Saturday 18 April 2020

Alternate Best Supporting Actor 1978: Yaphet Kotto in Blue Collar

Yaphet Kotto did not receive an Oscar nomination for portraying Smokey James in Blue Collar.

The underrated Yaphet Kotto is always a welcome presence to any film that he shows up in. Unfortunately too often not the most well used performer throughout his career, and sadly just probably hit at the wrong time in terms of properly breaking out. Nonetheless here in Blue Collar, Kotto has a chance to shine, and doesn't waste it. Kotto playing one of the co-workers of the family men Zeke (Richard Pryor) and Jerry (Harvey Keitel), which his Smokey is not. As I mentioned in my review of Pryor, at the beginning of the film we get a real sense of the mutual plight but also the camaraderie between the men, even in the early scenes that play more towards a low key comedy. This in initially just portraying the frustration of the others. Kotto offering the mutual sense of sort low brow fun with them, though he offers a slightly different presence as a man with a bit more sketchy of a past. This is even though in the portrayal of initial frustrations, there is this slightly more stoic manner to Kotto, of perhaps someone with either a bit more wisdom, or at  least acceptance towards their current situation. Kotto's work balances though the comic with the dramatic, as well as known comic performer Pryor there. In fact Kotto has notable ease with Pryor that is worth noting, particularly when the two debate the attractiveness of a woman, and Kotto's comic timing is on par with Pryor, as he speaks with no shame his disregard for Zeke's praises of the woman. Kotto is endearing though as he describes an earlier incident of accidentally confronting a cop, where he balances the sense of humor of someone telling a good story. When Zeke mentions that Smokey also kills someone though, Kotto's change in manner in the moment is fantastic, and his easy, yet very textured way of saying "I never killed nobody". Kotto delivering an insistence almost not to be factored as a certain sort, however leaving an ambiguity within it suggesting in the quite the striking fashion the past of Smokey in just a few minutes of screentime.

Kotto's work is terrific in portraying someone who is in almost the same situation as the other guys, but there's a sense in his work of a slightly different perspective. This as even when the other men are more bluntly complaining about their existence, Kotto exudes an empathy to this, but also this blunt lack of surprise regarding it all. Kotto showing a man who has less in a way, but also has seen worse in a way. In this sense his urging then to steal from the corrupt union, it is with this glint in his eyes of a man just saying "why not". Kotto though is particularly great at finding a way in it by showing a man who is in the whole situation of it for the ride of it. This granting a sense of experience of the man with a shadier past, but also as someone with nothing to lose. Kotto accentuating this though as granting the man almost a certain insight that the others lack, or are afraid to speak. This when in their robbery they discovery evidence of corruption, Kotto depicts once again so well, by expressing a distinct lack of shock regarding the news. Kotto is amazing in the moment where he lays out the situation for the other two men directly. Kotto's philosophical speech about keeping people in their roles, is so artfully performed, as he brings such a real power, through how quietly actually he delivers it. This with just saying it as a man who is aware of it as just as a truth. With this declaration though Smokey suggests blackmail, to at least help themselves, and though low key his eyes deliver an incisive determination at essentially a little revenge. The plan though doesn't work however as the corrupt forces intend to do whatever it takes to rid themselves of the "leak" so to speak. This resulting in plans to basically peacefully convince Zeke and Jerry, but knowing Smokey has nothing to lose, plan more violent means for him. This is something that initially it appears Smokey is ready for. Kotto bringing a sort of confidence initially when two men come to try to take threaten him initially. Kotto offering frankly a badass cool about Smokey, as a man seemingly primed for the situation. This with Kotto making the most out of his few "leading" moments, as he watches the two men, Kotto just tells the sense of knowing, topped off with a little joy from a man who doesn't mind making a few thugs suffer a bit as he lures them into the trap. Kotto's great as he confronts the two men with a raw intensity, as we really see probably the man who might've murdered someone, although here used a good cause technically. Kotto though is a force in the scene as he shows a man purely in his element, though as he asks specially who sent them, he offers a proper glint of desperation of a man who also knows he might be in a corner. That desperation foreshadowing Kotto's final scene, where Smokey is locked in a paint room at their car factory purposefully to die. It's a horrifying scene, and Kotto is essential in this. This as his performance amplifies the terror of the situation, by showing the progressive sense of unease and downright fear, as the situation becomes more dire. Kotto delivering a raw visceral quality to it, as makes you feel the oxygen just slipping from him in each moment of it. Kotto creating a brutal end to his character, both in terms of the present moment, but seeing the life slowly slip from the man he makes so vivid to us. Although Kotto has the least screentime of the central trio, and is technically the supporting member, he never any less important in a larger part due to his performance. Kotto finding the right place with his work both as part of the group, but also in terms of memorably accentuating what sets him apart. This making it so even though we don't see him in final frame, the re-use of one of his lines leaves a remarkable impression because Kotto left such a remarkable impression as well.

19 comments:

RatedRStar said...

Louis: Very underrated performer, you thought about seeing him in his only major award nominated performance in Raid on Entebbe as Idi Amin?

Calvin Law said...

Funny thing is this film starred three of perhaps the most underrated actors from that era in terms of raw talent. I hope Kotto gets more stuff to do in the future. Great performance and agreed on the use of his line.

Speaking of which Louis would you say Leguizamo is an actor who is more suited to naturalism? Because he actually does have a very engaging style when he’s just playing more ‘normal’ characters. And your thoughts on his confrontation scene with Alfie Allen and subsequent phone call in John Wick? I think that’s a great moment.

Calvin Law said...

Oh, just saw that he’s 80 now and hasn’t done anything since 2008. Alas.

Mitchell Murray said...

Haven't seen this one, and I'll admit the only film I've seen of Kottos is "Alien". That said, given his very strong work in that movie I really ought to check out more of the guys resume.

Louis Morgan said...

RatedRStar:

I intend to, although it may have had a theatrical release prior to its USA tv showing, so he may be fair game for that after all.

Calvin:

Most definitely, his best performances (Casualties of War, Son of Sam even John Wick) are all within more naturalistic characters. As much as I've derided much of his work, I actually would say a great performance from him could be possible, in a realistic character.

Love both of those moments, the first with Leguizamo's work being quite satisfying with just how unimpressed he is by Allen. I also love the small moment of looking away, where you can see the sort "Hit" of the situation dwell on him, once he's not facing them. Then the phone call is hilarious with just how quick it is, with his Aurelio providing the information as so matter of factly as though bullet pointing a disaster.

Bryan L. said...

Louis: Your thoughts on the direction and screenplay for The Deer Hunter?

Calvin Law said...

Louis: what are some good roles you could see Kotto in?

Anonymous said...

Louis: Your thoughts on the cinematography for Dolores Claiborne

Tahmeed Chowdhury said...

Louis: Would you consider reviewing Kotto/Hurt from Alien for 1979? If there's a lack of contenders, that is.

Louis Morgan said...

Bryan:

Michael Cimino's direction of the Deer Hunter is perhaps the most essential element to its success. Although this is all coming from someone who doesn't really field any of the Deer Hunter reservations, I love the film without reservation, as I even dig the entire wedding for example. One of the reasons for this is Cimino's direction which accentuates seeming to disparate elements, though that combine to make the film as powerful as it is. This is on one hand there is a strict vibrancy to the work, that puts us in every setting. Part of this is in Cimino's gradual pace, his choices with Zsigmond in creating a particularly lurid atmosphere of just feeling that you can touch any place they go to, giving the space to the performances to only ever being so real and even the sound design that accentuates environmental, and the real. I love it all, and in turn creates both intimate scenes between the friends as well as harrowing scenes within the war. Cimino is find so artfully combines that though with this clever lyrical touch that shouldn't fit with that realism, yet it does through the careful administration of it. These touches of it though only specific, like the hunting moments, that are beautifully rendered and act as highlights within the narrative rather than feeling antithetical to the rest of his direction. It also requires specific note, that the prison Russian Roulette scenes I'd say is one of the best directed moments ever, in terms of capturing the brilliance of De Niro and Walken in that scene, while making it so intense and emotional, without resorting to any obvious tricks.

Louis Morgan said...

Now the screenplay is where controversy more strongly relies, perhaps why Cimino and crew lost out to Coming Home (doesn't explain why Bergman lost but I digress), as it relates to Vietnam, which when I think critics focus so much on that element I'd argue they've entirely lost the point of it. Now it's true no one played Russian Roulette in Vietnamese prisons (not that that they were good places to be, e.g. true story Rescue Dawn), but the film isn't about the Vietnam war really, more so it's not a political film about the war, much like Apocalypse Now, the theatrical cut, the war is used far more representation of something entirely else, than the reality of the war. The point is, the war in The Deer Hunter could've been any war that took the men from their home, and would've served the same purpose. It isn't about how the Vietnam war changes them, it is about how war changes them. Alright with that out of the way, the screenplay is expansive, even beyond what we see on screen as Cimino's pared it down even from the expansive film we are left with. Smartly I say, though others would still argue not enough, though I disagree. It to excels there in creating such vivid characters in the working class group, both individually but also just a sense of each of these guys are with such detail, creating the intimacy needed before they are thrown into the hell of the war. The war itself being actually only briefly depicted even in the screenplay, again more important to thematically portray the wounds of it, as we see how each man is changed by it, and creating such a powerful portrait of what comes in placed where life and death becomes random. As such, I wouldn't say it is flawless, however given its expansive nature that isn't surprising, however the successes of the work far outweigh any missteps within its grand scope.

Calvin:

I mean you'd think he would've gotten more character work through the years, as he's always welcome.

Joe in Lucky of Course (Still would've loved a double Alien Reunion)
Fake Father (Bad Times At the El Royale)
Wilford
Major Marquis Warren
Fletcher

Anonymous:

Dolores Claiborne's cinematography is one that while not bad, I do think greatness could've been achieved. This in particularly making the eclipse more so a highlight, it's is fine as it is realized in the final film, but it is not something stunning that could've been realized. The rest are a lot of interesting enough ideas, partially realized to some effect. Never poorly realized mind you, it creates enough of an atmosphere with the lighting and the shots are composed well enough. The environment though and the pivotal moment, though seem like more could've been done potentially.

Tahmeed:

Possibly.

Bryan L. said...

I really like the wedding scene as well, more than I expected to. I think they could’ve even made it a little longer, but what’s already in the film is great.

Louis: Your cast for a 70s Free Fire? Peckinpah-directed of course, and speaking of, maybe Kotto for Martin?

Louis Morgan said...

Bryan:

I support Calvin's choices found here:

http://actoroscar.blogspot.com/2017/04/alternate-best-supporting-actor-1984_19.html

I feel Martin would be a bit of a waste of Kotto.

Anonymous said...

Louis what would be your top five in the screenplay categories and cinematography for 1978?

Louis Morgan said...

Anonymous:

Original:

1. Autumn Sonata
2. The Deer Hunter
3. The Shout
4. Interiors
5. Halloween

Adapted:

1. Watership Down
2. Blue Collar
3. Straight Time
4. Superman
5. The Silent Partner

Cinematography:

1. Days of Heaven
2. The Deer Hunter
3. The Driver
4. Halloween
5. Superman

Anonymous said...

Louis: Taking Johanssons’ 2019 work into account, who do you prefer more as an actress: her or Natalie Portman? And who would’ve you said was better *before* 2019?

Anonymous said...

Louis: your top 20 Jim broadbent acting moments

Mitchell Murray said...

So I just watched “Network” for the first time, and I thought it was quite good. The movie is very intriguing and well made, and the writing is its strongest element in my opinion. I wouldn’t say everything worked for me, though; The terrorist subplot never became all that effective, and the numerous monologues/shouting matches are a tad uneven in their execution. Those problems aside, however, I would still call it a strong film.

Finch - 5
Holden - 4.5
Dunaway - 3.5
Duvall - 4
Straight - 4
Beatty - 3

Louis Morgan said...

Anonymous:

Johansson easily even before 2019 however. This as Portman's heights of Leon and Jackie, are also basically the only times I like her performances. Whereas I did like work from Johansson before and at the very least, I found her at worst to be bland whereas, Portman I often find actively atrocious being far more detrimental to her films. That despite Portman's masterclass advertisement talking about finding the humanity, her typical work is labored artifice.

Anonymous:

1. His Inspiration - Topsy Turvy
2. Being confronted by the cast - Topsy Turvy
3. Speech - Le Week-End
4. He's not even from around HERE! - Hot Fuzz (Lion roar being an icy on the cake)
5. Cutting the song - Topsy Turvy
6. Lashing out at Iris - Iris
7. Meeting between Gilbert and Sullivan - Topsy Turvy
8. Escape - Cloud Atlas
9. She's ah....she's on - The Crying Game
10. I'm afraid you'll be coming with us - Hot Fuzz
11. Talking to the son - Le Week-End
12. After The funeral - Another Year
13. Phone Call - Cloud Atlas
14. Showing his new idea - Topsy Turvy
15. Bringing the Japanese to observe - Topsy Turvy
16. Collaborator laugh - Richard III
17. Won't get better - Iris
18. Getting to something - Filth
19. Ha haa - Moulin Rouge
20. Opening Night - Topsy Turvy

Actually had to leave several off, as Broadbent even in very small roles, usually has a memorable moment to his name.