Alternate Best Actor 2019: Adam Sandler in Uncut Gems

Adam Sandler did not receive an Oscar nomination, despite winning several critics' awards, an Indie Spirit Award and being nominated for a Critic's Choice award, for portraying Howard Ratner in Uncut Gems.

Uncut Gems is a fantastic film that tells the story of a Jewish Manhattan jeweler.

It must be said that Adam Sandler is a performer who there is kind of a different mindset about. This is that while he is well known for his long list of Schlocky comedies, there are many actors who are known for such things, however there seems to be a greater frustration regarding Sandler. The reason for this perhaps is an awareness of a potential that he too often seems to squander within the nonsense. One of the most notable examples away from this previously was as the romantic lead in Paul Thomas Anderson's Punch Drunk Love, which cleverly played into Sandler's typical roles. That role playing into something obvious in Sandler even in some of the least of his comedies, which is an inherent intensity. Well this makes Sandler the ideal choice for the Safdie brothers' followup to their high strung thriller Good Time, about a young criminal trying to make everything right for himself and his brother by digging a hole deeper as an attempt to be okay on the opposite side. A film with a sort of seventies vibe with a very flawed hero at this center. Here we have something similar with Uncut Gems, though honestly this comparison seems slightly wrong when this film is considerably better than the films closest to it from the seventies The Gambler. Nevertheless what we have here is that one of a kind of protagonist that is Howard Ratner, our hero who is definitely anything but that, one for Adam Sandler to really sink his teeth into, and oh boy does he.

I suppose one can instantly voice their frustrations towards the clouds with seeing Adam Sandler on the screen here, as the moment he steps into frame here, we see a dynamic presence. This being something that Sandler too often hides within material that doesn't seem to ask him to provide a hint of his talent. Here we actually get Sandler, to you know, act and what a pleasure it is. This is that Sandler not only has presence, but he has such a unique screen presence. This as there is something inherently compelling about him when he is tuned in, in this way. This as he pulls you right in, something particularly important for the Safdies' fast moving narrative style, as Sandler must be described as magnetic here, because that is simply the truth of the matter. This is not relying on any obvious tricks, like a goofy voice, or some weird accent, we just have Sandler portraying a man, and creates the essential core that pulls you right into the world of Howard Ratner. I will say I love the casting of Sandler here, even beyond the fact that it actually uses him as an actor, though because it is so immediate that you are granted a sense of who this guy is, his background, his place in life and more. This of course is absolutely amplified by Adam Sandler who is absolutely just within this part. Sandler doesn't take any time to get used to in this purely dramatic part, he just his Howard this long time, "high class" jeweler.. There is an immediate sense of history in Sandler's work in his vibe and demeanor that accentuates a whole life of quick, high powered deals, making life through cash and the most precious metals.

What I suppose is one of the great achievements right off the bat with this performance is that I instantly forgot I was watching Sandler playing outside of his expected zone. I didn't think about it, as Sandler has the confidence and ease onscreen as though this was another great performance in just a line of them. This I suppose is where the idea of sort of the 70's lead comes in though in that Sandler definitely is an atypical leading man, particularly here, yet there is such an immense charisma here. This frankly similar to say a prime Jack Nicholson in the sheer watchability in his work that is something so compelling in Sandler here just by virtue of his existence. This of course being absolutely fundamental for the character of Howard, who by all accounts is horrible, but Sandler very much gives us that buy in through that charisma. We want to watch Sandler here, making it so we want to watch Howard, even as it becomes quite obvious how deeply flawed he is. This as in one of the opening scenes is where we see him as a philanderer, chewing out his shallow mistress Julia (Julia Fox) for sleeping in late and having little concern with his actual personal problems. This is enough to reject a protagonist for some, but Sandler is so captivating here it is impossible to do, although I'll admit it is easy to empathize one's interest in Miss Fox...but I severely digress. This relationship even though will say so much about Howard, and as wielded by Sandler's work.

Sandler storms onto the screen though as we see the first day in the life of Howard as he comes into his jewelry store, where he is slightly accosted by a pair of thugs, hired by his brother-in-law Arno (Eric Bogosian), this that Sandler shows Howard playing off as only a minor inconvenience at first. This though as we see his eyes far more drawn into potential prospects, the first that shows up as NBA superstar Kevin Garnett (as himself) comes into his shop. Sandler is outstanding in portraying sort of this peculiar sort of showman in his shop. This with the sheer amount of glee he throws around his goods, having a sale for each, along with his whole manner that has this quite aggressiveness of a man trying to cook up a deal. Sandler creating this incredible sense of sort of the fascination of Howard in the deal, and Sandler himself is extremely compelling to watch just as this man in his element. This in a life of high stake deals that Sandler plays in an essential, fascinating way, which is this intensity, Sandler's trademark, so effectively used here, in creating the sense of pressure within himself. This is not reflecting a concern with making the deal with Garnett, but rather just this pressure that seems to invigorate the man. Sandler's work is brimming with this incredible energy of a man who thrives in the higher margins of cost and price. The problem is we see this even out of his shop as we see some initial trades for more trades, trading things he doesn't own for pawn, for gambles with money he can't afford to lose, however Sandler delivers this with the same ease as his legitimate business.

Before I get to the core of this performance, that so compels the existence of his work though, it needs to be said however varied and nuanced Sandler is here, even if the character in a certain sense seems single minded. Take the brief, but very important moments with his children or his wife (Idina Menzel). Sandler's great in portraying in moments with his sons and daughter. A real sense of affection for them, though a compromised sense. This as there is so consistently the sense of just a thought in his eyes of being somewhere else, even if he is not completely absent in the moment. This also the severity in his eyes instantly as he sees Arno's thugs attending his daughter's play. The immediate sense of concern is palatable, as is the rage as he lashes out at them for their display of an unsaid threat initially. Sandler shows the absolute viciousness in the moment accentuating the concern for his family. This though in creating just as vivid this sort of detachment from the family despite the attempt. This in his scene with his daughter where Sandler brings a broken eagerness of someone who is making the effort, but really just the basic effort. The same as he attempts to let his son find a bathroom, near his personal apartment in Manhattan, that typically houses his mistress. Sandler creates the palatable tension of the borderline shame as he attempts to keep his son from it, however Sandler brilliantly takes this on as the secondary thought to the primary concern of that selfishness that defines who Howard is when you break him down. The greatest moment within this though is his major scene with Menzel, where he attempts to talk her out of a divorce. Sandler is outstanding in this scene by portraying really a sense of the old charm that perhaps won her over in the beginning, in his attempt to apologize for his mistress. Sandler's eyes speak the truths of Howard in the moment, yet a compromised truth as his whole performance captures so well this weakness of apology, of a man who does mean it to himself, yet is just another old excuse for his wife.

The core of Sandler's performance that, which takes him to the next level, is where he is most closely aligned with the Safdie's previous lead Connie Nikas (Robert Pattinson). What connects the two men is they both thinking that digging deeper is the best way out of a deep hole, but they differ in a few ways. One major one is that Connie's cash needs is a throwaway bet for Howard, instead of one long night, it is a few, but the major difference is motivation. Now in part we see the connection as Sandler is equally thrilling in creating that same free Jazz style into Howard as he makes one deal after another. With Howard though it is one crescendo after another however, and with Sandler there is the amazing way he plays it with this grand mania to the deals. Connie has to think about it, at least a bit, Sandler portrays in Howard this willingness and need to just run with it. This befitting Sandler's overall masterful way of realizing the nature of Howard. This as he's not in it to free his debts, the debts are hardly the issue, he's in it for the win. Sandler makes this so honest in his creating such an innate intensity within the character as we see him in the moment of money "management", to use that term as loosely as possible. This in an early scene where we find Howard ignoring one of his employees basically saying he will quit unless he gets a bit of support, to look through a box to find his uncut gem, a prized black opal. The line "I'm gonna cum" at the sight of the prize should be absolutely ridiculous, but Sandler makes it work by playing it so truthfully towards who Howard is. The obsession in his eyes as he uncovers it is only that prelude to the finding of it, which to him is his "best" life. This in the sheer glee of satisfaction at what appears to be a sure thing winner.

Sandler's realization of the sort of ideology of Howard is essential in both understanding the man, but also in making him as captivating of a presence as he is. This as we see Howard at home watching a game he had a bet on, the man here is fully connected and into the throws of it. Sandler watches not just as a sports fan or gambler even, but as though the game is his whole life passing through in the moment. This as he presents it almost religious experience as he believes an early bet has paid off. This as he weaves it into this essential ownership of life in a peculiar way that Sandler makes tangible. This as we see him in his scenes with Julia immediately after this win. Sandler portrays these moments not a distraction as the winning Howard takes on her as he would the prize of his bets with the thrill of those bets weaved right into his sexual drive. This is as they are one in the same for Howard, and Sandler manages to make this a natural idea in creating such a powerful sense of that sheer bliss in Howard that comes from the win. This in Sandler portraying those moments as the man simply never being more alive than then. Sandler makes an essential separation for many similar portrayals of compulsive gamblers, as many there is the sense that they gambling as though it will make their problems go away, for Sandler's Howard, gambling is his problem, but it is also his lifeblood most fundamentally. The way Sandler realizes this fixation is incredible in the sense of the constant state of finding a way to get his prize, every prize. This is that Sandler has that same incisive laser focus even in high value auctions, where he is expressive without words in his eyes of creating that same life through that exchange of value. This is when it appears that Julia may be cheating on him, Sandler's breakdown is impeccably performed as this completely irrational and extreme reaction. Sandler doesn't depict it as a heartbreak but rather this rejection of a "loss", that is in itself a potent emotion as portrayed by Sandler, but without a sense of lost tenderness within the portrayal. It is rather a man bent by essentially a bet gone wrong with the relationship he chose. This is where Sandler is genius in creating the sense of the only real distress in Howard comes from moments of direct physical harm, by Arno's goons, or when a win doesn't seem possible.

When for example the aforementioned auction goes wrong, where he attempted to inflate a bit by Kevin Garnett, and was beaten by Arno's goons for coming short again, we see Howard at his lowest point. This in Sandler finally lets loose on the stress of the situation, and he is tremendous in portraying the mess of emotions of the man in the moment. This again in showing the irrational near tantrum of defeat with a horrible hopelessness in the moment as Julia, who has returned to him, attempts to console him. This is even as Julia shows a devotion to him, Sandler depicts just a pathetic uneasiness of a man without a chance seemingly still broken by his experience. When Kevin Garnett though shows up with a deal for the opal after all though, Sandler is sheer perfection in portraying the change in Howard. This as life springs and influxes within him with outpouring enthusiasm, and we even see more of his relationship with Julia, as his glee is only supported by Julia basically being an enabler in that thrill. This as he invites Garnett in, in what is an astonishing scene for Sandler. This as his eyes fill with this conviction suddenly, a joy of nirvana with a man seemingly with a win almost in his pocket. Sandler carefully showing that this has nothing to do with hopes of solving things, but rather the idea of the game continuing, this as he prods Garnett to win in his next game where the odds are against him. I adore the moment of Sandler's expression of jubilation when Howard describes his philosophy in explaining his games is "how he wins". This delivery expressing a sheer insanity, but this adamant belief in Sandler's performance. This as Howard maneuvers one "last" huge bet by having Julia run off with his cash, while imprisoning Arno and his goons in his automatic doors. This is one of the most gripping scenes of seen in some time, and so much of it is owed to Sandler's exceptional work. His portrayal of the final game is of this full bodied almost otherworldly experience. Sandler marks every moment with such a sense of this being Howard experiencing his existence for all its worth through a single bet. This in watching every set back as a horrible wound, though with every win as this near, for the lack of a better word, orgasmic joy. Sandler's outstanding in making his mania so vivid and vibrant, with always the sense of the win being this fervent need in the man, and never is it just for the cash. The highlight of this perhaps being his response to one of the incredulous goon's query of "having a good time" and Sandler's quick "yes", being of one of nearly inexpressible euphoria. This as Sandler's portrait of Howard isn't the portrayal of a man who is sucked down by his weaknesses through sorrow. This rather is this dynamic portrayal of a man destroyed by that which gives him life. This is an extraordinary turn by Adam Sandler, and needs no qualifications though, as this would qualify as unforgettable work from any actor.