Alternate Best Supporting Actor 1975: Nicol Williamson in The Wilby Conspiracy

Nicol Williamson did not receive an Oscar nomination for portraying Major Horn in The Wilby Conspiracy.

The Wilby Conspiracy I guess you could say is a bit of a prototype for the Edward Zwick style message picture, where it takes populist style approach towards a rather serious minded subject matter. In this case it focuses on the then very real apartheid in South Africa, though through a spy/diamond hunting actioner featuring a South African Freedom Fighter (Sidney Poitier), and an English Engineer (Michael Caine) as the unlikely pair on the run together.

One of the benefits of my little endeavor here is to discover remarkable performers who have flown under the radar of a more generalized view of cinema. One such discovery is Nicol Williamson who though I had always thought was compelling as the mentor wizard in Spawn of all things, most of his work had been unseen by me. Well as I discover more of his work it is clear that besides having one of the most underrated voices of cinema, he is an especially dynamic performer. The Wilby Conspiracy, though pretty disposable overall, though does give an outlet for Williamson's talent in the form of Major Horn an operator in South African Bureau of State Security. The villain who will be chasing our fugitive heroes for the duration of the film. Not much in this really stands out past acceptable enough, with the exception of Major Horn due to Williamson. The sheer power of his presence alone makes an impact as we first meet him casually smoking in the office of superior. Williamson quickly steals the scene, and really the film, in just his perfect timing in his brush off of wishing as he could quit smoking as he dismisses his superior. Williamson simply has the force overpower in his precise yet also rather witty delivery that makes the Major instantly compelling.

Although it might be easy enough to just make the Major a devil in the flesh, given his intentions throughout the film, Williamson takes an alternate approach. He doesn't seek to grant sympathy for  the character, but what he does do is create a clear motivation within Horn. Williamson is amazing in the moment where he so sufficiently describes Horn's position which isn't as a drooling racist, but rather a man trying to lay claim to a land through his view of history, though with a strict racism within that idea. Williamson brings such conviction and strict passion in the moment showing such a forcefulness in the man's words. His delivery is particularly notable as he has it controlled the entire time, as a powerful man would, though has this fantastic way of realizing this certain pride combined with a fear mongering hate wrapped within as he speaks of his view of the fate of Afrikaners if he does not perform his perceived duty. Theoretically this could have been just a minor scene that gives us the villain, yet Williamson brings such substance to the words through his performance that both establishes the villain, but also establishes his danger by so honestly revealing the man's firm beliefs that will compel him throughout the narrative.

Williamson will give us what will be the hunter for the film as he begins to trail the two men. It is always fascinating to see performer so rise above his material, not that this is a terrible film, but Williamson makes merely scenes of exposition of things we technically already know for the most part the best scenes in the film. This again is within how strong his presence is, and how properly idiosyncratic of a performer. Williamson is brilliant as he brings attention to himself without ever for a moment seem like he's showing off. He does it with such ease as he holds such sway on screen to the point that there is something immensely fascinating about just the way he holds his cigarette. Williamson's striking ability as a performer cuts through every scene making every little threat from Horn carry such a remarkable menace. What's incredible though is that Williamson is so good, he even in way grants the character one liners just through his dynamite delivery of every one of his lines. A common line is given such gravitas, and good one given such impeccable timing that allows Williamson to become this oppressive yet charismatic force who terrorizes and interrogates with a cheerful smile.

Williamson is great as he realizes the man's technique as he switches from a false amiability with charm to a violent intensity on a dime's notice creating such a dangerous man through this. Williamson finds this confidence within the technique that makes Horn particularly imposing as again he makes every switch of intention so natural as he weaponizes his personality at every point of following the two men and their conspiracy they slowly unravel involving black revolutionaries, smuggling Indian dentists, and diamonds. Of course the man who unravels it all isn't one of our two heroes, but rather the villainous Major Horn, which is a good thing since Williamson is on call for the exposition. Williamson is amazing in the scene bringing such smug satisfaction as he mocks all of his victims, and brings such a distinct slimy joy in every venomous word as he notes how they all played right into his game. It is rather astonishing as Williamson even owns the scene when the tide turns against Major Horn. Williamson just is another level as even when Michael Caine is explaining why Horn should surrender rather than kill a rebel leader, Williamson takes the moment for himself as his reaction of Horn calculating his odds and taking in the information makes more of an impact than the information itself. This is the type of performance I love occasionally coming across as Williamson by the sheer will of his own work creates a great villain, in what is not a great film. It is a fantastic turn from an actor I look forward to uncovering more of.