Alternate Best Supporting Actor 1981: Dennis Hopper in Out of the Blue

Dennis Hopper did not receive an Oscar nomination for portraying Don Barnes in Out of the Blue.

Out of the Blue is a brutal but effective film about a teenager Cebe (Linda Manz) attempting to exist within a wretched home life. 

Dennis Hopper acts and directs for the third time, and from what I've seen the most impressive work in terms of the latter skill. Hopper though plays an important role as Cebe's father Don who opens the film in a most curious and shocking way. As we witness the daughter and father riding together in his truck and Hopper brings this generous almost goofy energy to the dad being playful with his daughter before driving headfirst into a school bus filled with children, while he had been drinking of course. We don't meet him again until a little while into the film as Cebe and her mother visit him in jail. Hopper has a way of playing pathetic characters, as it seems like he can somehow cut right to it. In the scene, though he seemingly cuts towards something a little better it would seem as seeing his wife and daughter. There is a sense of palatable sadness in Don as he tries to speak to his daughters warmly. Hopper is great in the way his delivery trembles so much as he's speaking, attempting to talk to his family. Hopper is excellent in showing the man barely able to control his emotions as he actively falls apart in front of them. Hopper is great in this scene as he sets the audience up for a fall in a way, as he suggests a deeply flawed man however one who does care for his family regardless of the rather horrible crime that he committed. 

As the film goes on it is the unraveling of this life and the mysteries revealed of this state of Cebe in this world, a world that she always seems trying to escape in some way whether that is in music or putting herself in potentially dangerous situations. Hopper's performance then itself is an unraveling of sorts as Don gets out of prison. Hopper's first scene isn't all that alarming as he shows the man enjoying his freedom, greeting all those around, except Hopper's work is just almost a little too comfortable as the drinking killer, even if accidental, now drinks again without hesitation. This is broken when one of the fathers of the children Don murdered, Hopper is very specific in the act as he doesn't portray any overwhelming guilt in Don. Rather Hopper delivers his act of self-deprecation in front of the man isn't repentance it is basically this callous attempt to avoid the idea and not accept any real guilt. Hopper doesn't show a good man feeling at this moment, he portrays a man who almost treats the man as an inconvenience, there is some emotion but it is all frustration for himself rather than genuine feelings towards the man who he very much wronged. But we still have the central relationship with Cebe's right? Well, that is where one would be very wrong. 

Of course, Hopper presents seemingly the loving father with just how warm he is with Manz in every regard, he embraces her almost a as constant, and always seems truly an affectionate man, though one again casually drinking as he's driving once again. What is impressive is Hopper's complete natural segue in his behavior becoming this anger at his cheating wife with just this ease of his performance that makes it a simple part of his natural state. Hopper in the successive scenes makes an interesting choice where he basically presents this progressive drunkenness of Don that goes hand and hand with the descent of his behavior. Hopper shows greater anger, more of a slurred speech, and just a state of a certain despondency. Hopper almost portrays the drunken state as the man returning to this as his natural state, where we get to a most disturbing sequence. Hopper's sloppy drunk is terrifying as he so effortlessly shows the man going from just random drunk talk to suggesting the rape of his daughter. This informs the entirety of his performance though where it becomes clear that Don has been sexually abusive to his daughter the whole time. Hopper makes this most disturbing revelation as he has been in fact revealing the whole time by the closeness of the moments with Manz along with the blithe disregard for any kind of sense of decency at any time. Hopper makes this most unnerving because he shows this isn't some master plan from the character, no cloak and dagger, rather it is just part of his grotesque state of man, who isn't immediately alarming yet reveals himself to be the lowest of the low basically enabled by his drunkenness and self-loathing, yet never really guilt. Hopper creates Don as a man who exists in a simple state of almost detached horribleness, connected just enough to commit his crimes yet largely disconnected to the point of barely even recognizing them as crimes. It's a chilling portrait because while you don't see the revelation coming, when it happens Hopper has made it all make sense.  

Alternate Best Supporting Actor 1981: James Woods in Eyewitness

James Woods did not receive an Oscar nomination for portraying Alan “Aldo” Mercer in Eyewitness. 

Eyewitness is overall a middling thriller about an apartment janitor Daryll (William Hurt) getting caught up in a murder investigator with a more glamorous tv reporter Antonia (Sigourney Weaver)

What Eyewitness does offer is quite the cast including pairing of two actors who had very similar trajectories in their careers, both where they broke out into leading status in the 80's. Woods plays Hurt's fellow janitor, Aldo a man we come across who is both playful to his coworker as he sneaks up on him and rather acerbic towards the people in their building, with a strong racist tinge towards his feelings towards a complaining Vietnamese tenet. 80's Woods is a magnetic performer and instantly makes an impression with Aldo just by the sheer intensity of his presence which wields well here because he kind of darts around with his impression. He's got some comedic accentuations, but there is also real hate in his disregard for the tenet. Woods realizes a state of innate frustration of the man as the janitor who is stuck in his job and dealing with his struggle with life after an apparent time in Vietnam. Woods's performance is in stark contrast to his next scene where he's brought in for questioning around the death of that very tenet. Woods effectively changes to a meeker style as the man seemingly avoids any accusation of guilt, though with little fundamental skips of this state as we see that energy just a bit in moments of hectoring the police still, only slightly, which Woods portrays as almost the guy can't quite help it.

 Naturally, Aldo becomes a suspect in the murder although the film purposefully keeps a certain distance from the character, even as he is a friend of Daryll's. So really anything that comes from the character is really Woods's eccentricities as a performer that do give the character of Aldo some life. Take a scene of the character just moving a tv from a distance, Woods gives it just some life just through the oddball physical manner he brings to it, he gives Aldo some character even when the scene doesn't give him all that much to do. Although it speaks somewhat to the weaknesses of the film as we develop a conflict between Aldo, Daryll and the fact that Daryll was Aldo's sister's boyfriend, however he's shifted his eye to the tv reporter, also looking at the murder, Antonia. Although this relationship is barely setup, we get the conclusion of it as Aldo is trying to get Daryll in on a scheme while also basically asserting that he's going to marry his sister soon. The build up isn't there, but Woods still does sell it with sudden nearly erratic shift from a near brotherly affection to the violent rage of betrayal. Woods sells the moment, even though the script doesn't. When spoilers, we get his confession that isn't about killing the man, but rather just a revelation of his insecurities, it again isn't a moment that is naturally realized in the script. Woods though is very good in the scene in showing there is no pretense here with his very subdued delivery that reveals the sad state of the man, and is moving in the little hints of an attempted joy he expresses as he tries to explain his plan. Woods's character really just is a red herring, rushed to the point that it is hard to convince yourself that he isn't just a red herring. Any impact of the character is created just by Woods's atypical onscreen energy that delivers life into this role, that overall is an afterthought. 

Alternate Best Supporting Actor 1981

And the Nominees Were Not:

Griffin Dunne in An American Werewolf in London

David Warner in Time Bandits

Nicol Williamson in Excalibur

James Woods in Eyewitness

Dennis Hopper in Out of the Blue

Alternate Best Actor 1981: Results

5. Sam Neill in Possession - Neill gives a scattershot yet potent performance that matches his insane film, though he is overshadowed by his co-star.

Best Scene: Rocking Chair

4. Jeremy Irons in The French-Lieutenant's Woman - Irons is able to deliver honest and power to both forbidden romances of very different ilks.

Best Scene: A late visit. 

3. Keith Carradine in Southern Comfort - Carradine gives a striking performance through his calm yet incisive demeanor. 

Best Scene: Making decisions. 

2. Michel Serrault in Garde à Vue - Serrault effectively delivers a tricky performance that is convincing in creating the sense of a man in an emotionally heightened state. 

Best Scene: Seeing something horrible.

1. John Heard in Cutter's Way - Good predictions Robert, Ytrewq & Calvin. Heard proves he was perhaps a largely untapped talent with this powerfully intense portrait of a wounded war vet attempting a strange sort of revenge. 

Best Scene: Cutter's reasoning for his plan.

Updated Overall

Next: 81 Supporting

Alternate Best Actor 1981: Michel Serrault & Lino Ventura in Garde à Vue

Michel Serrault nor did Lino Ventura receive an Oscar nominations for portraying Jérôme Martinaud and Inspector Antoine Gallien respectively in Garde à Vue.

Garde à Vue is an effective psychological thriller about one night of interrogating the prime suspect in a child murderer investigation. 

Michel Serrault plays the suspect and Lino Ventura plays the investigator in this game of cat and mouse, although part of the mystery you might say is what type of film this actually is and the development of it. Is it a character study of this kind of man and just trying to achieve the confession, or is this a genuine attempt to discover the truth of the matter? Each performer crafts a possible narrative through their performances and much of the compelling drama is through their interactions with one another. Ventura is obviously the more straightforward performance as the investigator who takes in this wealthy attorney on New Year's to ask him a few questions after the man had discovered one of the victims. Serrault on the other hand must be the enigma as the possible suspect, and the question isn't just whether or not he's guilty, but also if the film is about him confessing or about him being guilty or not. The game then is afoot for both actors to ply their trade with engaging conversation as the investigator goes through his evidence and leaves Serrault to attempt to tell his story. 

Ventura and Serrault are an effective duo in this game by projecting very different manners of the person. The old pro Ventura presents a man of convictions with his slightly haggard but penetrating stare. Ventura suggests a man who has been through similar matters before, and while it is another day in his life, it is the day in the life of a true professional. Conversely, Serrault is anything but at ease. There is such a prominent tension in his physicality in the role, as a man who is clearly filled with some kind of anxiety, although the exact anxiety is the key. When Ventura as the inspector asks his first questions in a calm yet assertive manner, the suspect initially disparages the inspector back by questioning his virtues as an inspector. Serrault's delivery contrasts strongly with sharp intensity. Serrault makes the words filled with a fit of almost unspecific anger, he is angry at the questions but it goes beyond that in the sense of frustration in him. Serrault's whole face is filled with a whole lot as he stares at the cop, and while this doesn't necessarily immediately denote guilt, it does suggest a man who is hiding something. 

The first obstacle in the attorney's story is the whereabouts of a dog he claimed to be walking and his whereabouts during the time the children went missing. Ventura prodding through this rather strict and cold efficiency in his words. Ventura plays the detective well by showing a man who knows the evidence, even if circumstantial, is more than enough to stumble the man he is interrogating. He doesn't accentuate the idea he just supports it. Serrault though is quite effectively frustrating as the man in that you can fully get the read on his frustrations fully other than he has them. Serrault is properly obtuse though as he speaks with such bile in stating his position in the community as seen as someone who must be taken down or lashes out at the detectives who will not accept any of his claims as the truth. Ventura and Serrault work well together by really just playing the two sides of the musical piece with Ventura being the steady bass against Serrault's far more manic tenor. In each duet, though you see some bits of sanity seemingly stripping from Serrault's performance as he reveals a man who is seemingly more and less than he is claiming he is. 

Serrault's work is purposefully unlikable I'd say right down to his typical grimace and perhaps most obvious when one of the other cops presses him about the crime. The reaction of the man though is not one of ardent denial but rather this bitter insistence on correctly describing the order of the crime which Serrault plays as this fixation of a pedantic nature. Serrault plays it well by being horrible, however horrible in a somewhat ambiguous way. Serrault makes it clear that the man's mind is probably not fixated correctly however he suggests potentially the man is stuck within his frustrations of the false accusations or the possibility of being caught. It doesn't help that the deeper we dive the more vicious the man is. Serrault though is key in that when the man seems to try to come up with an excuse, for example by noting his wife's sexual refusals of him and his visiting of a whore, he shows some very deep seeded anguish in the man. Anguish perhaps as a man trying to avoid his punishment, or a man just living a very difficult emotionally fraught life. Again this is particularly effective against Ventura's calmly penetrating stare as he pesters the man, before going to his wife (Romy Schneider) for more information on the man. 

Where we, spoilers, get to seemingly the truth as the wife implicates the husband leaving the inspector to introduce this to the man. Serrault is excellent in the scene in just expressing such a quiet state of defeat as he admits to all the crimes with this sort of passive indifference of a man who sees that he is seemingly meaningless to his wife. Although the scene is excellent because it actually makes one immediately suspect for the first time that the attorney isn't guilty because his admittance is without that anger or bitterness, it is just sadness for life itself. This is quickly discovered to be the truth as by chance the real killer is discovered instead. This reworks the thoughts behind Serrault's performance throughout, which reveals that his anger was just like a man in an unhappy life, with the secrets of that unhappy life being pulled out in an unpleasant way. Serrault's work naturally reveals itself as working both as the possible killer and also just an innocent man going through hell. With he and Ventura just doing striking work in articulate this unique dance that does get to the truth of the man, but just not the truth that was expected. The very final moment then is exceptional work by both actors as you could say it is the most real moment, as neither man is playing a game, that is the now are just human. The moment is after the death of the attorney's wife, where Serrault is heartbreaking by the man's emotion being wholly uncompromised in just his disbelieving yells of heartbreak, and Ventura is also quite moving by showing now his reaction to no longer being the calculating detective, instead being just the empathetic human feeling for the man wronged by circumstance. 

Alternate Best Actor 1981: James Caan in Thief

James Caan did not receive an Oscar nomination for portraying Frank in Thief. 

James Caan plays the role that you see ready to be the ultimate badass. He's the individualistic titular thief who we see running scores from the opening of the film. Caan is of course an actor who has man's man energy overflowing out of every one of his pours. He has that innate presence that is just powerful in itself, and in turn that is a great shorthand for the role. Caan though plays into it further by presenting this strict precision in his manner through the opening heist scene, he's a true professional who goes straight for it and takes care of business. When we see him meet with his fence, there's no ego about it, just straightforward talk of the man making the deal, making his money, and being on his way. When his payment gets basically ripped off by a few other crooks Frank has to take care of more than business. Caan, for the lack of a better word, is cool, as he changes gears with such ease as he delivers his lines with a calm persuasion before he has to show his gun and release enough intensity to get some results. Caan is specific in his intensity, we see how he puts it on directly and with purpose as he pushes the men into doing exactly what he wants for him to get exactly what is his. Again Caan shows Frank means business, but very specifically as a man taking care of business. This even when threatening gun violence he does with his specific purpose and Caan shows it to be the most direct of his exact manner.

 

Caan is a captivating figure here, but why I'm reviewing this performance is because he really goes further than just being the tough badass here, something Caan's done before, but here he's going an extra distance with his performance. Caan's work delivers a very specific method I think in creating a sense of the man living this life. There's not really the expected obvious blitheness about it that I think is what is notable here, and makes his work distinct within the genre. Now part of this is Caan very much plays the sense of the meat and potatoes aspect of the thief. Caan delivers this specific sort of blunt and interesting truth about it. Whether we see him running his car dealership or negotiating with a gangster Leo (Robert Prosky), for steadier work, Caan does some brilliant work just really in the subtle intelligence he really brings to Frank. In his eyes, he shows a man negotiating different ideas, truly thinking about each element. Caan doesn't portray a man who already knows everything, rather he shows someone who takes his time to consider his options. Caan is captivating in creating the right sense of the man being the professional, also by very much dealing with it as a professional as in a job. I love the way Caan handles the moments of the prep because he doesn't romanticize them, rather he shows Frank just considering the steps and then making his choices. Caan's portrayal manages to be both the expectation of the slick thief, in a way kind of the subversion as we see the workaday aspects of being a successful thief.

Although this would be a very good performance by Caan if he was purely the badass protagonist thief, which he certainly is, again I would not be reviewing this performance if that was the only case. What makes this a truly special performance by Caan is that it honestly is one of his most vulnerable performances. We see that in the scene where he visits his old mentor Okla (Willie Nelson, who is actually pretty heartbreaking in his short bit). Caan is great in the scene though, just from the way he looks at Okla you can get the sense of admiration for the man and warmth in their relationship. His slightly hurried delivery is filled with quiet excitement as he goes to Okla with the new romantic possibility in his life. When Okla reveals he's in the process of dying, Caan is so great in the way he just shows the real subdued, yet very potent, devastation in Frank as he hears about his friend. Caan shows the man with the tough exterior so potently that there is so much emotion that is just lying beneath the surface. His revelation of that at this moment is so very powerful as he shows that Frank has so much heart in him despite being in what is expected to be a heartless profession. This aspect though is a dominating feature of Caan's performance that creates a rather fascinating exploration of the thief that is surprisingly human. 

We see more of this when meets a waitress Jessie (Tuesday Weld) who flirts with him initially, but is angry with him when he arrives late for their date. Frank follows this with this kind of strange tirade about basically getting past any potential drama and just getting on with their romance. What makes this strange declaration work is Caan's performance of it. Caan manages to be both upfront but also has this desperation of it. Caan's portrayal of it though has this certain emotional intensity that suggests a man who wants to waste no time, but not as some quick way to get the woman, but rather as a man who had so much time wasted and doesn't want to waste anymore. Caan manages to show even in frustration this genuine pledge of affection that is just brilliantly performed by him. Caan earns especially by the way he then segues towards opening up himself to her, and Caan delivers such honest intimacy in this scene it is rather incredible. First in the character talking about his traumatic experience in prison where Caan speaks the words on the most immediate surface as the tough guy prison story, yet his brief moments of hesitation and his eyes show the real difficulty Frank had in that life. When he then goes to show Jessie his dreams, that he literally visualized, there is this really I'd say sweet simplicity in Caan's performance that shows just the sincere dream of the man to raise a family.

It is an intriguing performance in a way because as much as it is a purity of Caan's expected form it also is a striking subversion of it. Take the scene where he and Jessie go to attempt to adopt a child. Caan starts off very much in the fully Sonny Jerkoff hot head mode as he derides the adoption agent who clearly is going to give either of them a chance. Caan certainly delivers on that rage and bites into the scene, making the scene as you'd expect from Caan. Caan though goes further here as his frustrations reveal the honest emotion in Frank that propel the anger. When Frank begins questioning why he can't take a kid since no one wants him, his frustration is filled with so much genuine anguish in the anger of a man speaking the real truth to himself. When he speaks of his own past in the state system Caan even in anger shows so much vulnerability in Frank. Caan beautifully measures the moment by fully delivering on that intensity but bringing in such potent heart wrenching pain in the man at the same time. Caan at the moment reveals really the poor child who wants to do right by another poor child more than anything. I love the ease Caan is able to really bring so much sensitivity in the man, even as a man who has to be "tough" for the lack of a better word. Caan finds the right short hand, and a sort of penetrating emotion in the man, like when Okla dies, Caan shows the effort in Frank to just barely hold it together as he is going through emotional hell. Caan succeeds here in building a real humanity within a role that could've been straight badass potentially. Caan mines every deeper aspect of the role though to bring a greater depth and power to the work. When Frank does take on the role of the badass, there is a real investment in his survival and the personal threat against him, because we know where he is sincerely coming from. It is also earned though because Caan does become the straight badass in every way as Frank goes about dealing with Leo's treachery and taking down his whole operation. Caan finds the catharsis of these scenes, and achieves a real sense of cool to put it simply. A truly remarkable performance from Caan because he is everything you'd want him to be in this role, but also so much you wouldn't have expected him to be either, in the very best of ways. 

Alternate Best Actor 1981: John Heard in Cutter's Way

John Heard did not receive an Oscar nomination for portraying Alex Cutter in Cutter's Way. 

Cutter's Way is a bit of a hidden gem that follows two friends Bone (Jeff Bridges) and the titular Cutter as they conduct their own murder investigation, after Bone becomes a suspect. Although don't be fooled into thinking this is your typical murder mystery. 

There are certain performances that one discovers are just fascinating piece of "might've been" or "could've been", however that might not be the right term as oftentimes it simply "was". Take the case of John Heard in this film, an actor unquestionably best known today for his role as the straitlaced dad from Home Alone. Any such notions of that performance are instantly forgotten the moment we see Heard in the film, not just because he's playing a war vet, missing both an eye and an arm, is bearded and speaks with a grizzled cigarette-stained voice, but just the very being is of another type of actor entirely. Heard is instantly fascinating in the natural bravado he delivers as we first meet him as Cutter is "holding court" aka drinking in a bar with an audience. Heard plays the part almost like a smiling wound in this scene as everything about his person is broken it seems in his bent posture, and his sloppy delivery, yet there is such a zest in that smile of his as he names the members of his court, before of course ending his rounds with a racial epithet with the intention seemingly to start a fight. Heard's performance festers with such brilliance as in the scene Heard brings this combination of a man seeking such joy, yet seemingly doing so in a way that is dancing around obvious pain and seemingly attempting to inflict additional. Heard instantly leaves an impression upon the film, that while he doesn't immediately make you like Cutter, he certainly makes you immediately intrigued by whatever exactly he is.  

Although an early 80's film, the vibe feels very much right within the 70s particularly in its leading characters who are not your typical leads, not even leads in a murder mystery. In that '70s vein, Cutter has to be said to be captivating even with his many many flaws and Heard absolutely owns this challenge with his performance that is as daring as the character. Heard, as despicable as Cutter often is, is truly charismatic in the way he wholly performs directly into the man's specific nature. Heard is in this amazing kind of flow state in depicting Cutter who always seems at least slightly deranged and at least slight, if not, very drunk. Heard through performs it as such in showing the way Cutter kind of wields this state to control his surroundings in this strange way. Heard is entertaining, if in a very dark way, in showing the man's lack of hesitation in any word he speaks. He states every line, including having some strange threesome with his wife and friend, or some offensive term, with brashness and real confidence of a man with nothing to lose, which Cutter in many ways is. There is nothing simplistic in this dialogue though in a way though as Heard's energy is such that he is ferocious while strangely casual in demeanor. Heard as broken as he is as Cutter physically has this strange power he exudes through that lack of concern that Heard brandishes in every curse word or really just cursed behavior.

Heard's performance offers a painful window into this man's state of mind, even as he depicts someone who seems to be constantly deflecting things. The state of mind though alludes to this most intense disillusionment with the state of his reality and the state of his world. An absolutely stunning scene for Heard is as Cutter is drunk driving, wrecking his neighbors lawn, while also doing so with an expired license. Again as Cutter is doing it, Heard is amazing in being completely grotesque while also completely convincing. He depicts a man who is seemingly seeking this joy in life even forcing it out of himself, and without a care, yet also still with this internalized weight. We get this, even more, when the cops show up and Cutter is able to talk his way out of it, which is another terrific moment for Heard. Heard shows Cutter as he purposefully plays the vet card as he calmly explains what happened with the "utmost sincerity" that would be convincing to a half-caring cop. Although that alone would be impressive what is more impressive is when Cutter speaks of his knowledge of duty in his explanation. Although Heard you can see emphasizing it on the surface per sympathy there is also this subtle real pain that flashes against his face, showing a sense of the terrible pain that is within the man, the pain that most of his behavior seems to be covering up with all that he does. 

Speaking of covering it up, the mystery in a way seems to be a method to do this as Cutter seems to insert himself into Bone's problems, and takes over the "investigation". Cutter makes for a most unlikely detective, but that is where the success of the film lies. The investigation is something else when you have Cutter at the helm and Heard leading us through. Heard speaks a bit differently in these moments, with really a cool cutting of this most assured detective, which Cutter has invented himself for this very purpose. Heard through is so striking in this performance, so unorthodox for such a role, and that is what makes him so compelling in the depiction. For Cutter doesn't show this normal justice seeking rather this is some kind of fantasy seeking in the ease with which he broaches every word of his insight. Cutter absolutely seems to know what he is talking about in Heard's performance, as Heard shows us a man who has convinced himself that is the case. Again though Cutter playing with the truth and the delusion is what makes Cutter so fascinating. This is as the two men seem to find their suspect, a rich man, and Cutter wants to blackmail him rather than turn him in. Cutter's speech is really just an excuse to get Bone in on the blackmail as he speaks about the war and the exploiters. Again though Heard portrays truth doing dishonest work, as much as he delivers the speech as a speech, there is real power in it as the façade but more so in his eyes, there is genuine belief in it all even as Cutter's idea is hardly the pure act of revenge he's claiming it to be. Heard shows cutter to be lying, but the lie isn't all there is to it. 

In Cutter's relationship with his wife Mo (Lisa Eichhorn), we see perhaps Cutter at both his most dishonest and honest. As his wife doesn't buy any claims by him, in turn, Heard presents the most direct frustrations of the man, the man's sense of self-loathing in the man that bubbles to the surface. Heard naturally shows the anxiety of her words cutting through his particular demeanor which typically seems to hide his pain through his false joy. Heard bluntly shows the man's hatred as the man lashes out against the woman he probably feels most deeply for him, basically for telling the truth of his delusions. That is in contrast to the man living his false fantasy in his blackmail. Heard is exceptional in being despicable in the man as he tries to seduce their co-conspirator, the murder victim's sister, with a vulgar, playact that Heard shows as a revolting delusion. When it seems like Bone will go with his blackmail though we see what the fantasy gets him in his moment of jubilation which Heard conveys with such direct jubilation. The jubilation of a man convincing himself of a purpose in his life. Striking then is seeing this shatter when Bone reveals that he wouldn't go through with their scheme after all. Heard's incredible in the intensity he brings as he attacks Bones's lack of "resolve". Heard makes the intensity there more fundamental than simple anger, it is hatred of a man lashing out at something breaking his delusional dream. 

This is extraordinary work because there is so much that shouldn't work because Cutter is despicable, yet so effortlessly dynamic. Heard cultivates a true complexity in the role, and in that earns a strange sympathy as much as it is probably against your best judgment. Take a late scene when there is a terrible loss for Cutter, and Heard is indeed heartbreaking in Cutter's reaction that is a man who can hide his emotion at the moment. The resignation but also deep seeded sadness shows a man who has somehow lost so much, has lost even more. Heard is so dynamic somehow after this point showing the man on the deep end going further off it. Heard becoming more intense in his hatred. Heard is so powerful in delivering the bile from the man, because as hateful as it is there is such gripping pathos within the man's hate that extends seemingly to the person he believes is responsible for his loss, for a betrayal by Bone, but also himself. Heard's outstanding in his moment of the man finally writhing in all his pain, and it is terrible to watch, however, also you can't help but watch. Heard reveals all that hurt the man has been trying to assuage, and it is tremendous. When Cutter decides to seek his "revenge", albeit likely misguided, Heard's performance carries this eerie conviction where his depressed state is now fixated on this revenge as essentially his last desperate anchor to anything at all in terms of holding himself together. Heard delivers a tragic, complex and uncompromising portrayal of this broken man. There is never an "easy" choice with the performance or character, yet in every one of these choices there is such a dynamic exploration of such a difficult figure that is Alex Cutter. To return to my opening of this review, this performance makes me wonder what simply "was" here not what could've been when it comes to John Heard. If you watched this work in microcosm you'd imagine this was the early work of an actor who became one of the premiere performers of tortured souls, not the man who became known for making a slightly confused face while saying "Kevin". Such is the strange fate of some in film. Nonetheless, even with the somewhat baffling development of Heard's career, this stands as a stellar performance that dominates this film in a way few performances dominate films, worthy of any great actor. The question then remains, what did that make John Heard then? Well, a great actor. 

Alternate Best Actor 1981: Sam Neill in Possession

Sam Neill did not receive an Oscar nomination for portraying Mark in Possession.

Possession is supposedly about the fallout after a woman Anna (Isabella Adjani) asks her husband for a divorce...but that hardly gives you a sense of things now does it. 

Sam Neill plays the man, Mark who we see in his professional shady world briefly, before just as briefly having a harsh conversation with his wife who wants to leave him, he then seems completely gone over the hill in drink, then he is a loving father disturbed his son seemingly being mistreated by his wife then he confronts her however while doing so is sinisterly and intensely going back and forth in a rocking chair that is far too swift and dangerous than the recommended rocking chair use. Now the purpose of that rambling description is to give you at least a minor understanding of the experience of watching the film and the introduction of the character of Mark. I suppose though one must in turn ask about Neill's performance which defies traditional logic in many ways. As the extremes here are also represented in Neill's performance without traditional pacing involved. Neill though is convincing as the man is just a bit taken aback by his wife's seemingly sudden request and the proper cold professional disposition when we see him discussing his enigmatic work. As sudden, as it is Neill certainly shows the extreme gaunt expressions of a man over the bend as he falls into despair. He brings warmth suddenly when trying to see what is going on with his son and projects a realistic concern. Then immediately has full-on brutal intensity as he confronts Anna. Of course, though this is without that connective tissue you'd expect in performance. The rub, as is a term often used, is obviously in the disconcerting design of the film, so judgment becomes a bit trickier as the work defies convention. 

All performances though are contextual in some sense and therefore what the context here becomes is essential in looking at Neill's work. The real question becomes then is Neill compelling or successful in depicting this unusual extreme? Well largely so I would say, and the film does begin to calm down...a bit when it comes to Mark's emotional state. Although the strangeness hardly goes away as we see Mark perhaps trying to figure out the situation that only becomes stranger. This includes Mark confronting Anna's supposed lover who himself seems more interested in Mark than Anna in these confrontations even if in a sadistic sort of way. Neill's performance though manages to realize something within them in the confusion and frustrations as the man presents far more riddles than solutions. Confusing things further is Mark finding that his son's teacher Helen looks just like Anna, more or less. There as he tries to raise his son alone and interacts with her again you suddenly get a kind of reality from Neill. Just a kind of thought as there is fully a man who seems to be dealing with the truth of it, as he might be too accepting of it all, although there is something compelling in Neill's quietly emotional moments in crafting a man seemingly accepting this sudden bent reality with this new woman who looks almost like his wife. At the same time though Neill still makes Mark occasionally equally bent in some of his reactions towards others, such as an overly loving delivery to the man reporting more disturbing news about Anna. 

Neill is effective as he is in his own blend of insanity, but I'll admit it really is but a warm up act for when the film shifts focus closer on Anna/Adjani. Adjani's performance is completely insane yet utterly transfixing to the point all other elements of the film are overshadowed in comparison. In one easy comparison, there is a moment of a freak-out by Adjani at a certain point that is absolutely unforgettable. Neill also gets such a scene, though while it isn't forgettable, it doesn't quite leave as strong of a mark, probably the best moment of it is Neill's blissful grin after it is over. Where the film goes at a certain point isn't about logic it is about insanity and a whole insane notion. There are tangibles kind of, but to say anything makes sense in an obvious way would be quite wrong. Neill's performance, as was in the earliest scenes, is basically a vortex of emotional and physical extremes. One moment he's full ferocity of violence to the next he's a man whimpering as crawling in agonizing pain. Every switch as such is as extreme as the extremes themselves. What Neill's performance though does do is actualize them to some extent in that at the very least it is captivating to see him perform the insanity of these moments, even if it is a bit of "take what you will from them" at a certain point. One does ponder what if Mark had been portrayed wholly straight as a complete foil to what Adjani is doing, however that isn't what we get here. We get a performance more befitting the overall madness of the film by being completely mad itself. This including Neill's work at the end of the film as Mark's seeming clone where he is truly creepy in the completely joyful smile that is twisted in the "perfection" of his state. This is a performance that is all over the place and over the top, both matching the nature of the film's intention. Does it work, yes, in at least my reaction, although even then perhaps not to the degree of Adjani's work that truly embraces the madness in a way that somehow elevates psychotic ramblings to a kind of genius.