Saturday 25 April 2020

Alternate Best Actor 1983: Gerard Depardieu & Wojciech Pszoniak in Danton

Gerard Depardieu did not receive an Oscar nomination for portraying Georges Danton nor did Wojciech Pszoniak for portraying Maximilien Robespierre in Danton.

Danton is a terrific film that details the downfall of Georges Danton, one of the key figures in the French Revolution.

Although named Danton the film is as interested in the role of the defacto leader of the French Revolution Maximilien Robespierre as it is the titular character, and though I did not time it, Wojciech Pszoniak may have more screentime than Depardieu. A great deal of the success of the film is creating this separation and detailing each man within essentially the downfall of the revolution. A clear separation of this is created as the cast of Robespierre supporters are all played by Polish actors while Danton and his supporters are all French actors. The only unfortunate thing about this is that in turn we get the Polish actors dubbed over, and although the dubbing is done quite well, I would rather hear their verbal performances even if we had dueling languages going on. This includes Pszoniak, therefore I can only base my opinion of his work on his physical performance, though judging by that, if I were to be able to hear the original audio, I doubt I'd be disappointed on that front. This as Pszoniak begins the film leaving an impression without even needing to say a word. His whole manner, the way he carries his expression, is this of this assumed greatness and intelligence in a way. This accentuation of reason seems evident from within him as his eyes carry an incisiveness alone, even as he gets prepared for the day, with all the pomp and circumstance of a "great thinker" and even greater "thinker". This though as in his interactions with others is not of camaraderie, but rather an omnipotent sort of distance. This as Pszoniak establishes Robespierre as potentially this powerful leader, but of a man who controls very much from above.

This is in contrast to French actor Gerard Depardieu. An actor I'll admit I've had for a long time been hearing of his greatness however coming short of finding it myself. Although not that what I saw him in were bad performances, but I didn't find the man, as this sort modern Jean Gabin that many seemed to tout him as. Well thankfully that all changed with Danton. This as we find Depardieu in portraying Georges Danton, as another great leader but of a completely different ilk from Robespierre. This in the earliest scenes where we see him engage with the local people. It is with this connection and pride. Depardieu wearing the expression of a man who truly wants to absorb what the people have to say for him, and take in what they can offer. Depardieu exuding so effectively this common touch with a grace and warmth just as he sees the crowds in front of him. His manner being wholly different in place, as one touch I particularly love in the film is the difference in which Pszoniak and Depardieu interact with their powered wig. This with Pszoniak rarely touching, wearing it with extreme reverence. This is against Depardieu who treats as but something to wear for on his head. Always playing around with it in one way or another, and never forcing it to really act as his hair. Depardieu accentuating through this a man who does not wish to be swallowed whole by pomp and circumstance. Finding above else a sense of humor regarding the idea of his position. This so well in portraying more so a man who carries the idea of leadership, not exactly as a burden, but by something that shouldn't be used to create armor for himself to protect himself from others. This rather just being part of the man he already is.

We then though see already though nuance within as the proceedings begin, with Pszoniak portraying Robespierre maneuvering how to deal with Danton's opposition to his committees that is being used to abuse power, against Danton attempting to have the powers removed from those committees. We then see the two men of the leaders of their factions and in this again we see two leadership styles. Both Depardieu and Pszoniak are fantastic in realizing each man attempt to wield their unique position. In Robespierre, who actually attempts to temper the rest of his men who want immediate death for Danton and his followers, Pszoniak excels in wearing the weight of the situation within his performance. In every word spoken Pszoniak's eyes say so much in reaction, where he grants the sense of a subdued regret over the situation. This as he does defend the man, and Pszoniak portrays well the sense of difficulty in approaching this issue. He shows within it this balance between a man who is very much considering the extreme action the others are speaking of, but shows that this is taken with a subtle anxiety that he wears within him. This is against Depardieu who again emphasizes a lighter touch as we see him speaking to his other men, as their newspaper is shut down, and it seems the powers that be are scheming against them. Depardieu manages to speak with authority, while also doing so with an ease of almost a friendship as he more than anything calms his men from too rash of action. This culminating in the first act of the film in the single, but essential meeting between Robespierre and Danton.

This being a particularly wonderful scene for both actors, as again we see each set the distinction. This with Pszoniak still emphasizing a power, but the power of the man just sitting with an adamant stare. This against Depardieu being terrific as the negotiator essentially, speaking a mile a minute with both a casual regard for the other man, but a slight dismissiveness within his negativity. Depardieu portraying Danton attempting to create his case by taking Robespierre down to earth a bit, and brings this to life through the down to earth way he speaks every word of his position. This starkly against Pszoniak who presents the man carefully analyzing every word spoken by Danton, even taking a moment to fix his powered wig after Danton tussled it, ironically with as much regal grace as one could muster in that situation. We see in the scene the fissure of the two effectively, though I do love that neither presents a direct animosity. In that while we don't see the men as likely fast friends in the past, they do grant the sense that the two once managed to successfully work together in their common cause. That being long gone though represented in the differences of the men, brilliantly accentuated by the performances, that leaves Robespierre determined to agree to his factions wish for Danton's arrest, and Danton to left to be arrested. Depardieu has two separate, but fantastic scenes briefly before Danton's arrest. The first being as he gives assurance to one of the men of their faction that they will be arrested, however does so with a cheery optimism as though there is hope in this. This however is against as we see Danton silently await his arrest, Depardieu's performance is outstanding as we see so much in his expression as he realizes the real sense of his own anxiety of his upcoming fate, as well as the sense of a burden of the responsibility of his position.

I love the scenes that come then when we see each men brandish their power in public forums, and we see two very different forms of it. The first is as Robespierre successfully denounces Danton despite opposition. Pszoniak is amazing in this scene, and I really wish I could hear his actual voice. This as nonetheless he wields such a profound command in this scene. This as Pszoniak portrays it almost as man conducting the crowd, this with sheer magnetism of a overlord of the people. This in his movements of this specific controlled passion, and almost as that of the most articulate puppet master. This again as this ruler from above wielding his power certainly with ease, but almost like a hypnotist commanding his audience to do his bidding. This is opposed to Danton, where Depardieu is equally amazing in portraying him less the refined composer manipulating his orchestra, and instead more akin to a proper face pro-wrestler building up the crowd. We see this in the intended show trial for Danton and his faction, which Danton purposefully tries to use to stop the path of the revolutionary government he sees on. We see this as Danton enters the room, and Depardieu carries himself as the most crowd loving celebrity you could imagine. This with his eyes glowing with affection, even trying to touch the hands of every adoring fan around him. Depardieu beams with a man who is a true lover of the people, and this only continues as the trial begins. This with Depardieu controlling the moment brilliantly as he shows Danton eagerly speaking to the crowd assembled, rather than his show trial jury. This delivering an aggressive yet endearing passion of a man trying to speak to his people, and attempt to derail the show trial by putting a true show within it. Robespierre on the other hand fittingly handles the trial from a distance, just trying to work his way to have it so Danton's verbal defense cannot be heard by the public.

 There is a scene I love in particular where Pszoniak is hearing of how the trial is going while having a portrait of himself done. A portrait far more representing that of royal decree than revolutionary hero. Pszoniak's manner in the scene is fantastic, as though again he still carries that regal air, it is undercut in the frustration that swells when hearing the news, but what I love most a little moment where he kind of looks at himself with the costuming for the portrait. Pszoniak delivers a marvelous silent moment as you can garner the sense of Robespierre for seeing the foolishness of the man basically becoming what he supposedly overthrew.  The manipulation though does leave Danton and his men sentenced to death. Depardieu is heartbreaking in his delivering of a cracked voice Danton, just still trying desperately within his literal last breaths to speak his truth. I love the moments within prison, where Depardieu finds such a poignancy in presenting the man reflecting in depression. A depression not for his upcoming demise but rather the country he fought for. He speaks his words somberly though with not self-pity, but rather a sorrow for others reflecting a selfless spirit for his cause while granting understanding to his choice for martyrdom. This is opposed to Pszoniak's final scene that is also outstanding, as his eyes piercing now, not with power, but an overflowing anxiety. That anxiety that he had seeded in his performance earlier, not to the forefront of a man in the grip of a madness by living into some bastardization of his dream. These are two great performances. This as both actors create portrait of complex leaders, each with their personal styles, and their own unique foundation of passion that each lead to a disparate, though in the end, mutual fate. 
(For Pszoniak)
(For Depardieu)

51 comments:

Bryan L. said...

Well done, Gerard. Well done.

Louis: Ratings and thoughts for the rest of the cast?

Luke Higham said...

I'm very happy for Gerard, feel bad for Pszoniak.

GM said...

Time flies, it's more than 4 years since I requested this review, it was worth the wait. Still hope Pszoniask makes the top 5.

Luke Higham said...

Louis: Would you consider Depardieu in The Return Of Martin Guerre and Jean De Florette for reviews.

And if you've seen The Return Of The Soldier, do you consider Bates Lead or Supporting.

Tahmeed Chowdhury said...

Seems like Psozniak would have been an easy 5 if he just wasn't dubbed over.

Luke Higham said...

GM: I'm not sure about top 5 but I'm confident he'll be the highest ranked 4.5.

Luke Higham said...

Tahmeed: I wholly agree with you, I wish he was fluent in French.

Luke Higham said...

Louis: Is this your favourite French Revolution film.

RatedRStar said...

Jean De Florette is pretty much a given, at least for one review of either Depardieu, Auteil or Montand.

Tim said...

well, i just finished watching Boogie Nights for the first time. I wonder, can someone please explain to me why so many People say Julianne Moore should have won the Oscar? I think she was the least interesting aspect of the film, was pretty two-dimensional and her more emotional scenes were okay, but did not really knock me off my feet or anything

Mitchell Murray said...

Well then...good to see Depardieu doing so well with Louis. As someone who has yet to see his take on "Cyrano", this has given me some hope in knowing he at least has a great performance in him.

Mitchell Murray said...

Tim: I haven't seen "Boogie Nights" personally, but I would think that idea comes mainly from the her weak competition. I myself have seen Driver and Stewart (both of whom were nothing special), and I can only infer its a similar situation for Basinger and Cusack.

Calvin Law said...

Agreed with both reviews. And happy for you GM!

Tim: she’s one of my favourite supporting performances of the 90s but I think a lot of it has to do with what I see in the character between the margins. I’d need some time to formulate exactly what but she should’ve won that year in a landslide, anc I like to love the rest of her competition.

Also Mitchell you need to see LA Confidential, man.

Mitchell Murray said...

Calvin: It's yet another one on the list. For the record, I inferred that idea of Basinger because I've read a lot of criticism of her work/win (Louis included).

Also, has anyone here watched all of Ozark's third season? I just finished it tonight and at this point, I would certainly call it a strong show. Season 3 in particular does a good job of continuing the ideas set up of Season 2, and handling a rather dense array of character arcs in a fairly satisfying fashion. Now as one might expect, some plot threads are more interesting than others, and some of the performances are thereby less memorable. All things considered, though, I would definitely consider myself a proponent of the show.

For myself, Julia Garner is the series MVP, but I would also say Tom Pelphrey has the single best acting moment of the season.

Bryan L. said...

Mitchell: Damn, you're even more behind on films than I am. Throw in Boogie Nights as well.

Also, I saw (most of) Bad Education. I thought it did a good job of telling its story, and both Jackman & Janney were pretty good.

Bryan L. said...

*Most of, because my livestream kept messing up at the end.

Mitchell Murray said...

Bryan: Well, that's why I getting caught up on a lot of older films now.

Robert MacFarlane said...

I watched Bad Education myself f and very much liked it. Considering the current and probable state of film for 2020, I’d say Jackman deserves a review even as a “TV movie”. (Though who knows, they might deem it as eligible after this shit is done).

Louis Morgan said...

Bryan:

Chereau - 3.5(A good performance in terms of being almost a straight man to both the more slightly off-beat nature of the two leads. This in just presenting a purely normally passionate man fighting for his cause, but also to a degree his life. He's quite moving in a few key moments in this in showing hesitations of weakness, but also is quite poignant in the moment of declaring that he will stand with his brothers.)

Winkler - 3.5(Effective as being a purely humane reaction in terms of the depiction of both outrage and grief at seeing her husband and Danton being railroaded by her system. I particularly love her moment of extreme fear when it is obvious her husband's conversation with Robespierre did not go well.)

All the other faction members are good, if purposefully less distinct as kind of the band, with Danton's more passionate, against Robespierre's more vindictive.

Luke:

I don't see why not.

That's a more difficult question than expected for Bates. This as he is the main character, in that the film entirely about him, however his screentime is relatively limited and there isn't a scene from his perspective. In turn the ladies are given the perspective, however all seem secondary to him. In turn I'll have to say all four are leads, by virtue that Frank Finlay and Ian Holm are clearly supporting in comparison. Still an atypical leading placement in a way, but the way that's I fair I believe.

Yes, quite easily.

Tim said...

Mitchell well, i have seen all Five of that year now. I think Minnie Driver for the most part was relatively uninteresting, even when the movie was trying to get her big scenes. And i think she lacked chemistry with Matt Damon (which should not be possible, as they were actually a couple?) - 2/5

Kim Basinger is a bit better, but still mostly uninteresting and also the weakest part of her movie. Never bad, but if she had not won i actually would not even have noticed her. (The movie i think is good, but i never loved it nearly as much as the rest of humanity does) - 2.5/5

Joan Cusack near the end has a big outburst Scene that for my money would be absolute 5-material; she is absolutely committed to the Scene and most of all she is hilarious. But in all her Scenes before she does not manage to stand out at all in a movie that clearly belongs to Kevin Kline, but she does give her best with a limited character - 3.5/5

Then comes Moore, who of course is never bad, sometimes really really good actually, but also did not really stand out for me, Maybe i would put her under Cusack, i still need to overthink this. Have not decided on a ranking yet.

But on Gloria Stuart we differ wildly my friend, as she is my winner without hesitation. First of all, she has the absolute perfect voice for narration (which i do count in, yes), but she also manages to give reason to, frankly, a framing device, is properly wise, charismatic and even heartbreaking when she Needs to be and delivers every single one of her lines to perfection. I often use this as an example for what can be done with an actually kind of limited character - 5/5

Anonymous said...

Louis: Your ratings and thoughts on the cast of Arbitrage besides Gere?

Matt Mustin said...

Tim: Regarding Minnie Driver, all I will say is real-life couples frequently have horrible chemistry onscreen, and let's leave it at that.

Calvin Law said...

My ranking would be:

1. Moore (5)
2. Cusack (4)
3. Driver (4, her joke scene is one of my favourite in the film which I do love)
4. Basinger (3.5, she gets better on rewatches for me)
5. Stuart (3.5)

Calvin Law said...

And agreed with Matt.

RatedRStar said...

RIP Shirley Knight

Mitchell Murray said...

Rest in Peace, Shirely Knight.

Also, in regards to 1997 supporting actress, I will say the idea that Sigourney Weaver should've been nominated for "The Ice Storm" is one that I share; She doesn't have an enormous amount of screen time, but it's still a very interesting performance from her, of a character that might've been quite boring in lesser hands.

Luke Higham said...

RIP Shirley Knight

Luke Higham said...

Louis: Your thoughts on Danton's Direction, Screenplay, Costume Design, Production Design, Makeup and Cinematography.

Mitchell Murray said...

So I crossed another film off my list this morning by watching "The Candidate". I thought it was very good, and honestly, its remarkable how so many of the movies I've been watching from the 70s/80s are still relevant in today's political/media climate.

Redford - 4.5 (My favourite performance of his from what I've seen.)
Boyle - 4
Garfield - 3
Lerner - 3
Porter - 3
Douglas - 3
Carlson - 2.5

Louis Morgan said...

Anonymous:

Parker - 3(His performance is fine as the semi-morally conflicted character. He's most effective just in terms of conveying the sense of the relationship with Gere and the complexity of it.)

Sarandon - 3(She's mostly just off to the side for much of the film. She's good in her final scene though in portraying sort of pent up frustration effectively.)

No one else really stands out, to the point that I don't remember their performances.

Luke:

Well Andrezej Wadja's direction is fantastic, and I think is almost a textbook example of how to best handle a dialogue driven film. This is what drives the conflict, and in that Wadja wisely allows the actors room to breath, allowing the inherently compelling scenes of conflict as written to play out through the performances. Of course even in this instance we see a proper craftsman, in terms of making these scenes interesting visually, while never showing off, they just accentuate each well, for example a touch like Danton on ground in front of his crowd compared to Robespierre at height. This also placing them in a vividly created world, where you are granted a clear vision in terms of the costuming and production design, that all establishes a vivid sense of period. Wadja though also knows exactly when to show his hand more directly, in using the score, and a more overt "director's eye" in the silent moments. This in these moments creating a real sense of the dread of the terror, such as the scene that is almost out of a horror film as they look upon a guillotine, or the choice to expand the crowd when Danton's men are being arrested in a group. Wadja again amplifies brilliantly the emotion, and world he's created, while never getting in the way of the script.

Speaking of greatness though the script is just a fantastic work in finding a path for the period. A film that could be seen as particularly contemporary per the USSR relations at the time, however Wadja and the other writers allows that comparison to be made, but does not force it. The script instead fundamentally stays within first the period fleshing out the sense of the politics of the period, even with those contemporary connections. It particularly excels though in immediately granting you a sense of the revolution, the particular place it is in when the film opens, and what fuels the division between the two sides. It additionally grants such fantastic little details in the side characters, but we are here for the well rounded realizations of the central two. Although the film's sympathies are definitely with Danton, I love that it doesn't demonize Robespierre, rather shows effectively how a man with potentially good intentions can be thrust towards a type of corruption. It though just excels in creating so well, so emotionally and dynamically the conflict. The conflict that is largely through dialogue and carried brilliantly through such. It takes a piece of the revolution, a fundamental part of it, and makes a clear distinct statement on it, while also just giving us characters we can be invested within and be engaged by their conflict.

Louis Morgan said...

The costume design is of course good in giving that combination I always love, a sense of period along with a sense of character. It isn't lush, rather I like for many we see men almost wearing what they probably started the revolution in. In turn terrific touches, whether that be how refined Robespierre's wears are compared to everyone else, or how Danton's is a bit more flamboyant. There's terrific touches for each of the central characters, and even the minor ones that is just a sign of great costuming.

The Production Design I mean on the immediate surface is just strong interior work in creating historical settings, where it is properly sparse given the period, though also special mention for the appropriately menacing guillotine. A bit more than just a special mention though needs to be granted to the art studio scene that is a highlight in granting a more unique historical setting, It's fantastic work across the board though, that is a grander scale, though carefully within the sense of the still makeshift revolution.

The makeup is actually fairly low-key for a film on the period. This as Robespierre's is probably the most overt, and even his is light in comparison to a lot of the typical work from period. All properly done again, but as you see it as against sort of the more reduced style of the time.

Igor Luthor's cinematography is some fine work, though I wouldn't say it is what stands out about the film. Largely it is general pristine lighting that is well done, not showing off, but grants the film a properly refined look. Where I think he does deserve a great deal more credit, is the composition and movement in the crowd scenes, or in the moments of creating a more ominous quality within the film. These are especially artfully handled, and give you a proper sense of the crowd, or deliver that properly unnerving feeling, as though you too are Danton looking about the guillotine that awaits.

Tahmeed Chowdhury said...

So, I just saw 'Extraction' on Netflix. It had some great action sequences, and Chris Hemsworth was pretty solid in the lead role.

The only issue I had really with the film was the fact that most of the actors portraying Bangladeshi characters couldn't get the accent right, but that's just an extreme nitpick. It's worth a watch if you have 2 hours to kill.

Bryan L. said...

Tahmeed: Your rating for Hemsworth?

Anonymous said...

Louis: It seems like The Rock is going to play former wrestler Mark Kerr in a biopic. Thoughts?

Matt Mustin said...

Louis: Are you a fan of sketch comedy at all, and if so what are your favourite shows/troupes?

Tahmeed Chowdhury said...

Bryan: I'll give Hemsworth a 4 for now.

I also had a chance to watch Bad Education, which I really liked. I guess I wish it was a little longer, especially in the third act.

Jackman- 4.5/5 (he was absolutely terrific, and can easily go up)
Janney- 4
Viswanathan- 3.5
Romano- 4
Casal- 3.5/4 (between this and Blindspotting, he has quite the range)

Luke Higham said...

Louis: See any 2020 films in the past few months.

Luke Higham said...

Louis: If you ever decide to watch Danton again, there is a Polish version on the DVD if you're wanting to upgrade Pszoniak.

Louis Morgan said...

Anonymous:

I mean that's a chance for him to show some range, which so far he can be charismatic, but we haven't seen much more than that from him. Willing to give him the shot there, as right now Bautista reigns supreme as best wrestler turned actor champion, quite undisputed, so wouldn't mind at least a bit of contention there.

Matt:

Theoretically yes, however I do think ongoing series don't serve the nature of that comedy well, as even the best sketch shows have an extremely uneven sketch success rate, then something like Saturday Night Live, missed about 99% of the time.

But I have enjoyed at least some sketches from: Mr. Show, Key & Peele, Chapelle Show, Portlandia and Upright Citzens Brigade.

Luke:

If I could guarantee it is the genuine article, as in Pszoniak's actual voice, I would be interested. I would think the Criterion Channel would offer all official dubs, but sadly it does not.

Louis Morgan said...

Luke:

Haven't seen anything else, I was thinking after 83, I'd take a week, just to catch up on what is available from 2020.

Anonymous said...

Louis, I've checked Amazon and there's supposedly a 2006 copy with the Polish version or there's a Polish DVD that's Region-Free though it doesn't have English Subs.

Luke Higham said...

Anonymous: The Polish DVD would be more likely and don't think the lack of English subtitles will matter much.

He'll probably get around to that once the bonus rounds are over.

Luke Higham said...

Lastly, Going through the review again, If Pszoniak wasn't dubbed, I think he'd be in contention for the overall win.

Anonymous said...

Luke, I am glad that Louis was able to find a great Depardieu performance that he had been looking for. Another pro of the Bonus rounds, would you agree?

Luke Higham said...

Anonymous: Agreed. I'm sure he's had other great works pre-1990. (Honestly, I feel as if he never should've made the move to Hollywood).

By the way, for the time being, out of sympathy, I'll be in full support for Pszoniak getting his five for Korczak (Read that it was an influence of Schlindler's List).

Anonymous said...

Luke, are there any other notable Streep performances that Louis should consider checking out?

Luke Higham said...

Anonymous: Angels In America.

Bryan L. said...

Louis: Your rating and thoughts on Ann Miller in Mulholland Drive?

Also, thoughts on the botched-hit-job scene from the film? This one (www.youtube.com/watch?v=QiLza4B6XhA)

Bryan L. said...

Louis: Lastly, I’ve noticed you’ve broken the tie between Dafoe & Pattinson. Your reasons for the change?

Louis Morgan said...

Bryan:

In a film filled with gorgeous or terrifying ethereal and surreal moments, this one is just a fine cut of dark comedy, technically a bit more Blue Velvet inclined, and I mean that in the best way. This just Lynch topping it basically as if Laurel and Hardy were hitman and how that would pan out...hmmm that might have potential...

Miller - 3.5(She's enjoyable in basically giving the performance more from her former period of acting, as the sort of nosy and no nonsense landlord that would've been played by Thelma Ritter in the 50's. She wonderful in doing with a great deal of low key humor but also goes a bit beyond to give a sense of her as a person, beyond just a style.)

Nothing against Pattinson, but giving it some time, Dafoe simply was my favorite performance...period last year, enough for me to creation separation just based solely on my love for Dafoe's work. I mean the "Hark" monologue stands well as a crowning achievement.

Matt Mustin said...

Dafoe and Pattinson are basically on an even keel for me, but I think I slightly prefer Pattinson just for his truly great silent acting, especially at the beginning and end.