Best Actor 2017: Results

5. Timothée Chalamet in Call Me By Your Name - Although I might not share the amount of zeal some do for this performance, it is strong work as Chalamet realizes an effective arc through the central romance by portraying his character's loss of a false maturity, a return to youth, but also a gradual discovery of a real maturity.

Best Scene: Elio's apology to Marzia.

4. Gary Oldman in Darkest Hour - The great Gary Oldman doesn't give his best performance here by any margin, however he does deliver an expected striking turn in his realization of Winston Churchill. He creates his own version of the man's personal style effectively, while also delivering in every aspect of the film's somewhat limited version of the legendary figure.

Best Scene: Call to FDR.

3. Denzel Washington in Roman J. Israel, Esq. - Washington has to deal with quite a challenge in portraying his very atypical role while performing in a rather aimless film. Washington pulls off his unique character in a way that is compelling in itself, and manages to do his best to amplify what good qualities exist in the film.

Best Scene: Applying for a job.

2. Daniel Kaluuya in Get Out - Kaluuya, in a rare type of nomination, gives a terrific straight man performance within his horror film. Kaluuya helps to create a real tension and fear within the film, but also offers a real emotional anchor in his portrayal of what haunts the man as well as what keeps him in his strange situation.

Best Scene: Hypnosis. 

1. Daniel Day-Lewis in Phantom Thread - Well obviously I did not need to give this a second thought. The man whose name has become synonymous with "great actor" proves himself worthy of that distinction once again. One can almost take Day-Lewis giving an amazing performance for granted, because he's Day-Lewis, but one shouldn't. Day-Lewis once again proves his mastery of his particular art this time through a man with the mastery of another. Day-Lewis realizes this type of ambition and intensity like no other actor could, well also so effectively portraying the man's unique and destructive relationships with those around him in utterly fascinating detail. Masterful work from the master once again.

Best Scene: An unexpected date.

Next: 2017 Alternate Supporting

Best Actor 2017: Daniel Day-Lewis in Phantom Thread

Daniel Day-Lewis received his sixth Oscar nomination for portraying Reynolds Woodcock in Phantom Thread.

Phantom Thread is a stunning film in every regard about the relationship between a famed fashion designer and a mysterious young waitress.

Three time best actor Oscar winner Daniel Day-Lewis delivers here his self-proclaimed final cinematic performance, announcing his retirement long before the film's release. We of course have been down this path before with Day-Lewis's foray into the world of professional cobbling in the late 90's before he returned again to the world of acting. Of course acting is not a simple thing of putting on an act for Daniel Day-Lewis, it hasn't been for some time, instead it is this full bodied devotion to his art. An act that some may believe to be ridiculous, or pretensions, but you cannot argue with the results. Day-Lewis through his performances over the years, in a select group of films, has crafted a reputation greater than any other actor living currently. Day-Lewis's name has become synonymous with "great actor". It is then interesting to examine Day-Lewis's work in this film where he also plays an artist so fervently devoted to his craft that it seems to guide his entire life. I suppose you couldn't ask for a better actor to fulfill the role though perhaps this time where the acting begins and Day-Lewis ends might blur a bit. This is his first role in some time where Day-Lewis uses his native accent for a role, and bears no concealing facial hair. The period costumes even seem similair those he wears are closest to where the public most often sees Day-Lewis outside of a film, which is at award shows.

Does Day-Lewis play himself here? No I don't believe so, however it is fascinating to see Day-Lewis, an actor known for his transformative work in general, take on a role that demands he work with a character and material that far more closely hones towards his own existence than he did as a hunter in the French and Indian war or an oil man during the early 20th century. Who better then than Day-Lewis to reveal the level of ambition for a man who so devotes himself to his art. In the opening scene of the film we see a day in the house of Woodcock, which is neither the setting of a pornographic film nor one starring Billy Bob Thornton. Day-Lewis does not disappoint in this inherent intensity he brings to Reynolds. The sheer devotion of the man seems to take up his very being, as one could argue Day-Lewis does when playing a part. There is not just single facet of the man that evokes this determination towards perfection. Every element in Day-Lewis's work represents a man consumed in his art as in his eyes seem to examine every piece of fabric to ensure not a single flaw exists, his physical manner all drawn into the act of creating this perfection, Day-Lewis creates this sense of the man's very soul being sewn within his clothing. The act of making the dress is not a single bit of threads, needles, and material, it is almost of a man risking his very existence as he goes about this precarious exterior surgery of the human form.

After the initial sequence of seeing Reynolds in his full devotion we are left with the man outside of the act at its greatest purity. There is however not a respite in this act as we tend to see Reynolds rarely without his notebook penciling his next masterpiece, just as Day-Lewis himself does not drop character between takes. Day-Lewis captures essentially this burden of the artistic spark within the man that rarely seems to grant him any respite. Day-Lewis as he draws in the pad does not reveal any great joy in Reynolds rather he reveals a strict devotion to every stroke. There is the sense of a required need towards it as though he must be immersed within this work at all times. It is his existence and the years of this weight of a assumed responsibility bears itself within Day-Lewis's work. Just as Reynolds must craft his next immaculate dress, in a way Day-Lewis needs to craft this immaculate performance. This intention to their mutual enterprise offers perhaps a view of the idea of ambition like few other performances have every approached, other than perhaps Day-Lewis in his last venture with Paul Thomas Anderson in There Will Be Blood. Where that film and Day-Lewis revealed a man who tore apart the earth itself to satiate his greed, Day-Lewis reveals a man as driven, but in a way far more internalized.

Day-Lewis vividly reveals the man whose state leaves only a small window for others to inflict themselves within his world. We see this early on as Reynolds's current romantic partner attempts any sort of conversation or distraction while Reynolds's works. There is not a glint of affection or care that Day-Lewis grants as he allows his sister Cyril (Lesley Manville) to quickly dispose of the woman from the grounds. There is a replacement for her forthcoming when he journey into the country coming across a waitress Alma (Vicky Krieps). It's a pivotal scene where they meet particularly towards the way Day-Lewis depicts this. In that there is not overt moment of attraction until he notices her from a mistake she makes while working. There Day-Lewis grants a most interested view and perhaps a sense of a chance for affection as he speaks to her with an initial tenderness. The evening with Reynolds though is not that of merely a joyful conversation or even love making rather he takes upon himself to examine her most closely. In every moment Day-Lewis is transfixed towards here. Day-Lewis creates at least enough of a sense of an infatuation yet there is most certainly more within that. There is an analysis within his eyes as he stares at her seeming as though he trying to find something through her.

What is that Reynolds seems to be seeking may be found as he begins to fashion a dress for Alma, and begins to prepare her as one of his models. The dressing down, then re-dressing of Alma is a particularly important moment in Day-Lewis's realization of Reynolds's initial use of Alma in a way. He essentially dissects her elements with the cold precision of an utmost professional in every step of his process, however there is the glint of warmth and real pride in Day-Lewis's delivery when Alma expresses her lack of breasts, and Reynolds affirms he shall give them to her. Day-Lewis reveals Reynolds initial interest of a man to realize a perfection in this woman, though a perfection through his own creation. Their process of courtship becomes his work towards making her an essential element within his masterworks. When we see this process Day-Lewis once again brings that conviction seemingly within Reynolds's work effort. There is never a lack of devotion. His interactions with Alma though there is a sense of desperation in these interactions. Day-Lewis offers this in particular the way he shows Reynolds stares at her, once he's dressed her, seeming to be of a man looking for the slightest imperfection, and being almost terrified at the prospect. This is until a final photograph session where we see Alma seemingly having achieved sheer perfection while Day-Lewis fully projects a palatable admiration in Reynolds towards her, yet only for a brief moment which Day-Lewis portrays as though Reynolds has made his accomplishment but now quickly loses his attention.

Day-Lewis simply presents Reynolds as ready to resume his existence and move onto whatever his next masterpiece will be however Alma remains. Her moments of the slightest indiscretions that lead to distraction in Reynolds, Day-Lewis reveals Reynolds to be really a rather contemptible if not intolerable sort. Day-Lewis however is downright brilliant in how effective he is in creating the vicious edge of the man who is so absorbed within his work. That absorption that Day-Lewis creates such a tension within that anything that disrupts that specific equilibrium creates a shock wave matching that level of tension within it. Now these scenes are perhaps what some might go to see a Day-Lewis performance for. Day-Lewis's performance is not built around these scenes and moments by any means and what makes them so special is his realization of how naturally they are a part of revealing the nature of Reynolds. The insults and barbs Reynolds unleash pierce like few you might see in cinema due to the incisiveness of Day-Lewis's voice. Day-Lewis cuts through anything with this as he unleashes this exact anger and frustration like few can onscreen. It is something more here something that reveals itself within how much every word carries such a meaning in Reynolds's hate. In a scene where Alma surprises Reynolds with a date, much to his dismay, Reynolds tears into her, though with a specific wording as though she's somehow harmed him, with a request for her to reveal her weapon she intends to kill him with. Day-Lewis thrusts forward this technically petulant hatred that goes much deeper than a simple annoyance, but rather is representative of the man's defenses when it appears anyone would wish to shatter this world that has been created around him and for him.

This behavior though alludes to something more within Reynolds that can be found within his relationship with his deceased mother. Every moment where Reynolds speaks of her Day-Lewis realizes the sheer depth of the weight of her on the man's life. Whenever he speaks of her Day-Lewis's eyes are that of a haunted man but not in a way of just merely having lost someone he loved. There is something far more within this as there is a certain pain just as much as he speaks potentially admiring words Day-Lewis does not deliver them as though he simply loved his mother, there is something far more complicated in this that Day-Lewis realizes in his interactions with Manville's Cyril and Krieps's Alma who both perhaps represent sides of his mother in a very peculiar way. With Cyril we see a facilitator for Reynolds, but also the one who limits his own aggression. Day-Lewis in his interactions with Manville depicts this sense of submission even within seeming control as when he speaks of one of his decisions Day-Lewis looks upon her with the desperate need for an authoritative guidance that will suppose his petulance at times. When she denies Day-Lewis reveals this pain and attempt at a hatred as he attempts to assert his control yet is routinely denied his outburst by her. He granted only the calmest of assurances by her that Day-Lewis shows calms Reynolds's anger, but perhaps that is not enough. In Alma there is more. There his outbursts are more severe, more intense, but Alma doesn't back down and keeps challenging Reynolds. Day-Lewis portrays these simpler challenges as only revealing this hatred towards that personal closed economy of his mind. It is only when she goes beyond a simple break of it to a larger one does Day-Lewis reveal an appreciation for her. This pivotal though in that Day-Lewis shows the reduction of the man to essentially a boy in these moments who seems to understand his punishment revealing the greatest of affections when given these lessons. These lessons that would be more fitting of a mother, such acting as a brat, you go to bed without supper, Alma does a bit of a subversion of that, refusing to go to a party, you are left alone to stew in your room. It is after these punishments Day-Lewis projects a most powerful love the for her, a love that he had only known fully once before in his mother, where he is never supported for his indiscretions, but is also rewarded for learning to overcome them. The, what could be described as a twisted state, is granted such vibrancy and reality within Day-Lewis's performance. This element of the film is not really spoken past a few words yet wholly realized through Daniel Day-Lewis portrait of this man. The truth is Day-Lewis merely introduces us to the man he's become in this film, Reynolds Woodcock. That is the man we come to know. There is no performance here is there fully embodied and tangible. The sheer greatness of this work could almost be overlooked by some by the ease in which Day-Lewis encapsulates such a complex figure. It should not be hand waved be though as no one could deliver this performance as Day-Lewis does so here. Day-Lewis can be taken for granted but he should not be. What he taps into here is something special that only he perhaps fully knows as an actor. I will admit I framed this performance over Reynolds is relation to the real Day-Lewis to ease the construction of this review, however I do think there is something to why this is potentially the final performance by Daniel Day-Lewis. I don't think Day-Lewis is like Reynolds as a person, I don't believe he was about to become Ronald Colman in A Double Life, however there is a definite connection in terms of that devotion to one's art. The fact that we get to see this personified through his work here is a true treasure to behold, and this is a masterful turn that could only be delivered by Daniel Day-Lewis.

Best Actor 2017

And the Nominees Are:

Denzel Washington in Roman J. Israel, Esq.

Timothée Chalamet in Call Me By Your Name

Gary Oldman in Darkest Hour

Daniel Day-Lewis in Phantom Thread

Daniel Kaluuya in Get Out

Alternate Best Actor 1988: Results

5. Daniel Day-Lewis in The Unbearable Lightness of Being - Day-Lewis plays an often indifferent character however he still strikes up very effective chemistry with both of his female co-stars and stands out well in any moments of real urgency for his character.

Best Scene: Throwing the paper away.

4. Michael Caine in Dirty Rotten Scoundrels - Caine along with his co-star Steve Martin gives a delightful turn that is particularly enjoyable in tandem with Martin's more wacky turn.

Best Scene: A cure.

3. Michael Keaton in Clean and Sober - Keaton elevates and energizes his film giving an effective and affecting portrayal of an addict slowly coming to terms with his problem.

Best Scene: Final speech.

2. Willem Dafoe in The Last Temptation of Christ - Dafoe gives a great atypical approach to his depiction of Jesus giving a powerful depiction of Jesus as the messiah but also the man dealing with facing his destiny and sacrifice.

Best Scene: Asking for the cross.

1. John Neville in The Adventures of Baron Munchausen - Perhaps a surprise winner however I loved everything about this performance. Every second Neville's work is entertaining and a sheer delight in his larger than life performance. Every moment of it is a risk, and every risk pays off in this wildly endearing turn.

Best Scene: Battle with the Turks.

Updated Overall

Next Year: 1988 Supporting

Alternate Best Actor 1988: Daniel Day-Lewis in The Unbearable Lightness of Being

Daniel Day-Lewis  did not receive an Oscar nomination for portraying Tomas in The Unbearable Lightness of Being.

The Unbearable Lightness of Being follows a Czech surgeon and the two women in his life just as the Soviet Union invades.

Watching this film made me think of the single performance by Daniel Day-Lewis that I've seen where I was underwhelmed by his work, this isn't some cryptic warning for the rest of the review by the way. That performance though is his work in Nine where he was miscast as the dazed Italian director Guido. Now it is easy enough to say that was a bad film, but I started thinking what was it that made Day-Lewis seem miscast there. It may have been the nature of the role of Guido who has a lack of urgency right to the point that a major plot facet of that film is that Guido never even completes his film that he's suppose to be making. That is in contrast to Day-Lewis's other performances where you can find some urgency or at least some purpose even in the most constricted of situations. It got me thinking and that perhaps Day-Lewis needs most of all to be an active performer, and this is not in regards to reactions either. Day-Lewis has one of the greatest reactions in all of cinema on his resume, but rather it is this passiveness was required in Guido that was ill-fitting to Day-Lewis's methods as an actor. Now the reason that got me thinking was here was again a part of a man who partially lets others react around him, but also is a Lothario.

The film focuses on Tomas and the two women in his life the sexually liberated artist Sabina (Lena Olin), and the far more conservative and shy waitress/inspiring photographer Tereza (Juliette Binoche). Now in terms of the film the women are as important as Tomas, in fact there are substantial portions of the film where Day-Lewis is absent, but I digress. The nature of Tomas as a womanizer is very specific here, and fortunately for Day-Lewis it requires often a more active approach. Now in part this does rely on Day-Lewis being a naturally charismatic and attractive to which women are just simply drawn to him. These are the least interesting parts to Day-Lewis's performance actually as again Day-Lewis seems almost to dislike the idea of easy ways out in terms of acting. Thankfully though the more active performer is required in creating the two distinct relationships between the two women. In his scenes with Olin, Day-Lewis emphasizes very much the lust, and with Olin develops well this spirit of antagonism within that which effectively alludes to the way this fuels their flames essentially. These moments are particularly direct with both actors showing there is no time wasted as the two give in quickly to the pleasure with one another in passionate though purposefully limited fashion.

That is in sharp contrast to the relationship with Binoche's Tereza which Day-Lewis portrays initially as Tomas approaching her in a similair way he would any other one of his "conquests". Day-Lewis though naturally realizes the way this changes though as Tereza reveals her hesitations but also desire for a deeper interaction with him. Day-Lewis is very good in portraying a gentler, less lustful, side to Tomas in these moments finding these reactionary moments of the man moving from lust to love, and bringing a real gentle quality to even their sexually charged scenes. In these moments Day-Lewis presents this patience of the man conveying a deeper relationship there. His and Binoche's chemistry works quite well in throughout the film building the two's connection from moment to moment. Although their relationship is frequently challenged by the Soviets, and Tomas's infidelity the two find the foundation of a genuine warmth and affection. In the moments where Tereza questions Tomas's actions even, Day-Lewis is quite good actually by not portraying shame, but rather presenting a man who doesn't designate a deeper importance to sex unlike Tereza. The depth instead comes from the two just being together, and both actors excel in realizing that joy and more so comfort in each other's presence particularly in the closing scenes of the film.

Although much of Day-Lewis's time is spent in those moments of the relationship, returning back to the most active Day-Lewis is the best Day-Lewis holds particularly true here. While Day-Lewis is definitely quite good in those scenes, his best are when Tomas is front and center. This is found in part of the film as we first see Tomas casually disregard the Soviets, which he initially delivers with only a minor intensity though as just someone in a conversation with friends. Tomas though writes a more scathing article against the Soviets, which is problematic when they invade leading Tomas and Tereza to leave the country though they eventually return. This leads Tomas to come afoul with the government who press him to name names of his collaborators or be no longer allowed to practice medicine in his hospital. These couple of scenes offer perhaps the Day-Lewis we all love most as he is downright amazing in the scenes just through his eyes portraying such sheer disregard for the government agent asking the questions. There is such a powerful incisiveness to Day-Lewis's work as in his very being you get such a incredible sense of Tomas's discontent, even though he never once raises his voice in the scene. Once again Day-Lewis is outstanding in this most urgent moment, expressing the most struggle so well in very few minutes, and in a part of the story that isn't given that much focus yet makes a substantial impact because of this performance. This isn't one of Day-Lewis's greatest turns, perhaps because how passive the character is, but that isn't saying much when talking about one of the most talented actors alive. This is still a very strong and remarkable turn from the great Daniel Day-Lewis.

Alternate Best Actor 1988

And the Nominees Were Not:

John Neville in The Adventures of Baron Munchausen

Michael Keaton in Clean and Sober

Willem Dafoe in The Last Temptation of Christ

Daniel Day-Lewis in The Unbearable Lightness of Being 

Michael Caine in Dirty Rotten Scoundrels

Steve Martin in Dirty Rotten Scoundrels

For Prediction Purposes:

Caine out of the Scoundrels

Alternate Best Actor 1993: Results

5. Anthony Wong in The Untold Story - Wong manages to stay just above the terrible film he's in by having just enough fun with the material while still managing to create a cohesive character. 

Best Scene: His confession.

4. Jesse Bradford in The King of the Hill - Bradford gives an unassuming yet moving performance, realizing a young boy's perspective through a tumultuous time.

Best Scene: At the party. 

3. Leslie Cheung in Farewell My Concubine - Cheung's silent work is a powerful portrait of internalized turmoil within a graceful performer.

Best Scene: Cheng recovers from his opium addiction. 

2. Daniel Day-Lewis in The Age Of Innocence - Daniel Day-Lewis gives his second brilliant performance from 93, this one being a heartbreaking portrayal of a deeply emotional man repressed by society.

Best Scene: The Ending.

1. Anthony Hopkins in Shadowlands - Good predictions Luke, Maciej, mcofra7, and Varun. Anthony Hopkins gives one of his best performances in his harrowing yet heart warming portrayal of not only of the creative spirit, but also a unique journey of a man coming to terms with both love and death. 

Best Scene: Lewis finally pledges his real love for Joy. 

Updated Overall

Next Year: Hmmm I might just wait, but I would also like to hear the suggestions for 1993 supporting, in order to see whether or not there is really a five to begin with.

Alternate Best Actor 1993: Daniel Day-Lewis in The Age of Innocence

Daniel Day-Lewis did not receive an Oscar nomination for portraying Newland Archer in The Age of Innocence.

Age of Innocence is a fairly remarkable film about the very proper romantic entanglements in upper class 18th century New York.

1993 offered yet another banner year for Day-Lewis, much like in his breakout year in 1985, through his vastly different characters he portrayed. His Oscar nominated turn as a seemingly aimless Irish youth wrongly accused of a bombing in In the Name of the Father, a performance I feel I underrated in my initial assessment, and as Newland Archer in this film a repressed American in the late 1800's. The characters could not be more different in not only the backgrounds of the characters, their stature in society in their stories, but especially in their emotional nature. It is interesting in that Newland Archer's story is not one of hardship or tragedy in the more straight forward way. He's a consistently well off individual financially yet this is an interesting story of a man being held prisoner by society in a most particular sort of fashion.  It is essential then that he must be a man of the society and it must be said that if all of humanity depended on one man being sent back in time in order to complete some mission that requires integrating into the peoples of the past, the only man for the mission would be Daniel Day-Lewis.

Daniel Day-Lewis seems to walk right into any time period he wishes to inhabit. There is something so eloquent about this incredible ability in Day-Lewis. As, despite the evidence otherwise, it feels so effortless within his performance. Day-Lewis here seems like a man you'd see within a picture from the period. In that no facet of his very presence that feels in authentic to his setting. This of course begins with Day-Lewis's refined American accent that is stilted though in a way that alludes to a man who always seeks to conduct himself properly in society and in business. The accent though is so nicely gentle about it realizing a man of Newland's life and background with such ease. His physical manner is all part of this as again there is something in a man who is very much set within his place in society. He's strict in his manner so to speak yet there is not an inherent discomfort that Day-Lewis portrays in this either. He instead shows a man very much right where he should be merely in terms of being a man in his place in New York at this time. As usual, which what makes Day-Lewis synonymous with great acting, he makes it all so natural as it only ever serves his character.

The film itself is such an interesting period piece in the way it differs from the usual period piece given that it is directed by Martin Scorsese, a director known for his stories with more naturally volatile characters. I have to say I love Scorsese's direction here actually in that it acts as a brilliant companion to Day-Lewis's performance. The two's collaboration here is something to behold as they both in tandem realize a very particular state of being. In that both are constricted seemingly by the laws of the society of the story, yet I don't mean this is a negative sense in any way. In fact quite contrary. I love the way Scorsese's usual vibrancy is apparent yet it springs in bursts in moments where it pierces through the fabric of the tightly wound society. Day-Lewis's performance follows the same idea. Now Day-Lewis previously played what could seem like a similair character in A Room With A View. In that film he played a repressed Edwardian man. The thing is there, which was a supporting part, Day-Lewis cleverly gave a comedic performance by so effectively illustrating such intense repression. Day-Lewis's intentions here are quite different in that Newland is suppose to be the figure with empathize within the film, which could be challenge given the state of the character.

This is Day-Lewis of course that I am writing about and his greatness as an actor, is something I cannot dispute further proven by his performance here. This turn is so beautifully rendered that it is rather astonishing at times. There is never a breakdown moment in the entirety of this performance, not once. Day-Lewis stays true to the man whose greatest failing comes from the fact that he can only speak from the heart at the wrong times, and even then perhaps not with enough passion for it to matter. Day-Lewis work here is yet deeply emotional in the end. This is an intensely subtle performance as he always works within the proper confines of Newland Archer, a distant man in ways to those around him, yet he is never quite distance to us who can  see his deepest thoughts through Day-Lewis's performance and some brilliant touches on Scorsese's part. Newland Archer's problems stem from his relationship with a married woman Ellen Olenska (Michelle Pfeiffer) and later the woman cousin May Welland (Winona Ryder). The problem being that Newland truly loves Ellen, with just a hope granted through her troubled marriage, while society expects him to marry and stay with May despite a lack of genuine affection.

I have to admit I found Day-Lewis's performance often painful watch do to so how effectively he realizes the tension of this conflict within Newland throughout the film. He makes it such a sympathetic plight through the honesty in which he presents his scenes with Pfeiffer. Day-Lewis does not present lust, rather a true longing for who seems to be his intended soul mate. One moment in particular I find especially heartbreaking is a brief fantasy of Ellen coming to embrace him, one of those small bursts of emotion given in both Scorsese's and Day-Lewis work. There is a purity that Day-Lewis brings to the moment, that is defined by love in the moment, of a few seconds. Throughout his performance Day-Lewis always maintains that truth in Newland, which is unfortunately contained by the demands of society. Day-Lewis is incredibly moving as he realizing the difficulty of essentially the act of Newland's life as he is forced to refrain his true hearts desire in order to basically please others. Day-Lewis's work is fascinating as he expresses the real emotion of the man at the end of sentences in these lapses of his refinement. The lapses being unnoticeable by others, yet we can see them through the screen. There is such a poignancy as he makes the emotions so palatable within the edges of his performance. Day-Lewis technically maintains the man of a proper stature, yet we are allowed to see the real devastation in the man as happiness is denied for one reason or another, again and again. Day-Lewis never breaks once again, yet the torture of this life is understood through those margins, of a man crying out with a stern face and sometimes even a smile. Day-Lewis so cleverly infuses these scenes with the truth, even as Newland "lies". There is a scene late where Newland is attempting to work something out to be with Ellen, yet his now wife May gives him news that forces him to abandon his dream forever. Day-Lewis never yells out, yet the loss is all in his eyes, the anguish lies within him, yet never fully breaks outwardly. The most poignant moment in the film though comes for me in the last act, that takes place many years later where Newland is technically free to see Ellen, prodded to do so by his own son yet decides not to. This is said in but a few unimportant words. All that it means to Newland is made readily apparent in Day-Lewis's work. The sadness is persuasive in his gentle looks to Ellen's balcony, suggesting the years wasted and the despair of man recognizing that his dream was just that, only a dream. I found this to be such a powerful piece of work by Daniel Day-Lewis that proves not only his ability to craft this representation of a person from any period, to also more importantly give them real humanity and life.

Alternate Best Actor 1993

And the Nominees Were Not:

Daniel Day-Lewis in The Age of Innocence

Anthony Wong in The Untold Story

Anthony Hopkins in Shadowlands

Jesse Bradford in King of the Hill

Leslie Cheung in Farewell My Concubine

And finally a review of:

Jeff Daniels in Gettysburg

Alternate Best Supporting Actor 1985: Results

5. Ian Holm in Wetherby - Sorry about doing it again. Holm though has only a few minutes of screen time sprinkled throughout the film as one of the main character's friends. Holm does what he can in establishing a real pathos to his character's diatribes. He's good but there's almost no time for him to fully flesh out his character.

Best Scene: Stanley ponders about Thatcher. 

4. Roddy McDowall in Fright Night - McDowall gives a delightful performance as he brings just the right amount of humor as his vampire hunter actor turned vampire hunter.

Best Scene: Peter gives Jerry the vampire test.

3. John Lone in Year of the Dragon - Lone is the highlight of his film giving a complex and consistently compelling portrayal of an ambitious gangster.

Best Scene: Joey Tai meets with the soldiers.

2. Ian Holm in Dreamchild - Holm gives a downright brilliant performance as he makes his Lewis Carroll a fascinating enigma that allows for the needed interpret while never seeming vague in his portrayal either.

Best Scene: Dodgson asks Alice about marriage.

1. Daniel Day-Lewis in My Beautiful Laundrette - Day-Lewis gives a great performance as per usual, as less per usual for him here he shows off his ability to be quite charming and crafts a truly endearing and sympathetic character.

Best Scene: Johnny and Omar meet up again.

Updated Overall

Next Year: 2011 Lead

Alternate Best Supporting Actor 1985: Daniel Day-Lewis in My Beautiful Laundrette

Daniel Day-Lewis did not receive an Oscar nomination for portraying Johnny Burfoot in My Beautiful Laundrette.

My Beautiful Laundrette is a fairly interesting film essentially about the intersecting lives of Pakistani immigrants living in London, and a few locals all around a single laundromat.

Daniel Day-Lewis made his international breakout as a potentially one a kind talent when A Room With a View and My Beautiful Laundrette both premiered on the exact same day in New York. Day-Lewis despite not being a clear lead in either film, with Laundrette there's an argument that can be made but the film's wavering perspective makes it difficult to say precisely either way, was noted heavily by critics at the time. The reason being the roles could not be more different. In Room with the View he gave a brilliant depiction of a repressed wealthy man in Edwardian England, here he plays a homosexual working class punk in Thatcher's England.We first meet Johnny Burfoot played by Day-Lewis here as an aimless guy who squats in empty houses, and most commonly hangs around street corners with his pseudo gang of equally disengaged friends. I suppose at this point it almost seems pointless that Day-Lewis disappears into the role, but eh I'll do it anyway. Day-Lewis succeeds in disappearing into the role of Johnny Burfoot just as he did Cecil Vyse in A Room With A View.

Daniel Day-Lewis despite being held up often as possibly the greatest living actor currently, which is only further encouraged by his leading actor Oscar record, is all the same still criticized by some for being too clinical of a performer. This performance is yet Day-Lewis showing another side to his capabilities. Yes there are a few tenets of a classic Day-Lewis performance, that being a flawless and always consistent accent. A fairly light one in this case however effective in illustrating Johnny's working class background. Day-Lewis also does employ certain mannerisms in his performance yet in such a naturalistic fashion that are particularly subdued. Day-Lewis's approach is quite remarkable here in the way he almost internalizes the flamboyancy in Johnny. He never acts out in this big way, something Day-Lewis quite adept at anyway, however what he does really works for the part. Day-Lewis gives this sense of possibly a more flamboyant past with the character through his method of portraying Johnny doing things in his own style, yet this style never insists upon itself either. Day-Lewis carries himself as a man at ease with himself as a gay man, and does not need to announce this to others constantly either.

Although Johnny is seen in a few brief moments beforehand his role grows substantially in the story once he meets up with the son of one of the Pakistani immigrants named Omar(Gordon Warnecke). The two have a history which becomes largely known through the chemistry between Warnecke and Day-Lewis. The two just have the spark from the very beginning and from the way they both look at each other one can see that it is not one of only friendship. Now in these scenes Day-Lewis successfully calls upon something that is not always expected him given the often violent or deeply troubled he plays,  that something being charm. Day-Lewis though is exceptional here in making Johnny an extremely likable presence in the film. He brings this low key and very natural type of cool to the role. Day-Lewis is endearing rather than cloying as he so honestly presents Johnny as a guy who tends to do things his way, but this does not allude to any stubbornness on his part. Day-Lewis brings always this undercurrent of warmth about Johnny that shows so well the intended good nature of the man despite the nature of the rest of the crowd around him as well as his past.

Now the progression of the main story comes in as Omar brings in Johnny to help him run a laundromat that is owned by Omar's family. The two go about renovating the place to turn it into truly a beautiful laundrette. Within that setup the two's relationship progresses more, and again the two's chemistry is notable. There is a playfulness at times, and just something so inherent about the love the two have for each other that works so well. I love that Day-Lewis and Warnecke are able to keep it an often unspoken yet always understandable relationship between the two. Although the two have that connection not everything is easy due to the complications of the past and present around them. Johnny's own past is complicated due to certain fascist leanings of the past, and Day-Lewis is very moving as he so subtly reveals the remorse in Johnny as he apologizes for his old mistakes. Day-Lewis also excels in his still quiet yet rather powerful depiction of Johnny's personal struggle in terms of dealing with his old gang and the rest of Omar's family. Day-Lewis adds so much in this aspect to the character largely through just small reactions. In terms of the relationships with the rest of Omar's family Day-Lewis brings the right distance, but also eagerness in manner to be a man who wants to do right by them despite not being one of them. One scene I love in particular is when Johnny interacts with Omar's father, and we instantly see through their interactions that the two also have shared history as Day-Lewis exudes a sense of respect. Respect does not define all the relationships especially with Omar's cousin Salim, a drug dealing criminal with little care for anyone besides himself. This forces Johnny to consider his place between his old friends, and Omar and the other Pakistanis. Day-Lewis conveys wholly the complexity of Johnny's difficulty in dealing with his separate loyalties, and again very little of it is said bluntly. However when Johnny goes about helping the obnoxious Salim it is absolutely convincing as Day-Lewis has only made the gradual transition of the character a genuine one. As Day-Lewis performances and characters go this is rather unassuming yet no less remarkable. Day-Lewis gives understated yet magnetic performance. I found that even when the film stumbled a bit Day-Lewis kept me engaged through his always compelling work here.

Alternate Best Supporting Actor 1985

And the Nominees Were Not:

Ian Holm in Dreamchild

Ian Holm in Wetherby

Daniel Day-Lewis in My Beautiful Laundrette

Roddy McDowall in Fright Night

John Lone in Year of the Dragon

Alternate Best Supporting Actor 1986: Results

5. Raul Julia in The Morning After- Julia is going against a terrible film, but he does rise enough above it to give some depth to a role.

Best Scene: The Revelation.

4. Steve Martin in Little Shop of Horrors- Martin may peak with his song, but that is one entertaining peak to reach.

Best Scene: "Dentist!"

3. Brian Cox in Manhunter- Cox gives us his own Hannibal that emphasizing the intelligence once again, but with with a very effective more down to earth style.

Best Scene: Hannibal's introduction.

2. Daniel Day-Lewis in A Room With A View- Day-Lewis gives a brilliant portrayal of the ultimate Edwardian man which he makes amusing in the extremity yet completely natural to his character.

Best Scene: Lucy breaks off the engagement with Cecil.

1. Dennis Hopper in Blue Velvet- Good Predictions Psifonian, Lezlie, Maciej, RatedRStar,  and Michael McCarthy. Despite this year having several strong strong supporting performances I have no hesitations in rewarding Hopper the win here. He is absolutely amazing with his searing and completely unforgettable depiction of the twisted Frank Booth.

Best Scene: "In Dreams" 

Overall Rank

1. Dennis Hopper in Blue Velvet
2. Tom Berenger in Platoon
3. Daniel Day-Lewis in A Room With A View
4. Alan Ruck in Ferris Bueller's Day Off 
5. John Goodman in True Stories
6. Willem Dafoe in Platoon
7. Dean Stockwell in Blue Velvet
8. Ray Liotta in Something Wild
9. John C. McGinley in Platoon 
10. Michael Caine in Hannah and Her Sisters
11. Tom Noonan in Manhunter
12. Brian Cox in Manhunter
13. Steve Martin in Little Shop of Horrors
14. Michael Caine in Mona Lisa
15. Levi Stubbs in Little Shop of Horrors
16. Vincent Price in The Great Mouse Detective
17. Forest Whitaker in The Color of Money 
18. Raul Julia in The Morning After
19. Lance Henriksen in Aliens
20. Dennis Hopper in Hoosiers
21. Allan Edwall in The Sacrifice 
22. Corey Feldman in Stand By Me
23. Woody Allen in Hannah and Her Sisters 
24. Michael Biehn in Aliens
25. Jerry O'Connell in Stand By Me
26. Chow Yun-Fat in A Better Tomorrow
27. John Glover in 52 Pick Up
28. Denholm Elliott in Defence of the Realm
29. Robbie Coltrane in Mona Lisa
30. Paul Reiser in Aliens
31. Clancy Brown in Highlander
32. Bill Paxton in Aliens
33. Ted Sorel in From Beyond
34. Rutger Hauer in The Hitcher
35. Jeffrey Jones in Ferris Bueller's Day Off
36. Pops Staples in True Stories
37. John Kraaijkamp in The Assault
38. Michael Hordern in Lady Jane
39. James Hong in Big Trouble in Little China 
40. Max von Sydow in Hannah and Her Sisters
41. Bill Murray in Little Shop of Horrors
42. Helmut Qualtinger in The Name of the Rose 
43. Vincent Gardenia in Little Shop of Horrors
44. Spalding Gray in True Stories
45. Clarence Williams III in 52 Pick Up
46. George Dickerson in Blue Velvet
47. Sven Wollter in The Sacrifice
48. Dennis Farina in Manhunter
49. John Ingles in True Stories
50. Kiefer Sutherland in Stand By Me
51. Forest Whitaker in Platoon
52. Dennis Dun in Big Trouble in Little China
53. Keith David in Platoon
54. William Hope in Aliens
55. Michel Piccoli in Mauvais Sang
56. Robert Loggia in That's Life
57. Conrad Roberts in The Mosquito Coast
58. Carey Elwes in Lady Jane
59. Ray McNally in The Mission
60. Victory Wong in Big Trouble in Little China
61. Kevin Dillon in Platoon
62. Ken Foree in From Beyond
63. F. Murray Abraham in The Name of the Rose
64. Francesco Quinn in Platoon
65. Val Bettin in The Great Mouse Detective
66. Liam Neeson in The Mission
67. Val Kilmer in Top Gun 
68. Sean Connery in Highlander
69. Anthony Edwards in Top Gun
70. David Bowie in Labyrinth  
71. Stephen Lang in Manhunter
72. Chris Penn in At Close Range
73. Denholm Elliot in A Room With A View
74. Ron Perlman in The Name of the Rose
75. Charles Dance in The Golden Child
76. Simon Callow in A Room With A View
77. Barry Miller in Peggy Sue Got Married
78. Philip Bosco in Children of a Lesser God
79. Brad Dourif in Blue Velvet
80. Tom Skerritt in Top Gun
81. Leonard Nimoy in Star Trek IV: The Voyage Home
82. Bill Pullman in Ruthless People
83. Michael Lonsdale in The Name of the Rose
84. DeForest Kelley in Star Trek IV: The Voyage Home
85. Victor Wong in The Golden Child
86. Patrick Stewart in Lady Jane
87. Rupert Graves in A Room With A View
88. John Turturro in The Color of Money
89. Michael Ironside in Top Gun
90. Kevin O'Connor in Peggy Sue Got Married
91. Reni Santoni in Cobra
92. Jim Belushi in Salvador
93. Hippolyte Girardot in Manon des Sources
94. Yuj Okumoto in The Karate Kid Part II
95. Martin Scorsese in 'Round Midnight
96. Alan Young in The Great Mouse Detective
97. James Hong in The Golden Child 
98. Danny Kamekona in The Karate Kid Part II
99. John Savage in Salvador
100. Alfonso Arau in The Three Amigos
101. David Byrne in True Stories
102. John Getz in The Fly
103. Nicolas Cage in Peggy Sue Got Married
104. Mario Van Peebles in Heartbreak Ridge
105. Mark Blum in Crocodile Dundee
106. David Kagen in Friday the 13th Part VI
107. Andre Gregory in The Mosquito Coast
108. Andrew Schofield in Sid and Nancy
109. Austin Pendleton in Short Circuit
110. Fisher Stevens in Short Circuit
111. Tom Fridley in Friday the 13th Part VI
112. Brian Thompson in Cobra

Next Year: 2009 lead

Alternate Best Supporting Actor 1986: Daniel Day-Lewis in A Room With A View

Daniel Day-Lewis did not receive an Oscar nomination for portraying Cecil Vyse in A Room With A View.

A Room With A View did find itself a supporting actor nomination from the academy for Denholm Elliot who was fine but not especially noteworthy, but the man ignored from the film was Daniel Day-Lewis who made a notable breakout in 85 and 86 for starring in this film and My Beautiful Laundrette where he played characters who could not be more different. A fitting way for him to start his time as a noted actor since he went on to never pigeon hole himself as a type other than the roles always tended to be particularly daring nature. Day-Lewis here plays a role that actually might not seem particularly daring right off the page in fact he might seem a rather boring character especially since the role of Cecil really is suppose to be a boring man. These types of roles are usually the ones most forgotten with performances that are just as forgettable, that is not the case here as Day-Lewis shows exactly how one should approach such a role.

Day-Lewis may in fact give the ultimate Edwardian portrayal as the genius of this performance is quite extraordinary. Day-Lewis becomes the man of the time with every facet of his performance. His physical manners all are that of a man of perfect refinement who has tries to have the best tastes in all things. The way he turns pages in a book the way he walks they are all in that of a man who has learned to be as proper as one could possibly be. His voice only follows suit with his prissy high pitched voice that is perfect for his endless recitation of the books that he reads. The whole demeanor and every manner reinforces the idea of the repressed nature of the man's upbringing and life. It is to such an extreme in Day-Lewis that there is a strong comedic value actually in his work in that is rather quite funny because Cecil just is just so very proper. Although Day-Lewis slyly makes this a comic performance that does not mean he seems out of place in the film.

One of the amazing aspects of his work is that even though he allows some of what he does to be amusing that does not mean he does not realize Cecil as a real man. All he does still feels completely natural to the setting and he comes off enough as a realistic man of the period still. All of the mannerisms are used by Day-Lewis to create a cohesive whole that is Cecil Vyse. This is not just a great performance in terms of character creation though, Day-Lewis goes beyond that with his performance. Although he definitely plays Cecil Vyse as a repressed man and even technically speaking a boring one, he does not portray him as a simple man particularly in regards to Cecil relationship with the Lucy Honeychurch (Helena Bonham Carter). Although the story of picture suggests that Cecil is the wrong suitor and the "free-spirited" George Emerson (Julian Sands) is the right one, Day-Lewis's performance kind of rejects this notion.

Where Julian Sands plays his role so one note that he makes George rather uninteresting, Day-Lewis never makes that the case for Cecil. Cecil is a man who suffers from everyone else apparently telling him who he is in fact Lucy does a little too often. Day-Lewis though portrays an honest frustration in Cecil over her dismissive attitude, but he effectively shows it as something that he still needs to repress by his nature. Another strong example of the subtlety he brings is also when George is fairly obviously trying to woo Lucy while she is suppose to betrothed to Cecil. Day-Lewis again in these scenes suggests an underlying unease and that Cecil actually is aware of the situation but cannot break his mold to do anything about it. Day-Lewis's best scene though is when Lucy breaks off the engagement with Cecil. Day-Lewis makes it a surprisingly moving scene because he shows that Cecil is heartbroken over it, but Day-Lewis only allows it to be seen in a internalized fashion which properly fits Cecil's manner toward life. This is a perfect portrayal by Day-Lewis as he makes the boring character entertaining, and realizes his character fully as his own man rather than just a hurdle between the main romance.

Alternate Best Supporting Actor 1986

And the Nominees Were Not:

Daniel Day-Lewis in A Room With A View

Dennis Hopper in Blue Velvet

Brian Cox in Manhunter

Steve Martin in Little Shop of Horrors

Raul Julia in The Morning After

Best Actor 2012: Daniel Day-Lewis in Lincoln

Daniel Day-Lewis won his third Oscar from his fifth Oscar nomination for portraying president Abraham Lincoln in Lincoln.

Lincoln is a very good film about Lincoln's struggle to pass the 13th amendment. It is not perfect, several scenes could have been taken out easily, but it is definitely an effective piece.

With the likely hood of Daniel Day-Lewis winning his third Oscar being quite high I feel I should address the idea of him breaking the record of two lead Oscars held by Day-Lewis, Spencer Tracy, Sean Penn, Tom Hanks, Marlon Brando, Fredric March, Gary Cooper, Dustin Hoffman, and Jack Nicholson. I have heard saying Day-Lewis is not worthy of breaking the record, well lets actually look at it the way it should be looked at which is the performances each one for. Tracy, Hanks, and Penn gave fairly unimpressive performances for both their wins. Gary Cooper won for one fine performance and one bad one. Nicholson won for one great performance and one where he coasted on his screen persona.

Dustin Hoffman and Fredric March won one for a good performance and an okay performance although Hoffman took what should have been Gene Hackman's second lead Oscar, and Fredric March took away what should have been either Laurence Olivier's or James Stewart's second Oscar. The only two actors who really gave two impressive and deserving performances are Marlon Brando who won for one incredible performance, and one very good performance, and Daniel Day-Lewis. Daniel Day-Lewis deserved both of his wins which could not be more different. One for his amazing turn as Christy Brown in My Left Foot as a physically disabled man with a great mind, and the other an ambitious turn as a greedy oil man in There Will Be Blood.

Daniel Day-Lewis is the only one of two actors to have deserved both his wins, and since he Brando had his "I don't give an expletive" for more or less after Last Tango in Paris, I for one think Day-Lewis is more than worthy of breaking the record (although Laurence Olivier obviously should hold the record with at least four but what can you do). Day-Lewis is particularly worthy though in again he takes on a wildly different role than his Oscar winning performances this time as Abraham Lincoln often described as the greatest man to ever have held that office. Lincoln has been portrayed before by many different actors, Raymond Massey was in fact nominated for portraying Lincoln back in the 40's.

Day-Lewis, like Massey, is not American born and both actors adopt an accent for the role. Massey was unusual sounding, as is Day-Lewis's. There is a key difference though which is Massey still in all the speeches in his film speaks loudly in a brazen manner, something that Day-Lewis never does. Day-Lewis's accent he uses here is just flawless. It tells us where Lincoln is coming from and it is fascinating the way he commands attention with his voice without just about never speaking in a commanding fashion. It is a masterstroke of acting by Day-Lewis here as it just sets up his character so well just from his first scene where he quietly talks to a couple of soldiers. Day-Lewis makes Lincoln as a man who pulls you in without ever forcing you in.

One of the main aspects of Day-Lewis's performance here is warmth. Day-Lewis plays a lot of different characters but not many of them would one describe them as a warm fellow. Even when he plays a positive character warm is not the first thing that would come to mind. Day-Lewis here though is incredible the way he shows such a different side of his abilities through his performance as Lincoln. Day-Lewis like his accent brings it to the part so effortlessly in his portrayal. Day-Lewis beautifully realizes this quality so well, something lacking in Massey's portrayal, that honestly works as well as it possibly could in showing why Lincoln would be so popular not only to the populace but to those around him as well.

Day-Lewis does everything he can to establish just that loving quality in Lincoln, and how easy it is to pay attention to him even though he is not trying to force you to. Day-Lewis really is giving it all not only through his voice, his welcoming facial expressions and even his physical manner. The way Lincoln sits or stands so unassumingly as well as the way he holds people's hands. Day-Lewis just welcomes basically all here as Lincoln, and he creates the man one would imagine he would be. Some of the other Lincoln portrays seem almost inhuman due to the way Day-Lewis so brilliantly makes Lincoln an actual man, but an actual man with such a special and unique manner that makes him such an easy man to like.

Day-Lewis gets so much out of his style he takes with performance, and because of Day-Lewis I loved every moment in which he spoke to anyone in his unique style. Day-Lewis works it in so well and how his personality allows him to maneuver through his many difficult situations as president. Day-Lewis tells each of Lincoln stories so beautifully as a seasoned story teller who entrances the uninitiated even if it frustrates those who have heard just one too many story. Day-Lewis gets across two things in these moments partially that is a strategy from Lincoln to diffuse situations and get his points across, but as well is entirely in earnest there is not the slightest hint of falseness in his method.

In every aspect of Lincoln's abilities to sway those he needs to sway Day-Lewis absolutely nails it. He never tries to make him a forceful man pursing against others staying most of the film intensely quiet in his performance. He makes it work all so well  he adjusts magnificently from one situation to another and is absolutely convincing in doing this throughout the film. Day-Lewis is just perfect the way he conveys the intelligence of Lincoln through the slightest glances and reactions. They are always small very subtle and amazing the way he brings to life the more calculating aspects of his mind that is very much required for Lincoln to be an effective president.

Even when Lincoln is more confrontational like when he meets with the confederate delegation, or when he speaks to radical Republican Thaddeus Stevens (Tommy Lee Jones) Day-Lewis still underplays it to great effect. Day-Lewis is impeccable the way he able to make Lincoln almost seem somewhat besides himself at times during these scenes that would make the potentially troublesome situation already lose much of their tension. At the very same time though he always portrays that Lincoln is never thought of as a fool, and that his manner still very much always get right down to the point of the issue at the same time. Day-Lewis makes Lincoln a quick efficient political operative all the while still being very pleasant about it all. 

Due to the way Day-Lewis stays so reserved for most of these scenes it makes it far more powerful when Lincoln finally does raise his voice in one pivotal scene where he finally speaks out loudly showing how much disgust he has over slavery, but as well as the inane politics involved with getting it passed. Day-Lewis is excellent to it and entirely earns the moment by showing firstly that Lincoln only does it here do to the urgency of the situation, but as well he builds to it in a terrific fashion as he hears the complains around him till he finally squishes all of them in a instant by finally putting out exactly how he feels about what is going on around. It is a spectacular moment, and Day-Lewis delivers completely in the moment.

Of course his character does not stop even there, and there is another whole aspect to his portrayal of Lincoln though only deepens his characterization. Although this indeed a performance filled with life in his portrayal of Lincoln, Day-Lewis nevertheless portrays an underlying feelings of melancholy due to having to suffer through the losses of the civil war as well as the death of his own son. Day-Lewis is spectacular the way he can so well infuses this as simply the state of Lincoln as man due to his life. It is not that he is always depressed, but instead Day-Lewis properly portrays it is being something deep within his bones that he cannot escape from.

In his moments with Lincon's living sons Day-Lewis is so good in the way, without ever really even emphasizing it, that his relationship with them is very much haunted by his deceased sons. Day-Lewis shows the fatherly love and guidance well, but there is an unmistakable sadness in him that seems to reflect the idea that there that his sons constantly remind him of his losses, as well as the possibility that he could even lose more before the end of his life. It is amazing the way he can have Lincoln be an entirely warm friendly character who at the very same time being a very sad man without one ever over taking the other, as well as always making it entirely believable that he would function in this way.

This grief also clearly is shown to affect his relationship with his wife Mary Todd (Sally Field). The two together are excellent in creating the long marriage between the two where there has been too many hardships. The love seems for the most part to be long gone, and there is a coldness in their scenes together that both actors are effective by showing it comes from their mutual pains shared. At the same time though they do have a familiarity that does show they do understand it each other well.

Day-Lewis is good here because besides a few small moments of tenderness, which are well place, he shows with her are harsher side to Lincoln. Day-Lewis is particularly great in their scene where they fight over their son's decision to join the army. In the scene Day-Lewis is excellent in creating Lincoln's honest exhaustion, and bitterness brought on by his wife's descent into insanity, and shows that even a man as patient as Lincoln has a breaking point. It is a terrific moment that properly humanizes Lincoln making him to be a great man, but still a man.

This simply is phenomenal work by Daniel Day-Lewis. With a figure who sometimes is taken as such a larger than life man Day-Lewis not only finds the down to earth humanity of the man, but as well still creates his Lincoln as such a man that would lead many to see him in such a glorious manner. This is a outstanding achievement by Daniel Day-Lewis as he has such an assured approach that absolutely creates Abraham Lincoln so vividly in a way many other actors were not able to do. Day-Lewis succeeds in every aspect of the man creating a complex portrait of the president, that is something wonderful to behold.

Best Actor 2012

And the Nominees Are:

Denzel Washington in Flight

Hugh Jackman in Les Miserables

Daniel Day-Lewis in Lincoln

Bradley Cooper in Silver Linings Playbook

Joaquin Phoenix in The Master 

Well do to the fact that I have no way of watching the Master at the moment, but I still am itching to review the performances nominated this year so I will continue on to Best Actor.

Best Actor 2002: Results

5. Michael Caine in The Quiet American- Michael Caine gives an effective performance portraying a good mix of cynicism with care. It never is amazing work, but it is consistently good.

4. Nicolas Cage in Adaptation- Nicolas Cage as the twin brothers in this film gives an extremely enjoyable, as well as effective performance. Having the right joy, and entertaining quality with one brother, well finding the right pathos with the other. It is a great mix.

3.Jack Nicholson in About Schmidt- Nicholson channels a completely different side of himself here, more than any other performance, it a rather humorous, as well powerfully heartbreaking performance as well.

2. Adrien Brody in The Pianist- A simple yet brilliant performance by Adrien Brody, that stressed naturalism over everything else. He makes the troubled journey of the man, a real one, as well as a heartbreaking, and very powerful one.

1. Daniel Day-Lewis in Gangs of New York- Day-Lewis gives a brilliant portrayal of an idiosyncratic man of the past in the way only he honestly could.