Alternate Best Actor 2004: Mads Mikkelsen in Pusher II

Mads Mikkelsen did not receive an Oscar nomination for portraying Tonny in Pusher II. 

Pusher II is a unique sequel that changes protagonists to one of the supporting characters from the first film, while also including other key characters from that film. 

The great Mads Mikkelsen was that supporting character in the first film and honestly the standout, albeit very briefly, in that film as the joyful and manic buddy of the main character, who leaves poor Tonny beaten. We jump into Tonny’s story within prison where he is awaiting release and we see a very different man from the one we saw in the original film. Mikkelsen however did not forget how to play Tonny rather what we sense is the experience of life on his character and his performance here being a natural extension of that. The signs of the more manic Tonny are in and around moments in Mikkelsen’s performance, as when he gets excited in the few moments that he is allowed of that, we see that same zest for life with perhaps foolishness in so firmly buying into the notion for a moment, such as when we see Tonny steal a car thinking it will be an impressive act. Beyond that however we see a man having gotten more than a few lessons from life, someone who most certainly was beaten by his best friend and has spent a few years in prison. Mikkelsen wears this history within him from his opening scene, where there’s the glint of an old smile but even that is something quickly drifting off when faced with the reality of his life. 

We follow Tonny as he leaves prison and attempts to reconnect with his small-time crime boss father the duke. A scene that is all about Mikkelsen’s performance in creating the relationship between Tonny and his dad. As when he comes in Mikkelsen brings a combination between a certain shyness, shame but also an eagerness. Mikkelsen shows Tonny wanting to connect with his father, but you also see the weight of a lack of connection. Something that becomes very clear as his father almost immediately begins to disregard Tonny and only halfheartedly takes on his own son as one of his men to commit crimes. Mikkelsen is fantastic in the way he so easily brings us into the headspace of Tonny in these interactions. Mikkelsen brings so much internalized pain in just every glance of hoping for any kind of approval, the eagerness to try to speak towards him with warmth, but a downturned brow that repeatedly emphasizes a man who has learned only to be a disappointment. Mikkelsen shows us the landscape of the man just eking out not just a living but really the life of a son as his dad allows him to be near him, however even that the dad treats as an inconvenience barely even a duty. 

As the film progresses we see Tonny work the menial jobs, within the criminal organization, which include a robbery where in the getaway Tonny doesn't even get a seat in the car, just the trunk. Mikkelsen in these moments brings such a sadness to it that really amplifies because as much as we see the little smiles outwardly towards his dad these are between the quiet frustrations. Mikkelsen makes it much more heartbreaking because you see that Tonny does understand what is going on yet so much wants to hold onto any idea that his father will be a good man throughout these moments. Mikkelsen’s eyes showing someone looking for those moments only to have them dashed again and again, where Mikkelsen brings such power in showing the glint of hope fading as frustrations mount. Something that is exacerbated as his father not only continues to mistreat Tonny, he also shows constant favor towards Tonny’s younger half brother, as essentially the son that he always wanted in comparison to the obligation of Tonny. 

Speaking of father and sons, the most poignant element of the film is as Tonny is confronted by his old girlfriend that he has a son of his own. Although her presentation of this is with as little warmth as possible as she is very direct in just wanting the child support from him. Mikkelsen is great in portraying the initial reaction as surprise with maybe a small bit of frustration however within it you can see a quiet urge towards someone finding more within looking at his son. Something that expands in each subsequent interaction where Mikkelsen with such modesty yet power reveals the best of Tonny as he spends time with his infant son. There’s a growing warmth in Mikkelsen but also his presence suddenly exudes a greater maturity and even satisfaction in these moments. You see a man who has any kind of real purpose that isn’t just trying to impress his father. Tonny however still lives in a toxic world, which includes his son’s mother who also is a drug addict and at times reveals herself to be as careless as anyone else. The later scenes of the film become the natural revelation to what Mikkelsen has expressed within his work for the rest of the film. His journey with his father leads only his father to make a truly wretched request for Tonny to murder a woman. Tonny initially agrees to which Mikkelsen presents as the most desperate last ditch effort to please his dad, even though in his eyes undercutting any notion that he can go through it. Something we see reflected when he goes to the woman and Mikkelsen’s terrific in playing the immediate anxiety within himself that leads him to egress from the scene leading to a confrontation with his father. A scene where Mikkelsen delivers the rage of Tonny so convincingly of not just the moment of rejecting the heinous act but the years of being put down as a lesser son. We see the same in regards to his son with two different acts. The first being Tonny doing what he knows, and Mikkelsen effectively plays it with the raw visceral energy of a man in a violent world when he lashes out at his son’s mother for doing drugs instead of minding their son. His reaction is the same violence he knows with Mikkelsen emphasizing that lack of thought. His final act though is different, although the good intention is there for both in caring for his son, the second it isn’t violence just taking his son out of the environment. A silence sequence where the emotion is potent just in Mikkelsen’s reactions throughout shows Lonny not only being a father, showing warmth and care, but also in his eyes there is also being a man without violence quietly embracing the potential for something better. What can one say but yes Mads Mikkelsen is terrific once again. Finding all the nuance in the role and naturalizing realizing the humanity of the violent “thug”.