Many of the finest performances from the black-and-white era have echoed throughout film history, and they’re still just as captivating today. Older films had more of a reliance on movie stars, especially products of Old Hollywood, as studios structured their films around the strengths of their on-screen talent.
These days, directors often use black-and-white pH๏τography as a tool to draw attention to their actors. The lack of color is one way of sharpening focus on what’s really important to a story, and the best actors can use this spotlight to deliver timeless performances.
10
Anthony Perkins In Psycho (1960)
Perkins Brought One Of Film’s Greatest Villains To Life
Psycho is one of Alfred Hitchcock’s greatest films, and it still inspires countless horror movies and thrillers today. In particular, Anthony Perkins’ spine-chilling performance as Norman Bates has been mimicked endlessly, but never bettered. He’s the absolute standout in a strong cast.
Anthony Perkins’ spine-chilling performance as Norman Bates has been mimicked endlessly.
Even before the big twist, it’s clear that Norman is a little unusual at the very best. The script offers a few breadcrumbs, but it’s Perkins’ performance that does most of the work. In Norman’s dinner scene with Marion Crane, for example, Hitchcock highlights the off-putting presence that Perkins brings to the character.
9
Shirley MacLaine In The Apartment (1960)
MacLaine Underpins The Movie’s Tonal Shifts
On the spectrum of Billy Wilder movies, The Apartment sits somewhere between the rapturous joy of Some Like It H๏τ and the dark tragedy of Sunset Boulevard. While there are plenty of hilarious moments, there are also some deeply upsetting scenes. Shirley MacLaine is often the actor tasked with carrying the story through these emotional swings.
MacLaine plays a plucky elevator operator who always puts a smile on her face at work, even though she is mostly objectified or ignored completely. As the story develops, she reveals more about her aspirations and her fears, her need for affection and her struggle to stand up for herself. MacLaine manages to make her character relatable and realistic enough to be funny when needed, but just as heartbreaking when the story calls for it.
8
Enzo Staiola In Bicycle Thieves (1948)
Staiola Summons Rare Power For A Child Actor
Simply put, Enzo Staiola’s performance in Bicycle Thieves is up there with the greatest child performances in film history. There isn’t a moment when he isn’t believable, but the depths of his emotional intensity all come from his character’s position of relative innocence and naivety.
As much as Bicycle Thieves is a story about a man desperately trying to provide for his family, it’s also a heartbreaking coming-of-age tale. Bruno loses his hero, and discovers that the world is much harsher and more complex than he had previously thought. Staiola communicates this revelation without the need for much dialogue at all.
7
Lauren Bacall In To Have And Have Not (1944)
Bacall Often Did Her Best Work With Humphrey Bogart
Lauren Bacall and Humphrey Bogart made four great movies together, and it’s often a toss-up between The Big Sleep and To Have and Have Not to decide which is best. The duo always seemed to bring the best out of one another, but Bacall is particularly absorbing in To Have and Have Not.
Bacall and Bogart started an affair on the set of To Have and Have Not, and they were married a year later. Their chemistry hums throughout the film, lending an extra spark to many of their scenes together. Bacall handles the comedy, the romance and the intense drama of To Have and Have Not with ease, making an astonishing big-screen debut.
6
Peter Sellers In Dr. Strangelove (1964)
Sellers Plays Three Roles, Each Of Them Hilarious
Dr. Strangelove is one of Stanley Kubrick’s best movies, showcasing his mastery of different genres once again. His dark political satire revolves around a legendary comedic performance from Peter Sellers, who plays three different characters of three different nationalities trapped in a struggle with potentially apocalyptic consequences.
Dr. Strangelove shows just how many ways Sellers can make his audience laugh. He’s a weedy milquetoast as Lionel Mandrake, an insecure huckster as Merkin Muffley and a psycH๏τic warmonger as Strangelove. Somehow, he’s hilarious in all three roles, and the fact that he’s essentially arguing with himself enhances the farcical humor.
5
Renée Falconetti In The Pᴀssion Of Joan Of Arc (1928)
Falconetti’s Performance Was Unlike Anything That Came Before It
The Pᴀssion of Joan of Arc represented a huge leap forward in the history of film, not for any technical innovations but for its emotional power. Carl Theodor Dreyer zooms in to tell his story primarily with the faces of his actors, which places added emphasis on a superb performance by Renée Falconetti.
Falconetti draws out the insecurity and panic of Joan of Arc. She may be a тιтanic figure in European history, but The Pᴀssion of Joan of Arc highlights the fact that she was a young woman shouldering an immense burden. Falconetti shows glimpses into her fractured psyche, culminating in a gut-wrenching execution scene.
4
Marlon Brando In On The Waterfront (1954)
Brando’s First Oscar Win Was Worth The Wait
Marlon Brando’s movie career got off to a flying start, as he was nominated for Oscars in four consecutive years. After missing out three years in a row, he finally took home the prize for his performance in On the Waterfront, a tense crime drama about a longshoreman who struggles with the decision to speak out against his corrupt union.
Brando is utterly spellbinding in On the Waterfront, bringing a quiet intensity to a character who lives so much of his life guarding his true emotions. When he lets these emotions out, like in the famous cab scene, the result is a performance that has the power to speak to the heart. Brando pioneered method acting techniques in On the Waterfront, and the results speak for themselves.
3
Elizabeth Taylor In Who’s Afraid Of Virginia Woolf? (1966)
Taylor Is Part Of A Legendary Cast
Who’s Afraid of Virginia Woolf? was nominated for 13 Oscars, including nominations in all four acting categories. This means that the entire credited cast received nominations. While they all deserve admiration, it’s Elizabeth Taylor who often steals the show as Martha, the emotionally wounded alcoholic embroiled in a fiery war of words with her husband.
Elizabeth Taylor and Richard Burton were Hollywood’s H๏τtest couple at the time they made Who’s Afraid of Virginia Woolf? together. It’s easy to see why some people have likened their volatile on-screen relationship to their marriage in real life. Whether she was inspired by her real experiences with Burton or not is pure conjecture, but Taylor’s sheer emotional power is undeniable.
2
Katharine Hepburn In Bringing Up Baby (1938)
Hepburn Goes Toe-To-Toe With Cary Grant In Her First Comedy Movie
Katharine Hepburn had already won the first of her four Oscars by the time she made Bringing Up Baby, but it was her first comedy role, so it pushed her into unfamiliar territory. She stars opposite Cary Grant, who was one of the biggest comedy stars of his era. Still, Hepburn rises above the pressure to deliver an unforgettable performance.
Bringing Up Baby is one of the funniest Old Hollywood comedies, and it’s still just as hilarious today. Hepburn’s performance is key to this, as her fast-talking, flighty socialite character overflows with charm. She develops a wonderful chemistry with Grant, and she went on to star in plenty more comedies.
1
Orson Welles In The Third Man (1949)
Welles Steals The Show In A Classic Post-War Thriller
Orson Welles was one of Hollywood’s great multi-hyphenates. Movies like Citizen Kane and The Magnificent Ambersons show that he was a brilliant director and writer, but he also delivered several outstanding performances in other people’s movies. The Third Man is arguably his most memorable of these performances.
Carol Reed gives him the show-stopping introduction he deserves.
It takes a while for Welles to show up in The Third Man, but Carol Reed gives him the show-stopping introduction he deserves. From the moment his face appears lit up in a doorway, Welles changes the entire film, turning each of his lines into an unforgettable quote. The Third Man is one of Orson Welles’ best movies, even though he didn’t direct it.
