Alternate Best Actor 2013: Results

10. Alden Ehrenreich in Beautiful Creatures - Ehrenreich brings such a genuine charm and sincerity in his work that he manages to make up for a mostly bland part. 

Best Scene: The course of his life.

9. Domhnall Gleeson in About Time - Gleeson gives an appropriately charming and endearing turn that manages to balance the film's tone nicely.

Best Scene: Final talk with dad.

8. Toni Servillo in The Great Beauty - Although I had no great affection for his film, Servillo managed to carry me through it in his charming and reflective portrayal of a man trying to find meaning in hollow extravagance.

Best Scene: Finding a great beauty.

7. Sol Kyung-gu in Hope - Although somewhat underused by the film he's in, Sol does deliver in granting the appropriate heartbreak and anger in a father's reaction to a true horror being inflicted upon his family.

Best Scene: Shifting his daughter to another room. 

6. Terence Stamp in Song For Marion - Stamp delivers, even when his film gets a bit corny, offering a genuine portrayal of grief that rises above his material.

Best Scene: "Goodnight My Angel"

5. Ethan Hawke in Before Midnight - Hawke gives an excellent turn continuing naturally in his "maturation"  of Jesse especially in how that is reflected with his chemistry with Julie Delpy as Celine.

Best Scene: Hotel room fight.

4. Simon Pegg in The World's End - Pegg delivers an overtly hilarious performance as a man still living as a high school rebel, though is equally heartbreaking in revealing the sad truth of such a state.

Best Scene: Nothing got better.

3. Christian Bale in Out of the Furnace - Bale gives perhaps his quietest turn and one of his most powerful as a man defined by hardship essentially fulfilling a personal duty through revenge. 

Best Scene: Listening to the tape.

2. Christoph Waltz in The Zero Theorem - Waltz gives a turn completely unlike his Oscar winning ones, through his moving depiction of  of the struggle of an extreme introvert while maintaining the humanity needed for the film's surreal journey.

Best Scene: Turning Down Bainsley's Offer.

1. Masaharu Fukuyama in Like Father. Like Son - Good predictions Michael Patison, Charles H., Luke and Tahmeed. Fukuyama gives a great naturalistic turn that manages to give such a restrained yet truly poignant portrayal of a father coming to term with his faults through some very unlikely circumstances.

Best Scene: Reuniting with his son.

Updated Overall

Next: Supporting 2013

Alternate Best Actor 2004, 2007 and 2013: Simon Pegg in Shaun of the Dead, Hot Fuzz and The World's End

Simon Pegg did not receive an Oscar nomination for portraying Shaun, Sergent Nicholas "Nick" Angel, and Gary in Shaun of the Dead, Hot Fuzz and The World's End respectively.

In this new century of film one of the more notable collaborations between an actor and director has been in the comedic pairing of Edgar Wright and Simon Pegg. This is slightly more extensive as Pegg was also being part of the behind the scenes creative force as a co-writer of the projects. The two began with the television series Spaced where you can see the two working out their form in a situation comedy. It is perhaps then why the two were able to breakout so successfully with their first feature film together in Shaun of the Dead. A film that worked both as a parody of zombie films and as a zombie film. This followed by the comedic masterpiece of Hot Fuzz which did the same thing for the explosive action cop genre. Sadly, the same cannot quite be said for The World's End, which after watching it again after several years still frustrates me to a certain extent. This is not to say it is a bad film, it however is easily the sloppiest of the three, where its sort of comical juxtaposition isn't nearly as effectively realized as in the previous two films, it is also quite simply not as funny as the first two films. That is in part, I believe, that it doesn't really do a parody of alien invasion films in the way Fuzz and Shaun did for their respective genres, it is more of just a more comedic entry in that genre, but this also seems to be Edgar Wright’s, I'll say mistaken, way of seeming to want to move away from comedies. Although more on the shortcomings of the World's End will be forthcoming.

Pegg's place as a comedic leading man in this thematic trilogy is atypical for a comedic performer and collaborator even. Now as the zombie fighting Shaun, he is the more typical comedy lead, really the type of presence typical for a comedy lead. That being the somewhat hapless average, somewhat underachieving, Joe, who isn't overly smart, but smarter than his even simpler friend. Breaking convention entirely though is in Hot Fuzz where he plays a complete one eighty as the excessively straight laced Nicholas Angel who is an overachiever. He's not even a character for a cop comedy, or a cop film for that matter. In that Angel is kind of who would be the side character cop in many films given his extreme by the books nature. If that is not enough though Gary King manages to be a whole different sort. This can be taken as even a bit of a surprise as he too is a pub dwelling "common man" much like Shaun, however Gary isn't an underachiever, he's a never achiever. Although there is far more to be said there as well. The whole set up to the characters though is notable in itself given their vast differences in nature, though with two common areas, one being that each is brought to life by Simon Pegg, who is a far greater actor than he often lets on and their life philosophy is challenged through some strange events essentially.

Pegg's performance has actually a large physical component that isn't given enough credit. Now in part this is his expert physical timing, which is an essential element when it comes to the very visually inclined humor of Edgar Wright. Pegg is on form in every sense in that regard whether it be as Shaun waves hands in the air at the first sign of "don't call it the z word", Angel's many physical misadventures with the physically fierce trolley boy, or Gary's frequent drunken prat falls. That is certainly part of it and it should not be overlooked at any point. Pegg though grants each character their own physical nature. Well Shaun actually is just a straight forward man, which is fine. Pegg though transforms himself as Nick Angel the "Super cop". This is beyond just physically bulking up for the role, as his whole walk is a man of conviction and duty. He grants a natural intensity which is an special transformation given that Shaun was not all intimidating. He transforms himself to so effectively become this stiff yet devoted man. This is even in just the way he carries his expressions, as he fashions himself the iron jaw of a proper action hero, even though Pegg lacks one, just through his performance. Although perhaps less extreme, his work as Gary King is as impressive. This as he evokes a bent youth in his "rebellious swagger". Pegg portrays Gary as a man still walking down the hallways of a school just bearing the idea that "I'm too cool for all of this". Pegg brilliantly creates a grotesque quality in this as the same manner would be fitting for an 18 year old but is a touch ill-fitting to a man who left school about 25 years ago.

It must be noted that in these comedies, Pegg delivers three hilarious performances. Again, though the exact way of being hilarious isn't exactly the same one again. Now to be sure the quality of Pegg's skill as a comic performer is more than evident in each. A master of the reaction for example. Take whether it his aghast reaction to a steel bar through a zombie girl as Shaun, his reaction to the murder of Bill Shakespeare as Angel or Gary's decapitating a legoesque humanoid on a john. Great reactions aside though here again there is something unique in each comedic approach. In that in Shaun we have that hapless any man which careful pseudo straight man is leaning comic turn, against an excessively straight man as Angel and then a completely extroverted wild man turn as Gary. Although all hold some the same qualities within, that being Pegg is a great comic performer, but how he brings these out in each is wonderfully unique. Pegg brings that normal man performance so effectively within Shaun because he is so hilariously average as a man reacting to the zombie apocalypse. In that he treats it with this just enough clever levity such as his manner of so casually saying "oh there they are" when checking outside for zombies. Pegg though is something else entirely though in finding the humor in Angel's intensity, such as found in his glares of death towards his fellow officers less than professional demeanor when arriving in the small town he's been assigned to. This though is in contrast to Pegg's broader take with Gary and his beautifully excessively exuberant delivery when trying to convince his old school friends to engage in his nostalgic pub crawl idea or his spirited rattling off of every pub name when signing into their lodgings at their old hometown.

Although one should not hide the other constant in this series other than Wright and Pegg, Nick Frost, well actually there's also Bill Nighy and Julia Deakin, but anyways there's Frost. Frost being Pegg's Laurel to his Hardy, his Carney to his Gleason. Although again another inspiration in each film is how this dynamic is laid out for each. This being Frost playing a different type as well for Pegg to play off of, whether it be the layabout, to put it lightly, flatmate Ed in Shaun, the cop fanboy, PC Danny Butterman in Fuzz or the businessman Andy of The World's End. Each with a separation in the approach to where really the comedy from their interactions lie. This is in Shaun we have frankly just some goofy fun in the way the two bring out the same casual friendly quality in their zombie fighting expedition to a pub for protection as they almost would just going to the pub. There they just have this great naturalism of friends, and make so much fun of the simple act of the two going through Shaun's record collection, carefully, to use against a pair of zombies. The punctuate every moment so beautifully particularly Pegg's disgusted "throw it" to the Batman soundtrack or his "I like it" to another record choice. This shifted considerably in Fuzz where Frost brings such an endearing naive energy of a man who has no right to be a cop, meanwhile Pegg is the consistent hilarious straight man in his exasperated glances and reactions to every question measured towards a true "super cop". This is shifted far more though in The World's End where Frost is essentially the straight man, as the straight laced Andy to the mess of the man that is Gary, although their relationship is barely comedic in this one, though this is not a criticism.

On that though it seems right to bring the turn about why two of these films are so great, and why all three of these performances are remarkable even past being three idiosyncratic humorous turns. This is as all three succeed in far greater dramatic intentions which are weaved through the sort of paradoxical sendoffs for the three genres. In Shaun we have our hero treating the zombie apocalypse like a day in a life, which means seeking refuge in his favorite pub.  In Fuzz, the largescale criminal conspiracy merely resides in a neighborhood watch doing everything in their power to win the village of the year contest. Then in The World's End we have the discovery of an alien invasion through old high school friends engaging in their nostalgic pub crawl. That one I'll say is the weakest of the three in that regard since it feels the most forced within the screenplay and does not work nearly as well as the previous two versions. In each though this intertwined with Pegg's journey as each. A journey that is often funny, as aforementioned, but goes further than this. In Shaun we meet a man in a slight depression of existence as he works in his dead end job, has tension with his mom due to his Step dad Phil (Bill Nighy), has troubles with his other flatmate Pete due to Ed, and is losing his girlfriend Liz due to his somewhat aimless existence. All comedic setups however Pegg's performance has fun in its moments but does deliver in offering an actual weight within the idea. In that he expresses the very real heartbreak in his tear broken eyes after being dumped, and his distress when being bluntly berated by Pete for his life choices. Angel's sort of dramatic moments are perhaps fully integrated, rather than naturally segued, for the most part by Pegg, as he makes the intensity the nature of the character which manages to be both effective in the comedy while also providing the man's difficult state of always being "on". The dramatic element is a different matter with Pegg's Gary King, who puts on strong the idea of irreverence in his manner, of course this is only the beginning of his journey to whip together his old friends to live out their "glory days".

The journey of Shaun then is more than a series of many enjoyable humorous takes on zombie situations, as through the zombie experience Shaun must confront his life in a rather unusual way. This is as he must attempt to win Liz back by saving her from the zombies. This not at all made simple in Pegg's performance which brings the awkwardness but also sincerity of his plan to hide away in his favorite pub. When he pleads to Liz, and her flatmates, Pegg's performance is earnest, while not in any way sabotaging the comedy. The real depth of this work though sneaks upon you and on repeated viewings holds all the greater impact. An especially moving moment comes when Shaun's stepdad, almost dead from being bitten, apologizes for their past disagreements. Pegg's reaction is not blithe rather an honest reflection of this moment of connection, making Phil's death rather moving albeit briefly due to zombification and all. Each man's journey though is treated with the gravity it deserves through Pegg's work. Now Angel's is a bit more subtle in a certain sense, in that he essentially who just needs to lighten up, a little bit. This is found mostly through his interactions with Frost's Danny where he slowly lets him through his rough surface a bit. This adds more than humor to the relationship and again the quality in this work is remarkable. This in that the moment of Pegg's delivery of Angel's revealing his aspirations for the law has a quiet tenderness, particularly as he portrays it as this small opening to a man he's started to trust. I'll admit part of my reservations to the World's End choice in tone comes in that Fuzz and Shaun are more effective in their dramatic intentions overall while also being a whole lot funnier. This tone though weighs less on Pegg's work which again is the most colorful turn in that film. This where his dramatic moments are a hidden constant in Pegg's performance, though only comes through occasionally throughout the film. In that within his "full of life" rebellious manner, Pegg delivers an innate desperation both in those comedy moments of how bad of an act it is, but also in his delivery and eyes there is this need that suggests the concept is far more than just a trip down memory lane for Gary. This is as at every turn he continues the pub crawl, no matter how dire this situation, which Pegg portrays as this painful need.

The arc of each man is unique in their exact trajectory however there is an interesting similarity in their final state. This is almost as each man must become their best self without really losing their self. In Shaun's case he is man who must face every "demon" in his life all in one zombie infested day. Take his somewhat toxic relationship with Ed, which has the moment of rejecting his direct behavior by Shaun lashing at Ed for taking a call while being locked out of the pub while being surrounded by zombies. While a funny scene given the situation, Pegg's portrayal of Shaun's outrage is terrific as he captures a proper pent up rage of a friend who had given his friend too many outs. Then again, he brings the same passion in his defense as he goes about trying to save Ed from a zombie Pete, still showing his friendship if perhaps now a bit more measured. Shaun's life though is one in finding maturity within himself, without losing his general affable manner. This is pressed upon as through the process he must suffer his most intense loss as he must not only watch his mother die, but also must have to kill her in zombie form. Pegg is downright heartbreaking in each instance of not holding back in the real pain of the grief in that moment then his haunted expression as he must commit the coup de grace to truly put her to rest. The final then connection with Liz and Ed, as they just barely survive has such a real poignancy to it as Pegg quietly reveals a man who has learned much in this experience as speaks of his love for both Liz, and in his own way Ed. Each with a moment of understanding of Shaun as a man more fully formed, though still with an appreciation for the fun of life. Although this is indeed a comic performance, Pegg's performance does not make an aspect of it slight. Again, this is less of an extreme with Angel, but this too should not be hand waved. This in keeping the man still driven as he under covers the plot of the nefarious town watch but now with a more direct concern. This perhaps best exemplified as pleads with Danny to help him take down the neighborhood watch alliance. Pegg brings that same conviction essentially to justice but with an openness as he looks for support in his endeavor. This leading to the climax, which is mostly comedic, yet also marvelous as Pegg shows a man essentially becoming a true super cop, by basically having a little fun in his final fight. Pegg though brings this eager ferocity brilliantly as he makes as part of this appreciation for Danny, as the two of them take down the NWA through every action cliché in the book. Angel still being a cop who gets things done, but now with the ability to bring a bit of fun to it all. Gary's is again quite different yet easily the most compelling element of his film. This is as Frost's Andy confronts him about almost ignoring the alien invaders in order to stay on his pub crawl. When this confrontation happens that seeded desperation of Pegg comes to the surface and is quite devastating. This is as it is this release of an awful revelation as the tear addled reckoning of a man who recognizes he's wasted his life. Pegg's delivery of Gary's recognition that his life never got better past high school is this truly harrowing expression of a man understanding he wasted his life. This isn’t the climax though where again Gary's transformation isn't a 180 either. This as he confronts the alien entity, who offers the temptation of youth. Pegg is however amazing in this scene, even as it is a shift back mostly to comedy in his spirited defense of humanity and in turn his own faults as he rejects the alien's offer of "perfection". His statement of being the only Gary King being with a founded pride within Pegg's eyes in at least being himself more than anything. This leads to the somewhat sloppy finale; however, I'll defend Gary's ending as a natural fit to the cornetto "hero". Again, Gary is very much himself in the final scene, a man rebelling against society, however now somber and with purpose. Pegg's portrayal carrying that same swagger but now lacking that misery hidden within the act. I must admit looking upon all three of these performances in short order only made me appreciate them more. This is as all three work both as great comic turns but deliver far more emotional potency than intentionally dramatic turns. This in granting a real nuance and detail to their emotional journeys, while also consistently delivering comic gold. Pegg shows his range with each as all three characters are distinct creations, with their own experiences, with the consistency being Pegg's talent is behind each granting three exceptional turns that go far beyond their "slight" expectations. 

Alternate Best Actor 2013: Ethan Hawke in Before Midnight

Ethan Hawke did not receive an Oscar nomination for portraying Jesse in Before Midnight.

Before Midnight is the terrific third entry that keeps following the young pair of lovers now middle aged.

This is the third film that shows the progression of the relationship between Hawke's Jesse and Celine (Julie Delpy), largely through conversations. Well it all began in Before Sunrise as the two had a chance meeting through a day in Vienna where the two fell in love and swore to meet each other again. This picks up in Before Sunset, which I'll say plays like an epilogue to the first film, even though it takes place several years later. Hawke's performance in that film is a bit more guarded though rather similar as Jesse's mostly changed only in circumstance. The interplay between the two there is straight forward for the most part as they reconnect casually at first, with conflict very briefly, then more "formally" by the end of that film. I won't say I have to say too much on that one as it is very much the middle chapter to get the two back together. The real leap I find is with this film where the old dynamics are thrown out the window as since the last film, they've been together for years, with two daughters, and a son from Jesse's previous marriage. What is also thrown out is the basic two hander structure, in part, as the day in question is a bit more eventful in a way, evident from the opening which starts with Jesse and his son Hank.

Hawke's comfort with Linklater's naturalistic style once again is immediately evident, but also evident is the apparent change in Jesse as portrayed by Hawke. Although it is not some instance of a night and day reflection, we do not see the carefree young man of the first film, or the attempting to be carefree young man of the second film. Hawke instead expresses so effectively this weight of the responsibility of parenthood as he walks along his son at the airport. This as Hawke captures this perfect distance as he speaks with the overtures of affection, even if slightly sardonically in terms of his son's own distant attitudes, though never to the point of anything truly problematic. Hawke though accentuates the attempt of the connection so effectively, and suggests the warmth even if compromised in some way, Hawke makes it obvious he loves his son, but also accentuates the troubles alluded by the scars of the divorce from his wife, after the events of the last film where Jesse decided to stay with Celine. The fallout of that choice is seen here in Hawke's performance that while not deeply troubled, is without a strict responsibility.

We see Jesse quickly in happier circumstances as we are given the first of the long conversations as we see Celine and Jesse drive to their vacation home, with sleeping twin daughters in the back seat. We instantly see the appeal of their relationship once again, even if their conversation more immediately falls upon their now very adult concerns rather than waxing poetic on any single subject. The chemistry between Delpy and Hawke is sheer perfection once again, as the two have an even greater comfort between each other than in either previous film. The quality of understanding is all the greater than even their overt infatuation of before as we see two true companions. The two are excellent because as much as they have stayed the same in that connection, we also quickly see the differences in terms of the maturation of their relationship. A natural maturation however, and a fascinating one as we see more layers than before. This is as they no longer speak as two people getting to know each other, but as people who now have known each for some time.

In this we have the moments of just the two being right with one another, even as they are so cheery as the two decide to avoid their daughters' hopes of seeing some ancient ruins. As much as that affection in every moment of this intimacy and familiarity there is more to be seen. One instance in this is moments of Celine's more direct criticisms of her very American companion. Hawke is fantastic in these moments as he puts on the charm, but by bringing out a more juvenile spirit more fitting to the 20 something of the first film. In these moments though Hawke is great though by showing it almost as a falling back point, his method to charm her each time, as essentially the man who did so many years ago. Now Hawke doesn't make this a purposeful maneuver, but rather this very fluid manner as simply part of the relationship. This contrasts with as the film expands a bit to include the other vacationers, including literary types now that Jesse has become a successful writer, based on his semi-autobiographical books on the last two films. In these scenes Hawke portrays a contentment very much in his place among the literati. This with him bringing a confident, nearly smug, passion as he discusses his literary ideas, though certainly with a genuine spark that helped to define the young man in the first film. His attitude though is sharply contrasted against what are essential moments for Delpy's performance where Celine seems to have one sardonic remark after another ready to take a bit of the luster off of Jesse.

It all appears in good enough fun, however the consistency of it and the often incisiveness of it suggests otherwise. This goes within their chemistry as the two are equally good in these moments of a couples more problematic moments. This in Celine's small little punctures in Jesse's ego, are so well reflected in Hawke's performance which captures the socially acceptable taking of humor, however subtly within that conveys the right glint of a bit of hostility. This brilliantly perpetuated within the writing, but also both performances. This even as we go on another long walk through various sights, and once again enjoy the company of both. Hawke and Delpy once again making the most mundane of conversations so magnetic in their own way. This time though they do not have a romantic tryst to look forward to, though they expect as much, as their day this time ends in a touch artificial hotel room. This sequence of the two in the hotel room is an amazing bit of acting from both performers as they make it such a natural decay. This is as they are at first going to have sex, however small questions about their future and their relationship to Jesse's son soon brings that seeded hostility to the open. The explosion of hate that is so well performed because neither falls into easy melodrama. They rather fine such an authentic fight as they trade barbs and outbursts with such an honest rhythm. This is as there are moments of humor, even love, within there more intense direct moments of disgust or distress. This is as they show two people who love each other, but within that the fight in turn becomes more personal. I love especially how Delpy brings this directness, against Hawke who shows Jesse trying to defer or re-direct the difficult conversation. That does not end well, but the two have one final moment again, as Jesse essentially tries to "pick up" Celine once again with a similar approach to the train in the first film. Although again Hawke brings that endearing uncertainty in the moment, in his eyes though he brings such a genuine sense of tenderness. This tenderness creating a believable reconciliation, but not by playing an old trick, rather a moment of recognizing why they loved each other in the first place. Both Hawke and Delpy give wonderful performances, as they don't simply reprise the roles, but rather truly revisit the couple as though they never had stepped out of the characters after all these years.

Alternate Best Actor 2013: Masaharu Fukuyama in Like Father, Like Son

Masaharu Fukuyama did not receive an Oscar nomination for portraying Ryōta Nonomiya in Like Father, Like Son.

Like Father, Like Son is a terrific film that follows a wealthy couple as they learn that their son was switched at birth, and must contemplate switching him with their biological son.

Masaharu Fukuyama has a very difficult role here as it is not nearly as straight forward as one might expect just from the brief synopsis I provided above. This is as the film itself takes a very naturalistic approach to the story, despite the potentially melodramatic central element. The film takes a very calm and very honest approach, that is evident right within Fukuyama's performance as a Ryōta. This is as we see him interact with his wife and apparent son as they live their life. Ryōta spending much of his time working, in fact far more time than with his wife and son. I love that Fukuyama portrays this without stereotype within the idea of such a man, though while wholly fulfilling the reality of such a man. In that we see him in his life and there is not an excessive unhappiness. Instead Fukuyama portrays a contentment within Ryōta's life, not a fulfilling contentment perhaps, but there is no sense of loss or desperation within this. Fukuyama rather portrays a man just naturally living his life, which for him means spending very little time with his actual family. Fukuyama is effective though by doing so in such a believable way by also accentuating a natural decency within the man, by simply never turning this into a one-dimensional caricature of the stern businessman.

Fukuyama is great in that he realizes so naturally what should seem like artifice, however Fukuyama finds the truth of the matter given that the man's experience has crafted him in this traditional expectation. This is as his physical performance, and general manner carries the weight of expectation so well. He doesn't overplay but finds the right authentic stilted quality in the man caused by this overt formality as required to be a proper man that has been gilded within him. Again, Fukuyama still shows the general sense of an affection with his wife and son, though always with a certain level of disconnectedness. This is as his eyes often drift as though he is looking elsewhere and seems tethered to some other requirement of life. Fukuyama is terrific in the way he shows a certain type of coldness that isn't intense, but still notable. Fukuyama portrays well as this assumed burden int he way the man so carefully speaks his emotions and always presents his strongest drive within his professionalism as opposed to his family. Fukuyama does a fantastic job of finding such a humanity within essentially the realization of a man. Fukuyama does not bring us some standard stiff Japanese businessman, but rather shows us a real man, who happens to technically be a stiff Japanese businessman.

Things must change a bit though when Ryōta is faced with a different reality for himself and his wife Midori (Machiko Onon), when they discover their son is technically not their own. In fact, their son technically belongs to the people who have been raising their biological son. The couple being a rather affable and outgoing pair named the Saiki family (the apparently always delightful Lily Franky and Yoko Maki). Fukuyama is essential in a fascinating way in these series of scenes where the couples meet, try to come with a solution, and deal with the strangeness of the situation. This is as Fukuyama's work, though certainly the central focus, is often of the observer. This falls right in the man's life where family has come second, and now he is forced a bit more interaction. Fukuyama is marvelous in creating certainly the sense of discomfort in these moments particularly as he sees the contrast in his parenting style to the far more engaged Saiki's. Fukuyama is amazing though as in his subtle glances he is able to convey an uncertainty in observation, of a man trying to determine his own thoughts, both as this state of being critical towards what he is seeing while also being unable to processes it within himself. Fukuyama creates this essential conflict within the man that so importantly defines Ryōta's journey.

Fukuyama again is great at portraying the complexity of the situation within the mind of Ryōta as it is not this simple thing. As there are these moments of this unease alluding to a discomfort within his own distance. These then though are followed by statements of cruelty such as when he criticizes his "adopted" son's lack of ambition or suggests, by virtue of his financial circumstances, that he takes all of the Saiki children. Fukuyama's delivery of these moments is great as he makes them feel so honest, even as he does not portray Ryōta as some evil man. Fukuyama though finds so effectively this formality in this delivery of a moment as it represents a man who has learned a certain expectation. This being a certain expectation of success as painted even in parenthood, which is more financially oriented that emotionally so. Fukuyama again makes this a natural reaction within the learned state of the man. Fukuyama making this almost required. This is supplemented though through the real humanity, so quietly portrayed, minimally but not mute, as the man contemplates this situation. This in seeing the loving family but also dealing with the cruelty that they learn had been purposefully inflicted upon them by a nurse. Fukuyama shows that at every point it is not a hollow thought within the man, as his eyes show the real concerns within Ryōta even as he is unsure if to express them.

Ryōta coldly chooses to switch children. This of course goes as well as to be expected as their son, accustomed to the ever-present father, reacts poorly to Ryōta's parenting style. Fukuyama's performance though is excellent in these moments as he is able to express the difficulty of the situation, that we see him attempt to apply his business approach, though this falls away by the boy's reactions. Fukuyama's small concession are made so authentic by making the fall of the business this reversion to that humanity that has never been absent, yet only hesitated to express. Fukuyama in these moments still shows this to be quiet, yet the small loss of the more reserved attitude brings such a power to it as the man tries to provide a more open affection. This is only a small realization though as he comes across more directly his failings towards the son he raised, first in visual proof via pictures the boy took of his "father", always sleeping. Fukuyama is heartbreaking in his reaction that is so expressive. It is an anguish that is defined by the real affection he did have for his son that he failed to show when he had him. This is followed by when the families reunite again though Ryōta's raised son runs from him. Fukuyama is outstanding in the scene of talking his son back to him. This is as he so powerfully loses any of that professional distance. He doesn't overplay it, as his words are still quiet, yet the love is expressed so deeply in his eyes and still within his voice as he now directly speaks to his son like a father should. I loved this performance as Fukuyama offers such an atypical journey. This is as this character typically would be a villain, and the film would probably be about Lily Franky's character. We are granted a different perspective though and through that Fukuyama offers a most poignant and human portrait of a man coming to terms with his life and family.

Alternate Best Actor 2013: Sol Kyung-gu in Hope

Sol Kyung-gu did not receive an Oscar nomination for portraying Im Dong-hoon in Hope.

Hope tells the harrowing story of an 8-year-old and her family trying to recover from her brutal rape. 

Now with that description I suppose it may seem obvious why this film might not have been the easiest to take in. Of course, I'm not really one who is too shy to more extreme subject matter. I will say though the film itself rubbed me the wrong way, and it was not the subject matter itself that did. This was rather than matter in which it was realized with, what I felt to be, an unfortunate blend of the most unsettling blended together with the style of a more cloying light hearted feel good feel, where even the characters dress up in outrageous costumes. Although I will say the film's heart does seem to be in the right place. I'll admit there is a purpose for that here, this was an instance where this approach didn't blend appropriately, for my own view anyways, and made the experience of watching the film especially unpleasant, while not in the fashion as intended by the filmmakers. What I'm here for though is to look at Sol Kyung-gu's performance, which in a certain sense is separate from the overarching narrative of the film. This is as Sol's performance very much stays within the reality of the situation and at least in terms of his own work avoids the sort of tonal tricks the film uses to try to alleviate the intensity of the central horror.

  

Sol's performance is a consistency of reality within the film and provides this truth from the outset of the film. This is where we just see Dong-hoon as the working dad. Sol doesn’t have a great deal of focus in these scenes however Sol's performance is consistently effective in these moments, by essentially not exactly standing out. He just exudes the right naturalism as this workaday father. Sol does something well in these early scenes in suggesting sort of an assumed love for his daughter, even when portraying the early moments with almost a casual distance. This is not Sol portraying an actual coldness or anything, but rather just the state of measured affection of a family just living their life without a thing to worry about. That is instantly thrown out of the window most horribly though when Hope is raped and brutally beaten leaving her in a hospital. Sol's performance matches this trauma in conveying the sheer devastation of the act, in his often silent face, that nonetheless exudes the sheer anguish in the man. Sol's work is powerful in itself as he is able to realizes the severity of the terrible act without becoming overwrought.

The film then breaks into its separate stories one of the recovery of Hope, and the other the attempt to get justice for her by arresting the horrible man. Sol is great in realizing the weight of the situation within his performance essentially for the rest of the film. Rightfully, Sol shows that this is a changed man who likely will never be able to achieve that blissful indifference ever again when it comes to his family. Every moment he is onscreen Sol reveals at least some level of the strain of the knowledge of what happened to his daughter and keeps it as this consistent element as this hole in the man's soul. Sol's work though carefully does find the nuance within this and does not portray a single note even with being the focus of the character. There are of course the most extreme moments where we see the vicious hate, that Sol wraps within this always palatable grief, at the man who has committed this crime that also transfers against the police who do not instantly arrest the man. Sol brings the right intensity in these moments by in his face creating it always as being inspired by his sorrow.

Sol provides the right contrast then in his scenes with his family and his daughter. Here to he finds the right difference depending on the moment, the grief a constant. In this we see the moments just in proximity of his daughter, where Sol shows the man as essentially this shell of a person much of the time with his anger as one of his few outlets of existence. The moments directly with his daughter Sol is terrific in bringing this desperate warmth as he tries to show his love to daughter. He captures a very real sense of affection though even this is portraying it as this distraught act as it is still intertwined with his personal anguish. The film then takes its approach which often leaves Sol as adjacent to what is going as people try to help Hope to recover from all over the community. This technically includes Dong-hoon as he even dresses up as one of her favorite children's show characters. The man though is essentially petrified within his state and Sol is very moving in the moment of the still grieving father, even within his suit, as a man in this endless suffering. The only real change, which Sol does gradually realize effectively, is the internalization of grief as the man says less and less, though the heartbreak is always evident in his defeated physicality of depression along with the eyes filled with the endless tragedy. This is a very good performance even as it is often pushed to the side within the narrative. Although I do wish there had been time to grant more within Dong-hoon's personal story, what we do see is well realized by Sol's work. This is as even though I felt at times a dishonesty within the overall choices within the film, Sol’s performance consistently offered a strict honesty within his powerful portrayal of the man’s painful journey.