# Actores que abren los ojos

An episode of [Lloviendo cine](https://invisiblenetwork.ai/podcast/1657439655), 17 Jun 2024, 32 min.

Audio: https://dts.podtrac.com/redirect.mp3/api.spreaker.com/download/episode/60401253/lloviendo_ojos_2.mp3

En el programa de hoy de Lloviendo cine hablaremos con los ojos. O más bien lo harán los actores y las actrices que tienen una característica muy especial, la de actuar con la mirada, en poner énfasis en ocasiones en ella a la hora de interpretar sus papeles. A veces de forma voluntaria, o involuntaria, otras un tanto forzada, pero esos actores y esas actrices juegan con sus ojos.

## Transcript

[0:26] Let' s get us here starts one more show of your podcast right now
[0:33] watching me end, to which you are all inconveniently invited pertinent. You don
[0:38] ' t need any kind of entry, you don' t need any permission.
[0:42] The doors are open from the wall One more show of raining cinema in
[1:03] which it has occurred to us to talk about actors that act with the gaze
[1:10] already takes direct title, but that also needs an explanation, because we will
[1:15] talk about all those actors and all those actresses that have a propensity or tendency
[1:23] to act with the eyes. That is, we know few cases of actors
[1:30] who do not integrate into their performance. One of the most important senses contained
[1:34] in human beings, although exceptions have been found in the history of cinema.
[1:42] What we are going to refer to in today' s program is those actors
[1:45] in which their eyes speak for them voluntarily or involuntarily, premeditatedly or well calculated
[1:53] and sometimes lawless, unless a director puts a stop to them or in their
[2:00] place. And we' ll see, as we always say, there won
[2:08] ' t be everyone who is. But in the opinion of raining movies,
[2:12] they are all there. So let' s never see better said what those
[2:19] actors are in what the look took hold of them. And we' re
[2:47] going to choose known names, at least that' s what we think,
[2:53] so that we all have a reference, but we' re also going to
[3:00] to claim it. And we' re going to make an omission or a
[3:00] say names that still sound so familiar to us, but that we bring in
[3:05] voluntary omission. The silent cinema for obvious reasons. When the actors had to
[3:10] transmit an emotion, they had to exaggerate the performance and the most handy resource
[3:15] they had was the look. The voice didn' t count. And then,
[3:22] even though that would be flour from another program, what happened happened actors
[3:28] who couldn' t defend themselves with their voice, watching babilon sing in the
[3:34] rain. But we are with another sense of the human being, with that
[3:38] of the sight, that of the sight in the performance, the look and
[3:43] the eyes of the actors, of the actresses, because they have to act
[3:47] with the look, they do it unconsciously, without them knowing that they have
[3:53] that weapon in their favor. Or maybe it doesn' t matter. And
[3:59] there' s the first example of the program. Maribel Verdu is an actress
[4:03] who plays with the look. He' s always done it since his tenderest
[4:10] years. You could say that Maribel Verdu is a truly privileged one with such
[4:16] expressive eyes, flirty girl eyes, naive girl eyes or even fatal fen games.
[4:25] We' ll see. There are actors who give a lot of play
[4:30] to all the possibilities of your look. And there' s an actor today,
[4:34] a little unhappy and unjustly forgotten, named Elisa Cook Junior. One of
[4:43] the little rights never better said of joviendo cinema, one of the greatest characteristic
[4:47] of cinema, of noar cinema, of American black cinema of the forties and
[4:54] fifties. We saw it in movies like it was the perfect fit of this
[5:00] garter and if you' ve seen that movie, Elisaku Jr. Or rather,
[5:03] that look is completely unforgettable. Elisaku JR based almost everything on the look
[5:13] to the world that it is the image that you have recorded of that actor.
[5:17] When this actor comes to mind, an actor with that look seems to
[5:24] have a foot and a half in the afterlife, or perhaps he has returned
[5:31] from it. And since we say Elisa, now we say he and we
[5:39] are Spanishizing the names, because Elisa may pronounce herself Choose and the illabud the
[5:46] Aija, because this is the third actor in this case that we bring to
[5:51] our program, because as a child, that scary gesture multiplied by a thousand
[5:59] with that self- eyed look, with those eyes that seem to leave their
[6:04] basins. The most famous hobbit in history already had, from its beginnings,
[6:10] an expression in the look that did not pass unnoticed for the different casting directors.
[6:18] And here, in Spain, we have two very dear cases for raining
[6:23] movies. One is an ongoing demand for this program. José Luis Ozores,
[6:30] Adriana Ozores' s father, who comes from caste to the greyhound, because
[6:33] they both share a common characteristic, those eyes, that look, in the
[6:41] case of Dad Don José Luis Ozores, a clean look, a naive look,
[6:46] a look of that middle- class Spanish and without too much fortune that
[6:53] entered the scene as asking permission that yes, looking at his interviewer at all
[6:59] times, emphasizing with his gaze what at that moment is coming out of his
[7:06] mouth. And Adriana Ozores, in faith she has inherited from her father that
[7:12] power with which her gaze counts, the eyes of the Azores family. We
[7:16] could say by that We don' t mean that to be a great actor
[7:21] you need to have a jumpy eye, because you' re going to see
[7:27] them on this show that they' re not like that. Rather, we
[7:28] refer to the expressiveness of the same, because expressive and in what way was
[7:34] also Don Alfredo Landa Bueno, his thing was a whole in one gesture,
[7:41] voice and look. They could not be dissociated from each other. And that
[7:48] is already perceived from Landism to the trilogy of crack Carlas Santos by Medio.
[7:57] If we stay with crack, Alfredo Landar bases absolutely everything on that look,
[8:03] eyes that, from watching Swedish people, became one of the most important dramatic
[8:09] and artistic turns of Spanish cinema. And we can also go to Italy to
[8:18] find a very special case, that of the bicycle thief boy from Vittorio de
[8:24] Sica. That child was called Enso Estayola, an inquisitive, naive, unbelieving
[8:31] child who always looked up to that unintelligible world of the elderly. All this
[8:41] was achieved and transmitted with that look, the gaze of a child. And
[8:56] in classical cinema we have clear, clear examples of actors and actresses who acted
[9:05] with their eyes. We' re not going to say number one, but
[9:09] they dedicated a song to Betty Davis' eyes. Few actors and actresses have
[9:16] been able to resist that look, a look that almost ended up parodying itself.
[9:26] I didn' t need to open my mouth much, good or bad,
[9:30] in this case of Betty Davis, when you had eyes like that.
[9:37] We said it on some occasion in Jovin Dothine, Betty Davis appeared on stage
[9:41] as if she had just had the fight of the century off- camera and
[9:50] it was paid by the actor or the actress of the spin target of that
[9:58] look and there was another actress at that time who was rather a theater actress
[10:03] and that was noticed in the cinema, which was Vivian Lake. Yes,
[10:07] scarlet huara, which is not that he over- opened his eyes, but
[10:13] that he played baffled with them. He inquired of the actor or the actress
[10:20] or didn' t make him escaret play in what the wind took away or
[10:24] the also legendary Blanche de Bois of a tram called desire and Henry Fonda has
[10:33] been one of the actors that has looked best in the history of cinema.
[10:37] The scene began as if nothing, but at that moment it seemed to lift
[10:43] the same one already from the one in front of him. You just fell
[10:48] into the claws or into Henry Fonda' s eyes and from there you couldn
[10:54] ' t escape him. Same. It was quite an artistic staging, that
[11:01] presence of Henry Fondo and Orson Wells. What eyes Orson Wells had, as
[11:07] those of a director, even when he was acting out of his gaze.
[11:13] He directed the scene as, for example, his recounts, in short,
[11:20] appearances in Carol Rie' s third man, as is the first appearance of
[11:26] Harry Line from among the gloomy streets of Vienna, that Horson Wells look,
[11:33] that look of Harry Lime with the antreandon Fond Faces and Cary Grant. But
[11:39] the Big Kary of comedian, both the dramatic or the hiscochia. We talk
[11:46] about the expressiveness of the Kari great comedy as for example arsenic, out of
[11:54] compassion, breaking even that fourth wall with the spectator or that gaze of the
[12:01] atonito, carigree of the fierce mini things to have as to having Doña Catarige
[12:07] another that so and clearly we do not want to forget two myths more than
[12:16] actresses of the history of cinema, Doña Greta Garbo and Doña Marlen Diatrich.
[12:22] If we have said that Alfredo Landa did not have to talk much in crack
[12:26] and that he based almost everything on the look, then more two, both
[12:31] Marle and Doña Greta, came from the silent cinema and we could say that
[12:39] it seemed that they were still acting under their premises when the cinema had been
[12:45] able to speak for a long time. Let' s go that both could
[12:48] have solved the ballot without uttering any words in their films, how many unwary
[12:56] have fallen into the clutches of both graces or guilt. We could say the
[13:03] power contained in his eyes and we don' t know whether to include it
[13:07] or not. But Marilyn Monroe either opened her eyes a lot naive way or
[13:15] closed them innocent way to say her phrases with an expressiveness. We don'
[13:22] t know if she wanted imported or exaggerated, because she opens her eyes a
[13:30] lot in temptation, lives up or in skirts and crazy and entertains them in
[13:35] that special appearance with Groucho marsen love preserved, something that could be said that
[13:43] she stayed halfway in one of her last performances in the cinema rebel lives of
[13:50] John Huste, when it seemed that she had found the way to be considered
[13:58] an actress and we also claimed Geoffrey Luis Who is Geoffrey Luis? We were
[14:07] talking before Elisac Cook Jr, because Joffrey Luis seemed to be related to the
[14:15] good Elisa Cubjut because this clinistbood ba buddy by Julith Louis had a disturbing look,
[14:24] another look at that SALTONA so much, so we would dare call it
[14:31] a zombie look. It seemed like he was performing a living dead, just
[14:41] like in the case of elisacub Jr. It would seem from those actors that
[14:46] a record came back from the other side here for Jeffrey' s albuno in
[14:54] the form of a claim as well. And in the current cinema, today,
[15:22] we no longer need to exaggerate so much with our eyes, we have
[15:26] much broader technical resources than those with which the actors and actresses in silent cinema
[15:35] had. Therefore, actors no longer have to overreact with their eyes. You
[15:45] ' re supposed at least to make that special emphasis with your eyes. Well,
[15:52] there' s one that hasn' t heard yet. Not that they
[15:56] are bad actors, but sometimes certain gestites could be saved. He' s
[16:04] not a bad actor and he' s clearly won over time. Michael Kinton,
[16:11] as a jader of his beginnings, gave a capital importance to his eyes,
[16:18] to his gaze, either when he exaggerated gestures in mittelchus or under Batman
[16:22] ' s most expensive, expressiveness that he has not lost over time, but
[16:29] has been learning to tame actor- eyed, also liquid- eyed, like
[16:36] some of those we have already named elisakub Jr or Jofrimis. That look that
[16:41] Castinge directors so well appreciate when choosing one or another way. And then there
[16:52] ' s the subsection almost fixed. In this program Jack Nicholson there are plenty
[16:59] of comments. We can say something that hasn' t been said. Read
[17:03] or write about the eyes when he doesn' t wear Jack Nicholson' s
[17:11] dark GaAs about that exacerbated overplay of the American actor' s eyes. We
[17:19] might call this a tired sight, but we do not know if yours by
[17:26] age and dark glasses or by the eternal patience of at times your suffering spectators,
[17:32] who opened their eyes with someone bowled on the cuckoo' s nest and
[17:38] has not closed them again. For anyone who wants to see you at your
[17:47] risk and your responsibility, the Witches of Iswick, or since we have named
[17:52] Michael Keytton the Batman of Tim Burton of the year eighty- nine, or
[18:00] to make Yoker and Pacino at any time we have said that it would seem
[18:06] that Pacino had trouble containing within the basin of his eyes. That look jumps
[18:15] that look like that, because you have to recognize which actor is or which
[18:22] actress is in front of you as if you had vision problems. Clear excuses
[18:29] essence of Martín Bres' wife, because of course the excuse granted the Oscar
[18:36] to best actor. We have told some of these actors at the beginning to
[18:41] exacerbate their gaze unless they have a director who contains them, to place their
[18:48] place, to tell them to stick to the script and its directions, which
[18:53] they should not have learned and if they did, it was in time.
[19:00] Mel Gibson did, as Pumares said, the one who disorbited his eyes,
[19:08] even playing Hamlet. Of course I had an excuse. The prince of Denmark
[19:15] had to do with the ghosts of his past. We could say there was
[19:22] a clear synchrony between the look, the performance and the gestures of mel Gibs.
[19:30] Here he had to have a director behind him to mess with in his
[19:36] performance. Oh, he was on your site, Don Peterware, to lead
[19:41] you in the year we live dangerously. Mellibson was a genius and figure,
[19:47] although the champion and mel Gibson were involved, i e he was claus Kinsky.
[19:55] Of course, claus Kinsky, we talked about Jack Nichols and mel Gibson.
[20:02] It was to feed him apart, including Jack Nicholson and Mel Gibson.
[20:07] Come on, claus kincl caught you at the table where I was set aside
[20:14] to eat and threw it over the other diners, including Mel Gibson, including
[20:21] jácnicos. Everyone in a moment of our life would have to be Don Werner
[20:27] Hertzog for ten seconds of any of the five films in which klaus Kinskick and
[20:33] the German director had the fortune or the misfortune to agree, by the way,
[20:41] that it seemed that love two had worked on many more occasions, not
[20:47] only did it in five films than what the look of klaus Kinsky looked like,
[20:52] because a thousand- demons look and we reduced the tension a little bit
[21:00] with or with cases not as preclared as those we have just commented, but
[21:04] they are actors and actresses that play. We could even say subtly with his
[21:11] gaze and we do it with two ladies of the performance, Susan Sarandon and
[21:18] if Gurne Weber sees that we could have brought actresses and we can' t
[21:23] forget Jessicalage. But, as it shows, we are worth these two magnificent
[21:29] or buttons your San saran to say of one of the most penetrating looks of
[21:36] recent cinema. We could say them and fear, one of the most penetrating
[21:40] looks in the history of cinema. How is that little death penalty, that
[21:44] interpretive duel, that duel of looks that you laugh and we had not yet
[21:48] fallen in love with Sergio Leone and his trilogy of the dollar, that interpretive
[21:56] duel and looks together with sombpenbueno, we opened the parenthesis of the trilogy of
[22:03] the dollar. What would become of Sergio Leone' s cinema without that three
[22:08] - eyed game between the good, the ugly and the bad. It is
[22:14] no longer that the words were left over, it is not that the dialogues
[22:18] were left over. It is that Sergio Leone' s cinema, for better
[22:22] or for worse, was based on Neon Origone' s music and the look
[22:29] at the manga cartoons of his actors. What would be the duel, but
[22:34] the good, the ugly and the bad without those characteristic marks of Sergio Leonet
[22:41] ' s house. How were those looks of mourning or rather we could say
[22:48] of preduelo mourning for the death of the participants in it. We closed parentheses,
[22:55] because we were with susan sarandon with that interpretive duel and eyes with shadows
[23:00] in death penalty Susan Sanandon, once he had just released his speech, the
[23:07] actor or actress facing him already had to see them with his gaze. Once
[23:15] the words had been finished and there Doña Susa in Sarandon had all to win
[23:22] and the other or the other all to lose. That look man forced you
[23:29] to back down metaphorically and physically, speaking Susan Sarandon imposed his law on the
[23:38] scene And we also said Sigurney Weaver, talking the other day with our shadow
[23:45] collaborator, Don Juan, just came up. I would have deserved to have
[23:52] won the good weber sigurny oscar by gorillas in the fog in the year in
[23:57] nineteen hundred and eighty- nine. Why good, then, simply and among
[24:00] other reasons, for how I looked at those gorillas in that movie talking to
[24:08] them man, I couldn' t talk to them much, but imitate them
[24:11] in the look. That could do it. And Mrs Sigurney Wiver already had
[24:18] to see an alien in her day. We would have to be for ten
[24:25] seconds Hollywood actor to also try to hold the gaze of Mrs Weaver and Don
[24:32] Robert Downey Jr. I am Robert Downey Junior and not my character, because
[24:40] he has a look at his beginnings Saltona and with the time that it seems
[24:45] that he said what these eyes and the rest of the body have experienced,
[24:52] and that, evidently, is translucent in his interpretations to lead the life that
[24:59] you have led to the end he ends up knowing not because you say it,
[25:06] because your eyes say it consequence, a little bit of all of it,
[25:11] because the oscar at last, the oscar to better actor, cast by
[25:17] Openhabr. But we also don' t want to forget his magnificent performance of
[25:23] Chaplin' s irregular biopic of the year nine hundred and ninety- two,
[25:30] and an actor who is not just one of the first to be on the
[25:33] front, the first to come to your mind when you talk about Hollywood actors,
[25:40] but who also has an aupa look. It' s Michael Sanon.
[25:42] Well, in it the look is part of the other. After an actor
[25:48] to be taken seriously, a magnificent actor, an actor who is clearly also
[25:53] going to win over the years, and every year that he spends that look,
[26:00] it' s going to become even more interesting, something similar. We
[26:06] feared and saved all the distances we had and for having with what happened to
[26:11] the gaze of our Fernando Fernán Gómez, who practically had to say the dialogue
[26:18] pharauses that were written. His mere presence, his single gaze was worth all
[26:29] the words of the Spanish dicenary. In that sense, the excuse was in
[26:33] the spirit of the hive of Don Víctor Eriz and Don Morgan Freeman. By
[26:38] all means, we have to name Morgan Priman because he' s a good
[26:45] actor, because of the way he looks at you in life. We would
[26:48] all have to be for ten seconds Team Robins in that movie How much mystery,
[26:56] how many things, without saying in those eyes of ns Morgan Freeman in
[27:03] life imprisonment, how many things he could tell and Morgan Freeman does not and
[27:08] we see it in his eyes. It seems that he is in a vacuum
[27:15] he continued with the viewer and, in a way, so does Christophald,
[27:21] the German Austrian who fortunately made the world known to Don Quentin Tarantino. And
[27:27] here, more than ejos, we talk about look, Christoph Vald' s
[27:33] look, a deterrent look, a persuasive look, a python snake look that
[27:41] you slowly realize, has swallowed up half your soul, careful with the eyes
[27:47] of people like Christoph Bald. And we' re going to finish today'
[27:56] s show of and Ovindo Cine all over with the winner of two Oscars,
[28:02] on the way to the third, in Maestone, one of the most expressive
[28:10] eyes of today' s Hollywood. Well, we have others, but we
[28:12] ' re staying with the Demastons. The others are those of one sometimes too
[28:18] obvious, of Eva Green, a very particular opinion. We' re staying
[28:25] with Emma Stone' s. More evident were the excuses for that role in
[28:30] cheerings of jorros. We had to exaggerate here, but in the rest of
[28:36] the films we appreciate looks, whether the paper is as clean as Maston'
[28:42] s, open and meridian looks, looks that perfectly convey that feeling, that
[28:52] emotion. Yes, some hypnotizing eyes, some eyes and let' s not
[28:59] forget that here before we start we have Emma for mouse and so far has
[29:56] arrived one more show of your favorite podcast. I watching cinema in l we
[30:00] have talked about those actors and actresses who act with their eyes, who act
[30:06] with their eyes, who have a special expressive look, actors and actresses who
[30:14] voluntarily or involuntarily act with their eyes. Sometimes we have already seen it in
[30:22] a slightly exaggerated way, although we have already seen that used in a subtle
[30:27] and intelligent way, it can be most avoid expecting that the program has been
[30:34] to your liking. We do not fire you until next week, which we
[30:38] will talk about a subject that, as we always think of in the coming
[30:42] days. Until then we only have much to thank you for your attention,
[30:48] much more your patience and make you the final culinary recommendation of all the raining
[30:55] cinema eat a lot of banana, which is very healthy of those fruits that
[30:59] come to you by the n And especially, when you want to heaven,
[31:03] you know what you have to do. Find your cloud. We all have
[31:06] one and when you have entered into trust and conversation with her. You have
[31:10] to tell him very loud and clear what rains cinema par ten.

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