Jude Law did not receive an Oscar nomination for portraying Jerome Eugene Morrow in Gattaca.
Gattaca is an interesting and mostly effective sci-fi thriller, although I think it does try too hard to pull all the story lines together at the end, about a man who is deemed genetically inferior who assumes the identity of a genetically superior man in order to achieve his dream of space travel.
Ethan Hawke plays the man, Vincent, who usurps a genetically "perfect" man's position who is played by Jude Law. Hawke and Law seem to make sense for this type of arrangement. Not only because they do bear some physical similarities but also rather strangely, I feel, both are, in the general public sense, somewhat undervalued as actors. Jude Law is an interesting actor to me in that despite being a leading man, and I do like him just fine as a leading man, his best performances come from more character actor type roles like in A.I., The Talented Mr. Ripley, and Road to Perdition. This is once again a supporting role for Jude Law as he plays the genetically "pure" man who allows his identity to be taken since he has suffered an injury which leaves him crippled from the waist down. Jerome gives his name to Vincent as well as various samples needed for various tests in exchange simply for the cash to allow him to live a similar lifestyle to the one that he had been accustom to before his accident.
Law effectively makes a fierce impact the moment we see him in onscreen. Law's creates a palatable sense of bitterness in his performance as Jerome is forced to give up his own "perfect" status for another. Law does not simply leave this as the only reason for Jerome's overall state as Jerome explain that even in his seemingly perfect state of health he was unable to be the best at his own chosen goal. Law does not simply suggest the emotions as something simple but brings the complexity they deserve. Law has a cynicism in his manner fitting for a man who seems to have been betrayed by fate as well as the whole promise of his existence. Along with that though Law as well conveys the depression of Jerome, as he seems to be pained by the simple fact that he is living a life that is anything but perfection. Law gives the state of the man and brilliantly gives us the past life of the man without ever having to show a single scene of Jerome before his accident.
Once they begin their ruse Law and Hawke share many scenes together discussing the various success and problems that arise from their arrangement. Law almost supersedes Hawke in portraying the main character arc of the film because Hawke perhaps plays the role with a little too much confidence from the beginning. He plays his character as almost completely ready from the beginning and there is not all that much change. Law on the other hand is extremely effective in showing how the real Jerome is changed by the exploits of the fake Jerome. Law makes Jerome extremely easy to invest into despite the fact that Jerome simply is becoming invested into the exploits of fake Jerome. Law is convincing in creating this odd form of empathy as Law in a way becomes the one who shows a growing intensity due to the growing intensity of the situation. Law as well is the one who shows Jerome grow as they seem closer to the goal, and brings an honest poignancy to showing basically life come back to this man simply by seeing another man fulfill his inspiration.
Most of the problems in the film actually come from the fact that the film fails to completely give Law his due. Every scene with Law is compelling because Law makes Jerome such a compelling person all on his own, when he very easily could have simply been a plot device. I wanted more of him and of the odd relationship between the two men playing the same men, but the film unfortunately too often decides against this approach. This only becomes more problematic though by the ending which I think completely undervalues what Law does in the role. The film ends with Hawke's Vincent managing, against all the odds, to make it out into space finally, but at the same time Jerome decides to suddenly commit suicide at the same time. I can only feel that this was the writer trying for too much symbolism as the imperfect man makes it to the stars, and the perfect one burns alive. The ending was not deserving for the character and certainly not the life Law managed to give him. It might have made sense for the Jerome we met at the beginning, but not in the way Law grew the character as the film progressed. Technically Law, I suppose, should have given a lesser performance that just kept Jerome as constant to make the ending make more sense, but no I prefer the great performance he gave instead, and really it's the ending that should have changed not Law's performance.
Saturday, 16 August 2014
Tuesday, 12 August 2014
Alternate Best Supporting Actor 1997: Kevin Spacey in L.A. Confidential
Kevin Spacey did not receive an Oscar nomination, despite being nominated for BAFTA, for portraying Det. Sgt. Jack Vincennes in L.A. Confidential.
L.A. Confidential had somewhat risky casting in its main leads of the then rather unknown Guy Pearce and Russell Crowe in the lead roles they had a sort of a safety though with Kevin Spacey who was certainly a known then. Spacey is fitting to be the "star" of the film as he plays the detective of the stars Jack Vincennes. Spacey is actually very close to being a third lead for the film, and just barely isn't. He certainly has plenty of scenes to himself from the very beginning when we are first introduced to Vincennes who is not exactly the best detective. Vincennes spends most his time acting as a technical adviser for a cop TV show, and in turn spends much of his time living the high life in Hollywood. Vincennes goes even a step further with the little bit of "policing" he does when he strikes up a deal with a sleazy tabloid journalist Sid Hudgens (Danny DeVito) to arrest two up and comers in a very well publicized drug bust. Vincennes does not do this for any sort of justice he does it for the money and the fame derived from it.
Kevin Spacey plays the role of Jack Vincennes is a rather knowing fashion which could not be a better fit for the character. Spacey really plays Vincennes as a movie start type guy as we see in his opening scene at a Hollywood party. Spacey's great in the role as he definitely has a certain sleaze in his personal style, and you know from the very beginning that Vincennes is hardly a great cop. Of course this is a tricky thing to do as Spacey could have easily made Vincennes so sleazy that you simply wanted to punch him like many likely wanted to do to his character in Glengarry Glen Ross. Spacey manages to avoid this by bringing so much actual charm along with the sleaze. It is not even that Spacey plays it as though Vincennes is trying to hide his less savory qualities with his charisma, no rather Spacey is able to make at all a singular package, and the little bit of sleaze actually manages to add a bit to his style. Spacey is just wonderful at making Vincennes quite likable while being quite despicable at the same time.
Vincennes gets caught up with the by the books detective Ed Exley (Guy Pearce), and the bender of rules detective Bud White (Russell Crowe) when he gets involved with a case of police brutality mainly because one of the beaten suspects got blood on his clothes causing Vincennes to join in. Vincennes is forced to actually be a cop again until he can get a major bust to once again regain his position as the detective of the stars. This includes working with Ed Exley to track down the killers of a group of people in a dinner. Spacey rather slyly shows a bit of a different side as Vincennes investigates with Exley. On one level Spacey still is Vincennes being Vincennes as Spacey plays the whole investigation as though Vincennes doesn't care and to a certain extent finds the whole thing just annoying requirement for the job. In this regard Spacey is quite entertaining in portraying Vincennes's somewhat careless attitude right down to the way he strolls around the crime scene while everyone else is so intense. His performance is only further amplified by how well he plays off Pearce who plays Ed as such a fervent straight arrow.
As I noted before though that Spacey does allude to another side even though Vincennes is still far from being the ideal detective. In the scenes of the investigation Spacey very quietly shows the same sort of conviction and intelligence in Vincennes's method as a detective as Pearce does in a more forward fashion with Exley. Spacey shows in these brief moments that there is a great detective in Vincennes somewhere, but in his investigation of the case Spacey portrays Vincennes as only putting enough effort in to get the case done. There is no genuine passion in Spacey's performance rather his work shows Vincennes to be basically a true professional who is just kinda phoning it in that way he simply can back to what he truly loves, which is of course living the high life. After the "successful" investigation Vincennes goes right back to his old world, even going back to help Hudgens with another frame up and sting job going so far as to even help Hudgens convince the target, a troubled young actor, to prostitute himself with the promise of a career boon.
Spacey is outstanding in the scene right after agreeing to do the job for Hudgens for a quick buck and a little bit more fame. The scene is simple and silent for Spacey as Vincennes simply looks at himself in the mirror, and it is absolutely perfectly played by Spacey. In just his reaction we see the conflict in Vincennes, and Spacey so beautifully realizes this moment where Vincennes finally sees just how much he has compromised. Spacey is surprisingly moving as he so honestly creates this crisis of conscious in Vincennes. What I love about it is that he never undercuts Vincennes as a character. It is only when he is completely alone that Spacey shows just how distraught Vincennes is over his terrible mistake, and when he is around his fellow officers he does try to be his old self. Of course Spacey is exceptional when there are very brief moments where Vincennes talks about his mistakes to the Ed. Spacey kinda rushes through this moments which is actually exactly as Vincennes should react as he wants to simply recognize the mistake to Ed but never let Ed see just how much he has been troubled by it.
Spacey's performance, like so many elements of L.A. Confidential, is something I completely adore. Spacey is completely pitch perfect in the role, and his work adds so much to the film. Although of course just like all his other male counterpoints he was of course ignored by the Academy, although I guess to their credit he may have suffered slightly from category confusion since his eventual BAFTA nomination was in lead. His performance is one that just is a very entertaining to watch. Spacey in some of his lesser performances can maybe try to show off a little too much, but here it completely works for his character as well as the film as a whole. Spacey also never leaves this as just a fun portrayal, although it certainly works in that regard. Spacey as well, like all the other performances I have reviewed from this film, does a marvelous job of revealing his character as someone far more complex than they might have seemed from the outset. In Spacey's case he gives that very enjoyable depiction of a shallow man in the beginning but ends up giving some of the most poignant moments in the film as he gradually reveals that maybe Jack Vincennes is a far better man than even he would like to admit.
L.A. Confidential had somewhat risky casting in its main leads of the then rather unknown Guy Pearce and Russell Crowe in the lead roles they had a sort of a safety though with Kevin Spacey who was certainly a known then. Spacey is fitting to be the "star" of the film as he plays the detective of the stars Jack Vincennes. Spacey is actually very close to being a third lead for the film, and just barely isn't. He certainly has plenty of scenes to himself from the very beginning when we are first introduced to Vincennes who is not exactly the best detective. Vincennes spends most his time acting as a technical adviser for a cop TV show, and in turn spends much of his time living the high life in Hollywood. Vincennes goes even a step further with the little bit of "policing" he does when he strikes up a deal with a sleazy tabloid journalist Sid Hudgens (Danny DeVito) to arrest two up and comers in a very well publicized drug bust. Vincennes does not do this for any sort of justice he does it for the money and the fame derived from it.
Kevin Spacey plays the role of Jack Vincennes is a rather knowing fashion which could not be a better fit for the character. Spacey really plays Vincennes as a movie start type guy as we see in his opening scene at a Hollywood party. Spacey's great in the role as he definitely has a certain sleaze in his personal style, and you know from the very beginning that Vincennes is hardly a great cop. Of course this is a tricky thing to do as Spacey could have easily made Vincennes so sleazy that you simply wanted to punch him like many likely wanted to do to his character in Glengarry Glen Ross. Spacey manages to avoid this by bringing so much actual charm along with the sleaze. It is not even that Spacey plays it as though Vincennes is trying to hide his less savory qualities with his charisma, no rather Spacey is able to make at all a singular package, and the little bit of sleaze actually manages to add a bit to his style. Spacey is just wonderful at making Vincennes quite likable while being quite despicable at the same time.
Vincennes gets caught up with the by the books detective Ed Exley (Guy Pearce), and the bender of rules detective Bud White (Russell Crowe) when he gets involved with a case of police brutality mainly because one of the beaten suspects got blood on his clothes causing Vincennes to join in. Vincennes is forced to actually be a cop again until he can get a major bust to once again regain his position as the detective of the stars. This includes working with Ed Exley to track down the killers of a group of people in a dinner. Spacey rather slyly shows a bit of a different side as Vincennes investigates with Exley. On one level Spacey still is Vincennes being Vincennes as Spacey plays the whole investigation as though Vincennes doesn't care and to a certain extent finds the whole thing just annoying requirement for the job. In this regard Spacey is quite entertaining in portraying Vincennes's somewhat careless attitude right down to the way he strolls around the crime scene while everyone else is so intense. His performance is only further amplified by how well he plays off Pearce who plays Ed as such a fervent straight arrow.
As I noted before though that Spacey does allude to another side even though Vincennes is still far from being the ideal detective. In the scenes of the investigation Spacey very quietly shows the same sort of conviction and intelligence in Vincennes's method as a detective as Pearce does in a more forward fashion with Exley. Spacey shows in these brief moments that there is a great detective in Vincennes somewhere, but in his investigation of the case Spacey portrays Vincennes as only putting enough effort in to get the case done. There is no genuine passion in Spacey's performance rather his work shows Vincennes to be basically a true professional who is just kinda phoning it in that way he simply can back to what he truly loves, which is of course living the high life. After the "successful" investigation Vincennes goes right back to his old world, even going back to help Hudgens with another frame up and sting job going so far as to even help Hudgens convince the target, a troubled young actor, to prostitute himself with the promise of a career boon.
Spacey is outstanding in the scene right after agreeing to do the job for Hudgens for a quick buck and a little bit more fame. The scene is simple and silent for Spacey as Vincennes simply looks at himself in the mirror, and it is absolutely perfectly played by Spacey. In just his reaction we see the conflict in Vincennes, and Spacey so beautifully realizes this moment where Vincennes finally sees just how much he has compromised. Spacey is surprisingly moving as he so honestly creates this crisis of conscious in Vincennes. What I love about it is that he never undercuts Vincennes as a character. It is only when he is completely alone that Spacey shows just how distraught Vincennes is over his terrible mistake, and when he is around his fellow officers he does try to be his old self. Of course Spacey is exceptional when there are very brief moments where Vincennes talks about his mistakes to the Ed. Spacey kinda rushes through this moments which is actually exactly as Vincennes should react as he wants to simply recognize the mistake to Ed but never let Ed see just how much he has been troubled by it.
Spacey's performance, like so many elements of L.A. Confidential, is something I completely adore. Spacey is completely pitch perfect in the role, and his work adds so much to the film. Although of course just like all his other male counterpoints he was of course ignored by the Academy, although I guess to their credit he may have suffered slightly from category confusion since his eventual BAFTA nomination was in lead. His performance is one that just is a very entertaining to watch. Spacey in some of his lesser performances can maybe try to show off a little too much, but here it completely works for his character as well as the film as a whole. Spacey also never leaves this as just a fun portrayal, although it certainly works in that regard. Spacey as well, like all the other performances I have reviewed from this film, does a marvelous job of revealing his character as someone far more complex than they might have seemed from the outset. In Spacey's case he gives that very enjoyable depiction of a shallow man in the beginning but ends up giving some of the most poignant moments in the film as he gradually reveals that maybe Jack Vincennes is a far better man than even he would like to admit.
Monday, 11 August 2014
Alternate Best Supporting Actor 1997: James Cromwell in L.A. Confidential
James Cromwell did not receive an Oscar nomination Captain Dudley Smith in L.A. Confidential.
James Cromwell is probably best known for his portrayal of the kind farmer Hoggett in Babe, and certainly was best known for that role when he was cast in L.A. Confidential. This was likely was well in mind when he was cast in this role as the Captain who is the superior of the two homicide detectives Ed Exley (Guy Pearce) and Bud White (Russell Crowe) that we follow through the film. Cromwell in Babe ended up being a great portrait of the gentle warmth of rugged man. This again seems like it is going to be the case as we first meet him and see his interactions with both Bud and Ed. Cromwell to top it all off plays the role with his Cork Irish accent. Cromwell does this all again and it all seems to be done to make us absolutely trust Dudley Smith. Cromwell certainly succeeds as you can see why Ed and Bud would believe what he says, because we the audience believe him as well.
This is not to say that Cromwell's portrayal is overly simplistic, as just like Pearce and Crowe, Cromwell slowly peels away the role you thought he was fulfilling from the beginning. Cromwell does disarm you for most of the film with his considerable old guy type of charm, even though we slowly see that Dudley is not exactly on the level from start. Cromwell brings a certain edge to the character form the very beginning, and the film itself brings as one of the first things he does is grill Ed on his ability to break the law to uphold the law. Cromwell plays incredibly well because the way he delivers the lines is that of good mentor just testing the man as one should. Of course throughout the main investigation Cromwell plays Dudley as very calm and considerate to both officers, and reserved in that he seems to be ready for any result. Cromwell does it well because it could just be taken as a man who's seen enough to know what to expect, or maybe old Dudley just isn't really the man he appears to be.
Well that's where the major spoiler for the film comes into play which is that Cromwell actually is the chief villain in the film. Dudley is actually behind pretty much everything that has being going in the film in his attempt to take over organized crime in the city by using any means necessary. Cromwell reveals that all of his personal style is no that of a father figure but merely that of a power hungry master manipulator. The whole impact of the revelation is made extremely palatable because of Cromwell's performance. On one hand it is is a twist that holds up to scrutiny as you simply see Cromwell's earlier performance only makes more sense in this new light, and another its a very effective twist because how good of a villain Cromwell makes Captain Dudley. It is very disconcerting to see Cromwell play such a cold man in the last third of the film, instead of warmth in his eyes there is only a killer's calculation there. Cromwell is especially chilling in one moment where he reveals to one of his accomplishes that he's expendable with the simple statement of "Hush Hush".
The casting here was certainly quite clever as it has the effect that I'm pretty sure was well intended by the filmmakers. They do not deserve all the credit though as Cromwell wholly delivers in the role as well, and turns Dudley into quite the memorable character. Like Pearce and Crowe slowly reveal a depth behind the straight forward by the books cop and the rough thuggish cop respectively, Cromwell reveals the truth behind the mentor. In Cromwell's case it has the opposite effect, where Pearce and Crowe allowed a greater sympathy and understanding for their characters, in Cromwell case, he subverts the whole idea of the comforting experienced mentor type character that was expected. It's a brilliantly devious and devilish turn, that brings a strong menace to the film the moment that it is needed. Cromwell's performance might not be the best performance in the film, but its a very good performance that is yet another fantastic facet of this terrific film.
James Cromwell is probably best known for his portrayal of the kind farmer Hoggett in Babe, and certainly was best known for that role when he was cast in L.A. Confidential. This was likely was well in mind when he was cast in this role as the Captain who is the superior of the two homicide detectives Ed Exley (Guy Pearce) and Bud White (Russell Crowe) that we follow through the film. Cromwell in Babe ended up being a great portrait of the gentle warmth of rugged man. This again seems like it is going to be the case as we first meet him and see his interactions with both Bud and Ed. Cromwell to top it all off plays the role with his Cork Irish accent. Cromwell does this all again and it all seems to be done to make us absolutely trust Dudley Smith. Cromwell certainly succeeds as you can see why Ed and Bud would believe what he says, because we the audience believe him as well.
This is not to say that Cromwell's portrayal is overly simplistic, as just like Pearce and Crowe, Cromwell slowly peels away the role you thought he was fulfilling from the beginning. Cromwell does disarm you for most of the film with his considerable old guy type of charm, even though we slowly see that Dudley is not exactly on the level from start. Cromwell brings a certain edge to the character form the very beginning, and the film itself brings as one of the first things he does is grill Ed on his ability to break the law to uphold the law. Cromwell plays incredibly well because the way he delivers the lines is that of good mentor just testing the man as one should. Of course throughout the main investigation Cromwell plays Dudley as very calm and considerate to both officers, and reserved in that he seems to be ready for any result. Cromwell does it well because it could just be taken as a man who's seen enough to know what to expect, or maybe old Dudley just isn't really the man he appears to be.
Well that's where the major spoiler for the film comes into play which is that Cromwell actually is the chief villain in the film. Dudley is actually behind pretty much everything that has being going in the film in his attempt to take over organized crime in the city by using any means necessary. Cromwell reveals that all of his personal style is no that of a father figure but merely that of a power hungry master manipulator. The whole impact of the revelation is made extremely palatable because of Cromwell's performance. On one hand it is is a twist that holds up to scrutiny as you simply see Cromwell's earlier performance only makes more sense in this new light, and another its a very effective twist because how good of a villain Cromwell makes Captain Dudley. It is very disconcerting to see Cromwell play such a cold man in the last third of the film, instead of warmth in his eyes there is only a killer's calculation there. Cromwell is especially chilling in one moment where he reveals to one of his accomplishes that he's expendable with the simple statement of "Hush Hush".
The casting here was certainly quite clever as it has the effect that I'm pretty sure was well intended by the filmmakers. They do not deserve all the credit though as Cromwell wholly delivers in the role as well, and turns Dudley into quite the memorable character. Like Pearce and Crowe slowly reveal a depth behind the straight forward by the books cop and the rough thuggish cop respectively, Cromwell reveals the truth behind the mentor. In Cromwell's case it has the opposite effect, where Pearce and Crowe allowed a greater sympathy and understanding for their characters, in Cromwell case, he subverts the whole idea of the comforting experienced mentor type character that was expected. It's a brilliantly devious and devilish turn, that brings a strong menace to the film the moment that it is needed. Cromwell's performance might not be the best performance in the film, but its a very good performance that is yet another fantastic facet of this terrific film.
Saturday, 9 August 2014
Alternate Best Supporting Actor 1997
And the Nominees Were Not:
James Cromwell in L.A. Confidential
Kevin Spacey in L.A. Confidential
Robert Blake in Lost Highway
Jude Law in Gattaca
Billy Zane in Titanic
James Cromwell in L.A. Confidential
Kevin Spacey in L.A. Confidential
Robert Blake in Lost Highway
Jude Law in Gattaca
Billy Zane in Titanic
Friday, 8 August 2014
Alternate Best Actor 1997: Results
Best Scene: Lefty asks Donnie about the boat.
4. Ian Holm in The Sweet Hereafter - Holm gives a interesting two sided performance one the false performance of a lawyer pushing for a cause for monetary reasons, the other being a heartfelt portrayal of a father who feels like he has lost his own daughter.
Best Scene: Mitchell recounts saving his daughter's life.
3. Guy Pearce in L.A. Confidential - Guy Pearce gives a fantastic portrayal that slowly dissects the cop who seems absolutely driven to only do good while following the letter of the law.
Best Scene: Ed interrogates the suspected killers.
Best Scene: Bud reveals his vulnerabilities to Lynn.
1. Philip Baker Hall in Hard Eight - Good Prediction Psifonian. Hall gives such a magnetic and fascinating portrait of his incredibly unique character. Well this was not an easy decision to make between the top three. I love Pearce, Crowe and Hall's performances all equally. It was hard enough just to rank Pearce and Crowe. I could just as easily change their placement. They completely excel in their roles and get the absolute most out of them. I can at least somewhat justify it, I guess, in that I do think Hall technically has weaker material to begin with, but manages to give just as strong of a performance.
Best Scene: Sydney's final phone call with John.
Overall Rank:
- Russell Crowe & Guy Pearce in L.A. Confidential (TIE)
- Robert Duvall in The Apostle
- Philip Baker Hall in Hard Eight
- Tony Leung in Happy Together
- Ray Winstone in Nil By Mouth
- Ian Holm in The Sweet Hereafter
- Al Pacino in Donnie Brasco
- Samuel L. Jackson in Jackie Brown
- Peter Fonda in Ulee's Gold
- Mark Wahlberg in Boogie Nights
- Stellan Skarsgård in Insomnia
- Brendan Gleeson in I Went Down
- Robert Carlyle in Face
- Michael Douglas in The Game
- Daniel Day-Lewis in The Boxer
- Mark Addy in The Full Monty
- Robert Carlyle in The Full Monty
- John Cusack in Grosse Pointe Blank
- Takeshi Kitano in Hana-bi
- Sam Lee in Made in Hong Kong
- Billy Connolly in Mrs. Brown
- Johnny Depp in Donnie Brasco
- Laurence Fishburne in Event Horizon
- Bill Pullman in Lost Highway
- Sylvester Stallone in Copland
- Aaron Eckhart in In the Company of Men
- Amir Farrokh in Children of Heaven
- Kōji Hashimoto in Cure
- Matt Malloy in In the Company of Men
- Charlie Creed-Miles in Nil By Mouth
- Peter McDonald in I Went Down
- Vladimir Mashkov in The Thief
- Ulrich Mühe in Funny Games
- Mike Myers in Austin Powers
- Ralph Fiennes in Oscar and Lucinda
- Mel Gibson in Conspiracy Theory
- Linus Roache in The Wings of the Dove
- Leslie Cheung in Happy Together
- Arno Frisch in Funny Games
- Bruce Willis in The Fifth Element
- Leonardo DiCaprio in Titanic
- Djimon Hounsou in Amistad
- Kevin Kline in In & Out
- Sam Neill in Event Horizon
- Tommy Lee Jones in Men in Black
- Will Smith in Men in Black
- Nicolas Cage in Face Off
- Jonathan Pryce in Regeneration
- Stephen Fry in Wilde
- Jeremy Irons in Lolita
- Christopher Guest in Waiting For Guffman
- Anthony Hopkins in The Edge
- Jared Leto in Prefontaine
- Pedro Cardoso in Four Days in September
- Dmitri Chigaryov in The Thief
- Kurt Russell in Breakdown
- Homayoung Ershadi in Taste of Cherry
- Ving Rhames in Rosewood
- James Wilby in Regeneration
- Jon Voight in Rosewood
- Jack Nicholson in Blood and Wine
- Jan Decleir in Character
- Jack Nicholson in As Good As it Gets
- Dustin Hoffman in Wag the Dog
- Harrison Ford in Air Force One
- Robert De Niro in Wag the Dog
- Balthazar Getty in Lost Highway
- Tenzin Thuthob Tsarong in Kundun
- Jeff Goldblum in The Lost World: Jurassic Park
- Harrison Ford in The Devil's Own
- Jackie Chan in Mr. Nice Guy
- Brendan Fraser in George of the Jungle
- Keanu Reeves in The Devil's Advocate
- Matt Damon in Good Will Hunting
- Pierce Brosnan in Tomorrow Never Dies
- Jim Carrey in Liar Liar
- Ben Affleck in Chasing Amy
- Nathan Lane in Mouse Hunt
- Matt Damon in The Rainmaker
- Alec Baldwin in The Edge
- Chris Tucker in Money Talks
- John Travolta in Face Off
- John Cusack in Con Air
- Brad Pitt in The Devil's Own
- Tate Donovan in Hercules
- Nick Nolte in Afterglow
- Woody Allen in Deconstructing Harry
- Michael Jai White in Spawn
- Robeto Benigni in Life is Beautiful
- Chris Farley in Beverly Hills Ninja
- Charlie Sheen in Money Talks
- Pierce Brosnan in Dante's Peak
- Johnny Lee Miller in Afterglow
- Tommy Lee Jones in Volcano
- Nicolas Cage in Con Air
- Robin Williams in Flubber
- Jason Connery in Macbeth
- Sean Penn in She's So Lovely
- Chevy Chase in Vegas Vacation
- Tim Allen in Jungle 2 Jungle
- George Clooney in Batman and Robin
- Robin Shou in Mortal Kombat Annihilation
- Keenan Thompson in Good Burger
- Casper Van Dien in Starship Troopers
- Lee Evans in Mousehunt
- Sam Huntington in Jungle 2 Jungle
- Kel Mitchell in Good Burger
- Alex D. Linz in Home Alone 3
- Shaquille O'Neal in Steel
Thursday, 7 August 2014
Alternate Best Actor 1997: Al Pacino in Donnie Brasco
Al Pacino did not receive an Oscar nomination for portraying Benjamin "Lefty" Ruggiero in Donnie Brasco.
Donnie Brasco's is an effective film about a F.B.I agent, Joseph Pistone (Johnny Depp), who goes deep undercover to infiltrate the mob as the titular Donnie Brasco.
Al Pacino plays the secondary lead of the film Lefty who is the first wiseguy to approach Donnie. Although the later career of Al Pacino has not been filled with great films he still managed, from time to time, to bring that same creative spark he had in his seventies heyday. Thankfully Donnie Brasco is one of these cases as he plays Lefty Ruggiero a mobster who is part of a New York crime family. Pacino is certainly no stranger to playing mobsters but Lefty is far cry from Michael Corleone. Lefty has a fairly high up position in the mob and he's certainly been in it for a long time. Lefty though is basically stuck in the position that he has and the only place he can go is basically to the grave either sooner or later. It's really interesting to see Pacino, who has spent so much of his career playing either boisterous or brilliant gangsters, play a mobster who really is not meant for great things in fact he seems to be having a hard enough time just living an okay life.
This performance could almost looked at a companion performance to Philip Baker Hall's performance in Hard Eight. Both play aging men with mob history who decide to take young men under their wing and give them the knowledge they have from the lessons they've learned. The major difference is that Lefty is not nearly as smart as Hall's Sydney from Hard Eight which in turn allows the other major difference which is that Lefty is still in the mob. Pacino is quite good in the early scenes as he first approaches Donnie and begins showing him the ropes of the mob organization. Pacino is quite excellent in the way he portrays the manner of Lefty as he pulls Donnie in while simultaneously threatening to act as though he is the boss. Pacino's performance brings a certain awkwardness to Lefty's method. Pacino shows that in Lefty's case that he has to actively try to act tough, and smart because in reality Lefty isn't really cut out for his life.
As the film proceeds forward and Lefty brings Donnie into the fold of the mob Pacino and Depp develop a rather interesting chemistry with one another. Depp, who is particularly understated here, is playing two sides one being the young gangster who wants to learn as much as he can the other side being the undercover agent who is simply infiltrating the mob to acquire as much information as he can derive by going along with Lefty. Pacino is terrific in his portrayal of Lefty manner around Donnie. On one hand Pacino gives that attempted menace of sorts with Lefty, and is quite brilliantly sad as he shows Lefty always trying and failing to act the part of a mob higher up. Pacino nicely portrays Lefty much more in his element when he is mentoring Donnie on a few things. Pacino brings a more natural Lefty in the open as Lefty seems to be able to offer something from his mob years, and that in some way by telling Donnie his knowledge his whole life seems to be a little less at a complete dead end.
Pacino's performance works best in the especially emotionally vulnerable moments as Lefty reveals to Donnie that he is quite aware of the fact that he has nowhere to go. Pacino manages to be very moving in the role despite the fact that Lefty is a killer who technically even boasts about the number of men that he has killed. What Pacino does so well though is show that when you get right down to it that Lefty is nothing more than a lonely old man who wanted to be something but sees that he is almost nothing. Pacino brings such an honest warmth in the scenes where he reaches out to Donnie in some sort of attempt to find something worthwhile in his life, which is unfortunately also a lie. One of my favorite moments in his performance is when, using a tip from Donnie, Lefty tries to set something of his own, something small but it would be his. Pacino brings such a pride and honest happiness as Lefty seems to see something that could be his own, which makes it all the more heartbreaking when it is quickly taken from him.
Al Pacino's portrayal of Lefty is the best part of Donnie Brasco as a film causing my only major complaint to be that Pacino is the secondary lead and the strongest scenes in the film are the ones with Lefty with there being an unfortunately period in the film where Pacino's appearances become rare. Al Pacino creates such a particularly unique portrait of a gangster who rarely are front and center. Guys like Lefty are often the ones in the background or probably ones who are suddenly killed with little explanation given in other gangster films. Pacino and the film manage to realize one of these guys fully as a person. Pacino gives a very good performance as he simply gives such a genuine depiction of this guy in every scene that he is in. Pacino in doing so does not just show us some random killer, but rather gives a particularly tragic portrait of man who has nothing in his life, and the one shining thing in his life in a surrogate son is also really just another cruel joke being played on him by fate.
Donnie Brasco's is an effective film about a F.B.I agent, Joseph Pistone (Johnny Depp), who goes deep undercover to infiltrate the mob as the titular Donnie Brasco.
Al Pacino plays the secondary lead of the film Lefty who is the first wiseguy to approach Donnie. Although the later career of Al Pacino has not been filled with great films he still managed, from time to time, to bring that same creative spark he had in his seventies heyday. Thankfully Donnie Brasco is one of these cases as he plays Lefty Ruggiero a mobster who is part of a New York crime family. Pacino is certainly no stranger to playing mobsters but Lefty is far cry from Michael Corleone. Lefty has a fairly high up position in the mob and he's certainly been in it for a long time. Lefty though is basically stuck in the position that he has and the only place he can go is basically to the grave either sooner or later. It's really interesting to see Pacino, who has spent so much of his career playing either boisterous or brilliant gangsters, play a mobster who really is not meant for great things in fact he seems to be having a hard enough time just living an okay life.
This performance could almost looked at a companion performance to Philip Baker Hall's performance in Hard Eight. Both play aging men with mob history who decide to take young men under their wing and give them the knowledge they have from the lessons they've learned. The major difference is that Lefty is not nearly as smart as Hall's Sydney from Hard Eight which in turn allows the other major difference which is that Lefty is still in the mob. Pacino is quite good in the early scenes as he first approaches Donnie and begins showing him the ropes of the mob organization. Pacino is quite excellent in the way he portrays the manner of Lefty as he pulls Donnie in while simultaneously threatening to act as though he is the boss. Pacino's performance brings a certain awkwardness to Lefty's method. Pacino shows that in Lefty's case that he has to actively try to act tough, and smart because in reality Lefty isn't really cut out for his life.
As the film proceeds forward and Lefty brings Donnie into the fold of the mob Pacino and Depp develop a rather interesting chemistry with one another. Depp, who is particularly understated here, is playing two sides one being the young gangster who wants to learn as much as he can the other side being the undercover agent who is simply infiltrating the mob to acquire as much information as he can derive by going along with Lefty. Pacino is terrific in his portrayal of Lefty manner around Donnie. On one hand Pacino gives that attempted menace of sorts with Lefty, and is quite brilliantly sad as he shows Lefty always trying and failing to act the part of a mob higher up. Pacino nicely portrays Lefty much more in his element when he is mentoring Donnie on a few things. Pacino brings a more natural Lefty in the open as Lefty seems to be able to offer something from his mob years, and that in some way by telling Donnie his knowledge his whole life seems to be a little less at a complete dead end.
Pacino's performance works best in the especially emotionally vulnerable moments as Lefty reveals to Donnie that he is quite aware of the fact that he has nowhere to go. Pacino manages to be very moving in the role despite the fact that Lefty is a killer who technically even boasts about the number of men that he has killed. What Pacino does so well though is show that when you get right down to it that Lefty is nothing more than a lonely old man who wanted to be something but sees that he is almost nothing. Pacino brings such an honest warmth in the scenes where he reaches out to Donnie in some sort of attempt to find something worthwhile in his life, which is unfortunately also a lie. One of my favorite moments in his performance is when, using a tip from Donnie, Lefty tries to set something of his own, something small but it would be his. Pacino brings such a pride and honest happiness as Lefty seems to see something that could be his own, which makes it all the more heartbreaking when it is quickly taken from him.
Al Pacino's portrayal of Lefty is the best part of Donnie Brasco as a film causing my only major complaint to be that Pacino is the secondary lead and the strongest scenes in the film are the ones with Lefty with there being an unfortunately period in the film where Pacino's appearances become rare. Al Pacino creates such a particularly unique portrait of a gangster who rarely are front and center. Guys like Lefty are often the ones in the background or probably ones who are suddenly killed with little explanation given in other gangster films. Pacino and the film manage to realize one of these guys fully as a person. Pacino gives a very good performance as he simply gives such a genuine depiction of this guy in every scene that he is in. Pacino in doing so does not just show us some random killer, but rather gives a particularly tragic portrait of man who has nothing in his life, and the one shining thing in his life in a surrogate son is also really just another cruel joke being played on him by fate.
Tuesday, 5 August 2014
Alternate Best Actor 1997: Philip Baker Hall in Hard Eight
Philip Baker Hall did not receive an Oscar nomination for portraying Sydney in Hard Eight.
Hard Eight is a rather interesting debut feature of Paul Thomas Anderson about a seasoned gambler who takes a young man, John (John C. Reilly) under his wing.
The prolific character Philip Baker Hall plays the lead role of Sydney an older man who seemingly takes a random man in front of a cafe and proceeds to offer to show him how to be a successful gambler. Philip Baker Hall is reliable in any role that he is given no matter how small they may be. He also though is quite capable as a lead, as he proved his one-man show style portrayal of Nixon in Secret Honor. This time he once again gets a chance to lead a film, although this time its not a solo venture. Philip Baker Hall has such a unique screen presence and in turn he makes Sydney a fascinating character from the moment he asks John if he would like a cup of coffee and a cigarette. Sydney sudden and rather extreme charity to this man seems a bit extreme to say the least Hall does a particularly great job of making you feel comfortable with Sydney despite his straightforward manner. The straightforward attitude that Hall portrays is not exactly how you may expect though.
Hall plays the part with such a delicate complexity and it is fascinating to watch him play the part in a somewhat atypical fashion, yet actually completely naturalistic. Hall disarms you with this sense of warmth that he brings to the part. It's such an unusual charm that Hall infuses to the part. It never is overwhelming but makes Hall manages to use it so calmly to make Sydney so likable, and a completely magnetic character. What Hall does exceptionally well though is that he does not let the warmth define the character or even be an obvious factor. It's something you can feel, but Hall never just simply states with his performance. Hall very nicely leaves a question mark behind the man while he is encouraging John, you can't quite tell what he is up to at this point in the film. Hall allows you to think that perhaps Sydney is just helping John because he is a nice guy or it could be more. Hall never gives you too much or too little leaving Sydney such an interesting enigma of a man.
Hall is great at monologue an exposition, after all he did carry Secret Honor which was just one very long monologue, and ability with it comes into play while he tells John the ropes about how to successfully play the house and win. Hall whole delivery is pitch perfect as it shows this knowledge as almost innate in Sydney as he has obviously spent a considerable time in this sort of life, knowing exactly what to expect. Sydney is in fact kind of a good version of George C. Scott's Burt in The Hustler. Both are well dressed men who take another man under their wing with some manipulation involved, except Sydney seems to be doing for the good of John as a person. The idea of such a man seems almost impossible to believe but Hall makes you believe it as there is such an honesty in Sydney's sage like attitude. Hall brings even more than perhaps what was written though as he does always suggest that there is even more to this relationship, and not what is eventually revealed by the plot of the film.
There is something else that Hall seems to suggest in his performance and what that is, is an underlying sadness about Sydney. He's not weeping or even openly depressed or anything but Hall suggests quite carefully that Sydney is deep down a lonely man who believes by helping others they might treat him with a kindness, which is merely being his friend. Although a later revelation indicates that his decision to help John was not as random as it initially appears, his attempt to alleviate loneliness still seems to be a strong part of it, evidenced by the way he treats a waitress in a casino Clementine (Gweneth Paltrow). Hall again brings this constant sort of empathy that is always felt around Sydney as he treats everyone, who deserves it, with respect. Hall exudes this in a fascinating way because you never see any desperation on Sydney's sleeve, yet nevertheless in his own particularly subtle way Hall still allows you to see that Sydney is reaching out in his own way for some sort of happiness through helping others.
Sydney relationship with John is soon proven to be far from perfect though when he is called in by John to help deal with a blackmail situation that Clementine has come up with while John has chosen to go along with it. Hall is terrific in this scene because he plays it just so realistically. Although Sydney obviously has been a great guy to John up to this point he obviously will not allow himself go to jail by getting involved with a truly harebrained scheme that could only possibly end badly. Hall's great because he just very bluntly shows Sydney ever so slightly loses his cool, and just his survival instincts come into play. Hall knows exactly how to play the scene though because he never loses our empathy in fact he is by far still the most easy to sympathize character in the scene. Hall just wonderfully does not beat around the bush and it's so great to see him so honestly play the scene as he plays Sydney's reaction to be what many people's reaction would be when thrown into such a ludicrous position.
Due to the fact that he is given a minute to think, and that the two manage to plead with him properly Sydney ends up helping them by simply getting them out of the room and on their way. Sydney still has to deal with one more obstacle though and that is a crude friend of John's Jimmy (Samuel L. Jackson) who intends to extort Sydney due to Jimmy knowing about Sydney's past. It turns out that Sydney was once a mobster related with plenty of criminal activities including murder. When this revelation is revealed all I thought was yes that makes since. Hall properly left it open to Sydney's true "identity" so to speak, but when the revelation is made you can see that Hall completely makes it understandable. Sydney is in fact a mobster who is trying to make amends of a sort, and try to have a good life despite obviously living a bad one. The history of the man can be seen in the style in which Hall approaches the part, and even in that certain distance he has within his warmth, like it is the leftover coldness needed for a mobster capable of killing.
Jimmy's blackmail basically forces Sydney's hand and Hall brings both the new and old Sydney together in a brilliant set of scenes for him. The first being the old Sydney as he goes about confronting Jimmy. Hall is effectively jarring in this scene as he brings out the killer in Sydney without his cold method in handling Jimmy. Hall in this scene shows both Sydney as he treats a man he has no respect for as well as probably the way Sydney once operated back in the old days. Before this though we get the new Sydney in his attempt at reforming himself as he calls John, who's gone on the a run of sorts with Clementine, and simply tells John that he loves him like a son. This whole scene could have not worked at all in that it could have seemed silly or too cheesy for the rest of the film. It's an incredibly poignant scene because of Hall's performance in the scene. He does not gush or break down in anyway, that would be all wrong for Sydney, yet he still reveals these strong emotions in Sydney probably through the character's very personal manner toward life.
This is a great performance by Philip Baker Hall which kinda makes the film. Paul Thomas Anderson's direction is already very assured, even though its his first film, but the script for the film actually is far from perfection. It's attempts to make it have film noir plot of sorts are not exactly extraordinary, and easily could have sunk the film. The minor twists and turns are not exactly amazing but they all work because of Philip Baker Hall. A lesser actor very well may have left too much on the surface with Sydney, as not a whole lot is said, leaving the character a little hollow, but that is never the case with Philip Baker Hall's portrayal. He realizes the character so truthfully that you always believe in Sydney as a person allowing the film to be such a fascinating character study while with less assured hands it could have just been a second rate thriller. I would not have minded if the film had continued, and we simply followed Sydney some more because Hall's gives such a vivid portrait of this one of a kind character.
Hard Eight is a rather interesting debut feature of Paul Thomas Anderson about a seasoned gambler who takes a young man, John (John C. Reilly) under his wing.
The prolific character Philip Baker Hall plays the lead role of Sydney an older man who seemingly takes a random man in front of a cafe and proceeds to offer to show him how to be a successful gambler. Philip Baker Hall is reliable in any role that he is given no matter how small they may be. He also though is quite capable as a lead, as he proved his one-man show style portrayal of Nixon in Secret Honor. This time he once again gets a chance to lead a film, although this time its not a solo venture. Philip Baker Hall has such a unique screen presence and in turn he makes Sydney a fascinating character from the moment he asks John if he would like a cup of coffee and a cigarette. Sydney sudden and rather extreme charity to this man seems a bit extreme to say the least Hall does a particularly great job of making you feel comfortable with Sydney despite his straightforward manner. The straightforward attitude that Hall portrays is not exactly how you may expect though.
Hall plays the part with such a delicate complexity and it is fascinating to watch him play the part in a somewhat atypical fashion, yet actually completely naturalistic. Hall disarms you with this sense of warmth that he brings to the part. It's such an unusual charm that Hall infuses to the part. It never is overwhelming but makes Hall manages to use it so calmly to make Sydney so likable, and a completely magnetic character. What Hall does exceptionally well though is that he does not let the warmth define the character or even be an obvious factor. It's something you can feel, but Hall never just simply states with his performance. Hall very nicely leaves a question mark behind the man while he is encouraging John, you can't quite tell what he is up to at this point in the film. Hall allows you to think that perhaps Sydney is just helping John because he is a nice guy or it could be more. Hall never gives you too much or too little leaving Sydney such an interesting enigma of a man.
Hall is great at monologue an exposition, after all he did carry Secret Honor which was just one very long monologue, and ability with it comes into play while he tells John the ropes about how to successfully play the house and win. Hall whole delivery is pitch perfect as it shows this knowledge as almost innate in Sydney as he has obviously spent a considerable time in this sort of life, knowing exactly what to expect. Sydney is in fact kind of a good version of George C. Scott's Burt in The Hustler. Both are well dressed men who take another man under their wing with some manipulation involved, except Sydney seems to be doing for the good of John as a person. The idea of such a man seems almost impossible to believe but Hall makes you believe it as there is such an honesty in Sydney's sage like attitude. Hall brings even more than perhaps what was written though as he does always suggest that there is even more to this relationship, and not what is eventually revealed by the plot of the film.
There is something else that Hall seems to suggest in his performance and what that is, is an underlying sadness about Sydney. He's not weeping or even openly depressed or anything but Hall suggests quite carefully that Sydney is deep down a lonely man who believes by helping others they might treat him with a kindness, which is merely being his friend. Although a later revelation indicates that his decision to help John was not as random as it initially appears, his attempt to alleviate loneliness still seems to be a strong part of it, evidenced by the way he treats a waitress in a casino Clementine (Gweneth Paltrow). Hall again brings this constant sort of empathy that is always felt around Sydney as he treats everyone, who deserves it, with respect. Hall exudes this in a fascinating way because you never see any desperation on Sydney's sleeve, yet nevertheless in his own particularly subtle way Hall still allows you to see that Sydney is reaching out in his own way for some sort of happiness through helping others.
Sydney relationship with John is soon proven to be far from perfect though when he is called in by John to help deal with a blackmail situation that Clementine has come up with while John has chosen to go along with it. Hall is terrific in this scene because he plays it just so realistically. Although Sydney obviously has been a great guy to John up to this point he obviously will not allow himself go to jail by getting involved with a truly harebrained scheme that could only possibly end badly. Hall's great because he just very bluntly shows Sydney ever so slightly loses his cool, and just his survival instincts come into play. Hall knows exactly how to play the scene though because he never loses our empathy in fact he is by far still the most easy to sympathize character in the scene. Hall just wonderfully does not beat around the bush and it's so great to see him so honestly play the scene as he plays Sydney's reaction to be what many people's reaction would be when thrown into such a ludicrous position.
Due to the fact that he is given a minute to think, and that the two manage to plead with him properly Sydney ends up helping them by simply getting them out of the room and on their way. Sydney still has to deal with one more obstacle though and that is a crude friend of John's Jimmy (Samuel L. Jackson) who intends to extort Sydney due to Jimmy knowing about Sydney's past. It turns out that Sydney was once a mobster related with plenty of criminal activities including murder. When this revelation is revealed all I thought was yes that makes since. Hall properly left it open to Sydney's true "identity" so to speak, but when the revelation is made you can see that Hall completely makes it understandable. Sydney is in fact a mobster who is trying to make amends of a sort, and try to have a good life despite obviously living a bad one. The history of the man can be seen in the style in which Hall approaches the part, and even in that certain distance he has within his warmth, like it is the leftover coldness needed for a mobster capable of killing.
Jimmy's blackmail basically forces Sydney's hand and Hall brings both the new and old Sydney together in a brilliant set of scenes for him. The first being the old Sydney as he goes about confronting Jimmy. Hall is effectively jarring in this scene as he brings out the killer in Sydney without his cold method in handling Jimmy. Hall in this scene shows both Sydney as he treats a man he has no respect for as well as probably the way Sydney once operated back in the old days. Before this though we get the new Sydney in his attempt at reforming himself as he calls John, who's gone on the a run of sorts with Clementine, and simply tells John that he loves him like a son. This whole scene could have not worked at all in that it could have seemed silly or too cheesy for the rest of the film. It's an incredibly poignant scene because of Hall's performance in the scene. He does not gush or break down in anyway, that would be all wrong for Sydney, yet he still reveals these strong emotions in Sydney probably through the character's very personal manner toward life.
This is a great performance by Philip Baker Hall which kinda makes the film. Paul Thomas Anderson's direction is already very assured, even though its his first film, but the script for the film actually is far from perfection. It's attempts to make it have film noir plot of sorts are not exactly extraordinary, and easily could have sunk the film. The minor twists and turns are not exactly amazing but they all work because of Philip Baker Hall. A lesser actor very well may have left too much on the surface with Sydney, as not a whole lot is said, leaving the character a little hollow, but that is never the case with Philip Baker Hall's portrayal. He realizes the character so truthfully that you always believe in Sydney as a person allowing the film to be such a fascinating character study while with less assured hands it could have just been a second rate thriller. I would not have minded if the film had continued, and we simply followed Sydney some more because Hall's gives such a vivid portrait of this one of a kind character.
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