Monday 4 May 2020

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.

32 comments:

Calvin Law said...

Strongly agree! Love that childlike look on his face when he’s studying Celliers, strangely adorable lol

Tahmeed Chowdhury said...

Louis: Can Kitano go up for Battle Royale?

Luke Higham said...

Louis: Thoughts on Streamers, Heat And Dust and Meantime with ratings/thoughts on the casts.

Razor said...

1. Kitano
2. Pryce
3. Bowie
4. Palin
5. McDiarmid

Anonymous said...

Louis, Your thoughts on Howard Ashman and Stephen Schwartz.

1. Kitano
2. Pryce
3. Bowie
4. Palin
5. McDiarmid

GM said...

1. Kitano
2. Bowie
3. Pryce
4. Palin
5. McDiarmid

John Smith said...

1. Kitano
2. Bowie
3. Pryce
4. Palin
5. McDiarmid

Bryan L. said...

1. Kitano
2. Bowie
3. Pryce
4. Palin
5. McDiarmid

Tim said...

Little question for everybody here in between:
What are your favorite movie Trailers of all time?

For me 127 Hours probably

Mitchell Murray said...

Tim: At least in terms of more recent films, SOME of mine would include the following:

Skyfall
Mad Max: Fury Road
Inception
Star Trek into Darkness
Hacksaw Ridge
Deepwater Horizon
Wonder Woman ("Warriors" version)
Wonder Woman 1984 (What can I say - I'm a sucker for a well used 80's soundtrack)

I might also submit the trailers for "State of Play" and "Ali", if only for their uses of the songs "Dead Reckoning" and "Body Rock", respectively.

Matt Mustin said...

Tim: First theatrical trailer for The Dark Knight (the one with the Joker reveal)

Michael McCarthy said...

I finally got around to Michael Almereyda’s Hamlet the other night (which I pretty much loved) and I’ve finally decided that my request for winning 1978 Lead will be Kyle MacLachlan for 2000 Supporting Actor.

Louis Morgan said...

Tahmeed:

Probably not.

Luke:

Streamers largely doesn't work as a stage adaptation by Altman, I'd prefer his second attempt at such a chamber piece with Secret Honor. The material is kept as staging as it obviously is, and this is right down to most of the performances which are over the top. The film never quite moves beyond the trappings that likely work better in a stage experience while in film it slowly grows a certain artifice.

Modine - 2(I will never understand why Modine became a leading man even briefly, he's not a horrible actor, but he's not a particularly good one though more than anything lacks charisma. Here we get a dose of such a thing, at an extreme, as he mainly just sort of yells his lines without any particular nuance or interest.)

Wright - 2.5(He too yells all his lines, though at least it makes a little more sense for his character. Still though Wright's work never really gets past that bluster to offer anything more than an idea of a soldier rather than a real person.)

Lichtenstein - 2.5(His performance to is very over the top and broad, reducing any idea of nuance in the nature of his character. Even with that though his performance is one of a whole lot of posturing rather than again offering any real sense of who this guy is beyond the situation.)

Grier - 3.5(Surprisingly the guy who is best known for broad comic performances, gives the most subtle and nuanced work. Honestly Grier's performance granted a sense to the material. This as his performance actually portrays both how the man interacts with the current situation but also with a sense of who this guy is. Grier finding a complexity within the emotions of his character that is unfortunately sorely lacking in his co-stars.)

Dzundza - 3.5(Technically also broad, however I think this is the role that the approach works given he portrays basically a derangement of a guy who is both gung ho and suffering severe PTSD. Dzundza offers that intensity in his performance effectively, as this peculiar form of insanity, though even in this Dzundza has a few quiet moments that properly grounds his performance a bit.)

Heat and Dust I found to be breezy to a fault, as it is technically dramatic to its core, it just has such a passive tone that it leaves the drama passive as well. This is to the point that while none of the performances are bad, none of them stand out either because of it. They just sort of sit there, in what stands as an acceptable piece, no less but definitely no more.

Louis Morgan said...

Meantime I'd say overall is Mike Leigh trying to work out the kinks in his style. This is that it is not wholly successful, rather there's moments of a future Leigh brilliance inter-spliced with just a lot of layabout scenes. Again this is kind of a danger of any Leigh film, like what I find to be the majority of Happy Go Lucky or Mr. Turner, particularly when compared to say Naked, Secrets and Lies, Another Year and Topsy-Turvy. Meantime is somewhere in between great Leigh and truly aimless Leigh.

Bailey - 4(It is no surprise that she would continue to work with Leigh, even beyond the personal, as she thrives within his style here. This in depicting well the emotional nuance even within the seemingly tepid discussion of random things of her family. Bailey finding effectively the desperation of her character well, and even better he concerned reactions towards the rest of her family.)

Daniels & Robert - 2.5(Honestly their performances feel a little dishonest to Leigh's approach, as they both are rather yelly and border on a melodrama that is typically something Leigh so artfully avoids. Their performances push constantly in that direction really losing the essential idea of the approach.)

Molina - 3(Fine as the semi-pompous/put upon husband, finding the right nuance as he portrays both a sensible frustration with his wife's family, while also emphasizing enough of the pompousness that shows perhaps he just doesn't care as well.)

Roth - 4(I'm surprised actually that Roth never worked with Leigh again, as his performance does capture that Leigh approach, even with a more difficult part. This as Roth portrays well the sort of petrified shyness of the character, that effectively shows both possibly a more intelligent man, but also the surface that suggests others the man is mentally handicapped in someway. Roth importantly slowly unwrapping the character in a way, in moments of revealing the man in the shell.)

Oldman - 3.5(Less surprised he never worked again as Oldman's words on Leigh while not hostile, are not entirely kind. Oldman though is good here, in a more limited role, as basically this crazed hooligan. Still we see that intensity of Oldman and off-beat charisma he find here quite effectively, even as he displays it as this unwieldy fool in his idiot skinhead character.)

Anonymous:

Well Howard Ashman, as a gone too soon, talent has a briefer career altogether. His brief work though being marked essentially as wordsmith quite notably in his different work that could be that of the ballad, the lullaby, the over the top showman number, all with a clever ability to find a unique sort of fun with the work found in the best musical style songs. This as his work was particularly apt in sort of exposition/story telling songs, and quite simply made it look easy.

Stephen Schwartz's cinematic work was as the attempted successor to Ashmam, and his first run at the bat I'll say was perhaps ill-fitting in Pocahontas, though the work on his end seems to be held in better esteem than the rest of the film, and though I've forgotten most of the film I can easily recall "colors of the Wind". His work in Hunchback though is of that variety, and though perhaps best in as his words grasp for darker material in both the brilliant expository piece of "Bells" or one of the darkest songs found in Disney with "Hellfire". Even there though his work was largely capable of hitting the different marks, of the "more" song, the hidden gem song "court of miracles" or the sidekick....alright maybe not that one, but tough to work with those gargoyles. The Prince of Egypt is technically his showcase as both lyricist and composer, and proved himself quite artful at both. In that his pieces are daring as they are dynamic, and though each is note entirely successful, those that are remarkable works.

Tahmeed Chowdhury said...

Tim: Two of which that immediately came to my mind are:

The Social Network (with 'Creep' by Radiohead playing)
The Lighthouse

Michael McCarthy said...

Fun fact about Stephen Schwartz while we’re on the subject: One I lost balance and he caught be before I fell over. I will not elaborate.

Calvin Law said...

Michael: But did you both burst into song afterwards is the question?

Louis: your thoughts on Albert Hall in Apocalypse Now? I've checked and I don't think you've given them although I assume he's a 3 or 3.5?

Calvin Law said...

I'm also not surprised that Oldman and Leigh never worked together again, something strikes me as their two different styles clashing. Fun idea though, imagine Mike Leigh directing that scene in Prisoner of Azkaban with Oldman, Thewlis and Spall?

Bryan L. said...

Louis: Your thoughts on the visual effects and score for The Right Stuff?

Also, your 2010s cast & director for that film?

RatedRStar said...

So the HK film award winners have been announced, literally just the director of One Nite in Mongkok standing in a room reading about 14 envelopes and announcing the winner lol.

RatedRStar said...

The perfect end to my ten year stint of watching them lol.

Tahmeed Chowdhury said...

Louis: Could I have your thoughts on the cease fire scene from Children of Men? I think it has some of the greatest acting from extras that I've ever seen.

Also, not sure if you covered it before, but could I have your thoughts on Cuaron's direction?

Anonymous said...

Louis: Are you a fan of Bruce Springsteen, and Bob Dylan? If so, could I have your 5 favorite songs by each of them?

Tahmeed Chowdhury said...

Anonymous: I'm not Louis, but my favorite Springsteen song would be 'Dancing in the Dark', while my favorite Dylan song would be 'Like A Rolling Stone.'

Mitchell Murray said...

So I just watched "Dog Day Afternoon" for the first time, and I thought it was genuinely great. Overall, I'd actually say I preferred it to "Network" (which is a well done film in its own right), mainly in regards to its pacing and portrayal of 70s era New York.

Pacino - 5
Cazale - 4.5
Sarandon - 4.5
Durning - 4.5
Allen - 3.5
Broderick - 3.5
Henrikson - 3

Bryan L. said...

Tahmeed: He covered the first thoughts on the Bonus Best Supporting 2001 Results. Just Ctrl + F “tracking shot” and you’ll find it.

Tahmeed Chowdhury said...

Bryan: Thanks man.

Michael Patison said...

If anybody wants to check it out, I've updated my Google Doc to have a ranking of the nominees with points assigned by placement with the Top 10s

It's only been updated with people with multiple nominations so far, and any assistance with completing it would be appreciated.

https://docs.google.com/spreadsheets/d/1sM-Tz4PDsvXVR1SQtG2xCpaktNL8CJA4Z_dtP0_zrTo/edit?usp=sharing

Anonymous said...

Louis: It looks like Chazelle's next project will be set in 1920's Hollywood, with Emma Stone, Brad Pitt and Tobey Maguire all starring. There are rumors that Stone will play Clara Bow.

Louis Morgan said...

Calvin:

Hall - (It's a good performance as almost the straight man to everyone with his constant disparaging looks to Sheen, that I like how he performs as an easy to empathize with exasperation with the mission that Sheen personifies. My favorite moment though being his reason towards his end moment where he does kind of a small laugh at the disbelief at the method of his demise along with though still the sense of disbelief/horror of it.)

Calvin:

Of course, the version where Thewlis is spewing a long monologue on the nature of a rat's life, Spall telling about the virtues of it, and Oldman running around like a crazy man.

Bryan:

The only way I can explain the visual effects snub was because they were too good, as you don't even think of any of the flying scenes as effects shots because of how well done they are, which is particularly remarkable given all that the film predates. Of course Kaufman carefully doesn't overexpose them in terms of how he focuses them with so much "real" along with the effects, but it does some great methods of "obscuring" where the faults would be, without hiding sort of the grandeur you'd want from them.

The score for The Right Stuff may be Bill Conti's crowning achievement, though Rocky will always contest that of course. It is the most expansive of his work though showing really his ability with multiple styles of score. This as delivers more ambient mysterious work, playful tunes for the satirical sections, and of course the sheer grandeur of the main theme. The main them that realizes once through a great synth rendition, then tops himself through a full orchestra version, that manages to be a piece that evokes a grand triumph like few pieces of music ever have.

The Right Stuff Directed by ...I'll be lazy Damien Chazelle:

Chuck Yeager: Barry Pepper
Gordo Cooper: Ryan Reynolds
Gus Grissom: David Harbour
Alan Shepard: Sam Rockwell
John Glenn: Chris Evans (Too obvious perhaps, but couldn't come up with as good of an alternative)
Trudy Cooper: Blake Lively
Betty Grissom: Carrie Coon
Louise Shepard: Linda Cardellini
Pancho Barnes: Kathy Bates
Annie Glenn: Lizzy Caplan
Glennis Yeager: Michelle Monaghan
NASA Recruiters: Chris Diamantopulos & Jason Schwartzman

Chuck Yeager still as the bartender

Louis Morgan said...

Tahmeed:

Cuaron's direction is of course extreme technical craftsmanship, as to be expected, but a series of sort of unorthodox yet captivating choices in terms of both as an action based film and a dystopian film. The latter is strikingly realized in his work that is of a still mostly kept yet wasting rot of a future that is just holding itself together. The former though is that of brilliance in doing things in an unexpected, yet so striking of way. Whether that be a car chase, that is absolutely visceral, yet the biggest action of it is pushing a car door open, or an escape that is merely of running down a quiet road with a silent vehicle. Cuaron's vision here is one that very much places within the protagonist's scope and doing so creates a particularly vivid and personal scale, to what is a grand scale story in a certain sense. This granting such pointed moments by taking this approach like following the one man through a chaotic battlefield, or even that memorable opening of the narrow avoiding of a terrorist attack as he's just walking down the street. I'd say also notable is his way of kind of granting a largely down to earth tone, but then taking these more almost spiritual flourishes that are remarkable, like the crying scene. It also just some strong work in more traditional film making, in that carrying characters moments, where we find the humanity and a bit humor, just as we do the intensity and grandeur of the tale.

Anonymous:

I'm not a devotee of either, but I have enjoyed their music here and there.

Springsteen (I'll admit I generally prefer his "pop" stuff):


1. Blinded by the Light
2. Hungry Heart
3. The Wrestler
4. Dancing in The Dark
5. Jungleland

Bob Dylan:

1. The Time They Are A Changin
2. Like A Rollin Stone
3. Tangled Up in Blue
4. Mr Tambourine Man
5. All Along the Watchtower

Louis Morgan said...

Anonymous:

I mean, I'm in period with Chazelle period at this point, and that setting is as promising as any.