The Best Actor in the Vase of Meiyu

Chapter 2109 Reputation Storm
The Hollywood Reporter, 4.0, "A film saved by Anson Wood".

The young and impetuous Niles, compared to his somewhat goofy personality in private, had a writing style that was noticeably sharper and more incisive, like a dagger.

It stabbed him precisely and cruelly in the chest.

In this film review, Niles elaborates on the entire movie, arguing that beneath the flashy and fantastical elements, the film is actually quite boring.

Just as there were concerns about the film's continued setbacks in Hollywood before production began, the film could not achieve true liberation and freedom if the subject of the biographical film was still alive. The work would carry too much self-projection and self-justification of the subject, and thus lose the soul of the film.

That's how it is right now.

This is a film that glorifies the love between Johnny Cash and Joan Carter, even going so far as to vilify Vivian and ignore Joan's ex-husband, as if they were the destined couple. The film even lays the groundwork for connection between Johnny and Carter when he was twelve years old through details in the radio and newspapers, creating a kind of fateful romance.

But this obviously makes the character thin and lacks the complexity of struggling in marriage.

Furthermore, putting that aside, Mangold, as the director, was also unable to unleash more potential, ultimately turning it into an awards season assignment.

It is clear that Mangold attempted to curry favor with the Academy judges by toning down his sharp edges and unfolding the narrative in a conventional manner, thus losing more possibilities.

"Boring" is not terrible or a disaster, it's just plain boring. There are countless works like this every year, and if nothing unexpected happens, they will be submerged in the pile of works that come one after another during the awards season, and no one will remember this work next year.

However, Anson appeared—

"Anson Wood, that's the accident."

Niles' impression of the live performance at Fulson Prison was not so intense. He admitted that the scene was indeed a climax, mainly because he was mentally prepared and knew the charm of Anson's live performance, which had been rigorously tested.

Personally, he believes Anson's real breakthrough was the scene where Johnny went on stage in a daze and then fainted.

Niles said he knew it was "cliché," a typical awards season highlight where actors portray delirious, confused, and possessed characters, showcasing their acting skills through dramatic tension; but he felt this scene was slightly different, as Anson didn't exude any "power."

In other words, it's not about showing off acting skills, but about truly blurring the lines, wandering between reality and illusion, and dragging the audience down into darkness with him.

In this scene, Anson completely breaks down boundaries, merging "Anson Wood" and "Johnny Cash" into one. So what you see in the movie is not just a simple Johnny Cash. This is not a simple imitation show, like "Saturday Night Live" where you compete to see who can imitate the most. Instead, it is about injecting a soul into Johnny Cash, merging a part of yourself into his body, and presenting a real, flesh-and-blood character.

Indeed, "Walking with the Song" attempts to romanticize the fateful love between Johnny Cash and Joan Carter, but Anson's presence adds more possibilities to the story.

A struggle amidst confusion and pain, from Jack to Vivian to Joan, Johnny has been trying to find direction. He is a useless man, and he needs a lighthouse to guide him. Jack's death, Vivian's incomprehension, and Joan's avoidance gradually plunge him into dark chaos, teetering on the edge of life and death.

Therefore, in the film, Niles never doubted Anson's ability in the stage performances; he believed that Anson could fully display his charm. What truly impressed people were the ordinary moments in daily life where his acting skills were showcased.

Until that scene, the world spun around, everyone was mesmerized, and everyone collapsed and fell into darkness along with that figure.

If Lucas were to read this film review in The Hollywood Reporter, he would probably be so shocked that he would sit up abruptly. It turns out that art can indeed glimpse the true nature of the creator's soul, and this applies to both music and film.

Clearly, Niles captured the soul of the film.

Furthermore, another significant piece of evidence is that the most cinematic scene in the entire film is actually the moment Johnny returns home after recording in the rain to share the good news. "Dangerous, sexy, determined."

Like lightning, piercing the darkness and illuminating the path ahead, he took steps towards Vivian with the ferocity of a moth drawn to a flame. In that moment, he thought he had found a guiding light and regained control of his life.

Such details and moments abound.

Niles believes that it is Anson's distinctive and colorful performance that gives this otherwise mediocre, ordinary, and conventional awards season biographical film assignment more possibilities, not only in terms of color and warmth, but also in terms of depth and even character arc.

Even in those simple, ordinary, everyday moments, find space for the soul of the character to breathe and grow.

Such a character is more than just stunning.

"Without a doubt, Reese Witherspoon deserves much credit; her light, agile, and infectious performance made the film vibrant."

However, the soul of the entire film still lies with Anson Wood, Anson Wood, Anson Wood.

One sign, 4.0 points, best embodies Niles's passion.

For a film with so many flaws and so little to offer, Niles gave it a perfect score of four, simply because of Anson.

“A madman,” Roger Albert said.

He would never do such a thing. When watching and evaluating movies, one should maintain a certain level of rationality and not act like Niles.

But at the same time, Roger also said, "I can understand."

After all, appreciating movies is a personal matter, and everyone has their own perspective and resonance.

Roger and Niles also believe that "Walking with the Song" is a breakthrough, and what truly makes people realize that they should let go of their arrogance and prejudice is precisely Anson's charm as an actor.

It's more than just a character.

In fact, while "Walking with Song" was landing in Cannes, the controversy surrounding Anson never ceased.

After the chaos and hustle of February, Anson arrived in Cannes as a film fan, a guest critic, and a non-professional. He kept blurring the focus and taking on cross-disciplinary roles, making his identity as an actor increasingly ambiguous. This only reinforced the stereotype that he was just a pretty face relying solely on his looks.

Otherwise, why keep hyping up the news?
To outsiders, the best explanation for those who seem to be neglecting their duties is hype. Otherwise, look at Daniel Day-Lewis; truly top actors don't need hype. Focusing on their acting work is enough for them to shine brightly.

However, Roger and Niles' perspectives brought all the controversy back to the forefront, drawing attention back to Anson's significant breakthrough as an actor.

This sparked a heated discussion, and it was time to clear Anson's name.

(End of this chapter)