monologues

Amazingly Acted Monologues on Films

Whether on stage, television, or film, a great monologue is one of the best gifts a performer can be given, a showcase for them to focus all their talent and stamina into a page or more of line readings and emotion. Many techniques can be used depending on the piece and scene, as well as the direction given prior to the take. One thing is for sure, having an objective is key for making your monologue stand out. An action verb always serves. 

Great inspiration can be found in some of the best acted monologues ever recorded on film, including the following:

Katharine Hepburn in Adam’s Rib

Director George Cukor directs this classic poignant romantic comedy, released in 1949, which tells the story of Amanda and Adam Bonner (Katharine Hepburn and Spencer Tracy) working as opposite lawyers on the case of a woman who shot her husband. Every word in a key monologue delivered by Hepburn is imbued with meaning, leaving audiences stunned even after the scene has moved on.

Charlie Chaplin in The Great Dictator

Charlie Chaplin is best known as a silent film star, but in 1940, Chaplin gave a powerful spoken performance in 1940’s The Great Dictator, a dramatic comedy that takes on the Nazi goverment in the midst of the Second World War. The film ends with an incredibly written and gripping speech, where Chaplin’s Jewish Barber speaks in front of national television with tremendous passion and truth that was clearly being directed not just to the audience within the film, but also the one watching it from without.

Kate Winslet in Revolutionary Road

Exactly ten years after Titanic, star duo Kate Winslet and Leonardo DiCaprio were back together as a couple aspiring for a better life in this mid-50s drama from visionary director Sam Mendes. Their chemistry was as strong as ever, despite being a totally different beast from the melodramatic blockbuster. Winslet is a bundle of raw nerves in a powerful monologue where her vulnerability works not just as a shield but as a weapon.

Peter Finch in Network

Winner of four Oscars in 1977, Sydney Lumet’s Network is regarded as one of Hollywood’s greatest films, and contains the memorable line, “I’m as mad as hell and I’m not gonna take this anymore!” Peter Finch’s character Howard Beale is a mentally ill network TV anchor who, instead of struggling privately, is doing so on camera for all the world to see. As a performer, Finch needed to make sure his character’s monologues would move audiences within the movie, so it’s no surprise the audience watching from without were just as moved and riveted.

Viola Davis in FencesThe adaptation of August Wilson’s Pulitzer-Prize winning Fences directed by and starring Denzel Washington showed movie audiences that theatre-goers had already known when they saw Washington and Davis play the lead couple on Broadway. Both won Tony Awards for their performance, and Davis won the Academy Award for the film adaptation. Her character Rose Maxson is both a specific person and the embodiment of an entire generation of women of color struggling to take care of their families in the mid-20th century. 

Gerard Depardieu in Cyrano de Bergerac

Every actor should know about ‘the nose speech’ from Edmond Rostand’s Cyrano de Bergerac, written in 1897. It is poetic and dazzling, rejecting conventional notions on physical looks. A superb and acclaimed performance by French star Gerard Depardieu imbues the monologue with subtlety and nuance that earned him an Academy Award nomination.

Heath Ledger in The Dark Knight

Ledger famously won an Academy Award posthumously for his iconic performance as Batman’s archnemesis, The Joker. Ledger embodied the role like no other, with even the most subtle facial tics expressions a thousand words. However, when he was given time to give full speeches, Ledger really shines, especially in his final monologue, delivered upside down; his grand scheme has been defeated but Ledger’s Joker doesn’t feel like he’s lost–he’s merely playing his part in an eternal struggle between good and evil, reveling in the chaos as he hangs helplessly stories above the ground. 

Glenn Close in Les Liaisons Dangereuses

Glenn Close is considered one of the greatest actresses of her generation, if not ever, and that talent is on full display in a monologue delivered in Stephen Frears’s adaptation of Pierre Choderlos de Laclos’ novel Les Liaisons Dangereuses, co-starring John Malkovich, Michelle Pfeiffer, Uma Thurman, and Keanu Reeves. Close’s mastery of vulnerability, femininity, sexuality, and emotional manipulation make for one of the most incredible monologues ever delivered.

Matt Damon in Good Will Hunting

Good Will Hunting made a star out of writer and actor Matt Damon, who played against a career-defining performance from Robin Williams. Damon plays an emotionally tortured, working-class genius. His “NSA” monologue is a smooth piece of editing as it continues from one scene to another, and showed movie audiences just how talented a performer Matt Damon could be.

Gloria Swanson in Sunset Boulevard

Gloria Swanson gave the performance of a lifetime in Billy Wilder’s Sunset Boulevard, playing a faded silent movie star in the Golden Era of Hollywood sound films. Swanson herself was a silent film star, nominated for Best Actress at the very first Academy Awards, and had a lot of real life experience to draw upon for the role. While on its surface, her character can be seen as a cartoonish version of her real life self, in actuality there is a great deal of dimension and subtlety to the performance, all on display in her final monologue near the end of the film.

Tips on Finding the Perfect Monologue

by NYFA Instructor Denis McCourt, MFA

So you’re taking an acting class, have a general audition, or just want to hone your craft, and are looking for the perfect monologue. The search is really a three pronged approach:

What type of monologue are you looking for?

As you begin your quest for the words you will spend a large amount of time and energy working on, first, it is best to consider what you are trying to accomplish.

In the world of monologues, you have many broad categories — contemporary-comedy, contemporary-dramatic, classical-comedy, classical-dramatic … and even more broadly, plays versus film/television/online-content (web series).

If you are intending to work on a monologue in an acting class, you should select one from a play. These words have been written to be performed live by an actor on stage. That idea might sound obvious, yet many actors use film and television for their source material. That great dramatic monologue you saw in the latest blockbuster film has music, sound, camera angles, lighting, reaction shots and editing (just to name a few elements) to help make that overall dramatic or funny impact for the audience — plus, you will be perpetually compared to that Oscar-winning performance.  

When you find material written to be performed on the stage, it will fare better in your acting class and/or general audition. So, if you have now bought into the idea of plays, you have narrowed your content down from hundreds of thousands to only a few thousand possibilities.

How do you find your connection or hear your voice in the monologue?

This next step is very important in your quest for the perfect monologue.

Let’s say you want to expand the work you are doing in your acting class. You are very funny, which everyone around you reinforces in your work, so now you want to explore your more dramatic skills. One of the hardest concepts about acting that everyone struggles with is the idea of “connection,” or “your voice.” The best way to define this for you is to look back over your lifetime and ask questions.

In the years that you have been on this earth, what has mattered to you? Where did you grow up? Are you a member of the LGBTQ+ community? What cultural and gender identity speaks to you? Are you involved in any social issues or causes? Do you feel drawn to victims’ rights, or religious beliefs? Are you an animal rights advocate? Were you raised on a farm or in the city? In sharing these questions, and by you answering them, you begin to feel a connection and find your voice.

The next step would be for you to find a playwright that shares your connection and voice. If, as in our example, you have already decided that you want to work on a dramatic monologue, the exclusion of comedic writers has narrowed your search from thousands down to hundreds. And if you know you’d like to focus on a woman’s point of view, you have now narrowed that down even further.

The good news is that you are now looking for writers that share your voice and perspective, and once you find them there will be a body of work for you to tap into for source material.

I would strongly encourage you to become an avid reader of plays. In your quest for the perfect monologue, you can also develop your skills as a cold reader by reading the plays out loud –honing yet another skill you will need as an actor!

Where do I begin to look to find the perfect monologue?

Let’s face it: acting is already hard enough as it is to do the work well, and in your career you will sometimes be asked to work on material that is not that great if not bad. If you are paid to do it and are at that stage of your career, you will do it. But when developing your craft, the suggestion is to ride a thoroughbred.

What do I mean by that? If you find the best material, it will help you develop the skills you are working on developing. So, how do I find the best material that matches my voice? Although many are looking for that “golden monologue book written just for you,” you need to know that such a thing does not exist.

Most published monologue books are not good source material, because they are not attached to any story or character development — they are random words written for the purpose of actors, like you, in search of the perfect monologue. And, like you, there are thousands of actors buying that book and working on that same monologue which every casting professional and acting coach has heard over and over and over again. So, all of your efforts are thrown out the window as soon as they hear the first sentence because their inner monologue is; oh, no, not this one again.

So, if you get anything from this article, don’t buy the monologue book.

If you put a little more effort into the quest, it will pay off for you in spades. So, where should you look to find this thoroughbred? There is another three pronged approach: check out theatre awards, the Pulitzer Prize for Drama, and go see live theatre.

  • Theatre Awards:

If a writer has won or been nominated for a Tony Award or an Olivier Award, the material is a thoroughbred. When an actor has been nominated for or won a Tony Award or an Olivier Award the material is a thoroughbred. Here is the link to the Tony Award past winners.

If you go to that site, it lists not only the winners but the nominees as well, since the inception of the awards. All of this is great source material. You then can even target playwrights that write about content you are searching for in your perfect monologue. You can even target famous actors that you have been following that are “your type.”

You will find this a very rich resource of great material. Plus, you have narrowed down your material from thousands to hundreds or less.

  • Pulitzer Prize for Drama:

This award is a very high benchmark for playwrights, and exploring the winners will provide you with an international selection of original voices of today and years past.

The site not only shares the winners, but also provides you with all of the finalists in any given year. You will see that this list will share some great thoroughbred possibilities in your quest, though you will most likely see some duplicates between the Tony Awards and the Pulitzer Prize sites.

  • Live Theatre:

As you can probably guess, live theatrical plays are the best source material for finding the perfect monologue.

If you go see lots of plays, you will find material you will want to work on. The great thing about plays is that they are done all over the place.

You can spend big money and go see major New York and/or Los Angeles productions. You can go to great regional theatres in Chicago, Minneapolis or Atlanta. Or you can go to the many local professional and/or community theatres in cities and towns around the world. Other great resources are colleges and universities.

By seeing actors working on the craft you are developing, you will learn. Even if it is the worst performance you have ever seen, you will be hearing the words of the monologues spoken out loud in the context of the story and character arc.

If you see many plays, especially stories that appeal to you, your chances of finding that monologue increases. You have now narrowed the search from hundreds of thousands down to a few hundred or less and you have some practical steps to make in your quest to find the perfect monologue.

Ready to learn more about acting and deepen your craft? Check out the New York Film Academy’s Acting School offerings.

 

The Best Film Monologues Ever And Why You Have To See Them

NYFA student gives monologue

All great characters don’t have monologues; but all great monologues come from the mouths of great characters. Some of the most famous lines of dialogue ever uttered in the movies come from monologues. In various film monologues, De Niro asked, “You talkin’ to me?” Brando said he “coulda been a contender.” And Eastwood questioned if you feel lucky.

To deliver a block of speech in a memorable, entertaining way is one of the most difficult tasks for an actor, especially on film. There is less freedom of movement of film than on stage, and thus the actor is more limited in actions during a monologue. Training, technique, thought, and talent are all needed to make a monologue great—alone with nailing that audition—and these fine thespians have a surplus of all those qualities. Of course, it helps to have a good scriptwriter as well.

Here are four of the best film monologues ever and reasons why every actor should see them.

Alec Baldwin, Glengarry Glen Ross

Let’s start the list off with a bang shall we? Near the beginning of the movie, a group of slacker, suburban salesmen get a visit from Mr. Blake, a company executive from “downtown.” He lays into them from the beginning, famously demanding “Put that coffee down. Coffee is for closers.” In about seven minutes of screen time Baldwin owns the story with his profanity laced tirade on sales, greed, money, and capitalism. Interestingly, David Mamet, who wrote the screenplay based on his play of the same name, added Baldwin’s character specifically for the film. Blake isn’t exactly a likeable character, but Baldwin expertly shows how to act while holding all the power in a scene.

Jack Nicholson, A Few Good Men

“You can’t handle the truth!” In one moment, Col. Jessep makes a decision, a decision that blows his cover and sentences him to jail. His pent up rage and monologue of backwards logic is the dénouement of a tense and thrilling film and Nicholson unties the knot with complete commitment. He is wrong but he truly believes he is right, and it makes his monologue almost sympathetic. It’s the kind of snappy, intelligent dialogue that has made Aaron Sorkin the A-list scripter that he is. He also wrote The Social Network, The Newsroom, The West Wing, Moneyball, and the list goes on.

Samuel L. Jackson, Pulp Fiction

Most anything that Samuel L. Jackson says on screen is entertaining, but his monologue as contract killer Jules Winnfield in Quentin Tarantino’s Pulp Fiction might be his best work. Before committing murder, Winnfield first questions and then lectures his victim on life, specifically the mistakes that led his victim to this point. Jules caps his monologue by quoting a bible verse, Ezekiel 25:17. Jackson’s delivery is so unique, even when quoting the bible, and is a tactic that all actors can learn from, even if the script doesn’t make a whole lot of sense. We imagine he had a fun time memorizing this speech.

Matt Damon, Good Will Hunting

This movie has several awesome monologues. Damon has two and Robin Williams has at least one beautiful monologue on the park bench but the one that really sticks is Damon’s disarmament of the man in the bar. The monologue establishes the depth and intelligence that Will Hunting has, even if he is just a poor janitor from Boston. In one fell swoop he shows his loyalty to friends, bravery, and quick-wittedness. These are the qualities that make him an amazingly gifted person, but also mask his internal damage. It’s as if the writer knew exactly the actor he had to portray the character. (Damon shared the Academy Award for Best Original Screenplay with Ben Affleck that year)

There are four of the best, but there are so many more that could’ve been included. Each monologue is different and offers a different insight into acting for people who study them. Do you have a favorite monologue that teaches you something about acting? “Well, do ya, punk?”

Learn more about the School of Acting at the New York Film Academy by clicking here.