Happy Birthday, Leo! (And a Monologue)

Andrew here  to join the Wheeler clan in wishing Leonardo DiCaprio a happy birthday…

…although, he doesn’t seem especially delighted at the well-wishes.

Is that image from Revolutionary Road a dismal birthday scene or what, though? Sometimes I imagine if I had a bloggers' party to celebrate Leo's actorly talents the soiree would be just as dismally attended. Am I wrong?

As odd as it may sound, I often find myself feeling sorry for Leonardo DiCaprio. Sure he's got good-looks, money and the perceived love of millions of fans, yes, but of the actors in his demographic he always seems the least likely to be considered a good actor. If I were to say that he’s my favourite actor under forty, I always expect raised eyebrows in response, and they are generally forthcoming. DiCaprio is not the most diverse actor in his demographic, but I'm often suspicious of attaching quality necessarily to variation. He has specific gifts and even more specific flaws. Many actors are at their best when they exploit their gifts but considering my favourite performance of his for today's monologue, I find I like Leo best when he exploits his flaws.

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Take Three: Michael Shannon

Craig from Dark Eye Socket here with Take Three. Today: Michael Shannon

Take One: Shotgun Stories (2007)
Shannon looks to be getting the best raves of his career for the ominous apocalyptic mystery Take Shelter, which stunned critics at Sundance and Cannes. It’s the second feature from Jeff Nichols whose debut, Shotgun Stories, also starred Shannon. In that film he plays Son Hayes, the eldest of three brothers along with Kid (Barlow Jacobs) and Boy (Tim Blackwood)  who alternately avoid and pursues conflict with their recently-deceased father’s other family. (Maybe the conflict was originally over the father’s terrible child-naming skills, who knows?) Son is a quiet, intense guy. It seems like fortuitous casting: Shannon, in shape and presence, and with his innate ability to show us exactly what his characters are thinking whilst doing very little, is ideally suited to the role. He brings perceptive silent intelligence to this role of an unlucky man who keeps his cards, and all else, close to his chest. (Son has numerous shotgun-bullet scars on his back and only late in the film do we discover their origins.)

Although outwardly Shannon doesn’t appear to transmit much emotionally, there are many minor moments when he imparts a great deal with shuffling body movements and facial expressions. He turns a scene in which he hears devastating news in a hospital into a painful, sincere display of grief. His face turns red, crumples and then empties out in vacant disbelief. Even when Shannon is filmed working at the fishery or wandering his quiet house he never lets one minor aspect of his character slip.

Take Two: Revolutionary Road (2008)

Shannon’s most high-profile role to date is undoubtedly John Givings in Sam Mendes’ Richard Yates adaptation Revolutionary Road.

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