Alternate Best Supporting Actor 1986: Alan Ruck in Ferris Bueller's Day Off

Alan Ruck did not receive an Oscar nomination for portraying Cameron in Ferris Bueller’s Day Off. 

Ferris Bueller’s Day Off follows a young man named Cameron as he suffers split personality disorder envisioning his “best friend” Ferris (Matthew Broderick)’s outlandish day off. 

I begin with the oft made joke about Ferris Bueller as a Fight Club scenario, but honestly it works a little too well by just how much Ferris is able to do, get away with and sort of represents a potential idealized version of the “Cool guy” someone like Cameron might imagine for his own day off compared to his actual day off, and if you examine the film from a certain point of view it does all make sense. Ruck is very much the balance of the film, ostensibly as the “uncool” lanky best friend to Ferris but in reality it is Cameron who is anything in the film that doesn’t represent more so that day off fantasy from, for the lack of a better word, more juvenile fantasy. Cameron is the contrast, the reality and the depth of the piece and Ruck’s own performance is key to all of it. Something evident from the opening scenes where you see Ferris, in the fantasy, easily fool his parents by pretending he’s sick to his extremely gullible parents as though we’d be all so lucky to have parents buy everything at such face value. Contrasting that is the more realistic situation when Ferris calls Cameron, who we too see lying in bed though in a genuine stupor. Something that Ferris insists is all in his head, and Ferris is correct, however it isn’t all that simple given it is clear from Ruck’s performance that it is of a psychological pain which Cameron is suffering from. What Ruck does so well particularly given that he was nearly 30 at the time, is embody a specific teenage ennui within his performance from this outset, as what he successfully plays is very much the boy in the man and vice versa a certain constant. Something found in his first scene of explaining to Ferris that he’s at death door with his own self-diagnosis with genuine exasperation of a man fed up with life, however followed by a song about his own doom, which honestly would not work if not Ruck’s performance of it being so pitch perfect that it creates also the sense of the child aspect of Cameron’s approach to the situation. 

The next time we see Cameron it is in a more overtly comedic situation when Ferris is calling the school principal (Jeffrey Jones) in order to get his girlfriend Sloane (Mia Sara) out of school for the day as well, where Cameron is called upon for the ruse by pretending to be Sloan’s father over the phone. Something that is realized through a Gene Saks impression and again you have great work from Ruck in specifically the way he is able to maneuver a more insightful tone in his performance. As in part he certainly does make the joke of the overly haughty sounding father being outraged by the principal, but when he breaks for a moment in the plan, Ruck genuinely is great in being suddenly so honest in revealing much more a teenager’s anxieties over potentially getting caught in this lie. The switch by Ruck feels so authentic from the two sides as he finds his confidence again and gives a very much juvenile grin to Ferris as he proceeds with the impression once more. Where there is a great bit of chemistry shared between the two as you see in that moment 10 year old Cameron and Ferris playing a prank together. Again what Ruck excels with is creating this certain personal limbo that defines who Cameron is during the day off. Before going to get Sloane however Ferris proceeds to want to use Cameron’s father's prized Ferrari for their day’s hijinks. Something that Cameron outright rejects, where Ruck instantly gives you a sense of where Cameron’s state of mind comes from. As he speaks with an understated, but very potent fear, that is part of the idea of taking the car, but Ruck internalizes in his eyes to something deeper alluding to very real terror at the idea of dealing with his father. Ruck in a moment of setting up later events grants us insight into where Cameron is coming from and this isolating quality of his existence. 

Cameron’s reaction then to the day of various activities in and around Chicago with Ferris and Sloane is the dramatic meat of the film, which is mostly designed as lighter fun, but within Cameron and Ruck’s performance is where you get more. Much more honestly as he punctuates moments throughout the sequences to grant them a far greater depth than you would perhaps even expect, and a big reason why is just how much Ruck brings to the role. Take the moment they’re overlooking the stock exchange and he says he sees his father. Ruck brings so much in just his look and in that statement that is filled with dread and a fundamental disgust that speaks to his existence. Something we are given more bluntly when he attacks Ferris’s idea about suggesting an impromptu marriage to Sloane, which Cameron objects to based on the principle of the misery of his parents. Ruck attacks this existence more directly, and effectively so in placing just his exasperation and anger that again creates the years of dealing with that misery. Or you have the moment with Sloane talking about their potential futures, where Ruck is incredible, and in a weird way the chemistry he has with Sara always seems to cut deeper than her moments with Broderick. But anyway, it’s a beautifully realized moment where both admit they’re not interested in anything for their future, and Ruck is incredible because his face manages to convey both this joy of in a way holding onto an aimlessness of youth yet there is still a striking somberness in that exuberance who knows such aimlessness can’t last. However there is no greater moment in this sense than when they go to the art museum and it is a purely silent moment of examining the La Grande Jatte by Georges Seurat. Ruck is outstanding because the moment is made by his performance where you see this young man going through all the existential pain of his existence yet with this strange calm as he focuses on just this painting and makes a moment purely out of the silence where he reveals more of Cameron in that silence.

Of course Ruck is also good in playing into just the fun of the moments in being the more straitlaced sidekick reacting with concern to Ferris’s recklessness, particularly over his dad’s Ferrari, and Ruck balances that with the moments of getting caught up into the fun himself. Making it all very natural and balances nicely against Broderick’s far broader fourth wall breaking performance. However eventually due to miles gained on the Ferrari due to some less than trustworthy parking garage attendants we return to a broader stroke for Ruck himself, and a particularly broad stroke given first he has to let out a destroyed wail then pretend to be in a state of comatose. Two scripted beats that honestly could’ve fallen flat yet Ruck impressively makes work, by honestly going big but not too big. Even his face in comatose, as silly as the idea could be, the fact that he chose the slightly pained expression as the frozen one makes it work and still feel like the same Cameron we saw staring pensively at the painting earlier. Leading however to a particularly stellar moment where Cameron falls into a pool to be rescued by Ferris, leading Cameron to reveal his coma as a joke and to tell Ferris that he’s his hero. A magnificent moment due to Ruck’s delivery where there is the joke aspect of it that works, where Ruck’s delivery basically is “fangirling” for the lack of a better description but even in the joking moment, Ruck still makes it all part of this certain personal exasperation with life that makes it still feel absolutely real to the character. Leading to the scene of the film where Ferris’s dumb plan to reduce the mileage on Cameron’s dad’s Ferrari naturally doesn’t work. Ruck is absolutely outstanding as he finally verbalizes every bit of his life that we had been alluding to the whole time. Ruck’s slow breakdown in revealing his heartbreak towards his dad openly but also his rage that is both at his dad and himself with his repeated vicious delivery of “I have to take a stand”. Ruck honestly begins to sound so much older, so effectively so, in stating he will take a stand and build from the heartbreak to his rage of conviction now no longer between himself and his father, now just his father. As he kicks the car, denting it, Ruck brings years of pent up hate towards his father’s cruelty into the moment and there is such catharsis as he notes that he “dented the shit of it”. Ruck doesn’t simplify the moment, showing fear underlining certain words, coming across his face, but in a way only empowers his defiance all the more. That is until he accidentally sends the car out of the window, and Ruck’s surprised “oh shit” reaction is hilarious. But after a moment of silence, Ruck brings back the conviction, but a different conviction than before, less rage induced and with a calmer realization and even strength in every word, even as Ferris insists he take the fall for it instead. Ruck not only that he suddenly even dominates Ferris in a way he never has before in his insistence and saying one can say no to Ferris. Ruck portraying in Cameron this calm even happiness now in taking this stand. Ruck is the heart of the film through this realization of this arc through every step up of the way. A genuinely emotional portrayal of the aimless depressed youth finding joy and his strength, which is all the more impressive by just how easy he makes it all look. Where he goes from so young, to mature in moments, finding the intricacies of this life that is complicated and brings us from the sad teen with no hope, to the young man with a chance in life in through such an honest and powerful journey.

Alternate Best Supporting Actor 1986: Ray Liotta in Something Wild

Ray Liotta did not receive an Oscar nomination for portraying Ray Sinclair in Something Wild. 

Something Wild follows a milquetoast banker Charlie (Jeff Daniels) who gets caught up in the world of a wild criminal woman Audrey (Melanie Griffith).

The first half of the film is a largely comedic film about Daniels and Griffith on their escapades together, as she pushes him out of his specific shell and into her nearly insane at times chaotic mania that involves petty larceny, uprooting Charlie’s seemingly stable existence and naturally along with some wild sex. All of this eventually leads to the pair going to Audrey’s high school reunion with Charlie as her husband, unfortunately this leads to the pair running into Audrey’s actual husband Ray which immediately makes the film change genres from a comedy towards a thriller. This was Ray Liotta’s partial breakout role and with obvious reason, as the moment Liotta comes on screen he begins to dominate the film. Although this is a case one ponders how it was to watch the film in 1986 given that Liotta came up known for his gangster tough guy roles rather than being newcomer in this film and how one would have responded, given we have a predisposition of an expectation with him even in a role that was before he became the Liotta we’d expect. As when Ray Sinclair first appears with a different woman and eager to get to know Audrey’s “new husband” Charlie, Liotta begins with a theoretical charm offensive as he is encouraging in everything he says to Charlie and naturally throws in a few Liotta laughs for good measure. Liotta as we know him of course makes you feel a little unease in this excessive friendliness being Liotta, however I think what Liotta does well is not play the character of Ray as overtly that he might’ve been in lesser hands. What Liotta does consistently here is elevate a potential type of the jealous ex-boyfriend, though we’ll eventually learn he is in fact Audrey’s ex-husband, and turn him into something a bit more real. As it would be easy enough to have played more so into just planning the intimidation of Charlie immediately, and while that is still playing in Liotta’s eyes that denotes a deeper calculation to his questions to Charlie, there’s a strange genuine interest in Liotta’s note as well. Liotta by doing so presents Ray as wanting to get to know this man his wife has replaced him with, not just in hate but in some attempt to determine the situation to himself. 

An element that he reveals further when finally alone for a moment Liotta switches on a dime when with Audrey. A moment that is great acting by Liotta because in the switch it isn’t an immediate obsession, rather you see vulnerability in Liotta performance as he asks for her to give him another chance. Liotta doesn’t play the moment as a villain rather a man genuinely trying to present himself in some reformed, albeit falsely, light to his wife. Pivotal in that desperation is the sense of the history of failings in Ray who is trying to be some better man in his delivery with that need presenting obsession with her but also specific personal insecurity of a longer relationship. A relationship that propels him not only to casually dump his current girlfriend, literally at a convenience store, but take off in some cockeyed scheme to, in his mind, win Audrey back. Liotta’s performance captures a particular kind of energy that presents an unwieldy quality for Ray. As much as Ray does have a plan to try to rid himself of Charlie, by even framing him, while also robbing a convenience store, the way Liotta maneuvers in these scenes is with much confidence but without much of a sense of an intellectual plan. Rather Liotta brings really even this joy of going with the flow, with highlights of intensity, where Liotta shows that the behaviors aren’t really anything new for Ray to begin with, yet there is the nagging sense of real jealousy and still that desperation that compels him in this particular endeavor of his. Liotta’s performance creates a new angle to a potentially old character through this approach and lets us into more so with his obsession which Liotta keeps fundamentally less melodramatic. As a moment where he is left behind by Charlie and Audrey, and a woman interested in Ray appears, his reaction to her is great work by Liotta, because if you’d watch this scene in isolation you wouldn’t suspect anything horrible will come of it because Liotta plays it with such genuine excitement as Ray sees a new opportunity to pursue the couple. In the moment what Liotta is playing though is the real excitement to see his wife again, now of course this is not a good thing given what Ray plans to do when he gets there, but what Liotta keeps alive is the fundamental truth that in Ray’s own broken way he does honestly love Audrey…or at least believes that he does. Something that leads to the climactic scene where director Jonathan Demme seemed to be cutting his teeth on going fully horror thriller, which he’d do so successfully with Silence of the Lambs, as Ray invades Charlie’s home and attacks them both. A scene that is pure horror and part of the reason why is that Liotta is playing a particular note of insanity where the fear from it is based on the uncertainty of the situation in Ray’s own mind. Throughout the scene Liotta is changing notes, which is not as a criticism rather praise because what Liotta does so well is showing the uncertainty of someone who doesn’t know exactly what he’s doing, however what that will be will not be a good thing. So we get moments of pure visceral intensity and weirdly casual moments, both which serve the same purpose as representing someone who has lost in a way that could lead to as much horror as a serial killer with intent. A sequence that builds to the finale where Charlie manages to stab Ray, a moment that is absolute brilliance for Liotta, because his reaction is still not as an overt villain but rather a man who let his worst nature get the best of him. As Liotta’s reaction is that of surprise, not even I can’t believe this weakling got the best of me sort of thing, but rather the surprise of a man who didn’t exactly know what he was doing to begin with, however getting killed by Charlie never crossed his mind. It’s a compelling and captivating near debut that immediately makes an impression, takes hold of the film and doesn't let go until he exits. 

Alternate Best Supporting Actor 1986: John C. McGinley in Platoon, Levi Stubbs in Little Shop of Horrors & Vincent Price in The Great Mouse Detective

John C. McGinley did not receive an Oscar nomination for portraying Sergeant O’Neill in Platoon. 

John C. McGinley plays Sergeant O’Neill in Platoon, and honestly is one of the best hidden aspects of the film where his story is constantly playing out throughout the film even if it isn’t really the focus of the film at any point. McGinley plays one of the more seasoned soldiers in the titular platoon who is in the faction with the scarred and truly seasoned Barnes (Tom Berenger). McGinley sets up his character of O’Neill in these early scenes with not an easy confidence, but a confidence of someone who has set up for himself as much of a situation as he can by holding close to Barnes. McGinley in the early scenes sets the stage effectively by projecting not exactly a phony confidence but rather the confidence of a certain routine. His reactions to Barnes, and his own moments of technical leadership within the troop are that of the consistency of the expectation of his routine at this point. McGinley is the proper sycophant though he is just going along in a particularly convincing manner in his performance. He doesn’t overplay the note rather emphasizes more so how it’s all part of just his life in war but more so as a job, at least at first. The fundamental scene within the scheme of the film is when the platoon invades a local village propelled by anger after finding fellow troops killed by the Vietcong. A sequence where McGinley’s performance honestly stands out more than anything else in it, just what he is doing on the sidelines though in that side creates a fascinating portrait of a man just standing idly by. There’s a key scene where O’Neill observes another soldier going crazy and killing a random innocent villager. McGinley’s reactions in this scene are outstanding because though O’Neill will take no action, every bit of the horror of the moment, he too does find horrible. McGinley expresses absolute dismay and fear, perhaps in part of the result of the war crime he could be culpable of, but also the genuine humanity of witnesses of such an atrocity. His terrified delivery of basically saying just to go and forget that any of it happened is brilliant work because McGinley doesn’t just play into the bad man type, though O’Neill is that, rather shows the man who knows this is all wrong but will stay back and just try to avoid any of it best that he is able to do so. Every scene throughout the rest of the film McGinley makes a quiet impact in creating the internal life of O’Neill within the Platoon as the man who just wants to survive, though not in a way that one would describe as a survivalist rather that of avoidance of responsibility of himself in a way. McGinley has another amazing moment where he is telling another soldier he’s going home, and again McGinley’s great in that it could be a simple jerk moment of jealousy. McGinley brings so much vulnerability within the lines as you sense the real fear in the man, but just a hint of the strange encouragement to man to enjoy the thing he knows he’s not getting. The same great moment is when he tries to back out of the upcoming battle with Barnes as he notes having a bad feeling. Again would’ve been an easy note to over play with too much surface, but the seething anxiety he brings makes it such a genuinely human moment. It doesn't excuse O'Neill's action but shows them coming from a real place, not a stock character. Which again we get another great silent moment from McGinley during that battle when he hides himself among corpses, where he lets you in on his thinking in the moment of the man finding his way out within his fear though by playing into the fear in his way. Leading up to the perfect final moment of the character, where he is rewarded for surviving with a promotion. McGinley’s final reaction being pitch perfect to match that choice where you instantly see the weight of the assignment upon his eyes and you see the man instantly filled with regret as his eyes show a man seeing his future of responsibility and more war that he is not ready for. It’s a wonderful performance between the lines of the film, where McGinley runs with the potential of the role to not hide the negative qualities but rather to imbue them with such honesty that he makes him not a type but a person. 

Levi Stubbs did not receive an Oscar nomination for portraying Audrey II in Little Shop of Horrors.

Levi Stubbs plays of course the centerpiece character of Little Shop of Horrors, the voice of the giant man eating plant that grows bigger the more blood/human flesh given to him by the hapless Seymour (Rick Moranis). Re-watching the film I’ll admit I forgot just how long it actually took for Audrey II to actually speak to Seymour openly and become the more overt villain offering the Faustian deal of fame, fortune and the original Audrey (Ellen Greene) as “prizes” he can offer him. The plant itself is one of the grand achievements of the film as the puppetry is just incredible work in just how well realized it gives life to the character of a giant man eating plant, but Stubbs’s work is also a key ingredient. Of course as a singer, Stubbs of course delivers on the tune given to Audrey II throughout the film, but in every song the vocal performance is beyond just attuned singing and speaks to his overall impact within the character. Stubbs’s voice is an ideal combination because he both manages to make the joke so to speak, while also being completely convincing in elevating from a joke. As it is worth noting the terrible voice of Audrey II in the original Corman film was entirely a joke, as even the halfhearted nature of the work was part of that joke. There is a joke here too in that this alien plant from outer space that eats people doesn’t sound like some monster but rather has a very, ironically, earthy and rather casual way of speaking. Although seemingly not born long ago, seems Audrey II ages old and this immediately works where Stubbs’s rather blunt and comical qualities he makes sing, in indeed making the joke of the situation by playing into the silliness of such a situation where an alien plan it coarse and wise cracking to Seymour. The execution of which is something Stubbs nails just in each approach because Stubbs brings this quality that is almost to say “yeah I’m an alien plant who wants to eat people, deal with”. While this is amusing, and successful, this isn’t why I am currently writing about this performance, because where Stubbs excels beyond that is the darker qualities of his work as the faustian trickster. Stubbs’s specific playfulness is brilliantly implemented throughout his work because there is a balance he achieves which he does so with complete ease yet is quite the trick. Because what Stubbs does is create within his work the glints of the intended darkness, as when he is prodding Seymour to something more sinister, there’s a knowing even intensity within the slyness he conveys in every word. His whole performance of “Supper Time” is fantastic because there’s the genuine deviousness in every word he speaks that creates far more the sense of a real mastermind that isn’t just some crazy plant who wants humans like a fool. In fact Stubbs even when he plays the sillier note there’s always a hectoring quality to his work, as though he’s purposefully mocking Seymour in these moments and as entertaining as his performance is, it is entirely wrapped in the fiendish sense of the real purpose of the plant. It’s a great performance because what it does is master the specific comedic, but not entirely just comic, tone of the piece by implementing the darkness, but also there’s no disconnect. You just believe Stubbs’s voice is this plant, there’s no getting used to it, and even more so there’s not a moment that you don’t connect the plant puppet with Stubbs’s own voice. They are one and the same, and his work is a fusion within the amazing technical work, by making Audrey II as entertaining and most importantly as tangible as any other character in the film. 

Vincent Price did not receive an Oscar nomination for portraying Professor Ratigan in The Great Mouse Detective. 

Following up Stubbs’s great vocal work in a live action film is Vincent Price, a well known live action actor being made of great use in this animated film. A film that comes just before the celebrity casting became an expected element of animated films, and if I’m being perfectly honest at the time I in some ways preferred it because of the laziness of so many celebrity castings that came afterwards. Price in this film, as essentially the rat/mouse equivalent of Professor Moriarty, is an example of the ideal form of the celebrity casting, where the casting was done with the actor in mind, where the voice seemed honestly the only choice for the character and Price’s own performance lives up to the ideal but also goes beyond. As part of this performance is what Price became famous for which is playing into the idea of a campy flamboyant villainy, something he excelled in in live action and comes across just as well here given just how much character there is innately in Price’s voice. Price, though bringing the same particular kind of colorful energy to every word here that amplifies that animation, just as much as the animation amplifies his voice work in making Ratigan a villain who loves being a villain. Price’s voice is perfect for that as it is as animated as the…animation. Every line Price sinks into with the best bit of theatrical scenery chewing however is ideal for the role of Ratigan, a villain who loves being called a villain going so far as to sing a song about with his henchmen as his chorus. Something where Price is so much fun in singing every bit of it with so much pride, though with the right accentuation of the fiendishness whenever talking about his opponent Basil of Baker Street where you see such sudden hatred on the edges as though it is the intrusive thoughts that Ratigan can quite fully control alluding to his true nature. Price is great fun even murdering one of his henchmen, for daring to call him a rat, however with classic Price's way of while he brings anger in his voice at first he suddenly becomes rather gentle sounding as he leads the poor mouse to be eaten by Ratigan’s pet cat. So much of his work is just enjoying him being the foppish villain delight where he works wholly in both qualities with that Price ease as a villain, but honestly one of the best iterations as such. I have particular affection I will say for his delivery of the song “Goodbye so Soon” combined with his noting that Basil was late in his police work, to get caught by Ratigan’s trap with such smug self-assurance in every accentuated word. Followed by the song itself where Price’s voice through a record is such beautiful hectoring for every second we hear it as making Ratigan as villain who just loves to rub it in. But as great as Price is being Price, I will give him even more credit to his work that amplifies the hidden element, that he alluded to through certain breaks in his more foppish demeanor, when Ratigan in the finale goes fully rabbit essentially as he just tries to straight up murder Basil with his claws. Price backs up the animation with his own more grizzled voice as he brings an animalistic growl beneath his lines and beautifully backs up Ratigan as he fully embraces his…well, rattiness. I even love his delivery of “I won” after he thinks he’s beaten Basil because it is combination of qualities, as it is still Ratigan enjoying his victory, but less smugly, and more so these relief combined with a bit more of a straightforward honesty of someone who know has been through the ringer for his victory. Price presents the ideal on HOW to cast a celebrity in a role because no one would’ve been better for Ratigan than Price, he makes the role, not just by being great casting but backing it up with a terrific vocal performance. 

Alternate Best Supporting Actor 1986: Chow Yun-Fat in A Better Tomorrow

Chow Yun-fat did not receive an Oscar nomination for portraying Mark Lee aka Brother Mark in A Better Tomorrow. 

A Better Tomorrow follows the somewhat convoluted story of an ex-gangster dealing with his family and his old gang ties. 

I’ll admit I had a slightly strange experience watching A Better Tomorrow where I found it just kind of unfocused and clunky, then suddenly quite captivating and stylish. When it was the latter it almost always corresponded with when Chow Yun-Fat is on screen as Brother Mark essentially the best friend/enforcer for the ex-gangster. Something that Chow just owns naturally with such a fantastic cool to his performance, particularly in his earliest scenes where indeed his lighting his cigarette with a counterfeit bill is just a certain kind of cinematic cool that is difficult to achieve. Chow matches the idea and despite being the supporting character here, is the one who comes to life with the striking presence of the proper cool gangster we’d want to follow as he takes on a more nefarious mobster. Chow, for me, very much is the film as it also came to life when he walked on screen each time, partially because Brother Mark seems to move the plot forward in the most compelling fashion, but also because of that presence of Chow’s. Something however that is a mix of badass with a few other elements because it isn’t just the wielding two guns in the and firing, as cool as that is and as well as Chow performs those moments. 

It is around those moments where Chow actually shines, such as the scene where he goes in guns ablazin’, however first setting up some additional guns for himself as he casually walks in. A moment where Chow makes much with the little grin of his in his planting, knows exactly what he’s doing and plays a bit of fun in the moment, before unleashing his fury in the actual gunfight, which is both him shooting down fools and getting injured in return fire. Something where we get the other side of his performance which is presenting some vulnerability, less emotionally but just physically as he literally gets shot. Afterwards then reflecting that state within the character where as much as Chow must be functional at times in terms of progressing the plot you are granted a bit more for his portrayal of Brother Mark’s increasing critical nature as he interacts with a fundamental determination in his moments. Chow’s performance moves from just cool to more so granting the gravity of the situation as the tensions overall raise, to the point Mark is even beaten severely where Chow shows the physical pain combined though with that quiet certainty of his conviction and loyalty regardless. Leading to eventually the final battle where Chow is again great as an action performer in very much selling the action in every little beat he is giving with this time greater intensity and less of an overt cool as he goes about mowing down the gangster’s men one by one. Chow successfully depicts this progression of his character largely through action and creates a compelling character that consistently anchored me to this story despite being a supporting character. In a way it suggests director John Woo figuring out that Chow was the person he always should’ve been focused on in his later films by the promise shown by Chow here. 

Alternate Best Supporting Actor 1986: Clancy Brown in Highlander

Clancy Brown did not receive an Oscar nomination for portraying the Kurgan in Highlander. 

Highlander is a very dumb film about various immortals that must cut off each other's heads to be the last immortal standing. 

The Kurgan plays one of the leading candidates of the immortal battle royale who actually is the one who makes our strangest sounding Scot who ever lived, Connor MacLeod (Christopher Lambert) realize he’s immortal by stabbing him during a battle. Brown’s performance as Kurgan really has two phases, which story wise don’t exactly make sense, but I’ll get to those in a moment. The first phase is very much playing the barbarian throughout time, which is a natural fit through his imposing physique and his famously deep voice. Brown offers as such the right degree of sadistic intensity as we see massacre along the battlefield and just as quickly goes about stabbing Connor. The Kurgan continues throughout time to pester Connor, including murdering his mentor Ramirez (Sean Connery), where Brown is more beast than anything in his portrayal. Brown portrays just a vicious predator type of approach to each of these scenes with just focusing on just creating this demon that needs to be slayed, which he backs up with again his deep roar and his always slightly insane stare offering each time. There’s slightly more in his battle with Ramirez where Brown briefly though effectively portrays genuine surprise and fear when Ramirez almost pulls off a killing blow against Kurgan by slicing his throat. Although even modern day it is this same sort of beast mentality even when renting a sleazy hotel room his reaction to a prostitute Candy coming up to see him isn’t at all different from the breath of the monster of old as he notes “of course you are” when she tells him her name. The few scenes where he attacks Connor or kills a different immortal, Brown very much is the same character. That is until Kurgan stabs a man who interferes with a duel leaving him a wanted man, leading him to shave his head and go after Connor directly. Leading to a scene where they meet up in a Church for reasons unknown, but now Kurgan for the rest of the film isn’t just evil he’s wholly irreverent in his manner to everyone and everything. Although I would say the transformation doesn’t exactly make sense, who cares, Brown having a blast. As he brings just a sliminess to every manner in his putting out prayer candles just for fun, licking a priests hands with the most sleazy of smiles and loudly boasting about having murdered Ramirez and about having raped Connor’s deceased wife. Brown is putting all his energy being the absolute worst and is definitely entertaining as such, with a great capper to the scene, supposedly improvised by Brown, which is to exclaim “It’s better to burn out than fade away” while also essentially doing a dance movie. A theoretically silly moment, that is kind of amazing and probably the best part of the film just to the gusto in Brown’s performance and makes it work within the chaotic framework of this second phase to the Kurgan. Something we get more of when he kidnaps Connor’s new girlfriend to draw him out where Kurgan drives her around as recklessly as possible, where again Brown is having a blast in just being ridiculous but it works in creating the sense of the character’s psychotic nature. Leading to the final duel which is mostly just to expectation except for Kurgan’s death, where Brown gets a little more out of it when Connor gets the final blow, and Brown instead wrenching in pain or outraged at the loss, smiles as almost the Kurgan’s saying “good for you!” with the same type of chaos. While I wouldn’t say this is an unforgettable villain turn it is a fun one that is one of the genuinely worthwhile elements of the film. And yes, does he kind of change his performance midway, sure, but it makes the film better by doing so, so it's fine by me. 

Alternate Best Actor & Best Supporting Actor 1986: William Petersen & Tom Noonan in Manhunter

Tom Noonan did not receive an Oscar nomination for portraying Francis Dollarhyde aka the Tooth Fairy in Manhunter.

Re-watching, and fully appreciating the greatness of Manhunter, one can use this film and Silence of the Lambs as examples of how there is not a single pathway to success for material, as Michael Mann and Jonathan Demme make two great adaptations of a novel and its sequel, both which could be just ridiculous exploitation nonsense in the wrong hands, hello Ridley Scott, yet are masterful in the specific handling by each director. And it’s fascinating because both have a level of reality, yet a subversion of that, but in completely different ways do the two implement their styles. And the funny thing, both kind of falsely, not a criticism, create the grounding of reality, in what are technically heavily stylized films, just in ways where it specifically earns them by utilizing the style so specifically. Demme’s film one would argue is more overt with the impact of the style, particularly when you contrast the two versions of the Hannibal character, where Demme and Hopkins very much plays into a larger than life figure, where Mann and Cox focus on a blunter reality. I think even the performances contrast Cox's barren, small, run of the mill white prison cell against Hopkins’s large, looming, at the end of a dungeon, summarize such a specific choice by each director, and the great thing is, both choices work. Something that plays into the character of Francis Dollarhyde aka the Toothfairy played by Tom Noonan, who plays the actual main antagonist of the film as the serial killer that our lead Will Graham (William Petersen) is trying to catch. A character who makes his first appearance after having abducted tabloid journalist Freddie Lounds (Stephen Lang), and wanting to give Freddie a primary source account of why he does what he does. Noonan’s approach in the role is very much of his own while being within the specific style of Mann, which on one end makes so much of this story matter of fact. Noonan’s amazing because in this scene he manages to be extremely creepy by not trying to be creepy in the slightest. His tone is casual, very calm, almost as though he is genuinely showing someone’s slides from a recent vacation, sadly for Freddie they are in fact slides regarding his demented psychosis regarding William Blake’s Red Dragon painting and images related to the families he has brutally murdered. Noonan says every word as straightforwardly as possible, which as strange as that sounds only makes his Dollarhyde all the more off-putting in the way he presents himself as a man who has no shame in himself or what he is doing. Rather Noonan portrays it as a man all too comfortable with it, and with this specific almost scientific curiosity when he describes his method of “transforming” women, which for us is brutally murdering them, but for them is a calm action. Noonan is disturbing because his delivery is of someone who knows everything he is doing is completely sane, to himself despite being wholly deranged. 

However after that initially horrifying scene we quickly see Dollarhyde at his work, where he begins to interact with a blind woman Reba (Joan Allen). Noonan’s vocal approach makes this relationship already more believable because there isn’t anything creepy inherently in his voice, only what he is describing in his voice that makes it creepy. So it is easy to believe that Reba would find him seemingly someone of interest just from only hearing him, however their initial interactions are exceptional work from Noonan. As it is all about the reactions within Noonan’s performance as Reba begins to speak to him with genuine interest. Noonan’s great by his reactions playing into the thoughts of Dollarhyde having no idea how to react to someone seemingly showing him interest and kindness. He begins with a quiet suspicion, though then there’s a sense of frustration and even confusion as she begins to continue to show tenderness. When this goes further and they actually have a date, where Dollarhyde very creepily looks at his serial killer slideshows while she sits unknowingly with him, Noonan’s exceptional in the realization of the twisted mind that becomes temporarily satiated. As when he’s looking at Reba at first there is a quality of his work as though he is examining him more so as a specimen as he seems to be accounting for each part of her in his glances, not unlike the likely approach he took when murdering women. However when she only shows tenderness and even reaches out to him, there’s a break that Noonan plays wholly in silence where he creates the sense of the temporary calming of his impulses as he begins to react to her earnestly as a woman. Something where Noonan is curiously almost like a lead in an off-beat romantic film in the way he begins to play the scenes with genuine normalcy, with genuine happiness, and something that is fascinating to watch given how we opened with his character. Something that builds towards the climax of the film, where we see Dollarhyde almost happy looking upon Reba, as just a man loving a woman, until his twisted brain misinterprets an interaction between Reba and another man as not only betrayal but more than that as we see in his specific twisted visual perspective, in again what is clear overt style from Mann that breaks the matter of fact reality so brilliantly. Noonan’s also essential to the moment in portraying the switch to suddenly that festering mental state returning and we see his mind twist, again almost entirely silently as he says every little from this moment to the climax. Where Noonan subdued work is chilling in the way we see the quiet intensity him, though there is just a glint of hesitation/humanity in his eyes that gives reason to his hesitation to killing her though still twisted, as it is less of a clear empathy and more a confused state, while contrasting showing no hesitation or concern when coldly dispatching anyone else who interrupts him during his strange personal ceremony. Noonan gives a striking performance here, not by playing up to the rafter, but rather keeping it a disturbingly quiet portrait of insanity. 

William Petersen did not receive an Oscar nomination for portraying Will Graham in Manhunter.

But I would be remiss for not mentioning William Petersen’s performance as Will Graham, and giving it its proper due. A performance that I liked the first time, but did not fully appreciate what Petersen does here in terms of portraying the very specific frame of mind of the character. And part of the reason why is this performance is not your typical leading man portrayal in any way whatsoever, rather what Petersen is dealing with the actual ramifications of the character of Will Graham. As Manhunter makes the choice, and a choice I appreciated all the more this time around, to portray Graham very much having already been permanently scarred by his existence as an FBI profiler, specifically having already caught Hannibal Lecktor despite almost having been killed in the process. What Petersen delivers is alluding to the man that Graham once was, without being that what he actually is in his current existence. In turn, Petersen is not particularly charming or at least traditionally charismatic in the role, however what he is doing instead is presenting someone who exists nearly in a numb existence, in order to exist at all. And what Petersen is doing overall supports this idea, because he really does an exceptional approach in playing the surface against the internalization. As when we see Graham with his wife and his son, to which there is more than a little distance, but it isn’t just distance. Rather what Petersen delivers on is brief moments of connection, where you see some semblance of the old loving husband and father, but Petersen meekly performs these moments. It is there in him, the glint is there, but it is a struggle to be normal, as the moment we see him starting express a bit more emotion, Petersen’s reactions suddenly feel with a quietly brewing pain, suggesting the state of the man who is best to shut himself off entirely rather than genuinely deal with the real emotions he’s going through.

And the cause of the emotions he’s going through are his job as the profiler of serial killers, which we get a few different sides within the character as an investigator. There is the more expected FBI man, though colder if not even slightly aloof seeming as he speaks to other agents, and deals with the case on a more professional level. There is an incisiveness to Petersen’s performance, but it is almost entirely in the eyes where there is this specific conviction within his work. We see the burden of it, as he deals with people like Lounds trying to exploit his situation where Petersen’s performance expresses years of exasperation within just momentary reaction of immediate subdued yet potent anger lashing out against any pestering quickly but with specific intensity of someone wanting to close it all off as soon as possible. Something he cannot avoid when meeting with Lecktor in this version, who he seeks advice from to try to catch the Tooth Fairy. Petersen’s amazing in playing the levels of the situation where Hannibal is constantly hectoring him, and trying any way to basically set Graham off. Petersen comes in with a very straightforward delivery trying very much to present himself as the FBI profiler, something that Hannibal refuses to accept and tries to poke at anything he can. Petersen's great in playing both the notes of pushing against Lecktor's games and being impacted by them. By turning phony praise about who’s smarter, with Petersen’s cold cutting noting Lecktor’s disadvantage due to being psychotic, but bringing so much within his expression of the pressure within himself as Lecktor continues to press him. With Lecktor noting that Graham himself started to touch the same mental space as the killers striking the most, where Petersen’s reaction is truly great in expressing real anxiety over the idea. 

The idea being a key to Petersen’s performance and creating the full sense of the history of his situation. What Petersen does is begin with a man who has gone beyond the pale, hence his cold, often detached moment, and the reason this is obviously a choice is what Petersen does in the scenes where Graham specifically goes about thinking in the mind of the killer. Every single one of these scenes is absolutely amazing work by Petersen. As he begins perhaps as you’d more so expect of a detective tracing the steps of the crime and trying to figure out where the killer went and how he went about the crime. Petersen goes further than that in showing Graham fully immersing himself into the killer’s thinking. Something that begins as inspiration as he begins to speak to the killer directly, but also as himself, and it doesn’t just go from thinking about it, it goes to becoming it in the moment. Petersen in these moments where he goes fully insane himself are absolutely captivating because you truly see someone fully embodying the deranged spirit in order to figure out the crime, and taking lines that could have seemed potentially even ridiculous, absolutely chilling because he lets you in on the frame of mind every time. The final sequence of trying to figure out the crime, just as the final clock is ticking is particularly stellar work from Petersen. Every moment of just trying to figure out from the clues, running down what the killer somehow knew, touching the idea, while also expressing his own intense frustrations at it, Petersen’s natural flow of such emotional extremes is flawlessly performed, where he goes from the cunning FBI agent, to the criminal profiler embedding himself in the madness, to just the concerned and frustrated man who knows someone will die if he doesn’t figure it out, and the cold attempted holding off those emotions in the in-between. Petersen is absolutely captivating to watch but he also makes the essential realization of what it means to exist within the world of serial killers. Petersen showing why Graham would have to almost purge his own humanity to avoid falling into that madness. Something that makes sense of his one big scene with his son where he explains the situation quietly, where Petersen’s performance is what you might describe as low energy, detached, but what Petersen brings in that scene is the internalized reality of the man who has to speak as such to his son, lest he fall into that madness he’s trying to keep at bay. There is a tenderness in Petersen's performance,, that tenderness of a father, but buried so deep along with almost all his emotions to hold himself together in this self imposed exile from the void. The whole idea of “becoming the villain” can often be an alien, melodramatic or even silly idea, but what Petersen’s performance does is make it tangible and powerfully real. This is truly daring work, to essentially close himself off from the audience but to do it worth purpose, and a tremendous payoff in crafting the very real rot in the mind of a hero who must submerge himself in darkness. 

Alternate Best Supporting Actor 1986: John Goodman in True Stories

John Goodman did not receive an Oscar nomination for portraying Louis Fyne in True Stories. 

True Stories tells various offbeat stories in a Texas town. 

John Goodman plays one of the people in the town, and honestly you couldn’t ask for a better performer for the very specific tasks of this film, which has an unusual tone to say least, so who better than Goodman who can go from dramatic to comedic roles with such ease…often being comedic while dramatic and vice versa. Something that comes to play almost immediately where in the early scenes of the film he is more of a seeming random point in a pseudo documentary element, as we are greeted by him as one of the workers in a factory. Where Goodman delivers an overly familiar greeting with a Texas, fitting for the over enthusiasm of someone thinking they’re on TV. Goodman naturally maneuvers this to slightly more subtle when Louis starts talking about himself a little bit with a certain bashfulness, where Goodman is indeed funny when speaking about his woes in his dating life. Something we also see in a quick montage of some failed dates, where we get some perfect comic timing from Goodman, first in his squeamish reaction to rowdy kids of one date, to his great physical maneuvers as he suffers various yoga positions of another. Goodman is equally effective on another ill-fated one, where his date mentions that she had a tail, and Goodman’s reactions to this very unexpected revelation are absolutely hilarious in the subdued shock and disbelief as he tries to maintain a “I’m on a date” face. 

We see Louis again in a “real” situation at a club where he bemoans the dating scene, and Goodman's natural modification of his performance is done so naturally. Goodman doesn’t overplay the note of his frustrations, but just lays it out with a quiet bluntness and a low key dejectedness of just stating that his situation seems bleak. Goodman balances the frustrations with a sincerity in his performance of speaking his genuine interest in finding a life partner in a woman and the bright spark he brings to his eyes, that Goodman creates a person within the silliness. As we also get him awkwardly lip synching, where Goodman is wonderfully fumbling in his ways, or his completely sincere, though in this instance now hilarious, delivery of explaining about how he cares about his appearance. Goodman isn’t in the film for awhile, but he comes back very much as the climax of the film in a way where we get a few different scenes of Louis still on his quest for romantic happiness. Something that includes a whole different angle to play as we get Louis doing one of those 80’s dating videos, where Goodman’s excellent in playing the comedic note of the certain stiffness and general awkwardness of describing himself as some sort of sales pitch, including his maintenance of a consistent “panda bear” shape, which Goodman’s delivery is truly comic perfection how directly he says something so strange. 

Goodman’s better than just being funny in that moment though, as silly as the scenario is, as in his eyes there is still the very real subtle need within his performance that as much as the situation is comical, there’s a real person within it. Goodman takes this balance even further in another failed date scene, however this one more merging the comedic and the dramatic. As when he states his love of country music, Goodman brings such genuine passion in naming his favorite artists, even while still bringing this nervousness behind every word, that he still struggles to share himself going so far as to share his unfinished song. In this version the song is “People like Us”, is the work of a master of tone, because he is able to make it funny in his stumbling around in the song, but there’s also such real pain in moments of the lyrics where you can see they are truly personal to Louis. Which leads to a heartbreaking moment where the woman rejects him for the song being sad, Goodman’s truly great in his initial pride in having shared himself, that he articulates such desperate unease within himself as he realizes that she is rejecting him on a fundamental level, with his delivery of “I’m sorry” being filled with just so much pathos of a guy who has learned to apologize for being himself. Something that follows is when he’s seeking help from a mystic, where Goodman is amazing in his fully dramatic moment of stating his “I want to share my life” with such moving vulnerability in the words, and as much as Louis had been used for comic vignettes he makes you truly feel for him. Thankfully the mystic seems to give him an amulet and some words of wisdom, which maybe breaks down to be confident in one’s self, which leads to Goodman’s full performance of “People Like Us”. Where now Louis believes himself, and Goodman is outstanding in just bringing forth this in every moment of his musical performance. There’s no shame in himself, instead someone putting his passion for country music and singing for everyone to see. Goodman puts so much heart into every word of a song and creates what is absolutely the standout segment of the film. As Goodman doesn’t just sell the song, he succeeds in giving such pitch perfect climax to his character that creates a true ownership of the film’s tone in the best way possible, because he is funny, he is sad, but he’s also something so much more than either of those two things alone. 

Alternate Best Supporting Actor 1986: Rutger Hauer in The Hitcher

Rutger Hauer did not receive an Oscar nomination for portraying John Ryder in The Hitcher.

The Hitcher is a rather terrible film about a young man, Jim, traveling cross country (C. Thomas Howell) who picks up a hitchhiker, who unfortunately is a psychotic killer. 

Rutger Hauer unsurprisingly plays that psychotic killer, which watching this performance made me notice that when Hauer does fully an American accent, though his native accent slips in just occasionally, he sounds just like Paul Newman. Not that this is particularly important to this performance really, but was worth noting. As otherwise this is dumb film where Hauer plays a role that truly exists in a screenwriter's limited imagination, but lacks any reality, nor genuine inspiration. The film I think wants us to believe he is more so a demonic force, if not Death incarnate, which would make sense in that he is omnipotent in so many scenes, however at the same time I guess to beat death you just run him over, and shoot him a few times. Additionally the film does nothing with this idea, it isn’t though we get a bit of insight or interesting philosophical discussions, rather it just feels like an excuse for Ryder to basically do whatever he wants for the course of the film until he dies, and thankfully the film ends. I mention that because Hauer isn’t really working with a character as a just a slasher killer who exists on getting to the next kill logic, rather than any logic of reality or even of some supernatural approach. What the film does have is the fact that Hauer is an extremely captivating performer. There’s an innate charisma to him that lights up the screen, there’s also an innate intensity that just as quickly darkens the screen to grant such striking menace the second he decides to turn it on. Hauer does bring a natural variation in his scenes and is very playing around in the role, because honestly the scenes of what he’s doing are pretty repetitive, he does something to pester the poor kid, he brutally murders someone out of the blue, then taunts him some more. There’s no arc or exploration, really what Hauer presents more than anything is the idea that his character is just kind of bored. So Hauer is just having fun, by showing Ryder having fun, and coming into every scene with an intention to give some kind of chaotic energy to them. Hauer doing it all with such ease, as when he is taunting his hectoring is horrible in a most effective way with the smugness of his sneer, he can suddenly then be extremely cold as though he is giving the young man a lesson (though script wise he’s not), and whenever the killer comes out, Hauer can be a complete sadist loving every minute of his carnage, or the coldest of psychopaths where we just the most vicious directed intensity that is chilling. Hauer plays around with what villain Ryder is effectively to keep his performance unpredictable which keeps his character unpredictable, although the writing is more random than genuinely unpredictable where there’s an honest logic behind it all. Regardless Hauer holds up his end consistently to try to make something out of his scenes, even though the film itself isn’t at all worthwhile nor does it really make his character go anywhere interesting. Hauer does his job though, elevates his film consistently even though he doesn’t save it. 

Alternate Best Supporting Actor 1986: Dean Stockwell in Blue Velvet

Dean Stockwell did not receive an Oscar nomination for portraying Ben in Blue Velvet. 

Dean Stockwell falls into a specific subset of Lynchian performances where an actor is tasked for brief screen time or a brief scene to make a substantial impact, and Stockwell is game for the part. Stockwell appears during the long night sequence where our hero Jeffrey (Kyle MacLachlan) is brought along for a ride by the psychotic Frank Booth (Dennis Hopper) with his gang and the lounge singer Dorothy (Isabella Rossellini). The latter whom Frank is controlling due to holding her husband and child as hostages. The group arrives at Ben’s, which appears to be a brothel of a strange kid that Ben runs. Stockwell doesn’t have much screen time to work with so he doesn’t waste much time in instantly establishing a unique presence to the film and Stockwell. As we see Ben who perpetually wears a robe, carries his cigarette holder and most bizarrely his face is caked with white powder makeup for reasons unknown. Stockwell amplifies the elements with his completely atypical to his typical presence in almost every facet. Stockwell is extremely affected here, though in the best possible way in his way of almost always casually crossing his arms in an overly relaxed yet oddly specific fashion, along with his casual movement throughout the scene where Stockwell makes Ben a strange lord over his very particular domain. Such a manner perhaps living up to Frank’s description of Ben as “suave”, which Stockwell is suave though suave in a way that Frank would find suave, given Ben seems to be the one person that Frank respects in any way throughout the entire film. The specificity of Stockwell’s performance doesn’t end there with his extremely satisfied expression as he glides about his place, and an expression that seems to indicate a state of normalcy where the world of Ben and Frank seems anything but. Stockwell’s vocal performance amplifies this all the more with his extremely gradual way of speaking all his lines with a considerable calm wrapped into every word. Stockwell’s voice would be more suitable for an affected art dealer in some ways yet here as the brothel running drug dealer there is a particularly fascinating quality to his strangeness. Particularly as the scene develops where he receives praise from Frank, which Stockwell’s reactions are both hilarious and off-putting in the very modest acceptance of such coarse yet adoring descriptions. Keeping that manner in mind even as Frank verbally and physically berates Jeffrey for daring not to toast to Ben, something Ben briefly joins in with by punching him as well, though so perfectly weird as Stockwell keeps Ben as calm as ever even in the act of violence. We even get a particularly bizarre moment where Ben even feeds Frank some drugs, where Stockwell is glowing in the moment and the two look more like a pet and a master. All of this oddity would be wonderful where Stockwell crafts such a idiosyncratic creature in Ben that is fascinating to behold, but what takes the performance the next step towards absolute brilliance is when he chooses to serenade everyone with Roy Orbison’s “In Dreams” using the original track and a work light. Stockwell truly makes lip syncing an art form where he is captivating where he might as well be singing the song with how hard it is not to fix upon every single moment of Stockwell’s performance of Ben’s performance. Stockwell takes this idea further in his motions specifically towards Frank where Stockwell’s performance brings this kind of pestering if not controlling motions seemingly to mess with Frank a bit the lyrics clearly mean more to Frank than even people who love the song. My favorite moment from his performance is actually the moment that suggests all of this might be some kind of facade of Ben’s when Frank’s reactions to the song start to become violent. Stockwell’s “Oh shit” expression is perfect as though Ben suddenly realizes the danger of messing with Frank too much and is genuinely concerned, before the music stops and Stockwell returns to Ben’s old manner however now keeping to himself away from Frank. A great moment because Stockwell through the reaction suddenly opens more about Ben’s relationship with Frank and lets us in a bit behind the curtain albeit for a moment. A moment within a scene, and what a scene it is, with Stockwell being an essential facet through his singular creation of Ben that once you’ve seen his work here, you simply don’t forget it. 

Alternate Best Supporting Actor 1986: Michael Caine in Mona Lisa

Michael Caine did not receive an Oscar nomination for portraying Denny Mortwell in Mona Lisa. 

Michael Caine had a decent show of range for 86 between his Oscar winning performance as a fussy intellectual type going through an affair with his own wife’s sister in Hannah and Her Sisters, and the extreme shift away from that here as a gangster Mortwell, who gives recently released from prison George (Bob Hoskins) a job chauffeuring high class prostitute Simone (Cathy Tyson). The full backstory we get from Mortwell and George is relatively limited though with key hints within just a few lines of dialogue, and through the performances of Hoskins and Caine. Caine’s work has largely a singular purpose here as the central villain of the piece but what can elevate things is a keyed in performance which is what Caine delivers here. On one hand this is an entirely successful villain turn by Caine. He is menacing, particularly using his height against Hoskins to very much emphasize that presence in their scenes together, or even with Tyson as well. Caine enforces himself in certain scenes and very much presents himself with the inherent threat of Mortwell within his presence. Caine calling back, but artfully twisting his work from Get Carter, where you have that same kind of cold intensity within his work, which like that film is remarkable in itself given Caine’s common cinematic presence is charming and approachable. Caine here isn’t charming, he’s not approachable, and he is intimidating by removing those extended presence elements, yet unlike Get Carter where he is the protagonist, Caine shortens the leash that much more to make his depiction of Mortwell that much colder and contained. Which in a fascinating way the less Caine does, the more oppressive he becomes, as Caine looking at someone usually is affable, here when he stares, there is a soullessness about him that unnerves you. 

Caine is the effective villain which would be enough for this to be a good performance but what makes this a standout Caine performance is creating the sense of history and internal life within Mortwell that adds color to the role and the film. I love Caine's way of creating the story of Mortwell where we are granted the sense of basically a gangster attempting to elevate himself beyond that of the street thug, but is struggling to do so. Something we allude to in his background with George where we get the sense, George took a fall for the sake of Mortwell with the promise that Mortwell would take care of him. And what we get from Caine in one of his early scenes is a man attempting to reinvent himself, despite still being himself, as we see him talk with George with a skewed and phony grotesque version of how someone like Mortwell would believe “high class” would be. Caine’s amazing in a way by muting his own charm instead presenting someone like Mortwell failing to be charming. Caine has a smile but there’s an obvious sleaze behind it. There's a way of chatting up George like he has big plans for himself, but Caine delivers the words as empty platitudes. What Caine shows is more comfortable, or at least more natural is the violence sleazy gangster beneath any of that. Such as when George trespasses on Mortwell working a deal, Caine in a second's notice shows the real truth of Mortwell as he shows his teeth quickly and you see the vile man beneath that. Contrasting that is Mortwell pushing George to get blackmailing info on a client of Simone’s where again the asking moment is with phoniest kindly quality in Caine’s performance that perfectly sets up a gangster pretending to be far more than he ever could be. Again we see the real man, where Caine is so brutally honest by being horrible in the just barely held together raging frustration as George fails to perform what he has asked. Whenever Caine appears he makes an impact, and one of my favorite scenes honestly is when George rescues Simone’s fellow prostitute from a house Mortwell is overseeing, and we just see the silent reaction of a calm menace that is perfect work from Caine in showing the calculations in Mortwell without saying a thing. Leading to the ending where we get great acting from Caine where he begins by being terrifying by starting so quiet, letting the menace just ooze by only using the implication of danger (IASP reference intentional). As Caine presents essentially any civilized quality of Mortwell being forced and breaking down as his portrayal of the snap is not a gradual build up but just the natural reveal of the reality of Mortwell as he begins to openly threaten her and browbeat George, before physically assaulting her. We get a great subversion of this, however where the moment Simone fights back, by shooting him with a hidden gun, I love that Caine shows all the bluster and immediately leaves Mortwell and his delivery of his screams to George to help him are just a genuine pathetic man begging for his life. Caine delivers a great micro reflection of Hoskins’s work, by instead of slowly revealing the good man within the thug, Caine reveals only more sleaze, darkness and insecurity within the “respectable businessman”. 

Alternate Best Supporting Actor 1986

And the Nominees Were Not:

John Goodman in True Stories

Dean Stockwell in Blue Velvet

Alan Ruck in Ferris Bueller's Day Off

Ray Liotta in Something Wild

Clancy Brown in Highlander

Chow Yun-Fat in A Better Tomorrow

Tom Noonan in Manhunter

Rutger Hauer in The Hitcher

Michael Caine in Mona Lisa

David Bowie in Labyrinth

Best Original Song

1931:

1. "La Liberte c'est pour les Heureux" - À Nous la Liberté - Georges Auric
2. "Bla Bla Bla" - Delicious - George & Ira Gershwin
3. "Somebody From Somewhere" - Delicious -  George & Ira Gershwin

1932:

1. "Isn't Romantic" - Love Me Tonight - Lorenz Hart & Richard Rodgers
2. "The Son of a Gun Is Nothing But a Tailor" - Love Me Tonight - Lorenz Hart & Richard Rodgers
3. "Lover" - Love Me Tonight - Lorenz Hart & Richard Rodgers
4. "Mimi" - Love Me Tonight - Lorenz Hart & Richard Rodgers
5. "That's The Song of Paree" - Love Me Tonight - Lorenz Hart & Richard Rodgers

1933:

1. "42nd Street" - 42nd Street - Harry Warren & Al Dubin
2. "We're in the Money" - Harry Warren & Al Dubin
3. "By a Waterfall" - Footlight Parade - Irving Kahal & Sammy Fain
4. "Shuffle Off to Buffalo" -  42nd Street - Harry Warren & Al Dubin
5. "Beautiful Girl" - Stage Mother -  Arthur Freed  & Nacio Herb Brown

1934:

1. "All I Do is Dream of You" - Sadie McKee - Nacio Herb Brown
2. "Storm Clouds Cantata" - The Man Who Knew Too Much - Arthur Benjamin
3. "The Continental" - The Gay Divorcee - Con Conrad & Herb Magidson 
4. "Love in Bloom" - She Loves Me Not - Ralph Rainger & Leo Robin

1935:

1. "Cheek to Cheek" - Top Hat  - Irving Berlin 
2. "Top Hat, White Tie And Tails" - Irving Berlin
   
3.  "Lullaby of Broadway" - The Gold Digger of 1935 - Al Dubin & Harry Warren
4. "The Lady in Red" - In Caliente - Mort Dixon & Allie Wrubel
5.  "I'm in the Mood for Love" - Every Night At Eight - Dorothy Fields & Jimmy McHugh
   

1937:

1. "Heigh ho" - Snow White and the Seven Dwarves - Larry Morey & Frank Churchill
2. "Someday My Prince Will Come" - Snow White and the Seven Dwarves - Larry Morey & Frank Churchill
3. "Leaning on a Lamp Post" - Feather Your Nest - Noel Gay
4.  "(I've Got) Beginner's Luck" - Shall We Dance -  Ira Gershwin & George Gershwin.
   
5. "The Silly Song" - Snow White and the Seven Dwarves - Larry Morey & Frank Churchill

1938:

1. "Jeepers Creepers" - Going Places - Johnny Mercer & Harry Warren
2. "Merrily We Live" - Merrily We Live - Phil Charig & Quenzer
3. "My Own" - That Certain Age - Jimmy McHugh & Harold Adamson 
4. "The One I Love Will Come Along Some Day" - Everybody Sing - Gus Kahn, Bronislaw Kaper & Walter Jurmann
5. "A Mist Over the Moon" - Ben Oakland & Oscar Hammerstein II

1942:

1. "White Christmas" - Irving Berlin - Holiday Inn
2. "I've Heard That Song Before" - Youth on Parade - Jule Styne & Sammy Cahn 
3. "Happy Holidays" - Irving Berlin - Holiday Inn
4. "Little April Shower" - Larry More & Frank Churchill - Bambi
5. "Be Careful It's My Heart" - Irving Berlin - Holiday Inn

1943:

1. "Der Fuehrer's Face" - Der Fuehrer's Face - Oliver Wallace
2. "Happiness Is a Thing Called Joe" - Cabin in the Sky - Harold Arlen & Yip Harburg
3. "We Mustn't Say Goodbye" Stage Door Canteen - James V. Monaco & Al Dubin
4.  "You'd Be So Nice to Come Home To" - Something to Shout About - Cole Porter
5. "You'll Never Know" - Hello, Frisco, Hello - Harry Warren & Mack Gordon 

1944:

1. "Have Yourself a Merry Little Christmas" - Meet Me In St. Louis - Ralph Blane & Hugh Martin
2. "Swinging on a Star" - Going My Way - Jimmy Van Heusen & Johnny Burke 
3. "Ac-Cent-Tchu-Ate the Positive"- Here Come the Waves - Harold Arlen & Johnny Mercer 
4. "The Trolley Song" - Meet Me In St. Louis - Ralph Blane & Hugh Martin
5. "Going My Way" - Going My Way - Jimmy Van Heusen & Johnny Burke

1945:

1. "Love Letters" - Love Letters - Victor Young & Edward Heyman
   
2. "It Might As Well Be Spring" - State Fair - Richard Rodgers & Oscar Hammerstein II
   
3. "Isn't It Kinda Fun" - State Fair - Richard Rodgers & Oscar Hammerstein II
4. "It's a Grand Night For Singing" - State Fair - Richard Rodgers & Oscar Hammerstein II
5. "So In Love" - Wonder Man - David Rose & Leo Robin

1947:

1. "Say It with a Slap"- Fun and Fancy Free - Buddy Kaye & Eliot Daniel
2. "My, What a Happy Day" -Fun and Fancy Free - Bill Walsh & Ray Noble
3. "My Favorite Dream" - Fun and Fancy Free -  Bill Walsh & Ray Noble
4. "Too Good to Be True" - Fun and Fancy Free - Buddy Kaye & Eliot Daniel
5. "Fun and Fancy Free" - Fun and Fancy Free - Bennie Benjamin & George David Weiss

1948:

1. "Buttons and Bows" - The Paleface - Ray Evans & Jay Livingston 
2. "Be a Clown" - The Pirate - Cole Porter
3. "The Woody Woodpecker Song" - Wet Blanket Policy - Ramey Idriss & George Tibbles 
4. "Hooray For Love" - Casbah - Harold Arlen & Leo Robin
5. "For Every Man There's a Woman" - Casbah - Harold Arlen & Leo Robin

1949:

1. "The Headless Horseman" - The Adventures of Ichabod and Mr. Toad - Don Raye & Gene de Paul
2. "Mona Lisa" - Captain Carey, U.S.A. - Ray Evans & Jay Livingston
3. "My Foolish Heart" - My Foolish Heart -  Ned Washington & Victor Young
4. "Katrina" - The Adventures of Ichabod and Mr. Toad - Don Raye & Gene de Paul
5. "Ichabod Crane" - The Adventures of Ichabod and Mr. Toad - Don Raye & Gene de Paul

1950:

1. "Bibbidi-Bobbidi-Boo" - Cinderella - Mack David, Al Hoffman & Jerry Livingston
2. "A Dream Is A Wish Your Heart Makes" - Cinderella - Mack David, Al Hoffman & Jerry Livingston
3. "Wilhelmina" - Wabash Avenue  - Josef Myrow & Mack Gordon 
4. "Mule Train" - Singing Guns - Fred Glickman, Hy Heath & Johnny Lange
5. "Sing Sweet Nightingale" - Cinderella - Mack David, Al Hoffman & Jerry Livingston

1951:

1. "Silver Bells" - The Lemon Drop Kid - Jay Livingston & Ray Evans
2. "In the Cool, Cool, Cool of the Evening" -  Here Comes the Groom - Hoagy Carmichael & Johnny Mercer
3. "Painting the Roses Red" - Alice in Wonderland - Sammy Fain & Bob Hilliard
4. "The Unbirthday Song" - Alice in Wonderland - Mack David, Al Hoffman, & Jerry Livingston
5. "A Kiss to Build a Dream On"- The Strip - Bert Kalmar, Oscar Hammerstein II & Harry Ruby 

1952:

1. "The Ballad of High Noon" - High Noon - Dimitri Tiomkin & Ned Washington
2. "Moses Supposes"- Singin' In the Rain - Betty Comden & Adolph Green
3. "Trick or Treat (For Halloween)" - Trick or Treat - Mack David, Al Hoffman & Jerry Livingston
4. "Make 'Em Laugh" - Singin' In the Rain - Nacio Herb Brown & Arthur Freed
5. "Thumbelina" - Hans Christian Anderson - Frank Loesser

1954:

1. "A Whale of a Tale" - 20,000 Leagues Under the Sea - Norman Gimbel & Al Hoffman
2. "Sobbin' Women" - Seven Brides for Seven Brothers - Gene DePaul & Johnny Mercer
3. "Bless Yore Beautiful Hide" - Seven Brides for Seven Brothers - Gene DePaul & Johnny Mercer
4. "Lament" - Seven Brides for Seven Brothers - Gene DePaul & Johnny Mercer
5. "Goin' Courtin'" - Seven Brides for Seven Brothers - Gene DePaul & Johnny Mercer

1955:

1. "Unchained Melody" - Unchained - Alex North & Hy Zaret
2. "Love Is a Many-Splendored Thing" - Love Is a Many-Splendored Thing - Sammy Fain & Paul Francis Webster
3. "Bella Notte"  - Lady and the Tramp - Peggy Lee & Sonny Burke
4. "(Love Is) The Tender Trap" - The Tender Trap - Sammy Cahn & Jimmy Van Heusen
5. "He's a Tramp" - Lady and the Tramp - Peggy Lee & Sonny Burke

1957:

1. "The 3:10 to Yuma" - 3:10 to Yuma -  George Duning & Ned Washington
2. "I Want to Be Free" - Jailhouse Rock - Jerry Leiber & Mike Stoller
3. "Jailhouse Rock" - Jailhouse Rock - Jerry Leiber & Mike Stoller
4. "Don't Leave Me Now" - Loving You - Aaron Schroeder & Ben Weisman
5. "Ladies-in-Waiting" - Les Girls - Cole Porter

1958:

1. "Crawfish" - King Creole - Fred Wise & Ben Weisman
2. "Don't Ask Me Why" - King Creole - Fred Wise & Ben Weisman
3. "Beware of the Blob" - The Blob - Burt Bacharach & Mack David
4. "Tom Thumb's Tune" - Tom Thumb - Peggy Lee
5. "Trouble" - King Creole - Jerry Leiber & Mike Stoller

1960:

1. "The Green Leaves of Summer" - The Alamo - Dimitri Tiomkin & Paul Francis Webster 
2. "Ain't That a Kick in the Head?" - Ocean's 11 -  Jimmy Van Heusen & Sammy Cahn
3. "Never on Sunday" - Never on Sunday - Manos Hatzidakis
4. "Eee-O-11" - Ocean's 11 -  Jimmy Van Heusen & Sammy Cahn
5. "The Ballad of the Alamo" - The Alamo - Dimitri Tiomkin & Paul Francis Webster 

1961: 

1. "Moon River" - Breakfast At Tiffany's - Henry Mancini & Johnny Mercer 
2. "Town Without Pity" - Town Without Pity - Dimitri Tiomkin & Ned Washington
3. "The Young Ones" - The Young Ones - Sid Tepper & Roy C. Bennett
4. "Cruella De Vil" - 101 Dalmatians - George Bruns & Mel Leven
5.  "When The Girl In Your Arms IS The Girl in Your Heart" - The Young Ones - Sid Tepper & Roy C. Bennett

1963:

1. "From Russia With Love" - From Russia With Love - Lionel Bart & John Barry
2. "Call Me Irresponsible" - Papa's Delicate Condition - Jimmy Van Heusen & Sammy Cahn
3. "The Scarecrow of Romney Marsh" - Dr. Syn, Alias the Scarecrow - Terry Gilkyson
4. "Bye Bye Birdie" - Bye Bye Birdie - Lee Adams & Charles Strouse
5. "It's a Mad, Mad, Mad, Mad World" - It's a Mad, Mad, Mad, Mad World - Ernest Gold & Mack David 

1964:

1. "I Should've Known Better" - A Hard Day's Night - John Lennon & Paul McCartney
2. "Let's Go Fly a Kite" - Mary Poppins - Richard & Robert Sherman
3. "Goldfinger" - Goldfinger - Anthony Newley, Leslie Bricusse & John Barry
4. "Feed the Birds" - Mary Poppins - Richard & Robert Sherman
5. "My Kind of Town" - Robin and the 7 Hoods - Sammy Cahn & Jimmy Van Heusen 

1965:

1. "You've Got Hide Your Love Away" - Help! - John Lennon & Paul McCartney
2. "Help!" - Help! -  John Lennon & Paul McCartney
3. "I Need You" - Help! - George Harrison
4. "You're Going to Lose That Girl" - Help! - John Lennon & Paul McCartney
5. "What's New Pussycat?" - What's New Pussycat? - Hal David & Burt Bacharach 

1966:

1. "The Story of a Solider" - The Good, The Bad and The Ugly - Tommie Connor & Ennio Morricone
   
2. "Django" - Django - Franco Migliacci, Robert Mellin & Luis Bacalov
3. "Born Free" - Born Free - John Barry & Don Black
4. "Georgy Girl" - George Girl - Tom Springfield & Jim Dale
5. "Alfie" - Alfie - Burt Bacharach & Hal David 

1968:

1. "What Is a Youth" - Romeo and Juliet - Nino Rota
2. "The Windmills of Your Mind" - The Thomas Crown Affair - Michel Legrand, Alan & Marilyn Bergman
3. "Hey Bulldog" - Yellow Submarine - John Lennon & Paul McCartney
4. "You Two" - Chitty Chitty Bang Bang - Richard & Robert Sherman
5. "Chitty Chitty Bang Bang" - Chitty Chitty Bang Bang - Richard & Robert Sherman

1970:

1. "Let It Be" - Let It Be - John Lennon & Paul McCartney
2. "Don't Let Me Down" - Let It Be - John Lennon & Paul McCartney
3. "Get Back" - Let It Be - John Lennon & Paul McCartney
4. "The Long and Winding Road" - Let It Be - John Lennon & Paul McCartney
5. "Thank You Very Much" - Scrooge - Leslie Bricusse

1971:

1. "Pure Imagination" - Willy Wonka and the Chocolate Factory - Leslie Bricusse & Anthony Newley
2. "The Candy Man" - Willy Wonka and the Chocolate Factory - Leslie Bricusse & Anthony Newley
3. "Theme From Shaft" - Shaft - Isaac Hayes
4. "Diamond Are Forever" - Diamonds Are Forever - Don Black & John Barry
5. "What Will This Evening Bring Me This Morning" - 200 Motels - Frank Zappa

1973:

1. "Knockin' On Heaven's Door" - Pat Garrett & Billy The Kid - Bob Dylan
2. "Live and Let Die" - Live and Let Die - Linda & Paul McCartney 
3. "The Way We Were" - The Way We Were - Marvin Hamlisch, Alan & Marilyn Bergman 
4. "Then We Are Decided" - Jesus Christ Superstar - Tim Rice & Andrew Lloyd Webber
5. "Down and Out In New York City" - Black Caesar - Bodie Chandler & Barry De Vorzon

1974:

1. "The Hell of It" - Phantom of the Paradise - Paul Williams
2. "Goodbye Eddie" - Phantom of the Paradise - Paul Williams
3. "Faust" - Phantom of the Paradise - Paul Williams
4. "Life At Last" - Phantom of the Paradise - Paul Williams
5. "Upholstery" - Phantom of the Paradise - Paul Williams

1975: 

1. "I'm Easy" - Nashville - Keith Carradine
2. "It Don't Worry Me" - Nashville - Keith Carradine
3. "200 Years" - Nashville - Richard Baskin & Henry Gibson
4. "Memphis" - Nashville - Karen Black
5. "O Brave Sir Robin" - Monty Python and the Holy Grail - Neil Innes

1977:

1. "Nobody Does It Better" - The Spy Who Loved Me - Marvin Hamlisch & Carole Bayer Sager 
2. "New York, New York" - New York, New York - John Kander & Fred Ebb
3. "Stayin' Alive" - Saturday Night Fever - Barry, Robin & Maurice Gibb
4. "If I Can't Have You" - Saturday Night Fever - Barry, Robin & Maurice Gibb
5. "How Deep Is Your Love" - Saturday Night Fever - Barry, Robin & Maurice Gibb

1978:

1. "Grease" - Grease - Barry Gibb
2. "You're The One That I Want" - Grease - John Farrar
3. "Hopelessly Devoted To You" - Grease - John Farrar
4. "I Just Need the Girl" - Movie Movie - Ralph Burns
5. "Bright Eyes" - Watership Down - Mike Batt

1979:

1. "Always Look on the Bright Side of Life" - Life of Brian - Eric Idle
2. "Rainbow Connection" - The Muppet Movie - Paul Williams & Kenneth Ascher 
3. "In the City" - The Warriors - Joe Walsh & Barry De Vorzon
4. "Movin' Right Along" - The Muppet Movie - Paul Williams & Kenneth Ascher
5. "Moonraker" - Moonraker - Hal David & John Barry

1980:

1. "On the Road Again" - Honeysuckle Rose - Willie Nelson
2. "Call Me" - American Gigolo - Debbie Harry & Giorgio Moroder
3. "I Sing the Body Electric" - Fame - Michael Gore & Dean Pitchford
4. "Flash's Theme" - Flash Gordon - Brian May
5. "Fame" - Fame - Michael Gore & Dean Pitchford

1981:

1. "For Your Eyes Only" - For Your Eyes Only - Bill Conti & Mick Leeson
2. "One More Hour" - Ragtime - Randy Newman
3. "The First Time It Happens" - The Great Muppet Caper - Joe Raposo
4. "Best That You Can Do" - Arthur - Peter Allen, Burt Bacharach, Christopher Cross & Carole Bayer Sager 

1983:

1. "Push It To The Limit" - Scarface - Pete Bellotte & Giorgio Moroder
2. "Over You" - Tender Mercies - Bobby Hart & Austin Roberts 
3. "Vamos a Bailar" - Scarface - Maria Conchita & Giorgio Moroder
4. "Name Your Poison" - The Return of Captain Invincible - Richard Harley & Richard O'Brien 
5. "Every Sperm is Sacred" - The Meaning of Life - Michael Palin & Terry Jones

1984:

1. "Purple Rain" - Purple Rain - Prince
2. "I Just Called To Say I Love You" - The Woman in Red - Stevie Wonder
3. "Holding Out For a Hero" - Footloose - Jim Steinman & Dean Pitchford
4. "When Doves Cry" - Purple Rain - Prince
5. "You're the Best" - The Karate Kid - Joe Esposito & Bill Conti

1985:

1. "Hearts On Fire" - Rocky IV - Vince DiCola, Ed Fruge & Joe Esposito
2. "The Power of Love" - Back to the Future - Johnny Colla, Chris Hayes & Huey Lewis
3. "Living in America" - Rocky IV -  Dan Hartman & Charlie Midnight
4. "No Easy Way Out" - Rocky IV - Robert Tepper
5. "Don't You (Forget About Me) - The Breakfast Club - Keith Forsey & Steve Schiff

1986:

1. "Who Wants To Live Forever" - Highlander - Brian May
2. "People Like Us" - True Stories - David Byrne
3. "Goodbye So Soon" - The Great Mouse Detective - Henry Mancini, Larry Grossman & Ellen Fitzhugh
4. "Mysteries of Love" - Blue Velvet - David Lynch & Angelo Badalamenti
5. "Take My Breath Away" - Top Gun - Tom Whitlock & Giorgio Moroder

1987:

1. "Life Fades Away" - Less Than Zero - Glenn Danzig & Roy Orbison
2. "Nothing's Gonna Stop Us Now" - Mannequin - Diane Warren & Albert Hammond
3. "The Living Daylights" -  The Living Daylights - Pål Waaktaar & John Barry
4. "Mind Over Matter" - Summer School - Michael Jay & Rick Palombi
5. "Causing a Commotion" - Who's That Girl - Madonna

1988:

1. "Kokomo" - Cocktail - John Phillips, Scott McKenzie, Mike Love & Terry Melcher
2. "Hairspray" - Hairspray - Rachel Sweet, Willa Bassen & Anthony Battaglia
3. "Love Rescue Me" - Rattle and Hum - Bob Dylan & U2
4. "All I Want Is You" - Rattle and Hum - U2
5. "Let the Riverrun" - Working Girl - Carly Simon

1991:

1. "Beauty and the Beast" - Beauty and the Beast - Howard Ashman & Alan Menken
2. "Gaston" - Beauty and the Beast - Howard Ashman & Alan Menken
3. "Be Our Guest" - Beauty and the Beast - Howard Ashman & Alan Menken
4. "Belle" - Beauty and the Beast - Howard Ashman & Alan Menken
5. "Something More" - Beauty and the Beast - Howard Ashman & Alan Menken

1992:

1. "A Thankful Heart" - The Muppet Christmas Carol - Paul Williams
2. "Love Song For A Vampire" - Bram Stoker's Dracula - Annie Lennox
3. "A Whole New World" - Aladdin - Tim Rice & Alan Menken
4. "It Feels Like Christmas" - The Muppet Christmas Carol - Paul Williams
5. "Arabian Nights" - Aladdin - Howard Ashman & Alan Menken

1993:

1. "What's This" - The Nightmare Before Christmas - Danny Elfman
2. "Poor Jack" - The Nightmare Before Christmas - Danny Elfman
3. "This Is Halloween"  - The Nightmare Before Christmas - Danny Elfman
4. "Oogie Boogie's Song" - The Nightmare Before Christmas - Danny Elfman
5. "Streets of Philadelphia" - Philadelphia - Bruce Springsteen

1994:

1. "Be Prepared" - The Lion King - Elton John & Tim Rice
2. "Circle of Life" - The Lion King - Elton John & Tim Rice
3. "Can You Feel The Love Tonight" - The Lion King - Elton John & Tim Rice
4. "I Just Can't Wait to Be King" - The Lion King - Elton John & Tim Rice
5. "Hakuna Matata" - The Lion King - The Lion King - Elton John & Tim Rice

1996:

1. "Hellfire" - The Hunchback of Notre Dame - Stephen Schwartz  &Alan Menken
2. "That Thing You Do!" - That Thing You Do! - Adam Schlesinger
3. "All My Only Dreams" - That Thing You Do! - Scott Rogness & Rick Elias 
4. "The Bells of Notre Dame" - The Hunchback of Notre Dame - Stephen Schwartz & Alan Menken
5. "Little Wild One" - That Thing You Do! - David Gibbs, Steve Hurley, Phil Hurley & Fred Elringham

1997:

1. "Tomorrow Never Dies" - Tomorrow Never Dies - Sheryl Crow & Mitchell Froom
2. "In the Dark of the Night" - Anastasia - Lynn Ahrens & Stephen Flaherty
3. "I Will Go the Distance" - Hercules - David Zippel & Alan Menken
4. "Surrender" - Tomorrow Never Dies - David Arnold, David McAlmont & Don Black
5. "Journey to the Past" - Anastasia - Lynn Ahrens & Stephen Flaherty

1998:

1. "I'll Make a Man Out of You" - Mulan - Matthew Wilder & David Zippel
2. "When You Believe" - The Prince of Egypt - Stephen Schwartz 
3. "Deliver Us" - The Prince of Egypt - Stephen Schwartz
4. "Iris" - City of Angels - John Rzeznik
5. "The Plagues" - The Prince of Egypt - Stephen Schwartz

1999:

1. "La Resistance" - South Park: Bigger, Longer & Uncut - Trey Parker & Marc Shaiman
2. "Mountain Town" - South Park: Bigger, Longer & Uncut - Trey Parker & Marc Shaiman
3. "Up There" - South Park: Bigger, Longer & Uncut - Trey Parker & Marc Shaiman
4. "What Would Brian Boitano Do?" - South Park: Bigger, Longer & Uncut - Trey Parker & Marc Shaiman
5. "I'm Super" - South Park: Bigger, Longer & Uncut - Trey Parker & Marc Shaiman

2000:

1. "I've Seen It All" - Dancer in the Dark - Björk, Sjón & Lars von Trier
2. "Things Have Changed" - Wonder Boys - Bob Dylan
3. "New World" - Dancer in the Dark - Björk, Sjón & Lars von Trier
4. "Cvalda" - Dancer in the Dark - Björk, Mark Bell, Sjón & Lars von Trier
5. "107 Steps" - Dancer in the Dark - Björk, Sjón & Lars von Trier

2001:

1. "Always With Me" - Spirited Away - Wakako Kaku
2. "May It Be" - The Lord of the Rings: The Fellowship of the Ring - Enya, Nicky & Roma Ryan 
3. "Come What May" - Moulin Rouge - David Baerwald & Kevin Gilbert
4. "Chale Chalo" - Lagaan - A.R. Rahman
5. "Vanilla Sky" - Vanilla Sky - Paul McCartney

2002:

1. "The Rhythm Which is Decided" - The Twilight Samurai - Isao Tomita
2. "Lose Yourself" - 8 Mile - Eminem 
3. "The Hands That Built America" - Gangs of New York - U2
4. "Burn It Blue"  - Frida - Frida - Elliot Goldenthal & Julie Taymor
5. "Here I Am" - Spirit: Stallion of the Cimarron - Bryan Adams

2003:

1. "Going Home" - Gods and Generals - Mary Fahl, Byron Isaacs and Glenn H. Patscha
   
2. "Into The West" - The Lord of the Rings: The Return of the King - Fran Walsh, Howard Shore & Annie Lennox
3. "Never Did No Wanderin'" - Michael McKean & Harry Shearer - A Mighty Wind
4. "A Kiss At The End of the Rainbow" - Michael McKean & Annette O'Toole - A Mighty Wind
5. "Skeletons of Quinto" - Christopher Guest - A Mighty Wind

2005:

1. "The Rider Song" - The Proposition - Nick Cave & Warren Ellis
2. "Travelin' Thru" - Transamerica - Dolly Parton
3. "Kumari" - Anniyan - A.R. Rahman
4. "A Love that Will Never Grow Old" - Brokeback Mountain- Bernie Taupin & Gustavo Santaolalla
5. "Stranger in Black" - Anniyan - A.R. Rahman

2008:

1. "The Wrestler" - Wrestler - Bruce Springsteen
2. "Little Person" - Synecdoche New York - Jon Brion & Charlie Kaufman
3. "Down to Earth" - Wall-E - Peter Gabriel & Thomas Newman
4. "Tujh Mein Rab Dikhta Hai" - Rab Ne Bana Di Jodi - Salim–Sulaiman
5. "O... Saya" - Slumdog Millionaire - A. R. Rahman & M.I.A.

2009:

1. "The Weary Kind" - Crazy Heart - Ryan Bingham & T Bone Burnett 
2. "Boy in the Park" - Guy and Madeline On A Park Bench - Justin Hurwitz & Damien Chazelle
3. "Dig a Little Deeper" - The Princess and the Frog - Randy Newman
4. "All Is Love" - Where the Wild Things Are - Karen O & Nick Zinner 
5. "Wake Up Sid" - Wake Up Sid - Javed Akhtar  & Shankar–Ehsaan–Loy

2010:

1. "I See the Light" - Tangled - Alan Menken & Glenn Slater
2. "Ramona" - Scott Pilgrim vs. The World - Beck
3. "Mother Knows Best"- Tangled - Alan Menken & Glenn Slater
4. "Welcome to Burlesque" - Burlesque - Charlie Midnight, Matthew Gerrard, Steve Lindsey & John Patrick Shanley
5. "When Will My Life Begin?" - Tangled - Alan Menken & Glenn Slater

2011:

1. "Star Spangled Man" - Captain America: The First Avenger - Alan Menken & David Zippel
2. "Pictures in My Head" - The Muppets - Jeannie Lurie, Aris Archontis & Chen Neeman
3. "Think You Can Wait" - Win Win - The National
4. "Life's a Happy Song" - The Muppets - Bret McKenzie
5. "Shelter" - Take Shelter - Ben Nichols

2012:

1. "Skyfall" - Skyfall - Adele & Paul Epworth 
2. "Freedom" - Django Unchained -  Anthony Hamilton & Elayna Boynton
3. "Who Did That To You?" - Django Unchained - John Legend
4. "Ancora qui" - Django Unchained - Ennio Morricone & Elisa.
5. "Everybody Needs a Best Friend" - Ted - Walter Murphy & Seth MacFarlane 

2013:

1. "Oblivion" - Oblivion - Anthony Gonzalez & Susanne Sundfør
2. "Do You Want To Build A Snowman?" - Frozen - Kristen Anderson-Lopez & Robert Lopez
3. "Stay Alive" - The Secret Life of Walter Mitty - Ryan Adams
4. "The Moon Song" - Her - Karen O, Spike Jonze & O
5. "Young and Beautiful" - The Great Gatsby - Lana Del Rey & Rick Nowels

2014:

1. "I Love You All" - Frank -  Stephen Rennicks & Lenny Abrahamson
2. "Bismi" - Haider - Vishal Bhardwaj.
3. "I'm Not Gonna Miss You" - Glen Campbell: I'll Be Me - Glen Campbell & Julian Raymond
4. "The Last Goodbye"  -The Hobbit: The Battle of the Five Armies - Billy Boyd, Philippa Boyens and Fran Walsh
5. "Song of the Sea" - Song of the Sea - Bruno Coulais & Kíla

2015:

1. "One Kind of Love" - Love & Mercy - Brian Wilson & Scott Bennett
2. "Tell Me" - Lost River - Johnny Jewel
3. "The Duke of Burgundy" - The Duke of Burgundy - Rachel Zeffira & Faris Badwan
4. "None of Them Are You" - Anomalisa - Charlie Kaufman & Carter Burwell
5. "See You Again" - Furious 7 - Cameron Thomaz,Charlie Puth, Justin Franks & Andrew Cedar

2016:

1. "Sparkle" - Your Name - Yojiro Noda
2. "Audition" - La La Land - Justin Hurwitz, Benj Pasek & Justin Paul
3. "You're Welcome" - Moana - Lin-Manuel Miranda
4. "Start A Fire" - La La Land - John Legend, Justin Hurwitz & Marius de Vries
5. "Brown Shoes" - Sing Street - John Carney, Gary Clark, Graham Henderson, Carl Papenfus, Ken Papenfus & Zamo Riffman

2017:

1. "Remember Me" - Coco - Kristen Anderson-Lopez & Robert Lopez
2. "Never Enough" - The Greatest Showman - Benj Pasek & Justin Paul
   
3. "Tightrope" - The Greatest Showman - Benj Pasek & Justin Paul
4. "Mystery of Love" - Call Me By Your Name - Sufjan Stevens 
5. "Rewrite The Stars" - The Greatest Showman - Benj Pasek & Justin Paul

2018:

1. "When a Cowboy Trades His Spurs for Wings" - The Ballad of Buster Scruggs - David Rawlings & Gillian Welch
2. "I'll Never Love Again" - A Star is Born - Lady Gaga, Natalie Hemby, Hillary Lindsey & Aaron Raitiere
3. "Amulet Of The Weeping Maze" - Mandy - Randall Dunn, Mark Burgess, Daniel Boekner & Panos Cosmastos
4. "Nowhere To Go But Up" - Mary Poppins Returns - Marc Shaiman
5. "Maybe It's Time" - A Star Is Born - Jason Isbell

2019:

1. "Glasgow" - Wild Rose - Caitlyn Smith, Kate York & Mary Steenburgen
2. "The Hide & Seek Song" - Ready or Not - The Gifted, Daniel Iannantuono & Darren Howard
3. "Stand Up" - Harriet - Joshuah Brian Campbell & Cynthia Erivo 
4. "Daily Battles" - Motherless Brooklyn - Thom Yorke & Flea
5. "Portrait of a Lady on Fire" - Portrait of a Lady on Fire - Para One & Arthur Simonini

2020:

1. "Rain Song" - Minari - Emile Mosseri & Stefanie Y. Hong
2. "Husavik" - Eurovision Song Contest: The Story of Fire Saga - Rickard Göransson, Fat Max Gsus & Savan Kotecha
   
3. "Green" - Sound of Metal - Abraham Marder
4. "Queen Bee" - Emma - Johnny Flynn
   
5. "Speak Now" - One Night in Miami... - Leslie Odom Jr. & Sam Ashworth

2021:

1. "Lend Me Your Voice" - Belle - Mamoru Hosoda, Kaho Nakamura &Taisei Iwasaki 
2. "A Million Miles Away" - Belle - Mamoru Hosoda, Kaho Nakamura &Taisei Iwasaki 
3. "Welcome to the Internet" - Inside - Bo Burnham 
4. "White Woman's Instagram" - Inside - Bo Burnham
5. "Goodbye" - Inside - Bo Burnham

2022:

1. "Naatu Naatu" - RRR - M. M. Keeravani & Chandrabose
2. "Sholay" - RRR - M. M. Keeravani & Chandrabose
3. "I Ain't Worried" - Top Gun: Maverick  - Ryan Tedder, Brent Kutzle, Tyler Spry, John Eriksson, Peter Morén & Bjorn Yttling
4. "Hold My Hand" - Top Gun: Maverick - Lady Gaga & BloodPop
5. "Nobody Like U" - Turning Red - Billie Eilish & Finneas

2023:

1. "Quiet Eyes" - Past Lives - Sharon Van Etten & Zachary Dawes
2. "I'm Just Ken" - Barbie - Mark Ronson & Andrew Wyatt
3. "Spinning Globe" - The Boy and the Heron - Kenshi Yonezu
4. "A World of Your Own" - Wonka - Neil Hannon, Simon Farnaby, & Paul King
5. "Live That Way Forever" - The Iron Claw - Laurel Sprengelmeyer & Richard Reed Parry

2024:

1. "No Matter What I Do" - Strange Darling - Z Berg
2. "My Stranger" - Your Monster -  Patrick Lazour & Daniel Lazour
3. "Better The Devil" - Strange Darling - Z Berg
4. "Dying" - Dying - Lorenz Dangel
5. "Kiss the Sky" - The Wild Robot - Delacey, Jordan Johnson, Stefan Johnson, Maren Morris, Michael Pollack & Ali Tamposi

Nominees:

 

Kristen Anderson-Lopez & Robert Lopez, 2 noms 1 win

Best Original Song 2013: "Do You Want To Build A Snowman?" - Frozen (Nom)

Best Original Song 2017: "Remember Me" - Coco (WINS)

Harold Arlen, 4 noms 

Best Original Song 1943: "Happiness Is A Thing Called Joe" - Cabin in the Sky (Nom)

Best Original Song 1944: "Ac-Cent-Tchu-Ate the Positive"- Here Come the Waves (Nom)

Best Original Song 1948: "Hooray For Love" - Casbah (Nom)

Best Original Song 1948: "For Every Man There's a Woman" - Casbah (Nom)

Kenneth Ascher, 2 noms

Best Original Song 1979: "Rainbow Connection" - The Muppet Movie  (Nom)

Best Original Song 1979: "Movin' Right Along" - The Muppet Movie (Nom)

Howard Ashman, 6 noms 1 win

Best Original Song 1991: "Beauty and the Beast" - Beauty and the Beast (WINS)

Best Original Song 1991: "Gaston" - Beauty and the Beast (Nom)

Best Original Song 1991: "Belle" - Beauty and the Beast (Nom)

Best Original Song 1991: "Something More" - Beauty and the Beast (Nom)

Best Original Song 1991: "Be Our Guest" - Beauty and the Beast (Nom)

Best Original Song 1992: "Arabian Nights" - Aladdin (Nom)

Burt Bacharach, 4 noms

Best Original Song 1958: "Beware of the Blob" - The Blob (Nom)

Best Original Song 1965: "What's New Pussycat?" - What's New Pussycat? (Nom)

Best Original Song 1966: "Alfie" - Alfie (Nom)

Best Original Song 1981: "Best That You Can Do" - Arthur (Nom)

Roy C. Bennett, 2 noms 

Best Original Song 1961: "The Young Ones" - The Young Ones (Nom)

Best Original Song 1961:  "When The Girl In Your Arms IS The Girl in Your Heart" - The Young Ones (Nom)

Alan & Marilyn Bergman, 2 noms

Best Original Song 1968: "The Windmills of Your Mind" - The Thomas Crown Affair (Nom)

Best Original Song 1973:  "The Way We Were" - The Way We Were (Nom)

Irving Berlin, 5 noms 2 wins

 

Best Original Song 1935: "Cheek to Cheek" - Top Hat (WINS)

Best Original Song 1935: "Top Hat, White Tie And Tails" - Top Hat (Nom) 

Best Original Song 1942: "White Christmas" - Holiday Inn (WINS)

Best Original Song 1942: "Happy Holidays" - Holiday Inn (Nom) 

Best Original Song 1942: "Be Careful It's My Heart" - Holiday Inn (Nom) 

Björk. 5 noms 2 wins

Best Actress 2000: Dancer in the Dark (WINS)

Best Original Song 2000: "I've Seen It All" - Dancer In the Dark (WINS)

Best Original Song 2000: "New World" - Dancer In the Dark (Nom)

Best Original Song 2000: "Cvalda" - Dancer In the Dark (Nom)

Best Original Song 2000: "107 Steps" - Dancer In the Dark (Nom)

Don Black, 2 noms

Best Original Song 1966: "Born Free" - Born Free (Nom)

Best Original Song 1971: "Diamonds are Forever" - Diamonds Are Forever (Nom)

Ralph Blane, 2 noms 1 win

 

Best Original Song 1944: "Have Yourself a Merry Little Christmas" - Meet Me In St. Louis (WINS)

Best Original Song 1944: "The Trolley Song" - Meet Me In St. Louis (Nom) 

Leslie Bricusse, 4 noms 1 win

Best Original Song 1964: "Goldfinger" - Goldfinger (Nom)

Best Original Song 1970: "Thank You Very Much" - Scrooge (Nom)

Best Original Song 1971: "Pure Imagination" - Willy Wonka and the Chocolate Factory (WINS)

Best Original Song 1971: "The Candy Man" - Willy Wonka and the Chocolate Factory (Nom)

Nacio Herb Brown, 3 noms 1 win

 

Best Original Song 1933: "Beautiful Girl" - Stage Mother (Nom) 

Best Original Song 1934: "All I Do is Dream of You" - Sadie McKee (WINS)

Best Original Song 1952: "Make 'Em Laugh" - Singin' In the Rain (Nom) 

Johnny Burke, 2 noms 

 

Best Original Song 1944: "Swingin' On a Star" - Going My Way (Nom)

Best Original Song 1944: "Going My Way" - Going My Way (Nom) 

Sonny Burke, 2 noms

Best Original Song 1955: "Bella Notte"  - Lady and the Tramp (Nom)

Best Original Song 1955: "He's a Tramp" - Lady and the Tramp (Nom) 

Sammy Cahn, 7 noms 

 

Best Original Song 1942: "I've Heard That Song Before" - Youth on Parade (Nom)

Best Original Song 1952: "Because You're Mine" - Because You're Mine (Nom) 

Best Original Song 1955: "(Love Is) The Tender Trap" - The Tender Trap (Nom)

Best Original Song 1960: "Ain't That a Kick in the Head?" - Ocean's 11 (Nom) 

Best Original Song 1960: "Eee-O-11" - Ocean's 11 (Nom)

Best Original Song 1963: "Call Me Irresponsible" - Papa's Delicate Condition (Nom)

Best Original Song 1964: "My Kind of Town" - Robin and the 7 Hoods (Nom)

Keith Carradine, 3 noms 1 win

Best Original Song 1975: "I'm Easy" - Nashville (WINS)

Best Original Song 1975: "Don't Worry Me" - Nashville (Nom)

Best Actor 1977: The Duellists (#7 loses to Alberto Sordi)

Nick Cave, 3 noms 3 wins

Best Original Score 2005: The Proposition (WINS)

Best Original Song 2005: "The Rider Song" - The Proposition (WINS)

Best Original Screenplay 2005: The Proposition (WINS)

Chandrabose, 2 noms 1 win

Best Original Song 2022: "Naatu Naatu" - RRR (WINS)

Best Original Song 2022: "Sholay" - RRR (Nom)

Frank Churchill, 6 noms 2 wins

 

Best Original Song 1937: "Heigh Ho" - Snow White and the Seven Dwarves (WINS) 

Best Original Song 1937: "Someday My Prince Will Come" - Snow White and the Seven Dwarves (Nom)

Best Original Song 1937: "The Silly Song" - Snow White and the Seven Dwarves (Nom)

Best Score 1937: Snow White and The Seven Dwarves (WINS)

Best Score 1942: Bambi (#2)

Best Original Song 1942: "Little April Showers" -Bambi (Nom)

Eliot Daniel,  2 noms 1 win

Best Original Song 1947: "Say it with a Slap" - Fun and Fancy Free (WINS)

Best Original Song 1947: "Too Good To Be True" - Fun and Fancy Free (Nom)

Hal David, 3 noms

Best Original Song 1965: "What's New Pussycat?" - What's New Pussycat? (Nom)

Best Original Song 1966: "Alfie" - Alfie (Nom)

Best Original Song 1977: "Moonraker" - Moonraker (Nom)

Mack David, 7 noms 1 win

Best Original Song 1950: "Bibbidi-Bobbidi-Boo" - Cinderella (WINS)

Best Original Song 1950: "A Dream Is A Wish Your Heart Makes" - Cinderella (Nom)

Best Original Song 1950: "Sing Sweet Nightingale" - Cinderella (Nom)

Best Original Song 1951: "The Unbirthday Song" - Alice in Wonderland (Nom)

Best Original Song 1952: "Trick or Treat (For Halloween) - Trick or Treat (Nom)

Best Original Song 1958: "Beware the Blob" - The Blob (Nom)

Best Original Song 1963: "It's a Mad Mad Mad Mad World" - It's a Mad Mad Mad Mad World (Nom)

Al Dubin, 5 noms 2 wins

Best Original Song 1933: "42nd Street" - 42nd Street (WINS)

Best Original Song 1933: "We're In the Money" - 42nd Street (Nom)

Best Original Song 1933: "Shuffle Off to Buffalo" - 42nd Street (Nom) 

Best Original Song 1935: "Lullaby to Broadway" - The Gold Digger of 1935 (Nom)

Best Original Song 1938: "Jeepers Creepers" - Going Places (WINS)

Best Original Song 1943: "We Mustn't Say Goodbye" Stage Door Canteen (Nom)

Bob Dylan, 3 noms 1 win

Best Original Song 1973: "Knockin' On Heaven's Door" - Pat Garrett & Billy The Kid (WINS)

Best Original Song 1988: "Love Rescue Me" - Rattle and Hum (Nom)

Best Original Song 2000: "Things Have Changed" - Wonder Boys (Nom) 

Danny Elfman, 4 noms 1 win

Best Original Song 1993: "What's This" - The Nightmare Before Christmas (WINS)

Best Original Song 1993: "Poor Jack" - The Nightmare Before Christmas (Nom)

Best Original Song 1993: "This Is Halloween" - The Nightmare Before Christmas (Nom)

Best Original Song 1993: "Oogie Boogie's Song" - The Nightmare Before Christmas (Nom)

Ray Evans, 3 noms 2 wins 

Best Original Song 1948: "Buttons and Bows" - The Paleface (WINS)

Best Original Song 1949: "Mona Lisa" - Captain Carey, U.S.A. (Nom)

Best Original Song 1950: "Silver Bells" - The Lemon Drop Kid (WINS)

Sammy Fain, 3 noms

Best Original Song 1933: "By a Waterfall" - Footlight Parade (Nom)

Best Original Song 1951: "Painting the Roses Red" - Alice in Wonderland (Nom)

Best Original Song 1955: "Love Is a Many-Splendored Thing" - Love Is a Many-Splendored Thing (Nom)

Lady Gaga, 2 noms

Best Original Song 2018: "I'll Never Love Again" - A Star is Born (Nom)

Best Original Song 2022: "Hold My Hand" - Top Gun: Maverick (Nom)

George & Ira Gershwin, 3 noms

Best Original Song 1931: "Somebody From Somewhere" - Delicious (Nom)

Best Original Song 1931: "Somebody From Somewhere" - Delicious (Nom)

Best Original Song 1937: "(I've Got) Beginner's Luck" - Shall We Dance (Nom)

*Barry*, Maurice & Robin Gibb, 4 noms 1 win

Best Original Song 1977: "Stayin' Alive" - Saturday Night Fever (Nom)

Best Original Song 1977: "If I Can't Have You" - Saturday Night Fever(Nom)

Best Original Song 1977: "Hope Deep Is Your Love" - Saturday Night Fever (Nom)

*Best Original Song 1978: "Grease" - Grease (WINS)*

Mack Gordon, 2 noms

Best Original Song 1943: "You'll Never Know" - Hello, Frisco, Hello (Nom)

Best Original Song 1950: "Wilhelmina" - Wabash Avenue (Nom)

Michael Gore, 2 noms

Best Original Song 1980: "Sing the Body Electric" - Fame (Nom)

Best Original Song 1980: "Fame" - Fame(Nom)

Christopher Guest, 4 noms

Best Original Screenplay 1984: This Is Spinal Tap (Nom)

Best Original Screenplay 2003: The Mighty Wind (Nom)

Best Original Song 2003: "Never Did No Wanderin'" - A Mighty Wind (Nom)

Best Original Song 2003: "Skeletons of Quinto" - A Mighty Wind (Nom)

Marvin Hamlisch, 2 noms 1 win

Best Original Song 1973:  "The Way We Were" - The Way We Were (Nom)

Best Original Song 1977:  "Nobody Does It Better" - The Spy Who Loved Me (WINS)

Oscar Hammerstein II, 4 noms 

Best Original Song 1945: "It Might As Well Be Spring" - State Fair (Nom)

Best Original Song 1945: "Isn't It Kinda Fun" - State Fair (Nom)

Best Original Song 1945:  "It's a Grand Night For Singing" - State Fair (Nom)

Best Original Song 1951: "A Kiss to Build a Dream On"- The Strip (Nom)

Lorenz Hart, 5 noms 1 win

Best Original Song 1932: "Isn't Romantic" - Love Me Tonight (WINS)

Best Original Song 1932: "The Son of a Gun Is Nothing But a Tailor" - Love Me Tonight (Nom)

Best Original Song 1932: "Lover" - Love Me Tonight (Nom)

Best Original Song 1932: "Mimi" - Love Me Tonight (Nom)

Best Original Song 1932: "That's The Song of Paree" - Love Me Tonight (Nom)

Jimmy Van Heusen, 7 noms 

 

Best Original Song 1944: "Swingin' On a Star" - Going My Way (Nom)

Best Original Song 1944: "Going My Way" - Going My Way (Nom) 

Best Original Song 1955: "(Love Is) The Tender Trap" - The Tender Trap (Nom)

Best Original Song 1960: "Ain't That a Kick in the Head?" - Ocean's 11 (Nom) 

Best Original Song 1960: "Eee-O-11" - Ocean's 11 (Nom)

Best Original Song 1963: "Call Me Irresponsible" - Papa's Delicate Condition (Nom)

Best Original Song 1964: "My Kind of Town" - Robin and the 7 Hoods (Nom)

Al Hoffman, 5 noms 1 win

Best Original Song 1950: "Bibbidi-Bobbidi-Boo" - Cinderella (WINS)

Best Original Song 1950: "A Dream Is A Wish Your Heart Makes" - Cinderella (Nom)

Best Original Song 1950: "Sing Sweet Nightingale" - Cinderella (Nom)

Best Original Song 1951: "The Unbirthday Song" - Alice in Wonderland (Nom)

Best Original Song 1952: "Trick or Treat (For Halloween) - Trick or Treat (Nom)

Taisei Iwasaki, 2 noms 1 win

Best Original Song 2021: "Lend Me Your Voice" - Belle (WINS)

Best Original Song 2021: A Million Miles Away" - Belle (Nom)

Elton John, 5 noms 1 win

Best Original Song 1994: "Be Prepared" - The Lion King (WINS)

Best Original Song 1994: "Circle of Life" - The Lion King (Nom)

Best Original Song 1994: "Can You Feel The Love Tonight" - The Lion King (Nom)

Best Original Song 1994: "I Just Can't Wait To Be King" - The Lion King (Nom)

Best Original Song 1994: "Hakuna Matata" - The Lion King (Nom)

Buddy Kaye,  2 noms 1 win

Best Original Song 1947: "Say it with a Slap" - Fun and Fancy Free (WINS)

Best Original Song 1947: "Too Good To Be True" - Fun and Fancy Free (Nom)

M. M. Keeravani, 2 noms 1 win

Best Original Song 2022: "Naatu Naatu" - RRR (WINS)

Best Original Song 2022: "Sholay" - RRR (Nom)

Peggy Lee, 3 noms

Best Original Song 1955: "Bella Notte"  - Lady and the Tramp (Nom)

Best Original Song 1955: "He's a Tramp" - Lady and the Tramp (Nom) 

Best Original Song 1958: "Tom Thumb's Tune" - Tom Thumb (Nom) 

Jerry Leiber, 3 noms

Best Original Song 1957: "I Want to Be Free" - Jailhouse Rock (Nom)

Best Original Song 1957: "Jailhouse Rock" - Jailhouse Rock (Nom) 

Best Original Song 1958: "Trouble" - King Creole (Nom) 

John Legend, 2 noms

Best Original Song 2012: "Who Did That To You?" - Django Unchained (Nom) 

Best Original Song 2016: "Start A Fire" - La La Land (Nom) 

John Lennon, 9 noms 3 wins

Best Original Song 1964: "I Should've Known Better" - A Hard Day's Night (WINS)

Best Original Song 1965: "You've Got Hide Your Love Away" - Help! (WINS)

Best Original Song 1965: "Help!" - Help! (Nom)

Best Original Song 1965: "You're Going To Lose That Girl" - Help! (Nom)

Best Original Song 1968: "Hey Bulldog" - Yellow Submarine (Nom)

Best Original Song 1970: "Let It Be" - Let It Be (WINS)

Best Original Song 1970: "Don't Let Me Down" - Let It Be (Nom)

Best Original Song 1970: "Get Back" - Let It Be (Nom)

Best Original Song 1970: "The Long and Winding Road" - Let It Be (Nom)

Jay Livingston, 3 noms  2 wins 

Best Original Song 1948: "Buttons and Bows" - The Paleface (WINS)

Best Original Song 1949: "Mona Lisa" - Captain Carey, U.S.A. (Nom)

Best Original Song 1950: "Silver Bells" - The Lemon Drop Kid (WINS)

Jerry Livingston, 5 noms 1 win

Best Original Song 1950: "Bibbidi-Bobbidi-Boo" - Cinderella (WINS)

Best Original Song 1950: "A Dream Is A Wish Your Heart Makes" - Cinderella (Nom)

Best Original Song 1950: "Sing Sweet Nightingale" - Cinderella (Nom)

Best Original Song 1951: "The Unbirthday Song" - Alice in Wonderland (Nom)

Best Original Song 1952: "Trick or Treat (For Halloween) - Trick or Treat (Nom)

Hugh Martin, 2 noms 1 win

 

Best Original Song 1944: "Have Yourself a Merry Little Christmas" - Meet Me In St. Louis (WINS)

Best Original Song 1944: "The Trolley Song" - Meet Me In St. Louis (Nom) 

Brian May, 2 noms 1 win

Best Original Song 1980: "Flash's Theme" - Flash Gordon (Nom)

Best Original Song 1986: "Who Wants to Live Forever" - Highlander (WINS)

Paul McCartney, 11 noms 3 wins

Best Original Song 1964: "I Should've Known Better" - A Hard Day's Night (WINS)

Best Original Song 1965: "You've Got Hide Your Love Away" - Help! (WINS)

Best Original Song 1965: "Help!" - Help! (Nom)

Best Original Song 1965: "You're Going to Lose That Girl" - Help! (Nom)

Best Original Song 1968: "Hey Bulldog" - Yellow Submarine (Nom)

Best Original Song 1970: "Let It Be" - Let It Be (WINS)

Best Original Song 1970: "Don't Let Me Down" - Let It Be (Nom)

Best Original Song 1970: "Get Back" - Let It Be (Nom)

Best Original Song 1970: "The Long and Winding Road" - Let It Be (Nom)

Best Original Song 1973: "Live and Let Die" - Live and Let Die (Nom)

Best Original Song 2001: "Vanilla Sky" - Vanilla Sky (Nom)

Jimmy McHugh, 2 noms

Best Original Song 1935: "I'm in the Mood For Love" - Every Night At Eight (Nom)

Best Original Song 1938: "My Own" - That Certain Age (Nom) 

Michael McKean, 3 noms

Best Original Screenplay 1984: This Is Spinal Tap (Nom)

Best Original Song 2003: "A Kiss At The End of the Rainbow" - A Mighty Wind (Nom)

Best Original Song 2003: "Never Did No Wanderin'" - A Mighty Wind (Nom)

Alan Menken, 14 noms 4 wins

Best Original Song 1991: "Beauty and the Beast" - Beauty and the Beast (WINS)

Best Original Song 1991: "Gaston" - Beauty and the Beast (Nom)

Best Original Song 1991: "Belle" - Beauty and the Beast (Nom)

Best Original Song 1991: "Something More" - Beauty and the Beast (Nom)

Best Original Song 1991: "Be Our Guest" - Beauty and the Beast (Nom)

Best Original Song 1992: "Arabian Nights" - Aladdin (Nom)

Best Original Song 1992: "A Whole New World" - Aladdin (Nom)

Best Original Song 1996: "Hellfire" - The Hunchback of Notre Dame (WINS)

Best Original Song 1996: "The Hunchback of Notre Dame" - The Hunchback of Notre Dame (Nom)

Best Original Song 1997: "I Will Go The Distance" - Hercules (Nom)

Best Original Song 2010: "I Saw the Light" - Tangled (WINS)

Best Original Song 2010: "Mother Knows Best" - Tangled (Nom)

Best Original Song 2010: "When Will My Life Begin" - Tangled (Nom)

Best Original Song 2011: "Star Spangled Man" - Captain America: The First Avenger (WINS)

Johnny Mercer, 4 noms 2 wins

Best Original Song 1938: "Jeepers Creepers" - Going Places (WINS)

Best Original Song 1944: "Ac-Cent-Tchu-Ate the Positive"- Here Come the Waves (Nom)

Best Original Song 1951: "In the Cool, Cool, Cool of the Evening" -  Here Comes the Groom (Nom)

Best Original Song 1961: "Moon River" - Breakfast At Tiffany's (WINS)

 

Larry Morey, 3 noms 1 win

 

Best Original Song 1937: "Heigh Ho" - Snow White and the Seven Dwarves (WINS) 

Best Original Song 1937: "Someday My Prince Will Come" - Snow White and the Seven Dwarves (Nom)

Best Original Song 1937: "The Silly Song" - Snow White and the Seven Dwarves (Nom)

Giorgio Moroder, 3 noms 1 win

Best Original Song 1980: "Call Me" - American Gigolo (Nom)

Best Original Song 1983: "Push It To The Limit" - Scarface (WINS)

Best Original Song 1983: "Vamos a Bailar" - Scarface (Nom)

Kaho Nakamura, 2 noms 1 win

Best Original Song 2021: "Lend Me Your Voice" - Belle (WINS)

Best Original Song 2021: A Million Miles Away" - Belle (Nom)

Anthony Newley, 3 noms 1 win

Best Original Song 1964: "Goldfinger" - Goldfinger (Nom)

Best Original Song 1971: "Pure Imagination" - Willy Wonka and the Chocolate Factory (WINS)

Best Original Song 1971: "The Candy Man" - Willy Wonka and the Chocolate Factory (Nom)

Ray Noble,  2 noms

Best Original Song 1947: "My, What a Happy Day" - Fun and Fancy Free (Nom)

Best Original Song 1947: "My Favorite Dream" - Fun and Fancy Free (Nom)

Trey Parker, 5 noms 1 win

Best Original Song 1999: "La Resistance" - South Park: Bigger, Longer & Uncut (WINS)

Best Original Song 1999: "Mountain Town" - South Park: Bigger, Longer & Uncut (Nom)

Best Original Song 1999: "Up There" - South Park: Bigger, Longer & Uncut (Nom)

Best Original Song 1999: "I'm Super" - South Park: Bigger, Longer & Uncut (Nom)

Best Original Song 1999: "What Would Brian Boitano Do?" - South Park: Bigger, Longer & Uncut (Nom)

Benj Pasek & Justin Paul, 4 noms

Best Original Song 2016: "Audition" - La La Land (Nom)

Best Original Song 2017: "Never Enough" - The Greatest Showman (Nom)

Best Original Song 2017: "Tightrope" - The Greatest Showman (Nom)

Best Original Song 2017: "Rewrite The Stars" - The Greatest Showman (Nom)

Gene de Paul, 3 noms 1 win

Best Original Song 1949: "The Headless Horseman" - The Adventures of Ichabod and Mr. Toad (WINS)

Best Original Song 1949: "Katrina" - The Adventures of Ichabod and Mr. Toad(Nom)

Best Original Song 1949: "Ichabod" - The Adventures of Ichabod and Mr. Toad (Nom)

Dean Pitchford, 3 noms

Best Original Song 1980: "Sing the Body Electric" - Fame (Nom)

Best Original Song 1980: "Fame" - Fame(Nom)

Best Original Song 1984: "Holding Out For a Hero" - Footloose (Nom)

Cole Porter, 3 noms

Best Original Song 1943: "You'd Be So Nice to Come Home To" - Something to Shout About (Nom)

Best Original Song 1948: "Be a Clown" - The Pirate (Nom)

Best Original Song 1957: "Ladies-in-Waiting" - Les Girls (Nom)

Prince, 2 noms 1 win

Best Original Song 1984: "Purple Rain" - Purple Rain (WINS)

Best Original Song 1984: "When Doves Cry" - Purple Rain (Nom)

A.R. Rahman, 4 noms

Best Original Song 2001: "Chale Chalo" - Lagaan (Nom)

Best Original Song 2005: "Kumari" - Anniyan (Nom)

Best Original Song 2005: "Stranger in Black" - Anniyan (Nom)

Best Original Song 2008: "O... Saya" - Slumdog Millionaire (Nom)

Don Raye, 3 noms 1 win

Best Original Song 1949: "The Headless Horseman" - The Adventures of Ichabod and Mr. Toad (WINS)

Best Original Song 1949: "Katrina" - The Adventures of Ichabod and Mr. Toad(Nom)

Best Original Song 1949: "Ichabod" - The Adventures of Ichabod and Mr. Toad (Nom)

Tim Rice, 7 noms 1 win

Best Original Song 1973: "Then We Are Decided" -  Jesus Christ Superstar (Nom)

Best Original Song 1992: "A Whole New World" - Aladdin (Nom)

Best Original Song 1994: "Be Prepared" - The Lion King (WINS)

Best Original Song 1994: "Circle of Life" - The Lion King (Nom)

Best Original Song 1994: "Can You Feel The Love Tonight" - The Lion King (Nom)

Best Original Song 1994: "I Just Can't Wait To Be King" - The Lion King (Nom)

Best Original Song 1994: "Hakuna Matata" - The Lion King (Nom)

Leo Robin, 4 noms

Best Original Song 1934: "Love in Bloom" - She Loves Me Not (Nom)

Best Original Song 1945: "So In Love" - Wonder Man (Nom)

Best Original Song 1948: "Hooray For Love" - Casbah (Nom)

Best Original Song 1948: "For Every Man There's a Woman" - Casbah (Nom)

Richard Rodgers, 8 noms

Best Original Song 1932: "Isn't Romantic" - Love Me Tonight (WINS)

Best Original Song 1932: "The Son of a Gun Is Nothing But a Tailor" - Love Me Tonight (Nom)

Best Original Song 1932: "Lover" - Love Me Tonight (Nom)

Best Original Song 1932: "Mimi" - Love Me Tonight (Nom)

Best Original Song 1932: "That's The Song of Paree" - Love Me Tonight (Nom)

Best Original Song 1945: "It Might As Well Be Spring" - State Fair (Nom)

Best Original Song 1945: "Isn't It Kinda Fun" - State Fair (Nom)

Best Original Song 1945:  "It's a Grand Night For Singing" - State Fair (Nom)

Stephen Schwartz, 5 noms 1 win

Best Original Song 1996: "Hellfire" - The Hunchback of Notre Dame (WINS)

Best Original Song 1996: "The Hunchback of Notre Dame" - The Hunchback of Notre Dame (Nom)

Best Original Song 1998: "The Plagues" - The Prince of Egypt (Nom)

Best Original Song 1998: "When You Believe" - The Prince of Egypt (Nom)

Best Original Song 1998: "Deliver Us" - The Prince of Egypt (Nom) 

Marc Shaiman, 6 noms 1 win

Best Original Song 1999: "La Resistance" - South Park: Bigger, Longer & Uncut (WINS)

Best Original Song 1999: "Mountain Town" - South Park: Bigger, Longer & Uncut (Nom)

Best Original Song 1999: "Up There" - South Park: Bigger, Longer & Uncut (Nom)

Best Original Song 1999: "I'm Super" - South Park: Bigger, Longer & Uncut (Nom)

Best Original Song 1999: "What Would Brian Boitano Do?" - South Park: Bigger, Longer & Uncut (Nom)

Best Original Song 2018: "Nowhere To Go But Up" - Mary Poppins Returns (Nom)

Harry Shearer, 2 noms

Best Original Screenplay 1984: This Is Spinal Tap (Nom)

Best Original Song 2003: "Never Did No Wanderin'" - A Mighty Wind (Nom)

Richard & Robert Sherman, 5 noms 1 win

Best Original Song 1964: "Let's Go Fly a Kite" - Mary Poppins (Nom)

Best Original Song 1964: "Feed the Birds" - Mary Poppins (Nom)

Best Score 1964: Mary Poppins (WINS)

Best Original Song 1968: "You Two" - Chitty Chitty Bang Bang (Nom)

Best Original Song 1968: "Chitty Chitty Bang Bang" - Chitty Chitty Bang Bang (Nom)

Sjón, 5 noms 1 win 

Best Original Song 2000: "I've Seen It All" - Dancer In the Dark (WINS)

Best Original Song 2000: "New World" - Dancer In the Dark (Nom)

Best Original Song 2000: "Cvalda" - Dancer In the Dark (Nom)

Best Original Song 2000: "107 Steps" - Dancer In the Dark (Nom)
Best Adapted Screenplay 2022: The Northman (Nom)

Glenn Slater, 3 noms 1 win

Best Original Song 2010: "I Saw the Light" - Tangled (WINS)

Best Original Song 2010: "Mother Knows Best" - Tangled (Nom)

Best Original Song 2010: "When Will My Life Begin" - Tangled (Nom)

Bruce Springsteen, 2 noms 1 win

Best Original Song 1993: "Streets of Philadelphia" - Philadelphia (Nom)

Best Original Song 2008: "The Wrestler" - The Wrestler (WINS)

Mike Stoller, 3 noms

Best Original Song 1957: "I Want to Be Free" - Jailhouse Rock (Nom)

Best Original Song 1957: "Jailhouse Rock" - Jailhouse Rock (Nom) 

Best Original Song 1958: "Trouble" - King Creole (Nom) 

Sid Tepper, 2 noms 

Best Original Song 1961: "The Young Ones" - The Young Ones (Nom)

Best Original Song 1961:  "When The Girl In Your Arms IS The Girl in Your Heart" - The Young Ones (Nom)

U2, 3 noms

Best Original Song 1988: "Love Rescue Me" - Rattle and Hum (Nom)

Best Original Song 1988: "All I Want Is You" - Rattle and Hum (Nom)

(Nom)

Best Original Song 2002: "The Hands That Built America" - Gangs of New York (Nom)

Bill Walsh,  2 noms

Best Original Song 1947: "My, What a Happy Day" - Fun and Fancy Free (Nom)

Best Original Song 1947: "My Favorite Dream" - Fun and Fancy Free (Nom)

Harry Warren, 6 noms 2 wins

Best Original Song 1933: "42nd Street" - 42nd Street (WINS)

Best Original Song 1933: "We're In the Money" - 42nd Street (Nom)

Best Original Song 1933: "Shuffle Off to Buffalo" - 42nd Street (Nom) 

Best Original Song 1935: "Lullaby to Broadway" - The Gold Digger of 1935 (Nom)

Best Original Song 1938: "Jeepers Creepers" - Going Places (WINS)

Best Original Song 1943: "You'll Never Know" - Hello, Frisco, Hello (Nom)

Ned Washington, 4 noms 2 wins

Best Original Song 1949: "My Foolish Heart" - My Foolish Heart (Nom)

Best Original Song 1952: "The Ballad of High Noon" - High Noon (WINS)

Best Original Song 1957: "The 3:10 to Yuma" - 3:10 to Yuma (WINS)

Best Original Song 1961: "Town Without Pity" - Town Without Pity (Nom)

Paul Francis Webster, 3 noms 1 win

Best Original Song 1955: "Love Is a Many-Splendored Thing" - Love Is a Many-Splendored Thing (Nom)

Best Original Song 1960: "The Green Leaves of Summer" - The Alamo (WINS)

Best Original Song 1960: "The Ballad of the Alamo" - The Alamo (Nom)

Ben Weisman, 3 noms 1 win

Best Original Song 1957: "Don't Leave Me Now" - Loving You(Nom)

Best Original Song 1958: "Crawfish" - King Creole (WINS)

Best Original Song 1958: "Don't Ask Me Why" - King Creole (Nom)

Paul Williams, 9 noms 2 wins

Best Original Song 1974: "The Hell of It" - Phantom of the Paradise (WINS)

Best Original Song 1974: "Goodbye Eddie" - Phantom of the Paradise (Nom)

Best Original Song 1974: "Upholstery" - Phantom of the Paradise  (Nom)

Best Original Song 1974: "Life at Last" -Phantom of the Paradise  (Nom)

Best Original Song 1974: "Faust" - Phantom of the Paradise (Nom)

Best Original Song 1979: "Rainbow Connection" - The Muppet Movie  (Nom)

Best Original Song 1979: "Movin' Right Along" - The Muppet Movie (Nom)

Best Original Song 1992: "Thankful Heart" - The Muppet Christmas Carol (WINS)

Best Original Song 1992: "It Feels Like Christmas" - The Muppet Christmas Carol Nom)

Fred Wise, 2 noms 1 win

Best Original Song 1958: "Crawfish" - King Creole (WINS)

Best Original Song 1958: "Don't Ask Me Why" - King Creole (Nom)

Victor Young, 3 noms 1 win

Best Original Song 1945: "Love Letters" - Love Letters (WINS)

Best Score 1952: The Quiet Man (#2)

Best Original Song 1949: "My Foolish Heart" - My Foolish Heart (Nom)

Z Berg, 2 noms 1 win

Best Original Song 2024: "No Matter What I Do" - Strange Darling (WINS)

Best Original Song 2024: "Better the Devil" - Strange Darling (Nom)

David Zippel, 3 noms 2 wins

Best Original Song 1997: "I Will Go The Distance" - Hercules (Nom)

Best Original Song 1998: "I'll Make a Man Out of You" - Mulan (WINS)

Best Original Song 2011: "Star Spangled Man" - Captain America: The First Avenger (WINS)