Ranking Laurence Olivier's Oscar nominations

by Cláudio Alves

The Supporting Actress Smackdown of 1965 will be up on Sunday afternoon so here's an extra list before we get there. Before each event, I like to watch every nominated movie, even those I have already seen. Because of that, I found myself with the unenviable penance of revisiting 1965's Othello. Many of you surely did the same, exposing yourself to one of Sir Laurence Olivier's most problematic star turns, a Blackface version of Othello. I figured if I was going to force myself to watch this dirge, I should something productive with it. Hence, this write-up, in which that famous thespian's ten acting Oscar nominations are ranked...

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Monty @ 100: Stardom's Peak in "From Here To Eternity"

by Nathaniel R

Calling your picture From Here To Eternity, even if that's the name of the book its based on, is a major flex and a tempting of fate. How to live up to the title? 1950s and 1960s movies did this frequently, of course, in their battle against the looming threat of television. Screens got bigger and wider and the studio system was, if already mortally wounded, still working hard at making their movie stars iconic. Titles like Giant, The Greatest Story Ever Told, The Greatest Show on Earth, frequently dared to proclaim their epic-ness, and if the titles weren't size-conscious, why not add an exclamation point a la Oliver!, Hello, Dolly!, Viva Zapata! or I Want To Live!  In this lust for enormous movies, From Here To Eternity stands out, not just for living up to its promise and being eminently swoon-worthy but for its relative modesty -- capturing something grandiose merely by inhabiting the sealed world and social lives of soldiers and their women on the brink of cataclysmic change. It might have been mere soap opera without the skillful direction of Fred Zinneman and the simple fact that the stars themselves were monumental.

Chief among them was Montgomery Clift, scoring his third Best Actor nomination with his eighth film...

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The Damon Identity

Please welcome new contributor Patrick Gratton...

To succeed in Hollywood, one must finesse the art of self-branding. Moving up the echelon of struggling up-and-comers trying to break out is, often enough, an impossible task. Self-branding helps gets you through doors and to build a following. It also builds the foundation for narratives, whether it be industry, populist or award based (these narratives don’t happen in a vacuum). But brands can be a double-edged sword, pigeonholing and often crippling the potential to explore and grow as an artist.  Winning Oscars early on in one’s career is problematic too. It can either derail a narrative, or implement a forced one. Today, commemorating Matt Damon's 50th birthday, let's look at how major misconceptions of his work have plagued him through a 30 year run on screen.

As narratives go, sometimes it’s a burden to win an Oscar at the outset of someone’s career. Granted, Damon’s Oscar for Gus Van Sant’s 1997 film Good Will Hunting, was for the screenplay he co-wrote with childhood best friend and soon-to-be Hollywood heartthrob Ben Affleck, and not for his performance, but the point still stands...

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New Oscar Predictions: Best Actor

by Nathaniel R

Curiously all the action, or "buzz", to date is in the Best Actress and Best Supporting Actor races. The other two acting competitions are seriously wanting... at least from this vantage point. We haven't seen a Best Actor race this empty of potential players since circa 2003. Sir Anthony Hopkins (The Father) may well be destined to become the oldest actor ever to win in the male leading category (he's 82, and the current record holder Henry Fonda was 76). Gary Oldman's upcoming take on Mank and Delroy Lindo's much acclaimed turn in Da 5 Bloods are probably can't-miss nominees given the lack of competition unless something goes very wrong for them. But the 4th and 5th slots just might be a free-for-all. 

Much of that is due of course to the sparse field of films planning on opening before the eligibility deadline in February of 2021. Given this (currently) wide open race we might see someone from an ensemble picture like Trial of the Chicago 7 or One Night in Miami campaigning as lead. Who do you think might surprise us with a robust campaign and/or wild acclaim? Check out the new Best Actor chart. 

Monty @ 100: The influential peak of "A Place in the Sun"

We're watching all 17 of Montgomery Clift's films for his centennial. Here's Juan Carlos...

After starring in The Search, Red River, The Heiress, and The Big Lift, all but one of them either a critical or commercial success, Montgomery Clift reached an even great peak in 1951 with George Stevens’ A Place in the Sun. It was the adaptation of a novel and play, both called An American Tragedy, that were in turn inspired by the real-life murder of Grace Brown by Chester Gillette in 1906. The story, already made into a 1931 pre-Code drama as An American Tragedy, took on a life of its own in its 1951 form. A Place in the Sun's now classic tale of doomed romance and class divide proved a crucial success in the careers of all of its key players, winning six Oscars in a tight battle for Best Picture with An American in Paris. 

Shelley Winters stripped herself of the bombshell packaging that the studio system had placed on her and in turn earned her first Academy Award nomination. For Elizabeth Taylor, the film was a key act in her transition from juvenile star to legendary adult star. Meanwhile, the film gave director George Stevens his first Oscar on his second nomination. For Clift, this film, coupled with Marlon Brando’s smolderingly threatening work in Elia Kazan’s A Streetcar Named Desire released the same year, put The Method into the mainstream leading to an inevitable shift in acting styles in American cinema...

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