Viggo Mortensen did a fantastic job as Freud. He should have at least been nominated for a best supporting actor Oscar.
Especially when you look at who WAS nominated : Jonah Hill (are you KIDDING me? He basically just read his lines), Nick Nolte (nothing we haven't seen before), Kenneth Branagh (meh), Christopher Plummer (meh), and Max von Sydow (meh).
Viggo was good, very good. Outstanding . Plummer was very good in Beginners and was awarded, in part, for his service to the film industry as much as his role. Plummer was a worthy winner.
Viggo was brilliant in this and I think it's possibly his finest role. Other characters he's portrayed may be more famous, but I think I've never seen his craft shine as beautifully as it did through Freud.
And as a fan of Freud (not an unconditional fan, but an admirer nonetheless), I was pleasantly surprised. More often than not, when I'm very familiar with a subject, cinematic incarnations tend to lead to disappointment. Not here, thanks to Mortensen.
"He shall be an adder on the path, to bite a horse's heel"
Viggo mortensen has shown and proven in the last 10 years to be just an outstanding and briliant actor, so i didnĀ“t expect any less than the brilliance that he delivered in this movie.
No, indeed you aren't. What's more, you can go back and look at work he did in the 90's, mostly as a character actor, and he was doing excellent work then. The main difference now is that David Cronenberg let him show what he could do more than any previous director. And once he was familiar to people from LOTR, more people paid attention. He went from being a casting directors' well-kept secret to someone people give awards, and someone a lot of folks wish would work oftener.
He's one of the finest actors working, a master of minimalism. This role is different in that there is more talking in it, but he knows how to do both.
In A HISTORY OF VIOLENCE, there is a scene in which he shows the camera five different expressions in the space of a few seconds, as he moves across the scene. It's as if you can see the character thinking. One critic said it had been a long time since an actor's face had scared him, but that did.
In A HISTORY OF VIOLENCE, there is a scene in which he shows the camera five different expressions in the space of a few seconds, as he moves across the scene. It's as if you can see the character thinking. One critic said it had been a long time since an actor's face had scared him, but that did.