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Alternate Best Supporting Actor 2005: Ed Harris in A History of Violence

Ed Harris did not receive an Oscar nomination for portraying Carl Fogarty in A History of Violence.Ed Harris portrays the Philadelphia gangster who comes looking for diner owner Tom Stall who recently killed two men trying to rob his diner..

Best Supporting Actor 2011: Nick Nolte in Warrior

Nick Nolte received his third Oscar nomination for portraying Paddy Conlon in Warrior.Warrior details a winner take all mixed martial art tournament whose two main combatants are estranged brothers (Tom Hardy, Joel Edgerton) fighting for their own difficult reasons.

Alternate Best Actor 2011

And the Nominees Were Not:Ryan Gosling in DriveRobert Wieckiewicz in In DarknessMichael Fassbender in ShameMichael Shannon in Take ShelterBrendan Gleeson in The Guard..

Showing posts with label 2003 Alternate Best Actor. Show all posts
Showing posts with label 2003 Alternate Best Actor. Show all posts

Tuesday, September 18, 2012

Alternate Best Actor 2003: Results

5. Tommy Wiseau in The Room- Wiseau gives a performance for the ages that is absolutely hilarious, unfortunately it was never meant to be.
4. Paul Giamatti in American Splendor- Giamatti gives an effective performance finding the humor and humanity underlying his grumpy character.
3. Peter Dinklage in The Station Agent- Dinklage gives a strong performance from humorous dead pan to slowly easing in a character transition.
2. Choi Min-sik in Oldboy- Min-sik gives a powerful intensely physical performance brilliantly depicting the insane changes of his character throughout the film.
1. Stephen Lang in Gods and Generals- I must settle for Lang this year as his performance moved me the most out of all the performances. He elevates his material magnificently giving and truly incredible portrayal of Stonewall Jackson.
Overall Rank:
  1. Stephen Lang in Gods and Generals
  2. Choi Min-sik in Oldboy
  3. Russell Crowe in Master and Commander
  4. Paul Bettany in Dogville
  5. Peter Dinklage in The Station Agent
  6. Paul Giamatti in American Splendor
  7. Hayden Christensen in Shattered Glass
  8. Bill Murray in Lost in Translation
  9. Jude Law in Cold Mountain
  10. Paddy Considine in In America
  11. Ewan McGregor in Big Fish
  12. Sean Penn in Mystic River
  13. Johnny Depp in Pirates of the Caribbean
  14. Tom Cruise in The Last Samurai
  15. Robert Duvall in Secondhand Lions
  16. Hayley Joel Osment in Secondhand Lions
  17. William H. Macy in The Cooler
  18. Johnny Depp in Once Upon a Time in Mexico
  19. Hugh Jackman in X-2 
  20. Jack Nicholson in Something's Gotta Give
  21. Tobey Maguire in Seabiscuit
  22. John Cusack in Runaway Jury
  23. Antonio Banderas in Once Upon a Time in Mexico
  24. Owen Wilson in Shanghai Knights
  25. Jack Black in The School of Rock
  26. Sean Penn in 21 Grams
  27. Ben Kingsley in House of Sand and Fog
  28. Greg Kinnear in Stuck on You
  29. Benicio Del Toro in 21 Grams
  30. Aaron Eckhart in The Core
  31. Eric Bana in The Hulk
  32. Ben Affleck in Daredevil
  33. Jackie Chan in Shanghai Knights
  34. Matt Damon in Stuck on You
  35. Jack Nicholson in Anger Management
  36. Ben Affleck in Paycheck
  37. Sean Connery in The League of Extraordinary Gentleman 
  38. Rowan Atkinson in Johnny English
  39. Adam Sandler in Anger Management
496. Tommy Wiseau in The Room

Next Year: 1957

Alternate Best Actor 2003: Choi Min-sik in Oldboy

Choi Min-sik did not receive an Oscar nomination for portraying Oh Dae-su in Oldboy.

Oldboy is a very effective revenge thriller about a man who tries to find out why he was imprisoned for fifteen years.

Choi Min-sik performance here starts very important with the beginning of Oh Dae-su in a police station shortly before he will be kidnapped. Dae-su is a drunk in the station being loud until taken out by his friend. This is an important scene as Min-sik portraying Dae-su as a bit of a mess. He certainly resembles little of how we will see him later on as Min-sik portrays him as really just a loud drunk who frankly is obnoxious. This is actually a very important moment as it shows the man Dae-su is at the beginning who is just a pretty lowly man to say the least.

Dae-su than suddenly disappears and finds him a room that is apparently a prison that he cannot escape from. At first Min-sik shows that the annoying drunk Dae-su to just a very scared man who freaks out due to having no idea why he in this place. Min-sik in a fairly broad way, but in an effective fashion that certianly fits the mood of the film, after all he does have ants crawling all over him in one scene, showing Dae-su devolve into a form of insanity. He handles it well showing it as a painful intensity that is mostly found in his disbelief of what has happened to him, despite not knowing why in the slightest.

Min-sik tones down though as he the time goes on and on in his cell. Min-Sik changes to this moment and brings about a transformation in Oh Dae-su to a man with a purpose rather than what seemed to be an aimless man beforehand. Min-sik makes Dae-su still a crazed man, yet he seems to make it far more self contained, and infused into his driving factor which is his lust for revenge. He is good in portraying that really his want to learn who has done this to him is really what has become the primary facet of the man.

When Dae-su is released for reasons that are just as mysterious as why he was put in the prison to begin with, he goes out seeking who did this to him. Dae-su is a completely different man as Min-sik interestingly plays him as the opposite of the loud mouth at the beginning, which he earned through his transformation in the cell. Dae-su know has become a fairly quiet man, who rather blabbing all the time, seems rather stoic and reserved above all else. His insanity still remains but it comes out at specific times in a sharp distinct manner.

For example the octopus eating scene is of course a deranged scene as he shoves it down his throat, but Min-sik here effectively shows how Dae-su is now very much a man with a mission as strange and insane as the act is he does it in a controlled and almost stoic manner. Min-sik is actually quite outstanding in being able to bring to life the oxymoron of this character. It never seems unbelievable, and it always fits well within the style of this unique film.

Min-sik makes Dae-su quite the intriguing hero to follow through the mystery of the film. Min-sik does not make Dae-su to be any sort of brilliant detective or tactician, but what really pushes him forward is only his passion to find out the truth. Min-sik never loses a certain intensity as Dae-su searches for his captors that only grows as he approaches them. He properly brutal when he finally does meet some of them particularly with his free use of hammer. Of course the hammer does a lot of the work, but Min-sik perfectly conveys the violence Dae-su is capable of.

Dae-su though does not keep his composure forever though as Min-sik's most difficult scenes really come in at the end of the film when all is revealed to him, which leads him from one intense emotional moment to another. Min-sik is always very physical in this performance, throwing himself head first in every scene, and this especially true for the climax of the film. This certainly fits for the moments in the film for the revelations are not exactly one's that should be taken lightly, and reacting believably to these revelations is essential to the film, and Min-sik manages to pull it off.

The first revelation is that that Min-sik has been set up to commit one the worst sins, and Min-sik bring the the pain, the anger, and the all around horror to the moment that sends Dae-su to the rage. He appropriately shows that Dae-su's is truly horrified by the revelation to the very core of his being. Quickly though after really being told of another revelation there Dae-su becomes filled with regret and remorse. Min-sik manages to actually bring this change about powerfully so in another scene where he dives right into insanity, and Min-sik shows that Dae-su loses all of his stoic qualities from before turning essentially into a broken man.

This is certainly a no bars held performance that is striking in just how many risks it takes, and how well they all pay off. Every moment of madness never seems overwrought or needless he makes them all part of the strange journey of Dae-su that becomes something both very powerful, and quite disturbing. Min-sik never stops for a moment in this bizarre but compelling characterization. It is never a straight forward or simple approach to this character utilizing a technique that very few actors would likely take. With his most unorthodox portrayal Min-sik makes Oh Dae-su a truly memorable protagonist.

Monday, September 17, 2012

Alternate Best Actor 2003: Tommy Wiseau in The Room

Tommy Wiseau did not receive an Oscar nomination nor a Razzie nomination for portraying the greatest of characters Johnny in The Room.

The Room is a film that one must see to believe about Johnny who is betrayed by all of his friends and he gets fed up with this world.

Ah yes such legendary actors Laurence Olivier, Robert Duvall, and Charlie Chaplin these actors have before directed themselves to an incredible performance clearly attempting to join their ranks is Tommy Wiseau. Tommy Wiseau an actor and director like no other obviously, I mean just look at that picture even pictures of him defy description. Clearly no other director could possibly contain the acting prowess of this man but himself.

Now Wiseau takes an interesting tactic to begin with in his performance which is speak in his native tongue. It might be true technically speaking it is English but let's be honest English takes on a whole new life of its own with Wiseau's accent. Of course his accent is only the first part of his no holds barred work that always takes risks no matter how head scratching it might be to a casual viewers. This is truly other wordly performance, and no I do not mean in some sort spiritual fashion, I mean more of like an alien from another world.

In Wiseau eyes we see a daze like the thousand worked days of a banker where they take all his ideas and make all the money and he is the fool. His face suggests a man with no hope almost as if he is constantly on a strong painkiller all the time. That face of his just says it all in his place in the world that he soon becomes fed up with. It is a face of a man's failures, and inabilities to know that his fiancee is some pointlessly evil woman for no reason.

Something quite fascinating in this performance is the fact that Wiseau constantly starts throwing his voice all the time, where he will appear to be mouthing one thing, but his words do not match up, it is something truly outstanding, a risky maneuver that lesser actors would never even attempt to do. Wiseau goes full force with obviously implying that perhaps Johnny was not suppose to be a banker with great ideas after all, no he was clearly meant to be a ventriloquist.

Wiseau is not afraid here to even call back to classic performances from the legendary James Dean particularly in one moment heartbroken over his fiancee's lies that he hit her, he breaks out in the immortal line "You're tearing me apart Lisa". Wiseau goes all out in his accented screech, moving his arms akimbo like he was saying yes to a great victory, even though there is not victory to be seen in the rest of Johnny's story in the room.

What is spectacular in this performance of performances is the ability to change the emotions in a moment so easily. For example when again he complains, to the air I guess, about how he did not her, he did not, what grief Wiseau conveys in his scrunched up face, and bizarre inflection. He then instantly changes his face from pain to instant casual greeting in oh hi mark. Such a stunning portrait of instant emotion change, it is truly something stunning.

I think the most interesting part of this performance though is Wiseau odd, but obviously brilliant choices in certain scenes. Such as when his friend Mark tells Johnny a story about a woman being beaten so bad she ended up in a hospital at Guerrero street. Rather than show interest, or depth in regards to it, Wiseau takes a whole another approach and laughs in reaction to the story showing that even a story about a brutal beating Wiseau shows that Johnny always sees the lighter side even when it might very strange to do so.

But we all know the highlight of this performance comes at the end of the film when Johnny is enraged to find out his fiancee Lisa is having an affair with his best friend Mark, what follows it the most forceful moments of pain ever depicted on screen. He leaves no prisoners not even chickens as he brutally states cheep cheep cheep, which is just incredible for Johnny to try to get rid of the accepted chicken call of Baaack baack, baack, baack, truly stunning. 

The greatest moments come in Wiseau depiction of Johnny tantrum where he destroys the room yelling why Lisa why, in a cry that is unforgettable. He leaves nothing alone whether it is clothes, draws, or a poor tv that Wiseau the director decided to film flying out side the window and being destroyed clearly that cut was essential during Johnny's final pains. Well it all ends with Johnny blowing his brains out, and Wiseau's dead face is truly something that cannot be forgotten in this performance that is one for the ages. There is only one rating worthy of this performance.

Seriously though this performance is in all honesty terrible. Yes his accent, and weird choice in this performance are hilarious. The man though was entirely serious in his performance though, despite what he now claims, and in being a serious performance this fails miserably. As a failure though it completely succeeds though. I can't give him credit though when everything enjoyable about this performance was purely unintentional, since no man can make a film this hilariously bad on purpose. (Not a single Gittes)

Sunday, September 16, 2012

Alternate Best Actor 2003: Paul Giamatti in American Splendor

Paul Giamatti did not receive an Oscar nomination for portraying Harvey Pekar in American Splendor.

American Splendor is an intriguing and enjoyable film about the life of comic book writer Harvey Pekar.

Paul Giamatti has a rather unique challenge in his portrayal of Pekar since unlike many biography films the real Harvey Pekar appears on screen. This is not just a one scene thing like Tina Turner in What's Love Got to Do With It. Harvey Pekar appears throughout the film even commenting at one point that Giamatti does not really look like him. So Giamatti actually has to stand on instant scrutiny of comparing him to the real man, although he is perhaps helped a little in that he is portraying the man at a different point in his life, but still Giamatti must constantly be standing up right next to the real deal.

Giamatti actually meets the challenge well and there really is not any problems when comparing his performance to Pekar. Although obviously it is not seamless in the sense that he simply becomes Pekar, but he effectively makes it so there is not any extreme disconnect between the real one and the performance. Giamatti is quite good here in bringing into his performance Pekar's mannerisms whether it is his usually furrowed brow, his rather often cross grimace, or his sometimes rather raspy voice. Giamatti handles them all well never being obvious acting, and he utilizes the mannerisms in giving a convincing characterization as Pekar.

The overwhelming aspect of Giamatti portrayal is of course his portrayal of Harvey's seemingly endless contempt and bitterness that also seems to form into a certain depression at times as well. Giamatti portrays this particularly well by bringing across just how intense and prevailing this is in with Harvey at all times. It is not that any of his bitterness ever really goes away from him in any point even when Harvey is relatively happy, Giamatti never loses this part of Harvey for a moment, quite properly showing that this is something that is simply a part of Harvey that he never loses.

Although the bitterness is always a part of Harvey, Giamatti never really makes it downbeat or depressing as it easily could have been. Giamatti effectively finds the humor always within this bitterness and the sardonic slant that is found in Harvey. Giamatti is very good because he is able to bring about the sense of humor in Harvey that really is what created his comic book to begin with. Giamatti is able to be funny, and convey the fact and Harvey himself though he never ever shows that it comes from anything more than his rather extreme form of cynicism.

Giamatti actually makes his cynicism enjoyable in a way, by simply portraying it as the most honest form of Harvey. If Harvey was optimistic, and happy he simply would not be Harvey, and Giamatti expresses that perfectly in his performance. He never portrays there being an actual effort in Harvey when he is talking about something obnoxious in life, it just is the way Harvey deals with things whether it is waiting in line behind an old woman, or his reaction to the Revenge of Nerds, Giamatti always shows that Harvey's says only like how he sees it no matter how others may react.

Although his cynicism never completely wains there are a few warmer moments, although still Giamatti still is fitting in that they are warmer moments for Harvey. Two early on regard his comics when an artist agrees to draw for him, and when his co-workers are amazed by the first issue. In both regards these are quick but incisive moments where we see behind still Harvey's bitter face there is just the slightest happiness and pride in him. Giamatti handles these moment incredibly well because how subtle he is when portrays the softer side of Harvey that actually is made quite sweet.

The most important sides of the softer Harvey are shown with his wife Joyce (Hope Davis). Their relationship certainly is a bit on the abnormal side. Both Giamatti and Davis make it work frankly because they authentically bring out this relationship by being so casual together. Giamatti is very good in these scenes because he so well combines the frustrations of the relationships, but very importantly at the same time does carefully show that Harvey's does very much love his wife. Giamatti finds the highs and the low of their relationship through again his completely honest portrayal of Harvey's complex personality.

This is a very good performance by Paul Giamatti that is an entertaining performance, while being quietly moving at times as well. He never cheats his character though and every where he goes with Harvey is always the same Harvey. Giamatti although portrays a cynical bitter man, he turns Harvey into a very liable cynical bitter man. He even manages to stand up to the scrutiny of being right next to the man he portrays, and does not falter even with this challenge.

Saturday, September 15, 2012

Alternate Best Actor 2003: Stephen Lang in Gods and Generals

Stephen Lang did not receive an Oscar nomination for portraying Lieutenant General Thomas "Stonewall" Jackson in Gods and Generals.

Gods and Generals was a heavily maligned film when it came out, in fact it has a lower percentage on Rotten Tomatoes than the Room, although the film needed more focus it does have its fair share of powerful scenes, and should not have been written off to the point it was.

It should be noted that the powerful scenes of the film tend to involve Stephen Lang as Stonewall Jackson who is one of the most important generals on the side of the confederacy. Stephen Lang creation of this man is something quite stunning from the very beginning of his performance as the famous General. The voice he uses is absolutely perfect for the role in that it is relatively quiet but holds an absolute command all the same. Lang's voice though is entirely natural, and never seems something forced in the least. He simply achieves and becomes Jackson and the voice helps in this greatly.

Lang from his first scene conveys so well the history of this character from his first moment has he teaches students in his class. Lang shows Jackson to be an always proper man who proceeds as one should or is expected with the utmost respect. Lang takes a completely no nonsense approach with his performance there is no play here in this man, rather it is just the man who is very much to the point in almost all matters. Lang brings to life the true nature of a man who has been a soldier all his life and treated the job with the utmost respect.

What is very important to this performance though by Lang is that although he portrays Jackson as proper but never stiffly or dully. There is a certain warmth in his performance that is just splendid. One aspect of Jackson that Lang brings life wonderfully is his strong religious beliefs. Religious belief is commonly something shown in film actually, but usually in either some very lightweight form, or in terms of doubt, or guilt. Here Lang though shows a very unique depiction of a religious that really brings to life the strength of his faith.

Throughout the film Lang is passionate in his depiction of Jackson's religion and brings it into how it makes him the brave man he is. Jackson fears nothing on the battle field becuase of his firm belief that he will find salvation in the afterlife. Lang is absolutely genuine and moving specifically in one scene where he talks to a friend who has chosen to side with the North rather than the South. The friend remarks that perhaps they will meet again in better times or than hesitates. Jackson finishes his statement by saying In Heaven. Lang's make this moment deeply moving through the completely honest devotion he portrays in Jackson.

One of the most important aspects of Lang's performance though is of course his portrayal of the brilliant General. Lang is flawless in his depiction of the general and there is never a doubt about his abilities or power as a commander of men. In the scenes of preparation before the battles Lang carries himself particularly well through always having a quiet controlled reserve. He always conveys the intelligence of Jackson as tactician in the ease he portrays in Jackson in making the right decisions before and after each battle.

Lang never avoids portraying the fact harsh fact that Jackson is one of the lead Generals of the Confederate side, which is the enemy of the Union. Jackson at times is very harsh in his statements regarding the extent of violence needed to win against the Union. Lang is cold and frankly brutal in these moments, but shows the truth of the career soldier in Jackson. It is not that Jackson is being evil when he says that no quarter should be given, but rather experience of the man speaking. Lang is able to convey most severe ideas as not being hateful, but simply understanding what is needs to be done to win.

The best moments as the general though do probably come in his moments in which he is able to be the Jackson that truly motivated the soldiers. The moment in which he appears to earn his moniker of Stonewall, Lang actually makes absolutely believable. There is only conviction in him as he stands in the middle of fire, there is no doubt in Lang's performance that he is a Stonewall in the field. The only greater moment is his "first brigade" speech to his men. Lang holds the screen as he has the passion to bring men to follow him anywhere even into the hell of battle.

His performance really does come into its very peak after Jackson is shot by friendly fire, and slowly dies from the results of the accident. Lang is absolutely heartbreaking in his depiction of Jackson's slow death. His early moment in particular when there is hope in his eyes as he is reunited with his wife and daughter quietly showing his intense love and dedication for his family. Lang's performance brings to life the tragedy vividly in his physical decay to his final moment. Death scenes are something that many overact in but Lang's never does creating a memorable an honest portrayal of Jackson's final moments into delirium than death.

This is an incredible performance by Stephen Lang it is a shame his performance was never separated from his entirely forgotten film. His performance is a very special performance in his depiction of this important historical figure. What is so magnificent about his performance is that he succeeds in every aspect of this man. He manages to be both a man of legend in his depiction, but all the same very much always manages to bring to life the completely human qualities of the man himself. Lang never seems to be simply playing Stonewall Jackson, but honestly achieves becoming the man here in this fantastic performance.

Friday, September 14, 2012

Alternate Best Actor 2003: Peter Dinklage in The Station Agent

Peter Dinklage did not receive an Oscar nomination for portraying Finbar McBride in The Station Agent.

The Station Agent is an enjoyable film about a man born with dwarfism who after the death of his friend moves to rural New Jersey to live life in a relatively secluded no longer used train depot that he has inherited.

Peter Dinklage portrays the man who tries to keep to himself as well as is fascinated by trains. Early in the film Dinklage portrays Fin as a man who very much keeps to himself, even though where ever he goes his dwarfism makes him always seem somewhat out of place no matter where he goes. It is not that Fin is automatically discriminated against actually, but people tend to act abnormally around him. Dinklage is effective in that he does not portray Fin as becoming obviously angry at any point over people's reaction here, but rather all he does is react in a form of exasperation.

Dinklage portrays Fin's reaction well as just tired of them clearly from dealing with these type of people his whole life, so he has come to accept it to a certain degree, even though he doesn't like them still he very much is use to them. Dinklage establishes Fin's antisocial behavior well in these early scenes. He handles it well because he does not show it as Fin's hatred of others, but rather more effectively Dinklage shows it as a disconnection more than anything else. Due to the fact that Dinklage does not portray his behavior as hate, he allows Fin to be far more likable.

Early on the film as a few people in the secluded place he goes to such as a troubled older woman Olivia (Patricia Clarkson), and a very energetic food stand operator Joe (Bobby Cannavale) attempt to get involved in Fin's life in some way, much to Fin's dismay. Dinklage is excellent in these earlier scenes as he practically plays the part as dead pan. His slight sometimes slightly taken aback, or slightly annoyed reactions are always well handled by Dinklage. It is not that he is going for laughs exactly but Dinklage manages to bring the natural humor out of the situation with ease.

The film itself is really about Fin slowly coming out of shell through his interactions with the people around particularly through the constant pestering from Joe to do so. Dinklage is terrific here because of how little he really does give in as Fin. Fin's slow, very slow transformation is handled in the subtleties of Dinklage's performance. He never once oversteps in his performance, and the reluctance of Fin to really recognize people who are honestly interested in is always prevalent. He never makes Fin's transition too easy, keeping it believable throughout the film.

Dinklage never cheats his character and because of that the way he slowly does open up is far more moving. Dinklage small movements to opening up and accepting the people as his friends is well done. It is not that he makes Fin a new person by any means, rather he presents Fin as just a man who has learned to loosen up and accept human contact. Due to this Dinklage makes his whole transition entirely believable, and emotionally truthful. His change from the man of few words to the man of not so many words but can have an open conversation is entirely honest because of Dinklage. 

I must say the big emotional breakdown scene near the end of the film, where he tells everyone in bar to look at him already and get it over with, is the least effective part of his performance, and does not seem entirely necessary. This is not to say that Dinklage does not portray it well enough though it is maybe a bit hasty especially considering how well he handles the rest of Fin's transitional moments in his performance. The point is the delight of his performance is in his quiet portrayal. As Dinklage besides the big emotional scene, which he still does well I must stress this, simply creates a wonderful entertaining performance that leads his film marvelously.

Thursday, September 13, 2012

Alternate Best Actor 2003

And the Nominees Were Not:

Tommy Wiseau in The Room

Peter Dinklage in The Station Agent

Paul Giamatti in American Splendor

Stephen Lang in Gods and Generals

Choi Min-sik in Oldboy

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