Alternate Best Supporting Actor 1961: Murray Melvin in A Taste of Honey

Murray Melvin did not receive an Oscar nomination, despite winning CANNES, for portraying Geoffrey in A Taste of Honey. 

A Taste of Honey follows a young woman Josephine (Rita Tushingham), living in somewhat dismal circumstances with her alcoholic mother Helen (Dora Bryan), who gets impregnated by a sailor.

Murray Melvin comes into the film about halfway through after Jo is essentially left alone in her mother's ramshackle apartment after both her mother and her lover have gone. Melvin's character is notable here in being one of the very first prominent and openly homosexual characters. More notable I think because the film isn't focused upon his prosecution as such, as was the case with the characters of Victim also from 1961. This is a trait of Melvin's Geof, but it doesn't define his existence. We are introduced when Jo invites him to live with her part due to his circumstances as an outsider, which she sees herself as too. Melvin's performance is particular in his portrayal of Geof's state as kind of not quite assured of his place as Jo quizzes him on his preferences. I think it is important to note the way Melvin depicts this not as shame in his reaction but rather fear and frustration of someone who knows his way of life was literally a criminal offense at the time. Melvin's performance does deliver a certain awkwardness within Geof, however, the awkwardness he presents is specifically in being mixed within a society that in no way accepts him. Melvin's performance has a combination of overt tension within his physical manner as he attempts to ignore Jo's prods initially, but what is remarkable in his performance is his eyes which always denote this greater understanding and intention. Murray just in his eyes conveys far more consideration within his experience than he will fully share really at any time throughout the film. 

An important moment happens early on in the relationship when Jo pesters Geof about his relationships with men and essentially treats him as some sort of exhibition for her to play with. Melvin is great at this moment in the immediate sense of real frustration you see in his eyes and just blunt disregard for the nonsensical line of questioning. Murray is terrific because as much as he shows the real vulnerability in Geof in the frustration, he also does portray a quiet strength within the character by so tangibly presenting this direct refusal to become some kind of object to be ridiculed or gawked at by Jo. Of course, the overriding quality of Jo as a character is her childishness that goes along with her need of being an actual adult given she will be a mother soon, and in turn, she does eventually take a more respectful tone towards Geof turn their relationship grows. Melvin's performance is essential in making this relationship meaningful which is quite contrasting in terms of the performances. Tushingham's performance is very juvenile, intentionally so and effectively so, and while there are elements of that in Melvin's performance there is also this subtle, nearly hidden directness within his work that gives Geof such a tremendous impact within the narrative. 

Melvin's performance isn't one really so much about big moments but a series of little moments throughout his performance where he just manages to deliver so much depth within Geof's particular story that lives in tandem but also in separation from Jo. Much of the time we see Geof attempting to be the responsible one when it comes to raising the baby, and while his delivery again denotes a nearly blithe manner of the man just stating a light need, his manner is much more direct in creating this sense of urgency in terms of getting prepped for the child. Melvin projects this consistency in the concern and shows very much an instinctual sense of trying to prep as a good father would even as Jo is often doing very much the opposite. Melvin creates a particularly potent sense of empathy just quietly in this manner, even again he contrasts this often with his delivery, which doesn't feel inconsistent rather he depicts a certain shyness of Geof trying to be careful how he comes onto the situation even if he cares deeply. The moment of trying to ask Jo to marry him is brilliant work from Melvin because he shows throughout it that it does very much come from love though not a place of sexual interest. Even when he kisses her it is of this kind of act of attempting to live up to the expected standard and Melvin is wonderful in that the kiss is distant, but now in his eyes, the intention of the concern of Geof is wholly true. In his work, as he attempts to basically make things right with Jo, by bringing her mother back, who he isn't aware of her real nature, Melvin is great in just his reactionary moments. The moment of objecting to their instant hostility, and Melvin quietly noting the ever real concern of Geof throughout it all. His best scene actually might be a completely final one in the final where we see Geof considering going to stay with Jo or leave her. And Melvin is able to say so much in this consideration and is truly moving in reflecting the way Geof is considering this connection, while also sensing the imperfectness of it all at the same time. Melvin's performance is a great one because I think there were so many ways this character could've drifted off into stereotype or even just to limit him as there only to be the "best friend". Melvin successfully, even if so subtly, always makes Geof as the man very present within every action, showing where the man seeks connection, while still is his own person even when existing in this relationship. It is a fantastic performance that delivers so much warmth in his supportive state, but as consistently crafts his own powerful portrait of a man in his own kind of personal isolation.