesn’t try too hard with its script, it’s nevertheless a minor pleasure, and has enough wit about it to offset the unnecessarily convoluted nature of the central plot.

4 – The Rock (1996) – $335,062,621

The first of Cage’s forays into the action movie genre, The Rock gave him a new lease of life on the big screen, and brought him to the attention of a whole new audience. Beginning as a nerd but inevitably transforming into a kick-ass action hero, it’s obvious that Cage is having fun with his role, and this transfers itself to the viewer. Rarely have the gung ho endeavours of an unprepared yet adaptable rookie been so coated in so many levels of ridiculousness, and rarely has an actor proved so effective in carrying it all off as if they were born to it.

3 – National Treasure (2004) – $347,512,318

An action-adventure movie that came out of nowhere and proved unexpectedly successful, National Treasure takes the template that has made Dan Brown such a household name, and tweaks it so that it’s fun and not at all pompous in its self-important outlook. Cage revisits his action hero period but makes his character more like Indiana Jones than Cameron Poe, and in doing so gives one of his loosest, most enjoyably Cage-like performances in years. The plot is suitably daft, but who cares when the aim is to have as much fun as possible? Certainly not this movie, as it revels in its absurdity from start to finish, and continually winks at the audience to reassure them that, for once, it is all just an act.

2 – National Treasure: Book of Secrets (2007) – $457,364,600

A sequel to National Treasure was perhaps inevitable, but what wasn’t as predictable was said sequel out-grossing its predecessor. More convoluted than the original, but lacking the flair that made the first movie so enjoyable, the movie bounces from one absurdist set piece to another with galling regularity, but somehow still manages to keep the audience on board, a feat that is the one thing that makes this poorly constructed – and thought out – sequel as successful as it is.

1 – The Croods (2013) – $587,204,668

An animated movie about a family of Neanderthals with Cage as its male figurehead? A surefire box office success? Unlikely on the face of it, but that’s what happened as audiences took the Crood family to their hearts, and gave Cage his most unexpected hit to date. As in G-Force, Cage shows an aptitude for voice work that makes his role all the more enjoyable, and he finds various and varied ways to display the character’s frustration at continually being ignored by his family. Cage sounds relaxed in the role, and is clearly having fun, an experience his fans haven’t had for quite some time – since this movie, in fact.

10 Reasons to Remember John Hurt (1940-2017)

28 Saturday Jan 2017

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Actor, Career, Doctor Who, John Hurt, Quentin Crisp, RADA

John Hurt (22 January 1940 – 27 January 2017)

With his distinctive voice, and even more distinctive features, John Hurt was an actor who was rarely out of work, from his first appearance in 1962 in an episode of the British TV series Z Cars, to his final role as Neville Chamberlain in Darkest Hour (due in November 2017). But Hurt’s acting career might never have started; when he was a young boy he lived opposite a cinema but his parents forbade from seeing movies there. It wasn’t until he went to an Anglican Preparatory School that he developed a desire to act. However, his parents didn’t encourage him, and his headmaster told him he “wouldn’t stand a chance”.

Luckily, Hurt persevered, and he won a scholarship to RADA in 1960. Two years of studying later and he was finding work on TV and in movies, and making a name for himself. It was A Man for All Seasons (1966) that brought him to the attention of a wider audience, and from there he never looked back, and over the next fifty years he made over a hundred and twenty movie appearances as well as numerous TV and video appearances. Aside from the movies listed below he was notable for being the mad Emperor Caligula in I, Claudius (1976); the first victim – spectacularly so – of the Xenomorph in Ridley Scott’s Alien (1979); himself in Mel Brooks’ Spaceballs (1987); and the renowned wandmaker Garrick Ollivander in the Harry Potter movies. His commitment and passion to acting were rewarded twice: with a CBE in 2004, and a knighthood in 2015.

His career also encompassed various outings as a narrator or voice actor on a variety of animated projects, from Watership Down (1978) (and the 1999-2000 TV series) to Thumbelina (1994), and Ultramarines: A Warhammer 40,000 Movie (2010). But whatever the movie, Hurt was one of those actors you could always rely on to give a great performance however good or bad the material was. He had a natural integrity, and a straightforward approach to acting that focused on the character almost exclusively, which led to so many compelling performances over his fifty-year plus career. Despite his slight frame, he was a persuasive physical presence, unafraid to push himself in the search for the reality of the role he was playing, whether made up as Quentin Crisp, or suffering torture as Winston Smith. And he was a member of a rare group of actors, those who’ve played the Time Lord, Doctor Who. With his passing, Hurt leaves behind an incredibly varied and impressive body of work that will continue to provide endless hours of entertainment for fans and future generations alike.

1 – 10 Rillington Place (1971)

2 – Little Malcolm and His Struggle Against the Eunuchs (1974)

3 – The Naked Civil Servant (1975)

4 – Midnight Express (1978)

5 – The Elephant Man (1980)

6 – 1984 (1984)

7 – The Field (1990)

8 – Love and Death on Long Island (1997)

9 – Hellboy (2004)

10 – Shooting Dogs (2005)

10 Reasons to Remember Om Puri (1950-2017)

06 Friday Jan 2017

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Actor, Career, East Is East, India, Om Puri

Om Puri (18 October 1950 – 6 January 2017)

The third actor to be taken from us so far in 2017 (after Argentinian actor Luis Mazzeo and Syrian actor, writer and director Rafiq Subaie), Om Puri will be best known to Western audiences as the immigrant fish and chip shop owner living in Bradford and trying to keep his Anglicized children from continually ignoring their heritage in East Is East (1999) and its predictably titled sequel West Is West (2010). He had a blunt physicality in later years that belied a sharp intelligence as an actor, and if Western movie makers didn’t quite know what to do with him other than cast him as an overbearing patriarch, then it was their loss, as he made many, many movies in India that showcased his varied talents as an actor. That many of them remain unseen outside of India is a shame, as Puri was a phenomenal talent who added lustre to each project he was involved with. For once, putting together a list of just ten movies to represent an actor’s career is really difficult, as with around three hundred roles and movies to choose from, and with Puri often in a category all his own in terms of performances, it’s entirely likely that some performances will be left out that perhaps shouldn’t be. That’s a testament to the man and his career, and his indelible contribution to Asian cinema.

1 – Aakrosh (1980)

2 – Bhavni Bhavai (1980)

3 – Ardh Satya (1983)

4 – Mirch Masala (1987)

5 – City of Joy (1992)

6 – Maachis (1996)

7 – East Is East (1999)

8 – AK 47 (1999)

9 – Dhoop (2003)

10 – Road to Sangam (2010)

John Travolta’s Top 10 Movies at the International Box Office

06 Friday Jan 2017

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Actor, Career, International Box Office, John Travolta, Movies, Top 10

The career of John Joseph Travolta has had its fair share of ups and downs (though in recent years it’s consisted mostly of downs). Inhabiting the strange netherworld of DtV movies nowadays, Travolta seems to be flitting from one career-killing project to another with no apparent concern for his legacy as an actor (something that could be attributed to a lot of other actors as well – eh, Nicolas Cage?). But overall, Travolta has had a great career, and appeared in several modern classics over the years, and this is reflected in the movies that make up the list below. The most recent movie in the list may be from 2008, but a recent return to form in The People v O.J. Simpson: American Crime Story (2016) hopefully will see the tide turn. But if it doesn’t, we’ll still have all these great movies to remember him by.

10 – Broken Arrow (1996) – $150,270,147

John Woo + John Travolta + Christian Slater + more exploding helicopters than you can shake an AK-47 at = a hundred and eight minutes of loud, dumb, spectacular fun. Not the greatest of movies on Travolta’s CV, nevertheless Broken Arrow is hugely enjoyable in a crass, leave-your-brain-at-the-door kind of way, and should best be looked on as a guilty pleasure. It features Travolta hamming it up like crazy (and smoking in the most affected way ever seen on screen), and delivering one of action cinema’s most memorable lines (courtesy of Speed scribe Graham Yost): “Would you mind not shooting at the thermonuclear weapons?”

9 – Phenomenon (1996) – $152,036,382

In the year that also saw Travolta play an angel in Michael, Phenomenon gave us a chance to see him as, possibly, the recipient of a gift from God. Newly imbued with super-intelligence and telekinesis after seeing a bright light in the sky, Travolta’s ordinary Joe becomes an object of fascination, and notions of faith arise too. It’s an uneven movie, but Travolta is good in the central role of George, and if the whole thing falls apart by the end it’s not because of bad intentions, but purely because the script paints itself into a corner it can’t get out of.

8 – Hairspray (2007) – $202,548,575

John Waters + John Travolta in a female body suit + song and dance numbers = one of Travolta’s most enjoyable movies. He may not have been everyone’s first choice for Edna Turnblad, but Travolta gives one of his most relaxed and engaging performances alongside “hubbie” Christopher Walken. A movie bursting with energy and giddy vitality, Hairspray is still as vibrant today as it was ten years ago, and Travolta is a big part of why that’s the case, reminding us that he can still move it and groove it.

7 – Pulp Fiction (1994) – $213,928,762

Quentin Tarantino’s second movie has been pulled part, analysed from the first frame to the last, and generally obsessed over by critics and fans alike ever since its release. It’s simply an incredible breath of fresh cinematic air, and remains a true one of kind over twenty years later. It’s also the movie that brought Travolta back in out of the cold after a career slowdown that had left those same critics and fans wondering if he’d ever get his career back on track after a string of duds that included Two of a Kind (1983) and Chains of Gold (1991). In terms of his performance, it’s arguable that he’s never been better, and his scenes with Uma Thurman are as mesmerising now as they were back then.

6 – Saturday Night Fever (1977) – $237,113,184

The movie that brought Travolta everlasting fame, Saturday Night Fever is a gritty wish-fulfilment tale that’s become overshadowed by its soundtrack, but forty years on it still has a power and a coarse energy that keeps it feeling fresh and not just a time capsule look at an era now long gone. Travolta is so convincing as Tony Manero that you can’t imagine anyone else playing the role, and though it spawned a million and one parodies – the best being in Airplane! (1980) – that white suit and Travolta’s defiant strutting, both on and off the dancefloor, are still as iconic as ever.

5 – Face/Off (1997) – $245,676,146

John Woo given (nearly) free rein + John Travolta + Nicolas Cage + more mayhem and carnage than you can shake a church full of doves at = an even barmier and over the top movie than Broken Arrow. Face/Off is one of the maddest, strangest, but totally enjoyable action movies of the Nineties. Woo directs as if he doesn’t care how looney it all is, and Travolta – along with his future DtV compatriot Cage – goes along for the ride, hamming it up as much as he can and having a whale of a time. He’s out there, and he wants you to come with him… and how can you refuse?

4 – Wild Hogs (2007) – $253,625,427

At this point, you might be saying to yourself, “Wow! Really? Wild Hogs? Over two hundred and fifty million? How did that happen?” And on the surface, you’d be right, but dig a little deeper and the movie has some (well) hidden depths, as well as a quartet of hugely enjoyable performances, including Travolta as the de facto leader of the Hogs. It’s an undemanding movie, but Travolta is easy-going (even when playing uptight) and immensely likeable, and when his character gets easily flustered, it’s a sight to see – purely because it’s a trait he rarely gets to display elsewhere. One to file under Don’t Knock It If You Haven’t Seen It, and a lot funnier and warm-hearted than you’d expect.

3 – Look Who’s Talking (1989) – $296,999,813

The first of three – Travolta appears in all of them – Look Who’s Talking was a surprise box office success back in 1989, but though the basic premise is clever: baby expresses his thoughts and feelings as he would if he were an adult (and with Bruce Willis’s voice), the movie is genuinely funny, and has a lot of heart, making it easy to like. Travolta plays a more charming version of Tony Manero, and there’s a definite chemistry with Kirstie Alley that allows Travolta to show he can do a straightforward romantic role as well. Now if only they’d left things well alone and not made two more movies…

2 – Bolt (2008) – $309,979,994

To date, Bolt is Travolta’s second and last animated movie, after Our Friend, Martin (1999). Unfairly overlooked when it was first released, there’s a lot to be said for the first movie that John Lasseter oversaw upon jumping ship from Pixar to Disney, not the least of which is the unexpectedly inspired choice of Travolta as the title pooch. He’s clearly having fun with the role, and that comes across in his performance; which begs the question, why hasn’t he made more animated movies? Whatever the reason, Travolta is definitely one of the main reasons for the movie’s success, and his performance more than justifies the producers’ making him first choice for the role all along.

1 – Grease (1978) – $394,955,690

As the Kurgan (Clancy Brown) put it in Highlander (1986), “There can be only one”, and sure enough it had to be Grease. Even if you’re not a fan of musicals, you have to admire the sheer exuberance and exhilaration of the dance sequences that make up most of Grease‘s allure, along with its way-too-catchy songs and endlessly quotable dialogue (“Let’s hear it for the toilet paper!”). As the belligerent/charming Danny Zuko, Travolta makes a virtue (of sorts) of thrusting his hips as often as he can in Olivia Newton-John’s direction, as well as looking out of his depth, and all with a virile swagger that recalls any number of teenagers from those Sixties beach movies. A great performance in a classic musical, pure and simple.

10 Reasons to Remember Gene Wilder (1933-2016)

29 Monday Aug 2016

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Actor, Career, Comedy, Gene Wilder, Mel Brooks, Movies, Richard Pryor

Gene Wilder (11 June 1933 – 29 August 2016)

Often wild of eye and generous of grin (and self-confessed Jewish-Buddhist-Atheist), Gene Wilder was an actor who was recruited into comedy by Mel Brooks – and thank Mel for that! It could all have been so different, though. Wilder’s career began in the late Fifties. He trained with Uta Hagen at the HB Studio before being accepted into the Actors’ Studio and taking private classes with Lee Strasberg. In the early to mid-Sixties, Wilder began to make a name for himself in various stage productions, until a production of Mother Courage and Her Children introduced him to Anne Bancroft, who in turn introduced him to her husband, Mel Brooks.

Having regarded himself as a serious, dramatic actor, Wilder acclimated quickly to comedy, and this despite making his feature debut in Bonnie and Clyde (1967). Aside from a handful of TV movies, Wilder didn’t stray from comedy for the rest of his career. But in doing so he provided us with so many wonderful, comic performances that if there had been any more diversions from comedy, it would have seemed like a betrayal.

He was well-known for his work with Brooks (five movies), and Richard Pryor (four movies). These collaborations cemented his fame and fortune, and brought him critical as well as commercial success. During the Seventies, Wilder made a string of movies that traded well on his ability to portray an unhinged loon with complete credibility. No matter what the scenario, Wilder’s high-pitched, hysterical expressions of incredulity were always funny to watch, even with repeated viewings.

Following his retirement from movies in 2003, Wilder decided to concentrate on writing, publishing a memoir as well as several novels and a collection of short stories. His philosophy was simple: “I’d rather be at home with my wife. I can write, take a break, come out, have a glass of tea, give my wife a kiss, and go back in and write some more. It’s not so bad. I am really lucky.” And so are we, to have such an enduring legacy of movies to enjoy for generations to come.

1 – The Producers (1967)

2 – Quackser Fortune Has a Cousin in the Bronx (1970)

3 – Willy Wonka & the Chocolate Factory (1971)

4 – Blazing Saddles (1974)

5 – Young Frankenstein (1974)

6 – The Adventures of Sherlock Holmes’ Smarter Brother (1975)

7 – Silver Streak (1976)

8 – Stir Crazy (1980)

9 – The Woman in Red (1984)

10 – See No Evil, Hear No Evil (1989)

Happy Birthday – Ben Affleck

15 Monday Aug 2016

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Actor, Ben Affleck, Boiler Room, Career, Changing Lanes, Going All the Way, Happy Birthday, Hollywoodland, State of Play

Ben Affleck (15 August 1972 -)

Few actors have had the career that Ben Affleck has (mostly) enjoyed. From his first appearance in the rarely seen drama The Dark End of the Street (1981) up until his more recent appearances as the Caped Crusader in both Batman v Superman: Dawn of Justice and Suicide Squad (both 2016), the Berkeley-born multi-hyphenate has made a number of critically acclaimed movies, been one half of the critically derided Bennifer, and staged a comeback thanks to a series of critically acclaimed directorial outings. In front of the camera he’s better as a brooding, contemplative anti-hero than the comic actor he was asked to be so often in his early career, while behind the camera he’s proved he can deliver some of the finest dramatic movies of recent years. And of course, he’s a two-time Oscar winner, for co-writing Good Will Hunting (1997) with Matt Damon, and for being a producer on Argo (2012). It would seem that his future is now inextricably linked with the DC Extended Universe – though we shouldn’t hold that against him – so it may be that his profile won’t extend much beyond that particular arena in the coming years. But even so, Affleck has enough clout within the Hollywood industry now to ensure that whatever he does in the coming years, it will be warmly received and showered with awards (unless he dons a batsuit). Here though are five movies he’s made that are worth seeing because of his involvement.

Changing Lanes (2002) – Character: Gavin Banek

A simple traffic accident leads to outright hostilities between a young lawyer (Affleck) and an alcoholic insurance salesman (Samuel L. Jackson) in Roger Michell’s cautionary tale, a movie that cleverly shifts its sympathies between both men while also condemning their behaviour at every turn. Affleck subverts his natural charisma to good effect in a performance that is the epitomy of “sweaty desperation”.

Boiler Room (2000) – Character: Jim Young

Affleck essays a supporting role here, playing the boss to Giovanni Ribisi’s aspiring investment broker in a movie that is unapologetically hard-boiled and rapacious. It may be Ribisi’s movie – and he’s very very good in it – but Affleck is unnervingly convincing as one of the co-founders of the firm he works for, and gives a scene-stealing performance early on that few actors of his generation could have provided.

State of Play (2009) – Character: Stephen Collins

An uneven but still gripping adaptation of the original BBC series, this sees Affleck as the potentially corrupt congressman who may or may not be involved in a string of murders being investigated by his old friend, a newspaper journalist (played by Russell Crowe). Affleck takes a role that could have been strictly by-the-numbers, and imbues it with a complexity that matches the narrative and makes for a worthy adversary for Crowe’s dogged journalist.

Going All the Way (1997) – Character: Gunner Casselman

As the extrovert buddy to Jeremy Davies’ introverted ex-serviceman in post-Korean War America, Affleck takes on a role that requires him to flaunt his obvious sexuality, and he rises to the challenge with gusto. Whenever he’s on screen he’s like a magnet for the eyes, a jock you can’t underestimate, and a character with much more depth than is usual for this type of role. Knowing this, Affleck gives an affecting performance, and steals the movie right from under Davies’s nose.

Hollywoodland (2006) – Character: George Reeves

For some, this is Affleck’s finest hour as an actor. As the increasingly haunted, yet charming Reeves (who played Superman on TV in the Fifties), Affleck gives a subtly shaded performance that reveals Reeves’ inability to deal with the pressures of fame, and highlights Affleck’s skills as an actor. Full of wonderful intuitive touches, it’s a supporting performance that feels like a lead role, and is mesmerising to watch, all a tribute to Affleck’s research, and commitment to the (real-life) character.

Happy Birthday – Chiwetel Ejiofor

10 Sunday Jul 2016

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Actor, Birthday, Career, Dirty Pretty Things, Endgame, Kinky Boots, Serenity, Talk to Me

Chiwetel Ejiofor (10 July 1977 -)

A British actor who has found his mark in American movies, Chiwetel Ejiofor – pronounced Chew-eh-tell Edge-ee-oh-for if you’re not sure – has appeared in a number of high-profile features since he caught the attention of Steven Spielberg, and was cast in Amistad (1997). Since then he’s had the serious good fortune to appear in movies directed by the likes of Ridley Scott (twice), Woody Allen, Spike Lee (also twice), Roland Emmerich, and Joss Whedon. By his own admission he’s attracted to strong, dramatic stories, hence the reason Love Actually (2003) is one of the very few comedies to grace his CV, but it is that intensity and drive he can bring to a movie that makes his performances so memorable, even in something as disappointing as Secret in Their Eyes (2015). He’s best remembered for his award-winning portayal of Solomon Northup in 12 Years a Slave (2013), but fortunately it’s not a movie or a role that has pigeon-holed him since, and with his upcoming appearance as Baron Mordo in Marvel’s Doctor Strange (2016), it’s clear that he’ll continue to make a variety of dramatic movies, and in any genre. Here are five more movies that he’s appeared in over the years. Together, all of them confirm his range as an actor – as if this was needed – and all of them are well worth seeking out if you haven’t done already.

Talk to Me (2007) – Character: Dewey Hughes

A movie about the life and times of ex-con and radio personality Ralph “Petey” Greene (played by Don Cheadle), sees Ejiofor playing his friend and manager. He gives an inspired (and award-winning) performance that perfectly complements Cheadle’s, and the movie’s examination of one of America’s most turbulent periods – the late Sixties, early Seventies – is faithfully depicted. Even if the episodic nature of the narrative stops the movie from being as powerful as it could have been, Ejiofor’s portrayal of Hughes is nothing short of outstanding.

Dirty Pretty Things (2002) – Character: Okwe

A British movie that deals with issues of immigration and racism, Dirty Pretty Things is bolstered by yet another award-winning performance by Ejiofor. As a Nigerian doctor forced to leave his country and who finds front of house work at a hotel that hides a terrible secret, Ejiofor brings an honesty and sincerity to his portrayal that never once falters. He’s particularly good in his scenes with Audrey Tautou (as a Turkish Muslim seeking asylum), and does a superb job of maintaining Okwe’s fatalistic-yet-hopeful character, even when the odds that he’ll find happiness are stacked against him.

Endgame (2009) – Character: Thabo Mbeki

The second true story in this list, Endgame concerns itself with the secret talks held between the African National Congress and the Afrikaner National Party as they tried to reach an agreement to end apartheid. As Mbeki, Ejiofor gives yet another excellent performance – this time alongside William Hurt’s professor of philosophy, Willie Esterhuyse. The relationship that evolves between the two men serves as an example of what life in South Africa without apartheid could be like, and as the passionate, demanding Mbeki, Ejiofor is on such good form he’s almost hypnotic.

Serenity (2005) – Character: The Operative

Ejiofor’s first encounter with science fiction couldn’t have been more enjoyable – for him and for fans of the short-lived TV series Firefly. As the mysterious and determined Operative, Ejiofor elevates the character’s seemingly banal, villain-101 demeanour into something much more interesting and calculated. He also fits in well with the established cast, and proves more than capable of holding his own against the likes of Nathan Fillion and Alan Tudyk, while also creating a role that is memorable for being unexpectedly layered.

Kinky Boots (2005) – Character: Lola/Simon

There’s much fun to be had in this, the tale of a Northampton shoe manufacturer whose livelihood is threatened by falling sales – until owner Charlie (played by Joel Edgerton) comes up with the idea for making bespoke boots for drag queens. As one of those drag queens, Ejiofor mixes comedy and drama with ease, and reveals a fine singing voice into the bargain. It’s effectively a supporting role, but when he’s on screen, Ejiofor holds the viewer’s attention like no one else – and that’s not just because of the outfits he’s called on to wear.

10 Reasons to Remember Anton Yelchin (1989-2016)

19 Sunday Jun 2016

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Actor, Anton Yelchin, Career, Movies

Anton Yelchin (11 March 1989 – 19 June 2016)

Russian-born, but brought up in the US from the age of six months, Anton Yelchin eschewed his family’s sporting background (by his own admission, he “sucked” as an athlete) to become an actor. It was a wise move. From his first appearance in an episode of ER in 2000, Yelchin grew in stature with each passing year, gaining more and more attention, both with critics and audiences alike, until his name in a cast list was something to watch out for. In recent years he’s appeared in indie dramas, mega-budget sci-fi franchise reboots, and even voiced the role of Clumsy Smurf in a handful of Smurf outings (how’s that for versatility?). He was a distinctive actor with a distinctive voice and a rangy physicality that made him move in an equally distinctive yet unpredictable way, and he was one of the best performers of his generation. His death has come at a time when five of his movies have yet to be released, including Star Trek: Beyond, due later this summer. That we won’t be able to watch him grow any more as an actor, and provide us with even more emotionally astute and dazzling performances is a terrible shame, but we do have a body of work that will remain as rewarding as it’s ever been, and which will remain a testament to Yelchin’s skill as an entertainer.

1 – Hearts in Atlantis (2001)

2 – Alpha Dog (2006)

3 – Charlie Bartlett (2007)

4 – Star Trek (2009)

5 – Like Crazy (2011)

6 – Odd Thomas (2013)

7 – Only Lovers Left Alive (2013)

8 – 5 to 7 (2014)

9 – Burying the Ex (2014)

10 – Green Room (2015)

Happy Birthday – Sean Bean

17 Sunday Apr 2016

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Actor, Anna Karenina (1997), Birthday, Far North, Movies, North Country, Sean Bean, The Field, Tom & Thomas

Sean Bean (17 April 1959 -)

An actor with a wider range than most people give him credit for, Sean Bean is also one of the most consistently reliable actors working today. He may be well known for his more villainous roles – which, admittedly, he’s very good at playing – but since playing Boromir in The Lord of the Rings: The Fellowship of the Ring (2001), his career has become more varied and (no doubt for him as well as us) more rewarding. His tough, uncompromising demeanour belies a man who listens to classical music when he’s preparing for a scene, and who is still a fervent supporter of Sheffield United football club. He made his feature debut in Winter Flight (1984), and since then has amassed over a hundred credits in both the movies and on TV, including appearances in Lady Chatterley (1993), the Sharpe series of TV movies, and more recently, season one of Game of Thrones (2011). On the big screen he’s a familiar face who brings a certain degree of gravelly sincerity to his roles. Here then are five Sean Bean movies that feature some of his more under-appreciated portrayals… and where his character doesn’t get killed.

Tom & Thomas (2002) – Character: Paul Sheppard

A rarely seen children’s movie, Tom & Thomas sees Bean play the adoptive father of one of a set of twin boys (both played by Aaron Johnson, now better known as Aaron Taylor-Johnson). Once they meet, the other twin’s involvement with a group of child smugglers sets the pair off on a great adventure. It’s an enjoyable, unassuming movie, and it’s good to see Bean making the most of such a different role from the ones he’d been used to up until then.

Anna Karenina (1997) – Character: Count Alexei Kirillovitch Vronsky

Unfairly dismissed by critics upon release, Bernard Rose’s Russian-shot (and badly cut by the studio) version of Anna Karenina certainly has its problems in the script department, but remains a beautifully realised production of Tolstoy’s classic novel, with superb use of music by Tchaikovsky and Rachmaninov. Bean is a convincing, dashing Vronsky, and his scenes with Sophie Marceau are impeccable for the way in which both actors portray the overwhelming passion their characters feel for each other.

North Country (2005) – Character: Kyle Dodge

Bean takes a supporting role in another movie that broadens his career CV, playing the good friend of Josey Aimes (Charlize Theron) who brings a class action suit for sexual harassment against the owners of an iron mine. Based on a true story, Niki Caro’s movie is eloquent, passionate, and inspiring, and Bean fits in well as one of the few men in Josey’s life who aren’t either sexist scumbags or manipulative, uncaring “primitives”.

Far North (2007) – Character: Loki

In this strange and haunting tale set in the arctic tundra, Bean plays a man whose sudden interjection into the lives of a mother and daughter leads to both unexpected passion and forecasted tragedy. Kapadia’s last feature until this year’s Ali and Nino, Far North is a tough, uncompromising movie made against some stunning backdrops and giving Bean the chance to reveal a less macho side to his acting.

The Field (1990) – Character: Tadgh McCabe

Although it was a commercial failure, The Field still has a good reputation amongst movie lovers, thanks in the main to Richard Harris’s performance as Bull McCabe, but there are other positives as well, such as Bean’s stalwart turn as Bull’s son. It’s a powerful portrayal of a son unwilling (or unable) to meet his father’s expectations of him. It’s a movie where tragedy is just waiting to happen, and where pride is the instigator of that tragedy, and in the hands of writer/director Jim Sheridan, packs such an emotional punch you’ll be bruised for days after seeing it.

Happy Birthday – Daniel Craig

02 Wednesday Mar 2016

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Actor, Birthday, Career, Daniel Craig, Hotel Splendide, Infamous, Layer Cake, Movies, Munich, The Mother

Daniel Craig (2 March 1968 -)

Since stepping into the shoes of everyone’s favourite British secret agent – no, not Johnny English – Daniel Craig has made fewer and fewer movies between 007 outings (between Skyfall and Spectre he made just one short movie, and even that was a promo for Spectre). But before he became licenced to kill, Craig’s career was full of interesting choices and appearances in movies you wouldn’t have suspected he’d be in the running for. From his debut in The Power of One (1992), Craig has given undeniably powerful performances throughout his career, and worked hard to vary the kind of movie he appears in (though he doesn’t seem to be anyone’s first choice for a romantic lead). While he can sometimes seem aloof in person, on screen he has a definite presence, and a physicality that can be a character in its own right. Here are five movies where the latest James Bond has shown he’s not all about gadgets and guns and glamourous women.

Munich (2005) – Character: Steve

In Steven Spielberg’s absorbing, somewhat controversial take on Mossad activity during the early Seventies, Craig’s low-key performance as South African driver Steve is one that rarely takes centre stage, but when he does, Craig displays a fierce determination to get the job done. While it might be regarded as a minor supporting role, Craig certainly doesn’t play it that way, and as a result, more than holds his own against fellow stars Eric Bana, Ciarán Hinds and Mathieu Kassovitz.

The Mother (2003) – Character: Darren

In this emotionally tense, absorbing drama, Craig plays the lover of a grandmother (played by Anne Reid) looking to regain some meaning in her life following the death of her husband. It’s a dour piece with tragic overtones, and Craig’s performance (as the handyman having an affair with the grandmother’s daughter as well as the old lady herself) is one laden with unnerving hints as to his true motives, and which is far subtler than might be expected.

Hotel Splendide (2000) – Character: Ronald Blanche

In this rarely seen, obscure drama, Craig is the head chef of the titular hotel, and one of many characters sucked into a bizarre mystery surrounding the return of the hotel’s former sous chef (played by Toni Collette). With everyone made to behave oddly, Craig fits in well amongst the ensemble cast, and he gives an unexpectedly moving performance that acts as an emotional anchor for the viewer.

Infamous (2006) – Character: Perry Smith

Perhaps Craig’s most well-known role outside of the 007 franchise, Infamous sees him play one of the two murderers immortalised by Truman Capote (played here by Toby Jones) in his book In Cold Blood. As the object of Capote’s “affection”, Craig uses his physical presence to good effect, and his character’s emotional and sexual confusion to even greater effect, resulting in a complex performance that really sees him stretch as an actor.

Layer Cake (2004) – Character: XXXX

Matthew Vaughn’s ambitious British gangster movie is given a boost by Craig’s taking on the lead role, a drug dealer aiming to quit the industry but who finds himself “asked” to find someone’s missing daughter. Craig’s cynical, world-weary yet smug performance keeps the movie focused when it wants to head off in other directions, and his confident swagger works as a clue as to how he might play a certain iconic role, should he be asked (oh, right, he was).

10 Reasons to Remember Frank Finlay (1926-2016)

31 Sunday Jan 2016

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Actor, Career, Frank Finlay, Movies

Frank Finlay (6 August 1926 – 30 January 2016)

Depending on the level of your exposure to his work, Frank Finlay will be best known to you either for his Oscar-nominated role as Iago in Laurence Olivier’s Othello (1965), as the rambunctious Porthos in Richard Lester’s adaptation of Dumas’ The Three Musketeers (1973) (and its two sequels), or the cheating husband in TV’s Bouquet of Barbed Wire (1976) (and its sequel). But of course, this versatile British actor had a varied, interesting career that spanned over fifty years, and he worked with some of the finest actors and directors during that period, both on screen, on stage and on TV. He always held his own, though, and his famously brooding looks were often mesmerising to watch, and though he never made it to the “big leagues” he was still the type of actor you could expect an intelligent, considered performance from, even if the production around him wasn’t quite as intelligent or considered as he was. As a character actor he could be superb, and when given the chance – as in Bouquet of Barbed Wire – he could be incredibly focused in a lead role, so much so that it’s a shame he wasn’t offered more of them. Although he will always be known for the roles quoted above, there is one role that may come as a surprise to those who don’t remember it, but is well worth watching: the Witchsmeller Pursuivant in the first series of Blackadder (1983), a rare comic role which he played with appropriate and very funny relish.

1 – A Study in Terror (1965)

2 – Othello (1965)

3 – Robbery (1967)

4 – The Molly Maguires (1970)

5 – The Three Musketeers (1973)

6 – Count Dracula (1977)

7 – Murder by Decree (1979)

8 – Sakharov (1984)

9 – Dreaming of Joseph Lees (1999)

10 – The Pianist (2002)

Happy Birthday – Scott Glenn

26 Tuesday Jan 2016

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26 January, Actor, Birthday, Buffalo Soldiers, Carla's Song, Freedom Writers, My Heroes Have Always Been Cowboys, Personal Best, Scott Glenn

Scott Glenn (26 January 1941 -)

Glenn is one of those rangy actors with a weathered face who pops up in a variety of movies, sometimes in the lead role, but always giving good value and on occasion making an average movie (or even a downright bad one) all the better when he’s on screen. From his feature debut in James Bridges’ The Baby Maker (1970), Glenn has been the epitomy of honest screen acting, someone the audience can rely on and sympathise with, even if he’s playing the villain. He’s made some high profile movies, including Oscar winners such as Nashville (1975) and The Silence of the Lambs (1991), and later this year he can be seen in season two of Daredevil. But in amongst all these well-known and well regarded movies and the performances that go with them, Glenn has made a number of movies that have either slipped unnoticed under the radar, or haven’t quite managed to get the attention they deserve, or feature appearances that you might not remember him making. Here are five such movies, and proof – if any were needed – that Glenn is a talented actor, and sometimes the only reason that some movies turn out as well as they do.

Carla’s Song (1996) – Character: Bradley

Glenn in a Ken Loach movie? As unlikely as it may sound, it happens here, with Glenn playing an aid worker in war-torn Nicaragua who encounters Robert Carlyle’s politically naïve Glaswegian bus driver. It’s not the most well-written of roles that Glenn’s ever played, but he manages to overcome the movie’s second-half stylistic failings to keep the viewer energised whenever he appears, and Bradley’s complex motivations allow for a degree of suspense.

Freedom Writers (2007) – Character: Steve Gruwell

Glenn takes a supporting role as the father of Erin Gruwell (played by Hilary Swank), a teacher who tackles her class’s notions of racism by showing them the horrors of the Holocaust. He’s not required to do too much, and you could be forgiven for thinking he wasn’t in the movie at all, but this is one of those occasions where Glenn’s familiar features and personal integrity adds an extra layer of truthfulness to an already true story.

My Heroes Have Always Been Cowboys (1991) – Character: H.D. Dalton

The last movie directed by Stuart Rosenberg – Cool Hand Luke (1967), Brubaker (1980) – this sees Glenn as a retired rodeo rider whose return home sees him face a new set of challenges thanks to his dysfunctional family. Glenn gives another subtle, nuanced turn that’s quietly convincing, and if the ending is a little too “Hollywood”, the movie’s still worth checking out for the very good work that leads up to it.

Buffalo Soldiers (2001) – Character: Sergeant Robert E. Lee

In this satire on corruption and greed within the US military just before the fall of the Berlin Wall, Glenn is the top sergeant who squares off against Joaquin Phoenix’s black marketeer. As a no-nonsense, intensely loyal patriot, Glenn inhabits the character with aplomb and makes a wonderfully steadfast counterpoint for Phoenix’s less savoury activities, all of which lead to a spectacular showdown.

Personal Best (1982) – Character: Terry Tingloff

Robert Towne’s exploration of women’s athletics features a career best performance from Mariel Hemingway, but also a perfectly judged turn from Glenn as the coach who can accept that two of his athletes have feelings for each other but not when those feelings interfere with their aim to compete at the Olympics. Glenn gives such a good performance it doesn’t feel that unlikely that he could step off the screen and do the job in real life.

The 2016 Oscar Nominations

16 Saturday Jan 2016

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2016, Actor, Actress, Adapted Screenplay, Best Motion Picture, Director, Movies, Nominations, Original Screenplay, Oscars, Supporting Actor, Supporting Actress

Is it the middle of January already? Is it time to start getting mildly excited by the prospect of another year where the Academy voters behave responsibly and predictably in their choices for Best Film, Actor, Actress etc. etc.? Well, you’re darned right it is! Except this year there’s some early controversy, especially if you’re a fan of Carol, rightly regarded as one of 2015’s best movies – if not the best – but not good enough in the Academy’s eyes to be nominated for Best Motion Picture of the Year. And they’ve snubbed Todd Haynes as well, Carol’s director. What is going on?

Elsewhere, director snubs seem to be the order of the day, with Ridley Scott failing to pick up a nomination for that well-known comedy The Martian, and Steven Spielberg being overlooked for Bridge of Spies. The thing it’s always hard to understand about the Academy is that when they do this sort of thing, it never makes sense: how can a movie nominated in the Best Motion Picture category not have its primary mover and shaker nominated for Best Director? Maybe the Spotlight team should investigate.

For the most part it’s another predictable year, with some early front runners – Cate Blanchett for Carol, Spotlight for Best Motion Picture – emerging out of the haze, but with so few movies receiving the most nominations the only interest will be in seeing who wins the most. Here then are my picks for the winners in the main categories. The ones highlighted in bold are the ones I think will win. The ones highlighted in italics are the ones I think should win. If there’s no movie highlighted in italics then the one in bold is my choice for both.

Best Motion Picture of the Year

The Big Short; Brooklyn; Bridge of Spies; Mad Max: Fury Road; The Martian; The Revenant; Room; Spotlight

Best Performance by an Actor in a Leading Role

Bryan Cranston – Trumbo; Matt Damon – The Martian; Leonardo DiCaprio – The Revenant; Michael Fassbender – Steve Jobs; Eddie Redmayne – The Danish Girl

Best Performance by an Actress in a Leading Role

Cate Blanchett – Carol; Brie Larson – Room; Jennifer Lawrence – Joy; Charlotte Rampling – 45 Years; Saoirse Ronan – Brooklyn

Best Performance by an Actor in a Supporting Role

Christian Bale – The Big Short; Tom Hardy – The Revenant; Mark Ruffalo – Spotlight; Mark Rylance – Bridge of Spies; Sylvester Stallone – Creed

Best Performance by an Actress in a Supporting Role

Jennifer Jason Leigh – The Hateful Eight; Rooney Mara – Carol; Rachel McAdams – Spotlight; Alicia Vikander – The Danish Girl; Kate Winslet – Steve Jobs

Best Achievement in Directing

Lenny Abrahamson – Room; Alejandro González Iñárritu – The Revenant; Tom McCarthy – Spotlight; Adam McKay – The Big Short; George Miller – Mad Max: Fury Road

Best Writing, Screenplay Written Directly for the Screen

Bridge of Spies; Ex Machina; Inside Out; Spotlight; Straight Outta Compton

Best Writing, Screenplay Based on Material Previously Produced or Published

The Big Short; Brooklyn; Carol; The Martian; Room

10 Reasons to Remember Alan Rickman (1946-2016)

14 Thursday Jan 2016

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Actor, Alan Rickman, Career, Movies

Alan Rickman (21 February 1946 – 14 January 2016)

2016 has already seen the deaths of Vilmos Zsigmond and David Bowie, which ordinarily would have been bad enough, but now we have the sad passing as well of Alan Rickman. Rickman was one of Britain’s finest actors with a rich, varied career both on stage and screen, and back when he started out, on TV as well (if you get a chance to see The Barchester Chronicles (1982), you’ll see he’s always been talented). He came late to movies, making his big screen debut in a role that has proven iconic over the years, the immaculately groomed, urbane thief Hans Gruber in Die Hard (1988) (and doesn’t he look great for forty-two?). More villainous roles followed but Rickman was sharp enough to move away from those types of parts and he began making movies that showcased the wide range of skills he had as an actor, even showing on occasion what many believed was a surprising gift for comedy; who can forget the witheringly funny way he would intone “By Grabthar’s hammer” in Galaxy Quest (1999)? For many he will always be Professor Severus Snape from the Harry Potter movies, a role he made his own. You never quite knew what he was going to do in a scene as Snape, and that dangerous energy could be a feature of roles elsewhere. As well as acting he made two movies as a director, the understated yet poignant The Winter Guest (1997) and the romantic period drama A Little Chaos (2014); both are well worth checking out. But what we’ll miss most about Alan Rickman will be his voice, that rich, mellifluous sound that could ooze charm, villainy, passion and disdain in equal measure and still draw you in almost like a character all its own.

1 – Die Hard (1988)

2 – Truly Madly Deeply (1990)

3 – Robin Hood: Prince of Thieves (1991)

4 – Bob Roberts (1992)

5 – Sense and Sensibility (1995)

6 – Galaxy Quest (1999)

7 – Love Actually (2003)

8 – Snow Cake (2006)

9 – Harry Potter and the Deathly Hallows Part 2 (2011)

10 – CBGB (2013)

10 Reasons to Remember David Bowie (1947-2016)

11 Monday Jan 2016

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Actor, Career, David Bowie, Musician

David Bowie (8 January 1947 – 10 January 2016)

Although David Bowie will always be better known for his musical career, when it came to appearing in movies he made some tremendous choices. And when you consider he appeared in only twenty-one features it makes those choices even more impressive (this list is testament to that). He was a mercurial actor in much the same way he was a mercurial musician, always reinventing his screen persona as much as his musical one. He worked with directors of the calibre of Martin Scorsese, Nagisa Ôshima, Nicolas Roeg, and Christopher Nolan, and even found time to play Lord Royal Highness in an episode of SpongeBob SquarePants (which in some quarters is probably regarded as being even cooler than working with Scorsese et al). That he made so few movies (many of which contain cameo appearances) is understandable, but there is one performance of his that stands out from all the others; it’s also the one that was never actually filmed: his stage portrayal of John Merrick in The Elephant Man. Now if we had that to remember him by, then we would be truly blessed.

1 – The Man Who Fell to Earth (1976)

2 – Just a Gigolo (1978)

3 – Baal (1982)

4 – The Hunger (1983)

5 – Merry Christmas Mr. Lawrence (1983)

6 – Absolute Beginners (1986)

7 – Labyrinth (1986)

8 – The Last Temptation of Christ (1988)

9 – Basquiat (1996)

10 – Mr. Rice’s Secret (2000)

Happy Birthday – Julian Sands

04 Monday Jan 2016

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4 January, Actor, Birthday, Cat City, Julian Sands, Leaving Las Vegas, Romasanta, The Scoundrel's Wife, Wherever You Are...

Julian Sands (4 January 1958 -)

With his striking good looks and rich earthy vocal tones, Julian Sands is an actor whose early roles, including his breakout role in A Room With a View (1985), seemed destined to have him forever playing in costume dramas, but as his career has progressed he’s found a home in horror movies and thrillers alike, albeit with mixed results. For every Arachnophobia (1990) though there has been a Heidi 4 Paws (2009), and it’s always seemed that Sands’ career has never really been able to fulfill its potential. But he’s still an interesting actor to watch, and can often use his sardonic approach to less than worthy material to make things more interesting. Here are five examples of movies where he’s been a part of something worthwhile, and where his performance has been one of the main reasons why.

Romasanta (2004) – Character: Manuel Romasanta

This low-budget horror is based on the true story of Sands’ title character, a travelling vendor in 1850’s Spain who was also a serial killer. It’s an atmospheric chiller, and Sands is eerily effective as the man who used his victims’ body fat for soap. The part calls on his skill as a seductive charmer, and it’s this thread of gothic romanticism that allows Sands to portray Romasanta as both lover and villain.

Leaving Las Vegas (1995) – Character: Yuri Butso

While everyone remembers Nicolas Cage’s Oscar-winning central performance (and rightly so), not everyone remembers Sands’ supporting role as the Latvian pimp whose selfless severing of his relationship with prostitute Sera (played by Elisabeth Shue), is the catalyst for her meeting Cage’s character, Ben. Sands is memorably vulnerable in the role and gives one of his most affecting portrayals, providing a counterpoint to Cage’s self-loathing alcoholic.

The Scoundrel’s Wife (2002) – Character: Dr Lenz

Sands takes a mainly supporting role in this drama set in Louisiana during World War II where a woman (played by Tatum O’Neal) trying to raise her two children alone is accused of being a saboteur. Sands’ gives a dignified, restrained performance as the German medic who tends to the wounded survivors of U-boats sunk in the nearby Gulf (and much to some of the locals’ consternation), and who also develops a relationship with O’Neal’s character. Based on real events, the movie isn’t entirely successful, but it is lifted whenever Sands is on screen.

Cat City (2008) – Character: Nick Compton

A modern day film noir gives Sands the chance to play a husband who may or may not be playing around. Acting alongside Rebecca Pidgeon (the wife) and Brian Dennehy (the detective looking into things), Sands is an unscrupulous land developer who’ll stop at nothing to get what he wants, while being unaware that his wife is having him investigated. Scandal and murder ensue when one of his more shady deals goes wrong.

Wherever You Are… (1988) – Character: Julian

This sombre movie from Krzysztof Zanussi sees Sands play a Uruguayan diplomat who takes his wife (played by Renée Soutendijk) on a trip to Poland in the lead up to World War II. While she has premonitions about the impending German invasion, Julian buries himself in his work and behaves cruelly towards her. Sands gets to play very nasty indeed and under Zanussi’s direction gives a memorable performance as a man with literally no redeeming values at all.

Happy Birthday – Kenneth Branagh

10 Thursday Dec 2015

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10 December, Actor, Birthday, Conspiracy, Five Children and It, How to Kill Your Neighbor's Dog, Kenneth Branagh, Rabbit-Proof Fence, The Theory of Flight

Kenneth Branagh (10 December 1960 -)

Originally hailing from Belfast in Northern Ireland, Kenneth Branagh will always be remembered for his Shakespeare adaptations (six so far and counting) and for bringing a touch of studied class to his acting roles. He’s taken some risks in the past – Mary Shelley’s Frankenstein (1994) anyone? – but on the whole he’s been a consistently impressive performer, even if the movie he’s in has been less so – Wild Wild West (1999) anyone? He’s also made some odd choices over the years, and his filmography as an actor includes titles as diverse as Swing Kids (1993) (in an uncredited turn) and the TV movie Warm Springs (2005) (as Franklin Delano Roosevelt). Here then are five more roles that might have slipped under the radar, but which are still worth seeking out.

Rabbit-Proof Fence (2002) – Character: A.O. Neville

Branagh excels in Philip Noyce’s disturbing exposé of systematic, Australian government-sponsored aboriginal abuse in the early 1930’s. As the official Protector of Western Australian Aborigines, Branagh is cold, distant and unemotional in his treatment of “half-castes” such as the movie’s young heroines, Molly and Daisy. It’s only when they run away from one of his “re-education” centres and elude capture that his mask slips and the depths of his racism becomes apparent, and the extent of Branagh’s control of his portrayal becomes even more impressive.

How to Kill Your Neighbor’s Dog (2000) – Character: Peter McGowen

Easily the oddest movie title in Branagh’s filmography, How to Kill Your Neighbor’s Dog sees him playing a once-successful playwright whose recent string of flops has left him struggling to deal with the various stresses and strains of daily life while attempting to get his career back on track. Branagh keeps McGowen from going fully manic, and this left-field comedy benefits immensely from his performance, being both cheerfully misanthropic and delightfully caustic.

The Theory of Flight (1998) – Character: Richard

A touching and emotionally honest drama (with comedic overtones), The Theory of Flight is effectively a two-hander between Branagh (as an unsuccessful artist who builds primitive flying machines) and Helena Bonham Carter (as a woman suffering from motor neurone disease who wants to lose her virginity before she dies). Contemplative and unapologetic, the movie is an unlikely gem thanks to the playing of both actors, and assured, sympathetic direction from Paul Greengrass (making only his second feature).

Five Children and It (2004) – Character: Uncle Albert

Branagh takes a supporting role in this children’s fantasy movie (adapted from the novel by E. Nesbit) set in World War I, and which sees the titular children discover a sand fairy, a Psammead (voiced by Eddie Izzard), in their uncle’s greenhouse. Branagh takes a back seat to the child actors (led by Freddie Highmore) but does more than enough to make Uncle Albert more than just a kindly, if eccentric, caricature.

Conspiracy (2001) – Character: Reinhard Heydrich

A TV movie, but inarguably one of the finest ever made, with Branagh hypnotic as the overseer of the Wannsee Conference, where the Nazis worked out the details of the Final Solution. Much has been made of the movie’s ability to portray the so-called “banality of evil” that the Nazis’ actions represented, and it’s true that the matter-of-fact way in which matters of mass execution are referred to is horrible and chilling. Just Heydrich’s comment to begin the conference, “So to begin. We have a storage problem in Germany, with these Jews”, is all you need to know as to how terrible the next ninety minutes will be.

Happy Birthday – Vincent Cassel

23 Monday Nov 2015

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23 November, A Dangerous Method, Actor, As You Want Me, Birthday, Brotherhood of the Wolf, Movies, Read My Lips, Secret Agents, Vincent Cassel

Vincent Cassel (23 November 1966 -)

Blue-eyed and ruggedly handsome, Vincent Cassel has made a reputation for himself as a tough, uncompromising actor who can exude menace at the drop of a chapeau. But as is the case with most “tough guy” actors, there’s much more to Cassel than his performances in, say, La Haine (1995) or the one-two punch that was Mesrine Part 1: Killer Instinct and Mesrine Part 2: Public Enemy #1 (both 2008) – although he has been quoted as saying, “My father [Jean-Pierre Cassel] is best known for his light comedies, and I’m best known for crazy bad guys with short tempers”. Here are five movies where Cassel shows that his career has a lot more to offer viewers than just anger and violence (with one exception).

Brotherhood of the Wolf (2001) – Character: Jean-François de Morangias

Christophe Gans’ bonkers martial arts/werewolf/historical drama sees Cassel give one of his most over the top performances as the villain of the piece, and yet it fits perfectly with the thrust of the movie, and allows him to play flamboyant, cunning, sly, mendacious, cruel, vicious, and even romantic (it’s true), against the fervid backdrop of superstitious, 18th Century rural France. A one of a kind performance and hugely enjoyable to watch (as is the movie).

Read My Lips (2001) – Character: Paul Angeli

In the same year as Brotherhood of the Wolf, Cassel made this arresting drama for Jacques Audiard, playing an ex-con who falls in with a deaf, put-upon office worker (played by Emmanuelle Devos) who’s looking for a way to improve the way she’s treated. The relationship that develops between them is an uneasy mix of mutual exploitation and dependency, and Cassel matches his co-star for vulnerability and pathos, as her need for revenge and his criminal background make for an uneasy combination.

A Dangerous Method (2011) – Character: Otto Gross

David Cronenberg’s look at the turbulent relationships involving Carl Jung, Sigmund Freud and Jung’s patient Sabina Spielrein (Michael Fassbender, Viggo Mortensen and Keira Knightley respectively), also gives Cassel the chance to impress as the unstable psychoanalyst Otto Gross. It’s a pivotal role and Cassel is on terrific form as the man who felt that sexual passion should be wholly embraced and never repressed.

As You Want Me (1997) – Character: Pasquale

Cassel does comedy as well as drama in this enjoyable if not entirely successful movie that still benefits from the actor’s usual commitment to a role. He plays a policeman in Rome, who, during a roundup, finds his old friend from school, Domenico (played by Enrico Lo Verso) is now called Desideria and is transgender. Romance rears its confused head and Cassel does a great job in convincing the viewer that he could fall for his old friend even though he has a fiancé (played by Monica Bellucci).

Secret Agents (2004) – Character: Georges Brisseau

A psychological thriller that sees Cassel reunited with Bellucci, this sees them as spies working together to foil an arms deal in Africa. Cassel’s character is cool and methodical, but when the mission begins to derail around him, and Bellucci’s character ends up in jail, it’s down to him to get her out. It’s formulaic stuff but with a Gallic spin that’s aided by one of Cassel’s most instinctive performances, as he tries to remain focused while dealing with being betrayed.

Honourable mentions: The Pupil (1996), Black Swan (2010).

10 Reasons to Remember Omar Sharif (1932-2015)

10 Friday Jul 2015

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Actor, Career, Movies, Omar Sharif

Omar Sharif (10 April 1932 – 10 July 2015)

Omar Sharif will always be remembered for his distinctive look: the thick black moustache, the large eyes and mesmerising stare, and his mischievous smile. While his career began in 1954 with the Egyptian movie Devil in the Sahara, it wasn’t until he made his slow appearance out of the haze in Lawrence of Arabia (1962) that stardom caught up with him and thrust him into the international limelight. Over the next fifty years he was pigeon-holed as the romantic foreigner, charming and urbane, whether playing real life characters such as Che Guevara, or fantasy roles such as Captain Nemo. He made movies in almost every genre, and was surprisingly adept at comedy, and if his career never maintained the heights he achieved in the Sixties, he was still an actor who was always interesting to watch (even if the movie wasn’t).

For my part, I saw Omar Sharif at a showing of the 4K restoration of Lawrence of Arabia at the London Film Festival in 2012. I was in the second row, roughly ten feet away from him, and as he spoke about David Lean and the making of the film, his gaze focused on mine, and for most of his reminiscing he looked directly at me. It was a fantastic moment and one I will treasure forever.

1 – Lawrence of Arabia (1962)

2 – Genghis Khan (1965)

3 – Doctor Zhivago (1965)

4 – The Night of the Generals (1967)

5 – Funny Girl (1968)

6 – The Last Valley (1971)

7 – The Horsemen (1971)

8 – The Baltimore Bullet (1980)

9 – The Rainbow Thief (1990)

10 – Monsieur Ibrahim et les fleurs du Coran (2003)

10 Reasons to Remember Christopher Lee (1922-2015)

15 Monday Jun 2015

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Actor, Career, Christopher Lee, Movies

Christopher Lee (27 May 1922 – 7 June 2015)

The sad passing of Christopher Lee this month means not just the end of an amazing career, but the loss of an actor who was always good value even if some of the movies he made weren’t. Of course, he’ll be forever associated with the movies he made for Hammer, including seven outings as Count Dracula. But he had a much more varied career than that, and was a versatile actor who could turn his hand to pretty much any genre you care to mention. His imposing figure and richly textured voice were instantly recognisable, and he still remains one of the few actors who are also an honorary member of three stuntmen’s unions.

1 – Dracula (1958)

2 – Rasputin the Mad Monk (1966)

3 – The Devil Rides Out (1968)

4 – The Wicker Man (1973)

5 – The Three Musketeers (1973)

6 – The Man With the Golden Gun (1974)

7 – The Return of Captain Invincible (1983)

8 – Jinnah (1998)

9 – The Lord of the Rings: The Fellowship of the Rings (2001)

10 – Star Wars Episode II: Attack of the Clones (2002)

Riders of Pylos (2011)

19 Sunday Apr 2015

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Actor, Comedy, Democracy, Drama, Greece, Horse sanctuary, Ioulia Kalogridi, Messinia, Nikos Kalogeropoulos, Polypylon, Review, Romance, Telemachus

D: Nikos Kalogeropoulos / 92m

Cast: Nikos Kalogeropoulos, Ioulia Kalogridi, Ilias Logothetis, Giorgos Kimoulis, Antonis Kafetzopoulos, Antonis Theodorakopoulos, Takis Spiridakis, Vanna Barba, Dimitris Kaberidis, Vasilis Tsimbidis, Maria Kalagbor

Aging and once distinguished actor Telemachus (Kalogeropoulos) owes so much money to his creditors that he has to flee the theatre he’s playing at early one morning, taking as many of his props and costumes as he can in the back of a truck. He’s also had a recent health scare, brought on by too much smoking and drinking. He arrives in historic Messinia and the rundown castle of Polypylon, site of a horse sanctuary, where he’s greeted by Euhemerus (Kaberidis) and his brother Myron (Logothetis).

Telemachus spends an uneasy first night at the castle, and the next morning is reacquainted with an old actor friend, Voikalis (Kimoulis). But Voikalis is suffering from Alzheimer’s and doesn’t recognise him; he’s there to perform for the two horses he has at the sanctuary. Telemachus later decides to go for a ride in the surrounding countryside. He meets a woman named Haido (Barba) who invites him to have lunch with her, but he carries on with his journey, telling her he’ll come back later. He also meets an old man (also Kalogeropoulos) carrying a large wooden cross and pretending to be Jesus. They talk for a while before the old man moves on. Later, Telemachus’ horse runs away from him, leaving him stranded. He goes in search of it, but while the horse finds its way to Ephemeris’ estranged daughter, Democracy (Kalogridi), Telemachus finds himself getting even more lost than he was to begin with.

Haido waits for him to return but Telemachus eventually finds his way to where Democracy and his horse are waiting with a team of ecologists called the Riders of Pylos. Riding the horse again, he returns to Haido where she provides food and wine for him, and eventually, despite his attempts to resist her, they have sex. The next morning he returns to Polypylon, where he gives Myron and Euhemerus invitations to a celebration being organised by the Riders of Pylos, and where Telemachus and Democracy meet again and discover a mutual attraction.

A light and frothy concoction by the multi-talented Kalogeropolous, Riders of Pylos is sufficiently entertaining to avoid any notions of whimsicality or waspishness, and comes with such a sense of freedom that it makes the viewer wish for the kind of (seemingly) rootless existence that Telemachus experiences once he’s fled from his creditors. His is a blundering presence, presumptuous at times, dramatic at others, but always with a flair that, financial pressures aside, never seems to desert him. He’s like a mini-cyclone, unaware of the damage or chaos he’s creating, a force of nature surrounded by a greater force of nature that he seems oblivious to.

That he beguiles and bewitches two of the women he encounters could be said to be very fortunate indeed, but Telemachus is, despite his odd features and wrinkled appearance, an attractive, sensitive man, a man who views romance as an essential part of living. His brief connection with Haido shows his sense of pride slowly being eroded by her determination to bed him, until he reaches a point where, for him, it all becomes irrelevant and he might as well go through with it. He’s a man after all, with a man’s sense of personal, unavoidable destiny, and Haido is left overwhelmed by the experience; once committed, Telemachus is unable to give a terrible “performance”.

As the wandering actor, Kalogeropoulos is a delight to watch, his clumsy physicality and brash demeanour in the role developed over the course of the movie with an almost effortless disregard for the character’s pretensions and woes. It’s a performance where the actor goes out of his way to make his character a little too self-absorbed and out of his depth to be anything other than entirely sympathetic. Telemachus is a terrific creation, and Kalogeropoulos broadens his portrayal with occasional moments where Telemachus has moments of self-reflection that prove liberating for him. With his distinguished career on hold for the foreseeable future, Telemachus’ growing enthusiasm for this “new world” around him is delightful and charming.

It’s a good thing too, as the storyline is overall, a slight one, and with very little depth to it other than what’s created through the use of philosophical and historical quotes, some of which are daubed onto the walls of Polypylon itself. These are enough to make the characters seem more learned and intelligent than they actually are, but they lack the cleverness needed to elevate the characters’ posturing. Also, there are too many scenes, particularly involving Myron, that fail to advance what little story there is, and hold the movie back from fulfilling its potential. Telemachus’ journey of self-discovery is the main focus but getting lost and being forcefully cajoled into having sex aren’t exactly life changing experiences, and Kalogeropoulos’ script never quite knows what to do next with the character.

What the movie does know what to do with is its location at Polypylon, a wonderfully rundown castle in the hills that is a character all by itself, and which provides a splendid backdrop for several scenes in the movie. Either shown at a distance to show its full size, or lit up at night, Polypylon is a fantastic setting for Kalogeropoulos’s tale, a theatrical “venue” used to good effect throughout, and brimming with colour. So too is the surrounding countryside with its hills and waterfalls and boulders and pools, shot with precision and fidelity by DoP Yannis Drakoularakos. There are moments of breathtaking beauty to be had in Riders of Pylos, and each one is to be savoured.

Writer/director/star/composer Kalogeropoulos has fashioned an appealing, seductive tale that should bewitch audiences everywhere. Earthy, occasionally profane, and entrancing, the movie is a testament to its creator’s abilities and his knowledge of Greek values through the ages. A small, but hugely enjoyable blend of rural drama and contemporary romantic mores, this is well worth seeking out and capable of delivering the kind of warm feeling few movies even aspire to. Rating: 8/10 – refreshing for being entirely carefree with its portrayal of romantic ideals, Riders of Pylos is light and jovial, and all the better for it; with a sterling central performance, it’s a movie that wants its audience to have as good a time as possible, and on that level, it succeeds admirably.

NOTE: The following trailer doesn’t have any English subtitles but is still worth a look:

10 Reasons to Remember Louis Jourdan (1921-2015)

17 Tuesday Feb 2015

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Actor, French, Louis Jourdan, Movies

Suave, debonair, charming, handsome, a hit with the ladies – you could be forgiven for disliking Louis Jourdan just on principle, but the French actor had a likeability that made him popular with both genders. Over the course of a career spanning seven decades, Jourdan was the dependable character actor – a description he would have endorsed – who often gave better performances than the movies he made deserved. If he was never quite the star he should have been, it didn’t seem to matter to him, and it shouldn’t matter to us. He leaves behind some indelible screen appearances, and this wonderful quote: “I didn’t want to be perpetually cooing in a lady’s ear. There’s not much satisfaction in it.”

1 – Félicie Nanteuil (1944)

2 – The Paradine Case (1947)

3 – Letter from an Unknown Woman (1948)

4 – The Happy Time (1952)

5 – Three Coins in the Fountain (1954)

6 – The Swan (1956)

7 – Gigi (1958)

8 – Can-Can (1960)

9 – The V.I.P.s (1963)

10 – Count Dracula (1977)

To Be Takei (2014)

16 Monday Feb 2015

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Actor, Allegiance, Bill Weber, Brad Takei, Documentary, Facebook, Gay rights, George Takei, Internment, Jennifer M. Kroot, Politics, Review, Star Trek, Sulu, The Howard Stern Show

D: Jennifer M. Kroot, Bill Weber / 94m

George Takei, Brad Takei, Howard Stern, Leonard Nimoy, William Shatner, Nichelle Nichols, Walter Koenig, Brad Savage, Lea Salonga, John Cho, B.D. Wong, Daniel Inouye

George Takei’s early life in Los Angeles was blighted by Executive Order 9066 which ordered the internment of all persons considered a threat to national security, particularly any Japanese-Americans living on the West Coast. Takei and his family were moved to the Rohwer War Relocation Center in Arkansas. After a year, the introduction of a “loyalty questionnaire” – which his father refused to sign – meant they were relocated to a camp in Tule Lake, California. At the end of the war they were allowed to return to Los Angeles.

Takei did well in school, and eventually enrolled in the University of California at Berkeley. He became interested in acting – though he admits he was a “performer” long before then – but it wasn’t until the late Fifties that he began to find work, initially doing voice over work on movies such as Rodan (1956). A couple of Jerry Lewis movies (albeit playing racially dubious roles) gave him a small degree of exposure, enough to be considered for the role of Sulu in Star Trek. As part of the multi-ethnic crew, Takei’s appearance was a tremendous boost for Asian-American actors, but in real terms his career continued at a steady pace, mostly in TV.

1973 saw the beginning of Takei’s political career. He ran for the City Council of Los Angeles, but narrowly lost out. However, Los Angeles Mayor Tom Bradley appointed him to the team responsible for the planning of the Los Angeles subway system. His political career came to a close in the early Eighties as the Star Trek movies became increasingly popular. Concentrating his efforts on acting, Takei saw in the Nineties by finally becoming Captain Sulu in Star Trek VI: The Undiscovered Country (1991). At around the same time he became involved in The Howard Stern Show, and is the show’s semi-regular announcer even now. The new century saw him as busy as ever but 2005 was a defining year: in October, Takei revealed that he was gay and had been in a relationship (with Brad Altman) for eighteen years. To many it wasn’t a shock as he’d been a supporter of LGBT organisations for some time, but it led to his becoming a more vocal supporter of gay rights and same-sex marriage; at present he’s a spokesperson for the Human Rights Act “Coming Out Project”.

In 2008, he and Brad married and together they tour the world giving speeches and making convention appearances and turning up on TV. Takei has embraced Facebook in a big way and currently has around eight million followers; his daily posts are funny and occasionally, controversial. And in 2012 he appeared in the stage musical Allegiance, a project he helped initiate and which is set in a Japanese internment camp in World War II.

If you sat down to write a book or a film script or a stage play, and you made your main character a somewhat diminutive Japanese-American homosexual who finds fame as an actor on a science fiction TV show, it’s a safe bet that publishers and backers would look at you funny and then laugh you out of the room for being so foolish. After all, who’s going to believe a story as far-fetched as that? And yet, George Takei is living proof that you can be all that and more.

Charting his life and experiences, To Be Takei is an amusing, warm-hearted look at a man who, over the last fifty years, has become a pop-culture icon. It’s a sweet-natured movie, much like the man himself, and is a wonderful introduction to a man who laughs at everything (unless you say being gay is a lifestyle – he’ll tell you in no uncertain terms it’s not, it’s an orientation). He has a great laugh too, a rich, soulful chuckle that punctuates his speech as if he can’t control it. Seeing him being so cheerful, and so much of the time, it’s plain to see he’s a man who’s lived not only a full life – he’s currently 77 – but is still doing so and with no intention of slowing down. His energy levels are prodigious. But it’s most likely his childhood at Rohwer that informs this, and the scenes where he discusses his time at the camps in Arkansas and California add a depth and a meaning to a life that, otherwise, seems to have been a model of fun and excitement. That it hasn’t left any permanent emotional scars is a testament to his resilience and his refusal not to let it affect him in any meaningful way. It’s these scenes that resonate the most, especially when they dovetail into those that show the development of Allegiance.

The movie follows Takei and Brad as they attend various functions and travel round the US. At one point they’re up in the mountains scattering Brad’s mother’s ashes. The wind proves to be blowing in the wrong direction and some of the ashes end up on their clothes. George’s pithy observation? “And I think your mom’s going to be at the cleaner’s too.” The relationship between George and Brad is the cornerstone of the movie, their devotion to each other so evident that when they’re taking the mickey out of each other, you’re laughing with them because it wouldn’t even occur to you to laugh at them. Even when Brad is in manager mode and bossing George around, there’s a deep-rooted affection there the whole time that makes it all the more marvellous to witness.

As well as his time in the internment camps there’s a fair amount of time devoted to his exploits in Star Trek, and the ongoing animosity between George and William Shatner – “Speaking of fat alcoholics… good evening, Bill.” – but it’s the contributions of Nimoy, Nichols and Koenig that add a poignancy to the proceedings, and reinforce just how much he’s loved by his old “comrades in space”. In fact, the movie is very good at providing just the right amount of time for each phase of his life and career, and for the current day activities he gets up to. Balancing out what really has been an incredibly varied and rewarding life, it’s to the movie’s credit – and Takei’s – that he remains as likeable as he’s always been. He’s so highly regarded and he’s so open and honest about things that by the movie’s end you feel you almost know him, such is the attention to detail and interest in him shown by Kroot and Weber. And with the honesty and commitment shown by Takei and Brad, the movie also paints a lovely portrait of two people who are still enamoured of each other after more than twenty-five years.

Rating: 8/10 – a documentary about a remarkable man presented in a fun, entertaining way, To Be Takei is a joy to watch, and made all the more so by Takei’s obvious enjoyment at being filmed; even if you only watch it to see his public service announcement regarding Tim Hardaway – “Oh my” indeed – you’ll find yourself wishing you could spend just a little bit more time in his company.

10 Reasons to Remember Rod Taylor (1930-2015)

10 Saturday Jan 2015

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Actor, Australian, Movies, Rod Taylor

An Australian actor with rugged good looks and a surfeit of roguish charm, Rod Taylor was an actor whose big screen outings displayed a raw energy, and a willingness to take risks, both in his choice of roles and (sometimes) in his choice of movies. He came to the US in the early Fifties and soon made a name for himself as a supporting actor in a variety of well-received movies – Hell on Frisco Bay (1955), The Catered Affair (1956), Giant (1956) and Raintree County (1957).

However, it was a science fiction adaptation of an H.G. Wells novel that brought him international stardom, and throughout the Sixties he made a number of highly regarded movies that helped maintain that stardom. If the Seventies saw him slowly drop out of the spotlight, Taylor still put in good performances even when the projects didn’t match his level of commitment (it would have been interesting to see how his career would have continued if he hadn’t lost the lead in Planet of the Apes (1968) to Charlton Heston). With an unexpected appearance as Winston Churchill in Tarantino’s Inglourious Basterds (2009) – he’d retired completely from acting at that point – to round off his career, Taylor has left us a raft of indelible performances that still have the power to entertain, and leaves behind a strength and an integrity few other actors of his generation could match.

1 – The Time Machine (1960)

2 – 101 Dalmatians (1961)

3 – The Birds (1963)

4 – Sunday in New York (1963)

5 – Young Cassidy (1965)

6 – The Glass Bottom Boat (1966)

7 – Hotel (1967)

8 – Zabriskie Point (1970)

9 – The Train Robbers (1973)

10 – The Picture Show Man (1977)

10 Reasons to Remember Richard Attenborough (1923-2014)

24 Sunday Aug 2014

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Actor, Director, Movies, Richard Attenborough

As well as being one of Britain’s finest directors – Gandhi (1982), Cry Freedom (1987) et al – Richard Attenborough will be remembered for an acting career that saw him play a variety of roles in a variety of movie genres but always with an innate sense of the character, and with a selflessness that was always impressive. Several of the movies listed below are rightly regarded as classics – what better testament to an actor who never once short-changed an audience.

1 – Brighton Rock (1947)

2 – The Angry Silence (1960)

3 – The League of Gentlemen (1960)

4 – The Great Escape (1963)

5 – Seance on a Wet Afternoon (1964)

6 – The Flight of the Phoenix (1965)

7 – The Sand Pebbles (1966)

8 – 10 Rillington Place (1971)

9 – The Chess Players (1977)

10 – Jurassic Park (1993)

Enemy (2013)

11 Friday Jul 2014

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Actor, Denis Villeneuve, Double, Drama, History teacher, Jake Gyllenhaal, Mélanie Laurent, Mystery, Psychological thriller, Sarah Gadon, Toronto

D: Denis Villeneuve / 90m

Cast: Jake Gyllenhaal, Mélanie Laurent, Sarah Gadon, Isabella Rossellini, Joshua Peace, Tim Post

Adam Bell (Gyllenhaal) is an associate professor of history, a little removed from his colleagues and students, but in a relationship with Mary (Laurent), though this has its ups and downs. On the advice of a fellow teacher (Peace), Adam rents a movie called Where There’s a Will There’s a Way. That night he watches the movie, but it’s only later that same night that he’s awoken by the realisation that one of the bellhops in the movie – played by Daniel Saint Claire (Gyllenhaal) – looks exactly like him. Fascinated by his discovery, Adam decides to track down the actor; an online search reveals the talent agency that represents him. Adam visits the building where the agency is based and is mistaken for Saint Claire. He receives an envelope that contains a letter addressed to Anthony Claire (the actor’s real name) at his home. Adam goes there but is too nervous to call at the man’s apartment. Instead he telephones Claire but his wife Helen (Gadon) answers.

Adam calls again when Anthony is home but the actor tells him not to call again. Later, he changes his mind and agrees to meet Adam at a hotel. Meanwhile, Helen, suspecting Anthony is cheating on her, goes to where Adam teaches and briefly speaks to him (though she doesn’t tell him who she is). Adam and Anthony meet and find they are entirely identical, even down to a scar they both have on their chest. Scared by this, Adam flees. Now it’s Anthony’s turn to be fascinated by Adam: he finds out where Adam lives and sees him with Mary. Anthony becomes infatuated with Mary and manipulates Adam into letting him take Mary away overnight. Adam goes to Anthony’s apartment and stays there until Helen arrives home, and as the evening progresses, the two couples’ lives become inextricably entwined…

Right from the start, with its opening scene set in an underground sex club, Enemy lets its audience know that it’s not going to be the type of psychological drama/thriller where things are explained too easily. That scene, with its ritualised stage show, serves as an introduction to the wider mystery that envelops Adam, and yet it remains frustratingly unexplored (though it is referred to later on in the movie). For the casual viewer, frustration is the one constant the movie cleaves to, as scene after scene fails or refuses to give an explicit reason for what’s happening; very little can be accepted or relied upon at face value. Enemy is a movie where inference and supposition will only get the viewer so far, and where the plot’s strange twists and turns only serve to make things more convoluted and disorienting.

And while some might find this counter-productive in terms of getting the most out of the movie, ultimately it enhances the experience, with director Villeneuve’s decision to make some scenes completely enigmatic while lacing others with complex misdirection, adding to the sense of unease that the movie builds up. It’s an accomplished piece of deconstruction, removing key elements that most other movies would rush to include in order to make things easier for the audience. Here Villeneuve avoids any attempt at clarity, and by doing so, creates a deceptively elegant, thought-provoking movie that rewards more and more with each repeat viewing.

He’s aided by an impressively layered script by Javier Gullón (adapted from the novel, The Double, by José Saramago), that makes a virtue of ambiguity and provokes as many questions as can be reasonably squeezed into ninety minutes. It’s a delicate balancing act, providing just enough information to keep the viewer intrigued and baffled at the same time, while choosing to reveal very little through either characterisation or dialogue (unless you’re paying very close attention). Between them, Gullón and Villeneuve have designed a movie that defies conventions and exceeds expectations with a great deal of audacity and artistic brio.

Of course, none of this would be possible without the participation of Gyllenhaal, who excels as Adam and Anthony, his performances so finely attuned to the material that he doesn’t put a foot wrong throughout, whether he’s required to play nervous and scared (Adam) or confident and predatory (Anthony). It’s his finest role to date, and proof (if any were needed) that he is one of the best actors around today. He’s ably supported by Laurent in a role that appears to be underwritten but which fits perfectly with the storyline, and Gadon (also seen in Belle), whose portrayal of Anthony’s loyal but emotionally scarred wife matches Gyllenhaal’s performance for intensity and poignancy.

The look of the movie (bearing in mind it’s set in Toronto) is suitably chilly, and the colour scheme – a mix of dark browns and greys – complements the often oppressive nature of the storyline, and the movie’s sense of impending doom. There’s also a fantastic, unnerving score by Danny Bensi and Saunder Jauriaans that is both portentous and imposing at the same time, adding a dark undercurrent to proceedings that is strikingly effective. Technically daring, Enemy succeeds by grounding its ambiguous, sometimes fantastical, storyline and plot in a world where the mystery surrounding Adam and Anthony can be perceived as both rational and weird… and it still works.

Rating: 9/10 – a modern classic, precisely assembled and without an ounce of cinematic fat to it, Enemy is a psychological thriller that mesmerises with ease and ends with a visual punch to the gut that you definitely won’t see coming; the first of (hopefully) many more remarkable collaborations between Villeneuve and Gyllenhaal, and deserving of a much wider audience.

10 Reasons to Remember Philip Seymour Hoffman (1967-2014)

02 Sunday Feb 2014

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Actor, Capote, Career, Movies, Philip Seymour Hoffman

Philip Seymour Hoffman (23 July 1967 – 2 February 2014)

Easily one of the finest actors of his generation, Philip Seymour Hoffman was one of those actors who was able to inhabit a role and make you forget there was an actor playing a part. From his earliest performances, Hoffman often made all the difference in a movie, keeping things from becoming bland or entirely disappointing.

My first encounter with Hoffman, like so many other people’s I guess, was in his breakthrough movie, Scent of a Woman (1992). As the conflicted George Willis Jr he brought an intelligence and a conviction to a role that could have been just another supporting role given passing attention by most other actors. Other supporting roles followed – the free-spirited Dusty in Twister (1996), the lovelorn Scotty in Boogie Nights (1997), Brandt, the other Jeffrey Lebowski’s assistant in The Big Lebowski (1998), the sympathetic male nurse, Phil in Magnolia (1999), the resolute Freddie Miles in The Talented Mr. Ripley (1999), revered music journalist Lester Bangs in Almost Famous (2000) (a personal favourite), the slimy Freddy Lounds in Red Dragon (2002) – and it seemed that he would always remain the underused, scene-stealing actor everybody liked but who was never given the chance to headline a major movie and show what he could really do.

That all changed, of course, in 2005 with Capote. Hoffman won an Oscar for his performance, and if anyone had had any doubts about his ability to carry a movie, and to deliver a really powerful performance, they were banished right there and then. I saw an actor who had proved time and time again he could deliver terrific performances, but who was stepping up to a whole other level. If you haven’t seen Capote, you’re missing Hoffman’s finest hour; there’s a level of detail there that is just astonishing.

Hoffman followed Capote with what for many may have appeared a strange choice: the villain in Mission: Impossible III (2006), and yet, once again he was mesmerising, acting Tom Cruise off the screen and proving yet again that he could elevate even the weakest of material. But Hoffman had said, “I love a good payday and I’ll do films for fun.” Ultimately though his goal was to do good work, and in that regard he never failed either himself, or us, his audience.

The sad circumstances of his death, coming after his admission in May 2013 that he’d attended a substance abuse centre, is a reminder that even the most talented actors can have their demons. For me, I will always remember him as the main reason for watching several films I might not otherwise have taken a look at, in particular Before the Devil Knows You’re Dead (2007) and A Late Quartet (2012). A great talent, and one that will be sorely missed.

1 – Scent of a Woman (1992)

2 – Twister (1996)

3 – Boogie Nights (1997)

4 – Magnolia (1999)

5 – Almost Famous (2000)

6 – Capote (2005)

7 – Synecdoche, New York (2008)

8 – Doubt (2008)

9 – The Master (2012)

10 – A Most Wanted Man (2014)

10 Reasons to Remember Paul Walker (1973-2013)

03 Tuesday Dec 2013

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Actor, Brian Conner, Career, Movies, Paul Walker

Paul Walker (12 September 1973 – 30 November 2013)

I first encountered Walker in The Fast and the Furious (2001), but he’d been working solidly in film and TV since 1986 (his debut movie was Monster in the Closet). My first reaction was that he might get typecast as the “pretty boy” hero, and while subsequent Fast and Furious movies did little to dispel that idea, it was in some of his non-franchise work that you could see an actor able to give a lot more than might have been expected. The underrated The Death and Life of Bobby Z (2007) showed he had the kind of acting ability that would stand him in good stead as he grew older, while his supporting turn in Flags of Our Fathers (2006) proved that he could respond to and step up for a strong director (in this case, Clint Eastwood). Even in the testosterone-filled and entirely risible Takers (2010) he managed to stand out from a very impressive crowd.

Walker was a likeable actor, unfussy perhaps in his style and performances but always confident and rarely disappointing. It’s always difficult to envisage a young actor – I was surprised to learn he was recently forty, God did he have good genes! – when they’re older and what work they’ll be doing. But I think if Walker were still with us, he’d have matured into a fine character actor.

1 – Pleasantville (1998)

2 – She’s All That (1999)

3 – The Fast and the Furious (2001)

4 – Joy Ride (2001)

5 – Running Scared (2006)

6 – Eight Below (2006)

7 – The Death and Life of Bobby Z (2007)

8 – The Lazarus Project (2008)

9 – Fast Five (2011)

10 – Hours (2013)

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