Alternate Best Supporting Actor 1994: Jean-Louis Trintignant in Three Colours: Red

Jean-Louis Trintignant did not receive an Oscar nomination for portraying Joseph Kern in Three Colours: Red. 

Three Colours: Red is an amazing film about a model, Valentine (Irene Jacob), finding a near hermit retired judge after accidentally injuring his dog.

That synopsis barely covers even the smallest surface of the film, which is so much within the execution. This of course visually, as every frame of this film is gorgeous in one way or another, but amplifying this greatness are the central performances. This though is unusual within the film as our lead character Valentine, while not passive, is a character who is supportive and often reactionary. A notable achievement of the film is how dynamic Valentine is even with that quality, of course greatly helped by Jacob's wonderful luminous performance. This is in stark contrast to Trintignant's work, who we first see when Valentine informs him of his dog's injury. Trintignant instantly establishes the reality of his character, and so powerfully realizes his state particularly against Jacob's work. This as Trintignant does two things in this opening scene. The first is actually in his reaction to seeing Jacob, which he doesn't portray as surprise that someone has invaded his house, rather he presents this sort of look upon another human trying to interact with him as some foreign thing. Trintignant presenting a man who has long closed himself from others and even seeing someone want to directly interact with him seems strange in a way. The second is showing the depressive state. A depressive state that Trintignant portrays so effectively not as something recent that wears heavily, but rather wears lightly. By this Trintignant's delivery as he asks her to leave with a calm disregard, and his eyes are just with a disinterested exasperation, it is of a man who has become content within this state, as wounding of a state as it likely was when his Joseph Kern originally entered it.

 

The greatness of Trintignant's work is from the outset as his second scene he subtly suggests the change of Joseph even as it seems like his current sate seems all the intense. This as when Joseph greets Valentine who has come to visit Kern and his dog, Trintignant is very sharp in his delivery of Joseph's callous remarks. This as he speaks about his dog without feeling, is actually very much with feeling. The feeling though of incisive divisiveness in his voice. Trintignant almost portraying a pride within this aggressive seeming apathy. At the same time Trintignant suggests the possibility for change through this greater energy within the man. Although that energy is being used for such negative thoughts, Trintignant shows that the interaction has changed the man. This as Trintignant brings an eagerness to the interaction, even though the eagerness is to be misanthropic. This which is revealed all the more when Valentine discovers that Joseph listens in on his neighbor's conversations. Although initially Trintignant's reaction of one is of a natural ashamed quality for the voyeurism. When he begins to speak though again Trintignant brilliantly segues within the explanation. The explanation that he speaks with this fascinating combination in his work. This as his face carries with a venomous disgust, while his voice is spirited in describing his use of the phone calls that support his pessimism. This as Trintignant suggests a man who finding support for his cynical views gives him a strange sort of life. 

Trintignant finds this remarkable balance in his work particularly in the way he interacts with Jacob. This as again he speaks to her with a growing interest, almost every line there is a greater sense of the man in fact connecting. This even in reacting towards her with a genuine sense of interest in his eyes. This while though speaking towards that striking bitterness within the man. The greatness within Trintignant's work is his ability to realize Joseph not as a man who has come to hate the world because he's a true misanthrope, but rather a man who has come to hate the world because he's a true romantic. Trintignant presenting the man as the witness of people's failures with certainty in his voice and directness of his eyes as though it is a success for him to see those failures. What I love is the soulfulness that Trintignant delivers within this approach. This as he even questions Valentine's reasons for saving his dog, it is with intensity in his delivery, yet there is a sense of heartbreak in his eyes. This man trying to push his nihilism as a way to soothe himself in some way. This as Trintignant speaks with such confidence in his distaste for people, yet is on the verge of tears all the same. This makes it wholly believable then as we do see a slow turn from Joseph in each subsequent visits by Valentine, and all the more poignant. Trintignant artfully reveals the man slowly opening up to another human. It isn't all at once, rather this gradual release of the venom and portrayal of the warmth. The slow change is so moving because of how honestly Trintignant's work expresses this. This making the sense of affection in Joseph feel all the more genuine and tangible. This as Trintignant stops speaking with the push for cynicism, even as there remain a sense of bitterness, however slowly it is changed appeal for understanding rather than a sale for that cynicism. 

 

Trintignant never skips a step in moving Joseph away from a curmudgeon in his own kind of despair. The sense of life in just his expressions is outstanding. This as Trintignant solely within his performance, seems to almost eliminate years from his brow from his first scene to his final scene. I adore his highlight scene at the end of the film when he finally leaves his property to attend Valentine's fashion show, upon her invitation, and we meet the romantic fully. Trintignant is amazing in this scene as his whole manner is so open and loving as he speaks to Valentine. The warmth earlier suggested now so naturally flowing in every gesture and every word he speaks. This even as he lets her know of what caused his earlier state, a broken heart, Trintignant now presents it as a direction reflection of the past, rather than some bitter attack on it. Trintignant still reveals the raw wound of the betrayal by the love of his life, however it is now open rather than defensive. Trintignant so deftly revealing a man now accepting the past with an actual hope for the future. Trintignant's essential final scene is a wholly silent one, this just as Joseph awaits to hear news of survivors of a ship disaster that Valentine was on. Trintignant though says it all in the absolute concern as he stares at the news broadcast, and the utter relief he expresses when he sees she's alright. Trintignant making this such a powerful and heartwarming ending, because of how nuanced and detailed his portrait is of this man's difficult journey to finding empathy once again.

Alternate Best Supporting Actor 1994: Delroy Lindo in Crooklyn

Delroy Lindo did not receive an Oscar nomination for portraying Woody Carmichael in Crooklyn.

Crooklyn is a wonderful film, always seem to like Spike Lee's films most when they feel the least like his films, about a family growing up in Brooklyn. 

 

Frequent Spike Lee collaborator Delroy Lindo plays the patriarch of the family, though the use of patriarch might be a bit of stretch, and the father of five children along with his far stronger willed wife/school teacher Carolyn (Alfre Woodard). Lindo's, who is more often cast as a tough guy, is decidedly not that in the early scenes of the film. He's terrific though in establishing really the kind of father he is in such a naturalistic way. This as Lindo just brings a comfort within the scenes of interact with the family, being a bit sloppy at times, and Lindo embraces being a bit goofy in the right way. This just being a dad who very much embraces his place not as the dominant voice of the family when it comes to affair in dealing with his children. Lindo is a good goof finding the right affability in these interactions with his children and his wife. Even when he is yelling about the musical tastes of a neighbor Lindo the right endearing quality. Lindo makes Woody not the best dad, but a good dad just in terms of obviously showing an undercurrent of love for his family that is never in doubt. Of course how he actually handles the situation of his family though is a little different. This as a consistent quality in Woody is his inability to really take charge of his boys and one daughter. Lindo though carries with this the right spirit of a guy who is definitely meaning the best in the warmth he exudes, even if his methods are not great. 

As the film goes on we learn more about Woody as he tries to make it as a musician, which he is more than struggling with due to his refusal to compromise this stance. Lindo's moments of explaining these positions are great work in presenting the stubbornness of Woody. This on one hand he brings that stubbornness as directly as he can with the sense as he speaks of a man who might be a little concerning with his own pride and not enough with his family's well being. On the other hand when explaining his reasons for this Lindo is great in making the passion absolutely genuine. In his eyes there is only the sense of a real noble intention, even if the noble intention sadly also results in the former stubbornness. Now his other major struggle is in his place of interaction in being any sort of a "leader" in the family. This when pressed about the lack of power in the building his family lives in and owns, Lindo is terrific in showing really the lack of strength in his delivery. This in just accentuating the evasion of the questions at every turn in such a natural bit of trying to delude the issue as he speaks to a tenet. The biggest instance of this though comes when a situation where Carolyn is trying to discipline the boys' TV watching, and Woody mucks things up by contradicting her. Lindo is great in the scene by showing very earnest good intention in the moment as he speaks with a casual "come on", but also in that moment not standing up to do what is needed. This even in the act of contradiction not being at all insidious rather just a bit foolish in Lindo's quietly diminishing delivery. This though leading to Carolyn turning on Woody instead, kicking him out, and this just a great bit of acting from both Lindo and Woodard. This as their interactions emphasize the ease of the fight, even the lightness of it, despite Woody being temporarily kicked out of his own home, suggests a long relationship of this kind of fight. Lindo's demeanor as he leaves rightfully is that of limited frustration and a bit exasperation. This properly showing that this isn't a life changing situation, just one of many fights low key fights of a long relationship. Although both parents take a backseat for a bit, as the one daughter goes to live with relatives in the suburbs for a bit, we return as Woody is back home but has to deliver some bad news. This being that Carolyn has cancer and could die. Lindo's performance in this scene is exceptional. This is on the surface we see him trying to be the best dad as he tells the kids gently and we as much assurance as possible. Meanwhile though in his eyes that are not quite holding back his tears he reveals the real heartbreak within the man. An equally moving moment is near the end of the film where Woody is comforting his daughter. Lindo is not at all openly distraught, rather emphasizes at every instance a reassuring warmth. He still internalizes the sense of the grief, but projects Woody now really taking up his duties to be the best dad he can be. This is the highlight of Lindo's work, but it is emblematic of his whole performance. This as he gives a performance that is complex in a low key way, by naturally revealing just a normal, though not simplistic dad. Lindo makes it all seem easy, which is really essential in releasing the film's modest tone, and creating his quietly moving performance. 

Alternate Best Supporting Actor 1994: Michael Wincott in The Crow

Michael Wincott did not receive an Oscar nomination for portraying Top Dollar in The Crow.

I had a few choices to fill the last spot, but decided to use it to the highlight the memorable character actor Michael Wincott. Michael Wincott, with perhaps one of the all time greatest cinematic voices, well at the very least one of the most underrated. A off-beat character actor, who for me, is always a welcome presence to any film that dares to include his raspy gravitas. Wincott, as is often the case for the character actor, is usually regulated to a thankless role. Often times the secondary or bit part villain to be unceremoniously killed off before moving on to the main boss. The Crow is an exception as he gets to be the big boss, which I think makes me lament a bit about the current mainstream quality of a the modern superhero films. Although the Crow is rough around the edges to be sure, I love that it has such a memorable case of diverse character actors to be found, who would never be found in the modern day superhero. I mean we have the man who should've been Black Mask, not that prancing around Ewan McGregor, this with Wincott bringing a steely gaze and all the more cutting voice. Now Top Dollar isn't a great villain as written, has some random pseudo philosophic monologues, and we wait around before Eric Draven (Brandon Lee) finally get to them. Well that is enough for Wincott, who brings the right sort presence in the quietly gleeful killer that he makes Top Dollar. This in making those pseudo philosophic monologues sing, thanks to his one of a kind voice delivering them with the right sort of darkly quiet menace. Wincott brings a nice style to his crime boss, who seems to control all crime in the town, along with his wannabe sorceress girlfriend. Wincott having this ease in his manner, but also the shameless in his blithe delivery of dismissing deaths of lowly henchmen. Wincott creates a casual manner that sort of owns the style the film is going through, while having the right amount of a fun with it as well. This when he threatens a slimy pawn shop owner for information, Wincott carries his menace with a light effective touch, in just showing the darkly vicious quality in glimpses in his eyes, but also finding a bit of comedy in just how relaxed he is about killing. Wincott actually finds a way of making the part work by kind of doing almost a hypocritical performance. This as he's both underplaying his scenes while also still being over the top in a way. This as he never overdoes Top Dollar's devious speeches, but still with his sneer and pompous demeanor doesn't at all hide the villainy of the character. This perhaps best exemplified by his final scene with Draven. This as Wincott's delivery of admitting to putting out the hit that killed Draven and his girlfriend is with a calm, even comical, admittance, almost like he's talking to a friend. His followup emphasizes this all the more as noting the smile on his face for the fight that Draven brought to him, but Wincott still has that captivating presence that wholly keeps the menace intact even with this approach. In many ways this is still a limited role, but an example of Wincott plying his trade. Taking what's there, and bringing his unique presence to make something out of it. 

Alternate Best Supporting Actor 1994

And the Nominees Were Not:

Daniel Auteuil in La Reine Margot
 
Bokeem Woodbine in Jason's Lyric
 
Michael Wincott in The Crow
 
Jean Louis Trintignant in Three Colours: Red
 

Delroy Lindo in Crooklyn

Alternate Best Actor 1994: Results

10. Robert De Niro in Mary Shelley's Frankenstein - De Niro is the best part of his terrible film, attempting to find some humanity in the concert of ridiculousness.

 

Best Scene: Listening to the family. 

9. Woody Harrelson in Natural Born Killers - Harrelson gives a convincing portrayal of a brutal madness, even if the character is rather limited. 

Best Scene: Interview.

8. Shah Rukh Khan in Kabhi Ha Kabhi Na - Delivers a nice charming turn as a somewhat atypical romantic hero given where the romance goes.

Best Scene: Accepting the situation.

7. Brandon Lee in The Crow - Lee tragically proves himself a capable leading man both delivering the intensity and charisma needed for the part. 

Best Scene: Before the kidnapping.

6. Kevin Bacon in The River Wild - Bacon gives a fine menacing turn bringing the right degree of sleaze with just enough charisma in there.

Best Scene: "There's no way"

5. Ge You in To Live - Although overshadowed to a definite degree, Ge You still gives a moving portrayal of man just making his way through trauma.

Best Scene: The hospital.

4. Tom Cruise in Interview With The Vampire - Cruise is surprisingly able to disappear into his role as his vampire who loves being a vampire.

Best Scene: Ending.

3. Temuera Morrison in Once Were Warriors - Morrison gives a terrific portrayal of both the brute and the charmer that allows a vicious cycle of abuse to exist.

Best Scene: Winning his wife over.

2. Xia Yu in In The Heat of the Sun - Xia gives a wonderful coming of age turn that amplifies every moment of his young man's journey into life and love.

Best Scene: "Party"

1. Ben Kingsley in Death and the Maiden - Good predictions Lucas, Tim RatedRStar, Anonymous, Matt & Jack. Kingsley delivers one of his best performances in both creating such a compelling question then delivering an unforgettable answer.

 

Best Scene: Confession.

Updated Overall

Next: 1994 Supporting

Alternate Best Actor 1994: Jim Carrey in Dumb and Dumber

Jim Carrey did not receive an Oscar nomination for portraying Lloyd Christmas in Dumb and Dumber. 

Dumb and Dumber, I find to be quite the hilarious, dumb movie, about two dimwitted friends who go on a cross country trip to return a suitcase to a beautiful woman, that is in fact a ransom. 

Well after despising Natural Born Killers, which I found to be all of Oliver Stone's worst tendencies wrapped within one aggressively unappealing package. Its obviously intended to be off-putting, however I felt it was what it seemed to be deriding, while also seeming to attempt to pretend to have some unearned pretension. I thought what was particularly notable about that film is how so many of the techniques that worked so well in JFK fail horribly there, although many reasons why, but I won't get into that here. Although Woody Harrelson is actually more than decent in his role, I don't feel like devoting a review to that film. Instead I'm going to enjoy myself by discussing Jim Carrey's final film in his breakout banner year. That which opened with his breakthrough with Ace Ventura, then his somewhat more traditional, though still heavily comic turn as any man Stanley Ipkiss, given strange abilities, in The Mask, and finally topped with his work here, that makes itself clear. This after all Carrey is the dumber in the title, and with that I really just need to stop all pretenses and just state my delight for this performance. Now notable is this as I've reviewed Carrey three other times, but none for a pure comedy, even Man on the Moon, is far more interested in its biographical recreations than really the comedy. Carrey of course achieving his stardom through comedy, and with Dumb and Dumber, it is easy to state why. This as we get the greatest purity of this form here in Dumb and Dumber, that to describe as silly might be an understatement, but that's the key of the film, that is largely here just to be hilarious. 

I mean this is pretty obvious from the outset as Carrey appears his least movie starish looking with his simpleton's haircut and his authentic chipped tooth. Carrey's not even an off-beat leading man here, he's a complete goofball just from this image. From the opening scene, where Carrey's Lloyd Christmas pretends to be a limo passengers, when in fact the driver, pretty much sets the tone for his performance, which is really to derive a bit of comedy out of anything. And I mean anything, this from the more obvious in the scene with his over the top reaction to hearing an accent from the woman he's speaking to, to his horrendous accent that isn't even the right one. But also just the way he floats his head down as he closes the limo's window and way of moving back into the front scene, Carrey brings this deft kind of foolishness, as every thing feels right to the simpleton that is Lloyd, while also being hilarious in its awkwardness. I think though there is something about comic performances, particularly leading ones, that requires a little more, and it kind of goes to why am I reviewing this performance and not Ace Ventura. While part is material, another for me is variety. Take Carrey's first scene of picking up the beautiful woman Mary Smasonite (Lauren Holly) to take her to the airport. Carrey is still comic gold in his reaction to see her, however it is difference. He's still goofy in his reaction to her, but rather than energetic awkwardness, it is overly earnest puppy dog adoration that is so funny here instead. His interactions with her throughout the ride are different from his initial scene, and also great, in playing every "romantic" moment so grandly, hilariously and stupidly. 

Carrey's performance in a way, is the balance between being ridiculous, but doing so in an honest way. Now by that nonsense, I mean Carrey is playing the part in that ridiculous fashion, however everything within the logic of his character and what he exudes in the role is true, to Lloyd anyways. Take as he grabs Mary's briefcase to rescue it, but fails to get to her plane, his call to the airport security "don't worry I'm a limo driver" is absolutely sincere, which makes it so funny. Now I think an essential part of this dynamic is in his co-star Jeff Daniels, as the slightly less dumb (I mean he can read), Harry. This as Daniels, who up to this point, definitely was not considered a comic actor best known for his more dramatic turns. Now Daniels obviously doesn't give a dramatic turn here but those sort of instincts though do inform his work in a way, particularly in the way he interacts with Carrey. This as Daniels is this kind of facilitator to Carrey antics, now quite a straight man, that's really all the bystanders, but a balancing factor. This as Daniels doesn't really downplay Harry but he doesn't try to upstage Carrey in turn providing the right sort of anchor. The anchor being that the as much as their interactions are comic in nature, there is a believable sense of their petulant friendship, that is innate in their work. Now having said, they are also just funny together in this dynamic of Daniels in playing bass basically to Carrey's tenor. Whether that is literally (well kinda) when singing their less than stellar rendition of "Mockingbird" to motorist in need, in fact criminal (Mike Starr), or just his expression of grand enjoyment as Carrey unleashes his personalized rendition of the most "annoying sound in the world". 

Now I could just describe a how bunch of individual moments that I love in Carrey's performance here, and I will. You have his maniacal madness when successfully poisoning his friend or imagining murdering Mary's eventual husband, that is mad gold. You have his other fantasy, which really is accentuated by Carrey goodness, with a great particular affection for his own sound effect of "aah" when rising up to face an opponent after seemingly defeated. In fact so many moments that are fantastic in Carrey's work here are the little ones, like his overly intrusive way of looking behind Mary to see he can spot Harry, or his improv exuberance when Lloyd randomly discovers the moon landing, decades later for the first time. Again though there is something about the sincerity of the stupidity, that reaps the laughs. A main instance in this being the scene of Lloyd finally getting to declare his love for Mary without reservation speaking from the heart, right in Carrey's performance, asking if he has a chance. When receiving the news that he does, one in a million, Carrey's reaction sheer hilarity by just how sincere the pure joy he brings to delivering "so you're saying there's a chance". Up until this point though I have avoided what I feel is in a strange way the most important scene in the movie, despite being the only scene that comes close to being serious, and in a way predicted Carrey's later forays there. Although there are many problems in the film's atrocious sequel, one of the central ones is the complete lack of heart, something given by this scene. The scene being when Lloyd and Harry decide to go to Aspen to search for Mary. Carrey is straight forward great in bringing so much genuine emotion, without a hint of irony, as he quietly speaks Lloyd need to no longer eek by and be a nobody and have nobody. Carrey brings the heart in this scene established the needed real motivation in the character behind all the hi-jinks. It's an actually moving moment thanks to Carrey's earnest performance, and it is exactly what the film needs to provide just the right degree humanity. Now having said that, beyond that this is just a hilarious performance that, to me, is the very best example of Carrey going full force with his comedic powers. 

Alternate Best Actor 1994: Xia Yu in In The Heat of the Sun

Xia Yu did not receive an Oscar nomination, despite winning the Volpi Cup, for portraying Ma "Monkey" Xiaojun in In The Heat of the Sun. 

In The Heat of the Sun is an absolutely wonderful, and criminally under seen, coming of age (hidden gem to be sure), directorial debut film, by Jiang Wen. 

The film is said to be semi-autobiographical by actor turned director Jiang Wen, and that can easily be seen in the absolutely brilliant casting of Xia Yu, who bares more than a passing resemblance to Jiang Wen, who narrates the film as "himself". Xia's performance goes far beyond just deft casting however, as Xia is as confident onscreen in his debut as Jiang is in his directorial debut. This as we can sort of move right past the typical pitfalls of the young performer. One doesn't need to worry about any of that. Xia's absolutely just is the part here, as he is so incredibly natural onscreen you don't give it a second thought. Rather he seems instead this perfect representation of the boy that was Jiang Wen. Now because Xia is so confident we can also kind of move past the second potential accusation of my own feelings that this is only a director's film. Not at all. Now Jiang's vision is absolutely remarkable here, Xia is in no way overshadowed by that or the narration of some of the character's feelings. He lives on his own. This from the opening scenes of the film where we meet the seemingly almost orphan like Monkey as he passes his time breaking into homes to hang out and explore, while not actually stealing anything. 

Here's where you see an excellent performance that works within the vision, these being this absolutely fantastic scenes of nostalgic memory. Xia is not merely in them however but is essential in creating the tangible feeling in them. That is Xia expresses the youthful delight as he looks upon every little thing in the home, or the joy as he uses a "borrowed" spy glass to look upon the actions of a disliked school master. Xia's work grants the sense of discovery and the right sense of mischievousness. His portrayal doing more than just representing it, but truly evoking the emotion. Creating within the scene the needed empathy with Monkey, that you too feel the excitement of the game. This can be said of Xia's whole performance that is so very honest and lived in. This as again he simply is Monkey, and each experience we see him go through is all the more tangible through that. When he is hanging out with his friends, who play different games, or even get into little street fights, Xia is never just in a scene. His performance grants the sort of dogged determination one moment to bring "justice" to bullies or another in the rapturous joy of some random truce. His work not being overshadowed, by rather properly accentuating each scene so beautifully as he elevates his work far beyond that of a surrogate. 

What is so notable about his work beyond this though is how much Xia fleshes out who Monkey is. This particularly in representing this sort of cross roads time in the boy, soon to man's, life. Xia has this particularly exceptional way his face can be so many things all at once. This as we have those moments of hanging out with friends or sneaking around someone else's house where there is that mischievousness of youth. All the same though we have also the moments of quiet brokenness of youth that are equally palatable, where Xia almost looks like a different boy. This as we initially understand more of his home life just through an absolutely brilliant monologue by Xia where he speaks as his own father figure. Xia's delivery with the false sort of "older man" kid's voice, but also a real sense of heartbreak in his eyes as each word becomes more brutal in its discipline. This as the more we see of his real relationship with his parents the more dire it appears. In these moments Xia is so moving in just expressing in his reactions that of any boy being mistreated and also ignored by his parents. His eyes shattered in a quiet sort of sadness, and more than anything we see the sense of the escape in his mischievous fantasies away from that world. Xia showing very much the boy that defines Monkey, even as so much of his actions attempt to show a maturation.

Now the final portion of the film focuses closely on his relationship with one of the individuals whose house he broke into. This being a young woman Mi Lan (Ning Ling). This presented purposefully as kind of a broken set of memories as really this strained relationship that is one of nostalgic perfection and that of broken hearted memories. We start with the former in their early scenes together where Xia projects more so the boy in the innocent interactions. This with such playful warmth that he brings, that quietly at times projects a certain maturity as the two seem to speak regarding anything of substance. Xia is exceptional in the way he doesn't play the relationship a single way, rather finding the sense of the boyish crush and the complexity within that as it clashes with an attempt at something more. We see this as he brings her into his gang of all boys. Xia's initially fantastic in being so sweet in delivering the invitation with this quiet excitement as though he's got something great for show and tell. This though changing as she does show up and instantly all the boys are obviously quite interested. The sense of the personal connection being tested Xia excels in showing the sort of hidden frustration within Monkey's attempts at posturing in front of her. This as his "show off" moments Xia presents with a certain jealous desperation to keep her interested in only him, even as she strays. Xia's work gradually building this frustration where he also expresses more petulance in the boy almost interfering with the attempt at manhood. This culminating in two scenes. The first being a heartbreaking one where Xia unleashes such a pent up bitterness as he verbally attacks Mi Lan in a thoughtless exercise of jealousy. What I love is that Xia keeps it very much as the failure of Monkey to mature in the moment. This culminating further as he attempts to force himself upon her, and Xia showing a greater regression to that of a crying infant having lost any sense of personal growth. Now a masterstroke I feel is in Jiang's writing and direction that makes both scenes likely are falsehoods of frustrated memories, however Xia is essential in realizing this failure of the past as a broken boy in reflection. Xia work finding this balance in the joys of remembering a nostalgic youth, and also the pain of replaying the failures of the past that can never be rectified.

Alternate Best Actor 1994: Temuera Morrison in Once Were Warriors

Temuera Morrison did not receive an Oscar nomination for portraying Jake "the Muss" Heke in Once Were Warriors. 

 

Once Were Warriors is a powerful, though brutal, viewing experience that focuses on a dysfunctional family of Maoris in New Zealand. 

I'll admit I went into this film without any knowledge of it whatsoever. This as we see the opening of the family living different lives including Temuera Morrison who at first seems just like potentially, the slightly rough, but charismatic dad who is just hanging around with his mates. Morrison brings a larger than life power within his presence here. He's just the life of the given room as he matches really this personality intensity as we see his hard drinking Jake living up his life, though early warning signs begin as he seems to have little interest in the rest of his family, including his oldest son whose joining a gang, his younger son who is sent to juvenile hall or his daughter who seems to live life in a slight depression per her surroundings. Morrison though portrays Jake seemingly still having the time of his life and Morrison projects that joy remarkably in making you believe that might be the case for him. This though is harshly set aside when his wife Beth (Rena Owen), questions verbally many of his recent decisions, such as getting fired. When immediately happens is startling to understate as Morrison instantly unleashes a feral intensity. A feral intensity without caution or concern as he brutally beats and later rapes his wife. Morrison presents it without hesitation rather almost a purely animal reaction built within such a palatable sense of bitterness in his eyes as he commits his heinous crime. 

Morrison effectively bluntly shows the hard edge as we see essentially the hangover as he delivers each word even afterwards with a disregard both for his previous actions and towards any actual concerns for his family. Morrison's portrayal is hard to watch but convincing in showing just a festering anger that defines the man who is either looking for a good time or for someone to blame. Where some films I think  struggle in depicting truly toxic relationships, is within the idea of how the relationship existed to begin with. Well in this instance it shows again so well how relationship exists between Beth and Jake because of the performances of the actors. Morrison is great in a few scenes later where Jake seeks to reconcile. He portrays a real charm and quiet warmth in the moment. There is a sense of how he won her over to begin with with the calm earnest sweetness Morrison brings in the moment of showing his love for Beth, even if far more so a manipulation. Morrison though is wholly convincing in realizing the reconciliation. He doesn't suddenly make Jake a good man, rather he realizes the attractive qualities of the man, and how they would once again put a veil over Beth's eyes to his true nature of a person. Seemingly though Jake's better side is prevailing for the moment as he agrees to take Beth and the family to see their son in juvenile hall. 

Morrison again shows the appeal of Jake as even as he sings along with the car there is a real endearing cheer to Morrison's' work. He almost wins the viewer over to his seeming reformation like he is in some way a better person. There's a great moment where with the family where Jake and Beth recall their relationship. Morrison speaks the initial words of pride in taking a "prized" woman from her proud heritage of Maori warriors. As he continues to reflect on the idea, including his heritage of slave Maoris, Morrison eyes create such a palatable sense of bitterness. There again is that hatred even in him still even as he is not just yelling. Morrison revealing the considerable chip on the man's shoulder we witnessed quite loudly beforehand but now nearly silently. Morrison in this reveals the nature of the man, a man he portrays almost essentially driven by ego. This as he's not finding joy to think about all his failures in life through drinking and the like, which Jake ends up choosing to do rather than seeing his son, he rages against them. This though specifically as how it all revolves the man and only him. Morrison expresses joy only when nothing interferes with himself, but when it does, it is with a strict dissatisfaction. Morrison so well realizing the machismo of the man, that while won over Beth in the past, now rules the man's behaviors towards reacting with violence first and never thinking about it later. This as even as we see tragedy come to the family, largely due to Jake's selfishness, Morrison's reactions is essential. This as he manages to convey a degree of grief, but it is almost hollow. This as Morrison expresses as much with just still a general rage of something getting in the way of living life as his broken pride dictates. Morrison's great in this in managing to find humanity within the character, but a venomous humanity. This as we consistently find the man defined by his cruel actions and his senseless actions built around his fragile ego. Morrison gives a striking turn here by finding depth within the role of Jake without even for a moment limiting the character's terrible nature.

Alternate Best Actor 1994: Kevin Bacon & David Strathairn in The River Wild

 Kevin Bacon did not receive an Oscar nomination, despite being nominated for a Golden Globe, for portraying Wade nor did David Strathairn for portraying Tom in The River Wild.

The River Wild is a dated though more than decent thriller about a family going on a rafting trip who unfortunately come randomly in contact with some thieves making an escape on the same river. 

So return back to the reliable Kevin Bacon. Bacon is an interesting case in that I'm not sure I'd call him fully underrated, but one could easily make the case for him to be deserving of being an Oscar nominee, though probably a one time Oscar nominee would suffice. Speaking of one time Oscar nominees, we have David Strathairn here as well, an actor of kind of similar caliber even despite that previous aforementioned fact. Here we have them playing dueling leading roles, though Bacon was campaigned in supporting for this film, as the man who initially shows up at the start of the trip. The man who seems to be such a friendly stranger that you know he's gotta be up to no good. Bacon though is pretty good in bringing on the charisma here however. He finds the right ease about it that even within the obvious setup, Bacon delivers on the setup in making his Wade genuinely charming before he's going to really reveal himself. Now Strathairn on the other hand plays the overworking husband to Meryl Streep's rafting expert Gail, and father to Joseph Mazzello's Roarke. Strathairn being rather ideal as the "boring guy" in the early scene, having that sort of pressured manner that is just ideal of a man whose thoughts seem to be caught on elsewhere as the film opens, and he initially claims to be unable to make the trip. Strathairn's just one of the actor's whose presence is just ideal, and frankly you expect he could be some footnote in the film to be forgotten form much of the proceedings. This just as you believe Strathairn strictly as the "forgettable" guy, though he's not a forgettable performer. 

Bacon is good at playing up the charm adding a bit of southern twang similar to his JFK work though downplaying slightly here to ease into some sort of generalized idea of the potential other man as Gail has second thoughts about her marriage due to her husband's focus on work. Strathairn on the other hand is wonderfully goofy and seemingly out of his depth as he initial shows up last minute to the trip. As the early scenes go on we get the minor flirtation well played by Bacon with a sense of manipulation in the approach. Strathairn takes a convincing approach in portraying the combination of Tom's frustrations with his wife's interactions with Wade, and even his son getting too comfortable with the other man. As the scenes go on though Strathairn naturally realizes the more charming sides to charm. What I like about Strathairn's work is that without the obsession of either work or jealousy, he shows that Tom isn't an entirely different man however there is just a gradual warmth that reveals itself within the frame of the pretty straight laced guy. Strathairn brings the right earnest quality to this making the moments of reconciliation with Streep genuinely a strong scene. This as they realize a strong chemistry, after purposefully having a more strained one, both creating the right sense of intimacy in their interaction and just the right degree of playfulness in the moment. Strathairn's performance working as really kind of quietly revealing the greater depths of what we initially take his Tom as, one thing, but he is more. 

Immediately after the reconciliation we hit the overt thriller element as Wade and his partner Terry (John C. Reilly), reveal themselves as thieves and Wade being a gun touting killer. I'd say in these scenes Bacon borders on going over the top several times, I'd say though he basically hold back, though some of his specific readings maybe go out of bounds just slightly. Still Bacon brings a natural intensity and viciousness that works well for the role creating the right sense of menace in his work. Strathairn I suppose is a bit of a balance to Bacon as he stays in a strict reality where Bacon's work is definitely that of a 90's thriller, both in a good way and a more dated way. Strathairn though is terrific in bringing an honesty to the thriller element by showing both a real fear but also sense of persistence within his character. His silent reactions add up to a great deal in bringing the intensity of the scenes, just as much, if not more so, than Bacon's performance. This as any given scene of threat Strathairn makes it real. This in showing that while Tom is more than meets the eye he also isn't some superhuman.This in the most overt thriller scenes he shows the very real fear of the threat of death in every expression. Now the film, while doesn't become bad, gets a little repetitive in its third act as we keep getting Wade flopping around as Gail tries to trip him up on the river, meanwhile Tom trails behind trying to surprise Wade downriver. This doesn't give either too much to work with, but I'll give particular credit to Strathairn in doing his best to make these scenes compelling by consistently granting them as the actions of a normal man even as he goes to these great lengths. These as every moment of climbing a cliff or taking a leap, his work brings a strict sense of both the conviction of the character in his eyes, while also making the sense of danger still within at the same time. Bacon's work becomes less memorable during this time, though he makes up for it in his final scene. This as he takes upon the best sort of quiet repentant tone as he tries to trick Gail. Bacon's delivery being wonderful insincere while being sincere, before quickly reverting back to his true vicious nature for the final moment. In the end both Bacon and Strathairn, the reliable actors that they are, give fine performances here with Bacon properly realizing the expected trappings of the genre, while Strathairn doing his best to try to elevate it. 

Alternate Best Actor 1994: Ge You in To Live

Ge You did not receive an Oscar nomination, despite winning Cannes, for portraying Xu Fugui in To Live.

To Live is a powerful film that follows a couple through years of upheaval in China during the 20th century. 

The films of Zhang Yimou, well his non Wuxia films, seem to seek to grant a real humanity to stories that could potentially be examine in a detached sort of reverence. This is appropriate than that this film is called simply to live, as that is what we see these people do in the husband Xu Fugui and his wife Jiazhen (Gong Li). The film reminded me a bit of Farewell My Concubine, also starring Gong Li, from the previous year and a bit of Masaki Kobayashi's masterful The Human Condition Trilogy. The notable difference with the former are those people were isolated slightly in the world of Chinese opera, and from the later in the protagonist who attempted to make a difference within a oppression regime, the protagonist here is less active. We in fact open up with Ge portraying Xu as basically a bit of a fool. This where he is spending all his money and losing it quite quickly in one bet after another. Ge's performance has a nice bit of foolish endearing quality in it. This as there is this dumb type of optimism as he tries to make every bet with eyes that suggest a man who genuinely thinks he will suddenly win any time now. Of course in fact he loses all his money and even his wife with his non stop betting, and Ge's reaction is less horror and more bafflement from a man who takes quite awhile to fully comprehend much of anything. 

Eventually he wins back Jiazhen's good graces finding himself a father. Ge's performance finds though the same foolishness though creates the same sense of purity really in his warmth with Jiazhen. It is a simple given that he loves his wife and the chemistry between them is sweet even as Gong suggests her sense intelligence that is accepting of her husband's foolish behavior. Now as the film proceeds we do see the two of them go through history, and what Ge's performance really emphasizes is the simplicity in which Xu goes through all this complex history. We find this as he has to go off to sort of fight in the war, though Xu mainly moves around artillery and reacts to the deaths of other. Ge's performance though is moving in portraying the simple reactions of Xu to these deaths. He's distraught however just with general sadness rather than any sort of change in his sort of spirit as a person. We see him as he continues to react with the sense of just a very average man, who takes in no great sense of the greater sense of the world, he's just part of it. Although with that one can run into a little bit of Louis's reviews bingo, and I would qualify To Live as a director's film. This as the depiction of Xu is largely offering this specific perspective not of the actor but the reactor of what is occurring around him. A small part of a larger tapestry who goes along with the world around him. 

We see this as he sort of side steps both the communist revolution and the cultural revolution. In both Ge is good in bringing a sincerity of a man just trying to go along by getting along. He makes his meager living, occasionally through shadow puppets, as a loving father and husband and just really that. Even in the moments of speaking to the party lines demanded by the communist party is with just  a carefree quality of obeying what society currently expects from him. Unfortunately this twice leads to tragic consequences. This first as his son dies in a tragic accident when he is sent to do dangerous work as required by the party. Ge is quite moving in showing the sheer devastation of the reaction. Although I'll say in this instance, and later instances Gong's reactions tend to be more dynamic of the more dynamic person. Whereas Ge as Xu shows the reactions still of the simple man, who even when reacting to the man who caused the death of his son, Ge's portrayal takes in this idea but even shows Xu reacting as basically as he can to it to still maintain some internal peace within himself. Tragedy strikes again, again caused by communist policies that leave children in charge of childbirth, and again we see the dueling reactions to the death of their other child. Ge is moving, but Gong keeps the stronger more potent reaction. Ge though again is truthful towards the role as he shows this wonderfully simple guilt about accidentally feeding an actual experienced doctor, brutalized by the cultural revolution, too much. Ge showing still the nature of the man just to take the personal route of least resistance even in expressing guilt. It isn't as a man who avoids it, rather he just experiences it almost with a childlike clarity. This is a good performance by Ge You, but I will admit other elements of the film left a greater impression on me.