Tuesday 13 November 2018

Alternate Best Actor 1987: Cary Elwes in The Princess Bride

Cary Elwes did not receive an Oscar nomination for portraying Westley in The Princess Bride.

As I have written before The Princess Bride is an effortless delight of a film, however its success is an unusual one. In that it manages to both subvert the idea of the heroic fairy tale while also wholly embracing all the same. These contradictions in a way should not add up yet they do, and one key element of this is the pitch perfect casting throughout the film. A central thread in this tapestry is Cary Elwes himself as our hero Westley who goes from stable boy to heroic pirate of sorts. Now Elwes doesn't have as emotional of a part as Mandy Patinkin as Ingio Montoya, nor is he as comedic as the villains of Chris Sarandon as Humperdink or Wallace Shawn Vizzini, nor is he the idiosyncratic wonder that is Andre the Giant as Fezzik. His role actually is that of a typical adventure film, not at unlike the role Errol Flynn played in the 30's and 40's. Elwes even bares at least a minor passing resemblance to Flynn as a type. Elwes though is given a harder task that Flynn had in that he must be almost the embodiment of the tone of the film itself, which though light is actually quite tricky.

Now on the outset Elwes is there for a visual establishing point, as the "as you wish" exclaiming stable boy who does anything old Princess Buttercup (Robin Wright) commands. That visual being, for the lack of a better word, and I mean that!, a dreamboat. There is more to this than meets the eye though as even his method of saying "as you wish" needs to be more than it is. What I mean by that is that this could be a overdose of corn, it really should be, however Elwes even in this line develops something, something key to his overall performance, that is this sort sly earnestness. As even as he says "as you wish" there is a sincerity in it absolutely, yet also in his little glance he almost seems to say to the audience "yeah this could be little much, but it's also just right". Of course that is only the introduction as Westley disappears, supposedly killed by pirates, leaving Buttercup to be married off to the evil Humperdink, but only first to be kidnapped by the schemer Vizzini and his two good natured henchmen Ingio and Fezzik. The one man who comes to the rescue is dressed all in black, and if anyone has a particular good eye sight, or even hearing they'll notice this dashing young hero is of course the long lost Westley.

This leads to another of Elwes's challenges as he portrays the unknown hero initially facing off three challenges in order to save his one true love. Now here he is no longer the unassuming stable boy, but rather the assured hero. This brings the challenge to be both effortlessly confident and charming, while also doing that whole sly earnestness. Elwes indeed captures a natural confidence that makes Westley a most endearing hero. He however never comes off as smug despite this supreme confidence, balancing it so beautifully with this certain purity of manner that he delivers that allows this confidence to be as brimming as it is. This goes in the tone of the film that Elwes's work is an essentially part of. This being both wholly embracing the fairy tale yet also making fun of it. Elwes has this certain knowing quality in his work, particularly in his overtly comedic moments such as his showdown with Vizzini, yet even then still Elwes never goes so far as to truly mock. He nearly winks but never mocks. More importantly he provides that strict sincerity within his work particularly in regards to the central romance with buttercup, which Elwes supports with his every fiber.

Of course in a way we get a beautiful turn on this though in the film's third act, when Westley is mostly dead via a torture device and along with Ingio and Fezzik must save Buttercup from the fiendish Humperdink. The turn being that Westley is dead essentially in body yet still has his mind to contend with the evil Prince. This leaves Elwes to physically play the part of dead weight physically, along with few hilarious moments of wailing anguish, while maintaining that brimming confidence in his eyes and expert delivery. Again it creates this fantastic combination between both making fun of this sort of hero, while also wholly being such a hero all the same. It plays with the idea brilliantly as Elwes is indeed both playing with the ideas of the romantic swashbuckler, yet never disregarding them. He's flopping around like a dead body, but still exuding that charisma of a proper a hero. The best moment of this being when he directly confronts Humperdink without drawing blood. Elwes is sitting the whole time yet his persuasive eyes, and assured manner as he describes the "pain" he will bring to Elwes grants such a conviction. When he finally lifts himself to deliver the most dramatic "Drop your sword" moment, in that moment Elwes truly is the magnificent hero, and wholly earns the moment both as a fully earnest one, but also convincing in terms of Westley's victory. Of course he's also hilarious in his near collapse a moment after that victory, which in a single scene shows how wonderful this performance is. Elwes is perfectly cast, however his work goes beyond that. His performance walks this tightrope without fail to make Westley both an essential comedic element in the subversion of a high fantasy, but also purely realizing that fantasy for all its worth.

72 comments:

Mitchell Murray said...

I'll admit, this review gives me pause on a performance I've often overlooked, despite being in a film I wholeheartedly love. Perhaps the flamboyant nature of the supporting cast overshadows Elwes slightly, but even then, I'll acknowledge the importance of his role all the same. It would've been unfortunate had our hero Wesley been a bore, particularly when compared to the other characters, yet Elwes never strays into blandness honestly. He serves as another building block in the story keeping everything afloat, and capturing its one-of-a-kind spirit so enjoyably.

Bryan L. said...

Louis: In regards to James Woods in the previous post, what post-2000 film roles would you like to have seen him in?

Anonymous said...

Louis: your top 20 michelle pfeiffer acting moments

Anonymous said...

Louis: Your thoughts on the production design and cinematography of Silence.

Anonymous said...

Louis: Your cast for an 80's version of Mandy?

Michael McCarthy said...

Elwes is definitely an underrated performer. I still assert that his gawky performance in Liar Liar is a hilarious against-type turn from him.

Louis, any other performances from this film you’d upgrade?

Bryan L. said...

Anonymous: 80s director for Mandy HAS to be David Lynch, with Dennis Hopper as Red.

Bryan L. said...

Or Hopper as Jeremiah

Matt Mustin said...

Saw Mulholland Drive for the first time tonight. Lynch is easily my director win for that year.

Charles H said...

This is one of the best most overlooked performances. He's one of the most charming heroes i have seen.

Luke Higham said...

Louis: For that top 10 superhero performances list, you left out Dafne Keen in Logan.

Calvin Law said...

Brilliant performance. I love every moment of his work and few performances have reached the unique level of charisma Elwes attains here.

Bryan L. said...

Matt: Your ratings for Watts, Theroux and Herring?

Tahmeed Chowdhury said...

This is a great review of an underrated performance. It's odd how he didn't have a longer run as a leading man, because he had more than enough chops for it.

Calvin Law said...

Also your thoughts and ratings for Peter Cook in this?

Matt Mustin said...

Bryan L:
Watts-5
Theroux-4
Harring-5

Matt Mustin said...

(Theroux could go up on rewatch, it's deceptively good work)

RatedRStar said...

Imagine if James Woods was in the Princess Bride lol well at least he is in Kingdom Hearts 3 so.

Louis: Would you agree that even the corny dialogue " if you want I can Fly" works so well lol in a sort of Disneyesque way.

Tahmeed Chowdhury said...

Louis: Any updated ratings on the cast? Also, could I have your updated thoughts and rating for Wright.

Bryan L. said...

Matt: I think I might bump up Theroux as well , since David Lynch is a director that has grown a lot on me. Not that I ever disliked his films, but it took me awhile to come around to him as a filmmaker.

Tahmeed: Imagine Elwes instead of Costner in Robin Hood...

Anonymous said...

Louis: Your thoughts on the voices of Laura San Giacomo, Claire Trevor, Maureen O'Hara and Uma Thurman.

Also, I've seen a YouTube comment saying that someone should cast Giacomo as Emma Stone's mother since they look alike. Thoughts?

Mitchell Murray said...

Anonymous: I don't see the resemblance, frankly. If I was going to cast an actress as Stone's mother, just based on appearance and/or screen presence - strangely enough, I might go with Julianne Moore.

Luke Higham said...

Louis: See any 2018 releases lately.

Bryan L. said...

Mitchell: She DID play Emma Stones mother actually, in Crazy, Stupid Love. Haha.

Matt Mustin said...

Louis: What are your thoughts on the screenplay for Paris, Texas?

Robert MacFarlane said...

Does anyone here watch Big Mouth? Because David Thewlis was a voice this season as the Shame Wizard and it’s probably the funniest voice performance I’ve heard since Eartha Kitt in Emperor’s New Groove.

Mitchell Murray said...

Robert: I've seen the first season which I quite enjoyed, and of the voice cast I probably liked Kroll as Maurice the most.

Bryan L. said...

Matt: He gave those thoughts in Ray Milland's review for The Big Clock, along with the direction and the cinematography of the film :)

Michael McCarthy said...

Robert: I do, I think I posted on this blog about that performance when the new season first came out.

Matt Mustin said...

Bryan L: Thank you.

Bryan L. said...

Anonymous: He also gave the thoughts to Silences' cinematography in Best Supporting 2016, since he covered the technical categories in that post and that was (unfortunately) the only nomination that film received, though very well-deserved.

Anonymous said...

Bryan L: Yeah, I know, but I prefer more detailed thoughts on that if you know what I mean.

Matt Mustin said...

Louis: Could I have your thoughts on the cast MASH (the tv show) if possible?

Anonymous said...

Louis: Thoughts on Tom Har- Logan Marshall Green in Upgrade?

Calvin Law said...

RIP William Goldman.

Louis Morgan said...

Watched The Ballad of Buster Scruggs, might as well break down by segment, though I will say all are gorgeously shot, and beautifully scored.

The Ballad of Buster Scruggs - AMAZING

Saving Nelson.

Watson - 3

Near Algodones - Good

Franco - 3.5
Root - 3

Meal Ticket - Uhhhhh

Neeson - 3
Melling - 4

All Gold Canyon - Great

Saving Waits.

The Gal Who Got Rattled - Very good (and surprisingly earnest)

Kazan - 4
Heck - 4
Hines - 4

The Mortal Remains - Good

Daly - 3
Gleeson - 3.5
O'Neill - 3.5
Rubinek - 3
Ross - 3

Verdict: Probably my #2 of the year, could be #1 if not for Meal Ticker (which isn't entirely without merit), and I wouldn't have minded if they had used Mortal Remains as a framing device, though I believe the choice to make it a film was quite late.

Bryan:

For Suitable:

John Sculley (Steve Jobs)
Arthur Edens (Michael Clayton)
Richie Cusack

For Improvement:

John Du Pont (Foxcatcher)
Frank Costello (The Departed

Anonymous:

Pfeiffer:

1. Dancing realization - Batman Returns
2. Makin Whoopee - The Fabulous Baker Boys
3. Final confrontation - Batman Returns
4. First intimacy - The Fabulous Baker Boys
5. Cabin meeting - The Age of Innocence
6. Fortune cookies aren't always right - The Simpsons
7. Negotiations with the Penguin - Batman Returns
8. Audition - The Fabulous Baker Boys
9. Meeting Bruce Wayne - Batman Returns
10. Farewell - The Fabulous Baker Boys
11. Near intimacy - The Age of Innocence
12. Becoming Catwoman - Batman Returns
13. Failed seduction - Hairspray
14. Seduction - Dangerous Liaisons
15. First fight with Batman - Batman Returns
16. New songs - The Fabulous Baker Boys
17. Choices - The Age of Innocence
18. Jelly Glazed - The Simpsons
19. Death - Batman Returns
20. Youth - Stardust

Louis Morgan said...

Anonymous:

Rodrige Prieto's is simply gorgeous work grandiose, yet never alienating as such within Silence. There is always this emotional vibrancy within the works, as the detail, and colors of a given shot, the most intimate detail is as well realized as the grand painting realized by his and Scorsese's eyes. There is this appreciation honestly of imagery, but also humanity in the text it grants to even just the people of the village watching. Every shot is brilliantly realized in this rich tapestry that grants a spirituality hand in hand with blunt reality.

The production design, as with every Scorsese period piece, is simply outstanding. You indeed feel you've been transported back in time with the work, as with Gangs and Age of Innocence, in the detail within every bit of production design. This is particularly notable as it is as immersive, and detailed in every regard. Whether it be the home of the Jesuits, the straw huts of the poor peasants, the horror within the steam pits or the grand Imperial Japanese architecture. There is not an element that is lacking. Even the most minor props have such life to them whether it be fumi-e, or Rodrigues's personal cross.

Michael:

Honestly, might upgrade Savage, who is a little low on my ranks, as I do think he and Falk handle that side of the story just right.

Anonymous:

Mandy 1980's Directed by David Lynch:

Red: Dennis Hopper
Mandy: Isabella Rossellini
Jeremiah: Dean Stockwell
Caruthers: Scatman Crothers

Anonymous:

Giacomo - (Well like Stone, wonderfully distinct with just a bit of roughness that somehow makes it all the more appealing sounding.)

Trevor - (Not overly distinctive if just on average however there's a real natural power to the period that does make it particularly distinct.)

O'Hara - (Just a wholly wonderful Irish accent, that sounded better the more she embraced that accent quite honestly. Along with that an innate forcefulness.)

Thurman - (A voice I'll admit I don't think is immediately notable, however listening to her actual voice work there is something particularly dynamic about her voice.)

Anonymous:

Green - (His performance lacks the charisma of a Tom Hardy performance, which again goes into the whole idea of screen presence as he and Hardy look almost the same yet for some reason there is something magnetic about Hardy that isn't there with Green. Having said that this is a good performance acting wise almost entirely within the idea of the guy becoming a puppet in his own body. He delivers the emotional weight of the revenge plot well enough to be sure, but it is as the puppet where he shines. He's great in all the action scenes by bringing such ferocity physically, while displaying such queasy reluctance personally that is marvelous.)

Tahmeed:

Wright - 3.5(I'd say my original thoughts were perhaps a bit hasty as even though her performance is entirely within more of the fairy tale aspect with less of a subversion. Her earnest portrayal certainly works along with having just the right purity within her chemistry with Elwes.)

Calvin:

Cook - 3.5(I always forget that's him, but his bizarre method of delivery, so slowly, of his recitation on marriage is absolutely hilarious. It's just such a weird character in just a few minutes that still leaves an undeniable impression as Cook makes something so funny out of what is technically just a guy doing a religious service, without going over the top.)

Matt:

Previously covered in Ray Milland for The Big Clock.

Louis Morgan said...

RIP William Goldman

RatedRStar said...

RIP William Goldman

Bryan L. said...

Louis: Oh, Woods as Du Pont would've been perfect. Maybe a little too perfect...

Lastly, do you think DDL and Gary Oldman would've been great as the Howard brothers in a 90s version of Hell or High Water? Oh and with Richard Harris as Marcus, and changing the setting to the U.K.

And the same idea, but DDL as Sullivan and Oldman as Costigan in a London-set The Departed?

Tahmeed Chowdhury said...

RIP William Goldman.

Mitchell Murray said...

Everyone: Thoughts on the independent spirit award nominations?

https://www.indiewire.com/2018/11/2019-independent-spirit-awards-nominations-1202021241/

For myself, I'm glad that we're seeing some initial traction for Collette, Hawke, Mulligan and Grant - all performances many us of we're counting on, I would think. One of the snubs that I am disappointed with, though - and its particularly strange given there recognition of her in the past - is Mary Elizabeth Winstead for "All about Nina". I there was any hope of her getting in this year it would've been with the spirit awards, so that disappoints me. We'll also have to see how some of the other contenders fair (Cho, Close and Phoenix, for instance), but so far I'm happy with a lot of there choices.

Calvin Law said...

McKenzie in supporting is still stupid as hell. But otherwise I'm glad with the nominees I've seen

Matt Mustin said...

Louis: Is everyone in Buster Scruggs supporting?

Calvin: McKenzie in supporting is all-time category fraud.

Luke Higham said...

Louis: Your thougts on Upgrade and ratings & thoughts on the cast including your rating for Logan Marshall Green.

Louis Morgan said...

Bryan:

Well it is a little harder to envision an English Hell or High Water, just due a lack of the frontier so to speak, though I could envision that pairing. Better pairing I'd say for the Departed with Oldman as the scrungy good guy and DDL as the pristine villain.

Matt:

As typical for an anthology I view everyone as supporting, even if they technically "lead" their segment.

Luke:

I believe I covered that awhile back.

Luke Higham said...

Louis: Your technical winners so far for 2018.

Louis Morgan said...

Luke:

Production Design: The Ballad of Buster Scruggs
Sound Editing: First Man
Sound Mixing: First Man
Score: First Man
Editing: First Man
Visual Effects: First Man
Costume Design: The Ballad of Buster Scruggs
Cinematography: The Ballad of Buster Scruggs
Makeup and Hairstyling: Mandy

Anonymous said...

Louis: Your thoughts on the matte paintings in Earthquake.

Mitchell Murray said...

Also, for what its worth, I FINALLY got a chance to see "A Star is Born" and umm... yah. Moving stuff.

Anonymous said...

Louis: Also thoughts on this boss theme from the game Marvel Ultimate Alliance. Honestly, I think it fits Dr. Doom perfectly.

https://www.youtube.com/watch?v=bG0xho_yoaU

Anonymous said...

R.I.P. William Goldman.

His screenplay for the All the President's Men is perfection.

Emi Grant said...

Louis: What are your thoughts on Frank's ending?

Emi Grant said...

Mitchell: Well, I'll definitely tell you that I adore the Eighth Grade love. Mckenzie in supporting is bullcrap indeed, but I like their choices overall, even if I still need to watch several contenders.

Matt Mustin said...

Saw Buster Scruggs. I agree with Louis that it's best to look at it segment by segment.

The Ballad of Buster Scruggs-Absolutely bloody wonderful. I could, and probably will, watch just this segment on repeat and not get tired of it.

Nelson-5
Brown-3
Watson-3

Near Algodones-Decent, but kind of forgettable in the long run.

Franco-3.5
Root-3
Ineson-3

Meal Ticket-Pretty close to awful, honestly.

Neeson-2.5
Melling-4

All Gold Canyon-Fantastic.

Waits-5

The Gal Who Got Rattled-Great.

Kazan-3.5
Heck-4
Hines-4

The Mortal Remains-Great.
Daly-3
Rubinek-3.5
O'Neill-4
Gleeson-3.5
Ross-3.5








Matt Mustin said...

Louis: If it ever came to it, what would be lower in your ranking, a performance with a zero, or a performance that's "Wiseau" quality?

Calvin Law said...

Saw Fantastic Beasts. As someone who really enjoyed the first one...this one is bad.

Redmayne - 3
Waterston - 3
Fogler - 3.5
Sudol - 3
Miller - 2
Kravitz - 3
Turner - 3
Law - 3.5
Depp - 3

Luke Higham said...

Calvin: It's at 40% now, which is quite astonishing considering the other 9 have been 74 or higher. Perhaps it's time for Yates to hand the reins over to someone else. I'm seeing it within the next hour.

Luke Higham said...

I've also heard that Rowling is in dire need of a co-writer.

Luke Higham said...

Louis: Are there any saves that you've considered getting rid of.

Louis Morgan said...

Anonymous:

Some actually are fairly impressive, though inconsistent, but still the best effects in that film. They're better at the very least than sort of its brother in disaster films in The Towering Inferno.

Anonymous:

Not a bad evil theme, and with the right amount of sort of eloquence for ole' Doom. A character hopefully they will do justice to in the Marvel machine.

Luke:

Yes, as supporting is definitely leaning towards a 5 line up (though Nelson/Waits will take up one spot). Not dropping any officially yet though.

Matt:

Well 0 is a flat line in there are no redeeming quality in the performance. So bottom no matter what. A 1 is above a Wiseau, as it is a failure though with the intention still appropriate. Where as a Wiseau fails the initial intentions so badly, it becomes comical, which is kind of an extra level of incompetence.

Emi Grant:

The very last scene is very good as it work almost wordlessly in the realization of the conclusion of the story. In that we have Frank essentially back where he belongs, though humbled without his mask, just doing what he loves in his strange song with his equally odd family without any immediate fame. Meanwhile Jon, who wished fame through Frank, drifts off knowing that was never his place to begin with.

Anonymous said...

Louis thoughts on the Independent Spirit Awards nominations?

Robert MacFarlane said...

Saw Widows. Have some issues (I suspect there's a director's cut that's better), but overall a pretty strong effort. Debicki was my favorite, but Kaluuya was definitely something special in spite of his screen time.

Louis Morgan said...

Anonymous:

Quality Wise:

Kudos to the recognition of Collette, Leave no Trace, McKenzie (though that placement is Burton in My Cousin Rachel ridiculous), and Mandy in Cinematography.

Prediction Wise:

Important gets for Beale Street, Regina King, Glenn Close and Richard E. Grant (as he could be the one cross over in his category). All others I'd still say are fringe contenders still but if Hawke is going to make any showing he needed this, same with Collette (though I think her category has become too stacked at this point). It will also be interesting to see how far "You Were Never Really Here" can go.

Notable misses for Blackkklansman everywhere except Driver (though Washington got sort of an alternative nom), as I predicted might happen in the long run. I also don't think it's going to get "too" much of a critics boost. It might end up being lost in the shuffle, which I think would probably lose Driver his momentum as well.

Major miss for Melissa McCarthy given that Grant and the screenplay got in. Spirits have done this before though such as when Bridges and Williams missed out in 2016.

Miss for Ben Foster as well, though I am in no way surprised given he's going lead.

Calvin Law said...

I don’t understand why they’re not going McKenzie lead and Foster supporting. They’re co-leads regardless but that makes much more sense.

Robert: that’s what I was thinking, there do seem like a lot of scenes that were cut off.

Luke Higham said...

Saw Crimes Of Grindelwald. A major miss from a writing standpoint and there's a twist at the very end that will surely piss off alot of the purists. It's not entirely disposable but a great disappointment nevertheless, Fogler and Kravitz were quite good and I really wanted more of Law. Depp was goodish I suppose but his character was not menacing enough as written. And though I liked Redmayne in the first film, his character became quite tiresome after awhile.

Calvin: I don't know about you but I wish Colin Farrell returned.

Calvin Law said...

At first I thought you were talking about Widows (where I felt he was used in a good capacity), but with regards to Grindewald I definitely agree. Although I will say that I thought Depp had some pretty great moments in the third act, I thought Farrell would've been more interesting on the whole.

I actually thought Redmayne was fine in terms of his performance, I just thought Newt was so forcefully pigeonholed into the storyline that it was almost annoying how at odds with it he seemed. Law was super underused.

Anonymous said...

Louis: your rating and thoughts on rory cochrane, jesse plemmons, kevin bacon and peter sarsgaard on black mass

Bryan L. said...

Louis: Your thoughts on the screenplay for Baby Driver?

Bryan L. said...

Anonymous: He covered them in the review for Michael Redgrave in The Stars Look Down :)

Louis Morgan said...

Bryan:

Well that's a great question, since it is example of great direction/bad script. The screenplay is of course highly derivative, but this does not make it a bad script. As both Drive and Thief, also derivative, are not bad scripts. It rather is the challenge of the such a script to make use of the fact that the structure is lifted therefore already set in place. It should then find new ground within that, it really doesn't match the challenge in the slightest. Although this isn't fully dramatic, comedy is sprinkled, however the balanced is reversed where the comedy was primary with Wright's previous films/scripts. The characters are all archetypes, which is not immediately a downfall, but requires very specific writing. That is something this film lacks. Nothing is well developed at any point, and really the best elements of the script are the gags. The central romance is absurdly simple, all the dialogue is close to naming just songs, with the character no more than the love interest. The henchmen villains are all made up as typical thugs, with the only development being the couple. This is even bungled with the idea of the wall street background attempting to develop some thematic substance, yet even this is very weakly drawn through just a couple of scant lines. The script leaves all whole lot just for the actors to cover it, which they do to an extent, but this an extreme example. In some instances they don't though particularly with the character of Doc. His actions throughout the film only occur because they are needed for the plot. We are never given a sense of why he is robbery baron, why he changes his rules for the last heist, or why he has a change of heart. It all just happens to make the plot happens which is simply bad writing. These edges could have been softened by a more astute performance, perhaps John Goodman as suggested by Robert, but nonetheless it is a poorly written character. Now the film actually even bungles its structure set in place. That partially being the climax is the climax *just because* with the actions forcing it to happen being quite forced. It then also has its absurdly laborious ending which betrays the, apparent, desired simplicity suggested by the overall style of the screenplay. The same script in the hands of a hack director, or even a workman would've been a pretty lame film. The fact that film works to the degree that it does is a testament to Wright's direction, but honestly his work as writer here suggests he should probably stick to comedy or perhaps collaborate with Simon Pegg again or at least a co-writer of some sort.

Anonymous said...

Louis: Thoughts on these anime openings:

https://www.youtube.com/watch?v=OpUbnLjexTc
https://www.youtube.com/watch?v=ocQ6PDiP014
https://www.youtube.com/watch?v=CID-sYQNCew