Best Scene: The Judge takes the witness stand.
Best Scene: Mason Senior gives advice to his son after the graduation party.
Best Scene: Dave helps Mark after Mark's breakdown.
Best Scene: Mike Shiner's introduction.
Best Scene: The finale.
Showing posts with label 2014 Best Supporting Actor. Show all posts
Showing posts with label 2014 Best Supporting Actor. Show all posts
Monday, 19 January 2015
Best Supporting Actor 2014: Results
Best Scene: The Judge takes the witness stand.
Best Scene: Mason Senior gives advice to his son after the graduation party.
Best Scene: Dave helps Mark after Mark's breakdown.
Best Scene: Mike Shiner's introduction.
Best Scene: The finale.
Best Supporting Actor 2014: Edward Norton in Birdman
Edward Norton received his third Oscar nomination for portraying Mike Shiner in Birdman.
Edward Norton plays the stage actor who is the last minute replacement for an injured actor in the play directed by and starring former movie super hero actor Riggan Thomson (Michael Keaton). Where parallels can be made between the fictional life of Riggan along with Michael Keaton the same can be made for Edward Norton with his counterpart Mike Shiner. Like Keaton, this is obviously not suppose to be exact truth or necessarily even close to it, especially since Norton actually is primarily a film actor. Where there does seem to be a connection is that both are lauded performers but considered difficult to work with. Mike first appearance is a perfectly fitting for that of the "great" actor right down to his choice of hat, scarf and coat. Norton then proceeds to carry himself as the master of the stage as Mike and Riggan go through part of the play. Norton is terrific exuding confidence about everything he does from his fairly pompous walk to just the way he looks upon Riggan with seemingly a combination of interest and perhaps a low-key disdain. Norton is brilliantly insufferable right from the start.
Although from the start Norton suggests what likely will be part of the problem with Mike right from the start, but does not forget to show what Mike will bring to the play. Norton does a particularly fantastic job of showing the way Mike goes in and out of the play with his performance. Not simply in the way he's projecting his voice as he should, although he does that well, but also how in the moment of the play Norton only portrays honest emotions as Mike is in character, and Norton does a great job of being in character in character. Even past that though Norton is terrific in portraying the way Mike is in his zone of control when talking about the play with Riggan going even so far as to constantly make suggestions for a bit of rewriting. Norton is impeccable in realizing the method of Mike as he brings such an energy and even joy as he knocking back and forth ideas with Riggan, and we see Mike exactly where he belongs. Norton is wonderfully in the moment and it's a great scene as Norton basically allows Mike to live up to his reputation.
Norton treads a very fine line in his portrayal of Mike off stage because if he went too far with the egotistical actor routine he could become caricature. Norton though is right on the mark with his performance though being enjoyably smug in his whole manner as it is clear that Mike thinks Mike is God's gift to acting, and that's all there is to it. Norton is especially good in the way he kinda amplifies the ego whenever Mike goes off on an idea and seems to get one over on Riggan. Norton is entertaining as he basically builds up the level of self-indulgence of Mike in given scene before there is eventually something to take him down a notch. One such moment is when Mike is going on off basically his artistic superiority to Riggan before being completely unrecognized as Riggan is asked by a fan for a picture. Norton's very good in his subtle reaction of Mike kinda metaphorically biting his tongue down when he's hit with a bit of reality, as Mike is the sort of man who would not even allow himself to be seen as though he cares, even though he does.
What Norton does so well though is make sense of the madness of his character as he seems somewhat random in the way he flies off the handle sometimes, only to be rather reasonable all of the sudden. Norton makes this volatility work though as an essential part of who Mike is. He makes sense of the sudden bursts of intolerably along with genius all seem to fit into a single whole without at all seeming absurd. Norton's performance interestingly enough, considering his other two male co-stars are comedians, is probably the most comedic performance in the film which is funny all by itself by Norton's often dramatic work like in his previous two Oscar nominations. Norton though succeeds in finding plenty of humor out his character with every one of his odd ball scenes, especially one where he comes with having sex onstage with his co-star/soon to be former girlfriend Lesley (Naomi Watts). Norton is outstanding because he is hilarious in portraying the madness, yet he always remains oddly believable all the same.
Norton does have his technically most dramatic scenes with Riggan's daughter Sam (Emma Stone) as they play game of truth or dare on top of the theater. Norton's very good here as well though as he eases back somewhat on the pretension of Mike, although he still leaves a bit there as he attempts to mentor Sam, but in these scenes gives us a Mike who's willing to let things go. Although the two scenes eventually end on a romantic I don't feel Norton and Stone have romantic chemistry. This is not a criticism, but rather the two show more of an comfort in the understanding the two are able to develop. There is a sweetness in their connection as Norton shows it not that Mike has found love, but rather a person he does not need to perform for. It is almost as though since Sam has such low self-esteem, there is no ego there to trump therefore Norton's performance suggests that Mike can kinda relax for once in his life. My only sorta reservation, I don't really have a problem with it as it works for the film, I want to make that clear, is that he is a non-entity in the third act(where the view focuses solely on Riggan) and it did not seem like Mike Shiner was quite finished. Norton nevertheless does some very memorable work here and I feel as though, just like almost every character in Birdman, there could be a whole film just about Mike Shiner.
Although from the start Norton suggests what likely will be part of the problem with Mike right from the start, but does not forget to show what Mike will bring to the play. Norton does a particularly fantastic job of showing the way Mike goes in and out of the play with his performance. Not simply in the way he's projecting his voice as he should, although he does that well, but also how in the moment of the play Norton only portrays honest emotions as Mike is in character, and Norton does a great job of being in character in character. Even past that though Norton is terrific in portraying the way Mike is in his zone of control when talking about the play with Riggan going even so far as to constantly make suggestions for a bit of rewriting. Norton is impeccable in realizing the method of Mike as he brings such an energy and even joy as he knocking back and forth ideas with Riggan, and we see Mike exactly where he belongs. Norton is wonderfully in the moment and it's a great scene as Norton basically allows Mike to live up to his reputation.
Norton treads a very fine line in his portrayal of Mike off stage because if he went too far with the egotistical actor routine he could become caricature. Norton though is right on the mark with his performance though being enjoyably smug in his whole manner as it is clear that Mike thinks Mike is God's gift to acting, and that's all there is to it. Norton is especially good in the way he kinda amplifies the ego whenever Mike goes off on an idea and seems to get one over on Riggan. Norton is entertaining as he basically builds up the level of self-indulgence of Mike in given scene before there is eventually something to take him down a notch. One such moment is when Mike is going on off basically his artistic superiority to Riggan before being completely unrecognized as Riggan is asked by a fan for a picture. Norton's very good in his subtle reaction of Mike kinda metaphorically biting his tongue down when he's hit with a bit of reality, as Mike is the sort of man who would not even allow himself to be seen as though he cares, even though he does.
What Norton does so well though is make sense of the madness of his character as he seems somewhat random in the way he flies off the handle sometimes, only to be rather reasonable all of the sudden. Norton makes this volatility work though as an essential part of who Mike is. He makes sense of the sudden bursts of intolerably along with genius all seem to fit into a single whole without at all seeming absurd. Norton's performance interestingly enough, considering his other two male co-stars are comedians, is probably the most comedic performance in the film which is funny all by itself by Norton's often dramatic work like in his previous two Oscar nominations. Norton though succeeds in finding plenty of humor out his character with every one of his odd ball scenes, especially one where he comes with having sex onstage with his co-star/soon to be former girlfriend Lesley (Naomi Watts). Norton is outstanding because he is hilarious in portraying the madness, yet he always remains oddly believable all the same.
Norton does have his technically most dramatic scenes with Riggan's daughter Sam (Emma Stone) as they play game of truth or dare on top of the theater. Norton's very good here as well though as he eases back somewhat on the pretension of Mike, although he still leaves a bit there as he attempts to mentor Sam, but in these scenes gives us a Mike who's willing to let things go. Although the two scenes eventually end on a romantic I don't feel Norton and Stone have romantic chemistry. This is not a criticism, but rather the two show more of an comfort in the understanding the two are able to develop. There is a sweetness in their connection as Norton shows it not that Mike has found love, but rather a person he does not need to perform for. It is almost as though since Sam has such low self-esteem, there is no ego there to trump therefore Norton's performance suggests that Mike can kinda relax for once in his life. My only sorta reservation, I don't really have a problem with it as it works for the film, I want to make that clear, is that he is a non-entity in the third act(where the view focuses solely on Riggan) and it did not seem like Mike Shiner was quite finished. Norton nevertheless does some very memorable work here and I feel as though, just like almost every character in Birdman, there could be a whole film just about Mike Shiner.
Sunday, 18 January 2015
Best Supporting Actor 2014: J.K. Simmons in Whiplash
J.K. Simmons won his Oscar his first Oscar nomination for portraying Terence Fletcher in Whiplash.
Whiplash is a terrific kinda thriller about a young jazz drummer Andrew Neiman (Miles Teller) receiving instruction from a tyrannical instructor at a music conservatory.
J.K. Simmons has long been a reliable character actor and usually adds something memorable to the films he's in, in Spider-Man he actually so defined J. Jonah Jameson that the makers of the Amazing Spider-Man series seem afraid to recreate the role, but perhaps he's finally been given his due here in Whiplash. I will admit the role of Terence Fletcher seems tailored made for an Oscar since it combines two popular sort of roles the Academy likes for Supporting Actor that being the flamboyant villain and the hard bitten mentor. Of course a great role is nothing if its performer cannot deliver. Simmons sets things straight from his first scene of the film where he suddenly appears while Andrew is practicing. Simmons is very entertaining in his first scene as he plays up the shameless way in which he encourages Andrew to start playing then discourages him by throwing about random questions in regards to Andrew's behavior and then suddenly leaves without any explanation. Simmons exudes utter confidence as Fletcher and from this point on never leaves it in question who is in charge of any room he sees fit to visit.
Simmons is fascinating in the way he realizes Fletcher as such an intimidating presence even though he is simply a music instructor. The best part is that Simmons does this even before we get to the meat of his performance. Even before Andrew joins his studio band Simmons carries a palatable menace in Fletcher. Part of this comes early on from the coldness he gives to Fletcher's reactions when he goes to the band Andrew is part of and takes note of each player. He only has them play for a few moments, and technically he only lays down a few insults, but there is something so brutal in the way Simmons's portrays an absolute lack of empathy as Fletcher deals with them one by one. Simmons gives just as much of viciousness in his lack of a response as he does when he leaves even a quiet insult to the player. Simmons is so efficient in portraying this in Fletcher that Simmons manages to make Fletcher merely catching Andrew watching the studio band to be a bit disconcerting. Of course these scenes are only a warmup before we get the full force of Fletcher which comes after Fletcher accepts Andrew into his studio band.
Andrew at first must simply witness the first part of the rehearsal as the band stands at absolute attention as Fletcher makes his entrance, Simmons by this point has frankly already earned this with his performance. Simmons even adds so much with the way he physically plays Fletcher, particularly in his conducting style. Simmons is quite interesting as he has such a relaxed quality about his movements seeming to go quite freely with the way of Jazz, but when something wrong comes up its a sudden violent motion Simmons portrays. That gripping of the air to stop the band is pure perfection as there's seems to much underlying anger and frustration just in that simple action alone. Simmons is great in this first rehearsal scene as he has the band going but stops do to one instrument being out of tune. Simmons carries such a quiet threat as he goes about looking for whoever the culprit is until he seems to narrow it down to one player. The one man Fletcher chooses is basically petrified by the accusation, which eventually is revealed to be untrue by Fletcher, but Simmons makes the player's fear completely convincing.
During the break, before Andrew's turn at the drums, Simmons shows perhaps a different side to Fletcher as he speaks to Andrew. Simmons does suggest a great deal of warmth it seems with his bright smile as he seems genuinely interested in Andrew's background. Along with that he gives a few word of encouragement to the young musician. In this moment Simmons is charming as he seems earnest in his portrayal of Fletcher's motivational speech, and in this scene it seems as though Fletcher wants nothing but the best for Andrew. This only continues to seem like the case as he praises him as he's playing until there's a sudden stop, and after a few more failed tries it's the end of the nice Fletcher, if there ever was a nice Fletcher. Simmons is outstanding in this scene as he intensely takes down Andrew piece by piece, lobbing every insult he can think of, while trying to get him to see why he is playing so wrong. Simmons nails every line delivery here to give them the sting they need, and lords over Andrew as though Andrew has no escape.
Most of Simmons's scenes from here on out are in portraying his method of instruction which seems to be more torture than enlightenment. Simmons is remarkable because you can never quite tell if it is purely sadism or if he is striving to drive them towards something. Simmons leaves just enough interpretation to make Fletcher enough of a enigma but not feel like a vague character either. Simmons is consistently marvelous because despite the similar nature of the scenes his performance never feels repetitive. One reason is Simmons is always amazing to watch here and the way he dominates these is spectacular. Every scene is his, but he does not steal them from Teller, but rather makes Teller's portrayal of pain all the more vivid. There is not a line or gesture he waits in making Fletcher one unpredictable monster. What I love is how Simmons can make a smile seem just as bad as a grimace. Whenever Andrew seems like he's made progress, Simmons is great in portraying the malice merely in Fletcher when he lobs support and praise towards another drummer since he only seems to do it to make Andrew suffer all the more.
There is one important scene that comes in where Fletcher describes the death of his former student. Simmons portrays a sadness in Fletcher as he does shed tears, but Simmons is even devilish here as he does not quite tell you if this is even real or not. Simmons is compelling simply through the way he weaves the mystery of Fletcher. One fantastic moment late in the film is when he discusses his philosophy with Andrew, after Fletcher has lost his job due to Andrew's testimony who was also kicked out of the conservatory. The passion in his statement, the belief seems to be a man who absolutely believes that basically from pain comes greatness, and in the moment seems to leave perhaps a bit of understanding between him and Andrew. Of course this is so brilliantly turned on its head in the last scene of the film. Simmons perhaps makes Fletcher at his most devious when he basically drops all pretense and gives Andrew a true stare of death revealing that he knows that Andrew was the one cost him his job. We don't know what Fletcher plans to do, but Simmons makes it so we know it will not be good.
Despite the technically successful humiliation for Andrew as devised by Fletcher, Andrew comes back to finally take on Fletcher leaving to an awe-inspiring scene where Andrews proves his mettle on the drums, and even takes over the band from Fletcher. Although this is a magnificent scene for Miles Teller, Simmons is not to be left in the dust. Simmons is equally good in for once showing Fletcher to be the one who is frustrated as he tries to kinda keep the band going even though it is clear that Andrew is in control this time. Simmons though does not just let it be a villains's defeat though and is perfect in the way he quickly portrays Fletcher's transformation to finally a guiding force simply to help Andrews. Both actors are flawless in this moment as the two play off each other as they almost seem to act as one for a moment with Fletcher's conducting and Andrews playing as they achieve the greatness Fletcher spoke of. The fact that Simmons is able to leave this performance on an inspiring note is astonishing. I may simply be joining a chorus of praise for this performance but there is not reason not to. It's a well earned song for Simmons who gets the absolute most out of an incredible role.
J.K. Simmons has long been a reliable character actor and usually adds something memorable to the films he's in, in Spider-Man he actually so defined J. Jonah Jameson that the makers of the Amazing Spider-Man series seem afraid to recreate the role, but perhaps he's finally been given his due here in Whiplash. I will admit the role of Terence Fletcher seems tailored made for an Oscar since it combines two popular sort of roles the Academy likes for Supporting Actor that being the flamboyant villain and the hard bitten mentor. Of course a great role is nothing if its performer cannot deliver. Simmons sets things straight from his first scene of the film where he suddenly appears while Andrew is practicing. Simmons is very entertaining in his first scene as he plays up the shameless way in which he encourages Andrew to start playing then discourages him by throwing about random questions in regards to Andrew's behavior and then suddenly leaves without any explanation. Simmons exudes utter confidence as Fletcher and from this point on never leaves it in question who is in charge of any room he sees fit to visit.
Simmons is fascinating in the way he realizes Fletcher as such an intimidating presence even though he is simply a music instructor. The best part is that Simmons does this even before we get to the meat of his performance. Even before Andrew joins his studio band Simmons carries a palatable menace in Fletcher. Part of this comes early on from the coldness he gives to Fletcher's reactions when he goes to the band Andrew is part of and takes note of each player. He only has them play for a few moments, and technically he only lays down a few insults, but there is something so brutal in the way Simmons's portrays an absolute lack of empathy as Fletcher deals with them one by one. Simmons gives just as much of viciousness in his lack of a response as he does when he leaves even a quiet insult to the player. Simmons is so efficient in portraying this in Fletcher that Simmons manages to make Fletcher merely catching Andrew watching the studio band to be a bit disconcerting. Of course these scenes are only a warmup before we get the full force of Fletcher which comes after Fletcher accepts Andrew into his studio band.
Andrew at first must simply witness the first part of the rehearsal as the band stands at absolute attention as Fletcher makes his entrance, Simmons by this point has frankly already earned this with his performance. Simmons even adds so much with the way he physically plays Fletcher, particularly in his conducting style. Simmons is quite interesting as he has such a relaxed quality about his movements seeming to go quite freely with the way of Jazz, but when something wrong comes up its a sudden violent motion Simmons portrays. That gripping of the air to stop the band is pure perfection as there's seems to much underlying anger and frustration just in that simple action alone. Simmons is great in this first rehearsal scene as he has the band going but stops do to one instrument being out of tune. Simmons carries such a quiet threat as he goes about looking for whoever the culprit is until he seems to narrow it down to one player. The one man Fletcher chooses is basically petrified by the accusation, which eventually is revealed to be untrue by Fletcher, but Simmons makes the player's fear completely convincing.
During the break, before Andrew's turn at the drums, Simmons shows perhaps a different side to Fletcher as he speaks to Andrew. Simmons does suggest a great deal of warmth it seems with his bright smile as he seems genuinely interested in Andrew's background. Along with that he gives a few word of encouragement to the young musician. In this moment Simmons is charming as he seems earnest in his portrayal of Fletcher's motivational speech, and in this scene it seems as though Fletcher wants nothing but the best for Andrew. This only continues to seem like the case as he praises him as he's playing until there's a sudden stop, and after a few more failed tries it's the end of the nice Fletcher, if there ever was a nice Fletcher. Simmons is outstanding in this scene as he intensely takes down Andrew piece by piece, lobbing every insult he can think of, while trying to get him to see why he is playing so wrong. Simmons nails every line delivery here to give them the sting they need, and lords over Andrew as though Andrew has no escape.
Most of Simmons's scenes from here on out are in portraying his method of instruction which seems to be more torture than enlightenment. Simmons is remarkable because you can never quite tell if it is purely sadism or if he is striving to drive them towards something. Simmons leaves just enough interpretation to make Fletcher enough of a enigma but not feel like a vague character either. Simmons is consistently marvelous because despite the similar nature of the scenes his performance never feels repetitive. One reason is Simmons is always amazing to watch here and the way he dominates these is spectacular. Every scene is his, but he does not steal them from Teller, but rather makes Teller's portrayal of pain all the more vivid. There is not a line or gesture he waits in making Fletcher one unpredictable monster. What I love is how Simmons can make a smile seem just as bad as a grimace. Whenever Andrew seems like he's made progress, Simmons is great in portraying the malice merely in Fletcher when he lobs support and praise towards another drummer since he only seems to do it to make Andrew suffer all the more.
There is one important scene that comes in where Fletcher describes the death of his former student. Simmons portrays a sadness in Fletcher as he does shed tears, but Simmons is even devilish here as he does not quite tell you if this is even real or not. Simmons is compelling simply through the way he weaves the mystery of Fletcher. One fantastic moment late in the film is when he discusses his philosophy with Andrew, after Fletcher has lost his job due to Andrew's testimony who was also kicked out of the conservatory. The passion in his statement, the belief seems to be a man who absolutely believes that basically from pain comes greatness, and in the moment seems to leave perhaps a bit of understanding between him and Andrew. Of course this is so brilliantly turned on its head in the last scene of the film. Simmons perhaps makes Fletcher at his most devious when he basically drops all pretense and gives Andrew a true stare of death revealing that he knows that Andrew was the one cost him his job. We don't know what Fletcher plans to do, but Simmons makes it so we know it will not be good.
Despite the technically successful humiliation for Andrew as devised by Fletcher, Andrew comes back to finally take on Fletcher leaving to an awe-inspiring scene where Andrews proves his mettle on the drums, and even takes over the band from Fletcher. Although this is a magnificent scene for Miles Teller, Simmons is not to be left in the dust. Simmons is equally good in for once showing Fletcher to be the one who is frustrated as he tries to kinda keep the band going even though it is clear that Andrew is in control this time. Simmons though does not just let it be a villains's defeat though and is perfect in the way he quickly portrays Fletcher's transformation to finally a guiding force simply to help Andrews. Both actors are flawless in this moment as the two play off each other as they almost seem to act as one for a moment with Fletcher's conducting and Andrews playing as they achieve the greatness Fletcher spoke of. The fact that Simmons is able to leave this performance on an inspiring note is astonishing. I may simply be joining a chorus of praise for this performance but there is not reason not to. It's a well earned song for Simmons who gets the absolute most out of an incredible role.
Saturday, 17 January 2015
Best Supporting Actor 2014: Mark Ruffalo in Foxcatcher
Mark Ruffalo received his second Oscar nomination for portraying Dave Schultz in Foxcatcher.
Out of the three pivotal characters of John du Pont (Steve Carell), Mark Schultz (Channing Tatum) and Dave Schultz, Dave is the least flashy role so to speak. You have the raw emotions of Mark, the increasingly deranged behavior of the rich John, and then you have Dave. Ruffalo has a challenge in making Dave seem relevant along with the other two which is perhaps made all the more difficult since he has the screen time of a supporting player unlike his counterparts. Ruffalo only really has one scene early on to establish Dave, who almost everyone seems to love and respect. Ruffalo actually gives, technically speaking, a very mannered performance. His particular way of speaking, not even his accent just the way he breaths almost, as well as the way he kinda always stands in a wrestling position. The thing is though it's hard to even see this as such because of how low-key Ruffalo is in playing this. He's really natural as he makes it just seem as though this is the way he is, and is pretty great at making himself Dave Schultz, especially if one goes and watches any footage of the real Schultz.
Ruffalo kinda takes a bit of a daring approach actually because he does not necessarily avoid making Dave somewhat bland. The thing is though its not that Ruffalo's performance is bland but in this case it actually makes sense for the character to be so. Ruffalo portrays Dave as a particularly easy going guy and does suggests everything about him is fairly relaxed. It is not that he is lazy or uninterested it anything, but rather Ruffalo plays him as just a man who knows how to take things as they come. There is a likability that comes from the way Ruffalo so honestly portrays Dave's approach to life and he makes it easy to understand why it that most everyone seems to like Dave. When he is with his family or when he training other wrestlers there's a very strong warmth that Ruffalo exudes. Ruffalo gives us Dave as a man who seems to love everyone from the outset, not in a cloying or overwrought way but just in an honest fashion. Ruffalo earns the respect that Dave seems to have because Ruffalo makes Dave a great man in such a wonderfully unassuming way.
One of the most important elements in his performance is his chemistry with Channing Tatum as Dave's younger brother Schultz. The two of them are great together in the very interesting way they create the relationship between the two. Mark clearly as a man is a bit lost whereas Dave seems to know his place, but wants to help his brother best he can. There's a great early scene for Ruffalo when Mark goes to Du Pont's Foxcatcher farm, but Dave stays home for the sake of his wife and kids. Dave rejects Mark's offer but it is only love that Ruffalo conveys in this rejection as you see in his eyes that he hops that Foxcatcher will provide Mark something to make him feel whole. The most important moments together though seem to be when they practice wrestling together. It's interesting how their physical performances show the connection between the two particularly in their styles. With Ruffalo showing Dave as more commanding but almost teaching in the way he handles Mark. Even outside of sparing the way Ruffalo portrays Dave's physical interactions with Mark suggests the older's brother's care and support for his younger brother.
Ruffalo keeps his whole performance very close to his chest, although I liked his work on my initial viewing, on re-watch I was surprised by how much he does within the margins. What Ruffalo does so well is keep Dave always as he should be, not an unemotional guy, but just a guy who does not let his emotions push him into the sort of mistakes John and Mark make. Ruffalo though does subtly convey what Dave is going through. A moment like this comes in a championship when, despite Dave's coaching giving him the advantage, Mark embraces John without recognizing Dave. Ruffalo quietly conveys the disappointment in Dave and perhaps even heartbreak, but as a man who refuses to let this wear on him. Another strong moment comes when Mark is loses one match and has a breakdown that leaves him ill prepared for the next match, Dave comes in though to salvage this best he can. Ruffalo has a brilliant understated passion as Dave pushes Mark hard to overcome what has happened. Dave does not yell things out or get really energetic like, but Ruffalo is terrific and convincing in portraying the understated way Dave encourages Mark.
It's interesting the way Ruffalo conveys the way Dave does disapprove of John, although there is never a single moment in which Dave says this. A great moment is when Dave is asked to make a video promoting John du Pont, and simply that slight hesitation and discomfort as he says du pont is like a mentor to him suggest Dave's distaste for John. Ruffalo is remarkable actually in the way he basically shows a man, who probably would never insult someone directly, is forced to deal with John. Ruffalo does this through the smallest of reactions and just a general uneasiness whenever Dave and John are in the same room. Ruffalo is very effective as he kinda does show how Dave's manner unfortunately could only make John even more paranoid. This eventually leads to the tragic end of the film when John shoots Dave to death. The scene it handled in a blunt matter of fact style, and I will admit it left me cold the first time. On this viewing though it hit me much harder than expected and I think this had a great deal to do with Mark Ruffalo's performance. He does great work here in creating an honest portrait of Dave Schultz as a modest yet self-actualized man.
Ruffalo kinda takes a bit of a daring approach actually because he does not necessarily avoid making Dave somewhat bland. The thing is though its not that Ruffalo's performance is bland but in this case it actually makes sense for the character to be so. Ruffalo portrays Dave as a particularly easy going guy and does suggests everything about him is fairly relaxed. It is not that he is lazy or uninterested it anything, but rather Ruffalo plays him as just a man who knows how to take things as they come. There is a likability that comes from the way Ruffalo so honestly portrays Dave's approach to life and he makes it easy to understand why it that most everyone seems to like Dave. When he is with his family or when he training other wrestlers there's a very strong warmth that Ruffalo exudes. Ruffalo gives us Dave as a man who seems to love everyone from the outset, not in a cloying or overwrought way but just in an honest fashion. Ruffalo earns the respect that Dave seems to have because Ruffalo makes Dave a great man in such a wonderfully unassuming way.
One of the most important elements in his performance is his chemistry with Channing Tatum as Dave's younger brother Schultz. The two of them are great together in the very interesting way they create the relationship between the two. Mark clearly as a man is a bit lost whereas Dave seems to know his place, but wants to help his brother best he can. There's a great early scene for Ruffalo when Mark goes to Du Pont's Foxcatcher farm, but Dave stays home for the sake of his wife and kids. Dave rejects Mark's offer but it is only love that Ruffalo conveys in this rejection as you see in his eyes that he hops that Foxcatcher will provide Mark something to make him feel whole. The most important moments together though seem to be when they practice wrestling together. It's interesting how their physical performances show the connection between the two particularly in their styles. With Ruffalo showing Dave as more commanding but almost teaching in the way he handles Mark. Even outside of sparing the way Ruffalo portrays Dave's physical interactions with Mark suggests the older's brother's care and support for his younger brother.
Ruffalo keeps his whole performance very close to his chest, although I liked his work on my initial viewing, on re-watch I was surprised by how much he does within the margins. What Ruffalo does so well is keep Dave always as he should be, not an unemotional guy, but just a guy who does not let his emotions push him into the sort of mistakes John and Mark make. Ruffalo though does subtly convey what Dave is going through. A moment like this comes in a championship when, despite Dave's coaching giving him the advantage, Mark embraces John without recognizing Dave. Ruffalo quietly conveys the disappointment in Dave and perhaps even heartbreak, but as a man who refuses to let this wear on him. Another strong moment comes when Mark is loses one match and has a breakdown that leaves him ill prepared for the next match, Dave comes in though to salvage this best he can. Ruffalo has a brilliant understated passion as Dave pushes Mark hard to overcome what has happened. Dave does not yell things out or get really energetic like, but Ruffalo is terrific and convincing in portraying the understated way Dave encourages Mark.
It's interesting the way Ruffalo conveys the way Dave does disapprove of John, although there is never a single moment in which Dave says this. A great moment is when Dave is asked to make a video promoting John du Pont, and simply that slight hesitation and discomfort as he says du pont is like a mentor to him suggest Dave's distaste for John. Ruffalo is remarkable actually in the way he basically shows a man, who probably would never insult someone directly, is forced to deal with John. Ruffalo does this through the smallest of reactions and just a general uneasiness whenever Dave and John are in the same room. Ruffalo is very effective as he kinda does show how Dave's manner unfortunately could only make John even more paranoid. This eventually leads to the tragic end of the film when John shoots Dave to death. The scene it handled in a blunt matter of fact style, and I will admit it left me cold the first time. On this viewing though it hit me much harder than expected and I think this had a great deal to do with Mark Ruffalo's performance. He does great work here in creating an honest portrait of Dave Schultz as a modest yet self-actualized man.
Friday, 16 January 2015
Best Supporting Actor 2014: Robert Duvall in The Judge
Robert Duvall received his seventh Oscar nomination for portraying Joseph Palmer in The Judge.
The Judge is a rather predictable drama about a hot shot city lawyer Hank Palmer (Robert Downey Jr.) who goes to his old hometown after the death of his mother, and must defend his judge father who has been accused of murder. It has more than a few cliches in terms of the writing as well as the direction. It could be worse as its biggest problem is that it is overlong and the film would have done well to remove its subplots, particularly the one where Hank wonders whether or not he pulled an Oldboy.
Robert Duvall plays the titular judge and I have to take this time to voice my distaste with a certain criticism I have been hearing about Duvall's performance. The criticism being that he should not have been nominated here because he could do this performance in his sleep. That seems to suggest that Duvall should deserve less credit because he's a great actor, which is ridiculous. Also if you were to think about how a few of his contemporaries would have handled the part, if they were doing it in their sleep, that idea does not make a whole lot of sense. Robert De Niro for example is a horribly bland performer when he does not try. Al Pacino, in this sort of role, would probably be hooting and hollering all over the place turning the Judge into a crazed caricature, if we got the coasting Pacino. Well Duvall has not seemed to have left his enthusiasm for acting behind over the years, and that can be seen in his performance here as Judge Joseph Palmer.
We are first introduced to the Judge as presides over a minor issue of child support. Duvall naturally brings the needed command for playing who is suppose to be a semi-legendary Judge. He has that presence that shows that Palmer owns the courtroom. Duvall is acerbic enough as Palmer criticizes both the plaintiff and the defendant, but with a marginal bit of empathy as though Palmer believes he is teaching them with his words. We never see him in this role again but Duvall establishes himself as the Judge quite well. After this point we see him with his three sons and we see how Palmer is as a father. Duvall actually portrays his rougher in this regard as he so bluntly portrays the way Palmer puts his demands of his sons right to the point without compromise, effectively alludes to the later revelations regarding his past with Downey's Hank. Duvall simply is great at being a hard ass and leaves no question why Hank is so bitter towards him.
What Duvall does really well here is just making the most of little moments though that allude to a softer side of Palmer. One great moment early on is when the Judge speaks at his wife grave and is moving as he portrays that the Judge loved his wife. It's a short moment but Duvall gets about as much as one could get out of it. Duvall is also good in his brief moments where he interacts with Hank's daughter. Duvall honestly brings out some sweetness as he shows the judge as far more willing to openly express his love his grandchild than his children. Another being when Palmer describes a misjudgment of his where he gave leniency to a man who soon afterwards murdered a teenage girl. Again Duvall is quite good in quietly suggesting the way this decision has haunted him. Of course the crux of Duvall's performance, and the film, and probably what should have been the sole focus of the film, that being the relationship between father and son. They are forced to face their past when the judge is accused of killing the man he had given leniency to.
Duvall and Downey are not always given the most original material or even the best dialogue but they both try to their best with the material they are given. They both convey the bitterness between the two of them because of Hank's screw ups in the past and the harsh way in which the judge dealt with them. In their scenes of fighting, particularly over the strategy in which to handle the judge's defense since Hank wants to take any angle while the judge refuses to lower himself in anyway whatsoever even to save himself from prison, the each deliver the much needed passion and intensity. Some of the situations around their fights, particularly one involving a storm and an excessively convenient movie made by Hank's brother, are almost ridiculous in their setup. The thing is though Duvall and Downey do make it feel as genuine as they possible can because they are convincing in creating the difficult relationship between father and son.
The two even do well in portraying the gradual understanding between the two because neither rush this and leave some tension even as the grow closer. One very good scene actually is when Hank helps the judge after he has had diarrhea due to a side effect of his chemotherapy. That scene could have gone very wrong, like some other scenes in the film, but Duvall and Downey are really good in it. They don't even say much but their interactions just wonderfully suggest a tenderness and understanding between father and son. Now the film ends with a courtroom testimony by Duvall as all is revealed so to speak. The scene probably tries to tackle too much at once but Duvall is consistently good. Whether its portraying the hatred he had for the man, the sad revelation that his unfortunate leniency came from seeing to much of his son in the eventual, or his simple resignation after the verdict, Duvall delivers in every moment. What poignancy and power that can be found in the scene is discovered by Duvall's performance, much like the majority of the film. Robert Duvall's work here does not make this a great film or even a good one. When the film does work though it is due to Duvall and this is one fine example of a great actor doing his best to elevate sub par material.
Robert Duvall plays the titular judge and I have to take this time to voice my distaste with a certain criticism I have been hearing about Duvall's performance. The criticism being that he should not have been nominated here because he could do this performance in his sleep. That seems to suggest that Duvall should deserve less credit because he's a great actor, which is ridiculous. Also if you were to think about how a few of his contemporaries would have handled the part, if they were doing it in their sleep, that idea does not make a whole lot of sense. Robert De Niro for example is a horribly bland performer when he does not try. Al Pacino, in this sort of role, would probably be hooting and hollering all over the place turning the Judge into a crazed caricature, if we got the coasting Pacino. Well Duvall has not seemed to have left his enthusiasm for acting behind over the years, and that can be seen in his performance here as Judge Joseph Palmer.
We are first introduced to the Judge as presides over a minor issue of child support. Duvall naturally brings the needed command for playing who is suppose to be a semi-legendary Judge. He has that presence that shows that Palmer owns the courtroom. Duvall is acerbic enough as Palmer criticizes both the plaintiff and the defendant, but with a marginal bit of empathy as though Palmer believes he is teaching them with his words. We never see him in this role again but Duvall establishes himself as the Judge quite well. After this point we see him with his three sons and we see how Palmer is as a father. Duvall actually portrays his rougher in this regard as he so bluntly portrays the way Palmer puts his demands of his sons right to the point without compromise, effectively alludes to the later revelations regarding his past with Downey's Hank. Duvall simply is great at being a hard ass and leaves no question why Hank is so bitter towards him.
What Duvall does really well here is just making the most of little moments though that allude to a softer side of Palmer. One great moment early on is when the Judge speaks at his wife grave and is moving as he portrays that the Judge loved his wife. It's a short moment but Duvall gets about as much as one could get out of it. Duvall is also good in his brief moments where he interacts with Hank's daughter. Duvall honestly brings out some sweetness as he shows the judge as far more willing to openly express his love his grandchild than his children. Another being when Palmer describes a misjudgment of his where he gave leniency to a man who soon afterwards murdered a teenage girl. Again Duvall is quite good in quietly suggesting the way this decision has haunted him. Of course the crux of Duvall's performance, and the film, and probably what should have been the sole focus of the film, that being the relationship between father and son. They are forced to face their past when the judge is accused of killing the man he had given leniency to.
Duvall and Downey are not always given the most original material or even the best dialogue but they both try to their best with the material they are given. They both convey the bitterness between the two of them because of Hank's screw ups in the past and the harsh way in which the judge dealt with them. In their scenes of fighting, particularly over the strategy in which to handle the judge's defense since Hank wants to take any angle while the judge refuses to lower himself in anyway whatsoever even to save himself from prison, the each deliver the much needed passion and intensity. Some of the situations around their fights, particularly one involving a storm and an excessively convenient movie made by Hank's brother, are almost ridiculous in their setup. The thing is though Duvall and Downey do make it feel as genuine as they possible can because they are convincing in creating the difficult relationship between father and son.
The two even do well in portraying the gradual understanding between the two because neither rush this and leave some tension even as the grow closer. One very good scene actually is when Hank helps the judge after he has had diarrhea due to a side effect of his chemotherapy. That scene could have gone very wrong, like some other scenes in the film, but Duvall and Downey are really good in it. They don't even say much but their interactions just wonderfully suggest a tenderness and understanding between father and son. Now the film ends with a courtroom testimony by Duvall as all is revealed so to speak. The scene probably tries to tackle too much at once but Duvall is consistently good. Whether its portraying the hatred he had for the man, the sad revelation that his unfortunate leniency came from seeing to much of his son in the eventual, or his simple resignation after the verdict, Duvall delivers in every moment. What poignancy and power that can be found in the scene is discovered by Duvall's performance, much like the majority of the film. Robert Duvall's work here does not make this a great film or even a good one. When the film does work though it is due to Duvall and this is one fine example of a great actor doing his best to elevate sub par material.
Thursday, 15 January 2015
Best Supporting Actor 2014: Ethan Hawke in Boyhood
Ethan Hawke received his second acting Oscar nomination for portraying Mason Evans Sr. in Boyhood.
On initial viewing I found Boyhood an underwhelming film, but not necessarily a bad one. On re-watch I must amend this statement and I say I found Boyhood almost to be a terrible film. The first half (not quite as the film is lopsided with far more time being devoted to teen than boy, but Boyhood does have more of a ring to it than Adolescence I guess) devotes much of its time through the most standard child time behavior, and is similar to watching a family's home videos. Not exactly terrible but not anything noteworthy. Of course this is not all there is as we are given a melodramatic detour into an abusive step-dad that's done in such an over the top fashion you'd think it suddenly became a thriller. Past that the plot points are marginalized and we are treated to Mason the teenager who's not exactly Lou Bloom from Nightcrawler. That's to say he's not at all an interesting character and is even problematic for projecting because he does establish himself as a self indulgent philosopher. There's not much to be found there are than him watching other characters who for the most part are as just as dull and uninteresting as him and waxing off about his views about the world. Then the film progresses with a false endings until it stops on a note that is so deep I couldn't believe it, I'll admit I'm being somewhat sarcastic with this final sentence.
On reexamination I can't help but believe that the film would not be receiving any of its plaudits if it were not for the real aging on screen. An interesting idea, and I'm sure a difficult task, but this film did not use it well at all. Anyway that's one of the two things that stands out still in a slightly positive way. The other is a performance. I admit the majority of performances also went downhill for me as well. Ellar Coltrane as the Mason Jr. is just passable as a boy and seems to have no real investment in the later scenes, he performs as though he's a kid fulfilling a duty he stopped caring about a long time ago. Lorelei Linklater, as Mason's sister Samantha, is manic in her first few years then seems to have lost all motivation. In some of her more serious scenes she always smiles in a way like a person does when they're really trying hard to keep a straight face but just can't. Oh and Patricia Arquette as Mason's mother, I did not believe her for a second as their mother, and every line of her's felt forced. Even in the basic moment of anger toward evil step-dad it seems a bit halfhearted. I won't even get into the long list of horrible supporting players. Luckily there is one man who knows what he is doing.
That man being Richard Linklater's frequent collaborator Ethan Hawke who plays Mason's father Mason Senior. Mason Senior is divorced from Mason's mother before the film starts. It is some time before Hawke's first appearance as Senior does not take a particularly active role in his children's lives at first. He does show up though to take the children out bowling. Hawke at first takes an excessively enthusiastic approach as Senior acts though he is interested in everything little thing about his kids and constantly tries to praise them as much as he can. Hawke lays it on a bit thick but in doing so takes the right approach for the part. Hawke portrays this enthusiasm as technically a bit of an act, he does care about his kids, but Hawke suggests that Mason Senior is trying a little too hard to convince his kids that he loves them. In his overt energy Hawke suggests that Senior is trying very much to make up for his time away. Hawke creates Senior as a very inexperienced father as it all is a bit too much, and conveys the way it all overwhelms Mason a bit. Hawke portrays the youth in Mason Senior well and expresses the way in which that youth keeps him from being the best father.
Hawke disappears again for some time until he comes to take them out again, during the reign of alcoholic tyrant, which never comes up in Hawke's storyline although that's a good thing for Hawke. Hawke again keeps that same overt enthusiasm as Senior is still trying hard to make up for time, but Hawke nicely portrays that he has relaxed a bit. Most importantly though Hawke is effective in quietly showing some maturation in Senior's manner by removing some of the unease of his first appearance. The film continues to keep Hawke in these weekend trip appearances, and Hawke continues to be good in these scenes. He is terrific by so gradually and honestly portraying the way Senior grows as a father. In his third appearance there is an even stronger warmth that comes from his portrayal as he shows Mason Senior becoming a better father as well as a man. The wisdom nuggets of the film often fall ridiculously flat except the ones delivered by Hawke. Perhaps this is that he's on the same wavelength as Linklater, or perhaps the best at improvisation, but when Hawke speaks the words they actually seem to have meaning.
In his last two acts Mason Senior has started another family but of course still spends time with his ever growing kids. In his last two sections Hawke nicely rounds out the character as he finally seems to become the father he perhaps needed to be originally. Hawke is very good by portraying that more than anything that Senior has accepted his place. Hawke does not play this as though this is a bad thing, even if he makes a few snarky jokes, but rather Senior finally understanding what is that he needs to be. Although he might still have reservations Hawke gives a happy man in the end, and a much better father than he was in the beginning. Hawke wholly earns this transformation from almost a kid himself to finally the old man giving some much needed advice to his son. Every scene Hawke built to, although Hawke still does well to give little hints of Senior's past, to Mason Senior finally comprehending and fulfilling his role, although technically maybe a bit too late. This is a very good performance by Hawke, it's true he benefits from an actual character arc, but to Hawke's credit he succeeds in creating this largely through his performance. It's even more than that though as he finds the complexity of an inexperienced young man's relationship with his children and his attempt to connect with him. Hawke actually creates the sense of time passing through the growth we find in Mason Senior as a man rather than simply seeing the passage because he ages. Hawke's work stands well above the film as he makes Mason Senior the only element in the film that is consistently compelling.
On reexamination I can't help but believe that the film would not be receiving any of its plaudits if it were not for the real aging on screen. An interesting idea, and I'm sure a difficult task, but this film did not use it well at all. Anyway that's one of the two things that stands out still in a slightly positive way. The other is a performance. I admit the majority of performances also went downhill for me as well. Ellar Coltrane as the Mason Jr. is just passable as a boy and seems to have no real investment in the later scenes, he performs as though he's a kid fulfilling a duty he stopped caring about a long time ago. Lorelei Linklater, as Mason's sister Samantha, is manic in her first few years then seems to have lost all motivation. In some of her more serious scenes she always smiles in a way like a person does when they're really trying hard to keep a straight face but just can't. Oh and Patricia Arquette as Mason's mother, I did not believe her for a second as their mother, and every line of her's felt forced. Even in the basic moment of anger toward evil step-dad it seems a bit halfhearted. I won't even get into the long list of horrible supporting players. Luckily there is one man who knows what he is doing.
That man being Richard Linklater's frequent collaborator Ethan Hawke who plays Mason's father Mason Senior. Mason Senior is divorced from Mason's mother before the film starts. It is some time before Hawke's first appearance as Senior does not take a particularly active role in his children's lives at first. He does show up though to take the children out bowling. Hawke at first takes an excessively enthusiastic approach as Senior acts though he is interested in everything little thing about his kids and constantly tries to praise them as much as he can. Hawke lays it on a bit thick but in doing so takes the right approach for the part. Hawke portrays this enthusiasm as technically a bit of an act, he does care about his kids, but Hawke suggests that Mason Senior is trying a little too hard to convince his kids that he loves them. In his overt energy Hawke suggests that Senior is trying very much to make up for his time away. Hawke creates Senior as a very inexperienced father as it all is a bit too much, and conveys the way it all overwhelms Mason a bit. Hawke portrays the youth in Mason Senior well and expresses the way in which that youth keeps him from being the best father.
Hawke disappears again for some time until he comes to take them out again, during the reign of alcoholic tyrant, which never comes up in Hawke's storyline although that's a good thing for Hawke. Hawke again keeps that same overt enthusiasm as Senior is still trying hard to make up for time, but Hawke nicely portrays that he has relaxed a bit. Most importantly though Hawke is effective in quietly showing some maturation in Senior's manner by removing some of the unease of his first appearance. The film continues to keep Hawke in these weekend trip appearances, and Hawke continues to be good in these scenes. He is terrific by so gradually and honestly portraying the way Senior grows as a father. In his third appearance there is an even stronger warmth that comes from his portrayal as he shows Mason Senior becoming a better father as well as a man. The wisdom nuggets of the film often fall ridiculously flat except the ones delivered by Hawke. Perhaps this is that he's on the same wavelength as Linklater, or perhaps the best at improvisation, but when Hawke speaks the words they actually seem to have meaning.
In his last two acts Mason Senior has started another family but of course still spends time with his ever growing kids. In his last two sections Hawke nicely rounds out the character as he finally seems to become the father he perhaps needed to be originally. Hawke is very good by portraying that more than anything that Senior has accepted his place. Hawke does not play this as though this is a bad thing, even if he makes a few snarky jokes, but rather Senior finally understanding what is that he needs to be. Although he might still have reservations Hawke gives a happy man in the end, and a much better father than he was in the beginning. Hawke wholly earns this transformation from almost a kid himself to finally the old man giving some much needed advice to his son. Every scene Hawke built to, although Hawke still does well to give little hints of Senior's past, to Mason Senior finally comprehending and fulfilling his role, although technically maybe a bit too late. This is a very good performance by Hawke, it's true he benefits from an actual character arc, but to Hawke's credit he succeeds in creating this largely through his performance. It's even more than that though as he finds the complexity of an inexperienced young man's relationship with his children and his attempt to connect with him. Hawke actually creates the sense of time passing through the growth we find in Mason Senior as a man rather than simply seeing the passage because he ages. Hawke's work stands well above the film as he makes Mason Senior the only element in the film that is consistently compelling.
Best Supporting Actor 2014
Edward Norton in Birdman
Mark Ruffalo in Foxcatcher
J.K. Simmons in Whiplash
Ethan Hawke in Boyhood
Robert Duvall in The Judge
Subscribe to:
Posts (Atom)