Alternate Best Actor 2012: Mads Mikkelsen and Mikkel Følsgaard in A Royal Affair

Mads Mikkelsen and Mikkel Følsgaard did not receive Oscar nominations for portraying Johann Friedrich Struensee and Christian VII of Denmark respectively in A Royal Affair.

A Royal Affair is a terrific period piece following the relationships in the royal court of Denmark during the 18th century.

The film opens following the new Danish Queen, from England, Caroline Matilda (Alicia Vikander) as she goes to begin living with her husband King Christian played by Mikkel Følsgaard who I can best describe as a minor lead. This being because Christian is set up from the start to being mostly a pawn of the other players of the court. Følsgaard in turn presents Christian early on as basically a child a play, though he happens to be at play with all the wealth and resources possible around him. Følsgaard's performance is properly thin and petulant in these early scenes as the film sets up the troubled relationship between the Queen and the King. Følsgaard handles this quite well creating the insufferable state of someone who has always gotten what he wants, as in an early scene where openly criticizes Caroline it is the raving of a brat not a King. Even when Caroline sees Christian going off with a mistress Følsgaard let's out this cat hiss in response that he makes natural because it is so fitting to the man child that is his Christian.

Mads Mikkelsen as the true lead of the film comes in a little later as a foreign doctor Johann who is recruited by former court members hoping to gain favor with the King once again. Johann's method is by becoming the king's personal physician. It's always a good thing to see Mads Mikkelsen in a film it seems even a better thing to see him in a leading role. Mikkelsen is captivating in the role even in his relatively unassuming early scenes, achieving something very important in his personal presentation of the doctor. In that Mikkelsen avoids any stuffy notions of the period or a period piece for that matter, yet he avoids feeling overly modern either. Mikkelsen finds the right balance which he uses to suggest the progressive mind of the man just in his very manner of being. His earliest scenes though are as he goes about finding his way into the good graces of the king. Mikkelsen conducts himself as Johann as sort of the best possible confidant, as he brings a warmth in his interactions though with this certain grace though that keeps him from seeming to be a sycophant.

Følsgaard and Mikkelsen's chemistry is actually very key to the film in the creation of the unique relationship between the two, which isn't as simple as king and servant or even as two friends. Although he does have that warmth of a proper confidant Mikkelsen doesn't make that a meaningless thing. It's this interesting command that Mikkelsen conveys in the relationships as he dominates their interactions with one another. Mikkelsen though is careful in that he in no way portrays this as truly manipulative of the doctor, even though it technically is. He shows the care that Johann gives to the king is genuine but with it he asserts his role of more than just a guardian. Følsgaard in turn again stays very much with his portrayal of the king as more than anything a fool, and in many ways a simple minded man. Følsgaard does not use this to give a one dimensional turn but instead finds truth within this attitude. In that Følsgaard offers the first bits of sympathy for the king by depicting such earnest appreciation in his interactions with the doctor, showing the appreciation the king has for a man who wishes to do what is best for him.

Of course Johann's relationship with the Queen is equally important which begins rather coldly as Caroline views him merely as one of the king's lacking at first. Her opinion changes though when Johann finds a dead commoner. This is a great scene for Mikkelsen as he also uses it to show the viewer essentially the sincerity of Johann beyond a doubt. Mikkelsen brings such a quiet yet powerful passion in portraying the severity of his outrage, yet also the tenderness in treating the dead man. As Mikkelsen carefully shows the wholly genuine humanitarian that is the doctor. Mikkelsen makes the switch in Caroline's view of him convincing yet he and Vikander go further to develop the budding relationship between the two. This is often unsaid yet both effortlessly convey the mutual attraction and affection the two share. Mikkelsen's work though again avoid simplification of turning Johann into some sort of lothario. This is in making the affections honest, but Mikkelsen adds more by having the small hesitation in his moments of showing that love, properly representing the doctor's fear knowing where the affair could lead him, and by doing this he grants the situation a greater meaning.

As Johann gets in greater graces with both the king and queen separately, he earns the disdain of the established power. Johann begins to attempt to improve the plight of the common people by influencing the king and again Mikkelsen excels in these scenes. As he makes Johann's suggestions again not that direct manipulation but instead subtle encouragement for the king to be a better leader. Mikkelsen actually even has this idea of affection in the treatment of the king, showing someone who believes in him. Følsgaard's in turn doesn't portray this extreme change in the king to a smarter man really, the relative simplicity of him is properly a constant in his performance, but what he does do is growth in the king's empathy by the empathy shown for him. Følsgaard's best scene comes when the the established council, where the king beforehand has had no sway, attempts to exile Johann. Følsgaard's terrific in the scene as he is able to depict the way the king finds his confidence just as they try to take away Johann. It's powerful moment as Følsgaard portrays the effort it takes for the king to break out of his usual state.

The king not only prevents Johann's exile but eventually gives him the power to be essentially the de facto leader of Denmark. Where Johann rules by a series of reforms. Mikkelsen, even as Johann seizes absolute power, portrays Johann a man of duty rather than a man of power. Mikkelsen does this by providing not a hint of joy in his success rather always providing the burden as he attempts to do his good while facing severe opposition by the establishment as well as the press that demonizes him. This leads to an early tension when a story tells of Johann's affair with the queen, and Følsgaard's very good in the accusation scene by portraying a controlled anger in the king. In that he reacts with the rage you'd expect though Følsgaard in the rage shows the king attempting to find some way to forget the "lie" by an explanation by Johann. The king receives such, but the rumors persist until a few coup is undertaken by the old guard which leads to the exile of the queen and the execution of Johann.  Følsgaard has little to do in these final moments but uses them. He shows the king reverted back to his weakened state but not as quite the same petulant fool he once was, having learned something from his time with Johann. He brings a somberness reflecting the regret in the king over losing his friend and essentially his kingdom. The highlight of the concluding scenes is the execution. A large part of that being because of Mikkelsen's outstanding portrayal of it. He gives the scenes such a visceral edge, even though we don't see the killing, by so effectively realizing the terribly fear as Mikkelsen physically shows a man just barely holding from breaking down. It is a heartbreaking scene as Mikkelsen presents the sheer devastation in Johann in final moments as he is left with nothing to hold to. Følsgaard's work should not be hand waved as it very good performance within the limitations of king Christian. Mads Mikkelsen though is the standout through his always compelling and complex portrayal of the ill-fated good doctor.

Alternate Best Actor 2012: Toby Jones in Berberian Sound Studio

Toby Jones did not receive an Oscar nomination for portraying Gilderoy in Berberian Sound Studio.

Berberian Sound Studio follows a sound engineer as he works on an Italian horror film. I appreciated it more as an exercise than as a wholly satisfying film.

The film is centered around Toby Jones, the reliable one of a kind character character, whose pretty much guaranteed to bring something to the films he's in no matter the size of his role. It's always a pleasure to see whenever a character actor of Jones's pedigree gets a leading role. It's funny here though that Jones sort of plays what would often be a supporting character in a film about film making, though this film focuses on the sound design for an Italian giallo film never seeming to leave the studio where they are making the tracks for the film. The role of Gilderoy even with the film is a curious one, as even though he's the main character, his presence within that is often off to the side against the diva actress, the mean producer, or the sleazy director since he is often unaware of their internal conflicts by the group since they are so often speaking in Italian around him. This leaves Gilderoy in a very strange position as he attempts to do his work on the film.

Jones also acts as our entry point into the Italian studio as he tries to discover what he'll being doing exactly, while we try to see what the film is about exactly. Jones is very good in these early scenes as he realizes the unease of this unknown as Gilderoy tries to acclimate himself to the studio. This is made all the more difficult through Jones's realization of Gilderoy's introversion. Jones is terrific in this regard as he makes it such a natural element to his work which he doesn't overplay though. He shows the way that Gilderoy never quite looks anyone else in the eye, and Jones delivers his lines often with a rush as he struggles to pace his speaking to the normal societal standard. Jones doesn't though go so far as to make Gilderoy this creep though, and does offer a sympathetic bent to this state of the man. Jones makes the awkwardness unintentional as he should be, and shows well the way that Gilderoy does attempt to speak with a greater ease, he just struggles with it.

Jones is pivotal in creating the atmosphere of the film as he manages to offer that outsider's state of mind in the place, which is made worse through his introversion. Jones reveals that difficultly in trying to even be part of the group he's working with, which extends further than his personal awkwardness. Jones conveys that underlying, quiet fear, of the unknown as even his reactions to the Italian speaking is important as Jones so well shows that state of disconnectedness. Jones creates this so well as he does allow Gilderoy to be an empathetic figure through the honesty of many of his reactions. One in particular is when Gilderoy is seeking a little reimbursement for his airplane ticket from the producer and he is brutally chewed out. Jones portrays so well the way this only worsens Gilderoy's state and only seems to further place him on the outside while being stuck within the studio that slowly seems to be some of purgatory if not hell for Gilderoy.

The only reprieves that Jones shows are in the form of letters from his mother, about chicks, and at times when he is left to work all alone. Jones subtly in his eyes conveys so well the bits of solace Gilderoy finds in these moments yet he even makes these somewhat cruel by the brevity of this time. Jones will show this only lasts when Gilderoy is left to himself but the moment matter of the film comes back, he backs into that state. Jones not only helps to create the atmosphere but also balances it with the pivotal human factor through his depiction of Gilderoy's experience. He offers an understanding to the man and the situation even as he becomes more and more unwieldy. A great deal of the horror comes in Jones's reflection of the oddly painful situation, as he is able to show that terror that is most unpleasant as he's not even quite sure what it is he's afraid of. There though seems to be something off and Jones grants this all the more power by offering such a genuine, even if unique, presence. One of the most unnerving moments is when Gilderoy has a call to the outside where he is told his plane ride he took to Italy supposedly never happened. Jones makes it such a chilling moment by finding the confusion within Gilderoy as the fear in the man begins to surface. I will say the film doesn't wholly make use of what Jones is doing as it begins to get swallowed up by its own style, though at least that style is good, and loses its way a bit. Jones maintains his compelling performance right until the end as he brings Gilderoy at least to his end in his strange hell. Jones internalizes the emotional desperation in Gilderoy as he becomes all the more broken, yet all the more silent in his pain. Jones's performance is worthier of a stronger film, though this isn't bad one. I do feel a better film could have allowed Jones to take this role even further. As it stands though he amplifies the film's best elements through his ability to realize the horror and humanize it.

Alternate Best Actor 2012: Matthias Schoenaerts in Rust and Bone

Matthias Schoenaerts did not receive an Oscar nomination for portraying Ali in Rust and Bone.

Rust and Bone is an effective film which follows the relationship between a poor amateur boxer and an Orca trainer who lost her legs due to an accident.

The last time I reviewed Matthias Schoenaerts it was for his great work in Bullhead as Jacky a man who spoke with his body and his fists more often than his mouth. Once again in a leading role Schoenaerts plays a deeply physical role, though this time as a rather different character in Ali who perhaps lives in a more typical situation. Ali after all is introduced in a series of scenes depicting him, along with his very young son Sam, going to live with his older sister. There is nothing notable at first about Ali other than the man is obviously living in poverty. Even with this poverty in mind Schoenaerts is dealing with a less innately troubled soul here as shown when we follow him as he begins work as a bouncer in a club. This is where Ali first comes across the Orca Trainer Stéphanie, before her accident, played to perfection by Marion Cotillard as usual. Schoenaerts brings such considerable charm this time around, playing so well an innate likability within Ali in this interaction. Unlike in Bullhead, purposefully so there, Schoenaerts is able to capture a more extroverted spirit and does so effectively by providing within the charm this underlying concern that makes Ali all the more appealing.

Outside of that potentially romantic setting though we see the rest of Ali which Schoenaerts paints in less appealing strokes. What Schoenaerts does here though is avoid any simplification in his portrayal of Ali the rest of the time. This is particularly notable in his scenes with his son Sam where Schoenaerts creates the complexity of the relationship in his performance. He carefully portrays the sort of affection you'd expect from a good father when ever he is interacting with his son in a carefree situation. Whenever his son though requires Ali to directly inconvenience himself and has to deal with the responsibility of his son Schoenaerts reveals a worse side to Ali. He doesn't reveal a different man though in that he manages to portray not an exact contradiction. Schoenaerts instead directly portrays this lack of maturity within these interactions. As he presents Ali's frustrations as these quick reactions without any thought behind them.  Schoenaerts in these moments depicts a lack of sort of the logical connections within Ali as it's less being a bad father, though it is that as well, but rather being detached from the idea of being one.

Schoenaert's performance in those moments even interestingly causes you to reexamine his seeming charm from earlier. Although Schoenaerts does not reveal that to be a facade, he does show it to be Ali as man without concern, and that that charm most strongly comes out when in that state of mind. Schoenaerts seems to win the viewer over again though in the scenes he shares with Stéphanie as he sees her after the accident, and takes her to go swimming. Schoenaerts chemistry with Cotillard is something truly remarkable and unique here. In that in the early scenes they are together, past the first scene, they speak to one another certainly but that's not where the connection lies. The connection lies in the physical, and not only the most obvious aspect. The way Schoenaerts interacts with Cotillard when he is just helping around, particularly swimming in the ocean there is this symbiosis. The two seem so complete in these moments and there is this natural joy within the interaction. This does though extend to the obvious of an eventual sexual relationship as well. There is something so powerful in the intimacy they find that again is found within their performances that seem as one in the realization of the solace the two have within each other's presence in these moments.

Schoenaerts excels in terms of the physicality of his performance with Cotillard and his scenes where we see Ali fighting for money. Ali explains he's fighting for cash, but also something more which Schoenaerts seems to purposefully deliver this as a haphazard explanation. The far better explanation comes when we actually see him in the fight itself and Schoenaerts delivers the thrill of the moment as Ali gets into the action. In these moments Schoenaerts shows such passion in the heat of though just for the thrill of it, and it is with this though that Schoenaerts further develops the flaw of the character. In that with those moments purely of the physical whether it is fighting, swimming or sex, Ali seems to most connect with life, but Schoenaerts presents the problem with this though by garnering it some superficiality particularly with Ali's other dalliances. Schoenaerts makes the problematic nature of Ali quite intriguing because he doesn't condemn the behavior but rather the context of it. Even after it seems he and Stéphanie are beginning to connect Ali will go with another woman in front of her. Again it's interesting in that Schoenaerts makes this  understandable yet just as painful of an action, by showing Ali's failure to understand his behavior beyond a certain point.

Ali's often selfish ways though catch up with him as he accidentally gets his own sister fired from her job, and he is forced some other path. The film jumps ahead in time to reveal Ali attempting to become a professional boxer but goes to spend some time with his son who has been living with his sister. In their time together an accident occurs where Sam falls through ice on a frozen lake. Schoenaerts is astonishing in this scene as he captures the pure visceral intensity of the moment. The moment has such an impact as Schoenaerts is so within the scene in his powerful portrayal of the breakdown emotionally but he also captures the physical anguish as he exhausts himself to save his son. Schoenaerts is equally heartbreaking moments later as he speaks to Stéphanie over the phone and he finally reveals the man without any barrier of irresponsibility within him. Schoenaerts is incredibly moving as he depicts Ali finally connecting all the way through almost losing his son, and in doing so naturally completes Ali's arc to a better man than he had been. When we see Ali with Stéphanie and his son at the end of the film it is an earned happy ending. Schoenaerts earns it by so vividly portraying the man's moment of clarity.  This is a great performance by Matthias Schoenaerts on his own yet achieves even greater heights through the poignant and unique relationship he is able to bring to life with Marion Cotillard.

Alternate Best Actor 2012

And the Nominees Were Not:

Mads Mikkelsen in A Royal Affair

Mads Mikkelsen in The Hunt

Matthias Schoenaerts in Rust and Bone

Tom Courtenay in Quartet

Toby Jones in Berberian Sound Studio

Alternate Best Supporting Actor 1984: Results

5. Tim Roth in The Hit - Roth gives a properly entertaining performance in creating the superficiality of his young wannabe hitman.

Best Scene: The Hit.

4. John Candy in Splash - Candy steals his film with ease with his funny take as a pseudo lothario that makes his scenes the only scenes worthwhile in the film.

Best Scene: Listening in.

3. Denholm Elliott in A Private Function - Elliott is the funniest part of his film by taking the role overly seriously, playing his hoity toit doctor as a menacing pseudo-gangster.

Best Scene: Threat to the couple.

2. Kenneth McMillan in The Pope of Greenwich Village - McMillan proves himself a great character actor with not only his wildly entertaining portrayal of a intergalactic madman in Dune, but also this down to earth heartfelt honest portrayal of a small time criminal.

Best Scene: Saying goodbye to his wife.

1. Harry Dean Stanton in Repo Man - Good Predictions Michael McCarthy, and Luke. Well for me it came down to two great characters actors giving two remarkable performances within years were they gave kind of the opposite style in the same year. Stanton with his great lead performance in the low key Paris, Texas, and here in his extremely enjoyable absurdist tone as a veteran repo man. Honestly I could switch between the two down the road, but at this moment I'm going for Stanton's hilarious turn.

Best Scene: "You calling me an asshole?"

Updated Overall

Next Year: 2012 Lead

Alternate Best Supporting Actor 1984: Denholm Elliott in A Private Function

Denholm Elliott did not receive an Oscar nomination, despite winning BAFTA, for portraying Dr. Charles Swaby in A Private Function.

A Private Function is yet another off-beat film from 84 this time about a husband Gilbert (Michael Palin) and wife Joyce (Maggie Smith) getting into the complicated black market during food rationing in post-war England.

Denholm Eliott, in the second of his three consecutive BAFTA winning performances, plays the ringleader of the "nefarious" group secretly procuring food outside of the food rationing policies set by the government. Denholm Elliott is the funniest part of this comedy of manners because he plays the part the role less as a stuck up high class doctor and more as a crime boss not entirely unlike Michael Caine's Mortwell in Mona Lisa. Elliott's approach is to take everything so seriously that it ends up becoming more than a little hilarious, I won't say he quite plays it straight though because he doesn't exactly. There is a build up to this though as we see glimpses of his character as he is working with his "gang" of other well to dos who plan on getting their pork for a pivotal private function no matter what it takes, well maybe not no matter what. These guys though are pretty severe though it seems evidenced by Elliott's mere body language in these scenes as he sits with his darkened expression among the others, clearly the man of power, of course we're talking about the leader of a hoity toit dinner.

Unfortunately for doctor Swaby and his "villains" the new doctor in town, foot doctor that is, Gilbert accidentally comes wind of their hidden pigs who, egged on by his wife, decide to steal it in order to social climb. This leads to the doctor to be short of one pivotal main course for his dinner party leading to a break down among his gang. Elliott is hilarious in this scene, particularly the pained distress in his reaction at being suggested that they replace the main course with salmon. Elliott's great as he takes this atypical swing around as he plays it more mobster than snob in the viciousness he exudes in his speech against the changing mores of England. It is not entirely unlike Bob Hoskins's final speech in The Long Good Friday though of course Elliott's anger stems from having to share a little rather than due to losing everything. What I actually loved is that Elliott does not wink at any point in this playing the whole thing straight yet skewed still as a most ridiculous society man.

Elliott's best scenes come in the climax in the film where the men find their stolen pigs and must deal with Joyce and Gilbert in order to proceed with their proper meal on time. Elliott again stays with his oh so amusing approach as he brings so much intensity to the role. I with all sincerity hope Elliott played a legitimate gangster once since Elliott would be genuinely menacing in the role if his threats were more than just rather vague insults. Of course that is what makes Elliott so funny as he delivers his lines with the same type of determined hate you'd expect from a man who will kill to get what he wants, although of course the doctor really won't go that far. Elliott's subversion is quite something with the highlight being perhaps his version of Robert Prosky's speech in Thief since Elliott does not hold back directing his brutal words so effectively yet his brutal words basically amount to "hey nobody likes you, leave town". Elliott gives a very entertaining performance as he stays so true and consistent in his initial setup of portraying Dr. Charles Swaby as the most "merciless" of all dinner party hosts.

Alternate Best Supporting Actor 1984: Harry Dean Stanton in Repo Man

Harry Dean Stanton did not receive an Oscar nomination for portraying Bud in Repo Man.

Repo Man is a downright bonkers film, and I mean that in a good way, about a young punk Otto (Emilio Estevez) taking a job as a repo man in L.A. where strange things occur.

Harry Dean Stanton plays Bud the man who randomly recruits Otto to repossess a car on the street through a lie saying his wife's in labor and he doesn't want to leave her car in "bad area". Now just the way Stanton says bad neighborhood told me that I was going to be in for quite the treat with this performance. Although I guess the fact that it's Harry Dean Stanton in a prominent role should have already tipped me off of that. In fact old Stanton is even top billed here, though he is indeed supporting to Estevez's Otto. Stanton's bud though acts as the access point to the strange world of repossessions. Stanton's old scraggly mannerisms perfect for the seedy world of the repo as he dulls out his advice with this rough certainty. It is quite something just to have Stanton being the mentor character of sort to Otto, as Stanton does fulfill this though not in the way you may expect. Stanton's certain type of world weariness, although I'm not certain is quite the right word as Stanton doesn't suggest Bud's tired of the world just rather he's not terribly impressed by it.

Stanton's performance makes bud as though he's this hardboiled detective giving out information on the job though of course he's not a detective. Stanton's approach though makes what this advice is quite something to say the least such as telling Otto he needs to wake up early but also that all repo men are on speed which is then shown through Bud snorting drugs up with Otto. This performance is as bonkers as the film yet it's so special because of how down to earthish Stanton plays the role. Stanton is consistently hilarious in everything he does in this film in portraying Bud's gruff, rough yet fairly casual demeanor towards his job. Stanton's so funny in just being this hard ass type which is perhaps most evident when he comes across his rival repo man and whenever Stanton delivers a salty insult their way it's a little gem. One of my favorite moments though is perhaps his annoyed scoff when the two men threaten to sue them after he gets revenge by crashing into their car.

The consistency is perhaps though what makes this performance so good as Stanton's portrayal of Bud's unflappable attitude is what is so terribly  amusing about his work here.  I love the way that even when he gets ready to take on some store robbers he still deals with it like it's just part of his daily routine. This even includes when things begin to get stranger around one car that seems to have an alien presence within it. Ol' Bud decides to commandeer it despite it risking his life for it. When Otto presses him on his hypocrisy in regards to his earlier advice, that no car is worth dying for, Stanton makes it a moment of comedic gold as he portrays the anger specifically in Bud over being called an asshole indirectly by Otto since that's what he referred to people who risked their lives over cars. I loved everything about this performance to the point that I loved every second Stanton was onscreen. He's always doing something that is at least a little entertaining through his pitch perfect portrayal of the caustic Bud. Although this is a bigger role in ways, it's another of Stanton making such an impact with fairly limited resources. Every line delivery, every reaction, there's just that extra little something that could only be brought out by Harry Dean Stanton.