Best Supporting Actor 1980: Results

5. Judd Hirsch in Ordinary People- Hirsch is fine in his performance of the psychiatrist who helps Timothy Hutton's character with his problem, but he never becomes more than just fine.

4. Michael O'Keefe in The Great Santini- O'Keefe has some good moments, and his relationship with Robert Duvall's character is well realized, but when the part demands more O'Keefe shows some inexperience.

3. Jason Robards in Melvin and Howard- Robards gives a very short performance by a very interesting one. He makes his Howard Hughes a fascinating enigma of a man that I actually would have liked to see more of.

2. Timothy Hutton in Ordinary People- Hutton although really is lead in his film, that does not make this win any less deserving. Hutton is amazing from beginning to end in the film. It is fascinating how fully he realizes Conrad as a character, and the fact that he never, not even for a moment, fails to bring absolutely authentic emotions to the part despite the enormous changes Conrad goes through and Hutton must show during the film.

1. Joe Pesci in Raging Bull- Joe Pesci really gives the best supporting performance this year. Pesci's performance is a great performance that works wonder with his co-star Robert De Niro, fully realizing the two characters' relationship.

Best Supporting Actor 1980: Joe Pesci in Raging Bull

Joe Pesci received his first Oscar nomination for portraying Joey Lamotta in Raging Bull.

Joe Pesci portrays the brother of Jake Lamotta (Robert De Niro) who attempts to help Jake best he can in his boxing career. Joe Pesci has quite the problem to begin with in this film, and that is to be able to stand out against Robert De Niro outstanding performance, considering he shares much of his screen time with De Niro usually interacting with him directly.

Pesci though overcomes any potential problems easily though. Although I can't say he steals any scenes from De Niro that would be impossible, but Pesci always manages to keep his ground in every scene with De Niro. This is certainly helped by Pesci's distinctive voice, but also by the way he realizes his character of Joey almost as well as De Niro realizes Jake. There are many similarities to the men, that both actors bring to their character showing that their brothers, and from the same background.

Pesci shows that Joey is much like Jake in that they are both very abrasive men. There is not a question what Jake is feeling that is for sure, and this is mostly true for Joey as well. Pesci brings out the emotional force just as De Niro does, showing simply the brutal nature of the characters. Pesci is great in showing how Joey is similar to Jake, without copying De Niro though, instead making the same type of character but in his own distinct way.

Pesci certianly excels in showing the similarities between Joey and Jake, but even stronger I think is Pesci careful depiction of what makes Joey different than Jake. Although hot headed himself, he is far more sensible than Jake in many ways. Because of this Pesci and De Niro have an interesting dynamic as Joey and Jake. With Jake being far more blunt and hardheaded instantly, where Pesci shows Joey is always sort of undercutting what Jake says, as well as prodding him to do what he believes is the right thing to do. There is a hostility between them because of this that both actors make natural, and true to emotional state of their characters.

A pivotal part of Pesci's performance though is Joey's relationship with Jake's wife Vicky (Cathy Moriarty). Pesci carefully creates Joey's treatment, and affection for his sister in law perfectly. It is hard to say exactly how far his affection goes for her, whether it is more than just being a good brother in law. Pesci keeps it appropriately ambiguous, making it so you can't be sure one way or the other, but for it to be enough for the very jealous Jake to take it as such without much question. 

What is best in Pesci's performance though may be his two last scenes where it shows a different side of Joey, where the whole abrasive behavior of he and Jake are no longer in full front. Pesci is great in his small moment where he watches Jake lose his belt, estranged from Jake due to Jake beating Joey. The moment is great because it shows that there was a genuine love for his brother in his sadness over watching Jake lose, as well as a sense of loss sense he worked hard with Jake to win the belt as well.

His best single scene though may be when we see Joey years later still estranged becuase of what Jake did to him. This scene could have fallen flat as it is the only time we see the only Joey, but Pesci is completely convincing in showing Joey as a very different quieter Joey. His and De Niro's scene where Jake tries to ask Joey to forgive him is amazing. Pesci is great in showing how the attack changed Joey in the he quietly resists Jake, until sort of forgiving him in a very moving moment naturally showing a much softer side of the man. This scene exemplifies how well Pesci supports De Niro's great performance, something he does throughout the film, making this really a just about perfect supporting performance. 

Best Supporting Actor 1980: Michael O'Keefe in The Great Santini

Michael O'Keefe received his only Oscar nomination so far for portraying Ben Meechum in The Great Santini.

O'Keefe plays the son of the Great Santini Bull Meechum (Robert Duvall) who deals much of the brunt of the abuse Bull Meechum puts down on his family. The main focus of the film is actually the father son relationship between Ben and Bull, making O'Keefe's performance quite essential to the entire film. O'Keefe performance though is not the great achievement that perhaps it might have or could have been able to.

There are certainly strong moments in his performance though. His chemistry, and dynamic with Duvall does feel authentic enough, as he usually quietly reacts to the Great Santini's abuse, but at times with more hatred does he address the abuse. These moments are carefully handled by O'Keefe and are effective. He shows through this that this relationship has been going on for a long time, and only when pushed past his limit does he really completely cry out against what his father does to him.

What is interesting though also is O'Keefe does not portray Ben relationship with Bull and entirely negative one. There still is a love a between them, even though it is greatly reduced do to Bull's abusive behavior. Both actors do manage to make this strange and difficult relationship work. They are natural together, and since their fights never seem like something new, they make the relationship seem quite authentic despite the oddity of the relationship.

The problem in O'Keefe performance comes though when he really is pressed in his big emotional scenes. They are not utter failures by any means, but they are a lot less than they could have been. O'Keefe in these scene unfortuantely is not natural as he needs to be, and the fact that he is acting the scenes unfortuantely comes through a little bit, unlike say how Timothy Hutton handles similar scenes in Ordinary People.

It is not that O'Keefe is not bad by any means, but these scenes unfortuantely show an inability, and inexperience in his performance. If he was able to really bring out the emotional strength possible in these scenes they could have been amazing, rather than just fine. This goes for his performance to, there are a lot of good moments, and the overall performance is good I would say, but I also think it could have been great.

Best Supporting Actor 1980: Jason Robards in Melvin and Howard

Jason Robards received his third and final Oscar nomination for portraying Howard Hughes in Melvin and Howard.

Melvin and Howard tells the odd story of a milkman who accidentally saves a man who claims to be Howard Hughes, and appears to end up in Hughes' will.

Jason Robards is only in the very beginning of the film as the mysterious old man Melvin comes across in the desert, and briefly at the end. The old man claims to be Howard Hughes, and apparently he really is. Robards has a brief role, but really a rather fascinating one. Robards plays the part as a bit of an enigma it is hard to tell what exactly the deal is with Hughes is.

Robards through his short scenes it is hard to tell what he is, and Robards effectively creates the mystery of this strange man. In the mystery though there is something you find out about Hughes from Robards, not a lot but just the right mount to keep his mysterious quality, but at the same time not make him overly ambiguous either. It is a difficult dynamic to pull off, but Robards manages to pull it off with ease.

There is clearly a slight bit of insanity going on inside his eyes, but as well as the history of Hughes is suggested as well. There is a definite history suggested there, a troubled one, but possibly a better one  as well, as there is a certian charm Robards has that perhaps shows a indication of how Hughes use to be.

This is not an amazing performance, after all it is very limited by not only screen time but what he is allowed to do. He mostly just reacts to what Melvin does, and speaks out only a little about what he does. Robards does take what little he does have, and makes the most of it. It is not a great performance, but Robards does his best to leave a memorable impression.

Best Supporting Actor 1980: Judd Hirsch in Ordinary People

Judd Hirsch received his only Oscar nomination for portraying Dr. Tyrone C. Berger in Ordinary People.

Judd Hirsch's performance as the psychiatrist is a rather simple role. His whole purpose in the film is react to Timothy Hutton's Conrad, and attempt to help Conrad the best he can. There are only small very small indications of his life outside of his office. Hirsch really is there just for Hutton's character. Hirsch though does manage to make a really person though, just a real person we only get a limited view of.

As a psychiatrist Berger is portrayed in an entirely positive light only there to help Conrad, nothing more. Hirsch in the role despite being an entirely positive character does not portray him in a one dimensional fashion. Hirsch portrays Berger's approach as a rather tough approach. He never acts overly easy toward Conrad always pushing and prodding Conrad to release his feelings.

Hirsch does a fine job in realizing this whole technique and certainly has some very good scenes with Hutton as they explore his issues, as well as a single scene with Donald Sutherland where he helps Calvin as well. The only thing he does not make the scenes Sutherland and Hutton really makes the scene. Hirsch is good in these scenes and adds to them, but he does not make the powerful moments. He is merely an aspect of them, just like he is an aspect of the film, a fine aspect of the film, but only just that not more.

Best Supporting Actor 1980: Timothy Hutton in Ordinary People

Timothy Hutton won his Oscar from his only Oscar nomination so far for portraying Conrad Jarret in Ordinary People.

Ordinary People depicts the troubled lives of an upper middle class family after one of their sons has died and another son attempted suicide.

Timothy Hutton is not supporting to anyone in the film, and really is the lead in the film. Yes there is also Donald Sutherland, but he is merely also lead. His misplacement is especially clear if you compare his screen time to that of his co-nominee Judge Hirsch. This is an example of category misplacement that I do not mind all that much though, because of performance itself is one that is very much deserving.

Hutton has a unique character to play as he is a teenager who is given the focus of the film without it being some kids film, or some dumb comedy. Conrad Jarret is a unique character who Hutton brings fully to life with his performance. What really is so good about Hutton's performance is not only how raw emotionally his performance is, since he really does not hold anything bad really, but also how natural he is as well.

There never is a hint of Hutton acting throughout his entire performance which is incredible. Conrad is a character who goes all over the emotional scale from highs to lows, and everywhere in between. There is not a single emotion that Hutton fails to achieve in an entirely natural fashion. There is not a single calculated line, or feeling in this performance. Every emotion that Hutton conveys in this performance is absolutely honest.

Hutton never falls on the urge to play the part on one note of pain, or sadness. In fact in the dimensions of pain and sadness Hutton conveys a multitude of facets in his pain and sadness. But anyways Hutton also shows in many scenes his attempts to be able to attempt at least to return to his life before his suicide attempts, and his brother's death. Hutton never overplays this part, instead just showing him act like a normal young man in the circumstances, not overly special but still unique in his own way.

Many key moments showing his struggles though are with his psychiatrist (Judd Hirsch). These are difficult scenes, but Hutton never slips once. Hutton is utterly convincing in showing how deeply Conrad's troubles has wounded him, and made him desperately in need of help. Hutton never fails for a moment not to make Conrad's struggle exceedingly moving to watch, without ever seeming trying purposefully to make them so. His final meeting with Hirsch is especially moving it is a scene where Hutton covers a multitude of emotions and Hutton brings everyone to life, making this scene especially heartbreaking.

Pivotal moments in Hutton's performance come in his reactions with his parents with his cold mother Beth (Mary Tyler Moore) and his warm father Calvin (Donald Sutherland). In his scenes with his mother there is a distinct lack of chemistry the two have that is perfect for them. Their scenes together are frankly hard to watch, because of how cold and awkward they are to watch, both actors a brilliant though in bringing out this lack of connection, despite Hutton's showing an earnestness to try to make one.

On the opposite hand are his moments with his father. For most of the film they actually only share short moments together. Much of their time together is only a struggle, as Conrad attempts to convince his father of his mother's coldness. There is always a better understanding the two actors again achieve, even if more underlying until the very end of the film. Sutherland's and Hutton's final scene together though is just about perfect where the two finally come together showing how much they mean to each other.

Hutton performance is great here. He realizes the various aspects of his performance very effectively. There is not single false emotion that Hutton portrays in any scene in the entire film, despite the incredible challenge of the role. Every emotion, and every complex aspect of Conrad Hutton absolutely brings together into a fully realized character. Hutton never acts alone in his performance either, and always manages to find the right dynamic with his co-stars as well.

Best Supporting Actor 1980

And the Nominees Were:

Jason Robards in Melvin and Howard

Judd Hirsch in Ordinary People

Timothy Hutton in Ordinary People

Michael O'Keefe in The Great Santini

Joe Pesci in Raging Bull