In the corner of the multiverse where I preside over the Academy Awards like a benevolent despot, every one of the performers pictured above received an acting nomination for their roles in No Country for Old Men. Also, Seth MacFarlane never hosted the ceremony. So it’s a decent place, is what I’m typing. The other day, I shared my personal picks for the four acting categories handed out at the Oscars. Here’s evidence I’ve been engaging in this particular exercise online for quite some time (and yet longer — far longer — offline). Without the original explanations and observation included (but with a couple revised, updated hyperlinks), here are the performances I celebrated ten years ago. I stand by all of these selections, but do note with some amusement my mild dismissal of one of the nominated actresses from Joe Wright’s Atonement. My oh my, how times do change.
BEST PERFORMANCE BY AN ACTOR IN A LEADING ROLE
1. Daniel Day-Lewis, There Will Be Blood
2. Tommy Lee Jones, In the Valley of Elah
3. Ryan Gosling, Lars and the Real Girl
4. Philip Seymour Hoffman, The Savages
5. Josh Brolin, No Country for Old Men
Let’s start with a relatively easy category, shall we? At least when it comes to picking out the name that goes next to the numeral one. Arguably the surest bet in tonight’s ceremony, the performance is starting to entrench itself the cultural vernacular to such a degree that it’s soon going to be easy to forget just how good it is. Day-Lewis may be the best by a solid margin, but that Tommy Lee Jones performance is terrific, a controlled, deeply felt portrait of sorrowful disillusionment.
BEST PERFORMANCE BY AN ACTRESS IN A LEADING ROLE
1. Ellen Page, Juno
2. Cate Blanchett, I’m Not There
3. Laura Linney, The Savages
4. Angelina Jolie, A Mighty Heart
5. Julie Christie, Away From Her
Yup, I opt for the little Canadian miracle worker who manages to make Diablo Cody’s highly constructed dialogue sound natural and revealing. As much credit as many of the other Juno collaborators deserve, without Page and her mix of expert comic timing and grounded emotionalism, it’s hard to imagine the film recovering from its opening minutes which are almost uniformly viewed as problematic. That the film winds up so winning is a testament to the fully realized accomplishment of her performance. While I think she has an outside shot to be an upset winner in this category tonight, slipping past Marlee Matlin to become the youngest Best Actress winner ever, my wager remains firmly on Christie for her elegantly moving work (and because voters will see it as a sort of de facto career award), and I suspect Marion Cotillard’s unbearably hammy work as Edith Piaf is a tick ahead of Page in the horse race, too. Since I commit to being ruthlessly honest about filling this out, I’ll note that I consider Blanchett to be a lead for I’m Not There. I’ve got a different supporting actress in mind for that film.
BEST PERFORMANCE BY AN ACTOR IN A SUPPORTING ROLE
1. Javier Bardem, No Country For Old Men
2. Philip Seymour Hoffman, Charlie Wilson’s War
3. Tommy Lee Jones, No Country For Old Men
4. Steve Zahn, Rescue Dawn
5. Paul Schneider, The Assassination of Jesse James By The Coward Robert Ford
Hoffman and Jones certainly had good years. Hoffman’s continuing mastery of he craft of acting has almost become mundane, but it’s nice to see Jones giving committed performances after the odd digressions of recent years. Schneider had a less recognized good year (he’s also award-worthy in Lars and the Real Girl). I like Casey Affleck’s nominated turn in Jesse James, but I see that as a lead performance and I just can’t make room in that category. It’s a shame Steve Zahn didn’t get more end-of-the-year talk; his work in Werner Herzog’s film deserves to be career-shifting. Bardem will almost certainly win tonight, and, like Day-Lewis, it’s completely deserving. Those two performances are the two from this year that will be remembered for a long, long time.
BEST PERFORMANCE BY AN ACTRESS IN A SUPPORTING ROLE
1. Emily Mortimer, Lars and the Real Girl
2. Leslie Mann, Knocked Up
3. Michelle Williams, I’m Not There
4. Maria Tomei, Before the Devil Knows You’re Dead
5. Kelly Macdonald, No Country For Old Men
Not a single one in common with the Academy, although that has something to do with the fact that I think they (and, granted, everyone but me) have got Blanchett’s stellar turn as Jude Quinn misfiled. I’d say that Michelle Williams’ brief, riveting performance as model Coco Rivington is more suited to the supporting category, although I’ll quickly concede that the big jumble puzzle of Todd Haynes’ film is hard to fit into the simple Oscar category boxes. Mortimer is terrific in a tricky role in Lars, since her empathetic work in crucial to making believable the conceit of the entire town rallying around the lead character’s delusions. Mann is more than a considerable comic force in Knocked Up. She makes a character that could have easily been little more than a mean-spirited caricature in to someone sympathetic and interesting. I frankly don’t understand why Tomei and Macdonald aren’t actually in the running for the Oscar. As for tonight, this is the one category that you can see going to any of the actual nominees except the kid. Of course, the last time I said that any one of four different people had a real shot at winning in this category, it was the fifth that took the prize, so don’t count out Atonement‘s Briony yet. I think Tilda Swinton is going to win for Michael Clayton, largely by process of elimination (Blanchett just won three years ago, Ruby Dee’s role is apparently less than five minutes of screen time in a film that’s not hugely well regarded, Amy Ryan seems to have settled in to that place where Thomas Haden Church was a couple years ago, where the nomination is seen as adequate compensation for sweeping the critics’ awards). Besides, I think enough Oscar voters will want to check a box in close proximity to the words “Clayton” and “Michael,” and Swinton is the most likely beneficiary of that instinct.