Wednesday, 19 July 2017

Alternate Best Actor 1954: George Sanders in Journey to Italy

George Sanders did not receive an Oscar nomination for portraying Alexander 'Alex' Joyce in Journey to Italy.

Journey to Italy is almost an anti-Roman Holiday about a couple whose marriage becomes increasingly strained as they vacation in Italy.

George Sanders is best known for his purring villains, whether or not he is playing a literal feline, or at the very least he is an intellectual sort with a biting wit whether or not he's even a sympathetic sort. This performance is again in that vein yet what we see of him here is different from those earlier performances. In that Sanders here is playing a man in a more modest situation with his wife Katherine (Ingrid Bergman) as they travel abroad. Sanders in many ways gives the performance you'd expect from him in that he is his usual suave self particularly when Alex and Katherine are among others. He has that certain wit about him and is properly as Sanders should be. This takes on a different shade though when the two are alone together or alone separately. In that Sanders's has this certain misery within that behavior, his statements being particularly caustic, emphasized as such by Sanders's delivery which lacks that certain joy in the cynicism found in his most of his work. This performance Sanders presents more of such a man that you get to know both when he is "on" in front of the crowd and off when alone with his wife.

Sanders's style is effectively subverted in these moments as we see him essentially as Katherine does which is as the excessively cynical sort, and this is one of the most painful marks on their relationship. Their interactions are notable for their broken chemistry of sorts as they only seem to connect in minor instances of social interaction, or when they are being more directly critical of one another. They lack any real warmth, but what Sanders and Bergman do though is capture this specific sort of coldness. It is not of two people wholly without a history rather there is a familiarity in this but an unpleasant familiarity represented often in a mutual disinterest or an unease in recognizing the faults they see in one another. The film breaks them apart where we see each going off their own where perhaps Bergman is allowed to create a bit more insight into her character partially because she speaks to herself. Sanders does have a few scenes though where we see him pondering a potential affair with a local. These scenes do feel a touch limited at times, and perhaps there was an intentional vapidness in Sanders's work. They don't leave the same impact though in Bergman's similair scenes where we seem to come to understand Katherine more than we do Alex.

Eventually the two troubles come to a head in their final day in Italy. Again this is where Sanders shines along with Bergman for that matter as they so well capture this certain vicious sniping the each make towards one another as the final conflict builds in that day. They once more capture the mutual stress in these moments, and their delivery works as this sudden messy outpouring of frustrations against one another. They work so well in creating this dissolution though along with their sudden switching to basically appease their hosts as their tour continues. The two find the difficulty in their attempts to switch back to their proper social behavior while always conveying their ongoing fight is still weighing on their minds. This eventually leads to the two getting caught up in a religious procession where suddenly their relationship turns around. Although as written there appears to be something missing there, though perhaps that is the point in that both Bergman and Sanders don't quite make that easy in their performance. The reason being that even as they declare their renewed love of sorts there is something off and desperate in the moment that suggests perhaps it is not as happy of an ending as it might seem. Although there seem something missing in his scenes away from Bergman with her Sanders gives a compelling alternative view of his usual screen persona.

Monday, 17 July 2017

Alternate Best Actor 1954

And the Nominees Were Not:

Anthony Quinn in La Strada

Fredric March in Executive Suite

Jean Gabin in Touchez Pas Au Grisbi

George Sanders in Journey to Italy

Alec Guinness in The Detective

Sunday, 16 July 2017

Alternate Best Supporting Actor 2003: Results

5. Park Hai-il in Memories of Murder - A performance that grew on me considerable with a re-watch as it develops another layer as he presents both a guilty and innocent man as the potential serial killer.

Best Scene: Interrogation.
4. Jason Isaacs in Peter Pan - Isaacs is both an effectively meek yet eventually heartwarming Mr. Darling while also being a properly menacing yet entertaining Captain Hook.

Best Scene: Hook tricks Tinkerbell.
3. Bernie Mac in Bad Santa - Mac gives an hilarious portrayal of his straight shooting security chief who isn't exactly completely on the level himself.

Best Scene: "Half"
2. James Caan in Dogville - Caan's performance delivers this remarkable impact for the finale of his film, as he, in only really single scene, not only establishes a long difficult history with Nicole Kidman's Grace, but also realizes his distinct personal philosophy towards the world.

Best Scene: "Arrogance"
1. Yoo Ji-tae in Oldboy - Good predictions Omar and Calvin. Yoo Ji-Tae gives an outstanding performance that offers a most atypical villain for a revenge thriller, and also delivers his own portrayal of his character's own tale of revenge that ends up oddly  trumping the "hero's".

Best Scene: The Elevator.
Update Overall

Next Year: 1954 Lead

Alternate Best Supporting Actor 2003: Park Hae-il in Memories of Murder

Park Hae-il did not receive an Oscar nomination for portraying Park Hyeon-gyu in Memories of Murder.

Memories of Murder is a brilliant film that follows the search for a serial killer in the South Korean countryside.

Park Hae-il appears rather late into the film as a man who the detectives, Park Doo-man (Song Kang-ho) and Seo Tae-yoon (Kim Sang-kyung), believe may be the killer. His connection to the crimes come in a single song he requested that plays on the radio every time the murders occur though it is also every time it rains at night. Park Hae-il's performance as the subject is a very interesting one, and essential to serving his purpose in the film, which is to be a giant question mark. I have to say what he does here is rather remarkable in that his performance actually forces the viewer into the same viewpoint as Detectives Seo and Park find themselves in. In that the first time I watched the film I was convinced that he was guilty. This was through his portrayal of the quiet dispassion that seemed that of psychopath, there was a sinister distance as he answered the questions as guilty man simply thriving on the knowledge that they have no hard evidence against him. However watching the film again his performance plays a different way which is fascinating. That dispassion can be interpreted less as something sinister. It not only can reflect an earned distaste for the police, earned due to the random brutality of one of their members, but also suggests perhaps just an anti-social man living a difficult isolated life.

Park's performance remains though an enigma, yet his work never feels vague in this. Again in the initial viewing his few later scenes, after his initial interrogation, he is off-putting as seeming to be the killer gloating against his foes for their inability to catch him. On re-watch though this can be as easily viewed as a man already living an unpleasant life becoming understandably ill at ease with such severe accusations being made against him. Again it is yet another brilliant element of this film this idea that it make you get caught up in the evidence, the evidence against the man that you believe to be airtight yet becomes much more flimsy once the emotion surrounding it dies down. Of course again in that initial viewing right when you are with the detectives, in all of their frustrations and pain over the case, there is a desire for some sort of closure somewhere, and the only candidates seems in Park's off putting man. It is then easy enough to get caught up in the final confrontation where detective Seo is about to kill the man in cold blood after another murder has taken place. Again Park's turn only seems to encourage this as the unrepentant killer, who admits his guilt only with palatable disdain in the heat of the moment. Again though on re-evaluation Park evokes a real fear in the scene suggesting that perhaps the man is just fearful for his life, though perhaps through his military life he reacts to fear through some external anger rather than falling apart as most would. This is terrific performance as in a few scenes he creates this captivating figure that is mystery one can't quite decipher. He allows either interpretation of his character to be valid, yet is genuine in his performance. It is truly remarkable since his performance makes his character frustrating in the right way. You can't quite get a bead on him as Park leads with a fork in the road as this unpleasant behavior could be of a serial killer, or man who has no affection for the world yet is harmless. 

Saturday, 15 July 2017

Alternate Best Supporting Actor 2003: Yoo Ji-Tae in Oldboy

Yoo Ji-Tae did not receive an Oscar nomination for portraying Lee Woo-jin in Oldboy.

Oldboy is the second film in Park Chan-wook's thematic revenge trilogy. That revenge on the surface appears to be based around the man Oh Dae-su's (Choi Min-sik) search for the man who imprisoned him for 15 years. Unfortunately for Oh Dae-su the real revenge at the center of the film is not Oh Dae-su's for that man, but rather that man's for Oh Dae-su. That man being Lee Woo-jin played by Yoo Ji-Tae. After Dae-su is released from his strange prolonged prison sentence he slowly received messages from a man, that man being Lee. They are slight initially and as mysterious as the prison itself. We only hear Yoo a few times, and see his eyes in a couple of straightforward messages. We only finally see him in the flesh rather suddenly when he initially appears to be a helpful bystander who offers aid to Dae-su after a fight. It is there where we first see Yoo's bright smile he brings to the role, such a congenial grin as he almost treats Oh Dae-su as this old friend, ensuring that he will survive that violent encounter.

Yoo Ji-Tae's casting and his performance offer quite an atypical villain for the film, as he first off he just does not look like this truly sinister man just by a glance then there is Yoo's portrayal. Yoo does not try to exert an overt menace with his performance, and again in fact there is this certain friendliness at times, though in reality more of a familiarity that Yoo expresses. Yoo does not do this to undercut his performance, no instead it amplifies in the way he creates this truly unique antagonist with Lee. That familiarity ends up being rather off-putting in one way Yoo alludes to the way that Lee knows so much that Dae-su does not, far too much in fact. There is even more though as Yoo suggests something even deeper than that even. Of course this also becomes duplicitous as Yoo makes that smile get under your skin as there is an innate smugness that Yoo brings, which again goes further than just making him this smug snake. Yes that is there, but again Yoo makes it seem all the more sinister since the smugness suggest his complete control of every situation in the film, and is imposing in his own way by creating Lee as this man who almost seems impossible to decipher while he apparently has everything deciphered around him.

Yoo, despite being very consistent in creating this sense of certainty in Lee, he is never one note. There are these brilliant edges he brings to his performance, moments that he uses so effectively to allude to more about Lee's nature and his real relationship with Oh Dae-su. These often are slight moments, where we see a real burning hatred, these are in small moments when he turns away for just a second, in those moments though are usually related to either when Oh Dae-su reveals absolutely no knowledge of why Lee is doing this to him, or later on when he begins to call back the memory. In those times though there is that intensity of a hatred, fitting to a man bent on revenge, yet Yoo takes it further as there a certain somberness in this anger reflecting his sorrow connected to the revenge. Eventually we do learn that Oh Dae-su caused a rumor, a true rumor, that Lee and his sister were having an incestuous relationship which eventually lead to her committing suicide. It is in the final confrontation where the film does reveal that it has always been about Lee's revenge, not Oh Dae-su's.

Lee brings throughout the scene that domination of what could be the noble avenger if it was not so twisted, as he breaks Oh Dae-su down with such confidence revealing his plan of revenge that entails Oh Dae-su unknowingly sleeping with his own daughter. The revelation causes a full mental breakdown in Oh Dae-su that leads him to beg Lee not to reveal the information to his daughter. Yoo is brutally effective by how he controls every moment and reveals what that satisfaction and familiarity came from. As Yoo presented as Lee knowing his plan was working but also conveying a certain connection through their mutual incest. Yoo is amazing in the final moment as he laughs over Oh Dae-su bringing such a joy in a man who has apparently gotten everything he desired, and essentially fulfilled what had become his life goal. Again though since this is his revenge story it ends as so many do in what is my favorite scene in this great performance. That being when Lee enters the elevator to leave Oh Dae-su alone in his misery with that smile of pure elation. Lee though hears recording of the pain of his actions which causes his mind to drift back to his sister's suicide which he was present for. Yoo is heartbreaking in his painful demise of that smile into such anguish, the anguish that is all he is left with after having avenged the death, which naturally leads to his own demise. Yoo Ji-Tae's performance here is outstanding piece of work as he successfully is so unlike what you'd expect from villain in a revenge film, yet also succeeds in creating this idea that Lee is living out his own revenge through his surprisingly poignant though still chilling portrait of a man consumed by vengeance in his own way.

Wednesday, 12 July 2017

Alternate Best Supporting Actor 2003: Jason Isaacs in Peter Pan

Jason Isaacs did not receive an Oscar nomination for portraying Mr. Darling/Captain Hook in Peter Pan.

Peter Pan is a very much forgotten though more than decent big budget and fairly straight forward telling of Peter Pan.

Jason Isaacs as fitting to the tradition of the stage production plays both the role of Mr. Darling and Captain Hook. Isaacs seems like someone who ought to have played Captain Hook sometime in his career, but Mr. Darling presents his side shown far less often. Now we are not given too much time with Mr. Darling though Isaacs does manage to make a nice impression in them, in his approach which differs quite strongly from say the Disney version of the character. In that version we have shades of Hook in Mr. Darling before we see Neverland that's not the case for Isaacs. Isaacs plays Mr. Darling as very much a man of Edwardian England, very proper, very meek but with this undeniable earnestness. In his brief moment where we see his frustrations build towards his children, Isaacs actually successfully creates a sympathy, even when being rather humorous, by showing how desperately Mr. Darling wants to impress his employers. Unfortunately the children lead to an embarrassment where Mr. Darling lashes out. Isaacs effectively handles the scene by portraying the frustration as a burst of sudden emotion, that is not purely cruel rather something far more genuine to a man who otherwise loves children.

Of course what we are really waiting for is Isaacs as Captain Hook, which seems perfect casting given Isaacs's perchance for playing evil Englishman. Isaacs though does not merely reprise his Colonel Tavington, which would be far too dark, nor is he even his Lucius Malfoy which would not be quite right for this children's story. Yes the menace is of course there, Isaacs seems to be overjoyed just to be evil at times which comes through. That menace almost seems to be an innate thing and it is merely a given that he fulfills Hook's role as the big bad pirate, but now he goes so much further than that here. Hook is not just any bad guy really there is something more to be had within his various facets, succeeding in those other facets is the true requite for a great Captain Hook. Isaacs sort of having the menace as a given is a great aid as he pivots this to being more than that. In that he brings this certain style of the grand Pirate Captain fitting to the fantastical setting of Neverland. There's this exuberance he brings in his performance, a grandeur of it that has just the right sort of theatrical bent. His Hook isn't just going to kill Peter Pan in his view, he's going to do in a proper flamboyant style.

Isaacs understands the certain pageantry if you will that goes along with the part, which never compromises the needed menace though. He offers both in a properly intimidating though also incredibly entertaining performance. His Hook has the right sense of mischievousness within the more direct villainy. He never allows his Hook to be defined as only the evil pirate, and has so much of the right sort of fun in the role. I have an especially strong affection for portraying the downtrodden, and falsely empathetic Hook who manages to trick Tinkerbell into helping him. Isaacs is properly amusing in his so falsely, yet appropriately earnest delivery of Hook's concern for Peter Pan. Isaacs finds that right balance in his performance in being the villain but doing it in such an enjoyable fashion. This of course also comes heavily into play in Hook's fear of the crocodile who took his Hook. Although this is not given as much focus as the Disney version, Isaacs still is quite funny in portraying the gripping fear in Hook every moment he believes the crocodile is nearby. Isaacs's Hook steals the film with ease, though I will say that is a fairly common occurrence when it comes to Peter Pan. Isaacs is a great Hook though as he balances the part so well to be such almost oddly endearing fiend for the film. Although it is also worth noting his final return as Mr. Darling where Isaacs is actually rather moving in so honestly portraying Mr. Darling's heartfelt apology for his children. His change of heart is entirely earned, since again even before his lashing out Isaacs's reactions were always that of a caring father. Isaacs excels in both roles being a properly sweet Mr. Darling, and a Captain Hook that captures just about all that the great Captain should be.

Monday, 10 July 2017

Alternate Best Supporting Actor 2003: James Caan in Dogville

James Caan did not receive an Oscar nomination for portraying The Big Man in Dogville.

Dogville follows the dissolution of a secluded town through the town's relationship with a woman hiding from the mob.

The woman, Grace (Nicole Kidman), is running from The Big Man played by James Caan. Caan briefly appears in hand, and in voice early on as a dark figure in the back of a car driven by two men who appear to be mobsters. The voice offers a reward for her whereabouts, but then disappears with his men not to return until the final act of the film. James Caan finally appears as Grace, after having been psychologically and physically abused by the townspeople, goes to see The Big Man who is revealed to be her father. Caan's performance is essential to the film as he has much to fulfill in very little screentime. The first being the sheer presence of a figure known as the Big Man, well this being James Caan him being a believable mobster is basically a given, but it goes beyond that. What Caan must also find is whatever this relationship with Grace is in a few seconds, a relationship that we have had some slight indications of but it is not until now that we see what it truly is.

Caan's performance measures up to these expectations particularly in regards to his relationship with Grace. Kidman and Caan are perfect together as they find this complex relationship between father and daughter in only a few minutes. Caan's fascinating in that he does exude this sort of underlying warmth in the way he speaks to her. There is also the right familiarity between the two  as even in this point of a certain difficulty the history between the two is felt through the performance. There is that apparent love of sorts in Caan's manner as he speaks to her, but this is only a facet of it. Their conversation touches their relationship but it is most dependent on the town as the two speak of essentially their different views of the world and people in particular. Caan's brilliant in his approach as The Big Man explains his view that dogs should not be forgiven of their crimes against Grace's initial belief that they essentially do not know better. Caan dominates the conversation in his portrayal of The Big Man's assurance of this view. There is not an inherent morality in this that Caan portrays but rather he presents it as this innate knowledge and in doing so effectively presents his philosophy to Grace. Caan portrays the Big Man wholly in control of this view, and there is a certain passion through not being directly overt about it, bur rather through that sheer control of it. Now within that conversation, that could have been purely cerebral, it is not. As in the presentation of this view Caan reveals The Big Man's history with grace, in that odd tenderness even if he is giving an apology for having shot at her. Caan makes it all the more personal though in the persuasion is less of some devil tempting her view, but rather there is even almost earnestness to accept his view which is to see the world without any blinders, or at least according to him. Caan is persuasive though again not by showing this to be finally a good man, no one is good within Dogville, but rather someone who appears to stand without a single delusion within the film's world. This is an excellent performance by James Caan as he makes his impact that not only establishes his character, his relationship with Kidman's but also realizes the pivotal denouement for the film.