Full stream ahead, as we venture forth to bring you the next batch in the Cinema Sevens series. We’re still on the Cannes vibe of course, and so we delve into just 7 of the festival’s prize-giving to the ‘masculine’ species of the acting clan. These films, which honoured their leading men with the Best Actor prize, are all available to stream online right now.
Inglourious Basterds (2009) – Christoph Waltz
I, and many others I am sure, have often wondered if Christoph Waltz would have taken home an Oscar had he been in the Lead Actor category for Inglourious Basterds. I would say yes, without much doubt. The voting in Cannes is not really too concerned with this. There was the usual debates of course from the moment Waltz won Best Actor in Cannes right through to the awards season.
The opening sequence of Quentin Tarantino’s Inglourious Basterds introduces us to Colonel Hans Landa, and what follows is one of the most menacing and magnetic exchanges in recent years. Tarantino’s stylized, progressive dialogue is delivered here by Christoph Waltz with genuinely tension-building charisma and terror. We are thankfully invited to experience the “Jew Hunter” many times over in the movie as his bi-lingual charm and casually astute detective work add further elements to cement Waltz’s performance as one of the best of the decade, let alone year.
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The Lost Weekend (1946) – Ray Milland
Directed by Billy Wilder and starring Ray Milland and Jane Wyman, this highly controversial film is based on Charles R. Jackson’s 1944 novel of the same name about an alcoholic writer. Interestingly, Wilder was originally drawn to this material after having worked with Raymond Chandler on the screenplay for Double Indemnity.
Chandler was a recovering alcoholic at the time and the stress during the collaboration caused him to start drinking again. It is reported that when it was shown to a preview audience, they laughed at Milland’s performance, and the studio actually considered shelving the film. However it is a good job that they didn’t as, The Lost Weekend is one of only three films to win both the Academy Award for Best Picture and the highest award at Cannes. Milland took the acting prize at both events too.
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Barton Fink (1991) – John Turturro
Even today, Barton Fink is so good, like any of the Coen Brothers’ movies, I still shake my head when many awards groups stayed clear. Cannes, however, have a wonderful habit of embracing the movies of Joel and Ethan – and indeed those film-makers sinfully ignored elsewhere.
Once a regular feature in their movies, John Turturro might not have been this magnetic in any of his movies prior, or since. The troubled Barton Fink, the character, was the perfect foil for the somewhat dumbstruck-looking actor (I mean that in the best possible sense) in a movie so odd, but ultimately so original. The movie was also rewarded with Best Director prize for the Coens, as well as the illustrious Palme d’Or – a unique trio of accolades not since repeated.
Dogman (2018) – Marcello Fonte
Marcello Fonte was genuinely stunned and humbled to receive the Best Actor prize at Cannes (from fellow Italian live wire Roberto Benigni no less). Then the European Film Awards equivalent not too long after. It was a grand performance that warranted the empathetic, rapturous response it received from audiences.
There is no intent with local dig groomer Marcello to hurt or even disrupt the mood of those around him. A childlike enthusiasm, and infectious way about him. With his work-place dogs, including his own pet at home, his jovial manner would suggest he has no worries in the world at all.
When Simoncino (the monstrously impressive Edoardo Pesce) puts Marcello in a position that could not only ruin him, but lose all respect of the community. Marcello’s carefree nature takes a blow, a ponderous, deeply concerned expression occupies him. As things escalate, the change in Marcello is a significant sign of personal growth and strength. He won’t be pushed around any more.
The China Syndrome (1979) – Jack Lemmon
The China Syndrome was one of those movies from the seventies you discover on your own. Nobody really told me about it, nor was I simply aware of it through it’s critical and award success, or the film’s status as instant classic (like, say, The Godfather). I saw this movie quite by accident as a boy, probably a teenager, and it gripped me from start to finish.
A young Michael Douglas was a surprise, but the real stars here were Jane Fonda (who I was in love with anyway), and the terrific Jack Lemmon. Back then I was obviously a fan of his famous comedy work, but to see him this impressive in a pure dramatic role was a real eye-opener, as I continued to nurture my passion for cinema. To be honest, you run out of superlatives with Lemmon with each film you watch.
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The Artist (2011) – Jean Dujardin
Not only was there a heavy revival of the silent cinema days with Michael Hazanavicius’ The Artist, but Cannes was also crammed with some fascinating male leads who did not predominantly rely on the spoken word to be compelling. Ryan Gosling (Drive), Brad Pitt (The Tree of Life), and even Ezra Miller (We Need To Talk About Kevin) are three such popular examples.
Eventually going all the way to the Oscar Best Actor award (unlucky Mr Clooney) Jean Dujardin not only has the chiseled looks of an old-time movie star, his performance captured the eccentricities of that classic days of silent cinema, delivering heavy emotion and comedy in equal bursts of success. Hard to argue with this in the end.
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The Player (1992) – Tim Robbins
What Cannes Best Director winner Robert Altman and screenwriter Michael Tolkin achieved with The Player was astonishing. Blending the renowned cross-dialogue, directing a huge cast, and telling a compelling, relevant story. A satire on Hollywood film studio executives with Griffin Mill (Tim Robbins) in the hot seat, add to that pitching screenwriters, apparent death threats, actual murder. The cross-over of film and reality through a series of challenging events and the production of a new movie brought to the table is handled expertly under Altman.
He has been here before of course, the huge cast in black comedy territory, The Player impressively features over 60 celebrity cameos, with prominent roles given to the likes of Greta Scacchi, Fred Ward, Whoopi Goldberg, Peter Gallagher, Richard E. Grant, and Dean Stockwell. The compelling irony is impossible to resist, especially given the “No stars, just talent” selling point. The towering Robbins seems to have been born for this kind of indigestible, brilliant role.
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