It intrigues me that Christopher Walken’s latest film — which just signed for North American release by Steelyard Pictures — is titled The Power Of Few. I’ve never heard of this distributor, and maybe the film is a cinematic treat, but I’m reasonably certain this movie will come and go with little fanfare. The title is memorable because it summarizes perfectly how I wish iconic actors like Walken would run their careers. I was thinking about this over the weekend, when I again watched Django Unchained and observed how the whole movie changed from the moment that Samuel L. Jackson first came into view as the awful plantation slave patriarch Stephen. I find it one of the most memorable performances I’ve seen in the last five years, a villain to rival any Spaghetti Western antagonist ever, and am amazed how Jackson disappeared into a fully fleshed character as completely as Daniel Day-Lewis did with Lincoln and Joaquin Phoenix did in The Master, and Denzel Washington did in Flight. All three of those guys got nominated for Oscars, and Sam did not, even though it’s his best performance since Pulp Fiction. It’s easy to say it came down to Christoph Waltz’s Best Supporting Actor nomination (Leo DiCaprio was also snubbed), but I think a factor is that Jackson works so often that Oscar voters discount his great performances because it’s just one of the seven films he did in that calender year. Contrast that to Day-Lewis. When he works, you know it’s a special event, there is high anticipation and he either wins or gets nominated almost each and every time out.
To me, Walken is in the same class as Jackson, and so is Robert De Niro and Al Pacino and Anthony Hopkins, and so would Sean Connery and Gene Hackman if anybody could coax those guys out of retirement. Kevin Costner is knocking on the door as well.
De Niro got an Oscar nom for Silver Linings Playbook, and it seemed to work in reverse; it seemed to help that this was the first movie in a long time where the material wasn’t beneath his vast talent, and that he proved he still had it.
As for Walken, I was at the Toronto Film Festival premiere of the Martin McDonagh-directed Seven Psychopaths last fall, and observed something rare. Gifted with dialogue from In Bruges‘ McDonagh, Walken had people cheering to just about every line he delivered, in his singular style. I wish guys like him would save themselves for just the really good stuff (like De Niro and Pacino in Heat and De Niro in Silver Linings Playbook), instead of leaving a trail of cinematic turds along the way. (more…)