Monday 13 January 2020

Best Supporting Actor 2019: Anthony Hopkins in The Two Popes

Anthony Hopkins received his fifth Oscar nomination for portraying Pope Benedict XVI in The Two Popes.

Anthony Hopkins returns from his long Oscar nomination drought to return in the role of the retiring conservative Pope Benedict in this film built around conversations between himself and the next Pope Francis, a progressive reformer. Hopkins's role is secondary throughout the film though the film is built around both characters making him inherently lead. It does detour enough away from Benedict to focus on more personal scenes for Francis to say that this isn't the most egregious category placement, though I would say Hopkins is co-lead here if pressed. Hopkins while less well cast as Jonathan Pryce as Francis, though that would be hard to compare to, seems the right fit the elder statesman type. Hopkins also helping out the appearance difference himself, by personally offering the furrowed left brow himself rather than threw makeup. The real question though isn't any fun tricks Hopkins can perform, like a little bit of Latin, German, playing Clair Du Lune (once again after Westworld, which I get it Sir Anthony, I also love playing that song on the piano)  what have you, but rather what does he deliver on the role. Well not a German accent for one, but nor does he attempt, nor do I really care, as Hopkins instead seems to seek to deliver on the man's presence, particularly in the way that it differs towards Pryce's portrayal of Francis.

His initial appearance in the film is just before he becomes Pope, in turn technically becoming Benedict, and here though is a scene that Hopkins does make use of in portraying Benedict seemingly in his element as the politician attempting to secure votes. This Hopkins portrays not as this overt charisma but rather this consistent priestly command of a man of faith in his repeated statement. Hopkins delivers on this sort of sly conviction, and while the scene is brief, Hopkins does use it well to suggest a different side of the man, very much seeking the position for the moment as the elder statesman fulfilling this expectation. The film then jumps to the end of his "reign" as he has a conference with the soon to be Francis. A conversation with Benedict's intention being to talk Francis from resigning from his position, though this seemingly positive point in fact becoming more of this confrontation of the two men's conflicting ideals. Hopkins's performance is in contrast to his initial scene as he effectively portrays the change in years from the burden of his power. This in part physically as Hopkins very much emphasizes the personal fragility that realizes itself with this certain cold demeanor, of a withdrawn man, who of course only chooses the most careful of movements. The greater truths of the man come out within his words though as Francis and he begin to speak to one another about their differences in view.

When Hopkins and Pryce are together, just talking, the film is at its best, and actually works quite well at times. Although I'd love the conversations to go deeper, more than anything it allows chances for the two seasoned actors just to work together. This begins with the most confrontational scene where the two are very much standing for their separated ideas about how the catholic church should exist within the modern world. One should not take Hopkins's work for granted, because he is terrific here, even if to be expected in delivering in this conversation. Where Francis is purposefully more straight forward, Benedict has a greater complexity that Hopkins is able to realize in this conversation. This as when speaking strictly on his views Hopkins delivers his words with a critical conviction, not based on his own passion towards them, but rather how he lies against Francis's ideas. He balances this in a fascinating way though in the attempts at cordiality, as he tips into moments of venom as Hopkins speaks lines, and pulls back, showing a man attempting the grace of his position though struggling to maintain it. He also captures in his reactions to Francis this physical anxiety and internalized frustration at every critical word towards his views. This that Hopkins's depicts in this weight of this responsibility of position that he conveys in these moments. This as Hopkins shows a man struggling to maintain what is the expectation of his position now, in the face of scrutiny. A reaction Hopkins never simplifies, showing as much frustration, as exasperation of a man attempting to maintain the convictions expected of him as Pope.

These scenes of ideology though are typically separated by one of two scenes, either flashbacks that degrade the pacing of the film as the film does work when it is left to Hopkins and Pryce, or more interpersonal scenes of the two popes just being two men. Hopkins thrives within these scenes as well by presenting a different struggle in the man, who by nature isn't overly personable. Hopkins brings this certain shortness initially in his casual conversations with Francis, of a man unsure how to share other's passions naturally. Hopkins doesn't portray this as an overt coldness but rather effectively portrays this as an introversion. This is shown in Hopkins as when he describes his own interests, whether it be playing piano or talking about a Austrian cop dog show, Hopkins brings a quiet warmth and a greater energy. This as even in his early scene of playing the piano to Francis, we do not just see a cold authoritarian within Hopkins in the moment. This showing a genuine passion within the man that does exist, it is just harder for him to share it with others, and share the passion of others right away. Hopkins plays these moments of a calm revealing of his more affable qualities, that are true but hidden within the self-imposed constrictions of the man. These conversations also give the chance for Pryce and Hopkins just to play around a bit together, and the two do have a wonderful bit of chemistry that makes these scenes work to a degree, even if what they speak isn't of always some great importance. This is though as the two begin to naturally weave the conversation tones together as the men speak between, ideals, hobbies and faith in their confrontation of sorts.

There are essential moments for Hopkins when Benedict speaks not on the Pope's faith but his personal faith. These words that Hopkins delivers very quietly, and withdraws himself. This portraying another burden, though not frustration towards others but this quiet shame towards one self. He finds a poignancy of the man not living to the expectation of this faith, this burden. These frustrations revealing itself naturally to the man who wishes to retire from his position. Hopkins finds the complexity of this and does so without even being the central focus within the story. The interaction climaxes as both men essentially act as a priest to listen to a confession for the other. This is as Francis reveals what to be his own great sin, Hopkins's reveals the care of a priest in his words and eyes of the man attempting to comfort Francis over his perceived fault. Hopkins's own confession is the best scene of the film by virtue of Hopkins's performance. This as he begins the scene with almost a comic attitude of going through the motions of explaining away his venial sins. This is as he continues Hopkins reveals this weight within his face of the greater sins the man has let slip by him and allowed himself to commit. He delivers a quiet sorrow within the man, and pain of this failure to do his duties therefore live up to his faith. When Francis insists he face it more specifically on a human level, Hopkins is exceptional in revealing the growing anger of the man not at Francis, but towards himself as a faithful man no longer experiencing a divine presence he always had in his youth. Although this film may seem the most obvious form of Oscar, perhaps it is, this is a genuinely strong performance from Anthony Hopkins. Yes it seems easy from him, that only speaks to his talent, in finding the complexity of his character, even beyond his somewhat simplistic script.

41 comments:

Mitchell Murray said...

5) Pitt
4) Hopkins
3) Hanks
2) Pacino
1) Pesci

I liked him a lot here..you definitely cued into more of this performance than I did initially, which I only appreciate it as I concur with most everything you've written.

This also bodes well for Pryce who I'm officially going to bump up to 4.5.

Luke Higham said...

Louis: I'm so pleased you liked him as much as I did, considering the consensus here hasn't been as favourable.

Luke Higham said...

And again, ratings and thoughts on the saves.

Bryan L. said...

Just noticed that ol' Tony has been quite the regular on here over the past several months.

Louis: Your updated Top Ten Hopkins performances?

Tahmeed Chowdhury said...

Alright, total overhaul:

1. Pacino
2. Pesci
3. Hanks
4. Hopkins
5. Pitt

RatedRStar said...

A fair rating, I would give him that or a strong 4, I think one thing I do like about The Two Popes is some of the little details, such as when both speak in a foreign language, it feels very natural like they are actually from the countries themselves.

Bryan L. said...

1. Pacino
2. Pesci
3. Hanks
4. Hopkins
5. Pitt

Tahmeed Chowdhury said...

Louis: Shouldn't the rating picture be Brennan.

Luke Higham said...

Louis: I noticed that you've retired the Brennans, surely Danny Plainview won't meet the same fate.

Emi Grant said...

1. Pesci
2. Pacino
3. Hanks
4. Pitt
5. Hopkins

Emi Grant said...

I might be late to the party, but I'm ecstatic about Banderas getting in (looks like the ritual worked). Aside from a couple of nitpicks then and there, I'm mostly happy with the nominations.

RatedRStar said...

Obviously its not important but I do prefer the Brennan and Nicholsons rather than the Shaws and Day Lewis rating images, I think probably because they are more classic lol in that they were what you used in the beginning so it feels more nostalgic.

Luke Higham said...

Day-Lewis replaced Nicholson because he had more wins in the category but I understand how you feel though I do prefer the Plainviews now.

Jack Narrator said...

1. Pesci
2. Pacino
3. Hanks
4. Pitt
5. Hopkins

Jack Narrator said...

- Hopkins (4,5)
- Pitt (4,5)
- Hanks (5)
- Pesci & Pacino (5). It is better to draw a tie to please everyone. As Louis did with William Hurt & Raul Julia in 1985 or Kevin Kline & Michael Palin in 1988.

Bryan L. said...

Luke: Your overall thoughts on the Oscar nominations?

Michael McCarthy said...

I was expecting (and agree with) a 4.5 for Hopkins but this write-up is a little more passionate than I was expecting. I'll keep my predictions as they are though, I loved everything Pitt did as Cliff Booth and I couldn't bear to place him last even in this strong lineup.

Luke Higham said...

Bryan: Well, here's my thoughts even though as expected with The Academy, we just can't have it all can we.

Joker getting 9 nominations more than it should've had and Todd Phillips, Ughhhhhh.

Lopez's snub is utterly ridiculous with Bates (despite her 17 year drought) and Robbie getting in for okayish work. I didn't expect Shuzhen to get in anyway. Dern was in regardless despite not being a fan.

I won't be too judgmental on Leading Actress because Theron would be a strong 4 from me but it's painful not to see Awkwafina in there.

With Lead Actor, I'm a tiny bit disappointed for both Bale and Egerton though bonus round reviews would be nice in hopefully the not too distant future. But I'll happily take Zorro and Mr. Dark getting their first nominations after being underrated for so long.

Animated Feature, my personal winner is Shaun The Sheep 2 though I've yet to see Weathering With You. With this lineup however, who gives a fuck.

Sickens me to see Into The Unknown nominated over Speechless. I'm not a fan of Let It Go but it sure makes it feel like one of the all-time great songs in comparison.

Loved the Cinematography nom for The Lighthouse.

My personal favourite to win it all would be 1917 (Parasite still unseen) which shouldn't come as a shock considering the amount of love I had for Dunkirk.

Bryan L. said...

Luke: So for the Best Animated Feature win, you'll just be quoting Rhett Butler then? :)

Luke Higham said...

Bryan: Yep. :)

Aidan Pittman said...

Film itself didn't quite work for me, but the performances are undoubtedly great. Liked Pryce more personally, he really needed this after The Wife.

On another note, I don't think I need to describe my disappointment over De Niro not getting nominated, even thought the odds were against him.

Louis: Your top 15 Hopkins acting moments?

Anonymous said...

Louis, ratings and thoughts on Eddie Murphy and Steve Martin in Bowfinger.

Lucas Saavedra said...

1) Pacino
2) Pesci
3) Pitt
4) Hanks
5) Hopkins

Louis: What are your thoughts on Klaus and your ratings and thought on the cast?

Luke Higham said...

Lucas:
From Supporting 99 results.
Klaus is perhaps my favorite animated film of the year. It is extremely predictable however I thought it was more than decent in its execution of that fairly predictable approach. Earnest and warm, and certainly works as a Christmas fable. Beautifully animated of course, and while it takes a lot from other animated films, it does work. Not a great film mind you, but the most consistent one for me so far.

Luke Higham said...

I hate to say it but this could potentially/likely be Hopkin's last nomination and review so I'm thankful he got a last hurrah so to speak. I still have him down for 94 Supporting in Legends Of The Fall and I hope his Remains Of The Day review gets a re-write and upgrade.

Anonymous said...

Louis: Your thoughts on Rope and Joan of Arc (1948)'s cinematography. I haven't seen the latter film, but surely it isn't on the level of The Red Shoes.

Anonymous said...

Hey, does anyone wanna talk about Regina King and Jean Smart's wins yesterday? Best part of the ceremony for me, and nice to see Watchmen getting some love, even though Jeremy Irons somehow got snubbed. Seems like it's gonna be a thing come next year's Emmy

Louis Morgan said...

Luke:

Alda - 4(Alda delivers the best supporting performance in his few scenes, by completely rejecting any caricature notions, that I think even this role had a threat to. This is Alda brings a warmth to the part as the elder lawyer, but also a weariness. He manages a balance of the two though to portray a genuine wisdom that is based both on being genuinely concerned about people past there money, but also the knowledge of the pain for all concerned if it proceeds. Alda doesn't simplify this, despite only have a couple scenes, and realizes the one completely altruistic character authentically.)

Murphy - 4(This I don't think was a performance that had to be nominated as it isn't anything revolutionary from him. This as he really doesn't try to become Rudy Ray Moore, whose style of comedy was quite a bit different than what Murphy delivers here. What Murphy does do though is return to his old form of caring about comedy and his role. This as he delivers on his old energy, even as Moore's routine is fashioned through the very Murphy filter, it thankfully is the funny Murphy filter. This also includes bothering to show up in the slight dramatic intentions of the film which he also delivers on. Again this isn't something new for Murphy, but it is a very welcome return to when he bothered to care.)

Foxx - 3(Foxx I'll admit never does too much for me, as he often does fall, particularly in straight dramas, into the sort of phony over emoting. There is a little bit of that here at times, but overall this isn't a bad performance by him by any means. He does manage to deliver enough of the sense of the exasperation of the character from his circumstance and the frustrations. He's not quite a great innocent man behind bars performance, but he's decent enough here.)

Rockwell (Richard Jewell) - 4(Rockwell gives the other part of the film that has any really merit through his interactions with Hauser. The two fashion a nice chemistry with one another, with Rockwell bringing initially a warmth but also a certain curiosity in his interactions. As the firebrand lawyer, I like that Rockwell plays it in a fairly unassuming way of a guy whose not entirely sure what to do, but is definitely going to do his best. He's especially good in his scenes with Hauser in portraying his slowly built up frustrations to his client that frequently hurts his own case, but also has some good moments of the expected righteous indignation.)

Sure I might be forgetting some others, but I will keep my options open with a few.

Bryan:

1. Westworld
2. Shadowlands
3. Silence of the Lambs
4. Hearts in Atlantis
5. The Lion In Winter
6. The Elephant Man
7. Magic
8. The Two Popes
9. Titus
10. The Hunchback of Notre Dame

Louis Morgan said...

Aidan:

1. "The human intelligence is like peacock feathers" - Westworld
2. Lewis pledges his love - Shadowlands
3. "Who they might be" - Westworld
4. Private moment with Philip - The Lion in Winter
5. Meeting Lecter - Silence of the Lambs
6. Helping Carol - Hearts in Atlantis
7. Confession - The Two Popes
8. Seeing the Elephant Man - The Elephant Man
9. Corky tries not to use Fats - Magic
10. "Piano doesn't murder the player" - Westworld
11. Lecture breakdown - Shadowlands
12. Seeing the low men - Hearts in Atlantis
13. "Never like to drink alone" - Westworld
14. Final meeting - Silence of the Lambs
15. Some Nice Pies - Titus

Anonymous:

Murphy - 4(Speaking of old Murphy this might've been one of the last examples of him really trying before Dolemite came out. This as he delivers a comic performance that works, in a film that otherwise is absurdly haphazard, doubly so. This as Murphy is hilarious in portraying such pompousness as the big star, against his endearing nerdy qualities as the goofball twin. He's entertaining in both roles and delivers on the very much needed comic pull for the film.)

Martin - 3(Extremely standard Martin, however it does work for the part. In that it is exactly what you think of with a standard Steve Martin comic turn.)

Anonymous:

Well Rope was one of the first to do it, even though I don't think the one shot technique really adds much of anything to the film, and the back of jacket cutting technique is a little silly. The movement here doesn't add much to the story, though it is anyways rather vibrantly lit, particularly in the realization of the change in day, that is rather powerfully realized with slowly growing darkness and then the red light before the corpse is found. So good work, even if the fundamental choice doesn't add much.

Well the lack of Cardiff's nomination is one of the biggest snubs in Academy history, I'd actually say one could argue it as the biggest, based on quality, success of the film overall with the Academy, and the separate categories even. They could've even had a fifth nomination and seemingly chose not to. Anyway, the cinematography team for Joan of Arc, does make a fine looking film, as one that very much put the color in 40's color photography with just how vibrant the palette is, and how distinct the lighting is. It works, as the flaws of the film aren't in the cinematography, which is striking enough on its own merits.

Anonymous:

Deserving wins on their own, thought it was also kind of funny Smart won alongside Billy Crudup. I'll say the show may have a tough time overall but especially Irons, since his performance is built across episodes, where Emmy favors specific episodes so Nelson has the much better chance there.

RatedRStar said...

Luke: It probably will be Hopkins final nomination but you never know, Lets face it, you could say that about Pacino and Pesci too being their final nominations, maybe even Pryce as well, its not like he is always in contention.

That is why I am fine with Bale missing, he didn't need this nomination IMO, since he will probably get nominated in the coming years anyway. I only use this rule if everyone in contention is good.

Luke Higham said...

Louis: Have you given your rating and thoughts on Wesley Snipes in Dolemite Is My Name.

Louis Morgan said...

Luke:

Yes, when I originally gave my thoughts on the film.

Luke Higham said...

Louis: Don't worry, you still need to see Diehl, Schoenaerts and Harrison Jr. (Waves).

Calvin Law said...

I can actually agree with this. He was very good. I guess I let my emotions yesterday get the better of me with regards to some of the snubs (again, I guess it was the prospect of having three Asian acting nominees and inspired choices like Lopez, but I shouldn’t push my agenda too much). Apologies for the overt cynicism.

Having said that, my lambasting of Joker will continue.

Calvin Law said...

I also do love that Hopkins has the clout to ensure a piano performance whenever he pleases at this point in his career.

Bryan L. said...

Louis: Just curious...have you tried to play any songs from La La Land on piano?

moviefilm said...

1) Pesci
2) Pacino
3) Hanks
4) Hopkins
5) Pitt

Omar Franini said...

1. Pacino
2. Pesci
3. Hanks
4. Hopkins
5. Pitt

Louis: your thoughts on cinematography and direction of Portrait of a Lady on Fire?

Calvin Law said...

Omar: that cinematography was gorgeous. There were scenes where I almost thought I was looking at paintings.

GM said...

1. Pacino
2. Pesci
3. Hanks
4. Pitt
5. Hopkins

Louis Morgan said...

Bryan:

Of course.

Omar:

The direction of "Portrait of a Lady" is rather impressive, in just Celine Sciamma aesthetic achievements she spearheaded, but just creating an impressively immersive quality within the story. This very much taking the approach as it is being told, and how we see it through Marianne's pov that has a striking romantic quality, and even dreamy quality. This with just overt impressive moments, particularly those along the beach that are built within creating the sense of place around the acting so well. I love though that it isn't all the glances though as we have the moments between them in conversation that she draws out effectively, and with frankly a greater allure in a film that has a pretty limited amount of nudity for this type of film. It is well told though as finding a complexity in the romance, through as much in those unsaid moments, but also in the said. If I have a criticism is in the ending, that I think could've been drawn out just ever so slightly, though both moments certainly are still effective.

Claire Mathon's cinematography is perhaps the film's highlight, is worthy of comparison to Dick Pope's cinematography for Mr. Turner, in the realization of every shot truly as a painting. This in using such distinctive palette, such dynamic lighting, and such pristine framing and composition of every shot. It is an absolutely gorgeous film to look with such vividness to every detail of the frame. Outstanding work, and it's a shame we couldn't have gotten two left field nominations as were found last year.