Thursday, 3 March 2022

Alternate Best Actor 2021: Nicolas Cage in Pig

Nicolas Cage did not receive an Oscar nomination, despite being nominated for a Critics choice as well as winning and being nominated for several critics' awards, for portraying Robin Feld in Pig.

Pig is an intriguing film, though one that doesn't quite reach its ambition though the attempt is admirable.

The whole setup for Pig and the casting of Nicolas Cage in the leading role establishes what is a misleading idea for the film. Makes it sound like a revenge thriller of the man to avenge his Pig a la John Wick did for his dog, or Cage himself did for his girlfriend in the revenge thriller Mandy. In turn, one would probably expect a no holds barred Cage's performance like that earlier film, of the man going off the deep end of that dangerous edge he already seems to be leaning on just by being Nic Cage. Well, none of that is true and this is honestly one of the quietest turns you'll see from Cage, who love him or hate him, is known for going all-in with his performances regardless. In fact, Cage barely says a word when we first enter into his world as a hermit in the middle of the Oregon woods, where he goes around with his truffle pigs and makes his home alone and away from others, though not entirely isolated. Except for his obviously striking physical state, Cage doesn't portray any innate many or craziness to the man, there is really a naturalistic approach in Cage's portrayal of the man as he minds the world of his own. Cage just portrays man going about his duties with really what I think is best described as a stoic calm. The only breaks in the calm being these glints of warmth as he looks upon the Pig.

The one sort of interruption of this world is brought on by a young wannabe power player who wants to break into the black market food world of Portland, Amir (Alex Wolff), who comes to Cage's Robin for his truffle supplies. Cage initially treats the man with generally just a near non-entity around him as Cage still portrays this dutiful manner of the man just keeping to himself, and keeping to his particular life. This is quickly shaken when intruders in the night steal Robin's Pig. Again really subverting the expectation we don't get a classic Cage freakout as the Pig is being stolen, in fact, it is with a surprisingly normal, though caring, delivery as he asks the thieves not to hurt the Pig. He returns to his stoicism on the quest to reclaim the pig with Amir, and we get what I feel is the weakest part of the film. This as we see them interrogate random people to get closer to the truth, and even have a scene where they randomly go to an underground fighting ring where Robin gets beat down by an old friend in his search for information. A scene that I honestly think almost was made to help sell the film, to offer the wrong impression as more so a revenge thriller, as it really has little to do with the story, or the rest of the film. Cage though I suppose admirably takes the beating as Robin showing the man portraying it as more so as this penance rather than as punishment. 

After the beating we enter the second phase of the film where Robin goes with Amir coming across many people he's known before and it is revealed that Robin was a famed chef before the recluse. In this sequence Cage takes upon an unlikely role which is as this man designed to challenge others for their existence rather than just to find his pig. This is throughout with Amir, who puts on all the fronts for his power player lifestyle, yet Robin challenges this which Cage portrays well just by the fact that Robin is barely challenged by him, just keeping a largely intense stare with the young man, unless he has a moment to share more information with him. Although the greater change is with Amir overall within the scheme of the film, what we see in Robin is revelations within his changing state that is often to challenge others in some way. The moment for example when Cage speaks to an upcoming earthquake that will destroy Portland followed by a giant wave, Cage alludes to part of his isolation in his aggressively blunt delivery of this information, but with something more. This in the moment of speaking of the giant wave Cage speaks it almost with this kind of sense to prod for some kind of inspiration in the younger man, to push the man into something more than his more basic shallow choices in his life. 

The greatest moment in Cage's performance and film, which I think alludes to a greater film than Pig is, when he and Amir go to a fancy restaurant, and Robin asks the lead chef a few questions. Cage is amazing in this scene with this penetrating stare as his delivery is just cut down of the chef, as Robin refers to him as a former chef he had fired. That isn't the cut down though it is rather when Cage begins to inquire what the chef actually wanted. It is here where Cage is fantastic as his stare is penetrating with intensity but also this honest empathy. This as he questions the chef of his old dream of an English pub which causes the chef to break down speaking to his denial of his dream. Cage is genuinely moving by being actually rather inspiring as he speaks almost a councilor by easing into this conversation through telling the man that the chef is a failure. A failure not for his success rather because the chef gave up his dream for the sake of such a shallow success. Cage brings such a real poignancy as he lectures the chef that his costumers "don't know him" because he hasn't shown himself to them, by not playing as just this take down, rather bringing this genuine sense of concern within it. Cage presents the moment as though Robin truly would truly love to see this man reform himself, and be himself in his culinary output rather than this falsehood. 

Within this quest we seem to find a bit more Robin as when he visits his old home, reconnects with an old friend, or when he finds an old tape, that we later find from his wife, Cage is moving in these scenes by just bringing a sense of the honest loneliness of the man in these moments. When he speaks of the old home, or just looks upon or listens the tape, Cage's silent performance evokes purely the sense of the old relationship of his and the pain from his loss. We see the very much wounded man behind the seemingly impenetrable nature of the man we were introduced in the first sequence of the film. All of these moments leads to the final confrontation with Amir's father, the man who hired the thieves, Darius (Adam Arkin), and it is a culmination of everything in Cage's work. This as we get this sudden shift in physical manner as he goes to prepare dinner for Darius and Amir, Cage's goes from the saunter of the vagrant to the calm precision of a chef. A remarkable moment that the film barely brings attention to however Cage's shift to the chef suddenly is a brief brilliant bit. In the dinner then we get the interrogator again by commanding both this sense of living up to one's self while also just asking for his pig. Again Cage brings that unmistakable and specific passion to the forefront. An atypical but fascinating sort of intensity, until Darius breaks down and reveals the pig died. Cage's sudden reaction of pure devastation is heartbreaking, even if the scene itself feels a touched rushed in the moment. As is the following scene of Robin's Schrödinger's cat contemplation as he feels he killed the pig in a way by looking for it. Still all credit to Cage in bringing this quite yet palatable pathos to the moment, and granting a sense of the closure of Robin's journey. Still, much like the film, though I will submit myself the beat down of the true lovers of this performance by merely thinking this is a very good performance. To elucidate a bit more, where the film has fault in a screenplay of potentials that aren't full achievements, I really think only the restaurant scene fully finds what I think the film is looking for, Cage has no faults in his performance. It is a well realized and internalized character, that shows the range of the actor, something that should never be doubted in the man, unlike his money spending habits. Having said that, I do think there are certain limitations due to the limitations of the film. Cage delivers on everything the film asks him to do, however so much of that seems like just the surface of a pool that Cage should've been able to dive far deeper into. This is with so many fascinating ideas that we get touched upon, somewhat, making it so Cage himself can only go so far with his work. 

36 comments:

Calvin Law said...

Lmao both my predictions are fucked now then.

Honestly I thought he was great and verges on a 5 for me, though I completely understand what you mean by the limitations of the film - though I liked it for what it was. Here’s hoping all the remaining 4 are 5’s.

Robert MacFarlane said...

Nooooo, he was one of the easiest 5's I gave last year! Also, RIP Psifonian's streak on this blog. You have my sympathies, friend.

Tahmeed Chowdhury said...

Damn it :( (2).
Somehow, both of my predictions are still possible lol, but I was hoping everyone wold get a 5.

Anonymous said...

Nishijima, Cooper and Rex will all make top 5 now.

Luke Higham said...

Jones has a chance too to make the top 5.

Luke Higham said...

I guess with this, Patel makes top 10 which I'll take all day long.

Michael McCarthy said...

HA, I see what you did there Louis. I’m gonna go ahead and predict only 12 fives this year.

Has Alex Wolff changed ratings at all?

Luke Higham said...

I'll still predict 14. What would be the point saving Rex after giving him a 4.5 then get the same rating again.

Calvin Law said...

Rex is definitely going to be a 5. It’s just that kind of performance. Cooper and Nishijima too, because, well. Hoffman is going to be a 5 as well, I’m very certain (also I have a feeling that review will get me a bit emotional). So we’ll still have 14.

Ytrewq Wertyq said...

That Thanos-like moment when half of predictions whittle away...


On a more positive note, Knell's performance may be my favorite one scene wonder of the year.

Michael McCarthy said...

Calvin: I’ll split the difference and predict 13. I shan’t elaborate.

Anonymous said...

>:)

Luke Higham said...

Calvin: If Louis saw Franz Rogowski in Great Freedom, how confident would you be.

Calvin Law said...

Luke: If he at likes the film then a 5. If he has any reservation with it, it’ll be a 4.5.

Matt Mustin said...

Damn it, I knew it. I should've stuck with my original prediction.

Emi Grant said...

Well, I'm a bit bummed out since I was wholly anticipating a new 5 for Cage, but I can't complain with a new review for the man himself.

I don't think I really see the same problems with the film, outside of the possibly false advertising of the fighting underground scene, which really seemed out of place in hindsight, even if I didn't mind the scene itself.

Still, I found Cage immensely striking in every single second he was on screen. This might be my favorite performance of his just behind Adaptation.

At least I can rest easy waiting for Cooper's Nightmare Alley review, lol.

Anonymous said...

Ugh, I can't believe it. A magnifique par excellence of a performance like this should've gotten 5 Mifune's easy! Louis should be ashamed.

Louis Morgan said...

Anonymous:

You're right, I really should've opened that English pub.

Shaggy Rogers said...

Cage had everything to be the darling of movie buffs.
It would be the Dean Stanton, Hawke, Sandler and Lindo of 2021.

Lucas Saavedra said...

Louis: your thoughts on the film's screenplay?

John Smith said...

Good movire rec for a dude avsokutely dronk whose friend probably just died for studying in a country being invaded becaue of the egoo of a stupid cunt,?

Luke Higham said...

John: My condolences. I hope for a peaceful resolution to the conflict and Putin gets taken out.

Louis Morgan said...

Lucas:

Pig's screenplay is a little bit of a mixed bag, which on re-watch the overall film became more mixed for me just because I noticed that it starts out somewhat weakly though gets more interesting as it goes on. Well, it is in that first third that I really don't think there is anything of interest as basically, it lives out the "thriller" side of the story, even though it has very little to do with the rest of the film, even tonally as again the fight scene really does just seem in there like it was a contractual obligation. Instead, it feels just like the film actually starts once these perfunctory scenes are done, where even the dialogue is really limited and not in some masterful minimalist way. The film then gets started as in dialogue it begins to explore far more about Amir and Robin, and this strange world of black market culinary delights. The film has a centerpiece moment in the restaurant scene which again would be an amazing short film all on its own. That is the film in its richest by saying so much about the central character, his philosophy, and the theme that defines Amir's character. The natural flow of the dialogue to dissect the chef is fantastic and everything about the scene just works. Otherwise, I'd say there are good moments in scenes however much-untapped potential. The idea of the food black market feels like there could've or should've been more to it. Moments like the commentary on the giant wave seemed like could've had follow-ups or more ideas there. The weaponized cooking is partially realized, however, the final confrontation still feels rushed as written. Robin's moments of sentimentalism also aren't bad with what's there, there just feel like there could be more explored than what is there. It is a film with a lot of ideas, a lot of great ideas, some remarkable realization of these in the screenplay, however much of the potential seems left alone. Structurally though in particular, the film feels like it could've been more as written the pacing is a bit scattershot because of how drawn out the first act is that leads really to nowhere compared to the more intriguing second half that seems like more detail could've been given. Certainly not a bad script, but not a great one, unfortunately. 

John Smith:

I'm sorry to hear about anyone being caught up in that terrible situation in anyway. I'd recommend something familiar that brings you straight forward joy.

Bryan L. said...

Everyone: Alright, this is going to sound a little crazy and it’s only from a prediction-standpoint…

Does King Richard have an actual chance at winning Best Picture?

It has the crowd pleasing factor to it, it has a good chance at taking Best Actor and Best Original Song, and it also received nominations in those categories plus Best Editing (always key), Best Supporting Actress & Best Original Screenplay. It also kind of feels it’s viewed more as a Warner Bros film rather than HBO Max (to avoid the anti-streaming stigma), despite it being a day-and-date release.

I’m just putting this out there since Belfast missed on Editing and it didn’t win Best SAG Ensemble. Technically, neither did King Richard, but I’m just wondering if there’s a door open for another film to challenge PoTD.

Tim said...

well, if it were to win Screenplay (which i guess we will have to wait for the WGA Awards for) it might in fact pull a Green Book

Psifonian said...

*insert Bunk shaking his head and walking away GIF*

Robert MacFarlane said...

Psifonian: https://morbotron.com/video/S02E08/K6sVndRkMeBxQ8tSzfMImpAf8_k=.gif

Robert MacFarlane said...

Here’s a pitch: Let’s remake Rosencrantz and Guildenstern Are Dead with Robert Pattinson and Barry Keoghan as the two and Nicholas Hoult as the Player.

Louis Morgan said...

Robert:

I'm in, though I'd say get a great director/screenwriter who can shift playing around with the stage tropes more into film-making tropes.

Matt Mustin said...

Louis: So Rian Johnson maybe?

Louis Morgan said...

I could see it.

Michael McCarthy said...

Just finished The Batman. A lot to really love here but probably wouldn’t quite call it great. Some of the shots are absolutely stunning, and I did admire the ambition of it all. A lot of the moral grey area of who Batman is as an entity was a little frustrating, because it was touched on but not delved into deep enough to be truly satisfying. But I’ll say I was very intrigued by its take that Batman is truly who Bruce Wayne is, and everything else about him is a barely committed ruse. I didn’t need to be as long as it was but I didn’t ultimately mind it. Also wish they hadn’t tried to force sexual/romantic tension between Batman and Selina, because Pattinson and Kravitz did NOT have the chemistry for it. The score was awesome.

Also, Matt Reeves DEFINITELY saw High and Low. Love a little Kurosawa influence.

As for the cast, I really dug Kravitz, Turturro and Wright. Farrell was solid, thankfully. Pattinson and Dano definitely took risks, I’ll have to have more time to think before I decide how much they paid off.

Michael McCarthy said...

*shouldn’t have tried to force

Matt Mustin said...

Disappointing to hear that Pattinson and Kravitz don't have great chemistry, because Batman and Catwoman should be smoldering together.

Michael McCarthy said...

Matt: I try wish that they’d just portrayed it as too weirdos who dress up at night and cause chaos simply connecting over how strange they both were, because that would have been so much more convincing and authentic in the story.

Michael McCarthy said...

Truly*