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Alternate Best Supporting Actor 2005: Ed Harris in A History of Violence

Ed Harris did not receive an Oscar nomination for portraying Carl Fogarty in A History of Violence.Ed Harris portrays the Philadelphia gangster who comes looking for diner owner Tom Stall who recently killed two men trying to rob his diner..

Best Supporting Actor 2011: Nick Nolte in Warrior

Nick Nolte received his third Oscar nomination for portraying Paddy Conlon in Warrior.Warrior details a winner take all mixed martial art tournament whose two main combatants are estranged brothers (Tom Hardy, Joel Edgerton) fighting for their own difficult reasons.

Alternate Best Actor 2011

And the Nominees Were Not:Ryan Gosling in DriveRobert Wieckiewicz in In DarknessMichael Fassbender in ShameMichael Shannon in Take ShelterBrendan Gleeson in The Guard..

Saturday, November 5, 2011

My thoughts on Andy Rooney

Andy Rooney was our national curmudgeon. Every week on 60 MINUTES he would grouse about traffic or women’s hats or other people who grouse about women’s hats. In beautifully written detail he would call out paperclips or hypocrisy. I always loved Andy Rooney. He was a man of my own annoyed heart.

There’s an art to being a curmudgeon. It’s not enough to just complain about things, you

A shameless attempt to get you to buy my book

The holidays are coming up and you know what that means: time to plug my book again. It’s been weeks! WHERE THE HELL AM I? TRIPS I HAVE SURVIVED is that one stocking stuffer you have to have – even the ebook version. The Kindle/Nook/iPad/Sony Reader version is still only $2.99. Go here for all formats. Go right here for Kindle.  It's currently the number one travel book in Tennessee!

Friday, November 4, 2011

Best Supporting Actor 2002: John C. Reilly in Chicago

John C. Reilly received his first Oscar nomination for portraying Amos Hart in Chicago.

Chicago is a musical tells of the trial and fame of a murderess Roxie Hart (Renee Zellweger).

John C. Reilly who also was in The Hours, and Gangs of New York both Best Picture nominees was nominated himself with the Best Picture winner Chicago. Reilly plays Amos Hart the husband of adulteress Roxie who basically acts as a unknowing sap used by Roxie and her slimy lawyer Billy Flynn (Richard Gere) to their ends only. Amos basically just follows along doing exactly what they tell him to do, or manipulate him to do.

Reilly gives an appropriate performance in turn as a sap. He shows that there really is nothing special about Amos, and he really is not to bright. Reilly is mostly just required to look surprised and very modest. A character like this really is not suppose to standout all that much, and Reilly portrays Amos just as he should be. This means that although Reilly performance is not amazing as Amos his performance is instead just as Amos should be.

There is an exception to the rest of his performance where he does standout which is with his single song Mr. Cellophane. Reilly is front and center during the song and does make the most of it. He sings the song technically well, but more importantly he brings out the emotions of song strongly. He brings the heart and soul of Amos into the scene of the real pain of being Mr. Cellophane, and I am sure it is this scene that got him the nomination.

After that scene though it is just the same old Amos and the scene stands alone to show more of Amos than just the sap represented by the rest of the film. Reilly though gives a suitable performance throughout that is not asking much of him, but the Mr. Cellophane scene is very well handled as well as indicates that if more was asked of Reilly he probably would have brought more.

Best Supporting Actor 2002: Ed Harris in The Hours

Ed Harris Received his fourth Oscar nomination for portraying Richard Brown in The Hours.

The Hours details three troubled episodes in the lives of three women from different time periods.

Ed Harris plays the aids stricken gay but former boyfriend now friend of the the now lesbian Clarissa (Meryl Streep). Ed Harris' performance is the type that just screams for an Oscar he is playing a gay dying character who is also crazed and even suicidal. Although I suppose a performance even when way to baity can still be good, but this is not the case of Ed Harris' performance, who wants to brilliantly play against type but instead plays the part way over the top.

Harris' performance is basically made up of just two scenes where he gets to act loudly toward the screen making sure the audience knows he playing a troubled dramatic suicidal man. He does this with so many dramatic line reading and even the way he sits and moves around suggests that he just wants to make sure everyone sees how much acting he is doing in the part.

Harris takes every moment of his performance to use an obvious voice to suggest that Richard is gay, poet and sick all at once. It far too much overacting from Harris who adds to his too calculated of a voice with some equally actory and over the top faces to add to his needlessly overblown performance. Harris could have toned down just a little any facet of his performance but always stays way far too over the top to be believable.

Harris wants to give an impassioned powerful performance that wants to be a heartbreaking portrait of this poet. For me though he fails completely because he insists on giving such a knowing performance. He never for a moment is able to bring an actual emotion because of his portrayal. His needlessly overdone performance becomes cringe worthy unfortunately. He never for a moment brings genuine emotion because of this despite how desperately he wants it to seem an emotional powerhouse of a performance.

The single greatest moment of CHEERS

Ready for some Friday Questions?
Nicole starts us off:

I was wondering what the atmosphere was like on the nights when some of the “momentous” episodes of sitcom history where filmed, for example the episode where Sam and Diane got together at the end of season 1 of Cheers, or when Niles and Daphne finally admitted their feelings to each other in season 8 of Frasier?
I wasn’t with FRASIER

Thursday, November 3, 2011

Best Supporting Actor 2002: Paul Newman in Road to Perdition

Paul Newman received his ninth and final acting Oscar nomination for portraying John Rooney in Road to Perdition.

Road to Perdition details the attempt of a mob hitman Michael Sullivan Sr. and his son Jr. to get revenge on the gangster who murdered the rest of their family.

Paul Newman portrays Irish gangster John Rooney. Rooney is the gangster who Sullivan works for, and it is his son Connor (Daniel Craig) who kills Michael family after Michael's son saw Connor kill a man. Newman portrays Rooney as a rather quiet old gangster who certainly is past his time of being truly deadly and dangerous man. Newman at the beginning of his performance has a genuine fatherly and grandfatherly quality.

Newman's performance is genuinely a warm old man to Sullivan and his sons. Newman does not portray this as a facade, but that Rooney does honestly care for them. There is of course an undercurrent of the gangster he is in his performance but it is not an overriding facet of Rooney. What Newman more thoroughly suggests is a once brutal gangster who with age has aged past the stage in which he can be as cold as he really needs to be in his position.

The two pivotal aspects of Newman's performance and character comes from his fatherly relationships in the film his first with John's actual son Connor. Newman interestingly portrays this as he does have a love for his son, but a love he actually wants to shake. Newman is very convincing in his portrayal of this strange conflict that John has over his son. He frankly wants to let him die as Connor is not only a screw up but a backstabber, but his natural fatherly love prevents it. 

His other one is with his adopted son Michael. Rooney faces the fact that to keep his actual son alive, and his position he must kill his adopted son. Here is where Newman shows the lack of the killer edge with Rooney who frankly does not heart to go through with the murders. Newman portrays a deep sadness in Rooney showing that he is far too old for who he is, and what he must do. Rooney simply is a gangster who has lived too long

Newman is heartbreaking in his final moments where he shows Rooney reflect all he as done, and eventually accepting his fate that he knows he deserves. This is an appropriate swan song feature film performance from Newman which manages to bring a tragic human element to a character who perhaps could have been only a villain. Rooney is a bad man and Newman shows him as such but creates an honest insight into a bad man who understands exactly who he is.

This Could Only Happen on Live Radio

More war stories from my checkered radio career.

In the early ‘70s, while still a student at UCLA, I was an engineer at KABC/KLOS radio. Primarily, I worked for KLOS. Due to union contracts, the announcers could only turn on and off their microphones. Engineers (or “board ops”) did everything else – played all the commercials, records, or on KABC’s talk format – put the callers on and off

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