Saturday 27 June 2020

Alternate Best Supporting Actor 2014: Shia LaBeouf in Fury

Shia LaBeouf did not receive an Oscar nomination for portraying Technician fifth grade Boyd "Bible" Swan, tank gunner in Fury.

Fury, about a tank crew invading Europe during World War II, is one of David Ayer's few films I'd qualify as not terrible, though even this film suggests his many weaknesses as a filmmaker. This is overall as it is far less than the potential shown in certain elements through some underwhelming and outright bad performances, and some random silliness thrown in throughout.

Fury isn't a great war film, though David Ayer appears to think he's making one, the problem is his own faults as a writer and his ability with performances suggest otherwise. This is as Michael Pena and Jon Bernthal, as stereotype 1 and 2, are terrible as the hard-edged members of the tank crew, Logan Lerman is a bit underwhelming trying to do his best Jeremy Davies impersonation, and Brad Pitt, who I think I appreciated a little more on re-watch for his silent work, still is an actor who needs a great director to utilize his potential fully. Then there's Shia LaBeouf, who I've previously mentioned my change in perspective on for his work in Honey Boy so I won't go over this again, though that change began after seeing his work here. LaBeouf differs from most of the rest of the cast in that he seems to believe he's making a great war film.The thing is I think LaBeouf's role was as primed for a simplistic stereotype as on paper he's the "religious one" cliche that goes at least as far back as Boris Karloff in The Lost Patrol. LaBeouf's performance though refuses to be within such confines as he seeks to make a reality within the character of Bible. We have the opening scene where the men are reeling from a lost crew member and what LaBeouf will be doing in this role becomes evident. This as each of the men are reacting in different ways, Bible speaks towards the good graces of their existence as given by God. LaBeouf delivers these words with a fervor and conviction, but not a simplistic zealotry. There will be more towards this idea, but before that I think it essential to mention a different element just as the men go off to return to base. This as LaBeouf doesn't stay on the same note as some of his co-stars do. Although he carries within his eyes and manner, an inherent intensity that suggests the history of conflict the man has suffered, that isn't all there is to his performance.

LaBeouf excels here in finding the right balance in his work, even within crafting a more innately introverted spirit against the rest of the crew. We see this in the traveling scene though LaBeouf's work naturally segues to a bit of camaraderie as they laugh together and at Bible at more affably argues with Pitt's Wardaddy about his religious convictions. In these moments LaBeouf grants effectively the sense of the good with the bad of their experience. He shows that Bible has been through a lot, but also been through a lot with the men. He conveys in these more jovial moments the time spent with them granting a friendship even though Bible is probably the most insular of the men overall. The group is shaken up a bit with the introduction of the wet behind the ears former clerk Norman (Lerman), in which the stereotypes treat with hostility, and it seems Bible was probably written that way to do so as well. LaBeouf doesn't play it that way though rather his eyes dart towards Norman seemingly analyzing him, and even asking him if he's been "saved", he doesn't do it with the overt note this sort of fundamentalist approach is taken. LaBeouf takes it seriously within his performance asking the question as wholly genuine in the moment as it is to Bible, but again still doesn't solely define the moment. He too grants the sense of Bible taking in who this young soldier is, and what he will be within their crew. The actual battle scenes I'd say probably feature the best acting of the entire cast, and the few where anyone is really inline with LaBeouf. This is as largely everyone is "in the moment" and convey the visceral intensity of it. LaBeouf in particular excelling within the scenes, raising the tension of them by bringing the sort of hectic insanity, yet still controlled, needed in the battles.

One of the best acted sequences for LaBeouf comes as the crew arrive in the German town where most of the crew engages in pillages and some debauchery of different types. The stereotypes engaging in blunter prostitution situation, and LaBeouf carries such a power in his whole manner as he sits reading his Bible instead with the searing sense of judgement within his refusal to take part. At the same time Wardaddy has Norman take part in some higher class debauchery with some some German women in an apartment, though it might be even lower class, as it feels a bit like a Dennis Reynolds approved approach where Norman's dalliance with one of them seems perhaps a little too built upon the implication. Anyways though the stereotypes and eventually enter the apartment for a tense meal, where I have to say the scene became unintentionally hilarious for me due to the chasm between the performances. This is as Lerman and Pitt are playing the scene more akin to an action based war film like The Dirty Dozen, Pena and Bernthal, are doing something, hard to describe exactly that just seem to be completely directionless honestly, and then there's LaBeouf who granting the gravity to the scene as though he's in a film like Come and See. LaBeouf barely says anything in the scene but is amazing, even if in his own better movie, through his extremely piercing eyes. Within them conveying really all the harrowing anguish the man has been through seemingly in judgment as someone who refuses to imagine himself outside of their current situation through the sort of make believe of the meal with the women that they aren't at war. LaBeouf in the moment suggesting Bible on the brink of a complete breakdown as his work conveys a man that the act of escaping their situation seems to only make it all the more painful. This is where I can go back to LaBeouf's portrayal of Bible's religious conviction. This in as we see it LaBeouf emphasizes always in moments of something extremely harrowing happening and near death. The way LaBeouf speaks in these moments he brings a blind hope, and fittingly faith, in each word. This though in revealing Bible's manner as his religion as the only thing he can hold onto in order to allow him to cope with the insanity and death around him. Now for much of the film we see this at the distance of the way it separates Bible, however again we see the attempt at optimism in his voice and the near mania in his eyes of a man desperately holding onto it. The one scene where he connects this with the other men is when they are about to engage in a last stand, for some reason...really doesn't make much sense...I mean have it they needed to delay the SS for a particular reasons or something....anyways...LaBeouf is outstanding in this scene. This where he directly speaks his convictions to them through quoting a bible verse about a man taking the vanguard. LaBeouf speaks the words with such profound belief that he makes it a truly inspiring moment. In his eyes he grants the emotional anxiety of his upcoming demise, but also such poignant sense of the comfort the words still bring to him. This is a great performance, and the one that made me say, no I was wrong, LaBeouf did have potential after all, and here it is realized. Although even as written the film is a lot of caricatures, LaBeouf voids that making a honest and powerful portrait of a man broken by war, who goes about his trials through his faith. Is his work sometimes in scenes that aren't great? Yes, but in a way it makes his work all the more impressive as he delivers greatness even within much mediocrity. 

49 comments:

Luke Higham said...

If you told me pre-2014 that LaBeouf would have 2 5s by the end of the decade, I think you'd be smoking crack.

Louis: Any rating changes.

Calvin Law said...

If you’d told me when I started following this blog that Shia LaBeouf and Nicholas Hoult would have two 5’s apiece...

He deserves it though. Thinking more about it this could’ve been a masterpiece in the right hands. Also, Louis, LaBeouf for Jim Caviezel’s role in a modern day Thin Red Line eh?

Luke Higham said...

Calvin: Don't forget Pattinson.

Louis Morgan said...

Luke:

Moved Pitt up to a 3.5.

Calvin:

I could see it.

Bryan L. said...

Calvin: He already cast him as Witt actually, haha (http://actoroscar.blogspot.com/2020/02/alternate-best-actor-1934-harry-baur-in.html?m=1)

Bryan L. said...

Louis: Your past film roles for Labeouf?

Also, your thoughts on the cinematography for The King of Staten Island? I just found out yesterday that Robert Elswit lensed it.

Calvin Law said...

I’m also glad we agree on the problematic Dennis Reynolds-esque vibe of that scene. Quite frankly I think David Ayer should stay away from female characters because his treatment of them is...problematic at best.

Tahmeed Chowdhury said...

If anyone told me 4 years ago that LaBeouf would have the same number of 5's as Marlon Brando or Christian Bale.....

Never mind all that, this is indeed great work in an otherwise forgettable movie.

Matt Mustin said...

I honestly couldn't connect to him, but I'll admit it's probably because I thought the film was actually awful. I'll give him credit that he's selling all his moments, but he never reached greatness for me. I'd probably give him about a 4.

I agree about Pena and Bernthal, they're horrible.

Matt Mustin said...

That said, he did achieve greatness for me in Honey Boy, and I'll say I honestly did not know he was capable of that performance in any way.

Bryan L. said...

Louis: Also also, could Bill Burr go up to a 4? I think he might've actually been the MVP, although I did like the film overall a bit more than I was expecting.

Tahmeed Chowdhury said...

Louis: Could Crowe go up to a 4.5 for True History of the Kelly Gang? I thought he made a remarkable impact in the limited time that he has in the film.

Luke Higham said...

My top ten prediction (and other 4.5s)
1. Poulter
2. Simmons
3. Brolin
4. Ruffalo
5. LaBeouf
6. Norton
7. Schoenaerts
8. Galifianakis
9. Parks
10. Armitage
11. Hawke
12. Alcazar
13. Corden
14. Duvall

Mitchell Murray said...

Full disclosure: I still haven't watched this film in it's entirety, but I have seen the majority of Labeouf's moments, and they are striking in of themselves.

Also, I honestly had no idea this film was directed by Ayer, and if anything, that makes me more hesitant to see the entire movie.

Tahmeed Chowdhury said...

Louis: Would you be interested in watching Fleabag?

Emi Grant said...

I second Tahmeed's question. It's also a very short show. Like, under 10 hours kind of short, I believe.

Robert MacFarlane said...

One interesting point I saw on Twitter in regards to LeBeouf; Given his trajectory both personally and as an actor, it would actually be interesting to see him reprise his maligned Crystal Skull role in the upcoming Indiana Jones. Like, they may actually be able to do something to make it work this time.

Matt Mustin said...

Robert: The part would have to be much better written, but I wouldn't be against it now.

Louis Morgan said...

Bryan:

Well Witt...
Paulie (Pope of Greenwich Village)
Bennie (Bring Me the Head of Alfredo Garcia)

The cinematography of The King of Staten Island is probably one of the bigger wastes of Robert Elswit, however in a way it is still a gauge for his skill as a cinematography. This is as it is the best looking Apatow film by a good measure, who definitely isn't a visual filmmaker and doesn't give Elswit a lot to work with in terms of his designs for scenes. Elswit though does manage to find some remarkable shots in there, even though Apatow gives him little to explore. Overall it is good looking in a general sense of course, and occasionally he sneaks in something special, particularly in the ferry scene. Again not a great use of him, but his talent still is shown...which working with a visually weak filmmaker I think is one of the biggest tests for the true talent of a cinematographer.

Yes regarding Burr, who I'd say was easily MVP.

Tahmeed:

It is possible.

Possibly, I was looking for another comedy.

Anonymous said...

Louis: Thoughts on the cinematography of Dirty Harry and The Outlaw Josey Wales.

Anonymous said...

Louis: Have you watched any more TV since you've finished The Sopranos.

RatedRStar said...

Louis: Derry Girls!!!!! lol

Luke Higham said...

RatedRStar: Ian McElhinney is absolutely fantastic in Derry Girls.

Luke Higham said...

Louis: If you're looking for a comedy, why not Blackadder 2-4.

RatedRStar said...

Louis: Yes in terms of comedy, Blackadder and Derry Girls for the simple reason that they have a historical context that might intrigue you, Blackadder being set in a different time period for each series and Derry Girls being set during the troubled Irish period in the 1990s.

Luke: I really like the whole cast, in fact my favourite performance is probably Tommy Tiernan as the father who Ian constantly berates lol

Calvin Law said...

Either Fleabag or Blackadder are equally great choices from what I’ve seen, Fleabag is quicker to get done but Blackadder is iconic. Obviously to your own pace and schedule though.

Incidentally I watched Coming Home 2014, just thought I’d ask for your thoughts on the cinematography? It’s probably the least showy in that regard from Zhang Yimou I’ve seen but I really liked how it fit the style of the film. Agree about it meandering a bit towards the end though.

Luke Higham said...

RatedRStar: Agreed on Tiernan.

RatedRStar said...

About to watch The Personal History of David Copperfield, just want to clarify, what year are we classing it as? 2020?

Luke Higham said...

RatedRStar: 2020, Had it's UK release in January.

RatedRStar said...

Luke: Oh one more thing, I think its been answered already but I can't remember, are we classing Bad Education as a motion picture as opposed to a TV movie? I only ask this because it is being campaigned as a TV movie at the Emmys.

Luke Higham said...

RatedRStar: Louis is accepting it due to the streaming rule currently in place.

Luke Higham said...

Also, it did turn up at Toronto last year.

Anonymous said...

I'd recommend Blackadder the most out of those 3.

Luke Higham said...

I want Louis to watch Blackadder even more so now, especially in the run-up to Laurie's review.

Anonymous said...

Luke, from what's been seen so far, who do you think will get fives.

Luke Higham said...

Anonymous:
Jackman
Lindo (Louis said his character was extremely well-developed which certainly goes in his favour)
Hoult

Luke Higham said...

I'm predicting 4.5s for Patel & Laurie (Their scenes together were my favourite from the film), MacKay and maybe a surprise 4.5 for Whishaw (A very strong 4 is more likely).

Luke Higham said...

Same for Dennehy as well. Whoever else Louis saved are 4s.

Anonymous said...

Luke what's your super early prediction for Louis's lead and supporting actor wins this year?

Luke Higham said...

Anonymous: You're killing me here. :)

With the way things are going right now.
For Supporting, I'll say Hoult but we should keep an eye out for Kenneth Branagh in Tenet, Cillian Murphy in A Quiet Place II or a cast member from The French Dispatch.

For Lead, I'll go with Lindo. The rest of the year is very uncertain right now.

Anonymous said...

Luke, what about Gary Oldman in Mank?

Luke Higham said...

The only other possible 5s in Lead I could see happen from films that will definitely be out this year are Benicio Del Toro in The French Dispatch and Gary Oldman in Mank.

Luke Higham said...

Anonymous: Until I see a trailer for it, I'm sticking with Lindo.

Luke Higham said...

I won't rule out the Tenet guys either but there's so much uncertainty about its release date.

Anonymous said...

I think Hopkins in The Father has a great chance

Luke Higham said...

Okay, I forgot Hopkins but once again, sticking with Delroy.

Lucas Saavedra said...

Louis: do you plan on watching 2014's version of Madame Bovary?

Louis Morgan said...

Anonymous:

Dirty Harry's cinematography by Bruce Surtees I'd say is probably the best sort of version of what was the standard modern look for a film. This is as Surtees follows those basic guidelines that borders on a TV look, but does the most with it. This in part just through some dynamic framing, whether it be the focus/blur of Scorpio's gun, or just the way it zooms from Harry's gun in the bank robbery. When at night he gets to work with a bit more in sort of natural noir, in some brilliant moments, mainly the stadium interrogation or Harry against the Golden Gate bridge that are some fantastic touches. Basically the best version of the basic approach of the time.

Seems like Eastwood might've recognized the potential there in working with him as director with Outlaw Josey Wales which is brilliant work by Surtees. This is as he captures the needed grandeur of the west with some impressively composed and framed shots. He goes further though in offering a distinct look of these shots that emphasizes often a certain desolation without ever resorting to be ugly. This usually through just keeping empty space in the wide shots that creates this feeling brilliantly. Add on top of that the interior work that is something of a brilliant noir, particularly the final lighting on John Vernon, it's a spectacular achievement.

Lucas:

No probably not. I've tried to refocus on films that are considered by at least someone to be good, or at least there's an element praised within it. I don't see either of those things for that adaptation.

Louis Morgan said...

Anonymous:

Olive Kitteridge