Tuesday 28 January 2020

Alternate Best Actor 2019: Kelvin Harrison Jr. in Waves

Kelvin Harrison Jr. did not receive an Oscar nomination for portraying Tyler Williams in Waves.

The first half of Waves follows closely on the experience of Tyler Williams, who we meet as a somewhat typical highschooler driven to be a star-wrestler. I think to really examine this performance it is important to look at the end of it. This as his work is actually something we rarely see, at least from this perspective in this film, in that we follow spoiler a murderer, but not the usual serial killer type. The trajectory for the character is that he will kill, in a fit of rage, his pregnant former girlfriend. This differs from most as usually such characters are reduced to the side, supporting psychos, bullies or maybe it is a lead role however usually this is in the past, like Mathias Schoenaerts in The Mustang for example. This is different though in that we are given almost strictly Tyler's perspective in this horrible process, and this offers a difficult challenge for Kelvin Harrison Jr in the lead role. This is interesting though in that Harrison's work in this film, and his other work Luce, are both as promising high school students who might be going very wrong. As the titular Luce, Harrison plays more of a mystery of sorts in his performance a seemingly A-student who just might also be a sociopath based upon his past, and the actions of the character as they transpire. The purpose of that performance in many ways is to obscure the process and motivation of the character. A good performance as well, but I'd actually say his work here is the greater challenge because there is no sort of potential "crutch" of a straight mental illness to explain the character. This is something that we've rarely seen realized ever in quite this way and with this detail.

Kelvin Harrison very much emphasizes a naturalistic approach with his work here, as opposed to Luce which is purposefully mannered, which is the right take to begin with the character. This as film opens with an extended sequence of just watching Tyler live his relatively simple life within rather obnoxiously directed sequences by Trey Edward Shults. Harrison to his credit, and really the credit of all the key players of the cast, is not swallowed by the direction to be merely objects within the film's overly stylistic presentation of technically mundane events. We see Tyler really as he goes to school, hangs out with his friends, attends wrestling practice, and really in general just have a very normal day. Harrison's work importantly never feels like a blank slate within this, even as he plays into making the scenes feel just like honest natural moments, on his end at least. This as he does not use the sometimes excuse of aiming for reality being an excuse for banality. Harrison's work is not that and manages to create a vibrancy within his character, even within the average nature of these scenes. Harrison delivers a needed presence of personality in showing the charismatic young man hanging out with his friends, a passion in his brief interactions with his girlfriend, but also just a low key charm as he hangs out with his family. Harrison finds the right balance as these elements weave together properly to create a sense of who Tyler is, even if you'd define him first and foremost as just a normal teenager. He's not a blank slate for an idea, but rather Harrison finds the nuance within the young man, and most importantly sows the seeds of where he goes.

We see his relationship with his father (Sterling K. Brown) who pushes his son, but isn't unloving. Harrison is terrific with Brown in creating the sense of the father and son relationship. This in slighter lighter moments where they find a warmth in their interactions. In this though there is also a certain intensity in their interactions. This in creating the way they are bonding, however the bonding is through this sort of push by the father for his son, even when they might just be teasing each other in an arm wrestling contest. This is more overt when his father speaks to him towards his goal of advancing as a wrestler. Harrison's performance is essential in his reflection of these seeming "pep talks" by his father, by creating the sense of really the burden of them. The importance of the idea is found in Harrison's work that the son very much takes every word his father says with the utmost severity. This being really a fear within his reaction to the words and creating this palatable internalized desperation. This is where Harrison's performance really is rather outstanding because in it he does not raise an immediate red flag with this. He instead portrays just this tension within Tyler. It isn't something that is crippling or immediately worrisome, it rather is this more subtle idea that he makes vivid within him. This tension that is this initial quiet burden within the character's normalcy otherwise, that Harrison does place so well as this seed for which Tyler's problems will slowly arise from. The first of these problems being just an injury that requires surgery.

Harrison's terrific in the moment of his diagnosis as he conveys just in the reaction that same fear in disappointment from his father, and is moving by creating such a powerful sense of this anxiety of failure. This unfortunately leading him to push himself in a wrestling match that causes the irreparable damage, ruining his future in the sport. Harrison is amazing in the very scene of the match as he delivers the mess of intensity that is marked by a will to succeed but in his eyes shows as much this aggressive fear of not living up to his father's expectation. The moment of the injury Harrison vividly realizes in this complete breakdown beyond the physical, as this emotional collapse conveyed in his inconsolable expression of man whose whole life seemed to be destroyed in an instance. After this point Harrison's work brings to life the same crushing pain of that failure as this sort of near paranoia. This as this intensity that formerly was within the drive to succeed is shown funneled through his delivery of Tyler just speaking in every day interactions. Harrison convincingly shows us the beginning of the end for Tyler as he creates this constant tension now active within his emotional state. This being not the best state as he learns from his girlfriend Alexis that she's pregnant. Harrison in this revelation just broadens that intensity more as the emotions become even messier in every moment. When his girlfriend backs out on an abortion, this goes beyond the pale as Harrison manage to create this tightening rope within his work. This as every word he says he plunging into a mania, and every part of his physicality is wound towards this heightened state. When she breaks up with him and refuses to listen, Harrison is captivating in a portrayal of just failed cellphone messages and eventually being blocked. At this point the character is quite frankly despicable already in his actions, but what is remarkable is that Harrison grants this startling insight into the mania. This as he doesn't become some one note monster, but rather shows the way that earlier likable driven teen, naturally becomes this obsessed lunatic. Harrison is wholly convincing as he ramps up this more as his jealousy and rage continues to become pent up, that Harrison portrays as this deterioration into just raw emotion. When he commits the atrocious act of murdering his girlfriend in that rage, Harrison makes us understand why. Although I should note he does not make us empathize or even sympathize with the action, he shows us this terrible path from a seemingly good natured young man to brutal killer. There is no jump, it is a progression that Harrison grants such vivid detail to each phase of this. He doesn't ever stop being one then becomes the other, he portrays the degradation as a palatable experience. We see each step of Tyler's personal demise and it is heartbreaking due to that we witness the potential before seeing the gradual waste of it. The film abruptly ends Harrison's story basically after the act, which while I love Taylor Russell's  portrayal of the take over lead as Tyler's sister, I honestly do wish we had gotten to see the rest of Tyler's story, I guess watch the Mustang for that. Nonetheless Harrison's work is a striking exploration of deplorable violence from seemingly a decent human being.

26 comments:

Luke Higham said...

Yeah, I figured he'd be a 4.5 for you.

RatedRStar said...

I did enjoy Waves, but for some reason I felt something was missing, like that big moment, that big killer emotional payoff, I didn't really feel it.

Bryan L. said...

“I guess watch the Mustang for that” Haha yup

Charles H said...

Had a feeling he'd be one of the few in this line-up to not get a five.

Calvin Law said...

I very much agree with this review, down to struggling between wanting a bit more of him and thoroughly loving Russell and Brown’s work in the second half. I will say that his absence does perhaps make the best scene in the film click all the more, though maybe a scene or two on him wouldn’t have hurt. The performance is definitely great enough to create an impact of the rest of the film though and Harrison does a fantastic job, as you say, of really bringing you within this character’s downwards spiral.

Also, he has a bit of a young Ben Foster thing going with him imo in that he has such great intensity and fire yet capacity for warmth in his performances of his I’ve seen so far. I eagerly await to see what’s in store for him next.

Calvin Law said...

I should also say that I’ve come round more to the two halves structure while growing less fond of the directions

Luke Higham said...

Charles: I expect all fives for the rest.

Luke Higham said...

Bryan: On your last comment from Paul's review. Please do because Rohrig could get the win that year.

Charles H said...

Luke: I'm still not sure about Davis, i could see a strong 4.5 for him.

Anonymous said...

Louis what are your nominees for best editing for 2019?

Louis Morgan said...

Anonymous:

1917
The Lighthouse
Little Women
Parasite
Uncut Gems

Calvin Law said...

Jojo winning CDGA has me very happy.

Calvin Law said...

Also just a bit of self promo, my top 10 for cinematography is out https://reelandroll.blogspot.com/2020/01/reel-and-roll-awards-best.html

Bryan L. said...

Louis: Your updated, final ranking for The Infinity Saga of the MCU?

Luke Higham said...

Louis: After your Post-Oscars break, would you consider doing the makeup lineup with Hurt, Laydu, Williamson, Connery etc., because I'm not that excited about going straight into the 30s ('31) when there's not much to talk about.

Anonymous said...

Louis what are your 7 nominees for best screenplay (original and adapted) for 2019?

Louis Morgan said...

Calvin:

Great winner, definitely the best single costume of the year for me with Rockwell. I think it's probably between Little Women and Hollywood for Oscar still, given that Little Women wasn't nominated there suggesting that they simply hadn't seen it in time.


1. Captain America: The Winter Soldier
2. Thor Ragnarok
3. Guardians of the Galaxy
4. Captain America Civil War
5. Avengers: Infinity War
6. Avengers: Endgame
7. Dr. Strange
8. Iron Man
9. The Avengers
10. Spider-man: Homecoming
11. Black Panther
12. Iron Man 3
13. Thor the Dark World
14. Thor
15. Spider-man: Far From Home
16. Captain America: The First Avenger
17. Ant-Man
18. Ant-Man and the Wasp
19. Captain Marvel
20. The Incredible Hulk
21. Iron Man 2
22. Avengers: Age of Ultron
23. Guardians of the Galaxy vol. 2

Re-watch of Vol. 2 sent it plummeting, as where Iron Man 2 is a mess I don't actively loath the majority of its elements, the constant laughing at its own "greatness/hilarity" is intolerable a second time and similar to Kingsman: The Golden Circle for me.

Anonymous:

Original:

1917
Knives Out
The Lighthouse
Marriage Story
Once Upon a Time in Hollywood
Parasite
Uncut Gems

Adapted:

Avengers: Endgame
El Camino
The Farewell
The Irishman
Jojo Rabbit
Little Women
Martin Eden

Luke Higham said...

Thoughts on Martin Eden and the cast.

Bryan L. said...

Louis: Your thoughts on the screenplay for Avengers: Endgame? Thought I'd ask since I previously requested the same for Infinity War.

Mitchell Murray said...

Also, since you gave Larson a 2.5 for "Captain Marvel" (same grade I would give her), is there another actress you feel would've been better suited for the role?

Honestly, I think Larson herself could've been better had she been given a more consistent script and more focused direction. That would've certainly helped to reduce some of the unevenness of her performance, in that she was sort of put into an awkward place of having a not so cohesive character, in a role that already doesn't suit her specific range. Having said that, I also think an actress with a more dynamic screen presence - at least in terms of action centered films - would've elevated the part further; someone like a Mary Elizabeth Winstead, Emily Blunt or even her "Endgame" co-star Elizabeth Olsen.

Mitchell Murray said...

ohhh.....I can't believe this didn't dawn on me sooner...I think Elizabeth Debecki would've been quite suited for the part as well.

Anonymous said...

Can someone there answer me a question!
Why are some people considering The Farewell as an adapted script? Is it based on a book, a play, a short or some source material?

Bryan L. said...

Mitchell: I’d say it’s still early to write off Larson in the role, since for all we know, the script for the sequel could be great and she could deliver a better performance then. But to answer your question, Elizabeth Debicki or Alicia Vikander.

Bryan L. said...

*script for the sequel could end up being great, or at least good

Louis Morgan said...

Martin Eden is Jack London by the way of Luchino Visconti, and although not a flawless film, I appreciated the ambition of it, and the success of it. We get a lot literal beauty, but also an often interesting film about a man really caught between two extremes, who is broken through the refusal to conform or compromise to an extreme. The examination of this character, that goes beyond merely an ideological concept, is often compelling. I will say I think the film could've honed in a bit more on a few elements, reduced some others, but overall I found it a pretty captivating film.

Marinelli - 4.5(Well after his rather great portrayal of psychopathy in Trust, a series I think I'm one of the few who stuck with to its better end than its rather bitter beginnings, it was nice to see a rather different turn from him here. This in he brings a nice likable charisma from the outset that brings us into Martin's existence before we begin his struggles. This providing a strong anchoring point to the character where he is effective in portraying the man in his hardships but also his early frustrations. Marinelli finds this terrific combination between the splendor of his joys and the anger that builds from his mistreatment from his position. He's great in his early scenes of advocating his own politically thoughts in such a magnetic work that we initially see as a man who potentially could be a leader of a new movement. This as he brings dogged determination for his unique frame of mind. It is rather fascinating then to see his unique deterioration of this as he finds success but not happiness. Marinelli is fantastic in delivering that intensity that he found in Trust, but now within the idea of a man whose passions rule him towards failure. This in creating a sense of a man so broken by his past wounds that leave him unable to accept success as anything other than a burden.)

Louis Morgan said...

Bryan:

I will say my inclusion of it means a bit less than many years, as you know the category is thin when I seriously considered an Anthony McCarten script for the lineup. Anyway, at a certain point I think Marvel scripts become sort of how well do they hide the strings in a way. This in that the mechanics of them become readily obvious in the rhythm of plot point, character moment, joke, so on and so forth. There can be an artifice to this, and was for me for say Captain Marvel and Spider-man this year, but here is a good version of it. This as the joker typically are funny, the plot points add up (or at least add up as time travel plots go), and the character moments work. There are definitely impressive elements in the individual journeys that are well realized, particularly Nebula's and Tony's. The jokes work well in unique character interactions and here having fun with the time escapades. The "cool" moments feel earned and built up to properly by the plot. It develops enough of an actual theme in the ideas of coping with loss across the characters. The achievement of the interwoven plots and characters is remarkable, especially compared to the failures of Rise of Skywalker or a Justice League in comparison. Do those strings reduce a certain daring at times, I'd still say strangely yes for a film with so many seeming risks, is it flawless, no (old cap is both troublesome structure wise, plot wise and character wise), but there is a whole lot of good within its screenplay.

Mitchell:

I mean the script definitely wasn't doing her any favors given that the character randomly went from a fish out of water to snarky, two things that don't go together, but this was frankly exacerbated to an extent by Larson who played each note basically as two separate characters. Of course I don't even feel she played these two separate notes well either. She doesn't seem comfortable in big budget films based on this and Kong, where both she struggles, although in similar situations with a weakly written role that is based largely on the note of being "tough". A thin note as written and fashioned to be broadly "tough" that doesn't suit her sensibilities/strengths. I mean she portrayed strength in resilience will in both Short Term 12 and Room. This though is just plain old strength, which requires something else seen in Emily Blunt in Edge of Tomorrow, Rebecca Ferguson in Mission Impossible or even Vanessa Kirby in Hobbs and Shaw. Larson doesn't seem to have that gear, doesn't make her a bad actress, but rather just miscast in such a role. And yes, your examples likely would've been more suited to the part, even as written.

Anonymous:

It is based on Lulu Wang's segment on an episode of All Things Considered. It is a constructed radio drama (or documentary) of the same basic events as the film.