Bruce Willis reminds me of Cary Grant.
Now hear me out!
Both have impeccable timing and are highly adept with rapid fire dialog.
Each moves with unexpected grace. Both disappear completely into
character and make acting look easy. And, no matter how much success
they enjoyed at the box office, neither got much love from Oscar in the
competitive category.*
In his entire 34 year career, Grant received
two lonely Oscar nominations
and didn't win either time.
Bruce has been making movies for 28 years
and has received nary a one.
I can think of two roles that could easily have placed Bruce Willis in the
running for an Oscar. Both of these performances contributed enormously
to the artistic and commercial success of their films, and both of these
movies were nominated for Best Picture. And yet no nomination for
Bruce.
1994. Pulp Fiction. Butch Coolidge. When
Pulp Fiction
was made and originally promoted, Bruce Willis was its only star.
Travolta's career was still moribund. Samuel L. Jackson was not yet a
household name. Uma Thurman was a celebrity with a pretty face but not a
serious actress. Bruce Willis was the Emmy winner (
Moonlighting) who'd left TV and become an action star of the first magnitude with
Die Hard and
The Last Boy Scout.
 |
It's a chopper, Baby, and Zed's dead |
We now know
Pulp Fiction as a major success and a cultural
touchstone. But at the time, a non-linear narrative soaked with kinky
sex, illicit drugs and lots of blood was a very risky choice for a star.
If not for Bruce Willis' early and enthusiastic participation,
Tarantino would
have had a much harder time getting financing and distribution.
As Butch, Bruce plays a boxer with an elastic moral code who -- instead
of throwing the match, as gangster Marsellus paid him to do -- actually
kills his opponent.
And that is one of the more savory and explicable things that happens to
Butch. How to describe what goes on in the basement of Maynard's pawn
shop, where Butch has an unforgettable encounter with Marsellus, Zed and
The Gimp? It's ugly, it's horrifying and yet somehow Bruce still makes
it funny at times.
Like when the bloody Butch wordlessly works his way through the pawn
shop, trying to find the right weapon to avenge/liberate Marsellus.
Hammer? Bat? Chain saw? He looks up catches sight of the katana. It's
love at first sight. He breathlessly takes it down and removes it from
its sheath, sensuously enjoying the the very feel of it in his hands.
(Please don't make me report what happens next.)
He's as believable when he's brutal as he is when he's tender. His
lover, Fabienne, is staggeringly obtuse yet he's endlessly patient with
her. Think of when he asks her whether she got her favorite blueberry
pancakes for breakfast, or explains that no, he didn't get his cracked
rib from giving her "oral pleasure," or when he reassures her it's not
her fault that she left his most treasured possession -- his father's
watch -- behind. As Butch, Bruce Willis gives a virtuoso performance.
While Pulp Fiction got seven Oscar nominations, Bruce's daring yet unerringly authentic turn got overlooked. Seen today, Bruce is every bit as good as the nominated John Travolta. But imagining what it was like to watch
Pulp Fiction
20 years ago, Travolta may have seemed like the revelation. It would
have been a thrill to have him back, doing the twist with his joie de
vivre in tact, while it was easy to take Bruce Willis for granted in
1994 since he had been working steadily, almost frenetically, in front
of the cameras for the past decade.
Along with Travolta, the nominees for Best Actor that year were:
• Winner Tom Hanks (
Forrest Gump)
• Paul Newman for his charming and subtle turn in
Nobody's Fool (where he was supported by Mr. Willis)
• Morgan Freeman in
Shawshank Redemption
• Nigel Hawthorne for
The Madness of King George.
I haven't seen Hawthorne's performance, so I have nothing to say about
it, but I can see bumping Morgan Freeman for Bruce. I'm not sure
Freeman's wasn't a supporting role and perhaps he was in the wrong
category.
1999. The Sixth Sense. Dr. Malcolm Crowe.
Even though by the end of the 90s we knew him best as a wise-cracking
action hero, we never doubt for a moment that he's a soft-spoken,
compassionate psychologist devoted to children. His domestic scenes with
screen wife Anna are touching in their longing and diffidence. He
captures that feeling we've each had when we feel like we're standing on
the shore, watching someone we love float farther and farther away.

Most of all, I love his scenes with Haley Joel Osment. Dr. Crowe
addresses young Cole Sear with respect and patience but never an ounce
of condescension. When Cole shares his secrets with the psychiatrist,
beginning with "small" ones about being bullied and leading up to the
big reveal that gave us an unforgettable tagline ("I see dead people"),
Willis is a compassionate stand-in for the audience. He's hearing it.
He's absorbing it. He's shocked by the revelations and at the same time
impressed by his young patient's courage and decency. Osment never
received such glowing reviews again, and I wonder if it's because he
never again found himself paired with an actor as sensitive and attuned
to a child actor.
At the Oscars, The Sixth Sense earned six nominations, but Bruce came up empty. The Best Actor category that year ended up being a horse race between far showier performances: Denzel Washington in
Hurricane and ultimate winner Kevin Spacey in
American Beauty. The other three nominees -- Russell Crowe in
The Insider, Richard Farnsworth in
The Straight Story and Sean Penn in
Sweet and Lowdown -- were all from smaller, artier movies and I suspect that Bruce was hurt by his massive commercial success in
Armageddon and
The Fifth Element the previous year.
It's too bad he was damned for his box office performance, because he
used the clout it gave him wisely. Before working with Bruce, M. Night
Shyamalan had even fewer credits than pre-
Pulp Tarantino. Yet
Bruce, fresh off two of his biggest hits, snapped at the opportunity to
work with this virtual unknown, ensuring that
The Sixth Sense got financing and a wide release. As Yogi Berra would say, "It's like deja vu all over again."
Other missed opportunities for Oscar glory. Here are two lesser seen Willis performances that have an enduring spot in my heart:
• In Country. (1989). Emmet Smith. This
movie was a box office dud when Bruce was a very
hot property, so I never expected him to be rewarded with a nomination. Yet
he's very moving in his most passive performance as a Vietnam veteran, now content to waste his days
drinking beer on the porch and eating in front of the TV. In his way, he's very devoted to his niece, Sam, whose father was killed "in country" before she was born. He helps Sam learn about the father she never knew, and in the process
teaches us all a little about the boys we as a nation sent overseas in the
1960s and 1970s.
• Moonrise Kingdom (2012). Captain Sharp is an ironically named law enforcement officer who only shares one thing with the quick-witted NY cop in
Die Hard, and that is Bruce Willis. Blond, balding and frankly fifty, Captain Sharp is always the last to know anything that goes on in the small and quirky New England town writer/director Wes Anderson created. Sharp may not know much, but he realizes how dim he is, and that self-awareness enables him to be more sensitive to the (very) young runaway lovers he apprehends.
*Yes,
Grant was given an honorary Oscar in 1970. I predict the same thing will
happen to Bruce. About 15 awards seasons from now, when he's 75, he'll
step out onstage in a tux and and give us one his perfect little smirks
as he accepts a statuette representing his Lifetime Achievement in film.
Read more about the Academy Awards through the 31 Days of Oscar Blogathon! Here are the topics:
February 2-3
THE ACTORS!
February 9-10
OSCAR SNUBS!
February 16-17
THE CRAFTS! (Music, Costumes, Cinematography, Writing, etc.)
February 23-24
PICTURES AND DIRECTORS!
... And here are the hubs:
Once Upon a Screen
Outspoken and Freckled
Paula's Cinema Club
I encourage you to check them out.
Fire up the DVR for 31 Days of Oscar on TCM. Here is the schedule.