James Bond. Benoit Blanc. Joe Bang. These characters have become synonymous with Daniel Craig’s career. Now, Craig adds William Lee, a drug-addicted gay American expat, to that list in Luca Guadagnino’s sexually charged and fantastical love story, “Queer.” The film made its North American premiere at the Toronto International Film Festival on Monday, where Guadagnino and co-star Drew Starkey participated in a post-screening Q&A.
Craig’s sensitive and transformative portrayal of a emotionally fractured man could be his greatest performance yet. It might even land him at the center of the Oscar race for best actor — if the more conservative Academy voters aren’t squeamish about the film’s sexually graphic scenes or put off by its non-traditional narrative.
Based on William S. Burroughs’ 1985 novel, “Queer” follows Lee, an American expat living a life of near isolation, save for brief encounters with a small group of acquaintances. When he meets Eugene Allerton (Starkey), a young student new to the city, Lee believes that he might finally be capable of forming a meaningful, intimate connection with someone.
Craig, of course, is no stranger to Hollywood. While known worldwide as the dashing 007 in five James Bond films, Craig has consistently shown his range. He was a menacing Irish mobster in Sam Mendes’ “Road to Perdition” (2002) and played the hilarious, twang-talking Joe Bang in Steven Soderbergh’s underrated comedy “Logan Lucky” (2017). And who could forget his unforgettable turn as Benoit Blanc, the Southern-fried detective in “Knives Out” and its sequel “Glass Onion,” both of which earned him Golden Globe nominations.
It’s not as if LGBTQ roles have historically been a major hurdle for Oscar contenders. From Paul Newman’s bi-curious Brick in 1958’s “Cat on a Hot Tin Roof” to Colman Domingo’s portrayal of gay civil rights leader Bayard Rustin in “Rustin” last year, queer characters have regularly made it onto the Academy’s shortlist.
Craig, arguably overdue for an Oscar nomination, is entering a relatively thin best actor field. Aside from Ralph Fiennes (“Conclave”) and Domingo (“Sing Sing”), the competition seems wide open.
However, it’s worth noting that a recurring Oscars theme is straight, cisgender actors being nominated —and winning — for playing LGBTQ roles. Over 80 nominations have gone to presumably straight actors in queer roles, and at least 15 have won. In lead actor specifically, this includes big names like William Hurt (“Kiss of the Spider Woman”), Tom Hanks (“Philadelphia”), and more recently Rami Malek (“Bohemian Rhapsody”) and Brendan Fraser (“The Whale”).To be clear, I’m neither condemning nor defending this practice — just pointing out its prevalence.
Regardless, Craig’s embodiment of Lee — both body and soul — allows him to fully inhabit Guadagnino’s vividly imagined world. It’s a dynamically complex role, one that actors of Craig’s stature rarely tackle, let alone execute so ably. A best actor nom will surely be in the discussion for him.
On the supporting side, other cast members are vying for their own Oscar glory.
Jason Schwartzman delivers what may be his finest performance yet as Joe, a sassy, heartfelt friend to Lee. He’s almost unrecognizable, packing on extra pounds and rocking a messy beard. After impressive performances in “I Heart Huckabees” and “Asteroid City,” a first Oscar nomination would be well-deserved.
However, Schwartzman may face competition from his co-star, Drew Starkey. Starkey’s Eugene is quiet but deliberate — Luca Guadagnino version of Clark Kent, who only reveals his true self once his glasses (and shirt) come off. His understated performance might be a tough sell for the Academy — they tend to go for big and loud turns over subtler stuff.
Starkey looking like he was plucked from the tree that gave us Tom Hiddleston, is reminiscent of Jude Law’s Oscar-nominated role in “The Talented Mr. Ripley,” though without the womanizing swagger.
And then there’s Lesley Manville, who enters the film’s third act guns blazing — literally. With blackened teeth and an urgent need for a shower, Manville delivers a bold, go-for-broke performance. If passionate admirers of “Queer” get behind her, she could surprise us on Oscar nomination morning, much like she did for 2017’s “Phantom Thread.” Considering the hilariously jaw-dropping way she pronounces the word “brujería,” I wouldn’t be shocked if she pulled off another surprise nomination.
As for Guadagnino, his Oscar chances are a bit murkier. Despite a glowing filmography, Guadagnino has never really broken through with the Academy. Even “Call Me by Your Name” didn’t earn him a best director nomination. His other films have garnered mixed reactions, and his latest, “Queer,” might face the same fate.That said, Guadagnino’s unique blend of sex, drugs, and killer soundtrack choices deserves praise. I caught references to everything from “Back to the Future” to “Under the Skin” — and that’s not a criticism. It’s high praise. Will the Academy’s Directors Branch embrace such eclectic tastes? Unlikely. But what a world it would be if they did.
So, will the Academy go all in on “Queer?”
Beyond Craig and possibly Schwartzman, the film’s stunning cinematography, courtesy of Sayombhu Mukdeeprom, should catch voters’ attention. Likewise, the otherworldly production design by Stefano Baisi and Lisa Scoppa could be in the conversation. And let’s not forget the haunting, hypnotic score from Trent Reznor and Atticus Ross, which even includes a beautiful original song.
Distributor.A24 has a full slate of awards contenders this year, including “Queer” and their latest acquisition, Brady Corbet’s “The Brutalist.” They’ll undoubtedly push hard for “Queer,” but this might be their toughest sell.
Nevertheless, Daniel Craig is ready for his close-up. And Hollywood might just give him the nod he deserves.
Source Agencies
