Alternate Best Supporting Actor 1990: Willem Dafoe in Wild At Heart, John Goodman in Arachnophobia, Richard Farnswort in Misery, Ralph Foody & Roberts Blossom in Home Alone & Thomas F. Wilson in Back to the Future Part III

Willem Dafoe did not receive an Oscar nomination for portraying Bobby Peru in Wild At Heart. 

The great Willem Dafoe seems probably a match made in heaven, or maybe hell for this character, between actor and director with this role. Dafoe and David Lynch just seem right together so it is a bit of a shame that this was their only collaboration. Thankfully though it is a memorable one and I think perhaps a fundamental one in terms of Dafoe’s career and his general approach to performances. From everything I have seen before this performance Dafoe was certainly a striking actor however, he did not have that more overtly stylistic side that many of us have come to adore about him. Bobby Peru may have been the first step into that beautiful. Dafoe’s performance is brief as he enters late into the film as the lovers Sailor (Nicolas Cage) and Lula (Laura Dern) are on the run and unexpectedly run into Peru who walks around with several naked overweight women. Peru himself is a very strange man where we get a thin mustache, slicked hair, black leather and of course a bolo tie that in neon lights says sleazeball. Although Dafoe/Lynch up the ante by Peru’s grotesque rotting teeth, the dentures that Dafoe wears in the role that apparently prevented him from closing his mouth. Dafoe evidently ran with ideas as watching he film you see it all part of the open-mouthed predatory manner he exudes. Dafoe is not overshadowed by the teeth or costuming rather owns it with this casual way he walks and smokes that suggests a scumbag who is far too comfortable with himself. Dafoe’s manner is almost like a drunk lizard where there is a strange yet particularly effective combination between that sense of a predatory gaze but with this still relaxed manner that makes it even more off-putting.  Dafoe’s accent amplifies his style with the southern ease that sounds just a little too relaxed to be pleasant. He quickly makes his impression as a hideous criminal of some kind that probably should avoid though naturally Sailor decides to go along with a planned robbery with Peru in the lead. Although before we go to that we get a highlight scene of Dafoe and one of pure depravity where Peru shows up unexpected to Lulu’s room. A scene that honestly could only be delivered by Dafoe/Lynch and Dern with the precise hideousness of it as Peru decides to go about accosting her in what Peru might describe as his method of seduction. Dafoe’s amazing in the scene where he could have been more unnerving the closer Peru gets as he sexually stimulates her with the repeated ask of “fuck me” with every delivery getting more lascivious until Lula repeats his words. Where we truly get that specific achievement of Dafoe is through the instant switch to the most extreme of trolls that is hilarious, in the most brutal darkly comic way as possible, where Dafoe instantly drops all lust to make a literal troll face and the most dismissive casual delivery of “someday honey I will but I gotta get going”. Peru’s horrible trolling only continues as he is in fact hired to kill Sailor during the robbery. Dafoe again is outstanding in the sequence where the grotesque nature of Peru is amplified by the stocking over his face as Peru goes about the robbery violently as possible leading Sailor to want to stop him only to find his own gun has blanks. Dafoe’s delivery of “their dummies dummy” is perfect as he presents Peru’s enjoyment of the troll essentially gets in his own way of even completing his assassination of Sailor. I especially adore his laughing as a man truly laughing like he is living his best possible life to the point of distraction with just how much joy he is getting out of it. It is a great final bit to an especially memorable bit of insanity where Dafoe easily finds an effortless combination between dark comedy, genuine menace, and just straightforward bizarre. 

John Goodman did not receive an Oscar nomination for portraying Delbert McClintock in Arachnophobia. 

Arachnophobia is Jaws with spiders. 

The Jaws with spiders’ comparison is more extreme than I even remembered as you have the new guy in an important role with town directly dealing with a fear of throughout the film while being worried about his family as they deal with the threat, forming kind of a bond with an expert that comes into town and working with a seasoned hunter of the “monster”. All these traits are with far less in depth and complexity including the hunter who is not the grizzled guy with PTSD instead he’s John Goodman with a silly truck. Although very little of the film is completely serious Goodman is at the extreme end of making fun of the premise as he comes into late into the film featuring his own twangy theme music that is also out of a different movie. The tonal shift with McClintock could be a problem if a lesser performer was in the role but thankfully Goodman comes in with a wholly atypical energy that works. Goodman is goofy here but goofy in a way that entirely works as he presents himself entirely as your average slightly off-beat local exterminator. Goodman’s delivery has a slight dismissive quality not as a pompous intellectual but a blue-collar guy who thinks he knows his tradecraft unquestionably. The idea of his competence undercut given that we know he is up against a super poisonous Amazon spider even as he doubts the deadly spider theory. His confidence is tested as he comes face to face with one of the evil spiders where Goodman initially uses his pesticide like a quick draw where Goodman’s intense face is very funny. Unfortunately, the spider is not killed easily and Goodman’s consternation at the lack of a dead spider continues the comedy. The cherry on top of the scene is as he resorts to the almighty boot rather than pesticide to finally put down the spider. Goodman’s face of renewed determination then his over the top cocky walk and his somehow both confident yet also weak delivery of “I’m bad” is all too hilarious. Goodman then provides ample comedic relief throughout the climax by keeping with the exact same demeanor as before even as the situation becomes more serious and it becomes a possible world ending scenario if the group does not kill the amazon spiders successfully. Goodman just being off doing his own thing consistently is the highlight as McClintock is just as confident around a pompous spider expert, or when he sees he must go about facing an entire horde of deadly spiders. Goodman always brings that same sense of confidence that offers great comic relief because of just how pure he is in this specific character. Although obviously McClintock is no Quint, Goodman makes himself the best part of this silly movie by embracing his own silliness in just the right way. 

Richard Farnsworth did not receive an Oscar nomination for portraying Sheriff Buster in Misery. 

Richard Farnsworth plays the interruptions from the very dramatic tension between writer Paul Sheldon (James Caan) held captive by his number one fan psychopath Annie Wilkes (Kathy Bates) as the local law enforcement in the area where Paul crashed his car and was “saved” by Annie. A role that honestly could feel like a total waste of time, which plot wise it almost is technically speaking, yet thanks to some good writing and great casting are the ideal breathers. Farnsworth was one of the most charming actors and here his charm just shines through from scene to scene. Farnworth charm however was a charm all his own and part of his charm was how not standard actor style he was in any way. Farnsworth just speaks every line his own way and in his own way makes it more lived in. The moment Paul’s agent (Lauren Bacall) calls Buster, Farnsworth is just winning in very warm yet also playful manner of describing his various jobs before claiming to Paul in his “system” the system being a sticky note on a board. Farnsworth instantly makes you feel this smalltown sheriff as wholly real with his whole little life and little operations he undertakes as not the most important man in law enforcement…which he is fine with. Along with Buster is his deputy and wife Virginia (Frances Sternhagen) who is always just a little horny to spend some alone time with her husband. A great little comedic aside that technically does not need to exist for the main plot but just makes the whole film that much better by having these interactions. The two have amazing chemistry where you get in every interaction the warmth of a given that they love each other, the certain comedic back and forth that are just so lightly yet effectively realized of their “bickers” that are just part of their love and even the few entirely serious moments where they do briefly discuss the case of the missing writer. Farnsworth has a certain magic all his own where he is just interesting to watch and makes everything seem sensible in his folksy way. Where Farnsworth does bring in his eyes a certain intention in finding the truth and even when saying he will continue the investigation by reading Paul’s novels, Farnsworth has a seasoned wisdom in every word that feels so natural. It is hard not to love Buster as this calming presence of sorts through every scene as it seems like he is getting closer and closer to figuring out where Paul ended up. Although where Buster seems the possible hero in the initial viewing there becomes a tragic color on any re-watch because we know where it ends up as Buster eventually does show up to Annie’s house in his usual kindly way yet whenever she is not looking, we see his actual determination. We know how things from there but up until then Farnsworth delivers on a certain hope within the scheme of the film, which he could be just a plot point yet finds such a rich character in what is technically a role of function. 

Ralph Foody and Roberts Blossom for portraying Johnny and “old man” Marley in Home Alone. 

Home Alone I would not call a cinematic classic however it is probably the best film of its form in the 90’s where we have a kid of some kind doing something out of a kid’s typical comfort zone. There were many of these, probably due to the success of Home Alone, and most were not as good or not good at all. Why is this? Well, a few reasons, this is prime form Macaulay Culkin as Kevin where he is delivering his sort of “commercial” one liner qualities better than in other later instances, but also does bring a little more genuine emotion regarding a kid facing his fears and such. It is not incredible work but it is good. Christopher Columbus’s directing has a certain atmospheric quality that one can only properly describe as pleasantly Christmasy. Most importantly there are really two factors here not existing in to either the quality of or at all in the imitators, one is better gags, two is heart. The performances I am writing about today are examples of each quality. The first is Ralph Foody best known for this role and this role only. His gag is the movie within a movie of Angels With Filthy Souls about a gangster violently dispatching Snakes for wanting 10% after Acey is no longer in charge and taking a bath (of his own blood no doubt). I have always enjoyed the gag, and the follow-up of Kevin using the movie to scare others in large part due to Foody’s performance. Foody fashions a strange twisted sounding John Wayne gangster impression that sells the style of gangster films so well I am in no way surprised that many are still under the impression that it is a real movie from the 30’s. Foody owns that style yet also amplifies it through the sinister quality he brings in every bit of his glare as Snakes first comes in, his sneer at hearing about the 10% and his sadistic glee at informing Snakes who is charge now. Finishing the sequence with its most famous part where Johnny offers Snake a countdown before he pumps his guts full of lead and Foody is genuinely menacing with no nonsense pronouncement. Foody only ups the ante as he jumps from 2 to 10 shooting Snakes mercilessly as Johnny sadistically laughs and Foody goes all in his ghastly laugh of vicious glee. Foody only leaves with a proverbial cherry on top with his now iconic delivery of “Keep the change you filthy animal” with complete disregard for his victim and only satisfaction at his crime.  A great gag with a good quick performance behind it. 

The other key part however is the heart of Home Alone and that heart comes from Old Man Marley played by Roberts Blossom. Blossom was one of those character actors that you run into random films and he always delivers on whatever is asked of him. He was probably ideal casting then for Old Man Marley because he can naturally serve two purposes in the film with ease. The first is playing the “local legend” of the murderer who somehow can walk free as he goes around salting the burial spots of his victims. A complete quick aside, are those types of stories still a thing or did they get replaced by internet conspiracies…anyway back to Blossom. Blossom delivers the ominous stare of an enigma of a man as he goes around with his shovel and occasionally runs into Kevin, who rather than giving a chance for Marley to talk Kevin screams, runs and usual hides from him. Blossom is purposefully presenting Marley from the child’s perspective in these scenes however nicely finds a balance of allowing one to interpret between a guy who is truly just doing his own thing, being confused by screaming children or the serial killer giving death stares. Eventually we learn the truth about Marley as he sits next to Kevin in a church during choir practice and Blossom is great in the way he instantly disarms both Kevin and the viewer with his performance. Blossom quite simply does “nothing” in that he speaks totally as an adult speaking to Kevin quite frankly as also essentially as an adult. Blossom does not take a lot of time to dispel the rumors he just says bluntly it is not true in such a beautiful directly honest way. His way of telling Kevin that he can say hello is just this clear and concise way of let us not dwell on the nonsense of the past and just treat each other properly. Their conversation however goes deeper as they speak to one another about their mistakes where Blossom can do something fascinating where he provides a genuine warmth towards Kevin in one respect as listens to Kevin’s own regrets yet conveys directly his own regrets and fear over the mistakes with his son. Blossom wonderfully delivers the words of a man sharing just enough in that he would not pour his heart out to a child yet he is sharing just enough emotion to help Kevin understand. Blossom brings just the right childlike quality himself when describing his own fears that his son might not talk to him if he tried and the ease of the way he says “you are never too old to be afraid” is filled with a sense of experience of the world. Blossom articulates that hesitation to reach out so well yet does so in a way that feels honest even when speaking to this young kid. As Marley reacts to Kevin’s straightforward encouragement to speak to his, Blossom brings a very subtle acceptance of the idea fitting a man who in a way was just probably waiting for someone to just try already. I even like the moment where Kevin switches over to pure kids’ stuff about teasing and I love Blossom’s gentle but also direct way of then ending the conversation with this sense of awareness that he does not need to get into playground politics. The scene delivers on providing a needed heart to the film because of the naturalism that Blossom brings in every second of it. He humanizes Marley both for Kevin and the audience. That setup delivers then in two ways one is Marley comes in and saves Kevin from the wet bandits, because paint cans to the head will only briefly stun but a proper shovel to the head will do a permanent stun. Not too much is asked of Blossom in the scene, but he gets through it and brings a nice warmth as he protectively says he will take Kevin home. The real impact of the church scene however is near the very end of the film after Kevin is reunited with his family for Christmas and he sees Marley reunited with his son and granddaughter. All I can say, like George Costanza, the old man gets to me as we get the John Williams’s swell and the appreciative loving hand wave of Blossom over to Kevin. The moment hits the emotional sweet spot and while constructed so well in a directorial sense, you had to care about Marley despite his screen time and Blossom makes you care. 

 

Thomas F. Wilson did not receive an Oscar nomination for portraying Buford “Mad Dog” Tannen and Biff Tannen in Back to the Future Part III. 

Back to the Future Part III is the final film in the trilogy of not quite diminishing returns, as I enjoy both sequels well enough despite both paling in comparison substantially to the original film. In terms of the two sequels, I think the third film has a bit more that works in comparison to II by moving to the old west setting where it tries to develop character a bit more than just having fun with the setting of the future of the second film. It also benefits from Thomas F. Wilson as the western villain of Buford Tannen. Wilson obviously is the villain of the whole series where we previously got his Biff in the first film, his Griff/Biff in the second, where I have always felt his late scenes as young Biff went to much into full psychopath mode, however he redeems himself here. The question with any western is how realistic is it and Back to the Future III is more Ford than Mann let alone Eastwood. Which is fine if one can play it in the right way and we perhaps get some different takes from the cast, however the best take is from Wilson as Tannen. The character is obviously fashioned on Liberty Valance played by Liberty Valance, given the way we always hear his spurs as he walks and his tendency to brandish a whip just like Valance. Wilson does not play it just like Marvin did, but finds a nice comedic variation while still maintaining enough of the genuine menace you want from a character. Wilson to his credit really goes for it in refashioning everything about his mannerisms and voice to truly construct a western heavy. He has the gunslinger gait, the grimace of a man with horrible dentistry and raw voice of a proper thug. Wilson genuinely brings these elements to life and compared to some of his co-stars would not take too much adjustment to be believed in a more serious western. When Wilson talks about his intention to kill, Wilson delivers the lines as someone who has killed and lacks any hesitation to speak certainties not threats. He brings the right vile quality of a terrible outlaw who exists by his own violent satisfactions. Now having said that the film is still a more lighthearted action comedy, which Wilson’s approach does not get in the way of but rather amplifies. The reason this works is Wilson finds the comedy in making this type of western villain look foolish and if he was less believable it would be less amusing. Some highlights include his utter disbelief when Marty moonwalks tobacco spit on to him where his mind seems to break as he goes straight to murder from it, also when Marty tells him to “lighten up jerk” where Wilson’s disbelief double take before stating that those were “strong words” or when his men correct him, it is shoot him down “like a dog” not “like a duck” where Wilson’s break into rage frustrations over the matter is hilarious. My favorite bit however is in the final showdown with Marty where we get a strong combination of what Wilson is bringing to the part. We get genuine menace when he threatens Doc with real intensity if Marty does not face him, yet we also get his perfect confused look when he loses count after that threat. My single favorite bit in the whole film however is when he faces Marty who refuses to shoot, so Buford shoots him down which Wilson delivers with proper Marvinesque chill of the line “you thought wrong dude”. Although the actual favorite bit is Wilson’s portrayal of his unearned accomplishment as he reacts to the crowd like it was his crowning achievement to shoot down an unarmed man. The setup of course leads to the satisfaction of his surprise when Marty is alive via a metal bullet proof vest and Wilson brings a nice comedic shock then total loss of confidence as he gets beaten by Marty right into some manure. I’m not going to argue this is a great performance however I will argue that Wilson went above and beyond the rest of the cast to really both pay homage to and properly riff on a proper western type.