Thursday 7 February 2019

Alternate Best Supporting Actor 2018: Steven Yeun in Burning

Steven Yeun did not receive an Oscar nomination, despite winning LAFCA and NSFCA, for portraying Ben in Burning.

Burning follows a young working class man Lee Jong-su (Yoo Ah-in) as he unexpectedly reconnects with an old female acquaintance Hae-mi (Jeon Jong-seo) before agreeing to watch her cat, while also returning to work his family's farm as his father faces criminal charges.

Korean-American actor Steven Yeun is currently best known for his efforts in American film and television. He recently semi-dipped his toe into the Korean film industry through the Korean-American production Okja, that was directed by Bong Joon-ho one of the great Korean directors. This is a step further in that direction where this is entirely a Korean production with the similarly noted South Korean director Lee Chang-dong. Although Yeun ostensibly here to simply be in a Korean film, his western notoriety perhaps isn't wholly unnoticed in his role of the mysterious Ben who enters the film when Hae-mi returns from travels abroad. Ben is a rich yuppie, and Yeun's initial impact is fascinating one, as to borrow a terminology from Seinfeld, we don't exactly who's dude this dude, and if he's Hae-mi's dude or just some dude. One thing it is clear though is Yeun rips through his scenes in a rather fascinating way. This is especially notable in that he's been more known for more quiet if even modest sorts in most of his American roles, but here Yeun portrays the master of his domain (second Seinfeld allusion not intended). The confidence that he exudes though is considerable though notable in the way Yeun pulls it off, in just how effortless he makes it all. It is rather just in that sly grin of his here, that just seems of a man who has everything he wants, to the point that Yeun makes it almost this biting charisma that is unpleasant in its peculiar understated intensity.

One could imagine that Yeun's work is merely delivering a charismatic turn, however Yeun's work, much like Ben, has a hidden motivation the entire time which informs the entirety of his work. On first viewing one can try to decipher what is going on, as Yeun could be misinterpreted as just some Lothario with a little too much personal confidence. Yeun certainly, properly allows this misinterpretation in the charisma he does bring to Ben. The fascinating thing though is this isn't even a facade exactly, not at all. Yeun actually portrays Ben as almost entirely exactly who he is the entire time as his whole performance as this strangely venomous indifference. This is how approaches every initial scene with that gleaming expression, but lack of any real warmth or connection to these people he will even call friends in the moment. The thing is though Yeun still doesn't make it as though it is secretly he simple hates them, and this is just a facade. No, rather what is so fascinating about this performance is that Yeun doesn't quite lie, nor does Ben. Yeun's portrayal after all is of a man who is essentially observing the two people. He is always watching with just a general graciousness of someone keeping their distance emotionally but with a keen interest in those he watches nonetheless. This is even in his delivery of commentary on Hae-mi, that is not of a lustful man, but rather a wolf eyeing his prey.

This is where the requisite spoiler is required as Yeun throughout the entire film plays Ben seemingly as a serial killer who is simply having some fun watching his eventual victim, and taking his time to observe before he proceeds. He portrays no connection with either as people, he plays every moment as though he was observing curiosities which is what makes Yeun's performance so brilliantly disturbing. He spends time with them sure, he's even pleasant to them in a basic sense of the word, yet Yeun's approach infuses into the character essentially this hatefulness through the detachment he brings. He doesn't hate with raw fire, but rather the hate stems from the lack of even a hint of empathy to these "things" to him. I love the way that even how he physically moves in a given scene has this method to it that lacks sincerity of an effort to connect, as he is never as they are, always in his own way. It is amazing how Yeun manages to have just these little tweaks in just his position to be casual when they are formal, formal when they are casual, that accentuates a lack of connection as though Ben believes himself to be a higher form of being than they are. The greatest example of this is when Jong-su pours his heart to Ben over the lost of his mother, where he burned her clothes after she left, to which Ben counters with his own story of burning.

Although Ben specializes in burning "greenhouses", and this speech about his particular hobby, is all about the subtext of it. Yeun opens the speech with no a hint of concern for Jong-su's past heartbreak, and instead internalizes the focus on his peculiar crime. A crime he tells about with such a understated but palatable glee. In each lurid detail there is this off putting pleasure of it, and appreciation of the act through Yeun's delivery of the speech.Yeun finally reveals a strange affection towards something, that unfortunately being this act, which he finds this quietly terrifying passionate love for. The idea of the act seemingly being his greatest joy in his life, that he participate in every two months. Time goes by though and no greenhouses are burnt though Hae-mi disappears, and if one reads between the lines it becomes evident that Ben murdered her without a second thought. Ben is more than willing to speak of his crime still as the initially Jong-su inquires about the lack of an obvious burning, and again Yeun's work is so distinctly unnerving in the calm he brings in reliving the moment. This again though with this strange allure of Ben he cultivates because the man still seems as though he is walking on the air only granted to some immortal. Yeun is so intriguing to watch here within the scene, but on reflection of the film is where the greatness of this work lies. Yeun's whole performance not only succeeds in giving a unique and dynamic approach on the serial killer it also explains the man's actions throughout. This being as even as Ben stays cordial enough to Jong-su even after Hae-mi's disappearance.  Of course cordial in his own way, where again Yeun emphasizes that presence of the voyeur not the friend, that he makes so vile because of the lacking of human connection. This creating this sort of passive aggressive cruelty. Yeun shows to us man who doesn't feel he needs to put on any act, since he simply of a higher form than those he has deigned below him. The only point there is any sense of understanding is in Ben's demise where after being stabbed to death by Jong-su, Yeun's reaction is of both horror and pain, but finally in this moment do we finally see Ben notice that he too is human just like Jong-su and Hae-mi. This in his pathetic demise that he presents as this break in his personal reality. This is an amazing performance by Steven Yeun as he constructs a mystery out of a character by his performance essentially showing his hand from his first frame, we just lack the perspective to understand his game.

41 comments:

joe burns said...

Who is the actor/performance featured in the ratings system?

You may have shared this already lol but BAFTA predictions? Here are some of mine:

Best Picture: The Favorite
Best Director: Alfonso Cuaron
Best Actor: Rami Malek
Best Supporting Actor: Mahershala Ali
Best Actress: Olivia Colman
Best Supporting Actress: Rachel Weisz
Best British Film: The Favorite

Bryan L. said...

Joe: Robert Shaw in The Sting

Calvin Law said...

Oh, wow. You actually loved him even more than I'd expected. I personally see the character as having a bit more ambiguity in a more tethered Dennis Reynolds sort of way, but I don't disagree with anything in your review, particularly your analysis of how he doesn't really go for a 'facade', and the 'passive cruelty' he grants the character in the third act. He really was extraordinary, especially considering the usual type of roles he plays - in a similar vein, Yoo Ah-in, who usually plays heartthrob/confident characters.

I've been following his career since The Walking Dead - which I'll admit I stopped after a certain point because it was frankly just becoming a bit terrible - and though I didn't think his character was particularly well written after a really strong start, he absolutely delivered throughout in nailing the emotional moments. And to be fair, I do think he's been well utilised in most of the American productions I've seen him in, though they aren't many in number and it's kind of telling that the two who've given him his most prominent roles are Bong Joon-ho and Boots Riley. Hopefully the critical notices for this will help him get better roles and more prominent work in Hollywood, but if he decides (like he's mentioned before) to transition over to Korea, it'll be a shame but I'll understand why.

joe burns said...

Thanks Bryan L!!

Calvin Law said...

Actually, nearly forgot his role in Mayhem which was a main role (though the aforementioned Boong and Boots collaborations are definitely in the more high profile films).

Calvin Law said...

Luke: regardless of whether he's the winner or not, I think he's safely in the top 5.

Charles H said...

I have no qualms about calling this one of the best supporting performances of the decade. I also love his scene when Jong-su follows Ben to a museum while spying on him. Ben presents a different man who is nice and family oriented. It's a complex performance and one where there is many interpretations of.

Great review and he seems guaranteed to make the top 5.

Robert MacFarlane said...

This feels like our winner.

Michael McCarthy said...

LOVED this performance, but I’ll agree with Calvin that there’s a bit more ambiguity to the character. Don’t get me wrong, Ben is definitely a total sociopath, but if you think about it there’s not enough concrete information to be sure he ever killed anyone. Yeun’s performance is so brilliant precisely because he plays Ben as being so lacking in empathy that it’s easy to believe how someone (particularly someone as imaginative as Jong-su) would be sure that Ben was guilty with such thin evidence.

Calvin Law said...

Charles: man, the way that scene is directed is just astonishing. The way the camera switches between showing the friendly Ben and the discomfort of Jong-soo. Also I just love the little glances he makes after both yawns. The more I think about the film the more I love it.

Louis Morgan said...

Calvin:

I'd say there is indeed ambiguity in terms of the "guilt" of the character in an overarching sense, however I think every thing Yeun does is damning in terms of Jong-su/the viewer's perspective of him, which is intentionally imperfect.

Calvin Law said...

Michael: Someone in the audience next to me last night remarked that the final scenes could've all been the figment of Jong-su's imagination when writing his 'story'. Doesn't really seem like what Lee would go for and I do think it's to be taken literally but I suppose another interesting layer.

Also, Louis, have you settled on a rating for Jeon Jong-seo?

Calvin Law said...

And (take your time on these, I can just as easily ask on a later post but thought I'd put it here), what are your overall thoughts on the cinematography, screenplay, and the use of music in this film.

Charles H said...

The film is such a showcase for Lee's brilliant direction from scene to scene. Reminds me how much of a shame it is Lee doesn't make many films.

Calvin: Well that's another interesting interpretation, the screenplay & Yeun really allow for so many debates to be sparked.

Emi Grant said...

Even if I'm still not sure what to rate him, I'd say Yeun gives the most intriguing and interesting performance of this year.

Michael McCarthy said...

Calvin: I agree that was probably meant to be literal, which I think is a much stronger indication of Jong-su's nature than if it were a fantasy.

Bryan L. said...

I don't want too sound too negative, but I think this film could've easily trimmed 15-20 minutes in the first half and it would've greatly improved the film overall, since I did lose my patience a couple of times later on, if I'm being honest.

Having said that, I thought the film was compelling, and Yeuns' performance is a big reason why, as his performance has quite a few layers going on.

Bryan L. said...

Louis: Your thoughts on the Makeup & Hairstyling from The Favourite?

Charles H said...

Lee does have the tendency to take his time in his films.

Anonymous said...

Louis: Your past film roles for Peter Dinklage, Bryan Cranston, Alfie Allen and Nikolaj Coster Waldau

Luke Higham said...

Louis: Could you give ratings and thoughts on The Wizard Of Lies cast. Can't recall whether you've given them already.

RatedRStar said...

I thought I would make a quick appearance despite being on my break because of the sad news.

RIP Albert Finney, wonderful actor.

Luke Higham said...

Damn, RIP Albert Finney and just before the BAFTAS as well.

Emi Grant said...

RIP Albert Finney

Tahmeed Chowdhury said...

RIP Albert Finney.

Bryan L. said...

Anonymous: He gave a couple for Coster-Waldau here

http://actoroscar.blogspot.com/2018/08/alternate-best-supporting-actor-1948.html?m=1

And I remember him picking Alfie Allen as his choice for a 2010s Alex DeLarge as well

Bryan L. said...

RIP Albert Finney

Calvin Law said...

RIP Albert Finney.

Mitchell Murray said...

Rest in peace, Mr. Finney.

Calvin Law said...

Saw Beale Street. I actually think the acting was more of a problem in some of the early scenes of the film l, particularly that family gathering scene, but I ended up quite adoring it.

James and Layne - 4.5
King - 4.5/5
Domingo - 4
Parris - 3
Beach - 3.5
Henry - 5
Franco, Luna, Pascal - 3
Skrein - 3
Rios - 3.5
Ellis, Obsidian, Thorne - 2

Matt Mustin said...

RIP ALBERT FINNEY

Charles H said...

RIP Albert Finney.

ruthiehenshallfan99 said...

Rest in Peace, Albert Finney.

Calvin Law said...

Louis and everyone else: your top 10 for cinematography in 2018? Here's my list:

https://reelandroll.blogspot.com/2019/02/reel-and-roll-awards-6-best.html

Matt Mustin said...

Calvin: Don't want to do a ranking just right now, but my win is Buster Scruggs.

Charles H said...

Calvin: For a top 5 i would give

1. Buster Scruggs
2. First Man
3. Mandy
4. Burning
5. Cold War

Bryan L. said...

Calvin:
1. Roma
2. First Man
3. Buster Scruggs
4. Mandy
5. At Eternitys Gate
6. Bad Times at the El Royale
7. Blindspotting
8. Burning
9. The Favourite
10. Cold War

Emi Grant said...

Going for a Top 5

1. Buster Scruggs
2. Roma
3. The Favourite
4. First Man
5. Burning

Unpopular Opinion: Beautiful Boy isn't a great film by any means, but the cinematography helped me vastly to get through it.

Calvin Law said...

It’s definitely one of the better elements of the film.

Charles H said...

2018 was a very strong year for cinematography overall.

Louis Morgan said...

Will try to get to the longer thoughts next post.

Anonymous:

Peter Dinklage:

Carl Glocken (Hopefully with a better script)
The Wizard of Oz
Juror #8

Bryan Cranston:

Max Schumacher (Better fit for him than Beale, I feel, who he played)
Nick Charles
Atticus Finch

Alfie Allen:

Richard Rich
Snipe (Morning Departure)
Colin Smith

Calvin:

Nominees:

The Ballad of Buster Scruggs
Cold War
First Man
Mandy
Roma

Rest of the Top Ten:

6. If Beale Street Could Talk
7. The Favourite
8. Bad Times at the El Royale
9. Mission Impossible: Fallout
10. Burning

HM: To the Hanneford's film scenes in The Other Side of the Wind













RIP Albert Finney, he will be missed.