Tuesday 7 February 2023

Alternate Best Supporting Actor 2022: Wagner Moura in Puss in Boots: The Last Wish

Wagner Moura did not receive an Oscar nomination for portraying Wolf in Puss in Boots: The Last Wish. 

Puss in Boots: The Last Wish is probably the biggest cinematic surprise I've had in some time about the adventurer thief attempting to reclaim his 9 lives through a magical wish, though more than just the titular hero is after it. 

One of the many remarkable features of the film is its particular success in developing not one, not two, but three compelling villains, from the sympathetic group of Goldilocks and the Three Bears, the unabashedly evil Big Jack Horner, and Wolf. Wolf differs from the others as he's not even interested in the map that will take one to their magical wish, he's just here to kill Puss in Boots. In itself a particularly intense motivation for this theoretical family film. That speaks to the character of Wolf as a whole, who, except for the fact that he is an anthropomorphic wolf, would be befitting a proper western. An essential part of the reason for this is Wagner Moura's vocal performance as the character. Wolf's first appearance is as he tries to kill Puss, who has just found out he's on his last life, and Moura's voice has a mocking tone as he praises his next intended victim as the "great" Puss in Boots. Moura takes this extra time to accentuate everything he says, to punctuate certain words, particularly his most mocking such as when calling him "Puss in Boots". Moura creates this ideal hectoring figure that instantly establishes Wolf as not only lacking any respect for Puss's reputation but also wanting to ensure he is aware of this mockery. Moura's voice though has a tremendous menace with a certain deep register, that isn't deep in an obvious way rather it creates a guttural sort of growl, that could sound silly yet Moura makes sound absolutely sinister. He makes Wolf's manner genuinely terrifying by presenting everything very much as this delicious, for the lack of a better word, prospect for Wolf as he hunts his prey. That would probably be enough for this to be striking vocal work, but he goes one step more when Wolf wounds Puss, causing Puss to become fearful. The sheer vicious jubilation of Moura's voice as Wolf tastes Puss's fear sells the idea even more than the statement was needed. That sense of someone having a perfect, lustful meal at the moment is felt in every utterance of his voice. What is remarkable about the character and Moura's performance is Wolf actually isn't in the film much, but much like Puss, you never forget that opening scene. To the point when you see him again just in a crowd looking Puss's way, he's genuinely terrifying as a presence. Moura continues to impress as Wolf comes closer to tracking Puss down, literally revealing himself to be death. Moura delivers every word of Wolf's with a bit more frustration and just annoyance, right in his announcement of who he is, as though to affirm that "No Puss I'm just death and you're going to die".  Setting up one of the most epics of duels in recent years and earlier really between Puss and Wolf. Love Moura's final few deliveries as in it he establishes Wolf's change in mind, first in his exasperation at himself for having not killed Puss sooner, before he had matured, and then accepting that Puss can live for now. Moura's delivery though only shifts in that there is now a sense of respect in his voice, the mockery went, though still with a certain sinister chill still showing for it all Wolf still remains as death. Moura nor Wolf have that much screentime or lines, yet they make a tremendous impact. Is a truly captivating and menacing villain, not just as family animated films go, but just as film villains go in general. It is fantastic vocal work and just another reason why Puss in Boots is such a cinematic achievement. 

40 comments:

Luke Higham said...

Louis: Your top 10 English language animated films since 2000.

Anonymous said...

Louis what would be your costume design top ten?

Luke Higham said...

Louis: is this Moura's best work.

Ytrewq Wertyq said...

Probably the only instance in quite some time when a cartoon antagonist actually frightened me, which wouldn't be possible without combined efforts of Moura and a masterful way Wolf is presented here.
I think special shoutouts should go to a darkly humorous way he reveals himself to be Death, as though Moura makes it sound as if he's just a bit too tired of reminding his victims that he is indeed who they think he is, without any metaphors or symbolic meanings involved.

Matt Mustin said...

Gonna see this tomorrow probably and I can't wait.

Tahmeed Chowdhury said...

'You're not living up to the legend, *gato*'

I'm amazed people thought Shrek meets Logan funneled through Spider-Verse could have been a good idea, let alone one of the best films of 2022. Moura's work here is one of the best parts of it, giving the most compelling animated antagonist in ages.

Louis: Your thoughts on the following scenes:
'Fearless Hero'/Opening fight
Panic attack
The orphan lottery
'Live your life, Puss in Boots'

8000S said...

Louis: Your thoughts on the visual style of this movie?

Oliver Menard said...

This film will probably be a 5 for me on rewatch. It really is flawless.

Marcus said...

I love the childish tantrum Wolf throws once he realizes Puss isn't the same braggadocious thief he first encountered. Such a badass, and surprisingly complex performance.

Robert MacFarlane said...

His tantrum translates to “Why the hell did I go and play with my food?!”

Emi Grant said...

On top of that, I love how the film and Moura truly sell it. It could easily fall flat as a "Huh, now I don't wanna kill you" bit of childishness, but it is quite potent to see Wolf realize he's no longer killing the larger than life legend of Puss anymore, he'd just be killing another person, or well... cat.

I'm really surprised at how they actually make that work.

Overjoyed to see the movie be a 5 for you, Louis.

Emi Grant said...

Also, I just re-watched the hot-dog fingers movie and while this may speak to how juvenile I am, I think it held up even better on re-watch.

I initially took issue with a bit of mood whiplash due to some of the gags, but now, outside maybe one or two moments (mainly Waymond talking about the divorce papers in the van before being interrupted) I still think it all remains just as potent.

I'm also glad to see that my theater was pretty much just as packed as it was when I first watched it 7 months ago. I'm really rooting for it to win it all come Oscars time.

Emi Grant said...

ALSO ALSO I've come to appreciate Jamie Lee Curtis' work so much more. Her skills as a character actress really shine throughout the whole thing, especially her early act as the straigh man...ehem, woman to Michelle Yeoh's Evelyn as she's being swallowed by the film's call of adventure.

I think anyone less talented would not have made every single one of her wacky scenes that she treats dead-seriously work. She's a solid 4.5 for me now.

BRAZINTERMA said...

"BRASIL SIL SIL!" (https://www.youtube.com/watch?v=EnLNDuKya04)

I leave you two recommendations with great performances by Wagner Moura: Elite Squad (2007) and Elite Squad 2: The Enemy Within (2010).

Oliver Menard said...

I've also come to appreciate Curtis and Hsu much more on my recent rewatch. The humor of several sequences still doesn't work for me, but I was much more positive towards the cast. Every interaction in the film is well acted and the family dynamic is brilliant. Quan's been my win since the very beginning but I find something else to love about his performance every time.

Michael McCarthy said...

Robert: I looked that up after my fourth time seeing it and CACKLED.

Never thought in a million years I’d be this passionate about a film in the same continuity as Shrek the Third, and about a performance by the guy from Elysium who delivered all his lines like a feral chihuahua.

Robert MacFarlane said...

Michael: Let’s be fair, most of the actors in Elysium were given the direction “Act like a feral chihuahua.”

RatedRStar said...

That whistle....

Louis Morgan said...

Luke:

1. Puss In Boots: The Last Wish
2. Tower
3. Coraline
4. The Incredibles
5. Spider-man: Into the Spider-Verse
6. Ethel and Ernest
7. The Curse of the Were-Rabbit
8. Isle of Dogs
9. Rango
10. Kung Fu Panda

No, Narcos is #1.

Anonymous:

Costume:

My Nominees:

Babylon
Corsage
Everything Everywhere All At Once
The Northman
Three Thousand Years of Longing

Rest of the Top Ten:

6. Mrs. Harris goes to Paris
7. The Batman
8. The Glass Onion
9. Pearl
10. Living

Tahmeed:

Opening - (Okay my one criticism (not a real criticism), is that fearless hero isn't a full song. Anyway, just a fun opening that was appreciated more on re-watch as kind of just a bit of silly joy before where the movie begins, then the giant fight is so creative, where you see such a dynamic way it uses the animation, particularly in creating the size of the giant, also just a great unique design there. )

Panic Attack - (I mean on my first watch, to quote Bad Boys 2, I suddenly knew that in this movie "shit just got real" but really in how genuinely intense the moment is via detail, from the drop of blood, the rise of the hair and Wolf's reaction, which all adds up to make him such a terrifying villain.)

The Orphan Lottery - (The scene that earns Perrito's contrasting cheerfulness, maybe even more so, because of how legitimately dark the story, almost at Jerrid's Silicon Valley backstory, not quite that far, but it is close, which is rather something to say the least. Again on re-watch though, I not only liked Perrito more but found him absolutely necessary for balance.)

Live your Life - (I mean after really one of the most epic of fights, a wonderful respectful acceptance of temporary defeat that is incredibly cathartic, while not quite making it the simple victory it could've been.)

8000's:

As when I wrote about the direction, I love it, and Spider-verse did such a great service to animated films by allowing this mixing of styles that allows for much more dynamic action in particular.

Michael:

And co-written by the writer of Cool Runnings (which I know does have a special place in many hearts, mine included), Little Giants, Bushwhacked and Snow Dogs....I guess you never know.

Bryan L. said...

Louis et al: Any early thoughts on the Best Adapted Screenplay race so far? The main reason I’m asking is because it appears that Women Talking is the current frontrunner, though I think it’s a bit curious that it could actually win when it only got in that category and Best Picture. As in, if the Academy wanted to award the film something, they should’ve nominated in more places.

It feels that All Quiet on The Western Front is being viewed as more of a directors film in the sense that the direction stands out moreso than the script, though that means Berger would’ve gotten in. Maybe Living as a potential upset?

Louis Morgan said...

Bryan:

My prediction is for BAFTA to continue its matching Oscar streak in the category, so either Living or All Quiet unless they both lose to The Quiet Girl, which I doubt. All Quiet seems most likely to me, which has a lot of passion and I'd disagree that it's being looked at as a director's film only, due to the ambition of the Adaptation. Women Talking missing BAFTA and limping into picture, makes me doubt its chances, though it does have a chance just due to getting into picture.

Anonymous said...

Louis: Your thoughts on the screenplay for this film?

Tony Kim said...

Louis: Do you find it more difficult to review vocal performances than live-action performances?

Also, your thoughts on the "Hello, college!" scene in Babylon?

8000S said...

Louis: Your thoughts on the voices of Bryan Cranston, Aaron Paul, Giancarlo Esposito, Bob Odenkirk and Rhea Seehorn.

Anonymous said...

Luke, your rating predictions for all the Lead Actor saves.

Luke Higham said...
This comment has been removed by the author.
Luke Higham said...

5
Park
Skarsgård
Song
Fiennes
Chalamet
Kammerer
Rylance (The Phantom Of The Open)
Bajestani (Very late save so he must be a dark horse)

4.5/5
Pattinson
Rylance (The Outfit, put him here because Louis decided to save him after already rating him)

4.5
Abbott
Farrell (After Yang)
Rao & Charon
Calva
Pope

4
Cage
Cacho
Driver

3.5
Pitt

Anonymous said...

Louis, do you intend to review the rest of your vocal 4.5s at a later stage.

Luke Higham said...

Supporting ranking prediction
1. Dano
2. Quan
3. Gleeson
4. Schuch
5. Keoghan
6. Henry
7. Moura (If Tony Jay could be the highest 4.5 in his year then I don't see why Moura couldn't do it as well)
8. Hoult
9. Redmayne
10. Hirsch
11. Hopkins
12. Bradley
13. Rylance
14. Dano (The Batman)
15. Lynch

Matt Mustin said...

Luke: I don't think Dano is gonna beat Quan.

Luke Higham said...

Matt: I think he still has a chance, I've seen Louis adore the benevolent father role before and Louis said himself it was very close between Quan and Gleeson so I can't doubt the prospect of an upset.

Anonymous said...

I wouldn't rule out Dano either. Louis has had on occasion a passion pick that went against the majority like Ben Foster in Hell Or High Water.

Tahmeed Chowdhury said...

Luke: Quan plays a benevolent father too, and he's also a lot more than that. Not to take anything away from Dano though, he's outstanding there.

Luke Higham said...

I apologise if anyone thought I was downplaying Quan but I could see Dano hitting him even closer to home.

Bryan L. said...

Luke: Rylance in Phantom of The Open has more of a “4.5” feel to it, IMO. I’d bet on The Outfit getting the full Mifune treatment.

Luke Higham said...

Bryan: As long as he gets 1, I'm happy.

Ytrewq Wertyq said...

Judging by how everybody, including people critical of EEAAO and Louis himself has pretty much universally agreed on Quan being the MVP, I think he is going to take the #1 spot nevertheless.

Anonymous said...

I also think Dano will win the overall because of Spielberg's direction. Quan would stay at #2 if not for the Daniels' direction which needed to be a little more nuanced.

Louis Morgan said...

Anonymous:

The screenplay is fantastic in terms of so tautly laying out its stakes, particularly just taking the opening sequence and how quickly into Puss's headspace as the over-the-hill former hero. It spends just enough time with him in retirement, then really just moves forward in the treasure hunt, however, moves forward as great films do. In that, every scene works as a sequence for one reason or another, while naturally exploring and progressing each of the characters. Speaking of, not a wasted character in my mind, first and foremost crafting such a potent and moving arc for Puss himself, however with Perrot and Kitty both being essential within this, and each having their own degree of growth as well that just is so naturally realized. Goldilocks and the Three Bears have their own genuinely moving heel-to-face turn that also is earned and also is quite moving. And then you have Wolf, who doesn't have an arc per se but is just a massively captivating force of natural character. And you even have Big Jack Horner who I think is brilliant because he has an anti-arc, where every revelation for him is he's even worse than you thought, I of course have great affection for Jack talking about his "terrible" childhood. Speaking of that, just great heightened dialogue here, and so many wonderful beats throughout built upon great character interactions, while being very funny, but also moving. And on top of that, so much creativity in the characters and playing with the world and the very idea of fables and fairytales has so much fun with it in the right way.

Tony:

Not really, I do think they make it so you have to very much focus since you are just looking at one aspect of performance.

One of the scenes that I quite like, as bombastic as it is. Love the contrast of trying to get one set up against what we saw with the silent filmmaking montage, which was about the craziness of it but also the "fun" they seemed to have in the process...those who live anyways. This sequence is all about frustration, and I loved how we get that in the sound design that is never quite right, with Robbie's voice not being quite right and creating the built-up tension that just gets worse and worse throughout. Chazelle creates a palatable sense of frustration on every front, building it up till that punchline, which is a bit much, but I think it works.

8000's:

Cranston - (Funny in that his regular voice is a little goofy, very much a "dad" voice for the lack of a better word.)

Paul - (Yo, pretty much sums it up, but perpetually kind of a teenager vibe honestly.)

Esposito - (Well his normal voice actually is a bit like Cranston in very much a goofy "dad" kind
of voice.)

Odenkirk - (Naturally comical in the innate lack of certainty of it.)

Seehorn - (Quite a striking voice in its deepness actually.)

Louis Morgan said...

Anonymous:

Not necessarily.