Best Scene: Tripping and killing.
Best Scene: Confession.
Best Scene: Speaking of his family.
Best Scene: Final conversation with Frank at the gala.
Best Scene: "He's going, either way"
Showing posts with label Joe Pesci. Show all posts
Showing posts with label Joe Pesci. Show all posts
Friday, 17 January 2020
Best Supporting Actor 2019: Results
Best Scene: Tripping and killing.
Best Scene: Confession.
Best Scene: Speaking of his family.
Best Scene: Final conversation with Frank at the gala.
Best Scene: "He's going, either way"
Thursday, 16 January 2020
Best Supporting Actor 2019: Joe Pesci in The Irishman
Joe Pesci received his third Oscar nomination for portraying Russell Bufalino in The Irishman.
Joe Pesci perhaps has one of the most unique careers out of any actor, marked by his Oscar nominations. This in failing to truly breakout after his initial Oscar nomination in 1980 for Raging Bull, before fully breaking out in the 90's after his Oscar win for Goodfellas, where he broke out perhaps even beyond expectations in that he was arguably nearly became a leading man for a period in the 90's, when he was in his fifties. Pesci though walked away from all of that, only appearing in a sum total of four films post-2000's, including this one, a voice role and a short cameo. This being less so a selective actor and more so a reluctant actor, as in that entrance of semi-retirement came also his attempted return to being what appears to be his true dream, that of being a crooner. Something he attempted and failed to do in the 60's, returned to in the late 90's, and would you believe he has a new record out now...I ponder if the promise of that was the method in which he was convinced to come out of retirement for this film...but I won't speculate too much. Now Pesci has returned, probably only briefly, to film here, and along with his previous Oscar recognized roles, shares the screen with Robert De Niro in the lead role, with Martin Scorsese directing the pair once again. The film marks their fourth collaboration overall, Casino being the not Pesci related Oscar nomination missing link, and with that film that film the third foray of Scorsese with Pesci and De Niro in a film that examines the gangster underworld. Now the funny thing in all of this, and one should be careful about using funny in relation to Joe Pesci, is that as much as Pesci seems the reluctant actor when you look at the amount of times he turned down the part, and his minimal output overall, you'd think he didn't care, however if one watched only the film, you'd only see a brilliant actor returning to the medium he so shined in once again.
This role is a notable change of pace for Pesci from his other gangster collaborations with Scorsese, where in Goodfellas and Casino, he played two different forms of a psychotic hot head who lives like a rabid dog and eventually is put down like one, if they're lucky. There is a colossal shift here though, as even though Pesci is perhaps one of the all time greats when it comes to delivering expressive intensity into a role, you'll barely even witness him raise his voice in this role. Now if one thinks that this will somehow hinder Pesci's performance, well you might just be insulting him a little bit, something we also should never do with Pesci, and witness what he does here as Russell Bufalino also known as The Quiet Don. Pesci's performance is extremely subdued as we meet him in his first chronological scene, as he meets future hitman, then trucker, Frank Sheeran (Robert De Niro), at a gas station. He helps the man, and Pesci leaves a memorable impression even in this scene. This as he brings a overabundance jovial warmth within the man as he helps the man. His exuding this genuine care, though when asked his name, there is this brilliant flick of shadow in his eyes. There alone we are granted the sense that this man isn't just a kind gentleman, even as he is just that in that single small maneuver by suggesting a different sort. Thankfully this is just a slight introduction before Frank runs into Russell again, now as he is introduced into the criminal underworld of New York and Pennsylvania, of which Russell is an essential figure within.
This is amazing work by Pesci, as he not only is able to deliver this work without the need of his usual style of performance, but he is absolutely mesmerizing to watch here. This as we even are given another introduction of sorts to Russell who invites Frank into the underworld and takes a liking to him. Pesci is able to realize this incredible charisma in the part, a charisma not defined by piling on any idea, but rather this is just the presence of the man. This is as he does it effortlessly, and in that quite the achievement, because Pesci just is this man. The vividness of Pesci's work is stunning in that not a single word, or moment in his work doesn't seem to exhibit this complexity of this man. This man who could only exist as he does being so many more things things than one would expect. In that on one hand he seems like the father figure, even to Frank in a way, as this supportive mentor. This that Pesci creates with that warmth, but this incisiveness in his words as showing a man who is never simply saying one thing. The fascinating thing about what Pesci pulls off here it is that it isn't though as this facade, rather he is able to capture rather the extreme intelligence and aptitude of the man, as every part of him is real in a sense. This is just rather that Pesci portrays Russell as a man who is almost conducting himself on a different thought level than anyone else, working multiple steps ahead and beyond all others. This is that Pesci is able to find while still being such a reserved yet always striking figure.
Pesci's realization of this is essential, and stunning as he fashions a believable sense of a man who defines a power of a different kind, though more powerful than any man with a gun. If one wants a masterclass on how to use one's eyes in film, watch Pesci here, as this is nothing short of extraordinary. This as Pesci says more in a single change of a glance than some actors do in an entire performance. For example, take the first time Frank nearly comes afoul of the mob by potentially accidentally bombing a mob owned laundromat. First Frank turns to see the usually so affable Russell, with this immediate expression that creates a sense of the gravity of the situation from just that there isn't a single sense of accommodation in Pesci. When Frank here's he'll be alright by doing the right thing for the powers that be, Pesci's glance just as easily softens so effectively into this mentor expressing instantly towards Frank "see how I've saved you". Pesci doesn't say a thing in the exchange, but says as much as De Niro and Harvey Keitel who he shares the scene with. This as Pesci realizes the eloquence of essentially in many ways a vicious killer, that Pesci puts bluntly in his only narration scene, but knows exactly how to operate as one in this underworld while never seeming as one. I can't help but adore every scene of Pesci, because he doesn't waste a second of a moment. There really is never a time that Russell says "kill this guy" or even that often uses a euphemism for Frank. It is just this change in expression from Pesci. My favorite perhaps being after an insult from a younger up and coming gangster, Pesci has this simple moment of hardening of his eyes towards De Niro, and in only that we that Russell has condemned the younger man.
Again though what is so remarkable is that Pesci isn't portraying different facades, rather it is all one man, who rather does just exist with this ability to measure all moments and play each side of an equation artfully. This as we see Russell outside specifically the mob situation, though he is never completely detached from it, and Pesci again is outstanding in the ease yet vibrancy of his performance. This is even the smallest moments like the interactions with his, as entrenched, mob wife, Pesci brings the sense of affection but the most minor push back of an old married couple. This like his quietly assuring way of "I made a vow" when remarking his decision to stop smoking and his earnest request that she smoke outside of the car. This also in his moments of just interacting with Frank's family and trying to be friends with Frank's reluctant daughter Peggy. Pesci presents this loving sort of grandfatherly manner as he attempts to try to endear himself towards her. This is wholly genuine as Pesci shows Russell really is truthful towards her in this moment. What I love though is he shows as much in his reactions to her near revulsion towards him, with this sense minor of frustration but an even greater sense of understanding. This as even as he insists she thanked him enough for a gift, while her father insists a greater thank you is in order, is a man who wants to show his affection, but speaks with the awareness of the type of man he is. In this as Pesci speaks the words with a truly unfortunate "oh well" rather than any bitterness towards the girl. Pesci's work though again goes beyond expectation though as he still doesn't make this two Russells, but rather one man who is able to artfully exist in both his personal life and the darkness involved in his professional one. Some of Pesci's greatest scenes come within the end of this, as his and Frank's once mutual friend Jimmy Hoffa (Al Pacino) has fallen out of favor yet is trying to regain his power as union president of the teamsters in any way he can, a concern for the mob. The one major scene between Pacino and Pesci, is one of the best in the film, and another astonishing scene for Pesci. This as we witness the method of Russell, that we see throughout the film, though this is one of the best moments of that of the negotiator. This as Pesci delivers with such strict sincerity the concerns, that he underlines with this conviction both towards Jimmy to take each word seriously, but that he also does hope Jimmy will make the right choice. His manner projects still the support almost of an understanding priest, not trying to tell Jimmy what to do, but rather hoping he will see the light. When Jimmy still rejects all of Russell rather reasoned urging to stand down, in his turn from him , Pesci's face again says so much in the resigned disappointment in Jimmy, and the glint his eyes, that is as deadly as the violent ravings of a vicious enforcer.
When of course Russell is not working, or negotiating though he is the one who makes sure death is assured, and in that we have maybe Pesci's greatest scene in the film, though of course Pesci only really has great scenes in the film. This in the pivotal breakfast where Russell tells Frank that he has to be the one to kill Jimmy, Frank's best friend. Pesci is flawless how he conducts the scene because in truth he is a snake charmer, in convincing a man to truly work against his self to kill perhaps his best friend. The thing is though with Pesci there is no curtain, no trick, no hypnotism, just gentle reason and tenable position. This as again his eyes alone say so much in the moment, as they manage to segue from this real sympathy for Frank's struggle, however just as much the real threat of the mob as they toughen ever so slightly in speaking of Frank's own safety, before breaking towards again this comforting appreciation, and genuine rationalization of explaining that they gave Jimmy so many chances. This as Pesci pulls off the trick without a trick, in being so convincing, and really technically manipulative, without seeming as such, as when Pesci says it, everything just seems to ring true. This as Pesci's whole performance is this profound creation of this type of power. The power of the silent man of judgment and calm. This as his quietude and even silence, Pesci makes such a unforgettable impact, and always holds one's attention distinctly. This as Pesci not only successfully subverts the typical expectation of a Pesci gangster performance, he goes far further in giving one of the greatest performances of its kind. This portrait of a truer sort of power, a greater one, of the man wields it with but a gentle word. I would be remiss though if I did not mention Pesci's final scenes that would be worthy of an Oscar nomination alone. This in his portrayal of an aged Russell. This as he realizes so naturally the nearly broken mannerisms of the man, marked by elderly tremors as the man now struggles to even eat bread. Pesci in an instance gives insight into the wear of the man's advanced age, and finds such a poignancy in portraying such eager appreciation of the small pleasure of just sucking on some bread dipped in wine, no longer able to eat it due to his teeth. He is heartbreaking even though as he brings up his sorrow over Jimmy, that Pesci portrays the most intense anger in his whole performance, by now creating the sense of frustration of having been forced into such a difficult choice. Although there is still a rationalization, Pesci delivers on the very real sadness within the rage of regret. This before his final moment of being quietly heartbreaking in being wholly convincing in portraying the doddering old man now, as he speaks to Frank of "going to church" with a hopefulness not of for freedom in his current life, though maybe something in the next. Although Pesci will probably try again for his singing career, I'll just appreciate what we received once again from him, this being yet another consummate turn in realizing all the greatness within his role, and even going beyond it. This showing that while Pesci will forever be a reluctant actor, to me, he is undeniably a great one.
This role is a notable change of pace for Pesci from his other gangster collaborations with Scorsese, where in Goodfellas and Casino, he played two different forms of a psychotic hot head who lives like a rabid dog and eventually is put down like one, if they're lucky. There is a colossal shift here though, as even though Pesci is perhaps one of the all time greats when it comes to delivering expressive intensity into a role, you'll barely even witness him raise his voice in this role. Now if one thinks that this will somehow hinder Pesci's performance, well you might just be insulting him a little bit, something we also should never do with Pesci, and witness what he does here as Russell Bufalino also known as The Quiet Don. Pesci's performance is extremely subdued as we meet him in his first chronological scene, as he meets future hitman, then trucker, Frank Sheeran (Robert De Niro), at a gas station. He helps the man, and Pesci leaves a memorable impression even in this scene. This as he brings a overabundance jovial warmth within the man as he helps the man. His exuding this genuine care, though when asked his name, there is this brilliant flick of shadow in his eyes. There alone we are granted the sense that this man isn't just a kind gentleman, even as he is just that in that single small maneuver by suggesting a different sort. Thankfully this is just a slight introduction before Frank runs into Russell again, now as he is introduced into the criminal underworld of New York and Pennsylvania, of which Russell is an essential figure within.
This is amazing work by Pesci, as he not only is able to deliver this work without the need of his usual style of performance, but he is absolutely mesmerizing to watch here. This as we even are given another introduction of sorts to Russell who invites Frank into the underworld and takes a liking to him. Pesci is able to realize this incredible charisma in the part, a charisma not defined by piling on any idea, but rather this is just the presence of the man. This is as he does it effortlessly, and in that quite the achievement, because Pesci just is this man. The vividness of Pesci's work is stunning in that not a single word, or moment in his work doesn't seem to exhibit this complexity of this man. This man who could only exist as he does being so many more things things than one would expect. In that on one hand he seems like the father figure, even to Frank in a way, as this supportive mentor. This that Pesci creates with that warmth, but this incisiveness in his words as showing a man who is never simply saying one thing. The fascinating thing about what Pesci pulls off here it is that it isn't though as this facade, rather he is able to capture rather the extreme intelligence and aptitude of the man, as every part of him is real in a sense. This is just rather that Pesci portrays Russell as a man who is almost conducting himself on a different thought level than anyone else, working multiple steps ahead and beyond all others. This is that Pesci is able to find while still being such a reserved yet always striking figure.
Pesci's realization of this is essential, and stunning as he fashions a believable sense of a man who defines a power of a different kind, though more powerful than any man with a gun. If one wants a masterclass on how to use one's eyes in film, watch Pesci here, as this is nothing short of extraordinary. This as Pesci says more in a single change of a glance than some actors do in an entire performance. For example, take the first time Frank nearly comes afoul of the mob by potentially accidentally bombing a mob owned laundromat. First Frank turns to see the usually so affable Russell, with this immediate expression that creates a sense of the gravity of the situation from just that there isn't a single sense of accommodation in Pesci. When Frank here's he'll be alright by doing the right thing for the powers that be, Pesci's glance just as easily softens so effectively into this mentor expressing instantly towards Frank "see how I've saved you". Pesci doesn't say a thing in the exchange, but says as much as De Niro and Harvey Keitel who he shares the scene with. This as Pesci realizes the eloquence of essentially in many ways a vicious killer, that Pesci puts bluntly in his only narration scene, but knows exactly how to operate as one in this underworld while never seeming as one. I can't help but adore every scene of Pesci, because he doesn't waste a second of a moment. There really is never a time that Russell says "kill this guy" or even that often uses a euphemism for Frank. It is just this change in expression from Pesci. My favorite perhaps being after an insult from a younger up and coming gangster, Pesci has this simple moment of hardening of his eyes towards De Niro, and in only that we that Russell has condemned the younger man.
Again though what is so remarkable is that Pesci isn't portraying different facades, rather it is all one man, who rather does just exist with this ability to measure all moments and play each side of an equation artfully. This as we see Russell outside specifically the mob situation, though he is never completely detached from it, and Pesci again is outstanding in the ease yet vibrancy of his performance. This is even the smallest moments like the interactions with his, as entrenched, mob wife, Pesci brings the sense of affection but the most minor push back of an old married couple. This like his quietly assuring way of "I made a vow" when remarking his decision to stop smoking and his earnest request that she smoke outside of the car. This also in his moments of just interacting with Frank's family and trying to be friends with Frank's reluctant daughter Peggy. Pesci presents this loving sort of grandfatherly manner as he attempts to try to endear himself towards her. This is wholly genuine as Pesci shows Russell really is truthful towards her in this moment. What I love though is he shows as much in his reactions to her near revulsion towards him, with this sense minor of frustration but an even greater sense of understanding. This as even as he insists she thanked him enough for a gift, while her father insists a greater thank you is in order, is a man who wants to show his affection, but speaks with the awareness of the type of man he is. In this as Pesci speaks the words with a truly unfortunate "oh well" rather than any bitterness towards the girl. Pesci's work though again goes beyond expectation though as he still doesn't make this two Russells, but rather one man who is able to artfully exist in both his personal life and the darkness involved in his professional one. Some of Pesci's greatest scenes come within the end of this, as his and Frank's once mutual friend Jimmy Hoffa (Al Pacino) has fallen out of favor yet is trying to regain his power as union president of the teamsters in any way he can, a concern for the mob. The one major scene between Pacino and Pesci, is one of the best in the film, and another astonishing scene for Pesci. This as we witness the method of Russell, that we see throughout the film, though this is one of the best moments of that of the negotiator. This as Pesci delivers with such strict sincerity the concerns, that he underlines with this conviction both towards Jimmy to take each word seriously, but that he also does hope Jimmy will make the right choice. His manner projects still the support almost of an understanding priest, not trying to tell Jimmy what to do, but rather hoping he will see the light. When Jimmy still rejects all of Russell rather reasoned urging to stand down, in his turn from him , Pesci's face again says so much in the resigned disappointment in Jimmy, and the glint his eyes, that is as deadly as the violent ravings of a vicious enforcer.
When of course Russell is not working, or negotiating though he is the one who makes sure death is assured, and in that we have maybe Pesci's greatest scene in the film, though of course Pesci only really has great scenes in the film. This in the pivotal breakfast where Russell tells Frank that he has to be the one to kill Jimmy, Frank's best friend. Pesci is flawless how he conducts the scene because in truth he is a snake charmer, in convincing a man to truly work against his self to kill perhaps his best friend. The thing is though with Pesci there is no curtain, no trick, no hypnotism, just gentle reason and tenable position. This as again his eyes alone say so much in the moment, as they manage to segue from this real sympathy for Frank's struggle, however just as much the real threat of the mob as they toughen ever so slightly in speaking of Frank's own safety, before breaking towards again this comforting appreciation, and genuine rationalization of explaining that they gave Jimmy so many chances. This as Pesci pulls off the trick without a trick, in being so convincing, and really technically manipulative, without seeming as such, as when Pesci says it, everything just seems to ring true. This as Pesci's whole performance is this profound creation of this type of power. The power of the silent man of judgment and calm. This as his quietude and even silence, Pesci makes such a unforgettable impact, and always holds one's attention distinctly. This as Pesci not only successfully subverts the typical expectation of a Pesci gangster performance, he goes far further in giving one of the greatest performances of its kind. This portrait of a truer sort of power, a greater one, of the man wields it with but a gentle word. I would be remiss though if I did not mention Pesci's final scenes that would be worthy of an Oscar nomination alone. This in his portrayal of an aged Russell. This as he realizes so naturally the nearly broken mannerisms of the man, marked by elderly tremors as the man now struggles to even eat bread. Pesci in an instance gives insight into the wear of the man's advanced age, and finds such a poignancy in portraying such eager appreciation of the small pleasure of just sucking on some bread dipped in wine, no longer able to eat it due to his teeth. He is heartbreaking even though as he brings up his sorrow over Jimmy, that Pesci portrays the most intense anger in his whole performance, by now creating the sense of frustration of having been forced into such a difficult choice. Although there is still a rationalization, Pesci delivers on the very real sadness within the rage of regret. This before his final moment of being quietly heartbreaking in being wholly convincing in portraying the doddering old man now, as he speaks to Frank of "going to church" with a hopefulness not of for freedom in his current life, though maybe something in the next. Although Pesci will probably try again for his singing career, I'll just appreciate what we received once again from him, this being yet another consummate turn in realizing all the greatness within his role, and even going beyond it. This showing that while Pesci will forever be a reluctant actor, to me, he is undeniably a great one.
Monday, 13 January 2020
Best Supporting Actor 2019
Al Pacino in The Irishman
Joe Pesci in The Irishman
Brad Pitt in Once Upon a Time in Hollywood
Anthony Hopkins in The Two Popes
Tom Hanks in A Beautiful Day in the Neighborhood
Friday, 22 June 2018
Alternate Best Supporting Actor 1991: Results
Best Scene: "Yes, way."
Best Scene: Bank robbery gone wrong.
Best Scene: Finger wag.
Best Scene: "Call off Christmas"
Best Scene: "All I wanted in the world"
Next Year: 1938 Lead, not sure if I'll do a full lineup so please just give me any recommendations for both lead and supporting.
Saturday, 16 June 2018
Alternate Best Supporting Actor 1991: Kevin Bacon, John Candy, Jack Lemmon, Joe Pesci, Michael Rooker and Donald Sutherland in JFK
Kevin Bacon, John Candy and Jack Lemmon did not receive Oscar nomination for portraying Willie O'Keefe, Dean Andrews, and Jack Martin respectively in JFK.
One of the great assets of JFK is its large ensemble. A technically star studded cast, however what is important here is this is less towards making cameos, and instead is about granting importance to every individual within the film no matter how small the role. The performances back this up in terms of giving the film this certain vibrancy within the characters, even though the plot is the central thrust of the film. This is to every minor character, even the most brief of witness. Three notable witnesses within the film are of very different men that lead New Orleans DA Jim Garrison (Kevin Costner) onto the trail of a mysterious man Clay Shaw (Tommy Lee Jones), who he eventually attempts to prosecute for the assassination of the president. All three are played by notable actors of the time, with two being potential distractions, but never as such due to the strengths of the work of the actors. The first being Jack Lemmon who appears as a low grade private eye Jack Martin who claims to have been pistol whipped by his partner, and former FBI man Guy Banister (Ed Asner) shortly after the JFK assassination. Lemmon's performance is a proper representation of the strength of the ensemble though through a specific type of approach. In one part Lemmon's natural presence offers a sense of who is Jack Martin is even beyond the small perspective we see him in. Lemmon brings the right bafflement and general awkward demeanor not only of perhaps a bit of sous, but even more so a man of no importance who is bearing witness to something very important. Lemmon's simple reaction in the flashback scenes are notable of a man completely out of his element if not a little scared. His essential scene though is his words to Garrison which Lemmon delivers so effectively in this paranoid, and hesitating delivery, not of an insane man, but rather coming to understand what he was indirectly part of. Lemmon's work vividly recalls these moments, but also importantly delivers this growing sense of dread through this witness.
Now a rather different witness though comes into play with Kevin Bacon Willie O'Keefe a male prostitute who Garrison visits in prison, and who also claims to be able to connect various men within the conspiracy. Again what is remarkable here is that what is offered in the character, and Bacon's performance is not just this bland slate there to deliver some important information. There is so much more there even though most of what he says is important for the plot. Bacon though fashions his own personal style as Willie brandishing a certain level of flamboyance fitting for such a man who openly brags about his life choices. The swagger that Bacon brings though is only a facet that naturally realizes the man who ostensibly wants to show off a bit towards the government men who have come to visit him. This is a bit different from the Willie Bacon plays in the flashbacks where he is more or less a "boy toy" for Clay Shaw. Bacon actually creates this minor, very subtle, arc within these scenes as we see him very much put up this overt pleasantries and lustful attitude in these interactions. He plays the man trying obviously just to please his John in a way, but there is more when the conversations turn towards the assassination/philosophy. In these moments Bacon effectively breaks that showing this very naive curiosity in his reactions of someone who really doesn't fully understand what he is listening to, but wants to be part of it. This in turn gives a logic towards his explanation for his motivations for coming forward not to expose the truth for justice, but rather to allow the world to know why Kennedy was killed in his mind. Bacon recites this speech as a true fervent zealot, but that of the simple student who believes he's learned something from his master.
Another performance in service of kicking off the case comes with John Candy as New Orleans lawyer Dean Andrews who claimed to have been hired by a man named Clay Bertrand to represent Lee Harvey Oswald. This casting is perfect actually in terms of Candy as Andrews, however it is very much out of the type of roles Candy typically played especially at that time in his career. It was a bit of a departure, but also a sad reminder of the under appreciation of the star's dramatic talents before his untimely death. This is a dramatic character role that Candy excels with in his two major scenes. The real Andrews had a style all his own, very much steeped in New Orleans, and Candy realizes this beautifully. He brings the right tempered style within his accent but his whole demeanor as sort of this southern dandy lawyer. Candy makes him properly a strange character though with a definite charisma who either might just be part of a vast conspiracy or just be willing to make up a phone call. Either way Candy is a proper "character" in the best sense of the word bringing to life such a strange sort of man, yet in a convincing fashion. Candy particularly excels with Andrews's somewhat more stylized dialogue. He does wonders with it first outlining it with this breeziness of a man just enjoying his own eccentricities until Garrison continues to pester him for more concrete information. There Candy brilliantly segues to bringing this serious emphasis by dropping just a bit of the more surface flamboyance. Candy conveys so effectively the severity of the real knowledge Andrews has in this shifting of tone, and reveals the man terrified for his own well being underneath all the false bravado. Candy proves his talent beyond what he knows for and this performance is another sad testament of the lack of appreciation for that talent while he was alive. Candy, Bacon and Lemmon, other than all being all named after delicious foods, show the strength of the ensemble. Not one of them has a lot of screentime yet in each they offer a distinct and memorable witness who live beyond the conspiracy, while also adding their own important contribution to the central thrust of that element of the film.
Michael Rooker did not receive an Oscar nomination for portraying New Orleans Assistant District Attorney Bill Broussard in JFK.
Well changing gears a bit in terms of performances we have the very talented Michael Rooker who plays one of Garrison's team of investigators who are trying to make the case. The role of Bill is a composite character and is technically there to serve a purpose that actually feels expanded upon because of Rooker's performance. At first though Bill seems to be just one of the team working with the other members in an attempt to trying to unlock the secrets of the conspiracy. Rooker though is effective as such in essentially presenting a blunter aspect within these scenes who is not quite as squarely in line with Garrisons's thinking as the rest. Rooker's interactions and reactions say a lot more than just merely being part of the scenes. He firstly properly shows the genuine weight of certain moments to create the right sense of the investigators motivation from moment to moment as he tries to understand the plot himself. There is an overarching difference though where Bill is often a voice of dissent, and some would say reason, even in the early stages of the investigation such as even pointing out the lack of credibility of some of the witnesses he has found. Now this is key in Rooker's performance because there was a chance, particularly with Oliver Stone at the helm (though he's particularly on point as a director with this film), for a simplification of this character.
What I mean by that is the specific delivery of the objections, and points of reality brought on by Bill as the "devil's advocate" for many of the early scenes, even as he is shown still to be pretty dogged investigator. Rooker does not for a moment allow Bill to be some simple straw man by providing such straight forward quality within his delivery of his objections and concerns. Rooker doesn't show them as this perpetually naysayer, but rather provides the right substance of consideration just for the facts when he does so. He creates that right basic ability for doubt, but Rooker wisely portrays this as Bill just being less fervent in his belief in the conspiracy rather than in support for Garrison. Rooker creates the right dynamic as this force of dissent in the scenes of Garrison's group discussions. He offers the alternate viewpoint as this convincing perspective by making every initial frustration and reaction of disbelief as something wholly genuine. Rooker by taking this approach makes the pivotal choice in terms of Bill's transition as he is approached to essentially spy on Garrison lest his own law career be sacrificed. Rooker is great in this offer scene as he does not present as this the easy choice of a weasel. Rooker instead finds in the emotional intensity of the moment the right conflict as he speaks. He delivers the sense of a real unease with considering the offer as it mean betraying his boss, but also a frustration knowing that he doesn't want to sacrifice his own career for an investigation he doesn't fully believe in. Although it is a somewhat brief moment Rooker captures so effectively the conflict in Bill in that moment, and again offers more substance within the role than there may have been otherwise.
Bill stays on a spy however Rooker thankfully does not immediately become this villainous force. When espousing on his new discoveries though there is this slight half-hearted quality within Rooker's delivery that properly alludes to his state of mind. He also brings this when he is questioned about his devotion, where Rooker brings the right extreme snap back at any accusations that isn't over the top rather the expected reaction of a man with a guilty conscience. Rooker's best moment comes though as Bill launches into his own alternative theory that involves the mob rather than the entire U.S. government as Garrison proposes. Rooker is great in this scene though as he passionately advocates Bill's view in two frames of mind. One being a genuine passion towards the idea but also this unease towards accepting such a nihilistic view of the government. Rooker fashions another layer though even beyond that to show this certain desperation in his delivery not in terms of selling his idea, but rather towards Garrison's own safety. Rooker does not make it this selfish diversion, but rather shows some better side to Bill making the alternate conspiracy as much of a plea as anything else. Rooker in this way does not make Bill's turn this simple revelation of a bad guy in the wings. Rooker instead offers a real humanity in the changes by showing Bill painfully taking each step from the doubting Thomas before becoming the full blown Judas. It's a terrific performance as Rooker realizes this arc so well within essentially the margins of the film.
Joe Pesci did not receive an Oscar nomination for portraying David Ferrie in JFK.
Joe Pesci plays one of the most pivotal roles in the film, technically as important as Jones's Clay Shaw, as one of the men alleged to be part of the cabal who helped to execute Kennedy's assassination. His first appearance though is when he is brought into Garrison's office, long before he begins his formal investigation, stemming from a vague clue about the man David Ferrie for having taken a trip to Dallas the day Kennedy was killed. Pesci in a way has a challenge from the outset with the rather, different, appearance of Dave Ferrie with eye brows of an odd sort, and his ill-fitting blonde wig. Pesci of course is more than up to the task being rather idiosyncratic himself. Pesci is a unique quantity as an actor, indispensable when it comes to comparison, as there is no one who can deliver what Pesci delivers quite like Pesci. This is essential for the role of Ferrie who is suppose to stick out like a sore thumb both in terms of appearance but also really everything about the man. Pesci doesn't just play into this but owns it with his New Orleans accent he uses to only amplify the jarring style of the man. Pesci makes Ferrie very much a man who not only might be part of an assassination plot, but also would probably be the easiest to identify due to his personal style which is anything other than subtle. This is clear from his first scene which Pesci is sheer perfection in every stumbled delivery, and nervous reaction, or false interaction, setting up as a man with clearly something to hide though just smart enough not to fully blurt it out.
After that scene though we see Ferrie in two distinct lenses though those of the past from the recollections of Garrison's witnesses, and the present with Garrison's few interactions with the man. In the flashback scenes we get quite a lot of classic Pesci in his realization of Dave Ferrie as the homosexual "bon vivant" and a military conspirator. Pesci portrays this in an interesting way as this mess of a man though in his mind yet somehow comforted within his place in his world. As the "bon vivant" Pesci actually elicits this overt comfort in the life projecting as a peacock showing Ferrie essentially where he seems most at home wholly being himself in the homosexual underground of New Orleans, rather than the awkward man we meet in Garrison's office. As the military conspirator Pesci is fantastic in delivery that trademark intensity of his of course in the moments of Ferrie going on his long flights of mental fancy that both take him towards killing Castro and eventually Kennedy. Pesci brings this extreme zealotry that he also plays with a certain intriguing duality. Pesci offers this clear conviction within his vicious words of anger and distress over being pulled from his anti-Castro efforts, but when it turns to Kennedy there is an even more obtuse quality Pesci infuses. It is this madness that Pesci finds of a man speaking words with a belief to be sure, but steeped in this insanity that suggests Ferrie doesn't even quite understand the full ramifications himself.
Those past scenes essentially are the seeds to the Ferrie we find in the present that Pesci gives us a proper paranoid mess when he contacts Garrison's men after their investigation, including his name, has leaked to the press. This leads to a stunning scene for Pesci's performance where he brings sort of that same visceral power to his work that was so remarkable in his Oscar winning performance, though translated here for a very different role and purpose. Pesci instead of using that for such an imposing figure, he instead brings that unpredictable violent energy in creating the extreme vulnerability of Ferrie in the moment. Everything about Pesci from his hastened tone of voice to his manic movements echo a man burdened by many things. We see the fear in his eyes in every reaction from every unknown that Pesci makes fitting to a man on the brink of some death, but within that we also have that burden of the past. Pesci creates this increased agitation within his physical portrayal of Ferrie as he begins seemingly to speak of his connection to the assassination. Pesci is astonishing in the way he captures this though as this stream of consciousness of a man neither healthy of body or mind. He constantly changes in these moments from second to second so naturally from moments seemingly of mania, to others of only of terror, and occasionally these wholly lucid moments that seem to reveal some of the secrets he holds. Pesci though always makes him the madness we saw before but amplified ten fold as he reveals the full weight of the assassination on Ferrie as he shows us a man struggling with both what he became a part of and his own actions. The most powerful moment of Pesci's incredible work though comes when Ferrie finally seems to come to calm with an instance of clarity. Pesci delivers this moment as Ferrie reflecting on his own guilt while seeming to look towards some other path he could have taken in his life. Pesci is downright heartbreaking in the moment by so quietly portraying this moment as this brief sobriety in an insane man, as he ponders on his desire to become a priest which never could have been. What makes the moment so poignant though is how naturally Pesci finds it through his vivid tragedy he creates of a man who essentially lost himself through the conspiracy.
Donald Sutherland did not receive an Oscar nomination for portraying X in JFK.
Of all the figures in a film filled with mysterious figures the most elusive maybe Donald Sutherland's character who merely goes by the name of X. He differs though then the named of the mystery men as he is a deep state deep source ally to Garrison offering him his own insight on the assassination on one long walk around the grounds of Washington D.C. He is essentially the film's "Deep Throat" who is another real life figure unnamed in the film there to offer the most secret information however while refusing to offer himself as a witness for the investigation. The difference between Hal Holbrook's Deep Throat from All The President's Men and X, other than meeting in broad daylight, is that X delivers all of his information in a single scene. The scene one could argue and simplify as the biggest exposition dump of all time, however it never comes off as such due to the film's brilliant use of editing and Donald Sutherland's performance. Donald Sutherland's performance is explaining, a whole lot of explaining, but some of the most captivating talking one will witness in any film. X is essentially there to give a deeper insight into more a black ops perspective that Garrison is not privy to. This leads Sutherland to give a most fascinating performance on every front. First of all that great voice of his has never been better used as he rattles off detail after detail with such eloquent, and precise delivery.
I could frankly listen to Sutherland break down every single detail of the assassination by how well he phrases every single word. Sutherland brings more to the role than that, and I'm not just referring to his few flashback scenes where we get a more of the moment X as he reacts in confusion towards first being sent on a wild goose chase then later fear at discovering the assassination. Sutherland creates such varied demeanor that grants us a sense of X even as he never for a moment loses that dramatic thrust of his monologue that remain effortlessly compelling in his hands. There is a fascinating combination of tones that Sutherland realizes as this certain blithe quality within his work, suggesting properly a man long within the black ops, but somehow still the sense of severity of his words within this. Sutherland delivers this very controlled passion of a man adamant to let the right information out to Garrison while also still having just the right shred of indifference as though it is X's way of coping with the coup d'etat that he could do nothing to prevent. Sutherland brings this bluntness through this approach as both a man clearly concerned for what happened, but also with the sense to know there is very little he can do about what happened given the forces against him. Sutherland's work here is immaculate in not only just making every bit of exposition meaningful, but even still managing to make X more than a mere exposition machine. It is outstanding work from Sutherland as he leaves such an undeniable impression on the film in such short order. Sutherland again creates the sense of the greatness of this ensemble because he doesn't just serve his purpose within the film by making his scene fascinating, but also in turn makes X as fascinating as this mysterious presence within the film. His work creates a highlight within a film filled with highlights, and is one of Sutherland's best performances.
What I mean by that is the specific delivery of the objections, and points of reality brought on by Bill as the "devil's advocate" for many of the early scenes, even as he is shown still to be pretty dogged investigator. Rooker does not for a moment allow Bill to be some simple straw man by providing such straight forward quality within his delivery of his objections and concerns. Rooker doesn't show them as this perpetually naysayer, but rather provides the right substance of consideration just for the facts when he does so. He creates that right basic ability for doubt, but Rooker wisely portrays this as Bill just being less fervent in his belief in the conspiracy rather than in support for Garrison. Rooker creates the right dynamic as this force of dissent in the scenes of Garrison's group discussions. He offers the alternate viewpoint as this convincing perspective by making every initial frustration and reaction of disbelief as something wholly genuine. Rooker by taking this approach makes the pivotal choice in terms of Bill's transition as he is approached to essentially spy on Garrison lest his own law career be sacrificed. Rooker is great in this offer scene as he does not present as this the easy choice of a weasel. Rooker instead finds in the emotional intensity of the moment the right conflict as he speaks. He delivers the sense of a real unease with considering the offer as it mean betraying his boss, but also a frustration knowing that he doesn't want to sacrifice his own career for an investigation he doesn't fully believe in. Although it is a somewhat brief moment Rooker captures so effectively the conflict in Bill in that moment, and again offers more substance within the role than there may have been otherwise.
Bill stays on a spy however Rooker thankfully does not immediately become this villainous force. When espousing on his new discoveries though there is this slight half-hearted quality within Rooker's delivery that properly alludes to his state of mind. He also brings this when he is questioned about his devotion, where Rooker brings the right extreme snap back at any accusations that isn't over the top rather the expected reaction of a man with a guilty conscience. Rooker's best moment comes though as Bill launches into his own alternative theory that involves the mob rather than the entire U.S. government as Garrison proposes. Rooker is great in this scene though as he passionately advocates Bill's view in two frames of mind. One being a genuine passion towards the idea but also this unease towards accepting such a nihilistic view of the government. Rooker fashions another layer though even beyond that to show this certain desperation in his delivery not in terms of selling his idea, but rather towards Garrison's own safety. Rooker does not make it this selfish diversion, but rather shows some better side to Bill making the alternate conspiracy as much of a plea as anything else. Rooker in this way does not make Bill's turn this simple revelation of a bad guy in the wings. Rooker instead offers a real humanity in the changes by showing Bill painfully taking each step from the doubting Thomas before becoming the full blown Judas. It's a terrific performance as Rooker realizes this arc so well within essentially the margins of the film.
After that scene though we see Ferrie in two distinct lenses though those of the past from the recollections of Garrison's witnesses, and the present with Garrison's few interactions with the man. In the flashback scenes we get quite a lot of classic Pesci in his realization of Dave Ferrie as the homosexual "bon vivant" and a military conspirator. Pesci portrays this in an interesting way as this mess of a man though in his mind yet somehow comforted within his place in his world. As the "bon vivant" Pesci actually elicits this overt comfort in the life projecting as a peacock showing Ferrie essentially where he seems most at home wholly being himself in the homosexual underground of New Orleans, rather than the awkward man we meet in Garrison's office. As the military conspirator Pesci is fantastic in delivery that trademark intensity of his of course in the moments of Ferrie going on his long flights of mental fancy that both take him towards killing Castro and eventually Kennedy. Pesci brings this extreme zealotry that he also plays with a certain intriguing duality. Pesci offers this clear conviction within his vicious words of anger and distress over being pulled from his anti-Castro efforts, but when it turns to Kennedy there is an even more obtuse quality Pesci infuses. It is this madness that Pesci finds of a man speaking words with a belief to be sure, but steeped in this insanity that suggests Ferrie doesn't even quite understand the full ramifications himself.
Those past scenes essentially are the seeds to the Ferrie we find in the present that Pesci gives us a proper paranoid mess when he contacts Garrison's men after their investigation, including his name, has leaked to the press. This leads to a stunning scene for Pesci's performance where he brings sort of that same visceral power to his work that was so remarkable in his Oscar winning performance, though translated here for a very different role and purpose. Pesci instead of using that for such an imposing figure, he instead brings that unpredictable violent energy in creating the extreme vulnerability of Ferrie in the moment. Everything about Pesci from his hastened tone of voice to his manic movements echo a man burdened by many things. We see the fear in his eyes in every reaction from every unknown that Pesci makes fitting to a man on the brink of some death, but within that we also have that burden of the past. Pesci creates this increased agitation within his physical portrayal of Ferrie as he begins seemingly to speak of his connection to the assassination. Pesci is astonishing in the way he captures this though as this stream of consciousness of a man neither healthy of body or mind. He constantly changes in these moments from second to second so naturally from moments seemingly of mania, to others of only of terror, and occasionally these wholly lucid moments that seem to reveal some of the secrets he holds. Pesci though always makes him the madness we saw before but amplified ten fold as he reveals the full weight of the assassination on Ferrie as he shows us a man struggling with both what he became a part of and his own actions. The most powerful moment of Pesci's incredible work though comes when Ferrie finally seems to come to calm with an instance of clarity. Pesci delivers this moment as Ferrie reflecting on his own guilt while seeming to look towards some other path he could have taken in his life. Pesci is downright heartbreaking in the moment by so quietly portraying this moment as this brief sobriety in an insane man, as he ponders on his desire to become a priest which never could have been. What makes the moment so poignant though is how naturally Pesci finds it through his vivid tragedy he creates of a man who essentially lost himself through the conspiracy.
I could frankly listen to Sutherland break down every single detail of the assassination by how well he phrases every single word. Sutherland brings more to the role than that, and I'm not just referring to his few flashback scenes where we get a more of the moment X as he reacts in confusion towards first being sent on a wild goose chase then later fear at discovering the assassination. Sutherland creates such varied demeanor that grants us a sense of X even as he never for a moment loses that dramatic thrust of his monologue that remain effortlessly compelling in his hands. There is a fascinating combination of tones that Sutherland realizes as this certain blithe quality within his work, suggesting properly a man long within the black ops, but somehow still the sense of severity of his words within this. Sutherland delivers this very controlled passion of a man adamant to let the right information out to Garrison while also still having just the right shred of indifference as though it is X's way of coping with the coup d'etat that he could do nothing to prevent. Sutherland brings this bluntness through this approach as both a man clearly concerned for what happened, but also with the sense to know there is very little he can do about what happened given the forces against him. Sutherland's work here is immaculate in not only just making every bit of exposition meaningful, but even still managing to make X more than a mere exposition machine. It is outstanding work from Sutherland as he leaves such an undeniable impression on the film in such short order. Sutherland again creates the sense of the greatness of this ensemble because he doesn't just serve his purpose within the film by making his scene fascinating, but also in turn makes X as fascinating as this mysterious presence within the film. His work creates a highlight within a film filled with highlights, and is one of Sutherland's best performances.
Thursday, 31 May 2018
Alternate Best Supporting Actor 1991
Joe Pesci in JFK
Donald Sutherland in JFK
Robert Patrick in Terminator 2: Judgment Day
Alan Rickman in Robin Hood: Prince of Thieves
Patrick Swayze in Point Break
William Sadler in Bill and Ted's Bogus Journey
For Prediction Purposes:
Pesci From JFK
Thursday, 29 September 2011
Best Supporting Actor 1980: Results
Wednesday, 28 September 2011
Best Supporting Actor 1980: Joe Pesci in Raging Bull
Joe Pesci received his first Oscar nomination for portraying Joey Lamotta in Raging Bull.
Joe Pesci portrays the brother of Jake Lamotta (Robert De Niro) who attempts to help Jake best he can in his boxing career. Joe Pesci has quite the problem to begin with in this film, and that is to be able to stand out against Robert De Niro outstanding performance, considering he shares much of his screen time with De Niro usually interacting with him directly.
Pesci though overcomes any potential problems easily though. Although I can't say he steals any scenes from De Niro that would be impossible, but Pesci always manages to keep his ground in every scene with De Niro. This is certainly helped by Pesci's distinctive voice, but also by the way he realizes his character of Joey almost as well as De Niro realizes Jake. There are many similarities to the men, that both actors bring to their character showing that their brothers, and from the same background.
Pesci shows that Joey is much like Jake in that they are both very abrasive men. There is not a question what Jake is feeling that is for sure, and this is mostly true for Joey as well. Pesci brings out the emotional force just as De Niro does, showing simply the brutal nature of the characters. Pesci is great in showing how Joey is similar to Jake, without copying De Niro though, instead making the same type of character but in his own distinct way.
Pesci certianly excels in showing the similarities between Joey and Jake, but even stronger I think is Pesci careful depiction of what makes Joey different than Jake. Although hot headed himself, he is far more sensible than Jake in many ways. Because of this Pesci and De Niro have an interesting dynamic as Joey and Jake. With Jake being far more blunt and hardheaded instantly, where Pesci shows Joey is always sort of undercutting what Jake says, as well as prodding him to do what he believes is the right thing to do. There is a hostility between them because of this that both actors make natural, and true to emotional state of their characters.
A pivotal part of Pesci's performance though is Joey's relationship with Jake's wife Vicky (Cathy Moriarty). Pesci carefully creates Joey's treatment, and affection for his sister in law perfectly. It is hard to say exactly how far his affection goes for her, whether it is more than just being a good brother in law. Pesci keeps it appropriately ambiguous, making it so you can't be sure one way or the other, but for it to be enough for the very jealous Jake to take it as such without much question.
What is best in Pesci's performance though may be his two last scenes where it shows a different side of Joey, where the whole abrasive behavior of he and Jake are no longer in full front. Pesci is great in his small moment where he watches Jake lose his belt, estranged from Jake due to Jake beating Joey. The moment is great because it shows that there was a genuine love for his brother in his sadness over watching Jake lose, as well as a sense of loss sense he worked hard with Jake to win the belt as well.
His best single scene though may be when we see Joey years later still estranged becuase of what Jake did to him. This scene could have fallen flat as it is the only time we see the only Joey, but Pesci is completely convincing in showing Joey as a very different quieter Joey. His and De Niro's scene where Jake tries to ask Joey to forgive him is amazing. Pesci is great in showing how the attack changed Joey in the he quietly resists Jake, until sort of forgiving him in a very moving moment naturally showing a much softer side of the man. This scene exemplifies how well Pesci supports De Niro's great performance, something he does throughout the film, making this really a just about perfect supporting performance.
Pesci though overcomes any potential problems easily though. Although I can't say he steals any scenes from De Niro that would be impossible, but Pesci always manages to keep his ground in every scene with De Niro. This is certainly helped by Pesci's distinctive voice, but also by the way he realizes his character of Joey almost as well as De Niro realizes Jake. There are many similarities to the men, that both actors bring to their character showing that their brothers, and from the same background.
Pesci shows that Joey is much like Jake in that they are both very abrasive men. There is not a question what Jake is feeling that is for sure, and this is mostly true for Joey as well. Pesci brings out the emotional force just as De Niro does, showing simply the brutal nature of the characters. Pesci is great in showing how Joey is similar to Jake, without copying De Niro though, instead making the same type of character but in his own distinct way.
Pesci certianly excels in showing the similarities between Joey and Jake, but even stronger I think is Pesci careful depiction of what makes Joey different than Jake. Although hot headed himself, he is far more sensible than Jake in many ways. Because of this Pesci and De Niro have an interesting dynamic as Joey and Jake. With Jake being far more blunt and hardheaded instantly, where Pesci shows Joey is always sort of undercutting what Jake says, as well as prodding him to do what he believes is the right thing to do. There is a hostility between them because of this that both actors make natural, and true to emotional state of their characters.
A pivotal part of Pesci's performance though is Joey's relationship with Jake's wife Vicky (Cathy Moriarty). Pesci carefully creates Joey's treatment, and affection for his sister in law perfectly. It is hard to say exactly how far his affection goes for her, whether it is more than just being a good brother in law. Pesci keeps it appropriately ambiguous, making it so you can't be sure one way or the other, but for it to be enough for the very jealous Jake to take it as such without much question.
What is best in Pesci's performance though may be his two last scenes where it shows a different side of Joey, where the whole abrasive behavior of he and Jake are no longer in full front. Pesci is great in his small moment where he watches Jake lose his belt, estranged from Jake due to Jake beating Joey. The moment is great because it shows that there was a genuine love for his brother in his sadness over watching Jake lose, as well as a sense of loss sense he worked hard with Jake to win the belt as well.
His best single scene though may be when we see Joey years later still estranged becuase of what Jake did to him. This scene could have fallen flat as it is the only time we see the only Joey, but Pesci is completely convincing in showing Joey as a very different quieter Joey. His and De Niro's scene where Jake tries to ask Joey to forgive him is amazing. Pesci is great in showing how the attack changed Joey in the he quietly resists Jake, until sort of forgiving him in a very moving moment naturally showing a much softer side of the man. This scene exemplifies how well Pesci supports De Niro's great performance, something he does throughout the film, making this really a just about perfect supporting performance.
Sunday, 25 September 2011
Best Supporting Actor 1980
Jason Robards in Melvin and Howard
Judd Hirsch in Ordinary People
Timothy Hutton in Ordinary People
Michael O'Keefe in The Great Santini
Joe Pesci in Raging Bull
Friday, 16 September 2011
Best Supporting Actor 1990: Results
Robert De Niro in Goodfellas
Albert Finney in Miller's Crossing
Best Supporting Actor 1990: Joe Pesci in Goodfellas
Joe Pesci won his Oscar from his second nomination for portraying Tommy DeVito in Goodfellas.
Goodfellas tells the story of low level mobsters in New York.
Joe Pesci plays the violent psychopathic mobster Tommy DeVito. Pesci from his earliest of moments in the film manages to dominate the screen with his performance. Pesci from his first scene instantly establishes Tommy completely as exactly who he is, which is really a violent animal. Pesci never denies this, but rather embraces this whole idea behind Tommy which makes his performance so impressive.
There is a constant visceral aspect of his performance that always pierces right through the screen showing the utter brutality of Tommy, as well as the unpredictable manner of him. Each scene where Pesci is the focus, or at least where Pesci forces himself as the focus through his performance it is impossible not to watch him. His scenes have a certain unbearable quality to them created by Pesci becuase how well he manages to realize the cruelty of DeVito, but at the same time he makes every scene utterly fascinating because of his performance.
It is this dynamic that makes Pesci's performance so powerful, and so effective. He makes this absolute thug someone you can't help but watch. He is cruel psychopath, with basically zero sympathy, yet there is just something utterly fascinating about him. The lack of any sort of sympathy for his victims or remorse for his crimes, in anyway simply paints a chilling portrait of this man. Pesci really is truly chilling because he never overacts with his cruelty he makes the violence in DeVito absolutely real. He never turns him into a movie villain but a real evil man who kills most people just because they insult him.
Pesci stays true to his portrait throughout the film, never letting off for a hint keeping his brutality always in the forefront, until only his last two words. Pesci probably gives the most powerful performance imaginable in the two words showing really what a waste of life Tommy has in his short final moment, it is absolutely outstanding what he does with it really. Pesci's performance is pivotal part of the entire the film and makes the most of it. He absolutely gets everything he can out his performance, this is a true example of a perfect supporting performance. Pesci only every adds to this already great film.
Joe Pesci plays the violent psychopathic mobster Tommy DeVito. Pesci from his earliest of moments in the film manages to dominate the screen with his performance. Pesci from his first scene instantly establishes Tommy completely as exactly who he is, which is really a violent animal. Pesci never denies this, but rather embraces this whole idea behind Tommy which makes his performance so impressive.
There is a constant visceral aspect of his performance that always pierces right through the screen showing the utter brutality of Tommy, as well as the unpredictable manner of him. Each scene where Pesci is the focus, or at least where Pesci forces himself as the focus through his performance it is impossible not to watch him. His scenes have a certain unbearable quality to them created by Pesci becuase how well he manages to realize the cruelty of DeVito, but at the same time he makes every scene utterly fascinating because of his performance.
It is this dynamic that makes Pesci's performance so powerful, and so effective. He makes this absolute thug someone you can't help but watch. He is cruel psychopath, with basically zero sympathy, yet there is just something utterly fascinating about him. The lack of any sort of sympathy for his victims or remorse for his crimes, in anyway simply paints a chilling portrait of this man. Pesci really is truly chilling because he never overacts with his cruelty he makes the violence in DeVito absolutely real. He never turns him into a movie villain but a real evil man who kills most people just because they insult him.
Pesci stays true to his portrait throughout the film, never letting off for a hint keeping his brutality always in the forefront, until only his last two words. Pesci probably gives the most powerful performance imaginable in the two words showing really what a waste of life Tommy has in his short final moment, it is absolutely outstanding what he does with it really. Pesci's performance is pivotal part of the entire the film and makes the most of it. He absolutely gets everything he can out his performance, this is a true example of a perfect supporting performance. Pesci only every adds to this already great film.
Wednesday, 14 September 2011
Best Supporting Actor 1990
Al Pacino in Dick Tracy
Andy Garcia in The Godfather Part III
Joe Pesci in Goodfellas
Graham Greene in Dances With Wolves
Bruce Davison in Longtime Companion
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