In Alexander Payne’s “Sideways,” Paul Giamatti gave the best performance by an actor in 2004, so said the New York Film Critics Circle, and how right they were. So why, why, why was the actor denied an Oscar nomination? Granted, it was a strong year, but his work was at the top of that heap and that snub was one of the biggest shocks of the year.
Here was a man giving perhaps the finest performance in a comedic film since Dustin Hoffman in “Tootsie.” His co-stars go were recognized, save for the equally deserving Sandra Oh, but the leading man, around whose performance the film stands, is snubbed. All I can remember saying is: “Wow.”
Certainly Jamie Foxx deserved the attention he received for “Ray” and Leonardo DiCaprio was astonishing in “The Aviator,” even though he drew some criticism for before too youthful in the role. Rubbish, I thought. He was superb, inhabiting Howard Hughes as he must have been in those days, brash, cocky, wealthy and willing to do anything that interested him.
Clint Eastwood was terrific in “Million Dollar Baby,” while Jim Carrey gave a wonderful performance in “Eternal Sunshine of the Spotless Mind” — a marvelous piece of acting, in fact. Equally fine, and dark, was Kevin Bacon as a pedophile struggling to start anew in “The Woodsman,” which was one of the most daring American films in a long time.
Two masterpieces, one right after the other. This was the day I had been waiting for. I caught Steven Soderbergh’s “Che” today, all four hours and 20 minutes of it. It’s a glorious achievement from a brilliant mind, one of the few directors who seeks to challenge himself constantly. “Che” is audacious and bold filmmaking because not everyone will like it or even understand it perhaps. Soderbergh digs deep into the mind of a brilliant man and allows us a lucky glimpse.