Saturday 1 February 2020

Alternate Best Actor 2019: George MacKay in 1917

George MacKay did not receive an Oscar nomination, despite being nominated for a Satellite award, for portraying Lance Corporal William Schofield in 1917.

1917 is a virtuoso piece of film-making by Sam Mendes, in his story of two soldiers attempting to make a treacherous journey in order to relay a message to call off an attack during World War I.

I love 1917 as a film that strictly can only exist in the art form of cinema. This in its approach of largely visual storytelling confined purposefully within its run-time to hold you within experience, in again a way only truly possible with film. One of the pivotal choices in this is in its "one shot" technique of a nearly never breaking narrative. This idea goes far beyond a gimmick for me, as its approach forces upon a perspective for a war film we've never seen. This is in any other film, edits can save our character, place them out of view, put them as just part of a tapestry of a battle, but here we are with the soldiers literally in every step of their journey. What takes the choice even further in terms of its success, in that I stopped thinking about the choice and instead of just experienced it. This as forgot "how did they do this" regarding the filmmakers, and just was brought into the question of "how are they going to do this?" referring to the characters of Blake (Dean Charles Chapman) and Schofield's mission. This film, despite being an obvious technical achievement, is not one where the actors are secondary, in fact the performances are fundamental to the film. This is as they are the ones who need to deliver the essential humanity within a story as a focal point, that makes the film beyond an exercise. This though poses the challenge to Chapman, and to a even greater extent MacKay, of basically realizing the character within the narrative, even as the narrative rarely stops moving.

The film begins seemingly with the leader of the duo initially being Chapman's Blake, although any viewers aware of Chapman's output in his young career know that spoilers, he does not have long for the world of the film given he is essentially becoming the young Sean Bean in his character's mortality rates. MacKay's Schofield is initially just following second, the man nearest to Blake, as the two are called upon to fulfill some request. We get initially really what is a fantastic bit of minor interactions between both Chapman and MacKay. Chapman delivering this eagerness of a young soldier new to the front line, while MacKay is fantastic from the outset, as he manages to wear not a man broken by his experiences in the war, though definitely with a distance. In hearing to come along his quick expression of "okay alright" is a man whose come quite accustom to the situation, with a preference in his rest then again walking into something once more. MacKay's work though balances this with sort of a low key cynicism, of not a man whose rejected being a soldier, but just is keenly aware of its dangers. He makes for a proper companion initially with Chapman's more spirited delivery, against MacKay's reactions that emphasize just a practical business as usual sense of a soldier in it for the long run (no pun there).  This dynamic is intensified once they hear of their mission, to make a dangerous journey to call off an attack which otherwise will lead to the death of hundreds of British soldiers, which includes Blake's older brother.

We are then literally off to the race with Chapman portraying the expected rush to make the deadline, despite the route, whereas MacKay reflects the more logical reservations regarding the mission. He speaks not dismissively of the idea of the mission but rather accentuates a quiet cynicism regarding the idea of any mission, where there will be "little resistance" from the enemy. MacKay excels in capturing an essential convincing physical quality in his acting here, in that we see him very much convey this, just as we see Schofield quickly moving to keep up with Blake, he brings that sense of movement as he speaks. He never stops to act, but creates the essential ongoing process of being so fundamentally within the role at every moment. Here, he's terrific in his quiet, yet incisive delivery of  Schofield's hesitations towards the mission. This is as we are moving towards No Man's Land, and MacKay does not lose a moment, in creating not a sense of cowardice but earnest concern within his eyes, that plays so well against Chapman portraying just a far more strict conviction to the mission given his personal connection. It needs to be said what MacKay does is in a way offer the reality against the sort of blind heroics of Chapman's performance, this creating the needed sense of dread as the move towards their first obstacle. Chapman showing the soldier who will do anything to save his brother, meanwhile MacKay establishes Schofield as a soldier naturally concerned with himself, not selfishly, but rather practically, as each word feels measured with history of the war.

The journey begins as the two cross No Man's Land with only the word that the enemy has left, however without any real confirmation of this. This sequence is incredible, with such amazing use of production design, cinematography, sound and score to create part of the tension of the sequence. Perhaps the most essential element though is in the performances, particularly MacKay's. This is as he is absolutely gripping here, with very little dialogue, in being the center point in which Mendes builds the scene around. MacKay delivers an absolute honesty within the situation, in creating the real sense of watchfulness, fear, and wear in trekking through the broken land. There is not a wanted movement or reactions, as MacKay makes the scene all the more vivid, because MacKay only ever shows a real soldier going through this horrifying landscape. When Schofield wounds his hand on barbed wire, and it lands in a corpse, we are with MacKay, in the immediate terror of this, just as we are in hiding from overhead planes, or even the curious sense of discovery in finding the German base. MacKay's work here is essentially silent, but makes the sequence truly tangible by making this a man we are following through this. It also must be said that MacKay is magnetic in a particularly essential way, he not only shows us this reality, but brings us right into it through how gripping he is to watch. He makes us not just watch Schofield, but empathize with him. 

He and Chapman are great in not just being pawns in a vision, as we feel them as men, this in their first close call as they accidentally find themselves near a set German trip wire, which almost kills Schofield. The severity of the situation, as a mine is collapsing around them, is captured by both of Chapman rushing through, with MacKay's terror and anguish at being nearly blind while being led out just barely with their lives. MacKay is fantastic in his punctuation of the scene as the build up his frustrations finally briefly releases at Blake. It is a marvelous moment as MacKay makes it an earned outburst of the man essentially stating a blunt truth of what every mission turns into. Their dynamic, and chemistry though is fantastic in again finding basically the optimist in Chapman's work against the realist that is MacKay. I love the brief scene as the two just get to walk seemingly in a peaceful area, where Blake questions Schofield's dismissive attitude towards a medal he discarded. This coming originally from talking about his likely medal for saving him in the mine, that MacKay speaks with a low key earnest appreciation, before seguing back to his blunt delivering of mentioning the meaninglessness of his own medal. When Blake presses him in near disbelief, I love the moment that MacKay speaks of how it means nothing given he cannot return and stay home, he beautifully underplays this actually, in showing this reserved sorrow, that is palatable, but internalized. This in realizing a soldier who can still perform his duties, however is very much disheartened by the situation.

As much as the two have this disagreement, both actors find just a general warmth in their minor interactions, such as hearing the misfortunes of another soldier involving a rat, creating a real sense of camaraderie between the two. This making the moment in which Blake is mortally wounded by a German pilot, completely heart wrenching. Chapman is great in this scene in portraying the immediate horror of his wound, the searing pain of it that slowly reduces itself to numbness, and his slow pained acceptance of his death. MacKay poignantly facilitates this scene by properly playing with Chapman, in portraying in his eyes the sadness within Schofield for his friend, while his expression manages to show the act of holding his composure to try to comfort his dying comrade. He delivery beautifully accentuating their friendship in his words that denote the severity of it, but finally with his own conviction for the mission as this reassurance to a friend in his final moments. MacKay is outstanding in revealing the grief hit him right after Blake dies, he still doesn't collapse but expresses the loss far more openly now that he no longer needs to comfort his friend. It is beautifully handled, as MacKay shows really the soldier's way of coping, as he depicts a man who is devastated, with the sadness nearly penetrating his surface, however just keeping it together to keep on for his friend. The subsequent sequence of traveling with a convoy, MacKay's face wears the burden of the death in terms of loss, but we also see him lose that hesitation.

MacKay's performance effectively changes to now carry the conviction that had been in Chapman's work, now is found within him fitting to a man who now carries the mission for both. There is this brilliant emotional intensity that MacKay finds that holds together the intensity of the mission, and creates the overpowering sense of determination that Schofield now has to see that the message will be delivered. The second half of the film becomes this near one man show tour de force from George MacKay, as there is something almost mesmerizing in crafting the sense of such a fierce resolve. No action sequence is merely a sequence, as MacKay's work is a constant reminder of the emotional stakes both in terms of his mission, but also the immediate dangers of the moment. MacKay adds such a great power through how his work crafts the reality of each scene. This in creating even in running moments, scenes of the physical burden, the fear of the attacking soldiers, but also with that sense of will to survive. MacKay's work is masterful in terms of creating the sense of wear of each moment. This in not only the physical desperation that grows stronger, but the emotional weight of it all. This in his one brief respite in discovering a French civilian, where there is a real poignancy in the tenderness he brings in the interaction, of just this quiet appreciation MacKay exudes in a man allowed any sense of the goodness in humanity, if ever so briefly. This also though in the sheer exhaustion both physically and mentally, as he stumbles upon corpses at a makeshift dam of a river. MacKay is never taken in by the environment, rather he is an essential part in making every environment, and every sequence so vivid. MacKay does not make them singular, and this is equally important, as his work captures how each does gradually break Schofield down. This as he maintains that determination, that he portrays as this every growing, rather haunting intensity which conveys in this growing 1000 yard stare of a man who can only see his objective. Having watched the film three times now, despite being well aware of the result, his final run to deliver the message never fails to give me chills. MacKay's indispensable in this in his final walk being nearly of a dead man propping himself on will alone, with his voice cracking down through the sheer gravity of so many lives being in his hands. This is easily the greatest performance as a hero of 2019 though, as MacKay does not do this as some superhuman, but just a man doing whatever he can to succeed in his mission. This as every step of it is earned, and we feel the burden of his heroic deed. This right to the moment of the final relief of calling off the attack and finding Blake's brother (Richard Madden). A wonderfully rendered moment by MacKay again, by actually approaching the moment with a subtly of the man finding his bearings once again, and offering again comfort through pulling his emotions, as he had done for the other Blake in his final moments. This is an astonishing performance by MacKay, as he leads this film in the purest sense of the word, capturing the power of its journey, by moving so succinctly with it, but also amplifying  it by bringing to life the needed humanity of the story within his captivating work.

59 comments:

Calvin Law said...

I hoped today would be a good day...and it was. Thank you Louis.

Did you find this was a performance you appreciated even more when writing about it? Because that’s what happened to me. He really is amazing, and I love that the second half of his performance is almost a constant internalised breakdown that he holds together. I especially love his delivery of ‘that won’t bother me’ and ‘no I can’t’ in response to him needing to wait for the first wave, right before he makes that final run.

Psifonian said...

A true star-making role if ever I saw one.

Calvin Law said...

He’s already been a star in my books ever since seeing him in Captain Fantastic and onstage in The Caretaker within the same year. But this should solidify it. Most underrated performance of this awards season.

Calvin Law said...

Also Louis: your thoughts on ‘Gehenna’, ‘The Night Window’, ‘Come Back to Use and the Wayfaring Stranger scene.

Robert MacFarlane said...

I’m not quite as enthusiastic about him as you, but I found him a compelling figure. Definitely was amazed by the physical commitment. How the fuck did he not accidentally kill himself with some of that shit?

Bryan L. said...

One of my favorite moments of him and the film is how he IMMEDIATELY kept getting up after falling down several times in his No Mans Land dash to Cumberbatchs’ post. THAT was awesome.

Calvin Law said...

I kind of want to see an alternate 1970s Weber Herzog version, with Klaus Kinski but no screenplay. Just throw him through all sorts of crazy battlefield shit and see what happens.

Michael McCarthy said...

He’s probably still a 4.5 for me, but I figured if Clive Owen got a a five for Children of Men then MacKay would likely get one as well. I was definitely impressed by him though, I had no idea he was able to carry such a natural gravitas in just his voice.

Regarding Chapman Louis, are you set in placing him in supporting? I have him in lead believe it or not, even after Blake’s exit I felt the story was his just as much as it was Schofield’s.

Calvin Law said...

Also, Jojo and Parasite just won WGA. I’m very happy personally for both (though I obviously prefer Irishman or Little Women for the former).

Luke Higham said...

Brilliant performance that improved all the more on a 2nd viewing.

Razor said...

Louis: Rating and thoughts for Claire Duburcq?

Aidan Pittman said...

Great performance, loved his scene with the French woman.

Louis: This has nothing to do with 1917 or any film you've been taking about at all as of late, but what do you think of the editing in The Ballad of Buster Scruggs?

Bryan L. said...

I might change one or two for Best Actor later on, but for now...

https://bryansfilmandetcblog.blogspot.com/2020/01/my-top-ten-acting-performances-and.html

Tahmeed Chowdhury said...

This is a stunning performance.

Charles H said...

I wasn't entirely sold on MacKay from his work in 11.22.63 and Captain Fantastic, but this is everything a star-making performance should be. This film would not have been a masterpiece for me without his phenomenal leading performance.

Calvin Law said...

I think he’s 5 worthy in Captain Fantastic and deserves an upgrade, but I don’t fancy the ‘fuck off Lance Corporal’ treatment.

And yes, I am a MacKay stan.

Matt Mustin said...

I thought he was kinda awful in Captain Fantastic, actually.

Tim said...

Matt Mustin i thought his quiet Scenes were Pretty good, but his big outburst
was Pretty over the top.


by the way, i may just miss it, but i can't find him in any of Louis' overall lists for 2016

RatedRStar said...

I thought he was fine in Captain Fantastic, but it was the Viggo show, great here though.

RatedRStar said...

1917 will be quite the improvement over the previous Best Picture winner, in fact even if 1917 doesn't win, the Academy virtually cannot get it wrong whichever film they choose.

RatedRStar said...

I thought McKay was decent in Pride as well.

Calvin Law said...

I thought he was just as good if not better than Viggo. He’s my #3 for the year behind Ali and Kubozuka.

Tahmeed Chowdhury said...

I'd give MacKay a 4.5 for Captain Fantastic, and he was right behind Franco and Gadon in 11.22.63 for me.

BRAZINTERMA said...

Louis and whoever is reading my comment
Has anyone there watched the Taiwanese "A Sun" (2019) directed by Mong-Hong Chung?
For those who have seen it, what is your cast assessment? Could any of the actors enter the 2019 lineup?

Lucas Saavedra said...

Louis: what are your top ten movies about nazism?

Anonymous said...

Louis: Rating and thoughts on Roddy Piper and Keith David in They Live? About Piper, I've heard that Carpenter originally wrote the part with Kurt Russell in mind, but decided to give the role to Piper because he had already cast Russell as the lead in other three movies.

Louis Morgan said...

Regarding WGA, Jojo keeps being sneakily strong with precursors, if BAFTA doesn't go with Zaillian or Gerwig today, I'd say it's Waititi's to lose, which I'm fine with. Love that Parasite win, however Bong where's at BAFTA as well, then Oscar.

Calvin:

Gehenna - (Interestingly where ambient was something I thought Newman had struggled with before, he excels in it here, in creating and adding to the sound design, in creating sort of the idea of war landscape within his own work. This then that slowly builds into such a marvelous piece of tension building of slowly adding in the melodic piece, that not only sounds create, helps to make the sequence as intense as it is.)

The Night Window - (A gorgeous piece here from Newman as well (again he is going to be brutally robbed if he loses), this is wonderful as it reflects sort of the beauty of the light and really the momentary silence in its almost lullaby initially. This that slowly builds so powerfully into the full orchestra that creates this curious sense of haunting majesty.)

Come Back to Us - (A masterful end to Newman's score as it reflects sort of moment of pause and final calm of at least this mission complete. This though not overplay the sentiment, however being so potent in the sense of emotion in its quiet piano that slowly builds towards the orchestra build as this sort of memorial requiem that is stunning.)

A brilliant scene and something that shows the low key strength of the script. This as he marches from essentially the river of death (Styx) to potential salvation and redemption, marked by that song, a beautiful moment of respite before the final run.

Michael:

He's definitely in a grey area, though he doesn't *quite* make it halfway, however it is similar to Harrison Jr. in Waves, in that he is clearly lead for those 40 minutes. Thinking about it I might move him over to lead, as he's a bit like Janet Leigh in Psycho, as it is clearly his story, as even when he exits it never stops being about him.

Louis Morgan said...

Razor:

Duburcq - 3.5(One more one scene wonder for the film, as she manages to offer effectively the state of horror of believably combined with a certain sense of warmth and comfort all the same. I love the way within the scene she slowly develops a certain chemistry with MacKay, creating a needed natural quality in the interaction that is rather special.)

Aidan:

The Ballad of Buster Scruggs's editing is very much traditional western editing, for the most part. This is even within the concept of the anthology, which doesn't really play within the editing too much. Each sequence isn't exactly edited as each other, Scruggs is a bit more energetic overall, than The Girl Got Rattled, the Mortal Remains slower and more melancholy, these are minor adjustments that serve each unique tone effectively however. The overarching style is that of the western which is with a reflective and appreciative pace, where it takes a moment to appreciate landscape, just as it does reaction. As typical to a Coens's film it is fantastic work, befitting the story well in the specific pacing that suits it, and always in terms of creating memorable sequences. Here though with the additional touch of those alterations that just show their ability to maneuver their style within slightly different fronts.

Tim:

He's there.

Brazinterma:

I'll try to look into it if I have time.

Anonymous:

It's been long while sense of I've seen it, I liked both then however, but would need a re-watch to say more.

Tahmeed Chowdhury said...

Louis: Your thoughts on Chapman in this film? If I recall correctly, you haven't given them yet.

Calvin Law said...

Tahmeed: I guess he does sort of give them along the course of this review.

Aidan Pittman said...

Jojo Rabbit's won both WGA and BAFTA for Adapted Screenplay now. It's winning the Oscar.

Calvin Law said...

While Gerwig and Zallian I prefer, Waititi will be very deserving and will no doubt give an amazing speech.

Aidan Pittman said...

I didn't even think about what Waititi's speech could be like. That's gonna be awesome.

Robert MacFarlane said...

I’m officially downgrading my already low Jojo Rabbit rating on Letterboxd out of spite.

Louis Morgan said...

Looks like it will be Oscar winner Taika Waititi soon.

Great to see 1917 take production design, though I still think Hollywood has it at Oscar.

Poor Newman...

Tahmeed:

I feel I gave my thoughts on him through the review.

Bryan L. said...

Louis: Is it a done deal for Hildur at the Oscars or do you think Newman could still upset?

Louis Morgan said...

Parasite takes Original screenplay, hopefully Oscar doesn't screw that up.

Louis Morgan said...

Bryan:

I mean it feels like it. Newman I think has a slim chance, just due to his amount of nominations, and that Oscars actually likes tech sweeps more than BAFTA. It would need to be a Gravity/Mad Max situation, but not sure that it will pull that off.

Calvin Law said...

Fuck Joker man.

Louis Morgan said...

And the acting winners are set in stone, as expected.

Louis Morgan said...

1917 wins best film, so I'd say that's probably all she wrote, though the preferential ballot does leave a little room for a Parasite upset, I think 1917 probably takes the whole.

Calvin Law said...

Don’t even care about the acting winners anymore lol. Just give Newman his Oscar.

Louis Morgan said...

Calvin:

Hey I'll say it, as acting winners go, there's better choices in each category, however all are not bad to good as stand alone work. I wouldn't qualify any as "deserving" so to speak, but they're not terrible winners.

I will focus on the positive in that 1917/Mendes is a stellar pic/director choice and if Parasite wins original screenplay it will be one of the best winners in that category. Add that on some potential great tech choices, particularly cinematography, can't say I'm going to be too upset over the eventual winners overall, especially compared to last year.

Luke Higham said...

I guess Score and Picture will be the most anticipated categories this year.

Bryan L. said...

Louis: Do you reckon Klaus could potentially win Best Animated Feature? It took the prize at the BAFTAs and it swept the Annie Awards. It definitely has the highest profile of the nominees right now for sure.

Calvin Law said...

Louis: for sure. Last year never happened so long as I’m aware.

Louis Morgan said...

Bryan:

I think it can, and I'd be happy to see the upset. Last year showed a few kinks in the Pixar armor, so hopefully it happens again.

Robert MacFarlane said...

I guess I’ll be the singular malcontent again this year.

RatedRStar said...

The Irishman is going to lose all 10 of its Oscar Nominations lol only the 6th film with 10 or more noms in Academy History to do so

Louis Morgan said...

RatedRStar:

I think it can still take VFX, but it could easily go home empty handed.

Calvin Law said...

Last one was American Hustle right? Ah, good ol’ days.

RatedRStar said...

I actually missed most of the Oscars ceremony last year until it got to Actress and Actor, fortunately, I am going to watch all of it this time. Gonna get up early in the morning and not look at the news or internet lol.

Luke Higham said...

I didn't watch last year's either except for Colman's win.

Mitchell Murray said...

At least out of the eventual acting winners, I'm of a similar opinion as Louis:

Dern's fine, and its honestly a case where her character is a bit lacking more than her actual performance.

Pitt's just a lot of fun, and for me it's the best of his purely charm based performances that he's ever delivered.

Zellweger's good. The movie's very uninspired and it's not the best biopic portrayal ever, but she's still more than decent as Garland.

And Phoenix....well, like I said, allow me to re-watch the film to truly solidify my thoughts. For now I'll say that he's....strong as "Joker".

There's obviously more deserving contenders and it will be disappointing to see them miss out (Especially Driver, Johansson/Ronan, the "Irishman" duo and Pugh (Side note: Still need to see "Jojo Rabbit"), but by the same token, there's also been FAR more underwhelming nods and wins just from the last few years alone.

Mitchell Murray said...

Luke: And on that note, despite everything I just said, fingers crossed for a Zellweger upset ala Colman vs Close....I know it probably won't happen, but there's still a chance.

RatedRStar said...

There tends to always be one upset at the Oscars, at least one.

Louis Morgan said...

RatedRStar:

I think it could be Parasite pulling off a Moonlight/Spotlight, though 1917's detractors are pretty limited and muted, so I will be predicting 1917 to take the win, but the chance is there.

Luke Higham said...
This comment has been removed by the author.
Luke Higham said...

Louis: Your thoughts on this. One of my all-time favourite chat show moments.

youtube.com/watch?v=yuXGpUR7fXA