Alternate Best Actor 2016: Chris Pine in Hell or High Water

Chris Pine did not receive an Oscar nomination for portraying Toby Howard in Hell or High Water.

Chris Pine and Gil Birmingham have gone to be somewhat unsung elements of Hell or High Water playing the less flashy side of the central duos of the robbers and the cops. Pine, despite his fairly high profile as an actor, went unnoticed for the most part where Jeff Bridges as the Texas Ranger Marcus Hamilton, and Ben Foster as Toby's brother Tanner basically were the only actors to receive best supporting actor wins from critical bodies without the name Mahershala Ali. What about Pine though, a slightly underrated actor actually since some just take him as a bland leading man, evidently those people have never seen him in his collaborations with Joe Carnahan. This though does gives himself the chance the prove he can thrive without going partially insane. This is the type of role though that does not often get an actor noticed though, even though he plays the co-lead, some even argue sole lead, along with Jeff Bridges, he is the far more understated role when compared to the flashier nature of Bridges's and Foster's characters.

Pine plays the role of the lead robber Toby who actually is the one that sets the story in motion by coming up with the plan to steal from the bank that holds their family's ranch's mortgage in order to pay off the debt to the same bank that was accrued by their recently deceased mother in order to also keep the recently discovered oil on the land. Toby though is new to this recruiting his ex-con brother Tanner, with a past in robbery, in order to pull off the jobs. In this Pine is very effective in portraying this straight shooter attempting to be a criminal. In the robbery scenes, even though his face is covered, Pine is very good in just bringing this physical awkwardness to everything he does. The way he holds a gun on the people in the bank has this lack of confidence alluding to the the idea that the man not only hasn't done it before, but is not at all comfortable with endangering others. Pine brings the right hesitation in it, making so even when he finally fires a gun during the robbery he shows it to be such a flimsy desperate act, as he is clearly still trying not to hurt someone who is definitely trying to hurt him.

Although it is also easy enough to overlook that, what really makes this performance special is its Gary Cooperesque quality, though of course I mean more that idea of a Gary Cooperesque quality that is apparently suppose exist in Gary Cooper. Pine work so well in the limits of his portrayal of Toby, which purposefully never breaks the style of the character. In that Toby is a man of few words, and Pine respects that with his minimalist portrayal. He keeps his approach as very internalized and feels very authentic of this Texan man who is just trying to do what he believes is the right thing to do. Pine portrays no real thrill in the act itself, even creating the sense of a certain reluctance to it despite the fact that it is Toby's idea. Pine makes this make sense though as his portrayal captures this specific individualistic morality in Toby. Pine in the way he speaks of the plan creates the sense of the righteousness of his passion but also his understanding that what the act entails is not wholly moral. There is a great moment where Toby tells one of his sons that he should believe whatever they say about him, its an incredible moment for Pine as in his voice there is this conviction that what he is doing is the right thing but has to do it in the wrong way.

I will save some of what I have to say in regards to the central relationship of Toby and Tanner for another review. I will say though Pine on his end is absolutely fantastic as the "good brother". He never simplifies the relationship. He portrays the connection, even with some surprisingly effective bit of humor in there, but also the distance as they are men of a very different nature. Again more on that soon enough, but it should be sufficient to say that Pine is excellent on his end of crafting this layered and rich history the two men share. The main conflict though being that Tanner's motivations are not nearly as pure as Toby's. Pine again, in his so subtle way, keeps this conflict as a constant. In the robberies, only when we see Toby's eyes, Pine is terrific in portraying that concern as he believes that his brother could possibly go too far at any given point. When he does go too far we get really the only moment where Pine breaks from his more understated approach, which is wholly earned since Toby is suffering from bullet wound as well at the time. Pine delivers the palatable anguish in his scream, as well as the direct pain, as Toby realizes it has gone too far.

Pine's work though is so much quieter but this in no way mutes his impact at any point. Although again more on that relationship later, but it is Pine who finalizes it. It is a heartbreaking moment for Pine as he portrays the sadness in hearing about his brother's final end. What makes it so moving though is the way Pine shows it is less as a surprise but more of an acceptance of something he knew was going to happen eventually. Now in my review of Bridges's work I praised his final scene in particular, which is one of the best scenes of 2016 in terms of writing, directing and acting. That acting includes Pine just as much as it does Bridges. Something that makes the scene so compelling is how we understand exactly what is going on with both man. Pine is amazing in the scene as he matches Bridges in bringing that underlying intensity. Both actors are so good at essentially giving this understanding between the two men even though it is never precisely stated. It's quite something that it is one of the most tension filled scene in years but there's basically no music, no one raises their voice, and no violence occurs. Bridges and Pine again are so pivotal to this. There is a glint of hatred in his eyes that conveys exactly what Marcus took away from Toby. Pine does not let that define his work though. There's far more as he portrays an unease in Toby as though he is attempting to decipher the old man's intentions exactly as they speak. When Marcus presses Toby for his motivation, Pine is truly remarkable as subtly portrays the moral compromise but also the moral conviction in just the most minor facial gestures, and his gentle delivery. We know exactly where both men stand due to their performances, and that is what makes their final trade off leave such an impact. Pine and Bridges allows us to sympathize with both man as they leave with their haunting offerings of "peace". Pine's work here should not be overlooked when discussing the film. He gives a captivating performance, that is not overshadowed which very easily could have been when ole Ben Foster your co-star. Pine though also makes us emphasize wholly with Toby as he never simplifies the man, or the decision that he makes.

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Alternate Best Actor 2016: Adam Driver in Paterson

Adam Driver did not receive an Oscar nomination, despite winning and being nominated for several critical prizes, for portraying Paterson in Paterson.

100 percent about what is about to be said may be all false or 0 percent of it may be true. There is also a 72 percent chance that none of it is true, but also a 88 percent chance that 25 percent of it is.

Paragraph 1: I approach my keyboard preparing to write a review for Adam Driver in Paterson a film where he plays a bus driver for the city Paterson while playing a man named Paterson. I notice there is a hangnail on one of my fingers. It could easily be pulled so I retrieve nail clippers from a drawer and remove the unneeded attachment. I return back to the keyboard. I press on the f key, it's a bit sticky, I should replace it. I type noticing that there is strange task in reviewing this performance in a film about seemingly nothing. Who is this Adam Driver guy anyways? I probably should investigate. I go off to the local library only to find there are no books written about Adam Driver, though there is a book on how to drive a Vauxhall Adam. A random bystander passes by exclaiming "that dudes Kylo Renn, he's got his light saber he goes broommmmm, broommmmm, he killed Han Solo, screw that guy".

Paragraph 2: I return to a keyboard somewhere to continue to the review. I find in the comments section of my last review a question "Thoughts on Buddy the Wonder Dog in Air Bud?'. I ponder the question. The comment continues "Big fan of the air bud franchise but I noticed you've barely ranked any of the dogs.". At this time my own dog barks in the room. I walk outside to notice that the light is on in my car. I turn off the light, and see my neighbor is home. He beckons me to come inside. My neighbor is playing darts with a picture of himself across the room. He asks what am I doing. I say I'm reviewing Adam Driver in Paterson. I explain it is a hard nut to crack. He asks "why". I explain that it is a curiously compelling work even though he doesn't seem to do anything. "Sounds boring" he says as he throws a dart in his own photographic eye. I say but it's not.

Paragraph 3: I decide to take a break from the rigors of performance review and go off to the store in order to gather food for my dinner. As I wait in the line I stand behind two shoppers deep in conversation. The first person exclaims "Count Chocula doesn't taste like it used to" the other person asks "What do you mean?", the first continues "Count Chocula doesn't taste like it used to", "the cereal?" the other inquires, "who else is there?" the first counters "I sure love Boo Berry" the other claims, "What are you talking about? It doesn't taste the same anymore either" the first finishes. After my dinner, I continue the review questioning what it is there about this portrayal of a bus driver who likes to write poems is engaging. I ponder if it is the way Driver says certain words like "Blue Tip", there may be something to this.

Paragraph 4: I arrive at a local bar sitting at the counter to contemplate the performance further. I am approached by an actor who overhears my dilemma. "What's the drama, where is the conflict?" the actor inquires. I explain that there is none. We mostly just observe this man who goes about his day, a few slightly atypical things happen, nothing major and he treats any of the strange things in a pretty straight forward fashion. "What? You gotta have conflict to connect.". I attempt to tell the actor that there is just something strangely fascinating about watching the man be himself, perhaps there's just something strangely fascinating about Adam Driver. "Nothing bad happens to him?" the incredulous man asks. I reply that his poetry book is ruined by his dog. "That's it! I'm dealing with real drama" the actor balks at the idea. What you are in? I ask. "Willy Wonka and the Chocolate Factory, I'm the titular role".  Where? "At the High School down the street." You're a student? I wonder aloud. "I'm the janitor, they let me play there though, it's going to be great.".

Paragraph 5: Still unsatisfied I walk down to a park, sitting at bench next to a trickling stream. A German approaches and sits next to me. The German has a book that reads "Performance Review". "I love a good performance" the German exclaims. I say, huh? "I write reviews of performances, this is my book." Is there a performance your currently writing about, I ask. "Jerry Lewis in The Day the Clown Cried.". Haven't seen that one, how is it? I pose the question. "Heartbreaking work, deals with a clown during the holocaust" I say oh, then explain that I am also writing a review, about a guy who just kinda gets upset in a normal fashion over having his poetry destroyed. He never gets too upset no matter what happens, somehow it feels natural, and is actually pretty funny as well as endearing. It's a performance that fits the film's tone perfectly, and just happens to be captivating in this unique way. "Hmmm" the German nods, "Give him a 4.5". The German leaves the park. I wait a moment more before getting up myself, walking home, and going to bed.

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Alternate Best Actor 2016

And the Nominees Were Not:

Andrew Garfield in Silence

Adam Driver in Paterson

Joel Edgerton in Loving

Michael Keaton in The Founder

Chris Pine in Hell or High Water

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Best Actor 2016: Results

5. Andrew Garfield in Hacksaw Ridge - Garfield pulls off a difficult role, not only do the the thick accent required but also the overly pure nature of the role. Garfield though manages to make it work giving such an earnest and honest depiction of an unbelievable individual. 

Best Scene: "I hear you"

4. Casey Affleck in Manchester by the Sea - I might not like the film all that much, but Casey Affleck gives a great performance. Affleck manages to give a powerful portrayal by so effectively realizing a man who has come to terms with his grief by trying to become dead to the world.

Best Scene: The Police station.

3. Ryan Gosling in La La Land - Out of these five I'd say Gosling gave the performance that offered me the most joy. This is the type of performance that looks easy, but it deserves praise. Gosling brings such charm, has some impeccable comedic timing, and finds some of the best chemistry in years with his co-star Emma Stone. While being a great old school romantic leading turn he also does offers much more poignancy to the role than you might expect.

Best Scene: The dinner fight.

2. Denzel Washington in Fences - Washington delivers his career best by giving us a theatrical man in grand way, yet not without nuance. He buttresses his larger work not only by offering subtly within the grandeur, but also by showing where it stems from within his quiet moments as well.

Best Scene: The tale of his father.

1. Viggo Mortensen in Captain Fantastic - Good prediction GM. A job well done by the Academy in this category. They managed for once to choose five great performances. If the Oscars go to any one of these men I will be more than happy with it. My favorite for the time being, it's particularly close between the top two for me, is Viggo Mortensen. Mortensen, as per usual, gives a great performance. He goes further than that delivering such a powerful portrayal of this character that in the wrong hands could have gone very badly. Mortensen makes us understand this man, never going for the cheap shots, instead offering a complex and believable portrait of this man.

Best Scene: Arguing with Jack. 

Next Year: 2016 Supporting

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Best Actor 2016: Denzel Washington in Fences

Denzel Washington received his seventh Oscar nomination for portraying Troy Maxson in Fences.

Fences is a straight forward adaptation of a play about a working class African American man trying to come to terms with his family and his life.

Denzel Washington is an actor I actually do think is fairly consistent with singular screen presence, even if I don't personally hold what is often considered his best work in as high of regard as some do. In most cases I still appreciate the performance even if I don't quite love it. Washington here gives his third directorial feature and his third self-directed performance. In his his previous two efforts Antwone Fisher and The Great Debaters, Washington relegated himself to a supporting role and a secondary lead respectively. In Fences he is front in center for all except the epilogue of the film in his recreation of Troy Maxson, a role he also played on stage. The theatrical background of the material is noticeable with its rich but thick dialogue and limited scope. It is then a challenge in order for all the performers to transition their work from the stage, most are reprising their roles from a production with Washington, to onscreen. The one performer who most successfully transitions to screen is, well, fittingly enough also the man who is directing the film.

Interestingly though it seems from the outset that Washington is going to give a large theatrical performance, though not really the one he gave on stage, as the film opens. Washington after all has never been an actor to shy away from going big. In the opening scenes of the film we basically see the typical end of the week for Troy as he does his work as a garbage man, along with his friend and neighbor Bono (Stephen Henderson). While working then long afterwards Troy is a chatterbox. Washington does this quite well by basically presenting Troy as a man who likes to talk. He only gets bigger though as he arrives home and begins to "entertain" Bono and his wife, Rose (Viola Davis), with various tall tales. Washington plays these scenes like a preacher at a revival meeting with his grand standing, and epic presentation of Troy's tale of a battle with death. Washington goes for a man telling a truly glorious story filled with thrills, and even a bit of comedy. Washington delivers in the grandeur. Quite honestly though, Washington's approach is an actual way to bridge the material to the screen, as well as allude to nature of Troy.

Troy is a man of so many speeches that Washington is able to make those believable by making this sort of style as an essential part of the man Troy is. There is no simplification in this though, this is complex depiction of what Troy is doing. On the surface Washington is quite entertaining in giving such gusto to Troy's stories and at the very least makes it convincing why anyone would bother to listen to the man for a more than a few seconds. Washington's work goes far beyond that as he suggests within it that this whole approach to life is a defense mechanism of sorts for Troy. Washington is extremely effective in the way he twists this preacher facade of sorts in and around. Washington in itself already shows us a man who believes himself to be greater than he is, and he also shows this as a way to warp that message. Although some of his speeches are just these fun pseudo philosophical stories about meeting the devil, a loan officer, or how he he met his wife, there are also more than a few hints to the man's bitterness towards life.

A defining part of Troy's background was that he once had his glory days as a baseball player in the Negro League, but despite his skill never achieved his dreams due to the discrimination of the separate leagues in baseball at the time. In Troy's tirade he will often veer off into the territory towards his hatred of the lot he was given because of that, such as an overt disdain for Jackie Robinson. I actually love the way Washington changes his tempo just a little bit in these moments as he tries to make them as smooth as his "preaching" yet can't help but still come off a bit like an angry drunk yelling in a bar. Washington infuses a real venom in these turns even early on, whenever he is reminded or reminds himself of his position, and does well to show the active effort in his attempt to maintain the facade of some sort of sage. Now I will say this might have gotten old for me, even with the nuance Washington brings within Troy's theatrics, if he also did not prove that they are indeed just that theatrics. Not theatrics in terms of what we are seeing so to speak, but rather are theatrics that Troy is actively putting on, not Washington.

To explain, Washington does not stay at that intensity, we see this even early on. He alludes to this more of when we are first introduced to Troy's handicapped, due to a war injury, brother Gabriel (Mykelti Williamson). This is Troy without an audience, except for his brother who is in a world of his own, and there is none of that bluster from Washington. He shows that act to be the act it is, but essentially giving us Troy beneath it all as he interacts with Gabriel. It's a notable scene for Washington, that he uses incredibly well, since in his moments with Gabriel Washington portrays a moving empathy, which is a limited offering from Troy. In these moments though Washington alludes to this understanding in Troy that this not only is one person who seems to have had picked a worse lot than him, but also he hasn't exactly done right by him either. This is not the only moment in which we are given a quieter performance, which Washington brilliantly uses to establish and earn the those bigger moments. It goes even further than that though in the way Washington illustrates the sort delusions of grandeur that Troy has which are directly echoed by that personal style.

One moment of Washington's performance that I particularly love is when Troy offers a bit of background to his own rough life as a child. It's an amazing scene for Washington as he does start with the showman of sorts but as he actually gets into the meat of the story, Washington shows how Troy can't quite keep it going. He instead falls into the real despair of contemplating his sad past and just faces the truth of that terrible past. It is a moving scene but also so well used by Washington to convey the real nature of Troy. Washington carefully never overemphasizes either side offering the right approach in any given situation that so well reflects the state of the man. There is subtly even in the louder moments though. In the "Like You" speech that Troy gives to his younger son Cory (Jovan Adepo), Washington offers a ferocity in the words, yet he completely gives you the sense of Troy's relationship with his son. There is this very specific disdain that Washington delivers that is fascinating as he shows it almost an internalized self-hate while being a direct hate, as though it is less that Troy hates his son he just hates the idea that his son could potentially be what he never could be. Even in the speech though Washington suggests a vague sense of wisdom even in his prideful words in terms of his view that one needs to do right by another, even if Troy himself doesn't live up to that standard.

As the story goes on it soon becomes obvious that Troy is even more flawed as he reveals to having an affair to his loyal wife Rose, refusing to end it even after the revelation. Washington is outstanding in this scene as well by offering such vulnerability in Troy as he delivers these cracks in the man as he attempts to explain himself. He offers the raw emotion of it as Troy is unable to do so to any great ability, and also even shows the man attempting to explain his action by calling upon that delusion of his. Washington in these moments brings hints of the theatrics Troy is known for, in an attempt to dodge the reality in front of him, but always quickly returns to a more down to earth Troy who must see clearly what he has done. Washington does not compromise his character and is incredible in the way his lost of that facade amplifies the man's downfall all the more. As in the final scenes of the film where Troy is basically at his end, with no false delusions anymore at least in terms of being this great man, we see Troy for all he is. His final confrontation with his son is particularly powerful because Washington shows us just the brutal reality of the man through his anger towards the boy, and reveals just the small pathetic man he is in the end. Washington makes such artful use of his strengths as a performer. His work shows such an absolute grasp on the material particularly in terms of wholly understanding who Troy is. I won't hesitate to say this, Washington gives a stunning performance here.

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Best Actor 2016: Viggo Mortensen in Captain Fantastic

Viggo Mortensen received his second Oscar nomination for portraying Ben Cash in Captain Fantastic.

Captain Fantastic tells the story of a man being forced to take his six children out of their sheltered existence in a forest and into the real world in order to attend their mother's funeral after she commits suicide.

Viggo Mortensen is an actor I've always considered underrated since he's really one of the best working today. I have to say though there seems to be a strong contingent though that do seem to fully agree in terms of Mortensen's talent. I say this because Captain Fantastic marks the second time Mortensen's received an Oscar nomination without his film receiving a single other nomination, which means the man has support. I have to say it seems likely that if he ever gets a meaty role in a film the Academy loves beyond him, he'll probably be a shoe in for a win. But enough about how great Viggo Mortensen is, let's get onto talking about how great Viggo Mortensen is in this film. Mortensen plays Ben Cash a man who is a bit like a far less paranoid and sinister Harrison Ford from The Mosquito Coast. We come into the film with Mortensen who essentially plays an old hippie who actually took the initiative along with his wife to go off and live in the forest away from society, going so far as to raise their children right within the forest with little contact with the outside world.

Mortensen is already rather great from the first scene of the film where we see Ben take down a buck with his oldest, son Bodevan (George MacKay), where he proceeds to treat it like a coming to manhood ritual for Bo. Mortensen strikes this rather interesting balance between his performance given that Ben is half loving father and half survivalist technically speaking. Frankly it would have been very easy to overplay the role, which would not have fit the fairly down to earth tone of the film, given the strange nature of it. Mortensen though is able to pull it off, and makes sense of Ben's style of parenting. In these early moments where he has his children practice hand to hand combat, or has all his children scale the side of a mountain, Mortensen brings this certain intensity of a man who believes this to be a necessary teaching. Mortensen balances it so well though with his manner of delivery which is that of a strict yet caring teacher, rather some sort of psychopathic drill sergeant.

There is also something very important that Mortensen does as he sets up Ben's real nature. As we see him teaching the kids he does have that intensity and he brings the certain fire one would expect from someone who absolutely believes in what it is that he is teaching. That's not all Mortensen gives us to him though such as when we see him look upon some of his children's work, or when he receives a verbal lashing of sorts from his own son for misidentifying what type of communist he is. Mortensen is excellent in these moments as he shows us when Ben is not in teacher mode, he does have the insight of a man who has not always lived like this. Mortensen reveals this by portraying the way Ben is a bit taken aback whenever one of these moments happen with the children. Mortensen even echoes just a slight bit of how someone from the outside would react, as he reveals some early doubt in his performance. In that by showing the way Ben is a bit taken aback, Mortensen suggests an understanding in Ben that perhaps he has not given his children every thing they truly need.

Ben soon gets a more severe wake up call though when he is told that his wife, who was away supposedly for mental health reasons, has committed suicide. Mortensen's is very moving in the moment as we see his sadness, though there is even more there. Mortensen suggests perhaps Ben's later days with her as there is also a certain guilt that seems to reveal itself within his face as he attempts to understand what has happened. Ben reveals the news to his children and Mortensen is excellent as he does not do so as a the hippie survivalist mentor, but rather as just a father who cannot really explain the news to his children. Mortensen shows that Ben is actually rather lost as he cannot comfort his children nor deal with his middle son Rellian who lashes out in anger against his father. After this moment of grief though Mortensen attempts to get his kids back on track, and even seems to find a new "mission" for them by attempting to "save" their mother from the burial her parents attend to give her. Mortensen in this suggests kind of an old spark coming out of Ben, as he brings out that real fire again as he rallies his children to his cause.

As they go on the trip it ends up being the Cash family interacting with the "normals" in various ways, thankfully not with the typical misanthropy you'll find in some similarly minded films. Mortensen's terrific here in that he sometimes gives us the Ben as he was when he probably just met his wife and they decided on their specific course of living. In that Mortensen brings the attitude of a firebrand hippie who is all ready to debate with anyone in attempt to prove he is right. Mortensen offers the needed passion to this and in these scenes Mortensen gives us almost the default setting for the man whenever his way of life is questioned or tested by others. Mortensen is not one note in this such as in a pivotal scene where Rellian questions his father's choice of celebrating "Noah Chomsky Day". Mortensen initially breaks into Ben as the excessively sure of himself outsider snarkily asking him to defend Christmas as an alternative. When Rellian reacts like a son whose father is acting like a bit of a jerk rather than a debate opponent though, Mortensen in his quiet reaction powerfully shows the unease in Ben as senses that while he might be supporting his personal philosophy he isn't being a good father.

Mortensen's work here is brilliant as he captures this nuanced conflict in Ben as he attempts to reason out every aspect of his life. Mortensen never undercuts any aspect of this. In his "eulogy" for his wife Mortensen gives the conviction in Ben's almost vicious attack of sorts at the parents' choice of a funeral. Mortensen does carry a bit of the smugness of a man so sure of atypical ways, yet he also in the moment delivers in revealing an almost desperate love as he attempts to prevent his wife from being buried. Mortensen doesn't make it so simple again as in his pleas are not just a support for the wishes of her will, but also it conveys still this guilt in Ben over him possibly contributing to her death by wishing to hold onto their way of life. Eventually his ideas are directly confronted by his wife's father, Jack (Frank Langella), and the problem for Ben is Jack makes some good points. Mortensen is outstanding in the scene as he brings the attempt at passion of a father defending his choices yet within this he exudes the painful sense of doubt in this attempt. Mortensen shows this doubt grow all the more when one of his "missions" leave one of his kids severely injured. Mortensen, because of that, makes Ben's initial decision to leave his children with the grandparents believable, and also incredibly heartbreaking particularly through that palatable sadness he reveals as he drives away alone. Of course what I have not mentioned enough is Mortensen's chemistry with every one of the kids. It is all there, and he is pitch perfect in making you have a real sense of the history between them all. Even when Ben's on his highest of horses Mortensen still is able to give life to the connection between a father and his children. They feel like a real family even with their very unusual ways, and Mortensen is the center of it all. Mortensen here gives such a fantastic performance as he manages to craft this arc of Ben's so effectively to create such a poignant and complex portrait of  man coming to terms with what he has done right for his family, but also what he has done wrong. It's phenomenal work from a phenomenal actor.

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Best Actor 2016: Ryan Gosling in La La Land

Ryan Gosling received his second Oscar nomination for portraying Sebastian in La La Land.

La La Land is a wonderful musical about the romance between a struggling actress, Mia (Emma Stone) and a struggling Jazz musician, Sebastian, in Hollywood.

Ryan Gosling after his career best work in Drive got into just a little bit of an acting rut. In that his subsequent roles were certain variations on the role of the stoic "hero". Although I will defend his work in A Place Beyond the Pines to a certain extent, I find it much harder to do so for his work in Only God Forgives. Nevertheless it felt like Ryan Gosling was capable of more and there was no reason for him to be pigeonholed in such roles. Gosling in 2016 offered a complete 180 turn from those roles first through his portrayal of a bumbling private detective in The Nice Guys then later in his performance here. A performance, that while frequently recognized, isn't actually talked about all that much in regards to the film, the focus performance wise being given far more to Stone than Gosling. This may seem a little shortsighted, though there is an identifiable reason why I'll get to later, since the film relies on both of them to make it all work. La La Land after all would be horribly disconnected if either of the central performances did not work since the film is so reliant on the leads given the minor nature of the supporting cast.

Both leads are more than eager to play and in terms of the two of them you'd be hard pressed to find better chemistry than there is between these two. Like Clark Gable and Claudette Colbert in It Happened One Night, Cary Grant with almost all of his female co-stars, or Audrey Hepburn with almost all of her male co-stars, there is just that something there between them, something that just seems so right. Part of is that they don't really even need to ever exactly show that they love each other that is really what makes this sort of chemistry so special. The ease of it all is what makes it work so well, the affection is shown so naturally just in just the way they interact and engage one another. Even the traditional slightly division phase at the beginning of their relationship is impeccably handled. The two just give it this grace that makes the two of them together something quite special, and the two of them deserve to be mentioned among the best onscreen romantic pairs. The two just have it which in itself elevates the film more than just a bit, as the two of them seem so perfect together which is essential in creating that movie magic feeling the film has.

To narrow in on Gosling, what he does give here is technically a very traditional leading turn for a romantic/comedic musical, but doing this well should not be something overlooked. First of all it's such a nice thing to see Gosling in this form to begin with. No reason to brood because Gosling just has such an over abundance of charm in the role, that makes him appealing even when the character does a few things that aren't really. Gosling makes Sebastian such an endearing figure with just that breezy unassuming confidence he brings out in the right moments. Gosling though actually is careful though not to over do it in order for it to turn to smugness. Gosling isn't a Broadway singer, though my opinion on this point is always the same. Hey as long as you're not Pierce Brosnan in Mamma Mia, I care more about the acting around the singing, and the dancing for that matter. As with Richard Attenborough in Doctor Dolittle and James Cagney in Yankee Doodle Dandy, I love the way Gosling so effectively exudes the exuberance of the act. This honestly only gets amplified by Stone matching him every step of the way, and the two of them portray such sheer joy in the act that it in only results in sheer joy.

There is also the comedic with the romantic and musical though and Gosling excels at this as well. Gosling is a hoot here alone or playing off Stone. I think part of the reason he's so charming here is how good he is at being kind of a hapless dope when attempting to first play just a bit of jazz within a required playlist, or later attempting to keep his job by a terrible explanation. Gosling is, well, rather adorable in making Sebastian both rather smooth when he needs to be but also, well not so smooth, in kind of a smooth way still, if that makes any sense. Also special mention must be made to his hilarious exasperated glances when dealing with the random requirements of a weird photographer. Gosling just has such a good grasp on the material that no comedic line is wasted. He perhaps excels all the more when getting to trade a few with Stone. I have particular affection for his death stare when Mia requests "I Ran" while Sebastian is playing in a 80's tribute band, only topped at Gosling being enjoyably pathetic as Sebastian attempts to describe himself as a "serious musician". The two though again, with the comedic moments as well, just have that intangible spark.

As entertaining as this performance is that isn't all there is to it. The character's ambition to open a Jazz club, and for jazz just to be recognized in some way, defines much of his personality. Gosling captures the character's passion incredibly well because he makes it infectious. Listening to him is a bit like talking to Vincent from Collateral about Jazz, you know just without people getting shot in the head at the end of it, seriously though Gosling makes the enthusiasm so genuine that you can understand Sebastian's hesitation for the high paying music job that goes against his specific passion. On that point though Gosling carefully never overdoes the scenes where he has compromised his ambition. In that he doesn't portray this overt anguish or anything like that, just more of a lack of that passion as he goes along with a musical that just wasn't his dream. Now this is where it gets to the most dramatic elements of Gosling's performance, and to be fair this would be already be a great "light weight" turn anyways. I don't think Gosling quite gets the credit he deserves in this respect though.

Now, as I wrote, there is an identifiable reason for that in that Emma Stone technically gets the more exact dramatic focus particularly in the show stopping "Audition" number which is amazing and that's part of the reason why's she my lead actress win, but that does not mean there is nothing for Gosling. Gosling's most dramatic moments actually are particularly quiet ones. For example there is scene early on where Sebastian overhears Mia talking to her mother where she notes his lack of success. Gosling is very good in silently reflecting the way Sebastian takes this in and actually with that moment gives sense to his willingness to initially compromise his dream. This eventually leads though to their confrontation, after Sebastian has been away for a long time on tour, yet surprises Mia with a meal. During this time though she questions about his compromise. This is not dealing with the sort of harrowing tragedies we will find with his fellow nominees, nevertheless I found Gosling's work incredibly moving here. Gosling subtly reveals such vulnerability just as he defends himself, and in his eyes he gives this sense of a real heartbreak since Mia is questioning his compromise when he made the compromise for her. By doing this he makes Sebastian's ill advised remarks towards Mia natural because they come from that heartbreak. As good as they are together what I find most remarkable is how effectively the two end up dividing. The two of course have that unmistakable love yet just as naturally they reveal the problems that arise. They earn the ending and make it as bittersweet as it is. Both Gosling and Stone make it so those final glances say everything, the regret, the sadness, and still the love, without saying a single word. I have to admit the more I've written about this performance the more I've come to appreciate it all the more. You know I've made my argument, set up the evidence, but in summation I think I'll quote the terrible Akiva Goldsman and ask you all to close your eyes. Now imagine an actor that must rely on his charm, his chemistry with his co-star, a comedic ease and effortless grace, yet still with the right dramatic nuance. Can you see him? I want you to picture that actor. Now imagine he's Miles Teller. Doesn't seem quite the same now does it?

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