Alternate Best Actor 1934: Harry Baur in Les Miserables and updates

First to note the backlog is ongoing but thought I'd jump ahead to open for another series of recommendations for a year that it is unlikely I'll be doing an official lineup for but first...

Harry Baur did not receive an Oscar nomination for portraying Jean Valjean and Champmathieu in Les Miserables.

This nearly five hour version, while one of the better adaptations of the story I've seen I cannot say is definitive as it is often heralded as. This as the length in itself, where the film is essentially paced like a miniseries, is a double edged sword. There are elements where it takes its time that do leave a memorable impression, the barricade sequence and the Thernardier robbery attempt in particular, however it also spends a strange amount of time with some more meaningless moments in terms of the overall narrative, and yet still excises major elements of the story. The most unforgivable, that keeps it from being definitive in my mind, is its simplification of Javert. While Charles Vanel does what he can with the role as written here, he is just a general policeman for much of the film, and much of the greatness of the character is sadly lost in this adaptation.

As many times one can argue that Javert is the secondary lead in many versions, that is not the case here, again a mistake I think as I find him the most compelling figure as written, however this seems to be in service in focusing even more so on Jean Valjean's personal journey. Typically Valjean begins as a rough, hardened convict in appearance, then later is "cleaned up" more towards a dashing hero type in terms of the casting of the likes of a Hugh Jackman, Liam Neeson or Frederic March. Well Baur is quite different as his physical presence is that of a peasant convict, accustom to harsh life who we discover as he is leaving his physically straining time in prison. Baur's work delivers a rougher portrait of Valjean, who isn't just bitter, yet the whole state of the man is filled with a sense of bitterness. His eyes don't reflect of a sorrow of injustice, but rather an anger towards all that he has suffered. An anger that is not of a righteous attitude but one hateful towards the world he believes has abandoned him. This as when he initially comes across the kind Bishop in this version, it is with an innate hostility, and a disbelief in his eyes as the Bishop notes his humanitarianism. Baur portraying this as a fundamental quality within his manner, as someone viewing the man as completely foreign and suspicion in these ideals, something that is not to be trusted. Baur establishing this state so purely, makes then the Bishop's action all the more powerful in this version. This as after Valjean robs the Bishop, and is immediately, caught, the Bishop not only ensures that he is let go, he gives him valuable candlesticks to have him change his life.

Baur's reaction in the moment of the Bishop's charity is a particularly powerful one in this version. This as Baur expresses in his eyes both the shame in his action compared to the Bishop's reaction, but more so this sense of the man being shattered by these words. This as his old world view founded by bitterness and distrust is lost, as his expression creates the sense of confusion, but also this moment of revelation that carries with it a real poignancy. We then of course jump to Valjean as the mayor of a town and a factory owner. This where Baur successfully fashions seemingly just a reserved but dignified older businessman. This man who exudes a certain grace of charity even if in this Baur still portraying a more subdued hardship effectively. When it comes to his knowledge that there is a man who has been arrested as Valjean, Baur is excellent in his scene of questioning his decision and what he should do. This as it is not a simple righteous action again, as we again see a hesitation in his manner as man seriously considering taking the selfish way out. As he continues to examine though we again see that connection to the priests words, and there is a terrific moment where Baur manages to convey Valjean's conclusion through a struggle expressed through almost entirely his eyes. This leading him to go to make sure the man does not take the fall for him, and leading the film to one of those sequences that seems an odd place to spend a lot of time in. This being the trial of Valjean's doppelganger Champmathieu, I suppose the easiest explanation is the filmmaker wanted to grant a greater showcase for Baur, which we do get.

This as we get a drawn out scene of Champmathieu on trial, even before Valjean gets there. This seems to be here mainly for Baur to work out his comic chops a bit, as he is amusing in portraying the simple and somewhat daffy manner of the man. This that is completely innocent and completely alien to his work as Valjean. This as an effective comic turn, though I'm not sure we needed so much time devoted to it. Nonetheless we then get the scene of Valjean taking charge of the courtroom to exonerate the man. Again the scene seems oddly drawn out, however Baur uses it well in terms of portraying a self-actualized Valjean. This in that he carries that grace of the good man, but with this sense of understanding of his harder life. This as he portrays it as the man wields it as a strength in a way as he speaks only in truths as he technically condemns himself to save another. This though with a greater conviction than ever before, and Baur carries himself with a strict confidence. As with most versions, after this point Valjean's role becomes more reduced as the observer of the more substantial actions of others. This though with the pivotal moment in his actions that change the course of the lives for others. Baur delivers on this by carrying the man who in a way becomes this force for good. This whether fighting off criminals, protecting his now adopted daughter Cosette, or trying to help her eventual love in Marius. Baur's performance captures the sense of duty within the character as he carries this purity of belief and intensity within that conviction to honoring what the Bishop had done for him. Baur's physical work is notable here in that he brings such striking emotional quality within every scene by virtue of his presence, as nothing merely happens around Valjean, rather you really get the sense of how the man takes it all in. His best moment though comes though in his one major scene of talking to Javert, after he has spared his longtime pursuer, and now Javert is left with whether to do the same for Valjean. The strength of this moment really makes me wish they hadn't largely wasted Javert as Vanel and Baur are great in realizing the dynamic of the character's that is largely missing. This being in the man of justice being so suspicious in the goodness of the criminal, while Baur brings this fundamental honest in his brilliantly blunt delivery of the man explaining his actions are without lies or trickery, just blunt charity. Baur gives a strong rendition of Valjean as his work naturally realizes the true transformation of the criminal to the hero, not making a simple step, but a real journey for the man.

Updated Overall

Next: Continuing with the backlog, but please offer your recommendations for 43 lead/supporting.

Alternate Best Actor 1934 and Alternate Best Supporting Actor 1934: Henry Brandon in Babes in Toyland and Boris Karloff in The Lost Patrol

Well this is first for a lead year where there was not at least two performances let alone one that was perceived as obvious snub, or even obviously a great performance. Most of what I hear from this performance is about It Happened One Night, and rightfully so as it is the best film of the year and contains the best actor and actress performance from that year. Well here are some performances at least worth mentioning briefly that I watched in an attempt to find a great performance that was missing from the Oscars line up.

Leslie Howard in The Scarlet Pimpernel - A surprisingly fun performance from Howard who could also be found in the melodramatic Of Human Bondage. Howard was fine in his usually fairly stuffy mode on the slightly better end but he was not exactly pulling a Pygmalion in that one. Howard is a little different here as the hero Sir Percy Blakeney with a secret identity who pretends to be The Scarlet Pimpernel in an attempt to save those threatened by the reign of terror during the French Revolution. When he is acting as the Pimpernel it is more standard Howard, but he is lively here so he works rather well still. He is rightfully commanding in a sly and sharp fashion to suggest his character's brilliance. The surprising part is how he plays Percy around potential foes which is that of a daffy fool. It is odd to see Howard go so silly and he is pretty enjoyable in these scenes, he is not completely consistent with his portrayal of the mannerisms he comes up with but it is entertaining to see the usually restrained Howard to really play it up a bit. This is not a great performance by Leslie Howard but it is something different from him which is nice to see.
3.5

Clark Gable and William Powell in Manhattan Melodrama - Interestingly the two main contenders for the Best Actor prize in 1934 also competed for also starred together about two childhood friends who find themselves at odds when one goes the way of the criminal and the other the law. Gable is naturally the crook I suppose and the performance is a bit of a combination of his pre-stardom tough guy act with his stardom charming guy act. Gable does the combination act pretty well for the most part although he never is on ay the level of James Cagney in Angels with Dirty Faces as Gable does not combine the two sides to perfection. He is good throughout though, and his end scene he handles particularly well where his character Blackie refuses to accept Powell's characters help. In that scene Gable marks the right combination as he gives the sense of Blackie's past, but as well his convictions as a criminal. Powell gets the less interesting role as the straight arrow politician. He does get over on Gable in one way which is Powell does have a superior chemistry with their mutual love interest played by Myrna Loy. Powell plays well off of Gable establishing their history, but most of the time he gets his dead serious morality speeches. Powell gives these enough of a passion but to be honest I like Powell when he's a cynic. Neither reach the heights of their Oscar nominated work, but both are definitely good.
3.5 - Gable
3.5 - Powell

Boris Karloff and Bela Lugosi in The Black Cat - The Black Cat is not a film I would put up with the best horror films of the period but it is quite a bit of fun. Lugosi actually plays a hero here, although a very troubled one, and it is interesting to see him in such a role. Lugosi honestly brings some poignancy to his part at moments as he portrays a man very much haunted by his past. Unfortunately there are some moments of overacting any time he has to be scared by his cat, and not the good type of Lugosi overacting either. He does get to make up for a bit at the end of the film when he gets an upper hand on the film's villain then he does the enjoyable Lugosi overacting. Karloff gets to be the Satan worshiping architect, is there any other type of architect?, who traps women so he can murder them and put them in glass. Anyway Karloff is a hoot here really playing up the evil to delicious levels wonderfully underplaying every scene but always with such great menace in every single word he speaks.
3.5 - Karloff
3.5 - Lugosi 

John Barrymore in Twentieth Century - John Barrymore plays Oscar a Broadway director who makes a star out of a former model renamed Lily (Carole Lombard). Barrymore performance is that of either playing it really down quiet intense with a suggested tenderness, or very extreme and loud screaming when barking orders. There are a few instances in the middle where he react to something happening in a broadly comic fashion. Technically all of the insanity is just fine because this is suppose to just be a funny performance as the lead to this screwball comedy. Well Barrymore is good enough here as there are some hilarious moments amidst all of his big moments. He is not always entertaining in every single moment of the film and I think he could have gone a lot further with the part. Overall I would describe his performance as enjoyable though.
3.5 

Victor McLaglen in The Lost Patrol - This time McLaglen actually plays a fairly level headed man opposed to the rather foolish brutes that he portrayed in his Oscar winning and Oscar nominated performances. Here McLaglen plays the Sergeant who tries his best to get his men out of the terrible situation they are in. It is a relatively simple performance in that the Sergeant must stay obviously calm and cool throughout to try to help his men. McLaglen proves him capable of playing a capable man and has the right assured passion in his performance that makes the Sergeant the appropriately calming figure. McLaglen is also effective as the death count piles up by underplaying, in that Sergeant should still remain calm, and instead in subtle fashion at first suggesting how each death does effect the Sergeant although he must still stay in charge. McLaglen remains very effective though even as the Sergeant resolve begins to wain as the likelihood of survival becomes less and less, McLaglen handles the loss of passion and slight loss of sanity in the Sergeant well.
4

Overall Ranking:

1. Clark Gable in It Happened One Night
2. William Powell in The Thin Man 
3. Harry Baur in Les Miserables
4. Oliver Hardy in Babes in Toyland
5. Stan Laurel in Babes in Toyland
6. Victor McLaglen in The Lost Patrol
7. Takeshi Sakamoto in A Story of Floating Weeds
8. Robert Donat in The Count of Monte Cristo
9. Claude Rains in Crime Without Passion 
10. Herbert Marshall in The Painted Veil
11. W.C. Fields in It's a Gift
12. Clark Gable in Manhattan Melodrama
13. Boris Karloff in The Black Cat
14. Fredric March in Death Takes a Holiday
15. John Barrymore in Twentieth Century
16. Leslie Howard in The Scarlet Pimpernel
17. Maurice Chevalier in The Merry Widow 
18. Fredric March in The Barrets Of Wimpole Street
19. Bela Lugosi in The Black Cat
20. William Powell in Manhattan Melodrama
21. Leslie Banks in The Man Who Knew Too Much
22. Leslie Howard in Of Human Bondage
23. Wallace Beery in Viva Villa! 
24. George Arliss in The House of Rothschild
25. Frank Morgan in The Affairs of Cellini
26. Fredric March in The Affairs of Cellini 
27. Henry Wilcoxon in Cleopatra
28. Jean Daste in L'Atalante
29. David Manners in The Black Cat
30. Warren William in Cleopatra
31. John Davis Lodge in The Scarlet Empress

Supporting actually at least had two performances that I felt stuck out.

 Henry Brandon did not receive an Oscar nomination for portraying Silas Barnaby in Babes in Toyland.

This is the greatest version of Babes in Toyland that I have seen because it throws in Laurel and Hardy for great hilarity.

This is one of the best Laurel and Hardy films as it features some of their best work, but as well has many great elements besides them. One of these elements is Henry Brandon who actually contests for Stan and Ollie for the funniest performance in the film. Brandon plays Silas Barnaby the richest man in Toyland who wants to marry Little Bo Peep even if it means manipulating everyone in the town. Brandon was actually only around 22 years old when the film was made yet he plays the elderly without hitch. He plays the evil old man mannerisms quite brilliantly with his arched back, and the way always raises his head beyond it. He makes it obvious that old Barnaby is the villain, and shows early on that he is going to have as much fun with the part as possible.

Brandon does indeed have a great deal of fun as every line and delivery and every movement he gives a extra evil emphasis to show just how evil Barnaby is. Brandon plays it up to the max, which is exactly how he should be in this film. What is wonderful is that despite being the villain and playing up that fact he also gives a very funny performance in portraying the character. Brandon has this one reaction he always makes to every surprise that Barnaby faces when he is tricked. Brandon mouth is completely agape and his eyes wide open, and it is hilarious every time. His funniest moment in this regard though is when the wooden soldiers comes to stop him at the end of the film and his reaction that time he almost seems to somehow go even wider, I pretty much burst out laughing every time I see it.

What I really like about this performance is that Brandon never settles into just being the bad guy or even being overshadowed by Laurel and Hardy which definitely would be easy enough to do. It is rather interesting that Brandon actually manages to bring some menace into his moments while never stopping with humor though. He particularly combines the menace with the funny well in a scene where Stannie and Ollie accidentally knock off his hat leaving him to lurch toward them. Brandon makes his eyes fierce and determined with the appropriate grimace, yet completely amusing still with well just how intensely he shows that yes Barnaby indeed the mustache twirling villain. Brandon simply never let's the film down in any scene, always bringing an constant energy to the proceedings.

Henry Brandon gives a very enjoyable performance here utilizing each second of his screen time. Whether it is one of his devilish line readings, or one of his moments of great physical comedy, one scene where he takes a broom to the face is a particular highlight, it is just a joy to watch Brandon at work here. The best part is that the part of Barnaby could have been one of the often forgettable villains from the period or just one of those over serious types that are often the villains in the comedies from the periods. Brandon aptly meets all the villainous demands of the part, but he as well goes the extra mile by turning this villainous performance into a completely comedic performance. He goes far enough even to go face to face with Laurel and Hardy in their own film, and he does not falter in their presence.

Boris Karloff did not receive an Oscar nomination for portraying Sanders in The Lost Patrol. 

The Lost Patrol is an effective film about a group of soldiers lost in the desert.

Well before playing the Satan worshiping architect in The Black Cat he was playing Sanders one of the soldiers in a British regiment who find themselves lost in a desert while be lead by the steadfast Sergeant (Victor McLaglen). Sanders naturally is a very devote man of God. Karloff was a very interesting actor back in the old days as he would give his larger than life lead performances in all those horror films but at the same time he could be found in supporting roles in more "serious" fare. Although many supporting actors from the period just sort of fade into the background usually letting the lead make the only impression if anyone is to make an impression at all. This is not the case with Boris Karloff who makes the strongest impact in the film in his portrayal of Sanders.

The first scene we see Sanders is after one of the men has been killed and has been buried. Before they leave to brave the desert Sanders is quick to remind the Sergeant that nothing has been done for the soul of the man. Sanders reads a few words from scripture and Karloff is fantastic in showing what the words for Sanders. The words to him are most meaningful, although Karloff shows this not to be in the traditional way most religious men would treat the words. Karloff does not express Sanders's faith as something that gives him comfort or any sort of greater pride. Karloff is rather striking instead making it a slightly disconcerting need in Sanders as if he almost suffers from how much his devotion goes into him to the point that the words almost pain him to say.

The religious zealot is an easy enough role to screw up as it can lead to excessive overacting, and often the actors takes entirely the wrong approach. Technically speaking Sanders does many of the usual things such as ridiculing those he deems unfaithful, or becoming more emotionally intense as the situation becomes worse. In the moment of questioning the lack of faith of another Karloff is very powerful because although he does make Sanders overbearing in a certain way so you understand the hatred the other men for him, their is such an honesty in his portrayal. The honesty being in the need that Karloff portrays the strong need to save the others, it is not something he can forget Karloff makes it an intense pull in the man. Karloff establishes it as something that Sanders must do.

As the situation slowly becomes worse Karloff is remarkable in portraying the slowly deteriorating psyche of  Sanders. Karloff makes great use of his very expressive eyes in conveying the growing madness of Karloff. Again Karloff does more than just give us some madness though as he also adds to be always reinforcing the faith of the man within the insanity. There is a strange tenderness that Karloff brings even craziness of his character that really makes every one of his scenes something special. Where in The Criminal Code Karloff stole the picture from beginning to end, despite not even being the lead, as the smartest man in a prison even though he was crook, even though in a far meeker role with greater competition from the rest of the cast Karloff once again steals the film.

Overall Ranking

1. Henry Brandon in Babes in Toyland 
2. Boris Karloff in The Lost Patrol
3. Charles Vanel in Les Miserables 
4. Sam Jaffe in The Scarlet Empress
5. Peter Lorre in The Man Who Knew Too Much
6. Charles Laughton in The Barrets Of Wimpole Street
7. Michel Simon in  L'Atalante
8. Raymond Massey in The Scarlet Pimpernel
9. Walter Connolly in It Happened One Night 
10. Boris Karloff in The House of Rothschild
11. Edward Everett Horton in The Merry Widow
12. George Barbier in The Merry Widow 
13. Emile Genevois in Les Miserables
14. Felix Knight in Babes in Toyland  
15. Joseph Schildkraut in Cleopatra
16. Porter Hall in The Thin Man
17. Wallace Ford in The Lost Patrol 
18. Henry Krauss in Les Miserables 
19. George Brent in The Painted Veil
20. Guy Standing in Death Takes a Holiday
21. Louis Calhern in The Affairs of Cellini
22. Charles Dullin in Les Miserables 
23. Reginald Denny in The Lost Patrol
24. Ward Bond in It Happened One Night 
25. Donald Meek in The Merry Widow
26. Louis Calhern in The Count of Monte Cristo
27. Jean Servais in Les Miserables 
28. Sidney Blackmer in The Count of Monte Cristo
29. Warren William in Imitation of Life
30. Stuart Erwin in Viva Villa!

Next Year: 1996 lead