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. 

Alternate Best Actor 1990: Nicolas Cage in Wild At Heart

Nicolas Cage did not receive an Oscar nomination for portraying “Sailor” Ripley in Wild At Heart.

Wild At Heart follows two young lovers as they try to run away from one of their vengeful mothers. 

Early Nicolas Cage is his own beast entirely and not even the established "Nouveau Shamanic" who we have a whole different set of expectations of. Early Nicolas Cage is sheer madness that likely could’ve never existed without his family connections, in that just quite literally he would’ve been fired from Peggy Sue Getting Married, yet the world would’ve less for it. As young Cage has quite frankly an ambition of insanity that few young actors would’ve ever attempted to have tried in his approach to each and every role. And I won’t even say that each and every one was genius, in fact I personally would’ve supported the studio decision with Peggy Sue quite frankly yet even in that misguided performance one could still sense talent beneath the surface of some needlessly bizarre choices. Cage’s journey was perhaps helped by finding some ideal filmmakers to help channeling his energies, first by the off-beat Coen Brothers in Raising Arizona, and then by David Lynch in this film. Lynch being a filmmaker with his own oft used adjective where his films, in a way, are a genre of their own. Where a little bit of insanity in his young performer probably makes sense just to fit in. 

Cage certainly has that bit of insanity intensity here though he’s actually far less dogmatic in his approach than his work in his Uncle’s film. The surface though is that of Elvis which is textually the film any ways since the character of Sailor fashions himself as an Elvis, but what’s even more particular is the fact that Cage as a person is always kind of being a little Elvisy even when he’s not playing an Elvis impersonator. Cage though actually plays two different styles of that wisely in making Sailor as the man and the presentation of Sailor as he presents himself as a public figure. In those latter scenes, including the singing scenes I wouldn’t even say Cage plays Elvis but maybe even more accurately plays the Elvis of Elvis films with the distinct heightened delivery and of course breaking out into your seemingly random song. The physicality of his work is just a live wire of Elvislike movement but taken to a greater extreme that is often quite marvelous to behold here. And under the masterful guidance of David Lynch, Cage’s approach this time around wholly works and there is something quite captivating in his whole presentation as the man who lives life to be Elvis in this way, and lives life his way. He also of course wears a snakeskin jacket which of course is a symbol of one’s individuality and belief in personal freedom, which I love Cage’s perfect delivery of that as a credo he knows by his very soul. 

Now as much as the more expressive elements of Cage’s performance work within the style of Lynch, I think core to the film’s success is within the relationship between Sailor and Lula (Laura Dern). A fairly unique relationship for a film where the connection between the two is both one of extreme lust and love. Dern’s performance in far more ways than ones matches Cage’s energies where they are both these extremes together in a way where it just seems they are made for each other. Yet the pivotal balancing factor exists beyond the moments of intense lust, as much as Cage and Dern play that sense of immediate ferocious attraction and physical pleasure they get out of each other so convincingly and particularly in the way each can so luridly deliver their come on lines and seriously eye…well you enough, each other before getting on to the actual act quite frequently. There is the balance of within that real warmth and connection in the quiet moments they also share where they speak and frankly console each other in dealing with the insanity of their lives, which are naturally complicated by jail, crime, and Lula’s demented mother (Diane Ladd) wanting to either have sex with or kill Sailor. Dern and Cage bring it down wonderfully, still having within even their accents the theoretical extremes, yet tempered well to earn the moments of genuine connection they share in revealing the genuine love the two share. 

Cage offers a very atypical protagonist for going through the trashy noir narrative and in doing so does offer a spark of unpredictability through it yet also creates a strange cohesion. Cage manages to instead find the right approach in certain moments such as dealing with potentially or maybe overtly sinister people like Bobby Peru (Willem Dafoe) trying to pull him in a criminal scheme. Where Cage finds an effective balance through the particular way Sailor Elvises his way through life but with those moments of reflection still of someone who is trying to do right. Cage being an essential part for example of the crime gone wrong, designed for Peru to kill Sailor, where Cage’s reactions match the madness of Dafoe’s performance beautifully in his freakout but humane freakout against the complete grotesque derangement of what Dafoe is doing. Honestly one of my favorite moments of Cage’s performance is his reaction in finding a dying crashed motorist (Sherilyn Fenn), where Cage even within that Elvis voice offers genuine empathy as Sailor tries to help the woman out before succumbing to her wounds. It is those intimacies that help to earn the operatic and really finding a beautiful combination of both such as in the grand finale after getting out of jail due to his attempted robbery with Peru. A finale that does have Cage, rejecting Lula and his young son, “for their own good” beaten by a group of men, get reminded about love by Glinda the Good, then dramatically rush back to them and obviously finally sing “Love me Tender”. That’s a whole lot of swings that somehow are kind of wonderful where Cage is essential as he does go for the grandiose in his declaration of “Lula” at the top of his lungs, yet there is also this strict sincerity when he catches with her, and his delivery of “Love Me Tender”, well tender it is. Cage is an unwieldy energy that Lynch wields ideally. Cage is a whole lot as Sailor, but in a way that works here. Finding a balance where yes Sailor acts like Elvis, but you also completely believe in this man who acts like Elvis, and especially believe in his adoration for the woman he loves. 

Alternate Best Actor 1990: Wojciech Pszoniak in Korczak

Wojciech Pszoniak did not receive an Oscar nomination for portraying Henryk Goldszmit pen name Janusz Korczak in Korczak.

Korczak depicts the painful time leading up to the deportation of Jewish orphans in the Warsaw Ghetto.

Wojciech Pszoniak plays the writer, teacher and doctor who was best known as Janusz Korczak. The film isn’t about his whole life but rather coming in towards its tragic end as we follow him attempting to navigate the increasingly hostile nature of the occupiers while attempting to create some sense of normalcy for his chief priority, the orphans. Pszoniak’s performance is one that frequently is in contrast to the material at hand that is representative of Korczak’s approach towards the orphanage which is one steadfast support. Pszoniak within these scenes very distinctly presents a combination of intense devotion and endearing warmth as we see Korczak interact with the various orphans in the film. Pszoniak doesn’t put a lot on it, rather just bringing this quiet earnestness within every word he speaks towards them where there is such care about Korczak to each and everyone. Pszoniak granting the purest sense of the man who genuinely wants to help them, truly cares whether that is going about teaching, taking care of them, or attempting to be there as they face literal genocide. 

Pszoniak’s performance provides a combination of qualities though within the warmth which isn’t at all one note, though quite potent even within the idea of purity. As what Pszoniak is able to naturally embody and realize dynamically is the various roles that Korczak does need to take with them. There are the moments where he frankly is that of the storyteller, the man giving life to imagination for them and Pszoniak brings this spirited quality in every word of the man where you are granted the sense in his performance both his enthusiasm to encourage the children but also how much any joy they have seems to fill him with a similar joy. Pszoniak is as effective though when dealing with the older children where he finds a different quality of the teacher where the wisdom is never stern but just calmly more direct. Pszoniak crafting that sense of authority in these moments though an authority that is strictly benevolent in every moment and where he exudes that optimism even as he is guiding his children through some of the most traumatic situations. Pszoniak’s work provides a sense of comfort within the film even when the ever growing darkness surrounding our characters is creating a penetrating dread for the future. 

Korczak is not living within a fantasy as he tries to provide normalcy for the children and tries to comfort them best he can, rather we see that he very much is aware of the reality. Pszoniak’s work is remarkable in a moment relatively early on where he purposefully announces his Jewish heritage, quite frankly in a situation that in no way benefits or protects him. Pszoniak delivers these words in a combination of exasperation towards the callous actions of others but also a passionate conviction that there is absolutely nothing wrong with stating this fact. Pszoniak is able to present someone who firmly lives by his code of morality and even within horrible conditions will still stand up for what he believes in. Pszoniak’s performance delivers the weight of that conviction within his eyes and his manner as just a man straightforward in that directness. He shows that Korczak isn’t here to present some strategy to confuse the abusers, rather just a man who will be as good of a man as he can be even when it is clear he is living in a situation that is defined by moral decay. 

The power of Pszoniak’s performance is creating a convincing man who makes the choice essentially to sacrifice himself in order to offer just a few more moments of comfort for the orphans. We see as the situation becomes more dire and within Pszoniak’s reactions there is a real sense of dread even within Korczak where his awareness of the increasing threats and violence is readily apparent. Pszoniak presents the man coming into the situation with a potent empathy. Pszoniak makes this the overarching feeling in every instance of dealing even with the violence around him and even against him at times. Pszoniak’s manner is that of the man seeking to quietly maintain his dignity while doing his best to serve others. When we get the moment explaining that he will not try to escape so he can be with the orphans Pszoniak speaks these words not with conflict but this most assured determination who simply could not see going about his life any other way. An idea that is fundamental to the final sequence of the film where Korczak calmly leads the children as they are being taken to a train which will bring them to an extermination camp. Pszoniak throughout the sequence isn’t portraying the future but rather the moment of providing a final bit of paternalistic protection in his assured and determined manner. Although we know the truth, one can see the calming presence of Korczak as Pszoniak moves like a shepherd guiding his flock. Wojciech Pszoniak delivers a very good and moving performance where he provides an earnest portrait of a man choosing a pure path within a wretched world.