Alternate Best Actor & Best Supporting Actor 1986: William Petersen & Tom Noonan in Manhunter

Tom Noonan did not receive an Oscar nomination for portraying Francis Dollarhyde aka the Tooth Fairy in Manhunter.

Re-watching, and fully appreciating the greatness of Manhunter, one can use this film and Silence of the Lambs as examples of how there is not a single pathway to success for material, as Michael Mann and Jonathan Demme make two great adaptations of a novel and its sequel, both which could be just ridiculous exploitation nonsense in the wrong hands, hello Ridley Scott, yet are masterful in the specific handling by each director. And it’s fascinating because both have a level of reality, yet a subversion of that, but in completely different ways do the two implement their styles. And the funny thing, both kind of falsely, not a criticism, create the grounding of reality, in what are technically heavily stylized films, just in ways where it specifically earns them by utilizing the style so specifically. Demme’s film one would argue is more overt with the impact of the style, particularly when you contrast the two versions of the Hannibal character, where Demme and Hopkins very much plays into a larger than life figure, where Mann and Cox focus on a blunter reality. I think even the performances contrast Cox's barren, small, run of the mill white prison cell against Hopkins’s large, looming, at the end of a dungeon, summarize such a specific choice by each director, and the great thing is, both choices work. Something that plays into the character of Francis Dollarhyde aka the Toothfairy played by Tom Noonan, who plays the actual main antagonist of the film as the serial killer that our lead Will Graham (William Petersen) is trying to catch. A character who makes his first appearance after having abducted tabloid journalist Freddie Lounds (Stephen Lang), and wanting to give Freddie a primary source account of why he does what he does. Noonan’s approach in the role is very much of his own while being within the specific style of Mann, which on one end makes so much of this story matter of fact. Noonan’s amazing because in this scene he manages to be extremely creepy by not trying to be creepy in the slightest. His tone is casual, very calm, almost as though he is genuinely showing someone’s slides from a recent vacation, sadly for Freddie they are in fact slides regarding his demented psychosis regarding William Blake’s Red Dragon painting and images related to the families he has brutally murdered. Noonan says every word as straightforwardly as possible, which as strange as that sounds only makes his Dollarhyde all the more off-putting in the way he presents himself as a man who has no shame in himself or what he is doing. Rather Noonan portrays it as a man all too comfortable with it, and with this specific almost scientific curiosity when he describes his method of “transforming” women, which for us is brutally murdering them, but for them is a calm action. Noonan is disturbing because his delivery is of someone who knows everything he is doing is completely sane, to himself despite being wholly deranged. 

However after that initially horrifying scene we quickly see Dollarhyde at his work, where he begins to interact with a blind woman Reba (Joan Allen). Noonan’s vocal approach makes this relationship already more believable because there isn’t anything creepy inherently in his voice, only what he is describing in his voice that makes it creepy. So it is easy to believe that Reba would find him seemingly someone of interest just from only hearing him, however their initial interactions are exceptional work from Noonan. As it is all about the reactions within Noonan’s performance as Reba begins to speak to him with genuine interest. Noonan’s great by his reactions playing into the thoughts of Dollarhyde having no idea how to react to someone seemingly showing him interest and kindness. He begins with a quiet suspicion, though then there’s a sense of frustration and even confusion as she begins to continue to show tenderness. When this goes further and they actually have a date, where Dollarhyde very creepily looks at his serial killer slideshows while she sits unknowingly with him, Noonan’s exceptional in the realization of the twisted mind that becomes temporarily satiated. As when he’s looking at Reba at first there is a quality of his work as though he is examining him more so as a specimen as he seems to be accounting for each part of her in his glances, not unlike the likely approach he took when murdering women. However when she only shows tenderness and even reaches out to him, there’s a break that Noonan plays wholly in silence where he creates the sense of the temporary calming of his impulses as he begins to react to her earnestly as a woman. Something where Noonan is curiously almost like a lead in an off-beat romantic film in the way he begins to play the scenes with genuine normalcy, with genuine happiness, and something that is fascinating to watch given how we opened with his character. Something that builds towards the climax of the film, where we see Dollarhyde almost happy looking upon Reba, as just a man loving a woman, until his twisted brain misinterprets an interaction between Reba and another man as not only betrayal but more than that as we see in his specific twisted visual perspective, in again what is clear overt style from Mann that breaks the matter of fact reality so brilliantly. Noonan’s also essential to the moment in portraying the switch to suddenly that festering mental state returning and we see his mind twist, again almost entirely silently as he says every little from this moment to the climax. Where Noonan subdued work is chilling in the way we see the quiet intensity him, though there is just a glint of hesitation/humanity in his eyes that gives reason to his hesitation to killing her though still twisted, as it is less of a clear empathy and more a confused state, while contrasting showing no hesitation or concern when coldly dispatching anyone else who interrupts him during his strange personal ceremony. Noonan gives a striking performance here, not by playing up to the rafter, but rather keeping it a disturbingly quiet portrait of insanity. 

William Petersen did not receive an Oscar nomination for portraying Will Graham in Manhunter.

But I would be remiss for not mentioning William Petersen’s performance as Will Graham, and giving it its proper due. A performance that I liked the first time, but did not fully appreciate what Petersen does here in terms of portraying the very specific frame of mind of the character. And part of the reason why is this performance is not your typical leading man portrayal in any way whatsoever, rather what Petersen is dealing with the actual ramifications of the character of Will Graham. As Manhunter makes the choice, and a choice I appreciated all the more this time around, to portray Graham very much having already been permanently scarred by his existence as an FBI profiler, specifically having already caught Hannibal Lecktor despite almost having been killed in the process. What Petersen delivers is alluding to the man that Graham once was, without being that what he actually is in his current existence. In turn, Petersen is not particularly charming or at least traditionally charismatic in the role, however what he is doing instead is presenting someone who exists nearly in a numb existence, in order to exist at all. And what Petersen is doing overall supports this idea, because he really does an exceptional approach in playing the surface against the internalization. As when we see Graham with his wife and his son, to which there is more than a little distance, but it isn’t just distance. Rather what Petersen delivers on is brief moments of connection, where you see some semblance of the old loving husband and father, but Petersen meekly performs these moments. It is there in him, the glint is there, but it is a struggle to be normal, as the moment we see him starting express a bit more emotion, Petersen’s reactions suddenly feel with a quietly brewing pain, suggesting the state of the man who is best to shut himself off entirely rather than genuinely deal with the real emotions he’s going through.

And the cause of the emotions he’s going through are his job as the profiler of serial killers, which we get a few different sides within the character as an investigator. There is the more expected FBI man, though colder if not even slightly aloof seeming as he speaks to other agents, and deals with the case on a more professional level. There is an incisiveness to Petersen’s performance, but it is almost entirely in the eyes where there is this specific conviction within his work. We see the burden of it, as he deals with people like Lounds trying to exploit his situation where Petersen’s performance expresses years of exasperation within just momentary reaction of immediate subdued yet potent anger lashing out against any pestering quickly but with specific intensity of someone wanting to close it all off as soon as possible. Something he cannot avoid when meeting with Lecktor in this version, who he seeks advice from to try to catch the Tooth Fairy. Petersen’s amazing in playing the levels of the situation where Hannibal is constantly hectoring him, and trying any way to basically set Graham off. Petersen comes in with a very straightforward delivery trying very much to present himself as the FBI profiler, something that Hannibal refuses to accept and tries to poke at anything he can. Petersen's great in playing both the notes of pushing against Lecktor's games and being impacted by them. By turning phony praise about who’s smarter, with Petersen’s cold cutting noting Lecktor’s disadvantage due to being psychotic, but bringing so much within his expression of the pressure within himself as Lecktor continues to press him. With Lecktor noting that Graham himself started to touch the same mental space as the killers striking the most, where Petersen’s reaction is truly great in expressing real anxiety over the idea. 

The idea being a key to Petersen’s performance and creating the full sense of the history of his situation. What Petersen does is begin with a man who has gone beyond the pale, hence his cold, often detached moment, and the reason this is obviously a choice is what Petersen does in the scenes where Graham specifically goes about thinking in the mind of the killer. Every single one of these scenes is absolutely amazing work by Petersen. As he begins perhaps as you’d more so expect of a detective tracing the steps of the crime and trying to figure out where the killer went and how he went about the crime. Petersen goes further than that in showing Graham fully immersing himself into the killer’s thinking. Something that begins as inspiration as he begins to speak to the killer directly, but also as himself, and it doesn’t just go from thinking about it, it goes to becoming it in the moment. Petersen in these moments where he goes fully insane himself are absolutely captivating because you truly see someone fully embodying the deranged spirit in order to figure out the crime, and taking lines that could have seemed potentially even ridiculous, absolutely chilling because he lets you in on the frame of mind every time. The final sequence of trying to figure out the crime, just as the final clock is ticking is particularly stellar work from Petersen. Every moment of just trying to figure out from the clues, running down what the killer somehow knew, touching the idea, while also expressing his own intense frustrations at it, Petersen’s natural flow of such emotional extremes is flawlessly performed, where he goes from the cunning FBI agent, to the criminal profiler embedding himself in the madness, to just the concerned and frustrated man who knows someone will die if he doesn’t figure it out, and the cold attempted holding off those emotions in the in-between. Petersen is absolutely captivating to watch but he also makes the essential realization of what it means to exist within the world of serial killers. Petersen showing why Graham would have to almost purge his own humanity to avoid falling into that madness. Something that makes sense of his one big scene with his son where he explains the situation quietly, where Petersen’s performance is what you might describe as low energy, detached, but what Petersen brings in that scene is the internalized reality of the man who has to speak as such to his son, lest he fall into that madness he’s trying to keep at bay. There is a tenderness in Petersen's performance,, that tenderness of a father, but buried so deep along with almost all his emotions to hold himself together in this self imposed exile from the void. The whole idea of “becoming the villain” can often be an alien, melodramatic or even silly idea, but what Petersen’s performance does is make it tangible and powerfully real. This is truly daring work, to essentially close himself off from the audience but to do it worth purpose, and a tremendous payoff in crafting the very real rot in the mind of a hero who must submerge himself in darkness. 

Alternate Best Actor 1986: Results

5. Yves Montand in Jean De Florette - Montand gives a good performance as a the distant antagonist however the real meat of his work is in the sequel. 

Best Scene: Making recommendations to his nephew. 

4. Kyle MacLachlan in Blue Velvet - MacLachlan gives a strange performance, however one that works for me in truly putting a certain kind of earnestness in a completely inappropriate plot. 

Best Scene: After love letters. 

3. Roberto Benigni in Down By Law - The ideal use of Benigni as his every direction energy is the right off-beat for Jarmusch's filmmaking style. 

Best Scene: Italian Restaurant. 

2. Erland Josephson in The Sacrifice - Josephson delivers a powerful portrayal of one forced away from distant observation to face seemingly certain death. 

Best Scene: A prayer. 

1. River Phoenix in Stand By Me - Phoenix gives an altogether amazing performance, where he brings a true charisma and maturity, but also a real vulnerability and even appropriate childishness. 

Best Scene: The milk money story. 

Updated Overall

Next: Backlog, and feel free to go ahead with recommendations (My order of viewing will not be by order of comment this year however.)

Alternate Best Actor 1986: Kyle MacLachlan in Blue Velvet

Kyle MacLachlan did not receive an Oscar nomination for portraying Jeffrey Beaumont in Blue Velvet. 

Kyle MacLachlan is one of David Lynch's most common collaborators and his only actor to have led multiple projects for him. Notable that Lynch saw more than a little in him given the first film together was Dune which was seen a mistake by Lynch himself, and that is one performance of MacLachlan's you don't see too many ardent supporters of. Contrasting that to his work in Twin Peaks, their most essential collaboration, where MacLachlan first thrived in bringing to life Dale Cooper as an iconic eccentric detective, which he somehow made even greater in the Return where he not only gave a glorious reprise of Cooper, but also managed to outdo Chance the Gardner, in a depiction of a highly specified charming mental detachment and matched even the likes of Anton Chigurh in his depiction of Doppelcooper. So that leaves Blue Velvet as the in-between performance, as the "average" young man Jeffrey who returns home after his dad fell ill and finds more than just an interesting adventure when he goes to investigate a severed ear. A performance that honestly if it was in most films, I probably wouldn't have a great deal of affection for but performances are all contextual, and in the context of Lynch MacLachlan serves a very specific purpose here. The first third of his performance or so is that of almost a performance you'd find in a 50's sitcom, given his bright smile and almost the tendency to say everything with a silent "geez whiz" attached to it. In some ways he has more in common with Burt Ward as Robin the boy wonder than he would as any hardboiled noir detective or even average wrong man style performance that you'd usually find in a mystery thriller such as this, and that's entirely the point. 

MacLachlan is the embodiment of an overt Americana of the golden boy, and in turn is strange in his existence when you compare it to hardship or darkness such as the aforementioned severed ear. In the early scenes of the film, the one place where McLachlan seems to fit entirely is when we see him running his dad's hardware store and he interacts with the other employers there. There the bright smile and sincerity of that seems authentic weirdly, because it is where that overt earnestness is indeed at home and makes sense. When Jeffrey begins deciding to investigate, with the help of the lead detective's daughter Sandy (Laura Dern), is with that same odd optimism that of that 50's sitcom fellow, which leads him to decide to investigate and sneak into the apartment of a lounge singer Dorothy Valens (Isabella Rossellini). As the investigator MacLachlan is more than a sore thumb where he goes in as a fake exterminator and couldn't seem less convincing or later just ends up hiding himself in the closet only to be discovered by Dorothy who weirdly threatens him while also becoming sexual towards in him a sadomasochistic fashion. Where MacLachlan is stilted in these reactions, however it works as he also feels the reactions of a man who really has no idea what he's doing or what's going on. Something that serves its purpose in these moments, but does more than that when the psychotic Frank Booth (Dennis Hopper) comes into the film.

The long ride that Frank takes Jeffrey on, when Jeffrey is accidentally leaving Dorothy's apartment, is one of the highlights of the film, and part of the chemical formula of the scene is the awkwardness of MacLachlan's performance. This isn't taking a normal guy from the 80's on this ride, it is the embodiment of a certain Americana that is brought on it, and the specific reactions of MacLachlan speaks to that. This being him barely saying any of his lines for much of the scene as he is crowded by Frank's heavy drinking and whoring pals just being in and around him at every moment. MacLachlan is frequently the punchline in these scenes as even the way he stands among them, with his downward hunched shoulders and seems completely out of place every second of it. When he is punch a few times, Jeffrey takes each one just going with because what we see is a man completely out of his world in every possible way, where Jeffrey the neighbor, drinks the wrong beer and is just a quietly horrified spectator, fearing for his life while also just being completely out of his element. Out of his element though by just seeming so weird in this world, that is weird yet all as one in their way but MacLachlan's manner as Jeffrey breaks the mold with all the appropriate awkwardness. Only when Frank starts to sexually assault Dorothy does Jeffrey finally take action, and MacLachlan's expression state changes from that of petrified fear to a bit of anger, which the break is what makes the impact in the moment as he finally takes action by punching Frank. Something that naturally leads Frank to in turn beat Jeffrey and leave him in the outskirts of town. The morning after, we see the "gee" completely removed as he fully breaks down, and the young man of Americana faces the reality of the darkness beneath it. 

Although this would seem the time in most films where the character himself would become cynical but that's not Blue Velvet. Rather what MacLachlan does is just ease back a bit on that initial overt optimism, the man who just bemoaned the existence of men like Frank Booth as purposefully as naive as possible, to someone with at least any wisdom. Something we don't see in big moments but rather just the letting go of naivety as he tries to balance his love for Sandy while also dealing with his affair with Dorothy. Something that isn't this big break by MacLachlan rather a very quiet but earnest apology, however a different earnestness than the "kid" of before towards someone with a better understanding of the world. Something that culminates as he visits Dorothy's apartment one more time only to find the death and destruction as wrought by Frank Booth, and probably MacLachlan's most naturalistic work comes in the scene. He is fully genuine in this moment in the realization of what all his actions have resulted in and I've always found his "Gonna let you find them on their own", very moving as we see this maturation of Jeffrey. Of course Jeffrey is forced to face Frank Booth, as Frank returns to the apartment just as Jeffrey was about to leave, leading to the final concentration, where MacLachlan's fearful reactions and movements help to amplify the tension of the sequence. In the moment MacLachlan finally fully becomes the wrong man type protagonist and we see Jeffrey just barely become the hero, albeit just barely. And while this isn't the mastery of the form you'd see from MacLachlan in Twin Peaks, in the end he delivers a strange performance on the whole, but for me one that works within the specific tone and atmosphere created by Lynch.

Alternate Best Actor 1986: Erland Josephson in The Sacrifice

Erland Josephson did not receive an Oscar nomination for portraying Alexander in The Sacrifice. 

The Sacrifice defies simple description however follows a former actor and writer in his seemingly isolated house surrounded by his family. 

The Sacrifice in some ways is Tarkovsky's version of a Ingmar Bergman film, as we have a self-reflective character facing a crisis of faith. One obvious feature of connection is within the use of Erland Josephson, a common Bergman actor, utilized here as our main character that we follow through his unusual journey. The film begins seemingly simply enough as we find Alexander playing with his young son affectionately known as "Little man" and pondering some tale. Josephson's performance is as a seemingly largely content man in this state of being as he ponders as he does and as he interacts with his son. There is a bit of joy, but also just a relaxed quality. The man seems concerned with greater matters in what he speaks of; however Josephson's delivery even of these words isn't of immense concern rather very much this observational quality. Eventually this is interrupted by the arrival of their neighbor and mailman Otto, who gives Alexander a birthday card from friends and their conversation continues though with Otto mostly taking the lead. Again Josephson's performance is a man going through the motions of this interaction, not really in a negative way of a man weighed down by the conversation but rather just a man who exists within certain confines of living, a living that doesn't seem to break beyond a certain point. For example when asking about Alexander's relationship with God, which he replies is non-existent, isn't spoken as either a pained truth or a purposeful dismissal, just as a fact of the man's existence no more no less. The only example where we see kind of a break from that observational quality is with the little man, when he lassos the mailman's bike that causes Otto to fall in good nature. Josephson's reaction is very much the loving father which portrays a stronger connection in that moment, which is a bit different from the rest of the interaction where we see the man just observing as he does. This continues as he gathers with his wife, his step-daughter, his maid, his doctor and Otto in their house where conversations continue on various subjects, including Otto's fascination seeming with the otherworldly, and even the background of Alexander as an actor who became a critic. When speaking even of his own past, Josephson's delivery is somewhat passive, there is a history there but a history of seeming the man having a natural calm within his existence despite this purposeful choice of the past to separate himself from a craft he once cared about. Josephson's performance maintains that of the observer, even though this is the man's life that speaks of, it is in his house that Otto seems to have a minor breakdown, yet Alexander remains as he is without concern. 

The strength of Josephson's performance in the early scenes is that Alexander doesn't become lost within the frame, or the other characters, despite being observational for so long. Josephson, just as he did in his earlier collaboration with Tarkovsky, manages to pull you into his work even as he supports the overall vision wholly naturally. Here Josephson carefully expresses the needed sense of history within his observing expressions, there is much the man has thought about and even his physical manner exists as someone who purposefully detaches, to the point almost seeming like a ghost in his own house. The film makes its first brilliant twist when jets are heard from above and much of the household are horrified to hear an announcement of potentially World War III starting. Something that Alexander even doesn't initially react to as strongly as others, even coming into the broadcast late, leaving the doctor to drug his hysterical wife and others as they panic over their seeming impending doom. Josephson at first still being the observer for some time till he is left with his own thoughts. During this time Josephson's performance so quietly yet potently shows the sense of building understanding and despair in the man seemingly haunted by this horror explicitly. Leading to Alexander's first act as he prays to God offering a prayer to end the horror of their situation though with an offer that he will sacrifice all that he loves if God makes the horror end. Josephson is extraordinary in this scene as he breaks that observational distance and becomes completely alive in the scene. Josephson in his deteriorating expression reveals so much pain, sorrow and existential dread, combined with in his voice this wavering hope as he speaks his prayer. There is so much power to every word, and his decaying state of emotional distance is lost and we see someone completely in contact with the idea of this horror. Josephson finds within all of this quiet yet incredibly powerful conviction as he offers his sacrifice of everything he loves, as a promise of sacrifice as a fundamental truth. It is an extraordinary scene made so by Josephson's performance that embodies this all with such tangible emotional might that is devastating to behold. 

The next twist in the situation comes from Otto who suggests Alexander seek out their neighbor Maria, who he claims is a witch and that she is in some way the key to escape. Leaving Maria's with a pistol and an unknowable intention. Something that comes out within Josephson's performance that grafts onto this bizarre situation an honesty by projecting this quiet fearfulness and more so this lost quality as he seems to be seeking something from Maria, but he really doesn't know. We have yet another tremendous monologue from Josephson as he describes a "gift" he brought to his mother's garden, where he articulates with such a quiet sense of nostalgia that mixes in this sense of the past though with the uncertainty of the future. As he continues speaking of the garden though he notes how by "fixing" his mother's garden by ordering it, it removed any of the beauty from the garden. Josephson's way of losing that nostalgia and bringing out instead such painful regret filled with such a sense of what he sees as a mistake and almost a grievous act against his mother. He exudes such quiet heartbreak that is so powerful because in his delivery and his expression he builds towards such a building state of being a man utterly lost within his current dismay. Something that progresses to taking out the pistol, a moment without conviction rather Josephson plays the moment as though he has no awareness of what he is doing with it, or what he is doing here, just the potent sense of a man completely lost at this time. Something that is only broken as Maria embraces him and comforts him to the point of becoming sexual with him, a scene that only gets stranger as it proceeds because it appears as though Otto's mythical depiction of her holds more than a little credence. Something that Josephson grounds by presenting just a man completely lost in this moment, lost in this time, and lost in himself as he goes along with Maria though in a near catatonic state. Eventually Alexander awakens and the world seems to have not ended and peace to whatever extent it is has come back. Which some might take as a false alarm, but a man who had said his prayer in the way Alexander has, leaves him to go through with his sacrifice to atone. The final act of the film, Josephson doesn't really have lines and is seen largely at a distance. Yet Josephson is always captivating as we follow Alexander as he evades his family in order to set-up burning down his house with everything in it. His sneaking around is played with almost a childlike manner of not fully mischievousness yet there is a glint of it, as Josephson seems to portray some arrested state as he progresses around in his plan with a curious conviction. It isn't the emotional man speaking of his love, now it is filling some bargain with a logic only he could fully understand in the moment. When his family finally "catches" him, his reaction is of a man completely lost, though now in a new way as he reacts unintelligibly emotionally, if not even randomly, yet in Josephson's performance you do believe in this break, of the strange yet tangible journey we've seen him progress through. Josephson delivers an idiosyncratic yet tremendous performance. One that is about a few key moments verbalization combined with remarkable silences, to successfully explores a mental state that seems wholly unique, yet never feels less than universal in an emotional sense. 

Alternate Best Actor 1986: River Phoenix in Stand By Me

River Phoenix did not receive an Oscar nomination for portraying Chris Chambers in Stand By Me. 

Stand By Me follows four boys as they set on a life-defining "quest" to see a dead body. 

After watching the film again after more than two decades, the film I recalled being good, but this entirely is a far greater film than I had even remembered. Part of this is the central cast, Wil Wheaton is the weak link, partially as being the "main character" Gordie, the most straightforward inspiring writer, and while I don't think Wheaton is bad, it is more of an example of by comparison where he suffers most. As both Corey Feldman, as the mentally ill abused Teddy, and Jerry O'Connell as the most childish of the four Vern, both acquit themselves well. I will note just how broken Teddy is, wasn't something I picked up on so long ago. But the star of the show is unquestionably River Phoenix as the de-facto leader of the group Chris, who is known to come from a "bad family". Phoenix had been in a few tv shows and films before this, including the incomplete and imperfect Explorers, however the level of confidence in his performance here is truly remarkable for a performer at any age. Phoenix is entirely charismatic and serves well in establishing Chris as the leader of the group and just seemingly the clear thinker of the group despite his reputation. Phoenix isn't never even remotely a child actor here, and isn't doing well for a child actor, he's fully just an actor here because his work goes beyond just that confidence. Phoenix has a naturalism here that is just a given at a certain point, where there are many small moments in say in his co-stars where you see shades of the inexperience, Phoenix on the other hand is a born actor. 

Phoenix is so good that in a way he is fascinating giving co-star in the group scenes with the other kids, because as confident and commanding as his performance is, he never feels like a show off among them. Rather the ease in which Phoenix carries scenes is something that he makes build the general chemistry between the boys that much more believable. There isn't a moment where Phoenix is forcing the banter, or the digs between each other, however Phoenix bringing this "as a rock" like quality in the center of scenes just balances everything even in the moments of bigger acting from O'Connell and Feldman, he helps you just to accept it through his reactions to them. Phoenix makes Chris the more mature one, though there is a whole other brilliant factor in that element, which crafts that essential anchor within the group. They are never distant even when at their most childish, you don't just believe the kids, but you come to fully feel as if you are within the group in these scenes of exchange between them. Each plays their part to a degree, and Phoenix plays his part best in making them connect the most honestly. And that is where the true genius of this performance exists in pulling off what seems to be quite the magic trick, even though the performance is always completely natural, which in a way merely makes the "trick" that much greater an achievement. The trick that Phoenix achieves is the way he is able to portray both childishness and maturity, where it is hard not to marvel at his ability as a performer. 

Phoenix in a given scene can fluctuate between someone in at least their twenties to the preteen he is, all in the same scene, all in the same moment. It is truly extraordinary because it isn't as though Phoenix suddenly dramatically shifts in delivery or physical manner, yet what he embodies just changes right before our eyes with such ease. Phoenix articulates each and every moment differently because Chris is a kid, who is a kid, but a kid who has been through a lot even in his young life. When fooling around with the other kids he's just a juvenile in his random insults about dick sizes or mothers, where there is that petulance in his voice that isn't out of place of course, because he is a preteen. At the same time the moments where he talks about his dad being meaner than usual, the history of that is just suddenly in his eyes so directly, his voice just blunt as a person who has lived so many tough years just laying out the reality of the situation as a simple truth. One particularly amazing scene of this juxtaposition is early on as he starts out the journey still in town, showing Gordie the gun he swiped from his dad for their journey together. When Chris is showing off the gun, there is the gravity in every single one of Phoenix's words laying out the severity of the deadly weapon that sits in the hand of each boy, right down to noting that he made sure it wasn't loaded. When Gordie plays with it then accidentally shoots it off, Phoenix immediately is a scared kid who has been fooling around as he screams right with Gordie to make a hasty retreat as soon as possible. It is astonishing work because this switch isn't forced, nor is it unnatural, it rather is this completely believable manner of someone who needs adult grit in his life, but is still a silly kid at the same time. 

One can find so much in every frame that Phoenix is in, just in watching to see "what age" Chris is in a given moment as the leader, but again it is never an exercise it is a reality that Phoenix uses to only make Chris all the more impactful as a character. Where we see this so potently is in his relationship with the other boys. With Vern is largely comedic, where in a way Chris is most the fellow kid with the least maturity of the group, this is in stark contrast to his moments with Teddy. One remarkable scene as such is as the boys first play along a train while a train is very far away, and Phoenix presents the simple joy of phony danger right along the other boys without hesitation. When Teddy continues to stay on the tracks and begins to ramble about World War II based on things that his mentally ill dad has said, Phoenix's expressions instantly change to reflect the severity of the situation and the sense of understanding that Teddy is going off the deep end in the moment. Phoenix's performance suddenly switches to that maturity of concern as he forces Teddy off the tracks and berates him for his behavior. The most powerful of the relationships is with Gordie, where we see the best friend who absolutely has his back no matter what. Again there are the moments of truly just the friends being friends of their age, but so much more when Gordie bemoans taking college ready classes which will take him away from his friends. In a scene that I can't help but think it directly inspired a certain famous Ben Affleck spoken speech in Good Will Hunting, Chris basically telling Gordie to essentially forget his friends because of his potential as a writer. Phoenix is outstanding in the scene because there is such measured warmth he brings into every word of the speech. He brings a tough directness to it, but also this real sense of concern for his friend. Phoenix makes it so clear the wisdom of Chris in as he advises his friend that will be the best for that friend, even if it will take him away from him. And especially adore Phoenix's way of describing Gordie's writing, Phoenix shows such genuine admiration and appreciation for his friend's talent that is of absolute friend. 

The friendship between Chris and Gordie is paramount to several key moments throughout the journey and we get the return for the favor between the two of them each time. Phoenix's own moment of Chris breaking down his story of stealing school milk money, which is true but he also confessed to a teacher who in turn stole the money for themselves. Phoenix is amazing in the scene because we see the process of revealing both the maturity of the eventual man and the completely understandable vulnerability of the boy in the moment. In his breakdown he switches from showing that strength at times but bringing the fundamental heartbreak of a boy whose sense of any innocence was purged that much more by the teacher betraying him. That moment Gordie comforts Chris but Chris returns the favor when Gordie breaks down when they see the dead body, believing his parents wished he died rather than his older brother who had died in an accident. Phoenix on the other side is just as incredible in the fully loving embrace and as blunt as he was in telling Gordie the truths about their futures, Phoenix is as blunt in giving the speech telling Gordie that his father just doesn't know him. Phoenix brings such emotional sensitivity while having that toughness to him in the same breath and again it is such complex nuanced emotional work from such a young performer that it is absolutely extraordinary work. Which is the truth of the entirety of his performance. Phoenix is a boy and a man as Chris. When he faces off against the bully Ace (Kiefer Sutherland of course), Phoenix has that strength of someone much taller, much stronger in his eyes, however as Ace calls the notion and is about to attack him, Phoenix as believable waivers as the young kid he is as the fear almost overwhelms is his expression. There's never a break in this realization by Phoenix; it is a natural flow between these qualities that define Chris. Phoenix manages to perform beyond his years, by successfully being a wholly natural commanding performer, who is that boy, but finds that seasoned age of a boy who has been through more than a little in his short life. There isn't a facet of Chris that seems forced, he is warm, he is tough, he is childish, he is adult, he is it all, and it is Phoenix who makes every moment of it feel not only completely believable but also so very powerful and poignant. 

Alternate Best Actor 1986: Yves Montand, Gérard Depardieu & Daniel Auteuil in Jean de Florette & Yves Montand & Daniel Auteuil in Manon des Sources

Yves Montand, Gérard Depardieu did not receive Oscar nominations, despite receiving BAFTA nominations, for portraying César Soubeyran aka "Le Papet" & Jean Cadoret respectively, nor did Daniel Auteuil, despite winning a BAFTA, for portraying Ugolin all in Jean de Florette. Auteuil and Montand were also not Oscar nominated for the same roles for Manon des Sources. 

The first half of a two film series, shot back to back, Jean de Florette is just an incredible film which is both beautiful and heartbreaking in depicting an honest dream against dishonest ambition. 

Quickly it is hard to put Auteuil in supporting when he definitely has more screen time than Montand, and possibly more than Depardieu, and seems like it was a case of "servile equals supporting" which is extremely silly. Anyway, the film opens with the unlikely characters to follow in such a story, as more often we would begin with our tragic hero then see the villains who will try to stand in his way. This film is the opposite where we open with the colluding villains as they set their plans. We have the paternal, though in this instance being the Uncle, role of a long standing family in Southern France looking for some avenue to increase his family's wealth, along with his nephew Ugolin played by Auteuil. Although related the two are dissimilar in manner, and performance. Montand's performance is very much defined by his status as the old noted actor, with that whole type of regal presence accentuating the nature of the man of this assumed privilege and even prestige. Contrasting that most bluntly is his nephew, where Auteuil is made up quite a bit with his teeth and nose, to look almost rat-like, and is something that Auteuil wholly embraces with his performance. A performance that is my kind of mannered performance, because I never even thought of it as mannered when watching it. Although it is entirely so where Auteuil accentuates his makeup and prosthetics with his whole facial expressions, that is unlike any Auteuil I've seen, along with his voice. Each element being extremely specific in creating this specific sniveling quality, although remarkably performed because he wholly convinces you just of Ugolin as this person. A person who very much is defined by his life of labor, who lives with the dirt, and Auteuil accentuates every bit of this by embracing those mannerisms making you believe and sense the history of this man's life.  

We are presented with their unlikely state of being even from their earliest conversation where Montand comes in with this gracious even warm spirit to his nephew making suggestions that Ugolin might attempt to woo a local woman to find a wife with this paternal wisdom as the defining feature of his delivery. Something that Auteuil reacts to with nearly deaf ears and just kind of a confused expression of why exactly he'd want to "burden" himself with such things. Mentioning instead his use of prostitutes as all the women he could possibly need, Auteuil makes this pronouncement as honestly as Ugolin knows, which there isn't a second of consideration and such a life of expectation isn't something that Auteuil's work suggests even phases Ugolin. Crafting the odd pairing of the two as despite being family what draws them together is only the collusion of family, as we see César as this instructor for Ugolin even if we hardly feel they are as one despite working as a pair. Something that becomes more evident as the two come upon a dying neighboring farmer, which is perhaps where we see the clearest bond of the two reacting not with concern for the man, but rather this instant connection of the possibilities each man senses with the potential death. Even the notion of criminal murder being sort of danced around which Montand delivers with regal distance and Auteuil with dogged, well, dog eat dog mentality. The man indeed dies, which while watching the property the men find the all important water source for the property, where we see the master criminal and his fool apprentice. Montand bringing this shifty manner in his eyes of catching something to steal, while controlling Ugolin who Auteuil portrays as less able to stay calm in expresses this energy at the potential that César controls lest to alarm others of the whereabouts of the spring.  

Their plans hit a snag when the inherited owner Jean Cadoret appears, along with his wife and young daughter. A man with a hump, and played by a more than dubious man, Gérard Depardieu, which speaks to truly the nature of acting as he manages to deliver such gentle earnestness from the second he enters into the frame. Depardieu's performance is brimming with such approachable excitement as he enters as Jean, a man of the city, who reacts in wonder as he sees the gorgeous hills of southern France. Depardieu is truly endearing here as he manages to make the character's enthusiasm something which is completely honest and entirely contagious. As he looks upon in wonderment and pronounces all his dreams, it is hard not to caught up with his splendid ideas of making a home for himself with his family, because the sincerity of the dream just seems to rest in the initial glowing eyes of his as he seems drawn into such a fantasy place, for him anyways. One of the many brilliant ideas of this narrative however is the presentation of the dream, from the outset, is not from the dream, but rather how the dream is the obstacle of the two men we were introduced to first. César sees him as a threat to his plan which he then suggests to Ugolin to befriend Jean only to be in the position to undermine him when possible. Montand's performance is without overt maniacal quality, rather it is with this overly practical dismissiveness. Montand's performance will be consistent for much of the film as he appears basically as commentary on the attempts of Jean to make it as a farmer on the land, basically as this worst kind of commentator who speaks of every challenge that will befall him, and even shrugs off every potential victory of Jean with some negative alternative in the future. Montand's performance makes César a villain whose villainy exists largely through callous indifference in just observing the failure with conviction that it will come sooner than later. Montand's performance is effective though largely one of consistency, where there is maybe a touch more frustration a few times within his still confidence at Jean's assumed failure, however I would say within the scheme of the film Auteuil and Depardieu have the purposefully more dynamic arcs.  

Speaking of, we are given the perspective of knowing the truth so what we see instead is this cruel game of Ugolin presenting himself as a friendly neighbor to Depardieu's Jean, something Auteuil excels with but not entirely excelling with in terms of the quality of Ugolin's own "performance". Ugolin isn't exactly the best but gets by as Auteuil presents very much an act, though only something someone with a bit more cynicism would catch onto right away. Auteuil's main delivery in these moments is as the doubting "friend", where any idea Jean presents Ugolin has some negative slant on the idea that undercuts it in some way. Auteuil presents it with a certain effective simplicity where seemingly the simple man is just putting forth his own wisdom, as limited as it is, which is a combination of the doubt of his voice and confusion in his face on the atypical thinking presented by Jean. Auteuil tiptoes around the idea of honest confusion with put upon negativity effectively to make Ugolin seemingly reliable enough for the very much trusting Jean. Contrasting that is Depardieu's own work that is so endearing through the sincerity of every moment of his optimism as he explains his ideas of breeding rabbits. There's the energy not of someone with a plan but a fundamental truth to make choices to fulfill his dream. Even when Ugolin offers a negative slant to every single one of his ideas, Depardieu doesn't react as someone brushing the ideas off, rather as someone who honestly cannot see such negativity because his belief is so pure. Something that perhaps makes a little bit of a complication for Ugolin where Auteuil is quite excellent in being able to balance the degree of which guilt ways on the man, as he offers some minor help to Jean, but never of course tells him the truth that would make his plans completely thrive. Auteuil puts just enough shame in his eyes in certain moments, where Jean's trust is so pure, or even in the moment where he hides away to renege on an offer he had made. Auteuil doesn't redeem Ugolin but does offer the right glints of humanity to suggest a man who knows he's doing wrong though can't quite overcome his faults to do the right thing. 

The progression of the degradation of Jean is where the power of the film exists because Depardieu begins with such a potent sense of that dream and what we see is the way that dream seems to be slowly purged away from him, however not in the way you might expect. Depardieu is wonderful in accentuating every moment of success with such joy, a joy that isn't selfish but rather something he wants to not only share with his wife and daughter but anyone nearby. In his eyes you see a man who believes himself to be nearly living in some kind of heaven for himself, so much so that even when he comes upon squatters on his land he only is inviting towards them. Depardieu is not presenting as foolish but rather the nature of the man to love and welcome all to be part of what he sees as an ideal experience. Unfortunately due to the lack of the spring it does eventually take its toll upon him, as he begins to run out of money. One especially heart-wrenching moment comes as Jean asks his wife to allow him to pawn her prized necklace to allow them to get by a little longer. Depardieu is so moving in the scene because you still see the dream in his eyes as a man who is convinced it will all work out, yet there is the first crack in the heartbreak within him as he must ask his wife to do this. Something Depardieu burys within his performance, as the emotions he's trying to hide away from the doubt and the loss of the prized possession, only to find out that his wife already pawned it for the sake of the family. Depardieu's reaction is devastating because you see finally a full break in the dream, and the dawning reality that is tearing at that dream do you see such pain. Something that continues with another powerful though painful scene of a full storm coming, however not close enough to Jean's farm. Depardieu again is so heartbreaking because he goes from such real excitement to the rain to such fundamental anguish, particularly in his delivery of "there's no one up there" as God doesn't answer his prayers and Depardieu brings not just a sense of defeat, but a destruction of a dream. But what is fascinating in Depardieu's work isn't that he doesn't suddenly become just a cynical man, rather he makes something that feels all the more tragic from where he began, which is twisting the dream. Depardieu brings the enthusiasm still however now it isn't with optimism it is reeking with desperation. The same manner of the man wanting for the dream, but now the intensity is making a horrible obsession. Depardieu shows the man clinging onto the dream now rather than living it, and makes it a harrowing act of suffering, leading to his final accidental end. Depardieu makes it an especially powerful portrayal by realizing that shift within the dream from something you can believe in to something that nearly disturbs you. Within the final moments you also have one great moment from Auteuil where you see Ugolin witness what he helped wrought, and that hint of shame suddenly becomes something absorbing in the moment. He still doesn't act as a good man, however Auteuil realizes in his face the real extent of his shame and sorrow. Although not enough as we find both Ugolin and César, after having purchased the land, unplugging the water spring as vultures devour the rewards of their misdeeds as we close out the masterful Jean de Florette. 

Manon des Sources, while still largely effective, does feel more so the epilogue of the previous film than one that completely exists on its own accord for the most part. 

The sequel offers the fallout of the acts of César and Ugolin several years later where they have found profit with the spring, though Jean's now adult daughter Manon (Emanuelle Béart) still resides in the area as a nearly mute shepherd. It seems the ideal life for the pair as the two now live in their success through their ill gotten gains and continue on as such without a seeming worry to anything they have done. That is until Ugolin happens upon a naked Manon to which he becomes instantly infatuated with her. Auteuil's portrayal of this is that of immediate fascination befitting a man who before dismissed the need for a wife as unnecessary due to prostitution, it is simple but also pure in Auteuil's portrayal of his fascination in her eyes but his very manner changes in the moment. Suddenly his movements are even more pathetic as he sneaks around her presence while looking towards her with the same kind of distinct infatuation. Something that leads to a conversation between the two collaborators though of somewhat different natures. And this is quite bluntly where Montand shines in these moments as he shows the older César easing up on his indifference a little bit. As the two converse about Ugolin's desire for a wife where Auteuil speaks every word about his interest now like a little boy who has just discovered love for the first time. Contrasting that with César where Montand brings considerable warmth and joy in his reaction of seeing the potential for his family to live on. Montand is even sweet in the moment as he mentions his own relationships in the past in somewhat metaphorical terms however there is the appropriate sense of nostalgia but with complication that is just overpouring in Montand's delivery. The man is speaking to a time he holds dear but the complication of the time is abundantly clear as in particular he seems to allude to his ideal relationship not working out for some mysterious reason. 

We shift as Ugolin now dressed as a "rich man" tries to woo Manon who is instantly disgusted with him. Auteuil is so perfectly pathetic in the scene because of how he is bringing far too much intensity in his declarations of interest towards her, problematically reminding her of his past with her, and then just his whole physical manner is just so stilted as he walks along with an odd suit that he saw as showing his wealth. Auteuil portrays the man completely misguided in every moment though the intensity of the infatuation is evident in every moment of a man just lost in his lust to the point he ends up sewing a piece of Manon's hair into himself. An act that could seem ridiculous however Auteuil's performance gives an internal logic to this man so stunted in his life that he thinks this will in some way make himself closer to her. At the same time however Manon discovers that the whole town, along with César and Ugolin had conspired against her father, leaving her to find the source of all water for the town and purposefully blocking it. Leading now Ugolin to become the one losing it, although Auteuil's portrayal is very different from Depardieu instead of pulling you into his sadness, he makes you see just how much the man becomes more pathetic in his wretched state of becoming less cogent in any way. Eventually the situation leads to the town to accuse the two men directly of their faults, which unfortunately for Ugolin also coincides with him trying to declare his love for Manon. The scene is ideally painful because Auteuil's performance is as a man who truly doesn't know any better and his simple ability of processing the situation only diminishes more and more as the conversation goes on. Auteuil manages to get to the point it is hard not to feel sympathy because of just how completely lost he is in every reaction in his inability to fully understand his choices and eventually even rage against his uncle. The rage though isn't of a man figuring out he's made a mistake logically, rather wholly raw and irrational is a man falling apart in his core by his mistaken love and limited ability to have any sense of his life. He too becomes heartbreaking in showing a man too destroyed by his crime, though as always within Auteuil's performance purely as a man without the ability to comprehend his failures. Comparing that to Montand who is great as he becomes defensive for his choices bringing a suddenly prideful ferocity to his performance as he challenges the judgment of all. Montand though finally reveals his own break in the man who so confidently oversaw the ruin of another, losing some of that overt confidence to reveal an earnest vulnerability as his voice falters and that reserve of his expression finally falters. 

The last tragedy of the film begins as Ugolin takes his own life due to his guilt, and his insanity from his obsession, leaving César alone, no longer able to make use of all his mechanizations as his whole family line will end with him. Montand's performance remarkably manages to uncover sympathy for César despite his villainous actions throughout both films. Montand does so by just so honestly presenting the sorrow for his nephew bringing such a sense of weight in his voice, his face and his whole physical manner. Montand shows that César has become lost as he saunters around in his depressed state with his only activity being visiting a grave site to visit his seemingly entirely deceased family now. The final tragedy of the tale however comes as César converses with an elderly woman of the community that sheds light on his earlier failed romance. Montand's reactions are amazing throughout the scene as he begins with just kind of confusion to the woman's blame for not having answered a letter, being slightly more intrigued as she suggests it ended up a tragedy. Montand showing the wheels turning in the right way of César's slow realization that he in fact had been the father of Jean after all is tremendous work from him. Montand shows it less as overt horror, but rather understanded sorrow of someone seeing the truth as far too little too late, and just a solemn depression within the man as he realizes all his ill-deeds were against his own son. Montand finally is front and center within both films and doesn't waste this time. Montand delivers the years of waste in the final scenes of the film as we see such a crushing depression within every bit of himself, though with a difference from just the lonely man at the end of a family line, as we now see in his work the pain of hope. We see a moment of him trying to reach out to his granddaughter, who correctly blames him for her father's death, then on his deathbed write a letter with the truth lined out. Montand too manages to be heartbreaking, despite all that his character has done, by so honestly presenting that glint of tenderness in the man mixed in however with the state of a soul truly lost in his shame. All three performers deliver terrific performances in this duology, each crafting their own tragedies that manage to not be repetitive but find the individual power of how the destruction of each man is sewn. 

(Montand for Jean)

(Montand for Manon, Depardieu) 

(Auteuil)

Alternate Best Actor 1986: Roberto Benigni in Down By Law

Roberto Benigni did not receive an Oscar nomination for portraying Roberto aka Bob in Down By Law. 

Down By Law is a wonderful Jarmusch about the interactions between three unique inmates. 

If there's a director to find a place for an idiosyncratic presence it is Jim Jarmusch, and even before we get to the subject of this review, this film opens first with Jack played by John Lurie, musician and the lead of Jarmusch's previous film Stranger Than Paradise. A pimp who gets set up and arrested. Follow that by one of my favorite idiosyncratic presences of cinema Tom Waits, playing Zack a wannabe DJ who too is set up by agreeing to a seemingly innocuous job that ends up being much worse. We come into those two becoming friends while jailed together and forming a low key bond that could only be in a Jarmusch film, from two unexpected performers. But the film lives on the last lead to enter the cell, though he has a brief appearance earlier in the film as we see Benigni randomly come across Zack where he recites a phrase he likes, only to disappear until he too is thrown into their cell. And this is where context of performance matters so much, because I have in no way hidden my lack of love for Benigni's Oscar win, and this is not some completely unrelated performance by any means, however in this instance Jarmusch found Benigni a just about perfect fit here as Bob the inmate, who makes Zack and Jack looks like just a couple of typical guys. 

Benigni's performance is one of pure energy here, a chaotic energy that is going about in every direction in every scene, as even the way he speaks here is a kind of riffing though this a particularly unique riffing where he is just switching between Italian and English constantly. This is not an instance where it is this flawless swapping of a man completely adept at both languages, rather like a musician struggling to find the right note, Benigni performs it as Bob struggling to frequently find the right word. It is all in the delivery though and that is the magical part of the performance. Benigni specifically doesn't hesitate with his verbal delivery, as even as he's stepping over words and lines, he always captures this forward momentum within every phrase that he comes out with confidence even as what he says is at least a little broken in translation. The thing is though is it is a big ole' who cares, because Benigni's energy here just is that endearing in the way he pulls us into his ramblings with a curious sense of discovery, just as the other two men come to feel the same way. It is difficult not to be fascinated by what Jarmusch is capturing which is so perfectly within itself, in a performance that probably wouldn't work in many contexts, but in this specific context it just sings. 

Benigni pulls off something quite fascinating here as he very much turns us into Zack and Jack, in trying to decipher what wisdom is within his ramblings to find out the truth of the matter. As Bob himself has this innate purity about himself where Benigni even explains how Bob killed a man in self-defense as just this matter of fact way, though as just the same potent energy as he explains how to cook a rabbit later. It is all just part of his experience and therefore relates it with as much ease as he would anything else. Benigni succeeds in a way by not really setting apart moments of his performance but rather succeeding in being this purity as Bob. What that really means is that Benigni isn't trying to create this intense character arc where Bob grows, nor is he trying to make Bob this extremely complex person, rather he is just making Bob just so truly and only Bob, as Bob can be, where you just need to listen in a follow whatever random thing he's off on to find out exactly what Bob is talking about. As when Bob suddenly gives notions of escape, then does, it is just as it would be explaining less concerning matter again, yet it all makes sense as this is just Bob being Bob, and for Bob to help his new friends escape is simply a why not just as he does anything else. 

You can't control what Benigni is doing here because just as his delivery is so specifically his own, as is his physical manner here which is performed like Benigni simply is ignoring any traditional blocking for how to maneuver a scene and any sense where the camera is. Frankly Benigni frequently seems lost in a specific space, or at least out of place because of just how light and floaty he can be whether they're stuck in their cell, running down a sewer or wandering around a swamp looking to escape. Again though, logically shouldn't work, but the logic of this film absolutely does, because Benigni simply IS Bob as he goes about his way, and particularly is so effective by the down to earth looks of Waits and Lurie often taking him in, and loving him. The thing is, it is hard not to because he is so endearing, his energy is contagious and you just love the way the man seems unburdened. Even the most distressing moment theoretically, where Bob can't swim and the other two guys consider abandoning him, you know it can't happen because of just how innocent, and childlike Benigni's pleas are to both as asks his friends for help. Eventually the trio find a road, where we get the final bit where they uncover a cafe, which they send Bob to scope out first, which several hours later without a return, they follow. Luckily for all, Bob has discovered the cafe is run by an Italian woman Nicoletta played by Benigni's eventual wife Nicoletta Braschi, so naturally things are going to work out. While I wouldn't quite say this is a different side of Bob, what we do see is a slightly different situation for Bob's energy, as he finds his love in Nicoletta. Something that again just shows Bob's energy again is insatiable as there is such a blunt sincerity but also pleasant intensity about as he speaks so lovingly of every word with every glance towards her even stronger. Something that culminates beautifully in a moment where he invites her to dance in front of Zack and Jack. There Benigni's simple earnestness in his embracing dancing, closing his eyes as though it is the most joyous moment of his life has such an easy poignancy to it, and the endearing nature of Bob makes the moment a treasure in itself. We see Bob get his happy ending, that is befitting the pure character we've seen throughout. A character that is ideal use of Benigni's talents, where his energy is used in the right way, in the right direction, in the right style of Jarmusch and with the right balancing factor via Lurie and Waits. 

Alternate Best Actor 1986

 And the Nominees Were Not:

Kyle MacLachlan in Blue Velvet

River Phoenix in Stand By Me

Roberto Benigni in Down By Law

Yves Montand in Jean De Florette

Erland Josephson in The Sacrifice

Alternate Best Actor 1986: Results

5. Gene Hackman in Hoosiers- Hackman avoids the cliched route instead giving a realistic yet still inspiring depiction of the coach of the underdogs.  

Best Scene: Norman Dale convinces Shooter to help out on the team.

4. Jeremy Irons in The Mission- Irons gives a very moving portrayal by making his character's goodness only ever come across as genuine and very poignant.

Best Scene: Gabriel argues for non-violence to Rodrigo.

3. Gary Oldman in Sid and Nancy- Oldman rather surprisingly gives a mostly quit and always believably portrayal of his drug addled character. The louder moments though are well earned and effective in bringing to life the unique stage presence of Sid Vicious.

Best Scene: "My Way"

2. Harrison Ford in The Mosquito Coast- Ford goes wildly against type and completely succeeds. He not only disappears into the role, but he well gives a very compelling depiction of the growing insanity of a man who can see nothing other his own personal vision.

Best Scene: Allie insists a Nuclear holocaust has occurred.

1. Jeff Golblum in The Fly- Jeff Goldblum gives a great performance. He certainly fulfills the requirements of becoming the monster, but most importantly he always brings the humanity in the process. He brings you into this man's story every step of the way and creating a truly tragic depiction of a man who went too far. My whole top five is especially strong with Ford, Oldman and Goldblum as well as the two Oscar nominated guys Woods and Hoskins all being deserving of the win. Really it's one of those cases though where I think a re-watch could sway it one way or another but right now I will have to go with the following ranking:

Best Scene: Seth after his "successful" use of the machine.

Overall Rank

1. Bob Hoskins in Mona Lisa
2. Jeff Goldblum in The Fly
3. River Phoenix in Stand By Me
4. Harrison Ford in The Mosquito Coast
5. James Woods in Salvador
6. Gary Oldman in Sid and Nancy
7. William Petersen in Manhunter 
8. Daniel Auteuil in Manon des Sources
9. Daniel Auteuil in Jean De Florette
10. Erland Josephson in The Sacrifice
11. Yves Montand in Manon des Sources
12. Gerard Depardieu in Jean De Florette
13. Jeremy Irons in The Mission
14. Sean Connery in The Name of the Rose
15. Gene Hackman in Hoosiers
16. William Hurt in Children of a Lesser God
17. Roberto Benigni in Down by Law
18. Christopher Walken in At Close Range
19. Kyle MacLachlan in Blue Velvet 
20. John Mills in When the Wind Blows
21. Denis Lavant in Mauvais Sang
22. Robert De Niro in The Mission
23. Rick Moranis in Little Shop Horrors
24. Jeff Daniels in Something Wild
25. Steve Buscemi in Parting Glances
26. Danny DeVito in Ruthless People
27. Marcello Mastroianni in Ginger and Fred 
28. Paul Newman in The Color of Money
29. Gabriel Byrne in Defence of the Realm
30. Jean-Hugues Anglade in Betty Blue
31. Tom Waits in Down By Law
32. Jeffrey Combs in From Beyond
33. Matthew Broderick in Ferris Bueller's Day Off
34. Matti Pellonpää in Shadows in Paradise
35. Clint Eastwood in Heartbreak Ridge
36. Marcello Mastroianni in The Beekeeper
37. John Lurie in Down By Law
38. Yves Montand in Jean de Florette
39. Charlie Sheen in Platoon 
40. Paul Hogan in Crocodile Dundee
41. River Phoenix in The Mosquito Coast
42. Kurt Russell in Big Trouble in Little China
43. Pat Morita in The Karate Kid Part 2
44. Rigzin Tseshang in Horse Thief
45. Will Wheaton in Stand By Me
46. Barrie Ingham in The Great Mouse Detective
47. Tom Cruise in Top Gun
48. Steve Martin in Three Amigos
49. Ralph Macchio in The Karate Kid Part 2
50. Derek De Lint in The Assault
51. Ti Lung in A Better Tomorrow
52. Roy Scheider in 52 Pick Up
53. Thales Pan Chacon in Love Me Forever Or Love Me Never
54. Gerard Depardieu in Menage
55. Michel Blanc in Menage
56. Plácido Domingo in Otello
57. Justino Díaz in Otello
58. Tom Cruise in The Color of Money 
59. Sean Penn in At Close Range
60. C. Thomas Howell in The Hitcher
61. William Shatner in Star Trek IV: The Voyage Home
62. Martin Short in Three Amigos
63. Richard Ganoung in Parting Glances
64. John Bolger in Parting Glances
65. Jeff Bridges in The Morning After
66. Dexter Gordon in 'Round Midnight
67. Judge Reinhold in Ruthless People
68. Sylvester Stallone in Cobra
69. Chevy Chase in Three Amigos
70. Jack Lemmon in That's Life!
71. Julian Sands in A Room With A View
72. Eddie Murphy in The Golden Child
73. James Russo in Extremities 
74. Christian Slater in The Name of The Rose
75. Steve Guttenberg in Short Circuit
76. François Cluzet in 'Round Midnight
77. Christopher Lambert in Highlander
78. Thom Mathews in Friday the 13th Part VI

Next Year: 1986 Supporting

Alternate Best Actor 1986: Gene Hackman in Hoosiers

Gene Hackman did not receive an Oscar nomination for portraying Norman Dale in Hoosiers.

Gene Hackman in Hoosiers plays the well weathered role of a coach to an underdog sports team. This one is a little different in that Hoosiers is better than a lot of films with this type of plot. The role of Norman Dale is also considerably more flawed than many of these characters often are. It is also helped by the great Gene Hackman being in the role as Hackman is not someone to go for the simple route with a character. Such roles, and perhaps even this one in lesser hands is ripe for some schmaltz and all sorts of cheesiness if one is not careful, but that is not the case for Hackman's work here. The main reason being that Hackman in no way seems to be treating the part like the typical inspirational sports coach character.

Hackman firstly just is very believable in the role as a man who clearly not exactly currently in the best part of his life. Dale's coaching job after all is more of a last ditch chance at redemption more than his ideal choice of work. Hackman wears some of that bitterness in him quite well. It is not something that Hackman let's overwhelm his performance, but he does well to suggest the past without the film really needing to show it. Most of the film is not dwelling on the past instead obviously focusing on Dale's attempt to try to get the small town team in shape to win the championship well carefully dealing with the locals who basically want to replace him as soon as they see him. Again in performing as the coach Hackman again does not act as the usual type of movie coach.

In the coaching duties Hackman delivers with a fervent passion as well as always a certain intelligence in his ways as a mentor. What makes Hackman so effective though is the way he comes off as a particularly realistic coach especially in the game scenes. Hackman portrays Dale as honestly having a pretty bad temper in the game, and does not hold back in that regard. Hackman is always particularly strong in showing that Dale does not take it well when anyone whether it is the game's referee or one of his players, he someone who knows he's right so he's not going to take that from anyone. Hackman does not show that Dale is really a perfect guy who someone you would even want to be around, but because of that he's always particularly believable in this role.

That is not to say that Norman Dale is not an inspiring figure in the film, quite the contrary not only does he pull all the boys together to form an actual team he even gets the local drunkard (Dennis Hopper) to redeem himself slightly by becoming an assistant coach for the team. Hackman again is terrific by not going the standard route by being particularly warm and lovey dovey. Instead in most of these scenes Hackman is very careful to suggest an underlying empathy in Dale as he tries to give his inspirational speeches, but the way Hackman plays it up front is as basically "Do the right thing, or well I just down give a damn". Hackman completely meets the challenge of being the inspiring coach, but he always does it his way which avoids ever falling into the slightest bit of schmaltz.

Gene Hackman being in the lead role helps Hoosiers stand out as sports movies of this kind. He does not hit the usual beats of this type of character instead taking his own path the whole way through. By doing this Hacman not only gives a much more intense and compelling portrayal, but also one far more line with a real coach in Norman Dale's position. He makes him a pretty rough character and one that is not always easy to deal with, but Hackman never fails to perfectly balance those technically less savory qualities with a great deal of genuine heart and passion. Although I would not quite put this up there with Hackman's best performances, it is a great example of Hackman excelling in yet another genre.