Cameron Bright did not receive an Oscar nomination for portraying Young Sean in Birth.
Cameron Bright plays the young boy who shows up to Anna’s apartment, just as she’s about to be remarried, telling her not to marry her fiancée and that he is her dead husband reborn. Bright, who had a brief period as the child actor for slightly dramatic parts, plays the central role in the sense that all action of the film is in reaction to the actions of this boy. The character is that of an enigma whose actions are elusive to all including his own parents, yet he challenges everyone seemingly with his knowledge that is far greater than some random boy pulling a prank. Bright’s performance is one that I would describe as hollow, though hollow with a purpose. The purpose in director Jonathan Glazer’s vision makes him not easily discernible in terms of the truth. Instead what Bright portrays is this cold determination of sorts. All the information he conveys, all of the claims about him being the dead man, it is with calm troubling conviction where it seems like he simply knows this rather than needing to think about it. Even when stating he’s no longer his mother’s “Stupid son” but rather this man, it is with just this directness where the emotion is almost that of a slight annoyance that someone would doubt his claim. Bright’s face rarely changes expression however the expression itself does serve the purpose as this ever watching pestering face in that detachment.
He’s not teasing, he’s not smiling, he’s just there and in that consistency you get the sense of why others would find the boy’s behavior more than a little infuriating after a while. Even when getting in a bath with Anna, Bright’s performance still accentuates this matter of fact distance in the action rather than any intention beyond almost duty. Eventually however Young Sean is challenged by a lover of the real Sean as the real love of his life breaking ruse. Even in the breaking of said ruse however, Bright’s performance as he admits not being Sean, not as someone admitting fault or a game, but almost in this logical dictation that he cannot be Sean because he loves Anna and the real Sean did not. Eventually leading him to finally leave Anna alone and seemingly return to his own life. An aspect that is only briefly touched upon as we see him taking a school picture, and suddenly there no longer is that detachment to boy in Bright’s performance and perhaps even normalcy. Bright’s performance I would say delivers on the need of the design of the character to an extremely specific end. There’s no “why” exactly to the young Sean about his performance, nor do we see the steps in the transformation to or back from it. Rather he is as he is and stays the enigma even when the “truth” is shaken. I would say it is a good performance, and I think importantly Bright doesn’t play up any creep factor in a traditional sense that might’ve been the easy route. Having said that, it think the performance services the need of the film but in the end exists within a certain limitation of that need without really an impact beyond it.
42 comments:
Louis: Ratings and thoughts on the cast.
Louis: Are you planning on seeing Kung-Fu Hustle at some point? I only ask because you might be happy afterwards, or at least I think you will after I tell you what it means.
Daniel: He watched it the other day, it’s on his Letterboxd
Michael: Ah ok nevermind lol.
Louis: would you agree that the third act of Kung Fu Hustle is the weakest? I enjoy the film but I think that it kind of loses a lot of the comedy in its big action finale for a more straightforward kind of action climax, that in contrast to the more Looney Tunes zaniness of the first two acts, is less compelling to me.
Main thing I remember from Kung Fu Hustle is the Landlady was hilarious.
Both Yuen's are definitely the best part of the film, that's for sure.
I really don't know why I predicted him to place so highly.
Louis: Thoughts on the cinematography and the score?
Louis: in a hypothetical universe where Tinker Tailor Soldier Spy was a big contender, which supporting performance do you reckon would've been their main push? Firth seems like the obvious one, maybe even Hardy though he hadn't quite 'blown up' yet. Maybe a veteran nod for Hurt.
Nah, definitely Firth, especially after he had just gotten nominated the two years before
Louis: I understand if the window has passed, but once you get around to Smiley's People, would you consider doing a writeup of the rest of the supporting players from TTSS?
Calvin: It would've been Firth for sure.
Regarding The Drama. Borgli once again crafts a world often about the subconscious even though he’s not dealing with dreams as directly this time, but the whole thing feels like penetrating thoughts often coming in nightmares. The idea though once again really being unable to alien one’s self from a certain perception, in this instance built within a seemingly healthy relationship that unravels by a single truth. Once again brimming with dark comedy, even darker here than Dream Scenario, though twisted in a similar sense, obtuse, but perhaps why I hold on is there is some genuine emotion in the mix there somewhere. The film I did find effective on the whole and amusing in a frequently uncomfortable way. Although I would say I’m not without reservation, as the variation on the though eventually does get slightly repetitive even within its fairly short runtime.
Zendaya - 4
Haim - 4
Athie - 3.5
Gates - 3.5
Winters - 3
Levick - 3.5
Louis: Thoughts and ratings on Todd Field, Marie Richardson and Alan Cumming in Eyes Wide Shut - none of which you've given before.
Louis: thoughts on this 2010s cast for The Prestige
Angier: Chris Pine
Borden: Riz Ahmed
Cutter: Ciarán Hinds
Olivia: Felicity Jones
Sarah: Claire Foy
Mr Alley: Stephen Graham
Tesla: Ben Mendelsohn
Luke:
Kidman - 4.5(I would say the certain limitations do keep this performance from becoming a great one to me because there is that degree of vague from the script that keeps Kidman from fully sinking her teeth into, particularly when we have a lot of the jumps from one state to the next, given the next is quite extreme. Having said that, Kidman is quite artful in the way of conveying basically the nagging emotions of the situation. Her performance does find nuance in articulating someone very much being drawn into the idea as someone very much stuck within her grief therefore almost more quickly accepting the idea faster than she should. Kidman is able to bring that degree of struggling vulnerability that she makes largely understated yet as strange as her character’s behaviors can be, I did find Kidman made them largely convincing…though I would say maybe needed a little more to fully earn what she does with young Sean in their final scene together. Regardless of that moment, Kidman is able to bring genuine emotion within the very peculiar setup.)
Huston - 3(Mostly needs to look grumpy and frustrated. I will say at least he delivers on his big scene without going so far and makes his moment of outrage convincing enough.)
Bacall - 3(Nearly a “In the movie” but she does have a few moments where she brings a naturalism in bridging confusion with a certain attempt at a generalized cordiality.)
Stormare, Levine, Seymour, Howard - 3(All fairly limited but bring naturalistic reactions of people with different stakes within the strange situation.)
Heche - 3.5(Her performance is notable as the contrast to everyone else where her reaction is one both without confusion rather this distinct sense of knowledge in her reaction to the boy and her performance of the moment of showing the evidence having a degree of captivating.)
Calvin:
Yes, the film was a bit lopsided in that sense.
Harris:
Savides cinematography is one that is an emphasis on low lighting that within the general compositions with Glazer are ones that combine theoretical intimacy with danger, in that the locations usually are small but with everything framed to create separation and frequently viewed from a far. I wouldn’t say it is the most beautiful looking film but there is a degree of striking quality in crafting a certain degree of the mood of just being in rooms that are all slightly unpleasant, without overdoing that notion to true ugliness.
Desplat’s score is a strange one that I’m not sure how I feel about entirely to be perfectly honest. As it is a mix of dreadful ambience, then honestly nearly a fairytale type score with the orchestration and really even the nearly jaunty qualities. I think intentional likely the contrast between the two sides of the score, though within the fairy tale I’d say Desplat’s choices are just “off” enough to allude to some strange kind of darkness even as it seems so spirited compared to the rest .
Calvin:
Will concur with consensus that Firth would’ve likely have been the push given he just won, and would seem like a natural “afterglow” nomination. Maybe Hardy, if say, the critics had pushed him right away. Don’t think Strong would’ve ever had a chance sadly.
Tybalt:
I honestly only vaguely remember their performances.
Anonymous:
Pine certainly has the charm, Ahmed the intensity, Hinds the mentor energy, honestly Jones would be considerably better as Olivia, Foy would probably also work, Graham certainly, Mendelsohn’s obviously a good actor however I feel Tesla needs someone with a slightly more ethereal presence.
Louis: keep an eye out for Queen at Sea when it (hopefully) gets a release later this year. I just watched it at a festival and Tom Courtenay gets a great role and delivers some of his best work; I think you'd really dig it.
And yeah shame about Strong. Incidentally, a shame that he hasn't really had a role close to that kind of calibre since. Not that he's had a bad career at all, just not the best roles.
Louis: thoughts and ratings for the Kung Fu Hustle cast
Anonymous: Read the FAQ page.
Louis: Any upgrades for Kill Bill Vol. 1 or 2.
Louis: What are your thoughts on the Backrooms trailer?
https://youtu.be/0HjdiohVOik?si=RXyTTsio5EypDBtk
Maybe I'm suggesting something really ludicrous here, but is it possible that PSH wins the 2006 supporting overall for MI3 somehow, if he loses the overall here, which he very likely will? Like now that the franchise has ended, he's still the best main villain of that franchise. Maybe could get a review when you get to 2006. He has some great scenes there.
I think Hoffman is a likely review for MI3, but I actually think the overall winner is going to be Michael Caine for The Prestige.
Anonymous: If you're suggesting Louis would do that specifically to give PSH a win somewhere, to make up for him losing here, I'd be quite surprised by that happening.
Harris: I mean.... l also think it's one of his most memorable performances too, if not the most memorable one for a casual viewer. Also the first role I ever saw him in. So it would be poetic if he wins here for it. MI3 is not the best MI movie by any metric, yet it's such a strongly acted role, that everyone remembers his work. That fact combined with the one that he's winless, might make him consider it.... At least a review would be great.
Hoffman is the best part of that film but he is not in win contention in any way.
Regarding Wasteman, elevated by the acting but beyond that it is a largely functional but also largely run of the mill prison drama. Just as it seems like it is going in a more interesting direction ends up swerving right back towards the expected for a film of its ilk. It's not terribly made by any means but sadly doesn't find any true inspiration within the subgenre.
Basically a collective 3 outside of Jonsson and Blyth.
Louis: Your category placement for Blyth.
Calvin:
Yeah it peaked my interest when I saw that Courtenay won the Silver Bear, glad to hear it delivers and looking forward to seeing whenever I can.
Luke:
No. Although Thurman theoretically would be a five if I were to count both as a single film, and honestly the film would be #1 in 04 for me. But I won't be doing that since Vol. 1 is 100% a 03 film and the separate release is what counts due to that fact.
Lucas:
Certainly looks creepy enough, and Reinsve and Ejiofor I'll certainly take as leads. The question however is will the answers be compelling as the leading question the trailer presents in quite the captivating fashion?
Luke:
Blyth is supporting.
Luke, Louis gave Troy's theatrical cut 2 stars, how much of an improvement is the director's cut.
Anonymous: I personally liked it more than The Alamo for example so I'd go 3 stars. Pitt and Bloom really hold the film back though and Bana deserves some credit for having to carry so much dead weight.
I know the age difference is significantly smaller between Bana and Liam Neeson but I think he would've been a great Balian.
Louis: What are your thoughts on Natalie Press and Emily Blunt in My Summer of Love? You didn't give them after the Lead results.
Rest In Peace John Nolan.
My condolences to Christopher and Jonathan on their uncle passing away.
RIP John Nolan
RIP John Nolan
Fucking hell, R.I.P. John Nolan
Louis: Will you be watching Beef S2? And have you finished Wonder Man S1, and if so, could you give your thoughts on the cast?
Matt: I don't know about that, man.... There's something incredibly menacing about Hoffman in that rabbit foot scene, where he just keeps riling up Ethan. I am sure, I have seen that kind of role in many movies, but something about Hoffman and his way of delivering those lines deeply disturbed me. His character doesn't even have a good exit, but at least 2 of his scenes are worth 4.5 alone.... As much as I love supporting performances from that year, especially Carell, I wouldn't mind Hoffman being a win there.
Anonymous: It's not impossible for PSH to get upgraded, I just can't see Louis's opinion improving THAT strongly. And giving an actor a win somewhere because they lost one elsewhere just isn't something he really does.
If you'd love to see PSH reviewed that much, I'd suggest making predictions so you could request him, and maybe getting a username while you're at it to distinguish yourself from the other Anons who post here.
Harris:
Press - 4(Press in terms of the character who is often reactionary despite theoretically taking big scenes, the emphasis is more so on naturalistic qualities within creating those dynamics. And there she does succeed in finding the moments of distress and joy really in natural swings all in between in the central relationships within her performance. Creating a convincing sense of the coming of age so to speak within the character’s journey where she hits the moments of greater intensity just as she does the more relaxed ones with the right degree of convincing immaturity at times but also with a potential for some growth over time.)
Blunt - 3.5(Kind of interesting to see her in this type of role that is atypical to her expected presence that she had yet to establish in any way. In her playing more so this note of general kind of manipulative, though less femme fatale and more so catty teenager in a certain sense. Where I would say there is a certain limitation in that I don’t think Blunt brings much beyond the surface of the character where you get glints of more so what really goes on, instead you more so get the immediate action though to her credit she does deliver on that.)
Tybalt:
As long as the reviews are good.
Wonder Man is a “good” show and I think mainly because it aimed modestly and hit that modest mark. It’s not revelatory but unlike many Marvel series it at least succeeds in what it sets out to do even if that target isn’t the most dramatic.
Abdul-Manteen & Kingsley - (Really they are what makes the series work because they do have just a fun dynamic and good chemistry as a proper bromance. Abdul-Manteen hits a nice modest mark in playing a guy who is both filled with insecurity yet also filled with a very specific passion that ends up becoming too much. He hits those sides effectively managing to make the right likable quality even as a guy who we see consistently struggling. Kingsley is the true star of the show however in playing the role that was played for laughs and getting to take it to slightly more dramatic ends here, even if still with a comical undercurrent. Kingsley excels in playing essentially the fringe actor with a lot of skill dealing with his own shortcomings constantly while also dealing with his current guilt. He really is in no way phoning it in as just a quick gig, Kingsley is giving what he has, so you get fun moments of him performing, you get genuinely sincere moments where he shares his passion with Abdul-Manteen, while also doing a lot in his quiet work between kind of analyzing his new friend while also facing his guilt within dealing with that friend. Then together the two just really have a winning sense of that mutual passion combined with moments of real warmth between the two along with slight moments of concern. The two really do bounce off each other well and as a duo make you care about their friendship in a way that carries the series.)
RIP John Nolan, always liked his John Hurt esque energy.
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