Best Supporting Actor 2020: Results

5. Sacha Baron Cohen in The Trial of the Chicago Seven - Cohen delivers a good performance that actually plays on his type in portraying a man who uses irreverence as a kind of weapon.

Best Scene: Taking the stand.

4. Leslie Odom Jr. in One Night in Miami - Odom gives an effective and charismatic turn in portraying Sam Cooke's ease but also his more passionate convictions.

Best Scene: "Change's Gonna Come"

3. Daniel Kaluuya in Judas and the Black Messiah - Kaluuya gives a powerful and charismatic turn in his realization of Fred Hampton. This is even as while I don't feel the film makes the most of his performance, he makes more than the most of his material while it is there.

Best Scene: "I am a revolutionary"

2. LaKeith Stanfield in Judas and the Black Messiah - Stanfield I think actually has even the greater challenge, which is why he's my current 2021 best actor winner, where he needs to create a logic to his character, and make such a lowly man compelling. Stanfield manages to do with both ease. I have to say I so wish Judas was just a bit better, because Stanfield's and Kaluuya's turns are both set into delivering a masterpiece. Unfortunately the film isn't that, but they are both great.

Best Scene: Hot-wiring the car.

1. Paul Raci in Sound of Metal - Good predictions Robert, Psifonian (To the rest, you do get your request, but please specify if you got it correctly on your last prediction as trying to decipher all the flip flops, Doesn't help when Anonymous predictors change their votes for example, on Cohen's post made my head spin) Paul Raci delivers my favorite performance in this lineup, and the one of only two actually supporting ones in the grouping. A performance that is just so vivid, honest and quietly moving every second he is on screen. 

Best Scene: Confronting Ruben.

Best Supporting Actor 2020: LaKeith Stanfield in Judas and the Black Messiah

LaKeith Stanfield received his first Oscar nomination for portraying William O'Neal in Judas and the Black Messiah. 

Now onto the "Judas" half of the film. Speaking of up and coming actors, LaKeith Stanfield, in a fairly short amount of time, much like Daniel Kaluuya, has fast been crafting a varied and remarkable filmography. He's an actor I'm always happy to see appear in any film and quite eager to see what he does next. Compared to his co-lead, Stanfield has a very different challenge. This as I'm not sure the film quite knows what to do with William O'Neal but Stanfield does. This as where Kaluuya has a, for about half of the film at least, a clearly defined narrative and motivation to build from, for the character of William O'Neal, things are a little sloppier, though not for Stanfield. Stanfield makes a cohesive character here, but it is through from seeming to make a fundamental choice from his opening scene where O'Neal goes to shake down a bar by posing as an FBI agent. That fundamental choice being that Stanfield seems to define O'Neal as a fool. This could seem an easy way out, but what Stanfield does with it is truly incredible. This as he finds a path for the character that would've been far more difficult without the insight of his performance. I actually think he fashions kind of a fascinating sort of anti- or at least unorthodox charisma with the role. Take his opening scene where he tries to shake down a bar by posing as an FBI agent. There is just so much nuance even in the awkwardness of his manner as he tries to posture so laughable. Even with way Stanfield holds tight to his hat on his face has sense of fallacy that he can do anything here other than getting chased and almost killed, which is naturally what happens. 

Stanfield's escape in this first scene is a brilliant bit of physical acting. This just in that he captures this sense of fear obviously as he runs but this kind of weaselesque energy in the movements. There is something fascinating just to watch Stanfield make his escape as you see a guy putting everything he's got into it, even in his rather messy way. I especially love as he drives off with one of patrons stolen car away, finally making his escape. Stanfield expresses so much relief with a bit of joy that he really effectively pulls you into the frame of O'Neal mind, even as he's a particularly lowly sort. This dynamic approach he finds even continues in what could be a perfunctory scene, where his eventual FBI handler (Jesse Plemons) goes about interrogating him for his previous crime, though is in fact trying to recruit him as an FBI informer/plant. Stanfield's a face of a man seemingly just lost within the interrogation room waiting whatever punishment may await him. In explaining his method of using a badge to rob, Stanfield's delivery is brilliant, this clearly his voice as he speaks with a nearly stilted fear. As well as Stanfield places you within O'Neal within the moment, the most essential moment is when the handler asks if he cares about the deaths of Martin Luther King and Malcolm X. The former Stanfield begrudgingly admits to some sadness as a generalized feeling, but for Malcolm X there is nothing. In this Stanfield shows a man who believes in one thing, his own survival. 

O'Neal is then set to infiltrate the Black Panther party, specifically the chapter lead by Fred Hampton in Chicago. Stanfield is terrific in the early scenes of the man observing the organization. This as again as the fool he doesn't react as a man who really has any high minded ideas, therefore the presentation of them is rather meaningless. Instead Stanfield shows the observer quite effectively as the man looking for his opportunities for his own survival. This as he conveys this as depth-less as the man should be, however this isn't even remotely a criticism. Rather it is fascinating the way Stanfield stands out within the shadows. This as he's to the side, and I just love how much Stanfield does in every silent aside as O'Neal. This as he conveys the working of his brains, and his motivation as this unique thing. Something we understand because we know where he came from, but also wouldn't raise too many questions for others. O'Neal even breaking his cover slightly by hitting on a female member of the party, leading to minor punishment. Stanfield even portrays that as no more than the common lusts for the common man that is O'Neal. O'Neal who is most capable only in finding ways to slip through the clutches of authority. In the moment of convincing the FBI to give him a car, so he can be Fred's driver supposedly, Stanfield speaks with confidence for once in this idea, but mainly as Stanfield shows the far more palatable desire for the car more than anything. 

Stanfield's portrayal captures this sort of marvelous duality of laying low while presenting to us what he's feeling, and is fantastic work. Take a moment on reflecting on the Panther's gun collection he speaks in the phony surprise of admiration of some kind, against the undercurrent in Stanfield's work conveying a fear for his life by the danger the guns present to him as an informer. I think it is fair to say, Stanfield is one of the very best actors working today in terms of portraying jittery fear. The man just has a face for it as he evokes so much anxiety in an silent instance, that most actors would need a dozen screams to represent. Stanfield in this creates create antithetical focal points in the Hamptons speech scenes, because as compelling as Kaluuya is leading the crowd, Stanfield is as compelling in creating O'Neal's kind of paranoid fear deep within the lion's den. A highlight scene for Stanfield, and the film, is when O'Neal's Bona fides are directly questioned as he's held at gun point to prove himself as a car thief. Stanfield is amazing in the scene. This as he captures the tension of the moment. This in both trying to evoke confidence, while always almost failing miserable, while also trying so hard and so desperately to convince. Again though what he is so convincing is as this fool, that there's some nugget of truth within all his fear to make himself convincing. Stanfield is the greatest tight rope walker, a tight rope walker who only ever walks on the tips of his toes and the back of his heels, while waving his arms ferociously to stay up. 

Stanfield finds his path within O'Neal's story, which I think the film could've made more compelling if they had connected Fred and O'Neal beyond him driving for him. Stanfield finds his path though in showing again how the fool navigates this life. This in his moments with the FBI, there is joy and pride in his accomplishments initially as he earns payments and favor for his successes. As the situation grows more dangerous though, Stanfield wields that desperation so effectively. Again Stanfield creates such a fantastic focal point in making himself such a fascinating parasite of an alternate protagonist. Where I think, if not for Stanfield, the logic of the character would be lost in the progression towards the end. This as the film doesn't quite decide what O'Neal is all about in terms of his relationship with the Black Panthers. Of course this is on the record itself where it is disputed whether or not he committed suicide out of guilt or not for his time as an informer. Stanfield explains this actually within his performance. This as he presents the man who really isn't wise enough to know if he has real friends in the party, or if he has loyalty for any friend. Stanfield projects the desperation of the fool who doesn't know what t think in a given moment. Stanfield presents a man so gripped by fear for himself that he never quite seems to make a decision wholly for himself. Stanfield is great here because he makes sense of the possibly senseless. I think the flash forward scenes, based on O'Neal real single interview, are essential. This as he speaks, Stanfield's expression is one of a confusion that weighs upon the man and haunts him. Stanfield doesn't show it as quite guilt, but not exactly that either. It is rather something eating at a man, who himself lacks the ability to truly confront himself over his own actions. This is a brilliant turn by LaKeith Stanfield, as he creates a captivating turn, not based on hope and selflessness, but rather fear and self-preservation.

Best Supporting Actor 2020: Daniel Kaluuya in Judas and The Black Messiah

Daniel Kaluuya won his Oscar from his second Oscar nomination for portraying Fred Hampton in Judas and the Black Messiah.

Judas and The Black Messiah is a good, if somewhat frustrating film. This as even in its current state another edit may have tightened the materials, as both the FBI behind the scenes moments are unnecessary as is the nearly unattached story of a completely random Black Panther member who meets a violent end. Even the title indirectly speaks to the lack of cohesion, because within the film itself the "Judas" and the "Black Messiah" have little relation within the progression of the film. 

So might as well treat this film as really two films, starting with the "Black Messiah" portion aka the story of Fred Hampton. This is led by Daniel Kaluuya as the noted figure. A character who also appeared in "The Trial of the Chicago Seven" as an advisor to fellow Black Panther Bobby Seale. Here we get Fred's story which begins as a slow rise to prominence. In this role we have up and comer Daniel Kaluuya, who is slowly building quite the repertoire of performances that express quite the range as a performer. This from the outset his very essence is so different from the scared young man trying to escape a horror show in his first Oscar nominated turn in Get Out, or as his demonic enforcer in Widows. Here we get Kaluuya's work as a man seeking self-actualization essentially as an activist. This from his opening moment where we see him preparing for his speech. His eyes focused, with a sense of weight to his intention, and a focus of someone meaning to make an impact. Kaluuya just has a presence here that is entirely different. This isn't the Kaluuya of those other films, not that he didn't have presence in those, but here he just commands his space in a way that is entirely towards realizing his Fred Hampton. A realization that has no break, in that there are no cracks within this crafting of his portrayal of the man. His voice not only is spot on to the real Hampton, it is also wholly natural within his performance. 

His physical performance is equally remarkable in expressing the man. This as even his physical posture, even the way he sort of speaks through himself is unique to his Fred, and not to Kaluuya. It is a brilliant transformation. This as nothing about what he's doing here is building off his previous work, this is something entirely new in terms of just fashioning this presence of the man. It is extremely impressive, particularly since not an element of it feels forced. It just seems to be the man. Now that would only be one thing, but we get so much more than that as we follow Fred basically as his rise as an activist. In his first speech Kaluuya delivers the power of the man. This unique way of speaking that almost crafts a song out of his message. This as he rallies out his points with both an ease and elegance, but with a ferocity all the same. Kaluuya delivers on finding an innate magnetism within the man. There is a power of personality within the man that he just exudes whenever we see Fred in his element, which is trying to deliver the message to the people. Kaluuya finds the right variation in this even, in presenting the different sort of tone depending on the situation. We see early on his major speech the fuller voice, the voice of a man who thinks he is making potentially his most important speech. When working a smaller scale class Kaluuya is a bit quieter, though still powerful, but creates the sense of the two voices depending on the situation. 

Kaluuya balances different sides of the man depending on where he is. There are the very important moments with his future girlfriend (Dominique Fishback). This where he is possibly his least magnetic but also his truest self. Kaluuya has a meekness in these moments, a vulnerability he fashion well as a man in love. The confidence is more of struggle in these moments and in doing so creates a the right sense of the man within the icon. This against the rest of his work where Kaluuya shows Hampton with his greater intention and in turn pushes himself to his limit. Kaluuya has many great scenes where we see Fred on the missions to recruit other black organizations, and other socialist organizations for other racial groups. Kaluuya is fantastic in these scenes in portraying the leader. This in delivering his charisma as though it is a force in itself. His speechifying his weapon for change. This in his negotiation Kaluuya speaks towards the strict conviction of the man, but also his power of persuasion. Kaluuya really is terrific here as you truly get a sense of the man as this potential "messiah" figure in wielding his charisma in this way. Kaluuya has the right grace in himself, even when speaking to the organization of men who proudly display the confederate flag, Kaluuya speaks with calm but still pointed aim. He creates the presence of a true figure building towards far more than a fringe group. The moment of him fronting his rainbow coalition, Kaluuya crafts a larger than life figure seemingly on the course for great things.

Then Fred is arrested and we kind of lose a bit of narrative thrust, unfortunately. This particularly in regards to Fred's story. We get brief scenes of Fred's activism even in jail, where he portrays a dogged determination in his eyes even as his rebellion must be on a particularly small scale. The film at this point, and I think is what is its major flaw, is that its kind of done developing anything more character wise for Fred. This isn't to say there aren't still strong moments for Kaluuya. His speech after being released from prison is an outstanding highpoint by Kaluuya. This as basically his crowning speech in showing the full force of Fred's charisma. This filled with emotion, determination, and just sheer sense of the power of his personality as he wields the crowd. He controls every moment of it. This railing off every word with such an ease. It is a fascinating combination of so much that makes it so incredible. This as he strikes hard with the intensity, yet always honestly mesmerizing in his rhythmic speechifying that creates a community within the crowd. You essentially see Fred at his fullest powers, and Kaluuya wholly delivers on this. Unfortunately beyond this, we get a succession of scenes where Fred just typically passively listens seemingly awaiting his death. Kaluuya is good in every one of these scenes, particularly when Deborah tells him of her pregnancy. The somber sense of defeat combined with genuine care are remarkably realized. The progression though towards his end though is oddly vague. Not in Kaluuya's performance, just the film-making. This progression to his end feels strangely muted and the devastation that should be there, oddly is not. This as I believe they oddly pull back from Fred himself at this point, as we learn nothing new within him facing his possible death. Almost every scene is Fred just listening to others with that sense of defeat. Kaluuya is convincing in this, but I wish the character felt as present as he was in the first half. Strangely he kind of fades into the background of his own biopic. Again, not on Kaluuya, but rather one of the major flaws of the script. I'm glad I watched this film twice, because I'll admit I was left disappointed a bit by what Kaluuya was given overall because of the muted ending. Watching it again, I got to see and appreciate how much greatness is there, even if it is cut off. Kaluuya more than delivers on every opportunity he has, and even though I'd say his performance only achieves true greatness in the first half, this isn't any fault of his own, just a lack of material. The fact is though, if Fred disappeared in the second half entirely, what Kaluuya delivered in the first half would still make this a great performance. 

Best Supporting Actor 2020: Paul Raci in Sound of Metal

Paul Raci received his first Oscar nomination for portraying Joe in Sound of Metal. 

 

Paul Raci plays the role of Joe the leader of a shelter designed for deaf substance abusers. The shelter, our protagonist, heavy metal drummer/former addict who is losing his hearing, Ruben (Riz Ahmed) goes to for help within his unique situation. I will admit I took Raci a little for granted the first time I watched the film, possibly because how honest Raci is from the moment we meet him. Raci, who up until this point was a fairly obscure character actor, comes from a particularly authentic place as activist in the deaf community, both his parents were deaf, and as a former vet and recovering addict like his character of Joe. I mean I'll admit watching the film I just assumed Raci might've been a real shelter leader they found that happened to be able to act, because there isn't a moment that he isn't Joe here. I think such a thing should not be taken for granted, because what that means here is something quite special. The nature of this performance  really is one that is difficult to express with just how good Raci is here, because of how easy he makes it all seem. From his first scene, where Joe gives Ruben and his girlfriend, the low down on the shelter there is a real combination of things that Raci brings to the part. There's a weariness, not that defines him, but rather a shade just within  his expression that denotes a man whose been through some troubles himself, though this doesn't define him. There's an elegance about him that is wonderful in the way Raci speaks for himself both verbally and through sign language. What Raci does with this is express a man who is confident in his business, and in his approach as a man trying to shepherd a potential deaf addict to the light. There's also just a vibrancy to Raci's performance that is so naturally compelling in a unique way, almost in a Richard Farnsworth kind of innate charm, that isn't the typical definition of charm, but is wholly that. 

We see Raci as he sells the program and afterwards as he helps Ruben acclimate to it, I there is something I truly adore about Raci's delivery. This as it is this kind of perfect combination between a complete direct no nonsense quality, but also still so filled with empathy. When he speaks towards the Church paying for Ruben's stay, he lays it out flat, no defensiveness even remotely to Ruben's lack of religion, but rather just a sincere articulation of the mission to help those in need. Raci in just every moment so much embodies who Joe is. This even in just as we see him in the group of candidates, there is that understated yet so palatable sense of love he has for each and every one of them. This while also not in any way overdoing it. He walks that wholly genuine line of honest that is truly special. You sense the community within Raci's performance by just how he isn't at all fussy, but still connected in every moment. You see the interactions which Raci doesn't waste a single one in that expression of Joe's spirit. A scene I love, and it seems so simple, yet the power of it is found in Raci's work that captures so well Joe's method. This as he sees Ruben's pent up energy, and instead sets him to instead spend the morning on the task of either sitting or writing. Raci's approach in this moment is tough but also loving. This as he speaks with directions, the directions of a teacher though. When he tells Ruben "You don't have to fix anything" he doesn't soften the command so to speak, yet in his eyes it is a man trying to sway Ruben towards the right path. Raci shows this facilitator that is Joe, that he's going to do his best to help, but does so with a simple push and prod. A direct one, but a caring one. Raci's portrayal captures that heart of it that is so winning. There is no BS, when he speaks the message of the film, that is of really appreciating stillness. Not only does it come naturally through, he does it so powerfully. This as even explains his own background of losing his wife and kids due to his alcoholism. Raci's delivery is blunt, but in the bluntness there is a sense of understanding of his own faults. Raci's work is of a man who never lies. He rather strictly tells the truth which can be blunt, but is also from a place of honest love. 

 

In the scene where he encourages Ruben to continue on working in the deaf community, the simple pride in Raci's eyes speaks miles. He can doesn't put too much on it, yet the sense of warmth is just so overwhelming nonetheless. Raci makes such a uniquely inspiring father figure because that approach is so vivid and so deeply affecting. Ruben, due to his co-dependence on his girlfriend, decides to get an ocular implant rather than stay with the program leading to a confrontation with Joe. Raci is simply outstanding in his performance of the scene. This as the heart of the man, which is always there even in that idiosyncratic way, Raci lays bare. This in the way he portrays the slow devastation that reveals itself as he has to confront Ruben about his behavior that seems like he is regressing. In every word Raci reveals the sincere disappointment, a disappointment entirely built on love. What is most heartbreaking is the way Raci shows the devastation just wearing on the man throughout, as he holds back tears and his own breakdown, only losing it just as Ruben leaves. Raci finding such a poignancy in the scene in by showing Joe not kicking out Ruben as though he is intruder, rather it is with the pained expression of a father needing to dismiss his son for the good of his family. As much as we can all bash the Oscars, and often they deserve it, one has to give them credit for a nomination like this. Raci finally got his shot with a decent role and he did not waste a moment of it. You could take any second snippet of this work and find something in it. This as Raci's performance is one of those true non-performances. This is as you never think of it as acting. He just introduces us to this man so filled with history, life and heart. 

Best Supporting Actor 2020: Leslie Odom Jr. in One Night in Miami

Leslie Odom Jr. received his first acting Oscar nomination for portraying Sam Cooke in One Night in Miami.

One Night in Miami is a good film that depicts the meeting of four iconic African Americans, fittingly, one night in Miami after, then, Cassius Clay becomes boxing heavyweight champion of the world. 

Leslie Odom Jr., the singer songwriter fittingly portrays singer songwriter Sam Cooke. Odom having an accidental banner year, by the early release of the filmed stage version of his breakout stage role as Aaron Burr in Hamilton. This allowing a bit of stretch of his range by playing a far more recent figure, even if the role does make natural use of his golden pipes in the role Cooke. I'll get more into this, but this is ideal casting due to that. While Odom doesn't try to replicate Cooke's exact vocal style, he isn't completely dissimilar to begin with, which is a great asset for the film to have at its disposal, though more on this later. The film opens as we see each of the 4 icons dealing with their lives with particular problems in their lives before that night. We find Cooke as he flops at the Copacabana. We get to see though Odom walk into the role with the right confidence. This as we see him waiting with baited breath, but also a confident sense of frustration. This as Odom brings the right power of personality even as he lashes against his manager, suggesting Cooke's strength within controlling his own industry. In his short, unsuccessful performance, due to a hostile crowd, Odom brings on the showman effectively albeit briefly. This sort of juxtaposition something that Odom brings naturally and we will see more of as the story unfolds. 

The story reveals itself as we see the four iconic men meetup after Clay, soon to be Muhammad Ali, wins the championship, leading to him, Odom's Cooke, Aldis Hodge's Jim Brown and Kingsley Ben-Adir's Malcolm X meeting up in a hotel room as fashioned by the latter. Even in the way the men arrive we get a sense of Cooke, who comes early through his fast sports car, and treats Malcolm's humorless security with a jovial kind of indifference. Odom's performance delivers on being the super star within Sam Cooke. This is as he brims with the right charisma that even more so shows a guy just high on life. Cooke captures a carefree attitude in the public with this ease of self. Odom carries, fittingly, a smile more attitude as a man who seems to coasting on life at this point. A sincere ease in his manner, which is notably different from Malcolm X who is weighed upon by both his sense of purpose and his impending break from the nation of Islam. Meanwhile Ali and Brown are somewhere in-between. This is kind of where the film develops itself into to examine the men as successful African Americans in America in the 60's. This as largely a conflict then to the most different of the two in the "stiff" Malcolm against the easygoing Sam. Now only lightly at first, where Odom naturally modulates his performance in the company of his friends, downplaying the overt charisma just a bit, but still carrying the same essential essence of a more carefree soul. 

This break between the two is seemingly minor at first, or at least minor in nature. This as we see Malcolm trying to keep the men from vices, while Sam carries hidden alcohol in his guitar case. This develops to more though as the men come to represent two different approaches to a potentially mutual cause. Now the film very much takes this as a Two Popes approach, where for purposes of drama it simplifies the conflict a bit to make it especially direct. This as Sam comes to represent the man working within the establishment for success while Malcolm wants to directly attack it, meanwhile Ali is a point of contention in this fight, and Brown almost stays as this referee throughout. Odom is good though in presenting Cooke when attacked by Malcolm. There's a nice mix of emotions that we see. When really pleading his own case, which is through making his own label he's been bringing opportunity and cash to his brethren he is making a difference even within the system. Odom is good in that there is a definite defensive quality in his delivery of these words, but there's a bit more. There is a sense of persistence and even drive within the man. Odom captures a sense of conviction in one's self in each claim, and even a distinct pride and joy in speaking these successes. Odom grants a seriousness within Sam in these moments as much a businessman as an entertainer. 

Malcolm continues to press Sam, particularly on his lack of songs with cultural substance or importance. Again Odom presents effectively the basic annoyance and eventual overt disdain for Malcolm in these moments. Odom balances it just right though in showing a sense of understandable defense, but also a honest nerve being hit in many of Malcolm's words. Eventually the two form a bit of a truce by Malcolm recalling the first performance he saw of Sam's. A nice moment though in just their interactions that is done well by both actors muting it a bit actually. There's a sense of genuine camaraderie in their glances and just an earnest bit of warm nostalgia for Sam's earlier success. This as we see Odom's two musical performances they kind of close out the film. The first is the remembrance of a time where Sam was sabotaged well trying to perform. Odom is wonderful in the scene in showing the showman in every respect. This in his manner that is distinctly Sam Cooke, with the particularly expressive movements that never feel forced or over the top, rather just a natural part of his performance style. In this though Odom delivers that full fledged charisma in basically wielding the crowd, and making a convincing moment as he gets the crowd to act as his own percussion. The second though is Sam doing what Malcolm challenged him on which is in his performance of his powerful ballad "A Change is Gonna Come". This connecting the two, as the men would not see the change, both dying violently within months of one another. In this scene though Odom is great in showing the sort of lighter performer slowly losing itself towards a genuine just soulful turn by the end of the song. A striking ending to his work, that very much shows why Odom was the right choice for this part. Of course, even beyond on the singing, this is a very strong performance by Leslie Odom Jr. that delivers beyond just being ideal casting.

Best Supporting Actor 2020: Sacha Baron Cohen in The Trial of the Chicago Seven

Sacha Baron Cohen received his first acting Oscar nomination for portraying Abbie Hoffman in The Trial of the Chicago Seven.

The Trial of the Chicago Seven depicts the trial of several different protest group leaders after the riots during 1968 Democratic National Convention. 

Sacha Baron Cohen depicts perhaps the most famous, or infamous (depending on the way you look at it), member of the titular seven, Abbie Hoffman. The leader of the YIPPIES, aka the Youth International Party, who are depicted here as almost a purposefully chaotic even comedic group meant to disrupt all of society, not just for the intention of peace. This is to the point the film builds a conflict between him and the, depicted here, more straight laced Tom Hayden (Eddie Redmayne) based upon the nature of their methods. Now Cohen, from the outside in, seems like a change of pace for the comic performer. This in taking a role as a historical figure in a historical drama. Although as Hoffman is depicted here, frankly Cohen seems typecast almost by taking on this part. This as Cohen is known for his, particularly now, politically charged chaotic and comic actions against the establishment. This as he has more in common as Hoffman here than expected with his other major performance in 2020, that being his reprise of his most famous character, Borat of Kazakhstan. Both men are shown to want to to subversive, while also getting people to laugh, by making jokes at the expense of those in power. So with all that going for him, is Cohen ideally cast? Well....let's talk about it. 

Now first off he's not portraying Abbie Hoffman the man, he is playing writer/director Aaron Sorkin's version of him, which has some truth, but also is fashioned for a different purpose. This actually does help more than it hurts Cohen. This is as Cohen is considerably older than Hoffman was at the time, Cohen only being a couple years younger than when Hoffman died. This creates a different energy. I give Cohen credit that he doesn't try to create some youthful vibe, rather he plays into Hoffman here almost kind of like a slightly past his prime celebrity hippie, still doing his thing. Additionally Hoffman had a mix of experiences growing up giving him a strange mix of an accent. Anyone doing a Hoffman accent is going to sound weird, so Cohen basically finds his own strange pseudo Hoffman accent. It isn't accurate, but I think it ends up being more than fine because Cohen makes it consistent and at least natural within his own performance. It still sounds strange, but really it technically should. This is the basic crafting of the character who here represents the extreme side of the activist within Sorkin's script, who will do anything to disrupt. This including taking on the trial most so an opportunity for him to continue his chaotic brand of activism rather than fall in line in order to avoid the potential jail time that would come from a conviction. 

Being an Aaron Sorkin script, who I think always wants his work to be entertaining in at least some way, treats Hoffman's brand of chaos largely as the comic relief. Now to be fair, this holds true in reality to some extent as well where Hoffman would make jokes and make purposeful displays of comic disruptions during the trial. This element of the film is played for laughs to the point he and Jerry Rubin (Jeremy Strong doing his best Charlie Kelly as Jerry Rubin impression), are made to be a comic duo. Rubin being the overt simpleton who is almost entirely played for laughs, against Cohen whose approach is a bit more moderated. Here we see Cohen's performance as he shows a man brimming with glee as he approaches the courthouse. Cohen suggesting a man who loves an audience though perhaps loves his brand of mischief all the more. Cohen speaking his first lines to his counsel, and his first lines to the judge, with a complete lack of shame. In fact Cohen instead amps it up to show a purposeful irreverence to all. He plays towards the joke with his little grins and as he speaks with a directly over the top comic intonation. Although I'll say the comic bits have a bit of diminishing returns on re-watches, though not to a terribly detrimental point, Cohen timing is still pointed as expected, and the right approach in realizing the intention of the character. The character purposefully treating the trial as one big show. 

Cohen modulates his performance outside of the trial scenes effectively. This as when we see him interacting with the other men, particularly Redmayne's Hayden, Cohen tones it down and redirects his work a bit. There is still a joking manner, but it is more pointed and hectoring in these scenes. Cohen portraying more of a personal bitterness in his eyes towards his rival with the same purpose, and less so playing towards the crowd, so to speak. He still presents Hoffman as a man who can never quite fully turn it off, but balances it. This in having bits of seriousness as he speaks to his position with a calmer clarity, or his reaction towards some of Hayden's accusations. For example, his eyes sharpen with a very real anger when Hayden accuses him of wanting to keep the war going. Cohen shows a more serious mind within the act, even as the act is ongoing. Now this conflict is ongoing towards where both actors slowly moderate the disdain towards a degree of respect. This in each mainly showing less anger and disdain in their interactions. Cohen doesn't over do this, but rather just keeps it largely internalized through his reactions towards Tom throughout. Eventually this leads to Hoffman taking the stand, and also taking a moment of compromise while later Tom acts out. Anyway, that's the setup and Cohen does earn this. This again through those moments of a tempered attitude in private, and the direct moments where we see his passion for his cause. The famous real moment of Hoffman being asked his price, Cohen delivers well as shaking off any pretense and just speaking as man saying his truth. This naturally seguing to Hoffman taking the stand where Cohen is effective in bringing this same attitude towards the moment. This being a calmer straight demeanor. He creates the right physical tension in his manner both of a man holding himself back, while also speaking with a strict sincerity as he speaks his message. This is a good performance by Sacha Baron Cohen. He navigates the material well, even if again I think the jokes diminish the second time so that part of his performance diminishes a bit as well. I still chuckled a couple times, but a few more begin to sink rather than swim on re-watch, although again this is more so on Sorkin. The better qualities of his work are still prevalent nonetheless in realizing this specific depiction of Hoffman. This which is almost a riff on Cohen's own presence, which is a prankster, but a prankster with a purpose.

Best Supporting Actor 2020

And the Nominees Are:

Paul Raci in Sound of Metal 

Leslie Odom Jr. in One Night in Miami

 

LaKeith Stanfield in Judas and the Black Messiah

 

Sacha Baron Cohen in The Trial of the Chicago Seven

Daniel Kaluuya in Judas and The Black Messiah