Alternate Best Supporting Actor 1983: Results

5. Michael Palin in The Meaning of Life - Although in a mixed bag of a film, Palin delivers on the best parts of that mixed bag in his various absurd comic turns.

Best Scene: "Every sperm is sacred"

4. Ian McDiarmid in Return of the Jedi- McDiarmid manages to create an instantly iconic villain that is playing on a known riff but in a different way.

Best Scene: Crossed sabres.

3. David Bowie in The Hunger - Bowie delivers again that fascinating enigmatic charisma of his, though also grants a haunting depiction of a man swiftly consumed by the ravages of age.

Best Scene: Old man seeing the pupil.

2. Jonathan Pryce in Something Wicked This Way Comes - Pryce gives an appropriately devious portrayal of a calm yet sinister omnipotent evil. 

Best Scene: The library.

1. Takeshi Kitano in Merry Christmas, Mr. Lawrence - Kitano gives a brilliant performance that depicts both the cruelty of a man designed by a terrible code, but also the compromised humanity still within that.

Best Scene: Final merry Christmas. 

Updated Overall

Next: 2014 Lead (though taking a brief hiatus to catch up on some 2020 releases, feel free to make any 2020 recommendations).

Alternate Best Supporting Actor 1983: Ian McDiarmid in Star Wars: Return of the Jedi

Ian McDiarmid did not receive an Oscar nomination for portraying the Emperor in Return of the Jedi.

Return of the Jedi is of course the uneven finale to the original Star Wars trilogy, this as it features some proper closure to the films, with some notable heights but also a few, then, nadirs that were a preview of some problems to come.

Now for the review of this performance I would ask that we all journey back to May of 1983 when this film premiered, and forget all that came after, for the moment. The only thing we knew about the Emperor was he was the even greater evil behind seemingly greatest evil of Darth Vader. A force we only saw through a hologram in the previous film, where other than his weird fish eyes, seemed like a general evil British sort. Well this time we see him in the flesh, played now by Ian McDiarmid, who was unknown and around 39 years old as this ancient evil. Now let's forget about the past, and say this is a character who became an iconic character in Star Wars, but just general, particularly as the manipulative evil draped in a black cloak. I will say if just ole' fish eyes had been the Emperor I doubt that would've been the case, as what McDiarmid he does is craft an original character. This is seen from his first scene where he arrives on the incomplete new death star, where we barely see his face however two elements of the essential impact of the character still resonate. That being the guttural voice McDiarmid fashion that both eliminates his actual age, and grants the character a needed idiosyncrasy. This is as obviously it would be hard to counter the sort of booming dominance of Vader, as offered by James Earl Jones, so McDiarmid wisely subverts that with a more snakelike, yet as incisive voice that seems as match for Vader, almost through how different it is. Of course, also unforgettable is his laugh at the end of the scene, where he marks the occasion of his plan to destroy the rebels and turn Luke Skywalker to their side. A cackle of McDiarmid's that just seems perfect in its sheer unadulterated evil, the laugh of a man of whose actions are not of some duty, deranged philosophy or some other compromise, no just of evil. McDiarmid's performance is not subtle, well it is if you compare it to the places he went in the later prequels, in that he essentially creates the character who is the pure evil, to be compared to Darth Vader, who in this film, has become the conflicted evil. This comes to the head when Luke surrenders himself to try to save Vader, leading, himself, Vader and the Emperor together in the Emperor's throne room. This sequence isolated is the climax of the trilogy and the highlight of this film, a highlight of the trilogy as well. McDiarmid is unquestionably part of this, as his way of delivering every line, with that certain vile oozing way of speaking makes each of lines memorable almost by the virtue of that. McDiarmid to his credit doesn't say every line the same either, as his way of switching the type of evil of his lines is key to making the Emperor a memorable villain. I have particular affection for his trolling way of saying "I'm afraid the deflector shield will be quite operation when your friend arrive". More focused upon however is his attempt to allure Luke in with his almost sexual way of speaking Luke's "hate" and his need to strike him down. This in particular his face of feeling Luke's anger, that is let's say euphoric to be as classy as possible. This in McDiarmid does effectively create the sort strange power of the Emperor even as he sits in his chair as basically breathing corpse. McDiarmid does though capture a certain magnetism in that unabashed evil, that he portrays as something that seems to be make a man both dying, yet quite satisfied with one's self. That only changes when Luke obviously will be defiant to the end leaving the Emperor to use his lighting force powers to try to kill him. There McDiarmid is effective in sort of showing just the pure fiendish killer in his mix of glee and hate as unleashes the fury, and the best moment being his devious smile as McDiarmid coldly notes to Luke "You Will die". With this McDiarmid delivers a successful performance which makes a character worthy to be noted as the greater behind seemingly that greatest evil. McDiarmid properly doesn't bring any shades of grey, making the Emperor a demonic fiend as he should be. In doing this though he crafts a unique and memorable character. Any character as earnestly imitated as he, must be remarked as a success, and that is in McDiarmid's performance. His whole creation is a riff on something we'd seen before, but in a new way. McDiarmid made an undeniable impact, that would go on to be used, and eventually exploited when the series went on.

Alternate Best Supporting Actor 1983: Jonathan Pryce & Jason Robards in Something Wicked This Way Comes

Jonathan Pryce nor did Jason Robards receive Oscar nominations for portraying Mr. Dark and Charles Halloway respectively in Something Wicked This Way Comes.

Something Wicked This Way Comes tells the story of a circus coming to a small town, which doesn't wish to entertain. The film is appropriately "spooky" and largely effective, though you do sense a bit of a compromised vision in parts.

Although a Disney film, which partly compromised what seemed to be the stronger vision of director Jack Clayton. The director of the masterful ghost film The Innocents, this film isn't on that's level, however the mind behind that film's greatness can be seen here in parts. The easiest example to be seen in one Jason Robards, a noted dramatic performer who does not choose to phone in or in anyway sort of give a live action Disney turn of the more forgettable ilk. In fact Robards's performance, I won't beat around the bush here, seemed prepped for a masterpiece.  Robards playing the father of one of the technical central characters of the two boys, Will and Jim. Robards's Halloway the town's librarian who we come across initially as an aging man, though Robards grants the brightness of someone more than willing to still show a nice warmth to his son. Robards reminding me of bit Gregory Peck in To Kill a Mockingbird, as not an excessively loving father in terms of the specific presentation of that warmth, however that sense of love is still granted just by the way they internalize it in their work. It is just fact, and Robards realizing that in his performance is something special in itself, and essential for where the film goes. Robards's is typical no nonsense presence though is just a great choice for a supernatural horror film. This as we see him just seeing even the early signs of it, Robards brings a weight and reality to it, that establishes the horror quite effectively even before it begins.

Robards work in general though offers a remarkable depth here as we see the man pondering the eerie storm that predates the circus, and his own weak heart. In the former Robards is the film's greatest asset in creating a sense of dread. This in just his whole expression of observing the strange night sky, he grants the sense that this is something more than just a bad wind. Robards pondering the latter he finds a real nuance within the idea. This sense of a quiet regret in his eyes of a man who just has almost a slight shame of not being able to be what is wholly expected of being a father, in terms of what he is physically able to do with his son. Robards has an exceptional moment where he speaks to the time when people die. Robards is amazing in the moment as he expresses in his delivery the certain anxiety of his own fear of potentially dying, but built around the old man trying to comfort his son as he speaks. This as Robards finds such an effective complication as the man wishes to put his son at ease while also in his eyes showing the sense in the man that the concern is very much real. In Robards's performance the idea of the weak heart is not just a plot point. Robards rather develops within his work to create a real sense of how it places this almost shyness within the man, this certain repression of spirit, even as we at the same time still get a strong sense of a caring and loving father all the same.

Of course the storm but preludes the circus and Jonathan Pryce in a rather early role, as the aptly named Mr. Dark. Now having such a name you won't be surprised that he isn't just your average sinister circus owner, but rather someone far more sinister. Although Pryce would become I think better known for his authoritative villains later on, his knack for it was evident from the outset of his career as shown here. Pryce's whole manner is just about perfect in just having that fitting unnerving stature. This of a man who just seems a little bit off, even when simply handing out flyers for his circus or free tickets. Pryce though is particularly effective here in delivering that sort of graceful menace of his. This is as Pryce here doesn't really even raise his voice. He rather speaks with that refined voice of his, and in doing so creates that unique sort of menace. This as Pryce portrays his Mr. Dark as a man who has a particular ease in his state of being, and fittingly Pryce makes him more so a force of nature than an evil man so to speak. This as Pryce speaks each word with this nearly entrancing quality fitting a man who wishes to pull each of his victims in no through threats but rather temptation. This as Pryce couldn't be more inviting in his manner as he speaks with a slight smile and manner as though he he truly is an impresario bringing in the crowd. The different however though is that glint in Pryce's eyes though that grant that diabolical nature of the man, so evident in his name. Pryce's performance though properly owning the evil, as there is no reason to hide the nature of a man called Mr. Dark after all, and grants that Mr. Dark is as this unnerving character even before he has made a single legitimate threat.

Although the two boys accidentally uncover the sinister nature of the circus the real hero of the film is Robards's Holloway, and in a way becomes the man of heart versus the heartless, ironic given Holloway's heart condition. I love Robards's performance here is it is decidedly unexpected in this sense, since he is the hero, but an easy journey for him this is not. This as we see in an essential scene where Holloway recounts his scene where he wasn't the one who was able to save his son, because his father never taught him how to swim. Robards is amazing in the moment as his expression instantly recounts the anxiety of the original moment, and the pain of the certain type of failure as a father. Robards is powerful in the scene because he shows within it because as he describes the failure it is not just an idea, rather a real sense of experience as recounts. Robards making Holloway not a flawless hero, though even in this description we still again gain the sense that it is the regret as it is tied for the unquestioned love for his son. Nonetheless then we find Holloway as the man who must stand up against Pryce's Mr. Dark. The first scene between them showing the strength of each of their performances. This as Pryce again is so curiously, and effectively, insidious here. This as the slight shake in his voice, still so eloquent, though in that just that slight variation in his voice we sense an unnerving rage. Robards is great against him in portraying the blunt reaction to the strange man. This certainly a sense of resilience as he notes the importance reading, but more than anything, Robards eyes accentuate the man actively trying to decipher the strange, and clearly nefarious man. Love in particular though Robards's directed delivering of "boys, what the hell is going on", as he does so offering such a realistic honesty in the moment. The two naturally then are lead to a confrontation, really of spirit more than anything. Mr. Dark initially getting the upper hand, in a scene that Pryce brings a vile relish to the man just enjoying the pain he inflicts upon others, and importantly maintaining that certain omnipotence as he does so. Pryce playing the scene up beautifully of Mr. Dark fully in his element as he terrorizes the boys and the aging man. Robards is excellent though in showing that within this conflict Holloway's fears are very much genuine, as his physical wavering and anxiety are palatable. This with Robards granting a real honesty to the horror. Robards in turn makes the moment of the turn far more poignant and powerful though then finding the man capturing the spirit again. This again in bringing forth that sense of love that was always evident, but finally put forth in a more energetic and open manner within Robards's performance. This film works best when Robards and Pryce are applying their trade, this as both so well realize their characters within the scenario. Pryce making for appropriately fiendish yet magnetic devil as needed for such a tale, and Robards going even further perhaps in offering a real power in his portrait of a vulnerable yet honest man who stands against the evil that infects his town.

(For Pryce)

(For Robards)

Alternate Best Supporting Actor 1983: David Bowie in The Hunger

David Bowie did not receive an Oscar nomination for portraying John Blaylock in The Hunger.

The Hunger stands as the directorial debut of Tony Scott but also an outlier in his career. This as the film seems more akin to one of his brother's films, though the sort of extremes of the style are definitely that of the younger Scott, than the director who largely became known for his action pictures.

The film itself is a stylish vampire picture, even if lacking a bit in the screenplay particularly the ending which throws character motivation out the window in order for a bit of phony irony. This style though is almost purposefully trying to make it a particularly erotic, and you might say even glamorous approach to the vampire film. I suppose then who better to cast as one of the vampires than David Bowie, a man whose personal style seemed to so often defy convention, yet always seemed to capture one's imagination with such ease. Bowie is ideal for the almost sort "celebrity" vampire of the film, this as we see the couple, this being John and his wife Miriam (Catherine Deneuve), in two extremes immediately the film. The first the nightclub of a leather bar, where both actors not only have extremely idiosyncratic presences, but also are so powerful in this. Each as their eyes piercing as the two decide on their prey, perhaps you'd assume sexually, however we quickly learn this to be a different sort of lust, blood lust. Each really thriving within Scott's extreme aesthetic, as they just glow and amplify it in they do make the standard "vampire murder scene" something rather unique by the mere virtue of their fascinating performances. We see an alternative side though quickly enough outside of the "night life", this as the two teach music with John as a cellist. These two delivering a different kind of glamor, more traditionally so, and as effectively so. I will say the casting did half the job alone in making a uniquely fascinating vampire pair, by the fact that there just isn't anyone quite like Bowie or Deneuve for that matter, so the combination of the two is rather special in itself.

This "high life" though is short lived within the film though as John starts to aging, despite Miriam's earlier insistence that they would be together forever. Bowie and Deneuve, as briefly as we see them interact, do have that striking chemistry particularly in the brief scene of John turning a century ago. This is important though I find in that their performances though grant that sharply lustful qualities, though there is a more striking genuine emotional sentiment than I had expected coming into the film. This then Bowie portrays well initially an internalized concern, at the beginning of his degradation, as he speaks of how long does he have. Bowie instantly throwing any genre expectations out the window by portraying a man, even an un-dead one, in general need of help. This as he seeks help from an apparent aging expert Sarah (Susan Sarandon), who ignores his request. Bowie's whole performance is rather remarkable in portraying the physical decay, that he does not just leave to the makeup. This movement become more labored, and his eyes slowly grant a more haunted quality of a man seeing the death before him. This as he is particularly notable as we see him phases of this aging so quickly, yet so vividly in Bowie's performance. This right down to his voice becoming coarser towards that of an old man about to push out his final breath. Bowie finding the right horror of this within his expression that goes beyond just the rather impressive makeup effects along with his performance. His delivering becoming more desperate in each phase of a man in an agony and gripped within fear of his state. This in Bowie most remarkable scene where he goes about murdering Miriam's replacement for him in a vain attempt to save himself. Bowie's performance manages to convey the act in this state of exhaustion and despair. This failure only then followed by Bowie's near nothing of a voice as he speaks his final words towards Miriam, these as basically a walking corpse, that Bowie grants a surprising weight to as his performance grants the sheer agony of John in closer to a more literal living death. I will say well I wish the film had spent more time with the couple and developed them beyond the confines of the simplistic plot, what the performers do with the characters even within this confine is captivating. Bowie delivering his expected charisma to the role of the immortal, but then a surprisingly honest tragedy to what that truly means in the end.

Alternate Best Supporting Actor 1983: Michael Palin in The Meaning of Life

Michael Palin did not receive an Oscar nomination for portraying Window Washer / Harry / Fish No. 5 / Mr Pycroft / Dad / Narrator No. 1 / Chaplain / Carter / Spadger / Regimental Sergeant Major / Pakenham-Walsh / Man in Rear End / Female TV Presenter / Mr Marvin Hendy / Governor / Leaf Son and Debbie Katzenberg in The Meaning of Life.

The Meaning of Life, essentially Monty Python's own History of the World Part I, is a series of vignettes supposedly about the title. I would say with this one, although there are laughs to be found, I would the success rate of jokes is fairly low, not to the point of being a terrible comedy however it is a considerable step down from their previous effort, Life of Brian. I honestly probably wouldn't even recommend the film, just rather simply watch the cut clips of the bits that work.

Well I will say it again Michael Palin is easily my favorite Python as a performer, and in general his ability in the sketch comedy also alludes to why he was also the best actor of the group in general. This as the other member typically worked within a more exact type, John Cleese as the pompous fool or genius, Eric Idle as a at least slightly daffy excitable fellow, Graham Chapman as the relative straight man, and then the director Terrys as some kind of grotesque sort. Palin's characters tend to be a bit more of just that, even in the microcosm we see of them here. This as he plays about 18 different roles, and in each Palin manages to bring a bit more than just a quick comedic bit. This as he offers the blind naivety of a dopey school boy for a moment, the excessive propriety of a tv hostess, though not say particularly proper things, even the different kind of propriety of an American wife, the low key smugness of a hospital director, the smugness of an overly proper British soldier, or the strange randomness of a man in a tiger suit at the opposite end of that soldier. In each Palin captures a bit different in his presence as these different roles, this making him typically a little bit amusing even when some of the bits he's featured in aren't all that amusing overall. There's just something about his range of voices and expression, that can garner a little chuckle. What I'm really here to discuss are his sort of central sketches, which actually Palin gets very few of, perhaps one of the issues with the film, in fact he only has two where he is the focus. The first being the film's big Oliver!esque musical number about a poor father describing to his brood of children why he needed to have so many, explaining that "Every Sperm is Sacred". Palin's performance here being an enjoyable sort of twist on the modest means father befitting an Oliver Twist novel, with an aw shucks expression and a world weary voice. This though with all the heart he can must in his eyes and of course his voice as he sings to all about his fundamental beliefs. Palin belting it out with a hilarious passion, and again that heart, even as he sends off all his kids for scientific experimentation. His other scene is as a drill sergeant. This where Palin again fashions a different personality of a wild eyes befitting the profession, and lips with mind of their own as he barks out orders like a proper English screw. This finding the comedy as Palin brings this ridiculous intensity even as the sergeant is extremely accommodating to all his soldiers who feel they could do something better than routine drills. Palin being great as he maintains that same stature no matter what happens. Both these bits are great, and for my money the best bits in the film, or at least two that wholly worked for me. Is it coincidence that they both star Palin? I'm going to say probably not, as both feature his delightful talents, as a comic performer that grants the particular type of investment in his performances that sell the comedy all the more.

Alternate Best Supporting Actor 1983: Takeshi Kitano in Merry Christmas, Mr. Lawrence

Takeshi Kitano did not receive an Oscar nomination for portraying Sgt. Gengo Hara in Merry Christmas, Mr. Lawrence.

Takeshi Kitano must have one of the most multi-faceted careers for any actor, this being a host, a comedian, an editor, a writer, a director...and tap dancer, while evidently finding quite a bit of success in each of these endeavors. This evidently wasn't always the case as this film marked an important breakout attempt for him to no longer just be seen as a comedian as an attempt to be taken seriously. Although evidently this was met with laughter in his native Japan, which is a shame, though something he apparently eventually got over. Still a shame though as one just looking at Kitano's performance here, you might only gather he was best known as a comedian, because comedians can sometimes deliver brilliant one of the kind performances. Now his role is a decently worn one, that of the brutal enforcer in a POW camp, seemingly only second to the as brutal, though in a different way, to camp commandant Captain Yonoi (Ryuichi Sakamoto). This we see in the opening of the film Hara summons British POW liaison Lawrence (Tom Conti) to inspect a situation, where a Korean guard sodomized a prisoner. Kitano of course delivers the intensity needed and expected for such a role. This just being inherent, in making his quick gestures of violence as something he doesn't require a second thought for. This portraying just a casual quality in this behavior as a man whose done this for quite awhile and does have an ease at it. This even when casually doing to Lawrence when he speaks up against the actions of Hara and the Japanese in general.

This scene alone though is brilliant work from Kitano though as he instantly establishes Hara's manner towards Lawrence with this semi-congenial recognition of him, even though he doesn't eventually mind hitting him in the same scene. In the sequence itself though Kitano is fantastic in the way he portrays the cruelty of Hara, that is essential in portraying sort of the systematic nature of it based upon the Japanese army's culture. This as he mocks both men with a derisive attitude, less of a direct attack, and more of it as this type of grilling, though no less severe in this apprach. This though broken with these little asides where Hara mentions ideas to Lawrence with this strict sincerity, such as knowing the Japanese properly by seeing a man commit harakiri. Kitano's delivery of mentioning these ideas is with an earnest educational tone. He plays it as not extra cruelty to his British prisoner, but rather as though it is something he really wants to share with the man, as terrible of a thing as that is to share. Kitano though manages in this scene to show that Hara's firm beliefs in the imperial Bushido code are not just something he uses to be cruel, rather those beliefs are what encourages him to be cruel. This is as we see the disgraced guard attempt a sloppy harakiri, the glee upon Kitano's face as he prepares to second the man (i.e. cut his head off), is that with the pride as though he is performing essentially a religious right. This as something a proper soldier should do in his mind. There is nothing simple about the way Kitano expresses this, which is what is so important. This as even as he explains his actions to his Captain, with a bit of shyness, that Kitano shows of a soldier a bit unsure of himself in front of his commanding officer, but still with a direct belief as he describes the harakiri as something that would benefit the man, Kitano makes it the truth to Hara.

The crux of this performance is in his scenes with Tom Conti, as we see more than just a captor and captive. That is part of it, but not all of it. Although even within that we find the right nuance as Lawrence argues for the mistreated prisoner, Kitano brings that usual sort of underlying menace of a cruel guard, however also delivers a more casual incredulous quality when Lawrence speaks on them all being soldiers. Kitano creating as sense of Hara more than just as his role as this captor. This is expanded, on what is one of my favorite scenes in the film, when at night Hara comes to see Lawrence in the prison barracks, along with the new captured officer Celliers (David Bowie). I love Kitano in this scene as he wakes up Lawrence less as a cruel captain, and more of as a friend at sleepover hoping to get into just a little bit of mischief in the night. This as he brings this eagerness in his curiosity of someone just genuinely interested in this supposed great soldier, and the fascination is pure in such a wonderful way. Again Kitano finds sense, in the senseless in a way, as he brings such a reasoned honesty to Hara's extremist beliefs. This as we see him continue as he talks to Lawrence asking him why he wouldn't commit suicide. Kitano's fantastic because he doesn't use it in this berating tone, as we see the men just talking as men, and Kitano in turn shows a man genuinely interested in his fellow soldier. This as even his eyes bring this interest in the other man's views though, not that he agrees with them, but what Kitano expresses is a man finding a genuine camaraderie in this interaction. We see friendship in his eyes, even if the nature of the situation prevents it. There's an amazing moment where Hara's explain he enlisted when he was 17, this as he begins speaking the words with this quiet vulnerability, as a man who really wants to share something personal with Lawrence, though then as he tells it fully, he shifs to an attempted solder's menace as he notes his belief in giving his life to the emperor. Kitano in the moment shows so well both the soldier in Hara, but the man beneath it all. My favorite moment of the scene though is as he and Lawrence briefly interact with Celliers, this as again Kitano brings a near childlike amazement, as he and Lawrence sneak in the interaction like a couple kids.

We see then this better side come out of Hara in a great scene where he gets Celliers and Lawrence released from confinement. This as a drunken Hara, Kitano is terrific by expressing all the soldier's bluster being worn mostly away by drink, and a bit of goodwill. Kitano does this in this outstanding sort  of waves in his work in bringing glint of a stern expression though it gives way to the again that better man inside, with his endearing laughter from his drink, and his oh so perfect delivery of the titular line, because Kitano expresses as absolutely a wish of goodwill to his fellow man, and really friend. That is almost just the man, not the soldier, but we finally get purely just the man in Kitano's final scene. This being the final scene of the film after the war, where Hara is about to be executed for war crimes, but Lawrence visits him one more time. Kitano, who delivers the entire scene in English, is masterful in this scene. This bringing such a modesty to the moment showing Hara without any pretenses. This bringing in his performance the difficult expression of a man trying not to cry, though just almost the brink of it. This as Kitano is heartbreaking here as we see him reaching to Lawrence now purely as a friend. His line delivery regarding not understanding why he's being executed as his crimes were no different than any other soldier. While I don't quite agree with the sentiment, what I do agree with is the power found in this through Kitano's performance that again emphasizes this as truth. He shows a man who basically was raised with cruelty as the requirement to be a soldier, and in turn was cruel. There's no hypocrisy as Kitano speaks it with the strictest sincerity. This isn't without regret though as they note the death of another, and Kitano's expression does speak towards the unfortunate loss of life. The most remarkable aspect of the scene though is as the two briefly reminisce. The two striking up a chemistry of old friends once again, and we sense that the two, could've been the best of friends in a better world. Kitano's work here is simply incredible in offering such complex portrayal of a soldier bred towards cruelty yet still with humanity within him. Kitano's final seconds exemplifying this as they are again sheer perfection as he calls out Lawrence one more time, though for a last time in his soldier's voice, though as his face shows it as but joke as he wishes so poignantly one last humane "merry Christmas" to his friend.

Alternate Best Supporting Actor 1983

And the Nominees Were Not:

Ian McDiarmid in Return of the Jedi

David Bowie in The Hunger

Jonathan Pryce in Something Wicked This Way Comes

Jason Robards in Something Wicked This Way Comes

Michael Palin in The Meaning of Life

Takeshi Kitano in Merry Christmas, Mr. Lawrence 

For prediction purposes:

Pryce

Alternate Best Supporting Actor 1983: Results

5. Burt Lancaster in Local Hero- Lancaster gives a fairly delightful portrayal of his eccentric millionaire.

Best Scene: Happer arrives on the scene.

4. Don Ameche in Trading Places- Ameche is far less delightful than Lancaster, but instead gives a very funny portrayal of a particularly devious millionaire.

Best Scene: "TURN THOSE MACHINES BACK ON!"

3. Ed Harris in The Right Stuff - Harris rather brilliantly is able to create both the facade and the reality of an All-American Hero.

Best Scene: Glenn talks about his image with his wife.

2. Mickey Rourke in Rumble Fish- Rourke gives a striking stylistic performance that matches the style of his film and the nature of his character incredibly well.

Best Scene: The Motorcycle Boy appears.

1. Darren McGavin in A Christmas Story- Good Predictions GetDonaldSutherlandAnOscar, Michael Patison, and Michael McCarthy. McGavin easily stands as my win for his absolutely hilarious yet still rather heartwarming performance.

Best Scene: The Old Man receives his major award.

Overall Rank:

1. Darren McGavin in A Christmas Story
2. Takeshi Kitano in Merry Christmas, Mr. Lawrence
3. Sam Shepard in The Right Stuff
4. Jason Robards in Something Wicked This Way Comes
5. Mickey Rourke in Rumble Fish
6. Ed Harris in The Right Stuff
7. Don Ameche in Trading Places
8. Jonathan Pryce in Something Wicked This Way Comes
9. David Bowie in The Hunger
10. William Hurt in The Big Chill
11. Edward Fox in The Dresser 
12. Ralph Bellamy in Trading Places
13. Ed Harris in Under Fire
14. Jeff Goldblum in The Big Chill
15. Burt Lancaster in Local Hero
16. Ian McDiarmid in The Return of the Jedi 
17. Michael Palin in The Meaning of Life
18. Dennis Quaid in The Right Stuff 
19. Matt Dillon in The Outsiders
20. Rip Torn in Cross Creek
21. Erland Josephson in Nostalgia
22. Brian Dennehy in Gorky Park 
23. Christopher Lee in The Return of Captain Invincible
24. Klaus Maria Brandauer in Never Say Never Again
25. Denholm Elliot in Trading Places
26. Tom Berenger in The Big Chill
27. Gene Hackman in Under Fire
28. Jeff Daniels in Terms of Endearment 
29. Sebastian Shaw in The Return of the Jedi 
30. Patric Chereau in Danton 
31. Lee Marvin in Gorky Park
32. Ralph Macchio in The Outsiders  
33. David Alan Grier in Streamers
34. Herbert Lom in The Dead Zone 
35. Ian Holm in The Return of the Soldier 
36. John Hargreaves in Careful, He Might Hear You
37. Roberts Blossom in Christine 
38. George Dzundza in Streamers
39. Charles Durning in To Be Or Not To Be
40. Christopher Lloyd in To Be Or Not To Be 
41. Christopher Lee in House of Long Shadows
42. Harry Dean Stanton in Chrsitine 
43. Graham Chapman in The Meaning of Life
44. Sadashiv Amrapurkar in Ardh Satya
45. Peter Dvorsky in Videodrome
46. Fred Ward in The Right Stuff
47. Martin Sheen in The Dead Zone 
48. Frank Finlay in The Return of the Soldier 
49. Vincent Price in House of Long Shadows
50. Fulton Mackay in Local Hero
51. George Rose in The Pirates of Penzance
52. Jean Shepherd in A Christmas Story 
53. Reiner Schwarz in Videodrome
54. Jose Ferrer in To Be Or Not To Be
55. Scott Glenn in The Right Stuff
56. Jack Nicholson in Terms of Endearment
57. Cliff Robertson in Star 80  
58. Brian Dennehy in Never Cry Wolf
59. Dennis Hopper in Rumble Fish
60. Jean Louis Trintignant in Under Fire
61. Wilford Brimley in Tender Mercies
62. Steven Bauer in Scarface
63. John Lithgow in Terms of Endearment
64. R.D. Robb in A Christmas Story
65. Michael Caine in Honorary Consul 
66. Joe Pesci in Easy Money
67. Jeff Goldblum in The Right Stuff
68. Harry Shearer in The Right Stuff
69. Ed Asner in Daniel 
70. Peter Cushing in House of Long Shadows
71. Billy Dee Williams in The Return of the Jedi
72. Pat Hingle in Sudden Impact
73. Kurt Russell in Silkwood 
74. Joe Pesci in Eureka
75. Joe Pantoliano in Risky Business
76. Bob Hoskins in Honorary Consul 
77. Giovanni Mauriello in Another Time Another Place
78. Scott Schwartz in A Christmas Story
79. Emilio Estevez in The Outsiders
80. Curtis Armstrong in Risky Business
81. Max von Sydow in Never Say Never Again 
82. Eric Idle in The Meaning of Life
83. George Wyner in To Be Or Not To Be 
84. Paul Gleason in Trading Places  
85. David Warner in The Man With Two Brains 
86. John Carradine in House of Long Shadows
87. Fred Ward in Uncommon Valor 
88. John Cleese in The Meaning of Life
89. Ian McDiarmid in Gorky Park
90. Jack Thompson in Merry Christmas, Mr. Lawrence
91. Clancy Brown in Bad Boys 
92. Mickey Rourke in Eureka
93. Harrison Ford in The Return of the Jedi 
94. Amrish Puri in Ardh Satya 
95. Ian Bannen in Gorky Park
96. Robert Prosky in Christine
97. Desmond Llewelyn in Octopussy 
98. Kevin Kline in The Big Chill 
99. F. Murray Abraham in Scarface 
100. Beau Bridges in Heart Like a Wheel
101. Michael Gough in The Dresser 
102. Jeffrey Tambor in Mr. Mom
103. Craig T. Nelson in Silkwood
104. Reni Santoni in Bad Boys 
105. Roberts Blossom in Reuben, Reuben 
106. Tim Curry in The Ploughman's Lunch
107. Martin Mull in Mr. Mom
108. Tim Matheson in To Be Or Not To Be
109. Patrick Swayze in The Outsiders
110. Ron Silver in Silkwood
111. Peter Capaldi in Local Hero
112. Fred Ward in Silkwood 
113. Robert Loggia in Psycho II
114. Rowan Atkinson in Never Say Never Again
115. Patrick Swayze in Uncommon Valor
116. Simon MacCorkindale in Jaws 3-D
117. Laurence Fishburne in Rumble Fish
118. Louis Gossett Jr. in Jaws 3-D
119. Peter Coyote in Cross Creek 
120. William Devane in Testament
121. Randy Quaid in National Lampoon's Vacation
122. Danny DeVito in Terms of Endearment
123. Terry Jones in The Meaning of Life
124. Ryuichi Sakamoto in Merry Christmas, Mr. Lawrence
125. Malcolm McDowell in Cross Creek
126. Roger Rees in Star 80
127. Anthony Michael Hall in National Lampoon's Vacation 
128. Terry Gilliam in The Meaning of Life
129. Nicolas Cage in Rumble Fish
130. Reb Brown in Uncommon Valor
131. Robert Loggia in Scarface
132. Edward Fox in Never Say Never Again
133. Paul Drake in Sudden Impact
134. Robert Vaughn in Superman III 
135. Mitchell Lichtenstein in Streamers
136. Louis Jourdan in Octopussy
137. Mandy Patinkin in Daniel
138. Matthew Modine in Streamers
139. Leo Rossi in Heart Like a Wheel

Next Year: 1953 Lead

Alternate Best Supporting Actor 1983: Mickey Rourke in Rumble Fish

Mickey Rourke did not receive an Oscar nomination for portraying The Motorcycle Boy in Rumble Fish.

After Francis Ford Coppola made his extremely by the books type of adaptation of an S.E. Hinton novel The Outsides he then proceeded to make an extremely stylistic film out of another one of her novels Rumble Fish. It is an intriguing albeit not wholly successful film about Rusty James (Matt Dillon) a street thug who strives to be like his older brother.

Mickey Rourke plays that older brother who is only known as The Motorcycle Boy. The film's style goes past the visual style Coppola employs and can be seen reflected in the performances as well. Not every performance quite feels right, but Mickey Rourke, as he would later show in Sin City as well, seems to be a master of style. Rourke's whole performance seems to fit perfectly in with the surrounding imagery, and manages to even amplify it. Rourke whole physical being here seems to be that of almost a painting. He is seemingly one with the film in way almost no other of the performances are. Where some seem to partially struggle to find the realism or the style for their character, Rourke has a firm grasp of the challenge put forth by Coppola's direction, and is rather enthralling to watch from the moment he suddenly appears after a great deal of time building on the unseen character's seemingly legendary status.

From the way he is spoken about by others, by his brother, and of course his own moniker The Motorcycle Boy is almost a mythic character. Rourke's performance meets the demands of such a role by giving the character such a natural cool in every frame that he inhabits. Rourke speaks quietly, and often in a poetic fashion. That could come across as pretty annoying pretty quickly, but Rourke completely sells the idea of the Motorcycle Boy as almost a sage of sorts. Rourke just simply is the legend proclaimed he should be. With seemingly no effort Rourke carries this odd command in the role, and even a certain menace whenever The Motorcycle Boy suddenly appears to save his brother from various situations. Rourke holds the screen without question in these scenes and it is simply a marvel to watch him so artfully plays this part.

Mickey Rourke manages to go further than simply be the idealized man that the Motorcycle Boy's brother imagines him as though. Rourke is excellent, even while staying very much in his style, he suggests a very quiet underlying warmth in his scenes with Dillon, suggesting the love of the older brother quite effectively. Rourke's particularly good in the scenes where the Motorcycle Boy speaks about their mother, and has to interact with their alcoholic father (Dennis Hopper). Rourke technically does not say all that much in these scenes but there is such a poignancy he brings out of his performance. Rourke seems to suggest the memories of their mother simply in his expression in these moments, and is quite affecting in the way suggests how deeply felt the loss of his mother was. It's terrific work as Rourke manages to be so emotionally intense yet do it in such modest yet moving fashion.

Rourke's performance is the highlight of the film as it often loses some of its momentum whenever he is off screen. Whenever he is on screen Rourke absolutely enlivens it through his flawless ability to be so in tune with the stylization of the film. Rourke is able to be everything that is claimed about The Motorcycle Boy and is able to even earn having such a name for his character through his performance. Rourke takes the challenge of character and absolutely thrives with the idea. The Motorcycle Boy is sort of a personification of a James Dean sorta cool which Rourke achieves well never seeming like he is trying merely to copy James Dean. Rourke though never just let's this be a stylistic caricature alone, but does bring the needed depth and emotional honesty to the part as well. It's a striking work from Rourke, and easily the most memorable aspect of the Rumble Fish.

Alternate Best Supporting Actor 1983: Don Ameche in Trading Places

Don Ameche did not receive an Oscar nomination for portraying Mortimer Duke in Trading Places.

Trading Places is a very enjoyable film about a wealthy investor (Dan Aykroyd) being forced to switch lives with a poor con man (Eddie Murphy) by two rich brothers.

One of the reasons I chose to review Don Ameche in this film was that the only time I have reviewed him so far was for his Oscar winning performance which I was not particularly favorable to. Of course that was a case of the recognition being more of the problem than his performance as it is very unlikely any actor could have been able to do much with the thin role he had in Cocoon. Any I felt I kinda owed him a review of a performance that would have been a much more interesting Oscar win. After all it was his first theatrically released film after a very long hiatus from the cinema. Although that is easy enough to answer why he was not nominated through the nature of his part and the nature of film. Actually Denholm Elliot was recognized for the film even winning the BAFTA for it. Elliot is good in the film, but knowing the BAFTAs and their love of Elliot there was no way they would have recognized anyone else before him.

Ameche plays one of the Duke brothers who decide to manipulate a few lives for their own personal enjoyment. The other elder brother Randolph is played by another golden age of Hollywood alum Ralph Bellamy. Both Bellamy and Ameche are decidedly against the types that played in the old days this time playing the villains. Bellamy plays Randolph as a sorta of a kindly old man although this only hides the fact that he is quite sinister still. Ameche is more to the point playing Mortimer as very directly dismissive of people who he views lower than him, and that happens to be pretty much everyone even seemingly his brother at times. Ameche attunes his performance rather brilliantly here as it would have been easy enough to be just the angry the rich man who gets his comeuppance by our comedic heroes, which often the case in many comedies. No, instead Ameche tries hard to be just as funny but in his own way.

Ameche goes about being a straight man of sorts in his portrayal of Mortimer Duke and is quite adept at being funny while still fulfilling his role as one of the film's villains. Ameche is great in his constantly disgusted reactions at those who he views lower than him, which since that's most everyone these are never in short supply. Ameche plays it with a hilarious yet silent intensity as their is such a venomous disgust in his eyes in his glances. Ameche establishes himself as a humorous factor in every scene he is in merely for his pitch perfect reactions he gives to Mortimer in any situation. It could have been simple enough just to let Eddie Murphy show off with his ad-libs, but Ameche never lets Murphy steal the show. Ameche never allows himself to be overshadowed though staying with Murphy all the way, and perhaps even stealing some of the limelight from him with his commanding yet comedic way as Mortimer.

One of Ameche's best moments was an unintentional one apparently where he's thrown back a money clip and clumsily pops it up several times until he finally catches it. One has to give credit to Ameche and Bellamy for staying in character, and Ameche, although technically messed up, plays it off like a total boss creating quite the funny scene. My absolute favorite scene of Ameche's is at the end of the film when the two men they played with get back at them causing the Duke brothers to lose all of their money. Ameche makes the most of the moment as he finally shows Mortimer completely lose his reserve, and basically finally spewing the sort of sentiment that was in his mind in most of the other scenes in the film. Ameche loses his "four letter word for excrement" is absolutely hilarious to witness, and only wish that it had gone on for a little longer. This is all together a very entertaining performance by Don Ameche, and hey if the Academy had wanted to throw him a win, like they apparently did, I certainly could have stood behind it if it was for this turn.

Alternate Best Supporting Actor 1983: Ed Harris in The Right Stuff

Ed Harris did not receive an Oscar nomination for portraying John Glenn in The Right Stuff.

The Academy actually did right for The Right Stuff (no pun intended) when they nominated Sam Shepard for his excellent understated performance as Chuck Yeager, although that doesn't make up for the ridiculous snub of Philip Kaufman's direction. The Right Stuff though has a great ensemble though with almost everyone offering something with their performances. From Jeff Goldblum and Harry Schearer's enjoyable performances as comic recruiters, the finely attuned work from Veronica Cartwright, Kathy Baker, Mary Jo Deschanel and Pamela Reed as the astronauts' wives, and of course most of the astronauts themselves. Dennis Quaid brings the right type of smirk pompousness as a man whose too much of a hot shot, Fred Ward an endearing and later rather moving lunkhead, and Scott Glenn is quite entertaining as the somewhat offbeat Alan Shepard. My favorite performance out of the Mercury seven though belongs to Ed Harris given the complete opposite of his viciously cynical performance in Under Fire also from 1983.

It's interesting to look at Harris's work as a bit of an interesting counterpoint to Sam Shepard's performance as Yeager. Shepard exemplifies the true American hero who strives for the very best but with the utmost modesty and integrity. Well Harris's John Glenn is a little different, he's also an all American hero but of a different sort. The first time we see Glenn it is on a TV show and we meet the John Glenn as would be perceived in the media. Harris plays Glenn as the most obvious sort of all American hero in that it would be seemingly impossible not to recognized him as such. Harris brings the most upright of posture, the brightest of smiles and his whole demeanor is that of pure optimism. Harris manages quite a certain charm here of this very particular sort in his performance. He makes his Glenn just seem almost too good in his all American quality and Harris is great here by subverting it slightly. He makes Glenn the public hero he should so that all would seemingly love him but Harris makes it so extreme to show that to a certain degree that it is a facade for the press.

Glenn is not always in the public eye though and Harris presents a slightly different Glenn. Harris changes his performance just enough in that well he's not quite exactly the image he presents, although he's not entirely not that either. Harris rather presents a technically similair man but this time one that you can wholly believable. In the scenes with the other astronauts, particularly when they are in contention with one another, Harris shows that Glenn fervent belief in his own morality does not always make him the most likable. When Glenn yells at the other astronauts for a perceived unfaithfulness to their wives Harris does not portray Glenn's outrage as an endearing morality, but instead as a very passionate yet seemingly hate driven venom toward the other men. Harris does not try to make Glenn negative though but rather effectively wipes away the sheen he so brilliantly created in his earlier scenes. Harris is terrific though also in revealing a more positive side of Glenn in a more realistic sort of way.

Harris nicely, along with Ward, Quaid, and Scott Glenn, creates a real camaraderie between the astronauts as they begin their missions as well as start getting to know one another. There is not any obvious moments where each become friends really, but rather they are very good in naturally portraying the way they seem to accept each others as proper comrades. My favorite warmer scene with Harris is in his scenes with Mary Jo Deschanel as Glenn's wife Annie who suffers from a very sever stutter. Harris is particularly sweet in this scene as he portrays Glenn as almost kind of laughing at his own perfect image to his wife. Harris, in all his scenes with Deschanel, exudes such a comforting quality portraying Glenn's love for his wife but also the way he tries to protect from scrutiny due to her speaking disability. It's lovely work by Harris and shows the the true strength of his performance. It is rather fascinating in that he manages to create a portrait of John Glenn's image as false, well making it true at the same time.

Alternate Best Supporting Actor 1983: Burt Lancaster in Local Hero

Burt Lancaster did not receive an Oscar nomination, despite receiving a BAFTA nomination, for portraying Felix Happer in Local Hero.

Local Hero is an enjoyable film about a representative from a Texas oil company (Peter Riegert) going to a town in Scotland to secure rights to build a refinery in the area.

Burt Lancaster plays the owner of the Texas oil company named Felix Happer. Local Hero is a lighthearted style of comedy with many colorful and off-beat characters. The first one we meet is Happer played by Lancaster who we first meet as he's sleeping through a meeting about the refinery in Scotland. Happer then proceeds to send Mac MacIntyre (Riegert) on this particular mission simply because he believes him to be Scottish due to his surname. Happer first gives Riegert a few words of "wisdom" the most important of which is to make sure to look to the sky. Lancaster of course has the command needed to man of Happer's power, but Lancaster wryly portrays the eccentricities of his character. There is such a enormous delight in his face as he encourages Max to make sure to observe all the things that take place in the stars, and report back to him first chance he has. 

Lancaster after that point appears periodically throughout the film as we either see Mac reporting him on the sky or Happer is being harassed by a seemingly deranged former employee. Lancaster is rather entertaining  in showing the joy in Happer as he seems to absolutely love to hear the various discoveries by Mac as Lancaster gives Happer an endearing childlike enthusiasm. Lancaster contrasts this well with the scenes of Happer being harassed though by showing the complete exasperation at the antics of the man that seemed designed just to get under Happer's skin. Lancaster does this quite well and is particularly funny when he more or less orders for the man to be shot. Lancaster has some excellent comedic timing in these scenes and made me look forward to every time the film cut back to him as he was consistently enjoyable to watch.

Eventually, in the film's climax, Happer comes to Scotland to make a deal with the one holdout on the deal. Happer basically shows up and solves all the problems, and rather quickly wraps up the film. The most important scene in regard to this is actually off screen as it appears that Happer finds a kindred spirit in the one holdout. Lancaster does not get to do a great deal in these scenes, but what does do he does well. He comes in, again with Lancaster's strong presence that he kept while into his later years, and makes Happer's clean up convincing. He also properly calls back to the enthusiasm of his phone calls with Mac to show Happer's change of heart as quite believable showing it to not be much of a change of heart after all. This role is obviously not the biggest challenge of his career, but Lancaster fulfills it wonderfully well proving himself quite capable in a mostly comic role. 

Alternate Best Supporting Actor 1983: Darren McGavin in A Christmas Story

Darren McGavin did not receive an Oscar nomination for portraying Mr. Parker better known as the Old Man in A Christmas Story.

Well where do I begin with a performance like this. Well how about some random trivia that Jack Nicholson was apparently very interested in playing the role of the Old Man. Of course one can't helped but be interested to know exactly how that would have went as the Old Man would have been a very different role for Nicholson. Also knowing that Nicholson began giving some rather indulgent performances in the 80's as well as that director Bob Clark likely would not have been able to restrain him, in addition to how McGavin's performance turned out I think it was an all around good thing that never came to fruition since the studio felt Nicholson would have cost too much. Clark apparently was also glad that did not happen since he felt Darren McGavin was born to play the role, well Clark was absolutely correct with that assessment. McGavin just simply is the Old Man here and there is never a doubt about him being perfectly cast in the role. McGavin though goes a step further than that though by also playing the role perfectly as well.

The role of the Old Man in nature is a pretty flamboyant one since A Christmas Story is a comedy that is fairly broad in a certain way. It never goes fully absurdest though and carefully keeps a certain grounding in reality which makes it the memorable film it is. McGavin has a difficult role in the Old Man who is perhaps the most insane of the characters, and it is not hard to see how the part may have been played. Well McGavin is able to find just the right tone for his performance to make the eccentricities of the Old Man sing fairly loudly well never making him just seem to be too much of a cartoon. The way he strikes up the balance is really the genius of his performance but let's just look at the most obvious thing to talk about which is the more comedic side of McGavin's performance. Well again where does one begin with a comedic performance like this other than to begin at the beginning of it as the Old Man is trying to solve some sort puzzle for a contest. McGavin's whole style he takes is just so natural yet so unique at the same time.

McGavin has this slightly jumbled way of speaking as he goes along in his sentences while slowing down at certain points as well as accentuating others. Possibly weird sounding merely in distribution but McGavin handled it so well, and it only adds to making the Old Man a very particular type of Old Man fitting in his own way with the world the film creates. Now McGavin whole delivery in this film is pure brilliance throughout every situation as he carries quite the amusing style to it while still bringing that sort of a fatherly menace one would expect from the Old Man when it's needed. Of course I need to stop praising the balance though because his delivery is also simply really funny. There is of course his most extreme moments where the Old Man is either yelling at his neighbors dogs or his furnace to work properly where McGavin goes off delivery a slightly legible, surely nonsensical, but altogether glorious tirades of curses of the oddest sorts. McGavin though knows exactly how to approach every scene it seems in order to derive the greatest comic effect whenever it is necessary.

I could almost described every scene McGavin is and the way he goes about portraying the Old Man's reactions to the events of the film. Every one is that good, and McGavin seems absolutely driven to be as ridiculously entertaining as possible. One example is when the Old Man learns he has won major reward. It turns out to be a rather gaudy Leg lamp, but that does not dissuade the Old Man, making sure the whole neighborhood knows of his major reward. McGavin shows such an incredible pride in his eyes and great spirit as if the Old Man had discovered something amazing, or invented something worthwhile. McGavin's makes the pride in the Old Man absolutely fervent and by doing so is absurdly funny. Now McGavin is equally funny when his lamp is destroyed due to his wife hating the lamp. When the discovery is first had McGavin is striking in how intense he is in portraying the Old Man's pent up rage and his glare at his wife for her apparent jealousy, according to him anyway. Perhaps even more perfect, although impossible, is when he discovers his lamp is impossible to repair, and McGavin plays the Old Man's reaction as such a somber acceptance of loss.

McGavin is outstanding because he goes just enough overboard to make a moments incredibly funny yet always keeps it in just the right sort of bounds that it never becomes too much or somehow repetitive. I could go on and on in describing every one of his scenes because that's how good he is here in making the most of it. Of course McGavin does not have to even be the focus of a scene to make an impact though. It could just be one reaction that he makes to be quite memorable. One of my favorites being his face of pure disbelief when he hears his son Ralphie (Peter Billingsley) say the fdashdashdash word, or perhaps his face of pure disgust when he watches his younger son disgustingly plant his face into his food. McGavin's portrayal makes one comedic gem after another through the character of the Old Man. It's exceptional work that particularly thrives in the vignette nature of the film. Of course, I must say once again, A Christmas Story is not just simply some random scenes thrown together. There is the driving force of Ralphie wanting to get the Red Ryder BB gun.

If this was merely about being funny McGavin would already give a great performance, but McGavin manages to go the extra distance with his performance as seen in the scene where Ralphie finally gets his prized gift. It is in this scene where McGavin subtle grounding of the character comes very much in to play as he very much earns this moment in his performance. Despite Mrs. Parkers obvious problems with it the Old Man still decided to get Ralphie his present surprising him after it appears as though he had failed in his mission. McGavin is terrific in this scene by portraying such earnestness and genuine love in his eyes as he watches his son's dream come true. It's a beautifully heartwarming scene and McGavin is wonderful by making it seem completely fitting to the rest of his performance. I really can't praise this performance enough because Darrin McGavin is the Old Man here, and really I left off some moments some of the best moments of his performance. The problem is I would have to describe every second of his performance as this is flawless work.

Alternate Best Supporting Actor 1983

And the Nominees Were Not:

Darren McGavin in A Christmas Story

Burt Lancaster in Local Hero

Ed Harris in The Right Stuff

Mickey Rourke in Rumble Fish

Don Ameche in Trading Places