Alternate Best Actor 1979: James Mason & Christopher Plummer in Murder By Decree

James Mason and Christopher Plummer did not receive Oscar nominations for portraying Dr. Watson and Sherlock Holmes respectively in Murder By Decree. 

Murder By Decree is decent, though the decidedly not great, film that pits Sherlock Holmes against Jack the Ripper. 

That central conceit is perhaps where the film doesn't live up to its full potential as two of the most iconic figures of Victorian England though one being fictional and the other being often fictionalized, right down to the name "Jack" that is likely from a false letter. Where the film does work is in its star pairing of two great actors Christopher Plummer and James Mason, as Holmes and his famed sidekick Dr. Watson. Two actors that do share something in common, which is the prolific nature of their career, as both worked right up till their deaths, suggesting a strong passion just for the act of performance itself. Mason offers his talents, in what is his late period, once again in developing a unique Dr. Watson for this version, an apparent an insistence from Mason himself who did not want to be a buffoon Watson as was the standard set by Nigel Bruce in the Basil Rathbone Holmes films. There is an additional element of an older Watson that presents a slightly different state of the character in terms of being Holmes's sidekick which is slightly shifted here, and amplified by Mason's performance. 

Thinking about the role of Sherlock Holmes, who is a particularly prolific character in cinema and therefore has had many actors wear the deerstalker, I began to wonder what truly defines an actor's approach to Holmes. The function of the character is always as the detective trying to solve some kind of mystery, and in almost all circumstances is a brilliant man with an independent streak, despite almost always being accompanied by the loyal Watson. Plummer with his regal voice and strong manner instantly suggests such a detective. Plummer has the innate quality as a performer, to begin with, that suggests a degree of intelligence. You don't need to question Plummer ever in the role of intelligence as he simply exudes such a quality. In turn, once Plummer is onscreen you accept them as this brilliant man, and you might as well "there is Holmes" the moment you see Plummer. Plummer just feels right for the part of Holmes, and confidently steps into the familiar part with the ease and grace you'd expect him to do. Ideal casting in turn is just ideal performance. 

The part of Watson is often played by a more modest performer, or at least when compared to the actor playing the brilliant Holmes. This juxtaposition isn't the case with Mason who even in his older age is a naturally commanding and captivating figure onscreen. Mason, even though I would say he plays Watson as meek, sets himself up as of equal importance within the scheme of the film, and even if the writing frequently still treats him as secondary, he stands firm in his place as an essential part of the film. Mason has such a powerful presence as a performer that he can be technically meek, fulfilling that requirement but not at all retiring in terms of his presence. Mason even here where his delivery is never lifted much beyond a quiet voice manages to be easily heard in his natural manner of depicting Watson's demeanor as an observant man. His Watson has an innate sort of power because Mason himself has power. He is the secondary to Holmes but in this Mason creates this manner of his own that Watson is watching in a way for the basic truths while Holmes searches for the more complex secrets. 

What I suppose makes any Holmes performance unique in a way is how the performer approaches Holmes as an idiosyncratic man, and there are a lot of different ways to take this as Holmes being this extraordinary man, therefore there should be something decidedly unique about him. Plummer's performance I'd say its closer to the Rathbone template which is going relatively easy on the ego, though it is something that is there, and more so showing him as a more heroic figure even if he definitely has a determination that is all his own. This works and Plummer has an innate grand manner about himself as a performer, however again Plummer so earns it that you don't take it as an obvious ego. Plummer in portraying Holmes handling a crime scene or a suspect, or disguising himself, Plummer brings this certain thrill to the investigation, his manner is someone who loves the chase to be sure, but again there is such a sense of intelligence in his eyes that never does he feel like someone merely playing a game either. Although this also speaks to Plummer's inclusion of his performance, often excised in Holmes's portrayals, but essential to Plummer's which is a palatable degree of empathy. 

Now where the two excel is the way these two performances work against each other both indirectly and directly. Indirectly we do get Mason as the more straightforward investigator, but in his quiet manner, Mason creates such a potent sense of sympathetic purpose in Watson as he tries to figure out different elements of the case. And unlike Plummer, has this wonderful sort of actively thinking quality in his work as he needs to put energy to sort out the details. This honestly could've been played as the fool, but Mason brings this deliberate energy that is wonderful in creating just a man who takes his time to know. What is most remarkable in this is showing the moments of direct competence of Watson, such as taking down the pimp of a hooker he was trying to procure information. Mason's manner is terrific as he shows the ease, but really also reluctance that Watson shows as he engages in the violence. Mason shows this certain distaste in the act even as he shows a man, even at his age, who can most competently deal with lowly threats. Again though particularly potent in contrast to Plummer as Holmes goes headfirst in, while Mason shows the more careful approach. 

Of course, that isn't mentioning how great they are together where they craft a unique Holmes and Watson chemistry, which I think plays well into their age difference. Plummer brings the youthful energy with great aplomb, while Mason acts as the perfect straight man against that with his sincere deliberate manner. Mason brings this great comic energy in their moments together, with such a terrific low key undercurrent to it in Watson being Watson against Holmes being Holmes. A favorite of mine, and honestly maybe my favorite scene in the film, being when Watson is trying to stab a pea, and Mason delivers his intention with such a slow but honest conviction as a man, before Plummer's proper exasperation that leads him to smashing the pea for it to be more easily caught. Mason one ups his earlier moment then by his very specific delivery of Watson so earnestly explaining that he wanted really the texture of biting down the pea and is unhappy with Holmes's blunter approach. Mason is terrific as a fuddy duddy against Plummer being a bit of a whipper snapper in comparison. A highlight of this being when Holmes chides Watson after the latter gets arrested during his prostitute interrogation. Mason's face of gentle stubborn of annoyance is just great against Plummer's beaming, yet very affable joy, at his friend's expense. 

 

Now that empathy that is the most remarkable facet of Plummer's work, outside of his chemistry with Mason, in this portrayal of Holmes. Throughout the end of the film, as Holmes discovers the true nefarious conspiracy behind the murders, Plummer is incredible in bringing such a sense of genuine emotional concern in the moments of finding the truth of the case. This is particularly in two scenes. One being visiting a key woman in the case (one scene wonder Genevieve Bujold), where Plummer as he asks Holmes's prying questions in his eyes conveys such a sense of care for the woman's plight. The other being his final speech where he decries the system but also himself that failed to help the victims. Plummer brings a palatable passion and brings a real striking sense of the care Holmes has for those lost. In many ways what puts this film over to worth watching are these two performances that consistently and artfully amplify their material as a performance should. If the film had a lesser pair this would be a truly disposable Holmes film, but these two best that. Again because of that chemistry but also again through what they find unique within their VERY well worn characters, as you'd expect from two great actors that were Mason and Plummer, two performers that in particular I wish were immortal as it seems like neither would've ever stopped acting if they could've helped it. Again with Mason finding a measured and quietly comical Watson, and Plummer crafting a Holmes with conviction but also a powerful empathy.

Alternate Best Actor 1979

And the Nominees Were Not:

Frank Langella in Dracula

 

Malcolm McDowell in Time After Time 

Steve Martin in The Jerk

 

Alexander Kaidanovsky in Stalker

James Mason in Murder By Decree

Predict Those Five, These Five or Both:

Ken Ogata in Vengeance is Mine

 

Patrick Dewaere in Série Noire

 

Ben Gazzara in Saint Jack

Klaus Kinski in Woyzeck

George C. Scott in Hardcore

Alternate Best Supporting Actor 1997: Results

5. Cary Elwes in Liar Liar - Elwes brings charm and the proper comedic dorkiness to his small role.

Best Scene: His "the claw."

4. Dan Aykroyd in Grosse Pointe Blank - Aykroyd isn't the first man you'd expect as a hitman, and in turn this is a most entertaining oddball turn from him.

Best Scene: Breakfast

3. J.T. Walsh in Breakdown - Walsh gives a wonderfully sinister turn by being both believable as a caring trucker and of course the duplicitous bastard his character is in truth.

Best Scene: Breakfast

2. Bruce Greenwood in The Sweet Hereafter - Greenwood gives a powerful portrayal of a man dealing with grief both in moments of raw heartbreak and of confronting the fallout of it head on.

Best Scene: Watching the accident

1. Masato Hagiwara in Cure - Good predictions Matt Mustin, Calvin, Michael Patison, RatedRStar, Tahmeed, Aidan and Luke. Hagiwara gives a quietly terrifying performance that aids the film greatly in his quietly unnerving turn that slowly gets under your skin.

 

Best Scene: Hypnotizing the doctor.

Updated Overall

 

Next: 1979 Lead 

Alternate Best Supporting Actor 1997: Cary Elwes in Liar Liar

Cary Elwes did not receive an Oscar nomination for portraying Jerry in Liar Liar. 

Liar Liar's appeal continues to mostly allude me, as watching it for the second time fully in 25 years, it stands as an overly starry vehicle for Jim Carrey as a bad father and lawyer who can't lie. I think it might've worked better if Carrey became more unhinged as the film went on but he's so big from the start that there isn't really a transformation into madness given he's already so over the top from his first scene. I think this falls mostly on Tom Shadyac's direction, who directed Carrey in his original breakout Ace Ventura, another film where there is no tempering of Carrey's mania. A useful resource mind you, but best when utilized with some contrast. 

Anyway enough about that because I'm here to talk about Cary Elwes in the most thankless of roles, that being the other guy in a film with any romance. Elwes of course being best known as THE guy in The Princess Bride, however 10 years from that breakout Elwes became mostly cast in other guy roles, whether it be not the romantic lead or just not quite the lead. It has to be said that Elwes's Jerry really is just a great guy in every respect, and that is only helped by Elwes who knows how to "as you wish" himself right into someone's heart. He treats Carrey's Fletcher's ex-wife Audrey (Maura Tierney) with love and respect, he couldn't be more upbeat towards Audrey and Fletcher's son Max, he even doesn't even show any hostility towards the obviously hostile Fletcher. Elwes even plays it with only sincerity in showing Jerry's excitement towards spending time with Audrey, and trying to be fun with Max. His delivery of the replies even to Fletcher's insults is just with a pleasant smile and straight forward retorts. Then what is wrong with Jerry? Nothing really, but for the sake of a film of this ilk, the problem with Jerry is he's a bit of a dork. Elwes though does capitalize on this to be more than just a charming doormat, and has some understated fun in being out of his depth against the energy of Carrey's Fletcher. His portrayal of Jerry's awkwardness when proposing, or even as he tries to comfort Fletcher's family as they are flying away with him to Boston, Elwes does deliver some comedic timing in being not quite on the right page in any of these moments. He's always a little out of place in a way that is quietly enjoyable, and I think is much needed comedic note to go against just how big Carrey is the whole time. One must make particular note of his attempt at the crazy "claw" that Fletcher does with Max, where Jerry attempts the same and right down to not quite forming a claw with his hand and his overly low key delivery, Elwes is wrong in just the right ways. Of course all this leaves just Jerry to be gotten rid of as the horrible pleasant man he is, which is only emphasized in Jerry's final moment, where Elwes's performance emphasizes a guy who just wants the whole family to be happy, admitting defeat with an earnest respect and deference, though Fletcher doesn't really deserve it. This isn't an amazing performance by any measure, but Elwes certainly makes the most of what he has, and is one of the few aspects of the film that I unreservedly enjoy.

Alternate Best Supporting Actor 1997: Don Cheadle, John C. Reilly, Philip Seymour Hoffman, Thomas Jane & Alfred Molina in Boogie Nights & Philip Seymour Hoffman in Hard Eight

Don Cheadle did not receive an Oscar nomination for portraying Buck Swope in Boogie Nights

Don Cheadle in this film in a way might be part of what makes it as great of a film as it is. Obviously, the main story of Dirk Diggler (Mark Wahlberg) as he makes his way through the porn industry is fantastic, but it is all the little stories that add up together that might make this film as special as it is. The thing is Cheadle in a way you could argue is the most superfluous to the main story, because he associates very little with Dirk, and really most of his scenes are in isolation from many of the other characters. He never feels superfluous though because of just how good his story is and how good Cheadle is in his part. What Cheadle's Buck does provide is contrast. Most characters are broken in a fundamental way and their porn industry behavior is typically seeking acceptance, where they find great success in that industry. Well with Cheadle he's actually probably the most well-put-together person in the film, but the most out of place in the industry. Cheadle brings a wonderful amiable quality with his performance. There's just an innate pleasant optimism that Cheadle expresses as basically his character's default manner. When we see him in snippet moments his manner towards others is always appreciative, always genuine, and always like someone who wants to just be good and see good things happen to others. His delivery without circumstance is that of a light affability, of a man who really does love life and hopes for the best for everyone. 

Where his conflict comes in his profession as an "actor" as he would say it, where he really struggles to find his voice as we see early on as he attempts some cowboy phase and later some dread-locked wig. He's just not a guy who really has the obvious place in the "industry". Cheadle is terrific in these moments because he shows them very much as just the attempt to make something work. He initially brings an eagerness to them, but there's also just this eventual shift towards this certain resignation. Cheadle embodies within his performance just the presence of a man who really is probably in the wrong line of work, even though as the ever optimist he tries hard to do his best. Cheadle again is wonderful in the moments with Buck's eventual wife, and fellow porn star Jessie St. Vincent (Melora Walters). Unlike many other relationships in the film, there is nothing broken in this one. They both find the right chemistry of just two people who genuinely bond and love each other. They have a great simplicity in their interactions that emphasize just people without the complication of needing the relationship due to some personal weakness, rather than need each other just because they love each other. In turn, we learn of Buck's real passion, which is to open a stereo store. Again Cheadle is great by brimming with this pride and energy about the idea, he shows a man with a real dream, and it is a moment in the film where you wholly believe this person in a way that rarely comes up in this film filled with delusion. 

Of course, that isn't to say that Buck fully escapes the common flaw as we find him in a scene attempting to get a loan for his store, with his now pregnant wife. Cheadle is amazing in this scene because he shows both a man who is absolutely one hundred percent earnest but still lives within a definite delusion. Cheadle making his case is great because unlike when say Dirk states his delusions, such as the magic on his eventual attempted musical record, you laugh, but with Buck, you don't. This is because Cheadle shows that within his delivery someone who just wants to live out his simple dream, and in his eyes being attacked for his work one can see it hurts him deeply. Even Cheadle's repeated statements that he is "an actor", while a denial, does feel wholly sympathetic because although the statement is a delusion the way that Cheadle plays is someone absolutely telling the truth. The truth is that he is honestly pained for judgment, again as a man who just wants to be happy and for other people to be happy again. We see this even in one of his last scenes which is a stroke of luck/horror, as a brutal robbery goes down that he just happens to walk into. Cheadle's reactions in the scene are great as his plea for no shooting is blunt care for any human life, and in turn, his reaction to genuine trauma is perfect of a man who would rather see no one gets hurt even if it becomes his eventual gain. Cheadle's Buck again is a side character, but he brings you into every moment of his reflection of the main story of Dirk. Cheadle realizes someone who really does know what he wants, a store and a family, and really just is in the wrong line of work for himself. He's one of the few characters who never rage for his place or turns on someone, rather he so poignantly just someone finding his own place of happiness, in a way other people in his world couldn't even begin to approach. 

John C. Reilly did not receive an Oscar nomination for portraying Reed Rothchild in Boogie Nights. 

I must apologize for my earlier dismissals of this performance as just good limited performance. Now, this is an understandable mistake because Reilly really is rarely the focus of any given scene, he's the guy who's not Dirk, the secondary also-ran who is in the industry but isn't exactly new the star. Reilly though truly puts the value invaluable player, because shows what can be done in just bringing whatever one can bring in the limitations of a part. Reilly is just a ball of hilarity and the extent of his hilarity only gets better the more one watches the film. His initial scenes actually put him in opposition to Dirk in their first discussion together as they attempt to one-up each other. Reilly's delivery of explaining himself as looking like Han Solo with the perfect kind of unabashed straightforwardness makes it as though it would be obvious to anyone who can look perfect. What is only more perfect though is his extremely childish demeanor as he and Dirk attempt to top each other in various feats of strength and so-called accomplishment. Reilly is great because doesn't play it man to man trying to outmatch each other, rather they are so good at being so childlike in their attempts to basically say "nuh-uh" I'm stronger. It's a hilarious bit of work with both finding just the right chemistry in showing two rather thick-headed men meant for each other. Reilly naturally segues into basically Reed accepting his place, not as the lead that Dirk replaces, but rather Dirk's forever sidekick. In this state Reilly is just a ball of hilarity in every moment he is onscreen. There are just so many little moments of Reilly just adding a little bit to a scene through his mere presence, whether that be his enthusiasm that so brilliantly matches Wahlberg's as they come up with a new series of films, his properly bad porno acting, or his moments of being the ever-supportive friend to Dirk. There isn't a moment that Reilly wastes in terms of his performance that just adds a bit more comedy. One of the best scenes showing this approach is when he and Dirk runoff from the industry to try to break it into the film industry. Watch everything that Reilly does in this sequence and you will see a masterclass in the ways of comedic supporting acting. Even the way Reilly starts to mess with the soundboard with curiosity is hilarious before being shooed off. His reaction though as Wahlberg gales everyone with "You got the touch" so perfectly not quite in tune, is true comic greatness in his dancing that seems to say whatever Wahlberg is doing is the greatest thing achieved by man. Reilly though is what makes a funny bit, truly hilarious as that dance of his just adds the level of delusion and ridiculous to proper comic gold. The same is Reilly's own attempt at singing, which Reilly is actually quite great at, in reality, is perfectly inept but what makes it so funny, is that level of confidence on Reilly's face as he sings his duet with Dirk. Now in this sequence, you do get one of the few Reedcentric scenes for Reed where he tries to argue with the studio's owner to get their tapes. Reilly's delivery is marvelous because it is only with the utmost confidence that he refers to their terrible music as "Magic on the tapes". He underlines it with the right desperation, but so the key is just how much conviction he finds just as he stumbles through a spectacularly terrible attempt at trying to convince the owner of it.  Reilly brings, which is wholly hilarious in every way. Again Reilly mostly isn't the focus but he doesn't need to be, this is a performance that rewards you on repeat viewings just to see the bits of comedy Reilly is doing off to the side as Reed just goes along with Dirk's misadventures. A highlight of this is the rock bottom drug deal, where Reilly's reactions are again gold in pure disbelief and comic fright as the two have to run away from a lunatic. Even the way Reilly runs into some bushes to escape shows just how to do that in a way that just looks funny. Reilly again is all about little bits, but little bits that add up magic on film...or at least that's how Reed Rothchild might describe it. 

Philip Seymour Hoffman did not receive an Oscar nomination for portraying Scotty J. in Boogie Nights nor did he receive one for playing the craps player in Hard Eight. 

 

I decided that I might as well include not one but two of the early, essential, and sadly all too brief collaborations between PTA and PSH, which seemed a legendary pairing in progress when sadly the latter died so prematurely. Both of these performances show the ease of the collaboration, as in each role Hoffman's role is relatively limited but nonetheless gives the great actor a chance to leave an impact. Hoffman reveals his range just in these two disparate roles that are of very different men. Scotty is a hanger-on boom mic operator on films that is more than a little affectionate towards the new leading man in Dirk Diggler. Hoffman's physical work here is fantastic as just the way he stands with his hunched shoulders, the way he looks with squinting anxiety, and moves just with this nervous hesitation reveals someone filled with desperation. Hoffman just stands out like a sore thumb in the right way, like someone in any given scene who doesn't quite fit in even in this world of misfits. He brings the right intensity of energy of want and needs to fit in though. His delivery is filled with so much attempt to be upbeat that the act of "please like me" is almost too obvious in that state. Hoffman portraying not a fellow coworker of Dirk, but the biggest fan of his possible, as his eyes are filled with admiration but more so need. Hoffman just is on this constant edge of man so desperate to fit in and please, which becomes most obvious when he shows off his new car to Dirk. Hoffman's face just brimming with pride, but also this intense attachment to Wahlberg throughout the moment as though he's made the perfect choice to make Dirk like him. Scotty then darting straight to trying to kiss Dirk Hoffman brings all the needed awkwardness at a moment's notice. Hoffman goes all in with the moment as though it is an irresistible urge and that he's trying to enact some perfect plan that Scotty had in his head. Hoffman is properly sloppy in every regard of someone unable to connect at the moment despite being so desperate to do so. Hoffman is great than at the moment after Dirk leaves, who actually was relatively nice in his turn down of Scott's advance. Hoffman though portrays no solace but rather just another defeat, and there is something so striking and raw as Hoffman's delivery of "I'm so stupid" is just filled with so much pain of a man writhing, of a man who wasn't exactly up before. Although his work is relatively brief Hoffman is terrific in creating such a sense of the hanger on that is Scotty, and the need in him to find something in this world, even if he mostly finds failure. Although let's also talk about this work as the craps player, which is no longer than 4 minutes, but just might be the best scene in PTA's feature debut. Hoffman shows his strength as a great actor really if you just compare the two characters at a fundamental physical level of his work, as you look at Scotty for a moment, you instantly think insecurities, you look at the craps player you see someone very comfortable in their life, maybe too comfortable, and in both Hoffman instantly shows you a type without a word.

Hoffman brings here as the craps player a frat boy energy who initially dismisses Philip Baker Hall's career gambler Sydney as "Oldtimer". What you get here is in Hoffman is showing what someone can do, as his choices here really are just so inspired in giving so much character, in who is technically a throwaway character in the scheme of the film. This brings this rude bravado however even though he's playing another level as he seems to be scanning Sydney as this intriguing man. His work then as he waits to play by lighting a cigarette with his playful singing as this initial taunt, but a kind of taunt that alludes to a kind of fascination with the person he's trying to mess with. When Sydney throws down a massive bet, Hoffman's reaction is amazing as the gravity of the bet hits him in just the way his face falls into revealing the sudden pressure that Sydney's put on him. Hoffman laughs now with this kind of defense but now his manner is even more of genuine interest as Sydney's revealed himself as a power player in the casino. Hoffman's performance that was a dismissing frat now has this energetic devotion to throwing the dice as he tries to get Sydney's hard eight bet. Hoffman now shows the young man totally into kind of the madness of the bet and his eyes this kind of pressure of the young man now hoping to do right by the old man he quickly dismissed earlier. I love Hoffman's final moment after missing the bet, still laughing to act as though it didn't hit him too hard, yet there is a real sadness. When saying "hey big time I'll buy you a drink" it is with this respect and even apologetic manner as the craps player has been changed in a matter of a single scene, and really via a single bet. Hoffman delivers what has to be described as great acting, because what makes the scene special, what makes the moment special, is really just all in what Hoffman does, all the shades of this guy in a single moment, you get a strong feeling for this random player, and makes for someone who is fascinating to watch for a brief time. It could've been truly nothing with a different actor, with Hoffman he made it something special. 

Thomas Jane did not receive an Oscar nomination for portraying Todd Parker in Boogie Nights. 

Thomas Jane plays a fringe player within the fringe world that the main character already inhabits. A man who appears as Diggler and others get more addicted to drugs and he shows up to provide said drugs on the regular. Jane, who later become better known for more straight-laced stoic turns, delivers one of those pre-type against type performances that are always fascinating in alluding to a very different side of a performer. Here you'd never Jane to become pegged as the stoic any man, instead, he just exudes the quiet desperation of a man living on the edge of the edge, right down to his mustache that just seems to scream the state of a man who isn't quite sure what exactly to do with himself. There's in this the right innate intensity, making him different from Scotty, as someone who is embedded in a kind of rougher existence that leaves him in a strange place. Jane's work just properly embodies the "bad friend" who suddenly appears in a drugged state and is all too ready to provide the direction for all to get even closer to rock bottom. The key to Jane's work though is he speaks of the suggestion to Dirk and Reed to take the plunge with this unearned confidence of a man who has accomplished something, which isn't the case for Todd. Of course, before we can talk about that path to rock bottom we must talk about...

Alfred Molina did not receive an Oscar nomination for portraying Rahad Jackson in Boogie Nights. 

Alfred Molina is one scene of Boogie Nights, and given it just might be the best scene in the film, it deserves more than a little time. We come across Rahad Jackson via Todd's rock bottom reaching method of him, Dirk, and Reed, going together to con the drug dealer Rahad by selling the man false cocaine. Now technically this role is functional, but the greatness of the scene is that Molina's work as Rahad is anything but. We enter into truly a world of his own as Rahad only wearing underwear and a bathrobe, listening to the hits of the day, along with his stoic bodyguard and his "lover/friend/something else?" who is silent except for his repeated tossing of a lit firecracker every so often. That is already a lot to take in and Molina is all the more. Molina right from the outset evokes someone who truly is in his own world in the sheer sort of innate jubilation of the man, who seems like he is always at least slightly high but also strangely high on life. Molina is great because he basically is portraying that Rahad, to Rahad, is living his very best life. When he starts singing along Jessie's Girl, even richly proclaiming that the singer Rick Springfield, is a "buddy of mine", Molina is in this state of sheer jubilation. There's something strangely magnetic in Molina's odd dance and far from perfect singing of a man who is just adoring every moment of this experience that is his life. When the trio of fools at first are living, at least Reed and Dirk, I adore Molina's delivery of "ah you just got here", because he shows that Rahad really just wants to party with them at this moment, he has absolutely no ulterior motives even as the other two men and especially Todd does. Speaking of Todd, Jane's performance is great as he starts out his plan, where Jane says the initial words as though he's planned to say these words a hundred times in just how exact, with the brilliant choice of just being a bit too quiet, showing that even as calculated as it is, his execution is already a bit off. Jane's then delivery of Todd's request for what's in Rahad's master bedroom is great as in his eyes there is just a man whose completely gone, just as he's so affixed to his intention at the moment, that he can't quite notice it as his intensity is also filled with such tremendous desperation. This is best exemplified by Jane's perfect stutter as he assures Dirk he knows what he's doing and really that stutter alone shows he doesn't know. Matching this is Molina's great reaction of disbelief as he hears of Todd's demand. Molina's fantastic by showing it as a genuine moment of disbelief actually towards Todd with his "like really" expression towards someone he just expressed friendship too. I love more though Molina's less convincing "don't worry about it wave" when Dirk and Reed try to explain that they're not in on the robbery, as Molina shows that Rahad is already switching gears to a more brutal drug dealer. Todd pulls out his gun giving two equally great moments from Jane and Molina, with Jane, basically crying in revealing just how gone Todd is into nothing, while Molina runs off with this maniacal laughter. Molina that returns in this rage of insanity as Rahad starts shooting anything that moves, and Molina is outstanding in oozing a mania that can be only defined by being fueled through a strong mixture of narcotics and adrenaline. Molina is beautifully insane through the moment, genuinely menacing while being oh so entertaining in showing Rahad completely off the bend. Jane delivers a memorable turn in creating the drug addict who is too rock bottom even for those at rock bottom, and does suggest perhaps he was often cast in the wrong roles later on. Molina here just delivers a proper one scene wonder, in that everything he does here is absolutely mesmerizing in his portrayal of a deranged drug dealer, it is all off the wall in the best way possible, leaving one of the strongest impressions on the film that is already filled with so many memorable moments and characters.

(Jane)

(Molina)

Alternate Best Supporting Actor 1997: Masato Hagiwara in Cure

Masato Hagiwara did not receive an Oscar nomination for portraying Mamiya in Cure.

 

Cure is one of the most honestly unsettling films I've seen about a detective investigating a series of strange murders with similar traits yet done by different people. 

Cure isn't about the big scares but rather a certain nightmarish mood that cuts beneath a skin, similar to the way the scenes featuring Robert Blake's Mystery Man from David Lynch's Lost Highway, also from 97. Both films are not about the horror jumping out at you, but rather the horror is just right there reminding you of itself, a horror that is both tangible and ethereal. At the center of the horror of both films is a performance, performances that are very different yet strangely similar. One trait consistent is the way both characters seem to appear out of nowhere to reek a kind of havoc on the living and normal existence around them. Hagiwara suddenly appears in the film, as the film seems to reveal its truth however even then to say the mystery becomes solved probably would be a rush to judgment. Hagiwara's first full appearance comes as a seeming nondescript young man coming to see a doctor.  Hagiwara's performance becomes anything but as he speaks to the woman in dulcet tones that quickly lure her into a trance.  Hagiwara's performance is really quite startling and also remarkable, because really a classic hypnotism scene is about as cheesy as they come in general conception, yet it really is all in the execution.  Hagiwara's work is a key in this in the ease he brings in delivery that makes it unnerving as it is strangely believable as he begins to speak the woman into his sway. More unsettling however is as his suggestions become more sinister in nature, suggesting her desire to perform surgery and Hagiwara's eyes take on this demonic allure. There's a satisfaction in the implanting the suggestion, a smile that Hagiwara reveals in the man enjoying essentially setting up a murder. In a way, the most strangely disconcerting moment is when he snaps his victim/accomplish out of it by throwing water in her face. There is such aggression yet also blithe disregard in Hagiwara's manner as he dispatches her presence away from her simply as though she truly is nothing to him. 

Eventually, the police find the mysterious young man as the common factor and arrest him on his peculiar murder incitements, however just because he is caught, the horror of the character does not cease. Rather Hagiwara achieves the unique achievement of making his mere presence in any scene something that is instantly unsettling. Just the way he stares seemingly into everyone's soul, even as it seems like he's been caught, even when he is being physically hit, Hagiwara looks on with an incisive stare that suggests a man with some enigmatic knowledge of the world, but also this withdrawn caustic glee as looks upon the chaos he is creating by his mere existence. Every scene with Hagiwara is a frightening mystery because he seems to know so much while revealing so little. It is with this quietly assured quality within every side-eyed stare and overly comfortable delivery that Hagiwara makes a most unorthodox terror. Hagiwara achieves that particular visceral quality within his performance as just being around him creates this anxiety, and again fascinating against Robert Blake's performance, who both might be playing some form of the devil, as they each craft a creature that is both unknowable yet feels strangely tangible. Every time Hagiwara saunters into a scene he instantly makes the air seemingly grow cold and as the man stares with this fascination towards all as though they are just a victim waiting for his words. There's just that sincerity of the fiendish pleasure in every word. He never raises a fist or twists a knife, rather every word is this strange message of paranoia and a kind of doom. Hagiwara's performance is such that even when it seems he's under control, or disposed of entirely, that he seems to still be haunting the film. His performance is brilliant though as again any choice here slightly off would've instantly removed the horror of the character, yet every line, every stare from Hagiwara is pitch perfect in creating this distressing figure that eases his way unpleasantly beneath your skin, and never leaves.

Alternate Best Supporting Actor 1997: Bruce Greenwood in The Sweet Hereafter

Bruce Greenwood did not receive an Oscar nomination for portraying Billy Ansel in The Sweet Hereafter. 

 

Bruce Greenwood is one of those character actors that it seems like you can always depend on in the film. He typically fills a certain type, yet fills that certain type with considerable ease and often a depth that makes you instantly accept him no matter who the character or the setting may be. He is an ideal character actor in that sense because you can place him there, he will not distract, but rather just create a natural depth from his mere presence. Now more frequently than not Greenwood is typically cast as a "white collar" authority figure of some type, and he plays these roles well. One filmmaker that I'm sure eventually helped Greenwood get cast in those roles, was Atom Egoyan, although Egoyan actually cast him in more risky positions. The first is his remarkable performance as a mentally broken man in 94's Exotica and once again here in Egoyan's greatest film. A notable change, to begin with, is a rare instance where Greenwood is playing a more working-class type, with a mustache that just seems to emphasize a man who has to be doing some kind of physical excursion for a living.

Greenwood slides right into this role just as he does those many suits he is usually tasked to wear, in a role that we first see in a fairly low-key way, though we already know of the trauma that will realize itself shortly. Greenwood's performance effectively embodies a certain salt of the earth type just in his whole demeanor. He moves a bit more exactly, his posture interestingly a bit more upright even though he's already pretty upright as is. Chronologically we see him engaging in an affair with a local woman, however really we just see a man going about his life. Greenwood doesn't put anything on it, he shows a man existing as he does, and in that there is a whole lot of life just in his natural manner. This adds a great deal then to us finding his Billy Ansel as we find he is a man who has lost two of his kids in the tragic school bus accident at the center of the film. Ansel's experience is even more notable because he was directly behind the bus when it went off the road and into a frozen lake. 

So the actual accident scene actually is largely based upon Greenwood's performance as the first is watching the bus and you see him interacting with his kids at the back of the bus. Greenwood is wonderful in portraying just the utmost earnest love at that moment and shows bluntly a loving father. His reaction then of true horror when seeing the bus go off truly is remarkable, followed only by absolutely devastating work as we see Ansel's face slowly fall into pained despair as the tragedy unfolds in front of him. Every moment of the tragedy is seen within Greenwood's eyes bluntly revealing the intensity of the pain at that moment. The Sweet Hereafter of course follows the unexpected narrative by taking us through it from the perspective of the lawyer (Ian Holm), theoretically exploiting everyone's pain. Although we take a greater sympathy for the man due to seeing his own tragedy involving his drug addict daughter. Greenwood's Ansel delivers what likely would be one's reaction without that perspective which is suspicion and anger towards the man seeking to profit from the tragedy. Greenwood is excellent in his scene with Holm, he has such potency in his sharp delivery which punctuates the vicious hate in his eyes that disregards the exploiter at a moment's notice. Greenwood is great in the scene, but even more amazing in his scene of confronting another family to try to get them to drop the lawsuit. Greenwood is fantastic by just speaking every line as these cold honest truths. He shows a man who genuinely has no desire to relive the tragedy and hates the idea of any profit from him. He brings an unquestioned intensity, but an intensity with such a connection to his emotional loss. He is able to articulate the sense of a man who will not compromise bluntly, yet within that the man's heartbreak is ever present within the bluntness. Although a relatively brief performance, Greenwood delivers an absolutely striking portrayal of a man wrestling with his grief both as he's trying to come to terms with it, and ever so powerfully as he sees it right in front of him.

Alternate Best Supporting Actor 1997: J.T. Walsh in Breakdown

J.T. Walsh did not receive an Oscar nomination for portraying Warren 'Red' Barr in Breakdown. 

Breakdown is a good, though not great, thriller about a man (Kurt Russell) trying to find his wife (Kathleen Quinlan) when she vanishes after taking a ride from a seemingly helpful trucker due to their car breaking down.

 

Of course both husband and wife probably realized their mistake when they saw the friendly trucker was played by J.T. Walsh, the go to heavy from the mid-eighties to the late-nineties where sadly his acting career was sadly cut short due to his untimely death, Breakdown being the last film released during his lifetime. As one of his sendoffs though, this is a good one, and really Walsh's performance is the best aspect of this film. A film that basically is an action remake of The Vanishing in conception. The key to the comparison being Walsh in this role, and even though he is played by Walsh, Walsh is actually quite convincing in initially portraying a seemingly friendly trucker just offering a ride. Walsh nicely doesn't play it with some undermining quality rather earnestly just offers some slightly affable manner as he tries to help the couple best he can, at least so he claims. Obviously this facade is a little less successful when Russell's Jeff catches Red on the road, and along with a cop, presses him for the whereabouts of his wife after she disappears. Walsh switches his performance up just enough in portraying the still affable manner, with his oh so earnest delivery of "I hope you find your wife", but inserts just the right suggestive glances of a man who seems to be hiding something. 

And hiding something he is, though in more ways than one might even expect as old Red is in fact a real rotten bastard who is responsible for Jeff's wife's disappearance along with his gang of sleazy scumbags. They reveal themselves when they catch Jeff and demand a large payment from him, supposedly for his wife's release. Walsh revealing himself  as the villain in a dramatic scene overlooking the nearby secluded town where we get to see Walsh shine in all his glory at doing what he did best, playing just the worst of the worst. Walsh quite artfully amplifies the material by his mere presence that is just so sinister innately. This as Walsh is so perfectly fiendish to the point as he introduces himself to Jeff openly and reveals he has his wife, in as crude a fashion as possible. Walsh though being particularly unsettling by just how businesslike he is in the description of the situation to Jeff. Walsh speaks every word as these cold facts of a man who has done this again and again, and doesn't bat an eye towards his crimes. The scene is technically just exposition of the setup of creating Jeff's situation, but Walsh makes it the proper menacing reveal of the film's true villain with his performance. The ease of how he does it with being what is so remarkable, with I think the essential Walsh combination as he speaks of his evil demands with such ease yet his eyes pierce as a man you instantly recognize is capable of such horrible acts.

Now with just that, this would be a good performance by Walsh, where I think he takes it even further is when Jeff manages to turn the situation around to some degree, ridding himself of a gang member and stowing away on Red's truck as he returns home. Where we find that Red is in fact a loving family man. Walsh here shows that if this was a straight remake of the Vanishing he would've been a great lead for that part as he brings as much conviction in the role as Bernard-Pierre Donnadieu did in that similar role in that earlier film. Walsh brings genuine warmth in the moments where we see him briefly interact with his son and his wife. Walsh shows that with them Red is truly a "loving" man. This making it all the more effectively disturbing as we see that Red and his crew go about just randomly murdering motorists only for the money. The ease of the switch in Walsh's performance as he goes from the family man to the serial killer who just casually devises the death for Jeff's wife as though means absolutely nothing to him. Walsh makes for a terrific villain here though as we get the switch, with again Walsh being a master of conveying pure vile at a moments notice, as an armed Jeff confronts Red, his crew and Red's family at breakfast. One can get an tutorial of great villain acting from Walsh in the moment who goes from the affable man in his jovial face in one moment to the next moment where the villain comes out when Jeff is threatening him. His voice still calm and assuring to his wife, but facing away from her, Walsh fashions the absolutely most perfect of death stares towards Russell. And of course, this is a functional villain part in the film, it isn't about getting into the deep psyche of Red in any way shape or form. It is about just following the beats of the thriller as they progress to their natural climax. Having said that on one end it is easy to appreciate how well Walsh embodies the different shades of the role, but it is also easy to appreciate just how good he is at being a genuine slime ball you can't wait to see get his comeuppance. The highlight of this being when Jeff gets to free his wife, and throughout the moment Walsh is just giving such a fantastic hateful glare towards Russell the whole time as though he's a snake waiting to strike, and then his extremely smug delivery as he attempts to threaten Jeff, who silences him with a particularly satisfying kick to the face. The climax sadly is where things get a bit less interesting in what Walsh gets to do as the film just becomes an over the top cars chase. Although even with that, Walsh still makes for a most despicable villain in the best of ways, with just a bit more depth for good measure, and though this was sadly one of his last turns, it certainly stands as a reminder of a talent that we should've been able to appreciate for much longer than we were able to.

Alternate Best Supporting Actor 1997: Dan Aykroyd in Grosse Pointe Blank

Dan Aykroyd did not receive an Oscar nomination for portraying Grocer in Grosse Pointe Blank.

 

Dan Aykroyd, despite being the first male SNL alumnus to get an acting Oscar nomination, isn't the first guy you think of when you think "great actor". He does though offer a distinct presence of his that is the Aykroyd presence that is a kind of earnestness of performance that can be quite enjoyable when properly used. Here though we really have genius level use by casting Aykroyd, not someone you would ever peg to play a psychopathic hitman, and you cast him as a psychopathic hitman. That is the choice here and it could not be a better choice. Aykroyd's performance in turn is fantastic by being so straight forward in playing in the Aykroyd style, that is not the natural fit for the cold blooded killer, and that's what makes him so funny here. There's really even just from the first scene where he mows down a groups of armed men, there's just something hilarious in Aykroyd engaging in gun play alone since it is so unexpected in such an enjoyable way. Of course a funny visual can be a lot but might not be enough if there wasn't a bit more to it than that. Thankfully there is as Aykroyd jumps right into playing this part for all its worth, and its worth is trying to add as much comedy as he can with the character of Grocer. 

 

Aykroyd is terrific in turn in playing up the role in his Aykroyd of playing it, particularly in his particularly Aykroydian way of delivering his kind of exposition and long speaking. Here we get that with his first conversation with Martin Blank (John Cusack), after stealing a few kills from him, and coming around to offer him the opportunity to become part of his hitman union. The key here is Aykroyd's speedy and really almost happy go lucky performance is quite hilarious by being so casual as he speaks about matter of life and death. His way of speaking every word as though he was merely just some kind of salesman is pretty wonderful. I love his chemistry, or lack thereof with Cusack as in their scenes together. In fact it is the way their delivery never exactly matches in rhythm that makes them strangely fascinating together. Both play it almost as though neither is really talking to each other, or at least neither is exactly listening to each other as both psychopaths go off on whatever concerns most in their particularly way of not exactly connecting with the world. Aykroyd though does mix it up here with the moments of a random more demonic stare or more intimating delivery. Showing that the hitman's more murderous intent is in there between the moments of just going off with his lines in that way that is distinct to Aykroyd. 

Aykroyd's Grocer then becomes the thorn in the side of Blank, going to track Blank down to his hometown, as he goes to reconnect at his high school reunion, kind of, taking in tow another hit-men a few federal agents to increase his odds. Aykroyd coming in a few hilarious bits here and there, again by being Aykroyd but with the best kind of demented qualities here. One of the best of these is when he meets Martin for a tense breakfast at a dinner as they both are carrying while still ordering. Aykroyd and Cusack orchestrating the insanity of the scene by keeping the same intense delivery even as they order their breakfast. Aykroyd also delivering his quite ridiculous phony noir dialogue with such proper ridiculousness as though he were in a ridiculous noir. What I think I enjoy most though is the petulance about Aykroyd's reaction such as his hang dog expression when Cusack still refuses to join him, and his scoffing way of expressing disbelief that Martin plans to retire before randomly blowing up in anger. This is a performance that is absolutely all over the place, but all over the place in a way that wholly works just for the insane nature of the character. A highlight of this certainly being this in the climax where Blank and Grocer face off. Where we get treated to a Looney Tunes style rendition from Aykroyd of "I'll be coming around the Mountain" with some altered lyrics, and of course the above picture moment that needs to be mentioned. The moment of Grocer and Blank teaming up, briefly, to dispatch the Federal agents, and the unadulterated glee upon Aykroyd's face as he shoots is a kind of perfection. This honestly as weird as the casting could seem on paper, seems ideal within the film, and Aykroyd successfully delivers on the comic implications of Dan Aykroyd playing a ruthless hitman, for all it's worth.