Tuesday 18 February 2020

Alternate Best Actor 1968: Nicol Williamson in The Bofors Gun

Nicol Williamson did not receive Oscar nomination, despite being nominated for a BAFTA, for portraying Gunner Daniel O'Rourke in The Bofors Gun.

The Bofors Gun follows a long night of watching a defunct gun and the power struggle that develops between a NCO and an insubordinate soldier.

Nicol Williamson is a fascinating actor to explore into his specific career which was one of perhaps a slow downfall. This as he fell towards a certain obscurity, even within his passing, despite the acclaim during his early career. This was not example of an actor wasting his talent, but one torn down by his own ego and vices. Looking into his life suggests two things, one that there ought to be a film about Williamson (even if in a perhaps everything except name fashion), and the strange similarities between himself and his character of Gunner O'Rourke within this film. One being rather superficial as Williamson himself took the rank of Gunner in his time in the armed forces, but more so in this figure that is O'Rourke, who may share a similar, albeit far more extreme, case of self-destructive tendencies. Now Williamson here is actually secondary lead to David Warner as the milquetoast Lance Bombardier Terry "Lance Bar" Evans, whose been recently promoted, and is given the strange duty of leading the men to "protect" the defunct gun. The problem is Terry is more interested in getting home to England by trying to avoid any trouble in the night, but for that there is one major thorn in his side. The thorn in his side being Williamson's O'Rourke who comes into the film, marching towards the duty, with a mocking walk, along with an outrageous cry as he takes his place along the line, Williamson setting up instantly that O'Rourke is likely to be a problem.

Williamson is brilliant from his first disagreement as he asks the purpose of their duty to guard the useless gun, from the non-existent enemy. Williamson asking the question with an intensity illustrating a false sincerity in questioning the need. There is in that already a sense of something else in Williamson's performance, something unnerving that goes beyond simply being cynical about his strange duties as a soldier. The following scene though is that of the greatness of Williamson, and in that perhaps something so unfortunate about his own career as an actor. This is in the following scene where he bullies another soldier into changing beds, without permission from Terry, nor protest. Williamson is this force of personality with such ease. He captures the moment with such a powerful force of space, of a man who in this reveals so effectively O'Rourke. This as a man of this fierce personality, however he uses it in a way only seemingly to tear down his environment for the sake of the action. Williamson, mind you, controls that environment with such effortless power, however with such limited purpose. Williamson showing a man who much succeeds in being larger than life, a quality potentially useful in a soldier, however with little purpose in this. As the men begin to mock Terry, to which he says little, Williamson brings the most pronounced insults as he mocks the bombardier. This with the most natural venom, and Williamson using those eyes of his to make even a mockery some severe act of a violent in a way, through how piercing they are alone.

It is rather fascinating just how striking Williamson can be in a scene even when laying on his back, just adding a few words of derision, as the men discuss Terry's position. Williamson's voice used to such potent purpose, as he makes O'Rourke's verbal attacks brutal, even in seemingly the most casual asides. Of course O'Rourke does go beyond even deriding Terry, as he attacks another of his disobedient soldiers for his sexual fixations, where Williamson brings this callous dominance seemingly of the proper soldier, however used without any sense of one. When it seems in this moment of mutual insult, Terry himself throws one casually O'Rourke's way. What follows is a truly astonishing bit of acting from Williamson, in his eyes shift from a casual disregard to a vile hate, as his eyes become that of killer all just within Williamson's work. Williamson is genuinely terrifying as this shift is so naturally realized as he appears to aim himself towards Terry. What follows though is an act of violence, not towards Terry, but rather towards himself as he grabs a hot coal for several seconds before declaring his disdain for all. Williamson is amazing in as he captures the violence of one man for another, externalized in the sharpness of his delivery, but internalized in his eyes that seem to indicate towards some deeper chaos within the man. O'Rourke retiring in the moment, in a way that Williamson suggestst as his only option, that seemingly would've otherwise resulted in his own breakdown or the violent end for Terry.

O'Rourke I'd say honestly is a role most actors would struggle with, not only because the part requires as striking of a presence as Williamson, but it would be so easy to make the actions of the man just random moments for the sake of performance. That is never even remotely the case for Williamson's work which crafts a logic in this seeming illogical man. This is as Williamson's performance captures this specific nature of the man vividly. This as any action comes from the same core that is the man.This is as even early on when he sings a jovial song, or seemingly jokes, there is even that this intensity Williamson brings to it. The attempt at something jovial seems real enough however Williamson's portrayal of it is this though still as some anguished act all the same. Williamson making O'Rourke's unwieldy state as a natural state of nature for where the man is. There is a moment where O'Rourke questions Terry's authority directly while also telling him he should essentially preemptively have him locked up. Williamson delivers the derision with the incisiveness in his words and his disregard in his eyes, however when speaking of the suggestion, there is nothing mocking in it. There is almost a cry for help in Williamson's portrayal that has this derangement within it, yet a sense of clarity as he makes the suggestion for Terry to not let him go be free into the night. Williamson in these two acts is able to reveal the man who is a particular dangerous combination as he most willing wishes to disobey, yet is as keenly aware of the problem of this.

The reason for this is briefly reflected in a moment where O'Rourke notes that the night will mark his birthday, as well as his time of turning to the age of 30. Williamson is simply incredible in the moment as his eyes capture a man truly looking into a nihilistic void as the man remarks how he'd never wish to turn 30. Williamson delivering this as a fundamental philosophy of a man, who as hostile as he is, Williamson alludes to within this a horrible depression.The rest of the night essentially becomes this prolonged suicide, that Williamson realizes with a terrible vividness. This as he does not portray it as exact, anything but as the man is both quite assured in his "mission" while not at all assured in the exact method. O'Rourke delivers this potent id within the man, that portrays a destructive style that means to destroy all in his path, himself included. Williamson delivers this emotional wretchedness of the man as he speaks of killing within the army, yet seems to be looking towards only an emptiness. His random destructive actions become of near animalistic violence. Not quite though as Williamson quite simply is outstanding in these scenes as it is not a singular emotion of violence, that is there, along with these moments of temporary joy, those that only delay a profound decay that Williamson returns to as O'Rourke basic expression. All other actions being these temporary delays towards his inevitable fate he has declared for himself. That depression that is brutally, yet powerfully depicted within Williamson's performance. This as he does not make this momentary lapse, but this seething quality of a man who has long determined himself, or at least his existence, to be useless. Williamson is amazing as the way he manages to show even a descent within this idea as the man becomes messier and drunker throughout the night. Williamson delivering the only respites towards O'Rourke's own depression, being his hate towards others.

Williamson creating this searing since of self-destruction as this crutch of anger towards others that he holds onto, as that intense emotion is the only relief from his own self-hatred. What oddly becomes the most off-putting moments are when O'Rourke attempts to return to joke, that become these unnerving asides in Williamson's portrayal, as the man willing almost to say anything given he intends to leave the world quite shortly. When Terry threatens to turn him in, Williamson delivers O'Rourke's lack of concern towards the consequences, as wholly earnest, as a man content to waste away. The final minutes of the film are this extreme that Williamson makes so vivid as he creates the mania of O'Rourke. This as he threatens Terry himself it is with a maniacal loathing in his eyes towards Terry, but just as much towards himself. Williamson brings a hostility to every one of O'Rourke's words to Terry, who attempts to talk sanity into him. Williamson speaks each word with a painful combination of treating the world as an abomination but doing himself with the same treatment. Williamson delivering this sincere outrage towards Terry's selfishness for his fixation on his promotion however he does not make it as this arbiter of justice, but rather a man clawing at anything he can find as he intends to lose it all. As he pushes Terry to name why he is suicidal as a game, I love how Williamson, as much as he is so despairing towards Terry's opinion, there is this as powerful desperation as though there is a glint of need that Terry would really be able to give O'Rourke a semblance of an answer for his own self-destruction. The final few seconds of Williamson work shows the sheer brilliance of his performance. This as he does not turn O'Rourke into a device to challenge Terry, but rather shows that this is very much O'Rourke own personal journey to the end. This as hateful as the man is, the humanity in his own suicide is kept ever prevalent in Williamson's performance. This as we see as he is about to stab himself, there is that vile hate again in his voice, yet in his eyes we see the profound sorrow in the man accepting destruction, not with ease, but with the suffering one would expect. This is a brilliant performance by Williamson as he manages to give one of the most captivating portraits of self-destruction committed to film, as he never makes this simple act, but a complex irrational feast of decay within the man's mind. 

52 comments:

Luke Higham said...

Love Nicol Williamson, he's a similar case to Paul Scofield where I wish he did far more film work in his lifetime.

Luke Higham said...

Charles & RatedRStar: Are you still into WWE, because The British Bulldog is finally going into the hall of fame.

RatedRStar said...

Luke: I keep up to date with it news wise, I do watch Wrestlemania each year as well, its really the only time I do like WWE nowadays, yes it is pretty great that he is going in the to the HOF, apparently he was pushed by familiar members numerous times but was never given the rub until now.

Bryan L. said...

Louis, any leads on how I can see this film? Having some trouble finding it.

Tahmeed Chowdhury said...

Reading that final paragraph, I think he might have gone up to #2 for 1968 Lead.

houndtang said...

Excellent review. Are you going to review Williamson in The Reckoning? He is great in that. Another acclaimed performance is Inadmissible Evidence, though I haven't seen that.

Luke Higham said...

Louis: Excalibur is a must. The most well-known performance of his career.

Louis Morgan said...

Bryan:

Well watched it via physical media, so can't help you there unfortunately.

houndtang:

Thank you, and I will be definitely returning to him for 70 and 81 at the very least.

Anonymous said...

Who would be your casting choice for the theoretical Williamson biopic?

Luke Higham said...

Anonymous: Kevin McKidd

Louis Morgan said...

Anonymous:

Well while Kevin McKidd would be ideal for appearance casting, however I think you'd honestly need to get Daniel Day-Lewis to deliver on the same level of intensity and stature needed for Williamson.

Luke Higham said...

Louis: Your thoughts on Martin McDonagh reuniting with Gleeson/Farrell for The Banshees of Inisheer.

Calvin Law said...

Much as I’ve enjoyed McDonagh in ‘Merica I’m excited to see him go back to the Irish roots.

Luke Higham said...

Louis: Would you consider reviewing Williamson's Hamlet (1969).

Anonymous said...

Louis: Your thoughts on Williamson's voice?

Louis Morgan said...

Luke:

I'll admit ever so slightly concerned as that was the name of the play he wrote that he thought wasn't good enough to stage, but then again I'd then assume he found a way for it to work as a screenplay. Past that it's McDonagh, enough said for me. It is McDonagh with the pair, that helped to make one of my favorite films period, well shot instantly to my most anticipated film per whatever year it will be coming out in.

I'd say he's probably guaranteed there as well, as 69 isn't exactly bursting with remaining contenders anyways.

Anonymous:

One of the most underrated voices of cinema, as his voice simply is amazing. This as his brogue manages to capture this curious combination of regal, and rough. It both commands a presence, yet carries an inherent intensity.

Charles H said...

Luke: I keep up with WWE news wise as well. I mostly just watch the major New Japan events, but i'll tune in for a Wrestlemania or Summerslam. And yeah, it's great news that British Bulldog is finally being recognized.

Anonymous said...

Louis: Your thoughts on the direction and cinematography of Little Women

Luke Higham said...

Louis: Whenever you get to 2018 again, you don't mind watching the first season of The Terror. Jared Harris and Tobias Menzies are outstanding there.

Anonymous said...

Luke, your top five/ten Jarred Harris performances?

Luke Higham said...

1. Chernobyl
2. The Terror
3. Mad Men
4. The Crown
6. Certain Women
6. Sherlock Holmes II
7. The Other Boleyn Girl (2003)
8. Lincoln

Anonymous said...

Louis, are you going to rewatch The Remains Of The Day anytime soon.

Anonymous said...

Louis: Your ratings and thoughts on the rest of the cast of A Walk Among the Tombstones?

Calvin Law said...

Brilliant performance.

Calvin Law said...

Also went to see Parasite again today and man, cinemas are PACKED. That Best Picture win definitely helped matters and I couldn’t be happier.

Bryan L. said...

I want to see Parasite myself in the theater just to gauge what people's reactions to it are in real time, haha.

Louis: Who would you have chosen to write and direct Judy? Maybe Jeff Pope as screenwriter (think Stan & Ollie) and Pablo Larrain as director?

Calvin Law said...

Louis: retro directing choices for Kathryn Bigelow, Sam Mendes, Cary Joji Fukunaga and Debra Granik? And with reference to previous ones,

2020s Seance on a Wet Afternoon directed by Joel Edgerton
Myra Savage: Essie Davis
Billy Savage: Paddy Considine

2020s This Sporting Life directed by Paddy Considine
Frank: Daniel Kaluuya
Margaret: Jodie Whittaker
Gerald Weaver: Rupert Friend
‘Dad’ Johnson: Liam Cunningham

2020 Stand By Me directed by David Lowery
Gordie: Noah Schnapp
Chris Chambers: Noah Jupe
Teddy: Jack Dylan Grazer
Vern: Jeremy Ray Taylor
Ace: Lucas Hedges

2020s East of Eden directed by David Lowery
Abra Bacon: Zoey Deutch
Caleb Trask: Will Poulter
Aron Trask: Josh O’Connor
Adam Trask: Tom Waits
Sam: Bill Camp
Kate Ames/Cathy Trask: Julianne Moore

Bryan L. said...

Calvin: I asked him for Sam Mendes actually. They're in the "Best Director" post. One of them was North by Northwest, so Ctrl+f that and you'll find the others.

Louis Morgan said...

Anonymous:

Olafsson - 3.5(The most memorable part of the film, other than its cinematography which deserves more praise. Olafsson though manages to craft in a few minutes an off-putting creep, with just the minor touches of it as a man who is not wholly upsetting immediately but definitely unnerving. He brings so much character in this, but then also manages to give a moving portrayal of a man revealing his great sin. This in presenting a man's guilt as it relates to a vice, however a vice he never thought could go to such an extreme.)

Harbour - 3(Pre-breakout role for him, and does a fine job of being a creep. This is particularly his delivery of the "apology" to Neeson about starting the torture before a call.)

Stevens & Holbrook - (Honestly in my 2014 ranking I might've mixed up the two back then, as both were pre-breakout themselves, honestly I'd need a re-watch.)

Bryan:

I mean it depends on what you're looking for, those two would be a bit disparate I think, though I could see a version by either, this either being a sentimental remembrance or a tragic character study. I think the latter is more fitting for Judy, as Stan and Ollie weren't tragic figures, Garland definitely was. Honestly I think it might've been a good fit for Todd Haynes, though I still am surprised by just how generic Dark Waters was, but I think Judy could've played to his strengths.

Calvin:

Love the Seance pair.

I like Kaluuya, but I'd say he doesn't quite have the right stature for rugby player Frank, only in that we haven't seen him play "big". Tom Hardy might be the easy choice, and yes he's the same height as Kaluuya however he's someone who comes off as naturally imposing, so I'd opt for him there.

Would love to see that Stand by Me, honestly.

Perfect casting of Camp as Sam, hats off. Like all the other choices, though you never know with that type of role with Moore, but for the sake of the theoretical, we'll say it is Boogie Nights style Moore.

Kathryn Bigelow:

Day of the Jackal
In Cold Blood
Battleground

Cary Joji Fukunaga:

The Narrow Margin
Frenzy
Picnic At Hanging Rock

Debra Granik:

Deliverance
Outcast of the Islands
White Fang

Anonymous said...

Louis: Which cinematographers would you like to see work with the Safdies?

Louis Morgan said...

Anonymous:

Well I'd be cool with them sticking with Darius Khondji based on Uncut Gems, however that "currently being wasted in schlock" Dean Cundey I think would be a great fit for their aesthetic.

Louis Morgan said...

Anonymous:

I'll assume you're referring to Little Women 2019. Gerwig's direction is largely aesthetic choices, as the major sort of dramatic choice is evident in the script in terms of the changes to the story, the structure of it, and the ambiguity in the ending. The sort of philosophy I suppose is the noted quote of Alcott's in the opening, about pleasant stories against the hardship, and what Gerwig does is fashion basically sumptuous feast of film aesthetically, though with hardship in there. This as her choices regarding costumes, cinematography, production design, the score, are all inherently pleasant and teeter on near fantasy, though I don't think she goes overboard in that regard. It rather the surface of it all is to make a sweet film, though she allows for honest pathos essentially through the performances, and manages to pull of this juxtaposition. One mounted once again with competence, as with Ladybird, she shows a sense of rhythm of scenes, particularly humorous ones, and knows frankly knows how to cut a scene. The one take it or leave it choice, I suppose is the letter reading, which was trying to present an old type of scene in a new way, wasn't my favorite choice in the film, but I do appreciate the effort there (note: not that I actively disliked the choice either). Overall though she creates sort of the wonderful joy that thrives around in a world seeded hardship, as a purposeful treat to the viewer, even with the awareness still of that hardship.

Yorick Le Saux's cinematography is minded with that general choice of Gerwig's for that nearly fantastical quality in which to view Paris and New England. Le Saux's work though I suppose is part of making it so it doesn't go overboard. It working though in framing and composing the shots with a beauty and grandeur, of a period painting of the time, though with an accentuation on the vibrancy of the colors, almost as though the character's themselves are defined by New England foliage in a way. This approach wholly works though in creating a luscious aesthetic, that again serves that overall approach well.

John Smith said...

Loouis and everyone: I can not find the thougts on chalamets performance in Little Women. Remember that he got a 4.5 from louis. Can anyone find it?

John Smith said...

Louis, have you seen Curb Your Enthusiasim. Watched all of last week and it is propably the greatest sitcom ever made.

Anonymous said...

Louis: Since you think Cagney could be a good fit for Gerry (Mississippi Grind), who would be your choice for director and the rest of the cast? 1940s I presume.

Louis Morgan said...

John Smith:

I've seen sporadic early episodes, and much of the later seasons.

Anonymous:

Mississippi Grind 1940's directed by Raoul Walsh:

Gerry: James Cagney
Curtis: Kirk Douglas
Simone: Jan Sterling
Vanessa: June Allyson
Dorothy: Claire Trevor
Tony Roundtree: Raoul Walsh

Anonymous said...

Louis: Your choices for the rest of the cast for the Redford/Newman/George Roy Hill 70s Mississippi Grind as well?

John Smith said...

Louis, your thoughts on Larry Davids performance in Curb?

Calvin Law said...

Speaking of Larry David, your thoughts on this SNL short featuring the best ever Larry David impression? https://www.youtube.com/watch?v=PbZdhl5NI6Y&feature=share

Calvin Law said...

And:

2020s The Duellists directed by Sam Mendes
Armand d’Hubert: George MacKay
Gabriel Feraud: Shia LaBeouf
Fouché: Christian McKay
Bonapartist agent: Jack Huston
Adele: Rose Leslie
Treillard: Steve Coogan
Dr Jacquin: Andrew Scott

2020s Day of the Jackal directed by Kathryn Bigelow
The Jackal: Dan Stevens
Deputy Commissioner Lebel: Isabelle Huppert

2020s In Cold Blood directed by Kathryn Bigelow
Perry Smith: Daniel Radcliffe
Dick Hickock: Luke Bracey
Alvin Dewey: Clifton Collins Jr.
Jensen: John Slattery
Walter Hickock: David Strathairn
Tex Smith: Bob Odenkirk

2020s Battleground directed by Kathryn Bigelow
PFC Holley: Taron Egerton
Sgt Kinney: Chris Evans
Roderigues: Moises Arias
Stazak: Frank Grillo
Jarvess: Jack Reynor

2020s The Narrow Margin directed by Cary Jojo Fukunaga
Detective Sergeant Brown: Christopher Abbott
Mrs Frankie Neall: Rooney Mara
Ann Sinclair: Mia Wasikowska
Joseph Kemp: Jimmi Simpson

2020s Picnic At Hanging Rock directed by Cary Joji Fukunaga
Mrs Appleyard: Michelle Fairley
Mademoiselle de Poitiers: Samara Weaving
Miss McCraw: Louise Harris
Miss Lumley: Abbey Lee
Michael: Alex Lawther
Alfred: Harry Greenwood

2020s Deliverance directed by Debra Granik
Ed: Steven Yeun
Lewis: Armie Hammer
Bobby: Paul Walter Hauser
Drew: Zach Woods

Anonymous said...

Wow, most of those 2020s casts are perfect

Louis: Yeah, Cundey working with the Safdies would be great. Anyway, who would be your cast, director and cinematographer for that 70's Uncut Gems with Jerry Lewis as Howard?

Bryan L. said...

John Smith: The Chalamet thoughts are in the second page of the 1999 Alternate Supporting Actor results.

Anonymous: Calvin and him took a crack at that version once. It was...

1970s directed by Robert Altman

Howard: Jerry Lewis
Kareem Abdul-Jabbar as himself
Dinah: Penelope Allen
Julia: Ronee Blakley
Demany: Howard Rollins
Arno: Eli Wallach
Phil: Sterling Hayden
Gooey: Sam Jaffe

Anonymous said...

Louis, who do you think would've been a better choice to direct M. Butterfly instead of Cronenberg?

Calvin Law said...

Also Louis: your choice of director for a Fleetwood Mac biopic starring:

Stevie Nicks: Jessie Buckley
Lindsey Buckingham: Glenn Howerton
Mick Fleetwood: Angus Sampson
Christine McVie: Dakota Johnson
John McVie: (not sure)

Bryan L. said...

Calvin: There’s actually a Rumours-era script about them going around Hollywood. I found a copy of it, but I haven’t read it yet. For directors, I think one of Derek Cianfrance, Noah Baumbach or Craig Gillespie could work.

Bryan L. said...

For John McVie, maybe Domnhall Gleeson, based on Frank.

John Smith said...

Bryan: Thank you!!!

Bryan L. said...

Louis: Your updated Top Twenty Foreign Language Films? Both with and without Kurosawa. I’m curious to see where Parasite would rank on both.

Louis Morgan said...

Anonymous:

Simone: Ann-Margret
Vanessa: Carol Lynley
Dorothy: Eileen Brennan
Tony Roundtree: John Huston

John Smith:

Well I believe I've mentioned my thoughts on his performance previously, though I will re-iterate. Technically it is not a great performance as commonly there are moments where he is breaking up in the final scene, however this all within his overall thing he is doing in the show. It is just going with the flow of the comic situation, where his performance wonderfully as he is so often hilarious at being himself. This where he also falls into similar work to Jerry Seinfeld in Seinfield, which Curb is the spiritual sequel of, David isn't the best actor, but what he does wholly works for the shows purpose. I will say he is probably a bit better than Seinfeld overall, particularly since the comedy is more often on his shoulders in Curb than it was for Jerry in Seinfeld. It is the same idea though, where even technical flaws don't really harm the overall effect of the performance which works towards its comic purpose.

Calvin:

The sketch itself is common SNL, in that they don't always build it properly, as Hader as Pacino then Short as David are the immediate highlights. However still funny in desperate art theater rendition of the classic.

Anonymous:

Well it probably would've been more logical to keep the more satirical tone of the play, or if not, adapt more fully towards something entirely new rather than the imperfect middle-ground ill-fitting to the serious minded Cronenberg. I'd say Mike Nichols, Rob Reiner, Robert Altman or even "To Die For" Gus Van Sant would've made more sense for the supposed tone of the material.

Bryan:

With Kurosawa:

1. Rashomon
2. High and Low
3. Ran
4. Seven Samurai
5. Harakiri
6. Grave of the Fireflies
7. Parasite
8. Z
9. The Samourai
10. Spirited Away
11. Yojimbo
12. Ikiru
13. Memories of Murder
14. Das Boot
15. Army of Shadows
16. Shame
17. Throne of Blood
18. Hiroshima, Mon Amour
19. The Seventh Seal
20. I Saw The Devil

Without Kurosawa:

1. Harakiri
2. Grave of the Fireflies
3. Parasite
4. Z
5. The Samourai
6. Spirited Away
7. Memories of Murder
8. Das Boot
9. Army of Shadows
10. Shame
11. Hiroshima, Mon Amour
12. The Seventh Seal
13. I Saw The Devil
14. Wild Strawberries
15. The Wages of Fear
16. The Lives of Others
17. The Human Condition I: No Greater Love
18. Sansho the Baliff
19. Come and See
20. The Hunt

Calvin Law said...

Glad to see Z so high :)

Calvin Law said...

Bryan: Gillespie would be perfect.

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