Alternate Best Actor 1981: Jeremy Irons in The French Lieutenant's Woman

Jeremy Irons did not receive an Oscar nomination, despite being nominated for a BAFTA, for portraying Charles Henry Smithson and Mike in The French Lieutenant's Woman. 

The French Lieutenant's Woman tells of two actors having an affair portraying a forbidden romance of the past. 

It must be said Jeremy Irons has a peculiar relationship with the academy with his one nomination and one win to his name, though a most deserving win to be sure. Being ignored throughout what was his most prominent decade of the eighties consistently including this film, which did quite well with Meryl Streep's leading role, as Charles's eventual lover Sarah and Mike's lover/co-star Anna, I would say just missed winning, losing out over an unneeded fourth win for Katherine Hepburn, given that Streep had won the drama Globe and later the BAFTA for her performance. Anyway Irons I think, as much as he would be dynamic in many more off-beat roles, seems tailored made for a period drama. That is his patrician look and far more patrician voice of his, but also Irons being just an especially striking performer. What makes him striking though is very specific in that Irons has all the surface-level qualities of a stuffy performer however he doesn't feel as such. Irons is rather brilliant in being able to ply his trade in this form as he is an actor very much of the eyes in a film like this where Charles is the proper gentleman. The proper gentleman in as we see him with his more proper fiancée do we have Irons projecting the gentle smile and upright demeanor expected of such a man. His eyes though are the truth of the man, and when he first sees Sarah dramatically at the end of a long dock, Irons's performance so subtly, yet potently, reveals the emotional conflicts of the man as the image of the woman clearly weighs within the man's mind, almost against his wishes. 

The development of this affair is the classic narrative of the man really of deep contemplation of Charles. Irons is exceptional really at that as he really does it with such ease, and for the best work, grace. He knows exactly how to contain emotion in his performance while still portraying a very reserved man. In this relationship, we get the scenes of the two together that slowly develop and really begin with Charles just being fascinated with this woman. Irons portrays this so well because he doesn't make it really this obvious lust but rather genuinely this captivation with her that goes far beyond that. This is carried in their conversation, as she describes her state after a lurid affair with the titular French Lieutenant, and Irons is exceptional in presenting this deeply rooted empathy and interest even as she reveals herself in this way. Irons presents his man not as a lothario but rather with this deep compassion for this woman that becomes a real love for her. This even in the moment of forgetting his fiancée, even having to face society who is against any rejection of the expected match, Irons presents Charles's attitude so effectively as this man burdened by this truth in his mind. We see everything that is going on through his mind so carefully and elegantly in his performance. Again Irons is ideal for such a film and such a character because as much as he can be a magnificent broad performer, he can contain so much in a look. That is what we get here from Irons and he naturally creates the sense of the development of the relationship with Streep's Sarah. 

Contrasting all of that is his performance as Mike where Irons doesn't put on any overt mannerisms per the change, other than somewhat less emphasizing the properness of his accent, Irons though demeanor naturally segues in a way where you might not even take notice. The stiffness of the man is removed and there is just much more of a man a more modern man as we see him with Anna. The two share a moment in bed being purposefully far less dramatic but effectively far less dramatic in that sense. The two are much more bluntly having an affair, but here you get very strong work from Streep and Irons in portraying a modern affair in this sense. Although there is a reserve in their scenes out among others, as they are hiding an affair, and there Irons presents a different kind of pressure in Mike as opposed to Charles. A man who is more overtly frustrated at times. This is against their intimate moments where there is an ease between the performances. Both in a way that articulates this connection as almost too blithe in a way and perhaps too casual between the two. They just really are with each other, you get a playful sense of them together. The change here is not that burden of the woman on his mind in such a grandiose way as with Charles, but much more viscerally of the now. Irons is as good at presenting this much more overtly in his performance and expresses it more openly. Irons really excels in showing two different distinct shades of the same idea. Each shows a man needing to deal with this affair, one with that deep contemplation and the other just a direct pressure upon him to try to make their relationship more than it is.  

The performances of both actors really are the key to this film working, as much as it is certainly well helmed and rather beautifully shot. These are the differences in the two performances is which help to craft the contrasting affairs of the film of Sarah and Charles again Mike and Anna. We see two people going through a similar thing but very differently by the age they live in. And in turn, you get two great moments of building towards their finale in facing the affair. Irons as Charles in the past confronts Sarah where it is this unleashing of emotion, a powerful unleashing where the restraint naturally goes away as basically the quiet man having the secrets within him forced out of him at this moment. Although in that release seemingly find solace and perhaps tenderness between the two. Contrasting that one final time is Mike and Anna as their wrap party. A simpler and now it is quieter resolution. The two just kinds of very subtly portray each considering each other, but not quite embracing each other. Both find just the right sense of two people with a secret that is almost too separated within the loud world of the party to share. The final moment is the last spoken word of Mike trying to cry out. Irons is great though in showing not the distraught pathos of old, but this modern just recognition of the failed state of the affair. Although as dual role performances go, even in Irons's career, this is relatively reserved, it is strong work in presenting and articulating the same idea though as changed by the nature of time and place. 

Alternate Best Actor 1981: Keith Carradine & Powers Boothe in Southern Comfort

Keith Carradine and Powers Boothe did not receive an Oscar nominations for portraying Private First Class Spencer & Corporal Charles Hardin respectively in Southern Comfort. 

Southern Comfort from Walter Hill is about a group of Army National Guard who come afoul of some backwoods locals via a mistake that leads to violence. A largely effective film, though the very end feels a bit rushed. 

Keith Carradine is probably one of the most underrated leading men of his era, offering such a unique offbeat charisma to his role. Ideal then for the role of a national guardsman who finds himself in the wrong place at the wrong time. Carradine plays the anti-establishment soldier, although here quite different in that he's not the typical army or anywhere near a traditional warzone. Carradine delivers instead a more casual sort of roughish energy to his performance as the character introduces himself by remarking, not too positively, on some of his fellow soldiers from the country. Carradine's performance creates the right sense of a man who is a bit dismissive, but actually not too dismissive. Fittingly Carradine shows the man making the joke, but given what they're there for is technically a training game, there isn't too much seriousness to even his dismissiveness. Carradine though expresses the nature of the man as someone who seems to have a good head on his shoulders even if his eyes denote a certain sly sense of humor at the same time. Powers Boothe, who just might have one of the greatest names known to man, was a particularly reliable character actor. Here he is kind of sort of the co-star of Carradine providing a terrific contrast yet also similarity. Powers's innate presence is that of a striking strength, and here he brings that with a stoic command. He differs a bit though in that he shows also shows a man who isn't all that much of a believer in his fellow soldiers, Hardin differs as a transferred soldier, but his manner is more of exasperation towards nonsense rather than the jovial approach we see with Hardin. 

Both do what is essential for this narrative and completely accentuate the sensible nature of each man in these early interactions, even when Hardin turns down Spencer's offered opportunity for meeting a prostitute, it is with just a blunt deliver of a man who has his specific moral stances and doesn't need to preach about them, he just believes in them. Carradine on the other hand though just still presents a man in Spencer who finds his little ways to enjoy life whenever he can, in whatever way he can. The two emphasize that these men as likable and more than anything reasonable even as they are separate in what makes them different. Boothe and Carradine create a great dynamic by Carradine being the off-the-books potential hero and Boothe being the by-the-books man. This is in contrast to their fellow soldiers who are as much of the source of the trouble as are the locals who return fire against the soldiers, after one of the soldiers foolishly, though jokingly, shot blanks at them. With the first casualty being their CO, we get the breakdown and in this we get the sides forming of the soldiers who want to meet the violence with violence, those in the middle who have no idea what to do, and Spencer and Hardin. Boothe and Carradine again are terrific here in taking you from too many making their way in this pretty low-stakes situation and instantly bringing you into the high-stakes situation. Their reactions are both just completely honest in emphasizing the sudden horror and disbelief of the situation. Each man just showing in their eyes reason more than anything. Walter Hill is in a way often a director of few words, and oftentimes very much relies on the actor to convey a lot. Luckily here he has both Carradine and Boothe who bring you right into the reality of the situation and these two men. 

Both Boothe and Carradine are fantastic in creating in each moment a subtle shift essentially in each man due to the immediate danger of their situation. One is just the two men coming to an understanding basically because both see each other as sensible. I love Boothe's just straightforward delivery of this message and Carradine's almost surprised but understanding reaction just realizes the two men so well in the moment of solidarity through sanity. Each man shifts through in his character so effectively and naturally as the situation becomes direr. Boothe presents a hardening and greater gritty conviction. The certain exasperation is gone in his eyes he shows the determination of the man to survive but also does what is right. Carradine on the other hand gradually loses that casualness that defined his early scenes. Finding instead this internalized power of someone basically finding their strength in the situation. His delivery becomes tenser, his eyes becoming that much more ensured, even with a sense of fear, of showing that in a way the best of Spencer comes from the worst of the situation. Each has to take extreme measures to go. We see that in Spencer taking charge as much as he can and Carradine wielding power in desperation so potently. With Boothe, we see this righteous, and honestly righteous conviction as he fights to the death to save a local. Boothe is great at the moment in just exuding the sense of certainty in the man's eyes as he fights for the man, not for any love or anything, but just because it is what is right. All at the same time the two are so good in just crafting a sense of understanding between the two that grows towards a greater sense of connection. There isn't too much time spent on this, again it's by Hill, but it is all in their performance. This is to the point that by the final sequence you see each man wholly have that connected sense with each other as they try to survive, both actors also pulling you as the audience into their plight. Every moment is given proper resonance and visceral connection by their performance that give life both to their characters and to the situation. The best compliment I can give actually is that both Boothe and Carradine succeed in not making either of their characters seem underwritten. They rather wholly thrive within the film's style and each gives a hero you can root for, Carradine in crafting a charming rogue and Boothe making for a proper strong silent type. 

Alternate Best Actor 1981

And the Nominees Were Not:

John Heard in Cutter's Way

Michel Serrault in Garde à Vue

Jeremy Irons in The French Lieutenant's Woman

Keith Carradine in Southern Comfort

Sam Neill in Possession 

Alternate Best Supporting Actor 1979: Results

5. David Warner in Time After Time - Warner as expected gives a properly calm and menacing portrayal of Jack the Ripper. 

Best Scene: Hotel room.

4. Frederic Forrest - Forrest gives yet another striking portrayal within his film, giving such a potent portrayal of a man struggling to maintain his sanity in an insane world. 

Best Scene: Civilian boat.

3. Art Carney in Going in Style - Carney gives a funny but also moving portrayal of a man attempting to live out a fantasy of sorts. 

Best Scene: Listening to Willie's story. 

2. Oliver Reed in The Brood - Reed gives a striking portrayal of a strange form of therapy while also so carefully walking a rope of ambiguity within his character. 

Best Scene: Opening. 

1. Yaphet Kotto in Alien - Kotto gives a great performance, often between the lines, in just creating such an endearing energy that shifts naturally to a fierce intensity as the situation becomes dire. 

Best Scene: Destroying Ash. 

Updated Overall

Next: 1981 Lead

Alternate Best Supporting Actor 1979: John Hurt, Harry Dean Stanton, Tom Skerritt & Yaphet Kotto in Alien

John Hurt, Harry Dean Stanton, Tom Skerritt and Yaphet Kotto did not receive Oscar nominations, despite Hurt receiving a BAFTA nomination, for portraying Kane, Brett, Dallas and Parker respectively in Alien. 

Comparing Alien to most science fiction films of the period, such as the ill-advised Black Hole for example, or Star Trek the Motionless Picture (though it does have an amazing score), seems like they are of two different eras. Why is that? Well many reasons really. It has such a tangible sense of reality even though the whole film takes place on either a spaceship or an alien planet. A great deal of that has to do with the cast. I can just praise all of the cast together as one in part of what makes their work together. Take any scene where it is all of them together, before any xenomorphs show up, and what you have is such an authentic depiction of this specific community of people. Their interactions are just honest in such a fundamental sense and you get just the way they casually talk the small dynamics and the big ones just as they talk to one another as people, and just really co-workers as they do this job together as basically a group of space truckers. There are great aspects of reality that each actor brings to this. If you take even John Hurt waking up from hypersleep as the film opens where he doesn't just show a man getting up, rather there is a striking sense of reality by showing the wear on the man as he's trying to gain his bearings again and realize a sense of awareness. Or take Yaphet Kotto and Harry Dean Stanton who are both great at being part of the crew but also separate from the crew. That is as Parker and Brett are separated as basically the "grunts" of the crew, doing the dirty work and getting paid less. In turn, Kotto and Stanton have a great sort of sub-chemistry in the first scene as you see the two frequently commiserate a bit on their own, having just the right natural glances before they start asking if they can get better pay. Kotto is sort of the dominant "head" of the department though with endearing energy with Stanton as they espouse a mutual frustration with this kind of mischievous knowing that they're doing what they can to get a little more. Contrasting that again though is Tom Skerritt in the role that would seem the lead in an earlier film of the ilk, perhaps played by say a Charlton Heston, as sort of the no-nonsense Captain of the ship. Skerritt brings a nice low-key naturalism to the performance of just the ease about Dallas's reactions towards the slight indignation of certain members but also just wrangling everyone. He brings enough confidence though even this is behind a degree of exasperation just like most of the crew. 

Now, why is this better than so many of the horror films that attempted to copy it or some of the sequels, many directed by Ridley Scott even? Well many reasons really, but one of them is the cast of characters being developed as they are performed as they are. Ridley Scott behind the scenes for the film essentially stated that he focused on the visual aspects more knowing he had a strong cast who could carry their weight. And in a sense this cast is just that much better, they are working with a better script, but a script with lesser actors might've struggled here a bit. The script is strong and shows that to establish characters actually doesn't require that much time you just need to do it well, and need to perform it well. Hurt shows the more insular and particularly spent man just going through the motions as the crew investigates a nearby planet as commanded by their corporation. Skerritt has that right sort of ease and kind of unease as a Captain who does give out the orders but the camaraderie is such that he doesn't bark, he just asks in just about every one of his deliveries. And you get again Stanton and Kotto who honestly are rather delightful as the comic duo. Particularly when Sigourney Weaver's Ripley argues with them as they do the investigation and both are acting annoyed. Both are perfect though with their particular hidden grins of theirs both act like their jobs are especially hard as they purposefully troll as a marvelous duo. Their chemistry really is effortless as they find the most "working class" of the group. Stanton, by the way, being such an inspired choice for sci-fi, as an actor, he seems anything but that, and therefore gives the film this extra bit of credence as honest people in this situation. Have to give particular mention to the great back and forth as when Parker says any idea, Brett follows with a right, and Stanton and Kotto bring such naturalistic and still quite hilarious timing in crafting the sense of the duo being a proper pair. 

All four of the actors, along with Weaver and Cartwright give such a rich sense of this crew (Holm wonderfully doing his own thing as the odd "man" out), and that even in the divisions, like Parker and Brett's financial objections, you only get a stronger sense of the specific bond of coworkers who have been through quite a bit together. You know who each person is and in turn, there could easily have been a version of the film just called the crew, and make it hang out movie, I think it would've worked. This is a horror film, but the point is the film takes time, and the actors have the talent to make the eventual victims of the titular creature real people. You see this when Kane gets the face hugger on him, and everyone else shows their concern. I love Kotto's delivery of the guy on the side with an extra suggestion every time, but in that Kotto shows such genuine care for Parker. Skerritt though shows this specific concern of the Captain with kind of this more reserved quality of the leader trying to make the right decision in a stressful situation. Even Brett who doesn't say much, adds a lot just in his silent reaction of concern. Kane's unexpected awakening is a brilliant brief moment for Hurt even as his character is a dead man he still takes the time to be so haunting as he just mentions this internal sense of real pain and fear of pondering a dream of smothering. Against that, I love Stanton, Skerritt, and Kotto's reactions of the pure joy of just appreciating that their friend is alright. And in a way that "last supper" scene is particularly heartbreaking because again you see the crew as just a likable group of people having fun together. Of course, that also marks Hurt's final moment, which I'm guessing earned Hurt is BAFTA nomination (though hard to convince it should've been over Holm), in depicting the chestburster reveal of the alien. A scene where a good part of the horror is the visceral reality that Hurt brings as he wretches in pain and makes every moment of the terror all the more vivid as it really feels like something is killing him from the inside. A scene oft repeated, often quite lamely, and Hurt showed how it was done to the point it was never properly replicated. 

Soon afterward you get Brett's final moments, and again what is so great about Alien is the intensity it creates with the time it takes. Part of the reason is you have Harry Dean Stanton granting an absolute reality to the man walking around the dark portion of the ship, enjoying a bit of water on his face, before portraying spine-chilling terror as the creature descends upon him. Skerritt is also great in presenting Dallas basically attempting to become the true leader now, and portrays just the right combination of attempted bravery with fear. When giving orders just enough awkwardness in his delivery as he gives out orders and shows a man trying to be the leader in every way. Contrasting that his alone time with the computer of the ship, gives no help, Skerritt is filled with desperation in his face of a man as terrified as anyone. The scene of Dallas then trying to kill the Alien in the air ducts is amazing through everyone's acting really, but of course, Skerritt is at the center of it as Dallas. There to hunt the Alien, but instead quickly becomes the hunted. I love one particular delivery by Skerritt as Dallas basically says he needs to get out of there, as suddenly you see no hero, no captain, no leader, just a man filled with fear and wanting to escape the horror that awaits him. While not the focus of the film exactly Skerritt in a quick microcosm breaks down sort of the expected hero, by showing the man who doesn't find his greatest strength in times of trouble, but rather his greatest weakness. Against that though is Kotto's Parker, who despite being the lovable goof in the early scenes kind of becomes the potential hero of the film. Again, not focused on a shot even real, but watch Kotto after Brett's death scene, he completely shows a man torn up about losing his friend. Not a lot of time is spent on it, but just by his reaction, you feel the weight of it completely. Kotto realizes this growing pointed intensity in Parker as he tries to take on the role of the hero and in some ways succeeds like when he stops Ash from killing Ripley. Kotto brings this natural dogged determination that shows such a sense of conviction in the eyes of a man trying to help his friends and survive. I again especially love his moment of ensuring Ash's death. Nothing is said, it is just in Kotto's expression of hate and joy that you see a man purposefully avenging the death of his friends, as Ash's actions helped to kill everyone. Kotto even brings this kind of intensity in Parker's last scene by showing the man just going head first into battle, unfortunately, a hand-to-hand battle he could never win. I love though that even in his demise Kotto's eyes carry still a fighting ferocity, and it would've been easy to imagine a version of the film where he was the sole survivor. Of course, why do I love this film? Well, it is everyone in the cast is someone, and not idiots either. I love that everyone basically more or less makes good decisions, other than the insidious Ash, unfortunately, the Alien is greater than the sum of their strengths. Everyone though is a real person, with a life beyond the scenario. Each has its own story, some you get more than others, but you get a strong sense of each person, with each actor delivering on the promise of more than just they'll be victim # whatever. It's a truly stellar ensemble, not one performance is wasted. Everyone breaths their own life into the piece, and create memorable people that could've existed beyond this one story. As it is they give this one story a greater depth, and life than any other horror film of its ilk. 

(Stanton)

(Skerritt & Hurt)

(Kotto)

Alternate Best Supporting Actor 1979: Oliver Reed in The Brood

Oliver Reed did not receive an Oscar nomination for portraying Dr. Hal Raglan in The Brood.

The Brood marks a step in Cronenberg's career, where he doesn't quite achieve a wholly successful horror film, though gets a bit closer than Shivers about a man investigating his wife's strange psychiatrist while brutal murders begin to occur. Where the film suffers is in its bland lead Frank (though I think more so the writing here overall), and the makeup effects not *quite* being there, it's definitely a problem when I started laughing at what is supposed to be a disturbing murder scene. 

Anyway, one advancement offered to Cronenberg was a greater budget and seems like with that Cronenberg used it to bring along two more notable actors in Samantha Eggar as our hero's strange wife Nola going through isolated therapy, and Oliver Reed as her strange doctor. Reed opens the film as we see the doctor's methods firsthand as he "treats" a patient. Dressed in a guru's robe, seated and staring right at the man Reed makes a fascinating first impression. Reed's performance in a way illustrates his unique talent a presence because he is such a ferocious physical presence, yet has such an elegant voice. Here we get this in such a brilliant performance as he "treats" his patient by attacking the man on his said to be feminine qualities. Reed's eyes stare right into the man's soul, honestly similar to the first processing scene later seen in The Master, as Reed has that enigmatic power as the man seems to cut right into the man's mind. Reed's performance is amazing because he manages to be incredibly violent in his deliveries of the insults (seemingly evoking the man's abusive father), but Reed's dulcet voice seems to redirect the energy slightly as though he is performing some kind of therapy still. There is a strange comfort even in the violence and he illustrates this as in the end, he seems to indeed have a breakthrough with the man even after all that had been said. It is a bizarre scene that works because of Reed's performance that does naturally realize Hal's strange methods in tangible ways. What Reed also does with this play with the audience's expectation of his performance as he doesn't allow you to pinpoint what exactly the doctor is, whether is he an evil man or is there some method to this madness. Reed plays with ambiguity so effortlessly as we see him outside of the sphere of performing his therapy as Frank confronts him about his daughter having been hurt after visiting his wife. Reed is quite fascinating in his performance in that every delivery of his is a kind deflection though also calming in his responses. Reed doesn't specify but he alludes to something. Reed's eyes suggest a man knowing far more than he is saying, but doesn't simplify what exactly that is. 

He creates a marvelous idea of perhaps an egomaniac doctor refusing to have his methods questioned or someone dealing with something he isn't quite sure of himself. We occasionally see him in his scenes with Eggar (who is wonderfully bonkers in the role), where Reed shows the doctor playing his role. Reed asking her about her daughter's injuries, though not directly, and is fascinating in that he plays her parent at the moment while also seemingly trying to derive something more from her. Again I think even a lot of the dialogue here works because Reed is so convincing in his portrayal of it, and makes the techniques tangible as odd as they are. Reed is captivating in every one of his scenes whether he is playing directly the form of therapy of the doctor, or the therapist who seems to be hiding much from those questioning him. Reed creates this force to be reckoned with and also an element of this film that consistently works, both being actively compelling in giving these strange ideas some truth in performance, but also by letting you ponder whether he is the true villain of the piece or not. Spoilers he's technically not exactly either hero or villain, but his therapy led to the creation of small sinister creatures that kill Nola's "tormentors". Reed though is great in his final scene where he finally reveals the truth to Frank. Reed shows at this moment the man isn't trying to hide or try anything. His eyes at the moment totally earnest as he looks at Frank in the moment. He speaks now just trying to say everything as an honest statement of the man attempting to make some kind of amends with a regretful tone he brings to the whole moment. Reed is terrific in the film, a film that really with a lesser actor in this role would've been fully goofy I think. Reed though never treats the material as monster shlock, as it could've been treated, offering only a real depth and gravity in realizing both his character and the film's odd scenario. 

Alternate Best Supporting Actor 1979: G.D. Spradlin, Albert Hall, Laurence Fishburne, Herb Rice & Frederic Forrest in Apocalypse Now

G.D. Spradlin, Albert Hall, Laurence Fishburne, Herb Rice & Frederic Forrest did not receive Oscar nominations for portraying General Corman, Chief, Clean, Roach and Chef respectively in Apocalypse Now.

Apocalypse Now, as much as it is seen as a grand epic directorial achievement by Francis Ford Coppola, and it is, what seems to often make a true masterpiece is no singular element merely is, and almost every element seems to contribute to that greatness, the grand ensemble of this film included. Take for example one of the earliest scenes where Willard (Martin Sheen) is given his mission by three officials. Technically an exposition scene, but nothing about it do you think of exposition as it is filled with such mood and atmosphere, with the performances being an essential part of this. I could even have spoken of Harrison Ford, playing very much not his expected type, as the nervous junior Officer giving Willard the lowdown on his mission to assassinate Colonel Kurtz (Marlon Brando) clearing his throat denoting his discomfort of the situation or I could mention Jerry Ziesmer's nearly silent but wholly enigmatic portrayal of the man in civilian clothes who seems to be peering into Willard's soul as he has this overt comfort in the conversation. I decided though to focus on G.D. Spradlin, who previously worked with Coppola by playing a sleazy politician with great aplomb in The Godfather Part II, here has a small role, but one where you can see how much a performance can add. Technically all that the character of General Corman is saying is that Kurtz has gone off the deep end. Spradlin's performance though brings so much more subtext to each statement. His eyes almost drifting off as he speaks to Willard as though he has a fixation on some potent memory. His delivery on Kurtz believing himself to be God has this empathetic quality, not at all just informative, and his eyes almost seem to suggest some understanding of Kurtz if not even a direct personal connection to the man. Spradlin speaks with a strict empathy for the Colonel as he is technically ordering his demise, and in just the single scene presents a strange struggle the man is having in making this decision to execute. We never learn anything more about Corman, or his connection to Kurtz, however, within that there is such a greater depth by making the exposition far from it.

The Do Long Bridge scene I may be coming around to believing to be the greatest scene in a film filled with brilliant scenes, where Willard and his crew come across the last US outpost in Vietnam where it is a chaotic mess of men fighting or just existing while being attacked by an unseen Vietcong. Willard comes across one machine gun nest that fails to kill a pestering Vietcong, leading them to call on one Roach, which leads to the appearance of Herb Rice's Roach. This is one of those performances, as brief as it is, that I have never forgotten despite its brevity. Technically speaking Roach just shows up shoots a grenade launcher to kill the soldier then disappears into the darkness, yet in that short span leaves an unforgettable impression. Rice's whole manner is so strange yet so perfect in the not quite human manner in which he seems almost above the idea of the warzone. It isn't quite stoic I would say, but there is something where he seems beyond the state of his existence where his intention is so clear so and precise. His mentioning that the soldier "is close" with this sort of primeval almost understanding of the battle that isn't of some soldier of any modern-day, but something twisted beyond that. The reason I had to write about this performance though is his final moment where Willard, who has repeatedly been asking this question to no avail, "do you know who's in charge here". Rice's delivery of "Yeah" is genius in its ambiguity yet also in the sheer conviction of it. Roach most certainly knows something and has achieved some higher disturbing plain of existence in this state. The yeah alluding to whatever you want, but wholly chilling as Rice makes it a statement of absolute certainty in Roach's mind yet would be the opposite of anyone determining what that is. 

The most substantial supporting cast in terms of screen time is the crew of the boat that Willard is using to reach Kurtz, this includes the very young Laurence Fishburne as Clean, Frederic Forrest delivering his other notable turn from 1979, after his more subdued work as a man in a very complicated relationship in The Rose, as Chef and Albert Hall as the very similarly named Chief. I did not mention Sam Bottoms as the surfer Lance who I think actually is the weak link of the cast as the whole, though not bad, however, he apparently was on drugs while filming which is befitting his drugged-out surfer, however, it isn't quite as pointed as say Dennis Hopper who also was extremely high, though maybe that just speaks to Hopper's talent. Anyway, each man offers a different kind of soldier, and are fascinating in realizing the different men as they are. Fishburne actually is almost a performance defined by a kind of id that is rather fascinating to behold. This as his youth is quite obvious however the energy that Fishburne runs around the boat is very particular and exudes a man who has no idea quite that he's even in a warzone. There's this sense of a young boy playing a war throughout his performance and his almost mischievous quality as he moves around the boat often pestering others while never quite seeming to understand the severity of his situation. Opposed to that is Albert Hall's chief who gives a performance that I think I appreciate a bit more with every subsequent viewing. He gives one of the most low-key performances in the film basically making Chief as much of a straight man as there can be in the film. His portrayal actually would be equal to really what one would expect is the John Wayne character in a war film, in that he's a man who is going to do his duty and try to stay as calm as he can be. Hall is terrific in finding the right sense of this sort of professionalism for the lack of a better word as the soldier that puts him in stark contrast to everyone else on his ship. This is especially when compared to Frederic Forrest, who though it might sound like a joke, is maybe the sanest man in the whole film and that is entirely the problem. Forrest finds this very specific and really brilliant basic tone in his performance. This being actually quite the intense extreme that he presents Chef as basically a man who knows he is going insane and therefore is either falling into moments of that or is this attempt at some kind of Zen. The key here in Forrest's performance though is that Chef doesn't ever achieve that instead there is so much bottled-uped intensity in Forrest's eyes that you see someone almost always ready to explode. 

In the earliest scenes of the boat, we get some great small moments from each of the actors with Fishburne dancing around as though Clean hasn't a care in the world. Forrest has a great comic moment when questioning why some soldiers sit on their helmets and his pitch-perfect humorous mimic of the technique. Again though even while funny Forrest is great in portraying the sense in his eyes as he laughs about it, thinks about it, and then technically like the sanest man decides to use his helmet to guard his testicles as the soldiers had suggested. Hall is great in his subtle work that always supports Chief trying to maintain order best he can, with his delivery always supporting the idea of trying to keep things together. I love the bit of underlying suspicion he presents when asking Willard questions about the mission as though Chief is trying to sense if Willard is going to potentially kill his men or not, men that Hall always quietly alludes to the very genuine care he does have for his men despite the situations he technically follows putting them into. There is nothing blithe in Hall's performance, particularly compared to some other authority figures in the film, he seems to actually have a reasonable degree of concern in his duty. Back to Forrest who I think has little gems throughout the film in realizing the tightly wound man who is just right to burst. Everything about his physical presence is built within Forrest's performance from the way his posture is almost in a slight fetal position at times to just his often clenched teeth. Again though that is of this man holding onto sanity that often pops off. The first full instance we see of this is when he and Willard take a brief expedition into the jungle where they encounter a tiger and Forrest's full-bodied freakout of Chef's, as he says to never leave the boat, is a masterful portrayal of complete hysteria and this natural movement from the tightly wound to the full explosion of mania. Now going back to the Chef as the sanest man in the film, which my prior description would contradict. Forrest emphasizes throughout his performance a man who knows he's in a war zone, in mortal dangers at all times, he understands it so well, that he's properly tightly wound if not made wholly insane by that sane understanding of his situation. 

The highlight scene for the boat crew is when they all come across a boat of locals that Chief wants to check for weapons, despite Willard's protests. Hall again is great by really playing the discontent with Willard in just a glance and moment, and this sense of a man being fed up with the danger of the orders as well as the seeming shirking of his duties. Chief ordering the inspection with the manner of the proper ship Captain, trying to maintain a routine, even if he's in a place and world where routine is madness. Fishburne portrays Mr. Clean as basically a boy with a raygun as he's aiming it at the civilians, meanwhile, Chef has the thankless duty of searching the boat. Forrest again is great in portraying the hesitating awkwardness as he rather haphazardly searches. Forrest just exuding such anxiety in every moment as Chef clearly wants to be anywhere but there, checking every search point in a rushed chaotic hurry trying just to get it over with. When one of the people makes a sudden move Clean literally jumps the gun leading to a massacre of all the people right next to Chef. Fishburne portrayed in Clean still just rush of adrenaline with little meaning in the deaths, Chief frustrated but holding it together to try to lead still, meanwhile again as in many ways the sanest man, Forrest is amazing in portraying the quick mental breakdown. His delivery of every random yell that goes from extreme empathy to extreme callousness creates the sense of a man's mind breaking in two trying to create a sense of the horror he just saw. Forrest completely being so powerful in showing the man just cracking in two at the moment while just barely holding it together. He grants it a mania in his eyes, but carefully it is always with this particular sense of extreme sadness and disbelief at what he's seeing. Now in short order, Clean himself is killed, and it needs to be noted the important reactions of both Chief and Chef. Both Hall and Forrest show that the men are genuinely heartbroken at the death, and show that as much as one man is barely holding onto his sanity and the other is so controlled that it seems insane, they did deeply care for their shipmate. Sadly this is followed even sooner by Chief's death via spear which is an outstanding bit of acting from Hall. This first his kind of ironic bemusement at the act, as he kind of laughs at the joke being played on him by the universe, while also wholly conveying the sudden pain and surprise of it. Followed right by finally seeing all the hate he had for Willard realized in his eyes as he tries to kill Willard in his literal final breath. It is a great moment, particularly because we see the truth of Chief that he was holding together all along that without the pretense of duty he had plenty of festering humanity. Speaking of festering humanity, Forrest's final major scene with Willard, where both discuss how to handle the Kurtz situation, is great acting from Forrest again. This is Forrest conducts just the right sense of focus with confusion, conviction with exasperation, and madness with sanity. His delivery of Chef's strange articulation of the darkness of the place, as a place he'd rather die in than stay any longer, should make no sense, and it doesn't per se, but it does in Forrest's pitch-perfect articulation of it. It all makes sense in Chef's rattled mind, a rattled mind that Forrest made so powerfully tangible. Although none of these performances typically get the press with this film, it shows the greatness of the film with just how much vibrancy and depth they bring nonetheless. Although in some cases small parts, yet substantial in crafting the tapestry of this masterpiece. 

(Spradlin, Rice & Fishburne)

(Forrest and Hall)