Alternate Best Actor 1962: Toshiro Mifune in Sanjuro

Toshiro Mifune did not receive an Oscar nomination for playing the samurai in Sanjuro.

Sanjuro is a fantastic sequel to Yojimbo this time about the samurai trying to help a group of men
defeat the corrupt men trying to ruin their clan from within.

Now I've said again and again that it is astonishing the way Toshiro Mifune can find such a variety even in similair roles. Well here comes a challenge because Mifune is playing the exact same role he had in Yojimbo. Reprising a role, especially a heroic seemingly straight forward role often can be difficult. It not only seems difficult to regain that same exact enthusiasm, but also there usually is a problem when the character's arc was always finished by the end of the original film. Well Mifune already gave a great performance as the samurai in Yojimbo, and this time he actually has a slightly less dramatic role to play in terms of the way the story plays out. Now just that base line of the performance in terms of being the badass cool character that the samurai was in the original once again is can be found in the sequel. That old dog twitch once again is found here, and that whole easy going yet quietly intense manner. None of it feels repetitious in the least, and it is clear that Mifune lost none of his devotion to the role in the year between the reprise. Of course one might argue that all that had work was done in the first film, which is true to a point, but Mifune does deserve credit for not losing that certain magic in the transition.

The film though is different as Yojimbo, though that film had its moments of fun to be sure, it was a considerably darker story in general than Sanjuro. Though Sanjuro has some bloodshed itself  its tone in general is shifted to the lighter side of things, and I honestly I'd quite easily say that it's really a comedy. There is a reason Mifune/Kurosawa are the greatest actor/director pair of all time, and that is because it always seemed as though they were in sync with one another. That's once again the case as Mifune gives almost a purely comedic turn in his reprise here. It's intriguing as Mifune basically plays it as the samurai is taking the whole thing a bit less seriously than last time. This does not seem out of place as Sanjuro, despite having some lives on the line, is very lighthearted, for example when captured the samurai in Yojimbo was beaten to an inch of his life, here they just tie him up. This all works of course because the film actually is rather hilarious. Mifune is one of those who contributes the most to this. He was funny in Yojimbo as well when the samurai flaunted his superior intelligence over his foes, and he does this once again. Mifune though perhaps plays it up all the more, though with a slight adjustment as it is positioned to teach his allies this time rather than provoke his enemies.

Mifune is a whole lot of fun here as he basically has the samurai even more on top of his game than even in Yojimbo as he attempts to help the group of men he's helping win the day. Mifune portrays an enjoyable detachment of sorts as he helps the men, more of because it is simply his nature to do the right thing rather than having any particular affection for the men. In fact some of the funniest moments in the film are from Mifune's exasperated reactions at the men as he has to deal with the bumbling men who consistently makes the wrong decision leaving samurai to correct things. Though Mifune is so perfectly sardonic on the surface, once again though Mifune quietly conveys the honest goodness in the samurai in the moments where no one else is looking. Of course Mifune here does not even necessarily leave these moments as too serious for example in one scene where the samurai is left to look after two somewhat daffy women who were rescued from the corrupt men, Mifune delivers the genuine concern in the samurai as he watches over them, but Mifune again makes the scene very amusing actually by depicting a slight confusion in his silent reaction as he watches their somewhat bizarre behavior.

Now there is slight expansion on the character is that in this one, fitting its lighter tone, is that the samurai is getting a bit tired of killing and would rather not kill if possible. Again Mifune is very good in depicting this conflict in the samurai well portraying just a powerful yet subtle outrage in the samurai whenever he is forced to kill due to the foolishness of others. The one other mainly dramatic element in this one is in his relationship with the most competent villain of the film, Hanbei, played by Tatsuya Nakadai of course. What's interesting about this one is that even though they are at ends, more or less being the only competent member of each of their groups therefore at odds with one another, the relationship between the two is quite the opposite. Mifune does not depict a hatred in the samurai for this man instead he is quite effective in revealing a certain respect towards him, not for the actions of the man, but rather Mifune shows that the samurai senses a man who is of a similair spirit. For most of their interactions there is not any hate and Mifune is very good with Nakadai in establishing almost a friendship of sorts as the two do get along. Of course Hanbei being a self proclaimed rotten man will prevent this from ever occurring leading to a final confrontation. Mifune is terrific as he portrays an anger in the duel. What's remarkable is that is is not an anger towards Hanbei, but rather anger towards the circumstances that force him to potentially kill a man who is in many ways like the samurai. Mifune finds a new place to take the character, even managing to shift the tone of him slightly without losing what made the role special to begin with. I won't say he bests his work in Yojimbo, but it's a strong reprise that comes close to matching that great performance.

Alternate Best Actor 1962: Laurence Harvey in The Manchurian Candidate

Laurence Harvey did not receive an Oscar nomination for portraying Staff Sergeant Raymond Shaw in The Manchurian Candidate.

The Manchurian Candidate is an effective thriller about a two men being brainwashed by communists with being forced to commit nefarious deeds in order to control the U.S. government from within.

Laurence Harvey plays the central pawn to this plot Raymond Shaw, though Frank Sinatra's Captain Marco is also given ample time who begins to uncover the scheme due to a recurrent nightmare. Harvey's part here is a rather thankless role actually, but it is an interesting one to examine to see what exactly Harvey does within these certain limitations. The first challenge of the part is in the character of Raymond Shaw, who is suppose to be unlikable, which is very important to the plot since one of the things that tips Marco off that something is wrong is that the brainwashed army unit have all been forced to recite how great of a guy Shaw. Well Harvey certainly fulfills this need of the part as he plays much of the role in a very distant and almost viciously cold manner. He makes Raymond like a sharpened stone as he seems unwavering in his manner yet there is something most unpleasant in this determination. This is the right approach though not only to fulfill that plot point, but also Havery utilizes it to show where Raymond has come from. In his scenes with his horrible mother (Angela Lansbury) and his step father we see how Raymond would have become this way.

Harvey's very good in making such a considerable anti-chemistry of sorts in his scenes with his "parents". Harvey plays it as though Raymond is always on the attack with them as he is quite aware of how despicable they both are, and really he does not even know the half of it. Harvey makes Raymond at his most raw here as his searing anger is a constant in his interactions with them, and even when it is just his mother talking Harvey is very effective in the way that he shows that Raymond is pained by her very presence. Harvey makes this as almost a transference in his interactions with everyone else as at the very best he's a bit distant, and at the worst he still seems a bit hostile as though his upbringing has left him at a constant unease with everyone. The only relationship we see that is opposed to this is Raymond's romantic one with the daughter of one of his stepfather's staunchest opponents. This scenes are done in an almost an excessively simple way, which works as a contrast to the details of the main story, but Harvey uses them well. Harvey brings a sincere happiness in Raymond in these scenes, that almost has a certain timid quality to it as though Shaw not only is new to it, but almost does not quite know what to say when dealing with this new experience.

Now of course Raymond purpose in the film is being used as an agent for the communists to commit their plot, which is actually spearheaded by his own mother. These scenes may seem standard enough in portraying just the detached zombie who carries out orders. Harvey does handle them well by never making it seem corny but rather chilling in depicting the single minded yet blank manner of Raymond as he carries out the orders no matter how brutal they may be. Even when Raymond kills it is nothing but a straight forward act as though he is opening a door. This might seem like a minor detail but Harvey uses it brilliantly in his last scene of the film, which also the best scene of the film. As it seems Raymond is still programmed to carry out the assassination which will put his stepfather in power. Suddenly as Raymond is pulling the trigger though Harvey suddenly reveals something that had been lacking in all the other kills, an emotional fury in his eyes, as it becomes clear Raymond is of his own will as kills those who had always been using him instead. Harvey makes the final seconds of his performance surprisingly heartbreaking as he reveals Raymond finally in full control of himself though only to be in the horror that his mother has put him. There is a satisfaction that Harvey reveals at their deaths as well as relief, though also a terrible grief as Raymond is well aware of what his life has been. The moment is swift yet the power of it is palatable due to Harvey so successfully finding the cruelty behind the use of a man as simply a tool.

Alternate Best Actor 1962: James Mason in Lolita

James Mason did not receive an Oscar nomination, despite being nominated for a Bafta and a Golden Globe, for portraying Professor Humbert Humbert in Lolita.

Lolita is an off beat telling of the story of a middle aged intellectual becoming infatuated with the fourteen year old girl in the home he boards in.

James Mason took on the role that he had turned down originally, apparently due to scheduling conflicts, but before his schedule allowed him to take the role it was turned down by Laurence Olivier and David Niven, Olivier based on the advice of his agents, and Niven over concerns for his TV show. This is not at all surprising considering that the role of Humbert Humbert is that of a pedophile, and that is not the only challenge within the role, though certainly a major one. Now starting at the beginning, in chronological terms that is, Mason's casting could not be more perfect as Mason, think of simply the image of an "intellectual" and Mason just seems to fit. This is surprisingly important for the performance though as Mason being such a naturally dignified presence gives Humbert almost a forced dignity. Mason tricks you almost into accepting Humbert more than you might have otherwise since Mason so effectively exudes the sort of respectability and intelligence one would expect from Humbert, a noted lecturer on French literature you know, even though what Humbert does in the film in no way supports this idea, since Humbert really is anything but respectable as we find out throughout the story.

It is hard to imagine anyone else in the role actually because Mason's whole approach, and presence enable the character in a way one would not expect one would not mind following through the film's run time. It is interesting to examine Mason's work as he does not in anyway attempt to make Humbert likable to make for his indiscretions, in fact many things work in quite the opposite fashion. For example in the early scene where he's looking at the house to stay being shown by the somewhat lusty Charlotte Haze (Shelley Winters), there is a definite air of superiority in Humbert's interactions yet Mason again is just so good at presenting this sort of type that you feel he earns it. Of course this in a way seems subverted quite quickly when Humbert makes his decision to stay in Charlotte's home because he glances at Charlotte's 14 year old daughter Lolita(Sue Lyon). Mason reveals an understated yet clearly rather considerable lust as Humbert eyes her. The stare of a creepy old man to be sure in terms of content yet Mason oddly enough manages to so carefully not go overboard, while in no way hiding the intention of his character from the audience. It's so brilliantly handled by Mason as he allows us to follow Humbert in a way, you wouldn't imagine one could.

Well as Mason in a way tricks us into allowing Humbert to be our lead, Stanley Kubrick actually continues to throws various challenges against him as the film progresses. The film's tone actually has strong vein of humor in it mostly through the character of Clare Quilty (Peter Sellers), and this presents two severe yet possible pitfalls for Mason's performance. The first being that the film very easily considering the subject matter and the style of humor combined could just become rather grotesque, the other being that Humbert as well as Mason could have been completely overshadowed by Sellers, and the madness he makes with his performance as another man interested in Lolita. Well again Mason is the rock center of the film that really makes everything come together as it does, because he always keeps such a distinct sense of honesty in his performance as Humbert. The thing is though that Mason actually even does have technically comical moments, in the darkest of ways usually mostly coming from his interactions with Winters's character. Though Mason succeeds in being rather enjoyable in showing just how technically cruel is towards is to her, as he does so successfully create the sense of false interest in the scenes with Charlotte, yet always undercuts them by never leaving Humbert's true desires in question for the audience.

Now even on point with Sellers, Mason is essential to Sellers's is performance, as it is Mason's performance that allows his take on Quilty to exist, since if the actor playing Humbert tried to actively go for laughs along with Sellers, the film very easily could have gone off the rails losing complete sight of the main point of the story. Mason loses none of the potential humor brought on by Sellers by being a terrific straight man to him. Mason's timing against Sellers is impeccable as he keeps Humbert just out of sync with him in the right fashion, since even though they share the same goal for themselves they are of adifferent mind. Mason quite adept though in funneling his moments with Sellers by keeping Humbert so perfectly out of touch, and unaware of the game that this other man is playing. Mason encourages the laughs found in the material, but never allows it to overwhelm the story, keeping Humbert's dilemma more than just a very dark joke. Mason is extremely effective in the role because he does not ever hold back in terms of actually delving into revealing that lust in Humbert, as he portrays Humbert as a man stricken by an obsession. Mason is excellent in that he does keep up the shield of Humbert, through his own presentation of the "good" professor, while never failing to subtly delve into the mind of the man, who falls into his own personal abyss.

Mason actually makes the gradual revelation of just how dark Humbert's inclination particularly effective because of the way he began as that assured and proper sort. Mason is outstanding in the way he slowly shows the loss of this facade of sorts in a way as circumstances allow him to pursue Lolita in a way he had not be allowed to before. Mason is able to realize the sheer primal nature of the urges as this rather base side of Humbert makes itself more known, as his interactions with Lolita become all the more obvious, and eventually this leads to them becoming involved beyond some questionable glances towards one another. Mason portrays this as only becoming more detrimental for Humbert as it forces out all of the worst aspects of his personality as man. Mason makes this very disconcerting because he loses that usual ease of control of one self Mason presents, instead now revealing a desperation in Humbert as he attempts to control every part of Lolita's life. Mason is so good as he presents just how ruinous the relationship is for Humbert as that confidence begins to wain, and this terrible sense of unease seems ever present in every movement he makes. Mason is incredible as he depicts the crumbling mental and physical state of Humbert. This descent is marvelously performed and is all the more remarkable because of how Mason strips away that apparent respectability originally found in Humbert. Mason shows how Humbert basically loses himself as Mason so vividly creates the terrible pain in Humbert from the stress of his paranoia, as well as how terrible of a wretch he has become as he finds that Lolita has been tricking him the whole time. In the final scenes of the film Mason is absolutely amazing as he takes Humbert to his lowest point. The first being as he brings Humbert to his most vulnerable as Humbert makes one final attempt to get Lolita back. Mason makes Humbert an emotional wreck as he basically begs her to come back to him leaving him with almost nothing left. This leads him to only thing he has left which is to seek vengeance against his rival Quilty, which is actually the first scene of the film. Mason chilling in the scene because he makes this essentially the death of Humbert as he's murdering the other man as there is such a single minded cruelty, and hate is all there is in his eyes in the end as that's all there is left to him. This is one of Mason's best performances as his portrayal of Humbert enables the film to work not only in terms of creating a captivating portrait of Humbert's story of personal decay, but also in flawlessly finding the exact right footing in terms of the character as well as the film's style that prevents the film from collapsing due to its more scandalous elements.

Alternate Best Actor 1962: Tatsuya Nakadai in Harakiri

Tatsuya Nakadai did not receive an Oscar nomination for portraying Hanshiro Tsugumo in Harakiri.

Harakiri is an excellent film about a samurai who comes to a feudal lords's home to request the right of suicide, harakiri, according to the code of Bushido, but all is not as it seems.

Tatsuya Nakadai plays a samurai, which is neither the first nor the last time, you'll see me writing this. Nakadai like his frequent onscreen opponent Toshiro Mifune, often played roles that potentially seem similair, Nakadai here plays a samurai which he would later do in Samurai Rebellion, The Sword of Doom, and in 62 as well with Sanjuro, just to name a few. Nakadai though does not deliver the same performance for any one of those films that I mentioned, nor does he do so here. We first see Nakadai in the film in what one what assume is in a terrible state, as his character Hanshiro Tsugumo requests the feudal Lord to allow him to commit the official act of suicide in his courtyard. Nakadai does not play Hanshiro as overtly depressed, in that he's not just this sad man making a request. There's something else going and Nakadai brilliantly reflects this with his performance. It does seem like a man with death on the mind, though not exactly as one might expect. As he says that he will be dying soon in his eyes one knows this to be, true as Nakadai reveals such a powerful conviction in them. Again though what it alludes to is made purposefully a mystery by the film as well as Nakadai's performance.

Nakadai is a fascinating enigma in these early scenes as Hanshiro first introduces his request to the lord. Nakadai commands each scene with a striking voice of someone who seems to be absolutely certain of his fate. It goes even more than that though as there is something in his voice that is almost otherworldly in his whole manner. The way he stares through the men, and the way he moves is though he is from some high plane of existence than the Lord. Nakadai is amazing in that he creates this peculiar state of his character in these scenes, as he speaks and acts with this certain detachment towards the world and the Lord, yet there is some emotional quality about. Nakadai is haunting as he seems to make Hanshiro almost some sort of spirit who has arrived at the gate. Hanshiro is told by the Lord another story of a samurai who made a similair request, which lead the lord's men to have the man forcefully commit suicide in an extremely painful way by making him use a bamboo knife while refusing to grant mercy. As Hanshiro is told this story though Nakadai portrays no loss in Hanshiro's reserve in the least, the conviction stands without question, and Hanshiro stays as something more than a man as he insists on the right of Harakiri.

Eventually when he takes to the courtyard to perform the rite Hanshiro requests assistance from the the men who were instrumental in the brutal treatment of that other samurai. All of the men claim to be sick, and Lord wishes for Hanshiro to proceed, but Hanshiro reveals that he was well aware of the other samurai's story even before the lord told him. We are then given a flashback to see Hanshiro some time ago as a samurai with a daughter to support, but no wars to fight so no Lord to support him, trying to make ends meat best he can. Nakadai presents a very different man in these scenes playing Hanshiro much more of an average enough guy. His voice actually far more relaxed as is his whole manner. Although his financial troubles are there Nakadai presents the man effectively as a man happy with the life he has, and just a likable man trying to make it through life with his daughter. This eventually turns to with his daughter, and her eventual husband and father to Hanshiro's grandson who just happens to be that samurai who had been forced to commit Harakiri before Hanshiro.

The hardships only continue to build up as there is no work for the unemployed samurai, and Hanshiro's grandson falls ill. Nakadai is excellent, as unlike the scenes set in the present, he takes a more straight forward approach which is fitting to Hanshiro who is just trying to live out his life in peace. Nakadai does well just only present Hanshiro as a genuine caring man and is incredibly moving in depicting Hanshiro's reactions to his growing misfortunes. Nakadai is especially affecting because that contentment and optimism of before just slowly seems to seep out of the man as things only become worse. Nakadai is heartbreaking as he shows that just everything that goes wrong so deeply wounds Hanshiro, and importantly though Nakadai presents this not as Hanshiro feeling sorry for himself, but rather a deep empathy for the three members of his family. Even with this hardship this man still does not seem to be that man telling the story, even when the body of his son-in-law is brought to his home. Nakadai portrays a man not filled with anything but a deep overwhelming sadness as well as this certain resignation as he sees the corpse mutilated. The flashbacks of that portion ends though as Hanshiro informs the Lord that soon afterwards his daughter and grandson died shortly after.

The mystery behind Hanshiro becomes shattered, but nothing is lost in terms of Nakadai's performance instead only new depths are found in what Nakadai has only shown. Nakadai does not actually alter his performance in the least at this point, nor should he as Hanshiro has been very much set on his path since he first entered the Lord's domain. What Nakadai has already shown though suddenly can be seen in a new light. Those intense eyes of his, have the wear of a sea of tears, and that voice of his changed through the cries of anguish. Though we now know he is indeed a man he might as well not be, as Nakadai portrays Hanshiro as a spirit of vengeance. This is of course not in the literal sense, but he seems as omnipresent as a ghost who can wander freely. Nakadai realizes the force within Hanshiro as being worldly, but seemingly as terrible as a power beyond the realm of man, by being a man so transfixed on one objective. Nakadai does not even depict this as though Hanshiro is merely obsessed, he's gone beyond that point, as Nakadai creates the sense in Hanshiro that this objective is all he has left, his sadness having turned into a internalized yet volcanic rage at both the men as well as the system that wronged his family. Nakadai is outstanding in his final scene as the will is within his eyes, and his voice. The sheer might of it is made true by Nakadai's performance that derives it from such fierce emotion. It such remarkable work as Nakadai because even as he so poignantly reveals the man behind the cryptic, he never loses that aura around him. Nakadai makes it so Hanshiro is more than a man, yet is still a man, it is a tremendous performance.

Alternate Best Actor 1962: Tom Courtenay in The Loneliness of the Long Distance Runner

Tom Courtenay did not receive an Oscar nomination for portraying Colin Smith in The Loneliness of the Long Distance Runner.

The Loneliness of Long Distance Runner is an intriguing enough kitchen sink drama about a young man being sent to a reformatory due to a robbery he committed.

I've already covered the always underrated Courtenay for his later foray in another film considered a kitchen sink drama, Billy Liar, though the leads of these films are often referred as the angry young man, that was less so the case for Billy Liar who would have been better referred to as the aimless young man, though technically speaking Colin Smith is also aimless. It's interesting to compare the two performances though as Courtenay crafts two distinct characters that differ in style as well. In the broad strokes, though it was not that simple in the least, as Billy Liar Courtenay gave most often a comic performance in his depiction of the young man who preferred fantasies over reality, though this did indeed hide a very troubled state of mind beneath it all. Here with The Loneliness of the Long Distance Runner Courtenay is given much more directly that angry young man type. One of the best scene in the opening scenes of the film as he's taken to the reformatory and is given the initial speech by the superintendent (Michael Redgrave). The sheer hatred Courtenay conveys as Colin stares down the warden sets up perfectly where Colin's state of mind is at the beginning of the film though technically it is more of the middle of the story.

As we proceed in these early scenes Courtenay is extremely effective in revealing the manner of Colin which is the epitome of a rebel without a cause, but unlike say James Dean there is nothing "cool" about Courtenay's portrayal. Courtenay instead does not hold back on the harshness of the nature of this anger showing it as something that is very much off-putting as there does not seem to be an exact purpose for it at first. Courtenay rather than having his character defines his defiance, it is simply the act of defiance that defines Colin. Courtenay does not show anything promising in Colin with his work though instead revealing a very definite problem with the man, as the intensity he brings to his anger suggests not a man waiting or wanting to do something right, rather a man who soon could do something quite wrong very soon. Courtenay is terrific because he establishes this being Colin at his absolute worst point that so well reflects what we later learn about Colin, but with all those other elements, in combination with imprisonment, Courtenay reveals the combination of all these pains into a truly troubled young man. Very naturally though Courtenay does not allow Colin to be defined by this note, as times passes, as well as when we see what came before, Courtenay presents us the greater whole of Colin.

This sort of begins with Colin's time with the prison psychiatrist who tries to discover his problems. Courtenay is great because he still has that sharpness, that fervor against the man representing authority currently, though now tempered a bit as he's simply has time to cool down in addition to the psychiatrist being a empathetic man. Courtenay brilliantly begins to peal away more at Colin for us though when the psychiatrist asks about his father and Colin reveals that he died. Courtenay is exceptional in this moment as he so subtly reveals a palatable grief over his father's death while still holding up that front that Colin keeps. This eventually leads us to the flashback sequences of the film where Colin is an aimless young man living with his family including his dying father that seems to concern his concern his mother very little. Courtenay once again is absolutely fantastic in how well he gets across what is going on beneath Colin. On the surface again there is always that hint of anger, that gets stronger at certain understandable moments, and often a sense of ambivalence towards life as though he's in some way above it. Courtenay though is so good though as there is such a striking undercurrent of sadness in Colin, who is heartbroken over his father made all the worse because of his mother's indifference.

Courtenay continues to excel in the way he furthers the character in the scenes away from his family or any potential authority figures where he puts on that tough guy act of sorts. Outside of those scenes, particularly when he and his friend attempt at romancing two young women, Courtenay brings out this more genuine youth in Colin. This is indeed in moments of just simple juvenile excitement in doing some occasional acts of thefts as well as simply trying to impresses the women, but Courtenay also is quite powerful as he brings out that vulnerability, that he certainly alluded to before, into the open when he is alone with just one of the women. Courtenay is marvelous as he shows the shy confused man that Colin is deep down inside, and actually presents a certain sweetness by removing any of those barriers that Colin usually keeps firmly in place. In these brief moments Courtenay is able to create the sense of what compels Colin otherwise though by granting this sensitivity in him, but also a certain considerable fear both in terms of avoiding what his father became as well as simply to face what he must face. Courtenay makes sense of Colin's confused state so well that the fact that his robberies only become riskier ends up feeling like an inevitability, since Courtenay shows that Colin really has no idea what he is doing or what he should do.

Now the film also depicts Colin continuing life in the detention center where Courtenay slowly eases away that hatred that was so strong at first, as Colin finds that he has a knack for long distance running, which makes superintendent happy for purely selfish reasons involving a competition between the center and a school. Colin begins to fall very much into line, which Courtenay also gives sense to not only through the fact that Colin's clearly had time to calm down, but also in the moments of the running. In these moments Courtenay expresses a considerable enthusiasm and joy as Courtenay shows Colin finally doing something seemingly on his own terms that also seems to have some purpose. This eventually leads to the climatic race which Colin easily could win, but just before the finish line stops to the fury of all. The rebellious streak reappears in Colin, and this could easily have been a meaningless moment if it were not for Courtenay's portrayal of it. It is not an anger that compels Colin this time. Courtenay instead shows Colin know far more aware of his own self, and instead presents a moment of a personal pride of sorts as Colin stops in defiance not in hatred, but rather to be his own man. Tom Courtenay gives a great performance here and one of the very best Kitchen Sink performances here because he never leaves Colin Smith as just an "angry young man", he finds what there is beneath that surface,  painting a most compelling portrait of a man lost trying to find some path which he can call his own.