James Caan did not receive an Oscar nomination for portraying Staff Sergeant Eddie Dohun in A Bridge Too Far.
Harrison Ford did not receive an Oscar nomination for portraying Han Solo in Star Wars.
Where Luke is on the well known hero's journey, Han is on the journey of the scoundrel's redemption that honestly is more dynamic in terms of the emotions, as Luke always wants to be a hero and just finds his path to be one, Han doesn't want to be a hero early on and in fact is doing everything for the money or survival. We get glimpses of this as he rides with Obi-wan and Luke, Ford playing strength in his maneuvers with the Millennium Falcon, though with just the slight flashes of hesitation even foolishness that makes Han capable with just a hint of haplessness. Ford balances beautifully because he is cool but he's also very human by in no way being perfect. The pivotal moment on the journey is perhaps the moment of Han doubting the force, because the way Ford delivers it isn't dumb ignorance, as it might've been with a worst take, there is rather this seasoned cynicism he presents as more so a protection for himself from needing to truly believe in anything. Which results in his reluctance when they end up in the Death Star, trying to find a method of escape, with Luke suggesting they rescue Princess Leia. Something that Ford again brings a lot to even in the dismissiveness, which again he makes it as human as possible in speaking of the dangers, not emphatically but rather as the easy way through life. Only being convinced by the potential reward, something Ford plays with easy humor that tiptoes on scoundrel yet still keeps him likable by making the lighting up of his eyes so very honest. And that's the first turn because within the action is where we basically get Harison Ford the star revealing himself as he joins Luke to rescue Leia. Which is that Ford isn't just one thing ever in these scenes. He is the man of action when he leads the charge in one moment or genuinely helps Luke in the fight. He also subverts that wonderfully when running away from that charge not cowardly but rather in a very relatable moment of the sudden reaction of realizing you've bitten off more than you can chew. My favorite moment in this sense being when he tries to hold off the Imperials from coming by putting on a slightly high pitched voice and hilariously in his attempt to make an excuse particularly his just perfectly misplaced "how are you?" followed by his moment of unease realizing that wasn't probably the best ruse. He also gets to be the great romantic bickering lead when they finally meet the not all that much impressed Leia. Something where Ford just picks up such natural chemistry where he runs with the comedic frustration that plays off Fisher ideally. Through the course of the action Solo in different moments takes charge, acts slightly foolish and argues, however what Ford does is create a natural investment in the moment to convince us of Solo finding some reason to care as he progresses. This is most evident as they run from the Death Star and fight off the pursuing Tie-Fighters, where Ford is completely in the moment, invested and even joyful along with Luke as they battle together. Naturally leading to some over cockiness from Solo which Ford does so well because the way he manages to play it is completely look foolish however in a way that actually makes you like Solo more even though he's being a bit of a dolt in the moment. Same goes for the following moment where he ponders if he could ever get to Leia as a self-doubting but hopeful question in Ford's delivery, which Luke immediately shuts down. Once more Ford actually allows himself to be uncool, yet by allowing that he doesn't cancel out the other cool moments, rather he just makes Solo much more endearing. Which leads to the finale of the film which in a way Ford has to do the most in terms of a character arc out of anyone in the film, even though the focal point is more so on Luke embracing the force, I'll say what goes on with Solo has become the far more emotionally impactful element of the film for me. Where the battle with the Death Star appears to be a last ditch, if potentially fatalistic effort against the Empire, Han decides to just take off because of that. The key to making this moment work is again Ford's way of describing it as a passive grasping onto the safety of the choices he's long held, with the easy sense of really the basic reality of a man who has long chosen the cynical path because it is the safter one. Ford's delivery of "May the force be with you" to Luke says it all, as his tone manages to convey Solo's self-doubt and shame about his choice, though with the shame being found in the sincerity of phrase towards Luke as someone on the edge of caring but not quite there. Contrasting that to his line to Chewbacca a moment later where his "I know what I'm doing", lacks any sincere albeit cynical conviction, it is someone who is finally wavering on such choices. These two separate but pivotal line deliveries, along with the gradual change of Solo manner throughout earning the climactic moment, and maybe the most powerful moment of the film for me now, Solo coming back in the key moment to knock Darth Vadar and his fighters off Luke, to enable Luke to make the Death Star killing shot. I love Ford's performance at the moment because this is now Han absolutely living his best life as he's caring about something, and helping his friend at the moment. The excitement he brings isn't just the joy of the moment but the joy of someone finding something to fight for as he delivers on Solo going from the scoundrel to the hero. Ford delivers a great performance, a star making performance, that also creates a truly iconic character at the same time, but is more than that. As Ford wholly earns the transition of Solo from the self-interested man to the money maker, but also just the in-scene moments from the cool hero, to the comedic fool, he makes it all easy, while also making the whole world so much more tangible. Ford doesn't play the role as a "sci-fi" role, he plays it the man of the Earth who just happens to be in a space adventure, providing the essential grounding to the series to help make it so much more than just another adventure film and into something that changed the entirety of the American cinematic landscape.
Maximilian Schell and James Coburn did not receive Oscar nominations for portraying Hauptmann Stransky and Feldwebel Rolf Steiner respectively in Cross of Iron.
Contrasting heavily with Schell's performance is James Coburn in the lead as Corporal Steiner eventually Sergeant who is the leader of a unit, on the frontlines and living the war in its purest form. Coburn's performance here is a testament to just how much accents really matter to a performance. Coburn here kind of tries the German accent at times but mostly just is doing his normal accent but this in no way diminishes what works about his performance. The first aspect being Coburn's grizzled presence which is one of the best cinematic uses of it in this film. He just has that immediate sense of the man defined by the way and just comes across with the unique power of his experience. Coburn owns the wear to an extent and in turn is just commanding as to be expected, though commanding with the sort of reluctance that naturally combines with his command that defines the character. Coburn is utilized most effectively to be the "Man's man" type character in Steiner who is constantly working hard on the battlefield but the power of this performance exists beyond that. In fact the power of his work is particularly the opposite of it, as such as early on where Steiner and Stransky first meet, where the men are coming back from a battle where they took an extremely young Russian prisoner. The scene is great work from both, as Schell states the order with a coarse conviction of expectation of a proper Nazi officer while Steiner emphatically denies the order, which Coburn delivers with a calm but powerful conviction. A great moment for Schell comes within even the cruel ordering of it as the way he brandishes the gun has this innate awkwardness to it as a man who probably hasn't fired nearly as many guns as he claims, and then just the visceral fear he portrays when a mortar goes off near him, which doesn't phase the battle hardened men, naturally emphasizes this contrasting point between the men. Now as good as Coburn is at playing the tough sergeant, the real strength of his performance is outside of that realm, even when he is with the young Russian prisoner. Coburn naturally brings this understated warmth to his performance where there is never a question that Steiner cares entirely about the safety of his men and the one thing he wants to do is ensure their survival.
One of Schell's best scenes is within the bunker of the unit where he spots one of the officers making a homosexual gesture towards another, and even Schell's performance of spotting the act is absolutely incredible. There is this predatory smile that appears on his face but also sudden potent intrigue to something he can make use of while maybe subtextually indicating something about Stransky himself. The following interrogation one has to think Tarantino and maybe as well Christoph Waltz might've taken into consideration when constructing the character of Hans Landa in Inglourious Basterds. Schell brings this same playing with tension not through overt menace but rather through playfulness. In this instance asking the two men about their knowledge of Southern France as some location for homosexual behavior. Asking with this jovial incisiveness as Schell asks as though Stransky himself is interested in a world without women as he interrogates the men, and maybe he is, but further Schell makes Stransky's methods imposing through the charismatic ease of his approach. The approach that in no way causes him to be any less menacing. As the unpredictability of it both creates menace and makes Schell absolutely fascinating to watch. Particularly as he jumps on one of the men's "agreement" with this maniacal nearly insane jubilation that he repeats and repeats each that Schell delivers with this increase of the tension, before cutting it through it with the direct and completely vicious declaration that the men would be killed for such behavior were he to become aware of it. The moment that again seems very much alike the opening scene of Basterds where Waltz executes a similar sudden switch so well realized.
The real power of Coburn's performance as Steiner is consistently the humanity of his performance despite in simple terms, and also in terms of his natural presence, that of the military "badass". But that's not the defining factor of the performance even if it is what makes Coburn's work special, because it is the vulnerability that he brings to the role. The vulnerability isn't something that Coburn gives away easily but yet still does he feel so generous in his performance. Quite the trick to pull off but one that Coburn does with ease here. Because Coburn isn't wearing his heart on his sleeve yet never is it in doubt which doesn't seem like it should make sense but Coburn rides the line in the ideal way. We see this in an pivotal moment where Steiner lets the Russian soldier go with this quiet encouragement that seems so much more encouraging by the hard Coburn bringing this sincere gentle moment of fatherly warmth to the boy. Something that makes the moment where the poor boy gets gunned down by his own side in cross fire almost instantly play directly into Coburn's eyes in his reaction. His reaction is tremendous because the horror is internalized by Coburn in a way that while he is still most certainly pained and shocked but there is almost this glint of expectation of the moment as though he's used to it, it doesn't make it truly any less painful for him. The moment leading to an attack and a severe head injury that leaves Steiner with his brief respite in hospital. Although I would probably say these scenes are the weakest in the film, though not bad, they do reveal the constricted state of Steiner importantly as a man completely lost in the hospital, in part due to his injury, but due to being away from his men he can protect. He is not the badass in these scenes, he's just an injured man and Coburn doesn't hide presenting the quality of being wholly lost. He lets his presence lessen from the expectation and presents again an unexpected yet potent vulnerability. This makes the moment where Steiner quickly jumps at the chance to go to the front line completely believable as for better and more likely worse, the Russian front is Steiner's home. Something we see bluntly in a later moment where one of his men is going through ptsd, and the "man's man" Coburn brings such nuanced vulnerability and empathy as he says with such warmth that the man will never be alone again. It is a truly poignant, if ont beautiful moment, that is tremendous because Coburn genuinely reveals this unexpected side of himself of an actor that makes the moment that much more potent.
The film's central conflict ends up between Stransky and Steiner though not in exactly the way you might expect. As Steiner is actually given a chance to get rid of Stransky by Brandt and Keisel early as they offer him the ability to refute Stransky's claims of heroism, to get his iron cross, and have Stransky punished. Steiner though refuses stating emphatically and even dismissively in Coburn's delivery that their conflict is a "personal matter". When Brandt and Keisel question this decision Steiner reprimands both them in a remarkable bit of performance where Coburn unleashes just a hint of the rage in Steiner as he speaks every word with such venom, noting that while the two officers are more enlightened than most they still represent the horrible regime he's stuck in. Coburn brings this specific passion, that is very much a 70's rebel moment, but stronger than many because of the intense reality of Coburn's performance and of course the fact that Steiner's words are so pointedly true. Back at the bunker near the front Stransky is very much the same though Steiner does confront him on the "why" regarding his ambition for the Iron Cross, presenting his own as a meaningless bit of metal. Schell's amazing in this moment because again he subverts the expectation of the moment however in a way that illuminates more to the "why" of Stransky even though he doesn't at all eliminate his villainy. Schell's delivery is frankly humble and even vulnerable as the Stransky from a Prussian aristocrat family admits he couldn't return home in such shame without such a medal. Schell doesn't suddenly make you care about Stransky but he potentially makes you see a greater depth to the man even if it is technically only further illustrating a flaw.
The conflict comes to a head as the Russians make an advance which despite getting orders to the contrary Stransky does not inform Steiner of the strategic retreat. A great moment again for Schell in for a moment you see the pettiness but still a loyal soldier as Schell brings so much begrudgement as he indicates to inform Steiner, only to contrast that as he rips out the phone which Schell plays perfectly as this instinctual pettiness. Leaving Steiner on the front line with his men trying to find a way through the Russian army to get back to safety with his men intact. Which again here Coburn brings so much of that ease as you see the man of specific action at every point, I especially think he excels in the sequence where they find a group of Russian military women, where Steiner keeps focus to the point of admonishing his men for any inappropriate behavior playing his character's blunt morality as direct and just without exception. Steiner using his cunning to make it back to the German line only for his own army to shoot at his men, based on a suggested order of Stransky to another officer, a moment again that is just delightfully diabolical in the way Schell shows every bit of the intelligence of Stransky not for heroism but for duplicity as he comes up with an excuse that Schell reasons out with the right combo of logic and delicious deceit. The shooting leads to a massacre of much of his unit to which the officer says it was all Stransky and not his fault, and you have the greatest moment in Coburn's performance. Where we return to that same sense of when the poor young Russian died, where you see him haunted by the notion of the loss, maddened by it as just the senseless however as the moment continues we see a ferocity growing a ferocity that isn't of pure rage, though it is that to, but true unrelenting heartbreak as we see the loss of each man in Coburn's eyes, until he unleashes his wrath on the officer. Steiner afterwards continues his advance to find Stransky just as the Russians are advancing, and it is a fantastic scene between both men. Coburn brings this disgust but almost mixed with a tempering strange pity as instead of killing him he will instead take him to the fighting to finally get his cross. Coburn tells him where the "Iron Crosses grow" as a fool's challenge to the fool. Again Schell who is so perfectly smug in the moment if considering killing Steiner, but then allowing the challenge. Something that Schell conveys all in just his face going from one potential idea, to then allowing himself to prove himself as a soldier to Steiner Schell's face filling with unearned bravado of a man who will absolutely fight for his Iron Cross. Leading to the film's finale, which honestly works because of Schell and Coburn selling its final message even in abruptness. As we get to a point where Stransky has run out of ammo and doesn't know how to reload revealing just the non-soldier he's been the whole time. Schell is the perfect incompetent suddenly in every bit of fear and honestly as a buffoon as he handles the gun like he's never held one and even is juggling around his helmet like a total dolt. A moment that perfectly summarizes Stansky in the moment, which is contrasted perfectly by Steiner/Coburn's reaction of just bursting out laughing, his laugh being a pure moment of absolute joy at seeing just how incompetent his opponent has been and to see him barely able to even stand properly. A laugh though that goes beyond that as Coburn's laugh is a laugh at the entire hypocritical world he's existed in as a proper capper as man seeing the nonsense of it all for what it is.
Next: 1986 Lead
