In Contention

Tag: A Star is Born

  • Let’s hear it for the boy

    Regular readers will know that there is no current film writer, great or small, whom I look up to more than Nick Davis — a Chicago-based English professor whose blogging balances rich academic perspective with truly heroic levels of Oscar geekdom.

    These two elements combined to form a lifelong project in which Nick resolved to see and rank every one of the 408 performances nominated for Best Actress by the Academy — reviewing 45 of them along the way.

    Insane? Of course. Difficult? Have you tried to locate a copy of, say, 1929’s “The Barker,” with its nominated performance by Betty Compson? (The guy had to go to the UCLA Film & TV Archive to track it down. That’s crazy dedication. Or just crazy.) But congratulations are in order, since Nick just completed this epic undertaking, saving Judy Garland’s iconic turn in “A Star is Born” for last.

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  • Nothing good can come of this

    I tend to avoid reporting on projects at the pre-production stage, since they so often don’t pan out — if they were ever more than rumors to begin with. But it’s for that very reason that I bring this to your attention: if I mention it, that’ll hopefully put the hex on it ever happening. From the Guardian:

    Russell Crowe looks set to take a leading role in A Star Is Born, a remake of the classic Hollywood melodrama about a fading, drunken superstar who finds himself eclipsed by a younger model. The former Gladiator star is reportedly in talks to appear alongside Beyoncé in the Warner Bros production.

    Not horrific enough for you? Well, Nick Cassavetes (“My Sister’s Keeper,” “John Q,” “The Notebook”) is reportedly in the director’s chair. Uh, bring it on.

  • Great performances in bad movies

    Tim Roth in Planet of the ApesIt happens, sometimes when a really fine actor manages to give a brilliant performance in a terrible or weak film, a diamond in the rough. In fact, some of the best actors working have shone brightly in bad films as far back as the 1940s, though I will focus on the 1970s to present day here today.

    For whatever reason the respective film fails: perhaps the writing was weak, the direction went horribly wrong, or all the ingredients needed to make a great film, hell even a good film, simply were not there. Yet a single actor did everything right, understood their character, understood the impact they needed to make in their scenes and they give a superb performance despite his or her surroundings.

    Look at Bruce Dern in “The Great Gatsby.”  Here we have an exceptional actor in one of the roles of his career.  He WAS Tom Buchanan, elevating every single scene he was in with sheer presence. Jack Clayton’s direction was lumbering, Robert Redford was woefully miscast and Mia Farrow? Please.  (The single burning question we need to ask ourselves is what about Daisy attracts Gatsby when he can now have anyone — she doesn’t appeal on that level.)

    Dern radiates the sort of danger Redford needed to have in the role of Gatsby, but is far too good as Tom to even think of him in a different role here.  The lead really should have been Jack Nicholson.  Can you imagine the sparks between him and Dern?

    Perhaps one of the best performances ever given in a bad film was Morgan Freeman’s breakthrough in “Street Smart,” portraying a vicious pimp using a journalist portrayed by Christopher Reeve to get off a murder rap without realizing that he too is being used. Freeman is brilliant, all smiles and kindness, the sort of guy you would like to hang out with until his temper flares (to say the least). With just a few moments of screen time he gave an unforgettable performance as Fast Black.

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