Alternate Best Supporting Actor 1972: Results

5. Ian Bannen in The Offence - Bannen gives an effective portrayal  of the character's damaged state even if he can't fully realize what the writing demands from the character.

Best Scene: The beginning of the interrogation. 

4. Ned Beatty in Deliverance - Beatty has a particularly thankless role that could have easily been a caricature, but realizes a genuine victim through his performance.

Best Scene: Squeal like a Pig

3. Robert Shaw in Young Winston - Shaw, as usual, gives a striking performance first in realizing the quiet command of his character then later his tragic decay.

Best Scene: Lord Randolph fails to deliver his speech in parliament.

2. Eddie Axberg in The New Land - Axberg matches the naturalism of his co-stars and gives a moving depiction of his character's doomed journey.

Best Scene: Robert goes to the brothel.

1. Bruce Dern in The Cowboys - Dern actually gives a my favorite supporting of 1972 as he creates such a memorable pathetic scoundrel as the man who shot the man who shot Liberty Valance.

Best Scene: Asa Watts does the unthinkable. 

Overall Rank:

1. Bruce Dern in The Cowboys
2. Joel Grey in Cabaret
3. James Caan in The Godfather
4. Eddie Axberg in The New Land
5. Robert Shaw in Young Winston
6. Robert Duvall in The Godfather
7. Ned Beatty in Deliverance
8. John Cazale in The Godfather
9. Richard S. Castellano in The Godfather
10. Gene Hackman in Prime Cut
11. Ronny Cox  in Deliverance
12. Alistar Sim in The Ruling Class
13. Clive Revill in Avanti!
14. Nigel Green in The Ruling Class 
15. Barry Foster in Frenzy
16. Eddie Albert in The Heartbreak Kid
17. Alec McCowen in Frenzy
18. Arthur Lowe in The Ruling Class
19. Stacy Keach in The Life and Times of Judge Roy Bean
20. Abe Vigoda in The Godfather
21. Roscoe Lee Browne in The Cowboys
22. Peter Boyle in The Candidate
23. Sterling Hayden in The Godfather
24. Nicholas Colasanto in Fat City
25. Robert Duvall in The Great Northfield Minnesota Raid
26. Howard da Silva in 1776 
27. Fernando Rey in The Discreet Charm of the Bourgeoisie  
28. Tony Roberts in Play It Again, Sam
29. Julien Bertheau in The Discreet Charm of the Bourgeoisie
30. Ned Beatty in The Life and Times of Judge Roy Bean
31. Edward Andrews in Avanti!
32. Robert Duvall in Joe Kidd 
33. Helmut Griem in Cabaret
34. Alex Rocco in The Godfather
35. Kenneth Mars in What's Up, Doc?
36. Donald Madden in 1776 
37. Paul Winfield in Sounder
38. Jack Albertson in The Poseidon Adventure
39. Melvyn Douglas in The Candidate
40. Gianni Russo in The Godfather
41. Roddy McDowall in The Life and Times of Judge Roy Bean
42. John Marley in The Godfather
43. Anthony Hopkins in Young Winston 
44. Fritz Wepper in Cabaret
45. Anthony Perkins in The Life and Times of Judge Roy Bean
46. Slim Pickens in The Getaway
47. Bill McKinney in Deliverance
48. Red Buttons in The Poseidon Adventure 
49. Jerry Lacy in Play It Again, Sam
50. Ben Johnson in The Getaway
51. Ron Holgate in 1776
52. Arthur O'Connell in The Poseidon Adventure
53. Herbert 'Cowboy' Coward in Deliverance
54. Gregory Walcott in Prime Cut
55. Michael Bryant in The Ruling Class
56. Micheal Murphy in What's Up, Doc?
57. Bernard Bribbins in Frenzy
58. Roddy McDowall in The Poseidon Adventure
59. Ian Holm in Young Winston
60. A Martinez in The Cowboys
61. Harry Andrews in The Ruling Class
62. Al Martino in The Godfather
63. Ruy Guerra in Aguirre, the Wrath of God
64. Ernest Borgnine in The Poseidon Adventure
65. Del Negro in Aguirre, the Wrath of God
66. Don Stroud in Joe Kidd
67. Donald Moffat in The Great Northfield Minnesota Raid
68. Paul Frankeur in The Discreet Charm of the Bourgeoisie
69. Jean-Pierre Leaud in Last Tango in Paris
70. William Mervyn in The Ruling Class
71. Roy Poole in 1776
72. James Best in Sounder
73. Ron Rifkin in Silent Running
74. Ken Howard in 1776
75. Cliff Potts in Silent Running
76. John Saxon in Joe Kidd
77. Don Porter in The Candidate

Next Year: 1929 Lead/Supporting

Alternate Best Supporting Actor 1972: Ian Bannen in The Offence

Ian Bannen did not receive an Oscar nomination, despite being nominated for a BAFTA, for portraying Kenneth Baxter in The Offence.

The Offence is a mostly effective film about the mental breakdown of Detective Sergeant Johnson (Sean Connery) after seeing yet another violent crime.

Ian Bannen plays the chief suspect of the crime of raping a young girl as he is found wandering aimlessly the same night. Ian Bannen just has a few moments early on the film as he naturally portrays the somewhat dazed state of the man as he is taken in. The film then cuts bluntly to Connery's Johnson beating Baxter in the interrogation room. Bannen again only has few moments though rather viscerally striking ones as he portrays Baxter writhing in pain along with some crazed hysteria as Johnson continues attacking him. Baxter is later taken to the hospital and later revealed to have died from his injuries as the film focuses on the personal fallout of Johnson as he deals with his personal demons. Bannen though is not wholly absent from the film during this period as it does occasionally cut to the past scene although in these instances only for a second or two. Eventually though as Johnson examines himself the film does finally does cut back to the interrogation in an extended scene. This time it focuses directly on what happened between the two before Johnson beat the man to death in anger.

This scene finally calms down in terms of editing as Bannen is given his one major scene. This time the film follows the calm opening of the interrogation as Johnson at first seems to just try to find out if Baxter is guilty or not. Bannen is good in the opening of the scene suggesting his earlier daze comes from the innate fearful nature of the man. Bannen expresses well Baxter as being clearly a victim of sorts himself as he sadly states his own past of being bullied and Bannen does well to realize the damaged state of the man as he reveals information about himself. Bannen does particularly well to keep the guilt in question as he begins to needle Johnson and the honestly messy state that Bannen portrays in a convincing manner in Baxter. He leaves open to the interpretation of whether Baxter is doing this to Johnson because he views him like a bully of his past, or he is merely taunting him because he knows he committed the crime. Johnson acts out in violence against Baxter's disobedience and Bannen has one particularly strong scene where he basically retires away from Johnson for a moment as shows a genuine fear in Baxter as Johnson reveals his violent side.

The final act of the scene though comes in though as Johnson looks in upon himself and wonders about his own psyche due to how much he has seen. In this moment Baxter becomes almost an odd sort of psychiatrist to Johnson as he strangely comforts him. This is where the writing though falters a bit as Baxter becomes this sinister presence that keeps on prodding Johnson in really too refined of a fashion that feels more like a villain than the broken individual we meet at first. To his credit though Bannen tries his best to make this work, although I won't say he wholly succeeds, although that was perhaps too much of a challenge. Bannen does not truly falter though as even when Baxter is probably saying things that are a tad too incisive for the way the rest of his character is, Bannen carefully never loses the persuasive anxiety within the character, though he still is unable to meld the two conflicting sides presented by the writing. Bannen nevertheless is not bad in these scenes i just does not leave the character as on a powerful note as seem intentioned. The impact of the character is diminished when he unfortunately he is at his pivotal. Bannen still gives a very good performance though the writing seems to prevent him from giving a great one.

Alternate Best Supporting Actor 1972: Robert Shaw in Young Winston

Robert Shaw did not receive an Oscar nomination, despite being nominated for a BAFTA, for portraying Lord Randolph Churchill in Young Winston.

Young Winston is a decent enough film depicting the early life of Winston Churchill.

Robert Shaw plays Winston's father Randolph Churchill which the film focuses on fairly closely in its first half, although not closely enough that I would consider him lead as the film still keeps a distance from him. Randolph though stands as the role model for Winston in terms of his political career. Shaw is the perfect man to play a man of such stature as Lord Churchill as Shaw has such a commanding presence even when he is not overly trying to. Shaw does not even say anything in his initial appearances yet Shaw still makes Randolph known simply through the strength projected through the way he conducts himself. Shaw exemplifies that English reserve so well, and basically establishes Randolph as almost a legend of sorts in just a few short moments. Although Randolph is clearly as a proper of a man as one can be he is not at all a man who just goes by the official sentiment as shown by his career in parliament as he always does what he believes is right not matter how detrimental it may be to his own career.

Robert Shaw in his early scenes acts in role which he excels in quite well, which is that of the incisive critic. This is seen as Randolph criticizes other men in parliament or even outside of it when they attempt to ridicule him due to Randolph having Jewish friends. Shaw is terrific in portraying the sly retorts of Randolph which are as biting as they should be. Shaw does this in an interesting way as he always keeps the reserve of the proper English gentlemen but in that reserve reveals the fairly vicious distaste Randolph has for fools. Randolph's views force him to take on many opponents even his own part and prime minister as he refuses to compromise. There is one scene where Randolph explains this route and there is such a powerful internal passion that Shaw is able to realize with such ease that it is rather remarkable. Shaw commands every one of his early scenes with such effortlessness as he should as Randolph needs to be a somewhat almost larger than life figure. Shaw meets this demand extremely making Randolph a politician for Winston to truly look up to.

Of course the film also presents the fairly cold and distant relationship Randolph has with his sons. There is one great moment when Randolph is being interviewed about various political issues but the reporter finishes the conversation by asking about Randolph's sons. Shaw is brilliant in portraying Randolph's reaction as he stops for a moment almost having to recall his sons. It is not that Shaw presents him as a father who is no aware of his sons though, as Randolph actually corrects the reporter that he has two sons not just one. What Shaw does so well though instead is convey the certain way Randolph views his role as a father which is that he almost is unable to comprehend the idea that his sons should even look up to him. Shaw does well to present as a cold fact of sorts from Randolph own upbringing perhaps, rather than a direct coldness from the man. It's a difficult dynamic to configure though Shaw manages it quite well. Randolph does eventually go closer to his son but this is only after Randolph attempts to influence the political system through his resignation which worked once before though probably will not this time.

When it is obvious that Randolph has failed this time Shaw is again excellent as he internalizes the pain so well in Randolph. He does not lose his reserve though he does lose the command, and Shaw realizes the defeat in Randolph in such an eloquent fashion. Eventually everything becomes worse when Randolph is diagnosed with a fatal and degenerative illness. In the proceeding scene Shaw is quite moving in portraying Randolph quietly falling apart both mentally and physically. Shaw reveals a greater intensity in him, not of a righteous passion though, but rather from a pained madness as he realizes the irrational way he lashes out at everyone. This actually causes a greater interaction with his son as he has random outbursts towards him, though after one he does try to talk to his son man to man for once. Shaw presents the distance of Randolph as he attempts to advise Winston though he very nicely does bring a certain undercurrent of warmth suggesting even with his pain and the social barriers that Randolph did care for his son. Over some time his illness only becomes worse as he becomes unable even to do his job as a politician. Shaw is very moving in his final scenes as he brings Randolph believably to this point as the former great orator is barely able to conduct himself in a simple speech. It's is sad fall that Shaw creates as he so well realized the strength of the man earlier that it is heartbreaking to see him lose it all in the end.

Alternate Best Supporting Actor 1972: Bruce Dern in The Cowboys

Bruce Dern did not receive an Oscar nomination for portraying Asa Watts also known as "Long Hair" in The Cowboys.

The Cowboys is a pretty good western about an aging rancher Wil Andersen (John Wayne) who takes on relatively young boys as ranch hands when his usual help goes off on the gold rush, although I would say the final act probably should be shown as darker than the film allows it to be.

Bruce Dern first appears just after Wil has started off on the trail with his cow herding boys, and being Bruce Dern it seems unlikely this will be a good thing for the cattle drive. This does necessarily seem to be the case though as Asa Watts first approaches with a few other men just claiming to be looking for a job. Dern presents such an earnestness in Asa as he first inquires about the work and proceeds to claim previous experience with cattle drives. Dern's quite good in the moment and the eagerness he brings to the part would probably fool a man softer than Wil, or at least one less informed about the cattle industry. Wil calls him out on his lie about his experience leaving Asa to admit that he and the other men have recently been released from prison and because of that have not found work anywhere else. Although Dern conveys that there is more to Asa than he is projecting, but he's a terrific sneak here as he seems so genuinely heartbroken as Asa asks if Wil is going to reject them like all the rest did due to their criminal record.

After Wil ignores Asa and his group due to Asa's lying he disappears for some time though the impact Dern makes in his first scene ensures that you know that won't be the last we see of old Asa Watts and his longer hair. Well that comes well into the drive when one of the boys wanders away from the others and walks right into Asa and his men. Dern is great in this scene as he first is so perfectly patronizing to the boy greeting him with a pleasant smile and a rather warm introduction as he greets the boy explaining that he's been following their group in secret the whole time. Obviously the men are not following the drive just looking for a job and the boy needs to be silenced, though apparently child murder is not quite in Asa's line. Dern is particularly proficient in this scene as he's a master of turning a smile of a welcoming man to that of a psychotic in an instance. Dern is incredibly chilling as he brings such a vicious intensity into Asa as he threatens to find and kill the boy no matter what if the boy speaks a word of their presence to Wil. There is no question that the boy will keep his word as Dern makes it something to be assumed through how frightening he is in the scene.

The boy stays silent as he should leaving Asa to eventually make his move to steal the cattle as he successfully catches Wil and the boys off guard. Dern is brilliant in this scene as he moves about in such a cocky stride as Asa as Wil exactly where he wants him. There is such a slimy confidence Dern brings as shows that Asa is quite enjoying the fact that he's gotten one over on one man. Dern also carries a considerable menace, not necessarily physically as the film even seems to clothe him in a certain way to diminish his frame as much as possible, but Dern effectively keeps that psychotic undercurrent in Asa creating a sense of the unpredictability of the man. Dern's good in building this around as he control the scene with him showing Asa soaking up the moment perhaps as much as he can as he acts as though he's a far greater man than he is. Eventually Wil does test Asa by punching him which Asa goes along with until it is obvious he won't win. Asa in turn takes a gun and does the unthinkable in a western he spoilers shoots John Wayne to death. Dern performs the scene so well by making Asa such a weasel as he pulls the trigger in a fearful rage at having lost in a fight with a man who is so many years older than him.

After having done the unthinkable Asa goes off with the cattle leaving Wil mortally wounded with his cowboys. This leaves only one thing the young boys to get brutal violent revenge against Asa and his men, with heroic music playing while they do it. Now to be fair Asa has it coming but still the boys all becoming killers at once is still treated a bit too lightly. Anyway Dern still offers some great love to hate moments for Asa particularly when he captures the only other adult who was with Wil the cook (Roscoe Lee Browne). Dern again brings such unwarranted smug satisfaction in Asa as prepares the cook for a hanging, only to have that look so perfectly wiped off his face when the boys come to the rescue. As much as this is a case where you want to see the villain get his comeuppance Dern actually made me feel a bit sorry for Asa when he does. Asa is injured and Dern retreats to the Asa we saw at the beginning and Dern does the duplicity of his pathetic nature so well that he can fool you into thinking his demise is sad. I rather loved Dern's performance here actually as he creates a memorable villain in just a few scenes, and does so not by being some overly cunning figure, rather by being such low down rotten scum instead.

Alternate Best Supporting Actor 1972: Ned Beatty in Deliverance

Ned Beatty did not receive an Oscar nomination for portraying Bobby Trippe in Deliverance.

Ned Beatty plays one of the men going on a river rafting trip in the deep south and like the entirety of the cast Beatty non-verbally establishes how his own character, Bobby, views the locals they must interact with in order to get to the river. Beatty plays Bobby as obviously having some clear disdain for them although does not bother to make it quite as obvious as Burt Reynolds's Lewis, though he he clearly expresses a particularly clear discomfort with dealing with the locals. When the trip starts it becomes rather obvious that Bobby is not suited for the outdoor adventure they are on. Beatty's very good in these scenes in a rather understated way. It is obvious that Bobby is suppose to be the one out his element to the point of derision from Lewis. Beatty does well though because although he properly matches the incompetence needed for the character but he doesn't go too far with in making Bobby seem like a caricature. He importantly stays believable and makes Bobby's inadequacies realistic. 

The trip eventually leads to the infamous scene where Bobby and Ed (Jon Voight) are accosted by some armed locals. Beatty is terrific in this scene where he must fulfill a particularly unglamorous role. Beatty is quite good as he begins still with the same slight unease and disdain at the behavior of locals as they at first just seem to be hassling the two men in just sort of general fashion. Quickly enough though when the men do pull the guns on them Beatty is great as he expresses almost a complete confusion at their request for him to strip as though he barely able to process what exactly is going on. When the man actually goes to rape Bobby Beatty creates the horror of the scene through by so effectively realizing that horrible moment where Bobby understands what the man intends to do to him. Beatty does well by capturing the brutality of the scene as Bobby is raped by one of the hillbillies. Before anything worse happens though they are saved by Lewis who kills on the hillbillies leaving the four men to decide what it is that they should do.

Bobby's choice of covering up the death of the hillbilly is made particularly understandable by Beatty's performance as he shows Booby almost running the whole situation in his mind and portrays the intense fear at thinking his rape will come to light in public. Beatty conveys the trauma in a different way that might be expected, but still in a way that feels honest. Instead of portraying a constant overt distress Beatty plays Bobby's manner as man trying his best to forget what happened to him. Beatty still shows that Bobby is irrevocably scared by his experience though he internalizes into him as for the rest of the film Bobby clearly no longer takes anything without some concern. There is a general cautiousness Beatty plays and has a whole unease towards the world that he did not before. When they do go back with the locals Beatty's performance works especially well as he portrays quite a different reaction in Bobby as he deals with the locals now. There's no disdain towards them just a constant friendliness about his interactions, although still with that strong undercurrent fear as Bobby obviously wants to give no form of offense to them for his own sake. This is a very good work from Ned Beatty as he, like his other three co-stars, successfully keeps an honest humanity in the story that in the wrong hands could have just seemed like absurdest exploitation. 

Alternate Best Supporting Actor 1972: Eddie Axberg in The New Land

Eddie Axberg did not receive an Oscar nomination for portraying Robert Nilsson in The New Land.

Eddie Axberg plays the younger brother of Max von Sydow's Karl-Oskar who has come with his brother to settle in the west of America. Axberg at first expresses a similar enthusiasm to von Sydow although his is best a bit more reduced suggesting that Robert is not exactly that happy to be under the supervision of his older brother. The film has some short moments that focus upon Robert as he tries to settle his own way into the new land, and he does not quite settle in the way Karl-Oskar is able to. Axberg is good as he portrays a certain adventurous spirit with though a similar strong feeling of apprehension in being a place he's not use to. There is one particularly fine scene for him when he thinks he sees one of the natives. Axberg realizes the concern and fearfulness well in Robert as he rather foolishly shoots at the corpse of a dead native who no one was able to bury. Axberg naturally realizes basically the way Robert is quite out of his depth in this new land, and lacks the same love of the land that his brother has. Robert not finding his place decides to move on to California for the gold promised there, which is not approved by Karl-Oskar.

Axberg creates a particularly believable dynamic with von Sydow. Most of the time Axberg shows Robert being comfortable enough with his brother, and there is the sense of their history together. When this changes though is whenever Karl-Oskar orders Robert around. Axberg is very effective in portraying how every word stings Robert as he is clearly most uncomfortable with taking orders from his brother who is acting as though he is his father. Robert sets out with his friend to California nevertheless and disappears for some time. Eventually he returns and the film reveals what happened in quite a stunning scene. The scene is almost dialogue free though Axberg does compelling work in portraying Robert's progression in the scene. He begins with again an enthusiasm, even greater than before. The trip starts to indications of horror which leaves a fall as Axberg so well loses that enthusiasm once again. This only becomes worse as it seems his survival is even in question and Axberg brings such a terrible despair. Each point is incredibly well met by Axberg's performance as he succeeds in believably makes this transition of his journey all in a single extended sequence that is quite remarkable.

The film then focuses upon Robert back at home with his brother and sister-in-law. Axberg is very moving in these scenes showing that Robert lost so much of himself on his doomed trek to California that left his friend dead. Axberg expresses Robert as a changed man who is now resigned to a certain sadness as he is unable to ever forget what happened to him on the trip. Axberg shows that he no longer even has the will anymore to argue with his brother as he just basically accepts his verbal attacks now. There is one particularly affecting scene where Robert goes to visit a brothel, likely looking to feel some sort of pleasure, and Axberg is terrific as he realizes that Robert can even barely connect with the experience because of how haunted he is by the past. Axberg performance is heartbreaking as he essentially shows that Robert died with his friend, and cannot seem to bear living knowing the things that he has seen. Axberg matches well the performances of Ullmann and von Sydow by giving such power into seemingly such simplicity. Axberg differentiates his work from theirs properly presenting Robert's story as one of a man being lost in a land that was apparently never meant for him.

Alternate Best Supporting Actor 1972

And The Nominees Were Not:

Eddie Axberg in The New Land

Ian Bannen in The Offence

Ned Beatty in Deliverance

Bruce Dern in The Cowboys

Robert Shaw in Young Winston