Alternate Best Supporting Actor 2022: Albrecht Schuch in All Quiet on the Western Front

Albrecht Schuch did not receive an Oscar nomination, despite receiving a BAFTA nomination, for portraying Stanislaus "Kat" Katczinsky in All Quiet on the Western Front. 

What I can consistently praise this adaptation for is that it seems to understand the 30 version exists and was excellent, so repeating that version wouldn't really make much sense, offering more of a variation on the idea of the novel than a direct adaptation, apart from a few plot points however even those are presented in a very different way. One such difference is in the case of the character of Stanislaus "Kat" Katczinsky, a veteran in the military, a comparatively older man than the young schoolboys whom we enter the front with. Louis Wolheim and Albrecht Schuch's portrayals of the character are extremely different though the two obviously share some DNA, however, it is an example of a great character having enough life for multiple interpretations. Where Wolheim appears as almost a comforting force as they move towards the trench, as a man who has a great understanding of the situation, as much as one can trying to impart his wisdom on the young men, Schuch appears as we're already in the trench, one of the many men within the dark place. Schuch's delivery of his first line establishes a man with his own very cynical understanding of the place and really the world with his blunt lack of delusions regarding what it is that they are here for. 

In the first war sequence involving the new recruits, Schuch's performance is that of an extremely practical man within the situation. The suggestions to the men on how not to get shot in the night, he delivers in a way you'd say to anyone starting a job of any kind. Schuch brings a blunt reality about the situation, which is excellent in terms of very much embodying the situation, while also creating this certain sense of not quite ambivalence, but a certain "set in the ways" manner of someone who has learned to survive. Schuch's performance manages to combine urgency with that kind of indifference in a certain sense as though he is treating the trench warfare as he would just his current job. Schuch makes the combination feel particularly natural as he shows the men the ropes in moments of just quiet suggestion and moments of more intense demand, such as when they're shelling. In all of it though Schuch presents the reactions of a man who is seeing nothing new at the moment and has to some extent seen it all before. And as we go along in this version Schuch's performance is interesting in that he paints Kat as much less overtly a mentor, though he still shows the men the ropes, and has the perspective of an older man, it is quite a bit different in terms of how that reveals itself through the narrative.  

Kat as we go along is in some ways only the informal leader. Where Wolheim had more so a loving father's energy at times, Schuch plays the part with more of younger Uncle-type energy. He is the "elder" but only by so much. And much of the greatness of this performance is just his exact chemistry with Felix Kammerer as Paul. The two are great together, along with everyone else, though the two of them together are the most potent of the relationships that create this palatable sense of camaraderie between the soldiers. And if you watch the way Schuch goes along with Paul in trying to steal from a local French farmer, who attempts to shoot any trespassers, Schuch brings this mischievous energy however again very much with a bit of aged manner though with the enjoyment of the reckless. Schuch brings enough of this confidence in the method that creates the older man, however, in this instance, the older man shows the younger man how to get into a bit of trouble. And what is notable between the two, and really all, but especially Schuch with Kammerer, is the sense of fun they are having together. There's a real joy in every interaction between the two and they make such a concrete bond between the two men. Schuch in particular brings this sense of warmth in every glance to the men of just a loving uncle in every way he can be. Schuch makes that connection between them just an essential given that is so important in investing in the two men as the film proceeds. 

Schuch's biggest change also realized within the adaptation, is where Kat exists within the world as this man of little note on the outside world, but is capable within the trenches. And unlike the "boys," Kat has lived, as we see when Paul reads a letter from Kat's wife, which includes mention of their deceased son. Schuch's performance in the scene is outstanding because of how much he expresses as he is hearing the words. There is a sense of love for his wife to be sure in his eyes as he hears it. There is the sense of grief that is so palatable, yet also measured within Schuch's work showing someone who has had to live with this grief for some time. There's a bit more though as the letter finishes that speaks towards this sense of the kind of broken connection with it. The way Schuch reacts creates this sense of a particularly complicated emotion that isn't a simple regret or just of a man missing his wife. That is there in his expression but there is something even more to it. We seem to find this when it becomes clear that the war is going to end due to an armistice, and Schuch's reaction is incredible. Because he honestly looks a bit scared at the moment, which one might think is illogical, however, the way Schuch articulates almost entirely just in this reaction is the fear of really the idea of his life outside of the strange "comfort" he has found in the war. A potentially completely absurd however Schuch in the moment suggests the man of no importance he was outside the war against the man, not unlike Red in Shawshank Redemption, who can get things in a desperate situation. 

We get a bit further articulation of that in one of the last discussions he has with Paul, where Schuch is excellent in showing the change a bit in the relationship. Even the maturity as at the moment Schuch moves a bit more to the father trying to push Paul in the right direction, as he speaks with this quiet very believable passion that Paul should continue his studies as he notes with this potent hint of regret noting that he can't even read letters from his wife. Schuch making this natural transition in turn makes it all the more heartbreaking as he and Paul try for one more go at the farmer. As Schuch even in the suggestion delivers it with almost a nostalgic, just one more time for "old time's sake". When this theft goes wrong, though the two manage to escape, the joy the two show in eating eggs together again is so wonderful in just how much natural warmth each actor has at the moment. Their relationship is absolutely convincing and solace as we see the two men who have managed to survive all this carnage for so long. Of course, this ends in tragedy as the farmer's son, fed up with the thefts, shoots Kat, and Schuch's whole performance in this moment is perfect as he looks upon the boy with true confusion and just disbelief that anything could go wrong. To the point, the moment when Kat tries to walk off the wound Schuch is heartbreaking in presenting this not as this great anguish but rather this frustrated disbelief that this is the way it will end for him. Schuch finds the greater tragedy of it by performing it so honestly as someone in the situation can't believe they'd survive a war to be killed by the rifle of a farmer's boy. Schuch delivers a potent and memorable portrait of a man who knows how to survive in an untenable situation, at least as much as anyone in the trenches could.  What it particularly fascinating is Schuch's work is so different from Wolheim's take on the character 90's years before. They're both great, but great in two distinct ways. Proof that just because someone stamped a part with greatness doesn't mean it is finished, as Schuch's work here proves a new perspective can be something truly special.