Alternate Best Supporting Actor 1961: Results

5. Alan Bates in Whistle Down the Wind - Bates certainly makes an impression with a role that, much like the children, he causes you to perhaps put in more than what's there. 

Best Scene: Before giving up.

4. Leo McKern in The Day the Earth Caught Fire - McKern grants a proper sense of character within a role that is often just used for exposition. 

Best Scene: Reporting on what is really happening.

3. Nakamura Ganjirō II in The End of Summer - A delightful mischievous performance as an atypical Ozu patriarch.

Best Scene: "Argument" with daughter.  

2. Murray Melvin in A Taste of Honey - Melvin delivers such humanity and heart to a role that was boundary breaking, but also just a, more importantly now, a memorable portrait of a caring human in a place where he received little care. 

Best Scene: Watching in the dark.

1. Martin Stephens in The Innocents - Stephens gives one of the most confident child performances ever in creating the right ambiguity between a sinister child guilty beyond his years or perhaps just a boy broken by abuse.  

Best Scene: Ending.

Updated Overall

Next: 2009 Lead

Alternate Best Supporting Actor 1961: Leo McKern in The Day the Earth Caught Fire

Leo McKern did not receive an Oscar nomination for portraying Bill Maguire in The Day The Earth Caught Fire. 

The Day The Earth Caught Fire follows a reporter Peter Stenning (Edward Judd) covering the world is pushed out of orbit and towards the sun due to nuclear testing. A film that is covering a whole lot, isn't successful in it all, but enough of it works to make it a bit of a fascinating artifact, that still feels more relevant than Don't Look Up....yeah I just can't help myself sometimes. 

Leo McKern is always a reliable character actor who shows up here or there and offers a strong presence in a variety of roles. Whether that be the pitiful titular Ryan of Ryan's Daughter, the domineering Cromwell in A Man For All Seasons, or of course the strange yet comical cult leader from The Beatles' sequel film Help! McKern was one of those character actors that you could depend on to bring something regardless of the role. And here I think you have sort of a plug-in role. Not that the role is poorly written, but his Bill Maguire is very much the classical newspaper boss type. Hard drinking, always had a ruffled collar, and was very much on top of our "hero" for more than just his questionable work ethic. It is however working very much within a certain type, and when working with a type, it can sometimes be needed for a stronger actor to be able to make them seem less rote than than can be. And that is what McKern does here in a role that really is about those expected tropes and a WHOLE lot of exposition. And it has to be said McKern is very good at both. His manner is terrific as he comes into every scene with this instant sense of his character. He has the right exasperation but combined with a dogged conviction that is perfect for a long-time newspaperman. There is sincerity intertwined with cynicism in every one of his deliveries and he just owns them with the ease of the consistent character actor he was. And that really is the trick with the relationship we see with Peter where McKern is effortless in bringing this sort of blunt directness with him but his eyes always denote this earnest care still for the man. He's a boss who wants the best out of his reporter but he also is very straight with him. McKern creates the right supporting energy that really gives just a bit more depth to every moment that could easily be lost if there was any less from him, but McKern is on point in every scene. His best moments though I will say are the exposition because McKern just excels with his delivery of every word. He never lets it sound ropey or obvious but rather expresses each word with such naturalism. What is best though is when McKern denotes the severity of the central situation where he lets some more emotion drift into the man who sticks to the facts, and while brief, are powerful moments from McKern in just letting there be a little more to sensing what Maguire is personally growing through even as he's trying to maintain that certain journalistic distance. And while Maguire's personal arc is limited, particularly towards the end where we jump in time, McKern regardless is striking in his portrayal where he quietly expresses the anxiety the man is going through even as he stays reserved and even eases on the cynical edge in a way that is pretty remarkable. While again a rote part in some ways, McKern really adds a lot to his film, because while Edward Judd isn't bad, he just doesn't quite have *it* to really carry a film, so McKern coming in every few scenes really elevates much of the material and does what the best character actors always do. 

Alternate Best Supporting Actor 1961: Murray Melvin in A Taste of Honey

Murray Melvin did not receive an Oscar nomination, despite winning CANNES, for portraying Geoffrey in A Taste of Honey. 

A Taste of Honey follows a young woman Josephine (Rita Tushingham), living in somewhat dismal circumstances with her alcoholic mother Helen (Dora Bryan), who gets impregnated by a sailor.

Murray Melvin comes into the film about halfway through after Jo is essentially left alone in her mother's ramshackle apartment after both her mother and her lover have gone. Melvin's character is notable here in being one of the very first prominent and openly homosexual characters. More notable I think because the film isn't focused upon his prosecution as such, as was the case with the characters of Victim also from 1961. This is a trait of Melvin's Geof, but it doesn't define his existence. We are introduced when Jo invites him to live with her part due to his circumstances as an outsider, which she sees herself as too. Melvin's performance is particular in his portrayal of Geof's state as kind of not quite assured of his place as Jo quizzes him on his preferences. I think it is important to note the way Melvin depicts this not as shame in his reaction but rather fear and frustration of someone who knows his way of life was literally a criminal offense at the time. Melvin's performance does deliver a certain awkwardness within Geof, however, the awkwardness he presents is specifically in being mixed within a society that in no way accepts him. Melvin's performance has a combination of overt tension within his physical manner as he attempts to ignore Jo's prods initially, but what is remarkable in his performance is his eyes which always denote this greater understanding and intention. Murray just in his eyes conveys far more consideration within his experience than he will fully share really at any time throughout the film. 

An important moment happens early on in the relationship when Jo pesters Geof about his relationships with men and essentially treats him as some sort of exhibition for her to play with. Melvin is great at this moment in the immediate sense of real frustration you see in his eyes and just blunt disregard for the nonsensical line of questioning. Murray is terrific because as much as he shows the real vulnerability in Geof in the frustration, he also does portray a quiet strength within the character by so tangibly presenting this direct refusal to become some kind of object to be ridiculed or gawked at by Jo. Of course, the overriding quality of Jo as a character is her childishness that goes along with her need of being an actual adult given she will be a mother soon, and in turn, she does eventually take a more respectful tone towards Geof turn their relationship grows. Melvin's performance is essential in making this relationship meaningful which is quite contrasting in terms of the performances. Tushingham's performance is very juvenile, intentionally so and effectively so, and while there are elements of that in Melvin's performance there is also this subtle, nearly hidden directness within his work that gives Geof such a tremendous impact within the narrative. 

Melvin's performance isn't one really so much about big moments but a series of little moments throughout his performance where he just manages to deliver so much depth within Geof's particular story that lives in tandem but also in separation from Jo. Much of the time we see Geof attempting to be the responsible one when it comes to raising the baby, and while his delivery again denotes a nearly blithe manner of the man just stating a light need, his manner is much more direct in creating this sense of urgency in terms of getting prepped for the child. Melvin projects this consistency in the concern and shows very much an instinctual sense of trying to prep as a good father would even as Jo is often doing very much the opposite. Melvin creates a particularly potent sense of empathy just quietly in this manner, even again he contrasts this often with his delivery, which doesn't feel inconsistent rather he depicts a certain shyness of Geof trying to be careful how he comes onto the situation even if he cares deeply. The moment of trying to ask Jo to marry him is brilliant work from Melvin because he shows throughout it that it does very much come from love though not a place of sexual interest. Even when he kisses her it is of this kind of act of attempting to live up to the expected standard and Melvin is wonderful in that the kiss is distant, but now in his eyes, the intention of the concern of Geof is wholly true. In his work, as he attempts to basically make things right with Jo, by bringing her mother back, who he isn't aware of her real nature, Melvin is great in just his reactionary moments. The moment of objecting to their instant hostility, and Melvin quietly noting the ever real concern of Geof throughout it all. His best scene actually might be a completely final one in the final where we see Geof considering going to stay with Jo or leave her. And Melvin is able to say so much in this consideration and is truly moving in reflecting the way Geof is considering this connection, while also sensing the imperfectness of it all at the same time. Melvin's performance is a great one because I think there were so many ways this character could've drifted off into stereotype or even just to limit him as there only to be the "best friend". Melvin successfully, even if so subtly, always makes Geof as the man very present within every action, showing where the man seeks connection, while still is his own person even when existing in this relationship. It is a fantastic performance that delivers so much warmth in his supportive state, but as consistently crafts his own powerful portrait of a man in his own kind of personal isolation. 

Alternate Best Supporting Actor 1961: Alan Bates in Whistle Down the Wind

Alan Bates did not receive an Oscar nomination for portraying Arthur Blakely aka the man in Whistle Down the Wind. 

Whistle Down the Wind, which would make a good double feature with The Secret of the Beehive, is an effective mood piece about a group of children who discover a stranger hiding in their barn who they mistake for Jesus. 

This is a performance as good as any to examine the idea of screen presence and how much it matters to the way an actor can connect with an audience or not. The reason being the role of Arthur Blakely, though really the man is a better descriptor in so many ways, is a fairly limited one. In truth, the character has a scant few lines early on as the children discovered the man a bit disheveled and often rather silent as they presume him to be sent by a divine hand. The story is not about the manipulation of children but rather the perspective of them, because the man doesn't guide this delusion, he rather just doesn't correct it in order to maintain his hiding spot. While the part is limited, the character though does stand out, and not just because of the mistaken interpretations of the man by the children. Rather it is the charismatic Bates who does so, and fascinating as it is, he doesn't appear to be doing a great deal. In terms of the more direct acting, Bates's expression conveys initially the fear and desperation of a probable criminal hiding. That is in simple terms, but there is something about his steely eyes, his intensity that makes him all the more fascinating. It is the quality though that seems innate, but also is without question an essential facet to a performer. As this captivating quality of the work exists via Bates's striking screen presence, just his being on screen carries something with it, and Bates wields that here, not overtly but unquestionably so all the same. Put an actor without such presence, the man is a non-entity, or overtly creepy but with Bates he makes him fascinating even though there is nothing technically that the character does to make him so. 

Bates's presence therefore is particularly key to this film because the children fashion him as Christ without much insistence from anyone, certainly not from the man himself, however, Bates the performer allows it because of the magnetism of his presence as a performer. As the man becomes more verbal, he still just doesn't dissuade but rather just allows, as Bates's expression always carries with it the sense that the man is touched confused, and delivers any lines that might support the theory of the children with a kind of gentle patronizing. Bates doesn't make the man into the Christ, nor does he make him a true villain exploiting the naivety. That exploitation he always depicts as the man still in this sad state of desperation that never completely leaves him. Bates shows a man always filled with a certain somberness that perhaps alludes to his crime or his condition, but the man remains a bit of an enigma throughout. Even when the desperation increases, Bates carries himself still firmly as a man just stuck within his own suffering and his own existence, with the children being largely a distraction with maybe just a hint of solace via Bates's always gentle manner with them. As the film concludes we don't really know much more about the man than when we started, mostly we could've guessed as much, and even as such we learn any truth from a poster, not from the character who leaves his words limited. Regardless he remains a fascinating character largely because Bates himself is a bit innately fascinating, particularly young Bates, and as a performer captures your attention, even though, much like the children's faith, your attention is awarded with any answers, but regardless he still seemed deserving of such attention. 

Alternate Best Supporting Actor 1961: Martin Stephens in The Innocents

Martin Stephens did not receive an Oscar nomination for portraying Miles in The Innocents. 

The Innocents is the masterful telling of the tale of a new governess Miss Giddens (Deborah Kerr) dealing with unexpected horrors as she attempts to take care of two orphaned children on a palatial estate. 

Martin Stephens, having previously played a creepy kid in Village of the Damned, takes upon a greater challenge here than that of an inhumane alien spawn in the character of Miles, one of the two children along with his younger sister Flora (Pamela Franklin). Stephens comes into the film as Miles has left school, in fact, expelled, and is returning home. Right from the start it is hard to feel fully comfortable with Miles as performed by Stephens, as he steps off the train with a grin of sheer jubilation. Stephens just seems too content for any person, particularly not a boy who was just kicked off a school. And you see the effectiveness of his performance by attributing qualities of the "innocent" that aren't innocent, in an innocent-seeming way but also not. It's a fundamental trick of this performance that is essential to its way of getting under your skin. Taking his first moment of complementing Kerr's Giddens with flattery, which if spoken with a bit more of naivety or simple surface could seem just like a cute moment of a child pretending to be an adult. Stephens though presents it differently from that though and it is with the confidence he speaks that there is this maturity of the flattery, flattery that in a moment seems genuine, and not with innocence, which in a moment creates a less pleasant quality within the moment. Although notable Stephens doesn't give away the game too early, as a little strange but maybe one can accept it as just a bit more precocious.

We do have what would seem like a bit of a respite from the feeling of uneasiness as the children begin to play, and while I wouldn't say Stephens exactly seems immediately normal, however, one can accept him as a child at play along with his sister at first. The two play though in a way that quickly doesn't at all make you filled with joy or comfort. There is a mix in the way they go about that seems extreme that makes normal childhood antics. The performances are what make the fundamental difference as they just don't seem quite right at all, which in that is most unnerving. Stephens's grin is hard not to see as nefarious as he teases Miss Giddens early on and it isn't a pleasant tease. Stephens has an intensity in his delivery that cuts deeper than it should and that makes Miles more off-putting than his evil alien in damned, because there is something both so believable about his Miles, while also being so unordinary which makes him so disturbing. Particularly there is a moment where Miles "pretend" chokes Miss Giddens, and the sort of mania at the moment that comes across Stephens's face seems so suddenly vicious for a child, yet still childlike in some respects. And perhaps that is the genius of the performance because Stephens never plays the part simply as another, or as a more mature figure in a younger body, it is rather a chimera that is oddly tangible, if so unnatural. Even in the moment of playacting as the two play together, Stephens's conviction as Miles "playing" makes what could be a charming performance, truly unsettling. 

The truth of the piece is a complicated one, and part of the brilliance of the adaptation is its ability to juggle concepts between the literal and what can be interpreted. Is this a ghost story about the dead caretaker and old deceased governess haunting the estate, is it just their memory haunting the mind of the deeply repressed and probably rather insane herself Miss Giddens or is it in between somewhere?  The greatness of the film is not forcing a choice while also not seeming vague, and personally, I'd say Miss Giddens is a bit off her rocker, but the children are at the very least metaphorically "haunted" by the memories of the old pair of lovers who likely abused them in some way. Stephens's performance in many ways creates the sense of the realization of these concepts in a way that is specific while never affirming an absolute. What we do see is a boy who is not right for his age, but whether that is via ghostly possession, or being mistaught in some way by a creepy older man is what is up to interpretation. In either sense, Stephens's performance brilliantly captures these ideas with a force of presence that is often seen in most performances, and very rarely seen in a child. Stephens's nefarious moments as Miles aren't a simple just creepiness, but rather something truly under the skin because of how much strength there is in these acts behind his eyes. Take the moment where Giddens puts him to sleep, and Stephens as Miles speaks towards her with assurance in his eyes and an attempted seductiveness in his voice as he leaps up and kisses her. Stephens's performance is amazing at the moment because how exact this moment is in his work, it isn't clumsy in an innocent way or a creepy way, it is with a particularly frightening intention. 

As much as Stephens makes a powerful impression in giving the greatest creepy child performance of all time already, he perhaps cements this status within the final sequence of the film where Giddens intends to confront him about his "possession" by the old Peter Quint. And the playful Miles twists and turns as she presses the thought to him and tries to get some kind of confession from him. Stephens's first incredible reaction is as he stares down Giddens really and seems truly possessed by Quint, or maybe just using the man's language to his advantage, as he tears into her with violent disparaging anger. Stephens's delivery of the moment is particularly remarkable because again it isn't with a gimmick of a deep voice or anything like that, it is very much a boy's voice, but the intensity behind it and the vileness in his eyes is of a sinister man, maybe just in memory or in truth, either way absolutely captivating to watch. Contrasting that however is when Giddens stays firm in her quest and continues to appeal to the boy as a boy and attempts the confession out of him. Stephens is equally tremendous here and is the one moment in the entire film where Miles seems like, well just a boy. This as Stephens presents this immediate emotional desperation and really just the blunt fear. A fear he presents now not with any of that confidence or sort of eerie wisdom, but rather just the fear of a little boy who is painfully expressing his uncomfortable trauma. The contrasting come seamlessly together to show us Miles as a true victim of something beneath all of his eerie terror, which one can freely interpret on their own. Stephens delivers a great performance here, which requires no qualification, it is simply that by providing the surface chill of an unnervingly mature yet childish boy, and the depth in realizing what might be behind it all. 

Alternate Best Supporting Actor 1961: Nakamura Ganjirō II in The End of Summer

Nakamura Ganjirō II did not receive an Oscar nomination for portraying Kohayagawa Manbei in The End of Summer.

The End of Summer depicts the relationships of a family underneath an unusual patriarch. 

The End of Summer offers a very different father figure than many films featured in Ozu's films which tend to be a bit self-sacrificing or a bit more reserved. Nakamura Ganjirō II offers a completely new type of father for Ozu's family this time around, and really a different type of presence from so many of his films. Ganjirō's performance offers a very different approach as he presents a man who isn't at all reserved as this business owner, who in many ways isn't at all concerned with the typical expectations of Japanese society, this rather is a man with different concerns. That main concern is the love of life. Ganjirō's performance exudes every pour of his performance as his bright smile is that of a man who just loves the experience of living and wishes to not hesitate in a moment in it. Ganjirō brings so much energy just innately within the character that is particularly dynamic, especially against the more reserved characters around him. He doesn't quite fit in and that is in just the right way in Ganjirō's performance as a man who may be the father of this family, however, he doesn't at all subscribe to the expectations of Japanese society. 

Where Ganjirō's performance is probably most essential is realizing Manbei's character as it relates to really his whole life, which involved being unfaithful to his wife, who is now deceased, and carrying on with his mistress. The mistress who is still living, and whom Ganjirō wants to continue to go see as much as possible it would seem. And it is here where it would be very easy to almost instantly lose any concern for the character, but what is impressive is that not only does he not make you dislike Manbei, he somehow makes him rather endearing. Perhaps if we saw him in his younger days going about this, that would be less sympathetic, but here as the older man Ganjirō brings so much life to his character as he goes about trying to sneak off whenever he can to go see his mistress again. Ganjirō's manner is filled with such a pleasant if not optimistic disposition about the whole thing though with this mischievous glint in his eyes. Ganjirō makes him scheming in a way, but scheming in a way with this kind of silliness about it that it is hard to take it fully seriously. In turn because of that Ganjirō makes it hard not to feel some affection for the old man going about this, even as what he is doing is technically an artifact of behavior that would've caused much grief for the family at one time. 

And what helps is when we see Ganjirō with his mistress, and her son, and he brings such a lively energy to it all. He's overflowing with warmth and affection, and it obviously isn't some simple carnal urge that Manbei finds in this relationship, it is genuine love that he portrays. What's great is how casual Ganjirō is in every moment of it, how natural it is, and just how earnest every moment of these interactions is. One can easily sense the rich history between them in these moments, which isn't at all built on expectation, but rather this very natural manner of just people who love the company of one another. Of course, those who feel a bit less positive about these interactions are the rest of his family, particularly his oldest daughter Fumiko (Michiyo Aratama). And their two interactions on this topic though aren't played as serious drama, but really rather hilarious comedy, as her incisive stares and cutting remarks, against his "aw shucks" reactions are quietly comic gold. As is Ganjirō's portrayal of every moment of Manbei sneaking away, where he truly shows him to be a child sneaking out to basically play with his friends, in his silly manner, which just is hard not to find a bit endearing coming from this older man. And while the concerns about Manbei's health end up bringing more dramatic elements of the film to the forefront, Ganjirō's performance never is weighed down by them, instead showing always, no matter his health, that Manbei's simply a man who is going to enjoy life his way, as long as he can. Nakamura Ganjirō II delivers just a splendid performance here, Ozu's oeuvre presents such a dynamic and unique father figure that contrasts so wonderfully with the typical patriarchs of his films. 

Alternate Best Supporting Actor 1961

 And the Nominees Were Not:

Murray Melvin in A Taste of Honey

Alan Bates in Whistle Down the Wind

Martin Stephens in The Innocents

Nakamura Ganjirō II in The End of Summer

Leo McKern in The Day The Earth Caught Fire

Alternate Best Supporting Actor 1961: Results

5. Anthony Quinn in The Guns of Navarone - Quinn gives a solid performance that overcomes his technical miscasting far more effectively than his co-stars. 

Best Scene: His introduction.

4. Burt Lancaster in Judgment in Nuremberg - Lancaster might not give the best performance in the film, but he still gives a powerful portrayal of a man consumed by despair.

Best Scene: Janning's speech.

3. Eli Wallach in The Misfits - Wallach technically has probably the most thankless role out of the main cast, but is quite remarkable by giving such a honest portrayal of his character.

Best Scene: Guido tells Roslyn about his wife.

2.  Karl Malden in One-Eyed Jacks - Malden is easily the highlight of his film giving a striking performance where he cleverly subverts his usual unassuming screen presence.

Best Scene: Dad and his men confront Rio.

1. Tatsuya Nakadai in Yojimbo - Good Prediction Michael McCarthy. Nakadai gives a great and so brilliantly smug villainous turn that perfectly complements Toshiro Mifune's heroic turn.

Best Scene: The Final Duel.

Overall Rank:

1. Montgomery Clift in Judgment At Nuremberg
2. Maximilian Schell in Judgment At Nuremberg
3. Martin Stephens in The Innocents
4. Tatsuya Nakadai in Yojimbo 
5. Jackie Gleason in The Hustler
6. George C. Scott in The Hustler
7. Murray Melvin in A Taste of Honey
8. Karl Malden in One-Eyed Jacks
9. Nakamura Ganjirō II in The End of Summer 
10. Eli Wallach in The Misfits
11. Burt Lancaster in Judgment At Nuremberg
12. Montgomery Clift in The Misfits
13. Leo McKern in The Day the Earth Caught Fire
14. Anthony Quinn in The Guns of Navarone
15. Alan Bates in Whistle Down the Wind
16. Soumitra Chatterjee in Teen Kanya
17. Max von Sydow in Through the Glass Darkly
18. Rod Steiger in The Mark
19. Anil Chatterjee in Teen Kanya
20. Hans Lothar in One, Two, Three
21. Myron McCormick in The Hustler
22. Sacha Pitoeff in Last Year At Marienbad
23. David Niven in The Guns of Navarone
24. Francisco Rabal in Viridiana
25. Tony Randall in Lover Come Back
26. Tatsuya Nakadai in The Other Woman
27. Gunnar Björnstrand in Through the Glass Darkly
28. Frank Thring in King of Kings
29. Bernard Lee in Whistle Down the Wind
30. Eijirō Tōno in Yojimbo
31. Brian Keith in The Parent Trap
32. Ron Randell in King of Kings
33. Keiji Sada in Immortal Love
34. Robert Stephens in A Taste of Honey
35. Pat Hingle in Splendor in the Grass
36. Keiju Kobayashi in The End of Summer
37. J. Pat O'Malley in 101 Dalmatians
38. Fernando Rey in Viridiana   
39. Chishū Ryū in The End of Summer
40. Hisaya Morishige in The End of Summer
41. Ikio Sawamura in Yojimbo
42. Donald Houston in The Mark
43. Richard Widmark in Judgment At Nuremberg
44. Murray Hamilton in The Hustler
45. Robert Ryan in King of Kings
46. Anthony Carbone in The Pit and the Pendulum
47. John Wengraf in Judgment At Nuremberg
48. Derren Nesbitt in Victim
49. Bernhad Wicki in La Notte
50. Hurd Hatfield in King of Kings
51. Lars Passgard in Through the Glass Darkly
52. Norman Bird in Victim
53. Robert Blake in Town Without Pity
54. Daisuke Katō in The End of Summer
55. Benson Fong in Flower Drum Song
56. Stanley Holloway in No Love For Johnnie
57. Donald Pleasence in No Love For Johnnie
58. Mervyn Johns in No Love For Johnnie
    
59. Geoffrey Keen in No Love For Johnnie
    
60. Dennis Price in no Love For Johnnie
61. James Shigeta in Flower Drum Song
62. David Frankham in 101 Dalmatians
63. Peter McEnery in Victim
    
64. Jack Soo in Flower Drum Song
65. Anthony Quayle in The Guns of Navarone
66. Seizaburo Kawazu in Yojimbo
67. Kali Banerjee in Teen Kanya
68. Ned Glass in West Side Story
69. Takashi Shimura in Yojimbo
70. Peter Falk in Pocketful of Miracles
71. Michael Redgrave in The Innocents
72. James Garner in The Children's Hour
73. Donald Wolfit in The Mark
74. Christopher Lee in taste of Fear
75. Thurl Ravenscroft in 101 Dalmatians
76. Keenan Wynn in The Absent-Minded Professor
77. Dennis Price in Victim
78. Ronald Lewis in Taste of Fear
79. Edward Everett Horton in Pocketful of Miracles
80. Stanley Adams in Breakfast At Tiffany's
81. Ben Wright in 101 Dalmatians 
82. John Fiedler in A Raisin in the Sun
83. Tommy Kirk in The Absent-Minded Professor
84. Thomas Mitchell in Pocketful of Miracles 
85. Russ Tamblyn in West Side Story 
86. Richard Harris in The Guns of Navarone
87. Martin Balsam in Breakfast At Tiffany's
88. Peter Wyngarde in The Innocents
89. Kevin McCarthy in The Misfits
90. Charles Boyer in Fanny
91. Buddy Epsen in Breakfast At Tiffany's
92. Alan Scott in Lola
93. Ben Johnson in One-Eyed Jacks
94. Simon Oakland in West Side Story
95. William Shatner in Judgement At Nuremberg
96. Stanley Baker in The Guns of Navarone
97. Arthur O'Connell in Pocketful of Miracles
98. Slim Pickens in One-Eyed Jacks
99. George Chakiris in West Side Story
100. Leon Ames in The Absent-Minded Professor
101. Tucker Smith in West Side Story
102. Horst Buchholz in One, Two, Three
103. Maurice Chevalier in Fanny
104. Mickey Rooney in Breakfast At Tiffany's

Next Year: 1958 lead

Alternate Best Supporting Actor 1961: Anthony Quinn in The Guns of Navarone

Anthony Quinn did not receive an Oscar nomination for portraying Colonel Andrea Stavrou in The Guns of Navarone.

The Guns of Navarone tells the story of a group of commandos in World War II who must destroy the Guns of Navarone to save allied soldiers. The Guns of Navarone is on one hand an entertaining wartime thriller, but on the other hand it tries to use the men on a mission for an anti-war statement. The anti-war statement does not go particularly hand in hand with this type of story and obviously was not part of the original book that the film is based on. It perhaps could have worked fine, but whenever it occurs it seems terribly obvious as the film basically seizes to a halt to have a heavy handed speech to state its points.

The Guns of Navarone faced some criticism at the time of its release due to the age of many of the cast members particularly Gregory Peck, David Niven and Anthony Quinn who seemed a bit old for the roles of wartime commandos. This is noticeable when watching the film for Niven and Peck, but Quinn kinda completely gets away with it. Quinn plays one of the commandos who is a Colonel from the defeated Greek army working with the British to kill as many Nazis as he can. Quinn as he also would prove a little later in Zorba the Greek that he is completely believable as a man taking on men who are in their prime. Quinn simply has the strong commanding presence needed so even though he's technically not in his "prime" he still seems like quite the force to be reckoned with. 

Quinn has his role down perfectly from his first scene where Peck's character Mallory gives Stavrou the info on what their new mission is. Quinn exudes the right menace as Stavrou accepts the assignment while at the simultaneously threatening Mallory. Stavrou is a particularly troubled man since his wife and children were killed in the war partially from the accidental result of Mallory's actions. Stavrou never reflects for long but Quinn is terrific by just wearing this history of Stavrou in his performance. The film throughout its course repeatedly states that the men are tired from the trials of the war, and Quinn easily expresses this the most effectively. For example Stanley Baker as one of the men just states that fact and never realizes it, Quinn does not dwell on this element, but rather expresses through the hard-boiled style of his performance.

Where a few of the performances in the few tend to waver a bit Quinn is rock solid in every scene. He even has some of the more tricky moments in his performance. In one Stavrou acts as though he is just a fisherman to fool the Nazis, and Quinn makes the whole trick believable through his portrayal of it. Another tricky aspect is that Quinn is given the major romance with a contact in Greece Maria (Irene Papas). This is particularly to the point in that she basically states that they should be together, and it is almost reduced to just a couple of glances. Quinn and Papas actually do make it work in simply portraying the attraction and understanding through these short reactions, and manage not to make the whole idea seem forced as it technically is as written.

The majority of this performance honestly is reactionary since it is an action film which is constantly on the move. What only adds to this is that Quinn is not given any of the semi heavy handed speeches in the film, which actually is rather good thing. Quinn though technically does well to even help with the speeches given by the other actors through his honest portrayal of Stavrou's unsaid feelings through every scene. He's particularly good when one of them suggests that he should kill he woman, and Quinn suggests the emotional turmoil in Stavrou without needing to resort to any histrionics. The nature of his role as well as the film itself keep Quinn somewhat limited but he uses what he does have well and easily excels the most out of anyone in the cast.

Alternate Best Supporting Actor 1961: Karl Malden in One-Eyed Jacks

Karl Malden did not receive an Oscar nomination for portraying Dad Longworth in One-Eyed Jacks.

One-Eyed Jacks is notable as Marlon Brando's only directorial effort. It's a decent, although not especially remarkable, western about a bandit Rio (Brando) who is left to the law by his partner in crime Dad.

Malden once again re-teams with Brando who he co-starred with in On The Waterfront and A Streetcar Named Desire which are two of the most memorable films from both of their filmography. It is not surprising that Brando chose for Malden to star with him again as the two do share an effective dynamic on screen together in those earlier film. Brando with his overt intensity, and Malden with his own more reserved yet still quite striking intensity. They balance out each other well though as they never seem to be trying to show up the other yet share the screen very adeptly. One-Eyed Jacks is not nearly as good as a film as those previously mentioned, and Brando is not nearly as good of a director as Elia Kazan. Brando's shortcomings seem most obvious though in directing himself.

Kazan managed to get truly magnetic performances from Brando, but Brando directly himself seems far too calm and controlled in his performance. He far too often seems content in just playing well just a little too cool, and perhaps he thought he overacted in his emotionally intense scenes in those earlier film since they are sorely missed here. Brando apparently had a far longer cut in mind for the film, which may or may not have been a good thing, and perhaps there was more to Brando's performance there. That is not the case in its released form. The cutting as well may contribute to to the early scenes in the film that were obviously there to set up the friendship and personalities of Rio and Dad before the betrayal, but there frankly there just is enough there to make the betrayal meaningful.

Malden though is very good in the early scenes losing his usual reserve to show a drunken lout of a man, and although the betrayal is fast, Malden is very good in the scene expressing the conflict in his character well, partially making up for some of the weaknesses in the film. Rio finds himself out of jail though and tries to catch up with Dad who has become a sheriff in a town. Where Brando's performance seems far too simplistic at times, Malden is excellent in the first scene they share again suggesting all that is going through Dad's mind at the meeting. On one hand Malden shows Dad happily greeting Rio in a mostly genuine way as he tries to explain his actions in the betrayal, but as well though keeps a underlying intensity in the scene reflecting that Dad is trying to see why exactly Rio has payed him this visit.

After that opening scene Malden's plays his role quite wryly as he keeps that that unassuming quality he often carries in his roles, yet this time he uses it to hide something. At first it seems Dad is somewhat oblivious to Rio's as Malden plays the part as a likable enough naive fool, yet when it seems that Rio has made a move the true nature of Dad comes out. Malden is terrific in the scene where Dad "lays down the law" and is extremely disconcerting as he brings out such a palatable menace so naturally in a second notice. Malden is particularly effective as he takes on his usual sunny disposition, and replaces it with a cold unsavory brutality in a scene that did remind me of Gene Hackman's work in Unforgiven. Malden makes for a surprisingly vicious villain.

This is not Malden and Brando's best work together. For several reasons, one being that is a lesser work than those earlier films, and another being that in this case Malden completely blows Brando off the screen in every scene they share together. It is quite odd that Brando directed this film because every time Malden and Brando share a scene Malden absolutely overshadows him. I wish that the film had been a little stronger since Malden's work here is quite compelling and I would have liked it if the writing, or perhaps the editing, had allowed him to go even further with the character. Nevertheless Malden gives a strong performance here that rather cleverly subverts his usual onscreen persona, and his work is easily the highlight of the film as a whole.

Alternate Best Supporting Actor 1961: Tatsuya Nakadai in Yojimbo

Tatsuya Nakadai did not receive an Oscar nomination for portraying Unosuke in Yojimbo.

Yojimbo is a film filled with scoundrels as almost all the speaking parts of the film are villains. There are only a few exceptions such as the fed up inn owner, the coffin maker, and of course the samurai played by Toshiro Mifune. Mifune has such strong presence that almost all these villains are overwhelmed and overshadowed unless they know how to play off him. Takashi Shimura certainly knows how, but is unable to do so here since he never directly interacts with Mifune. Luckily though there is another actor with a star quality of his own and that of course is Tatsuya Nakadai. Nakadai is actually the final villain to make an appearance as Unosuke who is the second in command to one of the crime lords, and appears after coming back from his travels along with a gun.

Although the appearance of the gun of course establishes Unosuke as a threat, as everyone else is fighting with only swords, he is truly established as such by Nakadai's performance. Tatsuya Nakadai a very interesting actor as he has such almost breezy manner in his performances yet his presence is always clearly felt. Nakadai's way about the screen is pretty much a perfect match for Mifune, and it is easy to see why Kurosawa cast Nakadai as the villain against Mifune once again in the sequel to Yojimbo, Sanjuro. With all the other villains it is obvious that Mifune/the samurai seems to command over all, but once Nakadai shows up the samurai plan seems like it may not be so easy anymore. Nakadai as Unosuke makes a worthy adversary for Mifune as the samurai.

Apparently Kurosawa told Mifune to play the samurai as a wolf which helped him create that distinctive twitch, and he also gave Nakadai an animal in mind but for him it was a snake. Mifune made brilliant use of the idea and so does Nakadai. Nakadai also is a very physical performer and the way he infuses the "snake"  in to his performance is remarkable. Where Mifune had the broader movement of a wolf, Nakadai is very withdrawn as he slinks around so smoothly making Unosuke stand out very well among the group of slovenly criminals around him. One of my favorite movements Nakadai employs is the way he pulls out the pistol he moves his arm very much like a Snake preparing to strike. It is later said that Unosuke feels the pistol is an extension on himself and Nakadai realizes this quality quite beautifully.

Unosuke technically speaking is not even the main villain since he actually is not even the head of his own gang. Nakadai thoroughly commands in his scenes with his substantial charisma and he most importantly challenges Mifune in every scene they share together that further emphasizes that Unosuke is perhaps a match for the samurai. One of the best scenes in the film is when Unosuke confronts the samurai over the disappearance of a woman who was being held captive by his gang. Nakadai's reaction are terrific in the scenes as he has that piercing and so very sly of a stare as Nakadai suggests that Unosuke is constantly taking apart the samurai lies. Mifune and Nakadai play off each other exceptionally well with Mifune and Nakadai trading the right knowing glances as Unosuke and the samurai try to outsmart one another.

Nakadai like Mifune is quite entertaining by really having so much fun with the role. Nakadai is rather cleverly entertaining in his depiction of Unosuke who he gives this terrific smugness. One of the most memorable qualities of this performance is that absolutely perfect smile that comes to his face whenever something happens to be going his way, or if he ever is challenged by someone. Nakadai's smile honestly almost looks like a cartoon snake, and it is just so good in portraying the extreme deviousness of Unosuke. The pistol of course gives Unosuke a terrific advantage over all the other fighters. Nakadai's sleazy pompousness is so great because Nakadai shows that Unosuke knows of this advantage, and just loves the fact that no one seems to have a chance against him.

Tatsuya Nakadai gives a great supporting performance and serves the film wonderfully by making a villain worthy for Mifune's nameless samurai. Nakadai's performance feels effortless in creating the substantial menace he carries with his performance. Like Mifune he as well makes the most out of the animal basis for the physical elements of his performance. Like Mifune once again all of the animal manner seems completely natural to his character, and only makes Unosuke stand out all the more as a character in the film. When the final duel comes Nakadai creates the needed threat for the scene, and when Unosuke is defeated its all the sweeter just to take that smug look off his face. Nakadai particularly strong in this scene as he portrays that Unosuke is completely lost without his gun and obviously defeated. There is a wonderful moment though where the samurai gives him his gun and Unosuke thinks he has a chance to kill the samurai. Nakadai brings that smile back one more time to show Unosuke confidence is the pistol. Nakadai  is extremely effective and makes a memorable demise as he makes the loss of the smile equate to the loss of Unosuke's life. One more time I must say like Mifune's performance in this film, I love this performance.

Alternate Best Supporting Actor 1961: Burt Lancaster in Judgment At Nuremberg

Burt Lancaster did not receive an Oscar nomination for portraying Dr. Ernst Janning in Judgment At Nuremberg.

Burt Lancaster plays the role of one of the judges who worked under the Nazi regime and are now on trial for their alleged crimes. Lancaster actually only has a few lines for the majority of this almost three hour long film. Lancaster for most of the film is only seen sitting in place within the courtroom watching as the trial progresses. Lancaster is effective even in these early scenes as he sits silently as the trial goes on. Lancaster is always building to the point in which he speaks by showing Janning as a man of constant despair. Lancaster's expressions throughout reflect the past of the man as Lancaster suggests Janning to almost be a shell of his former self. There is a truly resigned quality that Lancaster suggests showing that when Janning went along with the evils of the Nazis he basically lost himself in the process.

When Janning finally does speak to silence his defense Hans Rolfe (Maximilian Schell) Lancaster certainly does not waste the opportunity given to him. Lancaster has a very forceful screen presence and he utilizes that well to quickly take command of the film in his single most important scene. All of the speeches in the film really could go either way as they are definitely not written to be subtle, but that in no means that they are bad. This being a Stanley Kramer film the points are perhaps made too clear, but that can easily be compensated for honestly by the delivery of them. Lancaster delivers his incredibly well by bringing out the power of the words as he should but always doing so through the character of Ernst Janning. The speech has the intensity needed for the condemnation it is stating, but what Lancaster does importantly is never forgetting to suggest that self-hatred of his own action is what fuels this passion in Janning the most.

After the speech Lancaster has one more important scene where Janning meets with the chief judge Dan Haywood (Spencer Tracy). Lancaster is very good in this scene by showing some contentment in Janning for the moment as it seems he has made some peace with himself as it seemed he in part made his own sentence. Janning takes the chance to try to, in a way, defend his actions now that he is technically suffering for them to Haywood, which leaves Haywood to quickly remind Janning of his severe crimes. The scene could be more powerful simply because Tracy's characterization of Haywood is a little too muddled throughout, but it still stands as an effective scene because of Lancaster. Lancaster at the beginning of the scene shows Janning content in someway, but when Haywood calls him out on it Lancaster's reaction is great by showing that despair once again engulfs the man.

In the whole scheme of the three hour film Lancaster's screen time is brief and only briefer if you were not to count many of the moments of him merely sitting in the courtroom. Lancaster though does make use of those minimalistic moments as well as the few times in which he is given the spotlight. I would say even with his highlight scenes that when you come right down to his performance is not quite as memorable as Maximilian Schell's purposeful showboating as the firebrand defense attorney or as memorable as Montgomery Clift's heartbreaking portrayal of one of the Nazis's victims. Nevertheless Lancaster still gives the third strongest performance in the film with his fairly remarkable portrait of a man pained by his crimes which he will never be able to forget.

Alternate Best Supporitng Actor 1961: Eli Wallach in The Misfits

Eli Wallach did not receive an Oscar nomination for portraying Guido in The Misfits.

Well this is my first time not reviewing Eli Wallach in the role as a outlaw in the old west. This time we meet in the opening of the picture as an average guy who works for a car garage. Wallach even though he's not touting a gun still has just a screen presence that's all his own. There just something about him that's interesting even when he's just undergoing a routine inspection of a car. Guido while doing this happens to catch a glance of the alluring divorcee Roslyn (Marilyn Monroe), who he tells his cowboy friend Gay (Clark Gable) about later. Wallach on paper has a pretty thankless role and almost might seem like in a throwaway role in lesser hands, but Wallach makes the most of it. In these early scenes of just really establishing the story Wallach realizes Guido personality incredibly well by just by playing so authentically this average guy.

Wallach is very good in just adding this extra layer of character to any scene he is in just through his interactions with the other characters. It does not even need to be important stuff even he could just be hanging out with Gay or looking at Roslyn from a distance. Wallach does not allow Guido just to be some side show that can easily be forgotten or ignored. The interesting thing is that Guido technically speaking is suppose to be a rather average hollow man, but Wallach just gets so much out of being this guy. Wallach so naturally really bridges the whole cast together by being this technically standard guy among the strong willed Gay and the rather damaged Roslyn and Perce (Montgomery Clift). Wallach just brings the most of the character and just makes Guido an interesting character to watch even though he technically isn't in conception.

Wallach manages to stick out even though his character is often pushed to the side, but there a few very short moments where Wallach is given his moments to shine. Wallach is excellent in these scenes as he very effectively shows the self-absorbed nature of Guido. Wallach is incredibly good here in the moments where Guido tries to show his "depth" to Roslyn by describing the fact that his wife died. Wallach here is terrific by being genuine in the moment as Guido talks about that troubled past, but only in that instance does Wallach show Guido being truly emotional. When not alone with Roslyn Wallach does not show Guido to become particularly emotional, and as odd as it might seem Wallach makes it completely believable. It is not that Guido is faking the emotions rather Wallach shows that Guido will only really reflect on them if he thinks it can in some way make it so he can connect with Roslyn.

Wallach here shows just as he did a year earlier with The Magnificent Seven that he only needs just enough to create a great character. Both Guido and Calvera very well could have been the most forgettable elements of their respective films, but in Wallach's hands they are among the most memorable. Guido may seem simple and in many ways he is and in fact the film seems set up just to dismiss him as the bad guy among all the guys. Wallach is great here by technically fulfilling the need of Guido being the "bad guy" but by doing in a realistic fashion that never paints him as being an obvious bad guy. In fact Wallach plays him most of the time as being likable enough whenever things don't really matter, but when the worse side comes out to him Wallach still does not undercut Guido as a character. He creates a very honest and full portrait of Guido that far surpasses what it seems was even the intent of the role.

Alternate Best Supporting Actor 1961

And the Nominees Were Not:

Anthony Quinn in The Guns of Navarone

Eli Wallach in The Misfits

Burt Lancaster in Judgment At Nuremberg

Tatsuya Nakadai in Yojimbo

Karl Malden in One Eyed Jacks