Alternate Best Actor 2021: Peter Dinklage in Cyrano

Peter Dinklage did not receive an Oscar nomination, despite being nominated for a Critics Choice and a Golden Globe, for portraying Cyrano de Bergerac in Cyrano.

 

While I still await the definitive version of Cyrano, this is a superior entry into the mix, benefiting greatly from having an actually likable Roxanne (Haley Bennett) and Christian (Kelvin Harrison Jr.)'s for once. 

This version of Cyrano de Bergerac is both working within the type of the character and offering a bit of a revision. Peter Dinklage playing the role is already part of the revision as his stature acts as a point of modesty rather than the typical feature of Cyrano, the elongated nose. Where the similarity remains is making Cyrano the larger-than-life warrior-poet who enters this version, as he does all traditional versions, by threatening a stage actor for his poor performance and demanding that his bad acting stop immediately. Dinklage having really what is an essential facet of a Cyrano, which is a booming and naturally commanding voice. Dinklage's baritone cuts through the scene with him able to make these outrageous demands and threats with ease. Dinklage performs the scene, I think properly, by not sounding the temper tantrum, but rather making it this broad gesture of a rather purposefully theatrical man. Just his voice making that loud and notable impression, before of course appearing here, and being perhaps subverting the expectation of who one would immediately think of as a warrior poet. The idea though isn't broken from the theoretical revelation, after all, most of us know what Peter Dinklage looks like, but rather asks Dinklage to stand tall even when being the literal shortest person in the room. 

Peter Dinklage has done this before of course as Tyrion in Game of Thrones, however, that was a very different character in terms of personality there could be a perceived similarity where both have a cutting wit and playing into the very act of wearing what was perceived as his flaws as his badge of honor. And I'll admit I came into this performance a bit concerned that this would be largely a reprise of that performance, however that is not the case. Dinklage here actually plays the part, outside of the self-insulting song, as though he merely were the romantic lead with the tragic flaw that he firmly believes that Roxanne will reject his love. In turn Dinklage brandishes his performance here in a way that is quite effective in terms of merely making Cyrano the larger than life presence who wants everyone to notice his brilliance and see his bravado for what it is. Dinklage delivers that sort of overt romanticism effectively with the manner very much pushed forward by his want to show off. When even he's fighting or speaking, it is with this broader grandeur that Dinklage brings and very much portrays his Cyrano as very much a showoff. Although I'm not sure he completely fulfills the Peacemaker requirement for showing off, Dinklage isn't too far off, pulling off the showoff brand by just doing it with enough genuine gusto to pull it off. 

Dinklage hits the right note to be endearing in his over the top sort of presence, that doesn't literally go over the top in his performance, by showing this certain sense of joy in Cyrano himself as he does play it up for the crowd and acts as the warrior poet for all to see. When he rhymes his take down of one, sings another, then battles a whole group, Dinklage portrays each moment with this sort of blunt enjoyment at the prospect of the challenge and the man who loves the challenges that are presented to him in this very romantic way for the traditional hero. Dinklage offers the important contrast though in his scenes where Cyrano isn't in front of a crowd as a more gracious and quieter man. He brings a greater modesty to his performance even before we get into his point of personal weakness. In his more interpersonal scenes with Roxanne early on, where she intends to tell her of her great love, which he misinterprets will be for him, Dinklage is terrific in the run around of emotions as Roxanne speaks to him. Dinklage portraying just this barely contained joy as she seems to be praising him and revealing her love to him, until she finally reaches that she doesn't know the man's name, and Dinklage does a great portrayal of a man's face falling in his eyes even as he tries to maintain the smile otherwise would be too revealing of his truth. 

Cyrano is instead tasked with trying to protect and guide who she has fallen in love with on sight, Christian, on wooing Roxanne, to the point he starts writing for the young man who is less artful with his words. And here's where we really reveal his great weakness, which Dinklage actually portrays a little differently from other Cyrano's which is an interesting choice. There is the sense of frustration, really even the way he seems to crush his mouth to keep it closed, as the man who needs to hold his breath or at least believes that he must lest he speak his love for all to hear. Dinklage brings the sense of vulnerability when just scoffing at the idea of Roxanne possibly loving him, and presents this is a dismissal with almost too much ease. When more internalized though Dinklage conveys a greater pain in the state, and in his eyes, and being conveys the frustration and anxiety as his own words convinces the woman he loves to love someone else. Dinklage is moving in presenting this consistent frustration, even as he presents still just the confidence of the romantic to Christian as though he is doing it just for the sake of it. Dinklage though brings the right sense of heartache, though there is something more, which in a way might be the most interesting aspect of this performance, and Dinklage's take on Cyrano. 

Of course before I get to that, let's mention the songs, which are not the strongest aspect of the film though there are some good ones in there, and even a great one, though that one barely involves the principal cast. Dinklage unfortunately honestly has to carry some of the weaker ones, though not the weakest, and that's where I'll say while I like the romantic spirited way he delivers the songs, none of them stand out within his performance. He certainly puts his heart into them, but his best moments here honestly are outside of when he is singing even if he does acquit himself more than decently in that aspect of the film. But back to the most interesting element of the performance which perhaps begins to reveal itself when Christian figures out the situation, in what is really the most heartbreaking scene in the film due to Harrison's portrayal of a man basically realizing the only love in his life has been a false one yet still wants Cyrano to find his. Harrison's portrayal of this near despairing mania, though still this purity of passion bringing such poignancy to this revelation. Dinklage in this scene though is very effective in doing two things. One showing the reaction of despair and anxiety at seeing Christian become distraught and really suicidal, offering the right powerful sense of empathy and even burden at his brother in arms' despair. The other though is portraying this fixation on the idea of his love as something he writes about and dreams about yet will not experience. And that is what Dinklage presents Cyrano's love as, as in a way something that he must hide because to make it real would diminish it in some way. 

 

This idea is further emphasized by the final scene of the film where the dying Cyrano is basically pushed by Roxanne to admit his love for her yet he still refuses to do so. In these scenes Dinklage is at his best in the film in creating this sort of insular affection, of the man who holds the idea of love too preciously that he can't quite even let himself fully experience it. Even in his final words, changed to speaking not of his love to Roxanne but his love for his pride. Dinklage gives a powerful meaning to this in his delivery, as in his final moment portrays he portrays this as a somber admittance, that while he might've loved Roxanne, what he truly loved the idea of loving Roxanne. I love the choice because Dinklage doesn't portray at all joy in Cyrano as Roxanne openly admits her love for him, it is rather this shame in accepting that he could never love Roxanne, not for stature, but rather quite simply it would force a change in the idea of love he has for Roxanne. An idea so fascinating that I actually wish the film had actively explored it even more, though it is certainly explored by Dinklage's more nuanced work. I think that in a way though shows somewhat the weakness here, and my wish, despite loving "Wherever I Fall", is that this had been just a spoken Cyrano and we could've dived even deeper with Dinklage's performance. The songs strangely in a way I think often insist a broader reading that isn't quite what Dinklage seems to be going for. Still it is not as though Dinklage falters within the limits, he just is simply, fittingly I suppose, limited by them. Having said that, this still is a very strong performance within those confines. Not the definitive Cyrano, but a damn good one, showing Dinklage's ability as a leading man, a type of role that I hope he returns to playing very soon.