John Hurt in The Hit
Terence Stamp in The Hit
Jack Lemmon in Mass Appeal
Tsutomu Yamazaki in Farewell to the Ark
John Cassavetes in Love Streams
Monday, 3 April 2017
Sunday, 2 April 2017
Best Scene: The gunslinger wins.
Best Scene: Wade has to pay a fee.
Best Scene: Just before the sacrifice.
Best Scene: Words of warning.
Best Scene: Foley tells Eddie some bad news.
Next Year: 1984 Lead
Yul Brynner did not receive an Oscar nomination for portraying the Gunslinger in Westworld.
Westworld introduces the amusement parks populated by androids that let visitors do whatever they wish, and kind of calls it day with the concept.
The film begins with that very interesting concept which is just used to tell a fairly simple story. Most of the time we just watch a few guests hanging around, with the staff being confused by a few malfunctions, with the main focus on two men Peter (Richard Benjamin) and John (James Brolin) on vacation. The highlight of the film without question is Yul Brynner as the aptly named Gunslinger. Brynner in a send up to his role in The Magnificent Seven, right down to almost the exact same costume, plays the constant antagonist for the park guests. Brynner, once again proving that playing villains was his true calling, is quite effective in the early scenes a less serious fiend though. His whole point is to pester the guests until they shoot him in response. Brynner in turn is quite the enjoyable troll as he attempts to mock the men into shooting them, though while doing so Brynner does carry himself with imposing enough to suggest you wouldn't want him as your real enemy. Of course this is only a warm up to the finale of the film when the robots reject all previous programming and are set loose upon the guests.
Brynner's best scenes in the film though are when he confronts the unsuspecting Peter and John, after the systems have gone haywire. Brynner has the Gunslinger take his usual style until he successfully outdraws John and kills him. The smile that Brynner brings to his face is absolutely chilling almost suggesting perhaps a bit of emotion in the Gunslinger's satisfaction in finally killing his target, which makes him quite menacing as he begins chasing down Peter. Brynner throughout the final sequence is pioneering work as the unstoppable villain, apparently influencing Michael Myers and the Terminator. Brynner actually doesn't make it as simple as being a cold face killer. Again those hints of satisfaction in the machine are particularly unnerving, but he does more than that. Brynner also does more in his physical manner throughout the sequence because he actually walks with this very particular outlaw swagger, that is so exact in repetitive is rather off-putting in revealing the mechanical nature of the killer. The point of the performance is the consistency in this portion but there is one great moment in there when Peter hides from the Gunslinger's heat seeking vision by hiding below a torch. Brynner's good in portraying the unnatural switch in the Gunslinger since he does not portray a human confusion, but rather a computer's awkward attempt to break through a glitch. Brynner's work as the killing machine works as making a fierce villain, but he also allude to a bit more when given the chance. The film unfortunately doesn't allow him to explore any more, and does not make much use of what he brings through his performance. Brynner isn't only the best part of the film but his performance alludes towards a better film than the one he's in.
The film begins with that very interesting concept which is just used to tell a fairly simple story. Most of the time we just watch a few guests hanging around, with the staff being confused by a few malfunctions, with the main focus on two men Peter (Richard Benjamin) and John (James Brolin) on vacation. The highlight of the film without question is Yul Brynner as the aptly named Gunslinger. Brynner in a send up to his role in The Magnificent Seven, right down to almost the exact same costume, plays the constant antagonist for the park guests. Brynner, once again proving that playing villains was his true calling, is quite effective in the early scenes a less serious fiend though. His whole point is to pester the guests until they shoot him in response. Brynner in turn is quite the enjoyable troll as he attempts to mock the men into shooting them, though while doing so Brynner does carry himself with imposing enough to suggest you wouldn't want him as your real enemy. Of course this is only a warm up to the finale of the film when the robots reject all previous programming and are set loose upon the guests.
Brynner's best scenes in the film though are when he confronts the unsuspecting Peter and John, after the systems have gone haywire. Brynner has the Gunslinger take his usual style until he successfully outdraws John and kills him. The smile that Brynner brings to his face is absolutely chilling almost suggesting perhaps a bit of emotion in the Gunslinger's satisfaction in finally killing his target, which makes him quite menacing as he begins chasing down Peter. Brynner throughout the final sequence is pioneering work as the unstoppable villain, apparently influencing Michael Myers and the Terminator. Brynner actually doesn't make it as simple as being a cold face killer. Again those hints of satisfaction in the machine are particularly unnerving, but he does more than that. Brynner also does more in his physical manner throughout the sequence because he actually walks with this very particular outlaw swagger, that is so exact in repetitive is rather off-putting in revealing the mechanical nature of the killer. The point of the performance is the consistency in this portion but there is one great moment in there when Peter hides from the Gunslinger's heat seeking vision by hiding below a torch. Brynner's good in portraying the unnatural switch in the Gunslinger since he does not portray a human confusion, but rather a computer's awkward attempt to break through a glitch. Brynner's work as the killing machine works as making a fierce villain, but he also allude to a bit more when given the chance. The film unfortunately doesn't allow him to explore any more, and does not make much use of what he brings through his performance. Brynner isn't only the best part of the film but his performance alludes towards a better film than the one he's in.
Saturday, 1 April 2017
Richard Jordan did not receive an Oscar nomination for portraying ATF agent Dave Foley in The Friends of Eddie Coyle.
Although the Godfather did reveal the brutality of mob life it presented there to be certain codes, and a general class to the criminal life. The Friends of Eddie Coyle feels like strict rejection of that in its dog eat dog depiction of criminals. The film doesn't do this though by depleting them of their humanity, not at all, in fact the way it humanizes all the criminals makes the world they live in all the more unsettling. Richard Jordan is the only principal actor not playing a criminal in the film. His character Dave Foley is the one named law officer we see and it is interesting the way he further amplifies the harsh tone of the story. The reason being the main point of Foley within the story is when he is meeting a couple of the criminals. Foley is not corrupt though, he's meeting with them because they are both his informers unbeknownst to each other.
It's a little interesting that Richard Jordan is an actor who for quite awhile I only knew from a single performance in Gettysburg, which I consider to be one of the all time great supporting turns. I could say he was a great actor from that performance but that was the only performance I knew him from. I still have not seen a great deal of Jordan's work but now seeing another one of his turns it is confirmed to me at least, that he is indeed a great actor. His work in Gettysburg feels in a way even greater seeing that he's unrecognizable between the two performances, and not just because the age difference and the period facial hair in that later film. Jordan might as well be a different person entirely in his realization of Dave Foley. Jordan's approach to Foley is rather fascinating in that he's almost the hero cop character you might see in a different film, the problem though here is that Foley's not the hero of this story, not that there is one.
Jordan though plays the part realistically though with just the right touches of a personal style not unlike say a Steve McQueen in Bullitt. Jordan carries a certain "cool" in his work that one would normally associate with the cop hero that we like, but again Jordan does something brilliant with this. Jordan actually makes this rather in a way as he only takes this approach when he is talking to either of his informants whether it is the past his prime Eddie (Robert Mitchum) or the completely amoral Dillon (Peter Boyle). Jordan in these scenes plays it Foley as a guy who just doesn't sweat the small stuff or in this case the big stuff. Jordan makes Foley rather casual as he speaks to both men about essentially trading in their friends for favors. Jordan brings that "cool" about it that grants this vicious edge to the scenes though making the informing seems perhaps a little too easy in a way. Jordan smartly contrasts though against Foley in the field the field where he portrays not quite as as smooth of an operator. Oh he's good at his job but Jordan is careful to reveal a genuine in tension as Foley carefully takes down his friends. Jordan's remarkable because he gives these moments the needed severity as though he is indeed the hero, and lead of the film, though again of course he's not. Jordan's best scenes though are those with the informers particularly the ones he shares with Mitchum. Jordan's great by creating this combination of attitude Foley has towards Eddie. In that he brings enough of a casual ease as though he's his friend, yet Jordan underlines this all with a definite intensity particularly when he notes a lack of effort by Eddie to produce real information. Jordan's terrific in the way he so effectively makes Foley completely manipulative yet never appearing as such. When he tells Eddie that he needs more, after Eddie already has given info out, Jordan offers such a sympathetic face like he honestly cares about the man. He so warmly speaks to him, suggests he give more info, yet there is no true empathy in his eyes, as he coveys a indifference towards Eddie just below the surface reinforced by his cold disinterest whenever Eddie can produce something. What makes this performance so special is the way Jordan is law offer hero we'd usually empathize with, using methods you'd usually describe as slick, but since the film humanizes the crook, particularly the sad sack Eddie, it in turn shows how cruel such a figure can be through a shifted perspective.
It's a little interesting that Richard Jordan is an actor who for quite awhile I only knew from a single performance in Gettysburg, which I consider to be one of the all time great supporting turns. I could say he was a great actor from that performance but that was the only performance I knew him from. I still have not seen a great deal of Jordan's work but now seeing another one of his turns it is confirmed to me at least, that he is indeed a great actor. His work in Gettysburg feels in a way even greater seeing that he's unrecognizable between the two performances, and not just because the age difference and the period facial hair in that later film. Jordan might as well be a different person entirely in his realization of Dave Foley. Jordan's approach to Foley is rather fascinating in that he's almost the hero cop character you might see in a different film, the problem though here is that Foley's not the hero of this story, not that there is one.
Jordan though plays the part realistically though with just the right touches of a personal style not unlike say a Steve McQueen in Bullitt. Jordan carries a certain "cool" in his work that one would normally associate with the cop hero that we like, but again Jordan does something brilliant with this. Jordan actually makes this rather in a way as he only takes this approach when he is talking to either of his informants whether it is the past his prime Eddie (Robert Mitchum) or the completely amoral Dillon (Peter Boyle). Jordan in these scenes plays it Foley as a guy who just doesn't sweat the small stuff or in this case the big stuff. Jordan makes Foley rather casual as he speaks to both men about essentially trading in their friends for favors. Jordan brings that "cool" about it that grants this vicious edge to the scenes though making the informing seems perhaps a little too easy in a way. Jordan smartly contrasts though against Foley in the field the field where he portrays not quite as as smooth of an operator. Oh he's good at his job but Jordan is careful to reveal a genuine in tension as Foley carefully takes down his friends. Jordan's remarkable because he gives these moments the needed severity as though he is indeed the hero, and lead of the film, though again of course he's not. Jordan's best scenes though are those with the informers particularly the ones he shares with Mitchum. Jordan's great by creating this combination of attitude Foley has towards Eddie. In that he brings enough of a casual ease as though he's his friend, yet Jordan underlines this all with a definite intensity particularly when he notes a lack of effort by Eddie to produce real information. Jordan's terrific in the way he so effectively makes Foley completely manipulative yet never appearing as such. When he tells Eddie that he needs more, after Eddie already has given info out, Jordan offers such a sympathetic face like he honestly cares about the man. He so warmly speaks to him, suggests he give more info, yet there is no true empathy in his eyes, as he coveys a indifference towards Eddie just below the surface reinforced by his cold disinterest whenever Eddie can produce something. What makes this performance so special is the way Jordan is law offer hero we'd usually empathize with, using methods you'd usually describe as slick, but since the film humanizes the crook, particularly the sad sack Eddie, it in turn shows how cruel such a figure can be through a shifted perspective.
Friday, 31 March 2017
Cyril Cusack did not receive an Oscar nomination for portraying Sam in The Homecoming.
The Homecoming is a bare bones play adaptation detailing the turmoil resulting when a man takes his wife to visit his strange family.
Cyril Cusack is rather unique character actor from the period as his even in small roles there is usually something a bit different based on his atypical screen presence. This is a particularly effective quality for his role here as Sam the brother of the family patriarch Max (Paul Rogers). Cusack from the start makes Sam standout against the curmudgeon Max, Max's equally miserable son Lenny (Ian Holm), and his other seemingly stunted other son Joey (Terence Rigby). Cyril Cusack in his first scene comes in with Sam discussing his success as a chauffeur do to his refusal to impress himself on others. Cusack carries himself as the proper chauffeur through much of the scene. He has such a pleasant smile and apparent likability as a man who seems to aim to please. Cusack makes Sam seem like just such a gentle soul, unlike the other men, as he so kindly speaks with his nephews and his brother, taking such a quiet pride in his apparent abilities to please his customers as a chauffeur.
Cusack's sunny demeanor earns an impression since he always feels a bit separate for the rest of his downtrodden kin. Cusack does not use this for a simplification of a character, nor does he show that Sam is in some way blissfully unaware. Cusack instead shows this to essentially be a defense mechanism of sorts, a fashioned state for Sam to always try to keep a smile on his face. Cusack makes sense of this by how we see his brother and nephew Lenny in particular who rarely have anything to say that isn't a complaint or a put down of another. Cusack shows the jovial front of Sam as his way of trying to stay beyond the rest of his house hold, and it alludes to this long history. Sam after all has been part of it longer than the rest and Cusack shows this as this built conditioning in Sam to deal with his often intolerable brother. Cusack goes further in revealing Sam's relationship to his brother even when smiling. Cusack does so much with just eyes even at times as every glance to his brother has these quiet hints of disdain towards him, and shows that Sam does not ignore his brother's severe character flaws.
I love the way Cusack's performance is one that cuts through the nonsense in a way even though he shows Sam technically having a personal shield. Cusack does this with such an ease though such as when Max goes off on his stories about the film, and Cusack's reactions say so much through just subtle facial suggestions. There is a moment where Max is going on and on, and Cusack creates the sense of knowing of a man who has heard all the nonsense before. He only occasionally gets into verbal spats, which Cusack reinforces the idea that Sam has his own way with things. There is a moment where he defends himself for example but Cusack portrays this as merely a lapse for him. As he briefly makes his case, but Cusack again in just in his eyes conveys Sam is just quickly remembering who he's dealing with giving sense to his instant departure from the conversation. Other times though Cusack's terrific in showing Sam managing to get in his own snipes in. Cusack carefully delivers these lines though in that jovial way showing that Sam is getting to enjoy insulting his brother, but making it so it basically goes over the man's head. Now Cusack, despite having only a few lines, is pivotal in the last act of the film when the family, besides Sam, decide to steal away the last brother, Teddy(Michael Jayston)'s, wife Ruth (Vivien Merchant). Cusack gives the most cinematic performance in the film since he never is merely there, his work suggests he knows the camera will pick up anything he does as long as it's onscreen. Cusack uses this to offer the only empathetic man as Cusack is rather moving by showing that Sam is so quietly horrified by the terrible idea the rest of the family has to steal the wife and make her work as a whore. Cusack, wholly in the background, builds towards Sam finally saying something fully without a facade in a broken attempt to warn Ruth about his family's intentions in a very effective moment. Sam though collapses seemingly dead, though he is said to be breathing. Cusack allows for an interpretation of the moment by how he builds towards the short breakdown. Cusack's work suggests that while not quite physically finished, Sam is emotionally finished with dealing with his horrible family. This is a brilliant performance by Cyril Cusack as with such ease he realizes his character in such vivid detail, adding a real substance to the history of the film, as well as giving a quietly poignant portrayal of a semi decent man entrapped in a deranged family.
Cyril Cusack is rather unique character actor from the period as his even in small roles there is usually something a bit different based on his atypical screen presence. This is a particularly effective quality for his role here as Sam the brother of the family patriarch Max (Paul Rogers). Cusack from the start makes Sam standout against the curmudgeon Max, Max's equally miserable son Lenny (Ian Holm), and his other seemingly stunted other son Joey (Terence Rigby). Cyril Cusack in his first scene comes in with Sam discussing his success as a chauffeur do to his refusal to impress himself on others. Cusack carries himself as the proper chauffeur through much of the scene. He has such a pleasant smile and apparent likability as a man who seems to aim to please. Cusack makes Sam seem like just such a gentle soul, unlike the other men, as he so kindly speaks with his nephews and his brother, taking such a quiet pride in his apparent abilities to please his customers as a chauffeur.
Cusack's sunny demeanor earns an impression since he always feels a bit separate for the rest of his downtrodden kin. Cusack does not use this for a simplification of a character, nor does he show that Sam is in some way blissfully unaware. Cusack instead shows this to essentially be a defense mechanism of sorts, a fashioned state for Sam to always try to keep a smile on his face. Cusack makes sense of this by how we see his brother and nephew Lenny in particular who rarely have anything to say that isn't a complaint or a put down of another. Cusack shows the jovial front of Sam as his way of trying to stay beyond the rest of his house hold, and it alludes to this long history. Sam after all has been part of it longer than the rest and Cusack shows this as this built conditioning in Sam to deal with his often intolerable brother. Cusack goes further in revealing Sam's relationship to his brother even when smiling. Cusack does so much with just eyes even at times as every glance to his brother has these quiet hints of disdain towards him, and shows that Sam does not ignore his brother's severe character flaws.
I love the way Cusack's performance is one that cuts through the nonsense in a way even though he shows Sam technically having a personal shield. Cusack does this with such an ease though such as when Max goes off on his stories about the film, and Cusack's reactions say so much through just subtle facial suggestions. There is a moment where Max is going on and on, and Cusack creates the sense of knowing of a man who has heard all the nonsense before. He only occasionally gets into verbal spats, which Cusack reinforces the idea that Sam has his own way with things. There is a moment where he defends himself for example but Cusack portrays this as merely a lapse for him. As he briefly makes his case, but Cusack again in just in his eyes conveys Sam is just quickly remembering who he's dealing with giving sense to his instant departure from the conversation. Other times though Cusack's terrific in showing Sam managing to get in his own snipes in. Cusack carefully delivers these lines though in that jovial way showing that Sam is getting to enjoy insulting his brother, but making it so it basically goes over the man's head. Now Cusack, despite having only a few lines, is pivotal in the last act of the film when the family, besides Sam, decide to steal away the last brother, Teddy(Michael Jayston)'s, wife Ruth (Vivien Merchant). Cusack gives the most cinematic performance in the film since he never is merely there, his work suggests he knows the camera will pick up anything he does as long as it's onscreen. Cusack uses this to offer the only empathetic man as Cusack is rather moving by showing that Sam is so quietly horrified by the terrible idea the rest of the family has to steal the wife and make her work as a whore. Cusack, wholly in the background, builds towards Sam finally saying something fully without a facade in a broken attempt to warn Ruth about his family's intentions in a very effective moment. Sam though collapses seemingly dead, though he is said to be breathing. Cusack allows for an interpretation of the moment by how he builds towards the short breakdown. Cusack's work suggests that while not quite physically finished, Sam is emotionally finished with dealing with his horrible family. This is a brilliant performance by Cyril Cusack as with such ease he realizes his character in such vivid detail, adding a real substance to the history of the film, as well as giving a quietly poignant portrayal of a semi decent man entrapped in a deranged family.
Thursday, 30 March 2017
Christopher Lee did not receive an Oscar nomination for portraying Lord Summerisle in The Wicker Man.
The supporting performances of the Wicker Man all have this eerie consistency as they portray this strangely sinister happiness within all the pagan denizens of the island, which stands in stark contrast to Edward Woodward's portrayal of the devote Christian and police officer Howie there to find a missing little girl. All of the supporting performances share that same consistency except for Christopher Lee as Lord Summerisle. Lord Summerisle being the the lord of the island in more than just a title. Now on the surface Lee seems to fulfill a similar style to the Lord as was found in his subjects. When he greets Howie, he does it with a friendly smile that it subverted with a powerful undercurrent of disdain in his eyes and in his words. When he speaks of the local rituals, that disgust Howie, Lee delivers his lines like that of a proud father to his children, overjoyed to see them performing the rites he "holds dear" and then offers quite the undercurrent of venom in his words whenever he responds to Howie's objections.
Lee's performance though goes deeper than the others because Lord Summerisle isn't quite a typical islander. In one of his early scenes the Lord takes a walk with Howie where he reveals his family's history which involved setting up a fruit plantation in the island, and encouraging the islanders to return to the pagan religion of their ancestors. Lee speaks these words differently than when defending or praising the rituals. There's more of a distance in the words of Summerisle, and in that distance Lee suggests a certain separation. There is not quite the passion within the description, Lee speaks not as a preacher but rather as a manipulator. Although it is not directly stated Lee alludes to a certain falsehood in Summerisle's own belief by revealing this intelligence around it of a man who is uses the religion rather giving himself to it. Lee nuance in this regards adds greatly to the film as he's not simple another worshiper adding another layer by realizing that the Lord uses the religion to control the populace as his father and grandfather had done.
The focal point of Lee's performance comes in the finale where the islanders have their mayday celebration to which Howie believes will result in a sacrifice, he's right but unfortunately for him he's the sacrifice. In the turn towards the truly sinister nature of the islanders coming out they are all just as jovial as before. Lee is incredibly menacing in revealing Summerisle as this terrible ringmaster for his people as he leads them to go about sacrificing Howie in giant wooden statue. Lee shows the full extent of the manipulation through his powerful voice that now is that of the preacher leading his flock in this chilling joyous celebration about ending a man's life supposedly to bring back a good harvest. Lee though again uses this scene though to bring more than perhaps what is even demanded of him. Lee again separates Summerisle from of the islanders as in between the margins, when the islanders are not focused on him, he suggests the ritual is based on manipulation of the masses rather a true belief from himself. My favorite moment in his entire performance is when Howie attempts to get some sort of revenge by telling the islanders they must sacrifice Summerisle next if the harvest fails again, which it likely will. Lee's reaction is perfection as he shows all the confidence fade from the Lord, and reveals a real fear showing that the Lord realizes his life will be on the line if his plan does not work. Lee portrays an effort in Summerisle as he attempt to return to his form as the grand preacher though struggles delivering his statement now with a raw anger towards Howie. Lee throughout the rest of the scene conveys this desperation in the Lord as they finish the sacrifice, and only returns to his earlier conviction when he sees the islanders have clearly become satiated. Lee gives a very strong performance as his work offers further depth to the character of Lord Summerisle but also the film itself.
Lee's performance though goes deeper than the others because Lord Summerisle isn't quite a typical islander. In one of his early scenes the Lord takes a walk with Howie where he reveals his family's history which involved setting up a fruit plantation in the island, and encouraging the islanders to return to the pagan religion of their ancestors. Lee speaks these words differently than when defending or praising the rituals. There's more of a distance in the words of Summerisle, and in that distance Lee suggests a certain separation. There is not quite the passion within the description, Lee speaks not as a preacher but rather as a manipulator. Although it is not directly stated Lee alludes to a certain falsehood in Summerisle's own belief by revealing this intelligence around it of a man who is uses the religion rather giving himself to it. Lee nuance in this regards adds greatly to the film as he's not simple another worshiper adding another layer by realizing that the Lord uses the religion to control the populace as his father and grandfather had done.
The focal point of Lee's performance comes in the finale where the islanders have their mayday celebration to which Howie believes will result in a sacrifice, he's right but unfortunately for him he's the sacrifice. In the turn towards the truly sinister nature of the islanders coming out they are all just as jovial as before. Lee is incredibly menacing in revealing Summerisle as this terrible ringmaster for his people as he leads them to go about sacrificing Howie in giant wooden statue. Lee shows the full extent of the manipulation through his powerful voice that now is that of the preacher leading his flock in this chilling joyous celebration about ending a man's life supposedly to bring back a good harvest. Lee though again uses this scene though to bring more than perhaps what is even demanded of him. Lee again separates Summerisle from of the islanders as in between the margins, when the islanders are not focused on him, he suggests the ritual is based on manipulation of the masses rather a true belief from himself. My favorite moment in his entire performance is when Howie attempts to get some sort of revenge by telling the islanders they must sacrifice Summerisle next if the harvest fails again, which it likely will. Lee's reaction is perfection as he shows all the confidence fade from the Lord, and reveals a real fear showing that the Lord realizes his life will be on the line if his plan does not work. Lee portrays an effort in Summerisle as he attempt to return to his form as the grand preacher though struggles delivering his statement now with a raw anger towards Howie. Lee throughout the rest of the scene conveys this desperation in the Lord as they finish the sacrifice, and only returns to his earlier conviction when he sees the islanders have clearly become satiated. Lee gives a very strong performance as his work offers further depth to the character of Lord Summerisle but also the film itself.
Sterling Hayden did not receive an Oscar nomination for portraying Roger Wade in The Long Goodbye.
Sterling Hayden is best known for his cold tough guy roles in films like The Killing and The Asphalt Jungle, even his best performance in Dr. Strangelove is a subversion of that idea. His performance in The Long Goodbye is a complete departure from that type. We first see Roger Wade, a successful novelist, as Elliott Gould's Philip Marlowe finds him staying in a shady rehab center for celebrities with drug and alcohol problems. Marlowe gets him out and returns him home to his wife, but that doesn't mean Roger's all okay. Hayden's work is unlike any other performance I've seen of his in his portrayal of the mess of the man that is Roger Wade. Hayden's performance though isn't just of any trouble man it's sort of a Ernest Hemingway pseudo genius who happens to also be a complete drunkard. Hayden's terrific in bringing to life that sort of grand larger than life personality. Apparently Hayden was in reality drunk and high throughout the shoot, well this is one time where it actually works out. Hayden doesn't just wear it well he kind of glories in it as he should in this role. Hayden plays the way Wade projects himself as just a guy loving life. Hayden is this curiously endearing bundle of life in his portrayal as he never feels over the top it only feels natural to the state of man that Roger is. Now the reason Hayden's apparent intoxication works here is because this is not just a performance to watch to be a mess. Hayden's work is surprising in its level nuance particularly given the circumstances supposedly behind the performance.
Hayden though with company brings that whole lively boisterous routine, but it definitely hiding something as he underlines it with such unease whenever he speaks alone with his wife. His scene we see alone with his wife it is rather striking to see such a sensitive and vulnerable Hayden as he reveals the insecurities of the Wade who in reality isn't enjoying life in the least. Hayden shows that most of the time though Wade hides a sadness in front of other that is until his former doctor (Henry Gibson) comes to collect a bill. Hayden surprisingly heartbreaking in this scene by starting with Wade trying to work through by yelling at the man but as the doctor is not deterred Hayden reveals the facade of Wade's deteriorate. There is such a powerful sorrow that Hayden brings by withdrawing himself, losing that boisterousness, portraying this self-examination in his eyes that forces Wade into this lonely place. What happens to Wade in the end is made an unfortunate inevitability by Sterling Hayden fantastic performance. Hayden goes against his usual style so effectively to create this tragic figure of a man whose disposition cannot hide his depression.
Hayden though with company brings that whole lively boisterous routine, but it definitely hiding something as he underlines it with such unease whenever he speaks alone with his wife. His scene we see alone with his wife it is rather striking to see such a sensitive and vulnerable Hayden as he reveals the insecurities of the Wade who in reality isn't enjoying life in the least. Hayden shows that most of the time though Wade hides a sadness in front of other that is until his former doctor (Henry Gibson) comes to collect a bill. Hayden surprisingly heartbreaking in this scene by starting with Wade trying to work through by yelling at the man but as the doctor is not deterred Hayden reveals the facade of Wade's deteriorate. There is such a powerful sorrow that Hayden brings by withdrawing himself, losing that boisterousness, portraying this self-examination in his eyes that forces Wade into this lonely place. What happens to Wade in the end is made an unfortunate inevitability by Sterling Hayden fantastic performance. Hayden goes against his usual style so effectively to create this tragic figure of a man whose disposition cannot hide his depression.
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