Thespians: Top 20 Performances of 2012

Narrowing an entire year's worth of great performances down to just a small shortlist is never easy. If you've come across my lists from previous years, you already know that I don't limit my selections by screen time (leading/supporting categorizations) or gender. Great works of art are not bound by arbitrary setups like those. Despite being lenient with such classifications, I still couldn't find room for all the works I loved. I can't quite believe that I left out Rachel Weisz's aching performance as the adulterous wife in The Deep Blue Sea. Ditto Simon Russell Beale's tender turn as her husband. Paul Rudd was at his very best in Wanderlust and Julianne Moore would have certainly been included if Game Change had been released theatrically. Finally, Tessa Ia (After Lucia) and Quvenzhané Wallis (Beasts of the Southern Wild) both had to carry the weight of their films and gave astonishing debut performances. Alas, I had to cut the list at some point.

20. Liam Neeson (The Grey)

Neeson portrays a character whose resolve is as steely as his imposing physique, but he gives him a human side that reveals itself in different forms throughout. It's a layered creation and fascinating in the way it enriches the screen persona Neeson has shaped for himself in the past few years.

19. Yilmaz Erdogan (Rhino Season)

Erdogan's villain is as vulnerable as he is menacing, which makes this portrayal of a sexually repressed, morally indecipherable character all the more terrifying. He perfectly captures the psyche of religious fundamentalist men in post-revolutionary Iran, those whose rise to power was catalyzed by the very norms that impeded them in the pre-Islamic era.

18. Nicole Kidman (The Paperboy)

Yet another adventurous, challenging undertaking by American cinema's most audacious actress. And yet another successful turn. Kidman brings subtlety to a character whose every trait is unsubtle and makes an inaccessible woman incredibly sympathetic. She's in command of Charlotte; it's Charlotte who's absolutely unhinged.

17. Amy Adams (The Master)

It's a reflective performance, one that slyly changes tonal course over the film. But despite the space she leaves for the audience to interpret her character, the subtext remains the same for me throughout: she's The Master to all. Peggy blends into the background but her controlling presence is always felt.

16. Nina Hoss (Barbara)

Who knew there could be so many facets to the poker face? Nina Hoss's ice-cold titular anti-hero is anchoring one of the most challenging films of the year, but she does so with grace and gravitas. Hoss shapes an imposing persona for a character who's treading on thin ice on the inside. The performance is mesmerizing from start to finish.

In Defence of Flawed Filmmaking...

Immediately after Silver Linings Playbook won the audience award at TIFF, an intense backlash started against it by critics who hadn't taken to the film. And the rapid escalation in the number of people who claimed it was a serious contender for Oscars only made matters worse. At the moment, I think Silver Linings Playbook might actually be the most divisive film of the year, even ahead of The Master.

It's an understandable position on the critics' part, as Playbook is by no means a perfect film. In fact, it has enormous flaws in both its conception and execution that would under any other circumstance be incredibly grating. There are moments where one can point to specific decisions in camera work or directing that hurt the film. There can be legitimate complaints about its treatment of mental disorder or its practice of tired romantic comedy tropes. From virtually any angle, this is a film that, on paper, should not work. And yet, it totally does. Because, every now and then, comes along a film that reminds me why I love films in the first place. It reminds me that I watch them to be moved, and to be affected and to live with its characters beyond the two hours I spend in the dark of the theatre. Silver Linings Playbook is that film. Not because I can dissect it and analyze it with what I learnt in university film classes, but because it's honest and moving. Because it can look at itself and like everything about itself without reservation; the loving part and the slutty part and the crazy part. All of it. And I commend it for that.

The beauty of Playbook is in the unpredictable energy of Tiffany's dishonest cries of "he's harrasing me," contained within a performance (by Jennifer Lawrence) that is so at ease with the character's insecurities and her unsubtle sexual allure that it becomes reminiscent of the greatest works of Barbara Stanwyck. The greatest moments in the film aren't the work of a director who creates calculated set-ups, but one who reaches inside his actors and finds their deepest human instincts; like when Dolores gently kisses his son on the forehead, or when the father swells up as he opens up his age-old wounds in the attic, and more often than not, in Pat's confused, heartfelt and sky-blue gazes into our soul. It's a film full of nuanced performances that, under Russell's (problematic but) gutsy direction, breathe a new life into an otherwise generic story with their compassion. Russell may well be the greatest humanist working in American cinema today; a director not with his eyes on the viewfinder but with his heart on his sleeve.

Short Take: The Place Beyond the Pines

Grade: A-

* A shorter version of this review was originally posted at The Film Experience during TIFF12.

Derek Cianfrance's follow-up to his marriage drama Blue Valentine is a three-part genre piece about a stunt motorcycle rider (Ryan Gosling) who enters a life of crime when he realizes that a short fling in the past with Romina (Eva Mendes) has resulted in a son. When a young cop (Bradley Cooper) gets involved with his case, his criminal activities take an abrupt turn.

Fans of Cianfrance's previous film and also those who were expecting "Drive redux" based on the minimal promotional material available are in for a surprise, though in my case the surprise was a very happy one. This robust story of complex morality and corruption is told with sensitivity and gravitas. It is intermittently a white-knuckle action film that keeps you squirming on the edge of your seat and a dense drama of Shakespearean gravity that explores father-son relationships. Think of it as a crime thriller with the emotional punch of Blue Valentine.

Gosling gives yet another superbly intense performance, and Cooper and Dane DeHaan steal the show with their surprising depth. Ultimately, though, the star of the show is cinematographer Sean Bobbit, whose graceful work in the film's more intimate moments makes for an interesting juxtaposition to the Grand Prix-inspired dynamism of its action-packed first half.

Given the presence of two major Hollywood stars and the potential to market the hell out of the genre elements, The Place beyond the Pines could become a big financial hit, even though it might be too far out of the comfort zone of awards bodies for recognition.