How fortunate are we, the movie loving public, and Academy members to have in 2021, five male performances as rich and inventive as those beautifully created by Riz Ahmed, Gary Oldman, Steven Yuen and the late great Chadwick Boseman. The awards’ race this season despite the pandemic chaos, has offered up a myriad of wonderful storytellers across the various mediums where films have been readily available for consumption. Delroy Lindo gave a visceral tour de force in the Spike Lee joint ‘Da 5 Bloods’, Tom Hanks displayed all his skill and humanity in the powerful ‘News Of The World’, Kinglsey Ben-Adir broke through big time with his stunning inhabitation of Malcolm X in Regina King’s cogent ‘One Night In Miami’. Steven Yuen did some emotional heavy lifting in the big hearted ‘Minari’, Gary Oldman gave further vindication to his reputation as one of cinema’s finest character actors in David Fincher’s mighty ‘Mank’, and Riz Ahmed was a revelation in the surprise critical hit ‘Sound of Metal’ – a transformative performance that was breathtaking.
Added to these luminous players, how can I wax lyrical further about Chadwick Boseman in terms that haven’t already been expressed? I was so moved by his full-bodied, whole-hearted, and spirited final burst in ‘Ma Rainey’s Black Bottom’, an actor who tragically, whilst just at the peak of his powers, had to confront cancer. It’s unimaginable that the light of his gifts have been extinguished, the void left for his friends and family is irreparable, and years of his abundant brilliance will be lost to the craft of acting and storytelling. His searing portrayal of ‘Levee’ was one for the ages and will always remain a performance to embrace whenever we need reminding of the courage and determination required to move through the world and battle its endless obstacles. Mr Boseman and ‘Levee’ both personified that courage and determination.
But here, I am singing the praises of perhaps the one male ‘thesp’ who can rise above every other thespian in 2021: ‘The Father’ to end all fathers – Academy Award nominee: Sir Anthony Hopkins. The Welsh born performer has been an acting juggernaut for 7 decades! He first entered my radius 40 years ago in 1981 when I was devastated by David Lynch’s ‘The Elephant Man’. At the age of 16, and with a school mate in tow, I had this extraordinary cinematic experience and was forever changed by it, and it remains one of my five all-time favourites. Sure, the brilliance of John Hurt was front and centre, but as BAFTA recognised at the time, the co-lead performance of Anthony Hopkins was just as germane to the success of the movie. I was utterly moved by his portrayal of kindness; of goodness and the conflicted emotions that the script offered Hopkins’ ‘Dr Frederick Treves’ as he battled his conscience and ambition as well as his humanity when he presented the abused and misunderstood John Merrick to the medical fraternity and society in ‘The Elephant Man’. The role was so exquisitely played; it began for me, a five decade exploration of this sublime actor’s resume.
The versatility of Sir Anthony Hopkins has clearly shown no bounds. Immediately following ‘ The Elephant Man’ there was a romantic comedy with Shirley Maclaine: ‘Change of Seasons’, his strident turn as Captain Bligh along side Mel Gibson in 1984’s ‘The Bounty’, and one of my all time favourite performances by him: in the romantic dramedy ’84 Charing Cross Road’ opposite Anne Bancroft. A beautifully understated but hugely endearing turn as the lonely bookseller who is befriended by a brash American writer across the Atlantic, and a sweet romance through letters ensues.
The 1990’s were huge for Hopkins; with his Academy Award winning turn as the sinister Hannibal Lector in ‘Silence of The Lambs’ becoming one of the most iconic and referenced performances in cinematic history; incredibly he was on screen for only 16 minutes! Only an actor of his brilliance could turn a serial killer into a movie legend. After that Oscar victory, the world was at the feet of Anthony Hopkins, when at the ‘tender’ age of 52, he then travelled to Australia to appear in ‘Spotswood’ in 1992; then to America for Francis Ford Coppola’s ‘Bram Stoker’s Dracula’, and back to Britain for famed filmmakers Merchant/Ivory for the E.M Forster classic ‘Howard’s End’ and Kazuo Ishiguro’s ‘Remains of the Day’; the latter winning him another Oscar nomination. More acclaim ensued for his BAFTA nominated turn as C.S Lewis in ‘Shadowlands’ and back on American soil, Hopkins would appear in Ed Zwick’s ‘Legends Of The Fall’, before earning another two Academy Award nominations playing American presidents: John Quincy Adams in ‘Armistad’ and the infamous ‘Nixon’. There’s also his depiction of Picasso in ‘Surviving Picasso’, his directorial debut in an adaptation of Chekov’s ‘Uncle Vanya’ – ‘August’, and later his title role in ‘Hitchcock’ playing the legendary filmmaker. Sir Anthony Hopkins can, and has done it all: box office behemoths like ‘Mission Impossible 2’, ‘Thor’, and ‘The Mask of Zorro’, as well as low-budget gems like the Kiwi classic ‘The World’s Fastest Indian’. The man has an awe-inspiring 7 dozen big screen credits.
At the age of 80 he appeared in Fernando Merelles’ ‘The Two Popes’ earning his 5th Oscar nod, and now at the age of 82 he is nominated again for ‘The Father’ and the 4th time for Best Leading Actor. He is the father of all acting fathers. So often cast as a real life figure, or a larger than life character, it is refreshingly testament to the gargantuan skill of Sir Anthony that in ‘The Father’ he plays an ordinary man, who is confronted by a debilitating condition that is sadly an all too common affliction facing our elder population. But there is absolutely nothing ordinary about this performance.
I was again completely devastated 40 years after first experiencing Anthony Hopkins, when I went to a cinema to see ‘The Father’. He gives the most splendiferous masterclass in acting; using every faculty he has: that mellifluous voice; the physicality of his frame, and that remarkably expressive face and those deeply set, probing eyes. Hopkins submits his entire being to depicting the ravages of the diabolical condition: one moment strident, the next childlike and playful to instantly willful and belligerent before then finding himself completely bewildered and unable to rely on his cognitive processes. ‘The Father’ showcases an actor not only at the top of his game and gifting the world an unforgettable tour de force, but also one who tops a magnificent career with great majesty and artistry. In a year that thankfully has been filled with bravura performances, it is my fervent hope that the Academy of Motion Picture Arts & Sciences will give Anthony Hopkins, and this astonishingly heartbreaking display of skill and courage, its Best Leading Actor prize for 2021.
ACADEMY AWARDS For Your Consideration SIR ANTHONY HOPKINS
Could not agree more with what has been successfully written beyond. Hope your comment could have reached enough voters so that Anthony can pull off an upset. Yesterday was the last day before the closing of the votes.
Thank you Sarkissian. Me too 🙂
This was an absolute knockout from Hopkins. Aside from the absolute pleasure in watching one of our greatest actors turn it out – to do so at 83 in such a clever film on a scary topic to which we have all really thought about the subject. What more can you ask for in a winner? Yes, he has won the Oscar but perhaps the case to be made here is one about age and experience – there are great performances to be had from our elder actors if we make films with them in mind.
Thank you for these wonderful comments, Jonathan. Couldn’t agree with you more.
I finally saw The Father and have no idea how Hopkins didn’t sweep every award. To me, just my opinion, this is his best performance ever…yes even better than Lecter. I was blown away by this movie overall but good lord just the last scene alone of him and Olivia just broke me. Chadwick is amazing too, but my vote would go to Hopkins and it’s not even close.
Astonishing work isn’t it. I was inconsolable at the final scene with Olivia Williams. Yes one of the best screen performances. Ever.
By the way there was a ” Tie ” for Best Actor in 1932 between Fredric March for Jekyll and Hyde and Wallace Beery for The Champ except it wasn’t really a tie March had one more vote than Beery had and according to the rules at the time both were given an Oscar but subsequently The rules were changed so that can’t ever happen again .
Sir Hopkins has won an Oscar. For one of the most iconic roles of all time. For him to win again, he and the role will have to top that. The Father can’t best Hannibal.
I voted up but beg to differ. The Father shows everything he has in his acting arsenal.
Yes, but the Oscars is more about an actor showing off what they have in their arsenal. It’s also about the role and what that contributes to art and society as a whole.
I think The Father does all of that and more
Hopkins is my most seen actor, I’ll be ecstatic if he wins, and against that sort of worthy posthumous opposition it would be significant recognition.
If I had to choose the five nominees for his best picture (not performance), it would be thus:
Howards End
The Lion in Winter
The Silence of the Lambs
The World’s Fastest Indian
Young Winston
Shadowlands is incredibly underrated as well
For me The Remains of the Day might be #1 of his filmography. 🙂
He’s always been one of my absolute favorites. I’d probably vote for Ahmed, by a nose, with Boseman third, but they’re all fantastic…
Yes its a 3 way tie for me. For different reasons. Hopkins v Boseman v Ahmed. An encore viewing of all three later in 2021 will help me decide. I’ve seen Ma Rainey twice.
I haven’t yet had time to watch many of the things I wanted to once, let alone twice. :)) But that’s what the off-season is good for – a lot less time pressure, a lot more time available… I hope I haven’t left myself with too many to see. 🙂 It’s a bit more than I left myself last year, I think. But not that much more…
Yep never enough time or money to see all I want to see but before I make my end of year list, I try to rewatch some of my favourites. It helps see which have improved upon an encore view, and which have had the same reaction. Occasionally a movie will have become less appealing. It’s an interesting process to revisit them.
Oh yeah, for sure – so do I. For similar reasons. 🙂 I’ll get around to doing that this year, too, without a doubt! It’s even more of a guarantee than that I’ll get to see all of the 2020 stuff I haven’t even seen once.
When the winner is known for a long long time, people get bored and start to speculate about upsets so that they have something to talk about. Not going to happen. Sentimentality will prevail. It’s human nature. At this moment, paying a tribute makes people feel good about themselves. They will look back when the win doesn’t age well and admire Hopkins (and Riz). Aspiring actors may even study Hopkins performance, But awards are not given for what will happen in a year or 5 or 10,etc. They are given for now. Which is why so many wins don’t stand the test of time while some snubs do.
Sentimentality will prevail. Indeed but there’s a lot of different sentiments driving narratives
well the most sentimental of the sentiments, then. the emotional wife receives the award, talks about beloved departed, it’s irresistible. people feel good. It’s over.
Maybe 🙂
Sometimes, sentiment prevails, and sometimes, it doesn’t. I’m reminded of Burt Reynolds (”Boogie Nights”), Eddie Murphy (”Dreamgirls”), Lauren Bacall (”The Mirror Has Two Faces”), Sylvester Stallone (”Creed”), Glenn Close (”The Wife”), etc., all of whom had won precursor prizes, but sadly fell short at the Oscars.
I wouldn’t predict any other Best Actor but Boseman this year because I generally agree to what you’ve said, but I wonder if the voters themselves wouldn’t get bored too after so many months of a done deal and try something different.
but like I said, I’m not expecting it, not even rooting for it. just wondering, really.
it isn’t about trying something different as is about feeling good about themselves. And you bet that in such sentimental occasions, even more deserving actors don’t wish to upset. Sometimes losing is winning.
Could there be a tie? Ala Streisand and Hepburn? Would AMPAS allow a tie in this day and age? Clearly they have occurred, and not that long ago in the Sound category if i am not mistaken.
If ever there was a moment where two performances should be rewarded in one year and in one category it is this one. Chadwick Boseman & Anthony Hopkins.
I would prefer a tie in Best Actress this year. a three- (maybe four-) way tie, if possible.
is it too much to ask? *wink*
That’d be so cool. I still remember the batshit crazy Golden Globe when Jodie Foster, Sigourney Weaver and Shirley Maclaine tied for Best Actress in a Drama. Easier for 90 votes to end like that.
somehow I made it though years and years of oscarwatching completely unaware of this bit of trivia, and now thanks to you I looked for it in Youtube and had the time of my life with Michael Douglas’s face when he opened the envelope! thank you so much for the tip, and for giving me hope to see it again on the 25th (it will never happen, I know, the Academy just loves disappointing me)
I recall watching it live and thinking it was crazy
But wonderful too
amazing! I loved it!
the GG weren’t broadcasted in my country until late 90s I guess, so I must have read it somewhere before but it didn’t stick.
now that I’ve seen, I will never forget it.
If there was ever a year for a tie for Best Actor it should be this year . Anthony Hopkins in any other year would have won but he won’t and that is sad . In your article you didn’t mention one of my favorite Hopkins performances Titus in Julie Taymor’s film of Shakespeare’s play . It’s a great move that hardly anyone saw . Also has anyone seen a movie called Shortcut To Happiness . It was directed by Alec Baldwin and starred Anthony Hopkins , Jennifer Love Hewitt and Alec Baldwin . The weird thing about this movie is that it’s a remake of one of my all time favorite films The Devil And Daniel Webster which came out in !941 and Starre3d James Craig as Jabez Stone , Walter Houston in his Oscar nominated role as the Devil and Edward Arnold as Daniel Webster . It also won Bernard Herrrmann his only Oscar in a year that he was also nominated for Citizen Kane . In the misguided remake Alec Baldwin played Jabez Stone , Jennifer Love Hewitt played the Devil and Anthony Hopkins played Daniel Webster .
Great minds think alike Steve. Truly I did not see your comment when I posted mine. I’d love a tie.
I apologize for posting this in as many different places as possible, which I do for obvious reasons! It’s easy to skip over, anyway, once voted.
Hey, guys! It’s that time again… 🙂 All who have seen each of the eight Best Picture nominees at the Oscars this year (or, at the very least, all but Mank – which, unfortunately, clearly has no shot at winning either here or at the Oscars – and maybe Judas and the Black Messiah – which probably also hasn’t got much of a chance, although this is less clear) are warmly invited to post their ranked ballots (personal order of preference, of course, not winning chances) in reply to this comment (to facilitate tabulation at the end), for the 10th Annual Best Picture Preferential Ballot Simulation I will have run – with many thanks, of course!…
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I’m probably going to keep voting open until Monday, which coincidentally is roughly equivalent to the Oscar voting period. I usually do this right after BAFTA but, even so, this has never quite happened before. [UPDATE: I saw the two I was missing – this is my vote:]
1. Promising Young Woman
2. Nomadland
3. Judas and the Black Messiah
4. The Father
5. Mank
6. The Trial of the Chicago 7
7. Sound of Metal
8. Minari
The most interesting thing about this simulation, as past contributors will remember, is that there is now a running seven-year streak (arguably eight, as Silver Linings Playbook didn’t necessarily do worse than Argo’s other challengers in 2013 at the Oscars) of the likely runner-up for Best Picture at the Oscars finishing either in second or virtually tied for second place in this as well. (Details below. As can be seen, the Oscar-winner has come in first before, three times. But never in second – 0/9…) The beginning of this streak coincides with the year I started holding these simulations at both Awards Daily and on the old IMDb Message Boards. (The first two years I only collected votes at IMDb.) Obviously, this year looks like the most locked-in one (in Best Picture) since at least the Argo year. Personally, I don’t quite consider either that or Nomadland locks – like The Artist or The King’s Speech, for example -, but both were mighty close, despite their two respective stats-relevant misses (Argo, being snubbed for directing, Nomadland, not getting either the ensemble mention or at least two acting nominations at SAG, a tally which only Braveheart could not match or trump, out of all of the SAG era Oscar Best Picture winners). So, I would say it’s still not 100% clear that Nomadland will win (and we’ve certainly been given plenty of reasons to almost always doubt the front-runner the last 6-7 years) and it might help to know which movie is not likely to upset it (as per this stat about coming in second place in this simulation), plus it’s always nice to get a clearer picture about what you guys all think are the best of the nominees. 🙂
The history:
2011 The Social Network —– details not saved (second place was Black Swan, I believe)
2012 – not held –
2013 Zero Dark Thirty ——— 37-24 over Silver Linings Playbook
2014 Her ————————– 33-33 tied with Gravity, won 19-18 on total first place votes
2015 Birdman ——————– 62-61 over Boyhood
2016 Mad Max: Fury Road — 51-37 over The Revenant
2017 Moonlight —————— 41-32 over La La Land
2018 Phantom Thread ——— 39-33 over Call Me By Your Name *
2019 The Favourite ————- 45-30 over Roma
2020 Parasite ——————- 46-14 over The Irishman *
* Three Billboards was tied with Call Me By Your Name at the moment when one had to be eliminated in third place (on tiebreaks). 1917 was three votes behind The Irishman when Parasite reached 50%+1 of the votes, but was ranked ahead of The Irishman on just as many ballots as not (30-30), so it, too, was extremely close to coming in second place. (Only Parasite’s utter domination – the most crushing win ever seen in one of these -, which took away most of the ballots, probably prevented it from at least tying for second.)
Hopkins gives such a magnificent performance in IMHO the best movie in the BP line-up, that at this point I really don’t care if he wins or not. It would be cool if he did, but Oscar or no Oscar – this performance (and this movie) still didn’t manage to find its way out of my head.
Look, if the Oscars were for excellence alone Anthony Hopkins would deservedly take the Oscar this year. His performance, sensitivity and gravitas is one for the ages. It’s undeniable. But the Oscars have become a machine for PR storylines, and first I must say; I do feel Boseman’s friends and family’s pain, and his devotion to craft, but the narrative of ‘lets give him an Oscar because he passed away’ is overblown and I feel disingenuous, but also irresistible for a certain sect of voters who want to ‘feel good’. But he is not a legendary actor who would have deserved to be awarded otherwise, he was very good in an OK movie, and he used to work on Marvel blockbusters, that’s all of it in a normal year. A little inch in me tells me that more and more people have been watching ‘The Father’ and resonating to it, specially Hopkins- he might edge out a victory, and I do hope he does.
In any other year, yes. But not in the year when you have one final chance to honor the legacy of Chadwick Boseman. Cruel to break it down like that, maybe, but I suspect the Oscars will not just cite him for MRBB, but ’42’ the Jackie Robinson bio, and Black Panther.
What about his performance as James Brown in Get On Up !
That, too!