Alternate Best Actor 1935: Edward G. Robinson in The Whole Town's Talking and Results

Edward G. Robinson did not receive an Oscar nomination for portraying Arthur Ferguson Jones and "Killer" Mannion in The Whole Town's Talking.

The Whole Town's Talking is a rather enjoyable screwball comedy about a mild mannered clerk being mistaken for a hard edged gangster.

The Whole Town's Talking offers Edward G. Robinson the chance to go far out of his type, but also play right into it. The out of it type is in the role of the clerk Arthur Ferguson Jones whose main worry at the beginning of the film is just getting to work on time. As usual Robinson proves his measure in yet another type of role here. I've covered him in somewhat meek roles before in his film noirs with Fritz Lang, but this is step away from those roles even. Robinson isn't just meek here he's hilariously meek. Robinson's great though in that he's not playing a guy who is pained in any way due to his modest nature, it's just the way he is. Robinson is delightful in throwing himself fully into playing the role to a tee with every little mannerisms, from his slight smile, to his unassuming physical posture, that just emphasize how much of a harmless man Jones is. There's even a particularly enjoyable scene early on where Jones attempts to fashion a more normalized Edward G. Robinson look, and Robinson is great in portraying Jones awkwardly attempting to contort his face into his normal gangster expression. Robinson though is wonderful though by just how endearing he makes everything about Jones, in just how earnest his depiction of every one of those mannerisms are. There's nothing difficult about them in Robinson's approach, they just are the normal behavior of this sweet clerk.

Unfortunately for Jones he happens to look just like the gangster "Killer" Mannion, which leads him to be arrested early on though eventually released when the mix up discovered. Now after some rather amusing moments from Robinson depicting first an abject terror then an abject joy due to first the mix up then random boons due to the mix up we run into Robinson's second performance. The evil Killer Mannion first appearing deep in shadow there at Jones's apartment to exploit the mix up for himself in order to commit crimes more easily. Now Robinson obviously should be more comfortable as Mannion given this sort of role is how he became a star to begin with, and to be sure he's very comfortable in the role, however this isn't just a copy of Little Caesar here. Robinson actually purposefully overplays the role a tad, in a good way, in that he sort of does a Edward G. Robinson parody type of gangster performance as Mannion. This could be a bit much, but it's just right for the tone of the film. You of course have to still take him seriously as Robinson is always menacing whenever he wishes to be, yet he keeps Mannion from being a downer on the fun by accentuating his typical mannerisms a tad. Robinson finds the right balance as he does make Mannion a genuine threat, yet he's still funny as well by being such an obvious gangster even when he's pretending to be Jones.

Many of the highlight scenes of the film are of Robinson acting against Robinson, this being a fairly early example of the single actor sharing chemistry with himself. He has a real way of acting terrifying while acting terrified at the same time, or acting vicious and gentle at the same time. Robinson has a great deal of fun in every one of these scenes developing a rather amusing dynamic with himself as Mannion misuses the poor clerk. Eventually though the best Robinson scene though does come alone when the meek Jones must pretend to be the tough gangster in order to save himself and his friends. Robinson is sort of outstanding in this sequence as he effectively portrays a struggle just to play his usual part in a most entertaining fashion. The best part being without a doubt when Jones has to brandish a Tommy gun himself and fires at Mannion's henchmen. Robinson is downright hilarious in portraying Jones almost crying as he shoots the gun, and wrenching in fear as he attempts to be menacing even for a moment. This is yet another terrific performance from Edward G. Robinson as he excels at not just one but two types of roles in this screwball comedy.

Updated Lead Overall
Updated Supporting Overall

Next Year: 1949 Lead

Alternate Best Actor 1935: Results

5. Paul Muni in Black Fury- Muni overacts as usual. He has a moment or two of decent acting but most of the time he just yells in an a needlessly loud fashion.

Best Scene: I guess when he finds out his girlfriend has left him. 

4. Errol Flynn in Captain Blood- Aside from one scene of weakness Flynn gives a charming performance that effortlessly carries his film.

Best Scene: Any of the swashbuckling scenes.

3. Charles Laughton in Ruggles of Red Gap- Laughton gives a particularly modest performance but still gives a very strong performance that is very funny but also quite moving when it needs to be.

Best Scene: Ruggles recites the Gettysburg Address. 

2. Robert Donat in 39 Steps- Donat is great as the wrong man playing well the down to earth reactions but as well giving a very charming and quite humorous performance as well.

Best Scene: Hannay finds himself handcuffed to a woman who believes him to be a murderer.

1. Boris Karloff in Bride of Frankenstein- This is actually a pretty strong year for lead actors, and I think the academy could have been bothered to nominate more than four actors for the Oscar. It was a close one but my runner up for the year goes to Boris Karloff  who finds new ground with the monster giving a oddly enough tender performance as the monster learns to talk, and attempts to relate to others.

Best Scene: The Monster meets his Bride.

Overall Rank:

1. Victor McLaglen in The Informer
2. Boris Karloff in Bride of Frankenstein
3. Robert Donat in 39 Steps 
4. Charles Laughton in Ruggles of Red Gap
5. Edward G. Robinson in The Whole Town's Talking
6. Boris Karloff in The Black Room
7. Clark Gable in Mutiny on the Bounty
8. Ronald Colman in A Tale of Two Cities
9. Fredric March in Les Miserables
10. Claude Rains in The Mystery of Edwin Drood
11. Charles Laughton in Mutiny on the Bounty
12. Robert Donat in The Ghost Goes West
13. Fredric March in The Dark Angel
14. James Cagney in G Men
15. Peter Lorre in Crime and Punishment 
16. Groucho Marx in Night At the Opera
17. Errol Flynn in Captain Blood
18. Fred Astaire in Top Hat 
19. Franchot Tone in The Lives of the Bengal Lancers
20. Charles Boyer in Private Worlds
21. Bela Lugosi in The Raven 
22. Peter Lorre in Mad Love
23. Freddie Bartholomew in David Copperfield
24. Fredric March in Anna Karenina
25. Boris Karloff in The Raven 
26. Fred MacMurray in Alice Adams
27. Franchot Tone in Dangerous
28. Colin Clive in Mad Love
29. Frank Lawton in David Copperfield
30. Seymour Hicks in Scrooge 
31. Gary Cooper in The Lives of the Bengal Lancers
32. Douglass Montgomery in The Mystery of Edwin Drood
33. Paul Muni in Black Fury  
34. Henry Wilcoxon in The Crusades
35. Chester Morris in Public Hero No. 1

Next Year: 1935 Supporting 

Alternate Best Actor 1935: Errol Flynn in Captain Blood

Errol Flynn did not receive an Oscar nomination for portraying Peter Blood in Captain Blood.

Captain Blood is a fairly enjoyable swashbuckler about a loyal British subject who is wrongly enslaved, but later manages to become a pirate.

Errol Flynn got his big break in Hollywood with this which was his first major role and it is easy to see how Flynn was able to propel himself to stardom with this performance. He plays Captain Blood as above else a dashing hero which he does very well. Flynn has a great deal of charm and natural charisma which is perfect for the role as it makes Blood instantly likable which he needs to be. He makes him an easy hero to like as well as to follow throughout his adventures through the film.

Flynn keeps his portrayal fairly light and he works best when he does so. His smile and his energy really do a great job of moving the story along in a breezy fashion. There are more serious moments to be had particularly early on when he is enslaved, but Flynn does not get too dark even with these moments. Still in the weightier moments Flynn is successful in being a serious when he needs to be even though it is obviously clear that he is best when he has a good time as he so easily transfers that good time he is having across screen that it is very easy for we as the audience to have a good time as well.

Flynn does have a single weak scene where he is most challenged when Blood becomes angry with his former owner played by Olivia de Havilland. He actually comes off as a little awkward in this scene and his charisma seriously takes a hit in the moment as it is clear that Flynn does not quite know how to handle the scene. Still it is not a downright terrible moment or anything, but it does suggest limitations to his ability as a performer as just does not appear comfortable in this scene where he does have to get a little deeper into the character of Captain Blood.

Luckily though Errol Flynn in every other scene other than the earlier scene referred to could not be more comfortable in the role. He gives a great leading role with a great deal of energy and really makes the movie an enjoyable ride thanks to his enjoyable performance. It is only clear that this is Flynn very first major leading role in his one scene where he does show a clear weakness in his portrayal thankfully that is only one scene and the rest of the time he could have been a leading man for several years considering the ease and effortless fashion in which he carries the rest of the film.

Alternate Best Actor 1935: Boris Karloff in Bride of Frankenstein

Boris Karloff did not receive an Oscar nomination for portraying Frankenstein's Monster in Bride of Frankenstein.

Bride Of Frankenstein is an entertaining sequel to the original Frankenstein.

Boris Karloff portrays the monster for the second time. At the beginning of the film it is a reprise of his first time as the monster, and the strength of that performance is once again apparent. I will not bother to really get into what works so well about his portrayal in terms of the physical portrayal of the monster since I will be reviewing that performance as well and in that case the focus will almost be entirely on his creation of the monster. In this case I will focus on what changes about his portrayal of the monster here which almost comes up really first when the monster just by chance happens upon a blind man the only person he does not scare away since the blind man cannot see him.

In the scene Boris Karloff shows a change in the monster as the monster meets a friend and even begins to learn to speak. Karloff is quite brilliant actually in his portrayal of the monster's change because honestly having the monster change could easily take away the danger or the mystery from monster but Karloff succeeds in only making this seem like a natural transition with the monster. His voice he uses is just perfect for the monster and it is particularly interesting considering the true soft spoken voice that Karloff actually had. Karloff is brilliant as he is actually quite moving in his portrayal of the monster as he tries to interact just like a normal human with the blind man.

Karloff is terrific in realizing the strange place that the monster reaches as he tries to interact with the old man, but is only troubled once again when hunters arrive. Karloff offers a fascinating dynamic between the monster still being the monster, yet trying to be a man. Karloff's face is particularly expressive here and it is amazing the way he change from that of the friendly giant to that of the monster so quickly yet internally naturally. Karloff manages to realize the state of the monster that is a confused state the monster itself is not aware of what it is, and Karloff makes the monster the hodgepodge emotions just like how he is made of a hodgepodge of parts.

His greatest moment has to be what is the greatest moment in the film when the monster meets his bride (Elsa Lancaster). Karloff successfully makes the moment quite heartbreaking as he portrays the monster's warm attempt to talk to his bride only to be turned down quickly by her. Karloff is incredible in the scene because when the monster is rejected it is not only anger he brings out in the monster, but as well a deep sadness over being hated by what was suppose to love. This is a great performance by Karloff that instead of being overwhelmed by the sheer idea of the monster but instead makes the monster his own through his strangely enough human portrayal of the character.  

Alternate Best Actor 1935: Charles Laughton in Ruggles of Red Gap

Charles Laughton did not receive an Oscar nomination for portraying Marmaduke Ruggles in Ruggles of Red Gap.

Ruggles of Red Gap is an enjoyable film about a butler who learns about freedoms due to his services being traded to fulfill a gambling debt.

Charles Laughton had a banner year for 1935 appearing in two best picture nominees Les Miserables, and this film as well as best picture winner Mutiny on the Bounty. In Les Miserables and Mutiny he portrayed villains but this film he portrays the lead protagonist of the film. This performance is very different from most of his characters who tend to be flamboyant larger than life characters who tend to be rather brazen in their manner. Charles Laughton in this film as the butler Ruggles plays a rather meek and modest character. Ruggles early on in the picture actually says very little other than proper butler things to say.

Laughton knows how to make his presence known well staying appropriately meek, and he has a lot of fun with his character's manner in which he sticks to procedure. Laughton is quite amusing as he shows Ruggles attempt to keep proper while encouraged to be anything but by his new American employer. A particularly amusing early on is Ruggles rather poor attempt to smile when encouraged to do so by the American, and Laughton's portrayal of Ruggles's attempt is just hilarious. In the early half Laughton stays lightly comedic and enjoyably so as Ruggles is forced by the American to slowly lose some of his butler mannerisms, but Laughton is very funny as he portrays Ruggles in between styles.

Laughton does stay rather modest in his portrayal but handles the transition of Ruggles very well. He eases into properly as Ruggles only slowly loses his mentalities and to a certain degree never fully loses his old habits. This is a particularly charming performance by Charles Laughton, and he makes Ruggles really likable through the genuine fashion in which he portrays Ruggles. When Ruggles discovers the new joys in place to having more freedom, and begins enjoying himself Laughton handles it all very honestly which is interesting as he still manages to be humorous in the transition at the same time. He combines these conflicting elements actually quite well even as his portrayal moves more toward the dramatic at the end. 

Laughton handles the dramatic finale of his role particularly well as he makes Ruggles fully become his own man. He does it though simply that is fitting for Ruggles as he passionately reveals that he truly does care for his own freedom in a particularly powerful scene where he recites the Gettysburg address. He makes these final scenes moving as he plays the modest Ruggles stand up for himself. He does this so well because although finally Ruggles completely stands out on his own it is still done in an appropriately modest fashion that fits the character he has established from the beginning, and the final change has been earned by his performance through the film. This is a very strong performance by Charles Laughton very low key for him yet he still manages to stick out through humorous and honest portrayal that I actually prefer over his Oscar nominated work from 1935.

Alternate Best Actor 1935: Robert Donat in 39 Steps

Robert Donat did not receive an Oscar nomination for portraying Richard Hannay in 39 Steps.

39 Steps is an enjoyable thriller about a man who by chance gets involved with espionage involving a ring of foreign agents trying to get some sort of information out of the country.

Robert Donat here plays the Alfred Hitchcock staple of the wrong man. The wrong man being the man who only by sheer bad luck not only gets into the central situation but also finds himself wanted for the crimes that were caused by the villain. Donat plays the wrong man as just an average fellow who happens to be in the wrong place that leads him into the sort of trouble he gets into. Early on in the film when he first hears of the plot and later that he has been framed for the murder of the person who have him that information Donat is very good at acting just like how just about anyone would in the sitauton which is being very much taken aback, and very confused.

Robert Donat here is being the leading man in the most traditional sense of the word. He is the man we follow through the plot and we have to go along with him through the various twist and turns that come up along the way. Donat is very good in allowing on in through two way. He gives the appropriate reactions to the various events that take place and gives the right down to earth approach that allows us to go right along with. Also importantly Donat gives a very charming portrayal of Hannay. He is fun just to follow through his troublesome affair and he keeps the right sort of the tone for the film with his portrayal.

Donat has some great lighter moments in the film such as when he tries to get through a political rally speech by winging it making for a very entertaining moment. He also is great in his scenes with woman Pamela (Madeleine Carroll) who he also brings in on the mystery and the two end up handcuffed together. Again Donat has a great deal of fun in their scenes together as he shows Richard trying to keep her in control as well as tries to convince her that he is not a murderer. Donat brings the best out of these scenes playing the part with a great deal wit, and terrific comedic timing. Importantly he never overplays his hand in this regard though, and keeps the proper thriller tone intact.

This is just a great leading man performance by Robert Donat and the perfect type of performance to lead a thriller of this sort. He is able to play the central role as the ordinary man in the extraordinary situation incredibly well. He does both properly reflect the problems his character faces so we can properly emphasize with him throughout the adventure, but at the same time he does manage to just have his performance enjoyable all on its own as well through his well placed humorous moments. Donat just makes for a charismatic hero that allows this to be a thriller that is a very easy one to watch go through its course.

Alternate Best Actor 1935: Paul Muni in Black Fury

Paul Muni did not receive an Oscar nomination, despite apparently receiving the second most votes due to write ins, for portraying Joe Radek in Black Fury.

Black Fury is an okay although fairly unremarkable film about the conflict between a union of coal miners and the head bosses who hire detectives to break up the strike.

Paul Muni plays Joe Radek a miner who is rather a simpleton who ends up being used by a false member of the Union to encourage the Union to become divided. Paul Muni is not a favorite actor of mine and the reason I chose to review him here is due to the fact that he came second to Victor McLaglen in votes for the leading Oscar win. Muni once again proves himself to be the overacting sort by doing a big broad accent for the role. Now this alone would not be so bad but for most of the film he just basically yells every line seemingly to suggest the stupidity of the character, but he frankly takes it a bit far so his portrayal is rather dull.

Muni pretty much stays on the same note except occasionally he does what bothers me so much about Paul Muni as an actor which is actually act well. Muni troubles me because there is a good actor there waiting to get out yet my experience with him as an actor has suggested he only rarely allows this good actor come out for a whole performance. In this case the good actor comes out just a few times mostly in just short silent reactions such as in a scene where Joe hears that his girlfriend has left him. In that scene Muni is pretty good suggesting the internal heartbreak in his character without going on and on about it like he does in almost every other scene in the film.

Muni has a short moment here or there of strength that really brings out the emotions of the scenes through the use of subtly but for the most part he just hams it up to an unnecessary extent. Muni is indeed playing a character who is suppose to be stupid, but if that was the main feature Muni was aiming for he honestly overdoes even that. Muni again shows that if he showed some restraint in his performance that he could have given a good performance on a whole, but as it is his overacting comes off as annoying after awhile. More than anything else it seems like Muni just needed a director to reign in his performance, but that is not the case here.

Alternate Best Actor 1935

And the Nominees Were Not:

Boris Karloff in Bride of Frankenstein

Paul Muni in Black Fury

Robert Donat in 39 Steps

Charles Laughton in Ruggles of Red Gap

Errol Flynn in Captain Blood