Friday 27 January 2023

Best Supporting Actor 2022: Barry Keoghan in The Banshees of Inisherin

Barry Keoghan received his first Oscar nomination for portraying Dominic Kearney in The Banshees of Inisherin. 

Following Brendan Gleeson to every nomination with just about every precursor was up-and-coming Irish actor Barry Keoghan, who is quickly making a name for himself in a very short amount of time. Barry Keoghan plays the smaller of the two supporting roles, though the flashier in terms of performance. Keoghan plays theoretically within the Irish locale trope of the "village idiot" though even as such alone, though consistent with much of the film this falls within people dealing with mental issues in a time when the vocabulary for such things was limited, and particularly absent for those on such a rural and isolated island as is Inisherin. And as usual for Keoghan, he very much gives a "take or leave" performance in many respects. Going very much for a particular and often unique characterization that one can either accept or severely disregard. This particular idea I think might in part be whether one likes this film or loves it, not that Keoghan makes or breaks the film, rather he is one of the key "side bits" that is working around what is going on between the central conflict of Pádraic and his old friend Colm, who won't talk to the former anymore. 

Keoghan's performance is very intense in his particular mannerisms which makes Dominic who he is. He has an innate awkwardness in his manner, usually shyly looking away from most, speaking with a difficult blend between speaking both too openly yet also too hesitantly at the same time. It is a curiously broken delivery that Keoghan consistently delivers as the way simply that is that Dominic speaks. Keoghan presents Dominic as someone who in a way ill-fitting to this place because he himself is not allowed to be fit by anyone or anything. He in turn can't quite manage himself in any particular space and his performance brings to it this sloppy energy of someone who is always both extremely self-conscious and extremely unaware of himself at the same time. It is a fascinating blend that for me, Keoghan pulls off incredibly well by showing the way the world is so innately cruel to the state Dominic. Because he is someone who in a way wants to just be himself, yet being himself only gets him into trouble, so in turn he is in this constant conflict with himself of someone who is being himself while at the same time seemingly constantly reminding himself not to be himself at the same. In turn, everything Keoghan makes is a young man, who is a bit of a mess due to this unfortunate state. 

Keoghan's performance and Martin McDonagh's writing I would argue do not depict him as someone who has mental retardation in terms of basic intelligence. Although Dominic isn't always saying the most intelligent things they are no less foolish than what is stated by many of the "normal" intelligent people who speak in Inisherin. Dominic though is emotionally stunted due to the verbal, physical, and sexual abuse of his father towards him. Everything in Keoghan's performance is of someone who simply was not allowed to develop properly in order to be able to react to ideas of physical attraction or any natural human interaction of the sort. Take even his interest in women, which is funny, but also does speak to the same cruelty he suffered. Keoghan's delivery again is with speaking first before thinking, however, Keoghan even delivers this in a way in which he lacks the right composure or confidence to know how to approach the idea. Keoghan's performance shows that Dominic is fundamentally broken in this respect and has no idea whatsoever in which to approach this type of conversation. Therefore to those, particularly on the island, he is of course just a fool to them who can't watch his words properly or act properly. When Dominic asks Pádraic about his sister, Siobhan, naked, or worse when he attempts to ask her himself if she was ever wild. Keoghan delivers it with all the eagerness of genuine interest, however, funneled through a completely shattered idea of the way one should approach any of this. Keoghan freely speaks as someone just trying to sound out what he thinks should work. That being when Siobhan calls him on it, Keoghan's expression is that almost of someone completely lost, and again Dominic catching up to himself that he's said the wrong thing. Although the act is theoretically intentional, Keoghan shows that his failure in it is that he truly doesn't know any better because of his fundamentally and unfortunately broken state. 

Contrasting that actually is Dominic speaking outside of female matters, where while to describe Keoghan's presentation as overly intelligent would be inaccurate, there is a greater sense of insight in other respects. And Keoghan presents someone who straightforwardly wants companionship himself. That includes just being friends with Pádraic, where I love Keoghan's sincerity in the moment of saying how the two are great chatting together. Keoghan brings this meek joy about as Dominic is just trying to be friends in their interaction as long as it is between each other. His presentation of frustration as Pádraic is stuck on his conflict with Colm is earnest as less dismissing of Colm rather being annoyed that  Pádraic can't appreciate his company alone. And Keoghan emphasizes this further when getting to stay a night with  Pádraic and Siobhan where Keoghan's excitement isn't for false potential sexual favor, but rather just for a lonely man finding some comfort even for even one night. And again outside of the sexual, Keoghan still remains firm in Dominic not at all being a fool. I love his final conversation with Pádraic, where again Keoghan is so open in the conversation and just is trying to support Pádraic as much as he can, even in the moment of articulation Dominic finds this insight as he can. When the conversation reveals Pádraic breaking his nice streak by lying to a man about death, Keoghan's face shows the real thought process and a real sense of running into this unpleasantness that is straightforward but reveals an inherent kindness so poignantly. His head shakes even has so much weight within it because Keoghan isn't of some small dismissiveness rather it is a shattering of hope almost as a man he thought was good could be suddenly capable of bad. And in a way, I think Keoghan conveys that moment as meaningful for deciding his fate as his final scene, where he pledges his love to Siobhan. And what Keoghan does in this scene is shown that for all his broken state is Dominic putting on his "A-game", though also as basically a last-ditch effort for his own hope in his life. Keoghan is exuding in desperation every moment, as he comes in so strong, so cheerfully at first as Keoghan rushes through his attempt to create a connection with her in their mutual ill feelings towards the local Banshee. Keoghan's voice begins to crack, hesitate and stumble more. Keoghan in every word showing Dominic trying, and sadly failing to break through his own awkwardness. His reactions though putting an attempted smile, while his eyes speaking towards someone who has lost all hope. While this is a performance I can understand if it doesn't work for someone, it absolutely did for me, every second of it. 

31 comments:

Robert MacFarlane said...

Fuck, he's going to rank above Gleeson, isn't he?

Louis Morgan said...

Living isn't as good as Ikiru, but it still ripped my heart out.

Wood - 4.5
Sharp - 3.5
Burke - 3.5
Rest of the officer staff - 3
Fishwick - 3
Ferran - 2.5

Shaggy Rogers said...

Best performance by an idiotic character since Brad Pitt's Burn After Reading

Anonymous said...

Best in the lineup. Way better than Quan and just as deserving as Gleeson. Keoghan should be sweeping the awards.

Tahmeed Chowdhury said...

There are some days where I'd rank his work above Gleeson's, as crazy as that sounds. He has far less screen time, but his portrayal of loneliness and desperation was no less potent than that shown by Gleeson, Farrell and Condon.

Tahmeed Chowdhury said...

Louis: Thoughts on the cast of Living.

Definitely think Farrell and Nighy will be both #1 and #2 for you in terms of the nominees and the overall year.

Aidan Pittman said...

Louis: Where would you rank Living's screenplay among the adapted screenplay nominees for this year?

Luke Higham said...

Category placement for Wood.

Luke Higham said...

Thoughts on Living's screenplay.

And your #4 and #3 for Director with thoughts.

Emi Grant said...

Just came back from The Fabelmans. I didn't love its screenplay personally, but I still enjoyed it for the most part whenever it was about Sam discovering his passion for movies.

Dano's snub now really stings. He's easily the MVP.

Also, you guys weren't kidding with the cameo from The Greatest Director to Ever Live. That was fantastic.

Oliver Menard said...

Yeah, this one gets an "I don't get it" from me. I had a feeling you'd like him a hell of a lot more. I predicted him third but I could see him ranking over Gleeson for you.

I'm definitely looking forward to Living. I have a feeling Nighy will make my top 3.

Mitchell Murray said...

Okay...at the risk of sounding stupid, this film was actually my introduction to Barry Keoghan. I have yet to see "Killing of the Sacred Deer" (apparently his breakout), "The Green Night" or "Dunkirk" - the latter of which I'm particularly ashamed about. To be honest, I'm also unsure of how to pronounce his last name correctly; I've heard people say "Qown" (like "key-own" but with a faster q/k sound), but he has personally said it as "key-ogan".

So with that out of the way, I had no real expectations for his performance here, and after seeing the film, even I wasn't expecting him to get a 5. Then again...maybe I should've been. For as much as I admire Gleeson's performance, Keoghan as stuck with me as well. I was genuinely surprised by how natural and consistent his mannerisms/speech felt. Moreover, I found he really sold Dominic's suffering in a fairly subtle way, as so much of the character's abuse is conveyed through Keoghan's physical ticks. And as I've said before, I keep thinking about his final scene with Condon, which is even more moving with Dominic's ultimate fate. There is so much inner life that Keoghan finds in that sequence, and just from his eyes alone he conveys such a piercing despair and desperation coming from this lost soul.

So yah...very good performance. I'm glad I've confirmed the praise for myself, and I'll fully admit to underestimating/undervaluing Keoghan's work.

Calvin Law said...

I just rewatched and yeah, he's great, liked him even more this time around and definitely the character that gets the best responses from the audience. I don't think he's better than Gleeson, but he's great in his own right, and pretty cool how this performance ended up being a lock.

Glad you loved Living, Louis. What are your thoughts on Emilie Levienaise-Farrouch's score? I thought it should've gotten WAY more love than it has. And low-key would love to see a surprise Ishiguro win for screenplay somewhere (BAFTA maybe?)

Calvin Law said...

Oh and I would also agree with your assessment that he's not an unintelligent character, in fact looking at it a certain way he might be the second most intelligent of the principals besides Siobhan.

Matt Mustin said...

He's a 4.5 for me right now. Rewatch could help or hurt him.

Anonymous said...

Louis: your updated Adapted Screenplay ranking?

Tim said...

Mitchell: From everyone i have heard yet, they always pronounced it as
"Kee-gan". which stuck with me


Louis: Your #4 +thoughts for Director?

Calvin Law said...

I suspect Louis wants to hold his thoughts on the remaining directors until these results.

Calvin Law said...

Also, upon some reflection of how this season has panned out, my theory as to why Deadwyler missed out, beyond the elephant of the room being how WOC have to leap through more hurdles, is that sadly the biopic advantage argument, at least what we've seen in the past few years, seems to apply more so to pop culture figures, whereas Deadwyler was playing someone who may be known in the public eye, but not a musician like Elvis, or an actors like Marilyn Monroe etc.

Louis Morgan said...

Tahmeed:

Wood - (Thought she was absolutely wonderful here and brought the exact energy needed for that part. Just that innate sense of someone looking for the joy of life but in a very honest and naturalistic way. She never feels too much, she simply is in terms of that optimistic manner. Part of the reason why though is that in the moments where she needs to contemplate something more frustrating or sadder, Wood does convey this emotion just as honestly. Woods shows her experiencing that just as anyone would and is particularly moving in just some of her moments in reacting to what Nighy's doing or saying. Also, it has to be said she makes the absolute most out of the character's nickname scene and is a delight in every moment of that.)

Sharp & The office staff - (Sharp delivers effectively enough in that youthful awkwardness and also just that sense of any degree of hope in the young as he approaches the bureaucratic nonsense. Also, liked the sweetness of his later chemistry that feels honest in its simplicity. Although I'd say the group of the office staff is more memorable in the former version, still found the rest created enough individual character, particularly in their "testimony" scenes.)

Burke - (Although the novelist is severely cut down as a character, wouldn't have minded if they had maintained all his moments. Still found Burke affecting in presenting the sort of roughish presence through with the rest of intrigue but also real empathy in his reactions towards Nighy's Mr. Williams.)

Fishwick & Ferran - (Thought the former was fine if not too substantial, the latter I thought overdid it just a tad.)

Louis Morgan said...

Aidan:

New ranking:

1. All Quiet on the Western Front
2. Living
3. Top Gun: Maverick
4. Glass Onion
5. Women Talking

Living's screenplay feels a bit like a Shakespeare adaptation, and I don't hesitate to compare Kurosawa to Shakespeare. What I mean by that though is that is it more or less Ikiru but with adjustments to the purpose of the "revival" and time. The latter of which is rather cut down by Kazuo Ishiguro, and what he largely removes are some of the painful moments (the way the man hears the diagnosis, the detail of the past regrets, the end of the night with the novelist) and what Ishiguro does is essentially make this essentially a lighter version of this tale by removing those rawer moments. And while I'd say the original film is greater for having those moments, Ishiguro's adaptation is consistent in this objective and is consistent in crafting this alternative. That speaks to adjustments for "purpose" as well, which again Ishiguro's version of this I'd say leans slightly more to directly a more gentle parable. He also though I think effectively adjusts per culture, and essentially offers his unique perspective as a man who basically is a bridge between cultures, having been born in Japan but raised in England. Dealing with different kinds of repressions, and manners in general. That is my favorite aspect of this adaptation because it does grant appropriate shifts in the same scenarios however with different moments and dialogue befitting it separate time and place, and in many ways, you get kind of The Remains of the Day combined with Ikiru. The biggest other shifts are shortening the structure (again I would never say streamline because I think every second of Ikiru's time is with purpose) which again works particularly in the way it introduces the other office workers and expanding and changing the role of the younger employee. I think there is the biggest cultural difference, and logically it makes sense more for a young woman in England to be in the later scenes than would be expected in Japan. And the way their relationship resolves itself again is naturally rewritten to be appropriate per its time and place. This in no way bests the masterpiece, but I do think it did what a remake should do, one in offering its own take, but also offering its own unique perspective, while still largely keeping the essential elements of its source.

Louis Morgan said...

Calvin:

I found it to be a lovely score, which I think supports the overall approach which again is that of the lighter parable, though still filled with emotion. I think the Levienaise-Farrouch's score is fittingly very reminiscent of the score to Remains of the Day, where there is a kind of this precision in a lot of syncopation at times, but surrounded all by more intense orchestral work that speaks to emotions held within repressions. Beautifully illustrates that point here, though I think often with a rather dreamy quality with many of the choices that I think find a wonderful combination between contemplation, and melancholy but also with such genuine heart.

Side note, when I saw in one of the brief awards clips of the film that Nighy was singing, all I could think was "well if they're keeping the singing, and if they do it right, that's going to tear me apart"...I was correct

It's interesting, I'm torn if campaign-wise Living made a mistake or not. Because on one hand, it was impressive that they made Nighy a constant in almost every noted precursor, and it did technically overperform by getting Adapted Screenplay as well (thankfully so much because for one Ishiguro is very deserving but also it was potentially over the damn Whale) but I wonder if they released just a bit earlier they might've been able to snag PD or Costumes, or even an outside shot at picture. Hard to say though. I'd agree that I could see Ishiguro taking BAFTA, particularly since I could see some seeing All Quiet as more a director's film (though I don't agree).

Calvin Law said...

I think they overplayed the SPC 'playing the late game' card a tad because release it a bit earlier and get a bit more buzz going and it could've potentially been The Father of this year in some ways. I think they did focus the campaign entirely on Nighy, which makes sense, but I could've definitely seen it be a dark horse in those technical categories. Overall though, I think they did go for the right route in terms of getting Nighy his nomination.

I like your comparisons to Remains of the Day, and I will say with regards to the well observed cultural differences between the film (the point of the young woman being in attendance at the funeral for sure), that it speaks to what a good choice it was for Ishiguro, who obviously has dabbled in both worlds, to adapt.

RatedRStar said...

Great performance, Great film, Great everything really, so glad that he actually quite easily got in when I think in other years I could easily have seen him be snubbed.

Bryan L. said...

Louis: Your cast & director for 1970s versions of The Batman, To Leslie, and X.

Bryan L. said...

Louis: (And Pearl).

Matt Mustin said...

In regards to the last name, I always assumed it was pronounced "Koh-gen"

Louis Morgan said...

Calvin:

Yeah thinking about, I think they probably miscalculated slightly, in that I think literally they just went a little too late for wide release, and a different push could've gotten it more. Although I think if BAFTA was juryless I do think Wood probably would've been in there.

Bryan:

The Batman directed by William Friedkin:

Batman: Martin Sheen
Selina: Genevieve Bujold
Riddler: Dennis Hopper
Gordon: Ben Johnson
Falcone: Robert Mitchum
Alfred: Peter Cushing
The Penguin: Charles Durning

To Leslie directed by Martin Ritt:

Leslie: Eileen Brennan
Nancy: Anne Seymour
Sweeney: Ray Walston
James: Richard Dreyfuss

X & Pearl directed by Bob Clark:

Pearl/Maxine: Jessica Harper
Raine: Veronica Cartwright
Bobby-Lynne: Karen Black
Jackson: Ron O'Neal
Wayne: Robert Webber
R.J.: Andrew Robinson

Tony Kim said...

Louis: What are some films that you thought had an interesting premise, but failed due to the execution?

Similarly, are there any film you thought had a good script but was ruined by the direction?

Mitchell Murray said...

Just wanted to share tonight that I FINALLY watched "Sound of Metal" after all this time. After almost two years, I'm pleased to say I loved the film - for several reasons. First and foremost it's excellent use of sound and editing, which is so crucial to nature of it's story/subject. Not only that, but the choice to omit ASL subtitles until Ruben gained enough skill with the language was frankly brilliant. I can't help but think of "Children of a Lesser God", and how Roger Ebert's big issue with that film was it being a hearing film with a non-hearing lead. "Sound of Metal" doesn't have that problem; In fact, I'd say it's representation of the deaf community struck me as very authentic. It's also just a terrifically made movie about one man's path to self discovery, with many potent and affecting scenes.

Bryan L. said...

Tony: He gave some examples that answer your second question in the comments section for Russell Hornsby's review in The Hate U Give. The Founder is one of them, so Ctrl+f that and you'll find the rest.