Harry Lennix did not receive an Oscar nomination for portraying Aaron the Moor in Titus.
As I mentioned in my review of Anthony Hopkins's lead performance in this Shakespearean adaptation, Titus is a whole lot in every way right down to the original source material that is Shakespeare's most insane play. This requires one to absolutely try to own their space of it then in terms of the acting, which brings me to Harry Lennix. Aaron the Moor initially appears as one of the prisoners taken by general Titus (Hopkins), along with Tamora (Jessica Lange), Queen of the Goths and her two sons. Where Tamora's villainous ways are propelled technically by Titus killing one of her sons, Aaron the Moor is a villain basically because, why not. This idea something that Lennix holds onto, and runs with it, which is the best decision he could've possibly made. Of course as needed for such an approach Lennix reveals a mastery of the Shakespearean verse with the ease of his performance, this to the point he quite nearly sings the part. This making the most as the conspirator in the film whom we are given his direct thoughts as he goes about bringing about Tamora's vengeance. This including his earliest scene of rounding up Tamora's ridiculous sons, this Lennix delivers with an impeccable command in his manner that evokes the control Aaron seizes towards the plan, with piercing eyes with a focus on some specific target of his that is without noble intention.
Now the one argument one can make for his great motivator is his affair with Tamora, however even this Lennix delivers as something Aaron brandishes. This lust not defining his own motivation, but rather just some further enjoyment in his living experience that is that of the fiend. I love Lennix's physical manner in these early scenes where he portrays this calm manner. This that does two things. The first that is that of the man to avoid suspicion as he seems as though he is but an observer, however also in this Lennix offers also a man seemingly in the perfect seat to enjoy the chaos he has wrought. My favorite instance of this being as he encourages Titus to cut off his own hand in order to receive a pardon for his condemned son. Every single one of Lennix's reactions plays beautifully into the absurdity of the situation, however by granting a sense of sinister son. The highlight of this being his sort of sly glance of joy of "here we go"just before cutting off Titus's appendage. Lennix portraying Aaron as basically living his best life in the moment, that brings the needed heightened style really both to the film's style but also really the absurdity of Shakespeare's story as well.
Lennix above all captures a needed sense of fun to the material, which is essential as to take Titus Andronicus too seriously would be as serious of a mistake as writing serious too many times in short succession. This even in the reveal of his affair with Tamora through Aaron's child with her, with Aaron bluntly putting to her unknowing sons that he had indeed "done their mother", which Lennix delivers with a perfect shamelessness. Aaron deeds though eventual do meet their natural end as he becomes the prisoner of Titus's noble son, Lucius (Angus MacFadyen), although Lennix's performance is only just getting started at this point. This as Lennix reveals his "deeds" in order to save his son. Lennix to his credit naturally brings just a bit of sincerity within his expression of concern for his son, and effectively connects that concern as the only humanity the Moor has to offer. Lennix is marvelous as subverts that only humanity instantly as Aaron begins his confession. This instantly with such insatiable glee in every word in describing not only his affair with empress but also the destruction of Titus's family including the rape of his daughter. Lennix delivers each line with such devilish jubilation and such intense venom in every breath. Lennix captures this spirit of evil, not defined by a specific vengeance, but rather this thrill as though this endeavor has been the man's life calling. Lennix is absolutely magnetic throughout his speech of a true misanthrope, as he speaks of his thousand evil deeds with his only regret not committing a thousand more, which Lennix offers with the swagger ill-fitting of a confession however ideal for a boast. Although Titus frequently doesn't work, every moment in which Lennix takes center stage it does. Lennix offering such an entertaining work, which finds the ideal tone for the material, in creating the one fiend in the story who suffers no delusions regarding his fiendish ways.
