Alternate Best Supporting Actor 1970: Results

5. Klaus Kinski in Count Dracula - Kinski's in an uninspired adaptation, but gives an inspired portrayal of a vampire victim of a different sort.

Best Scene: Going to the window.

4. Christopher Plummer in Waterloo - Plummer gives the right degree of levity and grace to leave a strong impression as Napoleon's opponent, even if his co-star doesn't meet him halfway.

Best Scene: After the battle.

3. Bernard Cribbins in The Railway Children - Cribbins gives a wonderfully charming and funny portrayal that finds just the right tone for the material.

Best Scene: Surprise party.

2. David Warner in The Ballad of Cable Hogue - Warner, easily the best truly supporting turn of this lineup, that wonderfully plays with his usual dignified presence with great comedy as a shameless preacher.

Best Scene: "Consoling" the "widow"

1. Warren Oates in Barquero - Oates gives a great performance here delivering a surprising command in his presence, before slowly peeling that away to show the mad desperate man beneath it all.

Best Scene: Shooting the river.

Updated Overall

 

Next: Unfinished business....(though recommendation period also starts, so please feel free to recommend a film from a year that I've already done, a film from 2020  or a documentary/animated film from any year).

Alternate Best Supporting Actor 1970: Klaus Kinski in Count Dracula

Klaus Kinski did not receive an Oscar nomination for portraying Renfield in Count Dracula. 

Count Dracula is a forgettable, if not pretty bad (unless they meant for the zooming dramatically at taxidermy scene to be hilarious), version of the oft told story. 

This version is aggressively perfunctory as there is little to no inspiration in the adaptation or direction. I suppose you get to hear Christopher Lee as Dracula speak, but even that isn't something one should get too hopeful about. It largely is just bland and a "going through the motions" style adaptation where the filmmakers seemed to make the film because "why not" I guess. The only person who seems to be doing anything remotely inspired is Herr Kinski as Renfield. This version that follows closer to the novel as we find the character institutionalized as a collateral damage type of victim of Dracula. Kinski's performance though seems out of another movie, a better one as we see him as basically a mute in his locked room. Kinski's performance is remarkable in the physicality of it. This sort of mentally deranged state as he shy's away from human contact and seems fixated elsewhere in every movement. This as though his mind is indeed elsewhere. Well the film juxtaposes elements to draw it as though he's fixated on Dracula, frankly Kinski's performance could just be a man broken by trauma and guilt. This as there is such a palatable undercurrent of pain within his eyes as he writhes around in his cell, and looks out towards "something". Kinski's performance delivering of course his trademark intensity, that is well used in making Renfield not just some standard drone, but a man stripped of all sense of his own mind. Sadly the film doesn't really have much sense for his work, as his screentime is quite limited. Kinski's performance, which honestly he'd find a familiar road with when he himself took on the Count in Nosferatu, seeks to bring a very human reality to the fantastical horror story. This idea of Renfield as intended as this victim of Dracula, but given a greater substance in creating a tangible idea of how a real man would come to be from such abuse. 

Alternate Best Actor 1970: Warren Oates in Barquero

Warren Oates did not receive an Oscar nomination for portraying Jacob "Jake" Remy in Barquero. 

Barquero is a decent, if largely unremarkable western, about a showdown between a group of bandits trying to transport their booty who need to cross a river and a township sorta led by a classically individualistic barge owner of that river, Travis (Lee Van Cleef).

Warren Oates was a character actor, who really put the character in character actor. Just someone who was distinctive just by his mere existence. Of course he also was quite capable of putting the actor in character actor as well. This is a striking display of that particularly when considered against his work in Sam Peckinpah westerns, or his masterful leading turn in Bring Me the Head of Alfredo Garcia. Those performances often playing a memorable lout, or in that leading turn, a especially memorable turn of a man riding a desperate edge in every imaginable way. Here Oates gets the chance to play someone a bit more put together than his characters often are, at least initially, this as a bandit leader, and doesn't lose a step from those other turns of him. In fact it is remarkable how his very essence seems to change a little as there's such a innate confidence in his presence here, if perhaps even a certain "cool" to him. This suggesting right off the bat that if Oates's costar here, Lee Van Cleef, had not been available, Oates would have been a more than worthy alternative for the titular bad in The Good the Bad and The Ugly. This while his Jake here is a considerably different character from Angel Eyes the bad in that film, Oates carries a similar presence that Van Cleef had in that film. This sort of dominance of personality that is rather remarkable. This as he launches his men into a massacre to steal rifles, or even spends time with a woman, Oates carries an innate and palatable confidence within it. His blaring within an innate intensity, and as innate of a strength of his personality. 

Oates dominates here magnificently and quite powerfully within the scene of his initial victory with his men. What I love is though that Oates wields within this early on just the right degree of unpredictability within his performance, that suggests well where his Jake might be going later on. This when he finds one of his men sleeping with a woman rather than part of the fight, Jake's near instant killing of the men is with a brutal and cold efficiency. Oates portrays though moment with just this quick glint of a madness but also a fascinating almost reflective quality in his delivery as though the man is pondering his violent state, if for a moment. Afterwards we see the man as a true leader as he goes along his parade of success, though there is the slight complication in that Jake is essentially the leader of the muscle though with the technical leader of the expedition, the soldier Marquette (Kerwin Mathews). This relationship being an essential aspect of the character, which Oates will develop throughout his work. In his prime though Oates exudes the power of a true leader as he goes along with the men. This as Oates doesn't just portray the confidence but there is also a sense of camaraderie and joy as he looks along the men. There is the sense of shared weight of the victory and the sense that he sees the men, and they see him, more than just their current boss, but as their leader. It really though connects to what Oates's work here is, which is one that feels above the call of duty here. This as well this isn't a bad film by any measure, it's not a great one, but Oates seems intent on treating the material with the intention that it will be. 

 

This as Oates honestly doesn't waste a moment of his work here. This as he's compelling even when just in scenes. For example the beginning of the showdown, where Travis will not lend the gang his barge, every one of Oates's stares are worth a 10 lines of dialogue at least. There's so much that he brings more than just a grimace, though he certainly conveys the frustration there. There's a hint of almost admiration in the reaction and a curious interest in the nature of the man who will take this stand. Oates simply never just "looks" in a scene rather he always not only conveys what is needed for the tension of the scenes, but also what is going on with Jake in these moments. The film then becomes this showdown of will as much as force even, as Jake is called upon to find a way to win. When discussing the intention with Marquette, Oates presents a man burdened with position and ambition. His delivery of insisting on taking the river not just anger over the present situation, but also a palatable sense of pride in a hope of advancing in some way. Again I think what needs to be noted throughout is the detail that Oates brings and tries to really grant an idea of this man attempting to lead within the moment. There's moment where Jake bluntly disciplines another of his men, and again Oates just powerfully controls the moment. Now Oates is often playing dangerous characters, but more so in a "what he might do" wild way, here he shows a man who "will do" something. This in the innate determination he carries within the character's eyes, even as things begin to fail. This as Jake begins taking drugs as progress is not made, and we are given the one great flashback into the character, where we see him being almost killed by the Imperial Mexican army, which Marquette was a member of. Honestly the scene just makes me wish the whole film was about Jake, as Oates brings such a sense of the vicious beat down, but also the dogged conviction of Jake in the silent moment of just barely saving his life by killing Marquette's former leader. Oates's whole performance though conveys the idea of a man built up by this experience of finding his ways to claw to the top. This as the next step, the barge, seemingly cannot be overcome and Oates depicts the natural state of the man's mind's degradation from it. 

 

Oates's wild ferocity as Jake is unable to break Travis's resolve is striking, but the best moment is the calm in Oates's portrayal as he embraces then shoots the river after a mad ramble. I almost wonder if the scene in the script only because it so much more brilliant than the rest of the film. Of course Oates is essential in this either way, this as attacking the river, that is the bane of him, creates this quiet and broken satisfaction in his expression and delivery of "I shot the river" with a slight grin, is perfection of a man being destroyed from the inside out through his predicament. This leaving the climax, which is mostly fine, but what stands out about it is Oates basically riffing on the whole thing in his performance. This as he portrays Jake on a whole different wavelength than everyone else throughout, with this strange detachment to the experience. Oddly the strongest emotion throughout the film is actually Oates's genuinely heartbreaking reaction to the death of one of his men, whose pleading with him, as Marquette's plan has failed. Oates showing the genuine leader in the moment as he's affected by the man's words, while also displaying the growing mental break still as his violent reaction towards the loss, is presented in this amazing combination of directness and detachment in Oates. This as he speaks as man's mind is wavering though still with the eyes of a man of intention, even if he's lost it. This as even when he kills one of Travis's allies, Oates does so with this curious expression of the man almost gone from the normal frame of mind as he looks with analysis of the event more so than even hate towards the man. It is an incredible portrayal of a breakdown, and so much greater than the ambitions of his film otherwise. Although Barquero is not a great western, Oates treats it as such, and delivers a great western villain. This as not just treating Jake as a throwaway menacing black hat, but genuinely giving a sense of the man underneath the hat.

Alternate Best Supporting Actor 1970: Bernard Cribbins in The Railway Children

Bernard Cribbins did not receive an Oscar nomination, despite being nominated for a BAFTA, for portraying Albert Perks in The Railway Children. 

The Railway Children is a charming small film about a group of children, who are forced to move to a country home, go on a series adventures around a railway station. 

Bernard Cribbins plays the friendly railroad station master that the now relatively poor children spend time around during the day. Cribbins in his opening scene just bring an endearing energy to make a stamp with the character. This with his enthusiasm, though tempered believably by Cribbins, in describing various parts of the station to the children. Cribbins brings a natural sort of friendliness by not going overboard in the moments, but just bringing the right degree of agreeableness. This is neither wholly showing the man focused upon the children's questions, though definitely taking time for each of them. The children's interest eventually brings the man to call on their home to offer his expertise on an engine they have and in general to grow his friendship with them. Cribbins brings the right comic awkwardness to these moments early on. This is nicely done as it kind of avoid making his scenes overly sweet, while also bringing just a wry kind of energy to them as well. It is a wonderful combination he brings that balances the interaction well. This showing that it is indeed atypical, but still finding just a natural warmth in it. Cribbins's moments throughout the film are much appreciated. This as each make just the right impression, whether this be chatting engines, or a moment of his slight, if still wholly endearing, annoyance when the kids overestimate his age. Cribbins is terrific in that he manages to make the relationship atypical still, but also wholly believable and sweet all the same. This really being tested however when the kids decide to surprise him with gifts on his birthday. As much as Cribbins's brief scenes are little gems, this scene is the best of the film, and the highlight of Cribbins's performance. This as he does so much within it. This in his quick reactions towards his wife and kids where he portrays such a combination of a consternation but also almost fatherly proper-ness, in the moment of dealing with the surprise while also trying to deal with his family. Cribbins instantly granting a sense of who Perks is as a father and husband, while also showing his vulnerabilities as he becomes somewhat perturbed by the children's surprise. This as Perks thinks it will be seen as a handout. Cribbins is delightful in the frustrations that he hits within a comic sense in showing the pride of the man in such a way. This as he balances his work again as he is moving in the sense of real vulnerability in his eyes that shows the pride of the man but also the sense of being moved by the action within it. This still though also still being calmly amusing in showing the man's manner of getting caught up on circumstance rather than just enjoying the gift. Cribbins finding such a sense of life in the moment and wholly making the scene both affecting and funny. This is just a delightful performance that brings such a life to his film and character. Every moment of his being charming in such a low key but undeniable way. Cribbins finding the right sense of heart to it all, and bringing to life the film's merits most admirably. 

Alternate Best Supporting Actor 1970: David Warner in The Ballad of Cable Hogue

David Warner did not receive an Oscar nomination for portraying Joshua in The Ballad of Cable Hogue. 

The particularly consistent David Warner has seemed game for most anything in his career from more serious dramas towards genre affairs, like his multiple Star Trek appearances, and even comedies. This film being squarely in that final column with Warner perhaps the most comic element of the film, which he is most game for. This as Joshua, a preacher, that we meet as he runs across the titular Cable Hogue (Jason Robards)'s watering hole. Warner who more often played more dignified sorts, even as villains, gets to play around with that presence wonderfully here. This as his magnificent voice and manner certainly conducts the proper facade of a preacher, however his sloppy way of running off to the drinking hole, and his unabashed way of attempting to speak of his own basically con man ideas, Warner undercuts this wonderfully. Warner though finds rather the balance in his moments with Robards in his eagerness and interest in the water has the shades of a palatable greed, however in a way Warner makes this strange endearing by being so falsely coy about it. Warner is so much fun here as he just throws himself into the part, making Joshua strangely likable in this initial scene even as he makes one ask more than a few questions about his claims of being spiritually enlightened, or just really his general moral state as a man. It is as a strange but oh so wonderful sidekick to Robards that Warner makes Joshua, having just the right bit of tempered ridiculousness that finds the proper tone for the film. He's never too much but always just enough. 

Warner initially just showing a similarly minded man who can find the great monetary success in the well placed watery hole, and his reactions, of success by proximity are great bit of unashamed greed. Warner though gets to go further as he goes about "plying" his trade by consoling a "widow" with this religious sense. Warner is hilarious in this scene in portraying with such divine zealotry his speaking of every word to her, that is far more seduction than consoling of a widow. Warner's portrayal bringing just the right disregard for decency by bringing such a striking emphasis in each word through that regal voice of his while also still showing just the utmost earthly lust within his expression. All the better though is the comedy that ensues when the woman's very alive husband returns, with her more than willing to hope that Joshua can "help" her husband. Warner's reaction to that is pure gold of disgust just in his classical farce fear of being caught with his hand more than just in the cookie jar to say the least. His physical work again being just magnificent as he becomes more weasel than man of God, in attempting to run from the room bumping into a locked door. Warner again though being great in switching from a hilarious expression of abject fear, towards that of clear refinement, and a zen like ease as he attempts to "console" both husband and wife now as his way out of the house. Keeping this overt dignity as he leads the prayer, well except Warner's perfectly executed eye movement as Joshua carefully readjusts the wife's garment, he had helped adjust. 

Warner is quite simply a delight, making the most out of every second of his screentime as a proper scoundrel, you can't help but enjoy which is quite a trick on its own. This as even as he hides out with Cable, having successfully fully "consoled" the wife this time, Warner is a grand fool once again. This again in his oh so artful combination of a phony lordliness with his true nature as basically a lusty idiot. This in pleading his case with a pathetic desperation though Warner still comically funneling this through the demeanor of attempt's at grace at every turn. Warner excelling within realizing this duality of the character that is a singularity within his entertaining work. This in wholly revealing what is really a fiendish charlatan as just as he is, but doing it in such a particularly enjoyable and always oddly likable way. Warner again executing every single moment of comedy so well, and I would say no one better in the film seems to understand how to make the film's idiosyncratic tone work. Warner does so as he is always walking a fine line on possibly being too broad, but never falling off into it. This approach rather he uses it to enliven every moment that he does appear. The highlight of this however being however his final scene where he comes in last second to find a dying Cable, wounded fatally by an out of control automobile. Warner's amazing in this scene as Cable calls on Joshua to give his eulogy while Cable still lives. Warner's reactions are key though in sensing in each one, every little admiring glint, just showing a natural honest friendship between he and Cable over their mutual misadventures, that doesn't need to be stated however instead is so naturally exuded by Warner's performance. Warner though then goes into with a marvelous showman's manner of speaking towards Cable with great affection but also a nearly over the top grandeur. Warner selling the man almost as one would speak of a legend of old rather than a living man in front of us. This before the film cuts to Cable's actual funeral, and Warner is outstanding as he changes his delivery from that of the showman, that still undercut Joshua's virtuousness, and instead now finally speaks as an actual preacher for the Lord. This as Warner delivers with a somber and understated conviction of a man genuinely remembering his friend, and offering his case up to the heavens. This is a great performance by David Warner, that makes proper comical use of a more wild off-beat energy for, while also still offering that specific power of his presence, however here brilliantly subverted to give just give a truly memorable portrait of a rouge preacher.

Alternate Best Supporting Actor 1970: Christopher Plummer in Waterloo

Christopher Plummer did not receive an Oscar nomination for portraying Field Marshal Arthur Wellesley, 1st Duke of Wellington in Waterloo. 

Waterloo gives a detailed overview of the battle that would be Napoleon Bonaparte's last attempt to maintain his power in France. 

A film that strictly falters because of the leading bombastic turn of Rod Steiger as Napoleon. The film is divided into two halves, of focusing on the French and English in the battle. It takes the focus of the French on a more strictly personal level, showing the particular investment Napoleon has in the battle, basically as it means his final end if he loses. Sadly Steiger creates no empathy for this cause, and leave a large hole in the story. Christopher Plummer though offers the counterpoint to this, as we initially meet his Duke of Wellington at some formal gathering with his family, as he just about to set out to battle. Against the extremely emotional state of Bonaparte, we instead we see Plummer who exudes just an extremely relaxed and even casual manner. This as even as his wife speaks of herself as some kind of Bonaparte fan, Plummer's reaction to this is with a genuine smile, if minor disinterest. Plummer's manner showing someone wholly comfortable within himself and even more so comfortable with what he will be facing next. Plummer's ease instantly establishes Wellington as the proper foe who isn't treating the battle as his last chance but rather seems to be looking upon it almost with a certain academic sense. In this Plummer creates the idea of a man who faces the battle with an ease and grace and the utmost preparedness. Even when remarking on Napoleon it is with commendation for the man's strategic skills,  which Plummer delivers with the utmost sincerity of one craftsman respecting another. 

Throughout the opening stages of the battle Plummer's performance gives the film some much needed comic relief by depicting Wellington's very confident and casual manner initially within the war. Plummer though makes this work in just showing it to be essentially the natural way in which to broach the fight. This in one particularly enjoyable moment where he is casually sitting underneath a tree with a newspaper as the enemy approaches. Plummer's blithe delivery of Wellington's response is funny, but in the right way as he makes it convincing within the Duke's calm approach to war. This even in within dealing with his troops where Plummer depicts as ease in his demeanor such as coming across an obviously thieving troop who tries to come up with an excuse to steal a pig. Plummer is great in this scene in his quiet and warm chuckle before promoting the man for defending an untenable position. Plummer makes it great by showing really the specific sort of camaraderie with his men in the moment, as his reaction, even towards the criminal soldier, is one of admiration for his men. This as he further speaks of them it is with this utmost pride that Plummer naturally reveals a genuine emotion even within the seemingly quite calculating commander. Plummer in particular creating this great contrast against what should be the emotionally draining portrayal of Napoleon, which sadly we don't really get but still Plummer does his part even if not properly reciprocated. Now as much as I think the film was designed for Bonaparte to be the emotion, the battle to be brutal action, and Wellington to be the balance by offering some natural humor to the proceedings, its off because of Steiger's contribution is so off. Having said that, Plummer basically picks up the slack for Steiger best he can in depicting Wellington's own arc towards the battle. This in slowly the weight of the losses and casualties get to the man. This is quite deftly realized in Plummer's work in every reaction as the battle wages granting a true sense of his personal investment in those who are dying. This slowly losing that casual manner to show a genuinely caring man beneath it all, which again was alluded by his pride in the man earlier. This until by the end Plummer earns the film's most potent emotion in depicting the sadness in the deaths within his expression, and wholly earning his final exasperation with the nature of war. Plummer creates a natural depiction of this loss of the lust for the battle, and creates the most poignant element in the film through his performance. I only wish his off-screen rival was up to Plummer's performance as the film would've been far better for it. Still completely on his own merits, Plummer delivers a terrific turn here, which doesn't make up for his co-star, but does fill in some of the dramatic void left by him.

Alternate Best Supporting Actor 1970: Charlton Heston in Julius Caesar

Charlton Heston did not receive an Oscar nomination for portraying Mark Antony in Julius Caesar. 

I decided to go elsewhere in the lineup mainly by virtue that I previously covered a powerhouse Shakespearean Heston turn built around a great speech. Then when starting to write my response to give thoughts on his work, it became quite long anyways, so might as well make it an official review. That being said, this is another powerhouse Shakespearean turn by Heston. Where in the 53 version it was a matter of dueling speeches between Mason and Brando rejecting Caesar and praising him. In this version there is no duel to be had, Heston simply owns the second speech, but also might as well be the entirety of the film. It is fascinating the way that Heston isn't usually an actor one thinks of as this deeply emotional performer, but when he's speaking Shakespeare it is hard to describe as anything but. Heston is brilliant here within the speech this as he essentially makes an entire event within itself in his single speech. This as he performs his Antony as true to his intention to remember Caesar, but also to seek revenge within the speech. This as he opens it with an initial sense of grief before falling back into himself, until leading the people into fascination of the will. Heston playing around with the will in part this intentional manipulation in his eyes, but also a vicious hate that is wholly genuine that reveals itself every time he speaks of the "honorable men" who killed his friend. Heston controlling the crowd one parts the greatest eulogy one can give, but also a conductor controlling the crowd to his will. Each moment Heston imbues with such potency. This particularly as he looks upon the body of the murdered Caesar. Heston is amazing as every word drifts off his tongue with such magnificence in Heston's delivery. This as the words themselves are not only magnetic in Heston's deliver, but there is such a sense of the emotional quality within the state still of Antony. This in being a man wishing to reek havoc on the conspirators. Again though I also love the moments where Heston tempers himself, and uses a calmer expression of his voice when specifically manipulating the crowd. This again his whole manner is simply conducting each man to his will, as he directs them with a calmer purpose. Heston artfully moves back and forth within the speech making the speech both truthful and a strategic manipulation. It is a shame Heston didn't perform Shakespeare more often as in both instances there is a ferocity and emotional intensity of his work that was rarely seen within him. Strangely enough, the words of the bard seemed to compel him to let loose more than ever as a performer. This being a striking example, that puts one of his co-stars in particular to shame, of Heston thriving beyond the expectations of himself his performer. Heston's typical strong presence is of course here, but there is far more than that. Although true the role is largely the speech, however it is the highlight of the film, particularly given how dull Robards is as Brutus. It deserves higher praise though as Heston's delivery is that of a brilliant version of Julius Caesar, even if the rest of the film doesn't meet that standard, Heston elevates every second he is onscreen to deliver this dynamic and quite mesmerizing portrayal of Caesar's most loyal man. 

Alternate Best Supporting Actor 1970

And the Nominees Were Not:

Bernard Cribbins in The Railway Children

 

Klaus Kinski in Count Dracula 

 

Christopher Plummer in Waterloo

 

Warren Oates in Barquero

 

David Warner in The Ballad of Cable Hogue

Alternate Best Supporting Actor 1970: Results

5. Leonard Frey in The Boys in the Band- Frey, although his voice is a bit theatrical, gives an effective in his portraying his character's sharp cynicism.

Best Scene: Harold cuts Michael down.

4. Donald Sutherland in Kelly's Heroes- Sutherland gives a weird performance but an endearing character as the aptly named Oddball. 

Best Scene: Oddball takes a break from battle.

3. Trevor Howard in Ryan's Daughter- Howard gives a strong performance that deftly mixes in rather coarse qualities with a genuine heart.

Best Scene: Father Hugh talks to Rosy about marriage.

2. Alec Guinness in Scrooge- Guinness has only two scenes but two scenes of brilliance in his dryly comic performance as a ghost.

Best Scene: Marley in Hell.

1. Karl Malden in Patton- Good Predictions JackiBoyz, Maciej, and Kevin. Karl Malden gives a great performance as the unassuming General Omar Bradley by being the perfect foil for George. C. Scott's depiction of the pride filled Patton, and showing that a modest man can still be a complex man.

Best Scene: Bradley openly speaks his mind to Patton.

Overall Rank:

1. David Warner in The Ballad of Cable Hogue
   
2. Karl Malden in Patton
3. Charlton Heston in Julius Caesar
   
4. Alec Guinness in Scrooge
5. Trevor Howard in Ryan's Daughter
6. Bernard Cribbins in The Railway Children
   
7. Christopher Plummer in Waterloo
   
8. John Mills in Ryan's Daughter
9. Leo McKern in Ryan's Daughter
10. Donald Sutherland in Kelly's Heroes
11. Barry Foster in Ryan's Daughter
12. Yves Montand in Le Cercle Rouge
    
13. Don Rickles in Kelly's Heroes 
14. Chief Dan George in Little Big Man
15. Forrest Tucker in Barquero 
16. Michel Bouquet in La Rupture
    
17. Leonard Frey in The Boys in the Band
18. Mick Jagger in Performance
    
19. Anton Rodgers in Scrooge  
20. Colin Welland in Kes
    
21. Oleg Dahl in King Lear
22. Klaus Kinski in Count Dracula 
23. Gian Maria Volonte in Le Cercle Rouge
    
24. Rabi Ghosh in Aranyer Din Ratri
    
25. Regimantas Adomaitis in King Lear
26. Soumitra Chatterjee in Aranyer Din Ratri 
    
27. Yoshitaka Zushi in Dodes’ka-den
    
28. Orson Welles in Catch-22
29. Anthony Perkins in Catch-22 
30. Subhendu Chatterjee in  Aranyer Din Ratri
    
31. Kenneth More in Scrooge 
32. Samit Bhanja in  Aranyer Din Ratri
    
33. Giancarlo Gianni in The Pizza Triangle 
34. Jack Palance in Monte Walsh
    
35. Robert Duvall in MASH 
36. Junzaburo Ban in Dodes’ka-den
    
37. Robert Vaughn in Julius Caesar 
38. Strother Martin in The Ballad of Cable Hogue
39. Jeremy Kemp in Darling Lili
40. Maximilian Schell in First Love
    
41. Kārlis Sebris in King Lear
42. John Marley in Love Story
43. Tom Skeritt in MASH
44. Leonhard Merzin in King Lear
45. Martin Balsam in Little Big Man
46. Vladimir Yemelyanov in King Lear
47. Richard S. Catellano in Lovers and Other Strangers
48. Richard Mulligan in Little Big Man
49. Gig Young in Lovers and Other Strangers
50. Jean Gascon in A Man Called Horse
    
51. Bob Newhart in Catch-22
52. Martin Balsam in Catch-22
53. Henry Fonda in Sometimes a Great Notion 
54. Bob Balaban in Catch-22
55. Rene Auberjonois in MASH
56. Gerald Sim in Ryan's Daughter
57. Charles Grodin in Catch-22
58. Len Lesser in Kelly's Heroes
59. Martin Sheen in Catch-22 
60. So Yamamura in Tora! Tora! Tora!
61. Martin Balsam in Tora! Tora! Tora!
62. Jason Robards in Tora! Tora! Tora!
63. Tatsuya Mihashi in Tora! Tora! Tora!
64. James Whitmore in Tora! Tora! Tora! 
65. E.G. Marshall in Tora! Tora! Tora! 
66. Takahiro Tamura in Tora! Tora! Tora!
67. Donatas Banionis in King Lear
68. Ray Milland in Love Story 
69. Colin Blakely in The Private Life of Sherlock Holmes
    
70. Orson Welles in Waterloo 
71. Kerwin Mathews in Barquero
72. Lou Gossett Jr.in Landlord
73. Christopher Lee in The Private Life of Sherlock Holmes
    
74. Richard Johnson in Julius Caesar
    
75. Timothy Dalton in Cromwell 
76. Roy Scheider in Puzzle of a Downfall Child
    
77. Hal Holbrook in The Great White Hope 
78. Franco Nero in Tristana
    
79. Jon Voight in Catch-22 
80. Peter White in The Boys in the Band
81. Richard Jaeckel in Sometimes a Great Notion
82. Gianni Santuccio in Investigation of a Citizen Above Suspicion
83. Gastone Moschin in The Conformist
84. Art Garfunkel in Catch-22
85. Robert Morley in Cromwell
86. David Collings in Scrooge
87. Carroll O'Connor in Kelly's Heroes 
88. Gary Burghoff in MASH
89. Edward Binns in Patton
90. Cliff Gorman in The Boys in the Band
91. Michael Medwin in Scrooge
92. Laurence Naismith in Scrooge 
93. Dan O'Herlihy in Waterloo
    
94. Enzo Tarascio in The Conformist
95. Chester Morris in The Great White Hope
96. Billy Bush in Five Easy Pieces  
97. Herbert Lom in Count Dracula
    
98. Richard Benjamin in Catch-22 
99. Michael Bates in Patton
100. Federick Combs in The Boys in the Band 
101. Richard Beaumont in Scrooge
102. Laurence Luckinbill in The Boys in the Band
103. Patrick McDermott in Joe
104. Lawrence Dobkin in Patton
105. Jack Gilford in Catch-22
106. Ralph Waite in Five Easy Pieces 
107. Robert La Tourneaux in The Boys in the Band
108. Cal Bellini in Little Big Man

Alternate Best Supporting Actor 1970: Leonard Frey in The Boys in the Band

Leonard Frey did not receive an Oscar nomination for portraying Harold in The Boys in the Band.

The Boys in the Band is a film about a group of homosexual friends who get together for a birthday party although problems arise when their various past traumas are revealed and one of the men invites his old straight roommate. Although the film is well enough written and directed it is problematic because of the performances of the cast.

The actors in this film are reprising their stage roles and the majority of them are making their film debuts. This unfortunately is more than a little noticeable in their performances as most of them seem to be playing to the back rows. The film wants to make it doubly clear, in case you did not know already that the characters are definitely all gay. The performances may even well fit with the flamboyant characters but the actors often falter with the more subtle moments required of their characters. Leonard Frey did not make his film debut here though, but he too certainly gives a less than subtle way of delivery his lines. His voice here sounds like a more nasal version of the voice that Al Pacino used in Dog Day Afternoon.

Frey appears well into the film although he build up quite a lot as it is his birthday. His entrance is quite dramatic, and suggests that Harold will not necessarily be bringing cheer to the proceedings. Harold, like the main character Michael (Kenneth Nelson), has a strong passive aggressive streak that only becomes more openly aggressive as the night proceeds. Although the voice Frey uses is less than subtle, much like most everyone else, but unlike most of them Frey does know to bring some subtext to within this flamboyance rather than trying just when they are asked to be less loud by the script. Frey, because he seems to understand film the most, gives by far the best performance in the film.

Harold is a bile filled man ready to take on Michael's bile with great stride. The main difference between the two is that Harold is far more comfortable not only as a homosexual but as well in his sardonic style. Frey is very effective in creating a loathing pessimist who seems to find solace in whatever way he can trade offenses with Michael who happens to be in particularly bad mood. Frey is very good in the most surface side of his character which is making every verbal swipe toward Michael with the utmost precision. It is rather interesting to see the man who played the shy Motol in Fiddler on the Roof play the role of a vicious cynic with such ease and even some menace.

Frey makes Harold more than just a set of zingers to hit Michael with through the course of his visit. Frey, unlike most everyone else, makes great use of his silent moments during the film. Frey in these moments suggests that his cynicism is not all there is to Harold. There is a certain sadness Frey suggests in his quiet moments and in his reactions to Michael's antics that slowly seek to make everyone as miserable as he is. Frey largely steals these scenes by showing that as Michael harasses the others Harold is slowly building up his own distaste and in turn his own case against Michael. When Harold finally cuts Michael down Frey absolutely earns the moment by building to it properly and delivering with the cold ferocity necessary.

The only problem I would have with Frey's performance is his voice that he uses that does always feel like a straight carry over from the stage without proper adjustment for it to seem wholly natural. It still does feel more of an actor's choice than something entirely natural to his character. Other than that choice though Frey's gives a strong performance that easily bests everyone else in the cast by bringing more to his character than some obvious mannerisms or absurdly labored line readings. If it were not for my one major reservation of his choice in voice I would say this is very close to being a great performance by Leonard Frey, as he very much delivers in his portrayal jaded man who gets the most pleasure in his life by punishing a man who just is not nearly as good at being jaded.

Alternate Best Supporting Actor 1970: Trevor Howard in Ryan's Daughter

Trevor Howard did not receive an Oscar nomination, despite being nominated for a Golden Globe, for portraying Father Hugh Collins in Ryan's Daughter.

Trevor Howard plays the role of the priest of a small Irish village. The role was written for Alec Guinness and it is easy to see him in the role. Guinness turned it down though and Trevor Howard was cast instead. Alec Guinness is not an anagram for genuine class for nothing, Trevor Howard on the other hand name is not an anagram for vow rot harder for nothing either. What I mean by that nonsense is that, while I'm sure Guinness would have been great in the role, Howard's casting offers a rather interesting take on the character of the priest. Howard has a natural roughness to him making him far from a genial man which tend to be the nature of most supportive priest characters.

Howard keeps his usual gruff personality in his portrayal of Father Hugh who does his best to be the moral compass of the village, and basically goes about checking to make sure everything is going as it should be. Howard's performance is a rather effective one because he balances between his natural roughness and the good nature of his character. Howard does not tone down anything about rough side to portray Father Hugh. Howard brings a power to his character through the roughness actually by making him a man who will speak his mind, and speak his mind without reservation either. The way everyone seems slightly weary of Father Hugh is made believable because Howard makes him a force to be reckoned with.

Even though Howard makes Father Hugh gruff he does not forget to convey the morality of the character. Howard actually in part uses the gruffness to add to the righteousness of the man. There is no sense of falseness of his morality because Howard shows that Father Hugh is a character who could never even think of even having the slightest pretension. Howard makes Father Hugh a man who knows what is right and will not hesitate just to speak his mind quickly when he sees someone is at fault. When Father Hugh sees the bad or sometimes rather evil actions of the towns people, Howard is terrific in getting right to the point with his fierce moral indignation that he conveys from the priest.

Howard importantly brings the proper nuance to Father Hugh when he talking to someone he thinks deserves more than a slap in the face. Howard is very warm in his scenes with Sarah Miles as Rosy the titular character. In these scenes Howard is able to convey the importance of his beliefs strongly, and as something more than just a reason to cut sinners down to size. Howard gives the role the appropriate heart needed whenever the Father tries to talk to Rosy gently about her ideas of romance, or later when he tries his best to mend thing after Rosy has an affair of her marriage with a British soldier. Howard carefully shows that although Father Hugh will condemn when necessary, that there is a large heart behind his somewhat coarse exterior.

It is rather odd that the academy decided to ignore Howard's performance here, but I guess they felt they rewarded the film enough by recognizing John Mills's Oscar winning performance as the village idiot Michael (a performance that I will continue to defend, as I do believe he was the best of the truly supporting performances nominated). The academy though should have also recognized Trevor Howard as well as he very much excels with his performance as Father Hugh Collins. Howard succeeds in giving the local priest that large personality that makes him in a way one of the commanding forces of the island,  but Trevor as well well still brings the right tenderness there should be in a man who wants his congregation to be moral and thrive as they should.

Alternate Best Supporting Actor 1970: Karl Malden in Patton

Karl Malden did not receive an Oscar nomination for portraying General Omar N. Bradley in Patton.

Patton is a film almost wholly involved with the story of General George Patton played by George C. Scott. The film's weakest aspects are when it attempts to diversify the story with the excessively simplistic German scenes that easily could have been removed from the film. There is only one supporting character who makes an impression on the film, Michael Bates might have with General Montgomery if he had not played him as such a caricature, that performance is of course Karl Malden as General Omar Bradley. The film carefully spotlights Bradley advancement as a General while following Patton, and in terms of the literal beginning of the story Malden actually appears before Scott does.

I always thought of Malden's performance as a good one but watching the film again for his performance the  only improved the strength of the work. This is readily apparent from his very first scene where he rides to see the end result of a battle in which the allies took heavy losses. Malden establishes the nature of Bradley very effective in the way he handles the scene. He barely says much of anything, but brilliantly portrays the reaction that Bradley has toward the tragic result of the situation. Malden expresses rightly the subtle way that Bradley is forced to suffer the sight. Malden shows that it definitely does move him to see so many of the men dead, but Malden correctly keeps it in the man of Omar Bradley who is must do his duty.

Omar Bradley is the opposite of George Patton in most ways other than that they are both competent. Patton is a loud passionate and very fierce man who does things his own way without even a question with others opinions on the matter. He is easy to find conflict and does seem to have some delusions of grandeur in his belief that he is the reincarnation of many a great warriors. Omar Bradley is nothing like that with an easy going nature, and a complete lack of glory seeking in his attitude. Malden successfully makes Bradley the perfect foil for Scott's Patton. Malden, like his Oscar winning turn, is great in playing unassuming roles. Malden is great because he does not mind being genuine in this regard, and instead of finding flamboyance where there shouldn't be, he brings out the complexities of such a man.

Malden is excellent in the role in bringing to life this man, who is in the war to do his job as efficiently as he thinks he can. Malden does not make Bradley a simple sort, as many may have, and just like Mitch Malden knows that just because a man is reserved does not make him dull. I should say Malden doesn't reprise Mitch here though as Malden has the right forceful presence necessary for a commander of man like Bradley, but Malden shows Bradley to man who carries this power in his personal determination. Malden makes Bradley a restrained man among the nature of Generals, and especially when compared to the overwhelming personality of George S. Patton. Bradley would be a man who is part of the room, Patton on the other hand insists on being the room.

The greatness of Malden's performance is in his chemistry with Scott's performance. Malden is quite fascinating in that he makes Bradley a proper right hand man at first who wants to work with Patton to fight against the Nazis, but Malden has certain hesitations suggested within Bradley kind supportive face. Although Malden goes along with Patton, but in Patton's most eccentric moments Malden hints at a certain coldness toward Patton. This is important as Bradley career takes off and Patton slowly becomes muddled in various controversies. When they meet again on less even ground Malden still keeps Bradley as mostly amiable, but when Patton goes too far Malden  reveals Bradley's side that openly distastes Patton prideful, and less professional side.

Karl Malden gives a great performance that complements Scott's main performance in a marvelous fashion. Although it is Scott's film of course, Malden is not to be forgotten through his fascinating depiction of Omar Bradley. Malden easily could have fallen into the rest of the supporting characters of the film that are forgotten as soon as they leave, or even before that. Malden, unlike the rest of the supporting cast, makes the most of his somewhat limited screen time. In his time he shows a honest depiction of a General who is passionate about his duty, but in heart is an ordinary man taking a down to earth attitude to this duty. He's extremely effective in finding the finer details of the man, especially in Bradley complex relationship to a man whose manner toward war is almost antithesis to his own.

Alternate Best Supporting Actor 1970: Donald Sutherland in Kelly's Heroes

Donald Sutherland did not receive an Oscar nomination for portraying Sergeant "Oddball" in Kelly's Heroes.

Kelly's Heroes is an entertaining film about a ragtag group of World War II  soldiers who hatch a plan to steal some Nazi gold. I should say though I do wish there were more character driven moments, Clint Eastwood who plays the titular Kelly said many were cut from the final product, as the ones that were not cut are the best moments of the film.

Donald Sutherland plays one of the members of the odd group appropriately named Oddball. Oddball commands three Sherman tanks and helps act as the brawn to help their forces pierce through the enemy lines to get to the money. This is a bit of a departure from Sutherland's usual characters, as he often does play saner roles, well at least saner than this. Oddball's name just is not just a name as he has a philosophy, style and accent all his own. This performance is all about the creation of the character, who is rather consistent throughout as he always stays in his very peculiar manner throughout the film. It really would be out of character for Oddball to strive for long from his own personal daze.

Sutherland's performance is weird, but it's the right type of weird. He delivers every line with his bizarre accent that only succeeds in accentuating every random statement that he seems to make. Sutherland's performance works because he is entertaining to watch him simply do whatever it Oddball is doing. He importantly finds the right tone to play Oddball in, in that he never goes too far with his performance. He, in I suppose the Sutherland fashion, doesn't really play Oddball in a loud crazy fashion. Sutherland instead is very effective in playing the weirdness in a fairly quiet fashion, which works in portraying his very relaxed attitude and philosophy toward life and the war.

Sutherland's portrayal of Oddball's antics in the war scenes are particularly striking as he still seems to take everything in stride even when he is taking down a column of German men with his tank unit. The scene might seem a bit intense, but not at all thanks in part to Donald Sutherland's Oddball. It is easy to see how everything involving Oddball could have failed miserably a he is a very absurd character, which often can mean a very obnoxious character. Sutherland makes everything work at just the right pitch turning Oddball into an endearing and strangely lighthearted presence in the film. 

Sutherland portrayal of Oddball is just a fun performance to watch. He has some very enjoyable moments throughout the film but my favorite moment of Sutherland's has to be his casual dismissive behavior when Oddball reveals he knows how to ride in tanks, but does not know how they work in anyway. My problem is that the film does seem like it perhaps left off some great moments off the cutting room floor as the film did leave me wanting more of almost all the main characters including Oddball. Sutherland even with that gives a rather memorable turn with his portrayal of this rather memorable character.

Alternate Best Supporting Actor 1970: Alec Guinness in Scrooge

Alec Guinness did not receive an Oscar nomination for portraying Jacob Marley in Scrooge.

It seems that almost every great actor seems to have one role where they just get show off how awesome of an actor they are. This does not always work if the role does not call for it, or they are not great actors but when these two factors are met it can result in a very memorable performance like Laurence Olivier in Sleuth or Gene Hackman in Superman for example. Well that brings me to Alec Guinness in the often played role of Jacob Marley. A character dead to begin with which must be distinctly understood or you'll think it is odd that he's so white and likes chains so much. Anyway he's the old partner of Ebenezer Scrooge who comes to warn him about the result of evil ways.

Alec Guinness, much like Albert Finney as Scrooge, takes a unorthodox approach to his character. Marley is most often portrayed as a wailing man suffering from his terrible fate. In that regard he was best portrayed by Michael Hordern, but Guinness is not going to follow the rest because he's Alec Guinness. Guinness only has really two scene the one where he visits Scrooge, and another one that was probably added because again he's Alec Guinness. Guinness does quite a lot in these scenes, and as per usual with Guinness although this is definitely a PERFORMANCE sort of performance Guinness very simply is Jacob Marley in the film. Marley is a small role, but Guinness proves that cliche that I dare not utter.

Guinness firstly takes a very physical approach with the role as he enters Scrooge's chambers. There is a unnatural flow to the way he steps and walks. He moves his body as if he is actually apart from the gravity of the earth. Guinness does not rely on special effects, or even his makeup, but has his own body convey the ghostly nature of Marley. Guinness becomes the ghost with his movements and makes his entrance particularly striking and memorable. His ghostly ways are not his only deviations from the normal Marley method, as he also suggests a very different relationship with Scrooge before he died. Where most Marley is too consumed with his own grief to establish it, Guinness a more shrewd approach with his depiction.

Guinness basically says that Marley kind of looked down upon Scrooge and given his whole current predicament he has not exactly become any less sour in his mindset. Guinness always seems slightly condescending in his attitude to Scrooge as he talks to him in his perfect crackly voice. Guinness creates an underlying comedy, while still staying appropriately creepy, through this condescension. My personal favorite moment might be when Scrooge is accusing Marley of being a hallucination making Marley no more than an old potato. Guinness's reaction is hilarious as he shows Marley as being rather ticked off that his old business partner, who he did not care for, is daring to to talk back to him and calling him an old potato.

In his first scene Guinness leaves a great impression bringing the haunting quality, in the haunted house sense, that Marley should have while have the right type of underlying humor to the whole thing. In this version though Marley appears again during the Ghost of Christmas Future segment. Instead of just being shown his grave Scrooge in this version falls into finding himself in Hell, and greeted by who else but his old partner. Guinness changes his performance quite a bit but all accordingly with the plan. Being in hell, gravity is present once again for him and that otherworldly quality is no longer there. Guinness also removes his ghostly reserve and his passive aggressive behavior toward Scrooge becomes much more blunt.

Guinness is hilarious in this final scene as he portrays Marley relishing in every moment he gets to present Scrooge with the result of his greed. Every line Guinness delivers with a dry and extremely sharp wit. Guinness is wildly entertaining in his deviousness in the scene effectively turning the scene into a brilliant dark comedy when it might have simply been horror. I love every moment Guinness has in this scene, but my favorite has to be when he almost bursts out laughing when finally seeing what Scrooge's chain looks like. Like Hackman in Superman and Olivier in Sleuth, Guinness definitely shows off here, but like those performances it absolutely works. In his two scenes he steals the film and manages to be the greatest Jacob Marley even though his approach is most unorthodox.

Alternate Best Supporting Actor 1970

And the Nominees Were Not:

Alec Guinness in Scrooge

Donald Sutherland in Kelly's Heroes

Trevor Howard in Ryan's Daughter

Karl Malden in Patton

Leonard Frey in The Boys in the Band