![]() In other words, whether a filmmaker decides to embrace or deride, or worse yet, tolerate an actor’s style and personality is a sentiment which is undeniably apparent to the viewer, and something which, especially in Cage’s case because his style is so uniquely expressive and individualistic, can either ruin or make brilliant a film which features an actor who calls into question traditional style and realism. However, I believe the most crucial element in determining whether a film is decisively “good” versus “bad,” is how the filmmaker chooses to approach and frame an actor. ![]() ![]() I argue that for every actor, a successful and creatively stimulating marriage between filmmaker and actor is necessary for a film to be regarded as “good.” When a film is considered to be “bad,” this opinion may be formulated from a number of aspects having to do with the film, such as the way it was made and the artistic decisions taken by those involved. It is undeniable that Cage has carved out for himself a fascinating niche in cinema, cementing his legacy as an actor whose essence is defined by an unrelenting exploration into what it means to be an actor through a postmodern aesthetic, which can only be successfully parodied by himself. Others may argue he is an unrecognised genius who has never been awarded broad recognition of his talents as compared to Marlon Brando, an actor who shares his transformative and theatrical methodology. Some argue that Cage is a clichéd hack who is only able to scream his lines with wild eyes no matter the affect required of a scene, or only being eccentric so that he is noticed. Nicolas Cage is an actor who is highly contentious when his name is mentioned in discourse, it sparks extreme reactions from even the most level-headed.
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