Alternate Best Supporting Actor 1983: David Bowie in The Hunger

David Bowie did not receive an Oscar nomination for portraying John Blaylock in The Hunger.

The Hunger stands as the directorial debut of Tony Scott but also an outlier in his career. This as the film seems more akin to one of his brother's films, though the sort of extremes of the style are definitely that of the younger Scott, than the director who largely became known for his action pictures.

The film itself is a stylish vampire picture, even if lacking a bit in the screenplay particularly the ending which throws character motivation out the window in order for a bit of phony irony. This style though is almost purposefully trying to make it a particularly erotic, and you might say even glamorous approach to the vampire film. I suppose then who better to cast as one of the vampires than David Bowie, a man whose personal style seemed to so often defy convention, yet always seemed to capture one's imagination with such ease. Bowie is ideal for the almost sort "celebrity" vampire of the film, this as we see the couple, this being John and his wife Miriam (Catherine Deneuve), in two extremes immediately the film. The first the nightclub of a leather bar, where both actors not only have extremely idiosyncratic presences, but also are so powerful in this. Each as their eyes piercing as the two decide on their prey, perhaps you'd assume sexually, however we quickly learn this to be a different sort of lust, blood lust. Each really thriving within Scott's extreme aesthetic, as they just glow and amplify it in they do make the standard "vampire murder scene" something rather unique by the mere virtue of their fascinating performances. We see an alternative side though quickly enough outside of the "night life", this as the two teach music with John as a cellist. These two delivering a different kind of glamor, more traditionally so, and as effectively so. I will say the casting did half the job alone in making a uniquely fascinating vampire pair, by the fact that there just isn't anyone quite like Bowie or Deneuve for that matter, so the combination of the two is rather special in itself.

This "high life" though is short lived within the film though as John starts to aging, despite Miriam's earlier insistence that they would be together forever. Bowie and Deneuve, as briefly as we see them interact, do have that striking chemistry particularly in the brief scene of John turning a century ago. This is important though I find in that their performances though grant that sharply lustful qualities, though there is a more striking genuine emotional sentiment than I had expected coming into the film. This then Bowie portrays well initially an internalized concern, at the beginning of his degradation, as he speaks of how long does he have. Bowie instantly throwing any genre expectations out the window by portraying a man, even an un-dead one, in general need of help. This as he seeks help from an apparent aging expert Sarah (Susan Sarandon), who ignores his request. Bowie's whole performance is rather remarkable in portraying the physical decay, that he does not just leave to the makeup. This movement become more labored, and his eyes slowly grant a more haunted quality of a man seeing the death before him. This as he is particularly notable as we see him phases of this aging so quickly, yet so vividly in Bowie's performance. This right down to his voice becoming coarser towards that of an old man about to push out his final breath. Bowie finding the right horror of this within his expression that goes beyond just the rather impressive makeup effects along with his performance. His delivering becoming more desperate in each phase of a man in an agony and gripped within fear of his state. This in Bowie most remarkable scene where he goes about murdering Miriam's replacement for him in a vain attempt to save himself. Bowie's performance manages to convey the act in this state of exhaustion and despair. This failure only then followed by Bowie's near nothing of a voice as he speaks his final words towards Miriam, these as basically a walking corpse, that Bowie grants a surprising weight to as his performance grants the sheer agony of John in closer to a more literal living death. I will say well I wish the film had spent more time with the couple and developed them beyond the confines of the simplistic plot, what the performers do with the characters even within this confine is captivating. Bowie delivering his expected charisma to the role of the immortal, but then a surprisingly honest tragedy to what that truly means in the end.

Alternate Best Supporting Actor 1983: Michael Palin in The Meaning of Life

Michael Palin did not receive an Oscar nomination for portraying Window Washer / Harry / Fish No. 5 / Mr Pycroft / Dad / Narrator No. 1 / Chaplain / Carter / Spadger / Regimental Sergeant Major / Pakenham-Walsh / Man in Rear End / Female TV Presenter / Mr Marvin Hendy / Governor / Leaf Son and Debbie Katzenberg in The Meaning of Life.

The Meaning of Life, essentially Monty Python's own History of the World Part I, is a series of vignettes supposedly about the title. I would say with this one, although there are laughs to be found, I would the success rate of jokes is fairly low, not to the point of being a terrible comedy however it is a considerable step down from their previous effort, Life of Brian. I honestly probably wouldn't even recommend the film, just rather simply watch the cut clips of the bits that work.

Well I will say it again Michael Palin is easily my favorite Python as a performer, and in general his ability in the sketch comedy also alludes to why he was also the best actor of the group in general. This as the other member typically worked within a more exact type, John Cleese as the pompous fool or genius, Eric Idle as a at least slightly daffy excitable fellow, Graham Chapman as the relative straight man, and then the director Terrys as some kind of grotesque sort. Palin's characters tend to be a bit more of just that, even in the microcosm we see of them here. This as he plays about 18 different roles, and in each Palin manages to bring a bit more than just a quick comedic bit. This as he offers the blind naivety of a dopey school boy for a moment, the excessive propriety of a tv hostess, though not say particularly proper things, even the different kind of propriety of an American wife, the low key smugness of a hospital director, the smugness of an overly proper British soldier, or the strange randomness of a man in a tiger suit at the opposite end of that soldier. In each Palin captures a bit different in his presence as these different roles, this making him typically a little bit amusing even when some of the bits he's featured in aren't all that amusing overall. There's just something about his range of voices and expression, that can garner a little chuckle. What I'm really here to discuss are his sort of central sketches, which actually Palin gets very few of, perhaps one of the issues with the film, in fact he only has two where he is the focus. The first being the film's big Oliver!esque musical number about a poor father describing to his brood of children why he needed to have so many, explaining that "Every Sperm is Sacred". Palin's performance here being an enjoyable sort of twist on the modest means father befitting an Oliver Twist novel, with an aw shucks expression and a world weary voice. This though with all the heart he can must in his eyes and of course his voice as he sings to all about his fundamental beliefs. Palin belting it out with a hilarious passion, and again that heart, even as he sends off all his kids for scientific experimentation. His other scene is as a drill sergeant. This where Palin again fashions a different personality of a wild eyes befitting the profession, and lips with mind of their own as he barks out orders like a proper English screw. This finding the comedy as Palin brings this ridiculous intensity even as the sergeant is extremely accommodating to all his soldiers who feel they could do something better than routine drills. Palin being great as he maintains that same stature no matter what happens. Both these bits are great, and for my money the best bits in the film, or at least two that wholly worked for me. Is it coincidence that they both star Palin? I'm going to say probably not, as both feature his delightful talents, as a comic performer that grants the particular type of investment in his performances that sell the comedy all the more.

Alternate Best Supporting Actor 1983: Takeshi Kitano in Merry Christmas, Mr. Lawrence

Takeshi Kitano did not receive an Oscar nomination for portraying Sgt. Gengo Hara in Merry Christmas, Mr. Lawrence.

Takeshi Kitano must have one of the most multi-faceted careers for any actor, this being a host, a comedian, an editor, a writer, a director...and tap dancer, while evidently finding quite a bit of success in each of these endeavors. This evidently wasn't always the case as this film marked an important breakout attempt for him to no longer just be seen as a comedian as an attempt to be taken seriously. Although evidently this was met with laughter in his native Japan, which is a shame, though something he apparently eventually got over. Still a shame though as one just looking at Kitano's performance here, you might only gather he was best known as a comedian, because comedians can sometimes deliver brilliant one of the kind performances. Now his role is a decently worn one, that of the brutal enforcer in a POW camp, seemingly only second to the as brutal, though in a different way, to camp commandant Captain Yonoi (Ryuichi Sakamoto). This we see in the opening of the film Hara summons British POW liaison Lawrence (Tom Conti) to inspect a situation, where a Korean guard sodomized a prisoner. Kitano of course delivers the intensity needed and expected for such a role. This just being inherent, in making his quick gestures of violence as something he doesn't require a second thought for. This portraying just a casual quality in this behavior as a man whose done this for quite awhile and does have an ease at it. This even when casually doing to Lawrence when he speaks up against the actions of Hara and the Japanese in general.

This scene alone though is brilliant work from Kitano though as he instantly establishes Hara's manner towards Lawrence with this semi-congenial recognition of him, even though he doesn't eventually mind hitting him in the same scene. In the sequence itself though Kitano is fantastic in the way he portrays the cruelty of Hara, that is essential in portraying sort of the systematic nature of it based upon the Japanese army's culture. This as he mocks both men with a derisive attitude, less of a direct attack, and more of it as this type of grilling, though no less severe in this apprach. This though broken with these little asides where Hara mentions ideas to Lawrence with this strict sincerity, such as knowing the Japanese properly by seeing a man commit harakiri. Kitano's delivery of mentioning these ideas is with an earnest educational tone. He plays it as not extra cruelty to his British prisoner, but rather as though it is something he really wants to share with the man, as terrible of a thing as that is to share. Kitano though manages in this scene to show that Hara's firm beliefs in the imperial Bushido code are not just something he uses to be cruel, rather those beliefs are what encourages him to be cruel. This is as we see the disgraced guard attempt a sloppy harakiri, the glee upon Kitano's face as he prepares to second the man (i.e. cut his head off), is that with the pride as though he is performing essentially a religious right. This as something a proper soldier should do in his mind. There is nothing simple about the way Kitano expresses this, which is what is so important. This as even as he explains his actions to his Captain, with a bit of shyness, that Kitano shows of a soldier a bit unsure of himself in front of his commanding officer, but still with a direct belief as he describes the harakiri as something that would benefit the man, Kitano makes it the truth to Hara.

The crux of this performance is in his scenes with Tom Conti, as we see more than just a captor and captive. That is part of it, but not all of it. Although even within that we find the right nuance as Lawrence argues for the mistreated prisoner, Kitano brings that usual sort of underlying menace of a cruel guard, however also delivers a more casual incredulous quality when Lawrence speaks on them all being soldiers. Kitano creating as sense of Hara more than just as his role as this captor. This is expanded, on what is one of my favorite scenes in the film, when at night Hara comes to see Lawrence in the prison barracks, along with the new captured officer Celliers (David Bowie). I love Kitano in this scene as he wakes up Lawrence less as a cruel captain, and more of as a friend at sleepover hoping to get into just a little bit of mischief in the night. This as he brings this eagerness in his curiosity of someone just genuinely interested in this supposed great soldier, and the fascination is pure in such a wonderful way. Again Kitano finds sense, in the senseless in a way, as he brings such a reasoned honesty to Hara's extremist beliefs. This as we see him continue as he talks to Lawrence asking him why he wouldn't commit suicide. Kitano's fantastic because he doesn't use it in this berating tone, as we see the men just talking as men, and Kitano in turn shows a man genuinely interested in his fellow soldier. This as even his eyes bring this interest in the other man's views though, not that he agrees with them, but what Kitano expresses is a man finding a genuine camaraderie in this interaction. We see friendship in his eyes, even if the nature of the situation prevents it. There's an amazing moment where Hara's explain he enlisted when he was 17, this as he begins speaking the words with this quiet vulnerability, as a man who really wants to share something personal with Lawrence, though then as he tells it fully, he shifs to an attempted solder's menace as he notes his belief in giving his life to the emperor. Kitano in the moment shows so well both the soldier in Hara, but the man beneath it all. My favorite moment of the scene though is as he and Lawrence briefly interact with Celliers, this as again Kitano brings a near childlike amazement, as he and Lawrence sneak in the interaction like a couple kids.

We see then this better side come out of Hara in a great scene where he gets Celliers and Lawrence released from confinement. This as a drunken Hara, Kitano is terrific by expressing all the soldier's bluster being worn mostly away by drink, and a bit of goodwill. Kitano does this in this outstanding sort  of waves in his work in bringing glint of a stern expression though it gives way to the again that better man inside, with his endearing laughter from his drink, and his oh so perfect delivery of the titular line, because Kitano expresses as absolutely a wish of goodwill to his fellow man, and really friend. That is almost just the man, not the soldier, but we finally get purely just the man in Kitano's final scene. This being the final scene of the film after the war, where Hara is about to be executed for war crimes, but Lawrence visits him one more time. Kitano, who delivers the entire scene in English, is masterful in this scene. This bringing such a modesty to the moment showing Hara without any pretenses. This bringing in his performance the difficult expression of a man trying not to cry, though just almost the brink of it. This as Kitano is heartbreaking here as we see him reaching to Lawrence now purely as a friend. His line delivery regarding not understanding why he's being executed as his crimes were no different than any other soldier. While I don't quite agree with the sentiment, what I do agree with is the power found in this through Kitano's performance that again emphasizes this as truth. He shows a man who basically was raised with cruelty as the requirement to be a soldier, and in turn was cruel. There's no hypocrisy as Kitano speaks it with the strictest sincerity. This isn't without regret though as they note the death of another, and Kitano's expression does speak towards the unfortunate loss of life. The most remarkable aspect of the scene though is as the two briefly reminisce. The two striking up a chemistry of old friends once again, and we sense that the two, could've been the best of friends in a better world. Kitano's work here is simply incredible in offering such complex portrayal of a soldier bred towards cruelty yet still with humanity within him. Kitano's final seconds exemplifying this as they are again sheer perfection as he calls out Lawrence one more time, though for a last time in his soldier's voice, though as his face shows it as but joke as he wishes so poignantly one last humane "merry Christmas" to his friend.

Alternate Best Supporting Actor 1983

And the Nominees Were Not:

Ian McDiarmid in Return of the Jedi

David Bowie in The Hunger

Jonathan Pryce in Something Wicked This Way Comes

Jason Robards in Something Wicked This Way Comes

Michael Palin in The Meaning of Life

Takeshi Kitano in Merry Christmas, Mr. Lawrence 

For prediction purposes:

Pryce

Alternate Best Actor 1983: Results

5. Oleg Yankovsky in Nostalgia - Although Yankovsky gives a fine performance with what it is that he has, his character is overshadowed by the approach surrounding his character. He is lost within the margins though he is fine within those margins.

Best Scene: The scene where he speaks.

4. Keith Gordon in Christine - Gordon gives an effective portrayal of a unique type of obsession that builds confidence yet slowly destroys himself.

Best Scene: Describing Christine.

3. Om Puri in Ardh Satya - Puri delivers an effective contrasting portrayal of the brutal cop he is in his professional life and the sensitive romantic he is in his personal.

Best Scene: Describing his past.

2. David Bowie in Merry Christmas, Mr. Lawrence - David Bowie delivers a great performance as only he could. This in granting an honest depiction of a defiant soldier, but also this enigmatic quality that is essential to the focal point relationship in the film.

Best Scene: The kiss.

1. Gerard Depardieu in Danton - Good predictions Luke, Tahmeed, Anonymous, Calvin GM and Omar. Depardieu delivers an outstanding performance in his portrayal of a charismatic and approachable leader, and in the end a passionate martyr for his beliefs.

Best Scene: Being brought to trial. 

Updated Overall

Next: 1983 Supporting

Alternate Best Actor 1983: Jeremy Irons & Ben Kingsley in Betrayal

Kingsley's two final scenes, one quite brief, are of the end of a man in a way. This rather the end of any sense of good will that is. Kingsley, still then just coming off of Gandhi, portraying a man who has lost his airs, though in a way is portraying a man both hurt, yet plays it in a way as a man who is ready to hurt. Kingsley's terrific in the detachment he brings so carefully. This as the sharpness of his voice captures the titular betrayal to be sure and his eyes unwavering, however still presents as though detached. This in a way showing the hurt within the man who in a way recovers from it by acting towards his friend as though it is just a thing that has happened nor more no less. This creating a man who has become a victim of cruelty in tun has become cruel. In the end Irons portrays a man stricken by a guilt rather than any experience. This in the final scene between Robert and Jerry, where Irons very much emphasize that sense of guilt though in the betrayer. This in his expression of a man seeking his friend's anger in a way almost to legitimatize and be punished for his failure as a friend. In turn his very final way with the technical mutual lover, Irons shows a man where the passion is now gone and the wound of betrayal lasts. Irons speaks with familiarity, but also a sense of a failure. The idea of the relationship still apparent in the interaction but lacking in as you gather only the sense of that guilt still in his performance. Both actors in a way in their infancy though giving performances stripped somewhat of the presences that they'd become known for, however their talent evident in realizing each man changed by the central failure of their friendship.

Kingsley performs so well the truth of the man as he technically lies repeatedly among his best friend and his betraying wife when together. Kingsley is heartbreaking in depicting the man just putting on a bright smile as he goes through the motions however every interaction is granted this undercurrent of a stress in his work. This as his facade is coming ever closer to fully cracking under the weight of it. Every word he speaks cannot quite capture a sincerity, it comes close, and in that slight miss is the strength of Kingsley's work. This as he creates the wound of the work in his performance. This as every word he speaks has this bit of struggle, suggesting a man just prepping to fall apart. Irons is good in both being blissfully unaware yet also aware in this curious sparing match between the men. Irons showing the man just being the friend, and is effective in that sense. This trying to be the friend, however in every glance towards the intensity of sort so his friend, and certain words he speaks, evokes the repressed guilt. Irons's body language and way of seeming to avoid directly being open with his friend reveals the failure. This as we see relationship with Emma being something that cannot last any longer. Irons is terrific in being able to capture the in a way the weakness of the man as the denial of any relationship being possibly left. Irons still though finding the undercurrent of a weakness in the man, a sense of the tenderness though only funneled within his eyes as a somber reflection as what he has done to his friend.

The man being Jeremy Irons's Jerry and the husband being Ben Kingsley's Robert. In the technical beginning of the story we are granted the messy start of an affair. This as we get to see the breakout talents of Jeremy Irons and Ben Kingsley at the beginning of their breakouts. Each having not quite fashioned their onscreen presence, allowing for a very different side to be seen of them, than the modern viewer would be used to. This seen in that messy beginning when Jerry comes on to Emma with a sloppy charisma. Irons owns it in the right way as he shows a drunken enthusiasm of a fool, that isn't without its charm, even as Emma is more taken aback then anything initially. This supplemented though with Kingsley portraying just an earnest attitude of man admiring in seemingly his own happiness towards his still faithful wife, and his less faithful friend. We do see the friendship of the two men continue as Irons and Kingsley find the important sense of just a genuine friendship. It isn't earth shattering but just an understanding between two men that get along. Kingsley though showing the light cracks starting, of almost a idea back in his head that nags within him. This realized in just a twitch of the eyes, of a second thought nagging at his mind, though more often than not still ready to just talk with his good friend. Kingsley maneuvering a unique hostility that is of suspicion of the affair but not quite a knowledge of it. I think essential is in the relationship between Jerry and Emma given they are the central betrayers. Irons and Hodge striking up an essential chemistry between the two. The chemistry carrying the expected lust in certain moment, but more important the genuine tenderness between the two as they come together. Both finding a sense of connection that goes beyond the physical. This in Irons portraying the sense of comfort within the relationship and a truly loving sense between the two that is not just a fling. This in a way creating a relationship that wouldn't be opposed to say a Brief Encounter, the problem is here we actually get to know the cuckolded husband quite well. The scene of discovery of his wife is brilliantly performance by Ben Kingsley. This as just this ever growing bit of hostility in the man. Kingsley wavering between the sharpest tongue with overtures of warmth as the loving husband. Kingsley wears though the defeat of the man, and the moment of the direction confrontation is an incredible moment for him. This as it carries the anger of it of course, but more so the real sense of defeat in the man in acknowledging both his wife and his best friend have deceived him.

Betrayal moves in reverse chronological order as you might've guessed from this gimmick of a review. Unlike the Seinfeld episode of almost the same name though, it is effective in this approach as the technique plays with preconceptions of the situation rather well. The situation being the affair between a Man and his best friend's wife Emma (Patricia Hodge).


Jeremy Irons and Ben Kingsley did not receive Oscar nominations for portraying Jerry and Robert respectively in Betrayal.

Alternate Best Actor 1983: David Bowie & Tom Conti in Merry Christmas, Mr. Lawrence

David Bowie did not receive an Oscar nomination for portraying Maj. Jack "Strafer" Celliers nor did Tom Conti for portraying the titular Lt. Col. John Lawrence in Merry Christmas, Mr. Lawrence.

Merry Christmas, Mr. Lawrence is a more than decent film, though I think it struggles to find a proper denouement, about a WWII POW camp, controlled by a difficult camp commandant, though a damn fine composer.

The film is particularly off-beat in its approach to the POW story-line, as even the central character is shattered. The man you'd assume is the central character is Tom Conti's Lawrence, after-all he is in the title. His role though isn't that of personal discovery but rather personal examination. We have him rather in this way as the facilitator for the camp, due to his speaking Japanese. This largely seen through his interactions with Japanese Sgt. Gengo Hara (Takeshi Kitano). Conti's performance though is striking in portraying basically the part with an earthly understanding of the situation. This as Conti's work exudes the wear of the situation to be sure. This in his whole face just is that of a man who has been in this camp for a lengthy time and more importantly dealing with the sheer insanity of trying to maintain some sort of peace and safety for the British. Conti's work is interesting in the way he is this reactionary lead in a certain sense. Although he takes action, it is deferred based on trying to stay pace within the insanity of his captors. Conti wearing particularly well this careful face of the man, this as his eyes say so much in the man attempting to analyze a given situation careful and gauge each man to attempt to interfere best he can. The opening scene we see this as he tries to negotiate for even the life of a Japanese, who sodomized a prisoner. Conti's expression so well grating the humanity of the concern, but also the wagering of the man in deciphering the violence that may take place from the situation.

This differs greatly from Major Celliers portrayed by David Bowie. Although a musician turned actor is sometimes a dangerous prospective, that was not the case for David Bowie. This as not only did he almost immediately display a knack for it, he also manages to deliver that unique stage charisma and realize onscreen. That transference perhaps only otherwise has been seen in Tom Waits, in terms of offering something particularly idiosyncratic by the mere virtue of the actor's presence. Well that is the case for Bowie, whose casting does not only pay off but quite honestly is essential. This as Bowie delivers that enigmatic quality that quite honestly only Bowie could deliver in this way. This being particularly important given that Celliers's role, is more than just that of an individualistic soldier who shakes up the order of the camp a bit. This as we are introduced as that camp commandant Captain Yonoi (Ryuichi Sakamoto), attends a trial for Celliers who they are attempting to find charges to execute him on. Now in a way on one end Bowie simply delivers the expected swagger of a proper soldier as he stares down his captors in the trial, and speaks of his endeavors as a soldier with a calm reserve. Bowie showing a man in a way in control of himself at least within a situation where he technically is not. There is something more there, as Yonoi seems more than just intrigued by Celliers. This is very much where very much that Bowie in the performance is very much essential. This as Bowie has that sort of magnetism that draws in more than just a vague interest, and the Captain's near entrancement at him, does not seems some out of nowhere idea, why? because it's David Bowie, that's why.

David Bowie manages to find a careful ground within his performance that is rather notable. In that he's not quite ethereal however he is close. This as we take a moment where Celliers fake smokes waiting for his judgment, and Bowie does portray it as just a moment of sort self-joy eccentricity in the man, though such a gesture is all the more fascinating because of that Bowie presence. He however does not portray Celliers as whole detached. When the trial decide to do a fake firing squad as a bit of torture for Celliers, Bowie portrays effectively both the sense of determination not to show fear, while also conveying the sense of fear within the man still as a bit of internalization. He skillfully reveals both and in turn shows Celliers as a man very much of the moment, but there is something about him that makes him seem as though he isn't quite as tangible as the rest of the men. This continues as he is brought within the camp, even though he is responsive to the rest of the men including Conti's Lawrence. Lawrence of course though remains this peculiar figure of negotiator even in this regard. Conti is interesting in the way he plays his own sort of resilience oddly enough even in his haggard expression and exhausted manner. This even when he himself is frequently hit, this as the consistency in Conti's performance, effectively so, is the sense of calm of the man trying to keep the Japanese from killing anyone, but also keeping his own men, particularly the CO Hicksley (Jack Thompson), from spurring more wrath from their captors.

The two men do find some common bond then in their mutual endeavor of a kind of survival. There is a particularly terrific moment where Sgt. Hara comes to visit in the middle of the night to chat with Lawrence and to look upon Celliers. Conti is first wonderful in his scene with Kitano as they strike up an engaging chemistry. This in that Conti plays a certain bemusement at the soldier's belittling of the British army, even as he calmly states the reasons for surrender, but in this state Conti reflects in his eyes just a certain sense of genuine camaraderie. This just as he portrays an earnest sense of humanity in the conversation even if within the conversation they are still at odds. This is a bit different to when Sgt. Hara takes a look at Celliers, to which Celliers comments on Hara's face. Bowie again striking this unique balance in this certain near otherworldly quality of an idiosyncratic appreciation, however speaks the words with this convincing grace. A grace that again I'm not sure many actors could've mustered the way Bowie is able to do through his own idiosyncrasies. We see this interesting dynamic continue between these two men who becomes de-facto leaders of dealing with the Japanese. This includes Celliers having a funeral for a dead soldier, however defiantly saying the flowers for that were in fact for the sake of food. The moment of Bowie eating the food is something special in itself, as he carries again this particularly fascinating sense of defiance, where again we see in his eyes the sense of being above the man he's staring down, but again with that certain intangible quality that makes all the greater impact.

When we see the first confrontation between Celliers and Yonoi, Bowie is terrific in the way we see him brandish his charisma in a way. His eye darting that both creating the sense of reflection that Celliers is aware of the certain hold he has on the captain, but also portray his purposeful brandishing of that sense in an attempt to help the men. These actions though leave both Lawrence and Celliers in prison, in which both actors are excellent in portraying the differing natures of the men even as they reflect on similar thoughts. Conti being wonderful as he grants that sense of regret of what was not taken by him which fits right along within the man defined by basically a dogged exhaustion. This is again Bowie's portrayal of also a regret, however his performance is more internalized in this regard, his eye instead evoking a sense of the man piecing together his own regret. This regret being his betrayal of his hunchbacked brother in primary school where he did nothing to protect him from a mob a ridicule. Bowie's performance wears within that sense of basically a betrayal of duty, as he speaks with what is more refined regret, that positions as almost something that fuels Celliers's determination now. Although both men seem to have created a respite for a moment through their combined actions of negotiation and defiance, it is immediately shattered Hicksley forces Yonoi's hand by questioning the captain decision to make Celliers the CO of the POWs. I love the brief moment of Conti's delivery of disdain and terror as he berates Hicksley, showing the man who sees all his efforts lost in a second notice. This leading the climactic moment of the film, where Yonoi is about to execute Hicksley and Celliers takes action. Bowie is amazing in this scene, as even the way he moves across the field has this power to it, as we again see the man field a force of himself, as he saves the CO, by directly kissing Yonoi, essentially sacrificing himself and destroying the captain in  the same act. In this moment we get Bowie again using that presence of his honestly as a weapon, that makes this such a powerful moment, but he also grants the needed sense of the man acting with that conviction to attempt to deal with his former failure. The film then quickly wraps up, however we are left with a final epilogue where Lawrence visits an about to be executed Hara after the war is over. Although I think the scene itself in its thematic message isn't quite earned, the sentiment of it is all well created by the actors. Conti delivers on the sense of that former camaraderie to the man, now more openly shown, and so powerfully grants the sense of sympathy in Lawrence for his former captor. It is a poignant moment, as the performances create such a beautiful sense of the human connection between the two men formerly at war with one another. Although I again have reservations within the film, these two performances exemplify the best qualities of the film. Conti in his honest depiction of a man just trying to help everyone survive, and Bowie making the most of his onscreen abilities, to craft a wholly unique presence essential for the idiosyncratic dynamic at the center of the film.