Best Actor 2021: Andrew Garfield in Tick Tick...Boom

Andrew Garfield received his second Oscar nomination for portraying Jonathan Larson in Tick Tick...Boom. 

Tick Tick...Boom follows Jonathan Larson as he's trying to complete his "magnum opus" musical and dealing with different personal stressors just before his thirtieth birthday. Watching the film for a second time, it continues to not work for me, in part because of Lin-Manuel Miranda first time over-directing, but also I just never quite care about Larson's particular situation. And to note, I can care about a film that has a theoretical "low stakes" situation, treated in a "high stakes" way, this one just doesn't come together for me. 

Andrew Garfield had a banner year for 2021 though it began with his miscast performance in The Eyes of Tammy Faye, that did not rely on his strengths as a performer, though it also contained his triumphant return to the role of Peter Parker in No Way Home. His second Oscar nomination though came here for what is a role that very much requires a "performing" performance in the role of Larson. This is quite literally as a good portion of the film is depicting Larson performing the musical of Tick Tick...Boom, while we are also watching the film of Tick Tick...Boom, as a musical autobiographical monologue. Unlike my previous review where the performer utterly failed to evoke the real person they were playing, Garfield honestly is kind of perfect when comparing his performance of the performance of Tick Tick...Boom to Jonathan Larson performing the monologue. The only real inaccuracy might be that Garfield's singing is actually better than Larson's. Garfield though so effectively embodies Larson's personal style of performance. This is within the intensity of the exuberance of performance that matches Larson's own. It goes further than that though as even his manner of playing the piano and singing out is just pitch perfect. What makes this special in Garfield's performance is as much as it is a technically accomplished imitation, it actually doesn't seem as such as Garfield just makes it naturally his own, and uses it to create the sense of this kind of energetic performer. 

Garfield in the performance scenes of playing the piano and singing, I think captures so well this particular musicians sort of mannerisms, particularly if said musician is performing their own material as Garfield is here in terms of Larson performing his own monologue. This kind of unleashing of self in this sort act of self-fulfillment within the performance. In the moment Larson is giving it all by being able to give everyone his music in the moment through his own performance, and Garfield captures quite potently that unique kind of energy. He simply has it and doesn't just perform the song well technically, he performs it well in conveying it so as Larson giving everything he can as this creative act of sheer will on his part. Each of the performance of the performance scenes Garfield throws himself into it full force in this particular way, as he is not only giving the performance of his work, but also as though it may be the only time he's going to be able to perform it for the public so he is giving it his all to put it lightly. Garfield performs these scenes very much as the man trying to sell it to the crowd as much as he can, with the logic of each song within that heightened performance. Whether that be the somber conviction of speaking towards his losses, the anxiety of trying to live up to his potential, or even the aggressive phony happiness that he tries to project as he commits to fake therapy. 

The performance scenes are in a strict separation from the rest of Garfield's performance that is considerably less aggressively outwardly projecting, and that is saying something because Larson is still definitely a guy who wears his emotions on his sleeve. Garfield's performance though wisely differentiates between the guy when performing his work from the guy who is performing what is shown to be his reality, albeit technically heightened given the film is still a musical even outside of those performance scenes. Garfield wisely differentiates between the two with his performance and shows the scenes of Larson as the man against Larson as the musical performer. Garfield does still deliver that Larson manner to an appropriate and natural extent, however again more subtle in this regard as we don't get the way he's putting forth himself for all to see, instead we see the Larson at home just being himself. Garfield even with this tempers himself well towards an innately energetic and emotional presence. Garfield moves a lot here, and really just has this kind of innate kinetic quality about this man who feels he isn't living up to his potential and desperately wants to. Garfield's portrayal physically has that kind of uncertainty about it. He's a man who never just stands in a way, there's always a certain stress about standing still even, fitting per a man who thinks he's failed as he's turning thirty (which I won't repeat too many times for those who might be reading this review and share the same anxiety).  

The film then really is Larson dealing with his artistic ambition as it clashes with any ideas of personal success and personal relationships. Larson isn't the most likable in his approach to dealing with these conflicts, which to be fair the film does call him on, but doesn't make him the man I care to spend the most time with. Having said that, Garfield is terrific here. The intention of a performance needs to successfully bring a whatever the story is trying to tell to screen, and while the story itself isn't the most engaging to me, I can't think of a way that Garfield could've done more than what he does here to  properly bring Larson to life here onscreen. I can't fault Garfield in any given scene because he is game to bring to life Larson's personal style and do it in a way that is cohesive and honest to the character. Larson is a passionate guy who puts his passions first, and perhaps maybe in front of others at times. In turn Garfield's portrayal carries that innate passion that is basically bursting at the seams of the man. Again as previously stated physically, but with just the way Garfield delivers his lines as Larson speaks about his hope and ambitions. Garfield speaks with a believable kind of mania as he speaks towards his work as needing to be a triumph and he is able to accentuate this potent need to make it great with this desperation that he's not sure he will be able to either. 

While Larson struggles to get his musical off the ground, he is also struggling with his overall direction both in terms of his relationship with his friend Michael (Robin De Jesus) and his girlfriend Susan (Alexandre Shipp). The former with whom they have a push and pull with Michael moving on from the life Larson is still trying to break into, and becoming successful in the corporate world instead. Garfield is dealing with tricky material because in both relationships Larson basically sacrificing his connection with both to a degree in order to focus more on his own ambitions. It is to the sterling credit of Garfield that he pulls it off in a way that doesn't absolve Larson, but he makes it work just by simply being wholly convincing in portraying this state of conflict. Garfield is able to convey in these moments the state of emotional frustration in Larson. Garfield's expression captures that there is genuine care in these moments of argument, honest concern for both people, but still this fixation on what he thinks he needs to do despite that ambition conflicting with both relationships. The relationship with Susan being one of challenge as essentially Larson's broken up with her, without quite committing to that step, and Garfield, as much as one might not like Larson for it, is exceptional in wholly creating a believable sense of that specific anxiety in their interactions. Garfield shows a genuine affection towards her, just as he shows that equally genuine frustration that while he loves her he's also moving on from her.

The former relationship with Michael is where we connect to Larson's eventual grand success, just before his untimely death, in the musical RENT. Larson while attempting to do his thing sees the spread of HIV among his friends, and eventually Michael. This speaks to the scattershot storytelling of the piece that could theoretically work, but I don't think really works here, but there will be moments interspersed where Jonathan comments on the situation or is reminded by it. In every instance it has to be said Garfield is in absolute command of bringing the genuine emotion of this. Larson's reactions towards seeing a friend so ill or to hear about Michael's diagnosis, instantly conveys the sense of immediate devastation in the man. Garfield properly attaches great meaning to this personal sorrow and shows the emotional connection that would eventually reveal itself artistically. Even the moments of reacting to the blithe attitude of some of society towards the crisis, Garfield is terrific in just some silent reactions of showing the bitter sadness of the man who believes more can be done. As much as this isn't even exactly resolved within the film itself, Garfield wholly conveys that idea burning within Larson's mind and creating the sense that it is something weighs upon him. Garfield's performance shows basically the creative inspiration incubating in his mind even if the conclusions is just told to us. 

While we are running through all these random elements of Larson's life we get a series of musical numbers that are within the present film, and aren't part of the separate performance scenes. It is again credit to the wisdom of Garfield's performance that he plays these musical numbers actually very differently from how he performs as Larson performing. These aren't Larson performing the music rather they are Larson experiencing the musical numbers since these ones are merely part of his life experience. Garfield throws himself head first into every number, and no matter how much one does or doesn't like the numbers themselves, I don't for the most part, one cannot fault Garfield in his attempt to sell them for all they're worth. Garfield though takes the next step with this because he not only sings them well, and throws so much energy into the performance of each one, he also very much acts according to their intention. In "Boho Days" he brings a more casual energy of someone just sort of fooling around during the song. In "Swimming" he delivers this greater intensity of someone trying to force himself through this hectic state of mind. In "No More" he brings this more lackadaisical and comedic manner as he plays around with the differences between he and Michael's old low rent apartment and Michael's new upper crust housing. In "Sunday" Garfield brings all the grandiose conviction if not reverence towards every moment of the number as this kind of Broadway show stopper, fittingly overflowing with Broadway royalty in cameo roles. Garfield is game for each and every song, modulating his performance in order for every song to deliver its tonal or thematic intention. This is representative of Garfield's whole performance, which in this scattershot story, is never lost. Garfield makes every element of Larson's life and his music tangible within his performance. While the film doesn't work for me, that isn't because of Garfield, and in fact it is very easy to imagine a far more intolerable film with a less capable lead. Garfield is ready for everything this role throws at him, and is consistently on point here bringing Larson to life, even when the film isn't successful in doing so.