Alternate Best Supporting 2018: Tim Blake Nelson and Tom Waits in The Ballad of Buster Scruggs

Tim Blake Nelson did not receive an Oscar nomination for portraying the titular character of The Ballad of Buster Scruggs.

The Ballad of Buster Scruggs is a brilliant film, perhaps the greatest anthology film of all time (though that sounds like more of an achievement than it is), about various tales of the old American west.

The Coen Brothers for all their idiosyncrasies are filmmakers with a tremendous range in terms of their talent, and this perhaps is their greatest showcase for that for that range. In that you almost have a touch for every single type of Coens for your more specific Coen brothers fan. If you love their more cerebral efforts like Barton Fink and A Serious Man, perhaps the "The Mortal Remains" and "Meal Ticket" are for you, if your preference is an adapted drama like No Country For Old Men or True Grit, you have "All Gold Canyon" and "The Girl Who Got Rattled" or if you're more into their comedies like The Big Lebowski or Raising Arizona, you have the titular segment and "Near Algodones". There's a little bit of Coens' magic for every Coen fan, or if you're someone like me, for whom they rarely take a misstep, this is simply a treasure trove. I'll admit that re-watching the film fully for a third time, after indulging in some of the single segments separately more than a few times, each segment has resonated all the more for me particularly in the way there are certain echoes and conversations within the pieces in Coen's portrait of the west, that each are idiosyncratic yet all build as one to this singular vision of the brothers.

As with almost any Coen brothers film, the film is enriched by a cast filled with names and unknowns. This one being a particular remarkable effort in this regard in terms of creating such a fantastic ensemble, each reaching for a certain tone and style, where even the smallest ruffian, house guests, or bartenders make their little mark on the film. Within that though there is no shortage of potential standouts within the various segments each who leave their striking impression on the film. Whether that be Harry Melling's spirited turn as an atypical orator, Jonjo O'Neill as a demonic story teller, Bill Heck in his portrayal of a man of a few words but a large heart, or Grainger Hines as the secret badass with a surprising bit of tenderness in him. The film too has its own variety of offerings in the Coen brothers players essentially, and it is no surprise that there lacks a consensus favorite among the riches the film has to offer in this regard. After all every story here, every performance, may speak to one differently to you through this expression of these characters that are us, but not us. Well with that in mind let's turn to those two that just thumped me over the head in that special way, the first being Tim Blake Nelson in the titular segment which is perhaps the silliest segment of the film.

Buster Scruggs is essentially a parody of a largely forgotten western sub-genre, portrayed with great affection by the Coens in their previous film Hail Caesar, the singing cowboy ,movie. This is where the old west was a pretty pleasant affair for most, and there was always time to break out into song. Well Scruggs is a strict subversion of that as led by Tim Blake Nelson as the ole singing cowboy. Nelson initially after all seems more than up to the job of a proper singing cowboy in his opening number of "Cool Water" that he sings to his horse Dan, and the distance of Monument Valley. Nelson does have a rather magnificent warble and that sort of unabashed joy in his delivery needed for a proper signing cowboy. Of course Buster doesn't only love to sing you a tale or two, he also likes to tell you his own tale straight to the audience. This being done with a knowing wink by Nelson who offers his bit of fourth wall breaking with such affection to allow those watching to be party to his own keen insight on the west. Of course this insight isn't of the fluffy west of a singing cowboy picture, nor even a John Ford west, hell it isn't a Sam Peckinpah west, it's a west filled with much violence and carnage right around every swinging door.

The comedy of this though then arrives with Nelson who still plays Scruggs mostly with the same sunny disposition you'd except with any singing cowboy, but now he just happens to brutally murder people while doing it. After all Buster violates both the laws of men and the almighty, a fact that Buster admits openly, which is comedic gold through that bright big smile that Nelson bares on his face along with his delivery that just has this certain upbeat rhythm granted to every word, even those that are not sung. Nelson even sings the prose essentially, and just chews into it with such an affectionate joy. A hilarious bit of comedy though stems from this being in such strict contrast to his actions that involve one killing after another, which take on such a brilliantly darkly comedic edge. I'll admit particularly great affection for Nelson's Cheshire grin he gives to an unlucky bartender before granting him a proper coup de grace from his "tool belt". Nelson is an endless delight as the greatness of his work is the purity of this exercise that is consistently entertaining in his somewhat brief time walking the earth. While there though we are granted more than a few pitch perfect reactions of a morbid joy before breaking out into another joyous number, like "Little Joe the Wrangler" for a surly man with a poor trigger instincts that Scruggs exploits.

Nearly every moment of this Nelson offers the most welcoming of smiles to enjoy his misadventures that have more deaths than some horror films. I write nearly though as I do love the little hints of a more overt, you might say, psychopathy that Nelson brings to Scruggs. Now I know Buster would prefer I not make such accusations, but the little shades of darkness Nelson brings to his delivery on his feelings towards mankind, or the actually rather chilling grimace he briefly gives a man for calling him a "twit" are rather effective in granting a bit more to this remarkable display. I'll admit that is just a bonus in a sense as Nelson already gives so much in the overarching creation of Scruggs that leads us through such a wonderful comic romp of death, right down to Scruggs's own. This being perhaps a highlight of Nelson's comic tour de force of a performance, from the humor of his loss in his smile this time in his confusion at seeing a hole through his hat, or hilarity of his aw shucks delivery of "Well that ain't good" as his final living words. The greatest moment though must be in his duet with the man in black who slayed him (Willie Watson) as they passionately sing "When a Cowboy Trades his Spurs for Wings". A magnificent display as the two capture both the comedy of the thought, but also the bit of poignancy in the sendoff this rather idiosyncratic rogue.

Well speaking of idiosyncratic rogues, Tom Waits did not receive an Oscar nomination for portraying the prospector in The Ballad of Buster Scruggs.

Where Nelson as Scruggs was about running away with a rich role, Waits's work is in essence creating the role through his performance. His work being essentially a one man show about an old prospector looking for gold in an untouched valley. A simple enough story, but why is it so great? Well many reasons actually from Carter Burwell's score, to Jack London's source material, to Bruno Delbonnel's extraordinary cinematography, how the Coen's orchestrate these elements together, and of course Tom Waits's devoted work. I've mentioned before that Tom Waits is one of the most naturally compelling presences in film anyways, there's just something fascinating about his grizzled voice, and just his whole being. I'll admit that I take great joy in any time Waits is in anything as even in a small role Waits will make a large impact through simply that Waitsness of it all, so I was overjoyed to see this being potentially a proper showcase all to himself. He does no disappoint in this. Again the prospector we, really don't know much about, other than he is a prospector who has arrive on this valley. He arrives simple enough, a little bit like Scruggs honestly, though far more reality, both in Waits trademark mumbly singing "Mother Machree" and walking in with his ride, here a mule named Lucky. Although far more realistic, Waits brings something just even in his gradual singing of this song that naturally endears us to this prospector in his quest for wealth. This song being with a bit of wear on the road, but with the passion of a spirited man with a purpose.

That's just the opening act though for Waits's work which capitalizes so magnificently on his curiously engaging style as a performer. This is in that even as he does such simple things as digging up dirt, and panning it for signs of bits of gold, there is something just so compelling in it. It is perhaps in Waits's earnest delivery, or his physical work that finds the weight of the effort so to speak, but there is just also that little bit of Waits extra something that only Waits has or could ever bring to a part like this. Waits's work captures the spirit of this task with such a magnificent vigor. This is technically just the search for wealth but it goes much further than that due to Waits's work. This is most evident in his use of the name "Mr. Pocket" representing his pocket of gold. A remarkable line that Waits makes the absolute most of to realize this nearly religious quality within the task of the prospector. I love the way he cheers to the high heavens that he will continue his search to Mr. Pocket, as though he is speaking not only to the heavens, but also to his friend in a way. It isn't even quite a frenzy he portrays, but rather this zeal of expression in his little way of dancing below the sky as swears to find Mr. Pocket towards the stars himself. This is not just a lust for gold for the prospector, rather so much more in the hands of Mr. Waits.

Now as in any proper one man show the performance must engage even beyond the brief characteristics we might see of our man. There must just be something about him, which there certainly is as Waits doesn't waste a single moment of his performance. As even in the way he steals away an egg from an owl, Waits captures just the most wonderful low key humor in his little reactions of judging his chances with bird, a little sympathy for the bird, and just the right bit of impish justification to take just one for his breakfast. Waits ropes us into not simply only watching the prospector, but really becoming involved in every step of his prospect, through Waits's uniquely engrossing manner. As we make our way towards Mr. Pocket, Waits lets us right in on the thrill of the search through the purity he brings in his exclamation of "Mother Machree" when he's on his way, then sheer loving enthusiasm at finally finding his old friend with his marvelous delivery of "Hello Mr. Pocket" as he beholds the mother load. In Waits's eyes he shows us a man achieving a dream, and it is difficult not to get swept right into this moment with him. The same is true in his horror at the sight of a strangers shadow upon Mr. Pocket, where Waits brings such moving display of sorrow, and genuine vulnerability in his small little head shake pleading for mercy.

When no mercy is given, I'll admit experiencing quite the devastation at the broken sight of the prospector being brutally shot in the back by a potential thief on my first viewing. Thankfully, "All Gold Canyon" is not a tragedy, the prospector survives the shot while allowing him to get a surprise attack on the thief and overpower. Waits is outstanding in this moment by just offering a brutal reality in his harried and pained manner, as he kills the man. I love Waits's strained approach to the words of "You Piece of Skunk" that offer an earned disgust but also a sadness of a man who in no way enjoyed what he had to do. This only bested by his delivery of "You didn't hit nuthin important" which is this moment of perfection as Waits finds a combination of jubilation and excruciating pain as the prospector tends to his wounds. It is incredible as throughout Waits finds a real poignancy, and even tenderness towards his find of Gold, in his oh so earnest way of promising to find Mr. Pocket even with this set back. In this performance, Tom Waits makes it not just a search but for gold, but almost achievement of one's life purpose. This is as he makes it invigorating experience, that actually has a quality that is not always one's first association with Waits as an actor. In that though he is compelling as always, and naturally so, he is so distinctly empathetic here, in allowing us to be right with the prospector on this journey, and making it such a personal one. Waits takes a simple role, that lack even a name, and makes it truly remarkable man, that we feel we've come to know by the time he leaves nature to itself once again.