Monday 20 January 2020

Best Actor 2019: Antonio Banderas in Pain and Glory

Antonio Banderas received his first Oscar nomination for portraying Salvador Mallo in Pain and Glory.

Pain and Glory is the semi-autobiographical film by Pedro Almodóvar that explores the later life and early childhood of a filmmaker. 

Pain and Glory, firmly in the vein of 8 1/2, is the auteur director examining his past, his present, his films, his faults and his passions, all with a level of fictionalization that we can only speculate on. Fittingly Almodóvar calls upon his long time collaborator, and one of the most famed actors who came up through his films, in Antonio Banderas to play this form of himself. An actor who began in more dramatic films before finding his path in action films when it came to international recognition, though not he has mostly shifted back towards providing character actor work in lower budget films. His most recent notable leading turns in this decade returning to working with Almodóvar, who he had not worked with since the 80's until returning with The Skin I Live IN, and now here which earned Banderas the CANNES best actor award along with the Oscar nomination. This also being a return to a different type of performance for Banderas, as much of his English language performances have mostly been based around his charm and energy. Not that those are bad things, but they certainly created a certain limit on his range. Here he gets to push that a bit more in his attempt to embody Pedro Almodóvar through Salvador Mallo, who basically is reliving a whole lot of his past, both in memory, and by checking in with old acquaintances, collaborators and friends, built around revisiting one of his films for a retrospective. 

As typical for an Almodóvar film, the storytelling is purposefully scattered around, so Banderas likely has the least screentime out of all his fellow Oscar nominees, this as we have many a cut away to the life of the young Salvador with his mother, little narrative detours (which still does often feature Banderas through narration) and devoted scenes to the others characters in Salvador's life. The film is at its best though when it does focus closely upon Banderas who gives a subtle transformation into the part. This as if you just take a cursory glance, you might not think too much of it, but Banderas does take subtle measures to become his own director. Now some are from that director himself in his wavy unkempt hair, and his typically casual clothing  in most circumstances, but it also extends into Banderas's own work. These are very subdued mannerisms that Bandears takes on from the man himself in just the way he carries himself, how he moves his arm with a certain expressiveness at all times, and his sort of physical posture that is always a bit retiring. Banderas's vocal work even quietly evokes the man with just slight changes in intonation. Again these are all subtle qualities, that one would likely miss if not aware of the director himself, but Banderas does use them nicely to most importantly craft the sense of the man that Salvador Mallo is through this subdued transformation into Almodóvar.  

Banderas's performance then realizes this manner of the man that then we meet in this awkward period of his life and his career. This with Banderas exuding just an exasperation towards life in general as he goes about the motions to see Alberto Crespo (Asier Etxeandia), his former leading man with whom he's had a falling out with. Etxeandia playing really the pseudo version of Banderas himself, as the important former collaborator early in his career with whom they'll soon renew a working relationship with, though it doesn't appear Banderas and Almodóvar ever had a falling out, but I digress. Banderas delivers the striking weariness within the reunion making even his sudden interest in smoking heroin along with his former leading man, something that seems natural within the character by conveying this general disinterest towards his life, that would prompt such a foolish action. This nonetheless though creates enough of a rekindling of a friendship with Alberto, as the two proceed to get high rather than attending to the retrospective on their film. He instead does a call in interview, that is a wonderful playful bit of acting in his quite reactions of genuine appreciation at the applause for his film, towards the switch towards a slight annoyance as questions interfere with his drug snorting. His actual answering of a question though Banderas portrays effectively initially as the recitation of a point made many times, that slowly breaks down into a darker emotional disdain for his leading man that suggests the old wound has not healed. 

Banderas is compelling here in managing to realize much of the man's history within his performance, while also portraying his new "adventure" into drug addiction from that previous casual use. Banderas's work grants enough vividness within the idea of this personal exploration that he very effectively maneuvers, as always typical to his director, often random storytelling flow. Banderas though is able to capture what needs to be found in the moment by having a firm grasp of the character at all times. This particularly in the idea of this sort of drifting passion that is realized within his eyes that exasperation marked by disappointments and belief in failure, however his words still evoke palatable interest towards renewing his creative spark. This particularly in as he makes up with Alberto by bringing him a new monologue, where Banderas brings this sage like determination, though still worn by drugs within this, as he attempts to instruct his actor, with rather good advice, such as the technique of holding back tears as opposed to outright crying is indeed far more effective in most circumstances. This as we see as one of the most striking scenes, of Mallo's autobiographical monologue on love, in the film is given to Etxeandia as the actor rather than Banderas as the director. Nonetheless the monologue opens up a new avenue to the often bitter filmmaker, which is essential for Banderas's performance as he is able to show us a bit less guarded side of Salvador. 

Banderas makes the most of the moment where Mallo gets the call from his old lover, and Banderas's portrayal of his change in expression is marvelous. This as he becomes filled with the sense of love even in hearing the voice, and his eyes are gripped by an old affection that is remarkable. This too employing the almost but not quite crying method, that just really does make all the greater of an impact. When Banderas meets the man it is a terrific bit of acting from him as we see so much of the reserve lost, in his physicality that expresses this nervousness in his sudden movements, and his eyes that are marked by much anticipation. Although there are no flashbacks to this romance, we are granted a vivid sense of it through Banderas's performance. Banderas is wonderful in the way he looks throughout the scene is with this evocation of the energy of a younger man, and far more youthful romantic. This as he finds a chemistry that is built upon this sense of mutual appreciation for the past in the moment. Banderas though also does deliver enough hesitation in moments though in his words that are remarked with a bit of pain that conveys a regret and loss associated with the time that has passed. It is beautifully drawn work from Banderas as he show this combination slowly become unbearable throughout the scene as he gradually creates this growing emotion and loss of that reserve that defined the man earlier in the film. This scene builds on that rather brilliantly as Banderas uses that to show just how paramount this relationship is by creating this sense of change towards the life of a younger man through this reunion. This likely would be the emotional climax for most films, but given who the writer/director is, the film continues as it segues past this to visit Mallo facing his sudden drug addiction, and another, earlier flashback, dealing with the relationship with his aged  and ailing mother. These scenes are simpler of just a son appreciating his mother, yet Banderas definitely finds the poignancy within these moments in conveying the heartbreak at the anticipated loss, and the unconditional love for her. Banderas is incredible in these scenes by showing Mallo without any pretense whatsoever and just the genuine man beneath it all. The drug addiction on the other hand is kind of glossed over in the scheme of the film, which wraps up pretty quickly. There is enough time however for Antonio Banderas to make the appropriate impression in the role to realizes a captivating portrait of the unique artist that is Salvador Mallo or Pedro Almodóvar. This is as the potency of his own work is never lost within the film's scattered narrative, to the point I actually wish it had just honed in more closely on the present story, as it still stands though this is a remarkable performance by Antonio Banderas that allows him to be more than just the charming or energetic Spaniard.

27 comments:

Tahmeed Chowdhury said...

I really need to check this out as soon as possible. Also, I definitely think he's finishing above Pryce.

Calvin Law said...

One of the quietest performances ever to be nominated in the category. Agree very much with everything here! It’s certainly an inspired nod and great to see him an Oscar nominee. Although he really should be one already for Puss in Boots ;)

Mitchell Murray said...

Definitely seeing this when I can find a copy of the film. I have to say while I do like Banderas, when watching a lot of his English language movies, I did get the sense that he was being pigeonholed into roles that weren't really testing him. Thus, I'm glad that this dramatic venture of his is garnering the praise he's long been deserving of.

Luke Higham said...

Very happy about this. Could make the top 15 as well.

Louis: I hope you're doing Phoenix next.

Anonymous said...

Also, Dolittle has a 19% on RT right now. There goes my hope for a decent Doctor Dolittle adaptation out of the window.

Tahmeed Chowdhury said...

Luke: I'd prefer that Phoenix be reviewed last, just for climactic effect.

Calvin Law said...

I’m getting flashbacks to this board when waiting on DiCaprio for The Revenant.

John Smith said...

Same hahahaha

Luke Higham said...

No offence to the detractors of Phoenix's work but I'll laugh my arse (ass) off if he gets a five.

Tahmeed Chowdhury said...

I honestly prefer reading positive reviews than negative ones on the blog, but I mean, Phoenix has given like 7 performances better than the one he gave in Joker.

Luke Higham said...

Tahmeed: I rewatched it not that long ago and he's a strong 4.5 (Weak 5 at most). My opinion on him has taken abit of a dip due to Joker's issues.

Bryan L. said...

I rewatched Joker a couple of nights ago because my Dad wanted to see what all the fuss is about, and he’s a strong 4.5 for me.

Anyways, Banderas is pretty good here. I’m glad to see he’s still got it, although he never exactly lost “it” per se.

Robert MacFarlane said...

The talk show scene alone should lower Phoenix's score.

Emi Grant said...

If anything, I would have wished for the film to end on a lingering shot of Mallo as he finishes his new film, I think it would have been the perfect ending to Banderas' incredibly captivating performance. Really, his character is one of the most fascinating for me from last year.

As for Phoenix...let's let it be whatever it has to be. I'll be fine with a 4.5 or might not even mind a 4 all that much. Also...I might concur with Luke.

Mitchell Murray said...

Robert: Why exactly? For me, that was one of the strongest moments of his performance, and I got some serious...well..."joker" vibes from the way Phoenix spoke and acted.

Calvin Law said...

Watched Beanpole which I wasn't a huge fan of, despite the impressive visual palette and strong lead performances, just a bit too much misery porn for my liking.

Miroshnichenko: 4
Perelygina: 4

And Vita and Virginia which had some beautiful costumes, and some interesting sequences and visual choices, unfortunately doesn't come together all that well in the end, and I will say both films suffer in comparison to Portrait of a Lady on Fire.

Debicki: 4
Arterton: 2.5
Rossellini: 2.5
Henry-Jones: 2
Ferdinando: 3
Gillen: 1.5

Calvin Law said...

Also just realised Sam Rockwell won SAG now that was unexpected! I’m happy though he was great in it, even though Jerome and Harris were amazing.

Bryan L. said...

Louis: Your rating and thoughts on Banderas in Women on the Verge of a Nervous Breakdown?

Anonymous said...

Louis: What are 20 of your favorite film shots of the 2010's. You don't have to rank them.

Louis Morgan said...

Luke:

Now, you know I can't do that.

Bryan:

Banderas - 3(It is a pretty limited performance and supporting in a pretty extreme sense. He has some energy and a bit of charm here, but he's just mostly kind of there.)

Anonymous:

The "second" shot - 1917 (To specify shifting lights in the city)
The shot - Birdman (To specify the flight of fancy)
Elevator Kiss - Drive
Christ in the water - Silence
Three crucifixions through the cave - Silence
Mirror - The Neon Demon
The Canyon - The Ballad of Buster Scruggs
Arriving in Vegas - Blade Runner 2049
Pink Joi - Blade Runner 2049
Silhouette battle - Skyfall
New Year's Dance - Phantom Thread
The Horizon - Valhalla Rising
The title - Portrait of a Lady on Fire
Arrival - The Lighthouse
Driving into the Sandstorm - Mad Max: Fury Road
Children in the street - The Tree of Life
Boat for scrap - Mr. Turner
Reveal of the orator - The Ballad of Buster Scruggs
Church - Cold War
Night sky - Sicario

Anonymous said...

Louis, Any other viewings recently.

Anonymous said...

Louis: Your thoughts on the screenplay for Dolemite is my Name?

Robert MacFarlane said...

Mitchell: It’s the worst scene in the film for starts, but what you said you liked about his performance in the scene- that he becomes the Joker- is precisely why I don’t like it. What came before it was technically a Greatest Hits tape of Phoenix’s previous performances, but he at least created a pitiful enough portrait of Arthur to be a mostly engrossing watch. But once he becomes the “Joker” his performance is... kind of bad? The writing doesn’t help (“Werewolf and go wild” HAS to be the worst line of 2019), but by this point he’s preening, overwrought, and loses any emotional honesty that he set up. It just rings false.

Mitchell Murray said...

Robert: Well I obviously disagree, but to each their own. Honestly speaking, for the traits that have become synonymous with the "Joker" character, there is a lot of wiggle room for any actor attempting to portray the role. The character is, by very definition, insane; He is not meant to be subtle, he is not meant to be charismatic - he isn't even meant to be all that consistent, if you think about his various comic book interpretations. The "Joker" simply is, to quote that outstanding Heath Ledger performance, "an agent of chaos".

And in that way of thinking, for myself, Phoenix's performance never fails to meet that challenge, even with the clear sympathy the try to create for Arthur, and even with the weaker aspects of the film. He is pitiful, yes, but only because the situations he gets dragged into are by there very nature distressing, not because Arthur himself is fully innocent. Again, for myself, he rides that line of being effectively believable, and grounded enough in the film's reality and setting, yet also having the needed flare when needed the most. I also laud his performance for, at least in my opinion, making Athur's slow decent into psychopathy a pretty chilling one.

Louis Morgan said...

Anonymous:

Honey Boy - (It seems like I am the most positive on the film overall, as I thought it was very good overall even if it gets a little Indie tropey in a few regards, though thankfully mostly the less obnoxious tropes. I thought everything exploring the central relationship absolutely worked in such a vulnerable and downright painful examination of a past that cannot be forgotten. I'd say the Hedges material, while not bad, was a little too standard of a framing device however.)

LaBeouf is definitely co-lead to me.

Hedges - 3.5

Always Be My Maybe - (Absurdly by the numbers romantic comedy in that it hits every bit of expectation in terms of the act structure, however somewhat enjoyable despite being aggressively by the numbers)

Wong - 3
Park - 3
Buteau - 2
Soni - 2
Reeves - 3.5

Light of My Life - (Good though falls short of the films it feels so derivative of, mainly Leave No Trace and The Road. Doesn't hit nearly as hard in the father/son or daughter relationship of either film, nor does it create as vivid of an apocalyptic experience of the latter. Still a decent directorial effort from Affleck overall.)

Affleck - 4
Pniowsky - 4
Moss - 3
Bower - 3

Louis Morgan said...

Queen and Slim - (A somewhat decent debut in terms of direction, though the more overt stylistic flairs in editing are the weakest aspects of the film in that regard. The screenplay though is very uneven. The central relationship definitely has something there. The plot though is terrible with too many "really?" decisions made by the characters that stretch being believable and in the end is far too predictable. Turner-Smith's character's past also feels both overwritten yet underdeveloped. The more incendiary material of the film is perhaps the weakest element though, as it never seems on the border of anything truly insightful. There's definitely potential in the film, but the end result is very messy.)

Turner-Smith - 3.5
Woodbine - 3.5

Anonymous:

Dolemite is my is probably the best unorthodox biopic screenplay form Alexander and Karaszewski since Ed Wood, though it does not broach the greatness of that work. It does capture though a lot of similar things in what is just a fine another go wrong in the strange wannabe star. This in making use of all the Rudy Ray Moore has to offer in exploring his methods, and realizing the same structure as Ed Wood really in terms of the various schemes pushing him forward. Although this never has anything as potent as the Wood/Lugosi relationship, it does at least find enough depth in crafting the sense of the dream of the sort of the misfit particularly in the relationship between Moore and Lady Reed. The idea of black representation I think could've perhaps been explored slightly more as it is just a plot point more than anything. Where it works most though is again capturing the artistic spirit, even when not make great art, in the enthusiasm of Moore, and the colorful crew that add to the film. Also the pseudo-antagonist in D'Urville is fun in bringing just the right comical cynical edge to it all. I will say the screenplay itself does miss an opportunity in not bringing him back, I mean it stretches the true in other places, why not stretch it a bit more to give his character one more scene? Still the screenplay crafts just a fun film, in breaking down the making of the film, and the fame of Moore, almost as a heist, with the various parts and schemes to pull it off, and the different members of the team. This while giving life to just making Moore a likable schemer, and enough of a feel good inspiration in his specific trials and success throughout.

Aidan Pittman said...

Saw Ford v Ferrari, which was certainly entertaining but pretty much left my mind as I was watching it. It's fine, but I don't really see myself remembering this for too long. And if this wins Film Editing over The Irishman and Parasite, then a decision will have certainly been made.

Bale - 4.5
Damon - 3.5
Letts - 3.5
Balfe - 3
Jupe - 3