Alternate Best Actor 1944: Results

 

5. Nikolai Cherkasov in Ivan the Terrible Part I - I decided against a full review, as like with Sergei Eisenstein's Alexander Nevsky, his Ivan The Terrible takes the approach, effectively I will say, of almost a documentarian's distance instead focusing on more so the visual spectacle of the historical events than to dive deeply within the nature of the historical figures past a certain point. Nikolia Cherkasov, who previously played the largely symbolic role of Alexander Nevsky, once again takes upon a part that is more so the idea of Ivan The Terrible, than an in-depth careful examination of his personal motivations. His performance largely being used to again symbolize Ivan as this fierce but also potentially troublesome ruler, often with a closer emphasis on how other's react to the man. There are individual moments for Cherkasov within the film, such as his quiet menace he underlines every word as Ivan makes his demands immediately following his coronation, or the made bravado he brings as he throws down a foreign diplomat in order to declare war. In both moments Cherkasov suggests he might've been able to explore more of the character if given the leave. Although then again even when just being the presence of Ivan, which works well enough, he maybe a little to frequently falls upon just the most extreme bug eyes to sell the nature of Ivan's madness. Largely still it is a fine performance, but again one that more so stands as an image of Ivan rather than bearing the actual soul of the man.

Best Scene: Coronation.

4. Dick Powell in Murder, My Sweet - Powell gives a fine turn in the premiere version of Philip Marlowe, finding his own path through a certain sardonic almost carefree quality for the private detective. 

Best Scene: Dealing with everything.

3. Errol Flynn in Uncertain Glory - Flynn gives perhaps his best performance excelling in crafting a far more cynical character than usual and slowly earning the transformation of the role to a more noble sort. 

Best Scene: Fake change of heart.

2. Alexander Knox in None Shall Escape - Knox gives an effectively chilling turn in showing a man go from a pathetic bitter man who slowly finds his terrible path through the Nazi regime. 

Best Scene: Final speech.

1. Laird Cregar in The Lodger - Good prediction Anonymous, Tahmeed, Luke, and Michael McCarthy. Cregar delivers a brilliant sinister turn as he grants a certain almost romantic quality of the man who both lusts after his victims and despises them.

Best Scene: Scene with Kitty in his room.

Updated Overall

Updated Supporting Overall

Next: 1994 Lead

Alternate Best Actor 1944: Alexander Knox in None Shall Escape

Alexander Knox did not receive an Oscar nomination for portraying Wilhelm Grimm in None Shall Escape. 

 

None Shall Escape is an intriguing rarity of the time which examines the then still ongoing World War II through the atrocities in the mainland by showing the rise of a Nazi officer.

At the center of the film is an unlikely lead played by the underrated and very talented Alexander Knox. Knox was nominated in 44 for his effective turn in the extremely positively skewed depiction of Woodrow Wilson in Wilson. I'll say it is no surprise that voters chose that performance, which again is a good one even within the limits of that role, give the old rule, that still stands to a degree, of voters sometimes going for "favorite person" rather than best performance. Where Knox managed to be compelling in the purposefully fluffy portrayal of Wilson, here he is equally compelling though in a far darker role in the depiction of the central character Wilhelm Grimm. A man we first see, once we enter flashbacks, into that of a German school teacher working in Poland. Knox does not immediately raise alarms in his calm dignified demeanor as Grimm returns speaking with a slight bitterness in his tone however seemingly not fundamental at first. This as we do get a brief scene between Grimm and his Polish fiancee Marja (Marsha Hunt). Knox uses the scene well to portray genuine affection towards her showing an important hint in Grimm, though quickly returning to a greater bitterness as he shrugs everyone else in Poland as lowly. 

The humanity quickly wipes itself away in terms of the writing of the piece however Knox is more gradual in his depiction of this. This as Grimm, after breaking the one human relationship we see initially, quickly goes to rape one of his pupils. In the moment of persecution, that leaves Grimm exiled and missing an eye though living, Knox is excellent by portraying  very honest sense of desperation. This in granting a seemingly humanity within it just by showing that this is a man doing all this in Knox's performance. He doesn't show any confidence rather a weak fear of the man as he begs local religious leaders to help him in his escape. Grimm returns home to his brother,an anti-Nazi, where Knox balances well the changes in Grimm. This as the bitterness is stronger than ever in his manner as each line delivery is lined with a venom. Knox though portrays it with an overt desperation of a man barely having escaped with his life now speaking passionately for the Nazi cause as though it is the only thing he can hold onto for himself anymore. This as even speaking to his brother, who is sympathetic by virtue of familial connection, Knox depicts a man defined by his wounds content with becoming truly evil man. This as he rises right along with the Nazi regime. 

Knox graduates this in his performance to a truly chilling point as he becomes a full fledged Nazi officer who condemns his own brother to imprisonment and prepares to return to Poland to reek havoc. Knox now shows a chilling confidence that now defines the bitterness of the man. This with a sense of a killer instinct within himself and a man comfortable in being a monster. Knox being terribly effective by showing the natural transformation of a quietly pathetic man to a thriving terror by the virtue of the power that supports his cruelty. Knox making for a wholly despicable villain by presenting with such an ease in the man's manner, and a distinct sense of satisfaction in speaking every order of his. This as he portrays a man whose become comfortable to abuse his power as he sees fit and almost a sense of jubilation in his new ability to kill without hesitation. Knox doesn't hold back in presenting the evil of the character but also doesn't use it as an excuse to go broad. Knox's calm in the role is remarkable and makes the character all the more vile. This in showing a man who isn't just mad, but rather is calmly and carefully implementing his planned atrocities. Knox's greatest work within the film though comes in the framing device where we see Grimm on trial for his crimes. There Knox again portrays a progression, the bitterness now worn overtly rather hidden by confidence, but no longer that same desperation of the younger Grimm. He rather presents a man whose become one with the hatefulness. This in his stellar final scene where Knox speaks every word with an incisive viciousness fitting per his cruel fiend. Knox excelling in crafting a most unique arc for the time, a man slowly becoming more acquainted with the very worst of himself. His final speech is short but one that Knox makes the most of to mark the end of this journey. This with Knox ending as a man becoming a kind of hatred incarnate.

Alternate Best Actor 1944: Dick Powell in Murder, My Sweet

Dick Powell did not receive an Oscar nomination for portraying Phillip Marlowe in Murder, My Sweet. 

Murder, My Sweet is a rather effective adaptation of private detective Phillip Marlowe naturally trying to uncover some criminal plot. 

The character of Philip Marlowe is one of the original hard-boiled P.I.'s from novels that were well suited for the 40's period of the film noirs. The first time the character received an adaptation, where he remained named as Philip Marlowe, was this film featuring a less well known Dick Powell, at least compared to Humphrey Bogart who played the part a couple years later or Robert Mitchum who eventually would be cast in the role despite being far too old for the part. I'll admit going into the film, as much as tried not to, a preconceived notion about an early often forgotten performer of a famous role itched at my mind. Perhaps a side of effect of seeing the pre-Bogart Sam Spade Ricardo Cortez's thoroughly underwhelming performance. I'll say those notions thankfully were unearned when finally seeing the film. Although that isn't to say that Powell is a precursor to Bogart or Mitchum's work, in fact I'd say his performance is closer to Elliott Gould's downright brilliant portrayal of the anachronistic Marlowe in The Long Goodbye. Although he's naturally not as off-beat as that performance, Powell's work really isn't to craft a glamorous, even in a downtrodden sort of way PI, but rather someone who probably would more likely be one. Powell's performance not trying to make Marlowe's the end all be all PI, but rather just a PI whose going try to solve things best he can no matter how many hits to the head it takes. 

Powell's performance emphasizes kind of a "why not" approach to Marlowe's as in many ways it is all a game, in turn a day in the life to the PI. This as he brings a nice sort of blithe manner particularly in his narration. A narration that he offers an edge of a comical quality as he almost seems bemused by his own existence. Powell's actually rather wonderful here in his delivery of so many of the hard-boiled lines that he makes sing through the right degree of showing Marlowe deriding those around him while also still being within the moment. Powell's portrayal being quite compelling in the way he brings you into really a tangible sense of Marlowe's world right down to the way he explains his being knocked out as going "head first into a black pool". Powell's work manages to give a strong sense of the man's personality as someone who knows what he's doing, but also kind of knows how much of a joke all of it is in his series of bad luck. Powell in some way playing more so into a later type of protagonist in that he doesn't present Marlowe as having a perfect cool, but rather what makes him so remarkable is how he's flying by the seat of his pants to a degree. Powell making for that professional, but also the professional who is a man after all, with more than a few parts of imperfections. 

Powell quite honestly is fun to watch here in just finding ways to enliven the proceedings to make the mystery both easier to follow and more digestible. One of my favorite moments, that seems like Gould might have ran with, is this brief moment where Marlowe going to a not particularly interesting meeting with some potential leads does a little skip dance on his way. It's just an exceptional moment that so well conveys the spirit of his performance and in turn how his Marlowe works. This as Powell lets the viewer in on the mystery very much so every step of the way. I particularly love how he handles even the romantic moments that we the femme fatale (Claire Trevor) and the less step-daughter fatal (Ann Shirley). In Powell's work both he shows that even when obviously knowing the fatale's game Powell shows Marlowe's almost not minding the fringe benefits he can get from it. This against the step-daughter where Powell finds a sweetness within suspicion. Again as someone who always seems to find his way around a situation no matter how odd or potentially fatal. Unfortunately my only complaint comes into the sequence where Marlowe's is drugged and has to escape from an asylum of sorts. This just as Powell goes a bit too broad in portraying the off his rocker Marlowe. Although it is fitting that this would be one part where he isn't in control even in his off-beat way, but even then it just more feels it is the one part Powell doesn't seem fully comfortable with in his portrayal. This is unfortunate essentially because I actually really enjoy the rest of his performance here. This as though obviously his take would be original, being the first after all, his take and approach is absolutely worthwhile and worth mentioning right along with his successors in the role. 

Alternate Best Actor 1944: Laird Cregar in The Lodger

Laird Cregar did not receive an Oscar nomination for portraying Mr. Slade the titular character in The Lodger.

The Lodger is one of the many adaptations of the Jack the Ripper inspired story of a mysterious man taking residence in the upstairs of a London home.

 

Laird Cregar is one of the great "could've been actors" having only a six year run in films before his untimely death at the age of 31. One must note though then the remarkable thing it is to discover the man, and to see what he was able to accomplish within that tragically brief tenure. Cregar naturally was cast within the classic "heavies" however again notable how Cragar in that time was able to create different types of characters within that role. Whether it was the sniveling weasel henchmen in This Gun For Hire, a particularly affable devil in Heaven Can Wait, or of his creepy yet tragic inspector in I Wake Up Screaming. Cregar found a different approach and even a different tone for each. We find that again here, where honestly one might be able to quickly presume that Cregar is in fact playing Jack the Ripper as the Lodger known as Slade, a nearby street name to his hopeful residence. Cregar's performance then is what must create the intrigue far beyond the "is he?" the defines the story. He's obviously him, so really it comes down to how intriguing he is in revealing the strange state of the man. This from his opening scene where the man investigates the upper floor of the residence. Cregar's higher pitched voice granting both a elegance and an off-beat peculiar quality to the man. His eyes filled with something that isn't so easily described as he looks upon the quarters, and his almost lustful way of speaking that the home will provide the "intense heat" for his "medical experiments". 

Where the part would be later played by Jack Palance with a steely calm, there is something far more dynamic within Cregar's performance that seeks to grant a certain odd sympathy for Slade even as he also reveals the nature of the man. This in his first scene as the man remarks the place shall be a refuge for him after be spoken to of the Jack the ripper murders. Cregar's monetary gaze up into though shows the man's need for some kind of solace within his mind, befitting a man technically being constantly hunted. Cregar's performance creating an intrigue within itself through his manner as he tips towards the stylized yet never goes too far in granting an nearly intangible quality about the man. This again remarkable as Cregar suggests a man almost another plane of thought that alludes towards what is that Slade is doing when he is not "lodging". Cregar's performance, which the cinematographer particularly seems to love in the way his face essentially glows here, is captivating within itself in creating Slade not as a, is he, isn't he, question but rather an examination of what a man who does such would be. We are granted to explore more of this as Slade's introduced to the idea of his landlady's niece Kitty (Merle Oberon) is a showgirl. First explaining his distinct fascination with showgirls. This as Cregar is impeccably creepy in speaking the fear nearly in the man's voice as he explains the way he oddly seems to think he's oppressed by them in some way. This though at the same when distinctly speaking of one Cregar's glare is of a precise transfixing thought. 

His first meeting with her is a brilliant scene for Cregar this is as he's both creepy but in a strange way an almost romantic quality he brings. This when explaining river in the night to her. This as Cregar speaks the words with a poet's grace but just with an intensity that is more than that. There is something pressing with the man, a madness that he so eloquently realizes as a state that makes Slade's psychopathy on that different state of mind. Again though Cregar is chilling with a nearly ethereal quality in creating the deranged state so uniquely. Cregar's performance in a way know that the material has been tried many times before in a way, as though his performance in some way subvert the material, he glides through in a way to grace each note with some marvelous eccentricity. This just in the way he watches others, including an inspector, discuss the case. Cregar's look craft the man suspicious of well...the suspicions, but there's more. His little glares grant a critical quality in the man almost annoyed at the others attempting to pigeonhole himself as some kind of particular maniac. Although I wouldn't quite say Cregar makes the character of Slade fun, there is something quiet entertaining in his portrayal that is playful in a way without being dismissive of the material. This most often in playing the "monster" of the lodger, just in his particular gait, and especially his way of looking upon the others with the manner of a predator minding his prey. That so often with the look of dead eyes of Slade. This though still with the complication in his work of showing Slade is in some way conflicted between disgust and lust in his crimes. This in his interactions with Kitty where Cregar is so many things at once. That looking as both in love with her and with a hate. This speaking though with some critical venom and some hope of seduction. Cregar's always elegant delivery making the most of the hypocrisy of Slade. Cregar apparently attempted to grant the part a "romantic veneer" and successful he is in this. This in making his performance fascinating kind of a mad man. This in even his final scene with Oberon where he reveals his murderous intent that Cregar plays both as a horror scene and a love scene. This in going back and forth between the seduction and the kill as this terrible sort of dance. Although the film is just fine otherwise, if only just fine, Cregar achieves greatness here by both fulfilling and subverting expectations of the part of Slade. A part that was played before and would be played again, but Cregar makes it his own. This as a magnetic hypocrite that exists in his own realm that clashes violently when he attempts to confront reality.

Alternate Best Actor 1944: Errol Flynn in Uncertain Glory

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

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

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

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

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

Alternate Best Actor 1944

And the Nominees Were Not:

Laird Cregar in The Lodger

 

Nikolai Cherkasov in Ivan The Terrible, Part I 

 

Alexander Knox in None Shall Escape

 

Dick Powell in Murder, My Sweet

 

Errol Flynn in Uncertain Glory

Alternate Best Actor 1944: Results

5. Eddie Bracken in Hail the Conquering Hero-Bracken gives an enjoyable performance and handles his final dramatic speech well, but his best performance of the year was in the other Preston Sturges comedy he starred in.

Best Scene: The "hero" tells the truth.

4. Peter Lorre in The Mask of Dimitrios- Lorre really does not have a character so it is to his testament that he still gives an effective and enjoyable performance.

Best Scene: Cornelius finds the smuggler in his room.

3. Ray Milland in Ministry of Fear- Milland leads this thriller effectively throughout and delivers when needing to delve in his character's dark background.

Best Scene: Stephen tells about how he murdered his wife.

2. Edward G. Robinson in The Woman in the Window- Robinson gives a subdued and effective performance as the lead in a noir who is frankly to old for a noir.

Best Scene: The professor tries to come up with a way to kill a blackmailer.

1. Fred MacMurray in Double Indemnity- Good Prediction Michael Patison, JackiBoyz, RatedRStar and moviefilm. (I should note I allowed the correct prediction apply in terms of Milland whether your prediction correctly placed him for The Uninvited or Ministry of Fear) MacMurray wins this year without a second thought as his portrayal of the insurance salesman whose lusts get the better for him stands easily as the strongest leading performance of the year.

Best Scene: Keyes lights the match of Neff.

Overall Rank:

1. Fred MacMurray in Double Indemnity
2. Laird Cregar in The Lodger
3. Laurence Olivier in Henry V
4. Charles Boyer in Gaslight
5. Alexander Knox in None Shall Escape
   
6. Alexander Knox in Wilson
7. Edward G. Robinson in The Woman in the Window
8. Ray Milland in Ministry of Fear
9. Claude Rains in Mr. Skeffington
10. Errol Flynn in Uncertain Glory 
11. Charles Laughton in The Suspect
    
12. Gregory Peck in The Keys to the Kingdom 
    
13. Humphrey Bogart in To Have and Have Not 
    
14. Dick Powell in Murder, My Sweet
    
15. Robert Newton in This Happy Breed 
16. William Powell in The Thin Man Goes Home 
    
17. Fredric March in The Adventures of Mark Twain
    
18. Alf Kjellin in Torment
    
19. Paul Lukas in Uncertain Glory
20. Charles Vanel in Le Ciel Est à Vous
    
21. Van Johnson in Thirty Seconds Over Tokyo
22. Peter Lorre in The Mask of Dimitrios
23. Ray Milland in The Uninvited 
    
24. Eddie Bracken in Hail the Conquering Hero
25. Pedro Armendariz in Maria Candelaria
    
26. Dana Andrews in Laura 
27. Ray Milland in Till We Meet Again
    
28. John Carradine in Bluebeard
    
29. Luciano De Ambrosis in The Children Are Watching Us
    
30. Nikolai Cherkasov in Ivan The Terrible Part I 
31. Dennis Price in A Canterbury Tale
    
32. Cary Grant in Arsenic and Old Lace 
33. Clive Brook in On Approval
34. Ronald Culver in On Approval
    
35. George Sanders in The Lodger 
36. John Sweet in A Canterbury Tale
    
37. Spencer Tracy in The Seventh Cross
38. Bing Crosby in Going My Way
    
39. Cary Grant in None but the Lonely Heart
40. Mickey Rooney in National Velvet
    
41. Robert Young in The Canterville Ghost
    
42. Walter Pidgeon in Mrs. Parkington
    
43. Zachary Scott in The Mask of Dimitrios
    

Next Year: 1944 Supporting

Alternate Best Actor 1944: Eddie Bracken in The Miracle of Morgan's Creek

Eddie Bracken did not receive an Oscar nomination for portraying either Woodrow Truesmith in Hail The Conquering Hero or Norval Jones in The Miracle of Morgan's Creek.

Both of the Preston Sturges comedies of 1944 are both very entertaining films with Hail the Conquering Hero about a man who could not get into the marines being made a false hero by a group of real marines, and The Miracle of Morgan's Creek about a small town girl who finds herself married and pregnant to a man she can't even remember the father's name.

Eddie Bracken plays the lead to both films and in both films he plays a sad sack who is unable to make it in the military due to failing the physical examine. The performances are similar in nature but differ in that his performance as Woodrow Truesmith is a bit more serious as Woodrow is a smarter sad sack, and his performance as Norval Jones is more directly comedic as Norval is a not particularly bright sad sack. Both find themselves in absurdest situations who don't really know how to handle them although, except for the ending to Hail the Conquering Hero, Norval is allowed just a little more control in them giving frankly some more space for comedic moments.

Out of the two performances I would say I prefer The Miracle of Morgan's Creek because of the nature of the performance being just simply funnier. Bracken is good in Hail the Conquering Hero though as well and does deliver particularly well with the dramatic final speech in the film. The Miracle of Morgan's Creek simply gives Bracken more opportunities to be funny in the film. Eddie Bracken plays the role of the somewhat whiny rather wimpy semi-romantic lead. This sorta part can often be a rather obnoxious character to say the last, but frankly Eddie Bracken is quite a master of this type of role as shown in Hail and even more so in The Miracle of Morgan's Creek. 

Bracken is an easy charm as Norval and rather then the less then positive qualities of Norval being obnoxious in anyway they actually are all made rather endearing by Bracken energetic performance. Eddie Bracken manages never to go overboard with his portrayal of Norval even if the character behavior is rather absurdest to say the least. Bracken fits the screwball atmosphere perfectly and makes the most of every single comedic moment he has in the film. His physical timing could not be timing and every pratfall and slapstick moment is carried quite beautifully by Bracken throughout the film.

Eddie Bracken performance is simply a great fit for Preston Sturges's brand of comedy and in both of those films Bracken makes a most unusual but rather enjoyable protagonist to follow through the insanity of the story. Bracken performance goes along with every beat of the story and through his reactions adds greatly to the comedic value of every scene. I just found Bracken performance to be a very funny performance that leads both The Miracle of Morgan's Creek and Hail the Conquering Hero splendidly. Although even more splendidly when it comes to The Miracle of Morgan's Creek.

Alternate Best Actor 1944: Fred MacMurray in Double Indemnity

Fred MacMurray did not receive an Oscar nomination for portraying Walter Neff in Double Indemnity.

Double Indemnity is a masterful film noir by Billy Wilder about an insurance salesman who conspires with a femme fatale to murder her husband for the insurance money.

1944 is one year I would like to know who exactly was sixth place in the voting and whose spot was taken for Barry Fitzgerald's extra nomination. I would have to imagine it was MacMurray as, in terms of nominations, Double Indemnity was quite popular with the academy and the leading actor of every other best picture nominee was represented with Going My Way being represented twice. Also the academy did nominated Charles Boyer for playing a somewhat similar character, although maybe they preferred him over MacMurray because Boyer played an eloquent murderer rather then an average sorta guy one.

Fred MacMurray, although really is best known for this role today, was an actor who mostly played the lead in lighthearted comedies. Of course something rather interesting is, other then Alice Adams, every time he was in a film which was nominated for best picture he played a dark villainous roles. This role is the most notable of all of his as he plays the lead to Double Indemnity as Walter Neff an everyday insurance salesman who happens upon a most unusual woman in Phyllis Dietrichson (Barbara Stanwyck), who seems a bit too interested in a life insurance policy for her uncaring husband. There is nothing special about Neff other then he notices the indications Phyllis is making.

Fred MacMurray is perfectly cast in this role and acts well as perhaps the any man who might find himself with such a temptation. MacMurray is great in the scene where Neff and Phyllis first meet as we see the instant charge in Neff's eyes as he first lays them upon her. MacMurray is terrific in playing ow smitten Neff is and the obvious lust in him that only becomes more extreme as he spends more time with her. The believability of Neff's rather swift descent into the dark depths of a murder plot are made wholly believable by MacMurray performance as he shows Neff to be almost entranced by Phyllis and portrays incredibly well the strong urges in Neff.

One of the great aspects of this film is the rather peculiar chemistry that MacMurray and Barbara Stanwyck have in this film. Each take on a different style that creates a rather fascinating dynamic between the two characters. MacMurray, although playing a murdering, does play Neff as a man with a soul even if that soul is up for grabs. Stanwyck on the other hand plays Phyllis Dietrichson as soulless monster although one capable of a false affection if it serves her nefarious purposes. MacMurray gets played well Stanwyck does the playing and it their performance get down to the plain and simple depths of the relationship where Neff is blinded by her worldly wiles.

A rather funny thing about the film, and part of its greatness, is that the only relationship with any warmth is actually between Walter Neff and his co-worker and insurance investigator Barton Keyes played by Edward G. Robinson. Their banter is oddly enough the heart of the film as their friendship is the only purely honest one, in terms of emotions, in the film. MacMurray is great in all of his scenes with Robinson showing Neff as how he really should have been in his friendly banter with Robinson. The person Neff says "I love you too" to isn't Phyllis but rather Keyes, and that sound all ready for a bad joke but it absolutely works especially their final poignant moments together where they both show just how much their friendship really did mean.

MacMurray plays Neff rather effectively as an intelligent fool. Although Neff does go through with the scheme of murdering the husband and foolishly thinks that he can one get away with it and two trust the duplicitous Phyllis, he does have a plan and how to attempt to handle everything. MacMurray finds this contradiction quite well by mixing in the sides of Neff. On one side there is the far more calculating Neff who thinks about the plan and MacMurray suggests Neff's intimate knowledge of the insurance game well. On the other side though MacMurray also presents a more emotional Neff that is underlying at all times whether it be showing his conscience or simply his desire for Phyllis Dietrichson.

MacMurray is outstanding in any of the scenes where Neff has to intimate part of the plan or deal with any of the accusations from Keyes. MacMurray is terrific in showing all the anxiousness in the man, all the fear and unpleasantness of it all. MacMurray is so good because he plays all of these scenes so straight and in doing so represents how an average man would react through the film. The intensity of every scene is amplified by MacMurray direct approach. Every little moment is given the emphasis needed and something as simple as a car failing to start has an overwhelming tension because of MacMurray's exceptional portrayal of Neff's anxiety.

It is ridiculous that Fred MacMurray was not nominated for one thing Barry Fitzgerald did not need to have two nominations for literally the same exact performance and even more so MacMurray work is essential to the greatness of Double Indemnity. Although one can easily point out one of the two other most important roles as the standouts in this, it is MacMurray's great work that holds it all together. MacMurray is the driving force throughout the film. MacMurray matches brilliantly both the technically showier work of Stanwyck and Robinson and his delivery of the narration helps to set the perfect tone of the film. Even more so then all that MacMurray simply gives a compelling and very powerful portrait of one man's moral decline all the way to the bitter end.

Alternate Best Actor 1944: Edward G. Robinson in The Woman in the Window

Edward G. Robinson did not receive an Oscar nomination for portraying Professor Richard Wanley in The Woman in the Window.

The Woman in the Window is a pretty effective film noir although it certainly has a take or leave it ending twist. 

Edward G. Robinson plays a rather different role from his best known performances as gangster like his great work in Little Caesar, as well as this is just a very different role in terms of leading a film noir. Robinson plays a rather low key lead as an aging college professor who we meet when he is having a quiet mid life crises. It is interesting to see Robinson in such a humble role after seeing him succeed so well in the very intense and flamboyant roles in film like Little Caesar and Key Largo. It is no surprise though to see Robinson take on this role which he plays with a great sensitivity particularly early on as he sets up the character of Professor Wanley.

Robinson does not overplay the state Wanley's in too much, and at the beginning of the film plays him as a man very quietly going through this crisis. Robinson portrays it as something Wanley thinks about and is somewhat dreary about but not something that making him obsessive or manic in anyway. Robinson is very good in showing a rather reasonable man being a bit somber about things. Wanley's life is just fine as Robinson plays it but there is just the right amount of boredom suggested by Robinson that gives Wanley the little bit of motivation needed for him to take the path that brings him down the film noir.

Wanley by chance meets a woman used as a model for the portrait and he goes to have drinks with her. Robinson still stays fairly unassuming even as Wanley is going out of his element. What Robinson does do is show Wanley lose that bit of boredom in his voice as he speaks with the young lady. Things quickly go out of hand though when another man appears who quickly attacks Wanley leaving Wanley no other choice but to kill the man in self defense. Wanley know is firmly in the film noir plot with no where to go but deeper into things and here Robinson makes for a very different lead for such a tale. 

Robinson is really quite interesting and original in his performance because rather then show a whole new level of excitement as Wanley gets involved in a murder investigation and blackmail, which is often the case with noir leads, Robinson portrays Wanley plain and simply as a man who is too old to be involved in such things. Early on Robinson is very good showing the sheer disbelief at the situation in Wanley over what just happened. Robinson internalizes the crises in Wanley effectively portraying basically how a level headed wiser man would handle such a situation, well a wise man who is not wise enough to call the police and just explain things of course.

What Robinson does more then anything in this role is stay believable as this seasoned professor. This makes for a most unusual protagonist for this plot but quite a compelling one in the different take on the proceedings that we get from it. When Wanley keeps tripping up in front of investigators Robinson makes it the simple very natural mistakes of a man who can't live such life. The best part comes when Wanley needs to dispose of a black mailer. Robinson is actually quite moving in his portrayal of Wanley honestly just trying his best to fix things but he always makes it abundantly clear that this life fits him so poorly that even coming up with the murder method causes him great exhaustion and grief.

The film does not end with Wanley end rather instead with a completely out of left field development that certainly messes with the tone of the picture. It is quite the unnecessary absurdest twist much like the one later seen in 1987's No Way Out, since just like that later film this one easily could have just ended without the twist. To the great great credit of Robinson he plays along with the twist quite smoothly which is quite something considering how extreme the twist is. Robinson plays it well though giving the ending a nice comedic edge as he portrays rather simply but to the point how the plot of the film has basically made Wanley learn his lesson about staring too long at the Woman in the Window.

Alternate Best Actor 1944: Peter Lorre in The Mask of Dimitrios

Peter Lorre did not receive an Oscar nomination for portraying Cornelius Leyden in The Mask of Dimitrios.

The Mask of Dimitrious is a decent enough mystery film about a mystery novel writer who teams up with a smuggler (Sydney Greenstreet) to find out what really happened to a notorious crook named Dimitrios.

This one is a strange one in that Peter Lorre and Sydney Greenstreet, instead of hounding Humphrey Bogart, actually team up to find out what happened to an evil criminal. Lorre actually plays the hero of sorts to the film as a mystery writer who, due to curiosity, starts trying to find out more of the criminal after seeing the man's apparent corpse. The reason I only say this is a decent enough mystery actually is that there is not enough of Lorre's search for the truth and too much of the flashbacks that show what Dimitrios was doing before the start of the film. Those scenes frankly just aren't that interesting particularly, and it is not helped by the fact neither Lorre nor Greenstreet appear in them.

Lorre's role here is rather strange one in that the writer Cornelius is always an observer of the events and only really gets involved directly with the turn of events at the very end of the film when he has to fight for his life. Before that point Cornelius goes along from place to place checking out various clues while being somewhat perplexed by Greenstreet's character who is a man who clearly knows more then he says as well seems to go by many names. Lorre's role is quite simplistic in nature and in terms of conception the story of Dimitrious should be far more interesting but it is a strong testament to Lorre's talent that he steals the film anyway.

It's funny that Lorre played so many villains so well because he is able to be such a charming fellow with such an innate likability. Lorre is just fun to be around with in this film and things are only helped once Sydney Greenstreet shows up. It is no surprise that Greenstreet and Lorre were in so many films together as they just have some great chemistry together. The two are quite brilliant at making the dialogue sing especially well giving their scenes together a wonderful life to them something that is sorely missing from the scenes without them. Lorre and Greenstreet are just terrific to watch to see them go along through the plot where they are able to bring the humor almost just through the style of their back and fourths.

Honestly this is not really much of a role in any way shape or form. Cornelius doesn't really have a back story, his motivation for getting involved in the plot is fairly weak, and he really doesn't have very much even to do. None of that matters though because Peter Lorre is in the role and that is apparently all it takes for the role to be rather interesting. Peter Lorre is incredibly enjoyable to be around so to speak and he makes it fun to go through the plot of the film with him. It is unfortunate that the part has absolutely no meat to it and would be just one big nothing if it were not for Lorre. This is not a great performance by Peter Lorre but it is a great example of a great actor doing something with almost nothing.

Alternate Best Actor 1944: Ray Milland in Ministry of Fear

Ray Milland did not receive an Oscar nomination for portraying Stephen Neale in Ministry of Fear.

Ministry of Fear is an effective thriller about a man who accidentally stumbles upon a Nazi espionage scheme.

The last two times I have reviewed Ray Milland was for his fiendish performance in Dial M For Murder and his harrowing performance as an alcoholic writer in The Lost Weekend. Milland's performance in this film and to an even greater extent in the haunted house film The Uninvited gives what can be viewed as a more traditional leading man turn by Milland. I chose Ministry of Fear out of the two performances though because it does present a little more of a challenge for Milland, although both films are examples of Milland's abilities in playing a fairly straight forward role.

Milland is quite good in both roles having a real ease in the parts and is quite able to have just a natural charm opposed to that brilliantly slimy charm that he had later in Dial M for Murder. Milland work here reminds me of Robert Donat's work in 39 Steps. Although there is a far lesser emphasis on humor, as this is not a Hitchcock thriller, when there is a chance to lighten things up a bit Milland is always able to pull off quite smoothy and never compromises the more the serious tone of the film.

Both the Uninvited and Ministry of Fear relies largely on Milland to carry the film often without even having a great deal to say. Milland though has a very strong screen presence and with great ease acts as a guide for us to follow through the plots of both films. Milland is always able to add just the right weight to any scene whether it is finding one more double cross set by Nazis or witnessing the howls of the ghostly specter. Milland is always able to assert himself just enough, to allow the story to play out as it should while keeping the audience invested in his character too.

I did choose Ministry of Fear over the Uninvited because there is a dark streak to Milland's character in this film. His character holds a secret which is that he mercy killed his wife. The film leaves this only a small part of the film, and it seems like an element of the film that should have more time devoted to it. This really is not a problem because Milland, alluding his later work in The Lost Weekend, completely delivers in the few scenes that delve into Neale's past. The scenes are quick and very much to the point but Milland completely delivers in giving the moments the impact they need.

Milland in Ministry of Fear and The Uninvited completely delivers on being an interesting and entertaining leading man to follow through both films with their twist filled stories. In both film he gives a nicely assured work and in the most serious scenes of Ministry of fear he certainly gives a strong indication to the greatness he would achieve one year later in the Lost Weekend. Neither Ministry of Fear or The Uninvited feature Ray Milland's best performance by any measure, but both are a strong indication of his talent as an actor. They also show what a shame it is that he rarely remembered for anything other then his very much deserved Oscar win.

Alternate Best Actor 1944

And the Nominees Were Not:

Peter Lorre in The Mask of Dimitrios

Edward G. Robinson in The Woman in the Window

Fred MacMurray in Double Indemnity

Ray Milland in Ministry of Fear

Eddie Bracken in Hail The Conquering Hero