Alternate Best Supporting Actor 1989: Results

5. Burt Lancaster in Field of Dreams  - Lancaster gives a moving and memorable performance that was a worthy one to be his last.

Best Scene: Moonlight's introduction.

4. Fred Gwynne in Pet Sematary - Gwynne rises above his film to give an entertaining, but also very affecting performance that finds the right tone for the material.

Best Scene: Jud apologizes for what he has done.

3. Ray McAnally in My Left Foot - McAnally is a great performance by realizing his character as complex father who's capable of cruelty but love as well.

Best Scene: "Mother"

2. Bruce Dern in The 'burbs - Bruce Dern gives a consistently hilarious performance that brings some laughs to every scene he is in.

Best Scene: The Klopeks come back.

1. Sean Connery in Indiana Jones and the Last Crusade - Good Predictions Luke, Jackiboyz, Michael McCarthy, GM, and Anonymous. Connery succeeds completely in playing a part against his usual time giving an extremely enjoyable humorous turn, but at the same time effortlessly turns Henry Jones Sr into the beating heart of the film.

Best Scene: End of the tank chase.

Overall Rank:

1. Sean Connery in Indiana Jones and the Last Crusade
2. Bruce Dern in The 'burbs
3. Ray McAnally in My Left Foot
4. Hugh O'Conor in My Left Foot
5. Danny Aiello in Do The Right Thing
6. Fred Gwynne in Pet Sematary
7. Ray Liotta in Field of Dreams
8. Derek Jacobi in Henry V
9. Ossie Davis in Do The Right Thing
10. Burt Lancaster in Field of Dreams
11. Andre Braugher in Glory 
12. Beau Bridges in The Fabulous Baker Boys
13. Morgan Freeman in Glory
14. Joe Pesci in Lethal Weapon 2 
15. Peter MacNicol in Ghostbusters II 
16. Ian Holm in Henry V
17. Rick Ducommun in The 'burbs
18. James Earl Jones in Field of Dreams
19. Jerry Orbach in Crimes and Misdemeanors
20. Christopher Lloyd in Back to the Future Part II
21. Robert Eddison in Indiana Jones and the Last Crusade
22. John Turturro in Do the Right Thing
23. Denzel Washington in Glory
24. Ethan Hawke in Dead Poets Society
25. Harold Ramis in Ghostbusters II
26. Danny DeVito in The War of the Roses
27. Willem Dafoe in Born on the Fourth of July
28. Jason Robards in Parenthood
29. John Leguizamo in Casualties of War 
30. Denholm Elliot in Indiana Jones and the Last Crusade 
31. Michael Biehn in The Abyss
32. Robert Downey Jr. in True Believer
33. Richard Jordan in Romero
34. River Phoenix in Indiana Jones and the Last Crusade
35. Henry Gibson in The 'burbs 
36. John Mahoney in Say Anything 
37. Dan Aykroyd in Ghostbusters II
38. Paul Scofield in Henry V
39. John Rhys-Davies in Indiana Jones and the Last Crusade
40. Corey Feldman in The 'burbs
41. Julian Glover in Indiana Jones and the Last Crusade
42. Joss Ackland in Lethal Weapon 2
43. Ernie Hudson in Ghostbusters II
44. DeForest Kelley in Star Trek V: The Final Frontier
45. Kevork Malikyan in Indiana Jones and the Last Crusade
46. Tom Hulce in Parenthood
47. Gale Hansen in Dead Poets Society
48. Rick Moranis in Ghostbusters II
49. Bruno Kirby in When Harry Met Sally
50. Randy Quaid in Christmas Vacation 
51. Giancarlo Esposito in Do The Right Thing
52. Charles Hallahan in True Believer
53. Robert Sean Leonard in Dead Poets Society
54. Brian Doyle-Murray in Christmas Vacation
55. Raymond J. Barry in Born on the Fourth of July
56. William Hickey in Christmas Vacation
57. Alan Alda in Crimes and Misdemeanors
58. John C. Reilly in Casualties of War 
59. Benecio Del Toro in License To Kill
60. Miko Hughes in Pet Sematary 
61. Joaquin Phoenix in Parenthood
62. Zakes Mokae in A Dry White Season 
63. Keanu Reeves in Parenthood 
64. Sam Waterston in Crimes and Misdemeanors
65. Brian Blessed in Henry V
66. Marlon Brando in A Dry White Season
67. Christian Bale in Henry V
68. Macauley Culkin in Uncle Buck
69. Tom Bower in True Believer
70. Don Patrick Harvey in Casualties of War
71. Robert Davi in License to Kill
72. Brother Theodore in The 'burbs
73. Michael Byrne in Indiana Jones and the Last Crusade
74. Robin Williams in Dead Poets Society
75. Ian McKellen in Scandal
76. Kurtwood Smith in True Believer
77. George Carlin in Bill & Ted's Excellent Adventure
78. John Randolph in Christmas Vacation
79. Pat Morita in The Karate Kid Part III
80. Michael Gough in Batman
81. Laurence Luckinbill in Star Trek V: The Final Frontier
82. Bill Nunn in Do the Right Thing 
83. Rick Ducommun in Little Monsters
84. Samuel L. Jackson in Do the Right Thing 
85. Peter Gallagher in Sex, Lies, and Videotape
86. Jackey Vinson in The Wizard
87. Jurgen Prochnow in A Dry White Season 
88. Robbie Coltrane in Henry V
89. Dan Aykroyd in Driving Miss Daisy
90. Frank Whaley in Field of Dreams
91. E.G. Marshall in Christmas Vacation
92. Rick Moranis in Parenthood
93. Billy Dee Williams in Batman
94. Alan King in Enemies, A Love Story
95. Leonard Nimoy in Star Trek V: The Final Frontier 
96. Martin Kove in The Karate Kid III
97. Thomas F. Wilson in Back to the Future Part II
98. Johnny Galecki in Christmas Vacation
99. Cary Elwes in Glory
100. Abe Vigoda in Look Who's Talking
101. Pat Hingle in Batman
102. Robert Wuhl in Batman 
103. Timothy Busfield in Field of Dreams
104. George Segal in Look Who's Talking
105. Reginald VelJohnson in Turner & Hooch
106. Thomas Ian Griffith in The Karate Kid III
107. Beau Bridges in The Wizard
108. Daniel Stern in Little Monsters
109. Glenn Shadix in Heathers 
110. Frank Whaley in Little Monsters 
111. Scott Paulin in Turner & Hooch 
112. Mickey Rooney in Little Nemo: Adventures in Slumberland 
113. Christian Slater in The Wizard
114. Jay Underwood in Uncle Buck
115. Ben Savage in Little Monsters
116. Brad Greenquist in Pet Sematary
117. Luke Edwards in The Wizard 
118. Frank Whaley in Born on the Fourth of July
119. Will Seltzer in The Wizard
120. Sean Penn in Casualties of War
121. Josh Evans in Born on the Fourth of July

Next Year: 1959 Lead

Alternate Best Supporting Actor 1989: James Earl Jones and Burt Lancaster in Field of Dreams

James Earl Jones did not receive an Oscar nomination for portraying Terence Mann in Field of Dreams.

Fields of Dreams is a particularly earnest film about Iowa farmer Ray (Kevin Costner) who is convinced by an otherworldly voice to build a baseball field in his corn field, and undergo a mysterious journey. I have to admit this is one of those films where I understand why people love it even though I don't carry quite the same enthusiasm for it.

The first man this journey brings Ray to is a controversial and reclusive writer Terence Mann. The character was obviously based on J.D. Salinger to the point that in the original novel it simply was Salinger. Jones's first appearance in the film comes when Ray tracks him down, and Mann is not convinced by Ray's story. Jones puts the cynic in cynicism in his initial appearance as Mann playing him as a curmudgeon who wants nothing to do with his fan. Jones is actually rather funny in portraying Mann as he openly mocks Ray's optimism about being from the 60's and even threatening to beat him with a crowbar only being stopped after Ray reminds Mann that he's a pacifist. This causes him to comically scoff which Jones does deliver quite well. Jones actually makes this work, even though it may appear slightly at odds with the character just the next set of scenes, in that he manages to make it seem as this is likely Mann's usual standard treatment for his fans who are crazy enough to track him down.

The next scenes, while Mann still needs some convincing, are taken a bit more seriously as Mann states his reasons for his reclusive life as well as why he has problems with people who expect too much of him. Jones manages to bridge this gap quite well as he plays these scenes as though Mann's talking much more from the heart. That heart being also quite filled a general pessimism and anger about the way things have turned out. Jones realizes Mann's current state quite well, but this does not last too long as he soon sees a vision as well. Jones makes the transition fairly natural as he portrays at least at first more of a mystification than a whole understanding of what's going on, and what exactly it means. When the two of them go on their guest to find a local doctor who was very briefly a major league baseball player things seem to change a bit. Unfortunately they find the man is already dead, so Mann goes about researching him, and Jones is rather affecting by showing the way Mann seems to quietly find some encouragement for optimism again through Doc's reputation.

This only seems to continue once Ray finally brings Mann back to the field where all the deceased baseball players have come back to life to play again. Jones is actually does a lot merely in portraying the reaction of Terence to the miraculous event. Jones actually just does well by showing what an average person's reaction would be which is surprise followed by a form of disbelief. Jones effectively also attaches to Mann personally as he seems to slowly lose all cynicism. For a long time in the final scenes of the film Jones is merely silent, but does quite a bit in the way he presents Mann soaking all of it in. He builds up the spirit that seems to be enlivening Mann up until he finally gives his big speech about what baseball means exactly. Jones delivers it with all the passion and invigoration of a man whose found a renewed view of life itself. This is a good performance by James Earl Jones and it fits right into the films tone. Jones work probably does not really get into the real gritty details of what would make a guy like Mann tick, rather it sticks to simpler and broader gestures which is what the film advocates, and Jones thrives within the film.

Burt Lancaster did not receive an Oscar nomination for portraying Dr. Archibald "Moonlight" Graham in Field of Dreams.

Field of Dreams ended up being Burt Lancaster's final film and it seems fitting considering how much nostalgia fills the film. The film even includes a short sequence of people gently remembering all these things about Lancaster's character Moonlight Graham. It almost seems to need to be a screen legend playing the part since Moonlight is certainly treated as a local legend while Ray and Terence discover various things about his past. It takes Ray literally traveling back in time while Moonlight still lived for him to be able to run into the old man. When he runs into him it is only fitting that it must be Burt Lancaster who turns around in the moonlight, since who else could fill those shoes? Well while casting Lancaster in the role was certainly an intelligent move on the filmmakers part, what really matters is what does Lancaster bring to the film past his status as an actor. After all technically speaking this was not truly a special appearance by Lancaster in terms of his career, this simply was his final film, since Lancaster never really stopped working after his debut in The Killers.

Lancaster only actually has two scenes, one in which is fairly short, but the first is fairly long when Ray runs into the late doctor in the past. Lancaster matches the description of the character of the Doc completely as he carries such a strong yet quiet dignity about himself. Even when Ray is just asking who he is, Lancaster exudes just a special warmth that suggests the sort of man that would be respected, and loved by those around him. Lancaster does not just leave Doc as such as he brings out a different side of the man when Ray asks about the one inning that he played in the Major Leagues. Lancaster in the moment changes Doc's demeanor slightly as the enthusiasm of a younger man seems to spring out, and he wonderfully suggests the past where he very briefly got to live his dream. Lancaster does not leave it as a moment just joy though as he conveys a bit of longing in the Doc. Not something great to the point that it truly bothers, yet he can't help but feel a bit of sadness in the fact that he got to live his dream, but did it so briefly that he never wholly achieved it.

Lancaster continues to tap into a certain nostalgic feeling as the Doc describes his one wish to Ray, which would be to bat in a major league game just once. Lancaster creates the sense of just how much the idea means to the old man, and in his eyes there is that desire to have perhaps lived a different life. Lancaster does not leave Doc on the note of longing though as he turns down Ray's offer to return with him to the Field of Dreams. Lancaster is very moving as the doc tells Ray that what he was always meant to be was a doctor. Lancaster beautifully shows that in the end doc is wholly satisfied in his life, and in the end seems to have preferred how things turned out. His final smile sums it up, as it is one of a man who has lived a good life with baseball bring a dream that was not necessary for happiness. Lancaster has one appearance late in the film that is basically a shorter version of his earlier scene, as the Doc once more confirms what baseball means to him, but also what it doesn't mean. Lancaster's final exit is probably one of the most memorable and fitting of a final scene of any actor's career. This is a good performance and worthy to be Lancaster's last, although I must admit his performance is not my favorite of the film, and I'm not talking about Jones.

Alternate Best Supporting Actor 1989: Sean Connery in Indiana Jones and the Last Crusade

Sean Connery did not receive an Oscar nomination, despite being nominated for a Golden Globe and a BAFTA, for portraying Henry Jones Sr. in Indiana Jones and the Last Crusade.

Indiana Jones and the Last Crusade is an excellent adventure film, I actually even prefer it over Raiders, about Indiana Jones searching for the Holy grail.

Sean Connery's casting as Indiana Jones (Harrison Ford)'s father seems just about perfect, after all who should raise one iconic action hero other than James Bond perhaps the most iconic of them all. This seems played into by the film where we only get a glimpse of Henry in the film's opening flashback. In the scene we do not see Connery, only hear his voice who quietly commands young Indiana to wait for his attention. After this point we keep hearing many things about Henry, and knowing it is Connery, there is a considerable build up for his appearance which does not come until over forty minutes in. When he finally does appear though, which involves Indiana infiltrating a German castle, we don't quite get what we should have expected. Connery is known best for playing his calm and quite commanding characters like James Bond. Even when Connery grew older he still continued to play these sort of roles, after all his Oscar winning role only two years earlier was a street smart cop there to toughen up that film's hero, his first physical appearance though proves that this will not be the case in this film.

Well Sean Connery actually plays against type here, but like James Caan in Misery it's the sort of playing against type an actor rarely gets credit for. Connery usually plays a man ripe and ready to handle any situation he sees, well that's just not Henry Jones. The film does seem to purposefully set this up as Indiana is dramatically hit by a vase after he comes into his father's prison room. Although as the camera finally shows Connery it seems kind of serious. Well that's all broken once Henry's expression changes and Connery reveals the sort of man Henry is as he looks on with joyous surprise that it is indeed "you Junior", before casually lamenting the broken vase before being relieved that it is nothing but a fake. Henry is not necessarily a meek man, but he's certainly a far cry from his son. Connery, even though he's playing actually very different sort than he so often plays, fits the role like a glove. After the revelation Connery simply is Henry and he could not be more comfortable in the role. He perfectly creates the sort of more retiring manner fit for a man who has spent much of his life examining old books and artifacts in a quest to find a single item.

Connery does more than convince us in this first scene that he's more than suited in the role, but he also gives us the idea of just how entertaining he is going to be in it as well. This becomes particularly evident in his absolutely hilarious reactions in just a few minutes of the screen time. One being when Indiana reveals he brought Henry's important diary right into a Nazi lair, as Connery is great in portraying such exasperation towards his son, then I think this perhaps only topped by his quite comical disbelief after his son has gunned down a group of Nazis who were holding them at gunpoint. It is interesting Indiana Jones and the Last Crusade is one of the best sequels of all time, even though it could have easily seemed repetitive of the first one given the similair plot, but it never does. Something that I think helps a considerable amount in this regard is Connery's presence which does bring something brand new to the proceedings. That being that he is with Harrison Ford's Indiana through just about every scene of the second half of the film which offers quite a different dynamic by having these two as a duo together.

Connery is marvelous in every scene as probably one of the funniest comic reliefs in an action film ever, but it's really quite intriguing since Ford himself is also quite funny already in the role. Connery only seems to amplify any thing that Ford does, I especially love the dumb smile both of them give when they accidentally find a secret passage and come face to face with a female Nazi. Connery does distinguish himself well from Ford in the action scenes by basically presenting a novice in the arena of chases and fights. Connery's reaction are always just priceless as Henry is so surprised by so many people trying to kill him, because he states himself it is a new experience for him. There is a certain excitement about all that Connery also exudes that makes every scene all the more fun. Of course it does not even need to be an action scene for Connery's comedic timing to be flawless here. One of the most enjoyable moments has to be his scoff when he figures out the beautiful Nazi is talking to his son, and not him. This really is one of those supporting performances that just seems to go the extra distance since there is never a moment where Connery does not add something.

You know I could go on and on listing every little moment of his performance from his face after accidentally shooting their own plane, to his jubilation at discovering another secret passage just by sitting down, but there's just so many. This performance goes above and beyond all that since he also does create a more in depth relationship between Henry and his son than you might expect given the style of the film. Connery brilliant inserts just these short moments where Henry reveals the stern father, particularly in judgment of Indiana enjoying some of the action a little too much. I must admit Connery somehow works this also into some very humorous deadpan moments. Connery extends it further than that in his type of chemistry with Ford. There is not an excessive connection between the two though there seems to be an understanding of sorts. Connery brings just the right sort of warmth though with a certain distance about it as though he expects Indiana to be knowledgeable enough to know that he cares for him without directly saying it. There short dinner scene is particularly good because in an instance Connery realizes Henry's parenting method, which is not exactly cold, but leaves his son to perhaps do a little too much of his own thinking.

Now given that this is such a funny performance you'd might think it would be only capable of that, but that once again is not the case. The moments where they discuss the quest to find the grail and Connery reveals that considerable passion in Henry fitting for a man who has obsessed for it for his whole life. Connery though is outstanding in the moment where Henry explains the severity of the situation, and Connery brings such dramatic weight to the importance of finding the grail. This conviction in his speech is wonderfully handled, and in his eyes you see what the grail means to Henry. Even the relationship with Indiana, which certainly has a lot of laughs, is not only played for that though. The moment where he reprimands Indiana for blasphemy Connery shows the difference between the two and even a certain disappointment in Indiana's cynicism. Also when in a moment where it seems Indiana has died Connery is heartbreaking as he reveals so well just how much he loves his son. He earns the moment and makes the one a few moments later when he embraces his son who has survived truly poignant. Connery's portrayal of Henry adds so much to the film as he either makes a great scene all the more entertaining, or enliven a dramatic moment all the more. I don't mind saying it. I love this performance it simply is one those perfect examples of what makes a great supporting performance.

Alternate Best Supporting Actor 1989: Rick Ducommun and Bruce Dern in The 'burbs

Rick Ducommun did not receive an Oscar nomination for portraying Art Weingartner in The 'burbs.

The 'Burbs is an enjoyable comedy about a group of neighbors in a suburb who suspect their new rarely seen neighbors have a morbid secret.

Rick Ducommun seemed to specialize in slightly comic supporting parts in order to add just a bit of humor to the supporting cast, for example as one of locals in Groundhogs Day. Ducommun's most notable role perhaps came in this film as one of the neighbors of straight man on a stay at home vacation Ray (Tom Hanks). Ducommun plays Art Ray's best friend and the neighbor who is definitely the most sure that there is something going wrong at the home of the mysterious Klopeks. This technically speaking is a fairly standard role for a comedy like this being the far more excitable best friend to our more sensible lead, a mainstay although I do ponder what was the exact first version of it but I digress. Rick Ducommun offers importantly a good version of such a character. He brings a great deal of energy to his performance fitting to Art's obsession with Klopeks. Ducommun makes the enthusiasm feel natural though, and succeeds in making Art endearing rather than off putting which a character like this can easily become in the wrong hands.

Ducommun creates an enjoyable tone for his performance in the early scenes where they are simply examining the Klopeks from a distance and Ray is actually quite skeptical about the notion that there is anything suspect about whatever it is that they are doing in their basement at night. Ducommun keeps Art's manner almost curiously light as he espouses his thoughts on what they definitely are doing, according Art anyways, as though he is a boy who is telling his favorite ghost story. Well Art does basically that when he tells the story of a soda jerk who murdered his family which Ducommun delivers as Art being more than anything a bit excited by the prospect that such a story is going on right across from his house. Ducommun keeps Art as a constant source of a foolish interest in the morbid reality he's just so sure of. Of course one of my favorite moments of his performance is actually when Art kinda turns things on its head when they are actually digging to find something. Ducommun is great as he shows Art basically loses all interest once the fun of the project is lost because there is a requirement for him to do some actual work.

Of course the meat of his performance is with the direct hijinks involved with Art trying to find or witness something out of the ordinary along with Ray. Ducommun and Hanks are quite good together in portraying there various sense of curiosity which is always a bit stronger when it comes to Art's reaction. They are both equally adept though in portraying there freak outs when either something goes wrong or they have found something. The best moment of these of course being when they think they've discovered the femur of their elderly neighbor where both of them scream in a hilarious unison.  Ducommun manages just the right way to work his character though in that he keeps Art likable although he still also does make it so you quite understand why he'd eventually get on Ray's nerves particularly at the end when Ray's finally has had enough leading him to attack Art. Something I quite like the film actually though is that Art in no way learns a lesson by the end, and Ducommun expresses this so well in Art's final absurd monologue about how creeps should not mess with suburbanites. This a good sidekick performance, which I quite like, although don't quite love, unlike perhaps.....

Bruce Dern did not receive an Oscar nomination for portraying Lieutenant Mark Rumsfield in The 'burbs.

Bruce Dern plays another one of the neighbors in suburb that being Vietnam veteran Lieutenant Mark Rumsfield. Well the moment he appears with the beginning from the theme of Patton playing in the background, you know that it's going to be something memorable. Rumsfield's whole presence in the film is really one of the best elements of the film. After all the hijinks perhaps could have been left to the straight man Ray and his goofy neighbor Art, but the 'burbs decides to throw in a third player into the proceedings. That player being Bruce Dern clearly reprising his Oscar nominated role in Coming Home, well not really, but Dern perhaps plays into that idea just a bit. I mean after all his entrance in this film is not too far from first appearance in that film as gung ho military sort. Bruce Dern is just terrific as he stops out with such unshakable pride to once again raise the American flag on his ground. He's a true soldier well that is until he accidentally steps into dog excrement from his obnoxious elderly neighbor leaving Dern to perfectly lose his resolve and gain the resolve to let the neighbor have it.

What's marvelous here really is that Dern does not really take many steps to adjust his performance for a comedy. Dern might as well be in Coming Home in a way because the intensity he showed in that performance can be seen here as well, although I would argue to a far greater effect. In just some of the early scenes where we get Rumsfield's reaction along with the rest of the neighborhood Dern always manages to come out on top in terms of amount of humor derived through just how intently he glares as a new development appears. Dern is consistently brilliant in his depiction of Rumsfield's whole approach to taking on the Klopeks as he plays it as though Rumsefield is basically getting ready for some sort of black ops mission in the way he watches with the other men, as well as his very serious uncertainty after the other men suffer a bee attack due to attempting to knock on the Klopeks's door. I particularly enjoy just how impressed he is with himself when he has removed a window to break into a house and proudly announces that he did it the "military" way.

The insanity of it all continues of course as the men proceed with their plans which eventually leads them to take the ultimate action which is for Ray and Rumsfield to visit the Klopeks with their wives. Dern is just amazing throughout this sequence because of just how insane he shows Rumsfield to be as he supposedly just hanging out with the Klopeks for a friendly visit. Well Dern makes nothing friendly whatsoever about Rumsfield manner. He's always twisted in some way or another as he seems to be examining every bit of the home as though he's looking for defensive weaknesses or something. Dern keeps the same sort of crazed manner in the way he seems to be as imposing as he can be towards every Klopek member, turning his head in psychotic bent as though Rumsfield seems as though he's going to be interrogating every one of the weird brood. Dern is magnificent as he does bring potent sort of madness he's rather well known for but ups it perhaps just a notch in his depiction of Rumsfield method, I especially like when he questions Ray's manhood, when it appears as though he's backing out on the whole idea.

What works so well about Dern's performance though is when there are the moments where the fact that Rumsfield is not exactly in the military still and for all we know he might not actually have ever seen any action. There's is something incredibly funny about Bruce Dern giving such a driven performance even when Rumsfield at one point with Art is basically asking Ray's wife if Ray can come out and play. The conviction Dern brings to the whole tough vet makes it some comic gold when it perhaps slips for a moment. There is one moment in particular where Dern reveals probably the more truthful side of Rumsfield when he espouses his rather pathetic fears about climbing up a power line because its rather high. Eventual the film leads to when all three of the men concoct their plan to go through the Klopek's entire house while they are out. I have to admit I can't help but laugh throughout the sequence any time the film focuses on Dern and whatever he is doing. He really does not get to say much but every little thing that he does is just a hoot. He also nicely gets to top it all off with his masterful delivery of the immortal line "Hey... Pinocchio! Where are you going?" just before running off to capture one of Klopek's "proving" his obvious military might. I love this performance of Bruce Dern's as he pretty much make use of every second of his screen time to make one memorable character out of Lieutenant Mark Rumsfield.

Alternate Best Supporting Actor 1989: Hugh O'Conor and Ray McAnally in My Left Foot

Hugh O'Conor did not receive an Oscar nomination for portraying Christy Brown in My Left Foot.

Hugh O'Conor plays Christy Brown as a boy suffering from cerebral palsy in the earliest years of his life when everyone seems to believe that he's mentally disabled due to his physical impairment which leaves him with essentially only the use of his left leg and foot. O'Conor's physical performance is incredible. His portrayal of the effects of palsy never for a moment feels like a put on or acting in the least. O'Conor depicts so well the difficultly of Christy's condition in the randomness of the muscle movements of his face as well as the sheer weight of being unable to control the majority of his body. It's impeccable work from O'Conor as it just feels wholly real and that you are watching a poor boy with this severe disability. there is never a second even in this which feels false. What I love about the film, and this carries over to O'Conor's performance as well though is that this is not a film just about the depiction of a disability. It's always first and foremost about the man, well at first the boy, who manages to find a way in which to deal with the constrictions of it.

O'Conor of course has a set restriction, technically even more severe than his successor in the part since at this point Christy cannot even speak, due to he fact that he must maintain Christy's impairment so he also must portray the mind in the body. O'Conor does so much with his eyes in the role as he makes it rather clear that Christy is not the simpleton so many seem to take him for. A prevailing emotion that O'Conor so well expresses in his performance is the frustrations in Christy due to his forced position in life. O'Conor is interesting though in that he does not portray this in a downtrodden way as a sort of sadness. Instead O'Conor portrays an actual anger in Christy as he must basically fight against himself in order to be recognized, and rather than wanting people to feel sorry for him, he wants them not to be. O'Conor even manages to bring a little humor in part as he conveys Christy's intelligence in his expressions of a certain exasperation Christy feels when he is treated as a simpleton, particularly when a neighbor is slowly telling him letters that's he's definitely well aware of.

O'Conor realizes the spark that will motivate Christy's artistic endeavors later in life, in these early scenes as he's simply just trying to tell people he can think for himself. Although he is unable to say whole words O'Conor's delivery of the grunts of sorts that Christy is able to get out past his physical restrictions is no that of a some random noise. O'Conor brings the intensity of someone fighting to speak, he's trying to vocalize but is just unable able to do it. The moment where Christy finally proves his intelligence to his family by taking chalk with his left foot to write out mother on the floor is simply an amazing scene, and O'Conor's performance contributes greatly to this. O'Conor portrays so well the considerable physical effort it takes for Christy to do this, but also expresses the relief and satisfaction in Christy when he finishes. O'Conor whole work here is a wonderful depiction of Christy initial struggle for recognition. It does stand out on his own completely, but it does more than that. In some biography films there is a bit of disconnect between the child actor we begin with before we get to the adult actor, as though they are almost just wasting time before we really get to know the character. That is not the case here. Even though its an extreme jump in years when Daniel Day-Lewis takes over for O'Conor, there is nothing lost between the performances. O'Conor's performance matches Daniel Day-Lewis's performance, and Day-Lewis's matches O'Conor's. There is a clear progression between the two which is a marvel to behold.

Ray McAnally did not receive an Oscar nomination, despite winning BAFTA, for portraying Patrick "Paddy" Brown in My Left Foot.

Brenda Fricker, rightly, won the Oscar for portraying Christy's mother. Even with that eventual and sadly posthumous BAFTA win Ray McAnally was ignored as Christy's father. This may have partially been due to the nature of the role of Mr. Brown which feels a bit thankless at times. The first reason being Mr. Brown is not an immediately likable sort. In a far cry from his performance as the refined Bishop in The Mission, for which he also won the BAFTA, Mr. Brown is a working class father that if he were American might be described as a blue collar slob. One of the earliest scenes we see him in is finding out about Christy's birth and the complications in regards to Christy's condition. Mr. Brown instead of dealing with it in any refined fashion goes about by going straight to the pub. Even in this earliest scene of Paddy drinking away his sorrows McAnally does not leave him as simple as he might of been. McAnally certainly is good in creating that rough personality fitting for the rough drinker, but even within this McAnally subtly alludes to Brown sadness, as well as violence to a man with too many comments, not coming from Brown being saddled with such a son rather because people will treat his son as less of a man.

When Christy is a boy his father, much like everyone other than sort of his mother, is under the belief that Christy's mind is disabled as well. McAnally carefully does not portray any contempt in Paddy towards his son at this time, in fact there is even a certain protective quality McAnally suggests whenever he feels that Christy is being mistreated or in a position where he could be potentially mocked. Nevertheless though due to expecting nothing from him he does not exactly pay his son any extra attention. This is until that "mother" scene I referred to in O'Conor's review. Again it is amazing scene which is contributed greatly by O'Conor's, Fricker's, and McAnally's performances. What I love is how McAnally differs Fricker's work. Fricker is very moving in her depiction of Christy's mother's being vindicated for her faith, but McAnally is just moving in his depiction of Paddy's reaction. Although he certainly doubted his son before McAnally is outstanding as he conveys the pride in Paddy in seeing his son's intellect. McAnally is particularly great in the way he shows Paddy being moved to tears, and almost has to move to an over joyous celebration in order to stop himself from breaking down completely.

The thankless nature comes a bit as the film continues just because McAnally gets less time than Fricker, but he certainly still keeps a strong presence throughout the proceedings. McAnally also does have to deal with less endearing side. What's special about this performance is that McAnally brings depth to the rather uncouth side of Paddy. McAnally does not hold back in that he is certainly quite imposing when his rage does reveal itself, but is never something simple. One terrific moment for McAnally is when the large family must eat porridge due to Mr. Brown having been fired, and Christy makes a few comments. McAnally does not show a baseless rage but presents where it comes from. McAnally brings a vulnerability in the action that he suggests seems to stem from Mr. Brown knowing that he's not properly providing for his family. McAnally never treats Mr. Brown as a simple man even at his worst when he viciously berates his pregnant daughter. In the moment just before McAnally is just as good at showing the loving side as he plays with another one of his sons, and even in the switch McAnally never makes Mr. Brown's reaction as something from an uncaring father quite the opposite actually. McAnally makes an honest man of this sort. One of his best scenes is when Mr. Brown shows his love to Christy by building him a room, though never says it, there is such a warmth that McAnally gives in his action that he gives sense to Mr. Brown. This is a brilliant performance by Ray McAnally which works as an excellent counterpoint to Brenda Fricker's work. Where she presents a wholly positive influence for Christy, McAnally vividly creates both the positive and negative influences Christy Brown's father also had on the man.

Alternate Best Supporting Actor 1989: Fred Gwynne in Pet Sematary

Fred Gwynne did not receive an Oscar nomination for portraying Jud Crandall in Pet Sematary.

Pet Sematary is a rather ineffective horror film about a cemetery which raises the dead. The film is severely weakened by the awful lead performance by Dale Midkiff, and its inability to find the right tone for the material.

Well when a film has a questionable or inconsistent tone it becomes kinda a game of tones for the actors as you wait to see who, if anyone, who find a way to make the material work. Well that sounds like a job for one man or should I say one Munster....?(Feel free to boo as loudly as you like at that). Well anyway that's Fred Gwynne best known for playing the comic Herman Munster in the sitcom the Munsters, but from what I've seen as character actor he always manages to offers a rather unique presence. Now Pet Sematary seems like perhaps it should have gone for a tone similair to An American Werewolf in London, after all both have a zombie who shows up from time to time as a moral guide for the protagonists. That being one which certainly does not shy from the horror, but has a sense of humor in regards to the absurdity of the plot. Well Fred Gwynne seems to be playing for something like this with his choice of making sure to do a rural Maine accent, but this is not Gwynne exactly trying to realistically depict a man from a rural part of Maine, rather a man from Stephen's King's rural Maine.

Gwynne's accent really is a stroke of brilliance because it most definitely is funny and is quite enjoyable just to hear him speak in the role. That alone might be good but what's remarkable is that even though it is an entertaining choice Gwynne's choice does not feel wrong for the horror aspect of the film. Gwynne somehow manages to make the accent go beyond being something simply to enjoyed. Of course if this accent was used in a serious drama it would seem quite out of place, but Gwynne seems to know the sort of film Pet Sematary is or at least should be. Gwynne plays into the certain absurdity of the material, but he does not let his performance be just absurd so to speak. Gwynne's accent manages to also carry this certain well mythic quality to it, it feels like the voice of a man whose had a long history involving the supernatural elements of the film, in his voice you can feel the sort of chill the story should have. Gwynne creates such a palatable atmosphere simply within this unusual though very effective approach as old Jud Crandall. You can sense the evil of the place because Gwynne presents a man who has already seen the secrets of the land.

Gwynne's whole performance is so fitting for this sort of spooky story. I love one of his first scenes where he introduces himself to his new neighbors and remarks on some things he'll show them in the future. The look Gwynne gives out towards the path which leads to the titular cemetery is simply marvelous as it brings such an eerie quality to the proceedings. Gwynne's work here is such a fantastic example of an actor finding the tone of the film when the film fails to discover it as any moment you see Gwynne the film suddenly seems as though it's actually good. Gwynne finds just the right balance in his performance as he gives the story a humor of sorts through that manner that seems excessively fitting for a story one would tell around the campfire, which should be scary though that has humor within in the the general idea too. Gwynne does this so well that he manages to make the story come to life in a way that the film in itself falters in its attempts to do so. Whenever Gwynne is onscreen the film actually seems to work, even though this is often in scenes with Dale Midkiff who seems to be doing his very best to ensure that the film does not.

Now there's something even weirder about this performance. Much of the cast takes a very serious approach to the material, or at least I assume Midkiff was trying to be serious, even though story is filled with ridiculous moments. The film does seem to attempt to also have its genuinely dramatic moments within the story, but the actors who brings the most weight to these scenes is also Fred Gwynne. Gwynne is haunting in the moments where he describes the real nature of what they have done by even using the cemetery with his particularly memorable delivery of "Sometimes dead is better". Gwynne though goes past simply giving some gravity to the idea of raising someone from the dead, but also in less otherworldly concept of death itself. Even when Midkiff is the one suppose to be portrayal insurmountable grief over a certain death it is Gwynne is the one who is heartbreaking in portraying the sadness in Jud for having introduced the cemetery. Gwynne is incredibly moving as he realizes the terrible guilt in Jud who blames himself for everything that has happened. It is amazing that Gwynne is somehow the most entertaining performance and the most poignant performance in the film. He succeeds in finding exactly the right approach to handle the material and manages to elevate it to something quite memorable. He does not quite save the film, I still would not recommend it at least without some severe hesitation. He does give it an element that's well worth watching, which quite honestly shows how the rest of the film should have been.

Alternate Best Supporting Actor 1989

And the Nominees Were Not:

Ray McAnally in My Left Foot

Hugh O'Conor in My Left Foot

Bruce Dern in The 'burbs

Rick Ducommun in The 'burbs

Sean Connery in Indiana Jones and the Last Crusade

Burt Lancaster in Field of Dreams

James Earl Jones in Field of Dreams

Fred Gwynne in Pet Sematary  

For the prediction Contest:

McAnally for My Left Foot

Dern for The 'burbs

Lancaster for Field of Dreams