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.