Thursday 19 March 2020

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.

60 comments:

Luke Higham said...

Louis: Would you consider reviewing Timothy Spall in Pierrepoint (2006), I'd consider that his best work though I've yet to see All Or Nothing (2002).

Bryan L. said...

Luke: Your Mike Leigh ranking? With ratings.

And your overall thoughts on Topsy-Turvy as a film? I finally got around to it and quite liked it.

Calvin Law said...

One of the UK’s finest actors and it still stings me that he’s yet to be Oscar nominated. This should’ve definitely nabbed him one, unfortunately he was Donald Sutherland’ed.

Louis: retro film roles for Spall?

Louis Morgan said...

Luke:

Not only would I consider it, I intend to do it.

Luke Higham said...

Louis: Yay. :)

Calvin Law said...

Bryan: mine would be,

1. Secrets & Lies
2. Naked
3. Topsy-Turvy
4. Another Year
5. Mr Turner
6. Happy-Go-Lucky

Luke Higham said...

Bryan:
1. Secrets & Lies
2. Topsy-Turvy (I love everything about that film whether it's Broadbent's amazing comic work, the set design, costumes or its Screenplay)
3. Naked
4. Vera Drake
5. Another Year
6. Mr. Turner (I quite loved this film when I first saw it but it's Cinematography is the only thing that really stayed with me all these years)
7. Happy-Go-Lucky

Louis Morgan said...

Calvin:

Every role ever played by Miles Malleson.
Sir Wilfrid Robarts
Arthur Simon Simpson

Anonymous said...

Luke, which fiveless actor do you most hope to get one.

Luke Higham said...

Anonymous: David Warner without question then Toby Jones.

There's also Paul Dano but I'm quite certain Louis will love him in War & Peace.

Anonymous said...

Luke, which performances do you think they'll get fives for.

Luke Higham said...

Anonymous:
Warner - Time After Time
Jones - Infamous

Louis could possibly upgrade Dano for There Will Be Blood though he'll be 8th in all likelihood.

Anonymous said...

Luke, also, which fiveless actress do you most hope will get one? And for which performance(s)?

Luke Higham said...

In terms of sheer talent, Emma Thompson but Louis has seen her best work thus far. There's Laura Dern but she's a five for Twin Peaks and I expect her to go up for Wild At Heart and love her in Inland Empire.

Luke Higham said...

Louis: Have you seen Wit (2001) with Emma Thompson.

Matt Mustin said...

Luke: Jones doesn't deserve a 5 for Infamous.

Matt Mustin said...

Luke: Jones doesn't deserve a 5 for Infamous.

Calvin Law said...

Matt: Agreed. I do think it’s a good performance though and worth a review.

Calvin Law said...

I’ve also heard many great things about The Detectorists

Luke Higham said...

Matt: I've never seen Infamous. I only mentioned it because most consider it his best work.

Matt Mustin said...

I think he's worth a review if only to compare and contrast with Hoffman. It's a good performance, the movie just doesn't dive nearly as deep as Capote does, and I'd actually say Daniel Craig is the MVP.

Matt Mustin said...

Louis: Have you ever given your thoughts on Jeffrey Donovan in Fargo? Because I'm watching it again and I'm reminded how surprisingly good he is in it.

Calvin Law said...

Matt: here they are and I completely agree with you.

Donovan - (Indeed quite great. Donovan manages to even employ some of his more problematic tendencies and makes them work within the part. That is when he goes a bit hammy, yet here he does well to only bring this out when it is either moment of an obvious bluster or that of severe intensity. These moments are indeed quite effective particularly in the cabin scene where he reveals such a madness in Dodd just through how spent he is, even beyond his vicious desire for revenge. He's great though in that he never becomes one note, and there was potential for Dodd to lean that way. Donovan though finds the right variation between moments of the forceful tough guy with his family, but also conveying the man's anxieties subtly within his performance that allude to even a certain vulnerability with such a despicable sort. My favorite portion of his performance is the whole cabin sequence particularly in regards to his chemistry with Dunst, where he shifts so effectively back to the hateful tough guy, back to facade of passiveness along with a very real fear at the times.)

Bryan L. said...

Louis: Your cast and director for a 70s Wind River, 60s The Sisters Brothers, and a 40s Dunkirk (Nolan)?

Louis Morgan said...

Luke:

No I have not.

Bryan:

Wind River 1970's directed by Clint Eastwood:

Cory Lambert: Clint Eastwood
Jane Banner: Sondra Locke
Ben Shoyo: Frank Salsedo
Martin Hanson: Will Sampson
Matt: Charles Napier
Pete: Michael Parks

The Sisters Brothers 1960's directed Sam Peckinpah:

Eli Sisters: Ben Johnson
Charlie Sisters: Warren Oates
John Morris: Richard Harris
Hermann Warm: Omar Sharif

Dunkirk 1940's directed by Carol Reed:

Tommy: Richard Attenborough
Peter: Roddy McDowall
Collins: Denholm Elliott
Alex: Dirk Bogarde
Gibson: Louis Jourdan
Winnat: Ralph Richardson
George: Freddie Bartholomew
Commander Bolton: Ronald Colman
Shivering Soldier: James Mason
Mr. Dawson: Herbert Marshall
Farrier: Laurence Olivier

Aidan Pittman said...

Happy to say that I finally watched Amadeus for the first time (theatrical cut, don't worry), and I'm in awe at what I watched. I'm still determining whether I thought it was a masterpiece or not, but the filmmaking itself is so well done with so many little things that stood out to me that I might as well call it one. Abraham and Hulce are phenomenal also. I'll be thinking about this one for some time.

Tahmeed Chowdhury said...

Spall's a terrific actor, though I'm yet to see this. I really hope he and Sheen go up for The Damned United.

Anonymous said...

Louis: Your thoughts on the editing for Magnolia?

Anonymous said...

Louis: Could I have your thoughts on this two minute scene from the US version of The Office, and Steve Carrell's performance in it?

https://youtu.be/YZER820cq6Q

Anonymous said...

Luke, have you seen Troy and Alexander (2004). If so, what did you think of them.

Anonymous said...

Louis: With Tahmeed having mentioned The Damned United, would have you preferred if Hooper had directed a movie about Clough's triumphs with Nottingham Forest instead of The King's Speech? I always loved that story of him basically taking another club from the second division and winning the first division and two European Cups.

Louis Morgan said...

Luke:

Alright watched Rasputin, Rickman great, McKellen and Sacchi quite good, film a bit stodgy in terms of direction, and major mistake to have it go on for another 15 minutes after Rickman exits...since the underrated, despite being a best picture nominee, Nicholas and Alexandra did that part of the story justice already.

Anonymous:

Magnolia's editing is one that is interesting to examine in that it is a triumph in editing/editing, but in terms of "directorial" editing you can see sort of where refinements could've been made, not that it really at all hurts the film. Anderson himself has said he could've cut an hour of the film, though I wouldn't go that far, I could see what he's saying having already eliminated one plot thread of Orlando Jones's story, but it is easy to see how Moore's story could've been cut, not just because I hate her performance, but her interactions with the rest of the cast is minimal, though we would've lost the gnarly Ambulance shot, but a sacrifice that could be made. Still, honestly if Moore's work was less overcooked, I could even allow the excess, as the "editing" editing, makes the film move so well for a film of its length in particular. It really just goes, with so many brilliantly executed rhyming, or rhythm moments in creating the flow of the stories, cutting between them, and creating the montages of them. This in not only never losing any of them, but having the different parts amplify each other. This though with the work also just being great in terms of "functional" editing, as it knows when to slow down, and allow the character interactions not to be lost within the montage. Exceptional work honestly, even if technically imperfect, as it thrives stylistically but never in a way that compromises the drama.

Anonymous:

I'm afraid your link does not work.

Louis Morgan said...

Anonymous:

Yes, though I'm pretty sure he was replaced by a pod person after that film, so it's hard to say. I mean only an Alien could've thought anything in Cats was a good idea.

Although has anyone seen the first two episodes of His Dark Materials (I have not), I just wonder if "good Hooper" came back for another TV endeavor.

Luke Higham said...

Louis: Ratings and thoughts on the Rasputin cast.

RatedRStar said...

Louis: What are your thoughts on Tom Baker in Nicholas and Alexandra?

Omar Franini said...

Louis: could you repost the ratings for the rest of the cast?
Also your thoughts on the war sequences in Captain Conan?
And you made the right decision with The Hunters, i thought the series was pretty bad and Pacino wasted despite being one of the main characters, and kind of hated those concentration camps flashbacks.

For 1996, could you also watch Ponette? I saw this movie the other day and it was a really interesting study of grief through the perspective of a 5 years old kid, played by the impressive Victoire Thivisol.

One last thing, stay safe everyone and don’t underestimate this crisis. I live in one of the most affected zones of Northern Italy. Family and friends are all fine at the moment but still is a very tough period for our city.

Louis Morgan said...

Luke:

Rickman - 5(This is a brilliant performance by Rickman in that he manages to be essentially a sympathetic hypocrite, who within the film is both what he claims to be, yet is also not that at all. Rickman manages to make this work through his fantastic work where he captures a curious and fascinating charisma. In the way he presents Rasputin's "powers" is the same way he portrays the lustful qualities, this as a man in throws of a certain madness, a bit of drunkenness, and just haphazardly making his way through his existence. Rickman presents a man with a fierce ability to move forward but with this certain lack of sense within that. Rickman makes an incredible sense of a particular passion in the man in this sense that the man does hold some belief, yet even in that approaches his methods as a sloppy charlatan all the same. Rickman manages to create a reason within the film's approach to the character which is surprisingly sympathetic to the character, in that Rickman manages to be both in a way the true man of insight and a con man all the same, yet does so within the same natural performance.)

Scacchi - 4(Gives a moving performance built upon the idea of the love for her son really blinding her to any potentially unsavory qualities within Rasputin. She gives an effective performance that is mainly built around this central idea, however she manages to find nuance within that, particularly in terms of creating the sense of dread later on as Rasputin nears his end. Her reaction to reading his final letter in particular is remarkable.)

McKellen - 4(Although more limited that Jayston due to the nature of the film, McKellen manages to capture a great deal of nuance within his this version of Nicholas. McKellen manages to convey effectively sort of the quiet respectable charm along with a certain naivety that is pervasive as he deals with the world affairs he is not prepared for. McKellen finds the right grounding in portraying essentially a good man, who simply is in over his head, and fails to exist within his calling.)

RatedRStar:

Baker - 4(Baker gives his own memorable turn at Rasputin in really playing up the grandiose ego that defines the man. This portraying a larger than life grandeur within his manner of someone who very much claims to be this powerful man of religion and even believes it himself to an extent. This in presenting even his less savory qualities with this fierce conviction of a man who has fully bought into his own act. Also special mention needs to made up the brilliance of the assassination scene, with Baker capturing this fascinating mania throughout his extended demise.)

Omar:

Well I think I can speak for all of us here, wish you the very best.


Will do regarding Ponette, in fact it was next on the docket for me.

Captain Conan's war scenes I found to be rather impressive though relatively low key. I think though they managed the right sort of visceral quality and intensity largely through building them around Torreton's performance in them, as a truly ground level troop situation.

Blethyn - 5
Jean-Baptiste - 4.5
Logan - 4
Rushbrook - 3
Manville - 3.5

Luke Higham said...

Anonymous:
Troy in it's Directors Cut form is actually quite decent, unfortunately you have two really bad castings in Pitt and Bloom preventing the story from becoming more compelling. I prefer the score from the original cut but aside from that, It's the superior version.

Pitt - 1.5
Bloom - 1
Bana - 3.5/4
Bean - 3.5/4
O'Toole - 5 (By far my favourite performance in the film and is my supporting winner for 2004)
Cox - 3.5
Gleeson - 3
Christie has a good cameo as Achilles Mother

Alexander is one of the biggest missed opportunities in epic film making. An incredibly fascinating story told in a bloated mess. Scott/Vangelis/Ledger would've been a greater combination. Vangelis' score again is really good and the cast is all over the place. Hopkins, Kilmer and McCann are all good, Farrell's miscast especially with the Blonde wig and Jolie & Leto are really distracting.

Farrell - 2
Hopkins - 3
Kilmer - 3.5
McCann - 3
Jolie - 1.5
Leto - 1 (Both of their accent work is horrendous)

Luke Higham said...

Louis: I'm very pleased Rickman got his 3rd five. :)

Anonymous said...

Luke, what are your top ten Alan Rickman performances?

Luke Higham said...

1. Die Hard
2. Rasputin
3. Sense And Sensibility (Incredibly underrated work)
4. Robin Hood: Prince Of Thieves
5. Truly, Madly, Deeply
6. Galaxy Quest
7. Closet Land
8. Eye In The Sky
9. Close My Eyes
10. Deathly Hallows Part II

Calvin Law said...

Farrell's blonde wig somehow managed to make him look ugly. Stay safe, Omar - I can't imagine how awful the situation there must be.

Louis: your thoughts on the opening sequence to Casino Royale? Just re-watched it last night and I think it's one of the best edited opening sequences in recent times to be honest.

Bryan L. said...

Louis: Your choice for Scorsese's cameo in the 2010s Safdie-bros version of Taxi Driver? I think Macon Blair or even Taika Waititi could make their own unique stamp on that cameo.

And the same for Madolyn in the 2010s L.A. The Departed?

Also, that Dunkirk and Wind River cast sound great, though I also would've loved to see McQueen as Cory too.

Louis Morgan said...

Calvin:

If we're talking about the pre-credits opening, although I have nothing but praise for the "first scene" either, you couldn't ask for a better "this is a different Bond" setup, and I mean that in the best possible way. This from the artful use of black and white that started us with just a slightly harsher tone, showing a more serious spy world than what we had seen in the later Brosnan nonsense. Love the noir choices of the second kill, right down to the immediacy of the dialogue, this against the brilliant cutaways to the brutal first kill, with impeccable use of sound in particular. Agreed the editing is just fantastic, as we really get so brilliantly introduced to this Bond. In that we do have signs of a the cool operator in dealing with the double agent, particularly his "yes considerably, but along with the brutal killer one would have to be to be a real Bond figure in the first kill. The topper of it all being the best barrel shot cutaway in all of Bondom. LOVE that scene, although I'll praise Casino Royale all day if one would allow.

Bryan:

It's gotta be Benny Safdie doesn't it?

Carrie Coon

Yes regarding McQueen, however I feel theoretically Eastwood would've been the best possible choice for the director at the time, and there's no way he wouldn't cast himself.

Bryan L. said...

Louis: Haha, fair. Best not to overthink that one. I forget how good he was as Connies' brother.

And yeah, Clint probably wouldn't have handed that kind of role to one of his contemporaries.

John Smith said...

Louis, ratings and thought on the rest of the cast.

Anonymous said...

Louis: Apologies for the broken link, could you try this one and give your thoughts?

https://www.youtube.com/watch?v=rAixASB9dEg&pbjreload=10

Luke Higham said...

Louis: Have you finished Sherlock, If so, overall thoughts on the show and any new thoughts on the cast.

Anonymous said...

Luke, are there any performances that you love, yet were disappointed that Louis didn't share the same amount of enthusiasm as you did?

Luke Higham said...

Anonymous: Prime example would be DDL when first reviewed for There Will Be Blood but honestly, even with a performance that he doesn't share the same enthusiasm for, I tend to get over it very quickly. I personally don't see the point in airing any frustration (Which we all have in fairness) on here because I'm far more grateful that he took the time to review my requests.

Anonymous said...

Luke, fair enough. Apparently, DDL was a big fan of Sandler's performance in Uncut Gems, and personally called Sandler to tell him so. Safe to say that Plainview was happy? :)

Luke Higham said...

Anonymous: I will say there are some performances I really wish worked out better though that's no fault of Louis.

A few examples:
Richard Harris in The Field (Should've been his greatest work)
August Diehl in A Hidden Life
Christian Bale in Rescue Dawn
Robert De Niro in Taxi Driver (He was a five originally)
Bradley Cooper in A Star Is Born

Luke Higham said...

Anonymous: I'm sure he was. :)

Bryan L. said...

Luke: Your rating for The Field, and your thoughts on it as a missed opportunity?

Luke Higham said...

Bryan: A 2.5. Coming in-between My Left Foot and In The Name Of The Father, I expected so much more when I first saw it. the screenplay is very thin and if it was a whole lot better, Bull McCabe would've been one hell of a character to witness on screen as he is on paper.

Anonymous said...

Louis, Which 10 performances that didn't make it to the screen would you've loved to have seen. (Laughton/I, Claudius, Olivier/Macbeth).

Luke Higham said...

Bryan, Calvin, Tahmeed and anyone else who'd like to answer: Of the remaining bonus rounds and perhaps from years that Louis has already done, which 5 to 10 performances are you hoping to see get fives.

Luke Higham said...

Bryan: What did you think of Eva Green in 300: Rise Of An Empire.

Bryan L. said...

Luke: I hope my request for Steve McQueen in An Enemy of the People can get a high score, although I think a 4.5 is more likely.

I don't know for which performance it could be, but I'd like to see Cary Grant get another five.

As for Green, it's safe to say that she stole the show, even when the film wasn't worth stealing from.

Louis Morgan said...

John Smith:

Given previously.

Anonymous:

Hard to say as they typically unmade films don't get far in casting stages, though those two certainly would be true.

Anonymous:

As someone whose only seen a few random episodes of the show, I'll say that is quite sweet scene, without broad melodramatics thrown in that can often be the bane of the sitcom, looking at you Frasier! Carell is wonderful in the moment by portraying it just as straight forward as possible in terms of showing the enthusiasm and support of the moment.