Best Actor 1980: Results

5. Jack Lemmon in Tribute- Lemmon's whole performance seems like Oscar baiting at its worst. It is hammy all the way, which might be okay if it worked, but it does not.

4. Robert Duvall in The Great Santini- I genuinely liked Duvall portrait of the abusive Bull Meechum. He created an interesting family dynamic through his performance, and never turned his character into a one dimensional figure which it easily could have been.

3. Peter O'Toole in The Stunt Man- I actually upped O'Toole rating because I thought about my main criticism, that I wanted more of him, which is hardly a criticism. His performance is pretty much a supporting one, and such is an extremely effective one. 

2. Robert De Niro in Raging Bull- De Niro performance is quite a remarkable achievement. He creates a fascinating complex portrait of a man who at heart is simple thug. He takes this thug though a realizes a complete human being, who is made by De Niro to be both frighteningly effective in his exterior anger and jealousy, and subtly honest in Lamotta's hidden sensitivity and vulnerability.

1. John Hurt in The Elephant Man- I can easily see the philosophy behind giving Hurt the win here. He is by far the most pleasant of the characters here, which is funny since it shows how low the other characters are since Merrick is such a nice man despite being given such a hindering deformity. Also Hurt's performance is brilliant in how much emotion he conveys through only his eyes and his voice, and also how honestly human he is as John Merrick.

Deserving Performances:
Donald Sutherland in Ordinary People

Best Actor 1980: Robert De Niro in Raging Bull

Robert De Niro won his second Oscar from his fourth nomination for portraying Jake Lamotta in Raging Bull.

Raging Bull tells the story of the degradation of professional boxer Jake Lamotta.

Here is a performance that I really do not need to say anything about that really has not already been said. It certainly a heavily praised performance. So perhaps I should examine this particular performance by how one could attempt to criticize the performance.

The main criticism of the performance, from the few instances I have seen of it criticize it generally state that it is a one note performance. Well this certainly could be misinterpreted as one note, but it is an incredibly complex performance. The other criticisms stem usually from the performance being not all sympathetic, this again is exactly as Lamotta should be portrayed. De Niro actually refuses to actually ever make him a charming guy, leaving him as the unintelligent, low life he should be portrayed as. I still though would not say he is entirely unsympathetic, but he only ever gains sympathy by being such a pathetic character.

So yes I disagree with the criticism, even though for awhile I never rated De Niro as one of my favorite winners. This time watching it though his performance really has grown on me, even more so, since I still believed it to be great. Watching this time around though I really began to notice the subtle, introverted aspects De Niro managed to weave with the exterior facade of Lamotta that he always presents often quite loudly.

Lamotta is presented as De Niro as certainly an angry man, constantly filled with jealousy. De Niro shows this as an anger that has developed with Lamotta his entire life, something that he really cannot lose. He presents it really as a defense mechanism for Lamotta to usually hide his own insecurities. The rapid fire, sometimes almost unexpected way he breaks out into his angry fits is especially well handled by De Niro, showing as almost an animalistic tendency.

De Niro really shows these tendencies well in the boxing scenes. Boxing scenes usually are not really moments to allow for great acting. One really generally will not notice if the person is believable as a boxer, it only really is noticeable if they are not believable. De Niro is not only overwhelming believable in the boxing scenes, but more importantly it shows the nature of Lamotta. De Niro's has the full force of an animal in his boxing scenes, and properly conveys both the pleasure and the power that he has inside of the ring. The one place where Lamotta really can be in full command, and unleash his full emotional force.

It is interesting to note that De Niro is a domineering presence throughout the film, despite not really being charming or charismatic. De Niro though has the right ability to be interesting, very interesting, despite portraying the uncharismatic Lamotta. I think De Niro is particularly strong in his moments with Lamotta wife Vicki. It is strong acting by De Niro, in that I did not doubt his ability to pick her up, because of his certian presence, despite lacking an innate charm. It is interesting relationship, but De Niro conveys his uncharismatic sway that he does have over her at times entirely convincing.

To me the best part of De Niro's performance is when he actually does show the sensitivity Lamotta has, which he does try to hide behind his rage. It is the combination he has between these aspects of Lamotta that is so fascinating which De Niro pulls off magnificently. De Niro always has the right undercurrent of the sensitivity and a certian nervousness of Lamotta underneath his angry exterior.

His jealous fits over his wife, are shown through De Niro his inability to ever really think she could really be completely devoted to him. Even more interesting though is his sensitivity over his boxing achievement and ability. De Niro earnestly shows Lamotta want to achieve greatness, and how he becomes truly disheartened from his set backs, such as when he cries like a baby after throwing the fight. That scene could have been easily all wrong, but De Niro really show the true nature of Lamotta in that scene.

De Niro exceeds well in every aspect of Lamotta, fully realizing the man, finding depth always even when it seems like there is very little of it in the man. De Niro does not make Lamotta's slow descent a physical one, but also a mental and psychological one. He shows that Lamotta slowly becomes less and less able in his abilities as a boxer, but also grows even more desperate, and even more sensitive creating eventually his biggest jealous rages, and his loss of his title.

It is incredible to see De Niro at the end of the film. He no longer is a champ, or at all a special man. He has lost any talent he once had, but still attempts to keep his time in the sun through his terrible comedy routines. This complete loss of everything he ever had, is striking because De Niro slowly brought Lamotta to his end. It interesting to see though that he does show that has Lamotta has learned a little, a very little do to his free fall from the top. Overall De Niro is an intense performance as well as subtle and complex performance that is completely deserving of its reputation it has received.

Best Actor 1980: John Hurt in The Elephant Man

John Hurt received his second Oscar nomination for portraying John Merrick the titular character of The Elephant Man.

The Elephant man is the surprisingly touching story of a deformed man's journey to find human dignity in the 19th century.

John Hurt's performance as John Merrick is just about the pinnacle of the minimalistic acting. Hurt technically has many hindrances to give an effective performance. For example he basically cannot use his face, since it is almost entirely covered up with make up. He also cannot use his body really to do anything more than suggest the movements of the Merrick's disability.

I will say that the make up, and Hurt's manner as  Merrick made me never ever think I was really seeing an actor, but rather just the man himself. The way he walks and moves as Merrick always seem entirely natural, he never seemed like an actor ever doing any of this but just the authentic man himself. He never once overacts with a single mannerism which he could have easily. Although it must be said as well, that make up is incredible, and should have won a special award. Hurt though wears the make up in the right way, and does not let it do the performance for him.

The only assets Hurt really has at completely at his disposal overall, is his eyes and his voice. Hurt's eyes really are quite special here, because they always show the human, and humane quality of Merrick, which works to great effect. He is always able to convey the sad state of Merrick, but never as an entirely sad man. He display with only his eyes his fear of others early on, but also later he expresses the character's honest love and humanity especially well.  I believe his moment near the end of the film where he looks around in the theater, we see only through Hurt's eyes Merrick's true wonderment and happiness in that scene.

Equally special is Hurt's voice as Merrick. He is hindered as well in this aspect due to an imperfect mouth, and bronchitis, but Hurt gives Merrick and tender quiet voice from which he speaks. It is incredibly well used in the film as at first he struggles to speak words that seem meaningless to him. As he grows more comfortable with his surroundings he finally lets his voice out in a clear and meaningful fashion as he quotes his favorite passage from the bible. A striking scene and I think most of the credit, should come to Hurt subtle and moving delivery.

Hurt uses his eyes and his voice well throughout the film, even though still he remains a very withdrawn character, barring two scenes. One where he screams in horror from seeing himself, and another where he lashes out telling everyone that he is a man not an animal. Both well handled by Hurt, but I do believe his best moments, are his quiet tender, and heartbreaking moments. One scene in particular I think is his best, and most moving scene. It is when a theater actress Madge Kendal (Anne Bancroft) comes to visit him. It is a small, but moving scene as Merrick recites Shakespeare to her, and she recites back to him. It is a wonderful moment, and Hurt is perfectly honest, and loving in this moment, showing the real man behind his disfigurement.

Best Actor 1980: Robert Duvall in The Great Santini

Robert Duvall received his third Oscar nomination for portraying Lieutenant Colonel Bull Meechum in The Great Santini.

The Great Santini is an interesting and effective portrait of a family with a domineering and abusive father, at least for awhile it peters out at the end, also it has a sub plot involving a black local being harassed by racist whites which seems like it came from another movie.

Duvall portrays the father of a family Bull Meechum a hot shot, gung-ho, marine fighter pilot, who treats his family just like he would treat soldiers under his command. It the early moments or any scenes where he is around other Marines, Duvall is quite hilarious with how over the top of a character Meechum is. The character is over the top, but Duvall is a good enough actor though to be able to portray the flamboyant Meechum without ever over acting. Quite a challenge but Duvall pulls it off with ease and humor.

Meechum is a character that could have been portrayed incredibly one dimensional, since the way the character acts is suppose to be sort of a one dimensional meat head, and he could have been easily played that one, or as a one dimensional villain due to his abusive nature toward his family. Duvall never portrays the character either way. I think in particular the abusive nature of the character is well portrayed by Duvall.

Duvall could have easily been just hammering in the abuse, or always showing Meechum as ready to do it constantly. It could have become a performance only on the surface, but Duvall carefully shows that there's much more to Bull Meechum's abuse, than only anger. Duvall carefully shows that this is just the only way Meechum has really learned how to deal with his family, and does not really have the ability to show them love. I think it is interesting because much of his cruelty comes from his belief that he is doing his family a service to make them better people. Duvall shows it as a systematic process, to make them a stronger group.

It would have been easy to show Meechum as having no love for his family, but Duvall subtly shows small instances of love Bull has for his family even when he is acting quite not so. Duvall shows that Meechum does have a limit for himself, and can sense when he has gone to far. Duvall shows this but never says this since Bull would never actually admit it. He does show also that he tries to give his children a good life, and can even be charming in some scenes such as when he first shows off the house to his children. These little charming moments, Duvall realistically mixes them in with the angry ones incredibly.

Duvall possibly shines best though in portraying Bull's specific relationship with his son Ben (Micheal O'Keefe). Bull pressures his son the most, and fights with him the most as well. It is sometimes an intense relationship, and Duvall is especially domineering, and forceful. Also in a moment where Ben finally beats him at basketball Bull is quite the sore loser and attempts to get an emotional reaction from his son anyway he can. A terrific scene of Duvall's, because he is just a completely real honest jerk, no movie acting about, making the scene a lot more effective than if he tried to make Bull some sort of villain rather than a cruel actual human being.

Even better moments are his quiet ones where he does show a restrained fatherly love for his son. Duvall never really indicates it directly but shows it there, and he naturally mixes in a warmness with a coldness that is incredible. His personal best moment though may certainly be a moment where he finds out he is wrong and his son is right. It is an outstanding scene for Duvall when Bull sees he is wrong, and his change and reaction is simply amazing. Overall Duvall has many incredible moments in this performance that easily could have been a one note character. Duvall creates a real portrait of a man, and somehow even creates sympathy for a man who is anything but sympathetic.

Best Actor 1980: Peter O'Toole in The Stunt Man

Peter O'Toole received his sixth Oscar nomination for portraying film director Eli Cross in The Stunt Man.

The Stunt Man is a story of a man who hides from the police acting as the stunt man to a manipulative domineering director. The film is certainly an interesting effort as well as entertaining at times, but it sort of loses its way in the second half. 

 

It is rather interesting that Timothy Hutton was nominated and won for his clearly leading role in the Supporting role for Ordinary People, yet Peter O'Toole here is really a supporting performance, although a domineering supporting performance. O'Toole's character knows the secret of the stunt man who is hiding from the police, and chooses to exploit him just as he exploits and manipulates the rest of his cast and crew. O'Toole dominates the film here from his first appearance as we only hear an audio comment on a random perspective. O'Toole's voice carries this certain kind of menace to it alone. There is a power to the man on that alone and from it you seem to sense the strength of the man's power and ambition. The ferocity within the man that is unlike anything you'd expect from a sensitive artist, rather he is perhaps some demonic overlord.

O'Toole performance is filled with charisma, honestly one of his most charismatic turns in his post-60's career, as we see the power of the man. O'Toole wields the personality beautifully and is extremely entertaining here. O'Toole has this infectious kind of mischief quality within his performance. He finds this fascinating kind of combination between a brutal darkness and a sense of fun with the material. O'Toole's eyes suggesting the coldest of killers while his delivering suggests something else. There is something within him as he directs his film. A kind of savoring quality in producing the manipulations. I particularly like one moment when his crew is talking about how the film will end up being cut in the end by the studio. Eli Cross though says he knows they will not cut his film, or else he will kill him. O'Toole delivers this line with such insane glee, that is both hilarious and brilliant in showing the intensity of the man's particular ego.

O'Toole said he based his performance on his Lawrence of Arabia director David Lean, and that is certainly interesting in terms of his perspective of the man who made him a star. O'Toole portrayal being that of an unrelenting egotistical dictator. There is though that sense of fun with it that might be in part of sending up his old collaborator. This as O'Toole plays the villain, but quite the entertaining villain in that sense. This as O'Toole performance doesn't quite simplify the director's nature. This as much as he is the terror, and quite the stunning terror in terms of how menacing he is in every word he speaks, even when speaking with just a rather unnerving calm. This as he O'Toole crafts a seeming contradiction in the devotion to his art while also seeming to essentially being a brute in his tactics in service towards his vision.

Eli Cross rules the film set within the film, while O'Toole rules the film itself. This as whenever he is onscreen it comes to life. This as O'Toole brings so much relish in showing the man getting so much out of crafting his vision. This as there is the genuine thrill of it all even beyond his moments of cruel dictatorship. O'Toole is fascinating in the way he really approaches any given scene as he actually treads around a singular note. This as he wields the darkness of the character. There are the moments where he speaks as though he's just having fun in messing with his actors, his crew and his stuntman. O'Toole creates a terrific enigma in this. This as he'll shade the moments of fun with a strict killer's intent suddenly within his face. O'Toole is wonderful by playing with every expectation. His delivery is particularly fascinating as his vocal adjustments is masterclass in how a slight change in emphasis makes a man seem a mad genius one moment and a hideous monster the next. O'Toole is utterly unpredictable here and it is beautiful. Although I wish this performance was in the film more, because whenever O'Toole is onscreen it works, that cannot be held against O'Toole who is great here and runs away with a truly great supporting turn. 

Best Actor 1980: Jack Lemmon in Tribute

Jack Lemmon received his seventh Oscar nomination for portraying Scottie Templeton in Tribute.

Tribute is an awful film about an estranged father and son finding each other again. It tries to be a character study, but it had nothing interesting to say. It tries to pull your heart strings, going at extreme manipulative lengths to do this, and fails. Also none of this is helped by a horrendous, and I mean horrendous performance by Robby Benson as Scottie's son Jud Templeton. The film was already hard to sit through, but Benson made it really unbearable.

Scottie Templeton is some character you know, oh he is one crazy character. He drinks, smokes, acts wacky, lusts after all sorts of women, constantly makes movie quotes, once was  a screen writer, now he is a Broadway press agent, has an estranged son with his divorced wife, oh and did I mention he is dying. Oh no, not Scottie. Now if you have not noticed I am being a little sarcastic, because I frankly could not stand this over written, obnoxious, Oscar baiting of the worst type, character.

Lemmon has played many times before and after this character these high energy, but on the edge characters.  He also has played these characters much much better before and after this performance. Apparently this is a reprise for Lemmon of his stage role as Scottie, and really he is overly theatrical in this performance. He does his full on Jack Lemmon routine this time around, with a lot of overacting really, although I will say he puts a lot of energy into his performance.

But energy used for what, for nothing in my book. He uses it for an overly obnoxious performance, that gets old after about the first scene. Lemmon goes throughout the performance to get either an emotion, or a laugh out of the audience which becomes very, very tiresome. I'll give him a little credit for trying, heck he even dons a chicken suit to get something out of the audience, but I will not give him credit for succeeding because he doesn't, it is obnoxious obvious ACTING acting of the worst type.

Lemmon's performance is just a comic routine that goes nowhere, and certainly does not create any laughs, but it becomes from time to time dramatic, usually in him showing his sudden burst of grief, which again feels like him saying look I laugh, I cry, give me an award. I'll grant that Lemmon does not get any help in creating any effective or emotional scene since Robby Benson is so bad, and their father son relationship is suppose to be key to the film. Lemmon though even if he had a better actor playing his son, it would not stop Lemmon's overly flamboyant performance from becoming tiresome. Overall this is one of Lemmon's weakest efforts, certainly his weakest Oscar nomination. Lemmon's unique mannerisms, and style can be effective, but not here, certainly not here.

Best Actor 1980

And the Nominees Were:

Peter O'Toole in The Stunt Man

Robert Duvall in The Great Santini

Robert De Niro in Raging Bull

John Hurt in The Elephant Man

Jack Lemmon in Tribute