Best Supporting Actor 2012: Alan Arkin in Argo

Alan Arkin received his fourth Oscar nomination for portraying Lester Siegel in Argo.

Argo is an entertaining thriller, even if the facts of the true story are played and many times in a typical movie sort of way, about the CIA using a fake film project as a cover story to get six embassy workers out of Iran. 

Alan Arkin portrays a veteran film producer who CIA operative Tony Mendez (Ben Affleck), and make up artist John Chambers go to help create the fake film production. Where the scenes in Iran with the hostages are played very much with a strict uncompromising intensity the scenes that take place in Hollywood are played up for comedic value. Much of the humor comes in form of Alan Arkin as the crusty old producer, and his interactions with various Hollywood types as the three of them try to make the cover story seem strong. Most of Arkin's moments really come in his delivery of the various one liners he is given.

Arkin won his Oscar for playing a crusty old man in Little Miss Sunshine, who also had quite a few one liners. In both films Arkin delivers them in the same way which is always in a unabashed manner. I would say the difference though is in Little Miss Sunshine he always felt a bit cruder, and frankly due to that his deliveries there held a little more of a punch. His line delivery here though is still good as well as he does them in his crusty dead pan fashion. I will not fault Arkin here giving a similar performance to his performance in Little Miss Sunshine since it is completely fitting of the character of Lester Siegel.

What separates Lester Siegel in this film from Edwin Hoover in Little Miss Sunshine is there is considerably less heart here as Lester. There is a very brief scene where he talks about his family to Mendez that is fairly simplistic. Arkin is earnest in the scene, but still it does not make much of an impact unlike Arkin's scenes with Abigail Breslin Little Miss Sunshine. In his Oscar winning turn Arkin made so there was a character who said one liners, whereas here it is more of Alan Arkin showing up to say a few one liners Siegel never really becomes a compelling character on his lonesome.

Now I will say this is a good performance in that when he is on screen he is enjoyable, and lightens up the film nicely. He, Affleck and Goodman have a certain chemistry that works in their scenes together that allows the scenes in making up the phony film appropriately entertaining. Arkin though doesn't steal the film or anything near that. When he is off screen, which is quite often especially in the third act of the film, he really is not missed all that much. Arkin in his performance offers a little bit of humor, and fun, but there is not anything here that is substantial enough to warrant this being recognized as one of the best performances of the year.

Best Supporting Actor 2012

And the Nominees Are:

Alan Arkin in Argo

Philip Seymour Hoffman in The Master

Tommy Lee Jones in Lincoln

Robert De Niro in Silver Linings Playbook

Christoph Waltz in Django Unchained 

Argo

Argo, 2012
Directed by Ben Affleck

Argo is a fake movie. No, the movie I went and watched in the theatres wasn't fake, but it was what was used to get 6 Americans out of Iran without being killed, in a time where Americans were being held hostage.

In 1979, the American embassy in Tehran, Iran was stormed by Iranian revolutionaries, and everyone inside was taken hostage by the country. 6 managed to escape and found refuge in the Canadian ambassadors house. While the world watches, the American government and CIA realize they need to find a way to get these 6 Americans out before the Iranians discover they have 6 missing people. Enter Tony Mendez. With only bad ideas floating around, Tony comes up with something crazy. He and the 6 Americans will pose as a Canadian film crew looking to film a sci-fi movie in Iran, visiting on a location scout. But it's not as easy as it sounds. Tony needs to make sure this is legit. He needs a script, he needs producers, a budget, actors, posters, anything to show that this is real. He needs press. But when he arrives in Iran to get the 6 out, he has to ask himself the age old question, "is this so crazy it just might work?" because the answer to that is life or death.


Ben Affleck has been in the business a long time. His only Academy Award nomination, was also his only win, for his writing on Good Will Hunting, with Matt Damon, back in 1997. For the most part though, Affleck was just a mediocre actor, picking several awful movies, and from time to time choosing very good ones. However, when Affleck released his directorial debut, Gone Baby Gone in 2007, it received instant acclaim. His follow up in 2010, The Town, was equally acclaimed and just missed out on a Best Picture nod that year. His third effort, the film I'm now here to review, is said to be his best picture to date.

Affleck both directs and stars in this movie. What I really enjoyed about this movie was the balance between humour, and tension. This film felt very real. The humor didn't feel out of place or forced. And while some of the tense moments were a little dramatized, it wasn't an overt amount. For a serious film, it was really quite witty and funny. The scenes with Tony in Hollywood with his 2 producers (both in on his ploy), were really quite fun and funny, but switching back to scenes in Iran, it's very serious, and tense. And this was a really nice balance between the two. It was very human, and so many of the situations and reactions of all the characters didn't feel overly scripted.

Additionally, I felt Affleck and his crew did the look of the movie quite well. It was the cheesy 70's, with the massive glasses, horrible hair and mustaches, and most people looked like they fit right in, without it being more cheesy than the 70s already were. The mix of real footage from this time, and the modern footage was good, especially the beginning. And it was also pretty fun having the vintage Time-Warner logo at the very beginning.

Overall, I really, really enjoyed this film. I was able to go with my boyfriend, and 3 other friends, and was happy that all of them really enjoyed it too.

Oscar chances? I'd say it's a definite lock for a Best Picture nod, and most likely a Directing and Screenplay nods as well. It has its best chance in acting for Alan Arkin, though he's nowhere near a lock right now. Going into this movie, it was my predicted winner for Best Picture, mostly based on the buzz from TIFF, and from me being a little disappointed by the Lincoln trailer (my previous, extra early, winner pick). Coming out of the movie, I'd say I'd be very happy if this film took the top prize. It's always nice when a film that the general audience has heard of and seen is picked. It was a really enjoyable film, a great and interesting true story, and was really well made. I'm definitely going to be rooting for this movie this season, thus far!

9/10

247. Argo

247. (13 Oct) Argo (2012, Ben Affleck)* 76



Ben Affleck continues to be one of the most consistent, exciting directors working today with Argo. Though this tense, taut thriller plays exquisitely throughout, it's hard not to relish the details. From the old Warner Bros. logo that opens the film to the outstanding production design to an ensemble all but destined to win a SAG Award, Affleck manages to barely falter in a film precariously straddling genres. The comedic bits set in Los Angeles are admittedly very funny, but some of that scripting is too on-the-nose in a way that's not in keeping with the more organic feel of the thriller segments. Alan Arkin's crowd-pleasing performance is especially out of step with the powerful work of the Houseguests. All the plots wrap up a little too tidily, as well, but it's too satisfying to matter much.

ARGO

ARGO
Written by Chris Terrio
Directed by Ben Affleck
Starring Ben Affleck, Bryan Cranston, John Goodman and Alan Arkin

Tony Mendez: Can you teach someone how to direct in a day?
Lester Siegel: You can teach the Reese’s monkey how to direct in a day.

There was nothing simple or smooth about the mission to get six Americans out of Tehran during the 1979 Iran Hostage Crisis. That said, under the direction of multi-hyphenate, actor-writer-director, Ben Affleck, ARGO, the film based on this harrowing escape, is as smooth as they come. Affleck introduced himself as a director with the kidnapping drama, GONE BABY GONE. The people were cautious but pleasantly surprised. He then established himself as a serious player with THE TOWN, suddenly finding himself an awards contender again. And now, with ARGO, he cements himself as an important American filmmaker with something of worth to say and an incredibly entertaining way to say it.

ARGO also marks the first time Affleck gets out Boston as a filmmaker, his first two films having been set in the state of Massachusetts, where he grew up. In fact, Affleck travels pretty far to avoid getting pigeonholed as that Boston guy, as he goes back and forth between Tehran and Hollywood, California, here. Ordinarily, one wouldn’t think to naturally put these two settings together but in 1979, they were intrinsically linked to the fate of six American embassy workers. When the embassy was taken over by Islamist extremists, protesting America’s unwelcome involvement in Iran’s politics, six employees managed to get out undetected and hid at the Canadian ambassador’s personal home for what would become 79 days. Fortunately for them, the C.I.A. was working on a plan to get them home the entire time. Unfortunately for them, that plan involved posing as a film crew scouting locations for an exotic, science-fiction movie to get through airport security. At the time, this was the best plan they could come up with.

Thanks to a sharply written screenplay by first time feature writer, Chris Terrio, ARGO is a rich and layered work that operates on many levels - from satire to thriller to think piece. And as varied as the settings and tone are from scene to scene, from the often hilarious Hollywood insider track to the very real and very tense hostage situation at hand, Affleck exudes nothing but confidence and control over the vast entirety of the project. Not once, does he lose focus or pull it for the purposes of highlighting his own solid performance. Perhaps, his biggest achievement though, is telling a story where we know the whole time exactly how it will end, without sacrificing one trace of the suspense and heart-stopping fear that everyone involved must have been feeling while they were trying to pull it off. And with that, Affleck pulls off his tricky feat as well.

Best Supporting Actor 2006: Results

5. Djimon Hounsou in Blood Diamond- Hounsou is only ever really loud or really quiet, which is acceptable for much of his performance, but when his limits are noticeable they are very noticeable.

4. Mark Wahlberg in The Departed- Wahlberg is enjoyable enough as the loud abrasive police officer, it is not a complex performance but it serves its purpose.

3. Eddie Murphy in Dreamgirls- Murphy throws a great deal of energy into his role, but for me I could never separate this from his earlier comedic performances.

2. Alan Arkin in Little Miss Sunshine- Arkin gives a strong performance that is both consistently humorous, but Arkin also effectively brings a great deal of his heart to his performacne.

1. Jackie Earle Haley in Little Children- In a part that could have portrayed in an overly cinematic or stylized way, Haley always keeps his portrayal far more effective by playing it always truthfully to his character.

Deserving Performances:
Ben Affleck in Hollywoodland
Michael Caine in Children of Men

Best Supporting Actor 2006: Alan Arkin in Little Miss Sunshine

Alan Arkin won his Oscar from his third nomination for portraying Edwin Hoover in Little Miss Sunshine.

Little Miss Sunshine tells the story of a dysfunctional family trying to make its way for the daughter Olive (Abigail Breslin) to make it into a children's beauty pageant.

Alan Arkin portrays the crusty old grandfather, who since it is an independent film of this sort is also a Heroine addict. The fact that he is a heroine addict really does not play into his performance, it plays into his character's fate, but Arkin really never portrays this as really all that important of a facet of his character. After all it never even shows the Grandfather after he has used the heroine, it only in fact shows him use it once, and we do not see any after effects. The point of his character really just comes in with him being a crusty old man apt to say one liners, and go off on rather salty tirades when he chooses to.

I must say Alan Arkin is quite good at the role set for him. He appropriately crusty, and actually quite amusing in the way he unabashedly portrays Edwin's various opinions as loudly as possible at times. Arkin is always effective in the role, and does perfectly realize this sort of character quite well. He never apologizes for the character, not once, which makes his performance far more effective than if he tried more visibly to make his character more likable in these moments. Arkin though actually does make Edwin actually fairly endearing, since he always makes it clear that Edwin merely is telling it the way he sees it.

Arkin makes all of Edwin's tirades quite enjoyable actually, as are his quick well timed little reactions or insertions into other conversations. It is an expertly done performance by Arkin actually because he really does play it straight for the most part. Yes he is meant to be humorous, and Arkin brings humor out the performance, but he always presents it through a realistic portrayal of a old man like Edwin. A part like this very easily can seem overwritten if the actor had overplayed the role, but Arkin never overplays Edwin finding just the right tone for him through his whole performance.

Arkin despite giving a largely comedic performance also does find a great deal of heart in his performance actually particularly in regards to Edwin's relationship to his granddaughter Olive. The scenes of Breslin and Arkin together I am sure is what helped both secure their nominations, as their is a surprising degree of warmth in their moments together. Arkin always shows that Edwin genuinely loves his granddaughter and always wants what is the very best for her. Their final scene together as well as when he convinces her to eat the ice cream despite the rather cruel objections of her father (Greg Kinnear), Arkin realizes a honest sweetness that actually is quite moving.

It is actually quite a challenge for Arkin to connect both his scenes of humorous crustiness, and his scenes of Edwin trying to be a good Grandfather and even father. His scene where he tries to encourage his son, is all terrifically handled by Arkin showing that even after all that flak he gives his son he still does love him. Arkin never fails to combine both sides of his character into one single characterization of this man. It would have been very easy to overplay the comedy, and completely forget the heart of his character, but Arkin succeeds in every respect. My only complaint was I wish he was in the entire film, but alas this is still a strong entertaining from Alan Arkin.

Best Supporting Actor 2006

And the Nominees Were:

Djimon Hounsou in Blood Diamond

Eddie Murphy in Dreamgirls

Alan Arkin in Little Miss Sunshine

Jackie Earle Haley in Little Children

Mark Wahlberg in The Departed

The Return of Captain Invincible

Before “The Incredibles” (2004) there was “The Return of Captain Invincible” (1983), a satire about a fallen superhero’s return to grace. It’s a really odd film in many ways, and not very good, but I give it high marks for attempting to do something different.

In faux black and white newsreel footage, we see Captain Invincible (Alan Arkin), a World War II superhero fighting Nazis and earning the love and devotion of the American people. In the 1950s he is brought before the House Committee on Un-American Activities and questioned about his loyalties. What exactly was he doing operating behind the Communist lines during the war? He tries to explain he was fighting Panzer tanks, but they don’t believe him and he is branded a traitor to his country.

In disgrace, he disappears for decades until he is tracked down in Sydney, Australia, living on the streets as a bum. The President of the United States (Michael Pate) needs his help, because an arch criminal, Mr. Midnight (Christopher Lee) is set to take over the world, and America needs Captain Invincible back in action.

The first 15 minutes are smart and funny, and I thought this was going to be a real sleeper. About the 20-minute mark the film becomes a musical, when the President launches into the song “Bullshit”, the phrase repeated seemingly hundreds of times as he sings about the help he is getting from his staff. It sounds funnier than it actually is.

I think director Philippe Mora was going for a “Rocky Horror Picture Show” vibe, even hiring the composer, Richard O’Brien, of that score. The songs are pretty bad, unfortunately, but its fun to see stolid Christopher Lee cut loose in a couple of numbers.

What’s strange is this Australian film, set in Australia, filmed in Australia with an Australian crew, and loaded with “guest stars” unknown by me but obviously well known to Australian audiences, is so concerned with the American spirit. There are several scenes with Captain Invincible lamenting what went wrong with America, how can we get our spirit back, we can be the great country we used to be if we just returned to our core values, etc.

I know Australia is a good friend to the United States, but it’s just odd to me that the focus of an Australian film would be the re-birth of American ideals. (Not to mention a musical superhero satire.)

Ultimately by trying to be so many things, it doesn’t do any one thing particularly well. If the songs had been jettisoned and they went straight for the superhero satire, it may have worked better.

But high marks for trying to do something different. For all its faults, “The Return of Captain Invincible” is a one-of-a-kind movie. There hasn’t been anything like it before, or since.

Rating for “The Return of Captain Invincible”: Two stars.