Will Serkis finally win award for motion capture?
Actor’s work in ‘Apes’ showcases respectable effort
A familiar question is being asked about Andy Serkis’ starring role as ape leader Caesar in “War for the Planet of the Apes”(in theaters Friday), his third and final film in the “Apes”franchise.
It’s the same one we heard after he played Gollum in “The Lord of the Rings”series, “The Hobbit: An Unexpected Journey”and the title role in “King Kong.” But it’s even louder this time.
When is Andy Serkis going to get awards respect for his performances?
Serkis, 53, is the undisputed master of acting in the specialized bodysuit and head-mounted camera used in motioncapture performances — performances that are painstakingly enhanced to make him look like a giant gorilla, an ape revolutionary or whatever freak creature Gollum was. But Serkis has thus far been shut out of Oscar acting nominations. That could change with the critically praised performance that concludes his six-year film run as Caesar.
“We seem to have this conversation with every Serkis film that ends up nowhere,” says Pete Hammond, awards columnist for Deadline.com. “But this is a quintessential, almost Shakespearean performance. Does he deserve to be nominated? Absolutely! Will he? I won’t take that to the bank. But hope springs eternal.”
Critics have rallied around Serkis this year, with USA TODAY’s Brian Truitt writing, “It’s truly an injustice if Serkis’ third — and best — turn as Caesar doesn’t get a serious push.”
“War” could turn the tide for Serkis and future mo-cap performances, says Hammond, who expects 20th Century Fox to make a major awards push for the movie.
Awards voters, including those in the Academy of Motion Picture Arts and Sciences’ acting branch, are wary of normalizing motion-capture performances, says Scott Feinberg, awards columnist for The Hollywood Reporter. “They fear this is another step to not needing actors at all,” he says. “They don’t want to expedite the process by honoring it.”
Matt Reeves, who directed Serkis in “War” and 2014’s “Dawn of the Planet of the Apes,” says actors are being educated on the motion-capture process, especially those who see it alongside Serkis.
“There’s this expectation they’ll be coming into some VFX movie playing opposite zoo animal who provides much-needed comic relief.
Among other points to ponder: Some apes, known as “donkeys,” work as servants, almost slaves, to human soldiers. Why? Are they not as fully evolved? Were they simply denied opportunity in the ape world and thought they could find something better among humans, only to be taken advantage of?
Reeves doesn’t offer an answer, which is a good thing.
What we want, of course, is a showdown between Caesar and the Colonel, and we get it. There is some speechifying first, along with a few other plot points that must be navigated.
The effects are so stunningly good that at the point we don’t even notice them as effects — the ultimate compliment. Apes riding horses into battle? Caesar discussing war and suffering with the Colonel? Sure, why not?
The lead-up to the conclusion, or one of them, is immensely satisfying. It’s a tennis balls,” says Reeves. “But what they’re actually doing is playing opposite Andy. In that way, it’s no different than me doing an independent drama with two actors.”
The performance is coming from the actor, he says, not the artists at Weta Digital who spent a year physically transforming Serkis into a photo-realistic ape. “That performance is absolutely Andy. He’s worthy of recognition because he’s one of the best actors in the world,” says Reeves. “And I’m biased, but I think this is his best performance to date.”
“War” co-star Woody Harrelson became a convert once he got used to working across from Serkis in his suit, facial camera and digital facial dots that capture the tiniest movement. He now calls Serkis “the greatest actor I have ever worked with.”
Another hurdle for mo-cap awards recognition is that it’s difficult to recognize the actor. Yet Serkis’ evolving Caesar appears almost human and is captured in real environments like snowfilled mountains, thanks to technical advances in mo-cap.
“People seem to be responding to this performance on another level, saying, ‘It’s so moving. And it’s you,’” Serkis says.
“But really what is important, more than awards, is a proper understanding of what performance capture is,” he adds. “It’s nothing more than acting, pure acting. I think the perception is shifting.” summer blockbuster that takes itself seriously, but not in a self-important way — more like a thoughtful, questioning way. Revenge comes at a cost, whether for the savvy Caesar or the increasingly desperate Colonel. How that plays out is impressive. And then it all goes haywire. A carefully constructed story suddenly becomes absurd in terms of how it fits in with everything else. It is a rare misstep in the film, but it’s practically a step off the edge of a mountain.
Reeves rallies the film (though the timeline gets a little curious), and overall this is a rousing movie. Flawed but impressive, “War for the Planet of the Apes” finds its place comfortably, and near the top, of a surprisingly satisfying summer season. It’s a smart take on the old films, making this a series that can stand alone in its own right.