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Showing posts with label Half Nelson. Show all posts
Showing posts with label Half Nelson. Show all posts

FYC: Anthony Mackie in Half Nelson (2006)

Thursday, September 27, 2012

Mackie gives a career-best performance.

Ruth at FlixChatter has devised this intriguing little blogathon, aptly titled Small Roles... Big Performances, that highlights great performances by overlooked actors. I ask you to consider Anthony Mackie's performance in Half Nelson...

When Anthony Mackie's name comes up in conversation, his wonderful performance in The Hurt Locker (2009) is usually mentioned at the outset. Mostly forgotten, it is his fascinating, albeit brief, turn in Half Nelson that deserves more praise. This underappreciated actor gives the performance of his career so far in this indie flick.

As a drug dealer named Frank from the projects, Mackie could've turned in a loud, hammy performance (and possibly gotten an Oscar nomination for it). Instead, he went for his trademark subtly, stoicism, and charm in a wholly authentic, quietly scene-stealing performance. This type of acting doesn't win many awards. Just ask Ryan Gosling, or even Christian Bale.

Take the scene embedded below. In this scene, Ryan Gosling's character Dan (a drug-addicted teacher) comes to Frank's house to ask him to leave Dan's student Drey alone. Dan knows that Frank and Drey are family, but he also knows all too well that the girl's future would be much brighter if she didn't fall into the world of drugs. It's a difficult scene to pull off, and both actors deliver.


But how could Mackie play this scene right? By playing it naturally. There's no flash and nothing overdone here. As much as Gosling lights up the screen, Mackie gives it right back, demanding the viewer's attention by restraining his emotions. He's there, in the scene, and we're there with him. He commands the screen in one of the most underrated performances in recent memory.

I chose this scene because it perfectly captures Mackie's skill at minimalism. The scene feels so real because Gosling explodes and Mackie listens to him. At the most basic level, Mackie doesn't do much at all in this scene, and that's the point. Watch closely, and you'll see him taking in Gosling's words. He just stops and reacts with all that he can, without overplaying the scene.

Any artifice is stripped bare, and the scene plays out with extreme authenticity. However, the scene could feel so real because of the improvisation that was required due to the film's thin script. Whatever the reason, it's a truly memorable moment for me. Both actors play it for real, but Mackie should get some of the credit that his co-star does.

If you don't believe me, check out a piece of this great performance in the aforementioned powerful scene below.

IT'S KIND OF A FUNNY STORY

Thursday, October 14, 2010

Written and Directed by Anna Boden and Ryan Fleck
Starring Keir Gilchrist, Emma Roberts, Lauren Graham and Zach Galifianakis

Craig: I want to kill myself.
Nurse: Fill this out.

I have to begin by saying that IT’S KIND OF A FUNNY STORY is not really a funny story at all. In fact, it isn’t even that funny. It tries to be, and on occasion it can be, but the reason it isn’t is pretty simple. It shouldn’t be. This is the story of a supposedly suicidal teenager who checks himself into a mental hospital for fear he won’t be able to hold on much longer. Last I checked clinical depression bordering on suicide wasn’t a laughing matter and mental wards were not warm and fuzzy places where teens could come of age.

When writing/directing team, Anna Boden and Ryan Fleck, first tackled depression and isolation, they gave us the harrowing indie drama, HALF NELSON, which earned Ryan Gosling an Oscar nomination for his portrayal of a crack-addicted, high school teacher. It was bleak, honest and raw. Just a few short years later though, they have seemingly lost all integrity as artists and their ability to be truthful to their own story and directorial instincts. From the moment Craig (Keir Gilchrist) enters the adult mental ward (the adolescent ward was conveniently undergoing renovations to allow for more implausibility and hopeful hilarity), everything feels false. Despite the fact that Craig’s problems amounts to girl troubles and pressure from his Dad (Jim Gaffigan) to get into the right college, he is admitted for a week. It takes him about a day to realize that his problems are really nothing compared to his new neighbours, allowing for six more days of learning valuable life lessons from adorable and endearing mental patients. They’re crazy, but who isn’t really?

If Craig doesn’t really need to be there, I’m not sure why Boden and Fleck think that their audience will feel any need to be there either. The ensemble do their best to comply, including a surprisingly restrained performance from Zach Galifianakis and a refreshingly vibrant one from Lauren Graham, but ultimately, they look lost, unable to figure out why they’re there too. There is humour in pain and we can be found when we are amongst the most lost but by making light of the dark places these patients go, Boden and Fleck only come off as lost themselves.

 

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