Alternate Best Actor 2003: Results

5. Alex Frost in Elephant - Frost does a lot of important walking while looking bored, then becomes an overt psychopath in the last few seconds of the film.

Best Scene: The special act of walking. 

4. Rémy Girard in The Barbarian Invasions - Girard's performance is often fairly one note as this stubborn and dying intellectual. He plays the role most often in an excessively broad way, as a caricature of a fussy intellectual. When he tones it down a bit he's fairly effective but such moments are rare.

Best Scene: Leaving his classroom.

3. Ivan Dobronravov in The Return - Dobronravov gives an appropriately raw portrayal of the mess of emotions of a boy when his absentee father suddenly appears.

Best Scene: Ivan "conquers" the tower.

2. Daniel Brühl in Goodbye, Lenin! - Brühl gives a charming and delightful portrayal that manages to make his character's most unusual actions not only believable but also deeply affecting. 

Best Scene: Meeting his father.

1. Billy Bob Thornton in Bad Santa - Good predictions Michael McCarthy, Tahmeed, Luke, RatedRStar, Jackiboyz, and Omar. Thornton gives a great performance as he manages to be absolutely hilarious by in no way softening the edges of his very crude criminal yet his approach also manages to earn the character's transition to a better man by the end of the film.

 Best Scene: "For God's sake it's Christmas"

Updated Overall

Next Year: 2003 Supporting

Alternate Best Actor 2003: Robert Duvall in Open Range

Robert Duvall did not receive an Oscar nomination for portraying Boss Spearman in Open Range.

Open Range, despite a slow start, I found to be a pretty strong western about a cattleman and his hired hand facing off against a ruthless land baron.

Well I was originally going to review Rémy Girard in The Barbarian Invasions but since that film is so assured of its own brilliance what use is there even to review it or one of its performances? I'd rather review Robert Duvall in this film. It's actually interesting that, despite seeming a perfect fit, Duvall mostly only really appeared in westerns as villains and that was before his breakout. After his break out his only major performance in a western was in the television miniseries Lonesome Dove, that was until this film perhaps that is why Kevin Costner was supposedly so adamant in casting Duvall in the role. It was really the perfect choice as Duvall seems as natural to the western setting as the rolling hills and the vast plains. From the opening scene Duvall just is this old time cattleman. Duvall carries that striking presence from the outset as he does not need to say much of anything just to exude a man of the time, and place. Duvall though takes this given even further though as he creates a powerful figure as he looks over his men, and his cattle, a man whose power isn't defined so much by strength rather something far more important. 

Duvall in the early scenes as he works his men including the troubled former gunfighter Charley Waite (Costner), the gentle giant Mose (Abraham Benrubi) and the young Button (Diego Luna), Duvall projects himself as a father to the men. Duvall portrays the strength of Spearman very much coming from his respect he grants to his men, which they return to them, even when he is telling them to do something Duvall brings an inherent warmth in his delivery though still with an unquestioned command. Duvalll is essential as he creates the sense of the real camaraderie between the four men before tragedy befalls them when they come into contact with the town of Harmonville. An early fight eventually devolves into all four men being attacked by the men hired by a local land baron Baxter (Michael Gambon) which leaves Mose dead and Button in critical condition. Duvall excels in these scenes as usual as he is able to convey Spearman's distress so effectively without ever becoming overly emotional. In just a few moments and couple subtle reactions Duvall reveals Spearman's pain over his men's treatment but fitting to a man of his place in the old west. Duvall shows a man who has felt many losses over the years, but he knows how to deal with it though this still never leaves him ever truly detached in those quiet moments of sorrow.

The rest of the film proceeds to follow Spearman and Charley as they attempt to find justice for their friends. Duvall is great in an early confrontation between Spearman and Baxter. Again Duvall is excellent in the way he can offer such an emotional power to a moment without even raising his voice. Duvall offers though such conviction in every word in the confrontation, but pivotal to the character there is always this definite sense of righteousness due to Duvall's performance. When he demands action against those who committed the crimes he does not portray a violent anger, but rather this assured desire for justice to be done. Of course the lawman in town are corrupt and working for Baxter and have no desire to turn themselves in. This leaves Charley and Spearman to deliver their justice themselves by attempting to take on all the remaining corrupt men in town. They are given a brief respite due to a rainstorm which leaves the two time to try to prepare for the next day. In this time the two attempt to recruit others and something I love about Duvall's work is the way he sets Spearman apart from Charley, whose accustom to vendettas, by just how cordial he stays. Duvall in doing so though provides this inspiration of sorts as when he asks others to fight against Baxter, there is something so encouraging in his kindhearted in his manner as he asks everyone to merely do the right thing.

Duvall's work here is so good in just how unassuming yet effective he is in every moment. He creates such a power with such ease, and grace that feels so fitting to Boss Spearman as a character. There is a great scene where Spearman speaks about his long lost family and Duvall again plays it close to the chest yet in his slight smile with just a hint of sadness in the eyes conveys just all those memories that still truly mean so much to him. This gives a later moment all the stronger impact, which is when Spearman tells Charley to give a proper goodbye to the local doctor's sister who holds an obvious attraction to Charley. Again Duvall makes the most of so little offering such poignancy in his stern yet encouraging delivery of the moment. Another scene that is essential to Duvall is as they prepare for the showdown they drop by at the store to buy what are potential final gifts for themselves. There's something so wonderful about how honest and earnest Duvall portrays Spearman as he goes about buying and tasting the finest chocolate the shop has. It basically classic Duvall in a way. Duvall is able to portray the simplicity of the joy of the moment but with that still conveys the idea that it might be his final treat within the way he seems to hold directly onto the joy.

One of my favorite moments though actually is just before the battle where Spearman and Charley tell each other their full names. Duvall is hilarious in portraying Spearman's embarrassment and genuine fear of sorts when he reveals his real first name is Bluebonnet. Although the greater fear at his name being let out, rather than death may seem odd it only seems natural to the character due to Duvall's vivid realization of the man. In the final action scene Duvall never is lost in the scene and still makes an impact in a few very important moments. Duvall throughout the sequence does well actually to show Spearman as less comfortable Charley in the attack, but only in terms of portraying some aversion to the violence though he still conveys that conviction to his code in every moment of it. Duvall keeps Spearman as the purely good figure though in an honest way right to when he prevents Charley from killing one of the wounded men, and brings the needed passion in once again revealing Spearman's devotion to his code. Now this is a performance that you'd expect to be great since it is Robert Duvall in a western, nevertheless it is a great performance no matter what. Duvall's work is a testament to his considerable talent as lives up to every expectation one would have of the man in such a role.  

Alternate Best Actor 2003: Billy Bob Thornton in Bad Santa

Billy Bob Thornton did not receive an Oscar nomination, despite being nominated for a Golden Globe, for portraying Willie T. Soke in Bad Santa.

Bad Santa is a very enjoyable comedy about two criminals whose MO is to work as a store Santa Clause and his elf then ripoff the store's safe.

Billy Bob Thornton is an actor who technically was never defined by a single genre, as before and after his breakout in the drama Sling Blade, he's taken roles in any type film really. It is interesting to see him land on the fully lead role in a broad comedy, and his approach is distinctly Thornton. As with his performance in The Man Who Wasn't There, for much of this film the appeal of his work comes from the consistency of the exact approach he takes. In this case his approach is playing Willie Soke as a man who just does not give a crap. We see this from his first scene where Thornton portrays the minimal amount of effort as Willie performs his duties as a Santa Clause more than halfheartedly coughing out his question of what the kids want for Christmas before kicking them off his lap, while barely even staying in the seat through extreme slough as sitting up straight would seem to require too much of him. Thornton's approach is most fitting to a man who rather pee his pants then bother to go to the bathroom since that would just a be a little too hard for him.

Now as ridiculous of a character as Willie is right from the outset, a man who even when performing the crime itself puts as little effort into as possible spending more energy in finishing off his beer before starting the job, this may seem like Thornton will give a broad over the top comedic performance. Thornton does not do that instead giving a rather down to earth portrayal of this lout, though that is what makes this performance so funny. Thornton makes it so Willie does not need to act so out of place as a store Santa, he merely is completely not right in the part even for a moment. Thornton's hilarious here by staying so true to this approach which is to just be so pure in being Willie as this "scum of the earth". It is a little bit fascinating that in different context this would almost be a disturbing performance but given where he is and what he's doing it is instead comedic gold. Thornton just is this low down sort in everything and it is almost strange how funny he is in this by how he doesn't hold back. When he randomly breaks something because it just for whatever reason is bugging him at the wrong time Thornton goes all in with his anger, but since what he's usually beating up is say a plastic reindeer it is most amusing.

Thornton is consistent in his portrayal of Willie but he is in no way one note as he finds so many ways to reveal just how much of a slob the man is. This is in his general disdain for all things, but he undercuts this so comically with his rabid desires for drink and women which he will not stop seeking just because he's Santa such as with his lusty glances towards any woman whether she wants them or not. Thornton's great though with the complete lack of skill he presents in Willie's whole routine portraying him as a guy who is just going to do what he does and that seems to be it. The thing is though Thornton's approach to give technically a honest though hilarious performance is pivotal to his development of Willie. This being that even at his very worst Thornton portrays always a thick layer of self-loathing in everything that Willie does. When he's trying to have some of his fun it feels less of a thrill and more of some temporary reprieve from his horrible existence. Thornton shows his personality to be specifically toxic by how little joy he reveals Willie has in life and how real his hatred is which alludes to years of abuse even before he tells his story.

Now this performance is rather incredible as Thornton pulls off something quite remarkable even past just being so funny throughout, which is he ends up being kind of moving too. This comes in Willie's relationship with a strange little boy Thurman who Willie starts living with as the boy the lives alone with a senile grandmother in a very large home. Thornton's portrayal of Willie's relationship with the boy is technically where his arc lies, though again Thornton does this in a very specific way. Early on Thornton portrays a fascination with the weird boy that is again hilarious as he depicts in his reactions to the boy. Thornton reveals the wheels turning in Willie's head as he tries to decipher the boy who he can't quite understand yet does see any easy mark in whoever his guardian may be. It is in this relationship though where Thornton actually reveals something important about Willie in that Thornton only plays an overt maliciousness in Willie if someone tries to get in his way of doing what he wants to do, or attempts to call him on it. Although his common state is of a cantankerous misanthrope and he set off very easily Thornton suggests that Willie isn't all bad.

Thornton doesn't simplify Willie by making him this nice guy though, but instead reveals his less awful side by showing it to be the motivation for his awfulness for the most part. There is a genuine pain that Thornton brings in every horrible act to Willie and that sadness technically defines the man more than his slovenly behavior. Thornton's performance reflects this throughout and in doing so earns the change in Willie by the end of the film. The reason being Thornton doesn't make it this overt change in personality rather he just portrays it as Willie finally facing his self-loathing through Thurman who passes no judgements on anyone other than himself. When Thurman beats up on himself that is where Thornton is surprisingly moving yet he makes it work in his character as in his eyes he finds a man seeing a boy suffering his same sort of suffering as his own and not liking it. I love the moment where the Thurman gives Willie a gift as Thornton's performance is so perfect in realizing how this causes a change in Willie. It isn't a clean change of a bad man becoming a good man, but rather Thornton presents a man being forced to look at his sorrow directly since he can't lash out against someone who only ever showed him love. Of course this all sounds a little dramatic and the thing is Thornton stays consistently amusing even as he reveals the better Willie. A great moment near the end is a showdown with his thieving partners who intend on killing him, and Willie breaks down. Thornton does not portray this breakdown out of fear, but rather out of sentiment that they are missing the true meaning of Christmas. This should not make sense as even in this moment it's still pretty funny to see the rough Willie break down, but it is also affecting because Thornton's "dramatic" approach earns it. This is a fantastic performance because it gives you everything you expect you want out of the lead of "BAD SANTA" in terms of the comedy yet brings enough depth to this to allow a heartfelt discovery of the Christmas spirit though in the messy way fitting to Willie T. Soke.

Alternate Best Actor 2003: Daniel Brühl in Good Bye, Lenin!

Daniel Brühl did not receive an Oscar nomination for portraying Alexander Kerner in Good Bye, Lenin!.

Good Bye, Lenin! is a terrific film about a young man in East Germany taking most unorthodox measurse to protect his mother from experiencing a fatal shock after a coma caused her to be unconscious through the entire German unification.  

Daniel Brühl being a German actor obviously has played his share of Nazis as well as villains in his English language work, and even in his technically sympathetic roles he usually plays rather prickly sorts. It is quite a treat though to see him here in this role where he's not playing a Nazi, certainly not a villain, just a normal guy. Brühl's Alex in the opening scenes of the film is particularly normal young man living in East Germany though he does engage in just a bit of rebellion, the little that there can be against the totalitarian government. Really though Brühl's performance even suggests this is not as a major as it might seem portraying a far greater interest in running into a young woman also at the protest than in the protest itself. There is nothing questionable even in this though as Brühl brings a genuine unassuming charm to Alex, and in this early moment importantly shows his convictions in the moment where he is arrested and simultaneously his mother has her near fatal heart attack from the shock. Brühl is quite affecting in this moment in capturing the son's intense concern for his mother which is pivotal for the rest of the film.

Well that heart attack puts Alex's mother into a coma, which leaves her unaware of the German reunification which Alex and his sister Ariane fully embrace, though Alex continually visits his mother where he also finds that the young woman, Lara, he formerly met at the rally is one of her nurses. Brühl again is incredibly charming by offering such earnestness in both Alex's enthusiasm towards his new discoveries in Germany, but also in his constant concern for his mother. Eventually his mother does awaken but with Alex being given the warning that her next heart attack will probably be fatal. In order to avoid the great shock of the collapse of their old way of life Alex takes it upon himself to hide the German reunification from his mother. Now this is the central conceit to the film and Brühl's performance is essential to not making it feel ridiculous. Brühl makes it work by portraying Alex's devotion to his mother's health so honestly. Although he is lying to her Brühl's delivers these initial lies with only the utmost warmth, and gentle regard always emphasizing that Alex believes this is the only way to save his mother. 

The film then proceeds to reveal Alex's strange game where he takes many unorthodox methods to present everything that his mother sees as still being part of the old Germany. Brühl brings the right energy to the performance as he pulls you right into Alex's mission by making it such a sympathetic prospect. Brühl makes these such engaging scenes though because he reveals everything that comes with them. He has those moments where he is so endearing and encouraging in portraying this ingenuity in Alex as he tirelessly finds ways to create and refine the illusion. Brühl is never one note though in that even when he's in the process itself he does reflect the sort physical effort needed, as with each successive scene Brühl conveys Alex just wearing himself out a bit from it all. Furthermore though he also brings the real frustrations in his arguments with his sister over the illusion as he delivers his counters with that conviction that alludes to his motivation, even while it becomes harder and harder to keep it up his illusion. Meanwhile though I love those moments he has where Alex sees his mother happy, and Brühl so powerfully reaffirms that underlying motivation every time by presenting just the most genuine love towards his mother and happiness at seeing that she is still with him. 

Although his mother's world is crafted by Alex, Alex's own existence is not a constant outside of it. Now one positive aspect of this is in his relationship with Lara to where Brühl makes for a great low key romantic lead. These scenes are pretty modest yet offers the right sweetness to them, though with just the right reservations at times in the persistent argument over Alex's treatment for his mother. Another problem though appears in the form of Alex and Ariane's father who they can now technically reconnect with, as he disappeared to the west when they were children. Brühl has a great scene where he goes to see his father, who has started a new family. In the scene Alex's dialogue is fairly sparse but Brühl's eyes though say it all as they reflect the years of feeling abandoned. He presents this as a sorrow but not anger though suggesting Alex's willingness to potentially forgive the past particularly so that he can bring his father back to see his mother one last time. That moment though is simply the natural state of this wonderful performance by Daniel Brühl as he makes Alex such a likable but also believable lead. He's charming yes but he also offers the right convictions to allow the central conceit to work. He makes you empathize with the young man's plight throughout the film. It's terrific performance and I have to say I hope we'll be able to see this side of Brühl again sometime in the future.

Alternate Best Actor 2003: Ivan Dobronravov in The Return

Ivan Dobronravov did not receive an Oscar nomination for portraying Ivan in The Return.

The Return follows two young brothers on a strange trip with the intention to bond with their estranged father after a 12 year absence.

Ivan Dobronravov plays Ivan in the most creative naming of a character since Alex Frost as Alex in Elephant. The idea behind such a naming could be to reinforce a certain realism, as the actor should not be as detached from the character, or at least an idea of sort of hiding the acting. Well unlike that other performance from 2003 Dobronravov's performance seems to support this choice. Dobronravov was obviously a child when delivering this performance, and giving any reality to a character is one of the first indicators of a good child performer. There is not any precociousness here, as Dobronravov presents from his first a scene a kid in a fairly troubled situation. We see him early on with his brother, and his friends, or at the very least his peers as they play a game involving heights. Dobronravov is terrific in this opening scene since he realizes so effectively the distress of the situation. In first portraying the intense fear of a child's fear properly, as he breaks down physically in his reaction. Further Dobronravov afterwards captures that terribly shy embarrassment as he shows Ivan attempting to pull himself together, while only falling apart all the more when facing ridicule by those around him.
 
The film then cuts as Ivan and his brother Andrei return home after the incident. We are given just a few moments but Dobronravov and Vladimir Gari as Andrei both create the right inherent chemistry of two brothers who share a strong connection. There isn't a lot said in regards to the matter it is known through the performances as the two both reveal just that right sort of ease with each other, and certain comfort the two share when directly interacting with one another. Their time at home changes suddenly when their father suddenly reenters their lives and swiftly takes them on a strange trip. The central conflict begins through the separate reactions of the brothers. Gari's performance shows Andrei mainly going with the flow portraying an active attempt to become re-acquainted with their father, whereas Dobronravov establishes early on a hostility towards the man. Dobronravov's performance once again works by the sort of intensity only fitting to a child's particular reaction here. Dobronravov importantly creates the right lack of certainty in the emotional state, as he shows the distress that seems to stem from both his feelings of abandonment as they do from his feelings of not knowing how to feel about the situation.

Dobronravov gives a very stubborn performance that is quite effective in showing Ivan refusal to go along or in any way open up to his father. From the moment they set out in the car Dobronravov is consistent in portraying that raw anger of the son towards the father that has the right senselessness in a way, since again it is a kid dealing with this not an adult. As the film progresses though the father's behavior is random as he seems to try to fulfill every role of a father possible in a rapid succession. Dobronravov's performance is often reflexive towards this in portraying the growing confusion in Ivan towards his father's bizarre behavior. His performance does well though as he takes in these moments to gradually worsen Ivan's state as his underlying anger begins to also become confused with feelings of disbelief, paranoia, and even isolation as Ivan begins even losing his connection to his brother. This eventually leads to Ivan acting out in a call back to the opening scene involving a high tower. Dobronravov earns the breakdown as he makes it a powerful release of everything Ivan's been dealing with in a single act, that again is not refined moment of outrage, but rather as messy as it should be for a boy in his situation. This leads to a sudden tragedy and the film suddenly shifts as does Dobronravov's performance. What happens though makes sense for the swiftness of the shift and Dobronravov's fulfills the needed change. That being he shows similair confusion of emotion but now it is defined most strongly by sadness rather than anger, showing the boy still to be lost though now for a different reason. This is a good performance as Ivan Dobronravov realizes this difficult state of this boy through his strange situation offering the needed honesty to the specific drama.

Alternate Best Actor 2003: Russell Crowe in Master and Commander: The Far Side of the World

Russell Crowe did not receive an Oscar nomination, despite being nominated for a Golden Globe, for portraying Captain Jack Aubrey in Master and Commander: The Far Side of the World.

Master and Commander is a curious special joy for me as every time I watch the film I always somehow seem to forget just how good it is before watching the film again.

Now despite the film's great success with the Oscars overall it received no acting notices, Paul Bettany's snub being altogether mind boggling, but Crowe has seemingly been on the Oscar blacklist ever since his BAFTA altercation in 2002. Then again it may be that Crowe's performance is one that is easy to take for granted, I did that myself when I somehow failed to find him a spot in my alternate lineup, a lineup which included Tommy Wiseau. Why is that though? Well this performance is perhaps not what one might expect just hearing Russell Crowe playing a naval captain, but of course that's what makes this such a marvelous piece of work in all truth. One the great successes of Master and Commander is how vivid life on the ship feels. A great contributor to that is Russell Crowe as Captain Jack Aubrey which again just the idea of Crowe as a naval Captain would suggest maybe a more directly intense performance, that is not the case nor is that a problem. Jack Aubrey is of course not a Captain Bligh, or even a Captain Vere, he's a different sort of man, a better sort of man.

Crowe's performance here is atypical and almost the opposite of those performances in which he made his name such as The Insider, L.A. Confidential or Gladiator, where he portrayed a dark determination. There is determination but Crowe does not use it to define the man. What Crowe uses to define him is the idea of Aubrey as this Captain during the Napoleonic wars. Now what I mean by that is Crowe does not define his Captain as only a man of battles. We are introduced in an attack, a surprise attack where Crowe conveys the visceral quality of that moment but he does not dwell upon longer than the battle lasts. Crowe portrays Aubrey as being particularly attentive to what happened in the attack beyond that his French foe got the better of him. As Aubrey examines the ship and most importantly learns of the casualties among the crew there is an essential concern that Crowe brings to every step of Aubrey's duty. Crowe does not gloss over a moment of the process as he brings an needed devotion of a Captain who truly cares for his ship and every crew member aboard it although not in the same exact way though this is just part of the unassuming complexity of Crowe's work here.

Crowe of course brings the strong old school presence as usual, Crowe has the right awareness of that though here, in that his performance uses that knowledge to the point that he doesn't need to attempt to amplify it for Aubrey. Crowe's method here makes Aubrey particularly distinctive in the film and I love the way Crowe simply is in charge. There is no effort required, he is the Captain. This though again is not where it stops for Crowe's work though. He is not just the Captain for the duration of his appearance in the film, but rather Crowe's portrayal evokes the years on the ship. This is seen within basically everything that Crowe does onscreen. There is that ease he portrays in his surroundings as Crowe shows Aubrey move around the ship as it were his home on land. Crowe manages to capture this very exact sentimentalism of sorts just in the way he looks upon certain facets. Crowe brings what is a joy in the experience of being on the ship and enjoying what it is. Crowe importantly shows that Aubrey loves this experience of being Captain as well, which extends even further to his whole life which has been in the Navy. Crowe exhibits a man who owns the ship, but also shares it with all those within it as well.

There is his relationship with every member of his crew. The strongest focus of course being with Paul Bettany's Doctor Stephen Maturin, but more on that later. There is also his relationships with each of his officers each which vary through so strongly through Crowe's performance as he realizes Aubrey's relation with each man separately. With the very young Lord William Blakeney (Max Pirkins) Crowe reveals the utmost earnest warmth of a father, though with a distinct ounce of respect to one of his crew members. There is even his seemingly future Captains, of Lieutenant Pullings (James D'Arcy) and Midshipman Calamy (Max Benitz) where Crowe crafts a differentiation through his slight variation in manner to each. He offers each man the respect of a true comrade but there is a greater simplicity with Pulligns treating him as a man just about at his level whereas Crowe offers the manner of a teacher towards Calamy to aim him towards bettering himself as an officer. There is also the far more problematic relationship with Midshipman Hollom (Lee Ingleby). Crowe is brilliant in his direct interaction with Hollom, as he portrays the held in greater frustrations in the Captain over Hollom's inability to fulfill his duty. Crowe shows Aubrey hides though in an attempt to offer his encouragement in hopes the man will become a better officer.

Crowe is quite different yet so naturally so in his portrayal of Aubrey towards the crew. This is quite the fascinating juxtaposition actually as he very carefully offers similair sentiments but in a different way from the officers to the rest of the crew. Crowe does bring a warmth towards every member of the crew particularly in their successes but he does this with a certain distance. He offers a somewhat less personal delivery and manner. He doesn't become a machine but he does always set the Captain apart. This is an interesting trick which Crowe pulls off flawlessly as he delivers the praise in a more generalized way and even when he specifies it is of this greater commander rather than a friend. He sets himself apart so effectively as he shows the man who knows his duty needs this separation, but still a connection. Crowe creates that connection that makes the Captain more than just a man around the crew, in that he is this specific inspiration to them all. Crowe is outstanding as he captures a Aubrey as being successfully the legend of Lucky Jack when he commands his crew in pivotal moments whether it is saving the ship or preparing for a battle. Crowe's manner has this certain grandeur and undeniable charisma as his words carry such a rousing spirit to the point that you'd feel any man worth a salt would follow Aubrey into battle.

There is yet another side to Aubrey in his friendship with Doctor Maturin. Crowe and Bettany have the truly effortless chemistry of lifelong friends and there is a certain magic in just the slightest interaction such as the fun the two have together when playing strings together. Crowe though is terrific though showing a greater vulnerability in Aubrey in his scenes with Maturin, as in this he reveals the way Aubrey carefully extends himself for this most personal counsel. Crowe and Bettany show the men who see each other exactly as they are and even in their arguments there is always the underlying concern for one another. The two are great in the way they make this relationship so genuine that so much can be unsaid in terms of both performances. When Aubrey denies Maturin wish to explore the Galapagos islands, Crowe face remarks his own disappointment in not being able to help his friend even as he speaks the order to deny him, however later on as he states the order to grant the wish again Aubrey never says it's just for him yet there is such unconditional love in the more officially worded order. Both actors realize this relationship so well that you can predict exactly how they will interact with another given any situation because it feels that you just know who they are as friends.

Now Crowe manages the different sides to Aubrey with such a certain perfection in that he never depicts it as this purposeful method of the man, but rather how the man has come to be from his life in the Navy. He's learned how to be a proper Captain, and exactly what it takes. What is so remarkable is how every facet flows from one to next while always being the single man that is Captain Jack Aubrey. Crowe by achieving this amplifies so much of the film by how vivid he makes everything Aubrey is going through. This leads to such powerful moments through Crowe's performance even though the emphasis isn't always squarely on him given director Peter Weir's careful eye to not ignore any facet of the ship and those aboard. There is not a wasted second as you know who Aubrey is precisely through Crowe's portrayal of him. In a moment where  he makes sacrifice one man to save the ship, there is not a great deal of time spent on revealing the anguish yet it is all there in Crowe's reaction the reflects the difficulty of the act. When Maturin is injured in an accident, Crowe is deeply affecting through his subtle yet so poignant depiction of Aubrey seeing his wounded best friend. There is even two separate funeral scenes which could seem redundant yet they are not in the least, with part of the reason being Crowe. The first Crowe in the few words he says offers the pathos as his call upon Aubrey thinking to his own failure, and his delivery of the words are that of apology as much as they are of remembrance. The second though Crowe offers a more exact approach fulfilling wholly the role of the Captain. It is something he's done before, but Crowe puts no cruelty within this fact just instead infusing the words with the respect the Captain should offer to his fallen men. This is not a performance about a single moments but every moment. Crowe's work simply allows us to be with this extraordinary man, learn exactly who is as a person, as a friend, as, well, a master and commander.

Alternate Best Actor 2003: Alex Frost in Elephant

Alex Frost did not receive an Oscar nomination for portraying Alex in Elephant.

Not since Gerry have I seen such attention to the detail of walking slowly, here though the film ups the ante by including jogging and eventually even some driving.

One of the random individuals the film focuses on doing nothing for awhile, is Alex Frost as Alex, proving Gus Van Sant's impressive imagination when it comes to naming characters similair to when he referred to both leads of Gerry as Gerry. Oh wait though this film rides on the trivialization of a horrific event through the use of artistic pretension though it is as meaningless as Gerry. Now before one mentions, oh don't you see Van Sant's saying that there is no logic or message to be taken from violent acts, that's not really true evidenced by his scenes that focus on the killers where they engage in playing violent video games, plan their crimes, and kiss one another since it is a film by Gus Van Sant. There is an indicator of a violent reaction to their hollow lives, though naturally in a rather hollow fashion. Now the leader of the two is Alex played by Alex. We get to spend some time with him as he plays piano, but more importantly as he walks slowly around from one place to another. You see that is the most essential element of every life, slow walking, could you imagine life without walking, I'm quite sure life is defined solely by the walks we take. Oh, wait I'm writing about this performance right now, eh I don't know after watching the film I think I'll take a walk, I'll be back in ten minutes.....

What a walk. Hey wait a minute is this an ensemble film, or is Frost lead, I don't care. Anyways back to Mr. Frost again. Well see his performance is very dull and detached. Well this may seem the style of a killer but I could describe most of the performances as also dull and detached. I mean when we see the shooting start the photographer student casually takes a picture, is he too a psycho killer??? No probably not but there is nothing distinctive about what Frost does since almost everyone else is more or less in the same malaise. This even includes when the killing starts and Frost walks from scene to scene as though he is walking to class, I mean show some respect to walking man! Frost's work is indifferent as everyone else is making it so his work in no way stands out, he's also just sort of there. Hey hold on though what about that kissing scene, oh wait he's pretty blasé about that too, never mind. Okay maybe I'm being a bit unfair here, what about his line deliveries, well they're pretty amateurish, though obviously that was Van Sant's intention right, because I really hate those performances that come off like real people or at least engaging in some way. Well eventually through all that pivotal walking we reach a conclusion where Alex corners two students and plays a game to decide which one to shoot first. Frost wakes up to become a psycho killer in this scene, he'd be chilling I suppose if there was any consistency here.  In the scene though Frost becomes a far more active and excited sort ill-fitting to all that he did previously in his performance, but hey if you're not going to care most of the time stay not caring. All I ask for is a little consistency. Eh I'm tired, I think I'll take a walk.

Alternate Best Actor 2003

And the Nominees Were Not:

Alex Frost in Elephant

Rémy Girard in The Barbarian Invasions

Billy Bob Thornton in Bad Santa

Daniel Brühl in Good Bye Lenin!

Ivan Dobronravov in The Return

And a review of:

Russell Crowe in Master and Commander

Alternate Best Actor 2003: Results

5. Tommy Wiseau in The Room- Wiseau gives a performance for the ages that is absolutely hilarious, unfortunately it was never meant to be.

4. Paul Giamatti in American Splendor- Giamatti gives an effective performance finding the humor and humanity underlying his grumpy character.

3. Peter Dinklage in The Station Agent- Dinklage gives a strong performance from humorous dead pan to slowly easing in a character transition.

2. Choi Min-sik in Oldboy- Min-sik gives a powerful intensely physical performance brilliantly depicting the insane changes of his character throughout the film.

1. Stephen Lang in Gods and Generals- I must settle for Lang this year as his performance moved me the most out of all the performances. He elevates his material magnificently giving a truly incredible portrayal of Stonewall Jackson.

Overall Rank:

1. Russell Crowe in Master and Commander
2. Choi Min-sik in Oldboy
3. Stephen Lang in Gods and Generals
4. Billy Bob Thornton in Bad Santa
5. Robert Duvall in Open Range
6. Kevin Bacon in Mystic River
7. Paul Bettany in Dogville
8. Johnny Depp in Pirates of the Caribbean 
9. Song Kang-ho in Memories of Murder 
10. Daniel Brühl in Goodbye, Lenin!
11. Peter Dinklage in The Station Agent
12. Paul Giamatti in American Splendor
13. John Turturro in Fear X 
14. Ewan McGregor in Big Fish  
15. Nicolas Cage in Matchstick Men
16. Luigi Lo Cascio in The Best of Youth  
17. Hayden Christensen in Shattered Glass 
18. John Malkovich in Ripley's Game
19. Takeshi Kitano in Zatoichi 
20. Campbell Scott in The Secret Lives of Dentists
21. Kim Sang-kyung in Memories of Murder
22. Mads Mikkelsen in The Green Butchers 
23. Alessio Boni in The Best of Youth
24. Kevin Costner in Open Range 
25. Colin Farrell in Phone Booth
26. Ivan Dobronravov in The Return
27. Tadanobu Asano in Last Life in the Universe
28. Jeff Daniels in Gods and Generals 
29. Robert Duvall in Secondhand Lions
30. Bill Murray in Lost in Translation
31. Philip Seymour Hoffman in Owning Mahowny
32. Jude Law in Cold Mountain
33. George Clooney in Intolerable Cruelty
34. Hayley Joel Osment in Secondhand Lions 
35. Paddy Considine in In America 
36. Albert Brooks in Finding Nemo
37. Hugh Jackman in X-2  
38. Michael Pitt in The Dreamers 
39. Ewan McGregor in Down With Love
40. Tom Cruise in The Last Samurai
41. William H. Macy in The Cooler
42. Johnny Depp in Once Upon a Time in Mexico
43. Crispin Glover in Willard
44. Tsunashima Gōtarō in Japanese Story
45. Tobey Maguire in Seabiscuit 
46. Orlando Bloom in Pirates of the Caribbean
47. Shia Laboeuf in Holes
48. John Cusack in Identity
49. Jack Nicholson in Something's Gotta Give 
50. Will Farrell in Elf 
51. Rémy Girard in The Barbarian Invasions
52. Dougray Scott in Ripley's Game
53. John Cusack in Runaway Jury
54. Antonio Banderas in Once Upon a Time in Mexico
55. Owen Wilson in Shanghai Knights 
56. Dwayne Johnson in The Rundown
57. Jack Black in The School of Rock
58. Sean Penn in 21 Grams 
59. Luke Wilson in Old School 
60. Greg Kinnear in Stuck on You
61. Nikolaj Lie Kaas in The Green Butchers
62. Stéphane Rousseau in The Barbarian Invasions
63. Sean Penn in Mystic River 
64. Jeremy Sumpter in Peter Pan
65. Ben Kingsley in House of Sand and Fog
66. Ewan McGregor in Young Adam
67. Benicio Del Toro in 21 Grams
68. Aaron Eckhart in The Core
69. Jackie Chan in Shanghai Knights
70. Matt Damon in Stuck on You
71. Jack Nicholson in Anger Management 
72. Eric Bana in The Hulk 
73. Sean William Scott in The Rundown
74. Ben Affleck in Daredevil
75. Ben Affleck in Paycheck
76. Alex Frost in Elephant
77. Sean Connery in The League of Extraordinary Gentleman 
78. Rowan Atkinson in Johnny English
79. Adam Sandler in Anger Management
80. Tommy Wiseau in The Room

Next Year: 1957

Alternate Best Actor 2003: Choi Min-sik in Oldboy

Choi Min-sik did not receive an Oscar nomination for portraying Oh Dae-su in Oldboy.

Oldboy is a very effective revenge thriller about a man who tries to find out why he was imprisoned for fifteen years.

Choi Min-sik performance here starts very important with the beginning of Oh Dae-su in a police station shortly before he will be kidnapped. Dae-su is a drunk in the station being loud until taken out by his friend. This is an important scene as Choi is portraying Dae-su as a bit of a mess. He certainly resembles little of how we will see him later on as Choi portrays him as really just a loud drunk who frankly is obnoxious. This is actually a very important moment as it shows the man Dae-su is at the beginning who is just a pretty lowly man to say the least.

Dae-su than suddenly disappears and finds him a room that is apparently a prison that he cannot escape from. At first Choi shows that the annoying drunk Dae-su to just a very scared man who freaks out due to having no idea why he in this place. Choi in a fairly broad way, but in an effective fashion that certainly fits the mood of the film, after all he does have ants crawling all over him in one scene, showing Dae-su devolve into a form of insanity. He handles it well showing it as a painful intensity that is mostly found in his disbelief of what has happened to him, despite not knowing why in the slightest.

Choi tones down though as he the time goes on and on in his cell. Choi changes to this moment and brings about a transformation in Oh Dae-su to a man with a purpose rather than what seemed to be an aimless man beforehand. Choi makes Dae-su still a crazed man, yet he seems to make it far more self contained, and infused into his driving factor which is his lust for revenge. He is good in portraying that really his want to learn who has done this to him is really what has become the primary facet of the man.

When Dae-su is released for reasons that are just as mysterious as why he was put in the prison to begin with, he goes out seeking who did this to him. Dae-su is a completely different man as Choi interestingly plays him as the opposite of the loud mouth at the beginning, which he earned through his transformation in the cell. Dae-su know has become a fairly quiet man, who rather blabbing all the time, seems rather stoic and reserved above all else. His insanity still remains but it comes out at specific times in a sharp distinct manner.

For example the octopus eating scene is of course a deranged scene as he shoves it down his throat, but Choi here effectively shows how Dae-su is now very much a man with a mission as strange and insane as the act is he does it in a controlled and almost stoic manner. Choi is actually quite outstanding in being able to bring to life the oxymoron of this character. It never seems unbelievable, and it always fits well within the style of this unique film.

Choi makes Dae-su quite the intriguing hero to follow through the mystery of the film. Choi does not make Dae-su to be any sort of brilliant detective or tactician, but what really pushes him forward is only his passion to find out the truth. Choi never loses a certain intensity as Dae-su searches for his captors that only grows as he approaches them. He properly brutal when he finally does meet some of them particularly with his free use of hammer. Of course the hammer does a lot of the work, but Choi perfectly conveys the violence Dae-su is capable of.

Dae-su though does not keep his composure forever though as Choi's most difficult scenes really come in at the end of the film when all is revealed to him, which leads him from one intense emotional moment to another. Choi is always very physical in this performance, throwing himself head first in every scene, and this especially true for the climax of the film. This certainly fits for the moments in the film for the revelations are not exactly one's that should be taken lightly, and reacting believably to these revelations is essential to the film, and Choi manages to pull it off.

The first revelation is that that Choi has been set up to commit one the worst sins, and Choibring the the pain, the anger, and the all around horror to the moment that sends Dae-su to the rage. He appropriately shows that Dae-su's is truly horrified by the revelation to the very core of his being. Quickly though after really being told of another revelation there Dae-su becomes filled with regret and remorse. Choi manages to actually bring this change about powerfully so in another scene where he dives right into insanity, and Choi shows that Dae-su loses all of his stoic qualities from before turning essentially into a broken man.

This is certainly a no bars held performance that is striking in just how many risks it takes, and how well they all pay off. Every moment of madness never seems overwrought or needless he makes them all part of the strange journey of Dae-su that becomes something both very powerful, and quite disturbing. Choi never stops for a moment in this bizarre but compelling characterization. It is never a straight forward or simple approach to this character utilizing a technique that very few actors would likely take. With his most unorthodox portrayal Choi makes Oh Dae-su a truly memorable protagonist.

Alternate Best Actor 2003: Tommy Wiseau in The Room

Tommy Wiseau did not receive an Oscar nomination nor a Razzie nomination for portraying the greatest of characters Johnny in The Room.

The Room is a film that one must see to believe about Johnny who is betrayed by all of his friends and he gets fed up with this world.

Ah yes such legendary actors Laurence Olivier, Robert Duvall, and Charlie Chaplin these actors have before directed themselves to an incredible performance clearly attempting to join their ranks is Tommy Wiseau. Tommy Wiseau an actor and director like no other obviously, I mean just look at that picture even pictures of him defy description. Clearly no other director could possibly contain the acting prowess of this man but himself.

Now Wiseau takes an interesting tactic to begin with in his performance which is speak in his native tongue. It might be true technically speaking it is English but let's be honest English takes on a whole new life of its own with Wiseau's accent. Of course his accent is only the first part of his no holds barred work that always takes risks no matter how head scratching it might be to a casual viewers. This is truly otherwordly performance, and no I do not mean in some sort spiritual fashion, I mean more of like an alien from another world.

In Wiseau eyes we see a daze like the thousand worked days of a banker where they take all his ideas and make all the money and he is the fool. His face suggests a man with no hope almost as if he is constantly on a strong painkiller all the time. That face of his just says it all in his place in the world that he soon becomes fed up with. It is a face of a man's failures, and inabilities to know that his fiancee is some pointlessly evil woman for no reason.

Something quite fascinating in this performance is the fact that Wiseau constantly starts throwing his voice all the time, where he will appear to be mouthing one thing, but his words do not match up, it is something truly outstanding, a risky maneuver that lesser actors would never even attempt to do. Wiseau goes full force with obviously implying that perhaps Johnny was not suppose to be a banker with great ideas after all, no he was clearly meant to be a ventriloquist.

Wiseau is not afraid here to even call back to classic performances from the legendary James Dean particularly in one moment heartbroken over his fiancee's lies that he hit her, he breaks out in the immortal line "You're tearing me apart Lisa". Wiseau goes all out in his accented screech, moving his arms akimbo like he was saying yes to a great victory, even though there is not victory to be seen in the rest of Johnny's story in the room.

What is spectacular in this performance of performances is the ability to change the emotions in a moment so easily. For example when again he complains, to the air I guess, about how he did not her, he did not, what grief Wiseau conveys in his scrunched up face, and bizarre inflection. He then instantly changes his face from pain to instant casual greeting in oh hi mark. Such a stunning portrait of instant emotion change, it is truly something stunning.

I think the most interesting part of this performance though is Wiseau's odd, but obviously brilliant choices in certain scenes. Such as when his friend Mark tells Johnny a story about a woman being beaten so bad she ended up in a hospital at Guerrero street. Rather than show interest, or depth in regards to it, Wiseau takes a whole another approach and laughs in reaction to the story showing that even a story about a brutal beating Wiseau shows that Johnny always sees the lighter side even when it might very strange to do so.

But we all know the highlight of this performance comes at the end of the film when Johnny is enraged to find out his fiancee Lisa is having an affair with his best friend Mark, what follows it the most forceful moments of pain ever depicted on screen. He leaves no prisoners not even chickens as he brutally states cheep cheep cheep, which is just incredible for Johnny to try to get rid of the accepted chicken call of Baaack baack, baack, baack, truly stunning. 

The greatest moments come in Wiseau depiction of Johnny tantrum where he destroys the room yelling why Lisa why, in a cry that is unforgettable. He leaves nothing alone whether it is clothes, draws, or a poor tv that Wiseau the director decided to film flying out side the window and being destroyed clearly that cut was essential during Johnny's final pains. Well it all ends with Johnny blowing his brains out, and Wiseau's dead face is truly something that cannot be forgotten in this performance that is one for the ages. There is only one rating worthy of this performance.

Seriously though this performance is in all honesty terrible. Yes his accent, and weird choice in this performance are hilarious. The man though was entirely serious in his performance though, despite what he now claims, and in being a serious performance this fails miserably. As a failure though it completely succeeds though. I can't give him credit though when everything enjoyable about this performance was purely unintentional, since no man can make a film this hilariously bad on purpose.

Alternate Best Actor 2003: Paul Giamatti in American Splendor

Paul Giamatti did not receive an Oscar nomination for portraying Harvey Pekar in American Splendor.

American Splendor is an intriguing and enjoyable film about the life of comic book writer Harvey Pekar.

Paul Giamatti has a rather unique challenge in his portrayal of Pekar since unlike many biography films the real Harvey Pekar appears on screen. This is not just a one scene thing like Tina Turner in What's Love Got to Do With It. Harvey Pekar appears throughout the film even commenting at one point that Giamatti does not really look like him. So Giamatti actually has to stand on instant scrutiny of comparing him to the real man, although he is perhaps helped a little in that he is portraying the man at a different point in his life, but still Giamatti must constantly be standing up right next to the real deal.

Giamatti actually meets the challenge well and there really is not any problems when comparing his performance to Pekar. Although obviously it is not seamless in the sense that he simply becomes Pekar, but he effectively makes it so there is not any extreme disconnect between the real one and the performance. Giamatti is quite good here in bringing into his performance Pekar's mannerisms whether it is his usually furrowed brow, his rather often cross grimace, or his sometimes rather raspy voice. Giamatti handles them all well never being obvious acting, and he utilizes the mannerisms in giving a convincing characterization as Pekar.

The overwhelming aspect of Giamatti portrayal is of course his portrayal of Harvey's seemingly endless contempt and bitterness that also seems to form into a certain depression at times as well. Giamatti portrays this particularly well by bringing across just how intense and prevailing this is in with Harvey at all times. It is not that any of his bitterness ever really goes away from him in any point even when Harvey is relatively happy, Giamatti never loses this part of Harvey for a moment, quite properly showing that this is something that is simply a part of Harvey that he never loses.

Although the bitterness is always a part of Harvey, Giamatti never really makes it downbeat or depressing as it easily could have been. Giamatti effectively finds the humor always within this bitterness and the sardonic slant that is found in Harvey. Giamatti is very good because he is able to bring about the sense of humor in Harvey that really is what created his comic book to begin with. Giamatti is able to be funny, and convey the fact and Harvey himself though he never ever shows that it comes from anything more than his rather extreme form of cynicism.

Giamatti actually makes his cynicism enjoyable in a way, by simply portraying it as the most honest form of Harvey. If Harvey was optimistic, and happy he simply would not be Harvey, and Giamatti expresses that perfectly in his performance. He never portrays there being an actual effort in Harvey when he is talking about something obnoxious in life, it just is the way Harvey deals with things whether it is waiting in line behind an old woman, or his reaction to the Revenge of Nerds, Giamatti always shows that Harvey's says only like how he sees it no matter how others may react.

Although his cynicism never completely wains there are a few warmer moments, although still Giamatti still is fitting in that they are warmer moments for Harvey. Two early on regard his comics when an artist agrees to draw for him, and when his co-workers are amazed by the first issue. In both regards these are quick but incisive moments where we see behind still Harvey's bitter face there is just the slightest happiness and pride in him. Giamatti handles these moment incredibly well because how subtle he is when portrays the softer side of Harvey that actually is made quite sweet.

The most important sides of the softer Harvey are shown with his wife Joyce (Hope Davis). Their relationship certainly is a bit on the abnormal side. Both Giamatti and Davis make it work frankly because they authentically bring out this relationship by being so casual together. Giamatti is very good in these scenes because he so well combines the frustrations of the relationships, but very importantly at the same time does carefully show that Harvey's does very much love his wife. Giamatti finds the highs and the low of their relationship through again his completely honest portrayal of Harvey's complex personality.

This is a very good performance by Paul Giamatti that is an entertaining performance, while being quietly moving at times as well. He never cheats his character though and every where he goes with Harvey is always the same Harvey. Giamatti although portrays a cynical bitter man, he turns Harvey into a very liable cynical bitter man. He even manages to stand up to the scrutiny of being right next to the man he portrays, and does not falter even with this challenge.

Alternate Best Actor 2003: Stephen Lang in Gods and Generals

Stephen Lang did not receive an Oscar nomination for portraying Lieutenant General Thomas "Stonewall" Jackson in Gods and Generals.

Gods and Generals was a heavily maligned film when it came out, in fact it has a lower percentage on Rotten Tomatoes than the Room, although the film needed more focus it does have its fair share of powerful scenes, and should not have been written off to the point it was.

It should be noted that the powerful scenes of the film tend to involve Stephen Lang as Stonewall Jackson who is one of the most important generals on the side of the confederacy. Stephen Lang creation of this man is something quite stunning from the very beginning of his performance as the famous General. The voice he uses is absolutely perfect for the role in that it is relatively quiet but holds an absolute command all the same. Lang's voice though is entirely natural, and never seems something forced in the least. He simply achieves and becomes Jackson and the voice helps in this greatly.

Lang from his first scene conveys so well the history of this character from his first moment has he teaches students in his class. Lang shows Jackson to be an always proper man who proceeds as one should or is expected with the utmost respect. Lang takes a completely no nonsense approach with his performance there is no play here in this man, rather it is just the man who is very much to the point in almost all matters. Lang brings to life the true nature of a man who has been a soldier all his life and treated the job with the utmost respect.

What is very important to this performance though by Lang is that although he portrays Jackson as proper but never stiffly or dully. There is a certain warmth in his performance that is just splendid. One aspect of Jackson that Lang brings life wonderfully is his strong religious beliefs. Religious belief is commonly something shown in film actually, but usually in either some very lightweight form, or in terms of doubt, or guilt. Here Lang though shows a very unique depiction of a religious that really brings to life the strength of his faith.

Throughout the film Lang is passionate in his depiction of Jackson's religion and brings it into how it makes him the brave man he is. Jackson fears nothing on the battle field becuase of his firm belief that he will find salvation in the afterlife. Lang is absolutely genuine and moving specifically in one scene where he talks to a friend who has chosen to side with the North rather than the South. The friend remarks that perhaps they will meet again in better times or than hesitates. Jackson finishes his statement by saying In Heaven. Lang's make this moment deeply moving through the completely honest devotion he portrays in Jackson.

One of the most important aspects of Lang's performance though is of course his portrayal of the brilliant General. Lang is flawless in his depiction of the general and there is never a doubt about his abilities or power as a commander of men. In the scenes of preparation before the battles Lang carries himself particularly well through always having a quiet controlled reserve. He always conveys the intelligence of Jackson as tactician in the ease he portrays in Jackson in making the right decisions before and after each battle.

Lang never avoids portraying the fact harsh fact that Jackson is one of the lead Generals of the Confederate side, which is the enemy of the Union. Jackson at times is very harsh in his statements regarding the extent of violence needed to win against the Union. Lang is cold and frankly brutal in these moments, but shows the truth of the career soldier in Jackson. It is not that Jackson is being evil when he says that no quarter should be given, but rather experience of the man speaking. Lang is able to convey most severe ideas as not being hateful, but simply understanding what is needs to be done to win.

The best moments as the general though do probably come in his moments in which he is able to be the Jackson that truly motivated the soldiers. The moment in which he appears to earn his moniker of Stonewall, Lang actually makes absolutely believable. There is only conviction in him as he stands in the middle of fire, there is no doubt in Lang's performance that he is a Stonewall in the field. The only greater moment is his "first brigade" speech to his men. Lang holds the screen as he has the passion to bring men to follow him anywhere even into the hell of battle.

His performance really does come into its very peak after Jackson is shot by friendly fire, and slowly dies from the results of the accident. Lang is absolutely heartbreaking in his depiction of Jackson's slow death. His early moment in particular when there is hope in his eyes as he is reunited with his wife and daughter quietly showing his intense love and dedication for his family. Lang's performance brings to life the tragedy vividly in his physical decay to his final moment. Death scenes are something that many overact in but Lang's never does creating a memorable an honest portrayal of Jackson's final moments into delirium than death.

This is an incredible performance by Stephen Lang it is a shame his performance was never separated from his entirely forgotten film. His performance is a very special performance in his depiction of this important historical figure. What is so magnificent about his performance is that he succeeds in every aspect of this man. He manages to be both a man of legend in his depiction, but all the same very much always manages to bring to life the completely human qualities of the man himself. Lang never seems to be simply playing Stonewall Jackson, but honestly achieves becoming the man here in this fantastic performance.

Alternate Best Actor 2003: Peter Dinklage in The Station Agent

Peter Dinklage did not receive an Oscar nomination for portraying Finbar McBride in The Station Agent.

The Station Agent is an enjoyable film about a man born with dwarfism who after the death of his friend moves to rural New Jersey to live life in a relatively secluded no longer used train depot that he has inherited.

Peter Dinklage portrays the man who tries to keep to himself as well as is fascinated by trains. Early in the film Dinklage portrays Fin as a man who very much keeps to himself, even though where ever he goes his dwarfism makes him always seem somewhat out of place no matter where he goes. It is not that Fin is automatically discriminated against actually, but people tend to act abnormally around him. Dinklage is effective in that he does not portray Fin as becoming obviously angry at any point over people's reaction here, but rather all he does is react in a form of exasperation.

Dinklage portrays Fin's reaction well as just tired of them clearly from dealing with these type of people his whole life, so he has come to accept it to a certain degree, even though he doesn't like them still he very much is use to them. Dinklage establishes Fin's antisocial behavior well in these early scenes. He handles it well because he does not show it as Fin's hatred of others, but rather more effectively Dinklage shows it as a disconnection more than anything else. Due to the fact that Dinklage does not portray his behavior as hate, he allows Fin to be far more likable.

Early on the film as a few people in the secluded place he goes to such as a troubled older woman Olivia (Patricia Clarkson), and a very energetic food stand operator Joe (Bobby Cannavale) attempt to get involved in Fin's life in some way, much to Fin's dismay. Dinklage is excellent in these earlier scenes as he practically plays the part as dead pan. His slight sometimes slightly taken aback, or slightly annoyed reactions are always well handled by Dinklage. It is not that he is going for laughs exactly but Dinklage manages to bring the natural humor out of the situation with ease.

The film itself is really about Fin slowly coming out of shell through his interactions with the people around particularly through the constant pestering from Joe to do so. Dinklage is terrific here because of how little he really does give in as Fin. Fin's slow, very slow transformation is handled in the subtleties of Dinklage's performance. He never once oversteps in his performance, and the reluctance of Fin to really recognize people who are honestly interested in is always prevalent. He never makes Fin's transition too easy, keeping it believable throughout the film.

Dinklage never cheats his character and because of that the way he slowly does open up is far more moving. Dinklage small movements to opening up and accepting the people as his friends is well done. It is not that he makes Fin a new person by any means, rather he presents Fin as just a man who has learned to loosen up and accept human contact. Due to this Dinklage makes his whole transition entirely believable, and emotionally truthful. His change from the man of few words to the man of not so many words but can have an open conversation is entirely honest because of Dinklage. 

I must say the big emotional breakdown scene near the end of the film, where he tells everyone in bar to look at him already and get it over with, is the least effective part of his performance, and does not seem entirely necessary. This is not to say that Dinklage does not portray it well enough though it is maybe a bit hasty especially considering how well he handles the rest of Fin's transitional moments in his performance. The point is the delight of his performance is in his quiet portrayal. As Dinklage besides the big emotional scene, which he still does well I must stress this, simply creates a wonderful entertaining performance that leads his film marvelously.

Alternate Best Actor 2003

And the Nominees Were Not:

Tommy Wiseau in The Room

Peter Dinklage in The Station Agent

Paul Giamatti in American Splendor

Stephen Lang in Gods and Generals

Choi Min-sik in Oldboy