Tuesday 6 February 2024

Alternate Best Supporting Actor 2023: Milo Machado Graner in Anatomy of a Fall

Milo Machado Graner did not receive an Oscar nomination for portraying Daniel Maleski in Anatomy of a Fall. 

Anatomy of a Fall follows the investigation behind a French man's death from following from his roof whether it be accident, suicide or murder by his German wife Sandra (Sandra Huller). 
Milo Machado Graner plays the key witness of the film, though also is the son of the couple whose relationship is exposed throughout the criminal investigation to see whether or not his mom murdered his father. Graner's performance for the first two thirds of the film is extremely low key. He has scenes though they are almost as though he is a footnote at times, despite an important aspect being mentioned early about the father's guilt over an accident that caused Daniel to become visually impaired. And we largely see him through the scope of a young boy grieving the death of his parents, who is almost hiding within himself to stay away from the pain. The focus of this is very uncinematic, though in a convincing way of realistically just portraying the sorrow of a boy who isn't portrayed as more than he would be. Graner's work skips the obvious pitfalls of the child performance, which is trying to show off too much, though one could be concerned with the other side, which is being too small. Perhaps this would even be a criticism of this performance, it is not, if that was all there was to it, but given his arc this is just an effective way to establish him as just a sad boy not sure how to deal with the situation. His first scene of note, where he's not framed off to the side, hidden under a cover, or just his back, when he must initially testify to what his parents were doing before his father's death. Graner's performance is more infantile in portraying still a state of sadness, and just speaks every word as part of that as he doesn't know where he was precisely when the death occurred. His initial testimony to the court is meek and retiring as he speaks his little bit of information without a great deal of confidence within the court. For a great deal of the film Graner is more referred to then seen until the final act of the film, after much as been revealed of the couples hardships, including much information that Sandra's defense team is using to allege that Daniel's father committed suicide. Before then we just have brief glimpses where Graner's performance again is still very subdued but works certainly in creating the sense of uncertainty in the boy who honestly doesn't know what to think with the revelations for much of the time. 

This may sound like I am criticizing his performance up until this point, but I'm not. It works in building towards making an impact by his final scenes where suddenly Daniel becomes very active in the trial, by taking the information he learned to recontextualize an earlier incident where his dog Snoop got sick, which he in a rather foolhardy attempt tries to recreate the event. Graner's performance is great in bringing to life just the immediate intense worry of a kid concerned with his dog, but a bit more complicated than that. There's also kind of a twinge of a fearful mania in his performance that indicates the motivation behind it, as his experiment was an attempt to prove that his father had potentially tried to commit suicide earlier by taking pills. We find this out in his explanation scene which again Graner is great and completely captivating in bringing such a sudden sense of his very real concern for his mother, and desperate need to try to figure out the truth. His performance has just a powerful emotional distress that is so powerful because Graner's work always feels that of a lost child trying to figure things out, as it isn't clean, it is a very messy emotion but more than anything convinces you of Daniel's rather extreme measure. We then see him explain it to the court where Graner's work is particularly effective by naturally showing his growth through the film through his much more confident delivery this time as compared to his first testimony. Graner doesn't go overboard with it, but speaks it truly as just something he knows more than anything. Something that he follows up in explaining what his dad had said to him, that indicated his suicidal thoughts, where Graner's very modest yet potent approach to the speech gives this sense of clarity though also sadness. A different kind though than we saw as the just sorrowful boy in the early scenes, and instead while still sad, though now with acceptance of the sadness rather than simply pain. It is impressive work from the young actor because he does create an arc as he goes from just depression with suspicion, to acceptance with love for his mother, and Graner makes this journey tangible and most importantly believable. 

20 comments:

Luke Higham said...

Louis: Thoughts on Stone in Poor Things.

Lucas Saavedra said...

Louis: I think you accidentally rated this film 5 stars on LB instead of 4

Anonymous said...

Louis what would be your Costume Design Top Ten?

Robert MacFarlane said...

He's a actually a 5 for me. Astonishing work.

Robert MacFarlane said...

Also, have we talked about Mesi, the dog playing Snoop? How the fuck did they train a dog to do that?

Bryan L. said...

Louis: Your thoughts on the direction for Society of the Snow.

Luke Higham said...

Louis: Ratings and thoughts on the cast of The End We Start From.

Emi Grant said...

Possibly my favorite child performance since Hayley Joel Osment in The Sixth Sense. This kid was amazing.

Tony Kim said...

Louis, your thoughts on these KOTFM scenes?

Lizzie's final vision
That's a paddlin'
Mollie meets with a priest
The fire

8000S said...

Louis: Your thoughts on this deleted scene from The Incredibles 2.

https://www.youtube.com/watch?v=U17ZxOrtWQU

RatedRStar said...

Haven't covered these in years but it is lovely to see Tony Leung Chiu-Wai get his first Hong Kong Film Nomination for Best Actor in a decade.

GM said...

My request is Fred Ward in Miami Blues.

Deiner said...

I really like his performance as well.

Anonymous said...

Louis: thoughts on the trailer(s) for Love Lies Bleeding?

Tony Kim said...
This comment has been removed by the author.
Tony Kim said...

Anon: He gave them here - https://actoroscar.blogspot.com/2023/12/best-actor-backlog-volume-5.html

8000S: I think he's going to start answering questions like that again after the alternate results.

On that note, Louis, I'll retract my previous KOTFM questions if you're planning on answering them at the aforementioned juncture, so you don't have to respond right away.

Robert MacFarlane said...

Louis: You plan to watch Wish at all?

Louis Morgan said...

Luke:

Stone's performance begins on its biggest ledge which is the baby talk Bella where honestly could've gone to Nell territory so easily, however Stone goes for it in a way that totally works. Helps that it's supposed to be funny, and funny she is in bringing such severe intensity to the act, though also weirdly earnest in portraying this child's excitement, albeit doing it in the most extreme ways at times. Her second act of the puberty stricken Bella essentially though is truly going for it in the sexual aggression, that is also very funny in playing the moments of Bella being overly blunt and really all in on everything whenever she has the chance to. Stone again manages it in a way that manages to play into the comedy while still conveying this evolution of the character creating the sense of being so intrigued towards what can be explored with Duncan, if also at its most extreme. Playing then her bluntness brilliantly as she reacts to society by again playing the twisted note somehow in a way that feels completely natural to her crafting of Bella. Love for example the dance scene in part just for her build up to the dance where you sense just for a moment a growing mind seeing a new experiment and embracing for all its worth. Although also just funny in her way of petulantly reacting to Duncan's attempts at constriction if also having the start of this certain ferocity. Her next turn was finding the embracing of a different construction of philosophy as exposed to knowledge and different ideas. Moments now where there is some real purity in the moments of heartache in the truth, but also this spirited embrace of other moments. Stone though naturally becoming more articulated though now with this manner of someone searching if not quite finding it. Before segueing to her Parisian version again where she mixes attempted sincerity though with also still confusion, presenting sort of this partial expertise where she finds slightly more existential chaos, if also this growing dominance of her work. Which all comes together in the final act, where Stone is in absolute control in every moment, in just exuding such natural power of every moment, though not just being cutting, blunt, but also in sort of emotional intelligence. Bringing such an honest emotion in her final scenes with Dafoe that truly show the full maturity, along with the ferocity that is completely controlled in her scenes with Abbott, completely earning her final scene of portraying this sudden ease of contentment. Earning the entire journey, where there aren't specific switches but this natural evolution of Bella, that isn't traditionally how maturity works but there is a consistent logic within this skewed format. Stone doing it all in crafting one brilliant moment after another, that is very funny, but also in the end quite moving. Just stellar work. 

Louis Morgan said...

Comer - 4(She's good at playing the given intense emotion you can name or guess would be in the film. The problem is the writing and direction is so weird at times, where its tone just seems off so Comer has to try to pull together a scene that doesn't make sense for where her character should be at this point. She's always bringing the conviction of the mother trying to maintain her strength and her reactions are consistently filled with emotion. Just so many moments seem like missed opportunities or are frankly just weird. The worst being her character making kind of a bizarre decision that is poorly built to, and Comer does struggle a bit to sell, given her level of talent, I'm not sure who could've honestly. She's still always good, just a waste of an opportunity.)

Fry - 3.5(I entirely liked his performance and his chemistry with Comer, but it is just one where they cut him off just as he's getting really interesting. As he effectively goes from a charming guy to just a completely distraught man stuck in his sorrows. It's a shame the film lets him down but he delivers on his end.)

Waterston - 3.5(Again a failure in writing as her character goes all in suddenly in a way that was not earned at all. But in terms of her own work I felt Waterston brought an emotional honesty to her work regardless if rather imperfect.)

Cumberbatch - 3.5(The least hurt by the writing since he just has a quick bit as essentially Guy Pearce from the Road. Regardless, it is good honest work from him. He doesn't put on any frills, just genuine emotional distress but also mixed with a kind of fortitude. Altogether a moving performance if just a quick one overall.)

Louis Morgan said...

Anonymous:

Costumes:

My Nominees:

Barbie
Cobweb
Killers of the Flower Moon
Napoleon
Poor Things

Rest of the Top Ten:

6. Asteroid City
7. Promised Land
8. The Killer
9. The Wonderful World of Henry Sugar
10. Priscilla

Bryan:

Bayona ought to stay far from the blockbuster, though I'd say in some ways this was blockbuster type direction. As the scope of the mountains is something he focuses upon, creating really the vastness which he brilliantly contrasts by truly making us feel the claustrophobia and coldness of the small plane cabin. Creating through sound, cinematography, and makeup the real sense of the exhaustive nature of this place. And I think his work expands with the specifics of the use of score, snubbed by the way, in creating this strange spiritual quality of being marooned in the place, as almost being strangely out of time and out of normal society in this place. Amplified by the subdued and haunting narration. And while I still couldn't name every character separately, his ability to frame each character in those groups' moments is just spectacular. It feels crowded but never looks crowded. It is excellent visceral work every moment of the film, that eventually though I think earns its final switch to cathartic work, in not going overboard, but allowing the emotion to be very direct in the rescue sequence.

Tony:

I'll start with two. Don't mind covering 2023 related questions at this time.
I mean if a scene is pure Scorsese, it works and Lizzie's final vision is one such scene that is just dependent on his haunting use of little sound and just the simple beckoning of the tribe that is a haunting moment that is reminiscent of similar moments of Silence.

That's a Paddlin' is worth a Paddlin' in that I do think it could be cut, though I like De Niro in the scene. We get some over the top physical anguish acting from DiCaprio though, and it goes all into the Blackie Thompson stuff, which isn't that actor's fault, it's just so much time feels devoted to a connecting plot point that just isn't particularly engaging on the whole.

Robert:

Wasn't really planning on it, since I haven't seen anyone go to bat for it, nor does it sound like a glorious disaster either.