Alternate Best Actor 2021: Bradley Cooper in Nightmare Alley

Bradley Cooper did not receive an Oscar nomination for portraying Stanton "Stan" Carlisle in Nightmare Alley. 

Nightmare Alley is a strange experience for me, in that I don't think I really properly watched the film the first time. Sometimes I'll get a film the second time more because knowing the journey I will more greatly appreciate that journey for what it is, but that's not the case in this instance. Here, I knew the journey from the 47 film starring Tyrone Power against type, which I quite like, even with its production code tacked on pseudo happy ending. So on my first watch I admired the film, however I think I almost did not allow myself to experience the film staying too focused on waiting for the scenes I knew were going to happen, rather letting myself get carried into the story. Well re-watching the film, and now not having my mind try to match scenes in my head, I just got to experience it this time, and much to my surprise I have found it far more gripping, emotional and powerful, keeping in mind that I rather liked the film even with that strange viewing experience the first time.

Although he came up short in terms of acting Oscar nominations, Bradley Cooper had a banner year in 2021, with two wildly divergent turns in Best Picture nominees. One being his scene stealer pseudo one scene wonder of Jon Peters in Licorice Pizza, which is a wild extravagant comedic performance of the highest order, and here where he is the lead dramatic character, who almost appears in every scene of the film. Cooper is Stan Carlislse the seeming drifter who becomes far more than that. Where Cooper does nothing but talk as Jon Peters, Cooper doesn't say a word for about the first ten minutes of Nightmare Alley. In those 10 minutes though Cooper says much as shows his ability to act in silence, and even with only minor actions as we watch Stan enter the film, theoretically Stan at his most true self. An entrance that differs greatly from Tyrone Power's entrance as Stan in the 47 film, who is much more this kind of average man when we meet him. Stan here has a history which we see a snippet of in the very first scene as Stan is disposing of a corpse by placing in a rundown shack before burning the place down. Cooper's performance displaying this calm of a workman in this task before coldly marching off to find some new start. Where Stan in the 47 film seems an affable man at the start of the first film, Cooper's Stan takes you aback a bit as comes off as true drifter, someone moving away from a past he has no desire to stay in. 

His performance in the initial scenes of discovering the carnival crafts a beguiling identity in Stan. His physical manner alone has this tight authority, someone who seems prepared for any confrontation, but also this masking darkness about the man who keeps his head down, and his eyes frequently away from the gaze of others. We follow him into the carnival where Cooper's performance portrays this certain intrigue within Stan as he examines the place though with almost this suspicion. The moment of going to the geek show in a way is particularly essential, as Cooper's reaction is subtle yet speaks so much in the eyes of Stan viewing the lowest of the low though with this quietest of empathy, something we will see only sparingly within Stan throughout the film. Even without speaking what Cooper does here though is the man seemingly looking for some new avenue, there isn't what I'd call a sense of shame exactly but kind of crime about him, though what the crime may or may not be is largely ambiguous as this time, combined though with the man looking for some kind of future. Cooper's work presents Stan really in this transition of Stan as though he is looking for something to be, just the quietest of a hint of ambition as his eyes seem to be seeking something in his surroundings. A minor ambition partially fulfilled as he suddenly finds himself a job moving the carnival for its owner Clem (Willem Dafoe) and its strongman Bruno (Ron Perlman). 

We finally hear Stan utter a word when he is tasked to capture the local geek by Clem within an haunted house attraction. Cooper still portrays Stan as the guarded man in this task still in a way isolating himself even in seeking this man just for some quick cash. Stan finally speaks and we get one masterful aspect of Cooper's performance to first reveal itself, his accents. Again accents aren't something I always focus on because they are often overly focused upon, but when it is a great one, and serves a greater purpose that is notable. Now here the accent might not seem that, though it is extremely well realized in Cooper's vocal turn in crafting an authentic accent fitting someone from the mid-west from a impoverished background. There's more to it though as in this moment in confronting the geek, and really saying he has nothing against him, Cooper's voice is particularly harsh and more earthy in its quality, natural to this man which denotes a hard life. Something that seems to reveal itself faster when the geek attacks him and Stanton lashes back at him quickly and with brutal efficiency. Cooper's performance in this scene is essential and exceptional in the quickness of the ferocity of his violence. It is with this instinctual attack, that goes further than just defense and turns to attack. In this Cooper shows a man as himself ready to fight, ready to kill, as a man who has had to steal and possibly kill to survive. 

After helping capture the geek there is a particularly important moment in Cooper's performance where Clem thanks Stan for his efforts and offers him a job, noting the carnival doesn't mind much about someone's past. In that moment of speaking this, Cooper's manner loosens just a bit and stay loosened in the subsequent scenes at the carnival, showing this at least minor sense of comfort in Stan within the carnival. Stan quickly ingratiates himself within the carnival starting with the fortune teller Zeena (Toni Collette) and her husband Pete (David Strathairn). A key moment to what Cooper is doing in this performance actually is a very brief one when Stan is taking a bath and Zeena begins making a sexual pass at him. Cooper is terrific in the scene because although it seems Zeena is the aggressor, and she certainly is, the moment she mentions his looks, Cooper face switches quickly to a come hither smile, before returning to the younger man just allowing himself to be taken by this older woman. A subtle manipulation which will be Stan's game throughout the film, and a brilliant aspect of Cooper's performance throughout the film. The key to Cooper's performance, which is clear on initial viewing but even stronger on re-watch is that Cooper shows that in almost every situation Stan is playing on something. And while there is a real man within Stan in Cooper's performance there are a whole lot of different shades of the illusions he creates to obscure the man's nature. 

Take in the carnival itself where we get separate qualities of performance in Cooper depending on who Stan is acting besides. One of the immediately obvious is Stan when he is acting as a partial barker for Zeena. There Cooper's accent has a subtle shift to a less harsh mid-western accent, something that is rather affable and sounds almost looks a eager news paperboy at times, the perfect accent to get crowds to believe you and intrigue you into buying into the show. The fascinating bit about that though is we also get that same endearing energy with the pretty young woman who works as the carnival Molly (Rooney Mara). Cooper is amazing in that he adjusts slightly again. The accent is similar but a bit truer with Molly, though still false to the accent we heard when confronting the geek. His physical manner though is wholly different as Cooper becomes genuinely so charming as he tries to win over Molly. Cooper is fantastic because you wholly believe the intention as he brings such excitement in his manner and such spirit in his words as he makes romantic overtures and even romantic gestures such as showing off a new technique for Molly's electricity bit. The thing that Cooper does though is he wholly pulls you into believing Stan as this romantic lead suddenly as he genuinely is endearing when showing off the new trick to Molly, and against one's better judgment you buy into him as this caring soul just trying to give Molly the world.  

This though is different from his performances with his two mentors in the carnivalof Dafoe's Clem and Strathairn's Pete, although even between those Cooper is very different in the way he articulates the relationship each time. With Clem, Cooper portrays this very practical manner of the listener and the follower. Cooper suggests someone just taking in the information and following the orders he need to, in order to get ahead. Clem freely gives his info out and in turn Cooper portrays Stan just going along, close to the more brutal man we saw initially but just slightly more at ease. His delivery though is very direct such as when he notes "he never touches the stuff" regarding alcohol it is with a dismissive straightforwardness that even Clem doesn't fully enjoy. With Pete the relationship though is very different as Cooper takes a slightly more submissive posture even around Pete and almost has these glowing eyes of the young man seeking information from the wise old man, even if that man is a broken down booze hound. Cooper in the same moments though delivers in his eyes this penetrating  expression when Pete introduces his ability of creating a code to read an audience's possessions and his cold reading ability in order to read a person. Cooper creates in these moments this tangible sense of Stan building the path for his future in his eyes as his eyes seem so sharply drawn to the concept, and the power that seems possible within it. 

In his time at the carnival there are a few moments where it seems like we might see the true Stan, or at least some wholly true feelings from him. His interactions with Pete speak to this when Pete does his whole act and creates this entire backstory about the watch that Stan wears that must have been taken from his father who he loves and hated. Cooper's excellent in the reaction of filling with this real sense of the anxiety of this old relationship and that sense of the fear of his past opening up, until Pete reveals that it was just an fixed reading that can work on a great many people. The other are in the moments of the mention of the geek by Clem including when Clem disposes of the geek and then tells Stan how one procures a geek through drugging an alcoholic. In these moments, and another honestly poignant one of Stan going to share a cigarette with the imprisoned geek, reveal the glint of humanity in Stan. I love how Cooper plays these scenes and shows them to be where Stan almost can grant his sympathy or at least pity to the people who he views as having a worst plight than him, which is few. Cooper though goes even further though in presenting this kind of fascination even within this sympathy. There is something about the geek that nags into his inner soul, and Cooper is fantastic in presenting that sharp and specific pain that seems to torment Stan regardless of his position. 

Stan begins to take on the power that he learned from Pete and in turn Cooper is exceptional in realizing this technique that depends so much on a specific kind of charisma. Now charisma might be enough to pull this off, but what takes Cooper to a greater achievement in again fashioning the kind of charisma needed for his specific mark. We first see this when a sheriff comes into the carnival to try to shut it down, and Stan, using bits of information here and there decides to cold read him to get him to stop. Cooper is outstanding in this scene by first presenting this kind of meekness in his manner, an easily believable man of the general place who no one should suspect again. When speaking to the Sheriff Cooper does it with this particular religious inspiration as though he is being pulled to the sheriff to try to speak to the man as some kind of holy prophecy. Cooper's eyes fixated on the man in a mesmerizing state though as though he is a born again preacher delivering the lord to the man via this sermon, when of course Stan is just finding a way for the man to stop. Cooper controls every moment in this performance as he intensifies the state as the Sheriff breaks more and more, and what I love is that Cooper is able to make it this strange attack on the man in terms of his character, by noting the man's pains, yet with this inspirational streak to get the man to believe him as he articulates thoughts of the mother with this kind of poignant pause and empathetic glare. Cooper embodies exactly what the Sheriff is looking for in Stan in order to find some kind of peace. 

We then leap in time as Stan leaves the carnival with Molly to start his own mentalist act though not in venue in an upper crust city. We get yet another accent transformation and even posture change as Cooper performs as "The Great Stanton". Stan when performing now speaking with an overly affluent sounding accent, almost a southern dandy, befitting the group that Stan is now performing with. His manner though totally changed less as the grounded preacher type as he reads the audience and now with this air of natural elevated state as this man who can see the beyond. Cooper's movements in these scenes are that of really an over the top performance, as Stanton is most certainly performing for the crowd to seem so much more than he is. In Cooper's performance you see the sense of power that Stan feels from the situation and the quiet joy in his expression as he wields this control. We see this when the equally amoral Dr. Lilith Ritter (Cate Blanchett) attempts to break the illusion of his show by messing with the code and asking Stan to identify something hidden in a purse. Cooper is again incredible in the moment hesitation before his eyes become so piercing as he successfully describes the contents of her purse before then continuing to pursue her by attacking her based on his read of her. Cooper bringing this vicious incisiveness in the moment and a bit of glee as he attempts to cut Lilith down, before quickly shifting to a new mark, a local judge, by prodding out the information on death of the judge's son creating a new target. 

Again what is so outstanding about Cooper's work is the way he can articulate the duplicity of Stan which differs from person to person, while still revealing elements of the true Stan in part from these acts, but also in the moments where he is caught astray. With Lilith, whom Stan recruits to get info from her work as a psychiatrist on her wealthy patients, Cooper doesn't show Stan exactly as himself really but rather as Stan would like to be seen as by her even, which is as the confident and articulate grifter. Cooper comes in so assured and shows where Stan is embracing his most sinful behaviors in lust but also just in his description of his crimes. Cooper brings such satisfaction as he talks about his technique to her and his love of making the money off the fools that are buying what he is selling. Cooper goes to something beyond though in this enjoyment as it is this satisfaction he has in his delivery of a man who has achieved his goal in life seemingly, which is to steal from those who always seemed so far ahead of him and glory in it. In turn his lustful relationship with Lilith is defined by just that, and his natural transition to sleeping with her and even drinking alcohol with her, Cooper makes it this natural shift into embracing his sinfulness with someone he sees as a mutual sinner. Important to note the scene where Lilith's required session with Stan, the thing that really gets her off more than anything, and Cooper is magnificent in this scene. He naturally portrays the slow reveal of more vulnerability in Stan as she prods him to reveal more including his past and possible murders. Cooper is fantastic as his delivery combines this attempt at pushing aside the past, this attack on the very idea of the past, but also this somber self-loathing when he gives into the thoughts and reveals a bit about his failed family life with a weak willed alcoholic father. 

The near final sequence of the film is as we see really two sides pulling on Stan with Lilith helping him con first the judge, then his reclusive rich friend Ezra Grindle (Richard Jenkins). This is against Molly still trying to have a relationship with Stan and push him towards a less manipulative life. With Molly, Cooper is great in showing really the blithe manner he has towards Molly after seeming so earnest when he had been courting her earlier. When Molly says she won't help him with the spook show, Cooper is marvelous by showing the shift in the manipulation. First in his explaining that he's trying to help Grindle as Cooper gently delivers the description as though he's offering piece of mind with his phony spiritualism. When that doesn't work, Cooper is perfect in the final moments of pleading with Molly where Cooper again does show that really it was all a grift with her too, as he accentuates a caring vulnerability when speaking to Molly and getting her to come back in order to impersonate Grindle's deceased mistress. Speaking of Grindle, Cooper portrays Stan as really fully gone into nearly believing his nonsense as he first shows off with the judge's wife then with Grindle. Cooper presenting these moments without shame as this man prodding and playing with the people, with a sly smile in giving them peace while still prodding for more money and power from them. Cooper is never slicker than he is with Grindle showing the full powers of the man, fascinating as he creates this blend between the showman and the real devious spiritualist, trying to act as though he is uncovering some truth with Grindle while he is in fact just playing with the man's inner turmoil.

The climactic impersonation scene I really didn't give enough credit to on my initial viewing, yet found it magnificent on re-watch, in large part due to Cooper's performance that brings a surprising nuance to the situation. This as while Cooper indeed portrays that Stan is indeed manipulative, as he listens to Grindle's confession where he seems to indicate he may be a serial killer, his reaction speaks to a greater realization of the danger of the man, and the fear that he's put Molly in real danger. In turn when Stan kills Grindle as Grindle's attacking Molly, Cooper's performance delivers a greater depth both as we see Stan return to the man who violently hit the geek once again as he lashes out, but there's an even greater vindictive intensity as he's putting down Grindle. Cooper launching into it almost as he's performing an execution of sorts. The killings leading Molly to finally leave him and for Stan to go on the run. Cooper's physical work again is outstanding because  he so powerfully embodies the tension  of the crime he's just committed, and this certain mania as he tries to cover his track. Just the way Cooper moves around in these scenes is absolutely captivating in creating such a palatable sense of tension. He creates the edge that Stanton finds himself on so powerfully. When Stan seeks an escape route with Lilith, only to find that she's been grifting him out of the cash he's made the whole time. Cooper's reaction is perfection as this shattering of his reality in believing that she was together with him in this mutual lust with the weight on his face of the grifter finally seeing himself as the victim. Cooper brings such dynamic animalistic viciousness as he attempts to get his revenge on her before being forced out due to the police arriving. 

Now before I get to the ending of Cooper's performance, which may be the most essential element to talk about. I obviously already think this is altogether a brilliant performance that only gets better the more you watch it. If Cooper had played the part as Power did, which was as very much an average man where temptation and bad influences get the better of him, that would've been strong work, I'm sure. Cooper makes a different choice though, which makes this version a bit pricklier regardless of the ending, which is to make Stan rotten to the core. Cooper's performance shows a man that sees everyone, except those below him, as a mark to be taking advantage and manipulated in some way. Cooper articulates this through fashioning a different side to Stan and a different song to play depending on the listener. He crafts a multitude of faces both when Stan is actively performing and just when he's with anyone he can get something from. He flawlessly realizes this in every relationship on screen and there always an angle that Cooper is playing, and it is so effortlessly compelling to witness throughout. But let's talk about the black core of the man, which we eventually see when the opening of the film was based on Stan essentially murdering his own father by exposing the sickly old man to the elements. In that scene there is such hate and contempt in Cooper's eyes and such venom in his one line of articulating these feelings to the old man.

 

After running off from Lilith we have a man stuck with himself and in this darkness. Cooper showing now this alcoholic, wounded and broken, and just his expressions so powerfully shows all confidence and ability withered away. His silent work in these scenes alone is true greatness from Cooper, however I still haven't gotten to the best part of his performance. This being his final scene where he finds a carnival to attempt to ply his trade with a new owner (Tim Blake Nelson). Cooper's physical state is of the broken man and I love that he now shows the "sell" is so messy from Stan. This as Cooper attempts the overly refined accent which is ill fitting to his vagrant appearance showing that Stan is slipping, and can't craft any illusions this time that will convince the man that he's of any use. Cooper couldn't seem more pathetic, so then it seems strange when the owner offer him a drink, for a temporary job at the carnival, the geek, but only till they can get a real geek. The words which echo exactly Clem's method for geek procurement. Cooper is beyond astonishing in this moment from the momentary grin as he takes the drink, before he realizes the true nature of the job, then in that moment of realization Cooper has never been better. Cooper manages to convey the horror the realization from his memory, the sadness of this state, but also this strong mania in his eyes as he grins as he accepts his fate with his haunting delivery of "I was born for it". There's something that cuts all the deeper with Cooper's performance as it isn't just the man being sad about becoming the geek, there is this devastation and eerie acceptance of the man mentally breaking as he realizes that despite all his efforts he has fallen lower than his lowest point. His tormented laugh that is both heartbreaking and harrowing in the terrifying combination of horror and joy, reveals a man who can't help but laugh at being unable to escape what appears to have been his dreadful fate by some universal design. It is an unforgettable ending, to this masterful performance by Bradley Cooper, as the portrait of a man, who for all his tricks and charisma could never escape the weight of his dark soul.