Alternate Best Actor 1983: Keith Gordon in Christine

Keith Gordon did not receive an Oscar nomination for portraying Arnold "Arnie" Cunningham in Christine.

Christine is a fun thriller about a killer car. I'll say though its plot is a bit messy and overly simplistic, and all the characters' immediate concerns over the main character's interest in the car is more comical than I think was the intention.

The film begins with as a potentially typical high school film as we have the tough, but likable every guy, in John Stockwell's Dennis, then we have Keith Gordon as his best friend, the obvious nerd in his Arnie. Directed by John Carpenter, during his still competent phase, with a certain tongue in cheek quality, that honestly is the right approach for a concept as ridiculous as a killer car. This is definitely in turned seen in Gordon's performance even before the shift in his character, just as we see Arnie hanging out with Dennis, as the retiring friend shying away from everyone and everything. Gordon's performance very much emphasizing the nerd in nerd, and not the type of nerd whose the witty and intelligent sort within his awkwardness. He's just awkward, and Gordon's performance accentuates that as he exudes a constant desperation that only expands depending on his situation. This with his time with local bullies being spent with a wide eyed anxiety and just nothing except frustrated weakness. The only brightness in his performance being shown when he randomly sees a beaten old junker car for sale, with obviously a mysterious old man selling it. A seemingly minor but important moment as Gordon's beams with an instant obsession. This time seemingly less harmful as just someone interested in getting a car that he can fix up and potentially impress with. This fact that all those around him find instantly alarming, I'd say a little too alarming, I mean he just was buying car, though I purposefully digress.

The initial obsession we see seeds towards this odd confidence that Gordon delivers in his performance as it attaches specifically to the car. This in portraying a gaze of fascination in each moment regarding the car, the titular Christine, that he has rebuilt to perfection. The film then jumps as Dennis is struck, both literally and figuratively, when gazing upon a changed Arnie, losing his glasses, donning cool jacket, and making out with the most beautiful girl in the school Leigh (a terribly underwritten part). The transition we purposefully don't see, rather we see the other end of it. This where Gordon instead exudes now that confidence entirely and a certainty in attitude regarding his car and his relationship as though it was nothing to accomplish. When Leigh questions the nature of Arnie's obsession with his car, we actually get an essential midpoint in his performance. In that we do have a few last vestiges of the old Arnie, and perhaps any goodness about him as he asks her not to leave him with the same desperation we saw in the awkward teen, but we also see in this the darkest side of Arnie that is what makes this performance truly remarkable. This is that while I would still qualify this as a stylized performance, as again a film about a killer car isn't one that urges subtlety, Gordon's approach is rather fascinating as we see Christine more than take over Arnie's life. It seems as though it is all that there is to it, this at the same time as we see the scenes of Christine carefully executing Arnie's former bullies, though we are not aware of whether or not Arnie is complicit in this or this is the car's doing.

Gordon's performance can be taken as two things I think, one expected, and one almost predictive in certain way. The first is perhaps the more obvious of the drug addict but that of the car. That can be easily enough seen I suppose, but I don't think that's quite it, and that is part of why I found this performance rather special. This as Gordon portrays it rather as what I would say is a toxic fan of the vehicle. This as Gordon's performance when speaking of the car does so with this reference, this extreme, psychotic fanaticism regarding it. His physical work even in his interactions with Christine, that is of fondling as though it were a woman, rather than just an admiration of a car. He speaks with more than just a joy of it, but rather a fervent lust regarding the car. It is his entire world, and Gordon presents as this vile passion for the car. This as though it is his entire world truly, and something that is amazing, as he twists this love into hate in his performance, much like the terrible type of fan, who seems to exude only misery from something they supposedly love. This is striking in scene where Arnie describes this lust for Christine, which his eyes are expressing such vicious adoration, however he speaks with such a horrible disregard for anything other than this adoration. I especially love the moment where Dennis mistakes this lust for Leigh, and Gordon's brutally dismissive, no is so brilliantly petulant and again grants the sense of the narrowness of this obsession. This as Gordon makes it all that exists for Arnie, in his descriptions of the "greatness" of Christine as both this breakdown and near orgasmic reaction to something that he has made define his existence. This in turn we see that putrid venom towards anyone who dares question his view of this "passion", much again like the fan tearing down everything else for the sake of his singular mindset. Now perhaps I am slightly reaching with this interpretation, although such fandom is not new just more isolated before the time of the internet, but what I think is more important is that what Gordon's performance does is two things. This as it creates a uniquely haunting portrayal of obsession which both grants the larger than life insanity needed for the devotee of a killer car, but in a way that strangely enough grants just enough of a reality within it. Gordon thrives within the film's tone playing into, but does also make you believe that not only could a man lust after his car, but that also can be a rather frightening thing.

Alternate Best Actor 1983: Gerard Depardieu & Wojciech Pszoniak in Danton

Gerard Depardieu did not receive an Oscar nomination for portraying Georges Danton nor did Wojciech Pszoniak for portraying Maximilien Robespierre in Danton.

Danton is a terrific film that details the downfall of Georges Danton, one of the key figures in the French Revolution.

Although named Danton the film is as interested in the role of the defacto leader of the French Revolution Maximilien Robespierre as it is the titular character, and though I did not time it, Wojciech Pszoniak may have more screentime than Depardieu. A great deal of the success of the film is creating this separation and detailing each man within essentially the downfall of the revolution. A clear separation of this is created as the cast of Robespierre supporters are all played by Polish actors while Danton and his supporters are all French actors. The only unfortunate thing about this is that in turn we get the Polish actors dubbed over, and although the dubbing is done quite well, I would rather hear their verbal performances even if we had dueling languages going on. This includes Pszoniak, therefore I can only base my opinion of his work on his physical performance, though judging by that, if I were to be able to hear the original audio, I doubt I'd be disappointed on that front. This as Pszoniak begins the film leaving an impression without even needing to say a word. His whole manner, the way he carries his expression, is this of this assumed greatness and intelligence in a way. This accentuation of reason seems evident from within him as his eyes carry an incisiveness alone, even as he gets prepared for the day, with all the pomp and circumstance of a "great thinker" and even greater "thinker". This though as in his interactions with others is not of camaraderie, but rather an omnipotent sort of distance. This as Pszoniak establishes Robespierre as potentially this powerful leader, but of a man who controls very much from above.

This is in contrast to French actor Gerard Depardieu. An actor I'll admit I've had for a long time been hearing of his greatness however coming short of finding it myself. Although not that what I saw him in were bad performances, but I didn't find the man, as this sort modern Jean Gabin that many seemed to tout him as. Well thankfully that all changed with Danton. This as we find Depardieu in portraying Georges Danton, as another great leader but of a completely different ilk from Robespierre. This in the earliest scenes where we see him engage with the local people. It is with this connection and pride. Depardieu wearing the expression of a man who truly wants to absorb what the people have to say for him, and take in what they can offer. Depardieu exuding so effectively this common touch with a grace and warmth just as he sees the crowds in front of him. His manner being wholly different in place, as one touch I particularly love in the film is the difference in which Pszoniak and Depardieu interact with their powered wig. This with Pszoniak rarely touching, wearing it with extreme reverence. This is against Depardieu who treats as but something to wear for on his head. Always playing around with it in one way or another, and never forcing it to really act as his hair. Depardieu accentuating through this a man who does not wish to be swallowed whole by pomp and circumstance. Finding above else a sense of humor regarding the idea of his position. This so well in portraying more so a man who carries the idea of leadership, not exactly as a burden, but by something that shouldn't be used to create armor for himself to protect himself from others. This rather just being part of the man he already is.

We then though see already though nuance within as the proceedings begin, with Pszoniak portraying Robespierre maneuvering how to deal with Danton's opposition to his committees that is being used to abuse power, against Danton attempting to have the powers removed from those committees. We then see the two men of the leaders of their factions and in this again we see two leadership styles. Both Depardieu and Pszoniak are fantastic in realizing each man attempt to wield their unique position. In Robespierre, who actually attempts to temper the rest of his men who want immediate death for Danton and his followers, Pszoniak excels in wearing the weight of the situation within his performance. In every word spoken Pszoniak's eyes say so much in reaction, where he grants the sense of a subdued regret over the situation. This as he does defend the man, and Pszoniak portrays well the sense of difficulty in approaching this issue. He shows within it this balance between a man who is very much considering the extreme action the others are speaking of, but shows that this is taken with a subtle anxiety that he wears within him. This is against Depardieu who again emphasizes a lighter touch as we see him speaking to his other men, as their newspaper is shut down, and it seems the powers that be are scheming against them. Depardieu manages to speak with authority, while also doing so with an ease of almost a friendship as he more than anything calms his men from too rash of action. This culminating in the first act of the film in the single, but essential meeting between Robespierre and Danton.

This being a particularly wonderful scene for both actors, as again we see each set the distinction. This with Pszoniak still emphasizing a power, but the power of the man just sitting with an adamant stare. This against Depardieu being terrific as the negotiator essentially, speaking a mile a minute with both a casual regard for the other man, but a slight dismissiveness within his negativity. Depardieu portraying Danton attempting to create his case by taking Robespierre down to earth a bit, and brings this to life through the down to earth way he speaks every word of his position. This starkly against Pszoniak who presents the man carefully analyzing every word spoken by Danton, even taking a moment to fix his powered wig after Danton tussled it, ironically with as much regal grace as one could muster in that situation. We see in the scene the fissure of the two effectively, though I do love that neither presents a direct animosity. In that while we don't see the men as likely fast friends in the past, they do grant the sense that the two once managed to successfully work together in their common cause. That being long gone though represented in the differences of the men, brilliantly accentuated by the performances, that leaves Robespierre determined to agree to his factions wish for Danton's arrest, and Danton to left to be arrested. Depardieu has two separate, but fantastic scenes briefly before Danton's arrest. The first being as he gives assurance to one of the men of their faction that they will be arrested, however does so with a cheery optimism as though there is hope in this. This however is against as we see Danton silently await his arrest, Depardieu's performance is outstanding as we see so much in his expression as he realizes the real sense of his own anxiety of his upcoming fate, as well as the sense of a burden of the responsibility of his position.

I love the scenes that come then when we see each men brandish their power in public forums, and we see two very different forms of it. The first is as Robespierre successfully denounces Danton despite opposition. Pszoniak is amazing in this scene, and I really wish I could hear his actual voice. This as nonetheless he wields such a profound command in this scene. This as Pszoniak portrays it almost as man conducting the crowd, this with sheer magnetism of a overlord of the people. This in his movements of this specific controlled passion, and almost as that of the most articulate puppet master. This again as this ruler from above wielding his power certainly with ease, but almost like a hypnotist commanding his audience to do his bidding. This is opposed to Danton, where Depardieu is equally amazing in portraying him less the refined composer manipulating his orchestra, and instead more akin to a proper face pro-wrestler building up the crowd. We see this in the intended show trial for Danton and his faction, which Danton purposefully tries to use to stop the path of the revolutionary government he sees on. We see this as Danton enters the room, and Depardieu carries himself as the most crowd loving celebrity you could imagine. This with his eyes glowing with affection, even trying to touch the hands of every adoring fan around him. Depardieu beams with a man who is a true lover of the people, and this only continues as the trial begins. This with Depardieu controlling the moment brilliantly as he shows Danton eagerly speaking to the crowd assembled, rather than his show trial jury. This delivering an aggressive yet endearing passion of a man trying to speak to his people, and attempt to derail the show trial by putting a true show within it. Robespierre on the other hand fittingly handles the trial from a distance, just trying to work his way to have it so Danton's verbal defense cannot be heard by the public.

 There is a scene I love in particular where Pszoniak is hearing of how the trial is going while having a portrait of himself done. A portrait far more representing that of royal decree than revolutionary hero. Pszoniak's manner in the scene is fantastic, as though again he still carries that regal air, it is undercut in the frustration that swells when hearing the news, but what I love most a little moment where he kind of looks at himself with the costuming for the portrait. Pszoniak delivers a marvelous silent moment as you can garner the sense of Robespierre for seeing the foolishness of the man basically becoming what he supposedly overthrew.  The manipulation though does leave Danton and his men sentenced to death. Depardieu is heartbreaking in his delivering of a cracked voice Danton, just still trying desperately within his literal last breaths to speak his truth. I love the moments within prison, where Depardieu finds such a poignancy in presenting the man reflecting in depression. A depression not for his upcoming demise but rather the country he fought for. He speaks his words somberly though with not self-pity, but rather a sorrow for others reflecting a selfless spirit for his cause while granting understanding to his choice for martyrdom. This is opposed to Pszoniak's final scene that is also outstanding, as his eyes piercing now, not with power, but an overflowing anxiety. That anxiety that he had seeded in his performance earlier, not to the forefront of a man in the grip of a madness by living into some bastardization of his dream. These are two great performances. This as both actors create portrait of complex leaders, each with their personal styles, and their own unique foundation of passion that each lead to a disparate, though in the end, mutual fate. 

(For Pszoniak)

(For Depardieu)

Alternate Best Actor 1983: Om Puri in Ardh Satya

Om Puri did not receive an Oscar nomination for portraying Sub inspector Anant Velankar in Ardh Satya.

Ardh Satya follows a man as he is pulled between a romance with young peaceful woman, and his career put upon him as police officer, by his violent father.

Om Puri portraying the officer Velankar who we are introduced to in largely humane circumstances of a man just attending a social gathering. This is where we see him initially meet up with the lovely young woman Jyotsna (Smita Patil). Puri is charming in a low key way in just expressing the bit of happiness that stems from the two interacting. Puri bringing an earnest modesty and an appropriate shyness in the interaction, suggesting a woman he really likes, and setting up this point importantly in his character. This is before we see him though first acting as a cop, just interacting with the other police officers. This initially isn't too concerning as Puri just portrays a slight disarming boast about potentially meeting someone worthwhile to the others, and we see a man just going about hid duties which seem perfunctory for the moment. This though is interrupted however with flashback s towards Velankar's past where his father launched into verbal and physical assaults against Velankar's mother. This leaving Puri portrays sort of this a difficult state. This as Velankar only ever watched the behavior, something that clearly effected him negatively to see the mistreatment yet while reaming the dutiful son. These moments establish essentially what will be the contrasting influences for Velankar throughout the film, as he goes deeper into the relationship with Jyotsna, but also deeper into the life of the police officer with all that it entails.

The film then show the progress of each, and really the disagreement between these two sides of the man. In this reminded me strongly of Puri's later BAFTA nominated performance in East of East, where there were also two extremes within his character. This though is one more of a progression of each, and where that conflict comes in. This as we see his work as a police officer, where we initially just see the determination of a man doing his job. Puri brings an intensity to be sure, but at first it appears more of the requirements for the man of such a position. This with a stiff spine and stern look, but not beyond that. This still though is in contrast with Jyotsna that continue to have this growing tenderness between them, with both actors sharing a sweet chemistry with one another. The moments as the officer though we see the frustrations within Puri's work as Velankar's efforts are not particularly successful and he pushed towards more violent actions required within his city. This as we see him attempting to take down a legitimate criminal, posturing as the strong man doing the right thing, however this failing entirely. This too changes his relationship with Jyotsna, though largely from her concerns for his actions. This as Puri himself portrays initially this attempted distance and detachment from the other man. This as though it is just a job, portraying just a man attempting to be loving towards her, even with those concerns growing.

This as the man's violent actions only continue to worsen as he beats down protestors and becomes altogether more vicious. Puri's performance of this, as was his work in East is East, is quite frankly startling in just how real he makes the violence. This showing just it as something that is plainly ugly, and befitting a man who is basically doing the will of the very worst he saw in his own father. Puri giving a startling depiction of a horrible misery that inflicts the man, and we see what appears to be all the hate he learned from his father as he delivers it onto what essentially become his victims. Puri is remarkable though as he naturally shows us what appeared to be just a likable man initially as this horrible person. He still shows the man who tries to separate himself from it with Jyotsna, but when he goes far too far with his violence, it finally forces him to face facts. This scene is a downright amazing scene for Puri. This as we see the man finally reflect upon his actions, and upon his past regarding his mother. Puri is heartbreaking by showing the man finally facing his violent side is in a moment of such vulnerability. This showing it in his connection with this woman he clearly loves, but with a certain terrible resignation within looking at where he has gone due to his personal flaws. Puri conjures up the whole sense of the failures of his father, and regrets of childhood with such striking nuance. He shows the man desperation in the moment beautifully, even if so painfully. This showing a man finally seeing both sides of himself. This continues though as he confronts the true criminal again, and again Puri shows a slightly different combination of the sides of the man. This as we see this viciousness though with this sort emotional determination, as while his act isn't good, Puri now portrays it as personal, rather than just detaced cruelty of a state.  Puri's performance shows us the good man theoretically who could just be in this relationship, charming and even endearing at times. He makes the terrible path of the man though wholly tangible in that gradual descent, that while it eventually leads to that powerful moment of reflection, also realizes how man detaching himself from his actions can lead to near atrocities.

Alternate Best Actor 1983

And the Nominees Were Not:

Gerard Depardieu in Danton

Wojciech Pszoniak in Danton

Om Puri in Ardh Satya

Keith Gordon in Christine

Oleg Yankovsky in Nostalgia

David Bowie in Merry Christmas, Mr. Lawrence

Tom Conti in Merry Christmas, Mr. Lawrence

For Prediction Purposes:

Depardieu from Danton

Bowie from Lawrence

Alternate Best Supporting Actor 1978: Results

5. Bruce Dern in The Driver - Dern brings the right color to his purposefully minimalist role, finding the character through his eccentric presence.

Best Scene: Ending.

4. Scott Reiniger in Dawn of the Dead - Reiniger delivers the strongest performance in his film, creating a unique and moving arc within a zombie narrative.

Best Scene: "Perfect baby"

3. Barry Bostwick in Movie Movie - Bostwick best realizes the tone of his film, delivering a properly lively musical performance that has the right fun with the approach.

Best Scene: "I just need the Girl"

2. Christopher Plummer in The Silent Partner - Plummer delivers a properly diabolical turn who only hides his most overt psychopathy for a bit of sadism.

Best Scene: "We're partners"

1. Yaphet Kotto in Blue Collar - Good prediction Luke. GM, Tahmeed BRAZINTERMA, John Smith and Calvin. Kotto makes a memorable impression in the film offering so well a vivid sense of his character's camaraderie with his co-stars, but also the sense of his alternative perspective. 

Best Scene: Speech. 

Updated Overall

Next: 1983 Lead

Alternate Best Supporting Actor 1978: Christopher Plummer in The Silent Partner

Christopher Plummer did not receive an Oscar nomination for portraying Harry Reikle in The Silent Partner.

Christopher Plummer, whose film career has been a little random in terms of jumping into the size, scope and quality of parts, perhaps alluding to why stage other stage preferring actors like Paul Scofield and Mark Rylance tended to be a bit more selective. Plummer though in this thriller gets a more than decent sized role, and a chance to show a very different side of himself, from his then most famous film role as Captain von Trapp in The Sound of Music. This as the villain of this thriller, the bank robber, whom bank teller Miles (Elliott Gould) figures out a way to steal from, so in the robbery Miles takes the majority of cash his Reikle would've taken. Technically speaking Miles is the smarter of the two players in this game, but Reikle has an advantage. That being he's a psychopath. Although Plummer is memorable enough as a mall Santa Claus with a far to incisive stare for father Christmas, his greater impression comes when he goes about targeting Miles to get the rest of his theoretical money. This beginning with a phone call and a quiet threat from Reikle, while Miles is trying to romance a co-worker. Plummer's usually quite dignified voice is used here to great effect in being extremely menacing as Reikle notes that Miles is trying to do the woman he is with, what he did to Reikle. Plummer making an immediate sense of a particularly unnerving perversity within that menace. This continues in Plummer's work as Reikle essentially congratulates Miles on his cleverness, which his technically admiring words are delivered in a playful though in turn altogether creepy fashion. Plummer though reinforces always Reikle more direct intention in his eyes that always suggest that real killer's intention for Miles, this being particularly remarkable when he peers through Miles's mailbox with a horrifying gaze.

Plummer effectively sets a stake in place, as Miles finds a way to have Reikle imprisoned, temporarily. The threat though is never gone due to the impact that Plummer makes in those early scenes that show Reikle as someone not to be taken lightly. While in prison though he sends a woman, Elaine, to spy on Miles, though this backfires when she genuinely falls for him. Plummer has a fantastic moment where Elaine falsely reports to Reikle. This as Plummer finds a way to deliver this completely fake charm in his smile towards Elaine, as though he enjoys her in anyway, which he brilliantly subverts in the same moment he loses that falls display as his expression bears a sadistic glint in a matter of a moment. Plummer creating a terrific sense of unpredictability in his own performance, that creates a logic though of Reikle being just a killer at heart, though able to put on some minor airs, if barely, when needed. This as Plummer being an effortless and properly chilling creep. This when Reikle suddenly appears to Elaine, having gotten out of prison early, and makes an instantly tense situation in just the mere way he says "hey" with a vile sleaze. Plummer portraying Reikle as not even putting up any front as a particularly horrible prospect. When Reikle unleashes his real psychosis at Elaine, Plummer doesn't hold back in bringing the extreme sadistic nature of the man, showing both a sense of rage, but also worse this certain pleasure in it all. After this though Miles come to apparently cut a bargain with Reikle to give him the cash through another robbery. Plummer is great once again though by showing that with Miles Reikle still doesn't mind playing games. This delivering this artful flow as when Miles pushes back Plummer pushes the intensity up, but when Miles seems to give in at all, that faux affability comes back to Plummer's voice, as Reikle still wishes to play with his prey. In this penultimate confrontation though there small moment, but I think quite worth mentioning where Reikle questions Elaine's motives, which Miles affirms were devoted to him not Reikle. Plummer's reaction to this though helps to kind of show the effort of this work. This as he takes the time, in this reaction, to convey not exactly humanity, but a sense of real frustration in Reikle, subtle frustration, as he conveys how honestly takes in that information that Elaine wasn't so devoted to him after all. Not as a good person mind you, but still as a person. Of course, Plummer does indeed deliver on the main intention of this role which is to be an intimidating and reprehensible villain. This making his final scene particularly cathartic, amplified by how Plummer plays it. This beginning with a face brimming with smug sat as it appears his plan is going perfectly, until Miles pulls a trick, and Plummer's "aw crap" face is equally satisfying, for us. Plummer making for a proper adversary for our hero in Gould, and the proper force of evil any decent Hitchockian style thriller should have.

Alternate Best Supporting Actor 1978: Yaphet Kotto in Blue Collar

Yaphet Kotto did not receive an Oscar nomination for portraying Smokey James in Blue Collar.

The underrated Yaphet Kotto is always a welcome presence to any film that he shows up in. Unfortunately too often not the most well used performer throughout his career, and sadly just probably hit at the wrong time in terms of properly breaking out. Nonetheless here in Blue Collar, Kotto has a chance to shine, and doesn't waste it. Kotto playing one of the co-workers of the family men Zeke (Richard Pryor) and Jerry (Harvey Keitel), which his Smokey is not. As I mentioned in my review of Pryor, at the beginning of the film we get a real sense of the mutual plight but also the camaraderie between the men, even in the early scenes that play more towards a low key comedy. This in initially just portraying the frustration of the others. Kotto offering the mutual sense of sort low brow fun with them, though he offers a slightly different presence as a man with a bit more sketchy of a past. This is even though in the portrayal of initial frustrations, there is this slightly more stoic manner to Kotto, of perhaps someone with either a bit more wisdom, or at  least acceptance towards their current situation. Kotto's work balances though the comic with the dramatic, as well as known comic performer Pryor there. In fact Kotto has notable ease with Pryor that is worth noting, particularly when the two debate the attractiveness of a woman, and Kotto's comic timing is on par with Pryor, as he speaks with no shame his disregard for Zeke's praises of the woman. Kotto is endearing though as he describes an earlier incident of accidentally confronting a cop, where he balances the sense of humor of someone telling a good story. When Zeke mentions that Smokey also kills someone though, Kotto's change in manner in the moment is fantastic, and his easy, yet very textured way of saying "I never killed nobody". Kotto delivering an insistence almost not to be factored as a certain sort, however leaving an ambiguity within it suggesting in the quite the striking fashion the past of Smokey in just a few minutes of screentime.

Kotto's work is terrific in portraying someone who is in almost the same situation as the other guys, but there's a sense in his work of a slightly different perspective. This as even when the other men are more bluntly complaining about their existence, Kotto exudes an empathy to this, but also this blunt lack of surprise regarding it all. Kotto showing a man who has less in a way, but also has seen worse in a way. In this sense his urging then to steal from the corrupt union, it is with this glint in his eyes of a man just saying "why not". Kotto though is particularly great at finding a way in it by showing a man who is in the whole situation of it for the ride of it. This granting a sense of experience of the man with a shadier past, but also as someone with nothing to lose. Kotto accentuating this though as granting the man almost a certain insight that the others lack, or are afraid to speak. This when in their robbery they discovery evidence of corruption, Kotto depicts once again so well, by expressing a distinct lack of shock regarding the news. Kotto is amazing in the moment where he lays out the situation for the other two men directly. Kotto's philosophical speech about keeping people in their roles, is so artfully performed, as he brings such a real power, through how quietly actually he delivers it. This with just saying it as a man who is aware of it as just as a truth. With this declaration though Smokey suggests blackmail, to at least help themselves, and though low key his eyes deliver an incisive determination at essentially a little revenge. The plan though doesn't work however as the corrupt forces intend to do whatever it takes to rid themselves of the "leak" so to speak. This resulting in plans to basically peacefully convince Zeke and Jerry, but knowing Smokey has nothing to lose, plan more violent means for him. This is something that initially it appears Smokey is ready for. Kotto bringing a sort of confidence initially when two men come to try to take threaten him initially. Kotto offering frankly a badass cool about Smokey, as a man seemingly primed for the situation. This with Kotto making the most out of his few "leading" moments, as he watches the two men, Kotto just tells the sense of knowing, topped off with a little joy from a man who doesn't mind making a few thugs suffer a bit as he lures them into the trap. Kotto's great as he confronts the two men with a raw intensity, as we really see probably the man who might've murdered someone, although here used a good cause technically. Kotto though is a force in the scene as he shows a man purely in his element, though as he asks specially who sent them, he offers a proper glint of desperation of a man who also knows he might be in a corner. That desperation foreshadowing Kotto's final scene, where Smokey is locked in a paint room at their car factory purposefully to die. It's a horrifying scene, and Kotto is essential in this. This as his performance amplifies the terror of the situation, by showing the progressive sense of unease and downright fear, as the situation becomes more dire. Kotto delivering a raw visceral quality to it, as makes you feel the oxygen just slipping from him in each moment of it. Kotto creating a brutal end to his character, both in terms of the present moment, but seeing the life slowly slip from the man he makes so vivid to us. Although Kotto has the least screentime of the central trio, and is technically the supporting member, he never any less important in a larger part due to his performance. Kotto finding the right place with his work both as part of the group, but also in terms of memorably accentuating what sets him apart. This making it so even though we don't see him in final frame, the re-use of one of his lines leaves a remarkable impression because Kotto left such a remarkable impression as well.

Alternate Best Supporting 1978: Scott Reiniger in Dawn of the Dead

Scott Reiniger did not receive an Oscar nomination for portraying Roger "Trooper" DeMarco in Dawn of the Dead.

Dawn of the Dead is perhaps one of the best "cheap" movies ever made about four people who try to survive the zombie apocalypse.

Now I don't refer to "cheap" as the cost, as for the time anyways it wasn't all that low budget of a film. George Romero's work as director though doesn't have, we'll say, the typical expertise when it comes to the sound design which is a bit a shoddy, the cinematography kind of whatever it is, and even the makeup effects show an an inconsistency. This as while there are some very impressive ones, there's also times where we get some obvious dummies, and some terrible "zombie" looks that look like people just have a bit of blue paint on their face. I am I'll admit more directly critical with the less technical imperfections, that being Romero's attempts at social satire get a little obnoxious when the characters speak them by either saying the most on the nose lines possible, or BY YELLING EVERY LINE BECAUSE HUMANITY CAN'T GET ALONG, GET IT! I say all that though, because I do rather like this film overall despite all its flaws. One of the reasons being the moments in which it seems to take a strangely down to earth approach as we follow the four survivors, who just try to hole up in the mall, and follow the appropriate problems and joys they'll get in this endeavor. This is also helped by following squarely on four characters, a pilot, his girlfriend and two swat officers.

Although I'll say, much like the rest of the film, the acting does carry a certain amateurish quality, particularly the bit players, which thankfully we don't spend too much with. The most confident being I'd say is the Afghan prince himself, Scott Reiniger as one of the two sway officers. This is to the point that I actually think his performance is one of the most interesting things in the film, as he is neither the panicky idiot we find in zombie films, like David Emgee as the pilot Steve "Flyboy" Andrews or the stoic heroic type like Ken Foree as the other swat member Peter. Reiniger's realizes his more unique arc from the outset of the film where we initially witness his fear as he and the swat team engage government housing filled with zombies. This as Reiniger portrays a bit of the horror of killing other humans, however we see a bit of change as he we see him start to kill the zombies. There is no horror in this and Reiniger portrays what is most interesting about his characterization which is this certain sense of cool that develops from his performance. It's more remarkable that it is not immediately evident in his performance but rather develops as we proceed through the story, and Roger gets to do something important, which is kill a lot of zombies. Reiniger doesn't portray this as a necessary act, but rather this becoming this certain sport for Roger. The more the situation becomes like a horror film, the more he portrays it as a game for Roger, almost like a life calling. I especially love the joy that Reiniger exudes in his performance in the moments when Roger does his specific aim to knock the heads off the zombies, one would assume for maximum points. Reiniger's riff though works well though in making Roger stand out more than just the "extra" guy, in fact early on you might think he'd be the sole survivor, as we see a man who seems absolutely in his element in killing zombies. Reiniger brings a real thrill in it as they go about securing the mall to become their shelter, bringing such a life in his expression of a man who is basically living his best life as someone who has found his true calling. This in his physical ease in the part, and really the cool that he projects of a guy who has found an environment that supports his skills. Reiniger builds this effectively in his work by making him more and more carefree in each successive sequence. Doing it in a way, that he doesn't become pompous, rather you come to quite like Roger through this approach. Also worth mentioning in that though is his chemistry with Foree, where we do get a sense of camaraderie and warmth in the interaction between the two. Granting a sense of the mutual minds to part, with some nice moments of ribbing and mutual enthusiasm that create a good sense of the friendship between Roger and Peter. As they are further prepping the mall by using truck as barriers to the mall, Reiniger shows someone having way too much fun as he goes about it, and in a way creates the danger in someone with over confidence. This comes to a head when one of the zombies almost gets him. This we see a snap that Reiniger portrays well as this even greater energy in the man, but now as some kind of derangement. This as a manic energy, with his eyes as someone quite losing it to this adrenaline rush. His delivery of "perfect baby, perect" as calm as it is, it is anything but sane as this detachment from his situation. This naturally leading to even riskier behavior that leads Roger to be bitten. Turning what in way made Roger so engaging, his downfall quite remarkably. That thankfully isn't the end of Reiniger's performance, as he nicely segues this towards showing a return to modesty again, as he still manages to help the other even when disabled. This though with a sense within his eyes, of a man hit with more than humility. There is then a real poignancy we do find in his final moments of a drugged, almost zombified Roger, asking Peter to make sure not to kill him until he "comes back". His insistence that he'll "try not to come back" is moving as Reiniger having lost all that confidence and cool, but a bit genuine tenderness in the moment with Foree. I won't say this performance completely loses itself from that Romero "quality" in the acting, but this is a good performance that offers a lot more to this film than just being a typical zombie victim.

Alternate Best Supporting Actor 1978: Barry Bostwick in Movie Movie

Barry Bostwick did not receive an Oscar nomination, despite being nominated by a few critics groups, for portraying Johnny Danko and Dick Cummings in Movie Movie.

Movie Movie is two shorter films as a double feature, both directed by Stanley Donan, one a boxing movie fashioned around seemingly Golden Boy and the other a musical fashioned around 42nd Street. The boxing film doesn't work as the film seems unsure of whether it is a comedy making fun of an old school boxing picture or trying to be one. Fittingly the musical actually is rather enjoyable, as it manages to find the right tongue in cheek tone more suited to musicals to begin with.

One of the reasons, although there are many, the second half is so much more successful is the performances seem far more properly attuned. Although really I am just referring to Harry Hamlin's leading turn in the boxing section, that cannot decide if he's doing a parody or playing it straight, problem is it makes him neither funny nor earnest in the role. Now fittingly the old pros all seem to get it, Eli Wallach, George C. Scott, Red Button, Art Carney, but the relative newcomer, who also gets it, is one Barry Bostwick. Now just to note, he does play a gangster with a heart of gold in the first segment. I hesitate to even mention it as Bostwick has almost nothing to do, other than to look honest, despite being dressed like a crook. Well he does that, but it doesn't really stress his talents in anyway. Thankfully this all changes on the musical side of things. The musical that follows an impresario Spats Baxter (George C. Scott), who is hoping to have one last musical hit before he dies from a disease that effects mainly artistic types. Anyway, Bostwick in this half plays Dick Cummings, the klutzy new accountant for Baxter, and of course wannabe songwriter. Bostwick's performance now gets it, because he throws himself right into a musical of this ilk that would be from 30's, perhaps slightly heightened, but musicals typically were heightened anyways. Bostwick making for a proper klutzy potential romantic type early on in the segment, in quite artfully hitting his properly foolish marks. This with just the right wide eyed earnest quality in selling his nerdiness along with his movements befitting a scarecrow learning how to walk. Now as much as I did enjoy Bostwick being a goofy accountant, what really makes this performance worth noting, is when Spats, in need of a new composer, lets his accountant take a crack at it. Bostwick's performance of Dick's number of "I just need the girl", is a musical marvel. This as Bostwick just is wonderful every step of the performance, from his growing, and wholly contagious enthusiasm as he describes the instrumentation/while singing the song. Bostwick though throws his own entire self into the sequence, though in every step and movement as he conducts as he sings. Bostwick just exudes the best sort of energy in his movements that he remain scarecrow, but one in his steps, with just how much he does with himself in the scene. Bostwick is wildly entertaining capturing the very best of the classic musical style enthusiasm. Although that is the peak of his work, it's quite a peak, that I've found myself revisiting by just how much joy there is in the number is due to Bostwick's performance. Bostwick's work though is right attuned in every moment. This as he captures that right type of endearing energy, that has certain comical charm of it, but also works because of how earnest it all feels. The sort of melodramatic romance, of being pulled being the equally earnest ingenue or manipulated by the prima donna, Bostwick sells the best of ways. Whether this being the most sincere of smiles to inviting the ingenue, that proper hangdog expression, when hearing what the prima donna really thinks of him, or the pouring of somber goodwill when he insists he'll do right by a dying Spats. Bostwick hits the marks so well, and his work here seems to most understand the right path for Movie Movie. This is as he's delightful by finding the right combination by having the right good natured fun perhaps technically at the expense of the performances of the time, but also by just being one.

Alternate Best Supporting Actor 1978: Bruce Dern in The Driver

Bruce Dern did not receive an Oscar nomination for portraying The Detective in The Driver.

The Driver, which follows a, well, driver (Ryan O'Neal) who is a getaway specialist, was much derided in its time. Although I will say unfairly, I mean the technical virtues of the film alone should've guaranteed it some praise, but I'll say it was before its time. As the film exists purposefully as a specifically cinematic piece, and makes no illusions regarding this fact. The overused criticism of "style over substance" too often ignores that style itself can be enough, particularly if it is the intention of the piece. That is the case for the Driver, which I suppose I will defend as a proper strictly cinematic work by director Walter Hill, that could only exist as a film, and does so with spectacular style. Although I will say this approach was in a way perfected in its spiritual successor of Drive, though by adding a bit more direct substance, I still think it stands well as the purest form of this approach. A film that exists through the language of film.

Speaking to the film's minimalist approach is right within the script that names each character as their role, rather than a person. The approach being to make an action picture distilled to its purest form. Bruce Dern is quite simply ideal for this type approach, as the pseudo antagonist to the driver as the detective trying to catch. This is because if the character itself might be limited, you have a performer like Bruce Dern who is quite simply always a character. The challenge presented to Dern being to make something out of a purpose archetype of the dogged detective who do what it takes to catch his man. I will say many a performer likely would've been completely forgettable in this role, but this part is just right for the always at least a little off-beat Dern. This is as in a way one will take notice of the detective, just as we see him passively playing pool in the opening scene, because well it's Bruce Dern. Bruce Dern is more than just casting though, as he is an actor, who importantly doesn't quite approach a scene like anyone else, much in the same way of say a Christopher Walken, his co-nominee from 1978 for the actual Oscar. This as he questions witnesses looking at a lineup, Dern's slightly manic eyes, and posture almost like a pecking bird, offers us a bit more of an indecisive character within the detective. This is technically as the detective is merely just asking questions, but Dern does far more with it than that. Take as he attempts to interrogate the driver after the first heist of the film, and Dern just owns the dialogue he has, and the scene. This in bringing that bit of mania in his expression as he speaks of his wish to catch the "cowboy that's never been caught" with a delighted glee, that creates a greater sense of obsession than is honestly in the dialogue. Dern makes investigation scenes have something extra to them, as he can add that color to any line, even just remarking on the size of a gun, or just in that atypical physical manner of his that skews things just a bit, while still definitely delivering on the direct point of the role. This in bringing a bit more ego in the detective as he lays down his trap, and boasts about his method. One of Dern's best moments being talking directly with the Driver and commenting on the driver's life. Dern has the right degree of fun with it, showing in turn that the detective loves the chase a bit, and gets a kick honestly out of playing the game with the Driver. Dern in a way showing the needed performance even in the Detective's own action scene of sorts, by bringing to life the dogged determination and frustration of the moment as we follow him nearly silently trying to catch a crook. Dern effectively becoming the protagonist in a way, if only for a scene. My favorite moment of his performance though being the ending, helped by a great edit, where the driver goes to attempt to pickup what he thinks is illicit payment to only find himself surrounding by cops lead by the detective. Dern leading with the right smug posture. What's best about it though, as both men find they were had in some way, Dern delivers a slight modesty in his final lines even a sense of understanding in his eyes as they both accept their "loss". Dern makes the most out of the type, he's given here, making more than there is in the right way, as offering essentially the character for the role.

Alternate Best Supporting Actor 1978

And the Nominees Were Not:

Barry Bostwick in Movie Movie

Bruce Dern in The Driver

Yaphet Kotto in Blue Collar

Christopher Plummer in The Silent Partner

Scott Reiniger in Dawn of the Dead

Alternate Best Actor 1978: Results

5. Steve McQueen in An Enemy of the People - McQueen doesn't fail entirely in his against type performance, but at the same time it isn't a complete success.

Best Scene: Speech.

4. Elliott Gould in The Silent Partner - Gould delivers a terrific atypical turn as the lead to a thriller who is a bit more calculating than the average "wrong man".

Best Scene: Needing a new key.

3. Harvey Keitel in Fingers - Keitel delivers a fantastic turn of a man defined by a strange pull between a world of art and a world of violence.

Best Scene: Visiting his mother.

2. Alan Bates in The Shout - Bates delivers a wholly a captivating portrayal of a man seemingly empowered by a life of mistakes, and a man broken by them.

Best Scene: The shout.

1. Richard Pryor in Blue Collar - Good predictions Michael McCarthy and GM. Pryor proves his abilities are far greater than he was given credit for, in his dynamic, intense, and downright powerful portrayal of a man fed-up by the system he is stuck in.

Best Scene: Explaining his compromise.

Updated Overall:

Next Year: 1978 Supporting (found a lineup)

Alternate Best Actor 1978: Elliott Gould in The Silent Partner

Elliott Gould did not receive an Oscar nomination for portraying Miles Cullen in The Silent Partner.

The Silent Partner is a very underrated rather good thriller about a bank teller secretly stealing money from the bank/a bank robber Harry Reikle (Christopher Plummer looking his most Michael Fassbenderesque) during a heist.

One of the features that makes this film standout within its genre is one Elliott Gould in the central role. Gould being one of the atypical leading men that helped define the seventies. Here in the role the "wrong man" more traditionally although the twist here, provided well by screenwriter Curtis Hanson, is here he is the right man in a way. We open though in the film with the more expected point of our Hitchcockian style hero, seemingly just minding his business as usual. Although this unusual hero, is indeed that, as we have Gould providing a bit of an off-beat presence, not quite as off-beat as his brilliant Philip Marlowe from The Long Goodbye, however similar in terms of the way Gould takes an atypical approach. This time again an effective approach in this sense, as he doesn't overdo the idiosyncrasy, however creates a proper sense of Miles as this bookworm type, most interested in a new fish than anything else. Gould is fantastic early on though is as much as he is effective as seeming a man of no importance on the cursory surface, we are immediately granted his greater intelligence and ability early on. This is almost entirely played in his eyes, and brilliantly so. Whether this be his quick calculating glance at an unused robbery note to the bank, or his examination of his attractive co-worker Julie (Susannah York) who he is acting as a false date for so his boss can attempt an affair with her, Gould grants a greater sense into the mind of Miles, even as he stays the slightly affable dullard for most.

The film doesn't stop to take a moment where Miles goes, okay I'm going to steal the bank money by tricking a robber, but we wholly granted a sense of why through Gould's nuanced performance. This in just fantastic moments of examining the man he knows is the robber as he shows the man breaking the idea down, and then conducting this certainty in his manner of a man who is deciding to take something for himself for once. This is where we get some really terrific work from Gould as he provides a different type of hero for a Hitchcockian style thriller, in that Miles isn't the tricked every-man, but rather the manipulative genius usually left to the villain. Gould though manages to create something notable in crafting the calculating method of Miles, largely through a lot internalized moments in his performance. This in he presents a man who rarely shuts off, with this careful examination of things, and does so much in his work in just reactionary moments that gives a different flavor to this thriller. This as even when we see him interact with the bank robber Reikel, and attempt to draw him away from his trail, there is this wonderful lively sense in Gould's work. This in showing a guy very much working on sort of outside his typical bounds with a bit of energy within that idea, but also very much the sense of assurance in the man in trying to make things go according to plan for himself. I love the way that Miles in a way would basically always have the upper hand if it weren't for the fact that Reikel, unlike Miles, is more than willing to use violence to get what he wants.

Now within this idea Gould also finds well the way Miles grows from the experience, as his success with the plot seems to grow this even greater confidence with a bit more willingness to step forward. Gould doesn't show a completely changed man, but rather a man who is more willing to put forth the qualities he already had properly. This is perhaps best shown in what was for me the true hidden gem within the film, that of the character of Elaine played by Celine Lomez. A woman who initially lies about being a worker at the rest home for Miles's ailing father, but Miles soon deciphers is working for Reikel. Miles though romances her anyways while revealing his cards to her and they genuinely fall in love. Gould has great chemistry with Lomez, and most importantly shows so well the sort of ability of Miles to be both charming while conducting himself with this specific calculation. Their chemistry goes beyond their romance though as the two end up scheming to help secure the money Miles stole again, in a scene that is a highlight of the film. This in the playful chemistry they have that is so terrific, with Gould playing back but also being careful, while Lomez puts on the part of a harmless bank costumer while trying to hide her greed. It's a marvelous scene that honestly makes their relationship work so well, that I do wish things had gone differently for the rest of the film. Not in a way that hurts the film, rather the two really strike up an essential endearing connection that wished the two could've ridden off into the sunset together. This is, that while he did find good chemistry with York, which is more compromised naturally as Gould shows Miles to be always a bit compromised in their scenes together, it just doesn't have that spark he has with Lomez. Not a criticism of the film, or Gould's performance however. Now as terrific as Gould is finding this sort of new approach for the thriller hero, he is also great in the more expected material. This in just pulling us into Miles, as the great "heroic" performances should, and most importantly developing each stage of the plot. This in creating the real human connection in reflecting the fear and tension of dealing with Reikel at times, as well as the heartbreak and anger in reaction towards the man's more heinous actions. Gould draws us into Miles's experience like the best Hitchcockian style heroes, and pulls us right into this plot in the best of ways. This is a very strong performance from Elliott Gould as he does offer a bit of a nice variation on this type of character, while also fulfilling the needed expectations of such a role.

Alternate Best Actor 1978: Richard Pryor in Blue Collar

Richard Pryor did not receive an Oscar nomination for portraying Zeke Brown in Blue Collar.

Blue Collar is a terrific film following three fed-up auto workers who discover corruption in their union.

Richard Pryor was and is known as a legendary figure in the world of stand up comedy. Sadly his cinematic career pales in comparison to this, as he seemed largely misused by Hollywood for much of his career. Notable examples of this being Superman III, or in the same year as this film in The Wiz. This where executives seemed to say "you're funny be funny", in poorly thought out scenarios that expected Pryor to make something out of nothing, honestly frequently less than nothing. Sadly any chance for Pryor to really find a better path for himself was cut short by his drug addition and failing health. Now there were examples of films that found some decent material for Pryor to work with, although even these were typically pretty limited roles, Blue Collar however stands in a completely different league here, as a film that seemed to understand an even greater potential in Pryor than one might've expected. Now interesting enough, from the outset of the film, it kind of pulls you into thinking this might be more an expected, if a bit grittier, comedy of some working class guys. This with perhaps Harvey Keitel, filling in the Gene Wilder role, though with an actor like Keitel in that role, that perhaps tells you a little bit that might not be the case after all. Early on though we do get a bit more of Pryor's expected comedic presence as they complain about their conditions and the Union that seems to only serve themselves. These early moments though being in more jesting frustrations, with some nice chemistry in creating a general camaraderie between Pryor's Zeke, Keitel's Jerry and Yaphet Kotto's Smokey as work buddies. Pryor nicely bring a comic charm to these early moments with the guys just hanging early on, and we are granted a sense of friendship in mutual misery, which is realized in joking at their mutually difficult plight.

We are granted though that this will be a bit more in an early scene, where we see Zeke with his wife and family at home, when an IRS agent comes back for a bit of additional auditing. Now initially we do get a bit of comedy as Zeke claims a bit of additional children and Pryor is hilarious as he names off some additional well known names as some extra kids, while his wife grabs a few extra kids from the neighborhood to "fill in". It's a good comic setup and works in that sense. Although as the IRS man presses Pryor naturally and quite powerfully segues to something far more serious as Zeke speaks his difficult plight of having so little money to begin with and just scraping by. Pryor is quite simply incredible in the moment as the years of frustration are brimming in his eyes and his voice being so moving as there is such a sense of defeat even in the anger of his delivery. Honestly watching this scene ought to shatter anyone's image that all Pryor could be is funny, as there is such a real raw power to the scene that is remarkable. This is as Pryor not only brings such an intensity to the moment, but we are granted a real sense of the man's history of just getting beaten down by one thing after another in the nature of that intensity found in his performance. This made all the more potent as Pryor rips the rug out from under us, because in the scene we begin laughing but are shocked into seeing the real tragedy of Zeke's life. This is but a preview in a way to his performance however, as we see this early instance of the real anger that goes beyond just complaints shared between friends.

There is then the progress of Pryor's work which shows this growing sense of aggravation in the man. Early on we still have moments of a more expected presence of Pryor with that comedic edge, that is well realized by him here. That is he offers a light comic edge, he doesn't overplay the moments, making Zeke just a naturally kind of funny guy, rather than giving an overtly comic performance. It's used so well though because in turn we see the anger as all the more dynamic in his performance. This in that as the story goes on, and the three men find evidence of the union corruption, and the situation only becomes more sever. Pryor is outstanding in the moments of realizing such searing hatred towards the foreman and his union rep, showing a man who has just had it with his experience. It is raw, but also we see the tiring quality within Pryor's work. There is a remarkable degradation in the man as no matter what they try nothing seems to change. There's a great moment where Zeke is brought in to deal with an issue between him and the foreman. Pryor is outstanding in creating this scene as one of endless frustration and hate of the man just festering as his demands are forgotten, while everyone else's seem easily satisfied. Every word Pryor brings an ache of the lies and waste of time. His reactions filled with just defeat towards the union rep, of a man who knows he will get no help from any side, and can only resort to outrage.  The union no way intimidated or changed by their evidence instead seek ways in which to deal with the men in some ways, violennt if necessary.

This begins first with negotiation for Zeke however, who they offer a position to be the new Union rep. Although we do have a fantastic moment in the heartbreak Pryor delivers as he learns of corruption's violence, this as his eyes fill with disbelief at the action, and a sense of defeat though within his whole existence, Zeke ends up taking the position. This is much to Jerry's dismay who question Zeke's choice, in a downright amazing scene for Pryor. Pryor is brilliant in this scene as he brings such a vivid sense of the broken fight as speaks of his choice. Pryor so humanizes this decision though that you wholly understand Zeke in the moment even as he basically joins in the corruption. There is such devastation in his eyes, and honesty in his voice though as Pryor speaks to his family's struggle because of his race, and it is with such genuine sense of a life of frustrations that we see this decision. Pryor is downright heartbreaking in the scene as in the moment he fully realizes a man who has been struggling for an inch, and as he explains what he is willing to compromise for that inch, it is difficult to quickly damn him as Pryor makes it so real in the all to human explanation. He is devastating to watch to watch in the scene, as the whole life of desperation is wound within his expression as Zeke makes his decision. This leaving Jerry in a precarious situation, who refuses to compromise leaving him no choice but to go to the FBI lest be murdered by the corrupt Union. This leaving a moment of confrontation of Zeke and Jerry in factory. This scene is incredible as Pryor and Keitel, are again so exceptional in the scene by making it so honest. We see a fight in this scene that could only exist between former friends, as the venom in each other and the sense of betrayal each exude seems to go their very core. Their intensity is messy in creating such a sense of each man taking all of everything that happened on each other in the moment, in what is also a heartbreaking scene, as we see all that old camaraderie gone, purged from them due to the corrupt system, but making the fight all the more abrasive and personal. This as both seem to not only be lashing out at each other but within it every thing they've gone through in life. This is a great performance by Richard Pryor. This as he peels away his expected presence, to give such a convincing and shattering depiction of a man being swallowed by the system. It's a shame his career didn't allow for more chances like this, as this shows he was far more capable than just being a funny man.

Alternate Best Actor 1978: Harvey Keitel in Fingers

Harvey Keitel did not receive an Oscar nomination for portraying Jimmy Fingers in Fingers.

Fingers is the original film about a man caught between a world of crime and musical aspirations.

I say original film, as I previously reviewed Romain Duris in The Beat That My Heart Skipped, the perhaps more artfully directed remake of the film from 2005. Both are good films though in their own right (though the sex scenes might tell you a little too much about its writer/director), and to inhabit slightly different experiences almost entirely realized within the central performance. Where Duris gave a strong portrayal of a normal guy caught up into a very difficult situation, Keitel doesn't something entirely different with the part. I'll admit when going into watching the film I thought I was more likely going to see a variation on Keitel's work in Mean Streets, which would've been closer to Duris's eventual approach, but Keitel genuinely surprised me.  Where Duris portrayed a man who understood his situation in a sense, even though he was often powerless to deal with it, Keitel portrays a man who in unaware of it. This is fundamental in his approach to the part though which is that Jimmy might be a bit mentally ill, or at least mentally off from the duality of being raised by his criminal father and musician mother, who also appears to be a bit mentally off herself. Keitel's performance then is just not of this hood, or even conflicted hood. It is rather revealing of his Jimmy Fingers as a man wholly out of place in his existence in a way, though technically fashioned by that existence.

Keitel doesn't portray the character as having two sides, at least not exactly. We open the film as he is practicing Bach on the piano. Keitel portraying the uproarious passion of the man within it. This passion for music though doesn't stop once he stops playing. This as we instantly see him trying to entice a young woman while dragging along a radio that is constantly playing some his favorite music. Keitel excitedly speaks every word as Jimmy speaks about the music he loves so much. It is without hesitation that we see this passion from Keitel, where he emphasizes in a way that for Jimmy music is this essential part of him. He speaks of it as though others should just understand at as he does, and his eyes blaring with this rich sense of belief in every word of his. This in portraying Jimmy as just not a music lover, but also as this believer that everyone around him ought to love music as he does. Keitel's performance managing to find this natural, by in a way making it somewhat mentally off, in one way or another, in these moments. This isn't to say he undercuts the passion, quite the contrary, but rather he expresses a man who finds music as the truth of his life and life in general. This though with a lack of awareness that others do not share this same treatment, and showing essentially an anger when there are others who do respect the art as he does.

The scenes where Jimmy speaks to his father (Michael V. Gazzo) Keitel does not hide his excitement at the prospect of the audition, something this father is even generally supportive of. In this time though we also have his father give Jimmy two money collection jobs, as basically his muscle. This may seem at odds with the artistic man that is Jimmy in the opening scenes, however that would be misguided.  Instead at the first money pick up job, it is with his radio that we're storming in. This where Keitel is beaming as he explains his love of the song coming from the radio, and just trying to inquire ways of how his radio can be supported. The man, who owes Jimmy's father money though doesn't relent to that, or Jimmy's initially gentle demands for the money. Jimmy in turn then violently accosts the man, and what is so unnerving in this is how natural Keitel makes it. It isn't a shift rather it is the same passion within the man, though now for different purpose where Keitel delivers the same intensity found in his love of music, now for violence. Keitel delivers on that menace but what makes it remarkable is how it segues in the moment with such ease as Keitel portrays Jimmy's as singular, despite the two interests seem at opposite ends of one another. This is made all the more clear when he gets into a violent argument with men questioning his radio, where Keitel's snap of threatening the man as this near instinct of a man who has this specific sensitivity.

The sensitivity that Keitel does not turn into making a "good" man but rather the man that he is. This as we see him in any instance, including his interactions with women. Keitel portrays this desperate need for some deeper show of affection, that is palatable and seething in these moments. There is a distress in his eyes of a man looking for some greater connection that he never finds. The same can be seen within when we see him playing piano, and now failing to do so for an audition. Again Keitel emphasizes the frustration in his passion that seem displaced, and in his failure to direct it in a away for others to understand. We find that though with his scenes with his father and his one important scene with his mother. His father who in general is more open, though prompting Jimmy to commit more violent acts, and his essential scene with his mother. In both there is a searing need in Keitel's eyes of a boy just looking for approval in his parents, with very differing expectations, and in turn grants sense to the man who thrusts himself so fiercely into a life of both art and violence. Keitel manages to create then this strange, yet convincing, extreme of the man who in a way becomes deranged by the oddness of the arithmetic that makes up his life. Keitel finding these emotional extremes then in the end believable fashion, as we see the man throwing himself still into song, but then just the same as we see his violent acts at the end of the film. Keitel defines Jimmy as a man defined by his passion, and does so powerfully whether it be through an elegant concerto or a brutal murder.

Alternate Best Actor 1978: Alan Bates in The Shout

Alan Bates did not receive an Oscar nomination for portraying Charles Crossley in The Shout.

The Shout is an odd film, in that way only 70's films would be odd, about a drifter, who claims to have a mystery power, coming into the lives of a married couple (John Hurt and Susannah York).

Alan Bates appearing as the mysterious stranger Crossley, actually begins the film seemingly in not at all mysterious circumstances. This as he is simply one of the men keeping score at a cricket game on tranquil grounds, but I suppose if Tim Curry is helping you keep score there might be something up. Bates appears to speak of something being not quite right within his own performance, and not just alluding to his haggard appearance and clothes that doesn't seem to fit his surroundings in the least. Crossley begins though to speak of telling his fellow scorer, which Bates textures with a grim and foreboding quality as he speaks, to tell the story of man whose wife loved him, however things didn't turn out well. A quiet mania in Bates's eyes as he speaks, and in turn crafts quite the intriguing starting point for this story. This story that seems tranquil enough at first as we meet experimental musician Anthony (Hurt) being prodded along to church by his seemingly loving wife Rachel (York). After church though he runs into Bates's Crossley who fashions here a presence that is alien to the majority of his role. This in delivering this innate intensity in his startling manner. Bates's oddly shaken manner and ghastly eyes allude to some strange state of this man before we even learn much of him. His first words though are to the nature of the soul, which Bates delivers in this fascinating way of speaking to himself as much as speaking to anyone else. This sort of self-pondering of a man who doesn't seem entirely there, and even Bates's expression seems to evoke a man's mind having been permanently transplanted elsewhere.

Bates's work evokes a man who has been through some horror, however he has come through it with a strange combination of illumination and trauma. Bates's carrying this magnetism here even as he walks as a drifter along the road next to Hurt, before showing up at his house and instantly inviting himself back in. Bates's performance is off-putting in his initial conversations, though that is an understatement, as he quietly delivers these odd statements with alluring yet chilling quality within each word. There is though this near detachment that Bates brings as though Crossley is reciting stories of the past. These stories that begin to take a bit more shape as he describes his time in Australia which included murdering of his own children. Bates delivers this simply as part of the story with this particularly eerie conviction of this sentiment of leaving no trace of one's self. It is said as though it would be any part of the story, though not quite just a sociopath, but rather this darker measure of the man who seems to view his existence within some alternative lens. Bates work is altogether brilliant in this scene though as he manages to create this odd supernatural creature within Crossley, while also still revealing a tangible humanity within him. This balance, that I wouldn't quite describe as elegant, but is nonetheless fascinating to watch within Bates's performance. This as Bates Crossley as though a person whose achieved some separate plane of existence in the current state, though having achieved this through some experience that placed him there.

This continues as Crossley speaks to Anthony of the titular shout as some ability he has learned from aborigines, a yell that kills those who hear it. Bates speaks again of it as this almost idea of a religious experience as he apparently invites Anthony to listen, while also warning him of his dangers. The actual shouting scene being brilliantly performed by Bates in his movement though as though he is conducting the earth itself as something in his control, before committing this extreme upheaval within himself before yelling out much to Anthony's horror, despite taking precautionary measures beforehand. Bates becomes increasingly this nefarious force beyond this point, this in portraying Crossley as an interloper manipulating Anthony and Rachel as he sees fit. Bates's work in itself is incredible here, this as he offers this sort of mesmerizing command within his own presence. This even in his disheveled appearance, Bates presents this ominous power that exudes from him every second he is onscreen. This continues though as he speaks to Rachel of essentially casting a spell of lust on her, which too Bates delivers with this combination of a more genuine lust but also this demonic allure as his eyes create an unnerving quality. This as we see their tryst it is a strange affair, still so effectively performed by Bates, as he presents Crossley's interactions with an animalistic Rachel, less as man loving a woman, but rather almost an owner conducting his pet to lavish and worship him. There is almost disgust in Bates as he compels this behavior in Rachel, without a sense of any joy or genuine pleasure from the experience. Bates portraying Crossley as seeming beyond that idea.

This experience though seems to bluntly end though as Crossley is arrested, though then we are shifted back to the framing device where that cricket field is beset by a storm, and it becomes clear we are on the ground of some type of asylum. Well here comes my interpretation on my end, and best that I do is offer my take on that. Although either way Bates's performance is outstanding here, what I see is the story he tells is of an imagined version of the man entering into the lives, likely of those he is jealous of or has imagined lives of for him to be jealous of. This is befitting that we have a mentally ill man crafting a version of himself whose mental problems provide almost some supernatural ability to change and control the lives around him. Bates in those scenes showing a man whose broken state empowers him, fitting to a mad man creating a fantasy that supports his existence. This then is in sharp contrast to the man we cut back to essentially having a mental breakdown back at the game as he is unable to finish his story. Bates delivers something particularly important then in this scene as he no longer has that power within his presence, and rather portrays a straight mania. This fear within the man of being taken away and controlled by others in this attempt to escape. Bates in this scene just showing a man who is mentally ill and terrified within this state. This in a way though the same man of his story deep down, but now without a power from his illness. Although technically in some ways a brief performance, this is a an amazing performance by Bates. This as he manages to make something vivid within the concept of the character and not get lost within it. This as his work in itself is compelling but goes beyond that in crafting a captivating portrayal of technically the ravings of a mad man as a cohesive idea.