Although named Danton the film is as interested in the role of the defacto leader of the French Revolution Maximilien Robespierre as it is the titular character, and though I did not time it, Wojciech Pszoniak may have more screentime than Depardieu. A great deal of the success of the film is creating this separation and detailing each man within essentially the downfall of the revolution. A clear separation of this is created as the cast of Robespierre supporters are all played by Polish actors while Danton and his supporters are all French actors. The only unfortunate thing about this is that in turn we get the Polish actors dubbed over, and although the dubbing is done quite well, I would rather hear their verbal performances even if we had dueling languages going on. This includes Pszoniak, therefore I can only base my opinion of his work on his physical performance, though judging by that, if I were to be able to hear the original audio, I doubt I'd be disappointed on that front. This as Pszoniak begins the film leaving an impression without even needing to say a word. His whole manner, the way he carries his expression, is this of this assumed greatness and intelligence in a way. This accentuation of reason seems evident from within him as his eyes carry an incisiveness alone, even as he gets prepared for the day, with all the pomp and circumstance of a "great thinker" and even greater "thinker". This though as in his interactions with others is not of camaraderie, but rather an omnipotent sort of distance. This as Pszoniak establishes Robespierre as potentially this powerful leader, but of a man who controls very much from above.
We then though see already though nuance within as the proceedings begin, with Pszoniak portraying Robespierre maneuvering how to deal with Danton's opposition to his committees that is being used to abuse power, against Danton attempting to have the powers removed from those committees. We then see the two men of the leaders of their factions and in this again we see two leadership styles. Both Depardieu and Pszoniak are fantastic in realizing each man attempt to wield their unique position. In Robespierre, who actually attempts to temper the rest of his men who want immediate death for Danton and his followers, Pszoniak excels in wearing the weight of the situation within his performance. In every word spoken Pszoniak's eyes say so much in reaction, where he grants the sense of a subdued regret over the situation. This as he does defend the man, and Pszoniak portrays well the sense of difficulty in approaching this issue. He shows within it this balance between a man who is very much considering the extreme action the others are speaking of, but shows that this is taken with a subtle anxiety that he wears within him. This is against Depardieu who again emphasizes a lighter touch as we see him speaking to his other men, as their newspaper is shut down, and it seems the powers that be are scheming against them. Depardieu manages to speak with authority, while also doing so with an ease of almost a friendship as he more than anything calms his men from too rash of action. This culminating in the first act of the film in the single, but essential meeting between Robespierre and Danton.
This being a particularly wonderful scene for both actors, as again we see each set the distinction. This with Pszoniak still emphasizing a power, but the power of the man just sitting with an adamant stare. This against Depardieu being terrific as the negotiator essentially, speaking a mile a minute with both a casual regard for the other man, but a slight dismissiveness within his negativity. Depardieu portraying Danton attempting to create his case by taking Robespierre down to earth a bit, and brings this to life through the down to earth way he speaks every word of his position. This starkly against Pszoniak who presents the man carefully analyzing every word spoken by Danton, even taking a moment to fix his powered wig after Danton tussled it, ironically with as much regal grace as one could muster in that situation. We see in the scene the fissure of the two effectively, though I do love that neither presents a direct animosity. In that while we don't see the men as likely fast friends in the past, they do grant the sense that the two once managed to successfully work together in their common cause. That being long gone though represented in the differences of the men, brilliantly accentuated by the performances, that leaves Robespierre determined to agree to his factions wish for Danton's arrest, and Danton to left to be arrested. Depardieu has two separate, but fantastic scenes briefly before Danton's arrest. The first being as he gives assurance to one of the men of their faction that they will be arrested, however does so with a cheery optimism as though there is hope in this. This however is against as we see Danton silently await his arrest, Depardieu's performance is outstanding as we see so much in his expression as he realizes the real sense of his own anxiety of his upcoming fate, as well as the sense of a burden of the responsibility of his position.
I love the scenes that come then when we see each men brandish their power in public forums, and we see two very different forms of it. The first is as Robespierre successfully denounces Danton despite opposition. Pszoniak is amazing in this scene, and I really wish I could hear his actual voice. This as nonetheless he wields such a profound command in this scene. This as Pszoniak portrays it almost as man conducting the crowd, this with sheer magnetism of a overlord of the people. This in his movements of this specific controlled passion, and almost as that of the most articulate puppet master. This again as this ruler from above wielding his power certainly with ease, but almost like a hypnotist commanding his audience to do his bidding. This is opposed to Danton, where Depardieu is equally amazing in portraying him less the refined composer manipulating his orchestra, and instead more akin to a proper face pro-wrestler building up the crowd. We see this in the intended show trial for Danton and his faction, which Danton purposefully tries to use to stop the path of the revolutionary government he sees on. We see this as Danton enters the room, and Depardieu carries himself as the most crowd loving celebrity you could imagine. This with his eyes glowing with affection, even trying to touch the hands of every adoring fan around him. Depardieu beams with a man who is a true lover of the people, and this only continues as the trial begins. This with Depardieu controlling the moment brilliantly as he shows Danton eagerly speaking to the crowd assembled, rather than his show trial jury. This delivering an aggressive yet endearing passion of a man trying to speak to his people, and attempt to derail the show trial by putting a true show within it. Robespierre on the other hand fittingly handles the trial from a distance, just trying to work his way to have it so Danton's verbal defense cannot be heard by the public.
There is a scene I love in particular where Pszoniak is hearing of how the trial is going while having a portrait of himself done. A portrait far more representing that of royal decree than revolutionary hero. Pszoniak's manner in the scene is fantastic, as though again he still carries that regal air, it is undercut in the frustration that swells when hearing the news, but what I love most a little moment where he kind of looks at himself with the costuming for the portrait. Pszoniak delivers a marvelous silent moment as you can garner the sense of Robespierre for seeing the foolishness of the man basically becoming what he supposedly overthrew. The manipulation though does leave Danton and his men sentenced to death. Depardieu is heartbreaking in his delivering of a cracked voice Danton, just still trying desperately within his literal last breaths to speak his truth. I love the moments within prison, where Depardieu finds such a poignancy in presenting the man reflecting in depression. A depression not for his upcoming demise but rather the country he fought for. He speaks his words somberly though with not self-pity, but rather a sorrow for others reflecting a selfless spirit for his cause while granting understanding to his choice for martyrdom. This is opposed to Pszoniak's final scene that is also outstanding, as his eyes piercing now, not with power, but an overflowing anxiety. That anxiety that he had seeded in his performance earlier, not to the forefront of a man in the grip of a madness by living into some bastardization of his dream. These are two great performances. This as both actors create portrait of complex leaders, each with their personal styles, and their own unique foundation of passion that each lead to a disparate, though in the end, mutual fate.
