Sunday, 5 July 2015

Alternate Best Supporting Actor 1989

And the Nominees Were Not:

Ray McAnally in My Left Foot

Hugh O'Conor in My Left Foot

Bruce Dern in The 'burbs

Rick Ducommun in The 'burbs

Sean Connery in Indiana Jones and the Last Crusade

Burt Lancaster in Field of Dreams

James Earl Jones in Field of Dreams

Fred Gwynne in Pet Sematary  

For the prediction Contest:

McAnally for My Left Foot

Dern for The 'burbs

Lancaster for Field of Dreams 

Alternate Best Actor 1989: Results

5. John Hurt in Scandal - The film actually under utilizes him but Hurt gives an appropriately colorful and eventually moving portrayal of an aging playboy who perhaps has too many connections.

Best Scene: Ward explains something about his parties to the cops.
4. Raul Julia in Romero - Julia manages to elevate his film in giving a rather powerful portrayal of a man finding the strength to stand up against injustice.

Best Scene: Romero's final sermon.
3. Jeff Bridges in The Fabulous Baker Boys - Bridges gives a subtle and very effective portrait of an artist stuck in a painful rut, and his struggle to break out of it.

Best Scene: The Bakers' final duet.
2. James Spader in Sex, Lies, and Videotape - Spader first creates a captivating enigma of a man then is quite fascinating as he strips away his character's mystery.

Best Scene: Graham's interview with Ann.
1. Michael J. Fox in Casualties of War - Good Prediction Psifonian. Michael J. Fox gives a heartbreaking depiction of a decent man being forced to live through an atrocity.

Best Scene: Max recounts the experience at the bar.
Overall Rank:
  1. Daniel Day-Lewis in My Left Foot
  2. Michael J. Fox in Casualties of War
  3. Martin Landau in Crimes and Misdemeanors
  4. James Woods in True Believer
  5. Harrison Ford in Indiana Jones and the Last Crusade
  6. Ed Harris in The Abyss
  7. James Spader in Sex, Lies, and Videotape
  8. Morgan Freeman in Driving Miss Daisy
  9. Jeff Bridges in The Fabulous Baker Boys
  10. Raul Julia in Romero
  11. John Hurt in Scandal
  12. John Candy in Uncle Buck
  13. Kenneth Branagh in Henry V
  14. Michael J. Fox in Back to the Future Part II
  15. Bill Murray in Ghostbusters II
  16. Tom Hanks in The 'Burbs
  17. Michael Douglas in The War of the Roses
  18. Ron Silver in Enemies: A Love Story
  19. John Cusack in Say Anything 
  20. Mel Gibson in Lethal Weapon II
  21. Timothy Dalton in License To Kill
  22. Donald Sutherland in A Dry White Season
  23. Keanu Reeves in Bill and Ted's Excellent Adventure
  24. Alex Winter in Bill and Ted's Excellent Adventure
  25. Billy Crystal in When Harry Met Sally
  26. Danny Glover in Lethal Weapon II
  27. Michael Keaton in Batman 
  28. Kevin Costner in Field of Dreams
  29. Matthew Broderick in Glory
  30. Woody Allen in Crimes and Misdemeanors
  31. John Travolta in Look Who's Talking
  32. Chevy Chase in Christmas Vacation 
  33. Steve Martin in Parenthood
  34. Bruce Willis in Look Who's Talking
  35. Jack Nicholson in Batman
  36. Tom Cruise in Born on the Fourth of July
  37. Tom Hanks in Turner & Hooch
  38. Rick Moranis in Honey, I Shrunk The Kids
  39. Ralph Macchio in The Karate Kid Part III
  40. William Shatner in Star Trek V: The Final Frontier
  41. Fred Savage in Little Monsters
  42. Spike Lee in Do The Right Thing 
  43. Fred Savage in The Wizard
  44. Gabriel Damon in Little Nemo: Adventures in Slumberland
  45. Howie Mandel in Little Monsters
  46. Christian Slater in Heathers
Next Year: 1989 Supporting

Alternate Best Actor 1989: John Hurt in Scandal

John Hurt did not receive an Oscar nomination for portraying Stephen Ward in Scandal.

Scandal is an intriguing though somewhat flawed film detailing the inside of a sex scandal that rocked the British political world in the 60's.

This actually is just a bit of atypical role for John Hurt whose face scraggly face often gets him cast as a more retiring sort of man. Well Hurt's certainly great in those roles though this offers just even more of a glimpse into the man's considerable talent as an actor. Hurt plays Stephen Ward an osteopath by profession, but what he clearly really lives for is the night life. Stephen acts as basically the man who organizes all the sexual parties and liaisons for the upper crusts in the British conservative government in power at the time. We first are introduced to Stephen when he finds a new woman to be part of his scene. That being a showgirl Christine Keeler (Joanne Whalley). Hurt is quite brilliant in his creation of the style of Stephen Ward. The fact that he's a bit of skeevy old man is just part of it. Hurt does not hide this in his performance, but instead very effectively embraces it as he always depicts Ward taking probably far too much pleasure some of the most questionable aspects of his hidden little world.

What's great though is Hurt does not make Ward as off putting as he could have easily been, even though he keeps the character's nature quite prevalent at all times. Hurt manages something special in that he does make Ward above else quite a character. There is a charm of sort he brings in Ward's personal style as Hurt always plays him in the early scenes as a man kinda overjoyed with just the idea of living his life the way he wants. There's nothing sinister in the way Hurt portrays this there's in fact an abundance of warmth about him. Hurt makes it absolutely convincing that Ward could get the young ladies to be his agents of sorts because he creates this powerful personality simply through just how easy going Ward is towards things. It never seems like a big deal for the women to do what he suggests because Hurt realizes the way Ward has a way with the women. When he suggests that they spend to time with one of the powerful men he knows, Hurt brings such a considerable elegance to Stephen basically telling them that they should have sex with them.

Of course Ward is not just in on it simply to be in on the life, although that's probably should be his only reason. He also develops his own ideas of the sort of power that he has gained from his somewhat dubious position as the man who finds women for powerful men. He also takes some tasks from MI5 to try to derive information through these liaisons. Hurt is great in the scenes where Stephen discusses this with Christine because well he does not exactly show Stephen taking this in the right way. Hurt portrays Stephen in these scenes as being almost a little boy who's getting in on the spy game, and gets to play James Bond for his very own. The sort of excitement Hurt exudes as Stephen asks for the information so well realizes the sort of silly man that Ward is. His life is just a party and the spy work just becomes yet another part of that party. He never gets anything useful out of this anyways but Hurt's so good at showing how much joy Stephen gets out of this little world he thinks he has ownership of, and ownership he will not want in the near future.

I do think one of the flaws of the film though is Hurt is a tad underused since the film takes the approach of basically hitting each beat of the scandal's timeline. This makes it so Ward's only appearances are needed to hit these points, and it would not have hurt the film to have given just some more scenes throughout. This unfortunately requires more from Hurt than it should in the last act when Ward is put on trial basically as a scape goat for the government. This feels a bit rushed for two reasons mainly. The first being the film wants us to have more out of Ward's relationship with Christine than the film managed to provide. I mean we definitely got something thanks to Ward, but I think the film expects a little too much from just the few scenes they had together. The second being this rushes Hurt to portray Ward fall into despair due to the betrayal of everyone around. It's is understandable, but even as a rushed fall into despair it still feels a bit rushed. Hurt to his credit though does not falter and does manage to be fairly moving by removing the life from such a lively fellow. He's especially good in one scene where he has to describe one of his parties and slowly loses his cheekiness as it becomes clear not everyone thinks the way he does. I really just think there should have been more of it, since really you can never have too much John Hurt. Even when the film falters a bit John Hurt does not. He's engaging every second he's on screen, creating quite the compelling depiction of Stephen Ward, and when the worst part of a performance is there's not enough of it, that's a very good performance.

Thursday, 2 July 2015

Alternate Best Actor 1989: Michael J. Fox in Casualties of War

Michael J. Fox did not receive an Oscar nomination for portraying Private Max Eriksson in Casualties of War.

Casualties of War is an effective film, even if it is somewhat hurt by a weak central performance, about an American military squad in Vietnam who kidnap a female civilian for vile purposes.

Michael J. Fox as an actor is probably best known for his more lighthearted work on television and in films. Of course this in no way stopped him from giving a great performance as Marty McFly in Back to the Future, but he was not exactly viewed as a dramatic actor. Fox perhaps attempted very briefly to somewhat change this at the end of the 80's with Bright Lights Big City where he played a drug addled writer, and in this film. Fox plays a Private who has just come to Vietnam in the opening scenes of the film. Not unlike the protagonist played by Charlie Sheen in Platoon his baptism by fire occurs rather swiftly as he is gets caught in a fire fight. Fox is very good in the scene in just creating the visceral intensity of the moment as Max has to take violent action to save his life. During the fight Max at one point is caught in an enemy tunnel but is saved at the last moment by a young though battle hardened Sergeant named Tony Meserve played by Sean Penn. Tony seems to sort of take the new recruit under his wing in the proceeding days after that event.

Fox is very good in these early scenes as he shows Max perhaps becoming more like the Sergeant as there becomes a growing callousness, and almost an insanity as he reacts to the attacks from the Vietcong. Fox in these scenes portrays perhaps how decent man like Max could perhaps become like the Sergeant as he captures the way the danger of their surrounding seem to take themselves to almost a different plain of thought. Fox gradually exudes similair attributes to what we see in the Sergeant, although it should be noted that Fox does this in a far more convincing fashion than Penn's over the top work. Fox makes it believable though that Max does not immediately seem to believe the strange idea proposed by the Sergeant. The idea being that their squad should kidnap a local woman to be a sex slave for the squad since they were forced to go on without relief. Fox captures the situation for Max incredibly well because he shows how Max at first is unable to do anything about it since he's still quite sure its just a sick joke by the Sergeant that's just a part of the insanity, and the Sergeant will not actually go through with the plan.

The Sergeant though does begin his plan and Fox is terrific in displaying the sheer disbelief in Max as he can't believe that this is all really happening. The squad goes through with the kidnapping and when they set up the camp for the night it becomes obvious that the Sergeant will soon have the entire squad rape the woman. Although one other man has reservations Max ends up being the only one who will actually stand up to the Sergeant. Fox is great in this scene because he actually does not necessarily make Max this larger than life figure of virtue. Fox rather portrays him very simply as a man who will not do something he knows is absolutely wrong. The confrontation scene is an outstanding moment for Fox because he portrays a terrible fear in Max as he attempts to stand up to Sergeant. This becomes especially powerful because Fox conveys the difficultly and considerable effort it takes for Max to be able to stand up to the four men. Fox shows Max looking for some help from any of the men as well as that the stare of all four is horrible but that Max's beneath it all simply has his simple conviction that gives him the strength to stand up to them.

The men do proceed with the rape since no matter what if Max interfered it would result in his death either immediately or soon afterwards. The Sergeant instead forces him to take guard duty away from the camp while they commit their heinous act. The nightmare continues for Max though since it becomes evident that the men are not done and plan to murder her in order to destroy the evidence of their crimes. Fox takes Max out of the state he had been growing into as he sees that their actions of the moment very much do have meaning. Fox's work in the proceeding scenes is essential  in creating the horror of the scenes. Where the other men have little to no remorse for their actions Max is forced to witness it all with only the faintest hope of trying to stop the murder of the woman. Fox expresses the terrible tension within Max as he simply does not know what to do since if he takes the woman himself he'll be a deserter, but also can stop all four of the men. Fox creates this fierce unease and confusion that overwhelms Max as he tries his best to do something. Every facet of savagery is made the more palatable by Fox's honest reactions as Max is forced to watch the woman's brutal murder.

After they return though Max ignores the other men's threats and goes to report their crime as soon as possible. Unfortunately the commanders have little concern for the actions of the men, and attempt to dissuade Max from going any further with his report. Fox again finds so much power in creating the disgust of just a normal man who cannot believe the callous uncaring nature of the chain of command. Fox does so much in just Max's silent reaction at the two commanders attitude and portrays the growing revulsion in Max. Fox builds this to one scene where Max confronts the rest of the squad after at least one of them has made an attempt on his life. Fox is outstanding in delivering just the genuine contempt in every word as Max tells them not to kill him since no one cares anyways. The despondent passion that Fox brings is tremendous because it all comes from not a great man but just a good man who knows a wrong has been committed. Fox though is at his most heartbreaking though after he shows that Max has given up on finding an real justice and just casually tells another soldier about the crime. Every word of Fox's performance seems haunted by the death and we see that Max can never forget the life that was lost. This is a marvelous performance by Michael J. Fox as he creates a reserved yet such a poignant portrait of one decent man living through an unforgivable atrocity.

Wednesday, 1 July 2015

Alternate Best Actor 1989: Jeff Bridges in The Fabulous Baker Boys

Jeff Bridges did not receive an Oscar nomination for portraying Jack Baker in The Fabulous Baker Boys.

The Fabulous Baker Boys is a fine film about a duo of nightclub musicians who take on a female singer to rejuvenate their act.

Jeff Bridges plays the younger of the Baker boys, the older brother Frank (Beau Bridges) acts as the manager for both and takes a far more enthusiastic approach when it comes to the actual performances. The film begins with Jack basically already in a lull. Bridges has a bit of a challenge right from the start in that Jack is not exactly the most lively presence right from the start. Bridges in no way tries to falsely energizes the role, but instead plays the part accordingly. Bridges though manages to do well in the part by just vividly realizing the state that Jack is in when the film begins. Bridges portrays Jack as a man in problematic state of indifference from the beginning. He has his one night stands with women which Bridges portrays as basically just part of routine. The same certainly goes for when he is performing with his brother on stage where Bridges shows that Jack is just going through the motions of what is required of him, but there is not a hint of life in the routine for him. He just plays what he needs to and contributes the minimum of what is required of him to complete the act.

Bridges though is interesting the way he creates the state Jack is in because even though it is not especially pleasant for him it technically is far from horrible for him. What Bridges conveys so well is the certain discontent of a man who's not quite happy with his life, but he's also basically come to accept it for what it is. Within that though I like how Bridges finds a bit of room for Jack not to be as dour as he might have been otherwise. There are moments where Jack is spending time with his old dog, or with the neighbors daughter who looks to him as a father figure where there does seem to be something there for Jack. What's interesting though is that Bridges does not obviously have these moments where Jack becomes more open and outgoing or anything like that. Bridges rather very effectively carries just a certain ease and warmth in these scenes that very quietly shows that there is some things in his life that he enjoys. For the most part though he is forced just to continue through his routine but eventually even the Fabulous Baker Boys act becomes even a little too old for the crowd they play for leaving the brothers to take on aspiring singer/ former call girl Susie Diamond (Michelle Pfeiffer).

Her addition does rejuvenate their careers but Bridges does well not to show any sort of immediate change in Jack, as at first he just seems to keep going along the way things were. He does quietly begin to bring some life back into some of the performances, though Bridges carefully keeps it in a muted way. There is rarely a time where Jack still seems to absolutely accept anything, and Bridges maintains that even when they are doing well Jack is still obviously not exactly leaving up to his own dream by constantly following his brother's very specific instructions. What Bridges portrays though is that Jack is more than anything energized by Suzie's  presence, as Bridges only really shows this other side to Jack when he is interacting with her or reacting to her. Bridges still keeps it low key but quite palatable. At the same though he keeps Jack as almost too opposing ends because there does seem to be some happiness there with Susie, he also portrays Jack having even worse moments of moodiness when interacting with his brother. Bridges never takes Jack wholly out of that hole he has been in from the beginning. 

Bridges and Pfeiffer have an unusual chemistry together technically speaking. For most of it they don't speak directly about it but the two really say more than enough in their glances between one another. This is especially true in the "Makin' Whoopee' where there is something so sensual about the two together that it almost a dance even though all Bridges does in the scene is play the piano. This even goes so far that the fully romantic scenes between Susie and Jack are silent yet the tension so to speak in the moment could not be more keenly felt. Of course this leads to the last act where Jack frankly acts like jerk. This could have potentially fallen flat as these scenes sometimes can feel quite forced, but Bridges's work makes it work. A reason for this is that Bridges never has Jack change completely with Susie, and is convincing in that he shows how Jack just can't fall out of the routine of his life. His one night stands have been meaningless so again that's all that he treats as since that's all he's ever been use to. Of course Bridges is great in how he shows that now though the routine seems to grate on him more than ever.

Bridges makes the final scenes of the film believable because he's always been honest with the character making his final transition feel particularly earned. What Bridges presents it as is not a frustration that changes Jack, but rather shows that Jack finally taking action is what relieves his frustrations. I particularly love one scene where he visits his brother after the two of them have had a terrible fight. The two of them finally remember their old times and it allows Jack to think about the fact that he did not always hate it. They even go so far as to sing a quick song together which is a wonderful scene for both Bridges as you witness the old days of Baker boys in their faces and in their voices. In that Bridges naturally progresses Jack to finally lose that dourness, although importantly he still does keep him as the low key guy Jack happens to be. This leads to his last scene with Susie which is a fairly understated reunion. There really is not a moment where there's the dramatic declaration of love. The two's fantastic chemistry comes in again and their final reconciliation simply feels just right. The same is true for Bridges's whole performance which always feels genuine and gives complexity to a character that in the wrong hands could have been just one note of gloom.

Sunday, 28 June 2015

Alternate Best Actor 1989: James Spader in Sex, Lies, and Videotape

James Spader did not receive an Oscar nomination, despite winning Cannes, for portraying Graham Dalton in Sex, Lies, and Videotape.

Sex, Lies, and Videotape tells of the intertwined lives of four people surrounding around one of the four's unusual fetish.

James Spader plays Graham the old friend of seemingly successful lawyer John (Peter Gallagher) who is in a cold marriage with his wife Ann (Andie MacDowell) as well is in an affair with Ann's sister Cynthia (Laura San Giacomo). Graham shows up to stay with John and his wife until he finds his own apartment, and from his first scene it appears there is something about Graham, although whatever that something is has yet to be revealed. Spader plays the part in a rather clever fashion. He keeps his disposition actually rather meek as the way he talks, interactions with other, even smiles are all quite unassuming. Graham though actually is constantly giving prodding questions to further find out about Ann. What's interesting about this though is Spader actually allows for Graham's rather incisive questions and statements he will make, as he just seems so innocently intrigued by their lives, so there does not seem to be any danger to give out all this personal information to him.

Soon enough Graham seems a bit less innocent when Ann stumbles upon his personal collection of videotapes. The videotapes being a collection of women telling him about their sexual experiences, which he in turn uses for his own pleasure. Although Ann is repulsed at first, she does not stay repulsed for too long, nor does it keep Ann's lusty sister from also going to seek out Graham. In this section of his character Spader calls upon what he's perhaps best known for, which is his particular form of charisma. Spader's charm though is not at all what you think of when you think of the word charm. Spader does have this certain sleazy quality about his performances, not that the way Graham acts is overtly sleazy per se, otherwise than his personal hobby, but Spader's style though does not try to gloss over anything about the man. What's so remarkable about what Spader does though is actually make this oddly appealing. Spader is able to conduct himself in just that certain way where there's no false facade, but instead creates something quite alluring about Graham being exactly as he is.

The film really is about all four of the characters Graham just happens to be the one who propels the story to go forward through his presence effecting the others. For much of the film Graham is kept as a bit of an enigma which seems to hold a certain sway with Ann and Cynthia which in turn only causes frustration for John. Spader strikes up a somewhat peculiar though a rather effective sort of chemistry with Giacomo and MacDowell. With Giacomo, who plays Cynthia as woman who does not do a whole lot to hide her urges as well is rather encouraging to the men in her life, Spader presents Graham playing right into her urges with his quiet yet rather powerful persuasion through his words and face. With MacDowell, who plays Ann as rather sexually repressed to the point that she espouses constantly her supposed lack of interest in the activity, it is all a bit more complicated. Spader in their scenes together suggests how Graham could get under her skin because of the way he realizes the humble manner towards certain discussions that she can't help but be a bit captivated by him.

Graham's mystery though does not remain forever as Ann manages to actually break his particular sort of reserve by her own questions. Spader's performance actually does not change excessively so though as Graham reveals what brought on his unusual behavior to her. Spader though is terrific though because he does not suddenly have Graham break down as being such a reserved guy to begin with that would not quite seem right. Spader shows that Graham still has this certain barrier simply within his low key demeanor, but that does not mean Graham is truly an unemotional man. What's so special is that Spader within the confines does convey the pain in Graham's past that motivates him currently. There is a moving sadness that Spader reveals in Graham as he finally does open up to her. Spader even keeps this reserve in the scene where John rubs salt into Graham's metaphorical wounds, and Graham goes about trashing his prized tapes. Again though Spader makes this feel right for the character as he naturally portrays the disgust in Graham. The film wraps up relatively quickly yet Spader manages to give a satisfying conclusion to his character by presenting him as almost the same man though without quite same the mystic, but also without the lies.

Friday, 26 June 2015

Alternate Best Actor 1989: Raul Julia in Romero

Raul Julia did not receive an Oscar nomination for portraying Archbishop Óscar Arnulfo Romero y Galdámez in Romero.

Romero is a decent yet unremarkable film about the Archbishop who opposed the tyrannical government in El Salvador.

Raul Julia plays the Archbishop Romero who begins in the film as a fairly simple bishop who is actually looked upon with some disdain by other radical priests, although not by his popular friend, Friar Rutilio Grande (Richard Jordan). Julia is good in these scenes as he establishes Romero's personal stance to the country's problems. Julia is good in the way he frankly allows Romero's behavior to be con-screwed as some sort of apathy, which is how the radicals priest view him as, as Julia plays Romero as a particularly quiet man who from a distance seems to have very little reaction to what is going on all around him in the country. Julia though does not suggest Romero to be callous in his manner, and not even as a man unsure of his place in the conflict. Julia instead effectively exudes a certain religious piety that technically is far more optimistic than the priests who deride him. Romero likely due to his unassuming personality soon finds himself promoted to archbishop. Julia does not show that Romero is at all changed by his suddenly important position, although it does force him to have to make a statement for the church.

Julia's very good in his first speech where Romero essentially states he will keep the same position that he has had before. Julia though brings the right sort of refined passion to his statements still, which although state that the church will stay in the middle under him, he does stress that the church will always seek justice above all. I like how Julia does not make this a compromised statement from Romero, but rather he brings the right earnestness to the sermon of a man who does believe what he is saying. Julia does not play Romero as a man whose lost and needs to be shown a different way, rather he shows that Romero has his way which he has complete faith in. During this early period Julia very importantly shows sides to Romero other than what the intention of the film require him to be. Julia just has some good slight moments where he shows actually an enthusiasm Romero has in taking over the new post. It does not come off as selfish or prideful, but rather Julia portrays as just a genuine reaction to his success. He has one particularly good scene where he sorta celebrates with Father Grande, and the two actors bring a nice warmth to the relationship.

That is particularly necessary because the film does not dwell on their relationship for long, but it ends up being an essential part of Romero's story. Eventually Father Grande's known activism for the common people gets him shot and killed by a government death squad. Julia is outstanding in portraying the devastation in Romero when he sees his old friend's corpse along with the few innocent children shot with him. In the moment Julia powerfully conveys the change in Romero. One of the better aspects of the film is that Romero does not suddenly become like Grande, even with his death, but what the film shows along with Julia performance is a far more gradual transformation of the man. Julia does not switch on to Romero being suddenly adamant against the government, but what he does show is a change in how Romero conducts himself. Julia keeps the certain elegant devotion in Romero but there is something more energetic, active and most of all outgoing about it all. There is a greater purpose Julia suggests in a determination not to just pray for justice, although he will continue to do that, but to take action to stop the violence in his country.

What I think is most remarkable about Julia's performance here is that Julia does not play Romero as a great man so to speak, he's not larger than life and he in no way carries himself as such. Julia presents him as a man in this situation, although a man driven by his faith and belief in good for all mankind. In this way Julia does bring some very human exasperation in Romero's efforts as he attempts to actually mediate between the radical priests, who begin to take some violent actions themselves, as he is repulsed by this idea no matter the circumstance. It's not some divine person here, but a man who is doing what he can to do what is best. Even Romero's actions though begin to face more sever persecution even when they are merely performing his normal duties. There's a strong moment for Julia when Romero states his intentions to perform mass, even though violent troops have taken over the local church. After the men desecrate the holy material in the church, Romero goes and collects them. What I love what Julia does is he creates the very real fear in Romero as he takes this action, making his perseverance to do so all the more poignant.  

Now I think a point of contention for this performance though could come in the scenes where Romero is pushed to the edge by the sheer cruelty of the people he has been attempting to reason with. Julia is very intense in these scenes, and frankly yells quite loudly. I actually think it works for the character he has created thus far. His Romero is a man possessed to this sort of behavior, that just acting out in anger at all, that Julia makes it as though Romero has to force it out in this way since it is so opposed to his very nature. As everything becomes worse though Romero is not only reduced to rage to fight this hatred. In fact Romero in a way is raised up through his good works, as the people support him all the more, and Julia is excellent in bringing just a bit of hope in these moments as Romero embraces their love while returning it. In the end Romero, due to the overwhelming brutality of the government, is forced from mediation to direct confrontation through a final speech, which he states his condemnations of their horrible actions. Julia delivery is wonderful as he brings out the power of the speech, as he portrays the searing disgust for the evil perpetuated by these men. Julia's work here is remarkable as he elevates his thin material to create a moving portrait of a martyr.