Showing posts with label 1969 Best Supporting Actor. Show all posts
Showing posts with label 1969 Best Supporting Actor. Show all posts
Tuesday, 13 March 2012
Best Supporting Actor 1969: Results
Best Supporting Actor 1969: Elliot Gould in Bob & Carol & Ted & Alice
Elliot Gould received his only Oscar nomination so far for portraying the titular Ted Henderson in Bob & Carol & Ted & Alice.
Bob & Carol & Ted & Alice is about Bob and Carol who discover and wish to practice free love even though they find difficulties in it, and their married friends Ted and Alice who have very mixed feelings over Bob and Carol's actions.
Dyan Cannon as Alice and Elliot Gould as Ted were both nominated in the supporting category in the film but they are just as much of leads as Natalie Wood and Robert Culp are as Carol and Bob since it is as much about the free love sharing couple as the one reacting to it. It certainly makes since though that the two were nominated for their roles since the academy most likely did indeed prefer the greater degree of emotions presented by the two in their performances, since for a great deal of the time Wood and Culp are just rather sure of themselves.
Elliot Gould's performance is mostly on one note of many notes really. One is not really a problem with this performance though as the one note Gould keeps with for most of his performance is confusion, and the many facets that come with this confusion. Ted reacts to Carol and Bob actions with a great deal of mixed emotions that do not leave him as a particularly clear thinking individual. Gould shows Ted reactions to Carol and Bob quite well showing a mix of bemusement, as well as intrigue that only really causes confusion within himself as well as his feelings to his relationship with his wife Alice.
Gould goes for a semi comic approach with his performance as Ted that actually does work effectively for his character. It is never that he goes over the top or even obviously for a laugh even, but Gould never makes Ted confusion overbearing, but rather something a bit more lighthearted. Gould never makes Ted really sure of himself in anyway and derives from the natural humor that comes from that. Gould never makes Ted into someone who knows what he is doing or what is going on even for much of a moment, even when he does have some confidence it comes from a confused effort.
Gould stays consistently inconsistent with his performance effectively throughout. Ted does undergo changes throughout slowly becoming more impressed by the ideas of free love, but Gould performance works even as he moves closer to the idea of having an affair for example he is never assured of the idea or if fully understands why exactly he desires to even do that exactly. Gould gives a pretty good performance actually in his way despite the challenge of his character's confusion, but Gould realizes the confusion very well. Although he never achieves the heights of Dyan Cannon's performance as Alice, who is by far the best of the far, he does give humorously effective portrayal.
Dyan Cannon as Alice and Elliot Gould as Ted were both nominated in the supporting category in the film but they are just as much of leads as Natalie Wood and Robert Culp are as Carol and Bob since it is as much about the free love sharing couple as the one reacting to it. It certainly makes since though that the two were nominated for their roles since the academy most likely did indeed prefer the greater degree of emotions presented by the two in their performances, since for a great deal of the time Wood and Culp are just rather sure of themselves.
Elliot Gould's performance is mostly on one note of many notes really. One is not really a problem with this performance though as the one note Gould keeps with for most of his performance is confusion, and the many facets that come with this confusion. Ted reacts to Carol and Bob actions with a great deal of mixed emotions that do not leave him as a particularly clear thinking individual. Gould shows Ted reactions to Carol and Bob quite well showing a mix of bemusement, as well as intrigue that only really causes confusion within himself as well as his feelings to his relationship with his wife Alice.
Gould goes for a semi comic approach with his performance as Ted that actually does work effectively for his character. It is never that he goes over the top or even obviously for a laugh even, but Gould never makes Ted confusion overbearing, but rather something a bit more lighthearted. Gould never makes Ted really sure of himself in anyway and derives from the natural humor that comes from that. Gould never makes Ted into someone who knows what he is doing or what is going on even for much of a moment, even when he does have some confidence it comes from a confused effort.
Gould stays consistently inconsistent with his performance effectively throughout. Ted does undergo changes throughout slowly becoming more impressed by the ideas of free love, but Gould performance works even as he moves closer to the idea of having an affair for example he is never assured of the idea or if fully understands why exactly he desires to even do that exactly. Gould gives a pretty good performance actually in his way despite the challenge of his character's confusion, but Gould realizes the confusion very well. Although he never achieves the heights of Dyan Cannon's performance as Alice, who is by far the best of the far, he does give humorously effective portrayal.
Monday, 12 March 2012
Best Supporting Actor 1969: Rupert Crosse in The Reivers
Rupert Crosse received his only Oscar nomination for portraying Ned McCaslin in The Reivers.
The Reivers is about a boy who goes on a bit of adventure to Memphis with two men Boon (Steve McQueen) and Ned (Crosse) who steal his father's car.
Rupert Crosse's nomination is rather forgotten in this film even though it was the first time an African American actor was nominated in this category. Crosse portrays Ned who at the beginning third of the film is a bit of a wacky character who gets in a non too serious fight with McQueen's Boon early on over the use of the car they later steal. Crosse is actually fine at being wacky without going too far that he seems like a cartoon. He finds the right tone with his performance to really fit McQueen's performance as well as the tone of the film.
The wacky Ned never becomes an annoying character as he frankly could have easily been even he went to far with the wackiness that drives his character early on, but Crosse is actually fairly endearing on the role early on and is likable presence within film. His character though quickly is required to be more than comedic when he and another older African American man are threatened by a racist Sheriff. The film quickly requires a passionate want for human decency from the sheriff.
Crosse again is very effective with this very different side of Ned with his performance. There is a quiet understated strength in his performance he gives to Ned that works well. He also becomes a bit of an inspirational character near the end that again Crosse effectively portrays showing a simple but nicely moving enthusiasm. Crosse also makes this transition well by not overdoing the humorous elements of Ned early on, but still have a lighthearted quality to his performance even in his more serious scenes.
Rupert Crosse's character of Ned is pretty limited in terms of what he is given but Crosse does a fine job with every element of the character he is required to fulfill. Ned very easily could have been a too simplistic of a character, but Crosse carefully treads both the humorous and more serious elements of the character never let either element override the other, therefore allowing his transitions during the film to be quite natural even though the transitions could have been forced feeling. It is not most complex of performances by Crosse but it is an entirely fine performance that suits his role well.
The Reivers is about a boy who goes on a bit of adventure to Memphis with two men Boon (Steve McQueen) and Ned (Crosse) who steal his father's car.Rupert Crosse's nomination is rather forgotten in this film even though it was the first time an African American actor was nominated in this category. Crosse portrays Ned who at the beginning third of the film is a bit of a wacky character who gets in a non too serious fight with McQueen's Boon early on over the use of the car they later steal. Crosse is actually fine at being wacky without going too far that he seems like a cartoon. He finds the right tone with his performance to really fit McQueen's performance as well as the tone of the film.
The wacky Ned never becomes an annoying character as he frankly could have easily been even he went to far with the wackiness that drives his character early on, but Crosse is actually fairly endearing on the role early on and is likable presence within film. His character though quickly is required to be more than comedic when he and another older African American man are threatened by a racist Sheriff. The film quickly requires a passionate want for human decency from the sheriff.
Crosse again is very effective with this very different side of Ned with his performance. There is a quiet understated strength in his performance he gives to Ned that works well. He also becomes a bit of an inspirational character near the end that again Crosse effectively portrays showing a simple but nicely moving enthusiasm. Crosse also makes this transition well by not overdoing the humorous elements of Ned early on, but still have a lighthearted quality to his performance even in his more serious scenes.
Rupert Crosse's character of Ned is pretty limited in terms of what he is given but Crosse does a fine job with every element of the character he is required to fulfill. Ned very easily could have been a too simplistic of a character, but Crosse carefully treads both the humorous and more serious elements of the character never let either element override the other, therefore allowing his transitions during the film to be quite natural even though the transitions could have been forced feeling. It is not most complex of performances by Crosse but it is an entirely fine performance that suits his role well.
Saturday, 10 March 2012
Best Supporting Actor 1969: Gig Young in They Shoot Horses, Don't They?
Gig Young won his Oscar from his third and final Oscar nomination for portraying Rocky in They Shoot Horses, Don't They?.
They Shoot Horses, Don't They? details a dance marathon during the depression where a great deal of downtrodden people are attempting to win the prize money from being the last dancer.
Gig Young Oscar win is quite interesting here as he was the only win for the film that received nine nominations, and really in some ways out of the three nominees for the film he has the least emotionally draining scenes at his disposal, which many times is the type of performance Oscar likes. Young wins should not have been too much of a surprise though since the category is commonly called the veteran's category, and even sometimes the villain's category and Young was both a veteran actor at the time and portrays the film's villain.
Gig Young as Rocky is the only substantial character who is not one of the downtrodden dancers but rather the emcee of the event. Gig Young joins the ranks of the likes of Robert Montgomery and Anthony Hopkins for a complete change in character from one Oscar nomination to the next. Gig Young enjoyable comedic turn in Teacher's Pet holds pretty much no resemblance to his turn as Rocky in this film. Rocky who is not usually mentioned as a villain after all he most certainly never laugh maniacally or really acts like an obvious villain.
Rocky though really is just as evil as those villains who make their antagonism well known, but more on that later. Gig Young turn as Rocky at first does not resemble a villain but just a business man running a contest to earn some money. Young is strong from his first moment have a low key but remarkable presence that ensures the fact that he owns the contest, he is the one in charge and Young makes sure there really is no question about that. Young instantly establishes a sly intelligence within his portrayal of Rocky to really suggest the fact that the contest will not be something that is easy to get through.
His low key moments though stand in great contrast to when Rocky actually is hosting the event. Gig Young is absolutely on the mark as the emcee putting in an enormous degree of energy in the proceedings that stands in that is entirely unlike all the dancers slogging through the event, Young always shows that Rocky has momentum for the entire event never being off for a moment. A horrendous of an event as it is Young in these scenes only shows that when Rocky is on he is on with each and every ounce of himself, and does at least seems to quite enjoy himself unlike the dancers.
Rocky's villainy comes out though as he manipulates the dancers in the contest to suit he wants to ensure that the audience is pleased. Young is brilliant in Rocky's manipulative moments because simply how cold and harsh Young is about it. Young acts as if Rocky treats it as just a simple business nothing more which is very chilling especially in Young low key approach he takes to Rocky's manipulations. What is especially strong about Young's work though, because he never leaves Rocky as a simple villain.
To Rocky it is all a show to him, which is how he can take every effect his manipulation has in stride. His expression for example when Jane Fonda character decides to perform on him sexually to gain some sort of favor with him Young is brilliant in showing just how much Rocky takes it in stride. He sees nothing strange about nor does he see it as anything will effect him, just something more of that comes with the show that he does mind taking. Young though doesn't show Rocky as a completely inhumane monster, even though his actions make him quite close to one.
In his two scenes where he deals with women having serious breakdowns Rocky somewhat more humane side is apparent. The first is a simpler but in the scene it is clear that Rocky does have his limits, his second though is incredible. Although the scene really is set up to be Susannah York's Oscar scene for me the scene belongs to Young. As he shows some degree of tenderness in the moment that is within Rocky somewhere. Young is especially gentle in this scene in a way that is simply outstanding as it Young shows it to come from the same exact man who carelessly abused the same woman to help bring her to that point.
This is simply a great performance by Gig Young that never fails to achieve with his character. There is not a single missed opportunity within Young performance and succeeds in every aspect of his character as well as another. Whether it is his cruelest moments, his somewhat gentler ones, or his moments of great showmanship Young is absolutely on the mark. It is a memorable very effective performance from Young that perfectly personifies society frankly with his character but never lets Rocky be a simple personification but instead always a whole man still.
Gig Young Oscar win is quite interesting here as he was the only win for the film that received nine nominations, and really in some ways out of the three nominees for the film he has the least emotionally draining scenes at his disposal, which many times is the type of performance Oscar likes. Young wins should not have been too much of a surprise though since the category is commonly called the veteran's category, and even sometimes the villain's category and Young was both a veteran actor at the time and portrays the film's villain.
Gig Young as Rocky is the only substantial character who is not one of the downtrodden dancers but rather the emcee of the event. Gig Young joins the ranks of the likes of Robert Montgomery and Anthony Hopkins for a complete change in character from one Oscar nomination to the next. Gig Young enjoyable comedic turn in Teacher's Pet holds pretty much no resemblance to his turn as Rocky in this film. Rocky who is not usually mentioned as a villain after all he most certainly never laugh maniacally or really acts like an obvious villain.
Rocky though really is just as evil as those villains who make their antagonism well known, but more on that later. Gig Young turn as Rocky at first does not resemble a villain but just a business man running a contest to earn some money. Young is strong from his first moment have a low key but remarkable presence that ensures the fact that he owns the contest, he is the one in charge and Young makes sure there really is no question about that. Young instantly establishes a sly intelligence within his portrayal of Rocky to really suggest the fact that the contest will not be something that is easy to get through.
His low key moments though stand in great contrast to when Rocky actually is hosting the event. Gig Young is absolutely on the mark as the emcee putting in an enormous degree of energy in the proceedings that stands in that is entirely unlike all the dancers slogging through the event, Young always shows that Rocky has momentum for the entire event never being off for a moment. A horrendous of an event as it is Young in these scenes only shows that when Rocky is on he is on with each and every ounce of himself, and does at least seems to quite enjoy himself unlike the dancers.
Rocky's villainy comes out though as he manipulates the dancers in the contest to suit he wants to ensure that the audience is pleased. Young is brilliant in Rocky's manipulative moments because simply how cold and harsh Young is about it. Young acts as if Rocky treats it as just a simple business nothing more which is very chilling especially in Young low key approach he takes to Rocky's manipulations. What is especially strong about Young's work though, because he never leaves Rocky as a simple villain.
To Rocky it is all a show to him, which is how he can take every effect his manipulation has in stride. His expression for example when Jane Fonda character decides to perform on him sexually to gain some sort of favor with him Young is brilliant in showing just how much Rocky takes it in stride. He sees nothing strange about nor does he see it as anything will effect him, just something more of that comes with the show that he does mind taking. Young though doesn't show Rocky as a completely inhumane monster, even though his actions make him quite close to one.
In his two scenes where he deals with women having serious breakdowns Rocky somewhat more humane side is apparent. The first is a simpler but in the scene it is clear that Rocky does have his limits, his second though is incredible. Although the scene really is set up to be Susannah York's Oscar scene for me the scene belongs to Young. As he shows some degree of tenderness in the moment that is within Rocky somewhere. Young is especially gentle in this scene in a way that is simply outstanding as it Young shows it to come from the same exact man who carelessly abused the same woman to help bring her to that point.
This is simply a great performance by Gig Young that never fails to achieve with his character. There is not a single missed opportunity within Young performance and succeeds in every aspect of his character as well as another. Whether it is his cruelest moments, his somewhat gentler ones, or his moments of great showmanship Young is absolutely on the mark. It is a memorable very effective performance from Young that perfectly personifies society frankly with his character but never lets Rocky be a simple personification but instead always a whole man still.
Friday, 9 March 2012
Best Supporting Actor 1969: Anthony Quayle in Anne of the Thousand Days
Anthony Quayle received his only Oscar nomination for portraying Cardinal Thomas Wolsey in Anne of the Thousand Days.
Cardinal Wolsey who acts basically just as a loyal man working the will of King Henry (Richard Burton). Wolsey does this until he eventually falls out of favor with the King because he is disliked by the King's second wife Anne Boleyn. Quayle is functional enough in this role being the sort of proper yes man for the King being somewhat authoritative as well when carrying around Henry's orders.
It is not a particularly compelling performance though as he basically just goes through the motions one would expect from the Cardinal as he is written in the film which is fairly simply. Although he is a man of his own great power the film as well as Quayle's performance only seem to show the Cardinal's power as nothing more than just something for the King to use. The cardinal simply is not a very interesting character in the film and barely seems to even be a power player within the Kingdom and is quite close to just being a yes man toward the king.
There are a few scenes where he tries to persuade the King off his course in regards to his marriage with Anne Boleyn but even that is quite limited. Really Quayle's biggest scene that most likely gave him the nomination is his scene where he has lost all favor with the King after he failed to keep the King in favor with the pope. Quayle does realize the sadness of cardinal well enough after he has lost everything but still it is not anything particularly remarkable.
His nomination in the end seems to be a sort of a bonus nomination for film and a career nomination for himself. There is not a single moment in his performance that really makes his character standout it is mainly a functional performance for a functional role. Although I will say that Cardinal Wolsey did not need to be functional as he is in this film, because Orson Welles in A Man for All Seasons makes a far more interesting and impressive character out of Wolsey in a single scene than Quayle ever does in his several scenes.
It is not a particularly compelling performance though as he basically just goes through the motions one would expect from the Cardinal as he is written in the film which is fairly simply. Although he is a man of his own great power the film as well as Quayle's performance only seem to show the Cardinal's power as nothing more than just something for the King to use. The cardinal simply is not a very interesting character in the film and barely seems to even be a power player within the Kingdom and is quite close to just being a yes man toward the king.
There are a few scenes where he tries to persuade the King off his course in regards to his marriage with Anne Boleyn but even that is quite limited. Really Quayle's biggest scene that most likely gave him the nomination is his scene where he has lost all favor with the King after he failed to keep the King in favor with the pope. Quayle does realize the sadness of cardinal well enough after he has lost everything but still it is not anything particularly remarkable.
His nomination in the end seems to be a sort of a bonus nomination for film and a career nomination for himself. There is not a single moment in his performance that really makes his character standout it is mainly a functional performance for a functional role. Although I will say that Cardinal Wolsey did not need to be functional as he is in this film, because Orson Welles in A Man for All Seasons makes a far more interesting and impressive character out of Wolsey in a single scene than Quayle ever does in his several scenes.
Thursday, 8 March 2012
Best Supporting Actor 1969: Jack Nicholson in Easy Rider
Jack Nicholson received first Oscar nomination for portraying George Hanson in Easy Rider.
Easy Rider portrays a cross country journey of two hippie bikers Billy (Dennis Hopper) and Captain America (Peter Fonda).
Jack Nicholson had a continually outstanding record in the seventies when it came to giving his Oscar nominated performance. Every time he was nominated he gave a great performance uniquely Nicholson. Nicholson though was first nominated for his supporting role in this film. I must say watching Easy Rider for the first time I was quite surprised to see just how supporting Nicholson really was in the role, since he is only in a few scenes, and his role is only one of the people the two bikers meet along their route.
Although he is not the dominating character in the film, Nicholson does easily make an impression since he is in top form. Nicholson like his later work though instantly is absolutely magnetic from his first scene when the bikers meet him in a lock up. George Hanson is a lawyer who has alcohol problem that caused him to be in the lockup, but he is a man who understands the two bikers. Nicholson's performance creates an effective portrait of this man. Nicholson shows just the right degree of being a proper person of society, but showing just the below the surface is a wild man.
All that he really needs to break out of his small little shell is a little bit of alcohol or just joining up with two bikers on their journey himself. Nicholson of course brings a great energy to the role with classic Nicholson moments to the sheer joy he shows when riding the motorcycle, to just his classic Nicholson reaction to drinking his alcohol letting on to the wilder side of his character. Nicholson gives an entertaining and effectively exciting portrayal of this man who clearly makes into a man truly breaking all the way out for the first time in his life.
Nicholson's two monologues about society in two very different ways one about aliens as well as one about the fears some in society have over people like the bikers. Nicholson makes both fascinating in their own ways through his performance even though his first one is complete nonsense. Nicholson presence simply brings a life to these moments, and a real emotional power particularly to the second speech that really brings to life the ideas within the film.
Nicholson is of course great but I would be lying if I did not think his performance is most certainly cut short, I frankly just wanted to see more of his character, and in the end I did wish he was the actual lead of the film even though his dynamic with Fonda and Hopper is quite good. This is strong work from Nicholson no doubt about that and I certainly think it shows of his great presence and style early on. In many ways though it never quite achieves the greatness of his later work particularly his nominated work the very next year, and it mostly serves as a terrific precursor to his later work, but not quite on that level although close.
Jack Nicholson had a continually outstanding record in the seventies when it came to giving his Oscar nominated performance. Every time he was nominated he gave a great performance uniquely Nicholson. Nicholson though was first nominated for his supporting role in this film. I must say watching Easy Rider for the first time I was quite surprised to see just how supporting Nicholson really was in the role, since he is only in a few scenes, and his role is only one of the people the two bikers meet along their route.
Although he is not the dominating character in the film, Nicholson does easily make an impression since he is in top form. Nicholson like his later work though instantly is absolutely magnetic from his first scene when the bikers meet him in a lock up. George Hanson is a lawyer who has alcohol problem that caused him to be in the lockup, but he is a man who understands the two bikers. Nicholson's performance creates an effective portrait of this man. Nicholson shows just the right degree of being a proper person of society, but showing just the below the surface is a wild man.
All that he really needs to break out of his small little shell is a little bit of alcohol or just joining up with two bikers on their journey himself. Nicholson of course brings a great energy to the role with classic Nicholson moments to the sheer joy he shows when riding the motorcycle, to just his classic Nicholson reaction to drinking his alcohol letting on to the wilder side of his character. Nicholson gives an entertaining and effectively exciting portrayal of this man who clearly makes into a man truly breaking all the way out for the first time in his life.
Nicholson's two monologues about society in two very different ways one about aliens as well as one about the fears some in society have over people like the bikers. Nicholson makes both fascinating in their own ways through his performance even though his first one is complete nonsense. Nicholson presence simply brings a life to these moments, and a real emotional power particularly to the second speech that really brings to life the ideas within the film.
Nicholson is of course great but I would be lying if I did not think his performance is most certainly cut short, I frankly just wanted to see more of his character, and in the end I did wish he was the actual lead of the film even though his dynamic with Fonda and Hopper is quite good. This is strong work from Nicholson no doubt about that and I certainly think it shows of his great presence and style early on. In many ways though it never quite achieves the greatness of his later work particularly his nominated work the very next year, and it mostly serves as a terrific precursor to his later work, but not quite on that level although close.
Wednesday, 7 March 2012
Best Supporting Actor 1969
Anthony Quayle in Anne of the Thousand Days
Elliott Gould in Bob & Carol & Ted & Alice
Gig Young in They Shoot Horses, Don't They?
Jack Nicholson in Easy Rider
Rupert Crosse in The Reivers
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