The 1996 film Fargo, a Coen Brothers masterwork, presents the story and precipitous moral/psychological decline of Jerry Lundegaard (WilliamH. Macy), the misadventures of the bungling kidnappers (SteveBuscemi and PeterStormare) whose “help” he enlists, and the dogged attempts of Marge Gunderson (FrancesMcDormand) to make sense of it all. Macy’s performance is mind-boggling, Buscemi and Stormare are brilliant, and McDormand carried away an Oscar for her finely-nuanced portrayal. CarterBurwell composed the memorable theme.
This offbeat, rather twisted Western presents the intertwined stories of Tom Logan (JackNicholson) and his good-hearted, somewhat hapless rustling gang, and Lee Clayton (MarlonBrando), a so-called “regulator” (hired killer) whose job it is to identify and curtail the activities of Logan, et al. As the film progresses, an ever-increasing sense of dread and disquiet permeate the proceedings, as it becomes clearer all the time that the eccentric Clayton is a ruthless, sadistic sociopath, who relishes his deadly machinations and depraved exploits. The bounty hunter’s bewildering array of accents and disguises also merits mentioning.
ArthurPenn directed this cult masterpiece, and allowed the actors, especially Brando, to find their own way with the characters, including improvising much of the dialogue. Idiosyncratically paced, this oddball absurdist comedy/western thriller deconstructs the genre to beautiful effect, and Marlon Brando’s incomprehensibly stunning performance ultimately defines and lifts the film to the very heights.
The serial predator and killer MartinVanger appears in both the American and Swedish iterations of The Girl With The Dragon Tattoo. He is equally disquieting in both. PeterHaber portrays Vanger in the 2009 Swedish release, and StellanSkarsgΓ₯rd does the honors for the 2011 American film. Both performances are brilliant, and chilling. Haber’s portrayal is earnest and volatile, while SkarsgΓ₯rd is more haughty, detached, dispassionate. Both work perfectly.
The 1987 film Withnail and I, written and directed by Bruce Robinson, and starring Richard E. Grant, Paul McGann, and Richard Griffiths, has come to be recognized as one of the great achievements of British film-making. Originally considered a “cult” movie, this poignant and amazingly humorous film is so very memorable. This happened to be Grant’s first film, as well, putting him firmly on the map of such things.
A select gathering of film composers, and their compositions. Bernard Herrmann, Eric Serra, Daniel Licht, The HandsomeFamily, David Shire, Carter Burwell, and EnnioMorricone.
A tour de force by titans of the silver screen: LeslieHoward, HumphreyBogart, and BetteDavis. Mr. Howard insisted that a relatively unknown Bogart be cast for the role of iconic outlaw Duke Mantee; it became the actor’s first big breakthrough. Mantee, a Dillenger-like desperado, sets new elite standards for an obsession with people sitting down. Howard’s character, a down and out man of letters, provides the philosophical dimension. His interactions with the imposing Mantee are some of the greatest exchanges in film history.
This film by the CoenBrothers follows the travails of a bespectacled, bedeviled, embattled writer in Los Angeles, who encounters some quite interesting individuals during his journey. These scenes feature SteveBuscemi, TonyShalhoub, MichaelLerner, JohnGoodman, and JohnTurturro.
MarlonBrando and DavidThewlis engage in a mostly courteous exchange of ideas, and find said ideas to be at loggerheads. Various snouts, hooves, and outrageous spectacles are discussed. From The Island of Dr. Moreau, 1996. Both actors are at the pinnacle of their craft.
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