Alternate Best Supporting Actor 1939: Results

5. Thomas Mitchell in Gone With The Wind - Mitchell gives a very strong performance by so effectively realizing the wear of loss through his enthusiastic portrayal before the war and his haunting one after it. 

Best Scene: The return to Tara.

4. Lee J. Cobb in Golden Boy - Cobb completely overcomes his potential miscasting by exuding both the age and background of his character so effortlessly through his performance. Cobb goes even past that to give such striking yet almost silent depiction of the moral center of the film.

Best Scene: Mr. Bonaparte before the fight.

3. Ralph Richardson in the Four Feathers - Richardson gives a powerful performance that effectively steals the spotlight of the film through his depiction of the breakdown of a proper soldier.

Best Scene: Durrance realizes who saved him.

2. Bert Lahr in The Wizard of Oz - Lahr is consistently endearing and hilarious in a performance that stands out among a memorable ensemble through his portrayal of a true scaredy cat.

Best Scene: The Lion's introduction.

1. Cedric Hardwicke in The Hunchback of Notre Dame - Good Predictions Luke, and Anonymous. Among a great field Hardwicke stands at the very top for me in his outstanding portrayal of a zealot's struggle to destroy sin which he sees everywhere including in his own desires.

Best Scene: Frollo reveals his feelings for Esmeralda. 

Overall Rank:

1. Cedric Hardwicke in The Hunchback of Notre Dame
2. Thomas Mitchell in Stagecoach
3. Claude Rains in Mr. Smith Goes to Washington
4. Bert Lahr in The Wizard of Oz
5. Frank Morgan in The Wizard of Oz 
6. Ralph Richardson in The Four Feathers
7. Lee J. Cobb in Golden Boy
8. Thomas Mitchell in Gone With the Wind
9. Ray Bolger in The Wizard of Oz
10. Thomas Mitchell in Only Angels Have Wings 
11. John Barrymore in Midnight
12. Jack Haley in The Wizard of Oz
13. Humphrey Bogart in The Roaring Twenties
14. Harry Davenport in Gone With the Wind
15. Edward Arnold in Mr. Smith Goes to Washington
16. Leslie Howard in Gone With The Wind
17. Thomas Mitchell in Mr. Smith Goes To Wasington
18. George Bancroft in Stagecoach
19. Don Ameche in Midnight
20. John Carradine in Stagecoach
21. Robert Preston in Beau Geste
22. John Carradine in Jesse James
23. Thomas Mitchell in The Hunchback of Notre Dame
24. Sam Jaffe in Gunga Din 
25. Claude Rains in Juarez
26. Harry Davenport in The Hunchback of Notre Dame
27. John Carradine in Drums Along the Mohawk
28. Brian Donlevy in Beau Geste
29. Eduardo Ciannelli in Gunga Din 
30. Ward Bond in Gone With the Wind
31. C. Aubrey Smith in The Four Feathers
32. Otto Kruger in Another Thin Man
33. J. Carrol Naish in Beau Geste
34. Frank McHugh in Another Thin Man
35. Nigel Bruce in The Adventures of Sherlock Holmes
36. Sheldon Leonard in Another Thin Man
37. Arthur Shields in Drums Along the Mohawk
38. Donald O'Connor in Beau Geste 
39. Shemp Howard in Another Thin Man
40. Sig Rugman in Only Angels Have Wings
41. Henry Fonda in Jesse James
42. Douglas Fairbanks Jr. in Gunga Din 
43. Adolphe Menjou in Golden Boy 
44. Sig Rugman in Ninotchka
45. Felix Bressart in Ninotchka
46. Alexander Granach in Ninotchka
47. Donald Meek in Young Mr. Lincoln
48. George Zucco in The Adventures of Sherlock Holmes
49. Broderick Crawford in Beau Geste
50. Fredrick Culley in The Four Feathers
51. Humphrey Bogart in Dark Victory
52. Harry Carey in Mr. Smith Goes to Washington 
53. Charley Grapewin in The Wizard of Oz
54. Richard Bathelmess in Only Angels Have Wings
55. Donald Meek in Stagecoach
56. Joseph Calleia in Golden Boy
57. Ward Bond in Drums Along the Mohawk 
58. Jack Allen in The Four Feathers
59. Donald Gray in The Four Feathers
60. Lee Bowman in Love Affair
61. Ward Bond in Young Mr. Lincoln 
62. Paul Henreid in Goodbye, Mr. Chips
63. Guy Kibbee in Mr. Smith Goes to Washington
64. David Niven in Wuthering Heights
65. Morton Lowry in The Hound of the Baskervilles
66. Guy Kibbee in Babes in Arms
67. Henry Hull in Jesse James  
68. Sebastian Shaw in Another Thin Man 
69. Terry Kilburn in Goodbye, Mr. Chips
70. Reginald Gardiner in The Flying Deuces
71. Richard Greene in The Hound of the Baskervilles
72. Jeffrey Lynn in The Roaring Twenties
73. Sidney Blackmer in Convict's Code
74. George Reeves in Gone With the Wind
75. Fred Crane in Gone With the Wind
76. John Garfield in Juarez

Next Up:

An announcement first which is to thank everyone who has been following and continues to comment. I really like how civil the discussions over any films or performances are even when we might disagree vehemently over them. Now I must announce a change in pace due to other obligations. For the time being there probably will only be one review a week and sometimes it might be longer. I'll still leave my thoughts on new movies I see, and update film thoughts now and again. Hopefully in the future I will be able to pick up the pace again, but this is how it has to be for the present.

Now to take a break from trying to find the Best OF before the Bonus Rounds start I'd like to go to the opposite end of things with a WISEAU ROUND (as suggested by Robert MacFarlane). Which means give me your best(worst) performances that are of a different breed entirely.

Alternate Best Supporting Actor 1939: Ralph Richardson in The Four Feathers

Ralph Richardson did not receive an Oscar nomination for portraying Captain John Durrance in The Four Feathers.

The Four Feathers is an effective film that tells the story of one man Harry Faversham (John Clements) who attempts to redeem himself, through rather unorthodox means, after he is shamed by those around him for resigning his military commission just before they were to be sent out on an dangerous mission.

Ralph Richardson plays one of his military friends, though John and Harry already share a complicated relationship due to their attempts to court the same woman Ethne (Jane Duprez). Richardson's role is pivotal in the film, as several scenes focus squarely on him, though his character's purpose and actions are always in relation to Harry's journey, so I do feel he is supporting. Richardson, despite having a less notable film career, though not unremarkable, than his contemporaries of the British stage, John Gielgud and Laurence Olivier, actually started out with a greater comfort in regards to cinema than either of them. Richardson, as he also proved in The Citadel and even the Ghoul of all films, has a natural grace on screen which works quite well with the part. Richardson finds the right approach in the early scenes with Durrance by bringing an underlying understanding in Durrance's interactions with Harry, despite alluding to some understandable consternation due to his rejection by Ethne. Richardson finds the complexity of Durrance's attitude towards Harry well, never overplaying either side of the man's personal feelings. Richardson handles this within bringing the right strict manner fitting for a man who certainly believes in being a soldier.

After Harry resigns the film follows Durrance's time in the Middle East where he does not exactly get off all that well as a soldier. Richardson is terrific in portraying the physical degradation of Durrance as he slowly succumbs to heatstroke. He's equally good in portraying the mental breakdown in Durrance. Richardson takes a decidedly nontheatrical approach in realizing almost in a certain surprise in Durrance's view during this time as almost he can't believe how ill equipped he's found himself not only in terms of current predicament but as a soldier. Richardson importantly never shows this to be as though Durrance is some sort of goof, but rather finds the suffering Durrance goes through in a genuinely harsh fashion. This only worsens as a battle occurs while he is in this state which leaves only Durrance, and a disguised Harry living. Harry goes about attempting to save Durrance whose state which only worsens during this time. Again Richardson is very good in his depiction of the delirium that that inflicts upon Durrance due to his heat stroke. Richardson finds this confused state by showing bluntly just how much of a mess Durrance is bringing the right constant unease in terms of state along with a harried method of speaking.

Eventually Harry gets Durrance to safety without Durrance ever knowing it was his old "cowardly" friend, unfortunately Durrance has been left apparently permanently blind by the experience. Richardson is very moving in finding the new state of Durrance back at home, where he does find sympathy from Ethne who agrees to merry him. The blindness itself Richardson effectively portrays particularly since he does not attempt to draw too much attention to it. The most remarkable aspect of Richardson's work is his portrayal of the change in Durrance as a man bringing out the right earnest modesty in man who has had the soldier in him painfully ripped out. Now really the emotional climax of the film does not belong to our leading character Harry, as his success at proving his bravery is acknowledged largely off screen, that even includes his own reunion with Ethne. That climax is really all left to Richardson which is all the better I suppose due to John Clements's choice to give a rather cold performance as Harry. Richardson makes the most of this chance in the scene where Durrance comes to realize what Harry had done for him, and decides to give up Ethne. Richardson is heartbreaking as he internalizes the decision brilliantly throughout a single scene, and his brief reaction upon realizing Harry's deed is outstanding as Richardson effortlessly conveys the severity of this revelation in Durrance. This is a very strong performance by Ricahrdson as he anchors the film throughout rising above the call of duty, since he still really is not the lead.

Alternate Best Supporting Actor 1939: Lee J. Cobb in Golden Boy

Lee J. Cobb did not receive an Oscar nomination for portraying Mr. Bonaparte in Golden Boy.

Golden Boy is a film with really that Barton Fink feeling about a young talented violinist Joe Bonaparte (William Holden) who instead tries to become a prize fighter.

Lee J. Cobb plays the father to William Holden's character, an Italian immigrant who obviously is suppose to be a middle aged man despite Cobb only being around 28 at the time the film was made. Cobb is helped by having sort of that Gene Hackman quality where he seemed to be the same age for an extended period of time, however Cobb erasing even the thought of miscasting extends to his performance as well. Cobb carries himself well in the role as he effectively coveys the age of the character in his slow somewhat labored movements. Cobb's rather remarkable in this regard in that he simply makes the age seem part of Mr. Bonaparte and ensures that excessive attention is not brought to this whole aspect of the character. This is notable in that it is just part of Cobb's performance that is taken as a given, and he completely succeeds in being far older than he was. It's quite an achievement that if one was not aware of Cobb's actual age one would not even need to give the casting a second thought. The challenges against Cobb continue though as he plays Mr. Bonaparte who again is an Italian Immigrant, and the character's lines are in somewhat broken English.

Again though Cobb excels in the role as he does not go about playing into possibly becoming a stereotype, as the part could have devolved into. Cobb never overplays the accent, and instead portrays it as something that would come naturally from the character. There's nothing forced about his delivery and Cobb really makes it work. There's an important ease Cobb brings to the part, and again he makes himself a more than appropriate fit for the role. Now the challenges only continue for Cobb really as Mr. Bonaparte has some pivotal moments in the film, but he technically speaking is a largely reactionary role. This turns out to be more than enough for Cobb. This can be in the less dramatic sense when it is a more casual moments with his son and daughter, and Cobb's reactions add so much to these scenes adding this essential history in the interactions. When they play the music in any scene the joy Cobb expresses is simply wonderful, showing the unquestionable love the man has for his family. The sense of family is largely created from Cobb who brings the right ease of familiarity bringing an innate warmth to these scenes, and makes him such a likable presence in the film.

Now Mr. Bonaparte is mostly there to act as the moral conscience to his son, the film even bothers to directly verbalize this at one point. Cobb's performance absolutely works in providing this in a particularly honest way. His interactions with William Holden always carry a genuine tenderness, as Cobb so effectively exudes just how much Mr. Bonaparte cares for his son's moral well being. Cobb's particularly good though with just how internalized he keeps these moments though as his disappointment with his son, is keenly felt yet Cobb keeps in such a quiet way. Cobb though within this unassuming personality so well realizes how Mr. Bonaparte stands out while being modest. The way Joe crumples over his father's scrutiny, which is never direct, yet Cobb makes it so incisive by making Mr. Bonaparte's sadness over his son's mistakes so palatable. Cobb's earns the moral outrage, yet never enforces it, as he just presents it so eloquently through a good man, who can't outright stop his son, yet still cannot ignore his actions. Cobb's face speaks so much in this portrayal, and is so moving throughout the film. This is really exceptional work from Cobb since there were so many ways he could have been tripped up by the character's age, his background, or the possibility that he could have come across as either sanctimonious or just repetitive. That is never the case as Cobb matches every challenge presented to giving a earnest portrait of a father who only wants what is truly best for his son.

Alternate Best Supporting Actor 1939: Thomas Mitchell and Leslie Howard in Gone With the Wind

Thomas Mitchell did not receive an Oscar nomination for portraying Gerald O'Hara in Gone With The Wind.

Thomas Mitchell was a prolific actor who was frequently in several films in any given year though 1939 just seemed to be his year. He not only appeared in prominent roles in notable films from the year The Hunchback of Notre Dame, and Only Angles Have Wings, he also managed to be in three best picture nominees this film, Mr. Smith Goes to Washington and Stagecoach which he deservedly won his Oscar for. In Gone With The Wind he plays the part of Gerald O'Hara the father of our protagonist Scarlett O'Hara(Vivien Leigh). In the early scenes of the film Mitchell's part is fairly straight forward as the Irishmen trying to confer a few words of wisdom to his impetuous daughter. Mitchell's good in the role infusing a slight Irish accent, which he doesn't overdo, and bringing the right definite warmth in his interactions with Leigh. He though brings at the same time the right stern quality even within the obvious love that Mitchell portrays first in his technically futile attempt to try to reign in some of his daughter's ambition. This also comes with a slight scolding when she hand waves the importance of Tara their plantation and home. Mitchell's very good in the moment in revealing the intensity of passion in Gerald's words as he expresses not only how much the land means to him, but also how much it should mean to Scarlett as well.

The ideal man of the South we meet in these early scenes takes a long hiatus from the film, in fact almost the entirety of the Civil War. When Scarlett finally makes it back to Tara the place is quite barren on the outside, and when she opens the door she finds her father who possibly looks worse. Mitchell is amazing in just how effectively he portrays Gerald terrible state as the wear of the losses over the time Scarlett has been gone can be so well seen in his harried eyes, and haggard face. Mitchell is terrific as he stays so subdued for much of this time yet the devastation of the man is brilliantly realized by him. Mitchell is heartbreaking as he presents the insanity in Gerald as seemingly his own shield against all that his happened to him as there is this attempted glee in him as he speaks of his deceased wife as though she's living, however within the act the original cause of his state can be seen in this sorrow that never leaves him despite his madness's attempt to cover it up. This is until his last scene where his passion for the land once again reappears, and Mitchell once again brings that to life yet now just with this painful desperation in the moment. It's beautifully rendered work by Mitchell and with so many of his performances he proves himself one of the most capable actor in terms of the depiction of the type of extreme emotional states that might leave to some terrible overacting. Mitchell never allows that to be the case giving a striking performance that manages to stand out with this grand epic, as well as marks just the one of his many strong turns from 1939.

Leslie Howard did not receive an Oscar nomination for portraying Ashley Wilkes in Gone With the Wind.

Leslie Howard was evidently "the" choice for the part of Ashley, which might seem slightly strange for some being an Englishman who in no way hides his accent. Though I don't see why anyone would complain about that given how refined Howard's voice is it seems fitting enough for a refined Southern gentleman as well. Howard I notice frequently gets some derision for his performance in the film, and not just for the accent. Though if one views the test footage of other actors in the part, it seems Howard really was the only possible choice. Now some criticism seems to come in part do to say a definite lower amount of charm than Clark Gable in the male lead role of Rhett Butler. Now Gable's already one of the most charming performers ever to have graced the screen, and this perhaps is him at his most charming, however if one sees more of Howard's filmography, "Pimpernel" Smith and Pygmalion in particular, they'll find he could be quite charming himself. Howard instead more directly serves the role, and the film as whole, by not calling upon that here. Instead he takes the rather admirable approach to differ Ashley from Rhett, as he certainly exudes just what is to be that proper gentleman here, which is never left in question which is in stark contrast to the questionable rascal that is Rhett. Howard brings the right grace to the part, particularly in the early scenes, as he offers the right sort of charisma that makes him standout just not in the way Rhett does thanks to Gable.

Now Ashley's purpose in the story is as the object of Scarlett's affection, as she only sees him despite the fact that he is married early on to Melanie (Olivia de Havilland). Howard does well to really make Ashley the right match for Melanie throughout the film, despite Scarlett's delusion that he should hers. Howard, and de Havilland's work has an unsaid chemistry of sorts given they actually don't share that much time with one another screen. What they do is find the right connection in personal spirit in the way both suggest themselves to be naturally unassuming and unselfish souls. Howard finds the right ease of presence of man who prefers to do the right thing, though states as such in a direct yet quiet fashion. The problem remains though is with Scarlett being constantly smitten with him, to the point that she does not mind how many lives she ruins just to get him. Howard creates the right curious chemistry with Leigh in that he portrays the simple difficulty in interacting with her. He brings the right unease in any of these moments as he manages to suggest Ashley's refusal as man standing in his duty at being a proper husband. When Ashley does reveal that he does love Scarlett in return it's an earned moment by Howard as his delivery is almost that of an unwanted escape of emotion, and depicts a definite guilt within himself after his momentary loss of his usual proper reserve. It's finely measured work by Howard as he keeps Ashley on this certain wavelength of a decent man who is constantly must readjust with his constant interactions with Scarlett. Ashley Wilkes really is a thankless role, in that he's rarely given the spotlight, and he's really there to facilitate the motivations for the other characters. Howard delivers in that respect though giving a supporting performance that truly supports the rest of the cast and the film. 

Alternate Best Supporting Actor 1939: Ray Bolger, Jack Haley, Bert Lahr and Frank Morgan in The Wizard of Oz.

Ray Bolger did not receive an Oscar nomination for portraying Hunk and the Scarecrow, Jack Haley did not receive an Oscar nomination for portraying Hickory and the Tin Man, and Bert Lahr did not receive an Oscar nomination for portraying Zeke and the Cowardly Lion in The Wizard of Oz.

The Wizard of Oz, about a young girl attempt to get home after arriving in a fantasy land, I suppose is not one of my favorite films of all time, but I certainly still enjoy it quite a bit.

Dorothy(Judy Garland)'s companions on her way to see the Wizard of Oz actually all appear before she even gets to Oz itself. That being they are the hired hands at the farm in which she lives. Bolger's, Lahr's and Haley's screentime as the farm hands Hunk, Zeke, and Hickory respectively is rather brief. It is well used by them in that each give more understated performances as just three nice fellows trying to be supportive of Dorothy. Lahr is particularly good in this scene in since he could probably have been able to be in a serious film set Kansas due to just how down to earth he is. Haley and Bolger are less so, but they still do well to establish the farmhands as not exact duplicates of the men we meet in Oz itself though of course part of the film establishes that all three are indeed suppose to look like those very same farmhands. The first one we meet being Ray Bolger's Scarecrow someone desperately in need of a brain, the very next scene though she meets  Jack Haley's The Tin Man desperately in the need of a heart and right after that Bert Lahr's Lion who just needs some courage.

The introduction of each is refined down to they discover them, their problem, then they sing a song about it. Now with each performer though they go beyond just being a guy in some heavy, and well rather impressive makeup. Ray Bolger's physical manner in the performance is that of a somewhat weightless shuffle as though is indeed made of straw, and barely has material to allow himself to stand up straight. On the other hand Jack Haley's gives an appropriately stilted performance as the Tin Man. That being stilted in the way he often so forcefully moves around suggesting a man who's nothing more than a hunk of metal. Haley's particularly good in making the Tin Man's movements all the more laborious when he's gone and rusted himself. Now Lahr technically least acts like the odd thing he portrays, but then again he's suppose to be a Lion who also just happens to talk and stand upright. That's not a negative point against Lahr in the least though since his physical portrayal of the Lion is great anyway. I love how he puts on the facade of the tough Lion as he at times attempts to be almost like an aggressive boxer in his stances in in order to seem tough, and even the way he contorts his fact is though the Lion is attempting to be some sort of vicious animal. This is all in contrast to whenever the Lion is given cause to become fearful, and Lahr's terrific in the way he basically tightens up into such a modest creature in the matter of seconds.

Now given the way they look, the nature of the film itself, and the fact that all three were vaudeville performers at heart, these are not going to obviously be the most subtle turns by any of them. Luckily they don't need to be, in fact it would have been wrong if they were. Bolger's performance captures the sort of scatterbrained manner for a man who supposedly has no brain, though there are frequent moments to suggest otherwise despite the Scarecrow's incorrect knowledge about triangles. Bolger though is the right sort of ball of energy as a guy whose held together by almost nothing,  Bolger brings that right eagerness for someone who has no intent to let that get in the way. Haley also does very good job of already establishing the Tin Man's heart from his first appearance. Haley speaks with a higher pitched voice, higher than his time as Hickory, which works quite well in this regard. Haley's voice has this innate affectionate sweetness to his words that effectively implies just how much heart the metal man already has. The Lion's actions, as written, actually offer very little bravery on his part. Well that really does not matter once again as Lahr is downright hilarious as such a literal scaredy cat. I particularly love his first scene where he goes from his extremely obvious tough guy facade, to a complete wimp due to a slight physical assault by Dorothy. Lahr's wonderful in being such a whiner with just how weak he is as he asks Dorothy "why'd you hit me" yet Lahr's sorrowful expression is so genuinely remorseful that he's absolutely endearing.

The three are also tasked to deliver a few songs, each given the slightly altered version of an introductory one, though I guess because Lahr's was so short of a reprise they decided to give him his own solo number "If I was King of the Forest" which technically is completely superfluous, though I don't mind it. Each of them acquit themselves well in this regard, and once again especially Lahr. He makes the most of his solo carrying all the manners of a great king only to undercut at the end with his very enjoyably switch back to a retiring mess at the end of the song. Now beyond the scenes that solely focus on each character there is more to be found. I will say Haley probably stands out the least in regards to his more reactionary moments, though not that he is bad either. Bolger and Lahr though just you can watch them in any given scenes and are extremely entertaining in showing the Scarecrow and the Lion's reactions to any new oddity they might encounter. Now to repeat once more Lahr stands out the best in this regard being always so consistently funny in revealing the Lion as he's so often gripped in fear. All three of them are a delight throughout the film as they manage to be such a likable trio, and even really earn Dorothy's tearful goodbye as the warmth of their camaraderie grows with such ease due to their unassuming yet oh so effective chemistry. The three of them find just the right tone for the film, and help to amplify its best qualities in a quite admirable fashion. Though what about that pesky old Wizard everyone is looking for?

(Haley)

(Bolger)

(Lahr)
Frank Morgan did not receive an Oscar nomination for portraying The Doorman, The Guard, The Cab Driver, Professor Marvel and the titular Wizard in The Wizard of Oz.

Well there's one notable supporting player who does not help Dorothy on the yellow brick road instead he's the man waiting at the end of it that being the titular Wizard played by Frank Morgan. Morgan, like the others, does appear in the Kansas sequence. Morgan plays Professor Marvel a traveling fortune teller. This is some quick classic Frank Morgan playing the somewhat shifty yet still goodhearted fortune teller who reveals Dorothy's fortune by simply lifting a photograph of hers while she's not looking, though he's doing it for a good cause. Morgan though really is quite the trickster as Professor Marvel given that really he has this certain sleazy quality about the man that he does not shy away from yet he carries such an undeniable charm that he completely gets away with it. Well after his relatively brief scene in Kansas Morgan appears when they get to Oz. The trick though is we first don't see him as the Wizard, though perhaps the Wizard is just a bit of a sly one, since we see Morgan as three separate men doing jobs around town. This includes the doorman to Oz, the driver of the horse who constantly changes colors, and the Wizard's personal guard as well. These are relatively brief parts, but to be fair Morgan helps them find some of the most often remembered moments of the film. This is particularly true for the guard in that he is so amusingly fussy with his immortal delivery of "NO ONE CAN SEE THE WIZARD NOT NO NOBODY NOT NO HOW!". Then of course he gets to add to that with his ridiculous cry face when he sees the heartbreak suffered by the group from not being able to see the great Oz. Of course these slight character are completely ridiculous which Morgan embraces with his particularly wacky voice he uses but I would not want it any other way.

However it's the Wizard we're all waiting to see, who we originally meet as floating green head who has some random things spew fire for the sake of it. Now the voice Morgan does as the Wizard is quite menacing, and completely matches the almost demonic face that we are faced with. He even gets a bit chilling when comments on the fact that the group liquidated the Wicked Witch of the West. Of course the film ends with Dorothy's dog Toto revealing this Wizard itself is just a illusion, with the real Wizard merely being a man behind a curtain who happens to have a microphone. Morgan's reaction at seeing the curtain being pulled back is simply marvelous. I really love Morgan bellowing out the fake Wizard's final order, but reducing to the real Wizard in such a quiet unassuming voice as he finishes the sentence "I AM THE GREAT AND POWERFUL wizard of oz". Morgan's revelation is perfection as he goes from being that powerful ominous being, to just a meek old man in a matter of second. What's notable is even though the characters are similair Morgan does not just feel as though he's doing Professor Marvel, despite both being phony tricksters. Again Morgan pulls it off though as he makes The Wizard so affable in a matter of seconds, despite risking the lives of all of our heroes and almost giving them nothing in return, but hey how could any one hate that sweet face Morgan so effortlessly projects. What comes next is probably my favorite scene in the film, in large due to Morgan, as The Wizard solves everyone's problems by basically telling them they did not have them to begin with, but giving them something from his gift bag just to make it all the better. Morgan is wholly spellbinding as he technically is a true conman bringing so much charisma as he delivers the brains, heart, and courage as needed. What's so special about is you get little caught up yourself, and can't help but agree thanks to Morgan. He's so sly as he goes about granting his degree to the Scarecrow, so confident and assured in granting the medal to the Lion, then so warm and downright inspirational as he reflects on the true method of measuring love as he grants a clock heart to the Tin Man. Of course Dorothy's request almost stumps him until he decides to become a showman again, and Morgan is just that as he is so captivating in his description that lead him to the Emerald City. I won't hesitate to say that I adore this performance by Morgan as he's a wizard well worth waiting to see, and his other appearances are simply a welcome bonus.

Alternate Best Supporting Actor 1939: Cedric Hardwicke in The Hunchback of Notre Dame

Cedric Hardwicke did not receive an Oscar nomination for portraying Judge Jean Frollo in The Hunchback of Notre Dame.

Sir Cedric Hardwicke is an actor whose very name seems to suggest a regal individual and fittingly Hardwicke was often cast as authority figures if not actual kings. More often than not though it seems he was often cast simply for that sort of stature as many of his roles were not particularly substantial. It is interesting then to take a look at his performance here as Judge Frollo, which seems like a juicy role. Well either way Hardwicke is once again as a man of power, though technically in a subservient position as he can only advise his King on matters. Hardwicke's earliest scene is with the King were Frollo attempts to convince the King that the printing press is a dangerous instrument and must be destroyed. Now this seems simple enough as the evil guy who wants to stop book from being created, however Hardwicke is particularly effective in his portrayal of Frollo's sentiments. He reveals this considerable passion in his words, no matter how terrible, as Hardwicke does not portray this as evil blathering. He rather succeeds in revealing the sentiment, at least in Frollo's eyes, about the dangers of the press. He brings the needed conviction in the words as he quickly realizes Frollo's particular sort of philosophy in his very first scene.

Hardwicke's performance is terrific in the way he so well captures the authoritarian attitudes of Frollo. Hardwicke's presence is indeed perfect for the role to begin with as the authority of his position just seems to exude from his very being. The command of his character is notable in Hardwicke's cold delivery of Frollo's beliefs. What I really like about Hardwicke's performance though is he does not use this set up for the character to turn him into as obvious of a villain as he could have been. The way Hardwicke carries himself never has a hint of sadism in Frollo, which would be wrong for the character. Hardwicke instead keeps this underlying intensity of a man who seems almost burdened by his position and his view of the world. He is a most unpleasant man indeed yet Hardwicke does not simplify this notion importantly. He instead is able to realize how it seems to come from his convictions to what he sees as his personal duties, and how he attempts to live out his life. The burden of this is made a part of Frollo brilliantly through Hardwicke's performance as he makes Frollo a man who seems ill at ease with life itself because of all that he sees is wrong with it.

Frollo is not a purely evil man evidenced by his choice to save the Quasimodo, which he did purely out of the good of his heart in this version. Hardwicke finds this in his first reaction to Quasimodo as Frollo is about to take action against the crowd's decision to parade him out as the King of fools in the festival of fools. Hardwicke does not portray the react as a mean man who wants to stop Quasimodo's joy, but rather reveals a genuine dismay in Frollo for Quasimodo being used a mere spectacle by the crowd. Hardwicke is exceptional in the way he is able to find the conflicting nature of Frollo. There is one particularly fantastic moment with the Gypsy Esmeralda (Maureen O'Hara) where he initially goes on long about his hatred for Gypsies first. Hardwicke brings the needed harsh authority in these words as man trying fervently to insist upon the sins of others, which he believes he will purge. When she mentions her love of animals though Frollo is forced to agree. What's marvelous is Hardwicke makes this revelation completely genuine yet he shows this to be almost painful for Frollo to admit. There is a terrible unease that Hardwicke conveys as he presents the way Frollo constricts. As he reveals his true ability for some tenderness in his eyes, yet Hardwicke tightens his manner all the more, as though he's trying to purge this possible joy out of his system as though anything pleasant may be sinful.

Now one of the greatest challenges to Hardwicke comes in Frollo's relationship with Esmeralda. This element actually is far less verbalized than even in the Disney version, he had a whole song just on that point after all. Much of this is left to Hardwicke's performance which is more than enough. Hardwicke's outstanding in every aspect of this. This starting with his original reaction to her where the glint of lust seems to become awakened in him. As he interacts with her at any point Hardwicke creates the sense of how in the grip of his desires that he is in. There is a great moment when Frollo comes to directly confront Esmeralda with his desires. Hardwicke makes Frollo such an emotional mess in the moment as he attempts this odd warmth in his declaration of "love", and he's so good as he suggests the way this tears him asunder. His final quest that turns him into true villain could lead him also to a simplicity but again Hardwicke shirks this. He instead is able to portray within his determination to rid himself of his desire, an active effort in Frollo to remain the destroyer of sin. This is made without heart by Hardwicke, instead it's most unsettling as he shows a man fighting against himself in order to be something worse than he could have been. Cedric Hardwicke gives an outstanding performance as he manages find nuance in the role, even when hidden by the standards of the time, in his powerful portrait of a man ruled by his perverse attempt to rid the world and himself of sin.

Alternate Best Supporting Actor 1939

And the Nominees Were Not:

Cedric Hardwicke in The Hunchback of Notre Dame

Lee J. Cobb in Golden Boy

Ralph Richardson in Four Feathers

Thomas Mitchell in Gone With the Wind

Leslie Howard in Gone With the Wind

Bert Lahr in The Wizard of Oz

Ray Bolger in The Wizard of Oz

Frank Morgan in The Wizard of Oz

Jack Haley in The Wizard of Oz 

For Prediction Purposes:

Mitchell in Gone With the Wind

Lahr in the Wizard of Oz