Alternate Best Actor 2016: Paul Dano & Daniel Radcliffe in Swiss Army Man

Paul Dano and Daniel Radcliffe did not receive Oscar nominations for portraying Hank and Manny respectively in Swiss Army Man.

Swiss Army Man is an unorthodox film following a lonely man who discovers an unlikely friend and savior in a corpse with strange powers.

This film is all about its strangeness to a degree, and I would say partly to the film's appeal but also partly to its detriment. What it has at its center are two performances that intend to deliver on the promise of the film regardless. The more straightforward performance is that of Paul Dano's lonely man Hank who we initially find as he is about to commit suicide on a deserted island. Dano often plays oddball characters however his performance here is intended to be a bit more direct. Dano's opening moment conveys this innate anxiety about the man, sadness, and depression. Although Dano's depiction of this almost is wavering in the sense there is no conviction within Hank even with the noose around his neck. His expressions are more of a man lost with his emotions just as he is lost in this world by being on this island. His suicide is prevented by the arrival of Radcliffe's Manny, who literally is just a dead corpse, where to Radcliffe's credit delivers a proper rigor mortis, in his strange expression of someone whose not sure what caused their death even. 

The main narrative becomes then this interaction as Hank discovers a strange new life by escaping the island after he finds Manny's farts provide ample energy to ride the corpse through the water. A moment of featuring this exhilaration in Dano as it seems like Hank has some kind of second wind, and Radcliffe, well Radcliffe still has that same strange dead look on his face. What the film develops into is discovery and self-discovery within the character of Hank. The discovery is where he finds the strange abilities that Manny has and slowly finds there may be more to Manny that a corpse. Dano's performance in a way is key in that he doesn't at all bring humor into the situation. He rather plays the part with an overarching quality of desperation as he interacts with Manny. Dano shows in his eyes a man who needs much from Manny, and even when he's trying to get something from him there is a palatable need that Manny needs to be more than a dead corpse. 

This relationship expands when Manny begins to talk and Radcliffe in turn is given a little more to act with, that being part of his face. Radcliff's work is fascinating in basically he only reanimates what is reanimated within Manny. Radcliffe's initially making simple noises deep within his throat as someone without control of much else than the vibration of their vocal cords. Leading Hank and Manny to sing the Jurassic Park theme together, Dano plays the moment with a mix of fascination, but also frustration as he looks as though checking to see if this is genuine or a miming act from Manny. Radcliffe on the other hand succeeds in making the strangeness tangible. Comical in his off-beat oddity but also convincing, at least as convincing as one can be as a living corpse. The two of them together create the right dynamic as Dano gives the sense of the strangeness of the situation but also with it the sense of curiosity, while Radcliffe provides the curiosity. 

Their relationship grows naturally when Manny begins to speak and Radcliffe's performance grows a bit more in terms of what he can use, however, his vocal delivery is basically behind teeth, with the voice of a man just barely able to move his mouth naturally. The relationship though is one built on the idea of relationships in general as Hank teaches Manny, mostly by Hank revealing all his personal loneliness and insecurities. Dano is terrific by being very honest, despite the situation, in realizing this specific tone in Hank's "teaching". Dano mixes passion with anxiety in every word as it is as much these confessions of his own failings as it is trying to connect with the corpse of Hank. Dano finds the complexity in this as Hank provides some sense of warmth with his words towards Manny, even while his expressions speak towards someone whose accents are that of a constant failure.  Radcliffe on the other hand is wonderfully straightforward, as a corpse, by portraying the wonderment in Manny as he takes in Hank's "wisdom. Radcliffe brings a certain childlike discovery as though he's learning what it means to live for the first time.

Dano and Radcliffe admirably carry the film together by making this dynamic work within the weird confines, but also with genuine emotion by making this connection between the two. The progression than being this odd friendship that does develop and there is something very endearing in this wholly one-of-a-kind bond that is crafted. Dano projects a seeming growing confidence in this but never does lose the desperation is quality always nagging upon him. Contrasting that is Radcliffe's performance which has some physical brilliance as the more Manny seems to come to life, Radcliffe brings more articulation in his voice and his physical manner if ever so slightly. He never stops being a corpse fully, but the slight movement towards being living is particularly well realized in Radcliffe's performance. Where this leads is sadly probably the least interesting part of the film, as Hank gets called upon his past creepiness and Manny seemingly is just a corpse. I don't find any of this terribly interesting, even performance wise where obviously Radcliffe isn't doing much and Dano is back to the beginning, although this is writing not acting. What I do like though is the final moment of both performances where Manny comes back to life, for a triumphant fart naturally, and Radcliffe and Dano's mutual joy at the moment is a memorable sendoff, even with a bit shaky path to that point. Both actors give strong performances though, with much conviction to the concept as a reality, something that I think was missing or played more overtly comically, I'm not sure the film would've worked in the slightest. 

Alternate Best Actor 2016: Jarkko Lahti in The Happiest Day In The Life Of Olli Mäki

Jarkko Lahti did not receive an Oscar nomination for portraying the titular character of The Happiest Day In The Life Of Olli Mäki. 

The Happiest Day In The Life Of Olli Mäki follows a true story of a Finnish boxer getting his shot at a championship belt against an American fighter. 

The film joins the long list of films following the most cinematic sport, the boxer. You have one man against one man, but really all these films tend to be one man against something else, The Happiest Day In The Life Of Olli Mäki being a film right within that thematic idea. The film this most closely resembles in fact is Rocky, not just because he's a boxer, but the whole experience is similar in we get this guy, who is a workaday boxer being thrust into what seems a chance of a lifetime. Similarly, Lahti's performance is similar to Sylvester Stallone, as this rather meek guy in what is a ferocious line of work. Lahti when he comes onto screen screams neither fighter or star even, yet neither is a criticism.  Lahti's performance rather exemplifies a man, being a man, as we follow him in his hometown attending a local celebration. We see Lahti's work, and in every question, he gets about his boxing, Lahti delivers the lines not quite with annoyance, but a kind near disinterest, as someone just responding to questions about his job, not necessarily where his true passions lie in a way, or perhaps this is just the way he goes about his passion. Where we see Olli more interested is in a local woman Raija (Oona Airola). 

The chemistry between Lahti and Ariola is key to the film, and the chemistry again I'd say is similar to the famous Rocky/Adrian dynamic, in creating just an earnest emotional romantic feeling that isn't about the big more lustful overtures, it is rather two people finding a pure and absolute comfort between the two of them. Lahti just shows the purity of the joy he shares in the moments between Olli and Raija. There is a sense of discovery in every conversation, a sense of warmth in every glance between them, and the nature of the love is just the truth between them. Lahti's performance brings the needed sincerity as he explains to his manager that he thinks he's in love. The explanation again isn't with this broad statement as though to convince himself, Lahti says it is just as fundamental as the sky is blue, it is just what it is. The earnestness of the relationship is that of just profound connection that doesn't need even grand statements behind it just two people loving each other. The two of them show this in every interaction with each other and they complete each other through a simple compliment. They are wonderful together and you are fully granted the sense where Olli's happiness lies with this relationship and far less so the upcoming boxing match.

The boxing match against the romance then becomes the central conflict as his manager pushes him away from Raija and tries to get him to stay fixated on the match as the most important thing in his life. Lahti shows that the nature of Olli is seeking happiness in the simple joys of life, not the grand stakes of becoming champ. At the press conference his delivery of potentially not winning the match is basically as "if it goes that way it goes", it isn't the end of the world to him either way. When Raija leaves due to being ignored by Olli and being moved around to focus on other things, that is where we see the greatest distress in Olli. Lahti's performance realizes this naturally just as the man is in a state of discomfort though not as great anguish, but the sense of the man being out of step. In every conversation there is a low-level sense of frustration, every act preparing for the fight there is an annoyance of the man not having what he really wants, which is being in the presence of Raija. That discomfort only leaves him when she returns, making it so he can face his opponent without that frustration. The showdown itself not being the focus like Rocky though, with Olli not seemingly needing to prove anything, instead losing rather quickly to his opponent. Lahti is great though in the scene after this as he recounts the fight. I think Lahti importantly shows that it isn't meaningless as he speaks with being a bit taken aback by just how good his opponent was, some sadness even as we see there was something to the fight, even if it was not the most important thing in the world for him. Of course, we see the latter idea come back as he reunites with Raija again, and there Olli is perfectly contented. We see the man being where he wants to be, with the woman he loves, and Olli is living his happiest life. Jarkko Lahti's performance isn't one about big moments, but realizing the small moments throughout. Every small moment delivering a sincere authenticity of a man finding joy not through the big fight, but rather the quiet romance. 

Alternate Best Actor 2016: Joe Seo in Spa Night

 Joe Seo did not receive an Oscar nomination for portraying David in Spa Night.

Spa Night depicts a young man in a conservative working-class Korean American family dealing with his sexuality while working at a spa. 

Joe Seo may be known by some as the least dynamic character in Cobra Kai, a character who began as a bully, stayed a bully and continues to be a bully. So it is interesting to see an actor in such a limited role getting to play the lead in a film about self-exploration. That journey though is one I think characterized more so by observation and reaction here than someone getting involved in a particular scenario. Much of the character of David's dialogue is perfunctory with more so the focus being on moments of key interactions and reactions. On the surface, Seo gives an entirely respectable performance. He's believable in the way we see him passively interact with his family, withdrawn more often than not as they take more of the action, even when it is dealing with David's future. Seo provides a convincing energy of a very young man who hasn't really matured to the point of personal action one way or another. Speaking of one way or another, we see the same idea within the character's exploration of his sexuality. It is an aspect that is shown in moments of behavior more than spoken thought. Whether this is him very much playing into a game of "gay chicken", taking nude photos of himself, or take more than a few glances at the nude bodies of many of his customers. 

Seo's work does effectively internalize the sense of the character going through a personal conflict of sorts that conveys someone who isn't exactly conflicted over his sexuality in terms of his own personal belief, but rather in terms of within his state of his family. Whenever he takes "action" Seo's performance presents as almost an instinctual reaction, where there isn't any hesitation whatsoever in the moment, and as the man wholly just believing that should what he should be doing in the moment. That is in stark contrast to the rest of his performance where Seo's performance is in this uneasy state of uncertainty. Seo's performance here I will say is limited within the overall approach of the film which leaves so much unsaid. And while I think a lot can be done in silence, I wouldn't quite say that Seo's work is on the level of a truly great performance of that ilk. It is a good performance though that does work in creating the sense of the character's journey even when that journey really is just all in his expressions and in his eyes. His face creates the sense of the man just containing it all within himself and moving along within his family's structure, never quite breaking it, though going with all his passions when it appears he is given the chance to. While I don't think this is a great performance, it is a good performance where he does find enough intimate emotions to convey the key elements of his character. At the very least it proves that Seo is probably capable of more than just the very generalized bully pompous swagger that defines his best-known role. 

Alternate Best Actor 2016

 And the Nominees Were Not:

Shahab Hosseini in The Salesman

Paul Dano in Swiss Army Man

Tadanobu Asano in Harmonium 

Joe Seo in Spa Night

Nawazuddin Siddiqui in Raman Raghav

Predict These Five, Those Five or Both:

Don Cheadle in Miles Ahead

Adrian Titieni in Graduation

Jean-Pierre Léaud in The Death of Louis XIV

Jarkko Lahti in The Happiest Day In The Life Of Olli Mäki

Hiroshi Abe in After the Storm

Alternate Best Supporting Actor 1981: Results

5. James Woods in Eyewitness - The most interesting part of his film as he manages to find some character in really what isn't much of a role. 

Best Scene: Confronting Daryll

4. David Warner in Time Bandits - Warner gives a wonderfully over the top turn that brings just the right heightened villainy to his film. 

Best Scene: "A Reasonable Man"

3. Dennis Hopper in Out of the Blue - Hopper gives a quietly disturbing turn where he slowly reveals the vile nature of his man. 

Best Scene: Deciding to rape his daughter.

2. Griffin Dunne in An American Werewolf in London - Dunne balances comedy and horror as his demonic messenger. 

Best Scene: Second visit.

1. Nicol Williamson in Excalibur - Good predictions Luke, 8000's, Tahmeed, Ytrewq and Mitchell. Williamson delivers a downright brilliant turn that both gives the material the absolute gravitas it needs, while also constantly subverting it with his wily turn. 

Best Scene: Tricking Morgana

Updated Overall

Next Year: 2016 Lead

Alternate Best Supporting Actor 1981: David Warner in Time Bandits

David Warner did not receive an Oscar nomination for portraying Evil in Time Bandits. 

Watching Time Bandits again it is basically a hodgepodge of moments, that don't exactly have a natural flow and one's enjoyment of it really comes down to how much joy one gets from Terry Gilliam's aesthetic creativity and the various semi-Monty Pythonesque bits. Interestingly the funniest bit actually is from David Warner, although I shouldn't say that since I give him a win for a largely comedic performance, who among the cast certainly skews more towards the dramatic side of things. But what does make it interesting anyways is that Warner is playing literally the villain of the piece as he's simply known as Evil because you know, he's evil. Warner's performance is the funniest in the film actually because he basically plays it aggressively and overly intensely in a certain sense. Warner obviously is well known for his villainous takes, as I recently covered in Time After Time, and is always great at cold cunning. That's not what Warner is doing as Evil, he's just having a blast really as he bellows with heightened intensity with Evil. One of his earliest moments is killing his own man for daring to be said to have been created by the Supreme Being, to which Warner hits the right heightened pitch of being fierce in his anger, yet so over the top with it that is funny in giving Evil a bit of almost bratty quality in this. Warner's wonderful by randomly switching in his manner in a moment suddenly apologizing quite sincerely just as he goes on about his evilness. Warner's simply having the right type of fun with it in being properly the evil villainous type, but a fitting evil villainous type for the farcical fantasy that this film is. Warner's scenes really as written are of the man is just evil, setting up one of the few major plot points of wanting the map our titular time bandits have stolen, and really it would be easy to imagine a very dull version of these scenes had Evil been played straight, or actually if he hadn't managed to go big in the right way. Well almost seems consistent if one knows how to go really small, which Warner can do, one can go quite big, which Warner does so here. Warner is the menace you'd want because his voice alone can sell it without really trying and he makes every overture of Evil properly oppressive. Warner though does that with so much fun, and in turn, is very entertaining in his performance. His bright brimming smiles and dramatic speeches are delivered with all pomposity of a proper villain, who is just a bit too much in the right way. Warner is wonderful in the final confrontation with his evil stares as he blows up his men before switching to a bit of a forced kind face as he notes "He's a reasonable man". Warner basically gives a performance that is as it should be as a man called Evil shouldn't be subtle, and he's not. He's not though in a way that is supremely enjoyable as he manages to bring his typical gravitas but skewed nicely for the ridiculous content. 

Alternate Best Supporting Actor 1981: Nicol Williamson in Excalibur

Nicol Williamson did not receive an Oscar nomination for portraying Merlin in Excalibur. 

Excalibur tells the Arthurian legend. 

The saving grace of the first half of the film, Nicol Williamson does what the film cannot, which is attempting to find some kind of balanced tone to make the material palatable. Williamson is a natural fit for the role of Merlin as he is an actor that exudes gravitas from every pour of his being. His voice, one of the greatest, yet sadly largely forgotten, in cinema commands attention with such ease. Although speaking of the voices one of the persistent flaws of the film is the poor sound design, which supposedly Boorman turned from stereo to mono, which perhaps is the cause of it, but it causes almost many to sound poorly dubbed, Nicol Williamson being the most major exception. Maybe Williamson just delivered his lines again with a greater thought to them, or maybe they were able to retain his audio, either way, it only adds to Williamson being the center of attention. Williamson himself adds to this through his performance that very carefully maneuvers the film's fantastical yet dark tone. Williamson in just the bluntest aspect does deliver on the very idea of the legend by being that powerful presence he is, that instantly commands the respect of Merlin as this figure of such a tremendous force. When his Merlin speaks with authority, that authority can only be seen as the truth due to Williamson's striking manner as a performer, and when he speaks you very much must listen, just as all men must listen to Merlin the sorcerer. 

Merlin the sorcerer of Arthurian legend of course isn't this simple mentor wizard archetype, he's of a more complicated sort, even taking very questionable actions in his strange quest to see the legend of Arthur pass. Williamson's performance in turn isn't so simple as just there to deliver the gravitas to these early moments, something he does, but rather he helps out the film greatly by taking a bit out of the film's aggressively dramatic tone. Williamson pulls off a fascinating trick which is that he both takes the material very seriously, yet also doesn't take it seriously at all. There is a cheekiness that Williamson brings to his performance that is a welcome relief through the film's overall insanity of the legend, which seems particularly important given the initial mechanizations of the film involve Merlin basically getting a King laid that will lead to the birth to the eventual King Arthur (Nigel Terry). Williamson realizes a remarkable method of being able to speak the words to create the spell to create this scenario with the utmost seriousness, however, at the same time, his eyes can denote this certain calculation about Merlin, a knowing quality within the character. Williamson's method makes it so it does grant the idea of Merlin's foresight into the knowledge of the future that he is in a way purposefully composing a destiny, while also just making Merlin seem beside it all in his own way as the entity who walks on a different mental plane. 

Essentially as the film runs its course in the first half, which I do think is a lot of noise for the most part, Williamson consistently is the one who clears it away with his portrayal of Merlin's very specific machinations, which includes as much as taking a mother's child in order to fulfill destiny. Williamson though carries himself with such a powerful stride that manages to craft a properly entertaining spirit out of the cunning sorcerer. His manner as the advisor to Arthur, and in a strange way Arthur's nefarious sister Morgana Le Fay (Helen Mirren), who is also a magic user, is that of many things. There is a bit of warmth he does bring to his interactions with Arthur, but there is also that sense of intelligence as Williamson delivers every thoughtful suggestion with the sense of a man who has seen the future. Williamson though naturally delivers comedy in that same idea like when it seems like Arthur is lusting like the old King, and Williamson's sudden and annoyed reaction is pitch-perfect hilarity as the sorcerer who has had enough of the lusts of man. Although speaking of lusts, Williamson's scenes with Mirren are so carefully realized as Williamson presents still this certain captivating command as he instructs her almost in this dismissive way, while also conveying this certain internalized intrigue in her just as Merlin claims he cannot be captured by lust. Williamson is always compelling while making these qualities of Merlin seem consistent within the singular being of Merlin. 

Although as destined at a certain point Merlin finds himself imprisoned, which was very concerning, thankfully the rest of the film comes together to a pretty triumphant film in the second half even without Williamson around to steer the ship. If the film had left Merlin at that moment that might've been enough to be a great performance, nonetheless the greatest scenes of Williamson's come in the final act as Merlin returns to help Arthur one last time. Williamson is genuinely amazing in the scene as Arthur hopes for Merlin to help because it illustrates the magnificent juxtaposition he so effortlessly pulls off. As we have Williamson open the moment with such potent sincerity and affectionate warmth as Merlin notes that Arthur's love brought him back as a dream. I love the look of pride on Williamson's face as he looks upon Arthur at this point as a proud father. But it is only Williamson perhaps who could go from such a tender delivery of "a dream to some" and then such ferocious intensity as he finishes "a nightmare to others". Williamson showing in just one magnificent line delivery, which contains such a dramatic yet effective shift from calm earnestness to tremendous grandeur, powerfully realizes the nature of this Merlin. His final scene of dispatching Morgan by getting her to speak a self-destructive spell is outstanding. Williamson chooses such a fascinating choice as he speaks in whispers, yet whispers that only Williamson could do as never have whispers captured more intensity. Williamson in this manages to speak in this almost seductive come hither to Morgana, convincingly so,  while at the same time his eyes speaking the truth of his real intent towards such hatred for the evil witch. Williamson is absolutely wonderful in crafting this killing blow as Merlin pesters her with compliments, destroying her with this mischievous praise. An altogether brilliant scene due to Williamson's masterful choices as a performer. Williamson though masters the material entirely within his great performance that always manages to maneuver in just the right way to realize a perfect hypocrisy by playing material wholly as truth, while also not exactly taking it all that seriously. 

Alternate Best Supporting Actor 1981: Griffin Dunne in An American Werewolf in London

Griffin Dunne did not receive an Oscar nomination for portraying Jack Goodman in An American Werewolf in London. 

Griffin Dunne plays one of the aspects of the film that makes it as memorable as it is as a horror comedy, a film where both aspects of that are entirely true and neither dominate the other nor do they clash. Rather they cheerfully go hand in hand skipping down the road their merry way, much like our protagonists, two young American men Dunne's Jack and David Naughton's David here who find themselves in the moors in rural England. The first aspect of this is both actors are very much playing their parts as though they were just a film about two guys finding their way through England, any old way. There isn't anything special about them, rather what is special is how very normal they are. Their greatest concern initially is Dunne's portrayal of Jack's rather horny fixation on a woman back home. The change of thought only comes finally when they arrive at a strange village inn where all the ruffians seem to exist in this particular spot in a particular way, as though they never quite escaped a Hammer horror film, while still being allowed to enjoy modern amenities. Dunne's performance contrasts effectively with their surroundings by very much exuding the tourist energy right down to the overly smiling way he asks the locals about their curious candle in front of a rather troubling pentagram. Dunne exudes someone completely out of his element bringing the comedy of this state within the scene right out of a horror movie, though I think this also goes into a key about the film. Which is while both Dunne and Naughton play the part very normally as two random guys in a situation, they do convey the undercurrent of fear and dread as they notice these eerie things. They react realistically on both fronts, one that you might not immediately take it seriously but two you would still probably get a bit of fright from it nonetheless. 

Unfortunately for Jack, he is the last victim of the werewolf that does attack the boys, with David only being narrowly saved by the villagers, though also left infected by the werewolf's curse. Well with that it would seem the end of Dunne's performance, a brief enjoyable bit, but that's it. Well, obviously that's not it as he appears to David at the hospital, featuring his grievous wounds from his mauling, but seemingly very much alive. This is one of the film's masterful ideas of the returning Jack, as not only does it give a very clear representation of what will become David's crimes as a werewolf, but it also allows a very easy provider of exposition as Jack explains how the werewolf curse leaves all its victims as undead forced to wander the earth. What it also does is grant a most unusual character in the form of the decaying Jack and Dunne is wonderful by playing it so much as Jack being very annoyed by his predicament. His delivery of "it's boring" is great because he says it's boring like he's been at the mall for too long or something, not that he's currently in a state of decay. Dunne frankly brings more genuine frustration in Jack when he laments the woman he had been pining for went into the arms of another man at his expense. His actual statement that David needs to die to end the curse is as practical as possible from Dunne as though he's making it just the clear thing that needs to be. All this totally works in Dunne's performance, and again creates a remarkable balance between humor and horror. There is something unnerving but also funny in the zombie talking with such a casual presence.  

Dunne naturally makes an impact with each appearance, Rick Baker's makeup obviously also helps a lot, as his second appearance is as the further rotted corpse. Dunne's subversion of the makeup though is again what makes it truly stand out as he again very calmly lays out what David has to do, and manages to be comedic in this yet still there is a palatable sense of dread. Dunne does this because he doesn't go overboard with the casual, in that he is never truly absurd, rather again it is just this average guy who is a zombie now explaining things, so there is something funny there, but it is also quite serious in its own way. His final scene is a purely verbal performance from Dunne as Jack is now down to his skeletal structure as the corpse, and he is joined by David's victims as they ask for David to kill himself. Dunne nicely shifts his performance just a bit in this scene as his delivery is a bit more optimistic even joyful in his words, as now he's no longer having a heart-to-rotted heart with his friend, he's in a strange way trying to facilitate a conversation between David and the victims. Dunne is very earnest in fact when Jack tries to defend David just a bit and has a real sense of concern in his voice when he notes that hanging would be too dangerous of a method for suicide due to the risk of choking if he bungled it. Dunne's wonderful as his voice exudes a very real sense of friendship with David in the scene and has a slightly positive defensive quality around trying to ease the relationship between David and all his victims. Dunne's performance in each scene succeeds in making a striking impression that is essentially the success of the film in a microcosm. He is funny by being this matter of fact undead creature, but while still inspiring a natural dread.