Alternate Best Actor 2013: Ethan Hawke in Before Midnight

Ethan Hawke did not receive an Oscar nomination for portraying Jesse in Before Midnight.

Before Midnight is the terrific third entry that keeps following the young pair of lovers now middle aged.

This is the third film that shows the progression of the relationship between Hawke's Jesse and Celine (Julie Delpy), largely through conversations. Well it all began in Before Sunrise as the two had a chance meeting through a day in Vienna where the two fell in love and swore to meet each other again. This picks up in Before Sunset, which I'll say plays like an epilogue to the first film, even though it takes place several years later. Hawke's performance in that film is a bit more guarded though rather similar as Jesse's mostly changed only in circumstance. The interplay between the two there is straight forward for the most part as they reconnect casually at first, with conflict very briefly, then more "formally" by the end of that film. I won't say I have to say too much on that one as it is very much the middle chapter to get the two back together. The real leap I find is with this film where the old dynamics are thrown out the window as since the last film, they've been together for years, with two daughters, and a son from Jesse's previous marriage. What is also thrown out is the basic two hander structure, in part, as the day in question is a bit more eventful in a way, evident from the opening which starts with Jesse and his son Hank.

Hawke's comfort with Linklater's naturalistic style once again is immediately evident, but also evident is the apparent change in Jesse as portrayed by Hawke. Although it is not some instance of a night and day reflection, we do not see the carefree young man of the first film, or the attempting to be carefree young man of the second film. Hawke instead expresses so effectively this weight of the responsibility of parenthood as he walks along his son at the airport. This as Hawke captures this perfect distance as he speaks with the overtures of affection, even if slightly sardonically in terms of his son's own distant attitudes, though never to the point of anything truly problematic. Hawke though accentuates the attempt of the connection so effectively, and suggests the warmth even if compromised in some way, Hawke makes it obvious he loves his son, but also accentuates the troubles alluded by the scars of the divorce from his wife, after the events of the last film where Jesse decided to stay with Celine. The fallout of that choice is seen here in Hawke's performance that while not deeply troubled, is without a strict responsibility.

We see Jesse quickly in happier circumstances as we are given the first of the long conversations as we see Celine and Jesse drive to their vacation home, with sleeping twin daughters in the back seat. We instantly see the appeal of their relationship once again, even if their conversation more immediately falls upon their now very adult concerns rather than waxing poetic on any single subject. The chemistry between Delpy and Hawke is sheer perfection once again, as the two have an even greater comfort between each other than in either previous film. The quality of understanding is all the greater than even their overt infatuation of before as we see two true companions. The two are excellent because as much as they have stayed the same in that connection, we also quickly see the differences in terms of the maturation of their relationship. A natural maturation however, and a fascinating one as we see more layers than before. This is as they no longer speak as two people getting to know each other, but as people who now have known each for some time.

In this we have the moments of just the two being right with one another, even as they are so cheery as the two decide to avoid their daughters' hopes of seeing some ancient ruins. As much as that affection in every moment of this intimacy and familiarity there is more to be seen. One instance in this is moments of Celine's more direct criticisms of her very American companion. Hawke is fantastic in these moments as he puts on the charm, but by bringing out a more juvenile spirit more fitting to the 20 something of the first film. In these moments though Hawke is great though by showing it almost as a falling back point, his method to charm her each time, as essentially the man who did so many years ago. Now Hawke doesn't make this a purposeful maneuver, but rather this very fluid manner as simply part of the relationship. This contrasts with as the film expands a bit to include the other vacationers, including literary types now that Jesse has become a successful writer, based on his semi-autobiographical books on the last two films. In these scenes Hawke portrays a contentment very much in his place among the literati. This with him bringing a confident, nearly smug, passion as he discusses his literary ideas, though certainly with a genuine spark that helped to define the young man in the first film. His attitude though is sharply contrasted against what are essential moments for Delpy's performance where Celine seems to have one sardonic remark after another ready to take a bit of the luster off of Jesse.

It all appears in good enough fun, however the consistency of it and the often incisiveness of it suggests otherwise. This goes within their chemistry as the two are equally good in these moments of a couples more problematic moments. This in Celine's small little punctures in Jesse's ego, are so well reflected in Hawke's performance which captures the socially acceptable taking of humor, however subtly within that conveys the right glint of a bit of hostility. This brilliantly perpetuated within the writing, but also both performances. This even as we go on another long walk through various sights, and once again enjoy the company of both. Hawke and Delpy once again making the most mundane of conversations so magnetic in their own way. This time though they do not have a romantic tryst to look forward to, though they expect as much, as their day this time ends in a touch artificial hotel room. This sequence of the two in the hotel room is an amazing bit of acting from both performers as they make it such a natural decay. This is as they are at first going to have sex, however small questions about their future and their relationship to Jesse's son soon brings that seeded hostility to the open. The explosion of hate that is so well performed because neither falls into easy melodrama. They rather fine such an authentic fight as they trade barbs and outbursts with such an honest rhythm. This is as there are moments of humor, even love, within there more intense direct moments of disgust or distress. This is as they show two people who love each other, but within that the fight in turn becomes more personal. I love especially how Delpy brings this directness, against Hawke who shows Jesse trying to defer or re-direct the difficult conversation. That does not end well, but the two have one final moment again, as Jesse essentially tries to "pick up" Celine once again with a similar approach to the train in the first film. Although again Hawke brings that endearing uncertainty in the moment, in his eyes though he brings such a genuine sense of tenderness. This tenderness creating a believable reconciliation, but not by playing an old trick, rather a moment of recognizing why they loved each other in the first place. Both Hawke and Delpy give wonderful performances, as they don't simply reprise the roles, but rather truly revisit the couple as though they never had stepped out of the characters after all these years.