Best Supporting Actor 2022: Brendan Gleeson in The Banshees of Inisherin

Brendan Gleeson received his first Oscar nomination for portraying Colm Doherty in The Banshees of Inisherin. 

Brendan Gleeson has finally received his Oscar nomination, a fact that I think probably hasn't been celebrated enough, particularly as he received recognition for work that is an extension of the previous masterful collaboration, In Bruges, between performers with him and Colin Farrell, and director/actor with him and Martin McDonagh. As with In Bruges, the two are playing characters linked, however in very different environments and experiences from the two hitmen in a bad place (mentally not literally, we all know Bruges is like a fairytale). Gleeson's role here is very different from the compassionate older hitmen of that film, playing a particularly difficult role because in some ways Colm is intentionally often an enigmatic figure as we most frequently see him from the perspective of Farrell's Pádraic. Our first glimpse is as his presumed friend Pádraic stops by his house one morning, to which Colm does not respond to his knock. Gleeson's performance begins obscured through a window and his expression of some anger would seem though more so a man burdened by something. Gleeson's walk as Colm in itself is a great bit of character revealed just in his dramatic saunter, which again suggests someone who isn't at all walking on air. Every step feels filled with stone, his face worn by something, though we're not sure of what that is as of yet. Pádraic set up at their isolated island's pub for the two of them as though it seems he would any old day, however, this day isn't any old day. Gleeson's performance achieves a perfect tone in this scene as he is very funny while also being wholly serious in presenting the intention. Gleeson's eyes fixed into a serious glare and a very cold delivery as every word he says is about avoiding Pádraic, being anywhere other than he is. Gleeson moves around as though a man with a mission though that mission only being to avoid the man formerly known as his good friend. The actual discussion is one-sided as Gleeson's stare is so painfully without warmth as he seems to stare through Pádraic. His delivery is a kind of perfection as he states simply does not like Pádraic anymore. Comical because of just how bluntly Gleeson says it but also speaking to the state of Colm. Colm notes his disinterest in Pádraic as a man, without a specific coldness, that isn't hate but is rather a cruel certainty. 

There's a particularly important moment early on as Pádraic and his sister Siobhan (Kerry Condon) pass Colm, on the walkway soon afterward. Gleeson's face seems to illustrate some bit of mystery to Colm's intentions as it is the face of a deeply depressed man, suffering in his state. This is against his moments of rejecting Pádraic which Gleeson consistently presents as the most fervent bit of conviction in the man, and an absolute as he denies Pádraic rights to friendship again and again. Gleeson through this actually gives some sense to what the character is doing, as he slowly peels away his purpose, even in his strange way that lacks the vocabulary of a man who can diagnose himself. Gleeson's noting that Colm no longer wants to waste time with Pádraic's tales of his animal's shite and no longer wants to waste time in general with the man. Gleeson's work is fascinating because he doesn't simplify this emotion, while also being very funny still in again the very blunt delivery he brings to it. Nothing the not wanting to waste his time though there is a greater melancholia about it. What is fantastic about what Gleeson does is present a certain inability to quite grasp exactly what he is saying as he is saying this however in terms of the broader implications, however, Gleeson's face wears with it that burden of a man facing his own mortality without fully being able to verbally express what that means. Gleeson logically presents that Colm is trying to find some strange purpose through two sources, one consciously and the other subconsciously. The subconscious is his dismissal of Pádraic where Colm is stubborn in his insistence that he's a dull man who he can't waste his time with. Gleeson performs every dismissal with a kind of breathy release in each statement and again with conviction as though putting Pádraic out of his life will somehow make his life more worthwhile. A demented idea potentially, however, Gleeson reveals in a way that is funny just how direct it is, yet in that directness creates a subtle sense of the vulnerability in terms of the man's mortality that fuels this conviction. Take just the way Gleeson says that Pádraic is dull, the first in that blunt funny way, the second though with a real pathos that emphasizes that this choice means a great deal to him. The conscious is very obvious, however well performed by Gleeson, that being the man's passion for music. This is probably the simplest aspect of Gleeson's performance, but as it should be. This aspect, Gleeson presents as just a simple joy in Colm's life as he finds purpose through his violin playing and attempting his new composition. 

What Gleeson does consistently fully embodies this choice that is strange in the way that has such humane detail in each instance. When he expresses his need for a bit of peace, Gleeson is genuine in evoking a man trying to come to terms with his eventual demise. In the first more intimate technical moment of confession, which is a masterclass in comedic work by Gleeson but also great sense of emotional character. Gleeson is hilarious in his incredulous looks at the priest for trying to speak up for Pádraic, and his real bit of annoyance when noting he'll be "pure fucked" if he dies during this week when the priest hasn't forgiven him. When noting his loss of despair though, and throwing down his sins, Gleeson is so bluntly honest in his delivery as the way this particular man calculates things as he does. The lessened despair is that of a pure joy that Gleeson is presenting simply as that. Gleeson makes any sense, to the strange sense it is through his very violent non-violent method of trying to stop Pádraic's friend requests once and for all, as he threatens to cut off his own fingers every time his old friend speaks to him. Gleeson's work is all about the emotional conviction in this threat, which really isn't a threat but rather a promise in the way Gleeson states it so matter of factly, and even with a hint of sympathy as he notes he doesn't desire to hurt Pádraic's feelings despite it all. And I must note his final physical gesture of shushing Pádraic as the end of the threat, is such a wonderful bit of performance, as in that Gleeson shows just how real this all is to Colm. And the strange thing is that this isn't about Colm hating Pádraic, as illustrated by his help of the man after he's gotten beaten by the local police bully. Gleeson's physical performance again is fantastic because there is just a hint of a moment of his weakness as he seems to want to rekindle the friendship but quickly flattens it again in his heart to try to maintain his distance still.

This doesn't fix the conflict though as a drunk Pádraic confronts Colm, and it probably is easily one of my favorite scenes of 2022. As the conflict becomes philosophical between niceness and being remembered. Gleeson's performance plays off of Farrell so perfectly, as the low to the high in a certain sense, as he speaks with a such a fierce sense of understanding of his side as he disregards niceness and reveals such potent passion for the idea of music being more important than niceness. Gleeson brings such hope in every word about the music and such disregard towards niceness. Gleeson in every moment sells Colm's position, while also showing in a way this deep sorrow beneath it all in a way, as Gleeson brings hints of shame in his brow in those moments of disregard and a bit of a pained optimism. Gleeson shows a man for his sense of mortality needs this to be the truth, otherwise, he can't quite live with his death in sight. And as much as Colm is impressed by that moment, Pádraic's stumbling talk the next morning is less so. I love Gleeson's performance of the reaction to the moment which is anger, however not anger that is hate-based, rather wholly frustration based as in his face you see a man who realizes he must now go along with his finger-cutting threat, and also that no matter what he does it just doesn't seem to be getting through. And after the initial finger cut, one of Gleeson's best scenes is his talk with Siobhan trying to talk some sense into the situation. Gleeson is truly heartbreaking, even as insane as his finger cutting is because the verbalization of his sense of impending death is so deep seeded into his work that he shows a man who is in a way broken by knowing he's going to die. What Gleeson shows is this man is very much stuck within his internalized dread at the expense of his old friend. And what we actually see is the final break in this is when Colm's second finger cutting leads to the death of Pádraic's emotional support miniature donkey. Gleeson's reaction is kind of oddly sweet because you see in his eyes the immediate sense of real guilt and apology towards the act. Just the way now that Gleeson reacts to Farrell changes, and he no longer looks through him or detaches from him, he once again genuinely looks with interest towards him. Gleeson's whole manner changes and you see that sense of empathy now in his work, which was a key to his performance in In Bruges. And it is a remarkable change, as Gleeson shows a man who realizes his choice was that of a man who was on an island without community. I adore Gleeson's final confessional scene where again he manages tone so effortlessly, still being hilarious when arguing for the concern needed for miniature donkeys and that punching a policeman should not be considered a sin. When remarking on his guilt for the death of the donkey and his own despair, Gleeson is painfully open and vulnerable showing a man now fully experiencing what he had been trying to hold in. Conversely, though his final moment, Farrell really says it all, because just watches Gleeson's interactions with Farrell in the scene. The man looks, he listens and he understands. Gleeson shows the change in Colm so potently, as the man now once again truly listening to his fellow man and his friend, the choice he had abandoned that set stage for this bloody affair. Gleeson delivers yet another outstanding performance with Farrell and McDonagh. So naturally realizing the comedic and dramatic worth of the latter's prose, but also managing to craft such a tangible portrait of humanity out of such a potentially strange and enigmatic idea.