Jean
Dujardin in The Artist
For taking broad
strokes and giving them shading, texture and depth. More than
charming mincing. The film's success (and it is successful in its
goals) rests completely on Dujardin's shoulders. The reductive claim
that his is the easiest of this year's lauded performances is
ludicrous. What Jean Dujardin can convey with his face, without the
benefit of dialogue is wondrous.
Michael Fassbender in Shame
Brandon is often
written as blankly as the art direction that surrounds him.
Fassbender digs into this character's tortured, ambiguously
unpleasant backstory with fierce intensity. The moments of rage
(particularly toward Sissy, but especially toward himself) are
brilliant. Even more brilliant are the quieter moments (the date
with Marianne) where its clear that this man may be incapable of
being at peace. A stirring and accomplished performance through and
through.
Ryan Gosling in Drive
As the unnamed
driver, Gosling ramps up his charisma and the ferocity, while
remaining relatively quiet and playing the character's cards close to
the vest. The performances that look the easiest are often the
trickier ones to nail as well as Gosling does it here. Not many
actors could have sold the driver's tactical silence without seeming
blank (paging Taylor Lautner). Gosling doesn't lean too heavily on
the stylization of the film, but simply uses it to enhance the
driver's intrigue. A great turn by a performer who is quickly
becoming the gold standard in acting for his generation.
Ewan McGregor in Beginners
McGregor, who has
had a career full of great turns, has not (for my money) been as good
in years as he is here. So much of what is set up for his character
here could have led to facile and trite indie-by-numbers character
beats. McGregor instead imbues Oliver with specificity and a certain
warmth that's slightly world-weary. He sells the character quirks
while simultaneously remembering to infuse them with the character
backstory. Very subtle and interesting work.
Brad Pitt –
Moneyball
The star turn is an
undervalued commodity in Hollywood, often taken for granted when
they're as skillfully delivered as Brad Pitt's performance in
Moneyball. He does some of his best work here (and it's not
even his best performance this year!). Would that he could find more
roles that suit his charisma and charm and allow him to fashion such
an interesting character creation as he does here. Billy Beane has
no huge arc to speak of. The team loses, his opinion of the sport
does not markedly change (he approaches it as a tactician even before
he meets up with Jonah Hill). And (not to go there, because this is
about celebrating great acting), but as far as crying scenes go, he
blows George Clooney out of the park. And with less tears.
