Alternate Best Supporting Actor 1996: Results

5. Eric Tsang in Comrades: Almost a Love Story - Tsang delivers a moving portrayal of a gangster with more heart than you'd expected.

Best Scene: Many wives.

4. Ed Harris in The Rock - Harris, despite being in a dumb film, gives a complex portrayal of a soldier whose convictions slowly bring about his tragic downfall.

Best Scene: Breakdown of command.

3. Harry Belafonte in Kansas City - Belafonte gives a film stealing performance by subverting his typically affable presence, in his portrayal of almost demonic philosopher/gangster.

Best Scene: Racist joke.

2. Charlton Heston in Hamlet - Heston proves his measure with Shakespeare in making the words sing, but also offering such potent emotion within it.

Best Scene: Monologue

1. Peter Stormare in Fargo - Good predictions Razor and Bryan. Stormare offers the perfect other half along with Steve Buscemi, as two less than professional criminals, in his performance that works both as a hilarious deadpan comedic partner, and a chilling portrayal of a truly amoral killer.

Best Scene: Highway Massacre

Updated Overall

Next: Back to 1943 (will be brief)

Alternate Best Supporting Actor 1996: Eric Tsang in Comrades: Almost a Love Story

Eric Tsang did not receive an Oscar nomination for portraying Pao Au-Yeung in Comrades: Almost a Love Story.

Comrades: Almost a Love Story is a sweet, if a touch overlong, film about two mainlanders in Hong Kong, who can't quite seem to come together.

Eric Tsang plays one of the potential obstacles between the love story that seems always on some sort of on the brink between  Qiao Li (Maggie Cheung) and XiaoJun (Leon Lai). This as Tsang portrays a mob boss costumer of Qiao's, at a message parlor. Eric Tsang would later play notably a mob boss in Infernal Affairs, however Pao Au-Yeung here is a far cry from that more dramatic criminal he would later play. This as we really come in at first to the man, mostly head down, just receiving his massage and attempting to flirt with Qiao. Tsang delivers a bit of the expected "brunt" to the role when he demands force be used to handle some issue relayed by his men, but even this is just a perfunctory statement. We we get more passion is as he speaks to Qiao of his new tattoo adorning his back, along with his more expected tattoos, that of Mickey Mouse, her favorite character. It is then we see that Pao isn't your standard mob boss as we see the two begin an actual romance. Though this first seems likely to be short lived as Pao essentially tries to allow her to leave by speaking of all the wives he has in other countries, Tsang handling this moment as one of false bravado. This not as a boast, but as a man attempting to not only soften his own wound, but to most earnestly make Qiao feel better about herself. This in his face though a real sorrow of the loss, that Tsang strictly conveys the genuine sense of love in the moment. This showing the real heartbreak in the man in the moment, before Qiao decides to marry him. Although the scenes following this are brief, however Tsang uses them well. This in providing a real warmth in the interactions and a purity of the man's manner, as though this is Pao as his truest self. This in portraying just a to the point sweet man, who loves his wife, and wants to just live a good life with her. Tsang naturally delivers a potent affection this as he makes it natural from that of the former gangster, to just a caring husband in every sense. This making it so when he makes his untimely exit it is something that is felt, and not just an obstacle to get gotten over for the sake of the leads finally getting together. This in Tsang successfully creating a sympathetic portrait of both the typical "other guy" of the narrative and of a gangster. It's a relatively short performance but Tsang delivers still a memorable impression within that screentime.

Alternate Best Supporting Actor 1996: Peter Stormare in Fargo

Peter Stormare did not receive an Oscar nomination for portraying Gaear Grimsrud in Fargo.

Now I previously reviewed Steve Buscemi's great work, as the largely incompetent Carl, the one half of two criminals hired by used car salesman Jerry Lundergaard (William H. Macy), to kidnap his own wife to extort money from his father-in-law, but I was remiss in forgetting Carl's, mostly, silent partner...in crime. Stormare's performance is an anti-thesis that I will get to, but it is also brilliant that I will preface, although since he was my runner-up even before this review, so that might be obvious. This is actually one of those interesting performances in that I've enjoyed Fargo multiple times, yet I forget that Stormare is only a few scenes, as he seems such an essential element of the film. This is as his impact is essential, and we must look to Stormare's work for leaving such an impression. This is as his work is almost a silent performance, though the few words he does make leave an incredible impact, Stormare, unlike the rest of the cast has a limited amount of that wonderful Coen dialogue to work with. In fact Stormare more of just has a few lines in total, and a great deal of silence, though this is all he needs to create two different achievements within the film. The first is this is a hilarious performance, oddly enough despite being the most terrifying character, as we find Carl and Gaear, in some ways have more in common with Laurel & Hardy than a Leopold & Loeb. This as we have Buscemi's Carl as the man who never stops talking against Gaear who rarely says a word, unless he deems it essential. The few words being each in themselves idiosyncratic, yet so fascinating of deliveries every time. This in "Where's pancakes house" with his face of sincere questioning then disbelief as Carl doesn't agree to get some proper pancakes at the pancakes house. Stormare's face is something special here, as in a scene like that it is to such great comedy in his nearly dead eyes towards Buscemi, before Carl relents to agree to pancakes after all. He is the fantastic deadpan straight man of sorts Buscemi, like in their later conversation where Carl attempts to get a few words to which Stormare delivers his "Nope" and "I just did" as a fountain of conversation with such beautiful bluntness. This though maintaining this indifference towards slight annoyance at his chattering partner. 

There is something just fascinating yet perfect about how Stormare approaches every scene in creating Gaear as a whole different kind of sort. And initially this seems to be fun and games, in ignoring his partner, berating Jerry briefly for the stupidity of his plan, but then they do kidnap Jerry's wife, and we get part of where Gaear may not be so much fun, though still hilarious. This as when Jerry's wife bites him first to escape him, we get another classic bit of oddness from Stormare in his "I need unguent" that is marvelous by how detached from the situation he is in the scene. This distance, that same detachment, brings upon a more eerie quality however when he finds that much need unguent along with Jerry's wife attempting to hide in a shower. This as he notices her, but with those hollow eyes now finding a more menacing quality within them in that distance Stormare brings. The same distance he brings as he follows Jerry's wife as she falls upon the floor knocking herself out, and Stormare pocks her not as a sadist, but as someone might interact with an object or insect. This strange nature of Gaear coming out more directly, as the two men, with their kidnapped in tow, are stopped on a remote road. Stormare's manner becomes most unnerving as we begin to feel a bit of what he can do. This coming up initial as Carl attempts to bribe the highway patrol officer, leading to Gaear instead to kill the officer without hesitation when that doesn't work. Stormare's way of speaking towards Carl's claim "You'll take care of it" is with a chilling blase quality to it. This as we see only spark of anger, when directly annoyed by Jerry's wife's screeching only as it seems to interfere with him directly in some way. Stormare is terrifying and strangely mesmerizing as the sequence continues, as while Carl is attempting to cover up the murder, two onlookers driving by leaving Gaear to finish the job. This as Stormare portrays Gaear in almost this zen state and quiet determination, where this business seemingly is nothing out of the strict ordinary for him. I especially love, though that might not be the right word, as he catches up with the onlookers who crashed their car. Stormare's is unnerving as his manner is relaxed, his state calm, but calmer than calm. This as we see him particularly look at one of the witnesses stuck within her car. Stormare doesn't smile or wince, he rather seems almost observant of not a man looking at a person, but rather how a man look like something that which he shares no connection. Now I could've sworn there was a great deal more of Stormare after this scene, I mean I could swear it right now, even though he only has 2 brief, 1 relatively brief, and one major scene, all with few words after this pivotal scene. The reason I could still swear it is the impact he leaves nonetheless, and even in these scenes, where we see this horrifying force of evil in Stormare's performance, that nonetheless is captivating. Whether that is as he looks on at, Jerry's wife failing to escape, or Carl's struggle to get a signal on the TV at their cabin hideout. In each moment the power of Stormare's work is evident, and all the greater the more we see him. Although I do have to take one moment to refer to his more comic work in the first half in his one major, albeit short, comic moment later on. This as we see Gaear waiting by watching a Soap Opera, and Stormare's genuine surprised look as Gaear hears the revelation, is pure comic gold. Now though, back to the more fundamental purpose of his work later in the film. Where we have two immediate scenes of Stormare's terror in a way, because of how at ease he is, whether it is mentioning the murder of Jerry's wife, as though he's explaining why he took out the trash, or his killing of Carl as though he's going out to shovel snow. This as we find him that antithesis to the chief investigator of Jerry's scheme, Marge Gunderson (Frances McDormand). Where she is a morally good character, to the point her greatest frustration in the film is shown towards Gaear for doing all his ill-deeds for money even on "such a beautiful day". Where Marge is defined by positivity and a love for life, we have instead Stormare as Gaear as a strictly amoral individual detached from life. This even compared to Jerry and Carl who are too human in how pathetic they are to be pure in their despicable nature. Stormare doesn't make Gaear just a bad man, but rather a fundamentally amoral force within the film. This right down to his "conversation" with Marge, where she questions his actions, and with Stormare there is no regret on his face, or even anger, rather he shows a man whose violent actions where in a way meaningless to him. This is a downright brilliant performance from Peter Stormare, as he is endlessly captivating through so many wordless moments, while being a proper comedic partner to Buscemi, while also wholly finding the needed menace and evil to create the purest villain in the piece.

Alternate Best Supporting Actor 1996: Ed Harris in The Rock

Ed Harris did not receive an Oscar nomination for portraying Brigadier General Francis X. "Frank" Hummel in The Rock.

The Rock follows an improbably named chemist, Stanley Goodspeed (Nicolas Cage), and an imprisoned SAS soldier, Mason (Sean Connery), who must infiltrate Alcatraz to stop a group of rogue marines. Marines who have taken control of the island with hostages along with missiles carrying a deadly poison.

Michael Bay movies are stupid. This is known. This is the good Michael Bay movie, on the virtues that it is a successful action picture, though his unfunny juvenile humor often rears its head indicating his later features though thankfully more minimally here. It might also help is one thing that Michael Bay seems to take pretty damn seriously is the US military. This creating then at least the allowance for anything of even a remote substance, though I will still say in a limited fashion, in the character of General Hummel played by Ed Harris. Harris's performance here, honestly is in a different movie than Cage and Connery, but that's alright, since he barely shares any scenes with them, and we can essentially take in what he is doing separately from their antics which are of a more ridiculous, though definitely entertaining, action spectacle. Harris basically is there to take upon all serious intentions and gravity of the film on his shoulders. This is something he seems more than ready to perform from the opening scene of the film. This is right from the outset of the film as we see Hummel making his technically villainous decision, at the grave of his wife. Harris does not play the scene like a dumb action movie, what the Rock is, but rather reflect the grief within a conviction in his voice. This as Hummel offers almost an apology to his wife in explaining his soon to be actions. Harris offering the devotion of a drama in the moment by reflecting the sadness in the General as some sense of motivation for what it is that he is about to do.

What he is about to do is a lead a group of his solders, and a few extra wild cards (for the sake of a last act villain switch), to steal chemical weapons then take Alcatraz. Harris, as shown elsewhere, excels as the company man military role to begin with. His innately intense delivery, and rigid demeanor help to reflect a man who has lived life by a code of discipline. This even being shown as we see the man in his villainous enterprise,  as Harris doesn't portray Hummel as a lunatic, but rather a General prepping for a mission he deeply cares about. This as we see him running it as he would any mission, with Harris delivering each line with a careful measure, and even subtly in his eyes, showing a real sense of loss, when one of his men dies, though hiding it within the veneer of maintaining order as a leader. This is even in a brief, but important moment, when taking Alcatraz, where Hummel asks children to leave the island before he takes it. Harris doesn't make the moment a sociopath putting on an act, but an honestly caring guy asking the children to be out of harms way. This supports as we finally hear the General's demands, which is money, however money specifically for the sake of the families of soldiers killed in Black ops mission, disavowed by the government. Harris delivers on the idea in the initial threat in offering a controlled passion, showing the man absolute belief in his objective, while again still presenting himself as the controlled General feeling he is performing just yet another mission.

Harris makes for a good villain in that he manages to deliver on the idea of the menace within the controlled certainty of the character. Where his performance though goes beyond that is creating a definite tragedy within the role, that he manages to weave from that opening scene and throughout the film. This is that he doesn't just make him some military mad man, but a genuinely caring person. This is within the film as written, however Harris is essentially in not only giving it sense, but even a power to it. Take the scene where his men kill all the government's infiltration team, sans Mason and Goodspeed. The argument that prefaces the massacre, Harris makes more out of the scene, this as he begins with the strict intensity of the General asking for surrender, however as it continues his delivery offers a greater frustration. This not being a frustration at disobedience, but rather seeing the situation is about to go out of his control with innocent lives being taken. His yells of "cease fire" is with harried expression from Harris as man whose resolve has been shaken, and his moment of looking upon the dead soldiers, Harris grants an honest poignancy to as he subtly reflects the real regret in the General within the moment. The one scene where the two sides do collide is where Mason, briefly, turns himself into the marines, and he and Hummel have a brief battle of words. Even in this scene, that is primed as the testing the villain moment, Harris manages carry on the specific arc of the General. This as even reaction to Mason's words, it is with a greater internalized frustration that externalizes as violence.Those that Harris does not act as a beat down for sadism, but rather a gut reaction of a man who can't fully rationalize his choices in the moment. Harris is consistently compelling in granting a severity to the worsening situation, as the General is pushed by his men to launch his poisoned missiles. This as he continues to capture it as the idea of the man slowly getting in over his head on his idea, than a lunatic. This as when they launch one missile, where Harris portrays with a resignation. This not being a resignation to kill, but rather a resignation that his plan is a failure. This naturally comes to a head when his additional wild cards, question his actions and attempt to relieve him of his command. Harris is fantastic in this scene. This as he begins it first with the same conviction explaining his plan was a bluff, therefore it is over. This with the same determination in his voice in his threat as he does explain that he never had intention to kill innocents. I love the moment in which Harris attempts though to tell one of rogue men to stand down, first with his General's confidence, however as the man doesn't listen the second time Harris's voice cracks. This emphasizing the man not only losing his confidence, but also realizing he's lost his control of the situation. Harris finally fully realizing the real desperation of the General as loses that strict assurance of himself essentially. This in his very final moment, that Harris does not waste, in speaking with a genuine regret as he asks "What have I done". This is terrific work from Harris, as he finds a real tragedy within his villain. This even in an absurd action picture, Harris maintains a gravitas within his role, and even offers a semblance humanity into the plot, that is pretty ridiculous when you break it down.

Alternate Best Supporting Actor 1996: Harry Belafonte in Kansas City

Harry Belafonte did not receive an Oscar nomination, despite winning NYFCC, for portraying Seldom Seen in Kansas City.

Kansas City is a Robert Altman attempt that just doesn't come together (in part due to Jennifer Jason Leigh's Achilles heel being on display, that being hammy attempts at portraying the Golden Age Hollywood style), not that it's terrible or anything, about a woman kidnapping a politician wife attempting to save her criminal husband who has been kidnapped by a gangster.

Well that gangster is played by veteran performer Harry Belafonte, better known when it comes to entertainment for carrying more than a few charming tunes, plays entirely against that type, though oddly enough in type compared to his role in Uptown Saturday Night, where he also played a criminal. This however is one with a far darker intention. The part of the film that works is when Belafonte is onscreen as Seldom Seen, partially due to the sheer power of his work. This in using his scraping voice to great effect as we early on see the man's wrath just bubbling as ponders on the theft in one of his cabs, by a man pretending to be black. Belafonte has such an ease in menace here that is downright startling coming from him. This is evident from his first monologue, as he has captured the foolish thief. This is as Seldom states his distaste for the man's choices though with this certain disturbing manner, as though he almost reciting a poetry as he speaks of it, though ends with pondering what he'll to do the man directly. In just the final few words Belafonte shifts his delivery, and his eyes suddenly, and so effortlessly create a chilling quality as we see the real threat within Seldom. Where the rest of the film kind of meanders around, you just awhile just await the return to Seldom's jazz club, to get what else we have in store from Belafonte, who despite not having nearly enough screentime, steals the film entirely. Belafonte sinks his teeth into every time we come back to Seldom, and get a bit more of Seldom's philosophy. Belafonte is brilliant in that while the scenes are all these philosophizing, that he not only makes sing, he manages to make them less artificial than they're written largely through the virtue of his work. His second speech on losers, directed as basically telling the thief he will die one way or another, again Belafonte manages to combine this certain breezy style as though he might be ready to say something, yet again deteriorates it as his eyes just grant this sinister glint of man essentially playing with his prey. Belafonte carries himself as this almost demonic philosopher that is just incredible work from him. The greatest of these perhaps being his racist joke he tells as a man is being violently beaten. The manner in which Belafonte brings to the tale is disturbing by just how energetic and gleeful he is. Belafonte creating this sense of a man with what is a most nihilistic worldview, that he makes vivid, while also just doing so in being downright captivating in each word he speaks. Even in speaking on the nature of death, it is with an optimistic smile he says as he ponders when it's time, but again with an even greater devious joy when remarking that he gets to decide when the thief dies. My favorite moment of his might be a mostly reactionary one where the thief tries to bargain for his life, through some minor threats. This in Belafonte as he builds in small reactions of disinterest, then slowly bemusement as the man offers to be his slave. Belafonte switch from a bit of joy at the idea of owning the man, then change so slightly into a hellish grin as he notes that he's really just most interested in the man's "guts" being his, and in that moment we see the unnerving determination that gangster has made for his victim. Sadly, to support the pun, Seldom Seen is seldom seen in the film, and the sum total of his screentime is limited. Belafonte makes the most of it creating such a fascinating villain in so well realizing the man's sort of callous philosophy towards life. If only the whole film was about Seldom, as Belafonte's work is worthy of mention with the best of Altman, the rest of the film...not so much.

Alternate Best Supporting Actor 1996: Charlton Heston in Hamlet

Charlton Heston did not receive an Oscar nomination for portraying The Player King in Hamlet.

Kenneth Branagh's epic, complete, Hamlet is a fascinating examination of just how much within Shakespeare's play, given the complexity of elements that are usually passed over in most adaptations. Branagh within his epic approach in every regard includes including all-star cameos per the most minor role. A choice to give essentially each character some impact, although the choice overall is imperfect given some of the more lackluster performances attempting Shakespeare, it also provides major dividends, none greater than Charlton Heston as the Player King. Heston throughout his career was known for a more specific roles, almost as the prototype towards the more modern action hero in many ways. Heston though technically came up through Shakespeare, which seems alien towards so many of his cinematic roles. This training, which was rarely called upon throughout his cinematic career, was finally given the chance to truly shine, though in an unlikely role. The Player King typically is not a part of note in Hamlet, he is there just to basically help reenact Claudius's, via a play, murder of his brother to get a visible reaction of guilt out of the treacherous king. This usually played by no one of note, but you know what "Do we have to put up with this? Can't we get a better actor. I know it's a small part, but I think we can do better than this?" Well no more requests to be said. Although the part is more substantial within the play therefore this version, as the entrance of the players to the kingdom, gets more than just excitement from Hamlet, giving him a chance to essential fanboy over the performance of tragedies he loves so much. It is here we get a proper introduction of the Player King, as he is called upon for a monologue on the tragedy of Priam and Hecuba, an even greater monologue than the one about that one perfect day on Gordon street. As much as a joke about another Heston cameo, this is downright brilliant work from Heston. This as he calls upon all his might as a performer to deliver the story of the dying king. Heston's considerable presence honestly has never been greater, as he commands the screen with an ease, even at his older age, the sheer force of his physical manner has never been more potent. Heston is mesmerizing in a way that quite honestly you may not have expected him to be. This as his sheer ferocity of his work here is incredible, only amplified by that so wonderfully worn yet still refined voice of his. This as he speaks the words so dynamically and so effectively, he grips you into each and every one of them. The extent of this though is remarkable as Heston shows a true effortlessness with Bard, but goes even further than just being well delivered speech. This in his work delivers within it this emotional vulnerability, that grants the speech an even greater impact, as he seethes with an initial rage in his face initially in creating the fury around the story, that slowly segues to tragedy. This in his eyes, that do indeed bare tears, captures so poignantly the loss within his monologue. This as he shows a man fully within the world of his words, and in turn brings us right into that same emotion. The degree of that range of emotion here, almost makes one ponder why Heston seemed to be holding out on us in his other roles. This as his work here is simply stunning. Heston's work actually also is fulfilling a plot point, within the play typically removed, of Hamlet seeing the ability of the actor to elicit such a great emotion, which he could use against Claudius. Heston earns that idea, and then performs it, as we see him in the more expected scene of performing the play that acts out Claudius's betrayal. Though in this scene is less as directly intense in its power, it is still a fantastic scene for Heston, as he delivers such a quiet warmth within the dialogue of the soon to be dead king with his wife. This creating seemingly a sentimental soul as he instead finds the power in the words through more tender emotions. This in offering the sense of an understanding of one's demise in his quiet sense of resignation along with that sense of a loving man. Heston's work here is simply incredible, in that he offers both the blunt force of personality you'd be more likely except from him, though never better, but with a vulnerability and emotional range, you'd never expect in his lesser roles. Heston earns the right of the non-truncated play, through showing the value of what is cut in this magnificent work. It is a true showcase of making the utmost of a minor role, and becoming a true highlight of the film.

Alternate Best Supporting Actor 1996

And the Nominees Were Not:

Charlton Heston in Hamlet

Ed Harris in The Rock

Peter Stormare in Fargo

Harry Belafonte in Kansas City

Eric Tsang in Comrades: Almost A Love Story

Alternate Best Actor 1996: Results

5. Christopher Eccleston in Jude - I decided against a full review, and tried as a I might I couldn't quite find an obvious alternative, other than James Woods, but...I still didn't want to watch that film again. Eccleston to his part gives a fine performance here. It isn't anything too notable overall, as this sort wistful poetic type stuck, in his view, in a more provincial life. Eccleston gives a fine portrayal of sort of the romantic needs of the character, and his low key anguish regarding his inability to seemingly find quit the right life for himself. It doesn't amount to anything truly remarkable by any measure. His chemistry with Kate Winslet as the similarly minded woman is more than fine, though not especially notable. He is in fact a bit more interesting in his sort of anti-chemistry with Rachel Griffiths, as the woman he finds himself with, but is hardly of his dreams. Eccleston carries the film, and the character, well, but it doesn't leave too much of an impression in the end.

Best Scene: Finding what his son has done.

4. Phillippe Torreton in Captain Conan - Torreton gives a terrific performance in portraying a man who fashions himself as a true warrior, doing whatever it takes to win the battle and his carry his troops through even rather questionable circumstances.

Best Scene: Ending.

3. Timothy Spall in Secrets & Lies - Spall gives a great performance here in capturing such an honesty and powerful depiction of a strictly good person.

Best Scene: Final speech.

2. Jeffrey Wright in Basquiat - Wright gives a fascinating portrayal of an artist with a striking perspective however one that leaves him lost within the world.

Best Scene: Leaving the world.

1. Max von Sydow in Hamsun - Good predictions Shaggy, Michael McCarthy and Luke. The legendary Max von Sydow delivers one of his best performance in capturing such a unique and remarkable portraits of a "great man" living beyond his time while struggling with a deafness towards the world, even beyond his physical limitations.

Best Scene: The trial.

Updated Overall

Next: 1996 Supporting

Alternate Best Actor 1996: Jeffrey Wright in Basquiat

Jeffrey Wright did not receive an Oscar nomination for portraying Jean-Michel Basquiat in Basquiat.

Basquiat is an interesting, if slightly disjointed film, about the short life street artist turned toast of the art scene of NY of the same name.

Jeffrey Wright has perhaps long been an actor on just the edge of a breakout for what must be said is his entire film career. This as his performance here was his first cinematic role of note, despite acclaim in reception for his work still led to Wright being more or less in this same place over 25 years later. This is once again a shame as Wright's unique talents are clearly on display right from the outset here in the role of Jean-Michel Basquiat which in itself is a considerable challenge, and something the extremely talented Wright is more than up for. Basquiat, despite being about a completely different art era, actually shares several similarities with director Julian Schnabel's latest film At Eternity's Gate. This as both films follow an artist, in almost a manner is to be representative of their style, and despite many different between Basquiat and Vincent Van Gogh, we find a very similar idea at the center of their stories, as presented by Schnabel. This idea being in crafting the way the artist's perspective is fundamental in this existence. As this was found in Willem Dafoe's portrayal of van Gogh in that later film, it is also within Jeffrey Wright's portrayal of Basquiat. This in that his performance too is built up from this idea, and this absolutely essential in terms of granting an understanding of the man, particularly how he exists in the film. This as if a lesser actor was in the role, I think it would be extremely easy to create an excessively grating or even cartoonish character out of Basquiat given his eccentricities, however Wright finds a real truth to him.

Wright's performance is from the ground up so to speak, in that everything that comes from his work is granted in the idea of creating that Basquiat is on a different wavelength from most people. In this portrayal of this though Wright does a few careful things, that really make this a remarkable portrayal. The first in the act of the eccentricity, particularly Basquiat habit of making graffiti out of anything, including the art of others, Wright portrays this as this state of id, rather than any mischief in him. Whether he is painting with maple syrup on a diner table, or technically vandalizing work by Andy Warhol (David Bowie), Wright physically makes it just as though he is infant interacting with his environment. It is just as a natural thing that he presents as just as he would breathing, and shows very much that there is not even a second thought in this, either in concern for what he is doing, nor in terms of doing anything malicious on purpose either. It is just the man being himself. In this is the greatness of Wright's work in that he makes such a tangible portrayal of what is in a way a ethereal figure often in his story. Wright in his unassuming demeanor, and rather timid voice in the role, just simply becomes this man, who is interacting within a world that almost isn't quite his own. This isn't because he's an alien, but rather like van Gogh in "Eternity" he is someone who sees the whole world in a way that simply no one else does, which is a different experience entirely.

Wright is pure in this sense, and there is something innately compelling to watch Wright work here, who seems decidedly unmannered despite technically being very much so. Wright manner as the retiring, and insular not only feels honest, but also even has this notable charm to it. Wright's way is that he never cheats the idea even for a moment, never plays up a scene, even in Basquiat's most flamboyant moment it is just this behavior of the man that still feels like how he interacts with the world, rather than any playacting. A reason for this though is that Wright does not use it as an excuse to close off his performance, and just seem detached or otherworldly. He rather finds a real humanity within the alternate perspective that gives this performance a real power. This as we see particularly in the moments of interacting less so in the art world and more so on the more interpersonal level. One main one being with his brief one with his mother, where Wright reveals what is at Basquiat's heart a real sensitivity, as he tries to speak to her in her ailing state. I love his delivering in this scene as we see Basquiat trying to connect so timidly and nothing but pure concern for his mother in his eyes in the moment. Wright is wonderful in this because within it he finds something genuine within both the flaws and virtues of the man, these that are not at all alien, even if brought on at times by his perspective of the world.

We see this in his scenes with his girlfriend, Gina (Claire Forlani), where he does capture a tenderness, in his modest manner of attempting to connect with her, even if even in this more intimate relationship Wright reveals a distance within the struggle. Wright is fascinating though in that throughout the film we get what is really a shorthand in his performance, in we come to know how Basquiat's reactions mean due to the consistency and vividness of Wright's performance. This as we later see Basquiat reacting to Gina finding out that he cheated on her, he doesn't say a word, but Wright's quietly damaged expression is just so perfect of displaying how the man falls into himself in a way when he is suffering. This is similar as well in just his eyes convey the discomfort when his father, and his wife, that is not Basquiat's mother, come to his art show. This is not delved into yet the wound of this is within Wright's expression so remarkably, however within the way that it is Basquiat. He doesn't yell about it, rather it is this internalization and unease as he seems to not be able to quite express this anxiety the same most would, yet you still understand it through Wright. This grants sense then the companionship we see between himself and Andy Warhol, where there is a real warmth in their technically strange interactions, however what Wright, and Bowie, show is two people on the same wavelength, that is different from all others, connecting in their own way, that is very much off the beaten path. In these moments we see the direct connection in Wright's work where the interactions are of men with almost understanding of this different sight. The man's suffering though then comes from others attempting to label him, and loss of anyone to understand him, which is only exacerbated by the death of Warhol. This where we see him coping with drug use, which Wright portrays as the moments of the most intense moments, of that internalization welling up within him, that is so potently shown within Wright's eyes in this moment. The use of the drugs to be this vain attempt a reprieve from the world that can't quite connect with him. I adore the moments where we see Basquiat directly face questions that pry towards his identity or situations that play upon, and Wright brings this discontent so meekly, yet pointedly as he expresses as the man expresses himself. This as just up front who he is, but in turn that is within his nearly passive state of just trying to be who he is. In the end of the film, as Basquiat is essentially lost in the world, Wright is heartbreaking in his final speech about leaving the city. This in his delivery is rather with this tragic resignation with the sense of leaving the earth entirely as this is this desperation that Wright conveys as a man who believes he will never find his place or understanding from another again. This is a beautiful performance by Jeffrey Wright because he depicts Basquiat as a one of a kind person, however never does so to idolize, simplify or to create a cloying ideal. He does so in creating a real person, unique in their state yet truly human within this idiosyncrasy.

Alternate Best Actor 1996: Timothy Spall in Secrets & Lies

Timothy Spall did not receive an Oscar nomination, despite receiving a BAFTA nomination, for portraying Maurice "Morris" Purley in Secrets & Lies.

Secrets & Lies is showcase on how to do a drama of its type, as it so carefully maneuvers around the melodramatic or patronizing pitfalls within the genre, to craft something quite special in its story of a woman, Hortense, (Marianne Jean-Baptiste) attempting to connect with her biological mother, which is not at all a simple prospect.

Well finally we have arrived to Timothy Spall, who I've yet to come across in this endeavor, despite being such a memorable performer, in many notable films. Thankfully I can rectify that oversight here. Timothy Spall plays the brother of the mother, Cynthia, (Brenda Blethyn) of the woman, whose story is in a way adjacent to the main thrust of the drama, however he is essential to the film. This as we are introduced him seemingly as almost the yin to the yang ov his downtrodden sister, as Spall's Maurice we find at first as a successful photographer. We see him at his craft and I suppose in a way we are allowed to see the unique power of Spall, as these scenes seemingly should be perfunctory, however they are remarkable, with Spall being essential in this. This as he brings his unique presence here, that is more subdued than he sometimes is, as he is here portraying Morris strictly as a real person, who knows his trade. Spall in every one of the photography scenes, even when we so often just hear his voice attempting to get a smile or a movement out of his subjects, is oddly electric. Spall captures this curious charisma in these moments in that his voice inspires a comfort, in the strict compassion in his timbre, even as he is conducting his subjects in a way, it is with this gentleness, but also wry quality Spall finds. He delivers this wonderful quality in Morris's manner as something so genuine in the way he speaks to his subjects as just this gentle friend, trying to get the best out of them.

While Spall carries Morris with just a gentle honest bright smile at his work, we follow the man to his home life, where Spall still defines the man through his compassion however with a striking nuance. This as we see Morris interact with his wife who suffers from chronic pain. There is a difference in Spall's work in these moments in that we do see a great effect on his own self, as the degree of somberness in his work is found. Spall is remarkable in the way though he is able to show it as something that affects him, but doesn't ruin him. Spall rather in this is able to convey the empathy in these reactions towards his wife in this instance, even as some of her frustrations are quite intense. Spall though emphasizes his concern though in every gentle word, and even as his eyes gathers a sadness, it is for his wife rather than himself. We find the very same in the first scene we see him interact with his sister. This is prefaced in the moments where he remarks on Cynthia around his wife, who is somewhat hostile towards her. Spall though, even as he speaks on Cynthia's troubles, is with this quiet love. This even when speaking that a child picture was one of the last time she smiled, Spall words are spoken with a soulfulness who regrets the suffering she's had to undergo. The same we see when interacting with her directly, where Spall brings a modesty of concern, as his eyes look to offer support to his sister, quietly yet so assuredly, as Spall's work is so authentically caring.

It is often the mistaken view that a character must be deeply flawed to give an actor something to do, though while that is indeed mistaken, I think actually playing a purely good character is in itself a challenge. This as the performer must both avoid being dull within this goodness, but more importantly must be authentic and real within this nature. Spall gives a masterclass here on how to portray a good-natured person. This as he's anything but dull, because of how genuinely he brings to life Morris's empathetic manner. This is as we even see him speak on his mother, and reflect on his distant father through the lens of understanding that distance. Spall makes this so convincing though in his eyes portraying a man perceiving a proper self-analysis with a concept for the way of natural human behavior. Spall is pure, but not angelic. He's a man, but such a good man that he makes this powerful truth. This is especially well shown in a scene where the former owner of his photography shop stops by, clearly destitute and bitter. Spall is magnificent in this scene as he draws only sympathies as he speaks to the man, this bringing a gracious quality of a host, but pulls back from being a fool. This as when the man accuses Morris of ingratitude and taking his success in a way, Spall is perfection by not breaking a facade, but showing the same good man even when handling hostility. This as Spall's delivery is firm, not-sadistic, but also confident. Spall shows a man clearly putting his foot down when he is right, but doing everything in his power to help ease the situation. His face in particularly finding such a notable sense of patience of Morris, which even in bad moments holds firm.

Spall's work I think is essential to the film's greatness in that he offers a contrast to the more melancholic moments involving Blethyn's Cynthia particularly in the early scenes. He's not just a bright spot, but also to ensure a variety within the idea of the life of the family, rather than hammering in the misery with no respite like in the domestic dramas of Ken Loach for example. The film culminates as Cynthia and her two daughters, one not knowing the other, to Morris's home for a barbecue. This where we see Spall as the gracious home, which expectedly, Morris/Spall make for a low key charming host, as he speaks to anyone the interest is with an absolute genuine interest. This though with his eyes capturing a concern though still wondering the slight tensions he notices in his sister. Spall so earnestly portraying the way he's tuned into his sister, noticing something off, but just with a calm worry. This is as much as Morris remains calm, Cynthia does quite the opposite in revealing the secret of who her mystery guest is, as her daughter to all those gathered there, in basically the worst possible way. This leading her younger daughter, as high strung as Cynthia, to breakdown. I love Spall in this sequence as he reflects how torn up Morris is about it, even though it is hardly his fault, but rather in his eyes that show the heartbreak for his family's suffering. This as even as the rest of the family continue the conflict, Spall is fantastic in offering the steadfast nature of Morris as he takes in the pain of the situation. This is until he gives a final speech of the film, which other than speaking the titular line which feels slightly distracting, is just an outstanding scene. This is so well earned, and performed by Spall. This as he does deliver an explosion as Morris finally just speaks everything in the open to clear it up, and his anguished delivery offers a man not upset over the pain, but rather upset over the suffering caused his family not taking the moment to simply listen to one another. It is so beautifully cathartic as Spall unleashes this moment so authentically as Morris's nature in a way having enough, but trying to get everyone else to see things as he tries so hard to do. Although the film was much lauded, Spall missed out on recognition other than his hometown of the BAFTAs, which is not surprising given the quiet nature of the role. That is unfortunate though, as this is a great performance by Spall, as he creates such poignant and believable portrait of goodness, that isn't as some intangible saint, but just as a down to earth good man.

Alternate Best Actor 1996: Philippe Torreton in Captain Conan

Philippe Torreton did not receive an Oscar nomination for portraying the titular character in Captain Conan.

Captain Conan is an effective film following the exploits and fallout of an infantry group during World War I, and after.

Captain Conan is a mix of stories, though these actually do cohere, this as we follow Captain Conan, his friend the academically inclined Norbert, and his squad of soldiers, many who were in military prisons previously during World War I, and a bit after. We first witness the men as they are in their element, and this is best represented by Philippe Torreton as the titular Conan. Torreton delivers a wonderful physical performance here in that he creates this effortless combination of intensity with bravado. Torreton creates a man where war essentially is his personal playground in a way, this in the man who is not a soldier but a self-described warrior. This is found in Torreton's performance as Conan, where his name is quite befitting. Torreton's portrayal delivers that man who as he walks among the battlefield you are granted this sense of determination in his eyes, but his whole manner though is with this unique charisma. We see how his men would follow him without question as there is such a sense of certainty in his movements, and his whole manner has this force of personality that Torreton brings out with it. He finds a striking presence of a man who is a force onto himself, but even greater when amplified what he does for his troops. This as Torreton doesn't portray him even as the more typical somber, essentials sort, rather this is a man who wants to be on the battlefield as everything about him in these scenes is a man who is thriving in this environment.

In and around the battles, during the war, Torreton portrays a soldier who lives to be a soldier. This as even as he chats up local girls seeking quick dalliances, it isn't with a lustfulness, but rather that same certainty in his spirit that defines his ferocity in battles. Torreton delivering the charm of the conquering hero in a way, even though much of his work involves technical slaughter as his company has a no prisoners policy. Torreton though presents a man wholly comfortable, as he would be a warrior from any century rather than perhaps the more expected respectable man of the 20th century. Torreton delivers this natural state of the confidence that just exudes in his manner that is without that hesitation. This as he even orders the disobedience of commands, Torreton delivers these lines a mere fact of what will be done without question. This with a sense of a man who knows exactly what he is doing, and the assurance that whatever he says will be done, must be done. There is an ease, and even grace about it that you are granted how he could get away with it, because in this same way you see the efficiency of the man in this. What the man does do is make advancements, and is successful in war. His manner is supported by his success within the French cause. Naturally however though as this cause stops being useful so does the tactics, as when the war is almost won, this is as his men are faced with charges of war crimes.

Torreton is excellent in still portraying the ease of Conan even in this field of the political war of sense, as he delivers again this charisma as he makes his moments of advisement and frustration known to help his men avoid their charges. In each instance again Torreton properly owns the screen, as he delivers each word still with this strict confidence of a man who will see his justice done, and his eyes offer not a hint of hesitation at any point. This as Torreton makes it utterly natural as Conan goes behind the backs of a superior to help an individual soldier, as it is merely in his line to do what his "warrior's" sensibility tells him to do rather than whatever justice another has decided for him. Torreton always emphasizing with his work the strength of will in the man that seems to overcome any adversity when it relates to battle whether it be the battle itself or the fallout from it. Torreton shows us a man absolutely in his element in each scene, and makes such an impression every second he is on screen through the sense of purity of this approach. This however is brilliantly contrasted in the film's epilogue where we find his friend Norbert seeking him out years after the war. Torreton is amazing in this scene in portraying the opposite, this as the warrior now left to fester into nothingness. Torreton is heartbreaking in portraying just how that confidence is now gone in his somber delivery of the hopelessness of his life, and the sense of loss in his eyes as alcohol seems his only comfort in life. In the scene, which I wouldn't have minded if it had been a bit longer, Torreton poignantly shows the warrior without a battle to be fought, and in that just shows a lost soul slowly fading away. This given haunting detail through Torreton's work that offers this as an extreme, but believable shadow to the conqueror that had been Conan.

Alternate Best Actor 1996: Max von Sydow in Hamsun

Max von Sydow did not receive an Oscar nomination for portraying Knut Hamsun in Hamsun.

Hamsun, as per usual it seems for Jan Troell, is an underrated film following the later life of a celebrated writer turned Nazi supporter.

It is of course with a heavy heart that one must learn of the departure of a true legend of an actor such as Max von Sydow, but within that we may all also appreciate the life, career and legacy that he left behind. Max von Sydow's career was remarkable in itself as his managed to traverse across directors, language barriers, genres, and decades of ever changing film. Unlike so many actors, there was never a truly "off" decade or period for von Sydow as he managed to find notable work from his humble beginnings in Sweden all the way to the very end of his career that included highest budgeted Hollywood films. One of the definite reasons for this was as von Sydow was a notable performer in that he not only broke out internationally but he never lost touch with his roots either. Perhaps an even greater reason for this was that no matter the film, the genre, the story, the size of the part, or even the quality of the film, it never seemed to matter for von Sydow. He's one of the very few actors I can name who I never saw truly phone in a performance. This is even in the cases where he was given a role that wasn't notable, where he was cast to try to make it so, like The Force Awakens. That part was frankly unworthy of his talent, however von Sydow still brought a gravitas to the role that would've been absent without him. I continue to speak towards von Sydow's successes, because honestly that was largely where he existed, and it seemed in his own philosophy, reflected by his work, that if wasn't a great role, he'd do his best to at least offer his commanding presence to it, but if it was a great role he'd attempt to make the most out of it.

Well I am overjoyed to return to von Sydow, and though this will not be the last time, in a great part. This in the role of the noted writer Knut Hamsun, who as we enter into the story is already seen as such, as we see the man earning his Noble prize, that is only part of his accomplishments as a man. This as we are invited into the world of Hamsun, already considered to be this "great man" of Norway, and with that von Sydow seems to take as his starting point. Of course von Sydow is already ideal for any authority figure. von Sydow simply exudes that force of personality so naturally, aided by his stature, that instantly establishes any character he plays with a degree of a type of might to them. This is evident here in von Sydow's work though utilized here in a way that helps us to infer a great deal of the man even before we really learn much about him. von Sydow's demeanor here though goes beyond creating that idea though as we are granted the age of the character, which as was so often the case for von Sydow, is considerably older than he was at the time. He also though goes beyond in his work manages to convey the specific age of the man as it relates to Hamsun, as a nearly deaf man, who seems to beyond his own expected years for life. This as von Sydow defines the somewhat doddering nature of the man, that crafts such a sense of the specific wear within the man, that is most certainly of performance, as his presentation of Hamsun's wavering physical manner is a far cry from his smooth power of his manner as Leland Gaunt in Needful Things, just a few years before.

von Sydow embodies the age so well, and that statue, in that he always walks with the gaunt of really that of the true intelligentsia, yet even in the way he parts his lips, it is that of an elderly somewhat detached old man. This in lines though an absolutely brilliant idea that von Sydow realizes in his work that is fundamental in so many of the actions of Hamsun throughout the film. This as the man is comfortable with dying, not that he is suicidal, but it is rather his time in his own view. von Sydow is amazing in the way he is able to exude this seemingly peculiar comfort and make it feel so natural within the idea of the man. This is as when he speaks of the idea is as though it is a long thought of his, something he's payed much mind to. His delivery of these words is as though it is a strict understanding of where he should be and that his time simply is at an end. von Sydow portrays this wholly without anguish, but rather at times, when specifically Hamsun is presented with the troubles of his current world, a great frustration. This frustration though not towards dying, but the fact that he has to still live when he feels he should be gone. von Sydow crafts in his eyes as this understanding, as we see in one scene where he appears as though he will die in the snow, it is not of fear, but of just a contentment that the bell has rung for him as he's expected. This is an essential idea that von Sydow realizes so vividly as von Sydow presents us with a man who basically has pulled up his personal stakes, making it so his actions in a way in the world shouldn't matter as much, in his own view.

Another key motivating factor for the life of Hamsun however is in his wife Marie (Ghita Nørby), where early on we have a outstanding scene between von Sydow and Nørby. This as they suffer a row between one another where direct hostilities come out with Nørby bringing a fiery emotion against von Sydow who is great in his way of playing as potent of emotions however fittingly internalized within the Hamsun. Their conversation is excellent as we are granted the sense of their relationship so quickly as we see all the frustrations in Marie come out in Nørby's work against von Sydow who plays it so well as Hamsun's way of attempting to be as though he is above such a fight. von Sydow's eyes though, and the edges of his deliveries though very much paint the same type of anguish within Hamsun towards their wife. Frustrations that allude to years of troubles, but honestly the intensity within both that could only exist in a long lasting relationship. This as even as they fight we instantly are granted a sense that there is a connection, and understanding in a way, though now broken towards a venomous bitterness between the two. We see the struggle of their relationship continue in his noble prize ceremony, which is a lower key scene yet is a just about perfect bit of acting from both, as we get some classic elderly married couple bickering as Hamsun admonishes his wife for not translating his words exactly to their German audience. The two manage to even be a bit comic in a sense, however more than anything grant the sense of the festering anger in the relationship that both actors draw out so naturally.

That seemingly minor interaction again though is part of the "case" that von Sydow is making in creating really the motivation we will find as Hamsun becomes a Nazi proponent. This being an idea far more enthusiastically found within his wife, as we see in that earlier scene where her added words where convenient towards the Nazi cause. Hamsun of course did not attempt a full correction that to made natural within von Sydow's work in showing the man, who has a certain allowance for such things since he believes he'll be leaving the world soon. This as the war begins we see von Sydow portray the man as this elder statesman of his country seemingly falling into what he believes will be the expected line of thinking based on his wife's sentiments, and honestly to a degree his lack of concern for the matter. This as we see in the scenes of speaking words that are support of the Nazi line, von Sydow depicts it as though he was giving an authorized commendation to just any colleague, this even in his praise of Hitler. von Sydow again emphasizing a man going through the motions in interacting with the world with often this sense of unawareness towards the rest of the world, initially. This begins to crack as one of his sons wishes to join the army to fight on the front lines, and we see the conflict between Hamsun and his wife, over her fanatical beliefs and his nearly perfunctory beliefs. von Sydow delivers beautifully this anxiety of the man within his expression as he fails to really fight for those beliefs in any way, and instead emphasizes the sense of confusion regarding the intensity shown by others to "push" it.

von Sydow then is incredible as we see so much of talent as an actor here by his way of crafting the image of the "great man" who has become so certain in the expectation of his life, that it will be his downfall. One early one, that would be hilarious if it were not for the gravity of the situation, is when Hamsun directly speaks to one of the party men quietly questioning Hitler's views and treatments towards Jews as though it was an academic exercise. This is even as when asked if he read Mein Kampf, von Sydow's delivery of Hamsun's having not got around to it, is simply marvelous as he brings almost a sense of disinterest again in emphasizing the man's detachment from that world that he is commenting on. This continues though as we see von Sydow's great emotional range here in particularly, though used so effectively here in a slightly alternative way, as he breaks down that expectation the man has set for himself, as he is truly looked at by others as a statesman. This includes those whose family members are being rounded up and killed by the puppet government set up by Hitler. When one such mother comes to him, von Sydow's reactions in the scenes show a man just trying to avoid the thought of it as he attempts to push through, however when she finally stops von Sydow's moment of thought before asking for the name to help, is performed so well as this moment of clarity and finally a bit of an attachment for Hamsun as he reflects finally a bit of genuine concern. This even though as von Sydow brings it out as this frustration at needing to be part of something he thought he was done with.

This continues as it becomes quite clear that the Nazis are not timid about committing atrocities, to which Hamsun attempts to do something about by being granted an audience with Hitler himself. von Sydow's portrayal of Hamsun preparations are terrific as he presents now a real nervousness and now an anxiety for the world he is in. His eyes fashion now a sense of real fear reflective as he must actually look into the world in a way he hasn't for some time. This found all the more in his harried way of speaking as Hamsun recites his practiced words for Hitler, which is a mix of praise and actual critique. von Sydow's performance in the scene where Hamsun finally speaks to Hitler, is spectacular. This as we see the man attempting the initial pleasantries for the leader he has deemed that he must respect, but this with a confused attempt to offer a real critique. This made all the more broken through translators, Hitler and his completely different intentions for the meeting and Hamsun's deafness. von Sydow captures this sort of madness though with a powerful heartfelt emotion though as in his words there is now a real strain within the idea of concern for the needless violence and brutality of the puppet regime in Norway. von Sydow gradually portraying this degradation into a true confusion as Hitler cannot brush his thoughts aside, though while Hamsun cannot hear his words brushing his concerns aside either. von Sydow doesn't make the scene a simple one of righteous passion, though there are signs of that, but this incredible mess of an attempt at of a once so articulate man attempting to speak in terms his chosen audience simply would never understand or care to understand.

This leaving Hamsun to look like a foolish old man, though what I love is that von Sydow shows in the moment the earnest attempt in the man to do the right thing, but unfortunately failing to make any real impact. After that failure we see Hamsun return to the contentment to die, until that Germany falls, and now Hamsun and his wife are arrested to be processed as potential collaborators. Hamsun being sent to a mental hospital to attempt to discredit any previous actions of his as that of a man with dementia. von Sydow's work is so well textured again, in the way we are given such a sense of Hamsun's state of mind, as though he is a mystery to the authorities von Sydow gives us the essential insight into the man. This is as I love the poignancy in a brief moment where he notices a bicycle, as he sits in a form of house arrest, and that moment of appreciation in von Sydow's hands grants such a sense of appreciation for youth and somberness regarding the loss of agency. When sent to the institution von Sydow is masterful in creating such a quiet yet potent sense of the man's confusion and distaste of the circumstances. This as dealing with the prodding questions his eyes evoke such an unpleasantness as this is such an alien experience for him, with the doctors questioning his mind rather than praising it.von Sydow shows so well the shattered state that results, as it is this state of contemplation towards his own self while being troubled by the questions he must endure. This eventually includes watching film of the holocaust, where von Sydow is outstanding in his reaction that manages to not only show the heartbreak of the image, along with the uneasiness of a slowly building guilt out of confusion as he comes to understand the nature of the images. This is almost immediately followed up with being betrayed by his wife, through a long confession that accuses Hamsun of being the fanatical one.

von Sydow is great in as we see Hamsum, if briefly, lose any attempt at his stature of the "great man" as he berates his wife and von Sydow puts bluntly the sense of betrayal. From these trials, an eventual real trial is led to based upon Hamsun's mental state more than anything. The trial scene is again one of von Sydow's great scenes of his career, though again bringing to life a difficult scene with an an unexpected result. This as again this is not a traditional defense, rather von Sydow manages to convey the complexity as there are sense of a sense of guilt in what his words had helped contributed to in his eyes, though his speaking of the words that have  some of that, but enough of a passion of man desperately attempting to clearly explain his position. This is as untenable of a position as it is, von Sydow manages to show a man both suffering in his state, but also in his element as a man who made his life through words. This is within the sense of partial excuse as he explains his deafness, where von Sydow shows a wavering resolve, that while his delivery is still earnest, we see the man's inability to wholly speak these words without a least a slight sense of shame. The film ends with Hamsun being left to fighting against a slight exile, while initially rejecting his wife, before slowly inviting her back into his life as he nears the end of his. The final scenes between himself and Nørby are particularly special as the two finally show some tenderness in the forgiveness, though what makes it so notable is that it feels as though it comes from that same connection we witnessed within their bitter fights. This as the warmth in the reconciliation found to be as complex as their fights were. This though is what we find throughout Max von Sydow's work here, that grants such a uniquely powerful and complex portrayal of essentially a difficult man of history. He is neither a hero nor a villain, he is a man with qualities and numerous faults. This which von Sydow details so profoundly. This is a great performance by Max von Sydow, that is part of the legacy that the man has gifted to all of us. This again in marking his work through intelligence, striking presence, and always  an absolute conviction to the material and character he was giving himself to. Although the loss of von Sydow is of course hard, may we all continued to appreciate Max von Sydow for all that he left us, including this incredible work.

Alternate Best Actor 1996

And the Nominees Were Not:

Philippe Torreton in Captain Conan

Jeffrey Wright in Basquait

Max von Sydow in Hamsun

Timothy Spall in Secrets & Lies

Christopher Eccleston in Jude

RIP Max von Sydow

I have to admit this one was particularly disheartening to me, as I was looking at his wikipedia page literally just yesterday appreciating that he was still with us. Well to do a proper sendoff for the legend, I'll be breaking procedure/protocol a bit and:

Next: 1996 Lead.

Best Actor Backlog Vol. 1: Results

5. John Hurt in 1984 - Hurt gives a devastating of a portrait of a man slowly finding humanity only to have it immediately and violently expunged from his soul.

Best Scene: "I love you"

4. Sean Connery in The Offence - Connery plays into yet also against type in creating a brutal and powerful portrait of a man unraveling within his mental trauma from his work as a detective of the worst crimes.

Best Scene: What really happened.

3. Claude Laydu in Diary of a Country Priest - Laydu gives a moving portrait of a man curious descent as he becomes confounded by his duties intertwined within personal doubts.

Best Scene: Personal Confession.

2. Al Pacino in Scarecrow - Pacino gives one of his best performances in his expressive, endearing but also very moving portrayal of a man who tries to get through his tough life by bringing joy to others.

Best Scene: "Baptism"

1. Nicol Williamson in The Bofors Gun - Honestly watching this performance again, this work deserves far more recognition in general, as it is one of the most captivating and searing portrayals of a self-destructive man that I've seen.

Best Scene: Asking for an answer.

Next: Still 43 lead/supporting, which judging by what I've seen so far, will not be a lineup, not that they're bad performances, just haven't found anything *too* remarkable yet.

Alternate Best Actor 1973: Al Pacino in Scarecrow

Al Pacino did not receive an Oscar nomination for portraying Francis Lionel "Lion" Delbuchi in Scarecrow.

Scarecrow remains an under-seen film, if at the very least, on the virtue of the collaboration of two of the 70's premiere leading men, though of slightly different nature in the technically underrated former character actor of Hackman who managed to breakout bringing himself here on equal footing with the actor's actor Pacino still gliding along on his swift breakout. This film is a basic road picture two-hander as we follow two drifters who run into each other randomly on the road. One the self-proclaimed "meanest son of bitch alive" ex-convict Max, the other in Pacino's Lion. Pacino here plays a role that overarching is a bit against what he became best known for early in his career, as more tortured souls, and also differs greatly from the brash figures of his later career. This an atypical turn here as Pacino focuses something, that was almost alien in his breakout of The Godfather, which is charm. Of course to say this is Pacino attempting to coast on charm would be a gross misjudgment and really inaccurate statement. This is rather Pacino working within his early form of crafting a unique character, really from birth up so to speak, who happens to be a particular sort. This in his Lion who we meet as a sailor attempting to make his way in the world/see his son he never saw while out to sea, where he comes across the equally particular Max who invites him to go into a car wash business together, while they also go about making their personal stops along the way.

Pacino crafts a man who has essentially defined himself through avoiding conflicts and making friends. This as we see him in the opening scenes of the film where the two men walk along a road together, whom Max eyes with suspicion. This is until Lion mocks a comical phone call, which Pacino delivers with such a wonderful energy. Honestly you'd think this was Pacino's basic style with characters as he brings such a comfort in the routine, and shows this ease of the man within himself in this time. In this act though we easily see sort what would allow the hard Max to allow Lion into his good graces as we see the two go off together. Their initial conversation marked by Max being so blunt with glaring eyes at the potential eavesdropper, against a slouching Pacino who is just turned with slight bemusement to hearing what Max has to say. This comfort with one's self that Pacino just exudes so wonderfully, that is particularly remarkable considering his great ability in presenting the man so ill at ease at himself throughout the 70's. Pacino though captures this innate spirit in really transforming his typical presence entirely here. This in that he's an outgoing sort of man, which I love the way he maneuvers in making himself so particularly likable here. This as he even has this way of not "performing" as Lion as this constant to be a clown so to speak, but something that plays right into this initial conversation. This is as he interacts with Max, it is of listening to the man with such a genuine interest, that establishes Lion as a genuine friend, and not just a "performer". 

Although the "performance" side of Lion shouldn't be overlooked and it is a highlight in showing a more expressive Pacino, and expressive in a very different way for what he would become known for later in his career. Where the boisterous nature of his work became a later trademark, here Pacino is outgoing through not to control the scene excactly, but rather make it a bit brighter. Pacino delivers this dynamic energy of the performance of Lion with a key endearing quality, as his eyes perpetuate with an affection for the act. This not the idea of the man navel gazing, but rather sincerely overjoyed at bringing a laugh out of someone else. This as he explains his philosophy as a scarecrow as something makes crows laughing rather than trying to scare. Pacino speaks the words with an honesty though as this is Lion's philosophy of life. This as he says the idea of make others laugh as something to be held with pride, as his delivery is marked by a strictly genuine nature of the personality. Pacino has a softened edge here that is pitch perfect for giving such a real sense of who Lion is. You simply believe him in the role, and in addition are charmed by him. Pacino performs with that grace of someone just loving every minute of it, though this is fashioned within the idea of Lion as the performer who just loves to bring joy to others, even in sort of a haphazard, scarecrow like fashion.

In turn we get the sense of the dynamic between the two as Hackman is the hard man with a plan, easily angered by everyone and everything, while Pacino is almost this cure for the other man, and plays of Hackman beautifully. This realized particularly well by Pacino in two scenes, one where Max seems an inch away from a bar room brawl and another where Max tries to get him to help steal in a department store. In each Pacino sells the moment in terms of the sheer enthusiasm of the act as portraying Lion's full bodied throw into the act, whether that being fake manhandled by a mannequin or his spirited run around the department store as a bit too much of a distraction. Pacino is low key hilarious himself in just bringing such an energy. The energy though is specific as we see the way he diffuses each moment with that positive spirit, as Pacino brings that infinite joy of performance. This both seemingly in his own performance but most definitely in the idea of Lion who gets through life by making others laugh. This also though realizes such a captivating and compelling dynamic with Hackman. This despite the two obviously differing in personalities and style on and off screen. The two though work together because of this, as Hackman as the hard edge, against Pacino bringing this graceful way of softening every situation while accentuating any sort of silver lining he can.

This isn't to say Lion is perfect, and part of what does work about the film, is how we see this dynamic between the two attempting a completion of some sort. This in a pivotal relatively early scene where Max berates Lion for his lack of planning, particularly in regards to seeing his ex and his son, where his only plan is to make her "laugh". Pacino in the moment is wonderful in delivering the line so meekly yet earnestly. In that he captures this intention as a pure hope of Lion, however within that we are granted the sense in his eyes that he sees some truth in Max's words. We see then a real authenticity thought he interactions of the two on this basis. This as Pacino brings the calming force of Lion, but also a quiet sense of frustration, against the easily flustered Max. In turn we also see Max pushing him to do more, while also the louder sense of frustration at Lion's seemingly simple "go with the flow" attitude towards life. This eventually coming to a problem as the two of them find themselves on a prison work farm, from a combination of Lion's impulsiveness against Max's short fuse. This leading to the silent treatment of Max towards Lion, and Lion to attempt his charm elsewhere towards another prisoner who intends to exploit him sexually. The moment of this scene is a brilliantly performed by Pacino as we see again Lion attempt to diffuse the situation towards humor, in a quick improv bit of a goofy voice, which Pacino makes such an honest defense. This though then the fear that results when it doesn't work in Pacino's expression, that makes the moment all the more effective as we see Lion essentially without his shield.

Although Max avenges Lion's mistreatment, we see Lion's frustrations bubble to the surface with Max as he still is so easily incensed out of prison. Pacino's great by downplaying the scene with Hackman, in just evoking the quiet disappointment in his eyes, that slowly grows towards approval as he finally sees Max loosen up a bit by doing a bit of comedy himself. It's a great scene, that could feel extremely contrived, however it works because the two actors feel so honest in the moment, and in the slowly developed joy between the two of them as they share a connection. This in both show naturally how the two have rubbed off in each other. Unfortunately this is in a way short-lived as the film ends on Lion attempting to re-connect with his ex to see his son by calling. It is an amazing first in the phone call in the modest way Pacino approaches the scene, as we hear the shyness of his voice, this in showing Lion not in a place he can make a joke again, and struggles in the moment. All the same though he is able to convey in just this a sense of history in the relationship in his attempt at a low key warmth, but also that distance in the modest of past mistakes. The call ending in lie from his ex telling him that his child died. Pacino is amazing in the following sequence as we see that same energy now to this extreme, this dissonant extreme, of a man who has no idea what to do. This portraying him attempting his defense mechanism of joy by attempting to entertain then later "baptize" local children as this breakdown that is so powerfully performed. This as we see that enthusiasm now as a festering cry for some sort of help as his eyes are glowing with an insanity, and pressure of a man trying to hold his terrible sadness back. This in showing the breakdown so effectively as turning his old joyful routines as almost a horror show. This as Pacino gives one of the best scenes of his career showing the imploding of Lion basically into himself, as he can no longer even comfort himself through humor let alone anyone else. It's a striking end to what one of Pacino's lesser known turns, but also one of his best. An against type turn from him that he wholly delivers on, and creates an effortlessly captivating chemistry with another legend of the 70's.