Best Voice Over: Tony Jay in The Hunchback of Notre Dame, Michael Graham Cox in Watership Down and John Hurt & Christopher Benjamin in The Plague Dogs

Tony Jay did not receive an Oscar nomination for portraying Judge Claude Frollo in The Hunchback of Notre Dame.

The nature of a vocal performance is perhaps an under discussed performance art form, with rare the credit given to the accomplishment. This as the vocal turn must do something quite unique in garnering the life and emotion to the images, at its best past even what the often vibrant images entail. The nature of a Disney villain performance may be another form in itself as it is often the source of entertainment for their films. This finding the right combination of a lively menace and just an enjoyable enthusiasm towards evil. Well with that we have Tony Jay as the greatest Disney villain, have no hesitations in that statement, as Judge Claude Frollo. Jay's booming baritone voice was previously used in a minor villainous role in Beauty and the Beast, as the corrupt head of an insane asylum. His work initially is an expansion on this as we see in his introductory scene. Jay quite powerfully carries a menace with such remarkable ease, and even a strange grace that suggests an unquestioned authority. Jay's work though has nuance, even before we are even given more in the introduction of the film where he murders a woman, and almost kills her malformed child if not called upon his faith to stop him. This as his pondering on the future of the "creature" as he puts it, with a manipulative intrigue at the idea of potential. This expanded upon as we see the later years as is teaching the "creature" grown up in the secluded bell tower to be Quasimodo. This as Jay brings a gentler tone, as nearly genuine one, that is rather remarkable in creating an honest sense of manipulation and even close to warmth in his explanations to his strange ward of how he should stay hidden. I particular affection for his introduction to "Out There" as the counterpart to Quasimodo's hopes of the outside world against the fierce condemnation of it by Frollo. This is something that Jay speaks not as a broad evil, but a fearful teaching with a false concern of manipulation.

Now we are given the broader evil, however even this Jay's work leaves a striking impact in specific intensity. This as a careful rage that seems to define the man's hate of the other. Frollo's evil though has far more to it than many a Disney villain, who are usually born evil, connected to the character of the novel, who is actually even more complex, however still notable to see that all complexity was not lost in this technically kid minded version. This is as even at his most evil, Jay delivers this proper conviction of a true zealot feeling his crusade has some divine purpose despite it obviously being to the contrary. This being the calm in his evil so often. This though he undercuts so effectively though as we see Frollo at his worst, with this more emotional venom, alluding to less a servant a God, and more a weak man defined by his own personal demons. The greatest depth though comes within his kept fascination with Esmeralda, and the lust that entails. Jay is outstanding in delivering this element most notably through he all time great song "Hellfire". Jay's singing is already terrific, but his performance of the song goes beyond technical skill. It is amazing the complexity Jay finds in the delivery of just one song. This as he opens with the solemn delivery of a faithful man of prayer. This slowly segues into this brilliant mix of genuine fear of the thoughts, with a desperate need related to them, along with a vindictive hate towards the temptation all the same. The detail and intensity of the emotion is simply incredible, as Jay manages to find, through his voice, a rawness within Frollo's mental state that goes beyond a generalized evil. Jay's work is not just an excellent villainous turn, as much as it is that, as he grants depth even oddly enough a distinctly flawed humanity to the hypocrite.

Michael Graham Cox did not receive an Oscar nomination for portraying Bigwig in Watership Down.

The vocal "responsibility" of the films of Martin Rosen is a little bit different in a way, as the animals, while still expressive to a degree, are a little more realistically depicted than a Disney expectation. This requires than vocal turns that some how both fit this specific tone of frankly a harsher animated film, along with breathing life within the character beyond the animation, which here is purposefully more limited. The films manage to capture this tone though and the cast of both is an essential element of each. Watership Down being a brilliant film that is part horror film, part adventure film in the context of a group of rabbits somehow trying to survive. Despite some valiant efforts of John Hurt here as the crafty leader of the group Hazel, my favorite of the cast and character is that of Bigwig. A larger rabbit, original burrow enforcer, who joins the group. What I love about Cox's performance is beyond granting the needed life to the character, through such devoted work, which is throughout the cast. This being just about every vocal turn delivers the conviction of a drama rather than the broader approach usually found in animated films. The standard here though is that of bringing a strict humanity to the animal characters because the performers treat the material as a seriously as they would any real dramatic piece. This is the same for...

John Hurt who did not receive an Oscar nomination or Christopher Benjamin for portraying Snitter and Rowf respectively in The Plague Dogs.

The Plague Dogs, is the, somehow, darker followup to "Watership", honing in an even more desperate tale of two dogs, who had been brutally experimented on, trying to find some place to live in the English countryside. This is all while the government is trying to kill them. I'll admit The Plague Dogs, does tear one's heart out then show it to you before you die, more so than any animated film that I've seen. An essential part of this being the performances of John Hurt and Christopher Benjamin together. This is again in both grant a given humanity to the dogs, who again have a purposefully limited emotional expression compared to many an animated film, however never seems as such. This partly due to just how careful the animation is but also what Benjamin and Hurt bring through their performances. Each give a complimentary performance to the other that is brilliant in creating the dynamic between Snitter and Rowf. Snitter being this strange optimist against the pessimistic Rowf. Hurt delivering, even within this sense of anguish buried within every line that reflects Snitter's horrible life, there is this hopeful wistfulness that Hurt garners to it. This is against Benjamin's performance that has a more grizzled quality to begin with, and a more immediately heartbreaking quality. This as the very wear of the dog, who was experimented on with forced drownings, is within his more overt anguish that speaks to the burden the life has had on Rowf.

But back to Michael Graham Cox again, who I love in his realization of Bigwig's arc. This as his initial performance carries the sort of inherent strength you'd expect. His voice creating just the since of a force of the rabbit with a tough stiffness. This though with a bit lacking in emotion other than anger towards some of Hazel's decision. Cox suggesting this potential bully even in the sort of force of his voice, but also a sense of confidence as well. Cox suggests Bigwig as a figure to be feared, even as he is on Hazel's side, and the sense of strength in every word he speaks as the larger rabbit. This suddenly changes however as Bigwig is trapped in a snare, a gut wrenching scene if there was ever one, that Cox also adds to in his harrowing haggard voice as he whispers out of his lines of the dying Bigwig. Bigwig manages to survive, and Cox is excellent in creating the sense of change in the rabbit in both in terms of respect for his company as well as general care for others. Cox is terrific in portraying this greater urgency and sense of warmth in his words. There is still this sense of strength, particularly as he takes lead later on in taking on the villainous Rabbit General Woundwort. The sense of determination that Cox delivers creates a sense of real passion that makes Bigwig stand out as this true hero. Cox brings this forcefulness that is remarkable in his voice though as it is underlined by a real care concern of that hero, rather than the seeming bully he might've been mistaken for early on. I in particular adore his vocal work in the final fight with Woundwort, where he brings such powerful sense of righetous distaste and intensity in every word he utters in the fight. This making quite honestly Bigwig was a proper, for the lack of a better word, badass, even as a rabbit. The moment of this that is the greatest in Cox's work is as he seems cornered but refuses to leave the smaller rabbits at the General's mercy. Cox is amazing in his voice manages to capture such desperation, still a striking defiance, and charity all with the same words. It is excellent work and with the best vocal turns it is that ability to create such a fluid and complex emotions, while never seeing the performer's face that is so notable. 

Speaking of, Hurt and Benjamin are particularly unique, and I'm not sure the circumstances of their recordings, but there is a such strong dynamic the two form with their voices. This is as Hurt is no stranger to exasperation, however his hardened voice only keeping that as an underlying factor makes it all the more moving in his portrayal of the consistently optimistic Snitter dreaming of an island paradise and a hope for the future. This is against Benjamin's work that offers an as moving portrayal of the bent nature of the dog, as his voice evokes the years of hardship and the waning belief in any chance at a real life. The two together though craft a warmth in between the two as their words to each other evoke a friendship and concern. A differing concern for each mind you, however Hurt haunting disjointed optimism along with Benjamin's broken resignation creates such a poignancy in each dog, but most importantly their friendship. Hurt's delivery is fascinating as in the optimism there is this bit of an intensity, a randomness at times, alluding to a mind that technically isn't quite right. In Benjamin there is a contrast in a bluntness of despair, but also still a passionate wish for survival with his friend. The ending scene is perhaps the best work from each as the two create a role reversal as they attempt to swim away from the authorities intending to kill them both. In Hurt you have that underlying exasperation brings itself to the surface in his voice that creates this heart wrenching hysteria as his certain madness is noted by despair rather than hope, however this is against Benjamin's work now of encouragement. His encouragement though is as blunt as his former despair, though now pushing his friend to push on. Their consistency though now with a different philosophy in the end, is brilliantly realized by each actor who creates this incredible moment. This of the two keeping part of their nature but changing this outlook. Both John Hurt and Christopher Benjamin's work makes the film as hard to watch as it is, though only because it is as affecting as it is, as they grant not only humanity and personality to the dogs, but a real sense of kinship and love.

Alternate Best Actor 1982: Results

5. Albert Finney in Shoot the Moon - Although Finney can't escape some of the film's problems he still gives an effective portrait of a man facing a midlife crisis.

Best Scene: George connects with his eldest daughter.

4. Mel Gibson in The Year of Living Dangerously - Mel Gibson gives a charming leading turn that carries his film nicely well bringing the needed dramatic weight to some pivotal scenes.

Best Scene: After the execution.

3. Kurt Russell in The Thing - Russell is appropriately bad ass in the role but also still gives an effective depiction of the fears and paranoia of a man facing such a threat.

Best Scene: Making the tape.

2. Robert De Niro in The King of Comedy - De Niro creates an appropriately off putting yet fascinating depiction of a man desperate to live his dream as a celebrity.

Best Scene: Getting his audition tape back.

1. Richard Farnsworth in The Grey Fox - Good Prediction koook160. Richard Farnsworth once again brings such a effortless charm, perfectly fitting to the gentleman bandit, but here also effectively creates a striking darker edge to the character.

Best Scene: His farewell to Kate. 

Overall Rank:

1. Paul Newman in The Verdict
2. Richard Farnsworth in The Grey Fox
3. Robert De Niro in The King of Comedy
4. Ben Kingsley in Gandhi 
5. Jeremy Irons in Moonlighting
6. Kurt Russell in The Thing
7. John Hurt in The Plague Dogs
8. Christopher Benjamin in The Plague Dogs
9. Dustin Hoffman in Tootsie
10. Mel Gibson in The Year of Living Dangerously
11. Harrison Ford in Blade Runner
12. Peter O'Toole in My Favorite Year
13. Sylvester Stallone in First Blood 
14. Peter Ustinov in Evil Under the Sun
15. Henry Thomas in E.T. The Extra-Terrestrial  
16. Albert Finney in Shoot the Moon
17. Eddie Murphy in 48 Hours
18. Robin Williams in The World According to Garp
19. Jack Lemmon in Missing
20. Nick Nolte in 48 Hours
21. Jeff Bridges in Tron
22. William Shatner in Star Trek II: The Wraith of Khan
23. Henry Winkler in Night Shift
24. Robert Preston in Victor Victoria 
25. Charles Bronson in Death Wish II
26. Richard Gere in An Officer and A Gentleman
27. Tom Atkins in Halloween III: Season of the Witch
28. Albert Finney in Annie
29. Sylvester Stallone in Rocky III 
30. Robert Hays in Airplane II: The Sequel
31. Peter MacNicol in Sophie's Choice
32. Michael Caine in Deathtrap
33. Burt Reynolds in The Best Little Whorehouse in Texas
34. Arnold Schwarzenegger in Conan the Barbarian
35. Christopher Reeve in Deathtrap 
36. Mark Linn-Baker in My Favorite Year
37. Marc Singer in The Beastmaster
38. Maxwell Caulfield in Grease 2

Next Year: 1982 Supporting

Alternate Best Actor 1982: Albert Finney in Shoot the Moon

Albert Finney did not receive an Oscar nomination, despite being nominated for a BAFTA and a Golden Globe, for portraying George Dunlap in Shoot the Moon.

Shoot the Moon is a film about dissolution of a marriage. It seems like there is the potential for a good film in there, but has a problem with the scenes of involving serious marital strife.

Albert Finney plays the patriarch of the family involving four rather rowdy daughters who also is a successful author. Finney actually takes an effective approach in terms of the conception of George's problems. In the early scenes Finney is good in portraying the innate sadness in George as he just goes about the day to day interaction with his family. There is this quiet defeat about his manner as he expresses George's dismay at his life. Finney does not show a specific problem but rather does well to just convey the unease George has in dealing with his often misbehaving girls or his wife Faith (Diane Keaton). Finney portrays the detachment he has from them in the moment, and that there is an awkwardness he can't shake including the moment in which he attempts to tell a joke to his wife early on which feels like a horrible attempt to connect with her. What Finney continues to well is also in the portrayal of George's interactions with his mistress.

Finney does not show any great happiness when George is with his mistress either though, just a little less unease, he does not love her it is obvious it just is merely something he is doing to apparently alleviate the pain he feels in his home life. Finney does well to not portray George's affair as what he really wants either, but just more of a byproduct of the mid-life crisis he seems to be having. Finney is good in establishing this through his performance, and he even continues well enough in the early scenes, only the early scenes, where he is fighting with his wife. There is nothing sensible about the arguments exactly it is just raw emotion and give the fight the needed intensity. Finney also does allude to George's actual intentions when it seems Faith is moving on from him. In these moments Finney shows George as attaching himself actually for once. He loses that distance from the early scenes, as well as the ones with his mistress, and shows that George does still care about his family even though he does not seem to know how exactly express this.

Of course things also fall apart a bit as Alan Parker's direction becomes a bit bizarre to say the least. There is one scene that seems to have a great deal of potential where Faith's father is sick and George reveals that he very much cares about this. The one scene involving this though is so rushed feeling including Finney's performance which becomes manic in a second that it unfortunately amounts to very little. That is only the tip though as the film decides to depict any later fights within the family to be so over the top that they come across as unintentionally absurd. If they were meant to be absurd that is problematic since the film becomes quite serious before and after these sequences. For example when George goes off spanking his daughter, even with a wire hanger, that is done in a way that is unfortunately more oddly funny than harrowing, but right afterwards it becomes very somber when he tries to apologize. Even if these moments were suppose to be comic it makes no sense whatsoever. I'll give Finney credit in that he tries to give it his all, but he can't overcome the problematic nature of these scenes.

The film of course calms down outside of these scenes even acting like they never existed really. Finney is even quite great in the last act of the film when his eldest daughter comes to him for solace after a fight with her mother. Finney is very moving in the scene by showing the fatherly side of George to finally come out and in the moment the disconnect seems to break as we see that George finally seems to be comfortable with his family life. Everything almost seems to end well as Finney continues to express this sentiment in George as he speaks with his wife one more time, of course all this is thrown out the window with one more act of absurdity that the film decides to end on. Thankfully for the actors this is wholly action based so they don't need to get histrionics too much. Albert Finney's performance I actually do rather like for the most part as in terms of the overarching characterization Finney takes an effective approach. Unfortunately his performance lapses in to troublesome territory when the film does the same. Due to that this is most definitely imperfect work by Albert Finney but still more than decent performance on the whole.

Alternate Best Actor 1982: Robert De Niro in The King of Comedy

Robert De Niro did not receive an Oscar nomination, despite being nominated for a BAFTA, for portraying Rupert Pupkin in The King of Comedy.

The King of Comedy tells the story of a fame obsessed man stalking a successful comedian and talk show host. The film is technically a very odd mix up of such unpleasantness though with a comic streak at apparently the character's expense, although I'm not quite sure that the film really balances it quite right.

The King of Comedy marks the fifth collaboration between Martin Scorsese and Robert De Niro. Once again he plays a character who is purposefully unpleasant in nature, although he actually I think was suppose to pleasant in New York, New York but that's besides the point. Rupert Pupkin though is very different from the wannabe gangster Johnny Boy in Mean Streets, the taxi driver suffering likely from PTSD, or the jealous boxer Jake LaMotta in Raging Bull. In all of those cases De Niro technically was closer to his perceived image of the Italian tough guy. Rupert Pupkin though is not a tough guy in fact he's quite the opposite. It's interesting how there still is a strong physicality to his work, which is often what De Niro is noted for, in his physical manner as Rupert. There is a sense of desperation merely in the weak way he walks about and talks to people. When it is someone he wants to talk to someone De Niro almost seems to cling to that person, without touching them, while if Rupert is being told something he does not want to hear, by someone he really does not care about, De Niro effectively portrays Rupert as sort of withdrawing into himself.

Rupert Pupkin is a deranged man which is known from the start. Pupkin's oddity though is a bit different from say Travis Bickle who was in part damaged by the very real problems in the realities around him. Pupkin is rather a man who lives in his own reality, the film even takes detours where it depicts Rupert's daydreams, and De Niro is particularly good in establishing this idea with this performance. The way De Niro speaks is very off putting in that De Niro rarely expresses an attachment of the moment in Pupkin's manner of speaking. De Niro shows this well as Rupert always trying to be in his version of the reality that even when he is speaking to someone not of that reality De Niro still expresses Rupert in on a different wavelength than that person. There are times though where Rupert is forced into reality though due to the insistence of someone else. In these moments De Niro is especially good in portraying a volatility in Rupert. There's a quick and intense pain almost that De Niro portrays in these moments as though Rupert only suffers when he is forced to accept the truth of his situation, and wishes to snap himself back to his dream as soon as he possibly can.

De Niro often does do something quite interesting in his performance, conveying the intent of Rupert as a man, which is he often plays Rupert much like the comedian he stalks Jerry Langford (Jerry Lewis). Although Rupert wants Jerry to put him on his show, Rupert does not really want to work his way on the show or through the show, he just wants to be as famous Jerry instantly. De Niro presents Rupert often in terms of his walk, his smile, his whole manner like Jerry. Not Jerry as he clearly is as a man in his personal life, but obviously like Jerry just when he is in act of being the talk show host. De Niro one ups that showing that Rupert's whole act to be all too much for his own good. De Niro shows Rupert already in a way living his dream out, after all he often is in his dream, and really is already performing since in his mind the dream should only be a matter of time. De Niro is quite good at being grotesque. I'll admit this is one of his colder performances, and De Niro is hardly known for his fuzzy personality, but the reason it is so cold is because De Niro portrays the demented state of Rupert to make him have only tunnel vision. De Niro expresses the tunnel vision in Rupert, he's unable to see any reality except his distorted reality.

Now the awkwardness and discomfort of certain scenes is ramped up to probably eleven. Now I have to say this is particularly unpleasant viewing although that is clearly the intent. Which does not alleviate this is technically that De Niro is outstanding as Rupert because he realizes Rupert's insanity in a fashion that feels almost a bit too authentic at times. One great scene for this is when he receives fairly positive advice, although rejection, from Jerry's assistant. De Niro is terrific in the scene by conveying a searing aggression in De Niro as he questions the assistant's credentials. What is most notable about it though is how De Niro shows the way that Rupert refuses to really break his whole manner and just keeps trying to prod the assistant while keeping his pleasant demeanor. This only painfully continues though when they must call security to ask Rupert to leave, and again De Niro only extends the pressure through keeping something so problematic about a man who acts as though he's just an eager guy. The continued eventually does lead to a breaking point of sort when Rupert along with a female stalker of Jerry, Masha (played atrociously by Sandra Bernhard), kidnap Jerry in order to live their mutual dreams of celebrity. 

Rupert organizes his television debut which ends up being a moderate success. De Niro is technically great in this scene by just giving an average stand up comedy performance, not great, but decent enough for him to win over the audience. His stand up routine, as well as a dream involving a former school principal, show that Rupert's past seemed to have been rather troubled. Well De Niro never breaks the act though perhaps in part of the pathetic nature of the man there is a certain sadness in De Niro's portrayal even though he tries to cover that up with his whole act. The film is definitely not a truly refined piece as I don't think the film quite hits the right stride in terms of tone which is not helped by De Niro's overacting co-star. I must admit though I did find De Niro's performance consistently compelling even when some of the scenes did not quite work. In fact he's even occasionally rather funny, such as when he yells at his mother for interrupting his fantasies or when he fails to give Jerry proper cue cards. I don't think the film technically makes the most of the potential of Rupert Pupkin. De Niro is the one that makes that potential through the way he physically makes this sort of man, and realizes the mental state as absolutely unnerving yet still quite fascinating.

Alternate Best Actor 1982: Jeremy Irons in Moonlighting

Jeremy Irons did not receive an Oscar nomination for portraying Nowak in Moonlighting.

Moonlighting is an effective film about a group of Polish workers doing a job, for cheap labor, in England just before major unrest takes place in their home country.

This review was originally going to be for Mel Gibson in The Year of Living Dangerously, but after watching that film I change my mind. To be sure Gibson gives a solid performance in that film though I thought the most remarkable element of that film was Linda Hunt's Oscar winning performance. Gibson is properly charming, he's got interesting chemistry with Sigourney Weaver, and does certainly still bring the dramatic weight needed for the film particularly the film's final moments. I have no complaints, but Gallipoli was a more notable somewhat similar performance from him. So I decided to instead examine Jeremy Irons's performance here in Moonlighting. Irons has a rather interesting task to start in that he must play a Polish worker in England which seems like a miscasting as Irons must be a non-Englishman in England, and Jeremy Irons happens to be someone who one of those actors that happens to be a bit of a personification of the country comes from. Well surprisingly though Irons is able to overcome his innate Englishness.

Irons is particularly good in overcoming this first hurdle. He nicely uses a very understated accent that does not try to bring too much attention to itself while still muting his own accent enough to make Nowak's background believable. Irons interestingly kinda does a form of one man show that is a bit out of the ordinary. The reason it is out of the ordinary is there are plenty of other characters around the town house, at the store, and of course the other polish workers that he is the foreman to. These characters though are all unimportant really in that it is only Nowak that truly matters, and even the people that factor into his story don't exactly have a lot say. We first follow Nowak as he and his men go to England to try to complete the house in a few days with a very tight budget. Irons's performance is quite clever in the way he establishes Nowak as a person. He shows Nowak to be rather unassuming in terms of being in England as Irons is quite effective in portraying the unease and uncertainty of a foreigner who knows the language but not really the land.

What's so compelling about that though that Nowak is completely in command of the workers who do not speak English. Irons though does create the intriguing dynamic that Nowak has with his men. Irons does exude the needed sway in his performance as Nowak, although meek himself, somehow seems like a bastion of domination when around his men. Irons is brilliant in the subtle way that he just has the air of command in the scenes with the man. There is nothing obviously demanding about it, but the fact that he is in charge over them is oddly not in question despite Nowak's general nature. Irons is rather fascinating in the ease in which he establishes the odd way that Nowak controls the men. He is the one who sets up the time they work as well as makes sure they don't smoke and follow other rules, as well decides what food they should have, and even specifically gives out the coins for collection in church. Irons's great because he's not warm yet he's not cold either towards the men. It's a very unusual yet so remarkable as he establishes this very peculiar relationship he has with the men. 

Most of the film's lines come from Irons's narration which itself is somewhat atypical as Irons speaks the lines as though he is reading a journal of the events. Irons does well in this regard though as he reads it as though it's almost Nowak's personal report on his job, even though it extends into more personal matters as well. A sudden change in the job comes about though when comes turmoil in Poland. Nowak, to finish the job on time, takes some extreme measures such as not telling the men about it, even taking measures to hide it, as well as even going so far as to steal from the local market in order to keep the job in budget. Nowak ends up being a bit of a personification of the sort of government oversight in Poland at the time as he directs the men dispassionately though not in a purposefully antagonist or selfish fashion. Irons is terrific because he makes this whole idea seem natural to Nowak's personality as he portrays the perhaps somewhat absurd mindset of Nowak seem wholly logical to his manner. Irons does not play it as absurd but very natural creating the sort of man created through the system he has been living in.

Although Nowak is distant this is not a cold performance by Jeremy Irons. Irons is actually quite endearing and makes Nowak a likable lead, despite some of his actions, by bringing such genuine earnestness in what he does. There is not malice in his manner, even when stealing, Irons rather just shows Nowak as a man just doing his job the only way he sees fit. Irons also delivers some poignancy in his quiet portrayal of Nowak thinking about his troubled home as well as his love that is far out of reach in England. Irons is moving conveying that there is a honest concern in Nowak towards the problems in his country even though he does put the job as a priority over these problems. Irons manages to be completely convincing in portraying the weird state of Nowak. He is properly sympathetic as he never shows Nowak just to be some strange cog even though he is blunt in showing the problematic way Nowak views as how he must perform his duties. This memorable work by Jeremy Irons as he successfully carries the film and creates a rather clever depiction of the ways a man does not lose his country even when he leaves it.

Alternate Best Actor 1982: Kurt Russell in The Thing

Kurt Russell did not receive an Oscar nomination for portraying R.J. MacReady The Thing.

The Thing is an excellent horror film set at a scientific outpost in Antarctica that is invaded by a strange creature that takes the form of its devoured prey. 

The Thing marks Kurt Russell's second theatrical collaboration with director John Carpenter after the dystopian thriller Escape from New York. Kurt Russell once again seems pegged to portray the hero of the film, and to be sure MacReady is the maverick of the base as the helicopter pilot who has his own base. Russell does not just simply copy Snake Plissken who was the action hero who seemed to have some sort of problem with everyone. Russell's importantly adjusts his performance here because MacReady is not an action hero. In fact the first time we meet MacReady is when he is just casually drinking and loses at electronic chess to his computer opponent. Russell does not portray MacReady as some guy who's ready for action, but rather merely just kinda a tired guy doing a pretty standard job. You can feel MacReady's time on the isolated base just in Russell's eyes and his manner that time in a frost bitten land with only the same exact people to communicate with have certainly worn on MacReady.

The minutia of the life on the base though takes an odd turn when they discover some truly odd things after investigating two Norwegian men who died trying to kill a dog that ran to the American base. The film focuses at first on the men trying to make sense of the odd occurrence by visiting the desolated Norwegian base. Russell is perhaps the best of the actors in the film in terms of just simply portraying the reaction to the, at first eerie things he sees. Russell does some great work in just conveying the quiet unease in MacReady as he looks over the destruction of the base, and Russell very much grips the film in a reality as his reactions are only as such. Of course the signs stop when the alien itself rears its head in the form of a mutating dog that tries to infect the other dogs in the base's kettle. Well there was potential for the film to go into absurdest territory because although the visual effects are remarkable they're not exactly the most subtle depictions of a creature. Pretty much the entire cast does a fantastic job of grounding these scenes by simply playing the fear as how an normal person would react to seeing such things.

As the threat grows the men deal with the situation in different ways, and Russell is does well to create MacReady's dynamic with the other men. That being he does not have too much of one really. Russell creates a certain distance in the scenes together with the other men as Russell suggests not a hint of camaraderie. It is not that he is actively unlikable, but rather Russell portrays MacReady's attitude as that of the loner that keeps him from having no particular connection with the other men. Russell by having this certain coldness does well to set up MacReady as the leader for the crisis. This seems like an odd idea that the man who isolates himself further from the men to be the one in charge of the group, but it ends up making sense because MacReady's distance allows him to be the only one who can do what is needed. What is needed is a dispassionate view in terms of trust since MacReady does not trust anyone especially in particular he will not give anyone the benefit of the doubt. Russell is very convincing in creating the idea that MacReady's able to control the situation,  as much as he can, by giving such intensity to MacReady's individual will to survive.

Now because of that we are given a few moments where MacReady does kinda get to be the hero of the film since he is always the one taking down the alien after every trick that it pulls. Russell does not compromise his character at any point even though MacReady ends up being a bit of a bad ass, but hey he can't help it. Well in that respect Russell is best described as being sorta awesome in the role by bringing such conviction to certain lines of his such as "Now I'll show you what I already know" when referring the confidence he has in his blood test, or the determination in "We're not gettin' outta here alive. But neither is that Thing", and of course his line just before blowing up a massive version of the creature. Russell delivers them all with absolute precision yet he makes these moments come naturally from the character. They never feel out of place and fit the character he created. Russell as well though never lightens the situation in these moments though because it is not that of a relaxed cool in how MacReady deals with the monster, but rather Russell always still portrays a sense of desperation in the man.

Russell excels particularly well in portraying MacReady's physical and mental degradation throughout the film. Russell expresses well the decay in MacReady through the film since he never gets any sleep and is only worn away even more by the cold. Russell though is also particularly effective though in also depicting the growing paranoia in MacReady as well as his realization and acceptance of his death as long as it means the death of the creature. Russell is terrific by carefully growing the sense of distress in MacReady as the situation only becomes worse throughout the story. There is one scene where MacReady leaves a tape recording to warn any future visitors to the site. Russell infusing the scene with a surprising amount of poignancy by so honestly delivering the repressed fear and despair that is in MacReady. Russell gives a strong performance here as he manages to amplify the horror of the situation by only offering genuine responses to the creature. Russell nicely offers the mild comfort of the film by making MacReady a compelling lead, and always keeps the character of R.J. MacReady firmly as a resilient but still flawed man.

Alternate Best Actor 1982: Richard Farnsworth in The Grey Fox

Richard Farnsworth did not receive an Oscar nomination, despite being nominated for a Golden Globe, for portraying Bill Miner in The Grey Fox.

The Grey Fox is an effective low key film about the exploits of a former stage coach robber after he has been released from prison.

In The Grey Fox we first meet Bill Miner, known as the gentleman bandit, as he is being released from a long prison sentence. In the opening of the film Miner is man out of time as he now finds himself in the 20th century. Richard Farnsworth is great in one of his earliest scenes where Miner speaks with a man who is telling Miner all about the new inventions and breakthroughs that have been created since his time in prison. Farnsworth is great by portraying the sense of detachment and confusion as Miner can't help but be taken aback by all the developments that have occurred while he was on the inside. Farnsworth ends the scene especially well with his dead pan delivery as Miner informs the man that his trade happens to be robbing stage coaches. Farnsworth is quite moving in portraying Miner as he reconnects with his sister and begins just to try to comprehend what this new world is like. Farnsworth suggests the lost time for Miner in simply the quiet way he just can't quite see how much the world has changed after prison, after all it would be almost impossible to find any stagecoaches even to rob.

Miner simply has to go off trying to make his way, as Farnsworth sadly shows the man unable to find any comfort in the opportunities that present themselves to him. When Miner tells his sister that he has no place in the jobs she found for him, Farnsworth manages to not make it sound like a selfish foolishness, but merely the honest sentiment of a who's just not made for this new world. Things change suddenly for Miner though when he watches a film "The Great Train Robbery". Farnsworth is terrific in the scene by portraying the excitement in Miner as he watches the film, that seems more than just being simply interested in the film. There is something extra as in his eyes there is a strong overpowering sense of nostalgia as he seems to remembering his own days as a robber, as well as seems to know what it is he should do next. Miner proceeds to buy a pistol, one proper size fitting for an old time outlaw, and his return to his old life begins. As Miner enters this life Farnsworth is outstanding as he begins to reveal some of the man Miner was in the past, and he makes the transition out of his confused state a natural one.

Miner is not your typical bandit really as can be seen simply in his nickname the Gentleman Bandit. Well if you want someone to have an absolutely effortless charm look no further than Richard Farnsworth. I said it in my reviews of his two Oscar nominated performances, but it's worth saying again Farnsworth has such delightful and unique presence. This is perfectly fitting in creating the particular style of man that Miner is as well though. Farnsworth carries himself with such a natural grace that he just simply becomes the image of the well mannered outlaw. Farnsworth realizes the style so beautifully and when we see Miner in action Farnsworth shows Miner a man in his element. Any hint of confusion is gone as Farnsworth shows, even in the way he simply moves, that armed robbery simply is what Miner is good at. When he speaks about it Farnsworth is great by again being so blunt in the way that Miner treats it more of as his job than some sort of lark or even a get rich quick scheme. As he speaks about specialization is key to professionalism in robbery, Farnsworth speaks the words as an expert craftsman.

Farnsworth is always believable in the role and makes what could seem as a form of madness seem completely logical to the man that Bill Miner is. Farnsworth is just incredibly endearing here in portraying Miner as a man who refuses to be anything other than he is. He's a remarkable character to follow through his time as a robber, but also in the scenes where he's just living his life. During this time he encounters a passionate feminist photographer Katherine (Jackie Burroughs) who he begins a relationship with. The romance is played by both actors in a very reserved fashion yet there is such genuine sweetness involved with it. Their scenes together are not technically about the big romantic moments, but there is just such an honesty in the quiet comforts the two express for one another. When the law begins closing in on Miner he is forced to leave her for a time although he promises to try to meet up with her, I was a bit taken aback by just how hard the scene hit me because Farnsworth as well as Burroughs realize the unassuming love the two people have for each other.

Now saying Richard Farnsworth is likable in a role is pretty much a given, but what about the Bandit side of the Gentleman Bandit. Well Farnsworth is surprisingly good in infusing a darker side to the character of Bill Miner, after all he is an armed robber. There's a relatively early scene where Miner beats down a man, who was attempting to rob him, that is brilliantly performed by Farnsworth as he shows that even though he is a genial man in nature, Miner is still quite capable of the violence you might expect from a man in such a profession. This is also important in the robbery scenes where Farnsworth does play Miner as professional above all in the way he handles the "transaction" there still is the needed intensity in his manner. Although it is clear that Miner would rather not kill anyone, and perhaps he hasn't, but Farnsworth is excellent in still keeping the threat quite palatable. I particularly love the scene where he tries to dupe the local authorities, as again Farnsworth does not hold back in portraying the criminal side of Miner. In the way his eyes follow the man invetigating him every step, and you see him trying to calculate a way out of his situation. This complexity in Miner is never lost in this facet of Farnsworth nor in any aspect of the character. This is a charming, moving, funny, and even sometimes imposing depiction of Bill Miner by Richard Farnsworth. Richard Farnsworth gives a great performance by being absolutely convincing as well consistently fascinating in his portrait of this most unusual man.

Alternate Best Actor 1982

And the Nominees Were Not:

Richard Farnsworth in The Grey Fox

Robert De Niro in The King of Comedy

Kurt Russell in The Thing

Mel Gibson in The Year of Living Dangerously

Albert Finney in Shoot the Moon