Saturday 18 January 2020

Best Actor 2019: Jonathan Pryce in The Two Popes

Jonathan Pryce received his first Oscar nomination for portraying Cardinal Jorge Mario Bergoglio, the future Pope Francis in The Two Popes.

The Two Popes follows the interactions between the soon to be retired Pope Benedict and the soon to be Pope, Pope Francis. The films has merits, though suffers most from not honing within its most effective material of the two Popes together, and spending too much time on drawn out flashbacks and highlighting events most viewers would be keenly aware of even with a cursory knowledge of the recent events involving the papacy.

Jonathan Pryce earns his very first Oscar nomination, from being extremely well cast as Pope Francis. This as he extremely closely resembles the real man, so in a way Pryce has a great advantage here from the outset in that one already accepts him in the role with little input from his actual performance. This beneficial connection of appearance though itself will be nothing if he does not deliver beyond that, in the end, a superficial element. Although still speaking of superficial I do have to note the impressive Spanish speaking moments of Pryce, in Francis's native language, this is to the point that I thought he might've been dubbed, he wasn't apparently, as he does deliver it so naturally in his work. Although these sort of things shouldn't be too stressed in my mind when speaking of the merits of a performance, at least not as a deciding factor of quality, it is an impressive element from Pryce's work nonetheless. It certainly helps in Pryce becoming even more acquainted into the role and he does disappear into the idea of merely playing the Pope. This also naturally acquiring his slightly South American influenced English speaking accent within the role. Pryce's performance though goes beyond this as his physical demeanor too effectively evokes the real man, beyond just already looking at him, with the very reserved physicality, but with a sense of a naturally welcoming quality within that. Pryce indeed just seems to become Francis, which yes is less of a stretch for him than most, but it sets his performance up from a good starting point nonetheless.

The next hurdle though is within the script by Oscar whisperer Anthony McCarten, who knows how to write a script to earn an actor an Oscar win, he's done it three times now, but struggles a bit more in providing a real depth towards his subject matter. It is important to note that this is his best script, helped greatly by the scenario that somewhat reduces his "then this happens" approach to telling a life story, even if there is a bit of that, in turn it seems just as fitting that this will probably be the first McCarten biopic script that "merely" results in Oscar nominations for its performers rather than Oscar win. Nonetheless there is a bit of "then this" happens material that far more heavily, in fact almost entirely, handles the portions of the film squarely focusing on Francis and less so on Benedict, where Hopkins only really appears in the better parts of the film. Pryce has to instead lead several sequences that don't really add a great deal to the film, but rather just let you know some basic things, that one would assume we know, such as Francis learned of John Paul II's death, he almost was elected Pope, and was elected Pope. We also just have the brief moments of Francis in his ministry, where we just see the likable man of the people. These scenes bear the odor of McCarten most strongly in their excessive simplicity. Pryce though performs them to the best of his ability though in providing the natural charm of the man of the people, and the grace that defines his place of power. The latter element's impact being the strongest in its relation to Hopkins's differing portrayal of the burden of that power.

It is in that dynamic between Francis and Benedict where the film works best, and it is through Hopkins's and Pryce's performances that they elevate beyond their material. This is as McCarten overdoes setting the positions of the two men of the conservative Benedict and the progressive Francis in every facet of their lives, however this is not nearly as detrimental as it might seem or could've been due to the work of Hopkins and Pryce. The initial conversation between the two, as Francis comes seeking permission to retire while Benedict has no wish to provide that, offers a glimpse in that. Now Hopkins has the inherently more complicated role, which he makes more than the most of, but Pryce importantly avoids potential pitfalls on his side. This is as the story is firmly in Francis's corner, which isn't a criticism, but could've simplified Francis as merely the good nearly perfect man. This is not in Pryce's performance in this scene as the two debate their differing views on the purpose of the church and their views on various controversial positions. Pryce is terrific in this scene. Now on the most immediate surface he is effective in providing the position of the man advocating for the ideas of changes to improve the connection of the church to the world, and growing through the times as a benefit. Pryce provides the conviction in each word, but doesn't simplify this, granting a real intensity within his eyes that subverts his often more gentle line deliveries. This in realizing Francis's way of advocating his position, while also showing the way he negotiates the conversation between that deep seeded passion, and needed to attempt to soften its delivery given his audience is his technical superior. 

In that scene though the disagreement, which are painted directly, but given a real life by both Pryce and Hopkins. This as Pryce makes something far more vivid in moments by his articulation that goes beyond a straight passion, even as that too is abundant. His way of saying lines with a slight self-bemused laugh, as though easing Benedict's hearing of it, though finds the right personality within the ideals, revealing the man rather than being representative of simply the idea of a progressive. The same is found in their scenes of meetings each other more so as men than religious figures, though here too they are set as extremes of the introverted Benedict and the extroverted Francis. Again the key within this is that both actors manage to humanize this idea being the slightly contrived set up. This is that Pryce does indeed deliver on the idea of the extrovert in his eyes that show a man genuinely interested in when Benedict speaks of his own passions, and kinder affection in his delivery of Francis's own. This that Pryce delivers as an inviting and disarming quality, of a man hoping to share in this rather than limiting the interest more within. It goes beyond that as the chemistry between Pryce and Hopkins does go beyond this set up of the extremes. This in the way they play off each other they do create a real natural quality within their interactions, both in terms of those differences but the connection in their mutual faith. This as the two manage to work off one another with wonderful sort of moments of detachment from their differences but also moments of understanding which are weaved in so naturally by both performers.

The film though develops as instead of Benedict accepting Francis's resignation, he instead introduces his own choice to resign from his position. Pryce's reaction in this scene is fundamental to the strength of his work. This in he creates such a vivid sense of his disbelief at the idea, and creates a real sense of the frustration and passion even towards having the man stay, even though the man is someone he so strongly disagrees with. Pryce in that moment though grants the eloquence of the words though underlined with a convicted emotional belief behind the idea of the need of the Pope to maintain his position. This is in the strength of his performance as Pryce's work goes beyond even the sometimes perfunctory lines by revealing the deeper personality and humanity of the man speaking the words. He finds a complexity of really so often words are the way they are said, even if they are quire simple. The longest detour of the film unfortunately comes within this conversation as the film flashbacks to the younger Francis's struggle to deal with the political upheaval in Argentina. What I so dislike about the scene, is, one, the flashback brings the film to a halt, but more so its approach gets in the way of the most positive qualities of the film which are Pryce and Hopkins's performances. This as the flashbacks are simple to a fault and cursory. The strongest element of them is Pryce's narration that underlines a more powerful emotion of regret regarding the compromises of the past. It is the shame that we can't see him, as Pryce's work likely would've added more vibrancy to the scenario than we are given technically actually seeing it through the typical Wikipedia article depth offered by McCarten's script. The sort of highlights of that sequence are the brief glimpses of Pryce, the brief things we hear, where Pryce does find a greater depth of feeling than the images can provide. It's a shame the filmmakers did not just leave it to Pryce and Hopkins to create the scene entirely, as their input is more captivating than any of the images found within the visual retelling. This is as everything we need to know is in Pryce's work, so it is unfortunate that director Fernando Meirelles didn't quite have the confidence in his work to let him be. Still even with that missed opportunity, what we still see from Pryce shows why it is a missed opportunity in his moving portrayal of the guilt, before it is absolved by his priest in the moment by Benedict. Again where the film excels and succeeds in allowing the two performers to bring the best out of the material by making the two so tangible as men. Even when they are simplified potentially as figureheads, or ideas, we see them beyond that through the endeavors of Hopkins and Pryce. Take a pivotal moment where Benedict gives his own confession, Pryce is essential within the scene as the partner towards Hopkins's in the realization of the moment. This in his expression of priestly concerned the segues ways towards a more distinct at the sin of his soon to be predecessor. This though still with a portrayal of the attempt of consoling and wisdom, as Benedict goes on to speak of his crisis of faith. In that concern, Pryce emphasizes such a powerful empathy and understanding, and again builds upon the relationship between the two with such a poignant sincerity. Pryce delivers a terrific performance here as he goes beyond a cursory likeness, he also goes beyond the occasionally hackneyed choices of the screenwriter. He consistently offers something worthwhile in his portrait of Pope Francis. I suppose the highest compliment I can give is typically re-watching a McCarten penned film, becomes a far more aggravating the experience in each subsequent viewing. This film though I've actually gained a bit more appreciation for, due to the central performances that so elevate their material, though I still can't help but wish they had a script completely worth of their work.

37 comments:

Mitchell Murray said...

1) Driver
2) DiCaprio
3) Phoenix
4) Pryce
5) Banderas

Like you, Louis, I didn't love this film, but I certainly liked the two leading performances. Pryce is quite effective here not only on the basis that he's PERFECTLY cast, but also just him delivering very fine work beyond what the screenplay really needed. He carries such an ease in this role, and he personally made the more middling sections of the film a little more watchable, and his conversations with Hopkins even more so.

Emi Grant said...

I might not be as passionate for this performance but I do have to fully agree with Pryce's absolutely flawless Spanish. This is to the point that I thought it might have been a second of language of his. Not only is his diction and pronunciation excellent, but he also nails the accent and rhythm in particular. Outstanding stuff.

Emi Grant said...

1. Driver
2. DiCaprio
3. Phoenix
4. Pryce
5. Banderas

Bryan L. said...

As someone who knows Spanish pretty well, I was impressed by how Pryce implemented it here. He really did his homework.

RatedRStar said...

I am pretty glad that he and Banderas made it, the two male Evita stars funnily enough =D.

RatedRStar said...

1) Driver
2) DiCaprio
3) Phoenix
4) Pryce
5) Banderas

Lezlie said...

1. Driver
2. DiCaprio
3. Phoenix
4. Pryce
5. Banderas

Lucas Saavedra said...

1)Driver
2)DiCaprio
3)Pryce
4)Banderas
5)Phoenix

Aidan Pittman said...

Great performance, really helped me appreciate the film more despite my overall feelings on it.

Louis: Your ten most undeserved Oscar wins of the 2010s?

Calvin Law said...

Saw The Gentlemen. Awful in almost every regard and offensive in every expected Ritchie way.

McConaughey: 2
Hunnam: 2.5
Golding: 2
Dockery: 2
Strong: 2
Marsan: 2
Farrell: 3
Grant: 3.5

Luke Higham said...

Pleased you liked him quite alot. :)

Aidan: Hooper over Fincher has to be #1.

Luke Higham said...

Calvin: Already have a most overrated film of the year contender. :)

Calvin Law said...

Luke: Kermode has given it vitriol so that’s enough for me. Also it’s more that the way the story is told and the toxicity which annoys me so much. I despair at some of the films Henry Golding’s been in post-CRA.

Louis Morgan said...

Aidan Pittman:

1. Bohemian Rhapsody - Sound Editing
2. Alice in Wonderland - Art Direction
3. Bohemian Rhapsody - Editing
4. The Descendants - Adapted Screenplay
5. The Big Short - Adapted Screenplay
6. Makeup and Hairstyling - The Iron Lady
7. Tom Hooper - Director
8. Patricia Arquette - Boyhood
9. "Writing's on the Wall" - Spectre
10. "We Belong Together - Toy Story 3

Luke Higham said...

Louis: Have you seen A Hidden Life yet.

RatedRStar said...

Louis: Your thoughts on "We Belong Together" and what would you have picked as the winner (overall and from the nominees)?

Anonymous said...

Louis: Your updated top 20 Al Pacino acting moments

Bryan L. said...

Louis: What about Original Screenplay by last years Best Picture winner?

Bryan L. said...

1. Driver
2. Dicaprio
3. Phoenix
4. Pryce
5. Banderas

Anonymous said...

Luke, your Top Ten Jonathan Pryce Performances?

Louis Morgan said...

Luke:

Yes I did, though I got the chance to see it in the theater actually. So it was nice to appreciate the cinematography. The film itself is a nice partial return to a form, any form. I do think Malick's indulgences as still present, but thankfully cohered within an actual narrative, to also allow him to graft his themes to. I do wish he'd remember that Badlands was only 93 minutes long, or even that this film is longer than A Thin Red Line, which had a far more expansive story in terms of the amount of characters and tapestry it was creating. There was no reason the film needed to be 3 hours long, and I don't care how long a film is if it earns it. Unfortunately here it creates too much repetition at times, where I think an edited 2 hour version, or even maybe hour and a half version would be amazing. Changing nothing other than cutting though, as I think the greatness is there, it just needed to be reduced down to its most essential parts.

RatedRStar:

As I've stated before generic Newman is quite an ear soar for me, and that is another. Although not as bad as his effort for 4, to me it just a whole bunch random sounds you'd associate with better Newman Pixar tunes, here funneled into a really forgettable tune. I mean its message doesn't hold up, after 4, I guess we don't belong together. I'd take the Tangled song from the lineup, you probably can see my choice from "My Wins".

Anonymous:

Pacino:

1. Phone Call with Leo - Dog Day Afternoon
2. The Restaurant - The Godfather
3. The start of the Bank Robbery - Dog Day Afternoon
4. Final talk with Vito - The Godfather
5. Learning about the Abortion - Godfather Part II
6. Final conversation with Frank at the gala - The Irishman
7. The Ending - Dog Day Afternoon
8. Second meeting with Tony Pro - The Irishman
9. Meeting with Russell - The Irishman
10. Chewing everyone out - The Irishman
11. About his mother - You Don't Know Jack
12. Chewing out Williamson - Glengarry Glen Ross
13. Attica - Dog Day Afternoon
14. "I won't sit down" - The Irishman
15. "The baptism" - Scarecrow
16. Lefty asks Donnie about the boat - Donnie Brasco
18. Talking about the rebels - The Godfather Part II
19. Birthday party - The Godfather Part II
20. Trying to save Vito - The Godfather

And yes, Pacino would be my winner for out of the Oscar nominee lineups, most years, for the Irishman.

Bryan:

My #11, literally knocked it off after remembering Alice in Wonderland came out in 2010 not 2009.

Luke Higham said...

Louis: Ratings and thoughts on the performances, cinematography and score.

Bryan L. said...

Louis: Speaking of last years Best Picture Winner, your thoughts on the cinematography of that film and Bohemian Rhapsody?

I'm starting to think that the glossy, "prestige" look of both may have fooled many into thinking those films were more notable than they really are.

Louis Morgan said...

Luke:

Pachner - 5(An incredible turn from her in just realizing such pure emotional beauty and power of her work. It is a completely naturalistic turn, and minimalist in the amount of dialogue she has. That doesn't really deter her work at all that manages to capture the ethereal beauty of the life that is lived between the two, and granting a real poignancy to the romance. Her performance captures the essential sense of life to realize then the slow descent towards heartbreak. A heartbreak that shows portrays in such vivid and powerful sense, as it is not only a sense of loss but also frustration and anger both at the situation though also her husband in a certain sense. Her work is striking every moment she is onscreen as she achieves that important quality in her work. This in not just being part of the scenery but offering the essential humanity connected within it. Her voice over moments are all essential as she says so much within every letter reading, even far beyond what is said by offering so much texture to every word.)

I actually liked all of the supporting cast, though I think it would've benefited to compositing the role to enable more of an overall impact with the characters. For example, if Schoenaerts and Ganz were the same character, as I did like their individual moments a great deal, but I think given they had the same basic function, more of an impact could've been made with one character serving that function.

The cinematography occasionally, and I mean rarely, has these slight dodgy moments where the handheld work fails them ever so slightly. That is a minor critique as overall it captures such a powerful sense of place and just finding the sheer beauty within the pastoral landscapes. This with Malick having such a keen eye in capturing the most majesty of the purely natural, and finding so much in the most seemingly simplistic images.

The score is outstanding and I'd say easily James Newton Howard's best. It is just such a divinely majestic piece that suits the romantic, pastoral splendor, and is filled with such poignant emotion within itself. A lush and sweeping score, that is not even remotely out of place with the classical pieces also chosen by Malick. It fits right within them, and the main theme may be my single favorite individual piece of music from 2019.

Bryan:

Bohemian Rhapsody's cinematography does adhere towards a general prestige look. It looks though okay, when it really isn't trying to do anything stylistic and just shoots a basic scene. It though occasionally looks a little ugly in its palette choices or over and under lit moments when it tries to get more stylistic. It also just is strangely awkward compositions sometimes, I think probably partly due to the "even screentime for band" mandate, where egos might've prevented some decent shots. Or maybe it just isn't great, as no scene, even at its most dramatic it fumbles at least slightly, as someone will be a little off center, movement will be a little shaky, or the angle not quite right.

Green Book's cinematography is a bit better on the other hand, though it isn't really trying to achieve anything particularly special with Farrelly's shot choices being as straight forward as possible at every turn. The lighting though does manage to achieve a more than decent generalized 50's prestige look, that is kind of the expectation of any film set in the period. It does that, nothing special, but serves its purpose.

moviefilm said...

1) Driver
2) Phoenix
3) DiCaprio
4) Banderas
5) Pryce

Calvin Law said...

I’m so glad you’re positive on A Hidden Life and that you’re saving Diehl. Pachner was amazing and glad you loved her.

Matt Mustin said...

1917 wins the PGA.

Calvin Law said...

That’s amazing news. I’ll be glad for it to win Best Picture. Between this, Parasite and The Irishman they can’t go wrong...can they?

Anonymous said...

Luckily, all the films that have a chance at winning are great films. I was worried if Joker was going to pick up steam for best picture Thank God 1917 won the PGA.

Luke Higham said...

Bryan & Anonymous: I'll be getting to your comments on Monday. Been working since Friday.

Louis: I'm pleased you loved Pachner and the score, I hope it bodes well for Diehl.

And I'm very happy for 1917's PGA win.

Anonymous said...

Louis, just wondered if you have revisited The Dresser (1983) and considered moving both Finney and Courtenay up to a 5. I rewatched it recently and thought they both were better than Duvall.

Luke Higham said...

Anonymous: Courtenay might go up, can't say the same for Finney.

Luke Higham said...

Louis: Waves and Honey Boy are up.

Luke Higham said...

Louis: Have you seen The Mustang yet or will you wait until you've finished the Lead Actor nominees.

Calvin Law said...

Personally I’m so excited for the Lead Actor lineup this year, since it seems so many of my favourites are lining up with Louis’.

Calvin Law said...

And Courtenay should definitely go up, seeing the McKellen/Hopkins version recently made me appreciate the originals all the more (not that they were bad).

Louis Morgan said...

Amazing win for PGA with 1917, seems like Mendes could be pulling a reverse Eastwood (also was getting concerned with a Joker surprise). Also Parasite won ACE for Drama, which is also fantastic.

Luke:

Not yet.

Anonymous:

Haven't seen since I originally reviewed it.