Alternate Best Actor 2022: Mark Rylance in The Outfit & The Phantom of the Open

Mark Rylance did not receive an Oscar nomination for portraying either Leonard Burling in The Outfit or Maurice Flitcroft in The Phantom of the Open. 

The Outfit feels like an old-school British thriller you might randomly catch on a rainy Saturday, not a great one mind you, just one that is a fun enough watch. The Phantom of the Open is one of the better films of its subgenre, which is the modern period piece British feel-good film about some English eccentric. 

Mark Rylance leads both films in the types of roles I'll admit are my preference for the esteemed actor, over the stranger supporting turns in films like Don't Look Up and Bones and All, though I'll take the latter day any day between those two. These two films, in which he's centered, are my preferred Rylance speed, and together are a great showing of his particular skills as a performer. In both films the initial starting point is affability, and Rylance in both presents himself as such while also being many of seemingly no great importance. Each is a bit different, one being a working class joe in the real life Maurice Flitcroft and the other being technical that though his whole emphasis is on class as a cutter, not tailor, that being a suit maker, the finest suit maker in Chicago. The latter who we are introduced to and updated through narration throughout the film. Rylance's soft and elegant voice is particularly easy to listen to, however even in that seemingly conveying character in the very specific slight accent that seems to be hiding something from a bit of a poorer class purposefully refined. With that, the voice though spells out this method of the cutter with detail but also a noted affection within Rylance's delivery. It is clear that Burling takes great care but also joy in his work, and that is coming just from his voice alone, so it is hard not to take joy in that as well. Funny enough Flitcroft is perhaps in some ways the accent that is hidden away by Burling in some ways as Flitcroft is very much a working-class man. Rylance's accent befitting that background and something that Flitcroft would of course not hide. A very specific voice of a man very much in a specific way of life and part of a life of a family of a certain class seemingly destined to always stay within that class. Rylance even as he introduces Flitcroft with some not-amazing aspects of his life, Rylance again is endearing in this instance more innately off-beat qualities of his performance. Rylance though fashions these off-beat qualities of the man wrapped into a man who just is and manages to balance that with also a lived-in reality about him, even within the technically slightly heightened tone of "Phantom" which is purposefully presented as a bit of a fairytale. 

Each man is rather unassuming however Rylance doesn't portray either man as the same man, but what is consistent is seeing the ideal Rylance presence onscreen. That is that he is playing not really a man who purposefully commands his space in both instances, instead, he's a man who seemingly is flying under it. Rylance thinks nothing less of the characters and wishes us to feel the same way about both men. He shows there to be no shame in a man who makes a seemingly "simple" living, which of course in Burling's case doesn't seem so simple as we see just how meticulous he is in every section of creating a suit. Rylance delivers an easy going charm in his way as he interacts with his receptionist Mable (Zoey Deutch), and is genuinely such by being so pure in his manner towards her. His paternal energy really is just lovely for the simplest description, which would be fitting to this character. The same goes for Maurice who Rylance consistently shows as someone who gets simple joys and treats others with simple respects. His moment of seeing a new tv with 3 channels or hearing that his own step-son is likely to be involved with laying him off from the shipyard where they both work, Rylance's reactions are that of "oh", but in the loveliest way of "oh". When we see his relationship with his wife (Sally Hawkins) the two are tremendously lovely together as Rylance aggressive sincerity towards her as taking her as just a purest gift to himself and every smile as just the purest of love, he again just is hard not to love him a bit as a viewer. Rylance shows Maurice's approach to the world with this certain innnate curosity but also with a sense of a kind of optimism even when in pessimsism. It isn't that Rylance even shows Maurice as aggressively cheerful rather he conveys a man who very much takes it as it is. In both performances Rylance is consistent in that it is hard not to like either man as we are greeted by them into the film and enter into each story. Two very different stories, yet both mounted by a somewhat unlikely protagonist brought to life via Rylance's one of a kind presence that can be meek while also being extremely dynamic at the same time. 

Where each film goes then can be fully accepted as it's already easy enough to buy into Rylance in both leading roles. The Outfit develops into a tricky situation quickly that is purposefully extremely convoluted, but in short, gangsters want a tape that should be located in Burling's shop, which is also used as a gangster's drop. It is Burling's job to somehow get up on top of both gangsters, the chief gangster and any other gangsters that might show up, while also saving Mable at the same time, who just might be involved with the gangsters. Confused, maybe, but actually the film is relatively clear despite the twists upon twists, and helped greatly by Rylance offering a clear point to rest with throughout the story. One aspect of this is where Rylance rather brilliantly in his performance realizes a way in which someone can essentially weaponize modesty. And by that, we see how Burling can play the gangsters against each other because no one would suspect him. Rylance is amazing though in the way he keeps his soft delivery so often as he makes one suggestion or another, and builds suspicion in both men. Rylance is able to present outwardly within the scene the face of a man who couldn't be any less than pure, while with these glints of absolute genius that is the true intelligence of the man. I especially adore one moment where Rylance tells one of the men that he is in fact the "rat" they're looking for with this straight but oddly pure face that makes the gangster just laugh. Rylance at that moment made the confession unbelievable because the man just seems so gentle that he couldn't have more going on than that, disarming the gangster since you couldn't suspect him. My favorite moment though is Rylance's sure grin toward the other man afterward as he leads the man through to accepting it as a joke, yet even in that smile, there's a sense of calculation in Rylance, the calculation that Burling is using to fool the man, by playing very much the fool. A great difference though is Flitcroft who let's just say isn't the most intelligent man, unlike the very intelligent Burling, however even in that Rylance shows another method of getting through a situation, in this case, a man trying to become a pro golfer despite having no perceivable skill or experience.  Rylance though brings such purity within the naivety of Maurice as he scopes out golfing in his rather hapless way, but never not without passion. Rylance excelled though by just showing the natural lack of complication in which the man speaks of golf, such as checking professional on an application for the British open, without any real subterfuge but rather a misunderstanding. A misunderstanding that Rylance presents just as the very nature of Maurice who sees no reason to question his initial definitions.

How both films really work in large part due to Rylance's performance. In The Outfit, I wouldn't say I even accept every twist and turn, but what I do accept is the fun of watching Rylance playing the different sides of Burling in every scene. He brings you into his thought process and makes it actively engaging on how the man can work each man off each other by seeming of no importance. There isn't a moment that Rylance doesn't attach some bit of brilliance to in a reaction or just a line delivery where you see manipulation in its purest form and in such a special way. Rylance can twist himself in every scene from supporting one man to lie to another to acting completely foolish to playing along, and Rylance in its brings two sides really to every moment. One side fits whatever perspective is needed to get the job done, while always subtly alluding to the con in a certain sense to the audience making us a co-conspirator in the best way. In Phantom, Rylance does it by managing to give a completely earnest performance and a completely comedic performance that brings us along his way. Rylance offers the right off-beat energy that is most entertaining as we see Maurice go about his way in the British Open in a decidedly unique, and not overly competent way. I have a particular affection for his opening shot in the open as Rylance's expression is pure gold that is very funny as we see such jubilation while making a terrible shot, but at the same time that jubilation is sincere as Maurice very much is living his dream despite his talent. His later antics of disguises of various sorts to keep playing, despite the gold brass wanting to ban him from all professional golfing in England, Rylance again has an immediate sense of endearing fun the man still just loving it all, but also at the same time bringing the right entertaining comedy in the classical hijinks. That being Rylance's pitch-perfect reactions of fearing about trying to be found out and trying to maintain his secrecy despite not exactly being the best of it. Of course also while delivering his french when playing a fake french men terribly in the best kind of way. Although Maurice might not be dealing with deadly gangsters, Rylance's similarly brings you into the fun of this ruse as well, however really just the general misadventures of the "world's worst golfer". 

The Phantom of the Open Rylance gives a wholly fun performance as Maurice Flitcroft, making him someone you do certainly derive comedy from him being himself, but he is also just marvelous in being someone you want to see succeed in his off-beat way. He brings with the comedy just the right overabundance of heart, not at all forcing the idea of showing the value of a man just living for his passion even when he's not great at that passion. Rylance manages both and delivers here the right light touch that is just right for the material. Rylance as much as he shows the upbeat nature of Maurice, Rylance brings the right nuance in dealing with his unbelieving and dismissing stepson. Rylance shows in these moments in his reactions that there is hurt in his eyes, he just doesn't let it settle for too long, showing it is against Maurice's nature to get beaten down by it all. Rylance finds the appeal of Maurice, and even the power of him, that his constantly optimistic nature just wears away any pessimism to the point that it is hard not to see how everyone isn't won over by him by the end of it. Not his greatest turn, but it was one that brought a smile to my face most consistently. The Outfit is perhaps the greater challenge in a certain sense and it would've been very easy to get swollen whole by the ridiculousness of every little thing that he has to do as Burling. That is never the case though as even though it is darker material theoretically, Rylance brings as much ease to the part and can dance around so much that he elevates every scene with his presence. He does more than that though and manages to offer a bit more humanity to the proceedings. This is particularly in his relationship with Deutch's character, who doesn't give the most likable performance, where he shows that paternal warmth consistently that naturally segues towards paternal concern when she gets set in the sights of the gangster. He creates a deeper investment in every reaction of this ilk, but even more into the history of Burling as he begins to talk about his past. Initially, Rylance conveys that in his disarming way but eventually he reveals more, which is that he lost his wife and daughter in a fire. Rylance is heartbreaking in the scene in bringing just this blunt sense of trauma as he speaks it as something he's been living with for a long. His eyes filled with the loss but also the sense of shame with the guilt. It is hard not to feel for Rylance and in turn, you can see that, while the emotion is real, you can see the method of Burling playing on one of the gangster's care for the family. A moment like that is brought out so suddenly it could easily trip someone up, but Rylance runs with it, with such ease. And that really is every moment of this performance that in a way rides the complicated plot in a way that is truly impressive because Rylance not only doesn't get lost in it, he makes it watchable every step of the way, and makes you actually invested at a personal level by pulling us into Burling as a man. This is to the point that even as it really gets one twist too many, it is also revealed that Burling used to be a gangster, a twist I'd dislike more if Rylance didn't ace his depiction of it. Rylance doesn't lose it, instead, he earns it really just by having that edge throughout, even if that edge was in the hidden cunning of the man. Rylance earns it also at the moment as he delivers his hidden history with this immaculate calm of someone who has put it away for a long, and his emotion slowly seeps out to reveal a greater intensity in the man. Rylance recalls almost the ghost of his own self that is filled with shame, but also an internalized viciousness of the brute that Burling once was. Even while I don't think the twist is needed, Rylance makes me not mind it because it is just another odd knot in the fabric that he manages to weave with the same ease that he does every other moment. This is an amazing performance by Mark Rylance because the pressure is on him throughout the film. He needs you to believe the manipulations, he does that, he needs you to be invested in the story at an emotional level, he does that within his own work and does it all in such an unlikely way. Rylance gives a performance that absolutely dominates his film, not with a fierce voice and a grand stature, but rather a retiring manner and a pointed whisper. 

(For Phantom)

(For The Outfit)