Robert Duvall did not receive an Oscar nomination, despite being nominated for several critical awards as well as Sag, for portraying Felix Bush in Get Low.
Get Low is an intriguing film about an old hermit who requests a funeral home to give him a funeral while he is still alive.
Robert Duvall unlike some of his contemporaries never has given up on giving his all in his performances. Duvall has kept showing passion in his portrayals throughout his career and it is a real shame the the academy failed to recognize him for his work here as he would have been the best of nominees had he been nominated. Duvall once again shows himself to be the great actor he is in his portrayal here as the hermit Felix Bush who lives in a lonely cabin in the woods advising all to keep away, until suddenly he comes to the nearby town to explain his wish to make some sort of peace through his strange idea to have his own funeral party without having to be dead.
Early on the film Bush is a scraggly sort with a long unkempt beard and the general appearance of the type of man you would expect from a hermit who lives in a cabin in the woods. Duvall instantly sinks his teeth into this character right away finding just the right way to play the part as Duvall usually does. He meets the demands of the hermit in an interesting and effective fashion. On one hand he does convey very much the hermit everyone wants to keep away from. He is cold in his own way, and he suggests a certain danger in the man. Duvall makes it entirely understandable why everyone would keep away from him as well as why so many would believe some of the stories that have been heard about him.
Duvall at the same time though shows that Bush probably is not all that they see either. Yes there is a coldness and a bluntness in his method of dealing with outsiders but there is not any cruelty in Duvall's eyes though either. When one of the towns people harasses Bush causing Bush to give him a quick beat down, Duvall very much shows it very much as just a quick reaction to dealing with behavior, and their is no real ill intent in him. Anything about him that is distance is not a distance formed of hate or anything even remotely close to as played by Duvall, it is something entirely different that Duvall perfectly alludes to early on. He keeps what keeps Bush away an undeniable mystery, but Duvall makes it clear that once you know Bush it is not due to him being a monster.
Like the funeral home director (Bill Murray) and one of his employees (Lucas Black) when we get to spend a little more time with Bush he makes all the more apparent that he is no monster. Duvall actually as we meet Bush more takes a rather gentle approach as Bush. He even has a nice bit of humor in his performance which he brings naturally in his portrayal of the old loner. Duvall knows how to bring this semi comedic elements well into the part by just blending it into his distinct personality with such flawless ease. This humor also is important to show that Bush is a complex man who is not only defined by his past, and Duvall establishes through this humor that there was once probably a very lively man that lived with the name Felix Bush.
It would have really easy for him to have been just a grumpy old man, or just a very sad one but Duvall gives a nice portrait of variety with the old man. One particularly great way Duvall handles the part is in the way that Felix asks about the stories about him. Even though the stories are never positive Duvall subtly suggests a bit of a curiosity in Felix as well as even a bit of a bemusement that he would be able to create such gossip with his life. Duvall honestly actually has a great deal of warmth in his performance more than one would expect from the old hermit. He does though always in a quiet manner that never compromises the nature of the man. There is a warmth but a shy retiring one almost like he tries to close it off a bit just like he tries to be closed off from the world.
There is an overarching sadness in Duvall's performance though that suggests why Felix closed himself off from the world. Although it is not always overwhelming Duvall never makes it the only part of Felix but he does make it an essential part. He establishes a pain there a sorrow that is very much deep in his bones. It is not that he is just sad but rather there is a true tragedy suggested by his eyes something that he cannot completely forgot about even when he is having a fine time. His scenes with Sissy Spacek, as Felix's old girlfriend as well as the sister of the woman who he has a picture of in his own, are all terrific. The two great actors together tell the past of the two both the fond memories but as well very much the shared memory of the sadness they share which haunts them both.
Duvall builds quite effectively to what exactly pains Felix so much to the scene where they finally do hold the funeral party where Felix finally offers his confession of what precisely haunts him. Duvall is absolutely brilliant in this scene as he recall the terrible memory and this scene can be put up there with the greatest moments in his illustrious career. It is a beautiful scene as Duvall has Felix vividly recall what happened to him in all of its heartbreaking deal and it is a wondrous moment as an overwhelming amount of emotion pours out from the man who refused to reveal his pain for so many years. Duvall is outstanding as he completely earns the moment and it truly feels like a man finally letting go of something that has kept so sheltered for so long.
It really shows the quality of this performance that Duvall does not just stop after the pivotal moment and he has one more terrific moment as we see Felix finally being a man of contentment. The pain is lost and it is in a way almost as powerful as the speech itself by portraying what his confession has finally given him. This is an another amazing performance by Robert Duvall create a fascinating character out of the hermit. The idea of the funeral is interesting all on its own, but Duvall is the one who makes it something so special by delivering with this great character. It is terrific just to watch Robert Duvall knock a role right out the park once again with that same ease and naturalism that he has brought to his characters throughout his long career.
Sunday, 14 April 2013
Saturday, 13 April 2013
Alternate Best Actor 2010: Andy Serkis in Sex & Drugs & Rock & Roll
Andy Serkis did not receive an Oscar nomination, despite being nominated for a Bafta, for portraying Ian Dury in Sex & Drugs & Rock & Roll.
Sex & Drugs & Rock & Roll plays more of a tribute to English rocker Ian Dury more than anything else particularly with its abrupt ending. Although it tries a little too hard to be stylish at times, I must say I certainly enjoyed much more than Ray and Walk The Line.
Andy Serkis is best known for his motion capture performance especially as Gollum in the Lord of the Rings, but he managed to get a Bafta nomination for this strictly live action portrayal. He actually was nominated for the year of 2009 before the film actually had a public release date anywhere. The Bafta voters must have loved his performance to be quite so enthusiastic about it, or maybe they wanted to make up for the fact that they did not nominate him for best supporting actor for the Two Towers in 2002 despite having nominated Eddie Murphy for his voice only portrayal in Shrek in 2001.
Serkis plays Ian Dury who was apparently a famous face in Britain although I must admit I never heard of him before watching this film. Serkis takes on the role in a fashion of really inhabiting the role from Dury's accent, to his polio induced limp, and of course a very certain style. Serkis is completely natural in his portrayal and everything he does to become Dury merely feels like he becomes Dury. Never does his performance feel like that and he makes all his mannerisms all part of his total characterization. Serkis despite tasking himself with taking on the role of this very particular man he never seems like he is just trying to play the part like say Jamie Foxx did in Ray.
I have to give Serkis the utmost credit in his characterization as even though I had no idea who Dury was well watching the film, but Serkis did remind me of someone I saw in a film at one time before. I thought and who came to my mind was the shop keeper in a rather brief scene in the film of Judge Dredd. Well it turns out that shopkeeper was in fact played by Ian Dury. I have to praise Serkis a great deal here as he managed to remind me of Ian Dury through his performance even when I did not even recognize the name. That takes some doing, and it quite a testament to the strength of Serkis's portrayal where he so seamlessly establishes Dury's physical traits.
This particular biopic is quite different that the usual one in that it does not follow the rise to success heavy drug period, than either a comeback or death afterwards. This one follows a different approach kind of jumping around to times of success times of failures, times of warmth and times of heartbreak. It does not exactly sit on a single one for great deal of time, and even when it is focusing on one aspect it might cut to another, or at least a musical performance well doing so. Serkis really has to juggle the different directions the film takes to be able to bring out the emotional power in each of them, and actually he does this all fairly well.
Serkis moves from moment to moment all well and whatever he does always seems fitting for Dury. In the performance scenes Serkis really throws himself into them and has the presence he should. The musical scenes all on their own are very entertaining to watch by the way Serkis delivers in each of these scenes and they never feel repetitive as he does something unique in each one of these scenes. Serkis though does show these to be performances and properly dials down Dury in his personal scenes. He actually stays fairly restrained as Dury in his personal life, and really there is not an arc exactly with his performance. Yes there are ups and downs but the film and Serkis really portray them in a more day to day fashion.
Serkis taking the day to day approach for Dury actually works and he makes him just a normal human being through the way he deals with his own past as well as his present issues. Serkis meets the demands of every situation. In the scenes with Dury's family Serkis is very effective showing a great deal of warmth at times that is quite moving, but as well showing a certain self absorption that creates troubles. Serkis plays it all very realistically and makes all of the complexities of his relationships believable. The same goes in the scenes where he is working with his band. Serkis makes the temper tantrums as well as the moments of genuine creativity all work as the methods of one man.
Serkis's best moments come when Dury's reflects on his past involving his father and his troubles due to contracting polio. Again Serkis mixes the emotions brilliantly as he conveys the pain and sorrow in Dury over these matter, but in equal effectiveness shows the perseverance and strength in the man from his experiences as well. Serkis matches every challenge involved in the film's manner of telling Ian Dury's story quite efficiently. He is able to find the rhythm necessary for the part in terms of both Dury's public and private personality. This is very strong work from Andy Serkis showing that he is a capable actor both when he has the aid of computer graphics as well as in this film where he must stand entirely on his own.
Sex & Drugs & Rock & Roll plays more of a tribute to English rocker Ian Dury more than anything else particularly with its abrupt ending. Although it tries a little too hard to be stylish at times, I must say I certainly enjoyed much more than Ray and Walk The Line.
Andy Serkis is best known for his motion capture performance especially as Gollum in the Lord of the Rings, but he managed to get a Bafta nomination for this strictly live action portrayal. He actually was nominated for the year of 2009 before the film actually had a public release date anywhere. The Bafta voters must have loved his performance to be quite so enthusiastic about it, or maybe they wanted to make up for the fact that they did not nominate him for best supporting actor for the Two Towers in 2002 despite having nominated Eddie Murphy for his voice only portrayal in Shrek in 2001.
Serkis plays Ian Dury who was apparently a famous face in Britain although I must admit I never heard of him before watching this film. Serkis takes on the role in a fashion of really inhabiting the role from Dury's accent, to his polio induced limp, and of course a very certain style. Serkis is completely natural in his portrayal and everything he does to become Dury merely feels like he becomes Dury. Never does his performance feel like that and he makes all his mannerisms all part of his total characterization. Serkis despite tasking himself with taking on the role of this very particular man he never seems like he is just trying to play the part like say Jamie Foxx did in Ray.
I have to give Serkis the utmost credit in his characterization as even though I had no idea who Dury was well watching the film, but Serkis did remind me of someone I saw in a film at one time before. I thought and who came to my mind was the shop keeper in a rather brief scene in the film of Judge Dredd. Well it turns out that shopkeeper was in fact played by Ian Dury. I have to praise Serkis a great deal here as he managed to remind me of Ian Dury through his performance even when I did not even recognize the name. That takes some doing, and it quite a testament to the strength of Serkis's portrayal where he so seamlessly establishes Dury's physical traits.
This particular biopic is quite different that the usual one in that it does not follow the rise to success heavy drug period, than either a comeback or death afterwards. This one follows a different approach kind of jumping around to times of success times of failures, times of warmth and times of heartbreak. It does not exactly sit on a single one for great deal of time, and even when it is focusing on one aspect it might cut to another, or at least a musical performance well doing so. Serkis really has to juggle the different directions the film takes to be able to bring out the emotional power in each of them, and actually he does this all fairly well.
Serkis moves from moment to moment all well and whatever he does always seems fitting for Dury. In the performance scenes Serkis really throws himself into them and has the presence he should. The musical scenes all on their own are very entertaining to watch by the way Serkis delivers in each of these scenes and they never feel repetitive as he does something unique in each one of these scenes. Serkis though does show these to be performances and properly dials down Dury in his personal scenes. He actually stays fairly restrained as Dury in his personal life, and really there is not an arc exactly with his performance. Yes there are ups and downs but the film and Serkis really portray them in a more day to day fashion.
Serkis taking the day to day approach for Dury actually works and he makes him just a normal human being through the way he deals with his own past as well as his present issues. Serkis meets the demands of every situation. In the scenes with Dury's family Serkis is very effective showing a great deal of warmth at times that is quite moving, but as well showing a certain self absorption that creates troubles. Serkis plays it all very realistically and makes all of the complexities of his relationships believable. The same goes in the scenes where he is working with his band. Serkis makes the temper tantrums as well as the moments of genuine creativity all work as the methods of one man.
Serkis's best moments come when Dury's reflects on his past involving his father and his troubles due to contracting polio. Again Serkis mixes the emotions brilliantly as he conveys the pain and sorrow in Dury over these matter, but in equal effectiveness shows the perseverance and strength in the man from his experiences as well. Serkis matches every challenge involved in the film's manner of telling Ian Dury's story quite efficiently. He is able to find the rhythm necessary for the part in terms of both Dury's public and private personality. This is very strong work from Andy Serkis showing that he is a capable actor both when he has the aid of computer graphics as well as in this film where he must stand entirely on his own.
Thursday, 11 April 2013
Alternate Best Actor 2010: George Clooney in The American
George Clooney did not receive an Oscar nomination for portraying Jack in The American.
The American is the epitome of a slow burn which tells the story of an over the hill assassin doing one more job. I personally thought it is quite compelling and reminded of The Day of the Jackal in a good way. I can see why it is divisive as it does take its time.
George Clooney is not one of my favorite actors as you may have been able to decipher from my reviews of all of his Oscar nominated performances. All of four of his performances I felt lacked conviction in terms of trying to portray an actual character, and besides Syriana he relied to much on just his own personality. Then with Syriana he relied to much on his weight gain and one single expression to convey the troubles of his character. Clooney seems like an actor who just can do no right for me, well that is not true, and I believe that his work here actually vindicates by own opinions regarding his other performances, especially since this sort of is almost the exact type of performance he should have given in Syriana.
Clooney plays here an assassin, and thankfully takes a decidedly non Clooney esque route for the character of Jack. From the first scene where Jack kills two potential assassins, and an innocent woman he was with, it is rather clear that this is a very different character for Clooney. Clooney also takes a very different approach here and manages to actually internalize the emotions within Jack, and realizes Jack as a character. Clooney never loses his character here and he always stays with Jack through the film never compromising once for his usual manner he takes with many of his performances. This time there is the conviction in his performance that brings Jack to life as a character, and makes him particularly compelling character at that.
Jack is in many ways much the Jackal so well played by Edward Fox in The Day of the Jackal. Clooney like Fox did in that other film about a meticulous assassination shows very much the attitude that the day to day hit man. Clooney like Fox did portrays the routine effectively, and properly shows the operatives history through the meticlous manner employed. It is quite nice to Clooney actually handle a role with so much subtlety, and for it to honestly pay off as it does here. Clooney is great in the manner that he brings in through his eyes that fierceness one would expect from a killer. He portrays Jack as a man always of the mind. He makes him a man who is always clearly thinking and calculating as the trained killer should.
There is a great difference between Jack and the Jackal though since the Jackal was a soulless man willing to kill anyone to complete the job, Jack actually has a soul. Clooney is very affecting in his portrayal of this man who frankly has just killed too many and seen to many double crosses in his time. In this vein he reminded me of Richard Burton as Alec Leamus in The Spy Who Came in From the Cold particularly by the subtle method in which he expresses the pain Jack is going through. This is probably the least that Clooney has ever spoken in a film, and he handles the often silent role so well. He is great in just the scenes of Jack listening particularly in the presence of a kindly priest. Clooney powerfully shows Jack's regrets simply in his expression as the priest talks about sin.
This is a strong performance from Clooney throughout but he especially succeeds in the part near the end as Jack sees things closing around him. One single stunning moment comes in his performance as he believes he once again has to murder someone who has become close to him. The moment is brilliantly played by Clooney as he makes despair mounts as Jack is forced to prepare for the kill. It is a beautiful moment so quietly played and realizes the troublesome condition of this man so effectively. At the end of the film as Jack rejects the mission this could easily be the time for Clooney to drop Jack's nature and go to his old tricks as an actor but he doesn't. He keeps going within this downplayed approach where we really can truly feel the struggle that Jack is facing.
The final moments of his performance are terrific, and Clooney could not play them better frankly. Jack's true feelings finally come out, but Clooney does not reject his portrayal of Jack for these moments. He stays with the character still and succeeds in bringing the poignancy at the end by subtly showing the intensity of Jack's emotions slowly builds as he sees his future slipping away. It is a very moving end to the film, and Clooney delivers. So there, here is a performance by George Clooney honestly gives a very strong portrayal of a character because he goes straight through the film with the character. He carries this film not through his usual method, but by dialing back his own manner and gets to the core of his character.
The American is the epitome of a slow burn which tells the story of an over the hill assassin doing one more job. I personally thought it is quite compelling and reminded of The Day of the Jackal in a good way. I can see why it is divisive as it does take its time.
George Clooney is not one of my favorite actors as you may have been able to decipher from my reviews of all of his Oscar nominated performances. All of four of his performances I felt lacked conviction in terms of trying to portray an actual character, and besides Syriana he relied to much on just his own personality. Then with Syriana he relied to much on his weight gain and one single expression to convey the troubles of his character. Clooney seems like an actor who just can do no right for me, well that is not true, and I believe that his work here actually vindicates by own opinions regarding his other performances, especially since this sort of is almost the exact type of performance he should have given in Syriana.
Clooney plays here an assassin, and thankfully takes a decidedly non Clooney esque route for the character of Jack. From the first scene where Jack kills two potential assassins, and an innocent woman he was with, it is rather clear that this is a very different character for Clooney. Clooney also takes a very different approach here and manages to actually internalize the emotions within Jack, and realizes Jack as a character. Clooney never loses his character here and he always stays with Jack through the film never compromising once for his usual manner he takes with many of his performances. This time there is the conviction in his performance that brings Jack to life as a character, and makes him particularly compelling character at that.
Jack is in many ways much the Jackal so well played by Edward Fox in The Day of the Jackal. Clooney like Fox did in that other film about a meticulous assassination shows very much the attitude that the day to day hit man. Clooney like Fox did portrays the routine effectively, and properly shows the operatives history through the meticlous manner employed. It is quite nice to Clooney actually handle a role with so much subtlety, and for it to honestly pay off as it does here. Clooney is great in the manner that he brings in through his eyes that fierceness one would expect from a killer. He portrays Jack as a man always of the mind. He makes him a man who is always clearly thinking and calculating as the trained killer should.
There is a great difference between Jack and the Jackal though since the Jackal was a soulless man willing to kill anyone to complete the job, Jack actually has a soul. Clooney is very affecting in his portrayal of this man who frankly has just killed too many and seen to many double crosses in his time. In this vein he reminded me of Richard Burton as Alec Leamus in The Spy Who Came in From the Cold particularly by the subtle method in which he expresses the pain Jack is going through. This is probably the least that Clooney has ever spoken in a film, and he handles the often silent role so well. He is great in just the scenes of Jack listening particularly in the presence of a kindly priest. Clooney powerfully shows Jack's regrets simply in his expression as the priest talks about sin.
This is a strong performance from Clooney throughout but he especially succeeds in the part near the end as Jack sees things closing around him. One single stunning moment comes in his performance as he believes he once again has to murder someone who has become close to him. The moment is brilliantly played by Clooney as he makes despair mounts as Jack is forced to prepare for the kill. It is a beautiful moment so quietly played and realizes the troublesome condition of this man so effectively. At the end of the film as Jack rejects the mission this could easily be the time for Clooney to drop Jack's nature and go to his old tricks as an actor but he doesn't. He keeps going within this downplayed approach where we really can truly feel the struggle that Jack is facing.
The final moments of his performance are terrific, and Clooney could not play them better frankly. Jack's true feelings finally come out, but Clooney does not reject his portrayal of Jack for these moments. He stays with the character still and succeeds in bringing the poignancy at the end by subtly showing the intensity of Jack's emotions slowly builds as he sees his future slipping away. It is a very moving end to the film, and Clooney delivers. So there, here is a performance by George Clooney honestly gives a very strong portrayal of a character because he goes straight through the film with the character. He carries this film not through his usual method, but by dialing back his own manner and gets to the core of his character.
Wednesday, 10 April 2013
Alternate Best Actor 2010: Choi Min-sik in I Saw The Devil
Choi Min-sik did not receive an Oscar nomination for portraying Kyung-chul in I Saw The Devil.
I Saw the Devil is an engrossing and stylish thriller, although definitely not one for the squeamish, about a secret agent who goes about seeking revenge against a serial killer who murdered his fiancee.
Choi Min-sik, who I last reviewed in his terrific no holds barred performance in Oldboy, plays the serial killer of the film and certainly has a somewhat different approach here. Choi has a terrific screen presence and he owns the film in the same way as he did in Oldboy. This time though he does not portray the loopy hero of Oldboy, instead he plays the extremely sinister murderer here. Choi is horrifying here in his two early scenes where he murders two women. Choi's manner of portraying the killer is particularly frightening because of how much he downplays these scenes, especially the second scene where Kyung-chul actually sort messes up his way as he struggles to find his murder weapon in the back seat of his car while his soon to be victim looks on.
Choi is especially disturbing because he doesn't show the murders as anything special to Kyung-shul they are just kind of a day to day thing for him from the casual manner he approaches them. Choi has Kyung-shul go about it in a slow not all rushed way he smokes he takes his time, and he never seems to rush. Choi by taking this approach is especially chilling because it is clear that he has done this before, many times in fact, and to certain degree it has become basically a routine for him. There is a soullessness in Choi's performance that is quite unnerving. The only time he seems all that active is when he goes in his attack where the inner monster comes out and the full brutality of Kyung-shul is seen, and that all he is quite obviously a maniac.
Choi makes Kyung-shul especially off putting because of how nonchalant he is in portraying the killing. This is actually trickier than it sounds as it could be played wrong and it would seem just like a disinterested actor, Choi handles it brutally well in really allowing us to see that there is a history of this killer and it is a very long one indeed. What compels him to commit such atrocities is never exactly stated in the film, but Choi alludes to it well in his portrayal. Firstly through just that complete lack of empathy in his performance, there is such a harrowing quality Choi brings to the role that paints Kyung-shul as a truly hollow man. Choi as well suggest that in Kyung-shul there is a hatred in him toward women that Choi does not shy away from showing it to be as despicable as it is.
The tables are turned on Kyung-shul though when the secret agent Kim Soo-hyeon (Lee Byung-hun) tracks him down. The twist is though when the agent finds him he doesn't kill the serial killer instead to act revenge he purposefully lets him live to keep torturing him. As Choi so brilliantly changed in Oldboy whenever his character had to massively change very quickly, he is just as efficient here although the change this time is far from permanent. Choi changes a bit showing Kyung-shul's confusion at the situation more than anything, but also a bit of a revelation as he almost seems firmer in his resolve to do whatever he feels likes, and again Choi is scary as hell when he intimidates a doctor and nurse shortly after having been treated by them. Kyung-shul's joy is short lived though as the agent makes it clear the first beat down Kyung-shul was only the beginning.
Choi Min-sik is terrific as Kyung-shul stops being the hunter and instead is instead the hunted. Choi is very effectively as he shows that Kyung-shul quickly loses his confidence of before and increasingly becomes a man filled with desperation. Choi is able to bring the fears alive in him, and interestingly as he starts to show him as the mouse begins to at least to allude to some humanity although only in its most basic form. Kyung-shul becomes a frightened man himself, and Choi brings this fear alive brilliantly by making it a counterpoint to the earlier behavior of the killer. When the killer had the power there was nothing but the hollow inhuman shell, but as soon as he faces being the victim Choi believably changes him into a cowering with honest human emotion.
After learning of how the agent is keeping tabs on him Choi again transforms Kyung-shul once again. Kyung-shul gains his confidence back again, but he keeps his humanity, though not in a good way. Choi portrays Kyung-shul at his fiercest as he determines to specifically target the agent for revenge. Choi now turns him into a very imposing villain and makes it clear that Kyung-shul is not a man you want to give a task to. Miin-sik is marvelous just to watch as he shows Kyung-shul become a man entirely in his element and is truly disturbing as portrays the extent he will go to seek his revenge. Kyung-shul's final murder is very personal suddenly and Choi shows the difference in the intense manner he portrays both Kyung-shul's anger and glee in his new situation.
This brings Kyung-shul to the final scene when he and the agent finally face off man to man by this point both having a great deal of blood on their hands. Although Lee Byung-hun is fine as the agent the scene absolutely belongs to Choi the entire time as he gives the full portrait of a man who is coping with the fact that he going to be killed very soon. It is all in one scene but Choi runs through the emotions powerfully without a moment of disconnect between the phases for Kyung-shul. He shows a whimpering man pleading for his life as he sees it closing around him. Choi brings this to him becoming defiant and very chilling as Kyung-shul basically tells the agent that all of his efforts have been a waste, and Choi succeeds in bringing the central theme about the hollow nature of revenge to life. At last though he is left as a man holding on to life literally by his teeth, and he loses that last ounce of defiance he had left.
The very last scene is an amazing scene even though you get none of the gratification one would expect when the villain of a film gets his comeuppance. Choi holds nothing back and brings the unflinching horror of the moment through his performance. It is one last moment for Kyung-shul as Choi shows him reduced to be the opposite of what he was at the beginning. Where he was at first a soulless killer Choi leaves him as just a ball of emotions of sadness and pain as he struggles not only not to die, but as well to spare his family from seeing what the end of his monstrous actions has brought. It is an unforgettable scene, and it works because Choi absolutely earns the moment through his portrayal of Kyung-shul's transformation throughout the film. This is a tremendous performance by Choi Choi as he is a terrifying, imposing, and disturbing villain, while never once failing to meet the needs of the extreme emotional changes of his character.
I Saw the Devil is an engrossing and stylish thriller, although definitely not one for the squeamish, about a secret agent who goes about seeking revenge against a serial killer who murdered his fiancee.
Choi Min-sik, who I last reviewed in his terrific no holds barred performance in Oldboy, plays the serial killer of the film and certainly has a somewhat different approach here. Choi has a terrific screen presence and he owns the film in the same way as he did in Oldboy. This time though he does not portray the loopy hero of Oldboy, instead he plays the extremely sinister murderer here. Choi is horrifying here in his two early scenes where he murders two women. Choi's manner of portraying the killer is particularly frightening because of how much he downplays these scenes, especially the second scene where Kyung-chul actually sort messes up his way as he struggles to find his murder weapon in the back seat of his car while his soon to be victim looks on.
Choi is especially disturbing because he doesn't show the murders as anything special to Kyung-shul they are just kind of a day to day thing for him from the casual manner he approaches them. Choi has Kyung-shul go about it in a slow not all rushed way he smokes he takes his time, and he never seems to rush. Choi by taking this approach is especially chilling because it is clear that he has done this before, many times in fact, and to certain degree it has become basically a routine for him. There is a soullessness in Choi's performance that is quite unnerving. The only time he seems all that active is when he goes in his attack where the inner monster comes out and the full brutality of Kyung-shul is seen, and that all he is quite obviously a maniac.
Choi makes Kyung-shul especially off putting because of how nonchalant he is in portraying the killing. This is actually trickier than it sounds as it could be played wrong and it would seem just like a disinterested actor, Choi handles it brutally well in really allowing us to see that there is a history of this killer and it is a very long one indeed. What compels him to commit such atrocities is never exactly stated in the film, but Choi alludes to it well in his portrayal. Firstly through just that complete lack of empathy in his performance, there is such a harrowing quality Choi brings to the role that paints Kyung-shul as a truly hollow man. Choi as well suggest that in Kyung-shul there is a hatred in him toward women that Choi does not shy away from showing it to be as despicable as it is.
The tables are turned on Kyung-shul though when the secret agent Kim Soo-hyeon (Lee Byung-hun) tracks him down. The twist is though when the agent finds him he doesn't kill the serial killer instead to act revenge he purposefully lets him live to keep torturing him. As Choi so brilliantly changed in Oldboy whenever his character had to massively change very quickly, he is just as efficient here although the change this time is far from permanent. Choi changes a bit showing Kyung-shul's confusion at the situation more than anything, but also a bit of a revelation as he almost seems firmer in his resolve to do whatever he feels likes, and again Choi is scary as hell when he intimidates a doctor and nurse shortly after having been treated by them. Kyung-shul's joy is short lived though as the agent makes it clear the first beat down Kyung-shul was only the beginning.
Choi Min-sik is terrific as Kyung-shul stops being the hunter and instead is instead the hunted. Choi is very effectively as he shows that Kyung-shul quickly loses his confidence of before and increasingly becomes a man filled with desperation. Choi is able to bring the fears alive in him, and interestingly as he starts to show him as the mouse begins to at least to allude to some humanity although only in its most basic form. Kyung-shul becomes a frightened man himself, and Choi brings this fear alive brilliantly by making it a counterpoint to the earlier behavior of the killer. When the killer had the power there was nothing but the hollow inhuman shell, but as soon as he faces being the victim Choi believably changes him into a cowering with honest human emotion.
After learning of how the agent is keeping tabs on him Choi again transforms Kyung-shul once again. Kyung-shul gains his confidence back again, but he keeps his humanity, though not in a good way. Choi portrays Kyung-shul at his fiercest as he determines to specifically target the agent for revenge. Choi now turns him into a very imposing villain and makes it clear that Kyung-shul is not a man you want to give a task to. Miin-sik is marvelous just to watch as he shows Kyung-shul become a man entirely in his element and is truly disturbing as portrays the extent he will go to seek his revenge. Kyung-shul's final murder is very personal suddenly and Choi shows the difference in the intense manner he portrays both Kyung-shul's anger and glee in his new situation.
This brings Kyung-shul to the final scene when he and the agent finally face off man to man by this point both having a great deal of blood on their hands. Although Lee Byung-hun is fine as the agent the scene absolutely belongs to Choi the entire time as he gives the full portrait of a man who is coping with the fact that he going to be killed very soon. It is all in one scene but Choi runs through the emotions powerfully without a moment of disconnect between the phases for Kyung-shul. He shows a whimpering man pleading for his life as he sees it closing around him. Choi brings this to him becoming defiant and very chilling as Kyung-shul basically tells the agent that all of his efforts have been a waste, and Choi succeeds in bringing the central theme about the hollow nature of revenge to life. At last though he is left as a man holding on to life literally by his teeth, and he loses that last ounce of defiance he had left.
The very last scene is an amazing scene even though you get none of the gratification one would expect when the villain of a film gets his comeuppance. Choi holds nothing back and brings the unflinching horror of the moment through his performance. It is one last moment for Kyung-shul as Choi shows him reduced to be the opposite of what he was at the beginning. Where he was at first a soulless killer Choi leaves him as just a ball of emotions of sadness and pain as he struggles not only not to die, but as well to spare his family from seeing what the end of his monstrous actions has brought. It is an unforgettable scene, and it works because Choi absolutely earns the moment through his portrayal of Kyung-shul's transformation throughout the film. This is a tremendous performance by Choi Choi as he is a terrifying, imposing, and disturbing villain, while never once failing to meet the needs of the extreme emotional changes of his character.
Tuesday, 9 April 2013
Alternate Best Actor 2010
Choi Min-sik in I Saw The Devil
Robert Duvall in Get Low
Ryan Gosling in Blue Valentine
George Clooney in The American
Andy Serkis in Sex & Drugs & Rock & Roll
Alternate Best Supporting Actor 1991: Results
5. Samuel L. Jackson in Jungle Fever- Jackson gives a very good performance playing his crack addict quite effectively, and is easily the best part of his film.
Best Scene: Gator tries to get money from his mother one time too many.
4. Laurence Fishburne in Boyz N The Hood- Fishburne gives a strong performance portraying both the kind wisdom and the strength of his character's authority in equal measure.
Best Scene: Furious gives his son words to live by.
3. Ted Levine in The Silence of the Lambs- Levine goes for playing Buffalo Bill as just downright disturbing and succeeds at being so.
Best Scene: You know the line.
2. Gary Oldman in JFK- Oldman gives a compelling performance as Lee Harvey Oswald that accomplishes making him into a fascinating character despite only appearing in brief and often silent flashbacks.
Best Scene: The flashbacks of Oswald on the day of the assassination.
1. John Goodman in Barton Fink- My pick of the five and win overall goes to John Goodman for his portrayal here. Goodman is absolutely brilliant in his portrayal that is charming, humorous, heartbreaking and chilling all as the same character.
Best Scene: The Life of the Mind.
Overall Rank:.
Best Scene: Gator tries to get money from his mother one time too many.
4. Laurence Fishburne in Boyz N The Hood- Fishburne gives a strong performance portraying both the kind wisdom and the strength of his character's authority in equal measure.
Best Scene: Furious gives his son words to live by.
3. Ted Levine in The Silence of the Lambs- Levine goes for playing Buffalo Bill as just downright disturbing and succeeds at being so.
Best Scene: You know the line.
Best Scene: The flashbacks of Oswald on the day of the assassination.
1. John Goodman in Barton Fink- My pick of the five and win overall goes to John Goodman for his portrayal here. Goodman is absolutely brilliant in his portrayal that is charming, humorous, heartbreaking and chilling all as the same character.
Best Scene: The Life of the Mind.
Overall Rank:.
- John Goodman in Barton Fink
- Anthony Hopkins in The Silence of the Lambs
- Gary Oldman in JFK
- Joe Pesci in JFK
- Donald Sutherland in JFK
- Alan Rickman in Robin Hood: Prince of Thieves
- Ted Levine in The Silence of the Lambs
- Robert Patrick in Terminator 2: Judgement Day
- Alan Rickman in Truly, Madly, Deeply
- Michael Lerner in Barton Fink
- Laurence Fishburne in Boyz N The Hood
- Samuel L. Jackson in Jungle Fever
- Michael Rooker in JFK
- Ice Cube in Boyz N The Hood
- Charles Bronson in The Indian Runner
- Kevin Bacon in JFK
- Tony Shalhoub in Barton Fink
- Richard Dreyfuss in Rosencrantz and Guildenstern Are Dead
- Rip Torn in Defending Your Life
- Chang Kuo-chu in A Brighter Summer Day
- Timothy Spall in Life Is Sweet
- Klaus Maria Brandauer in White Fang
- John Candy in JFK
- Alan Rickman in Close My Eyes
- Russell Crowe in Proof
- Jim Broadbent in Life is Sweet
- Patrick Swayze in Point Break
- John Mahoney in Barton Fink
- Timothy Dalton in The Rocketeer
- Jack Lemmon in JFK
- William Sadler in Bill and Ted's Bogus Journey
- Roy Scheider in Naked Lunch
- Jay O Sanders in JFK
- Ned Beatty in Hear My Song
- Isaach de Bankole in Night on Earth
- Omar Sharif in Mayrig
- Harvey Keitel in Thelma and Louise
- Tommy Lee Jones in JFK
- Dhritiman Chatterjee in The Stranger
- Donald Sutherland in Backdraft
- Jon Polito in Barton Fink
- Derek Jacobi in Dead Again
- Danny Glover in Grand Canyon
- Johnny Murphy in The Commitments
- Tom Courtenay in Let Him Have It
- Jean-Claude Dreyfus in Delicatessen
- Dustin Hoffman in Hook
- Stephen Rea in Life is Sweet
- Klaus Michael Gruber in The Lovers on the Bridge
- William Richert in My Own Private Idaho
- John Turturro in Jungle Fever
- Robin William in Dead Again
- Andrew Strong in The Commitments
- Mark Rylance in Prospero's Books
- Ian Holm in Naked Lunch
- Cuba Gooding Jr in Boyz N The Hood
- Bob Hoskins in Hook
- Scott Glenn in The Silence of the Lambs
- Robert De Niro in Backdraft
- Giancarlo Esposito in Night on Earth
- Wong Chi-za in A Brighter Summer Day
- Rabi Ghosh in The Stranger
- Joe Mantegna in Bugsy
- Lloyd Bridges in Hot Shots!
- Joe Morton in Terminator 2: Judgment Day
- Max Perlich in Rush
- William Hootkins in Hear My Song
- Armin Mueller-Stahl in Night on Earth
- Gary Busey in Point Break
- Dan Hedaya in The Addams Family
- Dante Basco in Hook
- Roberto Benigni in Night on Earth
- Robert Downey Jr. in Soapdish
- Richard Berry in Mayrig
- Max von Sydow in Europa
- Stephen Lang in The Hard Way
- Sam Waterston in The Man in the Moon
- Sam Elliott in Rush
- Wayne Knight in JFK
- Max von Sydow in The Ox
- Paul Sorvino in The Rocketeer
- Bruno Kirby in City Slickers
- Nathan Lane in Frankie And Johnny
- Robert Mitchum in Cape Fear
- Stan Shaw in Fried Green Tomatoes
- Kurt Russell in Backdraft
- Tom Waits in The Fisher King
- Seymour Cassel in White Fang
- Jean-Francois Balmer in Madame Bovary
- Ving Rhames in Homicide
- Edward Asner in JFK
- Alan Arkin in The Rocketeer
- Jerome Flynn in Edward II
- Wayne Knight in Dead Again
- Colm Meaney in The Commitments
- Richard Gere in Rhapsody In August
- Anthony Heald in The Silence of the Lambs
- William Sadler in Rush
- George Segal in For the Boys
- Adam Arkin in The Doctor
- Scott Glenn in Backdraft
- William H. Macy in Homicide
- John Lynch in Edward II
- Udo Kier in Europa
- Kyle MacLachlan in The Doors
- Cary Elwes in Hot Shots!
- Ossie Davis in Jungle Fever
- Ernst-Hugo Jaregard in Europa
- Ian Holm in Kafka
- Joe Don Baker in Cape Fear
- Michael Jeter in The Fisher King
- Elliot Gould in Bugsy
- Michael Madsen in Thelma and Louise
- Rick Moranis in L.A. Story
- Walter Matthau in JFK
- Morris Chestnut in Boyz N The Hood
- Brian Doyle Murray in JFK
- Noble Willingham in The Last Boy Scout
- Ian Glen in Rosencrantz and Guildenstern Are Dead
- Fred Melamed in Shadows and Fog
- Władysław Kowalski in The Double Life of Veronique
- Jack Palance in City Slickers
- Brad Pitt in Thelma and Louise
- Ben Kingsley in Bugsy
- Charlie Korsmo in Hook
- Martin Short in Father of the Bride
- Mario Van Peebles in New Jack City
- Daniel Stern in City Slickers
- Delroy Lindo in The Hard Way
- Christophe Malavoy in Madame Bovary
- John Cusack in Shadows and Fog
- Jeffrey Tambor in Life Stinks
- Richard E. Grant in L.A. Story
- Taylor Negron in The Last Boy Scout
- James Remar in White Fang
- Judd Nelson in New Jack City
- Jessie Ferguson in Boyz N The Hood
- Christopher McDonald in Thelma And Louise
- Chris Rock in New Jack City
- Morgan Freeman in Robin Hood: Prince of Thieves
- Anthony Quinn in Jungle Fever
- Sean Connery in Highlander II
- Michael Ironside in Highlander II
- John Malkovich in Shadows and Fog
- Diego Abatantuono in Mediterraneo
- Claudio Bisio in Mediterraneo
- Giuseppe Cederna in Mediterraneo
- Claudio Bigagli in Mediterraneo
- Spike Lee in Jungle Fever
- John Candy in Nothing But Trouble
- Dan Aykroyd in Nothing But Trouble
- John C. McGinley in Point Break
- Gailard Sartain in Fried Green Tomatoes
- Christian Slater in Robin Hood: Prince of Thieves
- John C. McGinley in Highlander II
- Jeroen Krabbe in The Prince of Tides
- Jason Gould in The Prince of Tides
Alternate Best Supporting Actor 1991: Ted Levine in The Silence of the Lambs
Ted Levine did not receive an Oscar nomination for portraying Buffalo Bill in The Silence of the Lambs.
The Silence of the Lambs features two serial killers the iconic Hannibal Lecter and the other being Buffalo Bill. Where Anthony Hopkins portrayed Lecter as an evil vicious killer but an intelligent one. Ted Levine portrays Buffalo Bill as a far more straight forward, as straight forward as a serial killer can be anyway, killer. Levine method of portraying Bill is pretty much being as downright creepy as possible in his portrayal. Bill does not have an artistic bent like Lecter, well actually he does but it is a very disturbing one, and he is just a very gritty killer that is just an unpleasant sight to behold. He does not have any lines like Quid Pro Quo, he only has the sick things he does.
Levine does his part, and actually his performance is the perfect counter point to Anthony Hopkins more refined work. Where Lecter is always at that certain level where the killer and the intellectual are apparent at the same time Levine shows the different sides as we do see a few brief glimpses of Bill pretending to be a normal man. Levine is quite good in these moments showing Bill as being able to hold in his true self appearing as a strange older man, but there is not necessarily any reason to suspect that he is a horribly deranged man either. Levine allows for Bill to at least exist as a man who would not be immediately suspected, and could reasonably be a just a quirky loner.
The rest of the time we see Bill as himself in his dungeon like basement where he torments his latest victim. Levine goes about being as creepy as possible as Buffalo Bill and is extremely effective at doing so because he is worst of all believable in the role. Everything he does is quite odd and only contributes in presenting the mind in Bill. His most chilling scene being when he tells his current victim to put the lotion on his skin. The way Levine changes the tone of his voice, as well as the way he almost seems to be tearing up all adds to the derangement that is Bill. Levine doesn't shy away by just how sick in the mind Bill truly is leaving him a brutally effective villain.
Levine fulfills his role of Buffalo Bill particularly well, by taking the blunt approach he has with he part. It actually could have been quite problematic for the film if Bill seemed to be a copy of Lecter or in some way was trying to one up him. Levine completely different approach than Hopkins makes it so both killers can exist in the film without there being any sort of repetition involved. Hopkins takes his flowery approach to Lecter and Levine effectively counters this through his approach which is just a downright dirty depiction. Levine by taking his method that is completely different than Hopkins properly stands on his own and delivers his own strong characterization even if the end result is not as iconic as Hopkins's.
The Silence of the Lambs features two serial killers the iconic Hannibal Lecter and the other being Buffalo Bill. Where Anthony Hopkins portrayed Lecter as an evil vicious killer but an intelligent one. Ted Levine portrays Buffalo Bill as a far more straight forward, as straight forward as a serial killer can be anyway, killer. Levine method of portraying Bill is pretty much being as downright creepy as possible in his portrayal. Bill does not have an artistic bent like Lecter, well actually he does but it is a very disturbing one, and he is just a very gritty killer that is just an unpleasant sight to behold. He does not have any lines like Quid Pro Quo, he only has the sick things he does.
Levine does his part, and actually his performance is the perfect counter point to Anthony Hopkins more refined work. Where Lecter is always at that certain level where the killer and the intellectual are apparent at the same time Levine shows the different sides as we do see a few brief glimpses of Bill pretending to be a normal man. Levine is quite good in these moments showing Bill as being able to hold in his true self appearing as a strange older man, but there is not necessarily any reason to suspect that he is a horribly deranged man either. Levine allows for Bill to at least exist as a man who would not be immediately suspected, and could reasonably be a just a quirky loner.
The rest of the time we see Bill as himself in his dungeon like basement where he torments his latest victim. Levine goes about being as creepy as possible as Buffalo Bill and is extremely effective at doing so because he is worst of all believable in the role. Everything he does is quite odd and only contributes in presenting the mind in Bill. His most chilling scene being when he tells his current victim to put the lotion on his skin. The way Levine changes the tone of his voice, as well as the way he almost seems to be tearing up all adds to the derangement that is Bill. Levine doesn't shy away by just how sick in the mind Bill truly is leaving him a brutally effective villain.
Levine fulfills his role of Buffalo Bill particularly well, by taking the blunt approach he has with he part. It actually could have been quite problematic for the film if Bill seemed to be a copy of Lecter or in some way was trying to one up him. Levine completely different approach than Hopkins makes it so both killers can exist in the film without there being any sort of repetition involved. Hopkins takes his flowery approach to Lecter and Levine effectively counters this through his approach which is just a downright dirty depiction. Levine by taking his method that is completely different than Hopkins properly stands on his own and delivers his own strong characterization even if the end result is not as iconic as Hopkins's.
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