5. Eric Idle in The Adventures of Baron Munchausen - Idle gives a rather amusing performance that matches the film's tone, and adds to its various delights.
Best Actor: Split second save.
4. Pete Postlethwaite in Distant Voices, Still Lives - Postlethewaite effectively captures the various memories of a father both in moments of severe brutality and occasional warmth.
Best Scene: Unpleasant Dinner.
3. Jacky Cheung in As Tears Go By - Cheung makes for an effective time bomb in his properly flamboyant portrayal of a wannabe gangster on a constant collision course with reality.
Best Scene: Becoming a real gangster.
2. M. Emmet Walsh in Clean and Sober - Walsh makes a striking impact in such limited screentime initially in creating the sense of a history of pain from his own life of drugs, and creating a truly empathetic figure there to help and improve another who was once like himself.
Best Scene: Waiting.
1. John Lone in The Moderns - Lone gives a brilliant performance here creating a properly ruthless depiction of a vicious businessman, however while honestly revealing the desperation within the man which leads to his downfall.
Best Scene: Destroying the art.
Updated Overall
Next Year: 2010 Lead
Showing posts with label Pete Postlethwaite. Show all posts
Showing posts with label Pete Postlethwaite. Show all posts
Saturday, 11 November 2017
Tuesday, 7 November 2017
Alternate Best Supporting Actor 1988: Pete Postlethwaite in Distant Voices, Still Lives
Pete Postlethwaite did not receive an Oscar nomination for portraying Tommy Davies in Distant Voices, Still Lives.
Distant Voices, Still Lives is a contemplative film following the lives of a working class family during the 40's and the 50's.
Pete Postlethewaite's performance is essentially one of memory within the film. We open the film as the family is essentially moving on from their father, and we granted glimpses into their past with their domineering father. Postlethewaite's performance in turn is fashioned towards specific glimpses into what will be held by memory. There is not a slight moment in what we witness of Postlethewaite's father to the family, they are all extremes, though logically so within the context of his purpose within the film. Postlethewaite's performance is there to quickly grant truth to these memories though as memories which can be a rather curious thing. In this way we don't see the whole picture of the man but rather just the facets. Postlethwaite's does excel in his portrayal of every one of these facets. The most overwhelming memory seems to be those of his abuse towards the family. These scenes carry a cold brutality to them because of how effective Postlethwaite is in portraying the vicious behavior of the man.
Postlethwaite delivers the same intensity whether he is verbally assaulting his family or physically assaulting them. These moments are particularly difficult to watch as Postlethwaite makes them feel so natural to the man, and just the way he simply was. We are granted other glimpses of the man though in ill health in moments but others as a more loving father. Postlethwaite's performance delivers in these glimpses and even makes sense to them. The moments of warmth are of the same man who beats his wife, as even in the moments of warmth there is this a sense of the nature of the man. The nature being of a quick temper, though there are times where he can be charming when not currently in his most hateful state. These again though are only glimpses we see we don't see the transition though Postlethwaite makes it always seem the same man despite the different extremes. It is an effective turn that leaves the strongest impression on the film even though all the performances are limited within the style of the film. Postlethwaite gives an understanding to the father's influence within the family's collective mind even though we are granted a limited portrait of the man.
Distant Voices, Still Lives is a contemplative film following the lives of a working class family during the 40's and the 50's.
Pete Postlethewaite's performance is essentially one of memory within the film. We open the film as the family is essentially moving on from their father, and we granted glimpses into their past with their domineering father. Postlethewaite's performance in turn is fashioned towards specific glimpses into what will be held by memory. There is not a slight moment in what we witness of Postlethewaite's father to the family, they are all extremes, though logically so within the context of his purpose within the film. Postlethewaite's performance is there to quickly grant truth to these memories though as memories which can be a rather curious thing. In this way we don't see the whole picture of the man but rather just the facets. Postlethwaite's does excel in his portrayal of every one of these facets. The most overwhelming memory seems to be those of his abuse towards the family. These scenes carry a cold brutality to them because of how effective Postlethwaite is in portraying the vicious behavior of the man.
Postlethwaite delivers the same intensity whether he is verbally assaulting his family or physically assaulting them. These moments are particularly difficult to watch as Postlethwaite makes them feel so natural to the man, and just the way he simply was. We are granted other glimpses of the man though in ill health in moments but others as a more loving father. Postlethwaite's performance delivers in these glimpses and even makes sense to them. The moments of warmth are of the same man who beats his wife, as even in the moments of warmth there is this a sense of the nature of the man. The nature being of a quick temper, though there are times where he can be charming when not currently in his most hateful state. These again though are only glimpses we see we don't see the transition though Postlethwaite makes it always seem the same man despite the different extremes. It is an effective turn that leaves the strongest impression on the film even though all the performances are limited within the style of the film. Postlethwaite gives an understanding to the father's influence within the family's collective mind even though we are granted a limited portrait of the man.
Friday, 3 November 2017
Alternate Best Supporting Actor 1988
And the Nominees Were Not:
Eric Idle in The Adventures of Baron Munchausen
M. Emmet Walsh in Clean and Sober
Pete Postlethewaite in Distant Voices, Still Lives
Jacky Cheung in As Tears Go By
John Lone in The Moderns
Eric Idle in The Adventures of Baron Munchausen
M. Emmet Walsh in Clean and Sober
Pete Postlethewaite in Distant Voices, Still Lives
Jacky Cheung in As Tears Go By
John Lone in The Moderns
Monday, 17 March 2014
Alternate Best Supporting Actor 1996: Results
5. Gene Hackman in The Birdcage- Hackman steals the film with his hilarious dead pan performance.
Best Scene: Senator Keeley talks about foliage.
4. Pete Postlethwaite in Brassed Off- For most of the film Postlethwaite gives a very enjoyable performance in bringing such a conviction and pride in something so seemingly small, and then he successfully transitions to a true emotional poignancy at the end of the film.
Best Scene: Final speech.
3. Robert Carlyle in Trainspotting- Carlyle gives a very entertaining and intense portrayal of man who gets his kicks out of kicking a certain something out of any unlucky fellow in his way.
Best Scene: Begbie's final bar breakdown.
2. Derek Jacobi in Hamlet- Claudius easily could have been a throwaway role but Jacobi gives an excellent portrayal of Claudius as both an imposing villain but as well an honest the portrayal of guilt.
Best Scene: Claudius asks for forgiveness.
1. Steve Buscemi in Fargo- Good Prediction koook160. Steve Buscemi gives a great portrait of idiotic criminal and is terrific in every one of his scenes, and it's only better due to his perfect chemistry with his partner in crime played by Peter Stormare who is also my very close number two for this year.
Best Scene: Carl negotiates with Wade.
Overall Rank:
Best Scene: Senator Keeley talks about foliage.
4. Pete Postlethwaite in Brassed Off- For most of the film Postlethwaite gives a very enjoyable performance in bringing such a conviction and pride in something so seemingly small, and then he successfully transitions to a true emotional poignancy at the end of the film.
Best Scene: Final speech.
3. Robert Carlyle in Trainspotting- Carlyle gives a very entertaining and intense portrayal of man who gets his kicks out of kicking a certain something out of any unlucky fellow in his way.
Best Scene: Begbie's final bar breakdown.
2. Derek Jacobi in Hamlet- Claudius easily could have been a throwaway role but Jacobi gives an excellent portrayal of Claudius as both an imposing villain but as well an honest the portrayal of guilt.
Best Scene: Claudius asks for forgiveness.
1. Steve Buscemi in Fargo- Good Prediction koook160. Steve Buscemi gives a great portrait of idiotic criminal and is terrific in every one of his scenes, and it's only better due to his perfect chemistry with his partner in crime played by Peter Stormare who is also my very close number two for this year.
Best Scene: Carl negotiates with Wade.
Overall Rank:
- Steve Buscemi in Fargo
- Peter Stormare in Fargo
- Edward Norton in Primal Fear
- Derek Jacobi in Hamlet
- Tony Jay in The Hunchback of Notre Dame
- Robert Carlyle in Trainspotting
- Charlton Heston in Hamlet
- Harry Belafonte in Kansas City
- Ed Harris in The Rock
- Pete Postlethwaite in Brassed Off
- Gene Hackman in The Birdcage
- Paul Scofield in The Crucible
- Clifton James in Lone Star
- Richard Jenkins in Flirting With Disaster
- Jean Rochefort in Ridicule
- Andre Braugher in Get on the Bus
- Matthew McCounaughey in Lone Star
- Edward Norton in The People vs. Larry Flynt
- Eric Tsang in Comrades: Almost A love Story
- David Bowie in Basquiat
- Jared Harris in I Shot Andy Warhol
- Ossie Davis in Get on the Bus
- Bain Beohlke in Fargo
- Michael Wincott in Basquiat
- Bill Murray in Kingpin
- Kevin McKidd in Trainspotting
- Gary Sinise in Ransom
- Dwight Yoakam in Sling Blade
- Armin Mueller-Stahl in Shine
- Harve Presnell in Fargo
- Mads Mikkelsen in Pusher
- Paul Kandel in The Hunchback of Notre Dame
- Robert Duvall in Phenomenon
- Stephen Dorff in I Shot Andy Warhol
- Lucas Black in Sling Blade
- Kiefer Sutherland in Freeway
- Kevin Pollak in That Thing You Do
- Ernst Jacobi in Hamsun
- Olivier Gourmet in La Promesse
- Pete Postlethwaite in Romeo + Juliet
- Martin Donovan in The Portrait of a Lady
- Robert De Niro in Sleepers
- Samuel L. Jackson in A Time To Kill
- Edgar Selge in Hamsun
- James Cromwell in Star Trek: First Contact
- Matthew McCounaughey in Larger Than Life
- Christopher McDonald in Happy Gilmore
- Harvey Keitel in From Dusk Till Dawn
- Zlatko Buric in Pusher
- Sverre Anker Ousdale in Hamsun
- Charles S. Dutton in Get on the Bus
- Benicio Del Toro in Basquiat
- Stephen Rea in Michael Collins
- Robert Duvall in Sling Blade
- Brian Blessed in Hamlet
- Willem Dafoe in The English Patient
- Brent Spiner in Star Trek: First Contact
- John Hawkes in From Dusk Till Dawn
- Kevin Spacey in A Time To Kill
- Dave Chapelle in The Nutty Professor
- Ian Holm in Big Night
- Scott Glenn in Carla's Song
- Kevin Bacon in Sleepers
- Stephen Tompkinson in Brassed Off
- Jonny Lee Miller in Trainspotting
- Steve Park in Fargo
- Jeremy Northam in Emma
- Kurtwood Smith in Citizen Ruth
- Alan Rickman in Michael Collins
- Tom Hanks in That Thing You Do
- Ewan McGregor in Emma
- Carl Weathers in Happy Gilmore
- Josh Brolin in Flirting With Disaster
- Samuel Le Bihan in Captain Conan
- Nicholas Farrell in Hamlet
- Scott Wilson in Shiloh
- Richard Attenborough in Hamlet
- Forest Whitaker in Phenomenon
- Chris Cooper in A Time to Kill
- Vince Vaughn in Swingers
- James Woods in Ghosts of Mississippi
- Kris Kirstofferson in Lone Star
- J.T. Walsh in Sling Blade
- Steve Zahn in That Thing You Do
- Robert Musgrave in Bottle Rocket
- Peter Vaughan in The Crucible
- John Astin in The Frighteners
- James Caan in Eraser
- Ewan Bremner in Trainspotting
- Jon Voight in Mission: Impossible
- Larry Brandenberg in Fargo
- John Ritter in Sling Blade
- Ron Canada in Lone Star
- Johnathon Shaech in That Thing You Do
- Wendell Pierce in Get on the Bus
- Vic Morrow in Mother
- Billy Crystal in Hamlet
- Jeff Goldblum in Independence Day
- James Caan in Bottle Rocket
- Roger Guenveur Smith in Get on the Bus
- Ewan McGregor in Brassed Off
- Kevin Kline in The Hunchback of Notre Dame
- Bruce Davison in The Crucible
- John Carroll Lynch in Fargo
- Elias Koteas in Crash
- Larry Miller in The Nutty Professor
- Ving Rhames in Mission: Impossible
- Andre Braugher in Primal Fear
- Tony Denman in Fargo
- Matt Damon in Courage Under Fire
- Pete Postlethwaite in Dragonheart
- Jim Carter in Brassed Off
- Brad Renfro in Sleepers
- Timothy Spall in Hamlet
- Gabriel Casseus in Get on the Bus
- John Ales in The Nutty Professor
- George Segal in Flirting With Disaster
- Bokeem Woodbine in Freeway
- John Gielgud in Shine
- Michael Biehn in The Rock
- Philip Seymour Hoffman in Twister
- Viggo Mortensen in The Portrait of a Lady
- John Ryan in Bound
- David Patrick Kelly in Flirting With Disaster
- Richard Briers in Hamlet
- Delroy Lindo in Ransom
- Michael Parks in From Dusk Till Dawn
- Christopher Meloni in Bound
- Aidan Quinn in Michael Collins
- Benicio Del Toro in The Funeral
- Philip Jackson in Brassed Off
- Robert De Niro in Marvin's Room
- William Forsythe in The Rock
- Thomas Jefferson Byrd in Get on the Bus
- Ron Livingston in Swingers
- Chris Penn in The Funeral
- Alan Cumming in Emma
- Gary Lewis in Carla's Song
- Brad Pitt in Sleepers
- Treat Williams in The Phantom
- Bill Murray in Space Jam
- Jonathan Pryce in Evita
- Phil Hartman in Sgt. Bilko
- Michael Moriarty in Shiloh
- Tom Savini in From Dusk Till Dawn
- Michael Douglas in The Ghost and the Darkness
- David Arquette in Scream
- Alan Alda in Flirting With Disaster
- Ben Stiller in The Cable Guy
- Dustin Hoffman in Sleepers
- Alan Alda in Everyone Says I Love You
- Dan Hedaya in Marvin's Room
- Steve Buscemi in Kansas City
- Viggo Mortensen in Daylight
- James Cromwell in The People vs. Larry Flynt
- Donald Sutherland in A Time to Kill
- Danny DeVito in Matilda
- Rob Campbell in The Crucible
- Patrick McGoohan in The Phantom
- Burt Reynolds in Citizen Ruth
- Paul Reubens in Dunston Checks In
- Dan Aykroyd in Sgt. Bilko
- Wayne Knight in Space Jam
- Stan Shaw in Daylight
- Leonardo DiCaprio in Marvin's Room
- James Coburn in The Nutty Professor
- Keith David in Larger Than Life
- Rufus Sewell in Hamlet
- Owen Wilson in The Cable Guy
- James Rebhorn in Independence Day
- Hill Harper in Get on the Bus
- Hank Azaria in The Birdcage
- Richard Paul in The People vs. Larry Flynt
- Dan Hedaya in The First Wives Club
- Gerard Depardieu in Hamlet
- Gary Busey in Black Sheep
- Harry Lennix in Get on the Bus
- Christopher Lee in The Stupids
- Matthew Lillard in Scream
- Phil Hartman in Jingle All The Way
- Jack Black in The Cable Guy
- Dan Hedaya in Freeway
- Colin Firth in The English Patient
- Michael Murphy in Kansas City
- Woody Allen in Everyone Says I Love You
- Robin Williams in Hamlet
- Joe Morton in Lone Star
- Lou Diamond Phillips in Courage Under Fire
- Richard Belzer in Get on the Bus
- John Spencer in The Rock
- Tim Roth in Everyone Says I Love You
- David Thewlis in Dragonheart
- William Atherton in Bio-Dome
- Cary Elwes in Twister
- Skeet Ulrich in Scream
- Randy Quiad in Independence Day
- Harold Gould in Killer: A Journal of Murder
- Tim Matheson in Black Sheep
- Bob Odenkirk in Cable Guy
- Paul Sorvino in Romeo + Juliet
- Emilio Estevez in D3
- Peter Dobson in The Frighteners
- Brian Dennehey in Romeo + Juliet
- Cuba Gooding Jr. in Jerry Maguire
- Fred Williamson in From Dusk Till Dawn
- Judd Hirsch in Independence Day
- James Belushi in Jingle All The Way
- Bill Cosby in Jack
- Ruper Everett in Dunston Checks In
- Beau Bridges in Jerry Maguire
- Bronson Pinchot in The First Wives Club
- Robert John Burke in Killer: A Journal of Murder
- James Naughton in First Kid
- Eugene Levy in Multiplicity
- Glenn Shadix in Dunston Check In
- Edward Norton in Everyone Says I Love You
- Jack Lemmon in Hamlet
- Dash Mihok in Romeo + Juliet
- Brian Kerwin in Jack
- Victor Garber in The First Wives Club
- Robert Guillaume in First Kid
- Stephen Collins in The First Wives Club
- James Acheson in Kazaam
- Harold Perrineau in Romeo + Juliet
- Jerry O'Connell in Jerry Maguire
- Dan Futterman in The Birdcage
- Sinbad in Jingle All The Way
- Crispin Glover in The People vs. Larry Flynt
- Kiefer Sutherland in A Time to Kill
- Quentin Tarantino in From Dusk Till Dawn
- Michael Maloney in Hamlet
- John Costelloe in Kazaam
- Bug Hall in The Stupids
- John Leguizamo in Romeo + Juliet
- Jake Lloyd in Jingle All The Way
Alternate Best Supporting Actor 1996: Pete Postlethwaite in Brassed Off
Pete Postlethwaite did not receive an Oscar nomination for portraying Danny in Brassed Off.
Brassed Off is a good enough film about a coal miner brass band that is threatened by mine closure. Although don't let the adds fool you it is far far more drama than comedy.
Postlethwaite was actually in six films in 1996 including his best of show performance in Romeo + Juliet, and his enjoyable if over the top portrayal of a monk who is a wannabe poet in Dragonheart. I actually have not seen all of the films, but Postlethwaite was one of the most consistent character actors of 90's and one of the best examples of his talent was in this film. Postlethwaite plays the conductor of the band who is the largest source of comedy for most of the film as his character Danny seems far more interested in the success of the band than the success of the mine. Although many of the men are pretty cynical of the whole thing that will not be found in Danny especially not in the way Postlethwaite plays the part.
Postlethwaite makes Danny a source of comedic gold through his completely no nonsense performance actually. In any of the band scenes Postlethwaite is absolutely hilarious because of just how dead serious he is as he conducts the band. This is not just some sort of mundane task or even an extra activity for fun this is the most important business of life in the way Postlethwaite performs the part. There is nothing but the utmost determination in his work that works in two ways. One he does make it genuine that Danny feels this way as the band is a matter of pride, but it is also very funny because he so believably shows a man who is so deadly serious about something that most don't really care too much about.
Postlethwaite's seriousness only continues to be effective though in some great moments earlier on the film where there are some double entendre moments in the dialogue. Really these moments could have fallen ridiculously flat in just the pitch of them but the reason they work so well is because of Postlethwaite. In one moment the jealous wives of other band members question the inclusion of the only young female player. Everything the women imply about her is in a most sexual fashion, but Postlethewaite makes it funny because every response by Danny is slightly bewildered yet completely firm on the fact that she simply is very talented. Really there probably would not be many laughs at all if it were not for Postlethewaite's stone faced delivery.
Of course the laughs rather abruptly stop in the film once the mine actually closes and old Danny even collapses from a mine related illness. This quickly leads Danny into a change of heart as he finally values people more than the band. This is a fast transition but handled well by Postlethwaite in a scene of reflection as the band plays just for him, then his important final speech after the band successfully won a national competition. The film itself really does hammer in its message like ten too many times since it does just keep saying the things over and over again instead maybe doing a little more with the characters.
The final time the film's message is given though, other than one more printed message, is in the speech by Danny. It's the best moment for it's message because Postlethwaite is the one delivering it. He just brings such a intense passion in his delivery that he gives the film a powerful bang at the end that has nothing to do with any brass instrument. This is a very good performance from Pete Postlethwaite as he brings such an abundance of humor to the first well about eighty percent of his performance, many actors may have not been able to bridge the transition. Postlethwaite, with the little time he has, manages to connect the two sides and give an emotionally poignant performance as well.
Brassed Off is a good enough film about a coal miner brass band that is threatened by mine closure. Although don't let the adds fool you it is far far more drama than comedy.
Postlethwaite was actually in six films in 1996 including his best of show performance in Romeo + Juliet, and his enjoyable if over the top portrayal of a monk who is a wannabe poet in Dragonheart. I actually have not seen all of the films, but Postlethwaite was one of the most consistent character actors of 90's and one of the best examples of his talent was in this film. Postlethwaite plays the conductor of the band who is the largest source of comedy for most of the film as his character Danny seems far more interested in the success of the band than the success of the mine. Although many of the men are pretty cynical of the whole thing that will not be found in Danny especially not in the way Postlethwaite plays the part.
Postlethwaite makes Danny a source of comedic gold through his completely no nonsense performance actually. In any of the band scenes Postlethwaite is absolutely hilarious because of just how dead serious he is as he conducts the band. This is not just some sort of mundane task or even an extra activity for fun this is the most important business of life in the way Postlethwaite performs the part. There is nothing but the utmost determination in his work that works in two ways. One he does make it genuine that Danny feels this way as the band is a matter of pride, but it is also very funny because he so believably shows a man who is so deadly serious about something that most don't really care too much about.
Postlethwaite's seriousness only continues to be effective though in some great moments earlier on the film where there are some double entendre moments in the dialogue. Really these moments could have fallen ridiculously flat in just the pitch of them but the reason they work so well is because of Postlethwaite. In one moment the jealous wives of other band members question the inclusion of the only young female player. Everything the women imply about her is in a most sexual fashion, but Postlethewaite makes it funny because every response by Danny is slightly bewildered yet completely firm on the fact that she simply is very talented. Really there probably would not be many laughs at all if it were not for Postlethewaite's stone faced delivery.
Of course the laughs rather abruptly stop in the film once the mine actually closes and old Danny even collapses from a mine related illness. This quickly leads Danny into a change of heart as he finally values people more than the band. This is a fast transition but handled well by Postlethwaite in a scene of reflection as the band plays just for him, then his important final speech after the band successfully won a national competition. The film itself really does hammer in its message like ten too many times since it does just keep saying the things over and over again instead maybe doing a little more with the characters.
The final time the film's message is given though, other than one more printed message, is in the speech by Danny. It's the best moment for it's message because Postlethwaite is the one delivering it. He just brings such a intense passion in his delivery that he gives the film a powerful bang at the end that has nothing to do with any brass instrument. This is a very good performance from Pete Postlethwaite as he brings such an abundance of humor to the first well about eighty percent of his performance, many actors may have not been able to bridge the transition. Postlethwaite, with the little time he has, manages to connect the two sides and give an emotionally poignant performance as well.
Wednesday, 12 March 2014
Alternate Best Supporting Actor 1996
And the Nominees Were Not:
Steve Buscemi in Fargo
Pete Postlethwaite in Brassed Off
Derek Jacobi in Hamlet
Robert Carlyle in Trainspotting
Gene Hackman in The Birdcage
Steve Buscemi in Fargo
Pete Postlethwaite in Brassed Off
Derek Jacobi in Hamlet
Robert Carlyle in Trainspotting
Gene Hackman in The Birdcage
Thursday, 8 July 2010
Best Supporting Actor 1993: Results
5. Tommy Lee Jones in The Fugitive- Jones does what he needs to as a Federal Marshall in charge of a manhunt and fulfills his role.
4. John Malkovich in In the Line of Fire- Malkovich finds an effective way to be creepy as Mitch Leary, but he also adds more than just creepiness to makes his performance interesting.
3. Leonardo Dicaprio in What's Eating Gilber Grape- Dicaprio gives a performance filled with tics and mannerisms but he never makes them seem forced or strange but instead they help create his memorable character.
2. Pete Postlethwaite in In the Name of the Father- Postlethwaite is always a powerful presence in the film, and he and Daniel Day-Lewis create some very strong scenes together.
1. Ralph Fiennes in Schindler's List- Fiennes gives an incredible performance as the Nazil Commandant. He is truly chilling, but he also makes Goth into a real person, even if that person is incredibly disturbed.
Deserving Performances:
Ben Kingsley in Schindler's List
3. Leonardo Dicaprio in What's Eating Gilber Grape- Dicaprio gives a performance filled with tics and mannerisms but he never makes them seem forced or strange but instead they help create his memorable character.
2. Pete Postlethwaite in In the Name of the Father- Postlethwaite is always a powerful presence in the film, and he and Daniel Day-Lewis create some very strong scenes together.
Deserving Performances:
Ben Kingsley in Schindler's List
Wednesday, 7 July 2010
Best Supporting Actor 1993: Pete Postlethwaite in In the Name of the Father
Pete Postlethwaite received his only Oscar nomination for portraying Giuseppe Conlon in In the Name of the Father.
Postlethwaite plays the father of a Jerry Conlon (Daniel Day-Lewis) an Irish man wrongly accused of bombing a British pub. Giuseppe also becomes falsely accused along with his son and they both go to jail together. In initial viewing of the film, I was really surprised how much time Giuseppe got in the film and how important he was to the overall film. I feel many times father roles are usually poorly written, poorly portrayed, negatively portrayed, or given very little importance. I was pleasantly surprised to see that in this film that this was not true.
Giuseppe is for once a fully written role and Postlethwaite fully realizes his character. Giuseppe is a very good man although not a perfect one, who is not fully confidant in his son but always wants to try and help him. Before the prison scenes Postlethwaite gives the right amount of heart to the role, and he clearly shows Giuseppe's concern for his son who is growing more and more distant from him. Postlethwaite is brilliant because it is never said from the character that he loves Gerry but Postlethwaite shows through his eyes and his face so perfectly well. A particularly strong scene is when on trial Gerry says he signed the confession because the police threatened to kill his father. Postlethwaite's reaction to this is perfectly tuned and it so brilliantly subtle.
The greatest scenes though do take place in the prison where Gerry and Giuseppe share a cell. I like how the film shows that the father and sons relationship slowly grows closer together during this period. Postlethwaite is perfect in showing Conlon's support for his son, but also strict in that he wants to keep Gerry on the right track. Giuseppe never becomes angry by their misjudgment but he becomes passionate in proving their innocence. Also he perfectly becomes the moral center always saying fighting between the British and Ira will lead to nowhere.
Postlethwaite never becomes one dimensional here, nor does he ever force the good nature of the character, it all is just natural do to his performance. The greatest scene of the performance is the last talk between Giuseppe and Gerry where both actors show the father and son bond in a way that rings true and is truly emotionally effective. His performance is the thing that stood out the most in the film, and when he leaves the film his presence is sorely missed. It is Postlethwaite performance that gives the true power to the film, and he makes the title all the more meaningful.
Postlethwaite plays the father of a Jerry Conlon (Daniel Day-Lewis) an Irish man wrongly accused of bombing a British pub. Giuseppe also becomes falsely accused along with his son and they both go to jail together. In initial viewing of the film, I was really surprised how much time Giuseppe got in the film and how important he was to the overall film. I feel many times father roles are usually poorly written, poorly portrayed, negatively portrayed, or given very little importance. I was pleasantly surprised to see that in this film that this was not true.
Giuseppe is for once a fully written role and Postlethwaite fully realizes his character. Giuseppe is a very good man although not a perfect one, who is not fully confidant in his son but always wants to try and help him. Before the prison scenes Postlethwaite gives the right amount of heart to the role, and he clearly shows Giuseppe's concern for his son who is growing more and more distant from him. Postlethwaite is brilliant because it is never said from the character that he loves Gerry but Postlethwaite shows through his eyes and his face so perfectly well. A particularly strong scene is when on trial Gerry says he signed the confession because the police threatened to kill his father. Postlethwaite's reaction to this is perfectly tuned and it so brilliantly subtle.
The greatest scenes though do take place in the prison where Gerry and Giuseppe share a cell. I like how the film shows that the father and sons relationship slowly grows closer together during this period. Postlethwaite is perfect in showing Conlon's support for his son, but also strict in that he wants to keep Gerry on the right track. Giuseppe never becomes angry by their misjudgment but he becomes passionate in proving their innocence. Also he perfectly becomes the moral center always saying fighting between the British and Ira will lead to nowhere.
Postlethwaite never becomes one dimensional here, nor does he ever force the good nature of the character, it all is just natural do to his performance. The greatest scene of the performance is the last talk between Giuseppe and Gerry where both actors show the father and son bond in a way that rings true and is truly emotionally effective. His performance is the thing that stood out the most in the film, and when he leaves the film his presence is sorely missed. It is Postlethwaite performance that gives the true power to the film, and he makes the title all the more meaningful.
Saturday, 3 July 2010
Best Supporting Actor 1993
And the Nominees were:
Ralph Fiennes in Schindler's List
John Malkovich in In the Line of Fire
Tommy Lee Jones in The Fugitive
Pete Postlethwaite in In the Name of the Father
Leonardo Dicaprio in What's Eating Gilbert Grape
Who do you Pick? Who do you Predict?
Ralph Fiennes in Schindler's List
John Malkovich in In the Line of Fire
Tommy Lee Jones in The Fugitive
Pete Postlethwaite in In the Name of the Father
Leonardo Dicaprio in What's Eating Gilbert Grape
Who do you Pick? Who do you Predict?
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