Alternate Best Actor 1994: Xia Yu in In The Heat of the Sun

Xia Yu did not receive an Oscar nomination, despite winning the Volpi Cup, for portraying Ma "Monkey" Xiaojun in In The Heat of the Sun. 

In The Heat of the Sun is an absolutely wonderful, and criminally under seen, coming of age (hidden gem to be sure), directorial debut film, by Jiang Wen. 

The film is said to be semi-autobiographical by actor turned director Jiang Wen, and that can easily be seen in the absolutely brilliant casting of Xia Yu, who bares more than a passing resemblance to Jiang Wen, who narrates the film as "himself". Xia's performance goes far beyond just deft casting however, as Xia is as confident onscreen in his debut as Jiang is in his directorial debut. This as we can sort of move right past the typical pitfalls of the young performer. One doesn't need to worry about any of that. Xia's absolutely just is the part here, as he is so incredibly natural onscreen you don't give it a second thought. Rather he seems instead this perfect representation of the boy that was Jiang Wen. Now because Xia is so confident we can also kind of move past the second potential accusation of my own feelings that this is only a director's film. Not at all. Now Jiang's vision is absolutely remarkable here, Xia is in no way overshadowed by that or the narration of some of the character's feelings. He lives on his own. This from the opening scenes of the film where we meet the seemingly almost orphan like Monkey as he passes his time breaking into homes to hang out and explore, while not actually stealing anything. 

Here's where you see an excellent performance that works within the vision, these being this absolutely fantastic scenes of nostalgic memory. Xia is not merely in them however but is essential in creating the tangible feeling in them. That is Xia expresses the youthful delight as he looks upon every little thing in the home, or the joy as he uses a "borrowed" spy glass to look upon the actions of a disliked school master. Xia's work grants the sense of discovery and the right sense of mischievousness. His portrayal doing more than just representing it, but truly evoking the emotion. Creating within the scene the needed empathy with Monkey, that you too feel the excitement of the game. This can be said of Xia's whole performance that is so very honest and lived in. This as again he simply is Monkey, and each experience we see him go through is all the more tangible through that. When he is hanging out with his friends, who play different games, or even get into little street fights, Xia is never just in a scene. His performance grants the sort of dogged determination one moment to bring "justice" to bullies or another in the rapturous joy of some random truce. His work not being overshadowed, by rather properly accentuating each scene so beautifully as he elevates his work far beyond that of a surrogate. 

What is so notable about his work beyond this though is how much Xia fleshes out who Monkey is. This particularly in representing this sort of cross roads time in the boy, soon to man's, life. Xia has this particularly exceptional way his face can be so many things all at once. This as we have those moments of hanging out with friends or sneaking around someone else's house where there is that mischievousness of youth. All the same though we have also the moments of quiet brokenness of youth that are equally palatable, where Xia almost looks like a different boy. This as we initially understand more of his home life just through an absolutely brilliant monologue by Xia where he speaks as his own father figure. Xia's delivery with the false sort of "older man" kid's voice, but also a real sense of heartbreak in his eyes as each word becomes more brutal in its discipline. This as the more we see of his real relationship with his parents the more dire it appears. In these moments Xia is so moving in just expressing in his reactions that of any boy being mistreated and also ignored by his parents. His eyes shattered in a quiet sort of sadness, and more than anything we see the sense of the escape in his mischievous fantasies away from that world. Xia showing very much the boy that defines Monkey, even as so much of his actions attempt to show a maturation.

Now the final portion of the film focuses closely on his relationship with one of the individuals whose house he broke into. This being a young woman Mi Lan (Ning Ling). This presented purposefully as kind of a broken set of memories as really this strained relationship that is one of nostalgic perfection and that of broken hearted memories. We start with the former in their early scenes together where Xia projects more so the boy in the innocent interactions. This with such playful warmth that he brings, that quietly at times projects a certain maturity as the two seem to speak regarding anything of substance. Xia is exceptional in the way he doesn't play the relationship a single way, rather finding the sense of the boyish crush and the complexity within that as it clashes with an attempt at something more. We see this as he brings her into his gang of all boys. Xia's initially fantastic in being so sweet in delivering the invitation with this quiet excitement as though he's got something great for show and tell. This though changing as she does show up and instantly all the boys are obviously quite interested. The sense of the personal connection being tested Xia excels in showing the sort of hidden frustration within Monkey's attempts at posturing in front of her. This as his "show off" moments Xia presents with a certain jealous desperation to keep her interested in only him, even as she strays. Xia's work gradually building this frustration where he also expresses more petulance in the boy almost interfering with the attempt at manhood. This culminating in two scenes. The first being a heartbreaking one where Xia unleashes such a pent up bitterness as he verbally attacks Mi Lan in a thoughtless exercise of jealousy. What I love is that Xia keeps it very much as the failure of Monkey to mature in the moment. This culminating further as he attempts to force himself upon her, and Xia showing a greater regression to that of a crying infant having lost any sense of personal growth. Now a masterstroke I feel is in Jiang's writing and direction that makes both scenes likely are falsehoods of frustrated memories, however Xia is essential in realizing this failure of the past as a broken boy in reflection. Xia work finding this balance in the joys of remembering a nostalgic youth, and also the pain of replaying the failures of the past that can never be rectified.

Alternate Best Actor 1994: Temuera Morrison in Once Were Warriors

Temuera Morrison did not receive an Oscar nomination for portraying Jake "the Muss" Heke in Once Were Warriors. 

 

Once Were Warriors is a powerful, though brutal, viewing experience that focuses on a dysfunctional family of Maoris in New Zealand. 

I'll admit I went into this film without any knowledge of it whatsoever. This as we see the opening of the family living different lives including Temuera Morrison who at first seems just like potentially, the slightly rough, but charismatic dad who is just hanging around with his mates. Morrison brings a larger than life power within his presence here. He's just the life of the given room as he matches really this personality intensity as we see his hard drinking Jake living up his life, though early warning signs begin as he seems to have little interest in the rest of his family, including his oldest son whose joining a gang, his younger son who is sent to juvenile hall or his daughter who seems to live life in a slight depression per her surroundings. Morrison though portrays Jake seemingly still having the time of his life and Morrison projects that joy remarkably in making you believe that might be the case for him. This though is harshly set aside when his wife Beth (Rena Owen), questions verbally many of his recent decisions, such as getting fired. When immediately happens is startling to understate as Morrison instantly unleashes a feral intensity. A feral intensity without caution or concern as he brutally beats and later rapes his wife. Morrison presents it without hesitation rather almost a purely animal reaction built within such a palatable sense of bitterness in his eyes as he commits his heinous crime. 

Morrison effectively bluntly shows the hard edge as we see essentially the hangover as he delivers each word even afterwards with a disregard both for his previous actions and towards any actual concerns for his family. Morrison's portrayal is hard to watch but convincing in showing just a festering anger that defines the man who is either looking for a good time or for someone to blame. Where some films I think  struggle in depicting truly toxic relationships, is within the idea of how the relationship existed to begin with. Well in this instance it shows again so well how relationship exists between Beth and Jake because of the performances of the actors. Morrison is great in a few scenes later where Jake seeks to reconcile. He portrays a real charm and quiet warmth in the moment. There is a sense of how he won her over to begin with with the calm earnest sweetness Morrison brings in the moment of showing his love for Beth, even if far more so a manipulation. Morrison though is wholly convincing in realizing the reconciliation. He doesn't suddenly make Jake a good man, rather he realizes the attractive qualities of the man, and how they would once again put a veil over Beth's eyes to his true nature of a person. Seemingly though Jake's better side is prevailing for the moment as he agrees to take Beth and the family to see their son in juvenile hall. 

Morrison again shows the appeal of Jake as even as he sings along with the car there is a real endearing cheer to Morrison's' work. He almost wins the viewer over to his seeming reformation like he is in some way a better person. There's a great moment where with the family where Jake and Beth recall their relationship. Morrison speaks the initial words of pride in taking a "prized" woman from her proud heritage of Maori warriors. As he continues to reflect on the idea, including his heritage of slave Maoris, Morrison eyes create such a palatable sense of bitterness. There again is that hatred even in him still even as he is not just yelling. Morrison revealing the considerable chip on the man's shoulder we witnessed quite loudly beforehand but now nearly silently. Morrison in this reveals the nature of the man, a man he portrays almost essentially driven by ego. This as he's not finding joy to think about all his failures in life through drinking and the like, which Jake ends up choosing to do rather than seeing his son, he rages against them. This though specifically as how it all revolves the man and only him. Morrison expresses joy only when nothing interferes with himself, but when it does, it is with a strict dissatisfaction. Morrison so well realizing the machismo of the man, that while won over Beth in the past, now rules the man's behaviors towards reacting with violence first and never thinking about it later. This as even as we see tragedy come to the family, largely due to Jake's selfishness, Morrison's reactions is essential. This as he manages to convey a degree of grief, but it is almost hollow. This as Morrison expresses as much with just still a general rage of something getting in the way of living life as his broken pride dictates. Morrison's great in this in managing to find humanity within the character, but a venomous humanity. This as we consistently find the man defined by his cruel actions and his senseless actions built around his fragile ego. Morrison gives a striking turn here by finding depth within the role of Jake without even for a moment limiting the character's terrible nature.

Alternate Best Actor 1994: Kevin Bacon & David Strathairn in The River Wild

 Kevin Bacon did not receive an Oscar nomination, despite being nominated for a Golden Globe, for portraying Wade nor did David Strathairn for portraying Tom in The River Wild.

The River Wild is a dated though more than decent thriller about a family going on a rafting trip who unfortunately come randomly in contact with some thieves making an escape on the same river. 

So return back to the reliable Kevin Bacon. Bacon is an interesting case in that I'm not sure I'd call him fully underrated, but one could easily make the case for him to be deserving of being an Oscar nominee, though probably a one time Oscar nominee would suffice. Speaking of one time Oscar nominees, we have David Strathairn here as well, an actor of kind of similar caliber even despite that previous aforementioned fact. Here we have them playing dueling leading roles, though Bacon was campaigned in supporting for this film, as the man who initially shows up at the start of the trip. The man who seems to be such a friendly stranger that you know he's gotta be up to no good. Bacon though is pretty good in bringing on the charisma here however. He finds the right ease about it that even within the obvious setup, Bacon delivers on the setup in making his Wade genuinely charming before he's going to really reveal himself. Now Strathairn on the other hand plays the overworking husband to Meryl Streep's rafting expert Gail, and father to Joseph Mazzello's Roarke. Strathairn being rather ideal as the "boring guy" in the early scene, having that sort of pressured manner that is just ideal of a man whose thoughts seem to be caught on elsewhere as the film opens, and he initially claims to be unable to make the trip. Strathairn's just one of the actor's whose presence is just ideal, and frankly you expect he could be some footnote in the film to be forgotten form much of the proceedings. This just as you believe Strathairn strictly as the "forgettable" guy, though he's not a forgettable performer. 

Bacon is good at playing up the charm adding a bit of southern twang similar to his JFK work though downplaying slightly here to ease into some sort of generalized idea of the potential other man as Gail has second thoughts about her marriage due to her husband's focus on work. Strathairn on the other hand is wonderfully goofy and seemingly out of his depth as he initial shows up last minute to the trip. As the early scenes go on we get the minor flirtation well played by Bacon with a sense of manipulation in the approach. Strathairn takes a convincing approach in portraying the combination of Tom's frustrations with his wife's interactions with Wade, and even his son getting too comfortable with the other man. As the scenes go on though Strathairn naturally realizes the more charming sides to charm. What I like about Strathairn's work is that without the obsession of either work or jealousy, he shows that Tom isn't an entirely different man however there is just a gradual warmth that reveals itself within the frame of the pretty straight laced guy. Strathairn brings the right earnest quality to this making the moments of reconciliation with Streep genuinely a strong scene. This as they realize a strong chemistry, after purposefully having a more strained one, both creating the right sense of intimacy in their interaction and just the right degree of playfulness in the moment. Strathairn's performance working as really kind of quietly revealing the greater depths of what we initially take his Tom as, one thing, but he is more. 

Immediately after the reconciliation we hit the overt thriller element as Wade and his partner Terry (John C. Reilly), reveal themselves as thieves and Wade being a gun touting killer. I'd say in these scenes Bacon borders on going over the top several times, I'd say though he basically hold back, though some of his specific readings maybe go out of bounds just slightly. Still Bacon brings a natural intensity and viciousness that works well for the role creating the right sense of menace in his work. Strathairn I suppose is a bit of a balance to Bacon as he stays in a strict reality where Bacon's work is definitely that of a 90's thriller, both in a good way and a more dated way. Strathairn though is terrific in bringing an honesty to the thriller element by showing both a real fear but also sense of persistence within his character. His silent reactions add up to a great deal in bringing the intensity of the scenes, just as much, if not more so, than Bacon's performance. This as any given scene of threat Strathairn makes it real. This in showing that while Tom is more than meets the eye he also isn't some superhuman.This in the most overt thriller scenes he shows the very real fear of the threat of death in every expression. Now the film, while doesn't become bad, gets a little repetitive in its third act as we keep getting Wade flopping around as Gail tries to trip him up on the river, meanwhile Tom trails behind trying to surprise Wade downriver. This doesn't give either too much to work with, but I'll give particular credit to Strathairn in doing his best to make these scenes compelling by consistently granting them as the actions of a normal man even as he goes to these great lengths. These as every moment of climbing a cliff or taking a leap, his work brings a strict sense of both the conviction of the character in his eyes, while also making the sense of danger still within at the same time. Bacon's work becomes less memorable during this time, though he makes up for it in his final scene. This as he takes upon the best sort of quiet repentant tone as he tries to trick Gail. Bacon's delivery being wonderful insincere while being sincere, before quickly reverting back to his true vicious nature for the final moment. In the end both Bacon and Strathairn, the reliable actors that they are, give fine performances here with Bacon properly realizing the expected trappings of the genre, while Strathairn doing his best to try to elevate it. 

Alternate Best Actor 1994: Ge You in To Live

Ge You did not receive an Oscar nomination, despite winning Cannes, for portraying Xu Fugui in To Live.

To Live is a powerful film that follows a couple through years of upheaval in China during the 20th century. 

The films of Zhang Yimou, well his non Wuxia films, seem to seek to grant a real humanity to stories that could potentially be examine in a detached sort of reverence. This is appropriate than that this film is called simply to live, as that is what we see these people do in the husband Xu Fugui and his wife Jiazhen (Gong Li). The film reminded me a bit of Farewell My Concubine, also starring Gong Li, from the previous year and a bit of Masaki Kobayashi's masterful The Human Condition Trilogy. The notable difference with the former are those people were isolated slightly in the world of Chinese opera, and from the later in the protagonist who attempted to make a difference within a oppression regime, the protagonist here is less active. We in fact open up with Ge portraying Xu as basically a bit of a fool. This where he is spending all his money and losing it quite quickly in one bet after another. Ge's performance has a nice bit of foolish endearing quality in it. This as there is this dumb type of optimism as he tries to make every bet with eyes that suggest a man who genuinely thinks he will suddenly win any time now. Of course in fact he loses all his money and even his wife with his non stop betting, and Ge's reaction is less horror and more bafflement from a man who takes quite awhile to fully comprehend much of anything. 

Eventually he wins back Jiazhen's good graces finding himself a father. Ge's performance finds though the same foolishness though creates the same sense of purity really in his warmth with Jiazhen. It is a simple given that he loves his wife and the chemistry between them is sweet even as Gong suggests her sense intelligence that is accepting of her husband's foolish behavior. Now as the film proceeds we do see the two of them go through history, and what Ge's performance really emphasizes is the simplicity in which Xu goes through all this complex history. We find this as he has to go off to sort of fight in the war, though Xu mainly moves around artillery and reacts to the deaths of other. Ge's performance though is moving in portraying the simple reactions of Xu to these deaths. He's distraught however just with general sadness rather than any sort of change in his sort of spirit as a person. We see him as he continues to react with the sense of just a very average man, who takes in no great sense of the greater sense of the world, he's just part of it. Although with that one can run into a little bit of Louis's reviews bingo, and I would qualify To Live as a director's film. This as the depiction of Xu is largely offering this specific perspective not of the actor but the reactor of what is occurring around him. A small part of a larger tapestry who goes along with the world around him. 

We see this as he sort of side steps both the communist revolution and the cultural revolution. In both Ge is good in bringing a sincerity of a man just trying to go along by getting along. He makes his meager living, occasionally through shadow puppets, as a loving father and husband and just really that. Even in the moments of speaking to the party lines demanded by the communist party is with just  a carefree quality of obeying what society currently expects from him. Unfortunately this twice leads to tragic consequences. This first as his son dies in a tragic accident when he is sent to do dangerous work as required by the party. Ge is quite moving in showing the sheer devastation of the reaction. Although I'll say in this instance, and later instances Gong's reactions tend to be more dynamic of the more dynamic person. Whereas Ge as Xu shows the reactions still of the simple man, who even when reacting to the man who caused the death of his son, Ge's portrayal takes in this idea but even shows Xu reacting as basically as he can to it to still maintain some internal peace within himself. Tragedy strikes again, again caused by communist policies that leave children in charge of childbirth, and again we see the dueling reactions to the death of their other child. Ge is moving, but Gong keeps the stronger more potent reaction. Ge though again is truthful towards the role as he shows this wonderfully simple guilt about accidentally feeding an actual experienced doctor, brutalized by the cultural revolution, too much. Ge showing still the nature of the man just to take the personal route of least resistance even in expressing guilt. It isn't as a man who avoids it, rather he just experiences it almost with a childlike clarity. This is a good performance by Ge You, but I will admit other elements of the film left a greater impression on me.

Alternate Best Actor 1994: Tom Cruise in Interview With The Vampire

Tom Cruise did not receive an Oscar nomination for portraying Lestat de Lioncourt in Interview With the Vampire. 

Interview With the Vampire, which tells the story of the life of a southern plantation owner as a reluctant vampire having been turned by a far more eager vampire.

Much casting controversy ensued in the casting of star Tom Cruise in the role of Lestat from source material writer Anne Rice. Cruise, though still had some forays away from it beforehand, largely was working within crafting and maintaining his still ongoing star persona. This persona that in no way has anything in common with the fancy vampire who loves being a vampire in Lestat, seeming more befitting a more off-beat actor perhaps just on the surface. The thing is though despite Tom Cruise being a great star, he has shown the ability of an actor throughout his career. I think perhaps Rice should've been more concerned by Brad Pitt in a more standard leading part as Louie, the more reluctant vampire, where he seems a bit lost at times particularly in the early scenes of the film, more so than I feel is the intention for his character, whereas Cruise seems right at home. Now as usual though Cruise's portrayal actually isn't entirely alien to his star persona as one would assume, though this is probably one of the bigger stretches of his range. This as Cruise does do an accent here, smartly he doesn't overplay his hand fashioning a slight English accent, perhaps better described just a historically refined accent that honestly simply works for the part. It does more than that though in that you can easily accept him within the role with that touch. This furthered by his physical manner here that takes a distinctly classical patrician manner, that again Cruise is believable in crafting and importantly consistently realizing his Lestat as a classic vampire villain, of sorts. 

Now where there is an overlap between Cruise as his persona and in the role. This is that Cruise typically delivers a particularly type of intense personality. Intensity though specifically related to a personal drive that almost comes through in every Cruise performance, this one included. The difference here though instead of trying to win a race, hustle pool or be the top gun, he wants suck blood, a lot of blood. Cruise's particular intensity serves the character as his eyes just have that certain manner of a man, well a vampire, who lusts for the undead life of the vampire. Cruise's sort of energy he brings is ideal in crafting this idea of the man who just loves the state of being as such. His initial intention in trying to get the moody Louie to be part of this life with him. Cruise makes this a particular sort of villainy as he brings that star presence but instead wields it here as part of the power of the persona through that willingness just to go head first, into a feast. Cruise's performance really is quite essential, as the film takes quite awhile to find a plot, more of just having random acts of vampirism for awhile. Cruise though is what makes these engaging as throws himself into every scene, and honestly, in a rare instance of it, I kind of forget its really Cruise in this part despite technically having those remarkable traits of his presence present. 

The film finds its direction once Louis randomly bites a juvenile plague victim and Lestat blithely turns the victim into a vampire, Claudia (Kirsten Dunst). This where we have the two vampires becoming parents of sorts to the little girl slowly becoming a woman stuck in a little girl's body. Cruise is fantastic in actually managing to find the right balance in these scenes between a flamboyant humor and actually selling the general concept of it. This in portraying Lestat's genuine fascination with the new vampire, as he did with Louie, and the sincere, though devious, joy that Cruise portrays in every fiendish smile of his. This though with a certain cheekiness that is overtly comical when scolding Claudia for randomly killing people, and Cruise again plays it nicely with that balance he finds. Eventually though Claudia turns on Lestat attempting to kill him leaving a more feral vampire in the wake. Cruise once more does not lose the state of the character showing sort of those edges of viciousness in his manner as it comes full front. This switching to sort of the overt monster which Cruise pulls off with a genuine ease. Cruise then disappears for much of the film, with only an enjoyably creepy Stephen Rea to pick up the slack, before appearing in the denouement. These are two scenes honestly at odds against each other one a more repentant Lestat recognizing his past mistakes and the other a flamboyant return to evil. As much as there is the hypocrisy Cruise is effective again in showing an even more dreadful state in presenting Lestat with none of his pomp or circumstance to hide behind. Cruise finding just the right hint of a depth there, carefully not showing a fully regretful side of Lestat but at least a slightly understanding one of how he got to his dismal state. This against his final scene where Cruise is magnificent again in just throwing himself into the sheer bliss again at Lestat embracing his life again. Despite being at odds with his previous scene, it works because of Cruise's performance again that honestly owns both the role but also the needed tone for the material. He shows that quite frankly Lestat enjoys himself too much to really ever better his ways. Again I think it is almost easy to forget that really none of this should work on paper, and in a way one can understands Rice's concern. Tom Cruise as a flamboyant vaguely European vampire does sound positively ridiculous, but Cruise not only pulls it off, it does it to the point you just accept the character and forget this is Tom Cruise, which is something quite special in itself.

Alternate Best Actor 1994: Shah Rukh Khan in Kabhi Haan Kabhi Naa

Shah Rukh Khan did not receive an Oscar nomination for portraying Sunil in Kabhi Haan Kabhi Naa.

 

Kabhi Haan Kabhi Naa is a decent enough rom com musical about a day dreamer musician and naturally the woman he wants to woo.

Shah Rukh Khan plays the ne're-do-well "hero" who dreams of marrying the woman he loves Anna (Suchitra Krishnamoorthi) though really without much of an honest plan. Khan here has the requisite qualities for such a role as the loafer romantic. This being a charm and eagerness that ensures likability while it would be quite easy to dislike his character without those qualities. Khan brings the needed goofy sort of energy though to his portrayal. This throwing himself head first into the musical numbers with a lot needed cheer and just in general finding the right sort affable qualities of the character. This even in presenting the character's dreaming with the right sort of sloppy optimism. There's a distinct lack of thought in Khan's reactions that are kind of needed in portraying the man who really doesn't have any real plan to achieve his goals, but rather thinks he can just sort of dance his way into her heart. Khan's natural charisma carries us past really the more despicable elements about this, and properly sets us up for buying into his foolhardy endeavor. 

His endeavor that is indeed that. A method most questionable as so many a romantic "hero" goes about engaging in deception to win his love, here in sabotaging Anna's own suitor. Although unlike many he actually gets called out for his nonsense. Khan's good though in showing really the honest spirit behind the actions in presenting the pretty straight sense of love in his eyes in the moment though while also not hiding the emotionally shallow manner in which he decries her suitor and lies as boldface as possible. In the latter though he ease nicely by playing it with frankly enough, well stupidity, to present the right kind of naivety in the deception. This as Khan makes it the actions less of a master manipulator and far more so a sloppy fool with a bad plan. This as though Sunil is rejected for this approach and kicked out of his band, as Anna and the other suitor was a fellow member of it.. Only being able to rejoin through the old fashion musical rescue during a  disastrous performance, however still leaves him as the unloved one. Khan's genuinely moving though in the moments of reflect on his state of sadness just showing the blunt heartbreak of it all, fitting for an overt romantic such as Sunil. Although I do think this film suffers from the flaws of many of this ilk, that being it is overlong, but Khan's work is consistently winning in portraying the transference from the petulant romantic to a more mature one as the story goes on. This as not following traditional expectations Sunil isn't meant for his intended love after all. Khan is effective in showing the maturity even within still keeping that energetic charm. This as his reactions convey more so an understanding of really all those around him rather than that singular focus upon his sole goal. Khan's work finds the gradual increase in really the nuance in the character while importantly losing none of his charm. This in emphasizing really that sense of real introspection and empathy that ends up being rather moving. This as he manages to express the action of someone blindly in love, then later truly in love. In earlier aspect Khan being a properly endearing fool, then later a heartbroken, but honest man. 

Alternate Best Actor 1994: Brandon Lee in The Crow

Brandon Lee did not receive an Oscar nomination for portraying Eric Draven aka the titular character in The Crow. 

The Crow, for being a superhero film pre-coup de Superhero, is a decently effective, if dated and a little rough around the edges, atmospheric film about a man coming back from the dead to seek revenge against his, and his fiancee's killers. 

The career of Brandon Lee, the son of the legendary Bruce Lee, can sadly only be mentioned with the same note of tragedy same as his father. Although perhaps even greater given that it continued to the next generation and whereas Bruce was able to shine brightly, albeit so briefly, it was in this film that likely could've been his breakout sadly led to his death. His death resulting from a freak on-set accident that depicted his character's onscreen death. Lee though had completed much of the film before this enabling the film to be finished with some changes. This enabling one to see the lost potential within Lee's performance. There are a few flashback scenes with Lee pre-Crow as Eric Draven as just an average guy with girlfriend, and Lee brings a nicely lightly charming qualities to these moments. Lee playing them without overt style just rather as straight forward in showing the normal life that was broke. He takes a generally likable that rightfully distinguishes these moments from the majority of his scenes as the vicious spirit of vengeance version of Eric Draven, the white face painted, black leather sporting The Crow. 

A performance that I would say genuinely surprised me in parts for the different sides Lee brings within the role that is more than just an iconic look. This though we get his opening revival which is sort of a classic creation of a monster moment, though a bit more based around emotional anguish. Although I would say this really is a warm up as Lee's anguish is believable enough it doesn't really quite hit you in the moment with the visceral need you might want, this might be in part because you barely even know the character at this point given we really get a sense of the guy after he's already dead. Lee's performance, fittingly I suppose, comes to life once he becomes the Crow. This as Lee doesn't play the part as a hero, but in many ways how a villain might be portrayed in a more mainstream comic book film. Lee though is magnetic in the moments of the true spirit of vengeance. This as he brings the real intensity needed in his eyes more so a monster than a man. He delivers a viciousness about and offers the sort of sense of the need for vengeance that fuels him. What takes his performance further though is the real grunge style he offers. This as Lee, for the lack of a better word, is cool here in portraying the moments of Draven menacing the bad guys who killed him. There's a joy in his slick smiles, but really a rocker type style just in his movements and manner that gives the character a unique sort of life. 

 

He's not one note of dread, he is that, but there is that much needed style that Lee thrives with. As the film goes on, in kind of a Robocop sort of way, we do get more glimpses into the humanity of Draven even beyond the flashbacks. These mostly being found in his relationship with a good cop Sgt. Albrecht (Ernie Hudson), and a near orphan Sarah, who knew Draven and his girlfriend before their deaths. Lee handles these scenes well as he switches from his cutting voice of a demon, to that of a man when he interacts with both of them particularly Sarah. The switch Lee uses well as Draven basically becoming his old self in these moments represented by his voice but his whole manner. Although the scenes are relatively simple, there are genuinely affecting moments as Lee recaptures a sense of warmth in these very quiet scenes that he plays well by playing them so sincerely as the good man beneath it all. Although his arc is very rushed, there is a certain vulnerability that Lee delivers in the final climactic battle to help distinguish the final act of vengeance from the rest. This in no longer playing him really as the demon killing the men who killed him, but rather the man delivering justice. This in his final fight with the final boss (Michael Wincott), Lee in a way merges the two sides to still find a certain menace in his presence but with a greater humanity in the actions. Although I wouldn't say this is a great performance, this is a good one. Lee realizes the tricky role effectively, with that sense of style, but also just enough depth to back it up. The performance suggests a leading man in the making, and it's a true shame we never got to see it realized.