Hey guys its time for Daniel Day Lewis to undergo his first title defense... I will be asking a mod as quickly as possible to add a poll but for now just vote the name and a brief description of why if you would like... Daniel Day Lewis virtually destroyed Marlon Brando in a pretty one sided beatdown... I was shocked... Daniel Day Lewis Al Pacino Lewis Top 5 Performances My Left Foot: The Story of Christy Brown In 1989 Day-Lewis’ not-so-hidden flair was finally acknowledged by industry insiders. He won an Oscar for Best Actor in a Leading Role for his work playing cerebral palsy sufferer, Christy Brown in My Left Foot. Based on Brown’s autobiography, the film tells the story of how the Irish author, painter and poet could only control his left foot. Day-Lewis took his method acting to another level, by reportedly breaking two ribs so he could give a credible performance as Christy. The Crucible Day-Lewis teamed up with Winona Ryder once again to play John Proctor in the 1996 adaptation of Arthur Miller’s play, The Crucible. Day-Lewis’ reputation as a method actor reached new heights when filming began on this picture, with the actor reportedly insisting he build the house his character lived in. He is also said to have avoided bathing until filming wrapped, to stay true to his character’s dirty form. The film focuses on the Salem Massachusetts witch trials of 1692, where several women were executed for dabbling in black magic. The Boxer Day-Lewis pulled all the punches to give a realistic performance as boxer Danny Flynn, in The Boxer, training for three years solid in preparation. A Jim Sheridan film, the storyline centres on Flynn as he attempts to regain his life in the ring, after being imprisoned for fourteen years for his involvement with the IRA. Day-Lewis was nominated for Best Performance by an Actor in a Motion Picture – Drama, at the Golden Globes, but lost out to Peter Fonda for Ulee's Gold. Gangs of New York As the blood thirsty Bill 'The Butcher' Cutting, Day-Lewis won an Oscar for Best Actor in a Leading Role. Complete with moustache and top hat, Day-Lewis commanded the set in a film packed to the rafters with esteemed actors. Day-Lewis wasn’t initially in the original line up to play The Butcher, with John Belushi formerly cast in the role. However, when Belushi tragically died, there was a re-shuffle with Willem Dafoe pulled in as the replacement. But director Martin Scorsese continued to change his cast, eventually landing on Day-Lewis to play the part. There Will Be Blood Day-Lewis’ took home the trophy for his performance as oil miner, Daniel Plainview in There Will Be Blood, winning his second Oscar for Best Performance by an Actor in a Leading Role. A fan of director Paul Thomas Anderson’s work on Punch Drunk Love, Day-Lewis immediately signed up to play the money hungry, and emotionally inept Plainview in a story about wealth, greed and family ties. Producer JoAnne Sellar told reporters after filming, that the picture wouldn’t have been given the go ahead if Day-Lewis hadn’t agreed to take part. Pacino Top 5 Performances Glengarry Glen Ross, 1992 As brilliant as he is in Serpico and Insomnia, I just couldn’t omit this Oscar-nominated performance from the list. I think half the battle in performing in a work written by David Mamet is getting down the cadence and rhythm of the dialogue, which Pacino does here quite eloquently. The cast, as a whole, shines — and Pacino’s supporting role, blends in very nicely, though mostly apart from the rest of the lowly salespeople. His Ricky Roma is super-confident, suave, above the rules, and a great liar to those he dupes into buying swamp land in Florida. The way he manipulates Jonathan Pryce is a marvel to watch — and the way rips into Kevin Spacey (“Who ever told you you could work with men?!) is astounding. The Insider, 1999 This Michael Mann film is sensational and highly underrated. And Pacino’s turn as a producer for the widely respected “60 Minutes” news program is multi-layered, discreet and potent. His chemistry with Russell Crowe here is exceptional and you can feel the turmoil he is going through with this magnificent dilemma hanging on his very shoulders when CBS suits decide not to include a potentially damaging interview, leaving the research chemist (Crowe), dangling in the wind and afraid for his very life. Pacino spends so much effort trying to get Jeffrey Wigand to trust him…to open up and speak — and when he finally does, he feels a responsibility towards him; to protect and defend him. It is a terrific film that illustrates an interesting side of broadcast journalism — and watching Pacino work in this territory makes for great drama. It’s one of those movies that, if I catch on TV, I cannot turn away from it. Scarface, 1983 Brian DePalma’s movie has its flaws, but Pacino totally immersed himself into the vicious, drug-addicted, murderous (but loyal) gangster, Tony Montana. How many times have you heard people quote from this film (“Say hello to my little friend…”? That’s all Pacino. The accent, the walk, the gestures…though the film might not be for everyone, he created a truly iconic character here. It’s amazing how much strength and power Pacino commands in such a small frame (about 5′ 7″ – but that’s what he does here. No one in their right mind is messing with this guy and if they do…well, you’ve seen the movie. Pacino pulls out all the stops in Scarface and he chews a lot of scenery — but it is all within reason and all justifiable when you think of the lunatic character he is playing. I love his commraderie with Manny (Steven Bauer) — that is, until he sees him with his sister. The scene with his mother is a powerful one — and his rapport with Robert Loggia and F. Murray Abraham is terrific. The film – and the character especially, have become symbols in certain sub-cultures of the society. This says something. It is an over-the-top performance, but not in a hammy way at all…he is an artist losing all of his inhibitions and delving fully into a frightening human being. Dog Day Afternoon, 1975 One of the great New York films of the 1970′s and, for my money, the best bank heist movie of all-time. This character is on edge from beginning to end — you never know when he’s just going to lose it…or, being the “brains” of the group, hold it all together. It is a tour-de-force, seminal Pacino performance in every way and what a way to follow his work in The Godfather: Part II. Here, he plays a man who has nothing going for him and nothing at all to lose. So he robs a bank to pay for his lover’s sex change operation. What ensues is a classic, suspenseful hostage situation filmed superbly by Sidney Lumet. Pacino here is intense (“Attica! Attica! Attica!!!“, vulnerable, even funny. In fact, there is a lot of humor throughout the film and part of what makes it so humorous is that Pacino plays it as straight as can be. The situation is so absurd, that this allows the humor to come about in natural fashion; not forced at all. Sonny is centerstage throughout, barking commands every which way (to Charles Durning, and the wonderfully talented John Cazale), trying to keep an eye on the prize and not lose control of himself or the situation. Pacino is doing so much all at once, you feel you kinda have to keep up with him. But it is all marvelous — and he creates a character that we ultimtely end up feeling great pity for…a testament to the great performance. The Godfather trilogy, 1972, ’74 & ’90 What were you expecting…S1mone??? I put all three Coppola films together here or else three of the five slots would be taken up by The Godfather. And yes, I do include his excellent work in the vastly under-appreciated third installment. What can you say? Michael Corleone is one of the greatest characters in the history of cinema. A big part of that is surely due to Pacino. This made him. And to think that Paramount Pictures didn’t want this unknown anywhere near the movie. It seems ludicrous, even blasphemous to think of any other actor kissing the simple-minded Fredo (“You broke my heart, Fredo“, slapping Kay when she informs him of the abortion, shooting Sollozzo and McCluskey (look at those eyes sitting at that restaurant table), or marrying the beautiful Apollonia. Michael was supposed to be “the good son,” the war hero coming back home to make his father proud. As soon as he comes up with the idea to kill Sollozzo, his entire fate is changed. To watch Pacino subtlely develop this complex character from the original film to its sequel, and finally, the third film is one of the great accomplishments by any actor in silver screen history — and that is not hyperbole. It is riveting, majestic and flawless work. Judgement is based on the following factors... The IT factor - Relative to the actor just carrying around a presence that automaticly enhances the film. Difficulty of roles - Which actor has acted the more difficult rolls. Looks - As shallow as this sounds the actors appearance does affect the type of rolls one can take on. Longevity - How long the actor will be around and how long the actor has already been around. Films they have been in - Look at which films they have produced and which ones hit home as your favorites.