Alternate Best Actor 1944: Errol Flynn in Uncertain Glory

 Errol Flynn did not receive an Oscar nomination for portraying Jean Picard in Uncertain Glory. 

Uncertain Glory is a better than average patriotic piece, which were so common in this period, here about a career criminal who decides to take the fall for a French saboteur during world war 2 rather than face the guillotine for his crimes. 

I'll admit this performance is big reason I decided to do the lineup as I felt I had to review this turn from Flynn as it is so atypical for him in a lot of ways. Although Flynn often played a lot of charming pseudo rogue we always knew they were heroes at heart from the outset. Although this character might get to that point eventually, we get a side from Flynn entirely different from his typical presence. This as the film opens with his Picard awaiting execution where we first meet him as he refuses to shave his neck for the guillotine. Flynn's snap delivery in the refusal grants a surprising intensity from the performer who typically granted a more light weight approach to his roles. Here though Flynn shows a real bitterness within the man's manner with his eyes filled with a hate for his captors, and a general derision that he naturally exudes. An ideally time bombing raid though allows Picard to escape, where again we find Flynn in unlikely waters as he finds the home of an old friend. here though Flynn plays into his usual charm however now weaponized towards a wholly different sort of man. This with his easy going manner played within a different light. Flynn is genuinely charming of course with his always dynamic presence, however his eyes grant it a different quality. There's a sneering menace even in his calm delivery as threatens his friend, while smiling. This though only followed as seduces his friend's girlfriend. Flynn of course convincing in the ease of this, but even more so remarkable here though in the devious cunning he grants the moment. Flynn not easing on the edges of the role but rather embracing the man of Picard as a truly despicable sort. 

His escape is short lived though as he is quickly caught dogged Inspector Bonet (Paul Lukas), who intends to take him back to be executed. Even in this it is interesting to see Flynn approach these scenes with a wry sort of cynicism that is quite different from his usual optimistic heroes. The thing is though Flynn wholly pulls it off here and grants an effective dynamic between himself and Lukas, who is also quite good in portraying his character's blunt righteousness. The two though are given a strange opportunity when they hear that the occupying Nazis intend to kill 100 random French unless a recent saboteur exposes himself first. Flynn's terrific in hearing this news as he suggests the idea that he take the place preferring the firing squad over guillotine as a form of death. Flynn doesn't play this as a sudden change of heart, rather layers it on top with a soft delivery of suggesting some virtue in Picard but only to try to convince Bonet in the moment. Flynn still has the slick glint in his eyes of a man trying really anything to give himself opportunities to escape his likely fate. This leads the two towards a small French town to await and prepare Picard to turn himself in for his false crime in order to atone for his real ones. Here Flynn broaches more typical material for him, as we see a minor romance, and really opportunities for him to be more overtly charming. 

Flynn though doesn't excuse his character in these scenes and doesn't suddenly shift his performance. He tempers his work towards a more insulated charm of a man with a constant secret alluding towards the man's criminal element even as he seems to change. As this goes on though there is no quick shift here actually for Flynn's performance, which is remarkable. Flynn I often found most struggled with the most purely earnest moments of selling a philosophy in his other performances, like selling the virtues of King Richard in Robin Hood for example, but he does great with them here. One of the big reasons being he wholly changes his typical approach. This as we get a scene where he has convinced Bonet that he's changed to some degree and explains it. It is with a nearly passive tone of a man recognizing his faults. This though instantly subverted a moment later where Flynn unabashedly grins showing Picard's "confession" to Bonet being no more than a lie in an attempt to escape any type of execution. Nonetheless a series of events still wear down on Picard to eventually change his mind for real, but what is great here is how Flynn plays the scene of the true change against the false. This as Flynn goes on almost an attack of explaining the whole idea of the virtues of the saboteur with the viciousness of his earliest scenes. This in a way showing the man being honestly himself even when speaking a new truth to himself. This scene presenting the man convincing himself through essentially a realization of a hatred of himself. Flynn realizing the transformation of his character with a quiet power and artfully avoiding the typical pitfalls one finds in his work. This is a wholly different performance from Flynn utilizing his virtues as a performer but through another, even more dynamic, lens.

Alternate Best Actor 1944

And the Nominees Were Not:

Laird Cregar in The Lodger

 

Nikolai Cherkasov in Ivan The Terrible, Part I 

 

Alexander Knox in None Shall Escape

 

Dick Powell in Murder, My Sweet

 

Errol Flynn in Uncertain Glory

Alternate Best Supporting Actor 1931: Boris Karloff in The Criminal Code and Updated Overall

Boris Karloff did not receive an Oscar nomination for portraying Ned Galloway in The Criminal Code. 

The Criminal Code technically follows the relationship between a new warden and his prisoner valet.

Who cares about all that as the one good part of the film is Boris Karloff as veteran convict Galloway. The same year where Karloff actually balanced a vulnerability with the obvious menace of his makeup as the monster of Frankenstein, Karloff delivers a different kind of almost anti-hero here, even as technically a supporting character. Karloff brings a much needed grit to the prison drama, just even in the naturalistic way we see him just reading the newspaper casually in his cell as the idea of escape is spoken. Karloff presenting a man who is quite comfortable in his setting, at least in his own way. The rise though that Karloff brings is with a remarkable intensity where he notes his extended "stay" came from being punished for drinking during prohibition after getting out of prison. Karloff speaks with a calm sneer and a real sense of deadly hate in his eyes. A rare thing though for the time in the way Karloff in a way underplays it. This just with calmness about it as the man speaks towards getting his revenge within his time in prison. This as he speaks almost with a contentment for it. This with almost a glint in his eye that Karloff expresses as though this is one true dream for Galloway. In this way Karloff showing Galloway as a man so comfortable in prison in a way because he has an objective for himself. 

Karloff owns the screen here to the point one would wish he were the lead of the film, again in a way that is particularly remarkable when compared to the often stilted and dully broad performances of some of his co-stars. Karloff here expresses an understanding in the ease that one can bring to deliver his menace. This in the moment where a guard, a guard who is the man who caused Galloway's imprisonment, attempts to interrogate the men of his cell. Karloff's quiet invitation towards the man to come into the cell to investigate further is brilliant, as he has all the killer intention yet speaks it so gently all the same. As the film goes on, and continues to be largely inert, a snitch leads to the death of the man. This as we find Galloway speak of the titular code with a strict conviction in Karloff. This leading towards a scene where basically follow Galloway as he carefully murders the man. Karloff is fantastic in this scene and is magnetic in the sheer physical presence he brings. This in the calm deliberate manner he brings to the sequence as he shows Galloway essentially slowly practicing his trade one step at a time. Only losing his cool when his innocent cellmate appears to early, and even here Karloff is great in bringing a true sense of sympathy showing Galloway truly only wishing for the right men to be punished. Nonetheless the man still is accused of it, leading really again for Galloway to be the true hero of the film, and also the only compelling character. Karloff again though is essential in this as he takes the blame while also inflicting his revenge. Karloff again captures a captivating energy that the film otherwise is in short supply of with his performance. This in again delivering on a real intensity where where he brings the visceral hate of the man though in a way where we all are granted almost a cathartic sense of the action as an act of justice. Boris Karloff shows here his capability to grant a captivating humanity in 1931 for two different kinds of "monsters".

Updated Overall

 Next: 1944 Lead and Supporting (Lineup again seems unlikely)

Alternate Best Supporting Actor 1950: François Périer in Orpheus & Results

François Périer did not receive an Oscar nomination for portraying Heurtebise in Orpheus.

Périer plays seemingly just a side character initially in the scheme of the film. This as we meet him as the chauffeur of the mysterious princess (Maria Casares) that the poet Orpheus (Jean Marais) becomes fascinated with. Périer's performance initially is seemingly equally unassuming as he offers to give Orpheus a ride home after the poet has witnessed a series of strange events that indicate the princess is in fact Death. Périer's performance even at this point carries a certain cheekiness to it. This is putting up the front though just some random, perhaps not particularly devoted chauffeur, within his jovial delivery as he offers to give Orpheus a ride home seemingly as just a gesture of good will. There is more than meets the eye however as he delivers Orpheus home, who immediately runs off to be obsessed with learning more about this womanly Death , while the chauffeur goes to spend time with Orpheus' wife. I think what I like so much about Périer's performance is his interactions with Orpheus's wife Eurydice in these scenes. This as there's a great deal of layers just within his generally affable presence. This on the first layer we seemingly get a chauffeur, who also seemingly wants to do just the right thing for everyone involved. This in his delivery where he captures both sincerity as he tries to explain to her that Orpheus didn't act out of line with his employer, however there is a minor sort of almost shyness within his expression. Perrier presents a sort of hidden quality, both in terms of suggesting that while Orpheus didn't cheat on his wife the thought may have been there in his head, but also the idea of hiding that he himself is quite aware of the supernatural elements that are going on. There's more going on though in his chemistry with Marie Déa as Eurydice. This is when he says he's not really a devoted chauffeur, he's both lying and telling the truth in his performance. This as he speaks the words it is truly that he's not loyal to her, but also with that ever so slight unease of he is lying by not really letting it all on. 

Périer's performance captures this sort of honest duplicity. This as the man hesitates to reveal his true self, which essentially is an otherworldly "death" worker, but at the same time is earnestly attempting to help the couple out of the situation he sees being set up by the princess. Périer's eyes saying so much in the moments of trying to convince both members of the couple to avoid basically the trap of sorts set by the princess. Perrier's work finds him saying it all silently even as he speaks with this modesty of only these gentle urging to get the couple to behave a certain way. This though is most key in his relationship with Eurydice, where Périer's silent work reveals a palatable sense of affection for the woman even as he is in away only trying to help her husband not lose her. Périer's work grants it this wonderful quality as there is nothing questionable in Heurtebise even though it is obvious he is smitten with her. This as Périer's performance portrays more of as a man doing all these things not to do anything questionable, but rather to try to convince a man to appreciate something he would obviously value so highly. His intent though becomes more obvious when he's not a chauffeur but really a fellow "death", who watches as the princess organizes the death of Eurydice. Périer's work is terrific here in the discontented and snarky manner he holds towards her. This as he watches with a certain sneer denoting his distaste with her choice to try to essentially rope Orpheus into her embraces. Périer finds the right comic quality in this as the two interact not exactly as rivals, but rather co-workers that maybe know each other a little too well. The situation leads though to the princess taking Eurydice and Heurtebise to helping Orpheus find a way into the underworld. Périer is fantastic in just really the sequence of being in the expository role, by finding the right sort of strict conviction as he speaks while also doing it with a levity as though he's professional detailing his job. Eventually enabling a reprieve for Orpheus and his wife by taking the situation to the otherworld's top brass. Périer's great in the scene as he must admit he loves Eurydice as he brings such a sense of vulnerability in the moment of admitting to it. This again though in the sense of not as though he ever had such plans, but rather is somberly accepting that never could have her. This though allowing that reprieve though with the condition that Orpheus not look at this wife. Périer being great along with Marais and Dea in realizing this in a specifically comic way. This as Périer's hilarious constant reminders to Orpheus to not look and trying to adjust the two best he can. Unfortunately this doesn't work leading to a larger sacrifice of both deaths to turn time back and live Orpheus and Eurydice in marital bliss. Périer's final silent moments being heartbreaking yet also in a way sweet, as Heurtebise sadly looks upon at the couple, seeing the joy he could never have.

Updated Overall
 

Next: 1931 lead and supporting (Won't be doing a lineup.)

Alternate Best Actor 1950: Results

5. Vincent Price in The Baron of Arizona - Price gives a properly devious turn even if the film's odd perspective of his character limits him a bit.

Best Scene: Arguing for his guilt.

4. Alec Guinness in Last Holiday- Guinness gives an unexpectedly remarkable turn in his wholly convincing portrayal of a man coming into his own as he faces death.

Best Scene: Final sendoff. 

3. Jean Marais in Orpheus - Marais gives a terrific atypical leading turn ideal for his wonderfully off-beat romantic fantasy.

Best Scene: Trying to not look at his wife. 

2. John Garfield in The Breaking Point - Garfield gives his best performance in his uncompromising portrayal of a man willing to take the easy way out even as it leads to dire consequences.

Best Scene: Final shootout. 

1. Richard Widmark in Night and the City - Richard Widmark delivers a frankly pioneering portrayal that captures his character's determination and mania as he tries to get himself out of a hole by digging to the other side.

Best Scene: Final idea.

Updated Overall

Next: Review of François Périer in Orpheus and supporting update.

Alternate Best Actor 1950: Jean Marais in Orpheus

Jean Marais did not receive an Oscar nomination for portraying the titular character in Orpheus.

Orpheus is a wonderful and uniquely creative retelling of the Orpheus myth set in then modern times.

Visiting again the collaboration between Jean Cocteau and Jean Marais we find them once again working within the fantasy as previously seen in their version of Beauty and the Beast. Though this is a fantasy it is considerably different. This is as we open the film following this Orpheus as a successful, perhaps more so than he would like, poet going about his day at cafe before a series of events leads to the death of a different young poet and for Orpheus to meet a princess (Maria Casares) who also is in fact death, or at least a death. That's seems a whole lot for an afternoon and well Marais plays it effectively by pretty much presenting it as such. This in portraying an effective sense of both the intrigue and complete bafflement at what is suddenly going on. Marais doesn't put anything on it, but rather is terrific in just showing this as how any normal person would likely react to falling into this situation. This being a whole lot of confusion though with a certain degree of curiosity. The curiosity that he most focuses on being naturally on the seemingly cold yet sort of sultry woman that is the supernatural death. Marais shows a man effectively out of his depth as he suddenly finds himself in a fantastical world, without much to take from it at first. 

After this event, where he sees a man pulled into the other-world,  he is unceremoniously taken home by Death's supposed chauffeur Heurtebise (François Périer) who is also more than meets the eye. This situation though leaves Orpheus more interested in finding out more of this death than his wife Eurydice (Marie Déa) or any other nuisance related to his fame. Marais's portrayal emphasizes a single mindedness towards almost a comic quality in these scenes as he presents the man's singular focus on making sense. He portrays less of an intense mentally breaking obsession but rather a more specific passionate interest. This though leading towards a darkly comic quality in his delivery of every dismissive remark as created equal. Whether this is berating a reporter for asking too many questions of him, or just ignoring his wife, even when she is apparently dying, with the same blithe indifference. She is in fact dying due to the mechanizations of Death who wants Orpheus for herself, however Heurtebise who is also in love with Eurydice attempts to prevent this by bringing Orpheus on a trek into the other-world. Marais's again excelling in being so matter of fact within this idea at times, and just realizing the sort of awe inspiring sense of witnessing the world as he passes through. This as he eventually meets Death as well to which he more willingly declares his love. Again this as a state of immediate passion, though short-lived, or dead I guess, as he is initially sent back with his wife into the living world though with the stipulation that he can never look at his wife. This isn't just when exiting "hades" either it is something permanently that Heurtebise attempts to aid them with. This leading to an absolutely hilarious sequence of the three trying to make it work frankly like a situation comedy, and I say that as a compliment. Marais is hilarious in this scene in portraying the constant slight nervousness and more immediate frustration in every breath and turn as he attempts to not look at his wife again and again. What is so marvelous about his approach is he plays it less as a true love situation, and more of a slightly bored husband annoyed with having to deal with this sudden inconvenience within his marriage he already wasn't too enthusiastic about. Eventually the situation falls apart to the point Heurtebise and death need to organize a mulligan leaving the original lovers together. In what is a singular scene, but an important one between Déa and Marais, where you see them in an actual marital bliss. They're good though in the scene in making it to the point and uncomplicated in comparison to their earlier sequences of fighting. It is effectively sweet and just an earnest moment between them. An earnest moment that caps off this turn by Marais that otherwise is largely a comic romantic lead in this fantasy. This in delivering an atypical turn that is befitting this atypical, and again, wonderful take.

Alternate Best Actor 1950: Richard Widmark in Night and The City

Richard Widmark did not receive an Oscar nomination for portraying Harry Fabian in Night and the City.

Night and the City is a brilliant film that follows a street hustler as he attempts to get into wrestling promotion in London. 

Speaking before on John Garfield's work in The Breaking Point as an actor who might've before his time, this perhaps could also be attributed to one Richard Widmark. Perhaps not as much for the work he almost had to settle into as the types for leading men of the time, but for his earliest performances. This as he gave what has to be considered a pioneering performance in terms of portrayals of onscreen psychopaths in Kiss of Death (which I too often forget was his feature film debut), which is far more alike modern villains than those of Golden age of Hollywood. We find that again here in the role of Harry Fabian, who's a character who would fit right into the 70's or modern independent cinema. This as Harry Fabian is neither a good guy or a bad guy in the traditional sense of the time. He's not the hero, nor is the guy who takes the wrong path for a moment, he's something entirely different. Now in this all I can preface is saying this is a brilliant performance by Richard Widmark, and just go from there. That's because it is, and his unique sort of portrayal here, particularly unique for the time, is oddly something you can see from the silent opening scene as we watch Harry run home to his and his girlfriend Mary's (Gene Tierney) home. This while being chased by a pursuer. There's even just something about the way Widmark runs here, something fascinating about it honestly. There's just a sort movement of as though it is a casual affair, even as he is dogged in his movement, this as though it is nothing atypical to Harry to be running from someone. This with a particular moment where he loses his corsage, with Harry taking time to pick it back up and Widmark so gently placing it back in though maintaining that is as important as the man chasing him meaning to do harm. 

We find as Harry outruns his pursuer to return to Mary where Widmark is all charm. The essential thing is even with what we saw a moment ago, Widmark's charm here is wholly genuine in the sheer exuberance he does in every interaction with her and his repeated use of calling her "the duchess" with such loving regard for her. Widmark finding wholly what Mary sees him in an instance. This then we segue towards what is an essential core to Harry as he shows Mary some scheming idea of pills that will increase a car's gas use, supposedly. Widmark is downright amazing in the sheer jubilation as he speaks the idea. This in his eyes of a man seeing a dream in his eyes as he explains the concepts, and you'd think the man has won the lottery. Widmark presenting it as absolutely the dream realized in the moment as this full forced emotion as he throws his whole self within the idea. His eyes glaring with just an amazement just as his voice is this unabashed joy. This though hit with reality when Mary asks about the man who had been chasing him and is still waiting outside. Widmark's shift is great though in the vulnerability he so naturally settles to as he meekly speaks that the man is a "co-investor" in the gas scheme aka someone he owes some money to, which Mary eventually pays for me. Widmark in this introduction revealing really a protagonist that was so rare for the time, in as we meet him he is obviously flawed, but also obviously fascinating. Flawed also not as a villain but flawed as a man. 

We then follow Harry in the day in the life, or perhaps more appropriately a night in the life. There is a spectacular sequence where we follow Harry about town where he appears to be everyone's friend. Widmark's work here is marvelous as he out pours a certain charisma as he takes a moment with seemingly almost everybody. Widmark is affable and energetic in the best of ways. This as he delivers every word as though for that second the person is the most important person in his world, and also you just see him walk with the manner of a man who is simply thriving upon the atmosphere. This walking with the utmost confidence and almost floating through the streets as someone who has become so accomplished with them. We found out though he is largely a hustler who works on commission for a club owner Phil Nosseross (Francis L. Sullivan) and his wife/a potential old flame of Harry's Helen (Googie Withers). We see Harry ply his trade on those who don't know him. This as I love Widmark's performance in these moments. This as he takes the moments in we see in his eyes Harry gauging his mark, then basically reinventing himself for the need. Whether this be just a jovial man about town to some businessmen he sends to Phil's club, or shifting himself to an adoring fan, passionate about wrestling to a seasoned wrestler Gregorius (Stanislaus Zbyszko). Widmark showing the man capitalizing on his "preys" interest this with a man beaming and interested in whatever is needed. Widmark expertly revealing Harry's game, by being so convincing in playing Harry's game. 

That second game, which also makes Harry run afoul of Gregorius son, wrestling promoter/criminal Kristo (Herbert Lom), is what we follow Harry on. This initially as he falters to find funds with most of the same crowd of the criminal underworld. Widmark is incredible with every one of these "sells" this as he settles into that gear of his to the sale, as though this wrestling idea just "can't lose". This believable to any one glancing unknowing of Harry's way, however everyone knowing Harry's sales at this point turn him down. Widmark is great in every turn down showing the man's immediate desperation that wears across his face at the tear down of that sale of confidence. Widmark showing really the fearful young man whose had to fight for everything beneath it all whenever his confidence just isn't enough. Eventually Harry does find the money in Helen who obviously still has feelings for him to some regard. Widmark is great in this scene in showing the somewhat reserved Harry's reactions in the moment in trying to gauge what she is getting at. This in presenting the certain unease of a man's former loss having been left behind by Helen marrying Phil to climb the ladder. Widmark revealing in the hesitations again the man's very real uncertainty behind all that certainty of his. This eventual investment though essentially is the trigger for Harry to go ahead with anything he can to make it all work. This is as we get into the next jump of the story, where you can see some likely great influence on the recent Uncut Gems, as we see a man who seems to believe he can win any race, even if it doesn't matter how many short cuts he takes along the way. 

Widmark is downright mesmerizing as he brings us right along with him as Harry basically does anything he can to make the wrestling angle work for him. Widmark is exceptional in the way his energy is in this state of constant flow and he so naturally portrays the sort of spiraling action of Harry as he goes through the night trying to make it work. This in so quickly going from moment of being the best confident man in the business to Gregorius, to the slickest con artist as he prods a rival questionable wrestler known as the strangler, through lobbing a series of insults. Widmark is great by showing the way Harry pulls the tricks from his hat, as we get the quick moment of the calmest of supporters of Gregorius, to the most fierce doubter as he delivers random asides in decrying the strangler. This though in just as naturally falling apart to a straight desperation when he has to steal from Mary, or lie to Helen about the nature of forget document he gives her. Widmark in the latter is great in even his reaction his manner is almost as he can't know any better in the moment as he barely even second guesses the trick since it is the only way to continue. In the former though Widmark reveals really the addict for some kind of success beneath it all. This in the straight frustration and single focused manner as he just goes out of his way to find the money. His physical manner focused upon that goal to the point of playing the scene as though Mary is invisible. Widmark though in the end showing what the man gets out of it, in just a marvel of a moment where Harry tells of his success to Phil. The wonderment in Widmark as he describes it, the almost musical maneuvers of him, reveal the jubilation in the man that goes far beyond just enjoying financial success. Widmark in this moment shows that is the essential part of living for him. Unfortunately for him though as series of unfortunate events, some purposeful some accidental, lead to his wrestling game falling apart, and also leaving Kristo putting a 1000 pound bounty on Harry's head. Widmark's performance captures then the desperation of Harry as he tries to run through the night in looking for some escape from his fate. He is as mesmerizing here in so viscerally creating the sense of his state as he avoids one betrayal one bad man after another, Widmark showing Harry still plying his trade however now literally to save his life. This though in showing the natural degradation, physical and mental, of the man as he collapses in one of his last allies. This leading to a great moment of introspection as Widmark reveals again the fearful man beneath it all looking upon his failures, this only amplified when Mary appears, and Widmark hides his head as though Harry is nothing but a scared child. Widmark being so vulnerable in the moment speaking without a bit of bluster as he speaks to Mary without a shield. This until she mentions the 1000 pounds on his head, and Widmark is absolutely heartbreaking as he recalls back to the salesman one more time. This time so aggressively and painfully as the man merges his desperation with the sale now by actually earnestly suggesting Mary make herself rich by selling him to Kristo. I love this performance. This as Widmark gives an absolutely daring turn here. Not shying away from the character's flaws rather embracing them in a way that almost make them seem his virtues. Widmark thriving in realizing the complexity of the role, and crafting this immaculate portrait of the obviously flawed yet always transfixing protagonist that is pioneering.