Post by Ace on Mar 19, 2010 17:55:21 GMT -5
rogerebert.suntimes.com/apps/pbcs.dll/section?category=ANSWERMAN
ROGER EBERT: ANSWER MAN
March 17, 2010
Q. I'm deaf, and consider myself eloquently mute. Here's my question: how do you recognize good acting these days, and is it at all different compared to the '60s, '70s or '80s?
(Julie Tibbitt)
A. Bergman said the great subject of film is the human face. I imagine that may be doubly true when one is deaf. A great actor is one whose face (and body) is an instrument for the effective but not obvious conveyance of emotion. That isn't easy. For example, Pierce Brosnan may not be your idea of a great actor. But I've recently seem him in two quite unrelated roles, both ripe for overacting, and his choices were unerringly good. This is even more of an accomplishment because he lab[or]s under the burden of being improbably handsome.
ROGER EBERT: ANSWER MAN
March 17, 2010
Q. I'm deaf, and consider myself eloquently mute. Here's my question: how do you recognize good acting these days, and is it at all different compared to the '60s, '70s or '80s?
(Julie Tibbitt)
A. Bergman said the great subject of film is the human face. I imagine that may be doubly true when one is deaf. A great actor is one whose face (and body) is an instrument for the effective but not obvious conveyance of emotion. That isn't easy. For example, Pierce Brosnan may not be your idea of a great actor. But I've recently seem him in two quite unrelated roles, both ripe for overacting, and his choices were unerringly good. This is even more of an accomplishment because he lab[or]s under the burden of being improbably handsome.