Alternate Best Supporting Actor 1994: Results

5. Daniel Auteuil in La Reine Margot - Auteuil gives a good performance in portraying the consistent good nature of his character well conveying also his dire state. 

Best Scene: Being saved by Margot.

4. Michael Wincott in The Crow - Wincott makes the most out of his role by bringing a style and menace with ease, even if it is a limited part. 

 

Best Scene: Gangster meeting. 

3. Bokeem Woodbine in Jason's Lyric - Although I don't think he can entirely overcome the weaknesses of his film, Woodbine still is the best element of the film in his passionate and desperate portrayal of a "bad brother". 

Best Scene: Rejected gift.

2. Delroy Lindo in Crooklyn - Lindo gives a natural and moving portrayal of a goofy, if somewhat under-qualified, dad and passionate, if not stubborn, musician. 

Best Scene: Telling the kids about their mom.

1. Jean-Louis Trintignant in Three Colours: Red - Good prediction RatedRStar. Trintignant gives a brilliant portrayal of curmudgeon slowly finding a way to returning to the loving romantic he once was.

 

Best Scene: In the theater. 

Updated Overall

 

Next: 1970 Lead

Alternate Best Supporting Actor 1994: Daniel Auteuil & Jean-Hugues Anglade in La Reine Margot

Daniel Auteuil did not receive an Oscar nomination for portraying Henri de Bourbon nor did Jean-Hugues Anglade for portraying Charles IX in La Reine Margot. 

La Reine Margot is an effective film that follows the political plots of France between Catholic and protestants built around a sham marriage.

The shame marriage at the center of it being between Isabella Adjani's titular Margot, Catholic sister of the King, and Daniel Auteuil's Henri a protestant. Auteuil's whole appearance seems to be a story in itself. This with his frizzled hair and generally unkempt demeanor. Auteuil only amplifies this within his performance within the marriage scene with the expression of a man whose not quiet sure why he's there, and seems a little lost within it all. Auteuil's performance realizing as a man whose essentially a pawn as the film opens, both for the sake of the supposed alliance but also within his relationship to Margot who initially openly flaunts her intention both not to sleep with Henri but also basically sleep with everyone else she can get her hands on. His performance largely early on brings this right touch of affability with his state of consistent bafflement. He doesn't show a man completely out of his element, but rather one whose nature doesn't make him quite suited towards the situation. This as even when Margot declares her open disregard for their marriage Auteuil portrays just a bit of uncertain confusion rather than any kind of rage. This as he presents a man very much with the awareness of being stuck in not a particularly good situation but attempting to exist in it nonetheless. This situation that is only exacerbated when it turns out the marriage is but a ruse for the hierarchy to slaughter a massive group of the protestants with Henri only just barely escaping the same fate by being forced to convert to Catholicism. 

Auteuil throughout this sequence portrays the same low key fear and more importantly the manner of the man completely out of his element. What he importantly maintains is a general likability within the character's reactions. This with a sense of empathy of a basically a much better man within a circle of vultures that make up the royal court. This creating an innate sense of decency that seemingly makes the natural transition within Margot as she becomes a better person, being horrified by the actions of her family while going to actually save Henri from an assassination attempt. The one actual scene of consummation between Margot and Henri, both actors portray well less as this overture of love between the two however a mutual sense of affection and tenderness within a difficult situation. The two attempt initially an escape however this fails when Henri stays back to rescue the injured King Charles IX during a boar hunt. This though saves Henri alternately as Charles comes to take a liking to the pure of heart Henri. I think what Auteuil's work does is make this exchange a natural one. This as more than anything he portrays a lack of deception within the nature of the man. This presenting even in his interaction with the King no sense of manipulation. This rather Auteuil brings a genuine warmth about just one man caring for another man. This consistently presenting Henri as someone who doesn't care about the politics, has no questionable ambitions as the royal family does, but rather just tries to be a good man. Auteuil makes that an honest trait in his performance, that doesn't make Henri this great hero, just a good man trying to survive and the right thing when he can.  

Now Jean-Hugues Anglade's performance as King Charles actually isn't wholly dissimilar to Auteuil's work in the early scenes of the film. This in that he too portrays a man in some ways very much stuck within a system he doesn't exactly love. This portraying for the first half of the film a certain state of ennui of a man mostly going along with the political machinations of his mother Catherine de Medici (Virna Lisi) with a quiet kind of despair. This not so much for objecting towards her actions exactly but rather being this pawn even as King. Now Anglade while good in these early scenes of the film, he essentially kind of steals the whole film once the essential scene takes place where Henri saves the desperate King being attacked by boars. Anglade in the moment really snapping to attention effectively showing both the visceral personal horror of the moment, and the rapid frustration towards his ambitious brother who largely ignored the situation given he'd take power with Charles's death. Anglade portrays within this a new life of sorts largely through the humanity he brings towards the gratitude he presents towards Henri for saving his life. This including one wonderful moment where he saves Henri's life by not letting him go back to his room where an assassin awaits. Anglade's whole delivery in this scene is masterful in the invitation marks both the genuine sense of affection Charles now has found for the man along with though subtext of trying to keep the man from the assassin. Anglade is wonderful in conveying the whole message in this face to keep Henri alive. 

This is followed by an excellent scene where Charles invites Henri to the room of his mistress for a quiet dinner. Anglade is terrific in this scene by offering so much insight within the character within this scene. This in presenting the only true moment of comfort as he speaks about not having to have his food tested, and showing the contentment of the King living not as one is the man's greatest gift. This while also so bluntly portraying the graciousness of Charles as a host in the moment. This presenting both the act of the man's adoration for being rescued but also the sense within his work that with Henri is one of the few people Charles seemingly can entirely not be suspicious around. This goes further though when Henri speaks towards Charles letting himself and Margot go off to live elsewhere. Anglade's reaction is wonderful as he brings this kind of knowing exasperation towards every moment of the discussion. This showing a man with a far greater knowledge upon the situation of Henri as he speaks with doubtful tones towards whether or not Margot could really exist without the debauchery of the court to enjoy. Anglade giving a great sense of Charles as a man within this world, neither overtly good or bad, but rather existing within the cutthroat place. Of course this backfires upon him soon when a second assassination attempt on Henri is thwarted by Charles again, this time unintentionally as he takes in a slow acting poison intended for Henri by mistake. This followed by what is almost a comical scene of Anglade learning from the court's chemist about the poison. This as his reaction almost has a moment of internalized laughing at the plight he has been given, while also still conveying the horror of the realization. The scenes following being Charles slowly dying from the poison, in a particularly grotesque way as he begins to sweat blood. Anglade's great in these scenes in showing the wretched state within every expression. Anglade conveying the overwhelming pain, but also the emotional distress and bitterness within every accusatory tone towards his family who has left him as such. It must be said Anglade dies well, bringing a certain flamboyance towards the character's unlikely and odd end, that is entertaining while never losing the body horror of the situation. As stated before, Anglade very much steals the film once the character has his turn. This as he makes the most out of the atypical and off-beat monarch, who is a true product of his cruel family both in life and in death.

(Auteuil)

(Anglade)
 

Alternate Best Supporting Actor 1994: Bokeem Woodbine in Jason's Lyric

Bokeem Woodbine did not receive an Oscar nomination for portraying Joshua Alexander in Jason's Lyric. 

Jason's Lyric is a pretty bad film about two brothers who share a mutual trauma. It's largely just absurd melodrama, made worse by some wonky stylistic choices, and seems most interested in just getting to its next sex scene that is more befitting 90's after hours cable than a believable drama. 

Well Bokeem Woodbine is the only good thing about the film, might as well not beat around the bush. Woodbine being one of those actors who has been around forever, but rarely gets the chance to shine past a certain point. The most notable instance of this being his brilliant work as smooth criminal Mike Milligan in Fargo season 2. This is an earlier example of this, much earlier in his career, this time as a less cunning criminal to say the least. Woodbine plays the classic role of the "bad brother" who we first meet, as an adult, as he's getting out of prison yet another time. He is greeted by his bland brother Jason. Woodbine is wonderful in this first scene in just bringing a nice slice of charisma as he smiles in seeing his brother and offering the proper swagger of a gangster, well very much a wannabe gangster here. More than anything it creates enough of an innate likability, given afterwards we will only hear how bad his character is again and again. He receives a less enthusiastic welcome by his mother who is fed up with his behavior. 

Woodbine's good in the scene though in portraying quietly the sense of heartbreak as his expression of fading joy suggests his true sadness over his mother's reaction just as he plays the rest of the moment of casual disregard as though it is nothing. Woodbine finds well the humanity within his character that is easily the most remarkable element of the film. This even as the film is quite repetitive between a lame love story and a lame crime story. The secondary element is better only on the virtues of Woodbine's performance. This even with how we get the same scene of the brother telling the other brother to shape up with the other brother waving off any concerns. Woodbine though is good in developing this sense of lack of responsibility in the character. Woodbine finding an earnestness in the foolishness. This brings the bravado as he says with such bright smiles his intention to continue down the wrong path. Woodbine doing well though emphasizes an underlying potential good nature even in this foolishness in these moments. 

This is consistent until a scene where Woodbine's Josh makes a display of affection for his mother through gifts, all which she rejects based on them coming from drug money. Woodbine is great in this scene as his reaction isn't initially that of an angry gangster, but just a son pointedly needing some reassurance of his mother's love. Woodbine is genuinely moving in his reaction being so simply in relating to the man being a child in the moment looking for love from his mother. The rejection though leads Woodbine to naturally double down on the gangster and reveal the intensity of his anger as it spirals out of control in the moment. Woodbine's work then bringing the sort of needed id to the role as Josh gets out of control through car jacks and participating in bank robbery that only leaves him on the bad end of other gangsters. In each though Woodbine brings the certain sense of raw near insanity about Josh as he goes about each self-destructive activity, showing the lack of sense in every action. This importantly though with that thrust of emotion that propels him towards his own demise. This demise that comes from perhaps the film's worst scene that just is ridiculous with how melodramatic it is. Sadly I think it even undercuts the emotion of Woodbine's final moments with just how ridiculous it is. He tries, but can't overcome the shortcomings of the film. Woodbine often does however overall with this performance. He doesn't salvage the film but at least he's convincing within his own work. Certainly an indicator of talent at the very least, it's a shame it seems he didn't really get to show it off again until over 20 years later.

Alternate Best Supporting Actor 1994: Jean-Louis Trintignant in Three Colours: Red

Jean-Louis Trintignant did not receive an Oscar nomination for portraying Joseph Kern in Three Colours: Red. 

Three Colours: Red is an amazing film about a model, Valentine (Irene Jacob), finding a near hermit retired judge after accidentally injuring his dog.

That synopsis barely covers even the smallest surface of the film, which is so much within the execution. This of course visually, as every frame of this film is gorgeous in one way or another, but amplifying this greatness are the central performances. This though is unusual within the film as our lead character Valentine, while not passive, is a character who is supportive and often reactionary. A notable achievement of the film is how dynamic Valentine is even with that quality, of course greatly helped by Jacob's wonderful luminous performance. This is in stark contrast to Trintignant's work, who we first see when Valentine informs him of his dog's injury. Trintignant instantly establishes the reality of his character, and so powerfully realizes his state particularly against Jacob's work. This as Trintignant does two things in this opening scene. The first is actually in his reaction to seeing Jacob, which he doesn't portray as surprise that someone has invaded his house, rather he presents this sort of look upon another human trying to interact with him as some foreign thing. Trintignant presenting a man who has long closed himself from others and even seeing someone want to directly interact with him seems strange in a way. The second is showing the depressive state. A depressive state that Trintignant portrays so effectively not as something recent that wears heavily, but rather wears lightly. By this Trintignant's delivery as he asks her to leave with a calm disregard, and his eyes are just with a disinterested exasperation, it is of a man who has become content within this state, as wounding of a state as it likely was when his Joseph Kern originally entered it.

 

The greatness of Trintignant's work is from the outset as his second scene he subtly suggests the change of Joseph even as it seems like his current sate seems all the intense. This as when Joseph greets Valentine who has come to visit Kern and his dog, Trintignant is very sharp in his delivery of Joseph's callous remarks. This as he speaks about his dog without feeling, is actually very much with feeling. The feeling though of incisive divisiveness in his voice. Trintignant almost portraying a pride within this aggressive seeming apathy. At the same time Trintignant suggests the possibility for change through this greater energy within the man. Although that energy is being used for such negative thoughts, Trintignant shows that the interaction has changed the man. This as Trintignant brings an eagerness to the interaction, even though the eagerness is to be misanthropic. This which is revealed all the more when Valentine discovers that Joseph listens in on his neighbor's conversations. Although initially Trintignant's reaction of one is of a natural ashamed quality for the voyeurism. When he begins to speak though again Trintignant brilliantly segues within the explanation. The explanation that he speaks with this fascinating combination in his work. This as his face carries with a venomous disgust, while his voice is spirited in describing his use of the phone calls that support his pessimism. This as Trintignant suggests a man who finding support for his cynical views gives him a strange sort of life. 

Trintignant finds this remarkable balance in his work particularly in the way he interacts with Jacob. This as again he speaks to her with a growing interest, almost every line there is a greater sense of the man in fact connecting. This even in reacting towards her with a genuine sense of interest in his eyes. This while though speaking towards that striking bitterness within the man. The greatness within Trintignant's work is his ability to realize Joseph not as a man who has come to hate the world because he's a true misanthrope, but rather a man who has come to hate the world because he's a true romantic. Trintignant presenting the man as the witness of people's failures with certainty in his voice and directness of his eyes as though it is a success for him to see those failures. What I love is the soulfulness that Trintignant delivers within this approach. This as he even questions Valentine's reasons for saving his dog, it is with intensity in his delivery, yet there is a sense of heartbreak in his eyes. This man trying to push his nihilism as a way to soothe himself in some way. This as Trintignant speaks with such confidence in his distaste for people, yet is on the verge of tears all the same. This makes it wholly believable then as we do see a slow turn from Joseph in each subsequent visits by Valentine, and all the more poignant. Trintignant artfully reveals the man slowly opening up to another human. It isn't all at once, rather this gradual release of the venom and portrayal of the warmth. The slow change is so moving because of how honestly Trintignant's work expresses this. This making the sense of affection in Joseph feel all the more genuine and tangible. This as Trintignant stops speaking with the push for cynicism, even as there remain a sense of bitterness, however slowly it is changed appeal for understanding rather than a sale for that cynicism. 

 

Trintignant never skips a step in moving Joseph away from a curmudgeon in his own kind of despair. The sense of life in just his expressions is outstanding. This as Trintignant solely within his performance, seems to almost eliminate years from his brow from his first scene to his final scene. I adore his highlight scene at the end of the film when he finally leaves his property to attend Valentine's fashion show, upon her invitation, and we meet the romantic fully. Trintignant is amazing in this scene as his whole manner is so open and loving as he speaks to Valentine. The warmth earlier suggested now so naturally flowing in every gesture and every word he speaks. This even as he lets her know of what caused his earlier state, a broken heart, Trintignant now presents it as a direction reflection of the past, rather than some bitter attack on it. Trintignant still reveals the raw wound of the betrayal by the love of his life, however it is now open rather than defensive. Trintignant so deftly revealing a man now accepting the past with an actual hope for the future. Trintignant's essential final scene is a wholly silent one, this just as Joseph awaits to hear news of survivors of a ship disaster that Valentine was on. Trintignant though says it all in the absolute concern as he stares at the news broadcast, and the utter relief he expresses when he sees she's alright. Trintignant making this such a powerful and heartwarming ending, because of how nuanced and detailed his portrait is of this man's difficult journey to finding empathy once again.

Alternate Best Supporting Actor 1994: Delroy Lindo in Crooklyn

Delroy Lindo did not receive an Oscar nomination for portraying Woody Carmichael in Crooklyn.

Crooklyn is a wonderful film, always seem to like Spike Lee's films most when they feel the least like his films, about a family growing up in Brooklyn. 

 

Frequent Spike Lee collaborator Delroy Lindo plays the patriarch of the family, though the use of patriarch might be a bit of stretch, and the father of five children along with his far stronger willed wife/school teacher Carolyn (Alfre Woodard). Lindo's, who is more often cast as a tough guy, is decidedly not that in the early scenes of the film. He's terrific though in establishing really the kind of father he is in such a naturalistic way. This as Lindo just brings a comfort within the scenes of interact with the family, being a bit sloppy at times, and Lindo embraces being a bit goofy in the right way. This just being a dad who very much embraces his place not as the dominant voice of the family when it comes to affair in dealing with his children. Lindo is a good goof finding the right affability in these interactions with his children and his wife. Even when he is yelling about the musical tastes of a neighbor Lindo the right endearing quality. Lindo makes Woody not the best dad, but a good dad just in terms of obviously showing an undercurrent of love for his family that is never in doubt. Of course how he actually handles the situation of his family though is a little different. This as a consistent quality in Woody is his inability to really take charge of his boys and one daughter. Lindo though carries with this the right spirit of a guy who is definitely meaning the best in the warmth he exudes, even if his methods are not great. 

As the film goes on we learn more about Woody as he tries to make it as a musician, which he is more than struggling with due to his refusal to compromise this stance. Lindo's moments of explaining these positions are great work in presenting the stubbornness of Woody. This on one hand he brings that stubbornness as directly as he can with the sense as he speaks of a man who might be a little concerning with his own pride and not enough with his family's well being. On the other hand when explaining his reasons for this Lindo is great in making the passion absolutely genuine. In his eyes there is only the sense of a real noble intention, even if the noble intention sadly also results in the former stubbornness. Now his other major struggle is in his place of interaction in being any sort of a "leader" in the family. This when pressed about the lack of power in the building his family lives in and owns, Lindo is terrific in showing really the lack of strength in his delivery. This in just accentuating the evasion of the questions at every turn in such a natural bit of trying to delude the issue as he speaks to a tenet. The biggest instance of this though comes when a situation where Carolyn is trying to discipline the boys' TV watching, and Woody mucks things up by contradicting her. Lindo is great in the scene by showing very earnest good intention in the moment as he speaks with a casual "come on", but also in that moment not standing up to do what is needed. This even in the act of contradiction not being at all insidious rather just a bit foolish in Lindo's quietly diminishing delivery. This though leading to Carolyn turning on Woody instead, kicking him out, and this just a great bit of acting from both Lindo and Woodard. This as their interactions emphasize the ease of the fight, even the lightness of it, despite Woody being temporarily kicked out of his own home, suggests a long relationship of this kind of fight. Lindo's demeanor as he leaves rightfully is that of limited frustration and a bit exasperation. This properly showing that this isn't a life changing situation, just one of many fights low key fights of a long relationship. Although both parents take a backseat for a bit, as the one daughter goes to live with relatives in the suburbs for a bit, we return as Woody is back home but has to deliver some bad news. This being that Carolyn has cancer and could die. Lindo's performance in this scene is exceptional. This is on the surface we see him trying to be the best dad as he tells the kids gently and we as much assurance as possible. Meanwhile though in his eyes that are not quite holding back his tears he reveals the real heartbreak within the man. An equally moving moment is near the end of the film where Woody is comforting his daughter. Lindo is not at all openly distraught, rather emphasizes at every instance a reassuring warmth. He still internalizes the sense of the grief, but projects Woody now really taking up his duties to be the best dad he can be. This is the highlight of Lindo's work, but it is emblematic of his whole performance. This as he gives a performance that is complex in a low key way, by naturally revealing just a normal, though not simplistic dad. Lindo makes it all seem easy, which is really essential in releasing the film's modest tone, and creating his quietly moving performance. 

Alternate Best Supporting Actor 1994: Michael Wincott in The Crow

Michael Wincott did not receive an Oscar nomination for portraying Top Dollar in The Crow.

I had a few choices to fill the last spot, but decided to use it to the highlight the memorable character actor Michael Wincott. Michael Wincott, with perhaps one of the all time greatest cinematic voices, well at the very least one of the most underrated. A off-beat character actor, who for me, is always a welcome presence to any film that dares to include his raspy gravitas. Wincott, as is often the case for the character actor, is usually regulated to a thankless role. Often times the secondary or bit part villain to be unceremoniously killed off before moving on to the main boss. The Crow is an exception as he gets to be the big boss, which I think makes me lament a bit about the current mainstream quality of a the modern superhero films. Although the Crow is rough around the edges to be sure, I love that it has such a memorable case of diverse character actors to be found, who would never be found in the modern day superhero. I mean we have the man who should've been Black Mask, not that prancing around Ewan McGregor, this with Wincott bringing a steely gaze and all the more cutting voice. Now Top Dollar isn't a great villain as written, has some random pseudo philosophic monologues, and we wait around before Eric Draven (Brandon Lee) finally get to them. Well that is enough for Wincott, who brings the right sort presence in the quietly gleeful killer that he makes Top Dollar. This in making those pseudo philosophic monologues sing, thanks to his one of a kind voice delivering them with the right sort of darkly quiet menace. Wincott brings a nice style to his crime boss, who seems to control all crime in the town, along with his wannabe sorceress girlfriend. Wincott having this ease in his manner, but also the shameless in his blithe delivery of dismissing deaths of lowly henchmen. Wincott creates a casual manner that sort of owns the style the film is going through, while having the right amount of a fun with it as well. This when he threatens a slimy pawn shop owner for information, Wincott carries his menace with a light effective touch, in just showing the darkly vicious quality in glimpses in his eyes, but also finding a bit of comedy in just how relaxed he is about killing. Wincott actually finds a way of making the part work by kind of doing almost a hypocritical performance. This as he's both underplaying his scenes while also still being over the top in a way. This as he never overdoes Top Dollar's devious speeches, but still with his sneer and pompous demeanor doesn't at all hide the villainy of the character. This perhaps best exemplified by his final scene with Draven. This as Wincott's delivery of admitting to putting out the hit that killed Draven and his girlfriend is with a calm, even comical, admittance, almost like he's talking to a friend. His followup emphasizes this all the more as noting the smile on his face for the fight that Draven brought to him, but Wincott still has that captivating presence that wholly keeps the menace intact even with this approach. In many ways this is still a limited role, but an example of Wincott plying his trade. Taking what's there, and bringing his unique presence to make something out of it. 

Alternate Best Supporting Actor 1994

And the Nominees Were Not:

Daniel Auteuil in La Reine Margot
 
Bokeem Woodbine in Jason's Lyric
 
Michael Wincott in The Crow
 
Jean Louis Trintignant in Three Colours: Red
 

Delroy Lindo in Crooklyn

Alternate Best Supporting Actor 1994: Results

5. Bruce Willis in Pulp Fiction- Willis utilizes his usual on screen persona effectively in a role that suits it.

Best Scene: Butch saves Marcellus.

4. Bob Gunton in The Shawshank Redemption- Gunton gives a terrific performance portraying the evil Warden viciously yet never comprising the "proper" manner of his character.

Best Scene: Warden Norton threatens Andy in the hole.  

3. Gary Oldman in Leon: The Professional- Oldman is one flamboyant fireball here delivering a delicious performance as a corrupt DEA agent with almost no scruples.

Best Scene: Stansfield murders Mathilda's family. 

2. Raul Julia in Street Fighter- I give Julia the edge over Oldman as Julia seemed to give his performance all on his own accord since his film otherwise is pretty bad. Julia though is insanely entertaining in his brilliantly over the top turn as General M. Bison.

Best Scene: (This was a hard choice to make) The Bisonopolis Speech.

1. James Whitmore in The Shawshank Redemption- James Whitmore gives a very powerful and heartbreaking performance as a man whose been so institutionalized by prison that he fears the outside world.

Best Scene: Brooks's Letter

Overall Rank:

1. Martin Landau in Ed Wood
2. James Whitmore in The Shawshank Redemption
3. Jean-Louis Trintignant in Three Colours: Red
   
4. Raul Julia in Street Fighter
5. Gary Oldman in Leon: The Professional
6. Jean-Hugues Anglade in La Reine Margot 
   
7. Delroy Lindo in Crooklyn
   
8. Bob Gunton in The Shawshank Redemption
9. Christopher Walken in Pulp Fiction
10. Harvey Keitel in Pulp Fiction
11. Clancy Brown in The Shawshank Redemption 
12. Jeremy Irons in The Lion King 
13. Ian Holm in The Madness of King George
14. Richard Attenborough in Miracle on 34th Street 
15. Gary Sinise in Forrest Gump
16. Paul Scofield in Quiz Show
    
17. Giancarlo Esposito in Fresh 
18. Stephen Rea in Interview with the Vampire
19. Bokeem Woodbine in Jason's Lyric
    
20. Michael Wincott in The Crow
    
21. Maximilian Schell in Little Odessa
22. Daniel Auteuil in La Reine Margot
    
23. William Sadler in The Shawshank Redemption 
    
24. Dennis Hopper in Speed 
25. David Paymer in Quiz Show
26. Ving Rhames in Pulp Fiction 
27. Bill Hunter in Muriel's Wedding
    
28. Chazz Palminteri in Bullets Over Broadway
29. Willem Dafoe in Clear and Present Danger
30. Jim Broadbent in Bullets Over Broadway 
31. J.T. Walsh in The Last Seduction
    
32. Bill Hunter in The Adventures of Priscilla, Queen of the Desert
33. James Garner in Maverick  
34. Randy Quaid in The Paper
    
35. Tim Roth in Pulp Fiction
36. Bill Murray in Ed Wood
37. Samuel L. Jackson in Fresh 
38. Eric Stoltz in Pulp Fiction 
39. Robert Duvall in The Paper
    
40. Jeffrey Jones in Ed Wood
41. Martin Scorsese in Quiz Show
42. John C. Reilly in The River Wild
43. Clive Merrison in Heavenly Creatures
44. Aidan Quinn in Legends of the Fall 
45. Dennis Quaid in Wyatt Earp
    
46. Kevin Spacey in Iron Will
47. Paul Newman in The Hudsucker Proxy
48. Joseph Mazzello in The River Wild 
49. Gabriel Byrne in Little Women
    
50. George Steele in Ed Wood
51. James Earl Jones in The Lion King
52. Danny Aiello in Leon: The Professional 
    
53. Mark Rolston in The Shawshank Redemption 
54. Christian Bale in Little Women
    
55. Bill Pullman in The Last Seduction
    
56. Jack Palance in City Slickers II
57. Jeff Daniels in Speed 
58. Rade Šerbedžija in Before the Rain
    
59. Antonio Banderas in Interview with The Vampire
    
60. Jeffrey DeMunn in The Shawshank Redemption 
61. Don McKellar in Exotica 
62. Pascal Greggory in La Reine Margot
    
63. Charles Durning in The Hudsucker Proxy 
64. Campbell Scott in Mrs. Parker and The Vicious Circle
    
65. James Coburn in Maverick 
66. Walter Olkewicz in The Client
67. Jean-Pierre Lorit in Three Colours: Red
    
68. Rupert Graves in The Madness of King George
69. Peter Greene in Pulp Fiction
70. Mike Starr in Dumb and Dumber 
71. Taungaroa Emile in Once Were Warriors
    
72. Ben Silverstone in The Browning Version
    
73. Joe Viterelli in Bullets Over Broadway 
74. Cliff Curtis in Once Were Warriors
    
75. Christian Slater in Interview with the Vampire 
76. Gene Hackman in Wyatt Earp
    
77. Robert Englund in Wes Craven's New Nightmare
78. Peter Riegert in The Mask
79. Frank Whaley in Pulp Fiction 
80. Julian Arahanga in Once Were Warriors
    
81. Gill Bellows in The Shawshank Redemption
82. Mike Starr in Ed Wood
    
83. Bill Cobbs in The Hudsucker Proxy
84. Duane Whitaker in Pulp Fiction 
85. Powers Boothe in Blue Sky
    
86. Malcolm McDowell in Star Trek Generations
87. Judge Reinhold in The Santa Clause
88. Peter Green in The Mask
89. Philip Seymour Hoffman in Nobody's Fool
90. Jeroen Krabbé in Immortal Beloved
91. Christopher McDonald in Quiz Show 
92. Max Casella in Ed Wood
93. Roshan Seth in Street Fighter
94. Alfred Molina in Maverick 
95. David Krumholtz in The Santa Clause 
96. Brent Spiner in Star Trek Generations
97. Bruce Willis in Nobody's Fool
98. Bill Paxton in True Lies 
99. Anthony Hopkins in Legends of the Fall
    
100. Tommy Lee Jones in The Client
     
101. Tom Hulce in Mary Shelley's Frankenstein
     
102. Joaquim de Almeida in Clear and Present Danger
103. Tom Arnold in True Lies
104. Henry Thomas in Legends of the Fall
     
105. Wes Studi in Street Fighter
106. Jason Mewes in Clerks
107. Kevin Smith in Clerks 
108. Forest Whitaker in Jason's Lyric
     
109. Michael Madsen in Wyatt Earp
     
110. Art Malik in True Lies
111. Mykelti Williamson in Forrest Gump 
112. John Mahoney in The Hudsucker Proxy
113. Michael Ironside in The Next Karate Kid
114. Tone Loc in Ace Ventura: Pet Detective
115. Pat Morita in The Next Karate Kid
116. Charles Rocket in Dumb and Dumber
117. Hank Azaria in Quiz Show   
118. Donald Moffat in Clear and Present Danger
119. Jim True-Frost in The Hudsucker Proxy
120. Matthew Modine in The Browning Version
     
121. Jeremy Davies in Nell 
     
122. Dylan Walsh in Nobody's Fool
123. Jaye Davidson in Stargate 
124. Anthony LaPaglia in The Client
     
125. Eric Lloyd in The Santa Clause
126. The Rest of the Cast of Street Fighter
127. Quentin Tarantino in Pulp Fiction
128. Michael Cavalieri in The Next Karate Kid

Next Year: 1943 lead

Alternate Best Supporting Actor 1994: Bruce Willis in Pulp Fiction

Bruce Willis did not receive an Oscar nomination for portraying Butch Coolidge in Pulp Fiction.

Bruce Willis is a popular and prolific actor who I have yet to cover. Willis as an actor is a bit of John Wayne type, his performances are often less about being a chameleon, and more about using his own screen presence when it comes to playing his roles. This is not a criticism of Bruce Willis or John Wayne for that matter as both are very good at being this type of actor. Quentin Tarantino possibly had that in mind when Bruce Willis played the part of Butch in Pulp Fiction. Butch stands as the "lead" of his story in the middle of the film about a boxer who decides to trick a mobster (Ving Rhames) by saying he will take a fall, but instead bets on himself before winning the fighter ripping off all those who were trying to profit from the fix.

Butch is probably one of the least talkative characters in the film, and unlike most of the characters who like their long speeches Butch though mostly reacts to someone else talking, and is much more a man of actions rather than words. Willis was the right choice in the role as he often plays a man of action and is able to portray such a role with a fair amount of ease. Willis being a competent action hero if very good in conveying the emotions of a character while the character is on the move. This works particularly well for Butch in the opening of his story as Willis tells a great deal about him just as Butch escapes the Boxing arena and takes a cab to escape. The film does not dwell on the emotions but Willis gets across the desperation and determination of Butch instantly.

 Butch honestly does not have the flamboyancy or the complexity of the characters of Jules (Samuel L. Jackson) and Vincent Vega (John Travolta). His role is very much different in that he is very much the more traditional lead. His most defining features are that he does things his own way as well as that he very much respects his watch that has been handed down in his family. There is not a great deal more to him than that, and that really is plenty for Willis to make him the compelling enough character for his story. The middle story actually has considerably more actions scenes than the other stories, and Willis traverses these well always being believable through any of the situations that Butch finds himself in.

Willis is continues to be effective throughout his story just a very much average hero going through the story and delivers in his scenes whether they need a strong presence, some emotional weight, or a little bit humor. Willis brings all of these qualities naturally to the part of Butch, and leads his story just as he should in his usual leading man way although in this case in a much smaller scale. I would say this is not the best performance by Willis in this style, nor would I say he is the most memorable part of this film. This is a fine example of Willis's strength as a performer though, and realizes the character of Butch properly.

Alternate Best Supporting Actor 1994: Bob Gunton in The Shawshank Redemption

Bob Gunton did not receive an Oscar nomination for portraying Warden Samuel Norton in The Shawshank Redemption.

The Shawshank Redemption has a terrific ensemble from its two great lead performances by Tim Robbins and Morgan Freeman, to the small supporting turns by the other prisoners in Shawshank particularly of course James Whitmore's heartbreaking turn, and as well the two central antagonists of the film. The head of the prison guards Captain Byron Hadley who is brutally played by Clancy Brown, and the man he acts as the brawn for the Warden of the prison Samuel Norton played by Bob Gunton.

The first time we meet the warden he welcomes the prisoners might actually be one of Gunton's most disturbing scenes. He opens up the scene as one would expect a warden from the period. Gunton is dignified and dominant with a certain amount of piety. He is the strict and firm administrator, but we see more to him when after he asks if the men have any questions. One man does ask a question causing just the slightest of indication in Norton that makes Captain Hadley violently discipline the man. Norton doesn't change his expression and in that Gunton shows the true evil of the man in this unchanging expression. The expression shows that such cruelty is something maintained as a commonplace institution by Warden Norton.

In the first hour of the film there is not a great deal of Gunton, but from what we do see of him he is very effective in his creation of Norton as a character. What is important about his performance is avoiding stereotype as the man who claims to believe in the teachings of Jesus yet seems to follow none of them is ripe for cliche. Gunton never gives a cliched characterization to Norton, and one of the ways he does this is that he never lays on the piety of Norton too thickly. Gunton instead lets the hypocrisy speak for itself really and never hammers the idea in. Gunton by playing it this way is able to be far more convincing in his character. He is able to make this piousness in Norton something very realistic, and as something that Norton uses almost to hide the true nature of the man.

Gunton does just hammer on just the evil nature of his character, but instead does well to mediate the character in other scenes. There are the moments where he is just handling the day to day operations and reacts appropriately as a man doing his job his way such as in the scenes of his at first reluctance and later frustrations over some of Andy Dufresne's (Tim Robbins) methods to try to bring humanity back to the prison. Gunton also is incredibly good in his scenes of bring the good Warden to the public even though he is only using the public to make himself rich through bribes which are hidden through Andy's abilities from being a former banker. Gunton smile as he is doing this is just perfect in showing the good public servant hiding the truly devious criminal beneath it.

Gunton's variety he brings to Norton allows the moments when the vile monster to finally come out to be especially effective. His best scene in the film is after Andy has been disobeying him and he comes personally to tell Andy what will happen if he continues on this path. Gunton is rather terrifying as he tells Andy his threat with that soft gentle southern accent. It is a brilliantly handled scene because although Gunton keeps the Warden's fairly restrained style in tact the sheer viciousness and hatred in the Warden as he vows to destroy everything that Andy has worked for is chilling. Gunton's delivery of the threat makes one of the best scenes of the film as he presents us with the absolute worst in selfish and uncaring Warden.

Where James Whitmore's performance expresses the sad truth to what happens to man full engulfed in the institution of Shawshank, Gunton's performance expresses the worst that a man can do through the power given to him through the institution. He does this incredibly well never letting the warden just being a one note antagonist as he very easily could have been, and he realistically represents the dehumanizing element in the story. Gunton's portrayal of the Warden here is a terrific example of being the man you absolutely hate in the film. The degree in which Gunton makes you hate Norton serves the film wonderfully as it makes both Andy's fate as well as the Warden's fate an extremely satisfying ending to this great film.

Alternate Best Supporting Actor 1994: James Whitmore in The Shawshank Redemption

James Whitmore did not receive an Oscar nomination for portraying Brooks Hatlen in The Shawshank Redemption.

After having two large delicious servings of ham it is time for a serious change of style as I look at the performance of James Whitmore in The Shawshank Redemption. Whitmore plays an elderly inmate who has clearly been in the jail for a long long time, and runs the prison library. We see his Brooks in the prison where he seems perfectly at home actually. In Whitmore's performance there is no sense of pain or fear rather he seems entirely comfortable in his confined surroundings. Not only does he seem comfortable Whitmore suggests that Brooks all together like being there which enables Brooks to be just a likable old man who seems to barely even think about his incarceration.

Brooks just seems to be one of the characters in the prison, a particularly endearing one, that is until Brooks suddenly has an emotional fit in which he puts a knife up to another man's throat. Whitmore doesn't suggest that Brooks has suddenly become psychotic, but rather this is an intense emotional breakdown from this man as something seriously gone wrong. This of course is understandable as the prison certainly has many things to make a man troubled over, but what causes Brooks to be so upset is that his parole actually has come up. It might seem strange for a man to have such a reaction to being released from jail, but Whitmore is absolutely convincing in portraying the anguish of Brooks.

After Brooks is released Whitmore becomes basically the star of his own short film within the film about Brooks's attempt to try to become part of society again outside of the jail. The scene is done mostly in Whitmore's narration over his physical portrayal of Brooks as he tries to deal with a world that isn't surrounded by concrete. Whitemore is excellent as Brooks just leaves the prison and he suggests just a glimmer of hope in an uneasy smile which conveys more of an attempt at happiness rather than the actual happiness that one would expect from a man finally being release from confinement after having been in there for so many years.

As Brooks attempts to reenter society Whitmore is absolutely heartbreaking in his portrayal of this failure. What perhaps is so haunting about his performance is how well he internalizes Brooks's sadness as he tries to go day by day, but finds nothing worthwhile in his performance. He is incredibly moving in the way he suggests to pain in Brooks in such a subtle yet very affecting. Whitemore never tries to pile on the emotions, he lets them flow gently in and effectively so. He allows us to feel every moment of Brooks's gloomy life as he suffers at his job, is lost in the modern world, and is left entirely alone without another soul to help him with his fears.

This has to be one of the most haunting depictions of a man's suicide in a fictional film. The reason being that Brooks's short time outside of jail isn't that of these big emotional moments that force him into depression then suicide. No it feels all the more tragic as Whitmore portrays his journey as just a man reaching for something yet only finding the void until the point that the only way he can end his suffering is to end his life. The brief moments of trying to be happy, like when he wishes he could see his old bird, honestly bring the tragedy of the man as Whitmore does leave that possibility that if Brooks had something out in the real world he could have lived out his days in contentment.

There is no rush in Brooks to end his life, there is nothing loud in his end, this is the end of a man who has lost what was the only thing that he had in his life which was the prison routine. Whitmore's performance is essential for the film as he stands as the worst example of what can happen to a man who has fallen so deeply into the system set by the prison that he forgets and loses any idea of what there is to the outside world which is the central theme of the film and that which Andy Dufresne tries to fight against throughout the film. Whitmore's personal "short film" alone is one of the most powerful scenes in this very powerful film, and just is a beautiful piece of acting by the character actor. His portrayal of Brooks though serves the whole of the film perfectly always leaving that memory of what could be the fate of any of the incarcerated men who slowly grow to find comfort in the confined and controlled world of the prison.

Alternate Best Supporting Actor 1994: Gary Oldman in Leon: The Professional

Gary Oldman did not receive an Oscar nomination for portraying Norman Stansfield in Leon: The Professional.

Leon: The Professional is an entertaining thriller about an assassin Leon (Jean Reno) who saves a young girl Mathilda (Natalie Portman) after her family is massacred by a corrupt DEA agent. 

Having just reviewed Raul Julia in Street Fighter we are staying on actually a similar wavelength with Gary Oldman in this film. Although there is a major difference in that Leon is actually a good movie, but this is a case of strategic overacting just like Julia's performance. Oldman fits the qualifications to be allowed to overact as he has given his fair share of downplayed performances like in JFK, The Dark Knight, and Tinker Tailor Soldier Spy. Also just like Raul Julia had a good reason to overact when playing a dictator who flaunted around in a gaudy get up, Oldman as well has a reason to overplay with the nature of his character, the extreme nature of the film, and act as the right sort of counter point to Jean Reno's very restrained performance.

Oldman makes no excuses here how he is going to play this part, and I suppose that might turn some off but not me as Oldman knows how to handle a performance like this. Oldman makes Norman Stansfield a very strange combination of tics and mannerisms, although he never feels like the bad kind of mannered either as he brings this into into the whole mess that is Stansfield. If you really think about everything that there really makes Stansfield an interesting character is found in these eccentricities and without them he very well could have been just a pretty standard cop villain. Oldman definitely will not have that as shown by his very first scene, which Oldman takes a rather unorthodox approach to.

In his first scene Stansfield just has to be a bit intimidating and tell his idiotic stooge that Stansfield is gonna come and kill em if he does not come up with the 100 percent pure drugs. Simple enough I suppose, but Oldman sets out on making Stansfield's threat as memorable as he possibly can. Oldman gets right in the man's face coming uncomfortably close, and proceeds to sniff the man even. This is all very odd, but with this sets up a different sort of intimidation from Stansfield. Many times the psychotic killer is silent and detached, Oldman forgets about that entirely and bases his performance around a guy who constantly talks and doesn't mind getting into the face of a person he is about to kill. Oldman brings the menace to the film through the sheer unpredictability of Stansfield.

 When the stooge does not make good Stansfield goes on his massacre. This scene is Oldman's flamboyance at its finest. He performs it as Stansfield describes like a Beethoven Symphony, who he incidentally portrayed in Immortal Beloved also in 1994, which he begins with pill popping. Never has the reaction to a drug been so absurd yet so brilliant. Oldman's face becomes that of ecstasy, as well his whole body contorts like a snake as he absorbs the drug. After that he begins the massacre which Oldman plays as a perverse dance. As he goes about killing everyone in the apartment of the stooge Oldman has such unending glee as he does it. He is so sadistic yet so light on his feet as he maneuvers through the scene that he not only manages to bring the brutality to the scene yet allows it to be darkly comic.

After most of the family is dead Stansfield takes time out to talk about Beethoven, Mozart and Brahms. This scene is no doubt self indulgence sure, but that doesn't really matter as Stansfield definitely is a self indulgent sort a guy, and more importantly Oldman's performance is one that just is a joy to watch. Oldman is definitely having fun as he dishes out Stansfield's psychotic rant giving maybe a little insight into his demented mind set that treats his games of murder as just music to his ears. It is just fine that Oldman is having so much fun since Oldman's energy actually lets us have the fun right along with him, even it can be rather uneasy fun so to speak considering the subject matter at hand, nevertheless it works completely.

With his Symphony finished Stansfield actually disappears for quite awhile, but Oldman already made his unforgettable impression making it so we never forget his existence even when the film stays away from the character for quite awhile. Stansfield does appear again and Oldman continues to be glorious. One particularly great scene is when Stansfield catches Mathilda trying to somehow kill. It is an amazing scene because Oldman keeps Stansfield so erratic. In the scene Stansfield even sort of apologizes for his crime, and the best part about that is that Oldman actually plays it that Stansfield isn't really even lying when he says something like that but he so out of control he could express a little regret even before he plans just to kill again.

Of course the films eventually leads to the point where Stansfield tries to kill Leon and Mathilda with everything at his disposal. After one group fails we get the penultimate line reading of the film, and just like Raul Julia's "For Me It Was Tuesday" it is immortal. This line is only one word, but what a word it is. Stansfield is asked to clarify who he wants and he does it with "Everrryyyonnneeeee!!!". Oldman rips it out like a primal scream, it very well could have caused a lesser actors head to explode as Oldman's expression certainly seems like his head comes close to do doing so. That line is pretty much a summation of Oldman's entire performance which is insanely entertaining well being wholly insane. It is a genius piece of acting by Oldman, and once again for 1994 I have found that rarest of ham that is oh so delicious.

Alternate Best Supporting Actor 1994: Raul Julia in Street Fighter

Raul Julia did not receive an Oscar nomination for portraying General M. Bison in Street Fighter.

I will admit I have a bit of a nostalgic soft spot for the stupid very light weight action movies of the early nineties like Street Fighter which is based on the fighting game, and depicts the Homeric struggle between the evil dictator General M. Bison and as the head of the not NATO forces Colonel Guile (Jean Claude Van Damme). Having admitted to the soft spot though this film has plenty of elements that can't be enjoyed even in a stupid movie sort of way particularly Ming-Na's cringe worthy performance, but there is one performance though that rises far above the rest of the film, you might be able to guess who gives this performance.

You know ham is a food one can mess up. It is easy to over cook a ham if you leave it in for far too long. Some ham also can just taste a little poorly say if it contains a little too much fat making it far too chewy. There is that treasured ham though that one will search through an endless desert, or traverse an imposing mountain to find. This ham has all the seasonings just right, it is cooked just the right amount of time, and that honey glaze is to die for. With a ham like that it does not matter if it is next to a pile of mush which must have been never alive, or some sort of odd Belgian dish that was invented in Brussels that always tastes a little strangely unless of course it happens to be served on a plate that shares the same name.

Enough about bizarre metaphors this is about Raul Julia whose work allows him to sit in two exclusive clubs. One of the clubs is the allowance to overact, something not all actors can do, but one can usually do if they make compensation with a great realistic performance like the one he gave in Kiss of the Spider Woman. Julia also finds himself in the club of actors who are able to thrive in a terrible film. Now its true there are those bad films that are made just for a performance which sometimes result in a good performance, but that is not what I mean. Julia thrives in an environment that has no real desire for a great performance within itself evidenced by horrendous line readings found in other cast members as well as the general tone of the picture.

 Sometimes it is a bit of test of good actors in how they work in bad movies some like say Robert De Niro don't even try, but some take what they do have and make the absolute most out of it. That is the case of Raul Julia who finds no reason not to have a good time when playing a wannabe dictator with a giant cape, an over the top symbol on his hat, and armor made from red leather. From his opening scene Julia makes it clear that the scenery will be eaten whole by his absurdly wide eyes, and that grin of some sort of maniacal brilliance. In many reviews this might sound like I am getting ready to critique but there is no reason to do this because everything that Raul Julia does in this performance is absurdly entertaining.

You know though this is not a case of Julia just going over the top because he just does not care, no he pains over great detail in this performance, and never does he let M. Bison be just a standard over the top villain in a bad action movie. Oh he'll be the villain sure, but Julia seems hard bent on making sure we as the audience are going to enjoy every scene that he is in because he just does not stop with the energy he brings in this amazingly over the top performance. Of course I don't want to peg him as just over the top though, as just being one note wouldn't quite work, no there is such dedication here that Julia will even quiet his performance down for the need of the character, and yes Julia does bother with character here.

One of my favorite moments of Julia's performance has to be when Bison delivers his Pax Bisonica speech about how and why he wants to rule the world. Honestly I could listen to the speech all day. Julia's delivery of it is so brilliant in his conviction he gives every line of it no matter how insane every line may be. The intensity of it all is outstanding, and the passion he gives every phrase he could almost sell you on that Pax Bisonica. The part I love the most is why he slows down at the end almost like he is Kiss of the Spider Woman and says "And peace will reign and all humanity shall bow to me in humble gratitude." is as Zangief says beautiful.

This movie can be pretty bad at points, but whenever Raul Julia is on screen a smile runs across my face instantly. Now its true sometimes one can get a kick out of a bad performance because it is just so bad, but Raul Julia knows exactly what he is doing here. He knows exactly how to play every scene to just be incredibly enjoyable. If a line is as cheesy as proclaiming "GAME OVER!" when defeating his enemy, Julia doesn't care he'll make it awesome just because he can. Something else that is just spectacular is that he will steal scene, just for the fun of it. The best example of this being when Ming-Na has a long speech about her father being killed and Julia shuts her up completely through that so perfectly self indulgent delivery of the immortal line "For Me it was Tuesday".

To all the actors looking for a quick pay check in a stupid movie by playing the villain of the picture, they should all examine this performance to see how its done. They should know that when you have a line like "This is merely superconductor electromagnetism" you don't half-ass it, no you sell it to the back seats. Or if you have just plain fantastic lines like his last set of lines about Bison viewing himself as god, but will allow one to keep your own god since you should probably pray to him soon, you better give them all the epic qualities that they deserve as Julia does. He takes every line to eleven, and he never stops entertaining when doing so. 

Like the rest of the film Bison, even if had been played by an actor who usually is good, could have been dull or just kinda boring. Julia will not allow that and I don't have any hesitations in saying Raul Julia gives the greatest performance ever in a movie like this. I know this is a performance that is not mentioned often or at all when people mention the great swan song performances, but you know that's just being stuffy. Sure the film is no Kiss of the Spider Woman, or even The Addams Family, but so what Julia's performance shows he did not care that he was in Street Fighter the movie of the game. He was going to give a great performance no matter what the film was about. Now I could complain that Julia has no one to work with here as well as technically speaking he doesn't save the film. But why do that, although he does not make the film worth watching he does make an element within the film worth watching for all its glory. 

Alternate Best Supporting Actor 1994

And The Nominees Were Not:

Raul Julia in Street Fighter

Gary Oldman in Leon: The Professional

James Whitmore in The Shawshank Redemption

Bob Gunton in The Shawshank Redemption

Bruce Willis in Pulp Fiction