Alternate Best Actor 2014: Tom Hardy & James Gandolfini in The Drop

Tom Hardy did not receive an Oscar nomination for portraying Bob Saginowski nor did James Gandolfini for portraying Marvin "Cousin Marv" Stipler in The Drop.

The Drop follows the two operators of a bar, used as a money drop for a crime boss, one the former owner attempting to orchestrate a robbery.

I will note first the oddity of an awards season, as so often is the case, in reflecting on the fact that James Gandolfini did not receive a bit of recognition for his final role in this film. This in that 2014 was not a year filled with supporting actor contenders, and it seemed it would've been easy enough to earn him a posthumous nod for his final role, particularly with the fact that the default, though not bad, nomination for Robert Duvall in The Judge, was able to coast to an easy nomination for a film without support. Yes I personally consider Gandolfini lead in this film, however it is not a clear cut case, it is definitely a borderline performance so it's not one that I would've even considered fraud. I guess the failed attempt for Enough Said, told them not to try twice? I guess, it just seems unfortunate, as it would've been an easy way to recognize the actor one last time. Anyways though lets actually look at the performances of both Gandolfini and Tom Hardy in what was technically his secondary role, in that it received less attention in the year, from the year after his "one man show" performance as a Welshman contractor going through a crisis in Locke. Hardy and Gandolfini play the operators of the bar that acts as the titular drop of dirty money, once in a while. Hardy playing the workaday bartender Bob seemingly just making a living doing his job as just that, and Gandolfini as Marv in the more complex situation being the former owner of the bar/crook, who lost ownership as well as his attempted criminal career to the Chechen gangsters they technically both work for as the film opens.

Gandolfini technically is fitting into the type of role he became known for as early as True Romance, however of course truly broke out in his TV star making turn as Tony Soprano. Although in the same world this is not Gandolfini replaying the part of the New Jersey Mafioso, not just because he's using his own appropriate accent for a NY pseudo gangster, but the whole being of who Marv is. Gandolfini's performance here is an interesting one in quietly subverting his typically more dominating presence in a subtle way. This as he portrays Marv in general with the slightly affable, if lazy, bar tender himself. His portrayal to the public seemingly as an unimportant soul just existing in the bar. This is rather fascinating in that this both directly connects to what Hardy is doing but in a very different way. Speaking of Hardy this is a performance that I'll say works in one way, but then works in an even greater way within the overarching revelations of the film. Let's look at the first side of that, naturally first, this in Hardy's portrayal of Bob seemingly is suited towards Marlon Brando as Terry Malloy in On The Waterfront, or Sylvester Stallone as Rocky Balboa. This is as Hardy portrays Bob very much within this idea of this working class guy with a small job in a small underworld. This idea, seemingly, further accentuated within his performance that offers a very similar performance, at first, to Stallone and Brando. This in presenting this certain withdrawn quality at times, as a man other might describe as fool if cruel, though more than anything just appears to be an unassuming bartender. This in Hardy's quiet retiring voice, and just his manner where he seems to look away more than he looks at people. This making Bob seem a man of no note to most.

Hardy though carries with him that certain captivating quality within the unassuming quality within his performance. There is something about him within Hardy's portrayal that is just slightly unusual. Now for the first viewing, almost the entire film, this seems to be just maybe the quirk of the unassuming man. A possible likable enough quirk as he discovers a wounded dog outside the house of a woman, Nadia (Noomi Rapace). This as Hardy's eyes accentuate this quiet concern for the dog, and earnest manner with Nadia. Hardy is hardly a romantic, not even compared to the somewhat clumsy ways of a Rocky Balboa. Hardy rather accentuates though this sort of seeming fascination in his eyes that garner some strange semblance of a gentleness of Bob in his disposition, the heart within the awkwardness that Hardy so well realizes, but perhaps that's not all it is. Gandolfini on the other hand shows a different man in his personal scenes, though two different men. The first though is perhaps the more expected as we see that Marv is behind an attempted theft of his own bar and planning an even large heist. Gandolfini's portrayal of these scenes is with a minor sense of cunning but also a sloppiness. This not so much in his own delivery but in his interactions with the men he chooses to work with. Gandolfini accentuating a certain frustration as he tries to be the boss to incompetence, and the whole time he's terrific in granting a certain worry within Marv's eyes sensing that these men are not exactly reliable.

Hardy's performance as Bob though takes on initially this seeming rooting factor for him in how we see him as this shy "hero" to follow. This as we see him interact with the criminal elements just that with a quiet service in which he takes no joy or interest other to the point of doing his job. Where Hardy emphasizes Bob's concerns is with his dog, particularly when a complication arrives through a small time crook, and former mental patient Eric Deeds (Mathias Schoenaerts), who claims the dog is his own and intends to blackmail Bob by threatening the dog. Hardy is amazing in these moments as his eyes conduct such a sense of concern for the dog and distaste for this man without saying a word. It is all in his eyes and brilliantly so in conveying the way Bob interacts with even people he hates, is in this quite yet specific reduced emotion. Now for Gandolfini there is that other side of Marv we see as well in his scenes alone with Bob and his scenes with his sister (Ann Dowd). If Marv was a little more likable these would be absolutely devastating, however they are still heartbreaking in there own way. This as Gandolfini reveals just a quiet desperation in the man with his sister. His own eyes filled with just the sense of defeat as he ignores his sister's suggestions to leave the city, and he just accentuates a man who sees his life as a dead-end. His only attempt at anything else comes when speaking to Bob, who was technically a former member of his short lived crew. In these scenes, which are closest to his performance as Tony Soprano in approach, in that we get a bit of Gandolfini's unique intensity which he makes this interesting sort of microcosm of anger in the way he tightens both his voice and body language to this seemingly invisible point right in front of his mouth. It is still not a copy though as here Gandolfini's manner is filled with such a pathetic need to prove himself, rather than merely proving himself. His anger going to the deaf ears of Bob who has heard all of Marv's delusions of grandeur before. Essential to note that Hardy's performance in these scenes where even though in his delivery he maintains a certain detachment, a low key, derision of Marv though without really a hint of actual venom in his voice. 

Now the ending of the film is where there is the connection between the two. This as Marv gets Eric Deeds to attempt to rob the bar, when Bob is running it, in order to steal all the money from the titular drop. Where we saw Gandolfini portray Marv as on the surface just a guy going along with his plight as a bar tender, we find him as a bitter man trying to regain a hint of what he sees as his pride as a crook. For Bob this dichotomy is a bit more complicated. This is as Bob isn't just some awkward guy, he's actually a complete sociopath, what I love, is Tom Hardy is playing this way the whole time. This in his almost entirely detached manner with only emotion for certain things, like a proper sociopath, and even those emotions are largely reduced. This even more amplified in the moments where we see Bob directly interact with violence, indirectly. In that he disposes of body parts as though he disposing of any old garbage. Hardy playing with this disturbing clarity, that seems off, however it doesn't click until the ending where Eric is trying to rob Bob directly, but Bob first tells a story of a man he murdered for Marv, a man Eric has claimed he killed. Hardy is outstanding in this whole scene. This with his delivery of the story where Bob's stoic quality suddenly takes an unnerving quality to it while also just being wholly magnetic. This as there is this confidence even in it as he describes the kill in such a clinical way that is absolutely terrifying. This as his eyes have an eerie sense of purpose keeping his stare at Eric, where there isn't a hint of fear, rather eyes of sociopath ready to kill again. This which he does mercilessly to the unsuspecting Eric.

This transformation is incredible because it isn't one at all. This is Hardy just showing us those qualities in Bob from that certain degree of detachment in connection to violence, and his careful manner towards life. Hardy shows that he's not the quiet one because he's just shy, there's technically something mentally off about Bob, very much so, yet so easy to ignore due to his unassuming manner. The only major shift is the hate suggested in his eyes towards Eric comes out, in this marvelous rambling that Hardy performs as this unleashing of the few emotions that Bob does have. This as he derides Eric in such a peculiar way, but the way Hardy does it shows it as Bob's most vicious self towards Eric. This being the most Bob feels, and that means he feels it quite strongly. Gandolfini's final scene on the other hand is a bit simpler, as we just see Marv waiting out Eric's failure in a car outside until an assassin comes for him as well. This is one of those scenes that is heartbreaking, however I think that comes from one knowing it is Gandolfini's last filmed scene than really feeling too much for Marv who sowed his own demise. Even with that in mind though it is still beautifully performed by Gandolfini as his somber way of tensely closing his eyes is that of just a painful acceptance of death of a man without anything to live for. Although this isn't his greatest work it stood as a worthy sendoff for a man of his talent. For Hardy, this is one of his great performances. This in that he successfully is this off-beat working class guy with an oddly compelling quality, but then he subverts that by being this sociopath in plain sight. The man that "No one sees coming" as described by the investigating detective in the film. Hardy earns his idea wholly. What is so remarkable is that Hardy doesn't cheat in any way. In that he doesn't ruin Bob for any sympathies, he doesn't cheat to make the twist work yet he hides it. He allows one to care for Bob for all his quirks, those quirks though that he realizes all add up to a cold blooded killer.

(For Gandolfini)

(For Hardy)

Alternate Best Actor 2014: Jeremy Renner in Kill the Messenger

Jeremy Renner did not receive an Oscar nomination for portraying Gary Webb in Kill the Messenger.

Kill the Messenger is an imperfect however somewhat decent procedural about the true story of the fallout after journalist believes he's found connections between the illegal drug trade in American and the CIA.

This film opens as a more traditional procedural, and a better film it is in this point, as we follow a reporter tracking a story brought to him by a drug dealer's girlfriend. This taking the All The President's Men approach effectively early on lead by Jeremy Renner as just the dogged reporter at first. Renner is effective in this just portraying well the sort of lead for this type of film. This isn't ever something that should be hand waved as Renner delivers well the sense of the investigation in his performance. This is as Renner portrays the initial interest with each piece of evidence and importantly the certain sense of invigoration that Webb gets as he begins to discover each new revelation. Renner finding well the sort of reporter's spirit within his performance, portraying more than just being in scenes and instead showing a man actively reacting towards what he is slowly starting to discover. Renner pulls you into these early moments well Webb believes he's finding connections between the drug trade along with the CIA connected Nicaraguan Contras. What Renner does in these early scenes is create the right sort of foundation in crafting Webb as a likable and determined protagonist. This is even with even the slight tension we sense with his wife (Rosemarie DeWitt), however Renner balances well to create a man we see both as something determined to get the story, but we also just get the sense of a man early on within this situation.

The film then first shifts towards the next phase which really becomes the put upon whistle-blower style film, which is less effective overall. Renner though is very good in the early scenes depicting this in just creating the early tensions within his performance. This in particular a scene where men seem to threaten his children by saying they won't threaten them just before he releases the story. Renner's reaction is terrific in catching the sense of Webb sensing the implication and reaction of a mix of horror and anger so effectively. Renner is terrific in the early moments of bringing to life the anxieties as it seems as though there is a looming threat around him from the story. Renner's performance gauges well a sense of determination within the fear early on as well. This portraying the sense of conviction in the man's eyes even within the paranoia of the threat slowly seeping into it. This as we see Webb's article come out which earns some suggestions of initial praise then much attack soon afterwards through its certain alluded to claims and sourcing issues. Renner's performance though is fantastic though in initially finding the sort of ease in reaction towards the initial questions this with just a man thinking it is part of a routine. This though quickly changes to far more than just a few questions as certain elements of his story fall out of place and his sources in particular don't seem to fully support all of his claims. 

This is where the film and Renner actually seem to almost make two separate decisions. The film itself becomes rather repetitive in showing just one thing after another adding up against Webb though with the view that Webb was unquestionably right in every way, except his marriage infidelities. This approach becoming repetitive quickly in terms of the narrative and leads to a somewhat underwhelming film by the end. Renner's performance is the one thing that keeps it afloat though as he seems to suggest a different approach within his own work. This as he doesn't portray Webb as wrong, but he shows that he was perhaps fell into some confirmation bias. This as Renner's work as one thing after another comes after Webb, portrays it as not this just a downtrodden hero. We get this right from the outset where he explains his earlier infidelity to his son. Renner's expression reveals nothing but a sense of quiet anguish over an obvious flaw that runs even deeper in terms of his personal failure. Renner in this scene though shows the very much the humanity within the flaw, though as the film continues I find he manages to subvert a certain expectation. This as it would've been easy enough to portray Webb as a man as just a simple martyr for his beliefs which is honestly the suggested route by the film's approach, however Renner takes it in a far more interesting approach to create a portrait of Webb as an imperfect messenger. 

This as we see the unraveling of Webb Renner's portrayal is not of righteous indignation. There is a small sense of that in Renner's work, but more so he emphasizes well this personal outrage. An outrage he portrays as properly messy with this sense of  personalized anger. In that his deliveries emphasize hate towards those speaking ill of him, just as he speaks with passion for his work. When it seems like he has found new evidence, particularly the seeming ridiculous scene of a nighttime visitor that confirms all his theories, Renner is excellent in that he speaks these words as ravings. This in showing this desperation to be shown right that in turn it seems like he's wrong. Renner excels by showing a man failing in a certain sense to be his own advocate. This in each proceeding scene this increase of that desperation in his performance. Renner then showing this sense of depression only growing in his eyes just as much as the anger is. Renner doesn't separate the elements of Webb's downfall showing it something unappealing in the grander scheme of things. This suggesting a striking sense of self-destruction even if he had been on the right track at one point. Renner is outstanding in his final scene. This first beginning with a speech as the journalist of the year. Renner doesn't even make this a small triumph, rather showing just a man seething within his despair, speaking most words with a sardonic dismissive quality, while his eyes just reflect the terrible wear of the man from his experience. This is followed by a family talk with who encourage him. This seemingly the film's attempt to leave on a more upbeat note even though the real Webb committed suicide shortly afterwards, noted by the film, though in a way not to discourage conspiracy. Renner again seems to ignore this in showing only the small glint life in the affection for his family, however his face though just bearing the weight of his existence from his ordeal. This with a penetrating sense of depression where Renner essentially states Webb's unfortunate end without needing to say it. This is a terrific performance by Jeremy Renner as he crafts a remarkable protagonist even perhaps beyond the film's intentions. This in finding more complexity and nuance within the central role than was potentially found within the script. This in granting a memorable tragedy in Webb's own story as he believes he's telling his essential truth.

Alternate Best Actor 2014: Channing Tatum in Foxcatcher

Channing Tatum did not receive an Oscar nomination for portraying Mark Schultz in Foxcatcher.

Channing Tatum, who wasn't exactly taken seriously as an actor, or even a performer, or even as a comedic performer, pre-2010's, underwent a fairly drastic revision, particularly in terms of the outlook of both the public perception and critical acclaim. Although he had a few decently regarded dramatic turns, in films like Magic Mike and Side Effects, the shift towards goodwill seemed to more strongly inspire from his comedic work in 21 Jump Street. I suppose then 2014 would have to be considered the pinnacle for Tatum's career shift at this time. This as he successfully recaptured that comic ability, even overshadowing better known as a comic performer Jonah Hill, in the aptly titled sequel 22 Jump Street. More than I anything I think one could see just from that work if Tatum managed to loosen up a bit, he not only could be an engaging performer, but also an endearing if not hilarious one. There Tatum excelled in playing with sort of his "hunk jock" persona, and just having fun in making fun of it and subverting it a bit more. His even greater challenge though perhaps would come with this film, which honestly is interesting in that Tatum again is working within that idea of an initial persona, however then too subverting it. This as the character of Mark Schultz is this Olympic gold medalist when we open the film, and his physical ability technically defines the man, in more ways than one would even perhaps expect. Given that my thoughts are already known, I should not beat around the bush too much, and I will declare this brilliant performance from the outset, although brilliant in a way that I would say is quite unexpected, not only just for Tatum, but even beyond the potential one might've expected from Tatum even found in his earlier successes.

Tatum who began with a dance movie, does deliver that same type of physicality, that shows the good casting here as Tatum as this wrestler. Tatum's performance though is not one resting on the laurels of this, as he wholly subverts any graceful qualities you might expect from a dancer in his portrayal of Mark. This only being the very first fantastic choices by Tatum in the role, this as he very much transforms himself here, even though his overall appearance is far more tempered than one would likely compare to his Oscar nominated co-stars. This in that other than the cauliflower ears it is in Tatum's work, as he protrudes his jaw slightly, and his whole physical work though says so much about Mark without even saying a word. This as his manner is fierce in that you very much get the sense of a man who lives by trying to physically impose others in the ring. There is a shyness though that Tatum brings in this in the way his head is almost always cocked down. This as a man who is mighty to look at but even as you do, Tatum grants the sense of the man retiring from sight. We can see him as not whole in terms of the control of himself even as you do get the sense of the physical strength of the man. The most essential thing about this, unlike a certain co-star, every physical mannerism Tatum employs feels wholly consistent and natural. He instead simply makes us feel like not only are we seeing Mark Schultz, we also know something about him just by looking at him.

Tatum's earliest scene is actually one of his most essential ones where we see Mark go to speak at an elementary school. Tatum is brilliant in this scene as he so effectively accentuates the incomplete man that Schultz is. This is as he speaks his poor speech with little articulation, even showing off his medal with this importance, however without a real sense of accomplishment of the pride of a refined athlete. Tatum instead brandishes it as though he won it in any old contest for a man who doesn't quite know what to do with it. We see the same as he is getting paid by the school for his speech, where they mistake him for his brother Dave (Mark Ruffalo). Tatum's way of correcting the person is fantastic as he notes that he also won a gold medal is not as this boast, but as this like rush to try to show that "he's good too" as he notes it. Of course what is essential here is found in the actual relationship between the two brothers, as we see them practice together. This as we meet Dave as a successful, but straight forward and modest man. I love the physical chemistry between Tatum and Ruffalo, in that you get in their grappling really the sense of the brother's bonding with one another, and with Dave almost hugging his brother affectionately even within the practice of grappling. An idea that isn't forced but rather so naturally just felt within their performances that grant a sense of a long loving relationship between the two. This being Dave as someone who has simply just tried to look out for his brother, while Mark struggles, in his own eyes, to be his own man.

It seems that Mark is given his own chance when offered an opportunity by millionaire John Du Pont (Steve Carell) offers to sponsor him and a wrestling team on his large estate. John speaks encouraging words to Mark, and Tatum makes so much in the moment of just listening. In that his eyes spark a sense of worth almost as the man only speaks to Mark as basically being a hero who isn't appreciated. The followup scene then is amazing when Mark brings up the chance offered by Du Pont to Dave. Tatum is outstanding as he speaks the words with passion, however how he articulates each individual word is as this copy and paste of whatever Du Pont said. Tatum finding this balance in his delivering of showing a man who believes in what he is saying only because it is saying the thing that the man who believes in him was saying. There is no sense of individual words with meaning in Tatum's delivery, just the generalized message, and in that Tatum shows how the man is just really going along with someone who seems to believe in him. This in not a way that show a depth of understanding of the ideas said to him, but rather just a sense of being appreciated at all. When Dave, for legitimate reasons, turns down the request, Tatum is again so remarkable in the way he physically withdraws again from the world. This as he shows a man now no longer with the words of others to speak, and lost particularly sense of self he had created through those words for a moment.

Mark takes the opportunity alone then and seems to be successful initially in this. This with John seemingly being generally supportive, even in his odd insular ways, and seeking what seems to be a friendship with Mark. Tatum is excellent in he portrays no manipulation on Mark's part in these moments. This is rather just revealing a man genuinely appreciative of the opportunity initially, and Tatum is terrific in the way he opens up his performance a bit as it seems he even is becoming a leader in the environment. In the earlier friendly moments with John, Tatum presents the right earnestness in his reactions, showing that Mark does appreciate this friendship and opportunity at first. Tatum though still finds the right deferring quality now in his scenes with Carell. He's open, but just the way he looks and listens the man, it is again of a little brother as he was with Dave. One of the earliest problems though coming when he and John visit Dave and his family in a hotel room, and it appears as though John was slighted through Dave's family's genuine though muted greetings towards John. Tatum portrays so well this defensiveness that is immediate and messy. This as he speaks as he doesn't quite know what he's mad at, but gives the sense of anxiety that the perceived slighting is something he has to fight against. Tatum portraying again not a strong sense of self-thought but rather again in reaction for another person's influence. Although of course that is contrasted by the immediate warm moment between the brothers, where Dave refuses to really even recognize the conflict instead just offering Mark support and wisdom towards his next wrestling match.

Although initially Mark and John find success, quickly that degrades through John's questionable behavior including drug taking and general abuse of Mark's friendship, which the film leaves ambiguous to the most extreme extent of that abuse. Tatum's performance though plays well the sense of this reducing Mark back to that sort of shyness within himself, particularly when John basically tries to replace him with Dave. Tatum doing so well in becoming this shell of a defense basically against John's abuse and his perceived unworthiness compared to his brother. At this point Tatum honestly has very few lines to himself as we just see the downward spiral of Mark, yet his impact is not at all muted as we see the weight of it almost destroy him. This particularly being after a lost match where we see Mark breakdown by lashing out in his hotel room and binge eating as a point of self-destruction. Tatum is simply astonishing in this scene in without saying a word he delivers such raw intensity and completely exudes the man's anguish in the only way he knows how. The entire scene being such a tremendous work from Tatum as just all that Mark is dealing with and can't deal with mentally, spilling out into this physical display of decay. This only being brought back from the brink by Dave's support, which includes trying to keep John away from him. Tatum in his final scenes, before the film shifts towards the tragic antagonistic relationship between John and Dave, is excellent though showing him reverting truly to Dave's little brother. This in his silent deferment towards his brother, and just a wary suspicion of John. This is exceptional work by Channing Tatum, as he grants only honesty to this portrayal. This portrait of a man who cannot define himself and therefore allows himself to be defined by others for better and often for worse. Tatum uses his presence to amplify the work, however transforms himself in a way that is only convincing of the character never showing off for the sake it. Sadly this approach made Tatum ignored in favor of  Carell's more overtly against type performance, however Tatum's work was a true show of range and talent that far exceeded most expectations of him as as performer.

Alternate Best Actor 2014: Oscar Isaac in A Most Violent Year

Oscar Isaac did not receive an Oscar nomination, despite winning NBR, for portraying Abel Morales in A Most Violent Year.

A Most Violent Year follows a businessman attempting to secure a life changing deal for his gas company.

I think the early word on the film, along with its name, perhaps was to the film's detriment in terms of overall recognition in its year. This as it suggested a different film, as the film is a low key study of one man's morality, than a wide scope crime drama you might have expected from its catching name and the comparisons to The Godfather. Now in this we have a very atypical character for leading such a morality tale, and in that Oscar Isaac has a unique challenge. So often in the case of morality in a crime film, it is upon the person who has already gone through corruption or is actively taking part of it, either by will or by circumstance like Michael Corleone in The Godfather. A character in that Isaac's Morales was compared to, it certainly helps with their similar appearance, but I don't believe that quite covers the man that is Morales. This is as Morales's role within this story is a unique one, in that while he's not a straight forward good man within corruption, by way of being a legal force, he is not a corrupted man within corruption. This is as he is trying to make it within the corrupt world of the gas works in NYC, he has a criminal lawyer (Albert Brooks) and a wife (Jessica Chastain) whose family are local criminals. The story is of the man trying to not be this, while existing strictly in that world, almost trying to play the game, but with a hand tied behind his back. Isaac's performance then is one that is to bring to life this alternative conflict, that unfolds not quite in the expected way for such a story.

Now on the surface the similarities to Al Pacino as Michael are easy enough to name. This is where one can easily praise Isaac's performance where he delivers that needed sort of internalized charisma for the part of Abel. He's not a man who wields his power, or attempted power, through broad strokes, but rather through almost this force of will. Isaac's delivers that as his presence offers that sort of sense in one's own conviction that empowers him in some way. Isaac captures this specific kind of control in his performance that grants the right sense of Abel's awareness of what he must do, but also the methods he believes he must take to do that. There are earlier moments within the narrative where Abel explains his plans. This is where Isaac's performance conveys well this clear sense of his purpose. This in calm yet determined voice, and eyes that are fiery with a controlled but very real ambition. Isaac creating the sense of a man who has built upon his intelligence within his field, and is working his way towards a kind of control of his destiny. Isaac's performance crafts the sense of the ambition that then grants the man that certain strength, and in turn a remarkable distinct type of charisma. This as Isaac exudes a man of power, even as we open the film we find someone who is quickly struggling to maintain this power, as he doesn't quite have the money to buy an essential property for his plans, and is dealing with the constant theft of his trucks along with the physical harassment of his employees.

Isaac's performance then becomes one that reveals two burdens within it. The first the more obvious and essentially surface one of the exasperation of his state. This as every time it seems he solves one problem two more come up, not due to his own excess or incompetence, but rather the actions of others. Isaac's performance wears this effectively within the man of just a state of growing frustration. Again though Isaac balancing that with the sense of the man's strength as we don't see it overwhelm him in this sense, rather grants a greater sense of perseverance within the man. This as one deal goes poorly for him, Isaac brings the same determination in speaking within the meeting for the next of a man who will finds his success through the forces against him. The second less so that being within the idea of morality, particularly how it exists for him within his world both for his business and in his personal life. Isaac in this shows a good man, but a man who basically has risen around corruption. This in his earlier moments with the other gas owners, or his own lawyer. Isaac's eyes convey a sense of the knowledge of the man as it is with careful suspicion of their actions. When he himself stands against a DA focusing upon seemingly randomly his company, Isaac's portrayal of Abel's denials of any wrongdoing within his company, is that of that same kind of conviction. Isaac importantly grants no sense of a lingering doubt within himself, rather shows someone who fully is aware that he knows how he has risen not through the corruption that he has been so closely near.

This comes to life even greater though within the side story of one of his workers, Julian (Elyes Gabel), becomes increasingly hostile after becoming wanted by the police for having attempted to defend himself in a robbery through the use of a gun. Isaac's scenes within Julian and his wife, are brilliantly performed this as he grants an essential warmth and empathy within Abel. This as even as he tries to get the man to turn himself into the police, that low key warmth Isaac delivers is again with certainty that he believes this will help the man. There is importantly no sense of selfishness within this, as Isaac instead portrays the man believing he is leading the man to some help after his actions have threatened both their livelihoods. Of course one of the most important complications is in his relationship with his wife. This is where Isaac crafts some very careful chemistry with Chastain, that grants a strong sense of their relationship even though we don't really delve within the details all that closely. Isaac conveys the obvious attraction, if tempered by years of marriage, but at the same time gives us the sense of the underlying frustration at the ease in which his wife displays a more duplicitous side. This alluding to her family history, which I love how Isaac makes this a given in his performance, with almost side eye glances that suggest a knowing man just slightly watching out for the worst tendencies he knows his wife has, without hating her for it.

What the film then becomes is basically a testing of the attempt of Abel to try to do what is right no matter how much the world around him encourages him to do wrong for the purposes of selfishness. Isaac is excellent in the way he finds so much nuance within this struggle, which is never spelled out directly however is found again within his subtle work. This as we see the man who refuses to give in to just violence as even when he tracks down one of the thieves and interrogates him. Isaac is outstanding in this interrogation scene. This as he delivers the intensity of a man who could kill given that sense of determination, however in his verbal reaction of releasing that anger from his frustrations is brilliantly performed. This in showing a man who wants to do the right thing in that release, fighting against the negative urge. Even in this time though we still see the strength of the man when within righteousness when he successfully earns some of his money back from one of his competitors. Isaac owns the scene brilliantly in just exuding that internalized power greater than ever, with the right sense of threat within his words, but still that calm that embodies within itself this unquestioned strength. He seems even more tested as he finds he has one source of income from his wife, from her secretly skimming off the top from Morales's company. Isaac is great though in this being the biggest break as he yells as a man who has put up with this behavior for far too long, and this outrage very much earned from his wife often questionable moral character. Isaac reveals those years in this moment that is of surprise at the sort of betrayal but in his eyes that of also that still knowing as something he knew was possible in his wife. The final sort of challenge comes as Morales has successful made his deal by using the money, really with no alternate option for those funds or for himself, but Julian reappears with gun. Julian though only in a distraught depression where he quickly kills himself seemingly both depressed and jealous towards Morales's success. Isaac's reaction in the moment is perfection as he shows the horror of the moment in his understated reaction still. Isaac finds within though not a shame exactly, rather a disappointment again against the corruption and violence that lead to the act, though he himself was not truly guilty of it. This is an impressive work from Isaac, as was the way for him in his remarkable quartet of performances from 2013-2015, hopefully he'll return to this quality sometime soon. Nonetheless this stands as one of his great performances. This in granting a powerful portrait of an atypical character in a moral dilemma. This as a man attempting, despite all odds, to do what he believes is right in a world filled with wrongs.

Alternate Best Actor 2014

And the Nominees Were Not:

Channing Tatum in Foxcatcher

Tom Hardy in The Drop

Shahid Kapoor in Haider

Ethan Hawke in Predestination

Dan Stevens in The Guest

Predict Those Five, These five or both:

Jesse Eisenberg in The Double

Jeremy Renner in Kill the Messenger

Tom Cruise in Edge of Tomorrow

David Gulpilil in Charlie's Country

Oscar Isaac in A Most Violent Year

Alternate Best Supporting Actor 1983: Results

5. Michael Palin in The Meaning of Life - Although in a mixed bag of a film, Palin delivers on the best parts of that mixed bag in his various absurd comic turns.

Best Scene: "Every sperm is sacred"

4. Ian McDiarmid in Return of the Jedi- McDiarmid manages to create an instantly iconic villain that is playing on a known riff but in a different way.

Best Scene: Crossed sabres.

3. David Bowie in The Hunger - Bowie delivers again that fascinating enigmatic charisma of his, though also grants a haunting depiction of a man swiftly consumed by the ravages of age.

Best Scene: Old man seeing the pupil.

2. Jonathan Pryce in Something Wicked This Way Comes - Pryce gives an appropriately devious portrayal of a calm yet sinister omnipotent evil. 

Best Scene: The library.

1. Takeshi Kitano in Merry Christmas, Mr. Lawrence - Kitano gives a brilliant performance that depicts both the cruelty of a man designed by a terrible code, but also the compromised humanity still within that.

Best Scene: Final merry Christmas. 

Updated Overall

Next: 2014 Lead (though taking a brief hiatus to catch up on some 2020 releases, feel free to make any 2020 recommendations).

Alternate Best Supporting Actor 1983: Ian McDiarmid in Star Wars: Return of the Jedi

Ian McDiarmid did not receive an Oscar nomination for portraying the Emperor in Return of the Jedi.

Return of the Jedi is of course the uneven finale to the original Star Wars trilogy, this as it features some proper closure to the films, with some notable heights but also a few, then, nadirs that were a preview of some problems to come.

Now for the review of this performance I would ask that we all journey back to May of 1983 when this film premiered, and forget all that came after, for the moment. The only thing we knew about the Emperor was he was the even greater evil behind seemingly greatest evil of Darth Vader. A force we only saw through a hologram in the previous film, where other than his weird fish eyes, seemed like a general evil British sort. Well this time we see him in the flesh, played now by Ian McDiarmid, who was unknown and around 39 years old as this ancient evil. Now let's forget about the past, and say this is a character who became an iconic character in Star Wars, but just general, particularly as the manipulative evil draped in a black cloak. I will say if just ole' fish eyes had been the Emperor I doubt that would've been the case, as what McDiarmid he does is craft an original character. This is seen from his first scene where he arrives on the incomplete new death star, where we barely see his face however two elements of the essential impact of the character still resonate. That being the guttural voice McDiarmid fashion that both eliminates his actual age, and grants the character a needed idiosyncrasy. This is as obviously it would be hard to counter the sort of booming dominance of Vader, as offered by James Earl Jones, so McDiarmid wisely subverts that with a more snakelike, yet as incisive voice that seems as match for Vader, almost through how different it is. Of course, also unforgettable is his laugh at the end of the scene, where he marks the occasion of his plan to destroy the rebels and turn Luke Skywalker to their side. A cackle of McDiarmid's that just seems perfect in its sheer unadulterated evil, the laugh of a man of whose actions are not of some duty, deranged philosophy or some other compromise, no just of evil. McDiarmid's performance is not subtle, well it is if you compare it to the places he went in the later prequels, in that he essentially creates the character who is the pure evil, to be compared to Darth Vader, who in this film, has become the conflicted evil. This comes to the head when Luke surrenders himself to try to save Vader, leading, himself, Vader and the Emperor together in the Emperor's throne room. This sequence isolated is the climax of the trilogy and the highlight of this film, a highlight of the trilogy as well. McDiarmid is unquestionably part of this, as his way of delivering every line, with that certain vile oozing way of speaking makes each of lines memorable almost by the virtue of that. McDiarmid to his credit doesn't say every line the same either, as his way of switching the type of evil of his lines is key to making the Emperor a memorable villain. I have particular affection for his trolling way of saying "I'm afraid the deflector shield will be quite operation when your friend arrive". More focused upon however is his attempt to allure Luke in with his almost sexual way of speaking Luke's "hate" and his need to strike him down. This in particular his face of feeling Luke's anger, that is let's say euphoric to be as classy as possible. This in McDiarmid does effectively create the sort strange power of the Emperor even as he sits in his chair as basically breathing corpse. McDiarmid does though capture a certain magnetism in that unabashed evil, that he portrays as something that seems to be make a man both dying, yet quite satisfied with one's self. That only changes when Luke obviously will be defiant to the end leaving the Emperor to use his lighting force powers to try to kill him. There McDiarmid is effective in sort of showing just the pure fiendish killer in his mix of glee and hate as unleashes the fury, and the best moment being his devious smile as McDiarmid coldly notes to Luke "You Will die". With this McDiarmid delivers a successful performance which makes a character worthy to be noted as the greater behind seemingly that greatest evil. McDiarmid properly doesn't bring any shades of grey, making the Emperor a demonic fiend as he should be. In doing this though he crafts a unique and memorable character. Any character as earnestly imitated as he, must be remarked as a success, and that is in McDiarmid's performance. His whole creation is a riff on something we'd seen before, but in a new way. McDiarmid made an undeniable impact, that would go on to be used, and eventually exploited when the series went on.

Alternate Best Supporting Actor 1983: Jonathan Pryce & Jason Robards in Something Wicked This Way Comes

Jonathan Pryce nor did Jason Robards receive Oscar nominations for portraying Mr. Dark and Charles Halloway respectively in Something Wicked This Way Comes.

Something Wicked This Way Comes tells the story of a circus coming to a small town, which doesn't wish to entertain. The film is appropriately "spooky" and largely effective, though you do sense a bit of a compromised vision in parts.

Although a Disney film, which partly compromised what seemed to be the stronger vision of director Jack Clayton. The director of the masterful ghost film The Innocents, this film isn't on that's level, however the mind behind that film's greatness can be seen here in parts. The easiest example to be seen in one Jason Robards, a noted dramatic performer who does not choose to phone in or in anyway sort of give a live action Disney turn of the more forgettable ilk. In fact Robards's performance, I won't beat around the bush here, seemed prepped for a masterpiece.  Robards playing the father of one of the technical central characters of the two boys, Will and Jim. Robards's Halloway the town's librarian who we come across initially as an aging man, though Robards grants the brightness of someone more than willing to still show a nice warmth to his son. Robards reminding me of bit Gregory Peck in To Kill a Mockingbird, as not an excessively loving father in terms of the specific presentation of that warmth, however that sense of love is still granted just by the way they internalize it in their work. It is just fact, and Robards realizing that in his performance is something special in itself, and essential for where the film goes. Robards's is typical no nonsense presence though is just a great choice for a supernatural horror film. This as we see him just seeing even the early signs of it, Robards brings a weight and reality to it, that establishes the horror quite effectively even before it begins.

Robards work in general though offers a remarkable depth here as we see the man pondering the eerie storm that predates the circus, and his own weak heart. In the former Robards is the film's greatest asset in creating a sense of dread. This in just his whole expression of observing the strange night sky, he grants the sense that this is something more than just a bad wind. Robards pondering the latter he finds a real nuance within the idea. This sense of a quiet regret in his eyes of a man who just has almost a slight shame of not being able to be what is wholly expected of being a father, in terms of what he is physically able to do with his son. Robards has an exceptional moment where he speaks to the time when people die. Robards is amazing in the moment as he expresses in his delivery the certain anxiety of his own fear of potentially dying, but built around the old man trying to comfort his son as he speaks. This as Robards finds such an effective complication as the man wishes to put his son at ease while also in his eyes showing the sense in the man that the concern is very much real. In Robards's performance the idea of the weak heart is not just a plot point. Robards rather develops within his work to create a real sense of how it places this almost shyness within the man, this certain repression of spirit, even as we at the same time still get a strong sense of a caring and loving father all the same.

Of course the storm but preludes the circus and Jonathan Pryce in a rather early role, as the aptly named Mr. Dark. Now having such a name you won't be surprised that he isn't just your average sinister circus owner, but rather someone far more sinister. Although Pryce would become I think better known for his authoritative villains later on, his knack for it was evident from the outset of his career as shown here. Pryce's whole manner is just about perfect in just having that fitting unnerving stature. This of a man who just seems a little bit off, even when simply handing out flyers for his circus or free tickets. Pryce though is particularly effective here in delivering that sort of graceful menace of his. This is as Pryce here doesn't really even raise his voice. He rather speaks with that refined voice of his, and in doing so creates that unique sort of menace. This as Pryce portrays his Mr. Dark as a man who has a particular ease in his state of being, and fittingly Pryce makes him more so a force of nature than an evil man so to speak. This as Pryce speaks each word with this nearly entrancing quality fitting a man who wishes to pull each of his victims in no through threats but rather temptation. This as Pryce couldn't be more inviting in his manner as he speaks with a slight smile and manner as though he he truly is an impresario bringing in the crowd. The different however though is that glint in Pryce's eyes though that grant that diabolical nature of the man, so evident in his name. Pryce's performance though properly owning the evil, as there is no reason to hide the nature of a man called Mr. Dark after all, and grants that Mr. Dark is as this unnerving character even before he has made a single legitimate threat.

Although the two boys accidentally uncover the sinister nature of the circus the real hero of the film is Robards's Holloway, and in a way becomes the man of heart versus the heartless, ironic given Holloway's heart condition. I love Robards's performance here is it is decidedly unexpected in this sense, since he is the hero, but an easy journey for him this is not. This as we see in an essential scene where Holloway recounts his scene where he wasn't the one who was able to save his son, because his father never taught him how to swim. Robards is amazing in the moment as his expression instantly recounts the anxiety of the original moment, and the pain of the certain type of failure as a father. Robards is powerful in the scene because he shows within it because as he describes the failure it is not just an idea, rather a real sense of experience as recounts. Robards making Holloway not a flawless hero, though even in this description we still again gain the sense that it is the regret as it is tied for the unquestioned love for his son. Nonetheless then we find Holloway as the man who must stand up against Pryce's Mr. Dark. The first scene between them showing the strength of each of their performances. This as Pryce again is so curiously, and effectively, insidious here. This as the slight shake in his voice, still so eloquent, though in that just that slight variation in his voice we sense an unnerving rage. Robards is great against him in portraying the blunt reaction to the strange man. This certainly a sense of resilience as he notes the importance reading, but more than anything, Robards eyes accentuate the man actively trying to decipher the strange, and clearly nefarious man. Love in particular though Robards's directed delivering of "boys, what the hell is going on", as he does so offering such a realistic honesty in the moment. The two naturally then are lead to a confrontation, really of spirit more than anything. Mr. Dark initially getting the upper hand, in a scene that Pryce brings a vile relish to the man just enjoying the pain he inflicts upon others, and importantly maintaining that certain omnipotence as he does so. Pryce playing the scene up beautifully of Mr. Dark fully in his element as he terrorizes the boys and the aging man. Robards is excellent though in showing that within this conflict Holloway's fears are very much genuine, as his physical wavering and anxiety are palatable. This with Robards granting a real honesty to the horror. Robards in turn makes the moment of the turn far more poignant and powerful though then finding the man capturing the spirit again. This again in bringing forth that sense of love that was always evident, but finally put forth in a more energetic and open manner within Robards's performance. This film works best when Robards and Pryce are applying their trade, this as both so well realize their characters within the scenario. Pryce making for appropriately fiendish yet magnetic devil as needed for such a tale, and Robards going even further perhaps in offering a real power in his portrait of a vulnerable yet honest man who stands against the evil that infects his town.

(For Pryce)

(For Robards)

Alternate Best Supporting Actor 1983: David Bowie in The Hunger

David Bowie did not receive an Oscar nomination for portraying John Blaylock in The Hunger.

The Hunger stands as the directorial debut of Tony Scott but also an outlier in his career. This as the film seems more akin to one of his brother's films, though the sort of extremes of the style are definitely that of the younger Scott, than the director who largely became known for his action pictures.

The film itself is a stylish vampire picture, even if lacking a bit in the screenplay particularly the ending which throws character motivation out the window in order for a bit of phony irony. This style though is almost purposefully trying to make it a particularly erotic, and you might say even glamorous approach to the vampire film. I suppose then who better to cast as one of the vampires than David Bowie, a man whose personal style seemed to so often defy convention, yet always seemed to capture one's imagination with such ease. Bowie is ideal for the almost sort "celebrity" vampire of the film, this as we see the couple, this being John and his wife Miriam (Catherine Deneuve), in two extremes immediately the film. The first the nightclub of a leather bar, where both actors not only have extremely idiosyncratic presences, but also are so powerful in this. Each as their eyes piercing as the two decide on their prey, perhaps you'd assume sexually, however we quickly learn this to be a different sort of lust, blood lust. Each really thriving within Scott's extreme aesthetic, as they just glow and amplify it in they do make the standard "vampire murder scene" something rather unique by the mere virtue of their fascinating performances. We see an alternative side though quickly enough outside of the "night life", this as the two teach music with John as a cellist. These two delivering a different kind of glamor, more traditionally so, and as effectively so. I will say the casting did half the job alone in making a uniquely fascinating vampire pair, by the fact that there just isn't anyone quite like Bowie or Deneuve for that matter, so the combination of the two is rather special in itself.

This "high life" though is short lived within the film though as John starts to aging, despite Miriam's earlier insistence that they would be together forever. Bowie and Deneuve, as briefly as we see them interact, do have that striking chemistry particularly in the brief scene of John turning a century ago. This is important though I find in that their performances though grant that sharply lustful qualities, though there is a more striking genuine emotional sentiment than I had expected coming into the film. This then Bowie portrays well initially an internalized concern, at the beginning of his degradation, as he speaks of how long does he have. Bowie instantly throwing any genre expectations out the window by portraying a man, even an un-dead one, in general need of help. This as he seeks help from an apparent aging expert Sarah (Susan Sarandon), who ignores his request. Bowie's whole performance is rather remarkable in portraying the physical decay, that he does not just leave to the makeup. This movement become more labored, and his eyes slowly grant a more haunted quality of a man seeing the death before him. This as he is particularly notable as we see him phases of this aging so quickly, yet so vividly in Bowie's performance. This right down to his voice becoming coarser towards that of an old man about to push out his final breath. Bowie finding the right horror of this within his expression that goes beyond just the rather impressive makeup effects along with his performance. His delivering becoming more desperate in each phase of a man in an agony and gripped within fear of his state. This in Bowie most remarkable scene where he goes about murdering Miriam's replacement for him in a vain attempt to save himself. Bowie's performance manages to convey the act in this state of exhaustion and despair. This failure only then followed by Bowie's near nothing of a voice as he speaks his final words towards Miriam, these as basically a walking corpse, that Bowie grants a surprising weight to as his performance grants the sheer agony of John in closer to a more literal living death. I will say well I wish the film had spent more time with the couple and developed them beyond the confines of the simplistic plot, what the performers do with the characters even within this confine is captivating. Bowie delivering his expected charisma to the role of the immortal, but then a surprisingly honest tragedy to what that truly means in the end.

Alternate Best Supporting Actor 1983: Michael Palin in The Meaning of Life

Michael Palin did not receive an Oscar nomination for portraying Window Washer / Harry / Fish No. 5 / Mr Pycroft / Dad / Narrator No. 1 / Chaplain / Carter / Spadger / Regimental Sergeant Major / Pakenham-Walsh / Man in Rear End / Female TV Presenter / Mr Marvin Hendy / Governor / Leaf Son and Debbie Katzenberg in The Meaning of Life.

The Meaning of Life, essentially Monty Python's own History of the World Part I, is a series of vignettes supposedly about the title. I would say with this one, although there are laughs to be found, I would the success rate of jokes is fairly low, not to the point of being a terrible comedy however it is a considerable step down from their previous effort, Life of Brian. I honestly probably wouldn't even recommend the film, just rather simply watch the cut clips of the bits that work.

Well I will say it again Michael Palin is easily my favorite Python as a performer, and in general his ability in the sketch comedy also alludes to why he was also the best actor of the group in general. This as the other member typically worked within a more exact type, John Cleese as the pompous fool or genius, Eric Idle as a at least slightly daffy excitable fellow, Graham Chapman as the relative straight man, and then the director Terrys as some kind of grotesque sort. Palin's characters tend to be a bit more of just that, even in the microcosm we see of them here. This as he plays about 18 different roles, and in each Palin manages to bring a bit more than just a quick comedic bit. This as he offers the blind naivety of a dopey school boy for a moment, the excessive propriety of a tv hostess, though not say particularly proper things, even the different kind of propriety of an American wife, the low key smugness of a hospital director, the smugness of an overly proper British soldier, or the strange randomness of a man in a tiger suit at the opposite end of that soldier. In each Palin captures a bit different in his presence as these different roles, this making him typically a little bit amusing even when some of the bits he's featured in aren't all that amusing overall. There's just something about his range of voices and expression, that can garner a little chuckle. What I'm really here to discuss are his sort of central sketches, which actually Palin gets very few of, perhaps one of the issues with the film, in fact he only has two where he is the focus. The first being the film's big Oliver!esque musical number about a poor father describing to his brood of children why he needed to have so many, explaining that "Every Sperm is Sacred". Palin's performance here being an enjoyable sort of twist on the modest means father befitting an Oliver Twist novel, with an aw shucks expression and a world weary voice. This though with all the heart he can must in his eyes and of course his voice as he sings to all about his fundamental beliefs. Palin belting it out with a hilarious passion, and again that heart, even as he sends off all his kids for scientific experimentation. His other scene is as a drill sergeant. This where Palin again fashions a different personality of a wild eyes befitting the profession, and lips with mind of their own as he barks out orders like a proper English screw. This finding the comedy as Palin brings this ridiculous intensity even as the sergeant is extremely accommodating to all his soldiers who feel they could do something better than routine drills. Palin being great as he maintains that same stature no matter what happens. Both these bits are great, and for my money the best bits in the film, or at least two that wholly worked for me. Is it coincidence that they both star Palin? I'm going to say probably not, as both feature his delightful talents, as a comic performer that grants the particular type of investment in his performances that sell the comedy all the more.

Alternate Best Supporting Actor 1983: Takeshi Kitano in Merry Christmas, Mr. Lawrence

Takeshi Kitano did not receive an Oscar nomination for portraying Sgt. Gengo Hara in Merry Christmas, Mr. Lawrence.

Takeshi Kitano must have one of the most multi-faceted careers for any actor, this being a host, a comedian, an editor, a writer, a director...and tap dancer, while evidently finding quite a bit of success in each of these endeavors. This evidently wasn't always the case as this film marked an important breakout attempt for him to no longer just be seen as a comedian as an attempt to be taken seriously. Although evidently this was met with laughter in his native Japan, which is a shame, though something he apparently eventually got over. Still a shame though as one just looking at Kitano's performance here, you might only gather he was best known as a comedian, because comedians can sometimes deliver brilliant one of the kind performances. Now his role is a decently worn one, that of the brutal enforcer in a POW camp, seemingly only second to the as brutal, though in a different way, to camp commandant Captain Yonoi (Ryuichi Sakamoto). This we see in the opening of the film Hara summons British POW liaison Lawrence (Tom Conti) to inspect a situation, where a Korean guard sodomized a prisoner. Kitano of course delivers the intensity needed and expected for such a role. This just being inherent, in making his quick gestures of violence as something he doesn't require a second thought for. This portraying just a casual quality in this behavior as a man whose done this for quite awhile and does have an ease at it. This even when casually doing to Lawrence when he speaks up against the actions of Hara and the Japanese in general.

This scene alone though is brilliant work from Kitano though as he instantly establishes Hara's manner towards Lawrence with this semi-congenial recognition of him, even though he doesn't eventually mind hitting him in the same scene. In the sequence itself though Kitano is fantastic in the way he portrays the cruelty of Hara, that is essential in portraying sort of the systematic nature of it based upon the Japanese army's culture. This as he mocks both men with a derisive attitude, less of a direct attack, and more of it as this type of grilling, though no less severe in this apprach. This though broken with these little asides where Hara mentions ideas to Lawrence with this strict sincerity, such as knowing the Japanese properly by seeing a man commit harakiri. Kitano's delivery of mentioning these ideas is with an earnest educational tone. He plays it as not extra cruelty to his British prisoner, but rather as though it is something he really wants to share with the man, as terrible of a thing as that is to share. Kitano though manages in this scene to show that Hara's firm beliefs in the imperial Bushido code are not just something he uses to be cruel, rather those beliefs are what encourages him to be cruel. This is as we see the disgraced guard attempt a sloppy harakiri, the glee upon Kitano's face as he prepares to second the man (i.e. cut his head off), is that with the pride as though he is performing essentially a religious right. This as something a proper soldier should do in his mind. There is nothing simple about the way Kitano expresses this, which is what is so important. This as even as he explains his actions to his Captain, with a bit of shyness, that Kitano shows of a soldier a bit unsure of himself in front of his commanding officer, but still with a direct belief as he describes the harakiri as something that would benefit the man, Kitano makes it the truth to Hara.

The crux of this performance is in his scenes with Tom Conti, as we see more than just a captor and captive. That is part of it, but not all of it. Although even within that we find the right nuance as Lawrence argues for the mistreated prisoner, Kitano brings that usual sort of underlying menace of a cruel guard, however also delivers a more casual incredulous quality when Lawrence speaks on them all being soldiers. Kitano creating as sense of Hara more than just as his role as this captor. This is expanded, on what is one of my favorite scenes in the film, when at night Hara comes to see Lawrence in the prison barracks, along with the new captured officer Celliers (David Bowie). I love Kitano in this scene as he wakes up Lawrence less as a cruel captain, and more of as a friend at sleepover hoping to get into just a little bit of mischief in the night. This as he brings this eagerness in his curiosity of someone just genuinely interested in this supposed great soldier, and the fascination is pure in such a wonderful way. Again Kitano finds sense, in the senseless in a way, as he brings such a reasoned honesty to Hara's extremist beliefs. This as we see him continue as he talks to Lawrence asking him why he wouldn't commit suicide. Kitano's fantastic because he doesn't use it in this berating tone, as we see the men just talking as men, and Kitano in turn shows a man genuinely interested in his fellow soldier. This as even his eyes bring this interest in the other man's views though, not that he agrees with them, but what Kitano expresses is a man finding a genuine camaraderie in this interaction. We see friendship in his eyes, even if the nature of the situation prevents it. There's an amazing moment where Hara's explain he enlisted when he was 17, this as he begins speaking the words with this quiet vulnerability, as a man who really wants to share something personal with Lawrence, though then as he tells it fully, he shifs to an attempted solder's menace as he notes his belief in giving his life to the emperor. Kitano in the moment shows so well both the soldier in Hara, but the man beneath it all. My favorite moment of the scene though is as he and Lawrence briefly interact with Celliers, this as again Kitano brings a near childlike amazement, as he and Lawrence sneak in the interaction like a couple kids.

We see then this better side come out of Hara in a great scene where he gets Celliers and Lawrence released from confinement. This as a drunken Hara, Kitano is terrific by expressing all the soldier's bluster being worn mostly away by drink, and a bit of goodwill. Kitano does this in this outstanding sort  of waves in his work in bringing glint of a stern expression though it gives way to the again that better man inside, with his endearing laughter from his drink, and his oh so perfect delivery of the titular line, because Kitano expresses as absolutely a wish of goodwill to his fellow man, and really friend. That is almost just the man, not the soldier, but we finally get purely just the man in Kitano's final scene. This being the final scene of the film after the war, where Hara is about to be executed for war crimes, but Lawrence visits him one more time. Kitano, who delivers the entire scene in English, is masterful in this scene. This bringing such a modesty to the moment showing Hara without any pretenses. This bringing in his performance the difficult expression of a man trying not to cry, though just almost the brink of it. This as Kitano is heartbreaking here as we see him reaching to Lawrence now purely as a friend. His line delivery regarding not understanding why he's being executed as his crimes were no different than any other soldier. While I don't quite agree with the sentiment, what I do agree with is the power found in this through Kitano's performance that again emphasizes this as truth. He shows a man who basically was raised with cruelty as the requirement to be a soldier, and in turn was cruel. There's no hypocrisy as Kitano speaks it with the strictest sincerity. This isn't without regret though as they note the death of another, and Kitano's expression does speak towards the unfortunate loss of life. The most remarkable aspect of the scene though is as the two briefly reminisce. The two striking up a chemistry of old friends once again, and we sense that the two, could've been the best of friends in a better world. Kitano's work here is simply incredible in offering such complex portrayal of a soldier bred towards cruelty yet still with humanity within him. Kitano's final seconds exemplifying this as they are again sheer perfection as he calls out Lawrence one more time, though for a last time in his soldier's voice, though as his face shows it as but joke as he wishes so poignantly one last humane "merry Christmas" to his friend.

Alternate Best Supporting Actor 1983

And the Nominees Were Not:

Ian McDiarmid in Return of the Jedi

David Bowie in The Hunger

Jonathan Pryce in Something Wicked This Way Comes

Jason Robards in Something Wicked This Way Comes

Michael Palin in The Meaning of Life

Takeshi Kitano in Merry Christmas, Mr. Lawrence 

For prediction purposes:

Pryce

Alternate Best Actor 1983: Results

5. Oleg Yankovsky in Nostalgia - Although Yankovsky gives a fine performance with what it is that he has, his character is overshadowed by the approach surrounding his character. He is lost within the margins though he is fine within those margins.

Best Scene: The scene where he speaks.

4. Keith Gordon in Christine - Gordon gives an effective portrayal of a unique type of obsession that builds confidence yet slowly destroys himself.

Best Scene: Describing Christine.

3. Om Puri in Ardh Satya - Puri delivers an effective contrasting portrayal of the brutal cop he is in his professional life and the sensitive romantic he is in his personal.

Best Scene: Describing his past.

2. David Bowie in Merry Christmas, Mr. Lawrence - David Bowie delivers a great performance as only he could. This in granting an honest depiction of a defiant soldier, but also this enigmatic quality that is essential to the focal point relationship in the film.

Best Scene: The kiss.

1. Gerard Depardieu in Danton - Good predictions Luke, Tahmeed, Anonymous, Calvin GM and Omar. Depardieu delivers an outstanding performance in his portrayal of a charismatic and approachable leader, and in the end a passionate martyr for his beliefs.

Best Scene: Being brought to trial. 

Updated Overall

Next: 1983 Supporting

Alternate Best Actor 1983: Jeremy Irons & Ben Kingsley in Betrayal

Kingsley's two final scenes, one quite brief, are of the end of a man in a way. This rather the end of any sense of good will that is. Kingsley, still then just coming off of Gandhi, portraying a man who has lost his airs, though in a way is portraying a man both hurt, yet plays it in a way as a man who is ready to hurt. Kingsley's terrific in the detachment he brings so carefully. This as the sharpness of his voice captures the titular betrayal to be sure and his eyes unwavering, however still presents as though detached. This in a way showing the hurt within the man who in a way recovers from it by acting towards his friend as though it is just a thing that has happened nor more no less. This creating a man who has become a victim of cruelty in tun has become cruel. In the end Irons portrays a man stricken by a guilt rather than any experience. This in the final scene between Robert and Jerry, where Irons very much emphasize that sense of guilt though in the betrayer. This in his expression of a man seeking his friend's anger in a way almost to legitimatize and be punished for his failure as a friend. In turn his very final way with the technical mutual lover, Irons shows a man where the passion is now gone and the wound of betrayal lasts. Irons speaks with familiarity, but also a sense of a failure. The idea of the relationship still apparent in the interaction but lacking in as you gather only the sense of that guilt still in his performance. Both actors in a way in their infancy though giving performances stripped somewhat of the presences that they'd become known for, however their talent evident in realizing each man changed by the central failure of their friendship.

Kingsley performs so well the truth of the man as he technically lies repeatedly among his best friend and his betraying wife when together. Kingsley is heartbreaking in depicting the man just putting on a bright smile as he goes through the motions however every interaction is granted this undercurrent of a stress in his work. This as his facade is coming ever closer to fully cracking under the weight of it. Every word he speaks cannot quite capture a sincerity, it comes close, and in that slight miss is the strength of Kingsley's work. This as he creates the wound of the work in his performance. This as every word he speaks has this bit of struggle, suggesting a man just prepping to fall apart. Irons is good in both being blissfully unaware yet also aware in this curious sparing match between the men. Irons showing the man just being the friend, and is effective in that sense. This trying to be the friend, however in every glance towards the intensity of sort so his friend, and certain words he speaks, evokes the repressed guilt. Irons's body language and way of seeming to avoid directly being open with his friend reveals the failure. This as we see relationship with Emma being something that cannot last any longer. Irons is terrific in being able to capture the in a way the weakness of the man as the denial of any relationship being possibly left. Irons still though finding the undercurrent of a weakness in the man, a sense of the tenderness though only funneled within his eyes as a somber reflection as what he has done to his friend.

The man being Jeremy Irons's Jerry and the husband being Ben Kingsley's Robert. In the technical beginning of the story we are granted the messy start of an affair. This as we get to see the breakout talents of Jeremy Irons and Ben Kingsley at the beginning of their breakouts. Each having not quite fashioned their onscreen presence, allowing for a very different side to be seen of them, than the modern viewer would be used to. This seen in that messy beginning when Jerry comes on to Emma with a sloppy charisma. Irons owns it in the right way as he shows a drunken enthusiasm of a fool, that isn't without its charm, even as Emma is more taken aback then anything initially. This supplemented though with Kingsley portraying just an earnest attitude of man admiring in seemingly his own happiness towards his still faithful wife, and his less faithful friend. We do see the friendship of the two men continue as Irons and Kingsley find the important sense of just a genuine friendship. It isn't earth shattering but just an understanding between two men that get along. Kingsley though showing the light cracks starting, of almost a idea back in his head that nags within him. This realized in just a twitch of the eyes, of a second thought nagging at his mind, though more often than not still ready to just talk with his good friend. Kingsley maneuvering a unique hostility that is of suspicion of the affair but not quite a knowledge of it. I think essential is in the relationship between Jerry and Emma given they are the central betrayers. Irons and Hodge striking up an essential chemistry between the two. The chemistry carrying the expected lust in certain moment, but more important the genuine tenderness between the two as they come together. Both finding a sense of connection that goes beyond the physical. This in Irons portraying the sense of comfort within the relationship and a truly loving sense between the two that is not just a fling. This in a way creating a relationship that wouldn't be opposed to say a Brief Encounter, the problem is here we actually get to know the cuckolded husband quite well. The scene of discovery of his wife is brilliantly performance by Ben Kingsley. This as just this ever growing bit of hostility in the man. Kingsley wavering between the sharpest tongue with overtures of warmth as the loving husband. Kingsley wears though the defeat of the man, and the moment of the direction confrontation is an incredible moment for him. This as it carries the anger of it of course, but more so the real sense of defeat in the man in acknowledging both his wife and his best friend have deceived him.

Betrayal moves in reverse chronological order as you might've guessed from this gimmick of a review. Unlike the Seinfeld episode of almost the same name though, it is effective in this approach as the technique plays with preconceptions of the situation rather well. The situation being the affair between a Man and his best friend's wife Emma (Patricia Hodge).


Jeremy Irons and Ben Kingsley did not receive Oscar nominations for portraying Jerry and Robert respectively in Betrayal.