Best Scene: The Police station.
Best Scene: "I hear you"
Best Scene: The tale of his father.
Best Scene: Arguing with Jack.
Showing posts with label 2016. Show all posts
Showing posts with label 2016. Show all posts
Friday, 3 February 2017
Best Actor 2016: Results
Best Scene: The Police station.
Best Scene: "I hear you"
Best Scene: The tale of his father.
Best Scene: Arguing with Jack.
Best Actor 2016: Denzel Washington in Fences
Denzel Washington received his seventh Oscar nomination for portraying Troy Maxson in Fences.
Fences is a straight forward adaptation of a play about a working class African American man trying to come to terms with his family and his life.
Denzel Washington is an actor I actually do think is fairly consistent with singular screen presence, even if I don't personally hold what is often considered his best work in as high of regard as some do. In most cases I still appreciate the performance even if I don't quite love it. Washington here gives his third directorial feature and his third self-directed performance. In his his previous two efforts Antwone Fisher and The Great Debaters, Washington relegated himself to a supporting role and a secondary lead respectively. In Fences he is front in center for all except the epilogue of the film in his recreation of Troy Maxson, a role he also played on stage. The theatrical background of the material is noticeable with its rich but thick dialogue and limited scope. It is then a challenge in order for all the performers to transition their work from the stage, most are reprising their roles from a production with Washington, to onscreen. The one performer who most successfully transitions to screen is, well, fittingly enough also the man who is directing the film.
Interestingly though it seems from the outset that Washington is going to give a large theatrical performance, though not really the one he gave on stage, as the film opens. Washington after all has never been an actor to shy away from going big. In the opening scenes of the film we basically see the typical end of the week for Troy as he does his work as a garbage man, along with his friend and neighbor Bono (Stephen Henderson). While working then long afterwards Troy is a chatterbox. Washington does this quite well by basically presenting Troy as a man who likes to talk. He only gets bigger though as he arrives home and begins to "entertain" Bono and his wife, Rose (Viola Davis), with various tall tales. Washington plays these scenes like a preacher at a revival meeting with his grand standing, and epic presentation of Troy's tale of a battle with death. Washington goes for a man telling a truly glorious story filled with thrills, and even a bit of comedy. Washington delivers in the grandeur. Quite honestly though, Washington's approach is an actual way to bridge the material to the screen, as well as allude to nature of Troy.
Troy is a man of so many speeches that Washington is able to make those believable by making this sort of style as an essential part of the man Troy is. There is no simplification in this though, this is complex depiction of what Troy is doing. On the surface Washington is quite entertaining in giving such gusto to Troy's stories and at the very least makes it convincing why anyone would bother to listen to the man for a more than a few seconds. Washington's work goes far beyond that as he suggests within it that this whole approach to life is a defense mechanism of sorts for Troy. Washington is extremely effective in the way he twists this preacher facade of sorts in and around. Washington in itself already shows us a man who believes himself to be greater than he is, and he also shows this as a way to warp that message. Although some of his speeches are just these fun pseudo philosophical stories about meeting the devil, a loan officer, or how he he met his wife, there are also more than a few hints to the man's bitterness towards life.
A defining part of Troy's background was that he once had his glory days as a baseball player in the Negro League, but despite his skill never achieved his dreams due to the discrimination of the separate leagues in baseball at the time. In Troy's tirade he will often veer off into the territory towards his hatred of the lot he was given because of that, such as an overt disdain for Jackie Robinson. I actually love the way Washington changes his tempo just a little bit in these moments as he tries to make them as smooth as his "preaching" yet can't help but still come off a bit like an angry drunk yelling in a bar. Washington infuses a real venom in these turns even early on, whenever he is reminded or reminds himself of his position, and does well to show the active effort in his attempt to maintain the facade of some sort of sage. Now I will say this might have gotten old for me, even with the nuance Washington brings within Troy's theatrics, if he also did not prove that they are indeed just that theatrics. Not theatrics in terms of what we are seeing so to speak, but rather are theatrics that Troy is actively putting on, not Washington.
To explain, Washington does not stay at that intensity, we see this even early on. He alludes to this more of when we are first introduced to Troy's handicapped, due to a war injury, brother Gabriel (Mykelti Williamson). This is Troy without an audience, except for his brother who is in a world of his own, and there is none of that bluster from Washington. He shows that act to be the act it is, but essentially giving us Troy beneath it all as he interacts with Gabriel. It's a notable scene for Washington, that he uses incredibly well, since in his moments with Gabriel Washington portrays a moving empathy, which is a limited offering from Troy. In these moments though Washington alludes to this understanding in Troy that this not only is one person who seems to have had picked a worse lot than him, but also he hasn't exactly done right by him either. This is not the only moment in which we are given a quieter performance, which Washington brilliantly uses to establish and earn the those bigger moments. It goes even further than that though in the way Washington illustrates the sort delusions of grandeur that Troy has which are directly echoed by that personal style.
One moment of Washington's performance that I particularly love is when Troy offers a bit of background to his own rough life as a child. It's an amazing scene for Washington as he does start with the showman of sorts but as he actually gets into the meat of the story, Washington shows how Troy can't quite keep it going. He instead falls into the real despair of contemplating his sad past and just faces the truth of that terrible past. It is a moving scene but also so well used by Washington to convey the real nature of Troy. Washington carefully never overemphasizes either side offering the right approach in any given situation that so well reflects the state of the man. There is subtly even in the louder moments though. In the "Like You" speech that Troy gives to his younger son Cory (Jovan Adepo), Washington offers a ferocity in the words, yet he completely gives you the sense of Troy's relationship with his son. There is this very specific disdain that Washington delivers that is fascinating as he shows it almost an internalized self-hate while being a direct hate, as though it is less that Troy hates his son he just hates the idea that his son could potentially be what he never could be. Even in the speech though Washington suggests a vague sense of wisdom even in his prideful words in terms of his view that one needs to do right by another, even if Troy himself doesn't live up to that standard.
As the story goes on it soon becomes obvious that Troy is even more flawed as he reveals to having an affair to his loyal wife Rose, refusing to end it even after the revelation. Washington is outstanding in this scene as well by offering such vulnerability in Troy as he delivers these cracks in the man as he attempts to explain himself. He offers the raw emotion of it as Troy is unable to do so to any great ability, and also even shows the man attempting to explain his action by calling upon that delusion of his. Washington in these moments brings hints of the theatrics Troy is known for, in an attempt to dodge the reality in front of him, but always quickly returns to a more down to earth Troy who must see clearly what he has done. Washington does not compromise his character and is incredible in the way his lost of that facade amplifies the man's downfall all the more. As in the final scenes of the film where Troy is basically at his end, with no false delusions anymore at least in terms of being this great man, we see Troy for all he is. His final confrontation with his son is particularly powerful because Washington shows us just the brutal reality of the man through his anger towards the boy, and reveals just the small pathetic man he is in the end. Washington makes such artful use of his strengths as a performer. His work shows such an absolute grasp on the material particularly in terms of wholly understanding who Troy is. I won't hesitate to say this, Washington gives a stunning performance here.
Denzel Washington is an actor I actually do think is fairly consistent with singular screen presence, even if I don't personally hold what is often considered his best work in as high of regard as some do. In most cases I still appreciate the performance even if I don't quite love it. Washington here gives his third directorial feature and his third self-directed performance. In his his previous two efforts Antwone Fisher and The Great Debaters, Washington relegated himself to a supporting role and a secondary lead respectively. In Fences he is front in center for all except the epilogue of the film in his recreation of Troy Maxson, a role he also played on stage. The theatrical background of the material is noticeable with its rich but thick dialogue and limited scope. It is then a challenge in order for all the performers to transition their work from the stage, most are reprising their roles from a production with Washington, to onscreen. The one performer who most successfully transitions to screen is, well, fittingly enough also the man who is directing the film.
Interestingly though it seems from the outset that Washington is going to give a large theatrical performance, though not really the one he gave on stage, as the film opens. Washington after all has never been an actor to shy away from going big. In the opening scenes of the film we basically see the typical end of the week for Troy as he does his work as a garbage man, along with his friend and neighbor Bono (Stephen Henderson). While working then long afterwards Troy is a chatterbox. Washington does this quite well by basically presenting Troy as a man who likes to talk. He only gets bigger though as he arrives home and begins to "entertain" Bono and his wife, Rose (Viola Davis), with various tall tales. Washington plays these scenes like a preacher at a revival meeting with his grand standing, and epic presentation of Troy's tale of a battle with death. Washington goes for a man telling a truly glorious story filled with thrills, and even a bit of comedy. Washington delivers in the grandeur. Quite honestly though, Washington's approach is an actual way to bridge the material to the screen, as well as allude to nature of Troy.
Troy is a man of so many speeches that Washington is able to make those believable by making this sort of style as an essential part of the man Troy is. There is no simplification in this though, this is complex depiction of what Troy is doing. On the surface Washington is quite entertaining in giving such gusto to Troy's stories and at the very least makes it convincing why anyone would bother to listen to the man for a more than a few seconds. Washington's work goes far beyond that as he suggests within it that this whole approach to life is a defense mechanism of sorts for Troy. Washington is extremely effective in the way he twists this preacher facade of sorts in and around. Washington in itself already shows us a man who believes himself to be greater than he is, and he also shows this as a way to warp that message. Although some of his speeches are just these fun pseudo philosophical stories about meeting the devil, a loan officer, or how he he met his wife, there are also more than a few hints to the man's bitterness towards life.
A defining part of Troy's background was that he once had his glory days as a baseball player in the Negro League, but despite his skill never achieved his dreams due to the discrimination of the separate leagues in baseball at the time. In Troy's tirade he will often veer off into the territory towards his hatred of the lot he was given because of that, such as an overt disdain for Jackie Robinson. I actually love the way Washington changes his tempo just a little bit in these moments as he tries to make them as smooth as his "preaching" yet can't help but still come off a bit like an angry drunk yelling in a bar. Washington infuses a real venom in these turns even early on, whenever he is reminded or reminds himself of his position, and does well to show the active effort in his attempt to maintain the facade of some sort of sage. Now I will say this might have gotten old for me, even with the nuance Washington brings within Troy's theatrics, if he also did not prove that they are indeed just that theatrics. Not theatrics in terms of what we are seeing so to speak, but rather are theatrics that Troy is actively putting on, not Washington.
To explain, Washington does not stay at that intensity, we see this even early on. He alludes to this more of when we are first introduced to Troy's handicapped, due to a war injury, brother Gabriel (Mykelti Williamson). This is Troy without an audience, except for his brother who is in a world of his own, and there is none of that bluster from Washington. He shows that act to be the act it is, but essentially giving us Troy beneath it all as he interacts with Gabriel. It's a notable scene for Washington, that he uses incredibly well, since in his moments with Gabriel Washington portrays a moving empathy, which is a limited offering from Troy. In these moments though Washington alludes to this understanding in Troy that this not only is one person who seems to have had picked a worse lot than him, but also he hasn't exactly done right by him either. This is not the only moment in which we are given a quieter performance, which Washington brilliantly uses to establish and earn the those bigger moments. It goes even further than that though in the way Washington illustrates the sort delusions of grandeur that Troy has which are directly echoed by that personal style.
One moment of Washington's performance that I particularly love is when Troy offers a bit of background to his own rough life as a child. It's an amazing scene for Washington as he does start with the showman of sorts but as he actually gets into the meat of the story, Washington shows how Troy can't quite keep it going. He instead falls into the real despair of contemplating his sad past and just faces the truth of that terrible past. It is a moving scene but also so well used by Washington to convey the real nature of Troy. Washington carefully never overemphasizes either side offering the right approach in any given situation that so well reflects the state of the man. There is subtly even in the louder moments though. In the "Like You" speech that Troy gives to his younger son Cory (Jovan Adepo), Washington offers a ferocity in the words, yet he completely gives you the sense of Troy's relationship with his son. There is this very specific disdain that Washington delivers that is fascinating as he shows it almost an internalized self-hate while being a direct hate, as though it is less that Troy hates his son he just hates the idea that his son could potentially be what he never could be. Even in the speech though Washington suggests a vague sense of wisdom even in his prideful words in terms of his view that one needs to do right by another, even if Troy himself doesn't live up to that standard.
As the story goes on it soon becomes obvious that Troy is even more flawed as he reveals to having an affair to his loyal wife Rose, refusing to end it even after the revelation. Washington is outstanding in this scene as well by offering such vulnerability in Troy as he delivers these cracks in the man as he attempts to explain himself. He offers the raw emotion of it as Troy is unable to do so to any great ability, and also even shows the man attempting to explain his action by calling upon that delusion of his. Washington in these moments brings hints of the theatrics Troy is known for, in an attempt to dodge the reality in front of him, but always quickly returns to a more down to earth Troy who must see clearly what he has done. Washington does not compromise his character and is incredible in the way his lost of that facade amplifies the man's downfall all the more. As in the final scenes of the film where Troy is basically at his end, with no false delusions anymore at least in terms of being this great man, we see Troy for all he is. His final confrontation with his son is particularly powerful because Washington shows us just the brutal reality of the man through his anger towards the boy, and reveals just the small pathetic man he is in the end. Washington makes such artful use of his strengths as a performer. His work shows such an absolute grasp on the material particularly in terms of wholly understanding who Troy is. I won't hesitate to say this, Washington gives a stunning performance here.
Thursday, 2 February 2017
Best Actor 2016: Viggo Mortensen in Captain Fantastic
Viggo Mortensen received his second Oscar nomination for portraying Ben Cash in Captain Fantastic.
Captain Fantastic tells the story of a man being forced to take his six children out of their sheltered existence in a forest and into the real world in order to attend their mother's funeral after she commits suicide.
Viggo Mortensen is an actor I've always considered underrated since he's really one of the best working today. I have to say though there seems to be a strong contingent though that do seem to fully agree in terms of Mortensen's talent. I say this because Captain Fantastic marks the second time Mortensen's received an Oscar nomination without his film receiving a single other nomination, which means the man has support. I have to say it seems likely that if he ever gets a meaty role in a film the Academy loves beyond him, he'll probably be a shoe in for a win. But enough about how great Viggo Mortensen is, let's get onto talking about how great Viggo Mortensen is in this film. Mortensen plays Ben Cash a man who is a bit like a far less paranoid and sinister Harrison Ford from The Mosquito Coast. We come into the film with Mortensen who essentially plays an old hippie who actually took the initiative along with his wife to go off and live in the forest away from society, going so far as to raise their children right within the forest with little contact with the outside world.
Mortensen is already rather great from the first scene of the film where we see Ben take down a buck with his oldest, son Bodevan (George MacKay), where he proceeds to treat it like a coming to manhood ritual for Bo. Mortensen strikes this rather interesting balance between his performance given that Ben is half loving father and half survivalist technically speaking. Frankly it would have been very easy to overplay the role, which would not have fit the fairly down to earth tone of the film, given the strange nature of it. Mortensen though is able to pull it off, and makes sense of Ben's style of parenting. In these early moments where he has his children practice hand to hand combat, or has all his children scale the side of a mountain, Mortensen brings this certain intensity of a man who believes this to be a necessary teaching. Mortensen balances it so well though with his manner of delivery which is that of a strict yet caring teacher, rather some sort of psychopathic drill sergeant.
There is also something very important that Mortensen does as he sets up Ben's real nature. As we see him teaching the kids he does have that intensity and he brings the certain fire one would expect from someone who absolutely believes in what it is that he is teaching. That's not all Mortensen gives us to him though such as when we see him look upon some of his children's work, or when he receives a verbal lashing of sorts from his own son for misidentifying what type of communist he is. Mortensen is excellent in these moments as he shows us when Ben is not in teacher mode, he does have the insight of a man who has not always lived like this. Mortensen reveals this by portraying the way Ben is a bit taken aback whenever one of these moments happen with the children. Mortensen even echoes just a slight bit of how someone from the outside would react, as he reveals some early doubt in his performance. In that by showing the way Ben is a bit taken aback, Mortensen suggests an understanding in Ben that perhaps he has not given his children every thing they truly need.
Ben soon gets a more severe wake up call though when he is told that his wife, who was away supposedly for mental health reasons, has committed suicide. Mortensen's is very moving in the moment as we see his sadness, though there is even more there. Mortensen suggests perhaps Ben's later days with her as there is also a certain guilt that seems to reveal itself within his face as he attempts to understand what has happened. Ben reveals the news to his children and Mortensen is excellent as he does not do so as a the hippie survivalist mentor, but rather as just a father who cannot really explain the news to his children. Mortensen shows that Ben is actually rather lost as he cannot comfort his children nor deal with his middle son Rellian who lashes out in anger against his father. After this moment of grief though Mortensen attempts to get his kids back on track, and even seems to find a new "mission" for them by attempting to "save" their mother from the burial her parents attend to give her. Mortensen in this suggests kind of an old spark coming out of Ben, as he brings out that real fire again as he rallies his children to his cause.
As they go on the trip it ends up being the Cash family interacting with the "normals" in various ways, thankfully not with the typical misanthropy you'll find in some similarly minded films. Mortensen's terrific here in that he sometimes gives us the Ben as he was when he probably just met his wife and they decided on their specific course of living. In that Mortensen brings the attitude of a firebrand hippie who is all ready to debate with anyone in attempt to prove he is right. Mortensen offers the needed passion to this and in these scenes Mortensen gives us almost the default setting for the man whenever his way of life is questioned or tested by others. Mortensen is not one note in this such as in a pivotal scene where Rellian questions his father's choice of celebrating "Noah Chomsky Day". Mortensen initially breaks into Ben as the excessively sure of himself outsider snarkily asking him to defend Christmas as an alternative. When Rellian reacts like a son whose father is acting like a bit of a jerk rather than a debate opponent though, Mortensen in his quiet reaction powerfully shows the unease in Ben as senses that while he might be supporting his personal philosophy he isn't being a good father.
Mortensen's work here is brilliant as he captures this nuanced conflict in Ben as he attempts to reason out every aspect of his life. Mortensen never undercuts any aspect of this. In his "eulogy" for his wife Mortensen gives the conviction in Ben's almost vicious attack of sorts at the parents' choice of a funeral. Mortensen does carry a bit of the smugness of a man so sure of atypical ways, yet he also in the moment delivers in revealing an almost desperate love as he attempts to prevent his wife from being buried. Mortensen doesn't make it so simple again as in his pleas are not just a support for the wishes of her will, but also it conveys still this guilt in Ben over him possibly contributing to her death by wishing to hold onto their way of life. Eventually his ideas are directly confronted by his wife's father, Jack (Frank Langella), and the problem for Ben is Jack makes some good points. Mortensen is outstanding in the scene as he brings the attempt at passion of a father defending his choices yet within this he exudes the painful sense of doubt in this attempt. Mortensen shows this doubt grow all the more when one of his "missions" leave one of his kids severely injured. Mortensen, because of that, makes Ben's initial decision to leave his children with the grandparents believable, and also incredibly heartbreaking particularly through that palatable sadness he reveals as he drives away alone. Of course what I have not mentioned enough is Mortensen's chemistry with every one of the kids. It is all there, and he is pitch perfect in making you have a real sense of the history between them all. Even when Ben's on his highest of horses Mortensen still is able to give life to the connection between a father and his children. They feel like a real family even with their very unusual ways, and Mortensen is the center of it all. Mortensen here gives such a fantastic performance as he manages to craft this arc of Ben's so effectively to create such a poignant and complex portrait of man coming to terms with what he has done right for his family, but also what he has done wrong. It's phenomenal work from a phenomenal actor.
Viggo Mortensen is an actor I've always considered underrated since he's really one of the best working today. I have to say though there seems to be a strong contingent though that do seem to fully agree in terms of Mortensen's talent. I say this because Captain Fantastic marks the second time Mortensen's received an Oscar nomination without his film receiving a single other nomination, which means the man has support. I have to say it seems likely that if he ever gets a meaty role in a film the Academy loves beyond him, he'll probably be a shoe in for a win. But enough about how great Viggo Mortensen is, let's get onto talking about how great Viggo Mortensen is in this film. Mortensen plays Ben Cash a man who is a bit like a far less paranoid and sinister Harrison Ford from The Mosquito Coast. We come into the film with Mortensen who essentially plays an old hippie who actually took the initiative along with his wife to go off and live in the forest away from society, going so far as to raise their children right within the forest with little contact with the outside world.
Mortensen is already rather great from the first scene of the film where we see Ben take down a buck with his oldest, son Bodevan (George MacKay), where he proceeds to treat it like a coming to manhood ritual for Bo. Mortensen strikes this rather interesting balance between his performance given that Ben is half loving father and half survivalist technically speaking. Frankly it would have been very easy to overplay the role, which would not have fit the fairly down to earth tone of the film, given the strange nature of it. Mortensen though is able to pull it off, and makes sense of Ben's style of parenting. In these early moments where he has his children practice hand to hand combat, or has all his children scale the side of a mountain, Mortensen brings this certain intensity of a man who believes this to be a necessary teaching. Mortensen balances it so well though with his manner of delivery which is that of a strict yet caring teacher, rather some sort of psychopathic drill sergeant.
There is also something very important that Mortensen does as he sets up Ben's real nature. As we see him teaching the kids he does have that intensity and he brings the certain fire one would expect from someone who absolutely believes in what it is that he is teaching. That's not all Mortensen gives us to him though such as when we see him look upon some of his children's work, or when he receives a verbal lashing of sorts from his own son for misidentifying what type of communist he is. Mortensen is excellent in these moments as he shows us when Ben is not in teacher mode, he does have the insight of a man who has not always lived like this. Mortensen reveals this by portraying the way Ben is a bit taken aback whenever one of these moments happen with the children. Mortensen even echoes just a slight bit of how someone from the outside would react, as he reveals some early doubt in his performance. In that by showing the way Ben is a bit taken aback, Mortensen suggests an understanding in Ben that perhaps he has not given his children every thing they truly need.
Ben soon gets a more severe wake up call though when he is told that his wife, who was away supposedly for mental health reasons, has committed suicide. Mortensen's is very moving in the moment as we see his sadness, though there is even more there. Mortensen suggests perhaps Ben's later days with her as there is also a certain guilt that seems to reveal itself within his face as he attempts to understand what has happened. Ben reveals the news to his children and Mortensen is excellent as he does not do so as a the hippie survivalist mentor, but rather as just a father who cannot really explain the news to his children. Mortensen shows that Ben is actually rather lost as he cannot comfort his children nor deal with his middle son Rellian who lashes out in anger against his father. After this moment of grief though Mortensen attempts to get his kids back on track, and even seems to find a new "mission" for them by attempting to "save" their mother from the burial her parents attend to give her. Mortensen in this suggests kind of an old spark coming out of Ben, as he brings out that real fire again as he rallies his children to his cause.
As they go on the trip it ends up being the Cash family interacting with the "normals" in various ways, thankfully not with the typical misanthropy you'll find in some similarly minded films. Mortensen's terrific here in that he sometimes gives us the Ben as he was when he probably just met his wife and they decided on their specific course of living. In that Mortensen brings the attitude of a firebrand hippie who is all ready to debate with anyone in attempt to prove he is right. Mortensen offers the needed passion to this and in these scenes Mortensen gives us almost the default setting for the man whenever his way of life is questioned or tested by others. Mortensen is not one note in this such as in a pivotal scene where Rellian questions his father's choice of celebrating "Noah Chomsky Day". Mortensen initially breaks into Ben as the excessively sure of himself outsider snarkily asking him to defend Christmas as an alternative. When Rellian reacts like a son whose father is acting like a bit of a jerk rather than a debate opponent though, Mortensen in his quiet reaction powerfully shows the unease in Ben as senses that while he might be supporting his personal philosophy he isn't being a good father.
Mortensen's work here is brilliant as he captures this nuanced conflict in Ben as he attempts to reason out every aspect of his life. Mortensen never undercuts any aspect of this. In his "eulogy" for his wife Mortensen gives the conviction in Ben's almost vicious attack of sorts at the parents' choice of a funeral. Mortensen does carry a bit of the smugness of a man so sure of atypical ways, yet he also in the moment delivers in revealing an almost desperate love as he attempts to prevent his wife from being buried. Mortensen doesn't make it so simple again as in his pleas are not just a support for the wishes of her will, but also it conveys still this guilt in Ben over him possibly contributing to her death by wishing to hold onto their way of life. Eventually his ideas are directly confronted by his wife's father, Jack (Frank Langella), and the problem for Ben is Jack makes some good points. Mortensen is outstanding in the scene as he brings the attempt at passion of a father defending his choices yet within this he exudes the painful sense of doubt in this attempt. Mortensen shows this doubt grow all the more when one of his "missions" leave one of his kids severely injured. Mortensen, because of that, makes Ben's initial decision to leave his children with the grandparents believable, and also incredibly heartbreaking particularly through that palatable sadness he reveals as he drives away alone. Of course what I have not mentioned enough is Mortensen's chemistry with every one of the kids. It is all there, and he is pitch perfect in making you have a real sense of the history between them all. Even when Ben's on his highest of horses Mortensen still is able to give life to the connection between a father and his children. They feel like a real family even with their very unusual ways, and Mortensen is the center of it all. Mortensen here gives such a fantastic performance as he manages to craft this arc of Ben's so effectively to create such a poignant and complex portrait of man coming to terms with what he has done right for his family, but also what he has done wrong. It's phenomenal work from a phenomenal actor.
Wednesday, 1 February 2017
Best Actor 2016: Ryan Gosling in La La Land
Ryan Gosling received his second Oscar nomination for portraying Sebastian in La La Land.
La La Land is a wonderful musical about the romance between a struggling actress, Mia (Emma Stone) and a struggling Jazz musician, Sebastian, in Hollywood.
Ryan Gosling after his career best work in Drive got into just a little bit of an acting rut. In that his subsequent roles were certain variations on the role of the stoic "hero". Although I will defend his work in A Place Beyond the Pines to a certain extent, I find it much harder to do so for his work in Only God Forgives. Nevertheless it felt like Ryan Gosling was capable of more and there was no reason for him to be pigeonholed in such roles. Gosling in 2016 offered a complete 180 turn from those roles first through his portrayal of a bumbling private detective in The Nice Guys then later in his performance here. A performance, that while frequently recognized, isn't actually talked about all that much in regards to the film, the focus performance wise being given far more to Stone than Gosling. This may seem a little shortsighted, though there is an identifiable reason why I'll get to later, since the film relies on both of them to make it all work. La La Land after all would be horribly disconnected if either of the central performances did not work since the film is so reliant on the leads given the minor nature of the supporting cast.
Both leads are more than eager to play and in terms of the two of them you'd be hard pressed to find better chemistry than there is between these two. Like Clark Gable and Claudette Colbert in It Happened One Night, Cary Grant with almost all of his female co-stars, or Audrey Hepburn with almost all of her male co-stars, there is just that something there between them, something that just seems so right. Part of is that they don't really even need to ever exactly show that they love each other that is really what makes this sort of chemistry so special. The ease of it all is what makes it work so well, the affection is shown so naturally just in just the way they interact and engage one another. Even the traditional slightly division phase at the beginning of their relationship is impeccably handled. The two just give it this grace that makes the two of them together something quite special, and the two of them deserve to be mentioned among the best onscreen romantic pairs. The two just have it which in itself elevates the film more than just a bit, as the two of them seem so perfect together which is essential in creating that movie magic feeling the film has.
To narrow in on Gosling, what he does give here is technically a very traditional leading turn for a romantic/comedic musical, but doing this well should not be something overlooked. First of all it's such a nice thing to see Gosling in this form to begin with. No reason to brood because Gosling just has such an over abundance of charm in the role, that makes him appealing even when the character does a few things that aren't really. Gosling makes Sebastian such an endearing figure with just that breezy unassuming confidence he brings out in the right moments. Gosling though actually is careful though not to over do it in order for it to turn to smugness. Gosling isn't a Broadway singer, though my opinion on this point is always the same. Hey as long as you're not Pierce Brosnan in Mamma Mia, I care more about the acting around the singing, and the dancing for that matter. As with Richard Attenborough in Doctor Dolittle and James Cagney in Yankee Doodle Dandy, I love the way Gosling so effectively exudes the exuberance of the act. This honestly only gets amplified by Stone matching him every step of the way, and the two of them portray such sheer joy in the act that it in only results in sheer joy.
There is also the comedic with the romantic and musical though and Gosling excels at this as well. Gosling is a hoot here alone or playing off Stone. I think part of the reason he's so charming here is how good he is at being kind of a hapless dope when attempting to first play just a bit of jazz within a required playlist, or later attempting to keep his job by a terrible explanation. Gosling is, well, rather adorable in making Sebastian both rather smooth when he needs to be but also, well not so smooth, in kind of a smooth way still, if that makes any sense. Also special mention must be made to his hilarious exasperated glances when dealing with the random requirements of a weird photographer. Gosling just has such a good grasp on the material that no comedic line is wasted. He perhaps excels all the more when getting to trade a few with Stone. I have particular affection for his death stare when Mia requests "I Ran" while Sebastian is playing in a 80's tribute band, only topped at Gosling being enjoyably pathetic as Sebastian attempts to describe himself as a "serious musician". The two though again, with the comedic moments as well, just have that intangible spark.
As entertaining as this performance is that isn't all there is to it. The character's ambition to open a Jazz club, and for jazz just to be recognized in some way, defines much of his personality. Gosling captures the character's passion incredibly well because he makes it infectious. Listening to him is a bit like talking to Vincent from Collateral about Jazz, you know just without people getting shot in the head at the end of it, seriously though Gosling makes the enthusiasm so genuine that you can understand Sebastian's hesitation for the high paying music job that goes against his specific passion. On that point though Gosling carefully never overdoes the scenes where he has compromised his ambition. In that he doesn't portray this overt anguish or anything like that, just more of a lack of that passion as he goes along with a musical that just wasn't his dream. Now this is where it gets to the most dramatic elements of Gosling's performance, and to be fair this would be already be a great "light weight" turn anyways. I don't think Gosling quite gets the credit he deserves in this respect though.
Now, as I wrote, there is an identifiable reason for that in that Emma Stone technically gets the more exact dramatic focus particularly in the show stopping "Audition" number which is amazing and that's part of the reason why's she my lead actress win, but that does not mean there is nothing for Gosling. Gosling's most dramatic moments actually are particularly quiet ones. For example there is scene early on where Sebastian overhears Mia talking to her mother where she notes his lack of success. Gosling is very good in silently reflecting the way Sebastian takes this in and actually with that moment gives sense to his willingness to initially compromise his dream. This eventually leads though to their confrontation, after Sebastian has been away for a long time on tour, yet surprises Mia with a meal. During this time though she questions about his compromise. This is not dealing with the sort of harrowing tragedies we will find with his fellow nominees, nevertheless I found Gosling's work incredibly moving here. Gosling subtly reveals such vulnerability just as he defends himself, and in his eyes he gives this sense of a real heartbreak since Mia is questioning his compromise when he made the compromise for her. By doing this he makes Sebastian's ill advised remarks towards Mia natural because they come from that heartbreak. As good as they are together what I find most remarkable is how effectively the two end up dividing. The two of course have that unmistakable love yet just as naturally they reveal the problems that arise. They earn the ending and make it as bittersweet as it is. Both Gosling and Stone make it so those final glances say everything, the regret, the sadness, and still the love, without saying a single word. I have to admit the more I've written about this performance the more I've come to appreciate it all the more. You know I've made my argument, set up the evidence, but in summation I think I'll quote the terrible Akiva Goldsman and ask you all to close your eyes. Now imagine an actor that must rely on his charm, his chemistry with his co-star, a comedic ease and effortless grace, yet still with the right dramatic nuance. Can you see him? I want you to picture that actor. Now imagine he's Miles Teller. Doesn't seem quite the same now does it?
Ryan Gosling after his career best work in Drive got into just a little bit of an acting rut. In that his subsequent roles were certain variations on the role of the stoic "hero". Although I will defend his work in A Place Beyond the Pines to a certain extent, I find it much harder to do so for his work in Only God Forgives. Nevertheless it felt like Ryan Gosling was capable of more and there was no reason for him to be pigeonholed in such roles. Gosling in 2016 offered a complete 180 turn from those roles first through his portrayal of a bumbling private detective in The Nice Guys then later in his performance here. A performance, that while frequently recognized, isn't actually talked about all that much in regards to the film, the focus performance wise being given far more to Stone than Gosling. This may seem a little shortsighted, though there is an identifiable reason why I'll get to later, since the film relies on both of them to make it all work. La La Land after all would be horribly disconnected if either of the central performances did not work since the film is so reliant on the leads given the minor nature of the supporting cast.
Both leads are more than eager to play and in terms of the two of them you'd be hard pressed to find better chemistry than there is between these two. Like Clark Gable and Claudette Colbert in It Happened One Night, Cary Grant with almost all of his female co-stars, or Audrey Hepburn with almost all of her male co-stars, there is just that something there between them, something that just seems so right. Part of is that they don't really even need to ever exactly show that they love each other that is really what makes this sort of chemistry so special. The ease of it all is what makes it work so well, the affection is shown so naturally just in just the way they interact and engage one another. Even the traditional slightly division phase at the beginning of their relationship is impeccably handled. The two just give it this grace that makes the two of them together something quite special, and the two of them deserve to be mentioned among the best onscreen romantic pairs. The two just have it which in itself elevates the film more than just a bit, as the two of them seem so perfect together which is essential in creating that movie magic feeling the film has.
To narrow in on Gosling, what he does give here is technically a very traditional leading turn for a romantic/comedic musical, but doing this well should not be something overlooked. First of all it's such a nice thing to see Gosling in this form to begin with. No reason to brood because Gosling just has such an over abundance of charm in the role, that makes him appealing even when the character does a few things that aren't really. Gosling makes Sebastian such an endearing figure with just that breezy unassuming confidence he brings out in the right moments. Gosling though actually is careful though not to over do it in order for it to turn to smugness. Gosling isn't a Broadway singer, though my opinion on this point is always the same. Hey as long as you're not Pierce Brosnan in Mamma Mia, I care more about the acting around the singing, and the dancing for that matter. As with Richard Attenborough in Doctor Dolittle and James Cagney in Yankee Doodle Dandy, I love the way Gosling so effectively exudes the exuberance of the act. This honestly only gets amplified by Stone matching him every step of the way, and the two of them portray such sheer joy in the act that it in only results in sheer joy.
There is also the comedic with the romantic and musical though and Gosling excels at this as well. Gosling is a hoot here alone or playing off Stone. I think part of the reason he's so charming here is how good he is at being kind of a hapless dope when attempting to first play just a bit of jazz within a required playlist, or later attempting to keep his job by a terrible explanation. Gosling is, well, rather adorable in making Sebastian both rather smooth when he needs to be but also, well not so smooth, in kind of a smooth way still, if that makes any sense. Also special mention must be made to his hilarious exasperated glances when dealing with the random requirements of a weird photographer. Gosling just has such a good grasp on the material that no comedic line is wasted. He perhaps excels all the more when getting to trade a few with Stone. I have particular affection for his death stare when Mia requests "I Ran" while Sebastian is playing in a 80's tribute band, only topped at Gosling being enjoyably pathetic as Sebastian attempts to describe himself as a "serious musician". The two though again, with the comedic moments as well, just have that intangible spark.
As entertaining as this performance is that isn't all there is to it. The character's ambition to open a Jazz club, and for jazz just to be recognized in some way, defines much of his personality. Gosling captures the character's passion incredibly well because he makes it infectious. Listening to him is a bit like talking to Vincent from Collateral about Jazz, you know just without people getting shot in the head at the end of it, seriously though Gosling makes the enthusiasm so genuine that you can understand Sebastian's hesitation for the high paying music job that goes against his specific passion. On that point though Gosling carefully never overdoes the scenes where he has compromised his ambition. In that he doesn't portray this overt anguish or anything like that, just more of a lack of that passion as he goes along with a musical that just wasn't his dream. Now this is where it gets to the most dramatic elements of Gosling's performance, and to be fair this would be already be a great "light weight" turn anyways. I don't think Gosling quite gets the credit he deserves in this respect though.
Now, as I wrote, there is an identifiable reason for that in that Emma Stone technically gets the more exact dramatic focus particularly in the show stopping "Audition" number which is amazing and that's part of the reason why's she my lead actress win, but that does not mean there is nothing for Gosling. Gosling's most dramatic moments actually are particularly quiet ones. For example there is scene early on where Sebastian overhears Mia talking to her mother where she notes his lack of success. Gosling is very good in silently reflecting the way Sebastian takes this in and actually with that moment gives sense to his willingness to initially compromise his dream. This eventually leads though to their confrontation, after Sebastian has been away for a long time on tour, yet surprises Mia with a meal. During this time though she questions about his compromise. This is not dealing with the sort of harrowing tragedies we will find with his fellow nominees, nevertheless I found Gosling's work incredibly moving here. Gosling subtly reveals such vulnerability just as he defends himself, and in his eyes he gives this sense of a real heartbreak since Mia is questioning his compromise when he made the compromise for her. By doing this he makes Sebastian's ill advised remarks towards Mia natural because they come from that heartbreak. As good as they are together what I find most remarkable is how effectively the two end up dividing. The two of course have that unmistakable love yet just as naturally they reveal the problems that arise. They earn the ending and make it as bittersweet as it is. Both Gosling and Stone make it so those final glances say everything, the regret, the sadness, and still the love, without saying a single word. I have to admit the more I've written about this performance the more I've come to appreciate it all the more. You know I've made my argument, set up the evidence, but in summation I think I'll quote the terrible Akiva Goldsman and ask you all to close your eyes. Now imagine an actor that must rely on his charm, his chemistry with his co-star, a comedic ease and effortless grace, yet still with the right dramatic nuance. Can you see him? I want you to picture that actor. Now imagine he's Miles Teller. Doesn't seem quite the same now does it?
Tuesday, 31 January 2017
Best Actor 2016: Andrew Garfield in Hacksaw Ridge
Andrew Garfield received his first Oscar nomination for portraying Private Desmond T. Doss in Hacksaw Ridge.
Hacksaw Ridge tells the unbelievable yet true story of Desmond Doss, a consciousness objector who went on to earn the medal of honor during World War II. Although I was a proponent of the film after my initial viewing of the film I have to say...................I am still just as supportive of the film.
Andrew Garfield, in a banner year, plays the first of his two roles of 2016 where his character's faith plays a pivotal role, though in rather different ways. The role of Desmond Doss is a challenging role though the type of challenge that one is rarely given credit for. The real Desmond Doss was a rather atypical sort of guy not just because of his heroics, but also just everything about him. Garfield intends to capture that personality that was Doss, which was unusual but that's who he was. Garfield doesn't just do a Virginian accent he does a rather thick one which is only fitting to the real Doss's very thick accent. He actually probably just eases it up just a bit to make it a little easier to hear him. Garfield is rather consistent in his use of the accent. He stays true to it and makes it natural to where his character is from. Garfield work though goes further though in his whole demeanor is defined by optimism. Garfield exudes just a general joy of existence in his Doss, which I'd say is most fitting to a man who can wear a smile on his face after describing removing blood from a man's eyes.
Hacksaw Ridge has received criticism for its supposed sentimental depiction of the early scenes of the film which take place in early 30's/40's Virginia. I would say this has been overstated most obviously because there is nothing sentimental about the depiction of Tom Doss (Hugo Weaving) a man permanently scarred by World War I, who lashes out against his family. After watching it again I also noticed that the thing that can most obviously be construed as corny is the depiction of Desmond's relationship with his girlfriend and later wife Dorothy (Teresa Palmer). The dialogue in these scenes is about as old fashioned as they come, though I must say I don't think this seems ill-fitting to Doss. Garfield matches it essentially by offering a truly sincere portrayal, giving every single hokey word coming from Doss's mouth as the truth at least from this guy who simply loves this woman. Garfield in these scenes does very much call back to an older Hollywood type of romantic, kind of a Henry Fonda in Young Mr. Lincoln quite honestly, and again it suits the character.
Again though this is not Garfield just playing a guy who is happy all the time, even if he tries to be happy all the time. We do see the scenes of him dealing with his alcoholic father who most commonly goes from fits of depression to fits of violent anger. In these scenes Garfield gives us a less openly positive Doss conveying the difficulty within the relationship. Garfield presents Desmond most often conveys a quiet troubled sympathy for his father, portraying almost a resistance to hate more than any direct affection for the man. Garfield does not avoid complication in Desmond rather he accentuates that optimism is basically his natural state, which is what he returns to if no other factors are present to dissuade the position. This feels essential to give an understanding to Desmond, particularly once the film moves onto his enlistment into the army where he attempts to join as a combat medic. As Desmond initially only faces the usual drill Sergeant treatment, Garfield again keeps his earnest approach to Desmond who takes this in stride.
This does not last though as Desmond is singled out when he openly refuses to carry a gun yet also refuses to be kicked out of the army based upon the usual grounds. Garfield delivers the needed honesty in Desmond's words and brings the powerful conviction that needs to be in Doss. After all the film is more about conviction than faith. Garfield makes all of his Desmond cohesive as a single man and the conviction in turn does not feel sanctimonious. There is instead a modesty in Garfield's portrayal of it, his major speech explaining his position Garfield with the right quiet eloquence rather than passionate grandstanding. He wears it with only an internalized pride, but never a boastful one. Garfield gives us a man whose goodness is wholly genuine yet I would not say simplified. In order to take his stand Desmond must endure purposeful mistreatment by the army, in an attempt to get him to quit or to pick up the rifle, they even go so far as to take legal action against him. Garfield is excellent because he doesn't simplify this, by showing Desmond does fully understand the severity of the situation. He portrays well the anguish of his treatment, suggesting that Desmond does suffer from the brutal way he is often treated, though he maintains always just that small spark of the man's nature even at his lowest point.
Doss earns his spot on the battlefield which is in no way a reward as the horrors of war quickly become evident on the titular hacksaw ridge where the Japanese troops are heavily fortified. Garfield is not always front and center given that the film covers the various facets of the battle though it always comes back to Doss. Garfield still maintains his position within the carnage though by offering an effective depiction of Doss dealing with the battle. He captures the wear of in his portrayal of Doss. He actually never really breaks down here at all instead excels in wearing it just beneath the surface as though Doss is absorbing it though not allowing it to overwhelm him. He helps to convey the intensity of the battle yet he also is convincing in giving us this man who would be willing to run back into the hell fire after all others have retreated in order to save wounded. This is when the focus does become closer on Garfield and he's great in essentially providing the connection to every moment of Doss's heroics. This is in Garfield still expressing fear of his reactions in the close calls with Japanese, the most minor joy in his face as he saves each man, the physical wear as he pushes himself to the limit, and most importantly the underlying passion that fuels the man in his seemingly impossible task. There are but a few moments after the perilous rescues. They are incredibly well used by Garfield. He does not give us a Doss who has given up, or one who has become filled with vanity over what he has done. Garfield instead gives us a man who has done good, yet has still been through hell in his haunted eyes. This is an exceptional performance, I don't mind saying it, especially since I quite honestly would find it difficult to see any other contemporary actor in this role, or seeing another approach that would have fit Desmond Doss. Although I wonder if he had an even greater work in 2016? Eh, I'll remain silent.
Andrew Garfield, in a banner year, plays the first of his two roles of 2016 where his character's faith plays a pivotal role, though in rather different ways. The role of Desmond Doss is a challenging role though the type of challenge that one is rarely given credit for. The real Desmond Doss was a rather atypical sort of guy not just because of his heroics, but also just everything about him. Garfield intends to capture that personality that was Doss, which was unusual but that's who he was. Garfield doesn't just do a Virginian accent he does a rather thick one which is only fitting to the real Doss's very thick accent. He actually probably just eases it up just a bit to make it a little easier to hear him. Garfield is rather consistent in his use of the accent. He stays true to it and makes it natural to where his character is from. Garfield work though goes further though in his whole demeanor is defined by optimism. Garfield exudes just a general joy of existence in his Doss, which I'd say is most fitting to a man who can wear a smile on his face after describing removing blood from a man's eyes.
Hacksaw Ridge has received criticism for its supposed sentimental depiction of the early scenes of the film which take place in early 30's/40's Virginia. I would say this has been overstated most obviously because there is nothing sentimental about the depiction of Tom Doss (Hugo Weaving) a man permanently scarred by World War I, who lashes out against his family. After watching it again I also noticed that the thing that can most obviously be construed as corny is the depiction of Desmond's relationship with his girlfriend and later wife Dorothy (Teresa Palmer). The dialogue in these scenes is about as old fashioned as they come, though I must say I don't think this seems ill-fitting to Doss. Garfield matches it essentially by offering a truly sincere portrayal, giving every single hokey word coming from Doss's mouth as the truth at least from this guy who simply loves this woman. Garfield in these scenes does very much call back to an older Hollywood type of romantic, kind of a Henry Fonda in Young Mr. Lincoln quite honestly, and again it suits the character.
Again though this is not Garfield just playing a guy who is happy all the time, even if he tries to be happy all the time. We do see the scenes of him dealing with his alcoholic father who most commonly goes from fits of depression to fits of violent anger. In these scenes Garfield gives us a less openly positive Doss conveying the difficulty within the relationship. Garfield presents Desmond most often conveys a quiet troubled sympathy for his father, portraying almost a resistance to hate more than any direct affection for the man. Garfield does not avoid complication in Desmond rather he accentuates that optimism is basically his natural state, which is what he returns to if no other factors are present to dissuade the position. This feels essential to give an understanding to Desmond, particularly once the film moves onto his enlistment into the army where he attempts to join as a combat medic. As Desmond initially only faces the usual drill Sergeant treatment, Garfield again keeps his earnest approach to Desmond who takes this in stride.
This does not last though as Desmond is singled out when he openly refuses to carry a gun yet also refuses to be kicked out of the army based upon the usual grounds. Garfield delivers the needed honesty in Desmond's words and brings the powerful conviction that needs to be in Doss. After all the film is more about conviction than faith. Garfield makes all of his Desmond cohesive as a single man and the conviction in turn does not feel sanctimonious. There is instead a modesty in Garfield's portrayal of it, his major speech explaining his position Garfield with the right quiet eloquence rather than passionate grandstanding. He wears it with only an internalized pride, but never a boastful one. Garfield gives us a man whose goodness is wholly genuine yet I would not say simplified. In order to take his stand Desmond must endure purposeful mistreatment by the army, in an attempt to get him to quit or to pick up the rifle, they even go so far as to take legal action against him. Garfield is excellent because he doesn't simplify this, by showing Desmond does fully understand the severity of the situation. He portrays well the anguish of his treatment, suggesting that Desmond does suffer from the brutal way he is often treated, though he maintains always just that small spark of the man's nature even at his lowest point.
Doss earns his spot on the battlefield which is in no way a reward as the horrors of war quickly become evident on the titular hacksaw ridge where the Japanese troops are heavily fortified. Garfield is not always front and center given that the film covers the various facets of the battle though it always comes back to Doss. Garfield still maintains his position within the carnage though by offering an effective depiction of Doss dealing with the battle. He captures the wear of in his portrayal of Doss. He actually never really breaks down here at all instead excels in wearing it just beneath the surface as though Doss is absorbing it though not allowing it to overwhelm him. He helps to convey the intensity of the battle yet he also is convincing in giving us this man who would be willing to run back into the hell fire after all others have retreated in order to save wounded. This is when the focus does become closer on Garfield and he's great in essentially providing the connection to every moment of Doss's heroics. This is in Garfield still expressing fear of his reactions in the close calls with Japanese, the most minor joy in his face as he saves each man, the physical wear as he pushes himself to the limit, and most importantly the underlying passion that fuels the man in his seemingly impossible task. There are but a few moments after the perilous rescues. They are incredibly well used by Garfield. He does not give us a Doss who has given up, or one who has become filled with vanity over what he has done. Garfield instead gives us a man who has done good, yet has still been through hell in his haunted eyes. This is an exceptional performance, I don't mind saying it, especially since I quite honestly would find it difficult to see any other contemporary actor in this role, or seeing another approach that would have fit Desmond Doss. Although I wonder if he had an even greater work in 2016? Eh, I'll remain silent.
Monday, 30 January 2017
Best Actor 2016: Casey Affleck in Manchester By The Sea
Casey Affleck won his Oscar from his second Oscar nomination for portraying Lee Chandler in Manchester By The Sea.
After having watched Manchester by the Sea for a second time all of my reservations not only stand but have grown stronger. The film seems obsessed with misery even past the tribulations of the main character, we are given not one but two stories of side characters telling about the death of their own fathers at a young age. At a filmmaking stand point though it is also deeply flawed with the refusal apparently to cut any scene or even cut them down. Particular mention must be noted of director Kenneth Lonergan's personal cameo where the camera follows his character down the street for a few seconds as though we are suddenly going to follow the pivotal character of "pedestrian on street". Although this may in part be caused by the films amateurish use of music, where Longergan overlays a song through a series of scenes with no actual rhyme, and has the scenes keep going just until the music ends. It's particularly questionable in the flashback sequence in the middle of the film where the music doesn't end when the flashback ends, it ends awkwardly a minute later as the characters just are walking down some stairs.
Having said that I always try to look at a performance fairly, even if I did not care for the film, and Affleck's work should not be hand waved away here. This is in a way difficult performance, obviously not to appreciate by the critics's almost drone like reaction to it, but to see why it is truly great. To do so though it is best to look upon the performance chronologically rather than by the film's jumbled version of the story. In the past scenes we see Affleck play Lee as just a normal guy from Massachusetts, with a far more credible and consistent accent than a few of his co-stars. We see scenes with his brother Joe (Kyle Chandler) and his nephew Patrick (eventually played by Lucas Hedges) on the boat together. Affleck is good in these scenes by just plainly showing a loving and warm uncle fooling around with his nephew. Affleck offers a guy full of life, not overdone, but just a normal guy who enjoys his life as we also see him with his three kids and his wife Randi (Michelle Williams). Again Affleck's performance just works as a natural depiction of just a guy who loves his family and living his life.
Of course being in Massachusetts one must indulge in some loud obnoxious behavior, the film world version of Massachusetts mind you. Still just as in Good Will Hunting, Affleck is quite capable in bringing that sort of buffoonery to screen, although here it isn't meant to be all that funny and it's not. The behavior though is what leads to the death of all of Lee's children, must be three because having one dead kid just isn't enough for Lonergan, after he drunkenly fails to properly secure a fireplace before leaving to get more beer. Affleck absolutely delivers in the scene first in his horrified reaction to seeing his house in flames, then later in his testimony to the police. Affleck makes the emotion raw as he inflicts every word of his delivery with a terrible pain suggesting the grief at its most intense. Affleck conveys the narrow focus of Lee's mind in the horrible constriction of it all as he attempts to confess his crimes. When it is determined to be an accident and Lee is let go, he attempts suicide. Affleck is excellent in the moment as he makes the anguish palatable in Lee, and brings the needed visceral quality to the man's harrowing breakdown.
We are given just a few brief scenes immediately afterwards though Affleck uses them well as he portrays Lee's grief as very much still alive. He walks as though he is drowned within in it, and only wakes up to occasionally viciously lash out when prodded in any way. Affleck presents the still direct suffering of the grief as he has barely a handle on it since it still actively pains him. This then takes us to the Lee that we see for much of the film, which is Lee in the present timeline. In this timeline Affleck gives often an extremely low key performance almost monotone at times, but that's is not a criticism, this approach is actually the crux of his performance. Affleck's work realizes a man who has come to terms with his grief but has not recovered from it. Affleck's construction of this is rather remarkable in the way he so fully embodies this state of Lee. His eyes are essentially dead most of the time, with only the most muted emotion from them as though that is all he is able to tolerate, his body language is always distant. In that Affleck rarely speaks to some directly or looks them in the eye as though to avoid connecting with them beyond a surface level.
What is most impressive about Affleck's work are that the years of dealing with the guilt and depression seem to be sewn within him. Affleck portrays it to be a part of Lee that leaves him in this strange detached state. Lee's catch phrase is basically "I don't care" and Affleck makes that to be true although not in quite the way you might expect. Affleck doesn't make Lee's behavior that as specifically some selfish jerk, it certainly can be construed as jerky behavior, rather he illustrates a man who is unwilling to make any connect whatsoever preferring his state of not really feeling much of anything. When we see Lee working his job as a janitor for his tenants, there is nothing but the work in Affleck's performance. He reacts just enough to be human, but none of it really phases him even when one of the tenants becomes angry with him. Affleck gives us a man who basically has come to terms with what he's done by closing him off from almost everyone. There is an emotional moment though when he attacks a man at the bar after the man randomly stares at him too long. Affleck handles it as basically a primal burst of hatred for his life, and being reminded of being ostracized after the tragedy, caused by a connection of sorts through that random stare.
Affleck only occasionally from this point has emotional moments as he gives a very consistent performance in terms of expressing Lee's state. This is even as he must go to take care of his nephew after his brother's death. Affleck if anything becomes more detached at times as though trying to keep himself from essentially feeling his pain again. Affleck, even when Lee is dealing with the immediate aftermath of the death of his brother, plays it very close to the chest with only a momentary outburst. Affleck utilizes the moment to portray the control in Lee to basically be detached, he breaks, but basically calms himself to feeling almost nothing as soon as he can. Affleck remains consistent in his scenes with Lucas Hedge's Patrick. Affleck isn't quite cold, as in there is not a single place in which Lee suggests any hatred for Patrick, but he only reaffirms his state by conversing with him yet never quite connecting. Their conversations are just a bit disjointed, as there is a foundation of that warm relationship we once saw, but Lee won't go any further than that. The most he'll go is occasionally snap if Patrick endangers himself in any way, and again in that moment Affleck reflects the intensity of his fear through anger not to repeat his personal losses.
This does leave to an atypical character arc as in every slight change in Affleck's performance, which can be ever so minor, in terms of portraying more overt emotion outside of his outbursts Affleck basically emphasizes two things. He indicates any more warmth in his work also comes with just a bit more pain all the same, suggesting it only causes Lee to further relive his terrible memories the more he opens up. This culminates when his ex-wife openly forgives him. This is actually a scene where I noticed some criticism, from those otherwise positive on the film, against his performance because Affleck is rather quiet in the scene, which completely misinterprets his entire performance. Affleck in the scene still gives us Lee trying his hardest to dodge his feelings and being confronted with the person who most shares his pain, Affleck compromises only ever so slightly. After the moment though Affleck's in his eyes basically his old grief takes root as he has one more violent breakdown filled with rage then another soon afterwards only filled with despair. What seems to be the film's main intent it to gives us this man who cannot actually recover from his losses. What Affleck's performance does is earn this intent, and give understanding to it. He shows us the happy man from the beginning against the man who has come to terms only through a terrible and shaky compromise to commit self exile both physically and emotionally from the past. This might have sounded like a detached review actually because I don't like the film, but I won't penalize Affleck for that. He delivers in creating a convincing portrait of a man who will never overcome misery, even if I did not find the film all that compelling.
Having said that I always try to look at a performance fairly, even if I did not care for the film, and Affleck's work should not be hand waved away here. This is in a way difficult performance, obviously not to appreciate by the critics's almost drone like reaction to it, but to see why it is truly great. To do so though it is best to look upon the performance chronologically rather than by the film's jumbled version of the story. In the past scenes we see Affleck play Lee as just a normal guy from Massachusetts, with a far more credible and consistent accent than a few of his co-stars. We see scenes with his brother Joe (Kyle Chandler) and his nephew Patrick (eventually played by Lucas Hedges) on the boat together. Affleck is good in these scenes by just plainly showing a loving and warm uncle fooling around with his nephew. Affleck offers a guy full of life, not overdone, but just a normal guy who enjoys his life as we also see him with his three kids and his wife Randi (Michelle Williams). Again Affleck's performance just works as a natural depiction of just a guy who loves his family and living his life.
Of course being in Massachusetts one must indulge in some loud obnoxious behavior, the film world version of Massachusetts mind you. Still just as in Good Will Hunting, Affleck is quite capable in bringing that sort of buffoonery to screen, although here it isn't meant to be all that funny and it's not. The behavior though is what leads to the death of all of Lee's children, must be three because having one dead kid just isn't enough for Lonergan, after he drunkenly fails to properly secure a fireplace before leaving to get more beer. Affleck absolutely delivers in the scene first in his horrified reaction to seeing his house in flames, then later in his testimony to the police. Affleck makes the emotion raw as he inflicts every word of his delivery with a terrible pain suggesting the grief at its most intense. Affleck conveys the narrow focus of Lee's mind in the horrible constriction of it all as he attempts to confess his crimes. When it is determined to be an accident and Lee is let go, he attempts suicide. Affleck is excellent in the moment as he makes the anguish palatable in Lee, and brings the needed visceral quality to the man's harrowing breakdown.
We are given just a few brief scenes immediately afterwards though Affleck uses them well as he portrays Lee's grief as very much still alive. He walks as though he is drowned within in it, and only wakes up to occasionally viciously lash out when prodded in any way. Affleck presents the still direct suffering of the grief as he has barely a handle on it since it still actively pains him. This then takes us to the Lee that we see for much of the film, which is Lee in the present timeline. In this timeline Affleck gives often an extremely low key performance almost monotone at times, but that's is not a criticism, this approach is actually the crux of his performance. Affleck's work realizes a man who has come to terms with his grief but has not recovered from it. Affleck's construction of this is rather remarkable in the way he so fully embodies this state of Lee. His eyes are essentially dead most of the time, with only the most muted emotion from them as though that is all he is able to tolerate, his body language is always distant. In that Affleck rarely speaks to some directly or looks them in the eye as though to avoid connecting with them beyond a surface level.
What is most impressive about Affleck's work are that the years of dealing with the guilt and depression seem to be sewn within him. Affleck portrays it to be a part of Lee that leaves him in this strange detached state. Lee's catch phrase is basically "I don't care" and Affleck makes that to be true although not in quite the way you might expect. Affleck doesn't make Lee's behavior that as specifically some selfish jerk, it certainly can be construed as jerky behavior, rather he illustrates a man who is unwilling to make any connect whatsoever preferring his state of not really feeling much of anything. When we see Lee working his job as a janitor for his tenants, there is nothing but the work in Affleck's performance. He reacts just enough to be human, but none of it really phases him even when one of the tenants becomes angry with him. Affleck gives us a man who basically has come to terms with what he's done by closing him off from almost everyone. There is an emotional moment though when he attacks a man at the bar after the man randomly stares at him too long. Affleck handles it as basically a primal burst of hatred for his life, and being reminded of being ostracized after the tragedy, caused by a connection of sorts through that random stare.
Affleck only occasionally from this point has emotional moments as he gives a very consistent performance in terms of expressing Lee's state. This is even as he must go to take care of his nephew after his brother's death. Affleck if anything becomes more detached at times as though trying to keep himself from essentially feeling his pain again. Affleck, even when Lee is dealing with the immediate aftermath of the death of his brother, plays it very close to the chest with only a momentary outburst. Affleck utilizes the moment to portray the control in Lee to basically be detached, he breaks, but basically calms himself to feeling almost nothing as soon as he can. Affleck remains consistent in his scenes with Lucas Hedge's Patrick. Affleck isn't quite cold, as in there is not a single place in which Lee suggests any hatred for Patrick, but he only reaffirms his state by conversing with him yet never quite connecting. Their conversations are just a bit disjointed, as there is a foundation of that warm relationship we once saw, but Lee won't go any further than that. The most he'll go is occasionally snap if Patrick endangers himself in any way, and again in that moment Affleck reflects the intensity of his fear through anger not to repeat his personal losses.
This does leave to an atypical character arc as in every slight change in Affleck's performance, which can be ever so minor, in terms of portraying more overt emotion outside of his outbursts Affleck basically emphasizes two things. He indicates any more warmth in his work also comes with just a bit more pain all the same, suggesting it only causes Lee to further relive his terrible memories the more he opens up. This culminates when his ex-wife openly forgives him. This is actually a scene where I noticed some criticism, from those otherwise positive on the film, against his performance because Affleck is rather quiet in the scene, which completely misinterprets his entire performance. Affleck in the scene still gives us Lee trying his hardest to dodge his feelings and being confronted with the person who most shares his pain, Affleck compromises only ever so slightly. After the moment though Affleck's in his eyes basically his old grief takes root as he has one more violent breakdown filled with rage then another soon afterwards only filled with despair. What seems to be the film's main intent it to gives us this man who cannot actually recover from his losses. What Affleck's performance does is earn this intent, and give understanding to it. He shows us the happy man from the beginning against the man who has come to terms only through a terrible and shaky compromise to commit self exile both physically and emotionally from the past. This might have sounded like a detached review actually because I don't like the film, but I won't penalize Affleck for that. He delivers in creating a convincing portrait of a man who will never overcome misery, even if I did not find the film all that compelling.
Saturday, 28 January 2017
Best Actor 2016
Andrew Garfield in Hacksaw Ridge
Casey Affleck in Manchester By The Sea
Denzel Washington in Fences
Ryan Gosling in La La Land
Viggo Mortensen in Captain Fantastic
Sunday, 1 January 2017
Another Year And Another Official Lineup
Once again my annual predictions for Lead and Supporting Actor at the Oscars.
With lead, as with last year, I'm going with the SAG line up. Which gave me 4 out of the five correctly. This could be a year where they line up perfectly since there is no reason not to believe it, since all of their films have been performing well essentially to back them up. The two obvious alternatives of Tom Hanks, and Joel Edgerton came from films which already had their moment. In both cases it seemed like SAG should have been their boost to keep their momentum going, and it was not. BAFTA should be kept in mind but no one seems like an obvious alternative for the Brits. It is notable that Denzel Washington has never received a BAFTA nomination so him missing out technically should not be a surprise if it happens again. The man I predict will take that spot then would be Andrew Garfield for his other film Silence since you can be double nominated at BAFTA, and Garfield is the only Englishman in contention. Of course barring some random contender like when Andy Serkis got nominated for a film that got released the following year, or they might move Hugh Grant to lead or even Dev Patel. Even in those cases I highly doubt any of those scenarios will transfer to the Oscars, in Garfield's case it is literally impossible. That leaves only one late hitter hanging around, old Michael Keaton for the Founder. I don't see it happening but it could. Everything seems to be right for the main five though, even Mortensen with his film also over performing.
For supporting I cannot choose the SAG five, it just doesn't work that way. This is not 2014 in terms of the amount of supporting contenders, where everything seemed settled with a set five. I actually think this could get shaken up more than even my predictions given that last year seven of the SAG nominees did not carry over, though 2014 there were only three that did not carry over, but still there is likely to be some wiggle room. One of those misses can already be found in Best Actress, but how about the rest? There is no reason to doubt Bridges or Ali, so that leaves the rest. I talked myself into dropping Dev Patel, since I thought at first "hey if they love Lion they ought to include Patel", but there is no reason to assume that. The reason being Patel missed out for Slumdog Millionaire, the clear number one contender that year which Lion is not this year, despite the fact he received both a SAG and a BAFTA nomination. My replacement is early front runner Liam Neeson despite the odd anti-nomination propaganda which is strangely worded around his screentime, which he has more than enough as supporting actor nominees go, rather than the actual quality of his performance. As long as Silence makes its impact with the Academy, as Wolf of Wall Street did so late, I think Neeson could get in. After all Lucas Hedges isn't safe either though, since SAG will embrace younger actors often more frequently than Oscars. Grant also could fall to his film losing steam, but doesn't seem like it will be the case. There are problems though with the other actors hovering around the five. The Nocturnal Animals boys not only are fighting among themselves but their film isn't exactly Academy catnip. Issey Ogata and Ben Foster both have internal competition, though the lack of double nominees could be broken this year, it just is very hard to bet on.
Subscribe to:
Posts (Atom)