Alternate Best Actor 1998: Bob Hoskins in TwentyFourSeven

Bob Hoskins did not receive an Oscar nomination for portraying Alan Darcy in TwentyFourSeven. 

Twenty Four Seven takes a scattershot approach to depicting a local man trying to improve his community by getting young troublemakers to find meaning through a boxing club. 

The great Bob Hoskins plays the local man with the dream, which this film doesn't depict in the way you'd expect for your typical sports drama, as it very much has this wavering focus to the film, randomly taking time with different members of the community to attempt to create an overall portrait of the town. Hoskins *is* the lead however this is an instance where he's the lead with relatively limited screen time, as someone the film always comes back to as the driving force, but frequently cuts from to check what that impact is in various ways. Hoskins thrives right into this role as Alan who as a character looks and perhaps, given his love of Rocky, envisions himself as a bit of a Mickey from Rocky. From wearing his cap to just his hardscrabble manner Hoskins very much presents himself as a man almost living his life to be Mickey. Something that is indirectly commented on by his enthusiasm in which he states that Stallone definitely ate all the eggs in Rocky regardless or not it was a film. Hoskins carries an endearing energy here in this rough and tumble way, which like all his best work does carry such a powerful presence. A presence here that is used for rather different ends, as the intention of ole Alan at this point is just to try to make his town a better place. 

Hosking brings this positivity then in a way that feels very much earned, just because there is just a rough truth to the way he speaks, even as Hoskins basically gives every statement this innate silver lining to make it sparkle just that much more. In a way that manages to make the inspiration that much more honest, seeming because of the grizzled messenger yet very passionate one. A passion he brings so potently where he sells his idea two different ways each though presented with a different accentuation with his performance. When selling it to the town officials Hoskins brings such a bright optimism to his expression and his voice of someone selling this idealized virtue of what can be accomplished. While there is no lie in anything Hoskins is doing, just a true belief that his boxing club will change lives. When coming across the boys by challenging them to a bet match to get them to go to his club, Hoskins presents himself with the same passion but now accentuating the rough, tumble and blunt nature of the man. Alan very much uses his background to communicate with the boys and get down to the core of it to persuade them through his own knowledge of lives like theirs. 

The film then progresses as an inspirational sports story which far more asides to check in with the different random people the story is impacting. All of which we see Alan/Hoskins as this hopeful guide. Hoskins is beaming in every one of the different training sequences where he brings this easy combination of intensity for getting the young men ready for the sport, with this joyful manner of someone truly having pride in this experience. Hoskins makes it believable about this positive impact that it is all making because he offers such sincerity as the spokesman where it isn't just the sport, it is everything that it can offer. Hoskins sinks his teeth into every second and it is easy to experience the joy of performance within what he is doing by cultivating that joy into every single second of screen time we share with him. Hoskins makes it difficult not to get a little yourself watching him because Hoskins so effectively and effortlessly brings to life the spirit behind the whole notion of the film. There's not a forced second or instance in any of it, it is merely the truth of what Alan is establishing because Hoskins makes it all so absolutely genuine while also just being wholly captivating in that way which is so specifically that idiosyncratic presence of Hoskins. 

The story mostly moves along as expected as it seems to be working, the team seems to be getting better, Alan is helping the young men work out the rough patches, group together as a community and grow even a few setbacks. At the same time this progress is marked with conversations with a local woman where Hoskins carries in part the excitement about the team with different updates where in Hoskins carries the right tinge of awkwardness as he alludes to his infatuation with her even as he keeps it to the updates. Eventually leading to asking her out slightly indirectly with a drink where Hoskins is great in the sudden nervousness in the usual confidence Alan, and Hoskins brings so much anxiety even as he maintains the smile as though he's ready to push the idea aside as just some pipedream. When she agrees though the joy is contagious with Hoskins, though circumstances lead to him not getting to the drink and Alan to apologize for missing it again with the bright delivery that goes away only when she walks away from the conversation. Hoskins is amazing in this scene suddenly as that joy is lost in his face, he starts quietly speaking to himself in mock conversation and just is reeking in the pained vulnerability. Hoskins being absolutely brilliant in the moment in bringing that power to Alan's insecurity, and shows the heart in the rough man that he was always able to excel with as a performer. I would say the film's last act is easily my least favorite part, almost as though to get "cred" by refusing a straightforward happy ending, which I think in this instance would've been fine. Instead we have the first big boxing showcase for the team that goes at first but eventually devolves into violence leading a parent of one of the young men to pester Alan for the "failure" of his idea, leading Alan to mercilessly beat the man. Hoskins entirely carries the scene and is of course convincing in showing the moment of having the match lit. He's even better in the following scene of Alan just sitting in his shame and Hoskins says all the man is going through in regretting what he has done and his dream being crushed as he just looks on silently. It is great work from a great actor, though I don't think it was truly necessary for this story. Regardless even with that element, which is on the film not Hoskins who carries it like he does every other moment, this is terrific work from Hoskins, being an unlikely but convincing inspirational force for good and making the most of every little sliver that lets us in on the man's own insecurities. 

Alternate Best Actor 1998: Peter Mullan in My Name is Joe

Peter Mullan did not receive an Oscar nomination for portraying Joe Kavanagh in My Name is Joe.
 

My Name is Joe follows a former drinker as he tries to rebuild his life and romance a health worker Sarah (Louise Goodall).

Peter Mullan plays the titular role of Joe, and is an actor who provides an immediate authenticity to a role, that's the case here as the working class guy attending an Alcoholics Anonymous, and is so authentic that I'll admit I might've struggled to entirely understand every word coming out of his mouth. And usually I scoff when some individuals claim they can't understand the actors in films like Banshees of Inisherin or Trainspotting, but this time I'll admit I was challenged in this opening anyways as he goes over his experiences up until this point. Thankfully it began to clear up for me as soon as I could actually see Mullan and he finished his speech about where he's been and where he is now. Mullan brings this sense of a seasoned history of tough stories and difficult times in this moment, but a clarity in the conversation with hopeful accentuation as he speaks about it. Mullan expresses this as a man who has been here before, has maybe said some variation of this before, and there is a strong belief in every moment of a man who has been through a lot but is ready to move forward. And after this point the film kind of jumps right into an unexpected beat as we mostly follow Joe in a day to day situation, where mostly Mullan has to be more charming than anything else as we see Joe coaching, messing with friends, and even the lower end criminal nature of them is largely downplayed as it seems to want us to see Joe just living his life. 

Well in living his life Mullan is indeed very charming and brings a great deal of bright energy in the part. Showing a man who is very much going about embracing life after his hardships and seeming ready to be his best self around everyone else. Mullan has an easy manner in these scenes bringing this natural calm and real sense of joy with the man just going to enjoy life as he can and as he should. Mullan successfully takes it a step further as we see Joe going about trying to help all his fringe friends in his own ways, with just his general impassioned demeanor, if in a very modest way, that completely works in Mullan's hands. He makes it completely convincing every step of the way that it is hard not to find Joe quite likeable with just how much earned brightness that Mullan brings. The man is a man who empathizes and supports first before anything else, and Mullan manages to play this in a way that always feels honest to a man overcoming his past, in fact seems to inform his manner that shows someone who might be enjoying life a bit more than anyone else because he's already been so much terrible events that he's ready to enjoy the good things in life. Mullan carries that specific energy with such an honesty that just as much as I came in expecting to believe him as a man who struggled with alcohol, I much more so was surprised by how much I believed him as a man basically rejecting sadness that was so pervasive for him as he now enjoys his life.
 

Something that I think is essential as the film goes into what is a large portion of the film is his chemistry with Sarah the health worker who quite obviously comes from a very different background and lifestyle than Joe. A romance that could easily have not been convincing by that setup however one immediately can believe it because of that energy that Mullan is exuding where he really just is so charming and outgoing in such a humble way. Mullan is so incredibly endearing that you don't have to buy into the romance, one can simply accept it as Sarah and Joe become closer. Closer in a way where the two of them are so believable in the specific chemistry they develop that isn't about this intense romance, rather this ease of each other's company that is so beautifully realized. You see them just enjoying spending this time together every moment they are with one another, whether it is just spending time casually, or eventually having sex with one another. The two are so playful that it is surprising, but in a way that totally works in exploring the two kinds of finding each other's best natures. They just have that authentic sense of connection that Mullan doesn't at all seem like the rough character we often know him to be and with Sarah we see a truly loving man that just feels genuine in the best possible way. 

That isn't to say that this performance is all joy and happiness, though much more of it than I would have gathered given the pained roles Mullan often plays, and Mullan has a standout moment in a scene where Sarah finally asks about his alcoholism. And Mullan is simply incredible as he goes about speaking first with such a meek delivery as we see the very real fear in his eyes that he'll think Sarah will hate him once she learns the truth about him. When he finally tells the story, love everything Mullan does from his finger tapping his head to just the sort of way he's looking in remembering it as uncovering the dust of this great pain with his delivery featuring such a potent such of the heartbreak of his memories as he notes that not only was he drunk, he was violent. Something we flashback to as we see the rage of the old Joe at his old girlfriend, and as with any time we see violent Mullan, he is indeed absolutely terrifying in the intensity he can unleash in a performance. The animalistic rage in Mullan's performance as a man just got lost in himself, in contrast to the man looking back with this somber understanding of this as something that he essentially fears within himself as much as he seemingly has moved past it. And after this great scene for Mullan is where the film somewhat fell apart for me in getting into the contrived plot over the side characters that ends creating a wedge between Joe and Sarah, leading him into a violent confrontation and a different tragedy to deal with. All of these moments are still well acted by Mullan, he never loses the character, but the way in which Joe is forced into each situation does feel a touch contrived because it suddenly feels so plot driven rather than character driven. Mullan is very strong in these moments, particularly a scene of failed proposal where Mullan brings such a sense of the character just wanting to affirm that happiness and the shyness he brings feels so natural as he tries to ease off it. Or even in the most melodramatic moments of a reverting to his violent alcoholic ways, Mullan delivers every moment of intensity you would want and keeps a potency in these scenes even as the writing flounders more than a little. Mullan remains captivating by keeping the essential honesty within his performance even as the writing begins to make the whole film feel less honest. Mullan proving his measure in this leading role, and leading no surprise why this moved him beyond the minor character roles he had played previously.

Alternate Best Actor 1998: Vinícius de Oliveira in Central Station

Vinícius de Oliveira did not receive an Oscar nomination for portraying Josué in Central Station.

Central Station tells the unlikely pairing of Dora (Fernando Montenegro), an older somewhat curmudgeonly former school teacher who writes letters for illiterate people, and a recently orphaned boy she's trying to help find his father.

Vinícius de Oliveira's Josué is the boy that we first see as his mother "buys" a letter from Dora, and what he immediately sees are the sides of his performance which I think one could use as a great illustration between screen presence and acting, so to speak. de Oliveira definitely has presence from this opening scene, he "pops" for the lack of a better word, by having an ease on screen and it is easy to see why he was chosen for the part. He comes through the screen effectively and gets over the first hurdle of cinematic child acting by not being a non-entity. What you also get is really the two bits of "acting" that de Oliveira typically delivers, in which there are some limitations. Part of his performance is as the blunt kid of the streets, where de Oliveira I wouldn't say has a flat delivery, but his delivery is always pretty similar regardless of the line. This largely works with the character who likes to speak his mind in a very straightforward way, and de Oliveira conveys that in that specific way, albeit I wouldn't say there is all that much nuance from one delivery to the next. It works, but it also suggests certain limitations with his performance, a limitation however that director Walter Salles seems rather aware of and how to make use of de Oliveira.   

The other side of de Oliveira is portraying the emotional distress that the character is going through from the loss of his mother, and going through the trauma of trying to move on from that. And again not to be overly cynical, but this is a case where the emotion seems fundamentally attached to editing, to explain. de Oliveira has emotional moments, however these are always attached to specific cuts to his face often with some tears, starting to tear up or even the occasional single dramatic tear. We never really see the build up to the emotion, or the progression to it, something we do see consistently brilliantly from Montenegro in contrast. I'm not saying Salles put an onion in front of de Oliveira before each take, but the way it is presented within his performance, is a very limited emotion that doesn't draw one in as the best performance can and should show the progression of it. I think the ending is very telling especially because of the direct contrast between Montenegro, where the camera sits on her for extended periods as we see different things going through her mind, for de Oliveira there' s a jump each cut, and each time it is a separate state of sadness without a natural progression within the single shots. Performances are often said to be created in editing, however this is a particularly extreme example, and because it is so obviously noticeable it did limit the power of the work.

What supports my critique is that throughout the film de Oliveira is kind of either his basic sort of cocky comical version of the orphan or he has his sad moments. There is very little in-between in his performance. He's either one or the other, usually the former and because of that we don't really ever sense any internalization of him thinking about his mom's death, covering it up with his bluster, or any sort of combination of the qualities. Salles however does seem very aware of this fact, not just because of the editing around the emotional moments of his performance, but also that Salles very much puts the weight of almost every scene of Montenegro, who is amazing and easily keeps the every scene going either by finding so much emotional nuance in this journey, or just being charismatic and entertaining in such a natural way. She very much knows how to work around de Oliveira, who does have presence, with Montenegro playing off that presence beautifully. The journey and the connection though are brought to life by Montenegro's brilliance, de Oliveira doesn't slow it down or get in the way, but he doesn't carry it. de Oliveira keeps largely just that presence which is of a boy who wants to impress, perhaps as character and actor, regardless of the specifics it does work, though even in these scenes he rarely does anything new in presenting the character's bluntness, just the consistent thing he does manages to work. de Oliveira is endearing enough, he never gets in the way of a moment of a scene, but never does he carry one. He gets by in the emotional scenes, he has fun in the entertaining ones, but never did I sense a nuanced emotional journey within his own work. Thanks to Montenegro and Salles the performance is more or less successful, and yes every performance is a combination of an actor and director, however this is a case where that is lopsided, but more importantly it is obvious within what is onscreen itself that it is lopsided.