One of the most egregious snubs in the history of the Academy of Motion Picture Arts and Sciences concerns last year’s Best Actor trophy, and no, it has nothing to do with Leonardo DiCaprio. Eddie Redmayne walked away with the Oscar for his turn as Stephen Hawking in The Theory of Everything, and indeed his performance was groundbreaking and heartfelt. But it pales in comparison to the tour de force delivered by Body, the Hungarian star of Kornél Mundruczó’s White God, in his role as the tortured, tragic, life-loving, revenge-seeking, slobber-mouthed Hagen. Due respect to Redmayne, but Body’s performance is simply one of the most emotional and drool-covered performances in years.
As a young actor Body was met with obstacle after obstacle as he tried to make ends meet while pursuing his craft. He auditioned for some of the most iconic roles of our time and even received a callback for The Beast from The Sandlot, but the dude who played Mr. Mertle claimed Body was “impossible to work with” and cited the Hungarian-English language barrier as a primary qualm. He was an extra in Air Bud: Seventh Inning Fetch but soon disowned the film and distanced himself from the creative vision of the entire Air Bud series. Body struggled to be taken seriously as an actor, forced to take work in Iams commercials and as a busboy of sorts in the alley behind an L.A. hotspot.
Continue reading White God (2014) →
On one hand, a sequel to The French Connection is completely logical. Popeye Doyle sees things through, probably more out of psychosis than out of any loyalty to law and order, and so it does make sense that he’d track the kingpin Alain Charnier all the way to Marseilles after the events of the first film. French Connection II begins right there, not long after the first film left off, and when he pulls up in a cab it’s pretty great to see Popeye again. He pulls his hat onto his head and pays the driver, then glares at him when the driver shakes his head and insists he’s owed more. “I’m taking your number, fella — that’s in case you screwed me,” he snarls. Yes: it’s Popeye.
On the other hand, though, a sequel to the perfectly imperfect conclusion of the first film seems simultaneously illogical. The first Connection ends somewhat suddenly when Popeye accidentally shoots a fellow cop, thinking him to be the evasive Charnier (or “Frog One”). Not only is a wishy-washy ending avoided, but Popeye’s character is further complicated by the brevity of his victory. The smarmy sarcastic wave that Popeye gives Frog One on the bridge is bittersweet, and maybe even a karmic contributor to the ultimate conclusion of Connection (in the same way that Hank’s wave to Walt in Breaking Bad represents his own short-lived supremacy).
Continue reading French Connection II (1975) →