Alternate Best Supporting Actor 1990: Willem Dafoe in Wild At Heart, John Goodman in Arachnophobia, Richard Farnswort in Misery, Ralph Foody & Roberts Blossom in Home Alone & Thomas F. Wilson in Back to the Future Part III

Willem Dafoe did not receive an Oscar nomination for portraying Bobby Peru in Wild At Heart. 

The great Willem Dafoe seems probably a match made in heaven, or maybe hell for this character, between actor and director with this role. Dafoe and David Lynch just seem right together so it is a bit of a shame that this was their only collaboration. Thankfully though it is a memorable one and I think perhaps a fundamental one in terms of Dafoe’s career and his general approach to performances. From everything I have seen before this performance Dafoe was certainly a striking actor however, he did not have that more overtly stylistic side that many of us have come to adore about him. Bobby Peru may have been the first step into that beautiful. Dafoe’s performance is brief as he enters late into the film as the lovers Sailor (Nicolas Cage) and Lula (Laura Dern) are on the run and unexpectedly run into Peru who walks around with several naked overweight women. Peru himself is a very strange man where we get a thin mustache, slicked hair, black leather and of course a bolo tie that in neon lights says sleazeball. Although Dafoe/Lynch up the ante by Peru’s grotesque rotting teeth, the dentures that Dafoe wears in the role that apparently prevented him from closing his mouth. Dafoe evidently ran with ideas as watching he film you see it all part of the open-mouthed predatory manner he exudes. Dafoe is not overshadowed by the teeth or costuming rather owns it with this casual way he walks and smokes that suggests a scumbag who is far too comfortable with himself. Dafoe’s manner is almost like a drunk lizard where there is a strange yet particularly effective combination between that sense of a predatory gaze but with this still relaxed manner that makes it even more off-putting.  Dafoe’s accent amplifies his style with the southern ease that sounds just a little too relaxed to be pleasant. He quickly makes his impression as a hideous criminal of some kind that probably should avoid though naturally Sailor decides to go along with a planned robbery with Peru in the lead. Although before we go to that we get a highlight scene of Dafoe and one of pure depravity where Peru shows up unexpected to Lulu’s room. A scene that honestly could only be delivered by Dafoe/Lynch and Dern with the precise hideousness of it as Peru decides to go about accosting her in what Peru might describe as his method of seduction. Dafoe’s amazing in the scene where he could have been more unnerving the closer Peru gets as he sexually stimulates her with the repeated ask of “fuck me” with every delivery getting more lascivious until Lula repeats his words. Where we truly get that specific achievement of Dafoe is through the instant switch to the most extreme of trolls that is hilarious, in the most brutal darkly comic way as possible, where Dafoe instantly drops all lust to make a literal troll face and the most dismissive casual delivery of “someday honey I will but I gotta get going”. Peru’s horrible trolling only continues as he is in fact hired to kill Sailor during the robbery. Dafoe again is outstanding in the sequence where the grotesque nature of Peru is amplified by the stocking over his face as Peru goes about the robbery violently as possible leading Sailor to want to stop him only to find his own gun has blanks. Dafoe’s delivery of “their dummies dummy” is perfect as he presents Peru’s enjoyment of the troll essentially gets in his own way of even completing his assassination of Sailor. I especially adore his laughing as a man truly laughing like he is living his best possible life to the point of distraction with just how much joy he is getting out of it. It is a great final bit to an especially memorable bit of insanity where Dafoe easily finds an effortless combination between dark comedy, genuine menace, and just straightforward bizarre. 

John Goodman did not receive an Oscar nomination for portraying Delbert McClintock in Arachnophobia. 

Arachnophobia is Jaws with spiders. 

The Jaws with spiders’ comparison is more extreme than I even remembered as you have the new guy in an important role with town directly dealing with a fear of throughout the film while being worried about his family as they deal with the threat, forming kind of a bond with an expert that comes into town and working with a seasoned hunter of the “monster”. All these traits are with far less in depth and complexity including the hunter who is not the grizzled guy with PTSD instead he’s John Goodman with a silly truck. Although very little of the film is completely serious Goodman is at the extreme end of making fun of the premise as he comes into late into the film featuring his own twangy theme music that is also out of a different movie. The tonal shift with McClintock could be a problem if a lesser performer was in the role but thankfully Goodman comes in with a wholly atypical energy that works. Goodman is goofy here but goofy in a way that entirely works as he presents himself entirely as your average slightly off-beat local exterminator. Goodman’s delivery has a slight dismissive quality not as a pompous intellectual but a blue-collar guy who thinks he knows his tradecraft unquestionably. The idea of his competence undercut given that we know he is up against a super poisonous Amazon spider even as he doubts the deadly spider theory. His confidence is tested as he comes face to face with one of the evil spiders where Goodman initially uses his pesticide like a quick draw where Goodman’s intense face is very funny. Unfortunately, the spider is not killed easily and Goodman’s consternation at the lack of a dead spider continues the comedy. The cherry on top of the scene is as he resorts to the almighty boot rather than pesticide to finally put down the spider. Goodman’s face of renewed determination then his over the top cocky walk and his somehow both confident yet also weak delivery of “I’m bad” is all too hilarious. Goodman then provides ample comedic relief throughout the climax by keeping with the exact same demeanor as before even as the situation becomes more serious and it becomes a possible world ending scenario if the group does not kill the amazon spiders successfully. Goodman just being off doing his own thing consistently is the highlight as McClintock is just as confident around a pompous spider expert, or when he sees he must go about facing an entire horde of deadly spiders. Goodman always brings that same sense of confidence that offers great comic relief because of just how pure he is in this specific character. Although obviously McClintock is no Quint, Goodman makes himself the best part of this silly movie by embracing his own silliness in just the right way. 

Richard Farnsworth did not receive an Oscar nomination for portraying Sheriff Buster in Misery. 

Richard Farnsworth plays the interruptions from the very dramatic tension between writer Paul Sheldon (James Caan) held captive by his number one fan psychopath Annie Wilkes (Kathy Bates) as the local law enforcement in the area where Paul crashed his car and was “saved” by Annie. A role that honestly could feel like a total waste of time, which plot wise it almost is technically speaking, yet thanks to some good writing and great casting are the ideal breathers. Farnsworth was one of the most charming actors and here his charm just shines through from scene to scene. Farnworth charm however was a charm all his own and part of his charm was how not standard actor style he was in any way. Farnsworth just speaks every line his own way and in his own way makes it more lived in. The moment Paul’s agent (Lauren Bacall) calls Buster, Farnsworth is just winning in very warm yet also playful manner of describing his various jobs before claiming to Paul in his “system” the system being a sticky note on a board. Farnsworth instantly makes you feel this smalltown sheriff as wholly real with his whole little life and little operations he undertakes as not the most important man in law enforcement…which he is fine with. Along with Buster is his deputy and wife Virginia (Frances Sternhagen) who is always just a little horny to spend some alone time with her husband. A great little comedic aside that technically does not need to exist for the main plot but just makes the whole film that much better by having these interactions. The two have amazing chemistry where you get in every interaction the warmth of a given that they love each other, the certain comedic back and forth that are just so lightly yet effectively realized of their “bickers” that are just part of their love and even the few entirely serious moments where they do briefly discuss the case of the missing writer. Farnsworth has a certain magic all his own where he is just interesting to watch and makes everything seem sensible in his folksy way. Where Farnsworth does bring in his eyes a certain intention in finding the truth and even when saying he will continue the investigation by reading Paul’s novels, Farnsworth has a seasoned wisdom in every word that feels so natural. It is hard not to love Buster as this calming presence of sorts through every scene as it seems like he is getting closer and closer to figuring out where Paul ended up. Although where Buster seems the possible hero in the initial viewing there becomes a tragic color on any re-watch because we know where it ends up as Buster eventually does show up to Annie’s house in his usual kindly way yet whenever she is not looking, we see his actual determination. We know how things from there but up until then Farnsworth delivers on a certain hope within the scheme of the film, which he could be just a plot point yet finds such a rich character in what is technically a role of function. 

Ralph Foody and Roberts Blossom for portraying Johnny and “old man” Marley in Home Alone. 

Home Alone I would not call a cinematic classic however it is probably the best film of its form in the 90’s where we have a kid of some kind doing something out of a kid’s typical comfort zone. There were many of these, probably due to the success of Home Alone, and most were not as good or not good at all. Why is this? Well, a few reasons, this is prime form Macaulay Culkin as Kevin where he is delivering his sort of “commercial” one liner qualities better than in other later instances, but also does bring a little more genuine emotion regarding a kid facing his fears and such. It is not incredible work but it is good. Christopher Columbus’s directing has a certain atmospheric quality that one can only properly describe as pleasantly Christmasy. Most importantly there are really two factors here not existing in to either the quality of or at all in the imitators, one is better gags, two is heart. The performances I am writing about today are examples of each quality. The first is Ralph Foody best known for this role and this role only. His gag is the movie within a movie of Angels With Filthy Souls about a gangster violently dispatching Snakes for wanting 10% after Acey is no longer in charge and taking a bath (of his own blood no doubt). I have always enjoyed the gag, and the follow-up of Kevin using the movie to scare others in large part due to Foody’s performance. Foody fashions a strange twisted sounding John Wayne gangster impression that sells the style of gangster films so well I am in no way surprised that many are still under the impression that it is a real movie from the 30’s. Foody owns that style yet also amplifies it through the sinister quality he brings in every bit of his glare as Snakes first comes in, his sneer at hearing about the 10% and his sadistic glee at informing Snakes who is charge now. Finishing the sequence with its most famous part where Johnny offers Snake a countdown before he pumps his guts full of lead and Foody is genuinely menacing with no nonsense pronouncement. Foody only ups the ante as he jumps from 2 to 10 shooting Snakes mercilessly as Johnny sadistically laughs and Foody goes all in his ghastly laugh of vicious glee. Foody only leaves with a proverbial cherry on top with his now iconic delivery of “Keep the change you filthy animal” with complete disregard for his victim and only satisfaction at his crime.  A great gag with a good quick performance behind it. 

The other key part however is the heart of Home Alone and that heart comes from Old Man Marley played by Roberts Blossom. Blossom was one of those character actors that you run into random films and he always delivers on whatever is asked of him. He was probably ideal casting then for Old Man Marley because he can naturally serve two purposes in the film with ease. The first is playing the “local legend” of the murderer who somehow can walk free as he goes around salting the burial spots of his victims. A complete quick aside, are those types of stories still a thing or did they get replaced by internet conspiracies…anyway back to Blossom. Blossom delivers the ominous stare of an enigma of a man as he goes around with his shovel and occasionally runs into Kevin, who rather than giving a chance for Marley to talk Kevin screams, runs and usual hides from him. Blossom is purposefully presenting Marley from the child’s perspective in these scenes however nicely finds a balance of allowing one to interpret between a guy who is truly just doing his own thing, being confused by screaming children or the serial killer giving death stares. Eventually we learn the truth about Marley as he sits next to Kevin in a church during choir practice and Blossom is great in the way he instantly disarms both Kevin and the viewer with his performance. Blossom quite simply does “nothing” in that he speaks totally as an adult speaking to Kevin quite frankly as also essentially as an adult. Blossom does not take a lot of time to dispel the rumors he just says bluntly it is not true in such a beautiful directly honest way. His way of telling Kevin that he can say hello is just this clear and concise way of let us not dwell on the nonsense of the past and just treat each other properly. Their conversation however goes deeper as they speak to one another about their mistakes where Blossom can do something fascinating where he provides a genuine warmth towards Kevin in one respect as listens to Kevin’s own regrets yet conveys directly his own regrets and fear over the mistakes with his son. Blossom wonderfully delivers the words of a man sharing just enough in that he would not pour his heart out to a child yet he is sharing just enough emotion to help Kevin understand. Blossom brings just the right childlike quality himself when describing his own fears that his son might not talk to him if he tried and the ease of the way he says “you are never too old to be afraid” is filled with a sense of experience of the world. Blossom articulates that hesitation to reach out so well yet does so in a way that feels honest even when speaking to this young kid. As Marley reacts to Kevin’s straightforward encouragement to speak to his, Blossom brings a very subtle acceptance of the idea fitting a man who in a way was just probably waiting for someone to just try already. I even like the moment where Kevin switches over to pure kids’ stuff about teasing and I love Blossom’s gentle but also direct way of then ending the conversation with this sense of awareness that he does not need to get into playground politics. The scene delivers on providing a needed heart to the film because of the naturalism that Blossom brings in every second of it. He humanizes Marley both for Kevin and the audience. That setup delivers then in two ways one is Marley comes in and saves Kevin from the wet bandits, because paint cans to the head will only briefly stun but a proper shovel to the head will do a permanent stun. Not too much is asked of Blossom in the scene, but he gets through it and brings a nice warmth as he protectively says he will take Kevin home. The real impact of the church scene however is near the very end of the film after Kevin is reunited with his family for Christmas and he sees Marley reunited with his son and granddaughter. All I can say, like George Costanza, the old man gets to me as we get the John Williams’s swell and the appreciative loving hand wave of Blossom over to Kevin. The moment hits the emotional sweet spot and while constructed so well in a directorial sense, you had to care about Marley despite his screen time and Blossom makes you care. 

 

Thomas F. Wilson did not receive an Oscar nomination for portraying Buford “Mad Dog” Tannen and Biff Tannen in Back to the Future Part III. 

Back to the Future Part III is the final film in the trilogy of not quite diminishing returns, as I enjoy both sequels well enough despite both paling in comparison substantially to the original film. In terms of the two sequels, I think the third film has a bit more that works in comparison to II by moving to the old west setting where it tries to develop character a bit more than just having fun with the setting of the future of the second film. It also benefits from Thomas F. Wilson as the western villain of Buford Tannen. Wilson obviously is the villain of the whole series where we previously got his Biff in the first film, his Griff/Biff in the second, where I have always felt his late scenes as young Biff went to much into full psychopath mode, however he redeems himself here. The question with any western is how realistic is it and Back to the Future III is more Ford than Mann let alone Eastwood. Which is fine if one can play it in the right way and we perhaps get some different takes from the cast, however the best take is from Wilson as Tannen. The character is obviously fashioned on Liberty Valance played by Liberty Valance, given the way we always hear his spurs as he walks and his tendency to brandish a whip just like Valance. Wilson does not play it just like Marvin did, but finds a nice comedic variation while still maintaining enough of the genuine menace you want from a character. Wilson to his credit really goes for it in refashioning everything about his mannerisms and voice to truly construct a western heavy. He has the gunslinger gait, the grimace of a man with horrible dentistry and raw voice of a proper thug. Wilson genuinely brings these elements to life and compared to some of his co-stars would not take too much adjustment to be believed in a more serious western. When Wilson talks about his intention to kill, Wilson delivers the lines as someone who has killed and lacks any hesitation to speak certainties not threats. He brings the right vile quality of a terrible outlaw who exists by his own violent satisfactions. Now having said that the film is still a more lighthearted action comedy, which Wilson’s approach does not get in the way of but rather amplifies. The reason this works is Wilson finds the comedy in making this type of western villain look foolish and if he was less believable it would be less amusing. Some highlights include his utter disbelief when Marty moonwalks tobacco spit on to him where his mind seems to break as he goes straight to murder from it, also when Marty tells him to “lighten up jerk” where Wilson’s disbelief double take before stating that those were “strong words” or when his men correct him, it is shoot him down “like a dog” not “like a duck” where Wilson’s break into rage frustrations over the matter is hilarious. My favorite bit however is in the final showdown with Marty where we get a strong combination of what Wilson is bringing to the part. We get genuine menace when he threatens Doc with real intensity if Marty does not face him, yet we also get his perfect confused look when he loses count after that threat. My single favorite bit in the whole film however is when he faces Marty who refuses to shoot, so Buford shoots him down which Wilson delivers with proper Marvinesque chill of the line “you thought wrong dude”. Although the actual favorite bit is Wilson’s portrayal of his unearned accomplishment as he reacts to the crowd like it was his crowning achievement to shoot down an unarmed man. The setup of course leads to the satisfaction of his surprise when Marty is alive via a metal bullet proof vest and Wilson brings a nice comedic shock then total loss of confidence as he gets beaten by Marty right into some manure. I’m not going to argue this is a great performance however I will argue that Wilson went above and beyond the rest of the cast to really both pay homage to and properly riff on a proper western type. 

Alternate Best Supporting Actor 1990: Fred Ward in Miami Blues

Fred Ward did not receive an Oscar nomination for portraying Sgt. Hoke Moseley in Miami Blues.

Miami Blues is a strong sorta comedic movie about a criminal who pretends to be a cop while romancing a prostitute. Although I can appreciate a unique effort, I didn't really enjoy it. 

Character Fred Ward plays the cop who is kind of after Alec Baldwin’s Frederick J. Frenger Jr. despite being a less than reliable sort himself. I have enjoyed some of Ward’s character actor bits in the past however his rare leading turn from 1990 in Henry & June wasn’t particularly impressive. He probably is more at home here in coming occasionally into the film as the man sort of on Junior’s trail rather than leading the whole film. Ward, in his early scenes, though has the same challenge that Baldwin struggles with here and Jennifer Jason Leigh as Junior’s prostitute eventual girlfriend does more than decently with, which is the film’s off-beat tone. It wants to be funny despite dealing with crime and violence. The problem is it isn’t I didn't find it terribly funny just more of weird and not in a way that I found all that engaging or endearing. Ward’s performance within the film I think is largely fine when we just need him to say a gruff line or two and be generally sloppy as the cop who is far from a professional himself. It’s supposed to be a bit funny I think, Ward’s not overly but he’s not actively unfunny either I guess. Ward comes in and he’s fine as very much being the general ramshackle cop type. I don’t think he makes a memorable impression in truly fashioning something unexpected that makes the tone sing by any means. He becomes slightly more interesting when he directly interacts with Leigh as the Sergeant is trying to learn more. Ward fashions a phony charm as he tries to get more info from her, and he is entirely alright is finding a bit of smarmy charm. I found noting exceptional in Ward’s performance, but he delivers on the basic requirements. Eventually there is a showdown between the cop and the criminal where the Sergeant bests junior. Ward brings a dogged intensity in the scene that is fine in selling that moment even if it doesn’t add up to too much. Then he has a button moment where suddenly the sloppy Sergeant is beaming with confidence after having vanquished his foe particularly compared to the tired over the hill guy we saw before. Ward again presents the switch to the stronger posture and a big smile effectively enough, but still not overly memorable. Ward gives a performance in this film that I thought certainly existed. It isn’t bad, I didn't find it especially remarkable, it’s fine. 

Alternate Best Supporting Actor 1990: Jon Polito in Miller's Crossing

Jon Polito did not receive an Oscar nomination for portraying Giovanni “Johnny Caspar” Gasparo in Miller’s Crossing.

A funny thing that can occur with a character actor is that you sometimes mistakenly believe them just to be that character they are most famous for or the style of performance. Polito falls into such a strange situation, though probably helped by the fact I’m guessing a lot of later directors might’ve asked him to “do Johnny Caspar” because of how distinctive his delivery and manner is here, that isn’t at all how Polito actually speaks or even moves around. Polito constructs such a unique character for the character of Johnny Caspar, the Italian gangster who gives the opening speech of the film. What Polito’s performance essentially is doing is creating the contrast between what Caspar wants to be taken as to what he is, which is more than a weight deficit between those elements. Polito very much does not choose to emphasize a tough guy gangster type nor the cold businessman, but rather portrays the falsehood that Caspar is trying to create. Polito’s screeching voice, his beetle like movements, they both are revealing of an innately pathetic man, yet behind all of that is the passion of someone who demands to be treated seriously as an honest threat. 

In the opening speech we get the whiplash of Caspar’s perspective of himself as he first delivers a long speech about how he thinks things should go in the underworld where he states his need that everyone follows certain ethics, albeit criminal ethics, and someone who cheats those ethics, bookie Bernie Bernbaum (John Turturro) be killed for violating that code by not abiding by how fight fixes should go. I love the rhythm of Polito’s speech where at first he does get into a somewhat believable directness of a proper gangster albeit still somewhat of a put on, however as a man who can help himself, he starts festering with rage over Bernie giving his hand away completely as the man who desperately wants to be taken seriously as a force to be reckoned with yet can’t quite fit the part. When head Irish gangster Leo (Albert Finney) disregards his desire to abide by “ethics”, Polito loses it more though with this very specific way of trying to adhere to this certain command yet just letting the rage seep out again and again. I especially adore his delivery of “I’m sick of getting the high hat”, as a man trying to be in some kind of control it yet seething with a uncontrolled desperation for what he wants to achieve yet is denied. 

Polito presents Caspar as a man, an Italian, who basically wants to be in charge of the world, as he sees it, presents himself as capable of it through his approach to the criminal world, yet just like his American name versus Italian name, it is very much a facade. That isn’t to say Caspar isn’t powerful or dangerous, he is, but in a way his power and danger comes from that degree of instability created by the facade that Polito reveals so effectively in every choice he makes throughout his performance. A performance which needs to be said is also very much in creating the strange nature of the man, a strange nature that feels consistent within Polito’s performance. You take any moment with Leo’s right hand Tom (Gabriel Byrne), who Caspar wants to switch sides, where everything is about glad-handing the man he respects. Polito’s wonderful though in the way his glad-handing is so phony in how over the top it is, and correctly so because if need be Caspar has no scruples of having Tom either beaten or even killed at times. All of those are merely un-pleasantries however which Polito again plays as a hand wave as though it isn’t something major to Caspar in his warped perception. A common element, and one random aside I love is Caspar’s advice to get a cold shave where Polito delivers such certainty, such stupid certainty, that it is the best kind of shave as though he is this genius man about town, rather than just a fool pretending he is one. 

The strength of this performance is fitting to the Coen Brothers which is the success of idiosyncrasy. There are no gangster performances quite like Polito in this film, it is entirely its own beast yet works in his own particular way. Where we have actually a pretty fascinating juxtaposition where the “heroes” of the film are the ones who are scheming and making choices just based on personal wants, everything Caspar does show that he does genuinely believe in his ethics, which quick aside Polito’s way of delivering that alone deserves special mention as a gold bit of performance gold, despite his ethics being that of a criminal. His “honesty” makes him a prime target for Tom’s manipulations by making Caspar think his right-hand man Eddie Dane (J.E. Freeman) is betraying him. That prodding results in some excellent reactions by Polito where you see his mind trying to comprehend the idea, first with a quick disbelief then the nagging frustration and eventually that rage against a betrayal of ethics. The rage scene is a terrific moment from Polito because you see again that limited facade break as Polito looks like a bursting pressure cooker as he goes about killing his most loyal man and even loudly proclaims the importance of putting “one in the brain” as a grandiose gesture. Polito makes it this great explosion of that rage of being given the high hat that very much defines him where his attempted “wisdom” of killing this time is delivered as the ravings of a violent madman that Caspar fundamentally is deep down. Jon Polito delivers a truly great performance as he creates a wholly new take on essentially a well worn “genre” of a character. Polito creating a dynamic portrait of a man who knows all the required notes to play the part of boss but maybe doesn't know how to play them. 

Alternate Best Supporting Actor 1990

And the Nominees Were Not:

Brad Dourif in The Exorcist III

 

Fred Ward in Miami Blues

Bob Hoskins in Mermaids

 

Jon Polito in Miller's Crossing

 

Thomas F. Wilson in Back to the Future Part III 

Alternate Best Actor 1990: Results

10. Jacky Cheung in Bullet in the Head - I unfortunately I found Leung progressively less convincing as the film went on. 

 

Best Scene: Arriving at the wedding.  

9. Al Pacino in The Godfather Part III - Pacino has some good scenes throughout unfortunately he's saddled with a script that doesn't do Michael justice for the most part.

 

Best Scene: Confession. 

8. Robin Williams in Awakenings - Williams gives a modest and moving portrayal of a caring doctor that better sells the sentiment of the film than anyone else. 

 

Best Scene: Discovering the first awakening.  

 

7. Danny Glover in To Sleep With Anger - Glover gives an effectively unnerving portrayal of a man who seems to only speak in poison. 

 

Best Scene: Conversation about his past.  

 

6. John Lone in Shadow of China - Lone consistently elevates his inconsistent material, convincingly playing both the cold businessman his character is and the caring revolutionary he used to be. 

 

Best Scene: Reunion.  

5. Wojciech Pszoniak in Korczak - Pszoniak offers a moving portrayal of a man who adamantly gives warmth and decency in the most cold and indecent of times.  

 

Best Scene: Long march. 

 

4. Tim Robbins in Jacob's Ladder - Robbins manages to balance the tones of his film effectively by portraying both a sense of the real horror and a genuine emotional pathos. 

 

Best Scene: The ladder.  

 

3. Nicolas Cage in Wild At Heart - Cage wonderfully goes out on a limb that quite effectively matches the eccentricity of his director. 

 

Best Scene: Injured motorist.  

2. Jason Patric - After Dark, My Sweet - Patric gives a great performance that manages to so convincingly portray the truly damaged psyche of his character in so many different compelling ways. 

 

Best Scene: Ending.  

 

1. Gabriel Byrne in Miller's Crossing -  Good prediction Brazinterma, Robert & Shaggy, Byrne gives a brilliant portrayal of every different side of his Tom, the real, the fake, and the often in-between. 

 

Best Scene:  "What heart?"

Updated Overall

 

Next: 1990 Supporting 

Alternate Best Actor 1990: John Lone in Shadow of China

John Lone did not receive an Oscar nomination for portraying Henry in Shadow of China.

Shadow of China follows a former revolutionary who had to flee to Hong Kong whose life is upended again as his old love from that time comes back into his life, meanwhile, China itself is going through the attempted democracy reform movement that ended in the Tienanmen Square massacre. 

John Lone plays Henry whom we first meet near the end of the end of the cultural revolution where he must flee with his seeming fellow idealist and potential romantic partner Moo-Ling (Vivian Wu). This first sequence is indicative of the rest of the film where the setting and ideas are interesting yet you always wish it would dive a bit deeper and a bit more effectively. Here we’re in a rush to separate the pair to set up the present day story without nearly enough time establishing them in their young relationship and in their time as more revolutionary sorts. Lone is good in the scene in playing the lack of confidence of a scared younger man where the fixation is on survival, something only shaken by his anguish for really the death of any hopes of revolution. Lone conveys that quickly along with just a bit of ardent, uncomplicated, sincerity in his chemistry with Wu in this sequence. Lone is good but the film doesn’t truly let him explore this version of Henry beyond a basic setup point. Lone delivers on that, makes us believe the plight for the few minutes we’re in it, but we’re gone very quickly. Lone does what he can but what he can do is only so much. 

We then flash forward to the present day where we find Henry now a powerful Hong Kong businessman. Lone of course excels with this new type of Henry, and does very much bring that powerful presence we saw earlier in Year of the Dragon. Although a key difference is the level of darkness that Lone brings here. Henry is a bit lighter overall but Lone has that dominating quality within his work. He just has that strength of presence where you sense the power innately of Henry and Lone also just controls scenes with such natural ease. Lone nicely avoids being one note as well as we briefly have a flirtatious moment with his white girlfriend where Lone pretends it’s a business call. Lone so naturally switches to a different color of still that dominating power but with just the right undercurrent of playfulness in every delivery where you can sense the flirt even as he is pretending otherwise. That is in contrast to the pure businessman moments, where we soon learn that Henry isn’t just a legitimate businessman either, where Lone brings such sharpness in his eyes of a man truly looking for essentially the killer stroke to become a more powerful man in the world. 

Henry’s ambitions are complicated when Moo-Ling comes back into his life along with her companion Akira, a Japanese journalist. Lone is great in any scene with Wu in playing so naturally the layers of Henry in this situation. As his physical manner eases up away from the calculating businessman, his eyes are a bit wider, he’s altogether more expressive and from it all you instantly are granted a sense of the old love between them. When the conversation ever turns to the changes Henry has undergone, Lone is excellent in the way you see the shield of that man quickly reestablish itself right within his delivery that goes from warm and loving to cold and exact. Lone though is so great in the way then he brings an in-between smile of Henry catching himself and trying to still be the old Henry she knew even as you see him in his mind working that tension all the same. The chemistry between the two is remarkable as you are granted such a natural sense of the connection do share but also that specific separation between Henry who has become a far more cynical man against Moo-Ling who still has those old idealistic beliefs that once brought them together and apart. 

The film’s progress is a little repetitive as we go from Henry moving in a dark path of power but broken apart with Moo-Ling’s optimism as well as her friend Akira who becomes keenly aware of the real nature of Henry’s business. Going back and forth between the two in a way that never quite goes deep enough in either. Lone however stays captivating as he can be within the limitations of the scenes he’s working with regardless. We get for example a great scene, for Lone, where he controls an auction where the power exuding off of Lone is unquestionable as there is such an incisiveness  in his eyes and every delivery has such innate yet wholly effortless force about it. Lone dominates with such ease that frankly reminded me a bit of Pacino in The Godfather Part II, unfortunately he’s not working with even half as good of a script. I found the ending in particular sloppy where spoilers Moo-Ling is killed during a gun fight between Henry and his rivals, then essentially Henry is fully reformed and gives a hopeful promise about a new revolution. It all feels a little rushed to say the least. I’ll give credit to Lone in that he conveys the initial conflict within himself with emotional nuance in their final conversation then his reaction to her death is heartbreaking enough to convey it maybe as the reason for the fairly swift reform. A reform that is at least sold well because Lone’s final firm hopeful delivery is truly great. Unfortunately the power of all it is a bit diluted because the writing makes it all so spotty. Lone delivers a very good performance that elevates everything he’s working with, I just wish he had to do a bit less elevating overall. 

Alternate Best Actor 1990: Gabriel Byrne in Miller's Crossing

Gabriel Byrne did not receive an Oscar nomination for portraying Tom Reagan in Miller’s Crossing. 

Miller’s Crossing falls into one of the Coen brothers films for me where I actually preferred every re-watch than the initial watch because once you know where all the twists and turns exist, there is becomes a greater appreciation for them once you understand them all, know where they fit, and can more fully connect with how every character fits and lives within them. At this point I love this film where once you know what will happen it is all the more fun to go along with each beat, all the more intriguing to truly see just how much depth there is to these characters and just soak in the specific atmosphere and style of the film. Gabriel Byrne’s performance perhaps best represents this appreciation because so much of his performance comes in actually carefully denoting who Tom is, while playing it all so close to the chest, and his work becomes a treasure trove in discovery and frankly unlocking the seeming enigma of Tom on that first viewing. 

Byrne however is carefully crafting just who Tom is throughout and it becomes a little bit of a thrill to track Tom throughout the film once you know what he knows. Take the opening scene where up and coming Italian gangster Johnny Caspar (Jon Polito) comes to meet established Irish gangster Leo (Albert Finney) in order to get a hit sanctioned against extra corrupt bookie Bernie Bernbaum (John Turturro). Where Caspar wants Bernie dead because he cheats the cheats essentially where Caspar feels a general mob code must be upheld, however Leo refuses based on the fact he’s romantically tangled with Bernie’s sister Verna (Marcia Gay Harden). Leaving Caspar, and his cold righthandman the Dane (J.E. Freeman) essentially to swear that “it's not over” leaving Tom, Leo’s righthandman, to discuss. Byrne’s performance is perhaps Tom at his most direct in a way where as he calls it a bad play by Leo Byrne delivers it without hesitation and very much an earnest intelligence as both a business partner gives his council and a friend with a little exasperation noting that Bernie is as corrupt as they say. Something, the honestly simple natured, Leo ignores speaking with loving overtones regarding Verna which are clearly clouding his judgment. 

That is the inciting incident where Tom will need to play many roles in order to “make things right”, and it is all the different shades of Tom that Byrne brings about so naturally and suggests a lot about the character that is rarely spoken. I think a pivotal aspect of Tom is when he is out of righthandman mode where we find Tom as the aimless man in most ways, literally chasing his hat around most of the time, often drinking himself to a stupor and failing to make a winning bet at any time. Tom is actually a man without a plan when he is given seemingly the most difficult task of just being himself. Byrne’s performance is fascinating in creating this sense of the drifting kind of anxiety within a character who we’ll see is often pinpoint accurate in his life and death choices. The “backbone” of Tom however Byrne reveals quiet listlessness. Where Tom left completely to his own devices is wholly lost except finding escapes in losing himself in the drink or a bad bet. Byrne makes the most of these moments showing a fundamental truth in Tom in a way, who odd as it seems, the difficult situations created within the plot of the film to be able to come to a different kind of life. As when Tom is alone Byrne’s expression truly of a painful detachment with a need to get lost in those vices, an element that feels so natural as a core to the character that in a way is covered up by all the various roles Tom needs to “play” throughout the film. 

Byrne has a brilliant way of playing the levels of honesty which means a lot of different things when it comes to Tom, and finds a specific captivating style within Tom’s way through the underworld. One of the roles he plays is the righthandman of Leo, but not when Leo is around, which is a different character from when Leo is around. We see this when Tom is chatting up other men in the organization, Leo’s barkeep, the constantly complaining chief of police and really anyone else who is part of the general status quo or at least won’t be influencing that status quo. Byrne wonderfully plays up a little bit gangster with this just slightly overt overly chummy way at times that segues towards a direct and also played up tough guy act. Byrne in these scenes represents the quick talking brains behind Leo where Byrne projects someone who seemingly always knows what’s up, while also knowingly brandishing the degree of power. I especially love Byrne's way of letting the chief vent before bluntly shifting to frankly menace as he reminds the chief exactly of his position. Byrne so effectively plays this certain style of power broker where he convinces those who don’t need too much convincing of his, though really Leo’s, power. 

We see Tom struggle far more to play his part in the scenes where he has to deal with Leo and Verna, because Tom is also having an affair with Verna therefore betraying his #1. Tom’s way of dealing with each though reveals much which Byrne amplifies in every instance we get between the trio. Tom with Leo is a great relationship as Finney and Byrne do suggest a long friendship, albeit with distinctly the since that Leo accepts himself as the brawn figurehead while Tom is the brain, who isn’t always listened to. Byrne is able to bring these complicated shades where there is an openness with Leo in moments supporting the friendship, yet when Verna or Bernie comes up, the shade of complication, some guilt, some frustration keep even a separation between Tom and Leo. With Verna Byrne is fascinating in playing between the margins of the moment because there is an overarching presentation of a coldness between sex, particularly when talking about her brother or accusing her of purposefully manipulating Leo. Byrne wonderfully plays the smallest moments where you sense the smallest break where we see a glint in his eyes of either a bit of self-loathing or genuine love that Byrne shows the act of bottling it up to attempt to present it as a heartless meaningless affair, even though it really isn’t. 

Then there is Tom as he deals with the various other players of the game where Byrne is fantastic in accentuating different sides depending on the mark. With Caspar, Byrne delivers every word with the utmost confidence and support, even greater than when being Leo’s man, Byrne’s charisma makes it entirely convincing that he sways Caspar to the degree as the man who sees all the angles, and would be even willing to betray Leo seemingly. Contrasting that however is dealing with the Dane who quite frankly has Tom pegged from moment one but just can’t prove it to his boss. Where we get the moments of Tom frequently taking punches from seemingly everyone, including Leo when Tom reveals his relationship with Verna, and honestly I do love Byrne’s reactions to “here comes another one”, suggesting a man who can take the punch, is willing to, but really doesn't want to still. Byrne finding a natural humor in those moments, yet within the plan Tom runs into more than a few problems. The first being when he sells out the corrupt Bernie, Tom finds unexpectedly he is tasked with killing Bernie by Caspar and the Dane. Byrne is amazing in the scene because you see throughout it his failing to “act” where his face manages to convey the man trying to keep together his composure yet terrified to go through with actually killing a man. Byrne in a way offers his least convincing version when he tells Bernie to go because he brings the fear of the situation in his eyes even as he threatens Bernie to go and not come back. 

Unfortunately for Tom, Bernie is as duplicitous as he seems as he almost immediately starts to make his presence known again, severely jeopardizing his scheme to make Caspar think that Tom is fully on his side. This is to the point Dane takes Tom back to the forest where he was supposed to kill Bernie to find a corpse, which Tom will be offered as the replacement if it is not found. In a way this is one of Tom’s most honest scenes because while Byrne still shows Tom keeping it close to chest, within that chest you see a man nearly petrified for his life as his whole expression in the scene is a man keenly aware he has no plays in the situation with Dane and is about to die. When Tom is saved last second because Caspar’s men find another corpse, murdered and placed there by Bernie, Tom’s relief as portrayed by Bernie is not of a cool composure rather this subdued yet potent combination of relief and even disbelief that he managed to survive this one. Although equally sloppy for Tom is when he runs into Bernie again, who blackmails him to kill Caspar, where Tom tries to get the drop on Bernie and Byrne’s physicality is great in the scene because you see the attempt from Tom to be the cold operator in the moment yet failing completely as Bernie instead trips and degrades Tom again. Where again Byrne doesn’t play it as particularly graceful, rather the Tom losing a bet and getting drunk as he sits on the ground.

What we then see is essentially Tom building the confidence in his biggest gamble which is to essentially get Caspar to kill the Dane then hope Caspar and Bernie kill each other. Byrne’s fantastic in presenting Tom getting basically into this flow state as he speaks every word so confidently as the truth as prods Caspar into believing his false story that the Dane has been conspiring against him, leading to the Dane’s death and even more easily getting Caspar to go his apartment where Bernie will be. Byrne’s fantastic because he manages to show the confidence of that performance, and the performance. I particularly love the way he very much whispers venom into Caspar’s ear as very much this move by Tom is so well realized by Byrne’s performance. This leaves only his greatest act as he leads to the ambush where Bernie kills Caspar leaving only Bernie to be dealt with. Byrne’s outstanding in the sequence because you see him playing the levels and really playing towards maybe his toughest mark in the exceedingly conniving Bernie. Byrne initially plays the man Bernie thinks he is, as he speaks openly it would seem, suggesting that they can pin Caspar’s murder on someone else, and playing in a way the old Tom who could never kill him. Byrne needs to convince both us and Bernie that he could get the gun away from him, and Byrne does by being the Tom who would only never scheme not kill. Once Tom has the gun though his whole demeanor changes, and before when Tom was trying to get the courage to kill Bernie essentially Byrne expressed the anxiety of someone with too much empathy to do it. Tom this time, aided by the truly wretched nature of Bernie, allows Tom to change to be truly cold and Byrne delivers in the real hollowness as now there’s no question if he can do it. The cherry on top being when Bernie again cries for his life, despite earlier claiming it to be an act, asking Tom to look into his heart, where we get the absolutely pitch perfect delivery from Byrne in the pure uncompromising moment of soulless determination as he replies “What heart?” before executing Bernie. We see the man Tom needs to become to finish his “smart play”, something Leo compliments him in the final, Bernie’s funeral, where we see Verna fully reject Tom and Leo’s intention to marry Verna. While not as cold as when he killed Bernie, Byrne exudes a changed manner in Tom, having a far more downplayed playfulness in his one liners, being altogether colder reflecting the man he needed to theoretically be to get back to the status quo. But as warm as Leo is towards him, we see in Tom/Byrne’s eyes that change as he essentially rejects Leo’s offer to come back. Byrne shows Tom brutally honest in rejecting the notion of being forgiven by Leo, where we sense both heartbreak in this but also a more pointed version of that old frustration towards his old friend. Tom chooses to remain where Byrne’s final expression powerfully presents the quiet sorrow of now truly solitary Tom where yet another bet has in the end made him again very little if perhaps nothing at all. Gabriel Byrne delivers a brilliant performance that gets better in every viewing where you see in his performance all the different angles Tom is playing, the fun of it, the thriller of it, but also the sadness of it as in every bit we see just a little more of just who Tom is behind it all.