David Strathairn did not receive an Oscar nomination for portraying Bill in A Little Prayer.
David Strathairn had a low key but actually fairly remarkable 2025, although in part from two of those films, including this one’s, delayed releases, regardless making the most of three very different roles. Whether that is playing the game show producer who sees his gamble go astray in The Luckiest Man in America, a role that would’ve been easy to play simplistic jerk note but Strathairn found quite a bit of complication within that part, as well as even his work in Zootopia 2. Strathairn was not just cashing a VO paycheck with that, giving his all to really put the lynx in a billionaire villain lynx for all that it was worth. But his most remarkable work is his extremely low key performance in in this film as the patriarch of a seemingly close knit family with his reenactor wife, Venida (Celia Weston), his son David (Will Pullen) whom he runs the family business with and his daughter-in-law Tammy (Jane Levy). Strathairn in the early scenes brings a nice ease of place and exudes very much the history of his Bill. Which is just a man who lives for his family and has been through some things but we just sense someone who is seemingly mostly at ease with his life. Strathairn brings this innate subdued warmth about him, particularly in his interactions early on with Tammy where he shows just a genuine care for her.
Strathairn’s performance then becomes one of the leads though within an observational place as we follow Bill within his workplace and notices his son acting a bit strangely with one of their employees. Strathairn does a lot with his eyes here in conveying the thoughts that Bill is going through and does bring something really in basically any glance. Completely conveying the determination that his son is sleeping around on his wife. Strathairn’s reaction initially I think manages to say a great deal because the reaction isn’t of extreme horror rather of this quiet disappointment in the realization. And within the realization Strathairn has a degree of exasperation in his eyes of not a man fed up with his son but rather too much of an awareness of the failings of his son, or at least to a degree that he is aware of. So when he attempts an initial attempt to talk to David about his behavior, Strathairn’s delivery is very modest but very earnest. There’s less of trying to punish his son as he converses with him and more so trying to talk to him in regards to what he sees as the value of Tammy in the family. Unfortunately the conversation goes nowhere as David shuts it down by saying it is none of Bill’s business, and Strathairn’s quiet defeat is a defeat of years of dealing with a son who seemingly rejects his father’s advice on a consistent basis.
We follow Bill then as he tries to uncover more information about what his son has been doing and unfortunately for him this eventually leads to a conversation with the woman his son is having the affair with which only reveals that David is even worse than he thought as she reveals that David also was verbally and physically abusive towards her. Strathairn’s reactionary work is incredibly moving because you see within his quiet distress there’s such pain and more than a bit of shame that David is his son. Strathairn carefully not presents this as a reaction of superiority rather just the sense of being lost, not lost for words how his son could be such a bad person but rather lost how he could raise such a son. Well this is going concurrently Tammy also having figured out David’s infidelity chose to abort their child, and eventually Tammy and Bill meetup to discuss the situation by spending the day together. This is the best scene in the film as both Strathairn and Levy are great together.
What is so remarkable is the way they are able to create such a unique yet winning chemistry with one another. Which isn’t romantic yet is filled with such a sense of warmth and Strathairn’s great in showing how her presence in a way seems to illuminate and inspire the best of Bill. Creating the important sense of additional motivation in Bill initially to fix the relationship because within Strathairn’s performance you see the strong uncomplicated love for Tammy that Bill no doubt would want to have for his son, yet his son’s deep flaw can never allow for such simplicity. Strathairn finds such poignant chemistry with Levy in their conversation where he actually ends up advising her to leave. In Strathairn’s delivery there is a powerful combination of conviction of his sentiment of every word as the right thing but with the underlying burden of knowing this will end the relationship with someone he has come to deeply care for. An element that only becomes all the more painful when Tammy admits her connection with Bill as a “kindred spirit” and Strathairn’s reaction to this “confession” is heartbreaking because you see in his calm yet still devastated expression of someone feeling every bit of this loss that is only amplified by seeing that her love for him has been as great for him. It is a beautifully rendered scene by both actors where they create such a state of pure sincerity where all the complications involving David is still weighing on both, yet the direct honesty of the real affection between the two makes it far from just a moment of mutual suffering. It is with that specific shared spark of joy that leaves such a memorable impression so naturally realized by both actors as a true connection. While this whole performance is naturally realized by the talents of Strathairn, a performer who is always a welcome presence and hopefully we get a few more filmmakers to utilize this in the upcoming years.


33 comments:
1. O'Connor
2. Aramayo
3. O'Brien
4. Dillane
5. Strathairn
1. Lee
2. Edgerton
3. Plemons
4. Johnson
5. Mescal
1. O'Connor
2. Aramayo
3. Dillane
4. O'Brien
5. Strathairn
He’s wonderful and agreed on the final scene being what really ties it all together (a little bit like Driveways in that regard).
God how I’d love if John Sayles came out of retirement to work with him one more time. Louis, who are some other directors you’d like to see Strathairn work with? I suppose PTA is one I’m surprised he’s never worked with.
1. Aramayo
2. O'Connor
3. O'Brien
4. Dillane
5. Strathairn
His last conversation with David was the one that really got to me. The level of revulsion, sadness and anger he was able to convey without taking on an “angry” tone felt so painfully real.
Louis: If you considered A Little Prayer, The Beast, and Sing Sing as films of 2023, where would Strathairn, MacKay, Domingo, and Maclin in your ranks?
1) O'Connor
2) Aramayo
3) Urchin
4) O'brien
5) Strathairn
1) Lee
2) Mescal
3) Johnson
4) Edgerton
5) Plemons
On another note, i have finally been watching the first Season of Six Feet Under, which ... can be slow. The first half is not the most plot-focused, and some of the deaths don't tie into the plot too well thematically.
I am still a little mixed, it is entertaining with some TERRIFIC dark humor, but there is one specific character who is drawn in a way too overdramatic way that doesn't fit all the other scenes.
Just so you get the idea, the character dynamics, the humor, the overall athmosphere, the look and even the music are clearly trying to emulate American Beauty.
Billy is a psychotic stalker one step away from becoming John Doe.
It REALLY doesn't match. Hope they tone him down in future seasons.
MVP Frances Conroy
Wonderful performance.
Louis: Is Levy still a 4, and thoughts on the script?
1. O'Connor
2. Aramayo
3. O'Brien
4. Dillane
5. Strathairn
1. Lee
2. Edgerton
3. Plemons
4. Mescal
5. Jonsson
Louis: What are your thoughts on Kenny Rasmussen in The Plague and Lewis Pullman in Thunderbolts?
1. Lee
2. Edgerton
3. Plemons
4. Jonsson
5. Mescal
1. O'Connor
2. Aramayo
3. Dillane
4. O'Brien
5. Straithairn
He’s excellent, but I liked Levy even more. She was like a more introverted version of Adams in Junebug. I really hope she starts getting bigger and better roles, it’s been a long time coming.
Levy was wonderful. Keep thinking I should've probably put her in my personal lineup.
1. Lee
2. Edgerton
3. Plemons
4. Johnson
5. Mescal
1. O'Connor
2. Aramayo
3. Dillane
4. Strathairn
5. O'Brien
Robert: I’ve always thought she has an Emma Stonesque vibe/energy in what I’ve seen from her.
Always good to see Strathairn in the blog. Will keep this one in my watchlist.
1. Lee
2. Edgerton
3. Jonsson
4. Plemons
5. Mescal
1. O'Connor
2. Aramayo
3. Dillane
4. Strathairn
5. O'Byrne
1. O'Connor
2. Aramayo
3. Dillane
4. Strathairn
5. O'Brien
Luke, which 5 films from the remaining bonus rounds do you most look forward to getting Louis' opinion on.
1. Fanny And Alexander
2. Fitzcarraldo (82 is my most anticipated year for those 2 alone)
3. The Diving Bell And The Butterfly
4. Ivan's Childhood/Solaris
5. The World Of Apu
Tokyo Story would be at #6.
Louis: Ratings and thoughts on the cast of The Last One for the Road.
This is my favorite film of the year and I'd give Straitharn and Levy Oscar wins if I could. What were your thoughts on the rest of the cast?
RIP James Van Der Beek
RIP James Van Der Beek and Bud Cort
RIP Bud Cort
RIP James Van Der Beek and Bud Cort
R.I.P. James Van Der Beek and Bud Cort
Rest In Peace James Van Der Beek. So devastating. He fought a good fight.
Rest In Peace Bud Cort. Another actor just under 80, gone too soon.
Placeholder: To find his thoughts on the ALP cast, I'd suggest going to this link and pressing ctrl+F for "Levy". https://actoroscar.blogspot.com/2026/01/alternate-best-actor-1979-john-heard-in.html
Haven't seen this but Strathairn is a fantastic actor (recently rewatched Good Night and Good Luck and it is *nuts* how perfectly cast he is there) and I'm glad to see him in another lead role.
Calvin:
Scorsese, Wes Anderson (great voice for narration), PTA, or Nolan.
Harris:
I’d move her up to a 4.5.
The screenplay I think works best in creating the articulation of the quandary of both Bill and Tammy and basically building to that final scene. That final scene is beautifully written and manages to capture a very tricky connection so poignantly. The other elements such as the scenes of the mother’s job and moments don’t add up to too much and as curiosities they are more fine than really create a great texture. I will also say the son character is maybe overly uninteresting and it seems when MacLachlan writes a bad person he makes them very simplistic in their horribleness, where you could have them be horrible and still be a bit more complex than he realizes them as. But it is the main connection there that is unique and the film does deliver on.
Lucas:
Rasmussen - (A surprising degree of confidence in his performance in playing the weirdness of the part so convincingly between wholly childish and also a bit too assured in this strange kind of maturity. He plays the notes of the parts quite effectively in the way he goes from having a certain charm to a certain creepiness yet never does it feel discordant nor vague in the realization by Rasmussen. He makes his part enigmatic at times yet with the right straightforward emotional roots in there.)
Pullman - (Pullman goes about being as honest as possible in his performance as he plays well the moments of the fish out of water within the group with this purity, then plays as convincingly the calm confidence of someone who hasn’t earned it but will take it, then though brings real honest emotional desperation in his moments of playing the realization of the trauma behind it all. Pullman makes it as convincing as possible and doesn’t play it as a superhero just a genuine man going through this pain.)
Luke:
Scotti, Romano, Capovilla - 4(All three leads. With Romano and Capovilla bringing a very convincing sense of history of the two guys throughout. Bringing all the different shades between just the good ole’ boy energy in their drinking moments of joy, though with moments of deeper reflection or even a bit of sadness here feeling wholly authentic in their performances. Finding both a convincing charm and ease within their work. Scotti on the other hand is largely reactionary but good in his small reactions throughout that build up in showing the quiet appreciation the younger man has for the two men and the growing changes in him as he goes through this experience.)
RIP Bud Cort, he truly was a human being and not just a company stooge.
RIP James Van Der Beek, just tragic.
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