Tuesday, 13 November 2018

Alternate Best Actor 1987: Cary Elwes in The Princess Bride

Cary Elwes did not receive an Oscar nomination for portraying Westley in The Princess Bride.

As I have written before The Princess Bride is an effortless delight of a film, however its success is an unusual one. In that it manages to both subvert the idea of the heroic fairy tale while also wholly embracing all the same. These contradictions in a way should not add up yet they do, and one key element of this is the pitch perfect casting throughout the film. A central thread in this tapestry is Cary Elwes himself as our hero Westley who goes from stable boy to heroic pirate of sorts. Now Elwes doesn't have as emotional of a part as Mandy Patinkin as Ingio Montoya, nor is he as comedic as the villains of Chris Sarandon as Humperdink or Wallace Shawn Vizzini, nor is he the idiosyncratic wonder that is Andre the Giant as Fezzik. His role actually is that of a typical adventure film, not at unlike the role Errol Flynn played in the 30's and 40's. Elwes even bares at least a minor passing resemblance to Flynn as a type. Elwes though is given a harder task that Flynn had in that he must be almost the embodiment of the tone of the film itself, which though light is actually quite tricky.

Now on the outset Elwes is there for a visual establishing point, as the "as you wish" exclaiming stable boy who does anything old Princess Buttercup (Robin Wright) commands. That visual being, for the lack of a better word, and I mean that!, a dreamboat. There is more to this than meets the eye though as even his method of saying "as you wish" needs to be more than it is. What I mean by that is that this could be a overdose of corn, it really should be, however Elwes even in this line develops something, something key to his overall performance, that is this sort sly earnestness. As even as he says "as you wish" there is a sincerity in it absolutely, yet also in his little glance he almost seems to say to the audience "yeah this could be little much, but it's also just right". Of course that is only the introduction as Westley disappears, supposedly killed by pirates, leaving Buttercup to be married off to the evil Humperdink, but only first to be kidnapped by the schemer Vizzini and his two good natured henchmen Ingio and Fezzik. The one man who comes to the rescue is dressed all in black, and if anyone has a particular good eye sight, or even hearing they'll notice this dashing young hero is of course the long lost Westley.

This leads to another of Elwes's challenges as he portrays the unknown hero initially facing off three challenges in order to save his one true love. Now here he is no longer the unassuming stable boy, but rather the assured hero. This brings the challenge to be both effortlessly confident and charming, while also doing that whole sly earnestness. Elwes indeed captures a natural confidence that makes Westley a most endearing hero. He however never comes off as smug despite this supreme confidence, balancing it so beautifully with this certain purity of manner that he delivers that allows this confidence to be as brimming as it is. This goes in the tone of the film that Elwes's work is an essentially part of. This being both wholly embracing the fairy tale yet also making fun of it. Elwes has this certain knowing quality in his work, particularly in his overtly comedic moments such as his showdown with Vizzini, yet even then still Elwes never goes so far as to truly mock. He nearly winks but never mocks. More importantly he provides that strict sincerity within his work particularly in regards to the central romance with buttercup, which Elwes supports with his every fiber.

Of course in a way we get a beautiful turn on this though in the film's third act, when Westley is mostly dead via a torture device and along with Ingio and Fezzik must save Buttercup from the fiendish Humperdink. The turn being that Westley is dead essentially in body yet still has his mind to contend with the evil Prince. This leaves Elwes to physically play the part of dead weight physically, along with few hilarious moments of wailing anguish, while maintaining that brimming confidence in his eyes and expert delivery. Again it creates this fantastic combination between both making fun of this sort of hero, while also wholly being such a hero all the same. It plays with the idea brilliantly as Elwes is indeed both playing with the ideas of the romantic swashbuckler, yet never disregarding them. He's flopping around like a dead body, but still exuding that charisma of a proper a hero. The best moment of this being when he directly confronts Humperdink without drawing blood. Elwes is sitting the whole time yet his persuasive eyes, and assured manner as he describes the "pain" he will bring to Elwes grants such a conviction. When he finally lifts himself to deliver the most dramatic "Drop your sword" moment, in that moment Elwes truly is the magnificent hero, and wholly earns the moment both as a fully earnest one, but also convincing in terms of Westley's victory. Of course he's also hilarious in his near collapse a moment after that victory, which in a single scene shows how wonderful this performance is. Elwes is perfectly cast, however his work goes beyond that. His performance walks this tightrope without fail to make Westley both an essential comedic element in the subversion of a high fantasy, but also purely realizing that fantasy for all its worth.

Saturday, 10 November 2018

Alternate Best Actor 1987: Martin Short in Innerspace

Martin Short did not receive an Oscar nomination for portraying Jack Putter in Innerspace.

Innerspace is an enjoyable comedic adventure about a pilot shrunk down into a tiny machine who happens to end up in the body of a random nervous man. The two then work together to try to save each other from corporate espionage.

Martin Short is someone I'd describe as very funny, however his film work is more typically within the frame of limited vaudevillian style turns as cartoonish side characters. Innerspace is a notable departure of sorts, in that he is the comedic foil to are more traditional leading man in Dennis Quaid's test pilot Lt. Tuck Pendleton. Although the film is a comedy, the role actually is a bit more dramatic than one might expect from a quick glance at the synopsis. A part of this comes from Short's performance which is rather well tempered within the film. In that he does not make Jack this over the top figure in the film, in fact one could easily argue Quaid's Tuck is far more overt. Instead Short's performance seeks to make Jack a proper average, well more of a proper average nervous schmoe I suppose. That is in the opening of the film we see Jack just dealing with his life of normal store employee, which is perhaps even more than he can take. Short though is delight though in the role in he allows his natural comedic timing to be evident, but actually plays the anxiety of the character we an earnest conviction. There is a particular hilarious moment early where Jack has his own "man behind Winkies" moment involving a customer with miniature gun, where a nightmare becomes reality. Short's great in this scene as his little breaths, and darting expressions, are so well placed in each moments, yet he is also convincing in showing this poor man having a bit of nervous breakdown.

That is of course are basis for the character with what Short runs with once Jack gets involved with the plot, by being injected with Quaid's micronaut as a last resort. Here we get a most unusual duo between Short, and Quaid as the man in a tiny ship within his body. We have though the two men one hard drinker braggart, and Short's Jack. Short is terrific in finding this effortless balance in the role though in creating comedy within these interactions of fear at his situation, while also making it easy to genuinely empathize with Jack in his predicament. One the initial shock wears off though we get the two's interplay which is simply wonderful. Short is great in creating this slowly growing sense of curiosity in his reactions to Quaid, though always underlined with a proper degree of fear that takes a very long time to let up. They go beyond that though as they even develop a certain level of warmth in their interactions that creates a genuine friendship. These are just small, yet pivotal moments in their performances where they both just bring the right humanity to this bizarre situation. This is of course also is bolstered by Short's realization of the concept through his physical performance. Short is a proper hoot throughout the film in mastery every little awkward physical tic that becomes a series of comical reflections of what is going on Jack's outside as Tuck messes with his insides.

Short's performance is something that helps this film stand out, particularly as he makes such a most unusual lead for an action picture, even one with a great deal of comedy. A lot of this comedy comes with the unlikely hero, which is welcomed though as any typical action scene is a touch different with Short at the center of it. One scene in particular involving a high speed chase with a truck, and a convertible, we get the typical thrills of such a scene though with far more laughs granted by Short presenting a man in the scene who should never be. His scared witless reactions at every point are comic gold and give the action scenes something unique they would probably lack otherwise. Now we also get something surprising though in Short's overall performance that is also far more dynamic that you'd expect. This comes in Short's portrayal of Jack needing to essentially be Tuck to save the day. Short wholly earns the gradual transition of scenes in creating this brewing confidence. He never leans too much one way, and is particularly good in capturing this certain thrill in his eyes as he shows Jack getting caught up in the adventure. This highlight of this idea though is in Jack's relationship with Tuck's former girlfriend as well as investigative reporter Lydia Maxwell (Meg Ryan), that forms a most unusual love triangle. We get some classic Short fits and starts in their initial interactions, however Short is fantastic in creating the growth in a clear affection for his "co-pilot's" love. Short manages to naturally build this to a moment that is the highlight of his performance for me, even though it is a purely dramatic one. That is when Jack insists on wholly taking over the situation and talking to Lydia alone. Short is honestly incredible in the scene in he brings such a sweetness to the romantic moment, and even shows this strength within Jack's modest nature in the moment. Short delivers such an earnest scene that makes this transition to a more confident man natural by showing it to almost reveal itself through the strengths of his former weaknesses. The arc of the character is earned by Short's work which never hand waves it, or just plays it for laughs. He captures so much more with Jack and in turn makes the film so much richer for it. It is a marvelous turn from Short as he creates a more fully realized character by balancing the comedy with a surprising degree of depth within the man's journey. 

Monday, 5 November 2018

Alternate Best Actor 1987: Gaspard Manesse in Au Revoir Les Enfants

Gaspard Manesse did not receive an Oscar nomination for portraying Julien Quentin in Au Revoir Les Enfants.

Au Revoir Les Enfants is an effective film following a schoolboy in Nazi occupied France during World War II.

 In 1987 there were three films that featured the child's perspective during World War II, obviously I just reviewed Christian Bale as the British boy in Japanese occupied China in Empire of the Sun, then there was a British boy in the blitz in John Boorman's Hope and Glory, and then finally we have Louis Malle's semi-autobiographical here. Although all three feature that perspective the latter two have a more distant approach in terms of how the central performance is utilized. Of course this does not speak to the quality of the films, I believe the latter two films to be superior than Spielberg's film. The two though are not strictly of innocence breaking rather the idea of innocence is reflected in the boy's interactions with their situation. This is what we have here in Gaspard Manesse as the schoolboy simply attending a catholic boarding school. There is a bit of fear but even this is portrayed in a pretty low key way by Manesse as Julien says goodbye to his mother. Not in an underwhelming way mind you, Manesse delivers it as the slight hesitations of a well adjusted boy, and it isn't anything that one would need to dwell upon.

The film then is mostly of Julien attending his school. Now far more is going on around it with the Nazi soldiers prowling around, an anti-Jewish sentiment being pervasive in some, the priest principal at the head of the school seeming as though the weight of the world on his shoulders and one fellow school boy who just doesn't seem to quite fit in. In the middle of this is Julien who isn't blissfully ignorant, but rather Manesse's portrays the ignorance of a boy not really at an age where that would press unto his mind. Manesse's performance rather realizes the state of Julien as simply a boy who wants to do well in school and perhaps make a few friends. This eventually is the boy who doesn't quite fit in named Jean. Manesse's portrayal of interactions with the boy though is that of boy's being boys. That being a bit of jealousy at first, at his mutual academic performance, that slowly transforms into camaraderie and friendship. None of this is particularly intense in nature, nor should it be, rather both young actors just realize the friendship of two boys as though they were of any time. There are hints of the boy's situation of course, and this is perhaps where Manesse's greatest challenge in terms of his performance is realized.

This being in Julien's slow realization that the boy Jean is in fact Jewish and is being hidden to escape persecution by the Nazis. Manesse manages to handle this largely in reactionary moments throughout the film. This being in granting a particular focus to certain moments where Jean's background is questioned. Again though Manesse's handling of these moments is still just a boy who is quietly discovering something, not of some investigator of any sort. Julien is not in some quest of any kind he's just a friend to the boy, and exists in a world of just trying to live his life. Eventually the Nazis do come for the Jews being hidden in the school, and Julien accidentally telegraphs Jean's location. This is a good moment as played by Manesse as just a most genuine fear of a boy for his friend. He handles the whole "purging" sequence well by conveying the growing anxiety in the boy with this certain sense of disbelief as though his whole world is crashing down. This too is reserved, though effectively so, as Julien is not the one being arrested, and he really can't do much about it. Manesse's depiction is that of a nearly being petrified which is an honest portrayal given that Julien is not any more than just a boy who hasn't experienced much hardship in his life. Manesse's performance is still rather moving in its final moments of portraying the overwhelming sadness in the boy as he watches those being taken away. Manesse's whole performance is one that works well for the film however it is limited. It is distant, though detached, as this straight forward representation of a young student simply living a young's student life, until suddenly the horrible outside world tears that simplicity from him.

Saturday, 3 November 2018

Alternate Best Actor 1987: Christian Bale in Empire of the Sun

Christian Bale did not receive an Oscar nomination for portraying Jamie "Jim" Graham in Empire of the Sun.

Empire of the Sun is a somewhat curious attempt by Steven Spielberg into straight drama as his love of adventure and whimsy seems to muddle his intention of a loss of innocence through the story of a English boy in Japanese occupied China during World War II. The film is not without merit, however.

One of those merits is perhaps in the partial discovery of the talented Christian Bale. Obviously an actor who went onto acclaim in adulthood through his intense portrayals with a particularly extreme physical commitment to his roles. It is interesting then to look at Bale here who we see in the early scenes of the film as a soft spoiled school boy blissfully unaware in initially British controlled China. Although Bale is playing a bit of a brat this strangely enough is probably one of his most charismatic performances. He manages to not become excessively petulant in the portrayal of the character's attitude. Instead he makes it rather a natural curiosity within the character that includes seeing what he can "abuse" within his power he has in his initial privilege. Bale though establishes it well though with a more sympathetic child like wonder in the boy as he watches the culture around him, and becomes fascinated by aircraft. Bale brings the right specifically childlike wonder that sets up Jamie as very much interested in what surrounds him even if initially detached from it.

The film shifts itself quickly when the war directly hits China and Jamie is soon disposed from his world of luxury. He is separated from his parents and left to fend for himself within the war torn setting. Bale is excellent in these scenes in capturing the less focused intensity of the fear of the boy as he goes around looking for help. To the point he goes to a random self-centered ex-patriot named Basie (a kind of a miscast John Malkovich), whom he immediately looks up to. Bale plays this fascination with Basie well making the boy's loyalty to the obviously morally questionable man believable. He makes that fascination just so earnest and even heartfelt showing this innocence in his attitude suggesting the boy just simply must believe the man will help him. Of course the two quickly end up in a prison camp, and Basie nearly leaves Jim behind when they are about to be transferred to an internment camp. Bale has a great moment where he begs and pleas to go with him. Bale makes properly so messy of just this boy breaking down. He is decidedly not calculated in this which allows the moment to find the right naturalism as he shows it to still be Jamie as a boy just pleading for help from his new "father".

In the internment camp is where the problems in tone really arrive as Spielberg can't decide what film he is trying to tell with a strange mix of scenes. Spielberg himself seems to innocent to allow the innocence to go. In that we get Jamie, now Jim far more worldly as he survives in the camp. He only goes so far with this though still keeping it a boy playing a game of survival more than maturing to a survivalist. Bale's performance frankly conveys the themes little better as he fashions those softer side to bring a more inherent intensity, and even toughness in his portrayal. He brings a confidence within the tempering of emotions that effectively shows the boy beginning to understand the world he exists in. The film though shifts this with still those moments of wonderment in his moments of scrounging, and anything involving planes in the war. In these moments Jim is still fascinated by them, in nearly a childlike way, but with that greater intensity. The message Spielberg is trying to imply is perhaps a touch too vague, but Bale's portrayal of Jim's sincere devotion to aviation almost as a religion is remarkable. The passion is only more intense now, and Bale carries these moments to the point that they do have power even when their purpose is somewhat questionable. Is the idea that he's using these to hide his anguish, the film kind tries this but doesn't really pull off the idea very well. This is not a knock against Bale's work though as his moment of fully breaking down after a moment of jubilation is brilliantly performed. Again he excels in making it feel so authentic in the moment of Jim's painful realization of what he's lost, as this emotional turmoil, though the film fails to fully utilize this properly.

The film's ending is a particularly muddled element as Spielberg refuses to "grow up" despite wanting to tell a story of the loss of innocence. We see this through the whiplash in his direction that leaves Bale in a bit of strange place as Jim. In that we will have one scene of extreme horror in the sudden shooting of a young Japanese man that Jim desperately tries to resuscitate. Extremely well performed by Bale as he captures something childlike in his manic delivery that has this painful hope in it, wishing it like a child would. We then will get a strange moment of whimsy when he uncovers Basie's scrounged supplies and uses the old internment camp as a pseudo playground. The scene posits Jim fully as just a boy, and is out of place. There is nothing wrong with the way Bale captures the excitement however it is not natural by design. Spielberg kind of wants to make Come and See, but seems to timid to commit to the proposition. This becomes far more evident in the final scene which switches again where we meet Jim in an orphanage. There the loss of innocence is shown and Bale is terrific in bringing the intensity in thousand yard stare, almost an indicator of the nature of his future performances. Bale does capture that loss of that innocence of the boy's curiosity, however the power of that is lost because Spielberg frankly bungles it. None of this is Bale's fault, as he gives a very good performance here that actually illustrates the central conceit better than the film does, to the point the film gets kind of in the way of his performance.

Sunday, 28 October 2018

Alternate Best Actor 1987: Joe Mantegna in House of Games

Joe Mantegna did not receive an Oscar nomination for portraying Mike in House of Games.

House of Games I found to be David Mamet's best film, that I've seen, despite being his first film benefiting from a more focused narrative than some of his later efforts.

Mamet mainstay, both on stage on screen, Joe Mantegna naturally is there for the first foray into the cinematic form. A film that follows a subject matter, that being the world of con artists, that seems more fitting to sort of Mamet's mametese style of dialogue. The film explores the world of con artists through the curiosity of a doctor Margaret Ford (Lindsay Crouse) who initially comes upon the world in the belief she is helping one of her patients. Joe Mantegna appears as one of the first connections to the world seemingly as a gambler willing to help her patient wipe away a debt if she helps him play poker. Mantegna is of course a fine fit for such part fitting right into the underworld setting. Mantegna's performance though is interesting in it essentially him playing with the idea of just what type of criminal his Mike is throughout the film. At first we meet him seemingly as shady, but seemingly affable enough gambler. Mantegna captures a generalized sorta tough guy well enough that it becomes believable enough as he reveals a bit of seeming vulnerability in trying to get Margaret to help him win at poker. I will say this probably Mantegna's weakest scene as it is in general somewhat stilted, though this perhaps to show the artifice of the situation since the whole thing is revealed to be a con to try to scam Margaret.

She catches on though but rather than turning them into the police she becomes intrigued by the con men particularly Mantegna's Mike. Mantegna switches his performance accordingly to be a particularly amiable con man. Here Mantegna excels in bringing a real charm to his performance in expressing this outward warmth with an underlying attraction towards Margaret. He is particularly effective in creating the intrigue of the con by overlaying with this considerable charisma. Mantegna speaks with an energy and magnetism of a man trying not only to woo the woman but also to welcome her into the world. His whole manner delivers this eagerness to show off though in a way that captures her intrigue. Mantegna and Crouse share an earnestly sweet chemistry together even as they speak of essentially cheating other people. That mutual attraction is well realized though specifically created in the foundations of that sort of danger involving the con. Mantegna though seems to remain consistent as really her "man" even as they go along towards a more dangerous con that she invites her into. Mantegna plays these moments though with an earnest concern always towards her, almost a little too impassioned in her support to the point where one might question the loyalty based on just how selfless it appears.

The violent con ends up being yet just another con at Margaret's expense, a long con to get her money, and in this Mantegna segues towards his final turn as Mike, the real Mike. Mantegna here makes for a real proper jerk now just showing a completely callous criminal who is neither dangerous nor intriguing. Mantegna instead does well by just staying true to the nasty nature of the con and presents a man just without any scruples. Mantegna takes the approach that is pretty cold though effectively so in showing just how brutal the nature of the con is. This is as he shows not a hint of a hidden real affection showing quite bluntly instead that the Mike of all previously scenes was merely the con artist playing the part to rope her in. This made all the more evident in the final confrontation which is perhaps Mantegna's best scene. Mantegna doesn't beat around the bush brandishing the indifference of Mike right to her face with this venomous disregard in every line delivery. He leaves no moment for sentiment revealing just a small pathetic man behind all his false charm that really was just a mask. This is revealed all the more when she one ups him by resorting to violence for satisfaction. Mantegna is very good in revealing a genuine desperation while still keeping the man's vile nature intact as he captures a man clearly fearing for his life though with a pride that prevents him begging for it. It's a terrific moment as Mantegna reveals the little rat that was Mike all along. Now this though does create a structure for the character that keeps a distant type, rather than real man for much of the film. Nonetheless this is a good performance by Joe Mantegna even within that certain restriction.

Thursday, 25 October 2018

Alternate Best Actor 1987: Terry O'Quinn in The Stepfather

Terry O'Quinn did not receive an Oscar nomination, despite being nominated for an Independent Spirit Award, for portraying Jerry Blake or is it Henry Morrison or is it Bill Hodgkins, well maybe you should just call him the titular Stepfather.

The Stepfather is a pretty schlocky horror film, but there is a reason I'm writing about it.

That reason should be evident enough as we have an example of a talented then relatively unknown actor in Terry O'Quinn picking up a leading role in what is a film without any higher ambitions. O'Quinn though is perhaps operating on some alternate level seeking to give this film all he's worth, even if the film itself isn't worth a lot with its often ridiculous plot, stilted dialogue, and downright hilarious choices in terms of the use of score. O'Quinn's performance is well worth watching on every front. Now on one end there is the idea of creating a proper "monster" for the film and in this sense O'Quinn is brilliant. On the main surface we have his Jerry Blake the new family man seeking to ingratiate himself as a proper stepfather. O'Quinn plays this side with a father knows best sort of voice that is just wonderful with the artifice in just how "perfect" he makes it. O'Quinn's delivery is just primed with this level of sweetness as he woos his new wife Susan, and tries to make good with his skeptical stepdaughter Stephanie. O'Quinn's whole demeanor is just of this super guy in every way, a friend to everyone with his welcoming smile, and cheerful attitude that extends both to his family and all of his customers a realtor. O'Quinn makes Jerry just everything he should be as a great friend to all especially this new family of his.

Of course from the outset of the film we know this is a thin veneer as in the opening of the film where "Jerry" cleans himself up, and marches out of a home having massacred all within. O'Quinn is great in this wholly silent scene actually by how he performs the moment. As we see the man literally naked, but also metaphorically so as he builds up his new "stepfather" after disposing of the old. O'Quinn brings the appropriate intensity within his eyes fitting for a killer yet is especially chilling by the way he so methodically plays each moment of the scene. O'Quinn brings this devotion to his performance that is what actually delivers something far more eerie to the scene. He doesn't play it so callously as though it is nothing at all for the man to do this. O'Quinn rather makes it almost this ritual in the palatable emotional undercurrent of he brings to the transformation as he shows the man remaking himself. O'Quinn fully embodies this almost as this religious experience as he goes from this demented psychopath who "reforms" himself in this state of calm as he becomes a new man.

The film then gets into its plot which is rather dull and often repetitive. O'Quinn though is consistently compelling in the role of the family who occasionally descends into a madness when alone or killing someone. Again O'Quinn is fantastic in both sides and his portrayal of the mental breakdown scenes are particularly marvelous. They would be easy moments to go way over the top with but O'Quinn delivers towards these extremes without going too far. His performance rather matches the sheer mania of it all in his way of speaking the nonsense of a man who is essentially is of multiple minds going at once. He brings this force to the mania that is chilling, but never does he become ridiculous in this approach. O'Quinn tries, and does not wholly fail to bring some depth to the character through even when he's saddled with some rather awful lines. This is especially the case in the third act when he becomes the slasher killer, and is given some one liners like "Next time Jim, Call before you drop by" after literally dropping the man by killing him. O'Quinn deserves all the credit for not becoming altogether goofy even when saying goofy things. He speaks even those words with a real conviction, and sells them as the film desires even if it isn't best for what it seems like he trying to do with the rest of his performance. That being an attempt an actual examination of the demented psyche of the man. O'Quinn is excellent in these moments where he grants more than silliness to the central idea of this man longing for a family. In a moment where we see him watching another happy father, O'Quinn is genuinely moving in granting such an honest need in "Jerry's" eyes as he looks to the thing he wants most but cannot have. His conviction to this idea even comes through in the stupid finale in his final lines. O'Quinn's last line of "I love you" to the stepdaughter who has just stabbed in the heart, is again of one of earnest need rather than a glib statement. The film isn't anything more than you'd expect it to be, but Terry O'Quinn gives a terrific performance far beyond what you'd expect in such a film. And I will give credit to the general critical examination of the film at the time for recognizing his work even when most, properly, bemoaned the film. He seems to derive everything can from the role to a give far more complete portrait of this psychopath than the film devised or even desired.

Monday, 22 October 2018

Alternate Best Actor 1987

And the Nominees Were Not:

Cary Elwes in The Princess Bride

Joe Mantegna in House of Games

Richard E. Grant in Withnail and I

Steve Martin in Roxanne

Gaspard Manesse in Au Revoir Les Enfants

Predict those five, these five or both.

Mickey Rourke in Angel Heart

Terry O'Quinn in The Stepfather

Klaus Kinski in Cobra Verde

Martin Short in Innerspace

Christian Bale in Empire of the Sun