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Monday, 31 March 2014

Alternate Best Supporting Actor 1986: Brian Cox in Manhunter

Posted on 10:57 by pollard
Brian Cox did not receive an Oscar nomination for portraying Hannibal Lecktor in Manhunter.

Manhunter is an effective thriller, even though just like Michael Mann's earlier film made in the eighties, Thief, the soundtrack is extremely out of place for the most part.

Brian Cox was the first actor to play the role of one of the most famous onscreen serial killers Hannibal Lecter. Right from the outset there are some differences though not only because his last name is spelled Lecktor for some reason, but as well the film does not really make much of a mention in regard to his cannibalism even if he has the same first name. The character though does serve the same purpose of being the man an investigator goes to try to find out about something about another serial killer currently at large. This time the investigator is Will Graham (William Peterson) who successfully caught Lecktor and is seeking his help to try to understand a new killer nicknamed the Tooth Fairy (Tom Noonan).

Cox honestly goes for less the larger than life villain, although that probably contributed greatly to Hopkins turning the role into an iconic one, and more bluntly as a down to earth serial killer. Cox also plays him as a maniacal genius but in a far different way. In his first scene when he talking to Will in prison Cox plays his Lecktor as much more aggressive in his attack. He is less sneaky about it rather putting up his psychological games right to the forefront first thing. Cox delivers the game as much more a fast talking constant array of harassment toward Will. Cox method is particularly effective in making his Lecktor as man who is just constantly pestering and prodding for some sort of weakness, and rather interestingly does so with out the suave qualities Hopkins utilizes.

Both of them use there eyes very specifically in their performances and it is rather interesting to see the differences in their approaches. Hopkins keeps a constant stare as if Lecter is looking at their soul and that is his natural state. Cox rather shows it to be a put on just for will and it is quite chilling though. It adds to the blunt force intensity he brings in his Lecktor as it only adds to what he is trying to do Will. Both Hannibals want to be play a game, but Cox plays it like Lecktor honestly more like a real man who just wants to get as much pain out of a man he hates as possible. The intelligence of Hannibal is there too with Cox, but in oddly a less likable way as he is really more realistic suggesting a completely smug man who also is a psychopath to boot.

The only problem with Cox's performance is there is not much of it. He's only in three scenes and two of them are relatively brief. He's great in all in his own personal creation of Lecktor that manages a strong presence in the film despite the limited nature of the part that makes Hopkins in Lambs seem far more substantial in comparison. I really would have liked to have seen his Lecktor in the Silence of the Lambs storyline, as Cox definitely leaves his Lecktor with more areas to explore than what is seen in Manhunter. As it was though Cox in his brief time gives a disturbing depiction of the killer, and it is fascinating to see this rather different, but certainly a very effective take on the character.
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Saturday, 29 March 2014

Alternate Best Supporting Actor 1986

Posted on 20:46 by pollard
And the Nominees Were Not:

Daniel Day-Lewis in A Room With A View

Dennis Hopper in Blue Velvet

Brian Cox in Manhunter

Steve Martin in Little Shop of Horrors

Raul Julia in The Morning After
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Friday, 28 March 2014

Alternate Best Actor 1986: Results

Posted on 21:36 by pollard
5. Gene Hackman in Hoosiers- Hackman avoids the cliched route instead giving a realistic yet still inspiring depiction of the coach of the underdogs.  

Best Scene: Norman Dale convinces Shooter to help out on the team.
4. Jeremy Irons in The Mission- Irons gives a very moving portrayal by making his character's goodness only ever come across as genuine and very poignant.

Best Scene: Gabriel argues for non-violence to Rodrigo.
3. Gary Oldman in Sid and Nancy- Oldman rather surprisingly gives a mostly quit and always believably portrayal of his drug addled character. The louder moments though are well earned and effective in bringing to life the unique stage presence of Sid Vicious.

Best Scene: "My Way"
2. Harrison Ford in The Mosquito Coast- Ford goes wildly against type and completely succeeds. He not only disappears into the role, but he well gives a very compelling depiction of the growing insanity of a man who can see nothing other his own personal vision.

Best Scene: Allie insists a Nuclear holocaust has occurred.
1. Jeff Golblum in The Fly- Jeff Goldblum gives a great performance. He certainly fulfills the requirements of becoming the monster, but most importantly he always brings the humanity in the process. He brings you into this man's story every step of the way and creating a truly tragic depiction of a man who went too far. My whole top five is especially strong with Ford, Oldman and Goldblum as well as the two Oscar nominated guys Woods and Hoskins all being deserving of the win. Really it's one of those cases though where I think a re-watch could sway it one way or another but right now I will have to go with the following ranking:

Best Scene: Seth after his "successful" use of the machine.

Overall Rank
  1. Bob Hoskins in Mona Lisa
  2. Jeff Goldblum in The Fly
  3. Harrison Ford in The Mosquito Coast
  4. James Woods in Salvador
  5. Gary Oldman in Sid and Nancy
  6. Jeremy Irons in The Mission
  7. Sean Connery in The Name of the Rose
  8. Gene Hackman in Hoosiers
  9. William Hurt in Children of a Lesser God
  10. Kyle MacLachlan in Blue Velvet
  11. Robert De Niro in The Mission
  12. Rick Moranis in Little Shop Horrors
  13. River Phoenix in Stand By Me
  14. Jeff Daniels in Something Wild
  15. Charlie Sheen in Platoon 
  16. William Peterson in Manhunter
  17. River Phoenix in The Mosquito Coast
  18. Paul Newman in The Color of Money
  19. Kurt Russell in Big Trouble in Little China
  20. Pat Morita in The Karate Kid Part 2
  21. Will Wheaton in Stand By Me
  22. Barrie Ingham in The Great Mouse Detective
  23. Matthew Broderick in Ferris Bueller's Day Off
  24. Tom Cruise in Top Gun
  25. Christopher Lambert in Highlander
  26. Steve Martin in Three Amigos
  27. Ralph Maccio in The Karate Kid Part 2
  28. William Shatner in Star Trek IV: The Voyage Home
  29. Martin Short in Three Amigos
  30. Jeff Bridges in The Morning After
  31. Dexter Gordon in 'Round Midnight
  32. Tom Cruise in The Color of Money 
  33. Sylvester Stallone in Cobra
  34. Chevy Chase in Three Amigos
  35. Julian Sands in A Room With A View
  36. Eddie Murphy in The Golden Child
  37. Christian Slater in The Name of The Rose
  38. Steve Guttenberg in Short Circuit
  39. François Cluzet in 'Round Midnight
  40. Thom Mathews in Friday the 13th Part VI
Next Year: 1986 Supporting
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Posted in 1986 Alternate Best Actor, Gary Oldman, Gene Hackman, Harrison Ford, Jeff Goldblum, Jeremy Irons | No comments

Alternate Best Actor 1986: Gene Hackman in Hoosiers

Posted on 10:04 by pollard
Gene Hackman did not receive an Oscar nomination for portraying Norman Dale in Hoosiers.

Gene Hackman in Hoosiers plays the well weathered role of a coach to an underdog sports team. This one is a little different in that Hoosiers is better than a lot of films with this type of plot. The role of Norman Dale is also considerably more flawed than many of these characters often are. It is also helped by the great Gene Hackman being in the role as Hackman is not someone to go for the simple route with a character. Such roles, and perhaps even this one in lesser hands is ripe for some schmaltz and all sorts of cheesiness if one is not careful, but that is not the case for Hackman's work here. The main reason being that Hackman in no way seems to be treating the part like the typical inspirational sports coach character.

Hackman firstly just is very believably in the role as a man who clearly not exactly currently in the best part of his life. Dale's coaching job after all is more of a last ditch chance at redemption more than his ideal choice of work. Hackman wears some of that bitterness in him quite well. It is not something that Hackman let's overwhelm his performance, but he does well to suggest the past without the film really needing to show it. Most of the film is not dwelling on the past instead obviously focusing on Dale's attempt to try to get the small town team in shape to win the championship well carefully dealing with the locals who basically want to replace him as soon as they see him. Again in performing as the coach Hackman again does not act as the usual type of movie coach.

In the coaching duties Hackman delivers with a fervent passion as well as always a certain intelligence in his ways as a mentor. What makes Hackman so effective though is the way he comes off as a particularly realistic coach especially in the game scenes. Hackman portrays Dale as honestly having a pretty bad temper in the game, and does not hold back in that regard. Hackman is always particularly strong in showing that Dale does not take it well when anyone whether it is the game's referee or one of his players, he someone who knows he's right so he's not going to take that from anyone. Hackman does not show that Dale is really a perfect guy who someone you would even want to be around, but because of that he's always particularly believable in this role.

That is not to say that Norman Dale is not an inspiring figure in the film, quite the contrary not only does he pull all the boys together to form an actual team he even gets the local drunkard (Dennis Hopper) to redeem himself slightly by becoming an assistant coach for the team. Hackman again is terrific by not goign the standard route by being particularly warm and lovey dovey. Instead in most of these scenes Hackman is very careful to suggest an underlying empathy in Dale as he tries to give his inspirational speeches, but the way Hackman plays it up front is as basically "Do the right thing, or well I just down give a damn". Hackman completely meets the challenge of being the inspiring coach, but he always does it his way which avoids ever falling into the slightest bit of schmaltz.

Gene Hackman being in the lead role helps Hoosiers stand out as sports movies of this kind. He does not hit the usual beats of this type of character instead taking his own path the whole way through. By doing this Hacman not only gives a much more intense and compelling portrayal, but also one far more line with a real coach in Norman Dale's position. He makes him a pretty rough character and one that is not always easy to deal with, but Hackman never fails to perfectly balance those technically less savory qualities with a great deal of genuine heart and passion. Although I would not quite put this up there with Hackman's best performances, it is a great example of Hackman excelling in yet another genre.
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Wednesday, 26 March 2014

Alternate Best Actor 1986: Gary Oldman in Sid and Nancy

Posted on 13:26 by pollard
Gary Oldman did not receive an Oscar nomination for portraying Sid Vicious in Sid and Nancy.

Sid and Nancy is not a particularly easy to watch but it is an effective depiction of the relationship between punk rocker Sid Vicious and his girlfriend Nancy. 

Gary Oldman made his breakout with his film here as the Bass guitarist for the punk rock band the Sex Pistols. If you haven't seen the film but are aware of Oldman's later work, Oldman could easily surprise you with his portrayal of Sid in the early scenes of the film. Oldman actually is pretty quiet in the early scenes as the film establishes the relationship between Sid and the drug addict Nancy (Chloe Webb). When we are first introduced to Sid it is in a very low key way and it is quiet a while before we even meet his on stage personality. At first Oldman plays Sid as a bit of drifter who happens to be to have a place within a punk rock band. Oldman's whole method with Sid in these scenes is fairly unusual in tone, but very interesting in the way he creates the character.

Sid Vicious is not a particularly well put together person from the start of the film, but he also is a very young person. What Oldman does well is create the youthful elements in the character which are a tricky prospect considering that he already is rather troubled to begin with. The way Oldman expresses it is effective in that he portrays Sid as someone who does not know particularly what he is doing, and Oldman is very good in showing that basically in any particular scene that Sid is a bit lost in this world. Oldman's performance is never lost though in he is creates this particularly man quite vividly as his Sid does seemed primed for the destruction set for him as he does not know what he is doing.

Oldman is particularly excellent in the scenes where Sid and Nancy begin their relationship which is not a normal romance to be sure. Oldman plays the scenes where Sid tries to begin the relationship very oddly yet always naturally to Sid's character. Oldman though makes the urge to connect with her quite palatable even though the method is always unassuming as Sid is not very far from being in a world of his own. This only continues once they do begin their relationship which does not consistent of the normal things. Instead of talking all that much and getting to know each other it is mainly them spending time together as they use a lot of drugs. Oldman and Webb create a honest chemistry in that there is this strange comfort the two have with one another.

Interestingly once again Oldman plays the part pretty quietly with his early scenes with Webb. This is particularly noticeable since Webb's performance is particularly loud and extreme at times, but Oldman plays off that incredibly well by showing Sid as more of internalizing his sorrows whereas Webb shows Nancy as exploding from them. The dynamic two creates absolutely works in showing these particularly damaged individuals who interact with each other in a most peculiar way. They almost don't interact with the way Oldman whispers and Webb yells like they speak over each other at times that might seem like it does not make sense, but it seems completely believable as both actors realize that there is this connection the two have beneath that.

The two go on in this way though until The Sex Pistols go on tour in America we do see the change in Oldman's portrayal of Sid. Although there was a stage scene beforehand, but Oldman kept it fairly simple, the stage persona of Sid comes to the forefront much more in these scenes. Oldman here does pull a larger presence now, and he does so brilliantly in showing the energetic yet always slightly off creation that Sid is on stage. The best moment for this part of his performance is when, in a dream sequence, Sid performs "My Way" to an adoring crowd who he promptly murders. It is a most unusual set up and scene but Oldman completely makes it through his fantastic portrayal of the scene. He is magnetic yet does not at all pull back on the crudeness of the character, and turns the performance into a moment of sheer brilliance.

For awhile well away from Nancy Oldman is very adept at transitioning Sid into the more indulgent personality fitting for a rocker. Oldman does this particularly well because it is almost in a reactive way, that the fame reduces him to these indulgences. This remains his course until Nancy once again comes back and they resume their relationship. And again the beginning of the renewed relationship there is a genuine happiness and joy the two seem to convey together in such a subtle yet such an honest feeling fashion. They explain why they stay together even as their relationship goes toward right back how it started. Even in the worst scenes later on there is this contentment at times between the two that always is so easy to believe that it actually is rather disconcerting.

Oldman comes off as painfully authentic in his portrayal of the slow degradation of Sid as he is with Nancy as they both basically stay in a room together taking drugs. They have that contentment at times, but then there is vile hatred at others when either have some sort of need and desire. The final scene of them in the room which is either murder or accidental death is not a monumental event. In fact it comes off as particularly chilling because of the way Oldman and Webb show it to be almost a routine event that seems like it just had to happen because of the aimless slightly hostile condition between them. From the death Sid does not learn anything and this technically is a mostly aimless character. The lack of a traditional arc is hardly a problem because Oldman's great performance just simply brings Sid Vicious to life for the film, and it would hard to ask for anything more than that.
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Monday, 24 March 2014

Alternate Best Actor 1986: Jeremy Irons in The Mission

Posted on 07:40 by pollard
Jeremy Irons did not receive an Oscar nomination, despite being nominated for a Golden Globe, for portraying Father Gabriel in The Mission.

The Mission depicts the attempt of Jesuit missionaries to defend the freedom of a remote South American tribe of natives. The film does have many great things about it including basically every technical aspect of the film particularly the beautiful score by Ennio Morricone. The film is even written by Robert Bolt who wrote several excellent epics, but the directing by Roland Joffé is very  inconsistent. Some scenes do achieve a certain greatness but certain pivotal scenes come off as painfully inadequate.

Jeremy Irons plays the lead Jesuit priest Father Gabriel who tries to bring Christianity to the natives in a peaceful and loving fashion. Although Robert De Niro as Rodrigo has the greater character arc as Rodrigo goes from slaver to Jesuit to justified fighter, Irons gives the much more assured performance out of the two. The two or you could say three performances by Irons that I have conversed have been rather brilliant performances by him but as very devious sorts. This is a very different type of role by Irons's as Father Gabriel is a very good man who does not want to reach out to the natives to control them, but rather connect with them. Gabriel in the film wants nothing more than what he believes is best for the people, and is a character of true selflessness throughout the story.

Irons is wonderful in the part, and I would say he is the best part of the film outside of the score and its technical accomplishments. Irons firstly gives a very genuine portrayal of the goodness Gabriel. This is interesting in that to most people Irons is probably known best for being a conniving villain in films like the Lion King and Die Hard 3. Irons is just as much at home in playing Gabriel who is a man who absolutely tries to believe in the best of mankind. Irons who is so good at playing ice cold carries a splendid warmth in his portrayal of Gabriel. It's such a kindness that Irons exudes so well here that goes even beyond a tenderness in his voice. Although restrained in terms of the type of man he is, this is actually a surprisingly physical performance by Irons.

He's not physical in the normal way you would think of it but the way he carries himself just accentuates the love in Gabriel's heart so beautifully. One of the most important scenes in the film is when Rodrigo fettered with his old armor as the weight is confronted by the natives the very people he hunted and enslaved. The scene is one of the well handled ones and the score, De Niro's performance and the whole scene do work in giving power to Rodrigo finding redemption threw the natives forgiving him, but what I find the most powerful moment in the scene belongs to Irons. All it technically is a simple embrace Gabriel gives Rodrigo, but Irons portrays it in such a genuinely loving and honest fashion that he brings to life the great power of forgiveness in the scene.

When Gabriel is not helping the natives live peacefully or help Rodrigo find the righteous path he must defend the natives from the colonial governments who wish to exploit them. He tries to convince his Cardinal (Ray McNally) that the mission must stay open as it is the only source of protection for them. Irons is very effective in these scenes bringing the passion one should expect in his speeches where he tries to not only protect the natives but defend their nature as people. Irons is most than just passion though and that is what makes his performance stand out. There is always a tenderness even in the passion of his performance and in that tenderness he brings he reinforces the goodness of Gabriel in such a effective and wholly natural fashion.

Gabriel beliefs are so strong though that he still refuses to fight the soldiers who are going to come to destroy the mission, even though his fellow priests as well as Rodrigo take up the sword. Irons shows that Gabriel definitely is not a coward though and rather his refusal to fight gets right down to the core of his being. Irons's best scene in the film is when Gabriel argues to Rodrigo over this point. Irons is especially moving as Gabriel insists that the world should be that of love rather than hate, and refuses to accept anything else. There is nothing naive in Irons's delivery rather he makes it far more heartbreaking by honestly portraying Gabriel's resolve. Irons alludes to that Gabriel perhaps knows it is futile, and with that shows the true resolve of man who absolutely believes the best in mankind.

The part of Gabriel could have very well been forgettable within the whole scheme of the film, or just behind the more volatile role of Rodrigo, but Jeremy Irons makes it so his depiction of Gabriel is one of the strongest facets of the film. Although often Joffé's direction falters to bring the best out of the material, Irons whenever he is onscreen does realize a great deal of the potential of the story through his performance. Irons earns the right to be surrounded by Morricone's score, as the nature he brings out of Gabriel with his work is fitting to the beauty of Morricone's music. There is not a false moment to be found with his Gabriel and all of the goodness of the character is never dull or unbelievable because Irons realizes it so gracefully.
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Saturday, 22 March 2014

Alternate Best Actor 1986: Jeff Goldblum in The Fly

Posted on 18:24 by pollard
Jeff Goldblum did not receive an Oscar nomination for portraying Sethaniel "Seth" Brundle in The Fly.

The Fly is a very effective horror film about a brilliant scientist who invents a way to transport matter, but some severe problems arise when he decides to transport himself.

Jeff Goldblum plays the scientist who we first meet at the beginning of the film as he meets a journalist Veronica Quaife (Geena Davis) and quickly tries to impress her by claiming to have created something that will change the world. Jeff Goldblum has a very unique screen presence to be sure with his method that is certainly all his own. There isn't too much to Seth from the start other than he is a scientist the rest really is all up to Goldblum. Goldblum of course was the perfect choice than as he is character all his own and that is proven so from the scene he begins as he rather awkwardly attempts to flirt with Veronica while alluding to his scientific discovery at the same time. Goldblum possesses the exquisite skill of being slightly strange here well being quite charming and rather endearing at the same time.

Although Goldblum certainly fits the bill of the tightly wound nerd, and has certainly played them in his career, but Goldblum does not seek to make Seth an alienating man here. Instead Goldblum does something extremely important in these scenes which is to make Seth a particularly likable tightly wound scientist. He brings a lot of heart in his natural enthusiasm as he shows Seth trying to impress Veronica in some way even if it means showing of his experiment which is a matter transporter. Goldblum keeps Seth even as an inventor of such a machine someone who is very easy to empathize with as he tries in his very own slightly off fashion to woo this woman. Goldblum also nicely shows just a small but strong and very understandable pride that Seth has for his machine as he presents it to her.

Also very once again very importantly is the set up of the romance with Geena Davis's character. The two have great chemistry together in the film and although the progress of the relationship is rather swift they do make it a convincing and warm connection between the two characters. Both of them are always believable together and Goldblum makes it a particularly sweet performance by just how genuine he is in the awkwardness and shyness of sorts at the start that slowly diminishes, although never disappears, once he manages to impress her with his success with the machine, even making it so his machine can even transport living material. This succesess of Goldblum's performance early on in making the love story work as well as making Seth likable is essential to bringing we the audience into investing in the man as things take a turn for the strange.

Seth due to some foolish drinking as well as some of his well establishes insecurities decides to test the teleport using himself as the test subject. It seems to be a complete success although little does he know a fly came for the ride causing him to be fused with it. At first the transformation appears to be a good thing as Seth find his body is changing apparently for the better. Goldblum never leaves the transformation simply for the makeup to do the job and he stays with the transformation right until the end when he replaced. Goldblum is very effective though in the way he carries himself differently from this point on and at first with a far more confidant manner than he had before. Where before he was mostly fidgety in his physical manner after his change Goldblum presents Seth as a man who believes himself to be an absolutely prime specimen who should show off.

The confidence though soon changes its shape though as it morphs into something more unseemly. What it is in the transformation Goldblum shows that Seth basically is in a transformation period like a hormonal teenager. This could come off as a bit silly but Goldblum never makes it a humorous idea. Instead Goldblum is quite exceptional in showing it as a very instinctual act in his performance. Goldblum does not suddenly change either in his behavior rather he easing into from a strong confidence to an overwhelming arrogance very effective and surprisingly naturally considering that technically speaking it is unnatural. That's what is so great about his performance though is that Goldblum does not cheat, or use the concept to forget the character. It's far more disconcerting because Goldblum shows it to be the same likeable Seth from earlier who becomes this obnoxious jerk.

Of course his time as a prime specimen diminishes, and the fact that he is part fly starts to shine through in far more obvious fashion. Although what amounts to the change in Seth becomes far more than just some small marks on his face Goldblum still refuses to be overwhelmed by the makeup. Goldblum adds to it first through his mannerisms he changes to reflect that of as a fly, which again could have been played for just some easy laughs but that is not the case for Goldblum's portrayal. Goldblum makes these mannerisms completely seem genuine the process that he is creating and because of this the transformation is far more disturbing. What is also particularly interesting about his performance is that Goldblum does not drop his distinct presence really. Although Seth becomes a monster Goldblum never takes the easy approach by just making Seth act like a monster.

Throughout the later scenes right up until just before the very end Goldblum keeps a humanity in Seth by playing it as a the old slightly off scientist beneath it all. Goldblum makes it far more tragic by always reinforcing the idea that there still is that man within it all the time even as the man becomes harder and harder to see beneath his new skin. This works incredibly well one in that having Goldblum unique delivery style makes this one monster that stands out, but also he does make it far more poignant destruction of this man. Goldblum particularly makes the loss of the Fly man's especially disheartening because he portrays that certain desperation as he tries to keep his intelligence. The process continues with Goldblum slowly bringing  the madness in such a delicate and all too convincing of a fashion.

This is a marvelous performance by Jeff Goldblum because even though he plays a man who turns into a fly he never devolves into just a hammy creature performance, as he very easily could have. He calculates his performance perfectly by making Seth such a sympathetic figure early on to although for someone to be easily invested in as he goes down the path of turning into a manfly. Goldblum treats the whole idea of turning into a fly seriously with his performance making the transformation compelling and believable, well at least as believable as a man turning into a fly can be. This is not just a great performance in a technical sense though it goes much further than that. Goldblum gives a powerful portrayal of the results of too much tampering with the laws of nature. While Cronenberg's direction can make the story of Seth Brundle's transformation disgust and frighten, Goldblum is always there to make it a story which resonates emotionally.
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Blog Archive

  • ▼  2014 (154)
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      • Alternate Best Actor 1997: Russell Crowe and Guy P...
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      • Alternate Best Actor 1997
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      • Alternate Best Actor 1942: Results
      • Alternate Best Actor 1942: Tim Holt in The Magnifi...
      • Alternate Best Actor 1942: Pierre Fresnay in The M...
      • Alternate Best Actor 1942: Joel McCrea in The Palm...
      • Alternate Best Actor 1942: Noel Coward in In Which...
      • Alternate Best Actor 1942: Alan Ladd in This Gun F...
      • Alternate Best Actor 1942
      • Alternate Best Supporting Actor 1979: Results
      • Alternate Best Supporting Actor 1979: James Remar ...
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