Alternate Best Supporting Actor 1975: Alan Bates, Brian Cox and Bill Owen in In Celebration

Alan Bates did not receive an Oscar nomination for portraying Andrew Shaw in In Celebration.

In Celebration is a more than fine entry into the ennui-filled-reunion genre this time about a group of brothers coming home to celebrate their parent's 40th wedding anniversary.

Alan Bates plays the character quite needed for any such film in this particular genre. The man who intends to prod and pry at the ceremony, needed to create the conflict. Bates's performance is interesting in that there is almost a self-awareness of this he brings within the character. His whole physical manner has this certain excessive ease of a man rejecting the formality of a reunion from the outset. This idea could seem forced however this approach is essential in creating the nature of Andrew as a character. Bates appears first in the film as he hitches a ride with the youngest living brother, Colin (James Bolam), and makes a statement of self-deprecation proclaiming "he is a tramp" to which Colin reacts with what is essentially a knowing bit of exasperation. This is as something Colin has seen before, and Bates embodies a man who definitely is not happy with life. Bates though doesn't make this an overt depression with his portrayal of Andrew but rather as this rejection of normalcy. Bates captures in the very behavior this purposeful, though also honest in its own way, manner of a man who just won't be quite proper. Bates finds this fine line within this as he establishes from the outset that Andrew isn't quite an exhibitionist with his behavior,  but he's not too far off.

Brian Cox did not receive an Oscar nomination for portraying Steven Shaw in In Celebration.

The very talented Brian Cox has had a long successful career, though he has a manged to do this, honestly to do this day, with a rather low profile. Why this is exactly, somewhat alludes me as his talent is ever present, however it perhaps caused by the way he is often in good films somehow forgotten by time. A much younger Cox has a rather challenging role here as that of almost what one might describe as the "other brother". His Steven is the brother who lives nearest to his parent's old home, and makes his career as a teacher, and as a not at all successful writer. Cox's Steven actually arrives first to the family home, and Cox's performance establishes a man who is nearly the polar opposite of Andrew. Cox keeps his externalized expressions particularly subdued, and speaks in rather unconfrontational tones. Cox establishes Steven as a man who in no way wishes to make a spectacle of himself, unlike Andrew, though this does not mean he isn't as well troubled. Cox's whole demeanor though stands in sharp and effective contrast as the passive brother who treats this reunion less as something that requires an "attack" but rather is an earnest responsibility of a dutiful son.

Bill Owen did not receive an Oscar nomination for portraying Mr. Shaw in In Celebration.

Bill Owen plays the role of the patriarch of the Shaw family, who is one half the titular celebration. The celebration being for his forty years of marriage while also nearing another milestone of nearly 50 years of being a coal miner with only one year left before his retirement. Owen's performance is wonderful in how he distinctly crafts it separately from the work of Cox and Bates. In that there is not a hint of dishonesty in his Mr. Shaw although technically speaking he too isn't quite as he seems. Owen though rather is wholly genuine in his presentation of the man as he greets each of his sons as he arrives at his home. This is with a most earnest smile, and true warmth as greets every one of them. Owen skewers a basic sentiment within the part at the same time though. It isn't though with a hidden motivation that defines the man, but rather presents a more straight forward nature of the man. A man who has worked quite literally within the earth, and this revealed in his way towards life and family. Mr. Shaw too isn't all that he seems from a first look, however in a very different way from how Bates and Cox present his two sons.

Each character does have more to say with every greeting as we hear the conversations before and after the celebration, we never witness the celebration itself. These conversations dig up the truths of the family's past, which sadly is not a simple one. Each actor is terrific though in realizing how each man broaches this material. Bates one might say is the simplest, though also requires the most bravado on his part. Bates again physically embodies the role playing nearly as a drunkard who just won't bare formalities fully. This naturally paints the man as we learn he went from being a lawyer to a wannabe artist, and Bates conveys this decision with this manner. This is opposed to Cox who is so wonderfully quiet in the part, and his role is largely reactionary. His reactions though are what reveal every truth of the character, and the reserve he finds in the role is marvelous. Owen though makes the most honest man of them all though, even with the secrets, of course these secrets are not something he hides, but rather something he wears. Owen bears them as just pains of life deep within his eyes, but never an overt constant, though certainly still a constant. Owen shows a man who has had a harder life than his sons who doesn't dwell, but also can't forget.

Each performer layers the men so well in part in the interaction with who they are playing against. Bates again is the most obvious in this approach, such as when he first greets his mother with a bright face, and eager hello. Bates finds this proper combination of a honesty in his warmth, but also something bent within it. There's a troubling thing of any moment of eagerness in Bates, as goes a bit big, though I write this with praise rather than criticism. Bates lays the act on thickly too thickly that it is less an act, but rather a desperate need in a way. Bates plays it with venom, but not entirely so. Not a single moment is that of a true callousness as in his eyes there is always a certain sense of the family dynamic, that isn't defined by hate. There is also rather just the intensity of the emotion, even as he so often jokes around, that portrays a man nearly made grotesque in his attempt to laugh through the past and his current predicament. Bates makes the dishonesty part of the act of a man who must put on the facade of a false excitement, but it is never that simple. Bates shows instead a man still struggling with all himself, and this "performance" of Andrew's is his coping method.

Cox may deliver the most poignant performance in the capturing something very unique onscreen, and something that feels painfully honest. This is of course in such a low key approach though of the man who watches, and observes. Cox's work though is never of just the observer though as he's still part of this family. Cox makes so real the man's way of dealing with such a reunion which is through his own distant way. Again distant in not a cold way, which is what I love what he does here. He looks, and he smiles at his mother and father. When he does this it is wholly with love that small little smirk of his. His also will often feature that warmth of a loving son. That is not all he conveys though as even dealing with the confrontational Andrew Cox delivers the quiet disappointed stare from Steven that say more than a hundred words of hatred could. Cox in his reactions brings the weight of the family and his own hardship. There is a sadness in them, a sadness that only fully reveals itself in moments of complete solemnity so naturally realizing Steven as a man who lives in his troubles only at the most private point, which also keeps him as such an understated figure within his own family.

Back to Owen though who plays a man who really wouldn't know how to create a facade or to only observe. Owen shows a man who made by his difficult experiences but of course never destroyed by them. Owen delivers a real exuberance in his attitude towards life in moments, and showing his love at the right moments. There are darts of darkness, his own secret depression, but the key is that Owen doesn't play this as something he is hiding deep within. It is rather just part of who he is but never does define Mr. Shaw. He wears as a texture more than anything in his performance that will in a moment just linger a little more, or turn a certain line in his delivery that paints some old anxieties or troubles. This troubles such as the death of one of his sons, and the nature of his wife that came from a higher class family than his own. Owen's work is great by making essentially this flow of emotion of a man who has no real wish to dwell on the past, but the past still dwells with in him. Owen in the moment brings the most profound moments of truth, and the most vulnerable moments. This as also the briefest moments though in his work, in just a quick flash of anger, or heartbreak, that never change the man, but are always part of him.

Of course the real drama comes in the mix of these personalities coming together, particularly when the main conflicts of the death of their brother, and the realization that their mother purposefully raised her sons with a certain shame for their father's way of life and a requirement to live within a certain tradition. It is a fantastic scene for all three when this comes to a head by just wholly each grasps their parts, and how the emotion so genuine in all three of them, as well as from Bolam as Colin the most straight forward brother in terms of the presentation of his emotions. Bates makes Andrew a proper mess of a man as any facade of the "showman" hiding his real nature comes out in a more direct hatred towards the ways of his mother. There is only the hints of his phony cheeriness now revealing a man practically writhing in pain. This is against Cox and Owen who are both heartbreaking as two men directly relating to what Andrew is saying. Owen and Cox's reaction is that of a quiet yet devastated resignation in Steven and Mr. Shaw to what life they've had, as Andrew pours salt in the wound. I especially love the power of Owen's work as his is of man fighting hard not to give into this pain, as his eye lids seem to nearly deflect Andrew bringing the worst out into the open. Each in the film's end though shows almost the healthier state of Steven and Mr. Shaw in their way of embracing their existence against Andrew's way of attacking it. As we see Owen and Cox create such tender exchange in their parting of a father and son finding a true comfort, against Andrew once again returning to his ugly "playacting" as the sons depart. Bates, Cox and Owen each deliver a wonderful performance that so vividly depicts each man both in terms of their current state, their past, and how that defines who they are.

Alternate Best Supporting Actor 1975

And the Nominees Were Not:

Alan Bates in In Celebration

Brian Cox in In Celebration

Bill Owen in In Celebration

Bruce Dern in Smile

Richard Dreyfuss in Jaws

Nicol Williamson in The Wilby Conspiracy

Ugo Tognazzi in My Friends

For Prediction Purposes:

Bates in In Celebration

Alternate Best Actor 1975: Results

4. Charles Bronson in Hard Times - Bronson fulfills the tough guy needs of the role, yet once again reveals his greater talent to exhibit a more powerful emotional side subtly within his portrayal of a man in desperate circumstances. 

Best Scene: Before the first fight.

3. Robert Mitchum in Farewell, My Lovely - Mitchum elevates his entire film, despite being too old for the part, he captures the style of the genre so effectively through his earnest yet intelligent approach towards the material. 

Best Scene: Waking up next to a corpse.

2. Maxim Munzuk in Dersu Uzala - Munzuk gives a wonderfully idiosyncratic turn that captures both the history of hardship as a man of the wilderness, but also an optimistic spirit that defines the man's success within it. 

Best Scene: Death of a tiger.

1. Richard Dreyfuss in Inserts - Richard Dreyfuss gives one of his best performances that uses his unique presence well to create a very particular state of a man completely spent by life at such a young age. 

Best Scene: Boy wonder directs the first time.

Updated Overall

Next Year: 1975 Supporting, Note: I decided to move Ugo Tognazzi's review over to supporting. I have also seen In Celebration and Smile, and consider both to be ensemble films.

Alternate Best Actor 1975: Richard Dreyfuss in Inserts

Richard Dreyfuss did not receive an Oscar nomination for portraying The Boy Wonder in Inserts.

Inserts comes off a bit like a play that wasn't adapted all that well, even though it isn't based on a play, but it does hold some interest at the very least as one of those 70's films that would only ever have been made in that decade.

One of the most intriguing facets of the film is the central performance by Richard Dreyfuss during his heyday as a rather young leading man. He fittingly plays a boy wonder here as well though in a different profession in the film industry. Here we find him as a director already left behind by the film industry, due to the transition to sound, leaving him to resort to making pornographic films in his large isolating mansion. Immediately to his credit is Dreyfuss's ability to be convincing in creating the very idea of the character. This being this young man who is already spent and more or less done with life. This weariness is wholly captured in his worn eyes, and whole physical demeanor that feels like that of a man who has stayed up all night for the past 10 years. One can feel tired just looking at Dreyfuss here as he makes this man who has wholly burned out that exudes from his very being at every moments he is onscreen. Although we don't know the exact journey that lead him down this place, though we do get a few details, Dreyfuss immediately creates a vivid sense of a long painful history that brought this boy wonder to a rather dark place.

Dreyfuss is an interesting performer with a natural energetic talent, even if it isn't always used perfectly, but this is just right for the boy wonder here. Dreyfuss is fascinating in that he manages to create both a man at the end of his rope, but still realize this idea of the wunderkind of Hollywood who has wasted away. This is through his very specific sort of exasperation that Dreyfuss realizes in his work that manages to wield that energetic style of his in a rather unique fashion. There is this inherent intensity that Dreyfuss finds in the souse director that are this embers of the brilliant talent. A certain unpleasant frigidity quality he brings even in that exhaustion. There is a burden in this that Dreyfuss is able to play into the part that makes the man seem especially uncomfortable in his state. Dreyfuss doesn't make it wholly natural, but instead rather directly atypical. He is not a man who has settled into his state of life. He is writhing within it that allows Dreyfuss to deliver this viciousness of a personality deep within his eyes that are never only glazed rather still piercing in their own way. He creates the sense of the man who is almost in this state of a madness created by his descent towards nothingness. 

There is more to the boy wonder than a husk, though not too much, which we see particularly through the other supporting characters of the film. Now on one end we have his relationships with the other men including his male "star" Rex (Stephen Davies) or his producer Big Mac (Bob Hoskins). In his relationships with the men there is a more overt derision that Dreyfuss portrays in every venomous delivery towards them. In these moments he accentuates a most powerful callousness that shows so well the boy's disregard for fellow "users" of the same industry where he's now applying his trade. Dreyfuss differs this subtly within his two "starlets" one former in the heroin addict Harlene (Veronica Cartwright) and later the potential newcomer Cathy Cake (Jessica Harper). With the former Dreyfuss and Cartwright are simply excellent together. In just a few minutes we quickly see their rotting relationship through their performances. There is a certain tenderness even sweetness the two brings in their interaction, even as one drinks towards death, and the other shoots up her arm towards the same fate. They create a warmth though even in this that suggests an older friendship even within this certain grotesque state of their current mutual rot as people.

Dreyfuss has one great moment early on with Cartwright where the boy wonder warns her about the drugs she's taking. Dreyfuss's tired delivery on the surface still shows the man beaten down by life, but deep within it is still an earnestness that reflects an honest concern still somewhere in the man. When she rather suddenly exits the picture Dreyfuss is again remarkable in creating the state of the man. Dreyfuss finds a callousness in his delivery as the boy wonder makes an obscene suggestion in regards to the news, yet again he underlays it with a quiet yet still palatable sadness deep within that reveals itself as this piercing anguish internalized in Dreyfuss's beaten down face. Now this a little bit different from his relationship with Cathy who is initially introduced to him as the girlfriend of Mac, and seems to have a strange interest in the concept of inserts. Dreyfuss initially brings the same disdain towards her initially until she begins to challenge him beyond what he expects. When her interest in him grows, and she begins to encourage his inspiration, in more ways than one, Dreyfuss slowly moves to this genuine interest along with almost a hint of hope at times. Of course this is a little separate, though effectively so, from when we see the boy wonder direct his "films". Dreyfuss is brilliant in these scenes where he does show a spark in the man, though specifically related to the act of directing. This is as he essentially embodies that ambition of a great director as Dreyfuss switches it on suggesting the man the boy once was. This too is unpleasant in its own, mostly due to the end result, though he is amazing as he one moment becomes the tender lover and another the vile sadist. In each though Dreyfuss is absolutely convincing in the success of the man, and in revealing the man in his purest state as a director. Dreyfuss though depicts these as only minor relapses though never wholly bringing the man out of his decay, powerfully showing the man is perhaps beyond recovery. Dreyfuss's work is consistently captivating as he makes use of his best qualities as a performer to craft quite the unique character as this man both bursting at the seams and dying inside.

Alternate Best Actor 1975: Maxim Munzuk in Dersu Uzala

Maxim Munzuk did not receive an Oscar nomination for portraying the titular character of Dersu Uzala.

Dersu Uzala follows the leader of a Russian army expedition, Arsenev, into the wilderness where he befriends a local hunter.

Dersu Uzala marks a little bit of a strange period for Akira Kurosawa. It is certainly was a period of rejuvenation after his unfortunate suicide attempt after the commercial failure of his previous post-Mifune endeavor. A strange circumstance though as Kurosawa collaborated with the Soviet government to develop this film which would eventually go on to win best foreign language film at the Oscars. A film not in Kurosawa's native Japanese but rather Russian. The film is rarely spoken of perhaps as it pre-dates his return to the epic of the masterworks of his 80's period, though perhaps better known than his quietly contemplative "retirement" films of the 90's. The film though is almost a mix of the two periods in a certain sense. In that the scale is very much of a grand filmmaker with gorgeous outdoor cinematography and remarkable sequences within that. The story, despite that scale, though is particularly intimate and rather relaxed, despite some tragic underpinnings. This is realized through the central characters of the expedition leader Arseney, and the man he meets in the expedition, of course the titular man played by Maxim Munzuk.

The role Dersu Uzala was intended for Toshiro Mifune by the Soviet film company, however it is said they were deterred from that pursuit as Mifune would likely have refused due to the nature of the shoot. I have a feeling though it may have run deeper due to the rift between the two former collaborators. Although it is easy to imagine Mifune in the role, we are given a very atypical lead then in Maxim Munzuk instead. He's a very curious man just in stature and appearance. The type of man you might find just randomly in Siberia, which is what happens in the film. Munzuk's performance very much embraces the idea by in no way trying to project some other style with his work. He instead works very much with the atypical nature of Dersu with his whole manner as a performer. There is a certain scurrying way he walks, his excessively energetic, though wholly earnest, delivery that creates this funny little man. A funny little man that is wholly endearing and honestly Munzuk makes us take to Dersu just as Arseney takes to him. Munzuk just creates such a wonderfully genuine quality within this manner, and just feels the truth of the man in every moment of this behavior. A behavior that evokes a varied, and perhaps harsh life though this is punctuated by an inherit optimism which makes Dersu so likable.

This is an example of a performance that is very much defined by its consistency. Munzuk does not veer off much from his general demeanor however this approach works in terms of creating a sense of who this man is. Munzuk shows that even in the most arduous of times, such as bearing a life-threatening blizzard, carries that endearing attitude. Munzuk holds the consistency as the manner of a man who has come to experience life his certain way. This is taking hardship in stride, and portraying only the utmost sincerity of appreciation towards friendship as an alleviation of that. We see this in his consistent relationship with Arseney as Munzuk only portrays this overarching gratitude and respect to the man. Munzuk delivers a warmth in every interaction making the friendship this purity that in part stems from the nature of the man. Munzuk brings enough of a vividness within this consistency that he makes Dersu not only likable but compelling in this state. He creates this sense of understanding of his surroundings as a man who has come to terms with his life very much through experience. This leads him to greatly help the expedition, but just thrive in the wilderness in general. The only element within the film that changes Dersu, which when this life experience is challenged in some way.

The first instance comes from this when Arseney scares away a Siberian tiger by shooting at it, unknowingly killing it as Dersu explains the tiger runs to its death once it is scared off. It is a fantastic moment in Munzuk's performance as he portrays his reaction as less of a direct anger towards Arseney but rather this palatable anguish withdrawn towards himself. An anguish he depicts as deeply emphatic as Munzuk says the words there is this almost fear in his eyes representing the man essentially seeing himself within the tiger and its strict attachment to nature, something he shares. This becomes all the more evident when the expedition ends and Arseney invites Dersu to stay with his family in the city. Where Munzuk portrayed that consistency of a man in his element, though certainly in his own unique way, in the wilderness, in the confines of a house he presents this inherent discomfort. I love though the warmth in interactions with Arseney and his family. He shows in his weary eyes a clear affection for the people around him, but as a man made ill by the city that forces him to live against his very nature. Munzuk effectively keeps this from seeming a negative by having so well established the particular nature of the man that is of, well...nature. The story in the end is tragic though the tragedy is founded by the accidental destruction of nature by a man with good intentions, as seen in the tiger and eventually Dersu. Again though this is no direct fault, and in turn Dersu's final scenes are bittersweet. They reflect a man just again being true to his self, that self that it is so wonderfully realized by this performance by Maxim Munzuk. Although I wouldn't place within the upper echelon of Kurosawa directed performances, it still stands as a memorable part of this charming curiosity.  

Alternate Best Actor 1975: Robert Mitchum in Farewell, My Lovely

Robert Mitchum did not receive an Oscar nomination for portraying Philip Marlowe in Farewell, My Lovely.

Farewell, My Lovely is a somewhat tepid, though not terrible, take on the Philip Marlowe mystery.

This film is a little strange within its period. It is a noir, but during the time of neo noirs. Unlike the other earlier Marlowe adaptation in the 70's, The Long Goodbye, which featured a subversion of the character and the whole idea of noir, this film plays it straight. Perhaps too straight in attempting to make the film as it probably would've been in the 40's or 50's, only with colored cinematography and the allowance of a bit more graphic content. The overall style though is that of a classic noir, which is a little strange for a 70's film. I would say this approach could have even lead to abject failure if not for one man. Well that brings me to my continued exploration into the career of the great Robert Mitchum. Now I specifically noted in my previous reviews of his memorable turns in the decade, Mitchum embraced his age and found success within that. This turn would seem contradiction in that path given the role is typically played by a much younger man, and probably would have made more sense if he had played the part in the 40's or 50's, when Mitchum was often the lead of a noir. Although the film might not quite know this, Mitchum actually does. His performance is particularly astute as he again wears his age into the role, that is just one of the most obvious intelligent choices he makes in his approach as the film opens.

Mitchum's performance is something of a wonder in how he seeks to make the film work despite its shortcomings at every turn. The film itself really is lacking in terms of capturing a proper noir style to grant the vibrancy one would want out of such a mystery. Mitchum though seeks to provide this style within his performance as Marlowe that beautifully embodies the genre. Mitchum physically plays the part with that smooth yet still haggard stature. A man very much bearing through long nights, and just has that iconic look about him to truly be Marlowe, even if a few years above the actual age of the character. This is further amplified by the obligatory narration that leads us through the various twists and turns of the plot, and a bit of insight into Marlowe's mindset throughout. A old trope, but so well realized not really by again how the film uses it rather by Mitchum's delivery of it. Frankly one could just listen to the film wholly as radio play by how much character Mitchum brings to every word. He creates the intrigue of the mystery, and captures the exasperation of the man so well. Again he does it with style, but also a real emotion within every twist and turn. Such narrations can quickly become ridiculous, particularly in a noir out of time and place, Mitchum nearly sets things right through his wonderfully nuanced take.

Of course Marlowe has to work the case and get into every little cliche in the noir book, well since the source material helped to define them, but again the film does it so earnestly it could become comical. Mitchum though again salvages it all through his approach that just so embodies the part that it doesn't matter that the film has absolutely nothing new to say within the genre. Mitchum takes us along in almost every part. This is whether he making his close calls with gunfire, a tense physical confrontation, the occasional drugging, being harassed by the police, or of course occasionally dealing with a few lustful women. Mitchum never lost or forgot the ways of the noir, in fact he sort of refines it here to an art form all of his own. The way Mitchum goes about any scene he brings you into his orbit that makes this point of the film that is compelling even if other things around him are a little clunky. Mitchum just commands these moments with this purity of the noir lead. That is in bringing just that certain sarcasm in his police interrogations, that daze in his eyes as he witnesses one double cross after enough though with just enough of glint to represent his own determination, and of course with all that overarching gritty suave manner behind it all needed to be such a hero. He even can lose that all in the drugging scene where Mitchum realizes the effects of the drugs, and the desperation of that moment brilliantly as well.

The one place that there is a bit of struggle though is in the lusty women. Well specifically Charlotte Rampling's femme fatale Helen Grayle, now don't get wrong Mitchum's easy going charm is as prevalent as ever when Helen tries to work her wiles on him, but his age does find one problem here. The problem being Mitchum, again, uses it to his advantage except for in these scenes where it makes the older man seem far too naive as the duplicitous woman seduces him, especially given the life one would assume he had lived. Mitchum is a better fit for the scenes he shares with the more age appropriate Sylvia Miles as the desperate Jessie Halstead Florian. Here Mitchum truly thrives in his knowing reactions where he brings a certain distance but also playfulness as interacts with her. He finds the right balance as sort of presenting his professional needs for the interaction, but with the right understanding of her not so hidden ulterior motives. Those are just examples of Mitchum's whole approach which is to be the first rate noir lead, for sort of a second rate noir film. What works about the film is Mitchum, but he actually sort of makes the film work. As I found it is easy to stay invested just by how pitch perfect Mitchum is as Marlowe. Although all the circumstances of the casting might not be ideal, Mitchum still proves himself to be a ideal as Philip Marlowe. It is a terrific performance as Robert Mitchum frankly elevates the film entirely to be worthy of the genre it is exists in.

Alternate Best Actor 1975: Charles Bronson in Hard Times

Charles Bronson did not receive an Oscar nomination for portraying Chaney in Hard Times.

Hard Times is an entertaining enough film about a street brawler and gambler during the great depression.

In the primary lead role you have Charles Bronson in a role that was written with a younger man in mind, as this drifter who goes around just scraping by through fights. This is an interesting casting choice, but really an essential element in granting the film a bit more of an emotional impact than it might have had otherwise. On the surface Bronson certainly proves worthy of the role as he is wholly convincing as a fighter even at his age at the time of filming. In addition to that he is quite simply one of the great stoic badasses from the period. This is to the point that he makes a fellow stoic badass James Coburn look properly weak as the gambler, Speed, who bankrolls Bronson's Chaney. Bronson simply commands the screen as to be expected both in terms of offering that sort of physical intimidation needed for the character, but also just the power of the spirits embodied within that. Bronson is this force of a man that the film needs, of a man driven within the fight, which Bronson realizes so effectively without even raising his voice. He rather creates that calm cool that makes Chaney both appealing and intimidating.

Of course the film as written by Walter Hill is pretty bare bones, however that isn't not explicitly a negative value in film, or this film. It is rather an approach and what matters is what is within this approach. The script is already elevated to be sure by Hill's own direction which creates a vibrancy in the period through the aesthetic he realizes. According to Hill's own design for the film though there is not suppose to be a moral to this story. It is rather just a story that is engaging. Now if one inflicts just that much style one can overcome the lack of a thematic weight, however it is still a bit of a challenge. Bronson helps to alleviate this problem through his performance that creates within itself a certain substance that likely would've been completely absent with a bland performer in the role. Bronson can be stoic, however he is not bland as there is more than a shallow fighter within his eyes. It is in those eyes that define his best work, this performance included. It is interesting in that the tough Bronson, when relying on this quality becomes a deeply emotional performer.

We see this in his first scene where he approaches Speed and the fighting den. In Bronson's eyes we see the weight of a life of hardship in his eyes, and in this conveys that with his age has come much experience. An experience that is never illustrated in dialogue however is sensed through Bronson's performance which carries this weight. A weight that makes the fight as much of a life line for the man, well beyond the monetary compensation within it. Although Chaney is never a vulnerable character, Bronson creates a certain vulnerability surrounded by the defense of his might as fighter. A vulnerability that alludes to a desperation again within his eyes that create such a potency in terms of a life he seems to try to avoid. This is also shown in his scenes with local woman, that don't wholly work only because Jill Ireland in the role, despite being Bronson's real life wife, is a bit stiff in the part. Bronson does not falter in his side though by bringing out a definite charm but with this certain emotional distance. A distance he portrays as a reluctance though, as again he shows the honest fear at what the relationship would brings out of him in the most expressive part of his face, yet still overall maintain a near facade of a man who simply toughens everything out. Although Chaney in the end does not change, Bronson's performance does take the character and the film further by hinting at the potential to do so, while also creating a stronger sense of the man's motivation throughout the film.