Alternate Best Actor 1946: Results

5. Sydney Greenstreet in The Verdict - Greenstreet is innately an interesting performer but even that struggles under the often repetitive role he has here. 

 

Best Scene: Summary.  

4. Michel Simon in Panique - Simon gives a convincing performance as an eccentric but mostly innocent man being played as the fool.

 

Best Scene:  Finale.

3. Franco Interlenghi in Shoeshine - Interlenghi gives a moving and convincing portrayal of a boy's friendship but also his hardened state slowly being worn away by a cruel system.

 

Best Scene: Interrogation.  

2. Michael Redgrave in The Captive Heart - Redgrave gives a moving portrayal of the quiet tension but also determination of a man living under constant threat yet still trying to maintain his humanity. 

 

Best Scene: Explaining his story. 

1. Charles Boyer in Cluny Brown - Good prediction Robert. Boyer is at his most charming here in delivering on the wonderful wit of his character where he manages to be the smartest man in the room so effortlessly and delightfully.  

 

Best Scene:  Final talk with Cluny.

Updated Overall 

 

Next: A few supporting reviews for 46. 

Alternate Best Actor 1946: Franco Interlenghi in Shoeshine

Franco Interlenghi did not receive an Oscar nomination for portraying Pasquale Maggi in Shoeshine

Shoeshine follows two shoeshine boys who essentially inadvertently get involved in a robbery that leads them to a juvenile detention center. 

Shoeshine falls into the neorealist work of Vittorio De Sica, who at his best found such emotional power in often very simple yet potent stories set in a very real world. Shoeshine falls into such a film where we very tangible experience the world through the eyes of our two boys Pasquale and Giuseppe (Rinaldo Smordoni), as they traverse a world of poverty where they take on jobs eagerly to squeak by though with dreams of one day buying a horse. Child leads in this period were notable and really only tolerable in European films where we got actual performances from child performers. This film is a clear example of such as with Interlenghi and Smordoni there is a natural reality of their work where you simply believe both boys are boys in this life. Something that might sound simple enough but watch one American child performance from the time and you will see it was hardly the standard for cinema as a whole. Interlenghi in particular has a bit more of a striking presence about him where his face has this quiet simmering sense of determination but also the weight of his life in his eyes at all times. Where you do see De Sica’s approach very much has a pivotal choice in capturing those faces and finding power of those faces, something one would see again in short order in the Bicycle Thieves.  

We follow the boys going through their lives until they get basically set up to be fall guys for some adult criminals and end up in the detention center. The lead up to this is where we see both actors as this unit of just togetherness, and while we don’t spend too much time speaking of complications there is a natural sense of connection and warmth that grants you the idea of their friendship. Within the detention center what we get within De Sica’s overall vision is showing the community of the boys within the center, both good and bad, along with the nature of the system designed to be quite callous to the poverty stricken and in many ways seeks to quite brutally find out anything incriminating that they can out of the boys. Within that however it does lean the film towards the old bingo word of “director’s film” where I will say the performances are of this tapestry. I should note a fundamental part because to craft reality the boys must be wholly convincing which they are. The presentation of them though is showing them very stuck within the progression of this system where there is a very specific intention of setting the boys against each other in order for them to determine the information around their crime. 

Interlenghi’s often reaction based work is always good in reflecting the harshness of the system, although we only get a few very specific moments where we have the direct emphasis of his performance. To his credit he does make the most of these moments, the first being when he is being interrogated and Pasquale thinks they are torturing Giuseppe, cruelly using his love for his friend to actually betray his friend by confessing information about the crime. Interlenghi’s work is moving in the scene because you see in the reaction less fear for himself but rather the sensitive devastation of hearing what he thinks is his friend, suffering so severely. Interlenghi finds power in showing the tough kid as just a real kid in pain and particularly representing the real love for his friend. Unfortunately this causes a rift between the friends as Pasquale is labeled an informant by the other boys, creating a distinct rift between the friends. Where again Interlenghi’s work becomes mostly reactive again however he’s good in bringing a bit more emotional vulnerability in those reactions reflecting the changes from the situation and creating the sense of isolation. Leading to the end of the film where Giuseppe joins an escape attempt without his friend, leading Pasquale to openly inform this time. Interlenghi’s very good in his delivery of this betrayal with the desperate rage not of a man, but of just a heartbroken boy making an immature, yet very much a boy’s choice to get back at his friend. As a boy or as an adult, the betrayal is regardless of reality so far that Pasquale chooses to directly and tragically confront Giuseppe. Interlenghi’s great thought in creating the two contrasts even in such immediacy, capturing the ferocity of his anger at his friend to then his direct uncompromising horror of what comes immediately afterwards. Interlenghi finds the pain so honestly, and very much through the experience of a boy struggling with his emotions so earnestly and seeing the real victim within a cruel system. And while part of the large tapestry I would say Interlenghi manages to still find his impact in showing that progression of the tough kid with a friend to really a wholly broken kid without one. 

Alternate Best Actor 1946: Charles Boyer in Cluny Brown

Charles Boyer did not receive an Oscar nomination for portraying Adam Belinski in Cluny Brown.

Cluny Brown is a wonderful romantic satire of a European professor and the niece of a plumber who together don’t quite fit into the rigid expectations of English society. 

We return to Charles Boyer quite swiftly after his long absence to another un-nominated turn of his. Boyer in this instance plays the atypical lead as a European professor and writer escaping from the Nazi’s for his expressly anti-Nazi views. Although that may sound very dramatic, we actually begin with Adam Belinski just arriving to some random party in England early and in fact being mistaken for a plumber. Boyer is really taking upon two challenges of this role that I would necessarily have pegged him as being ideal for before watching this film yet he absolutely is. The first challenge really is the dialogue itself which is fairly rapid fire for Belinski specifically as he talks circles around everyone, and while Boyer frequently has a more deliberate delivery in most films, in this film he thrives with the far greater tempo. Boyer has an ease with his dialogue and it really just so naturally flows throughout where Boyer through this exudes the intelligence of his Belinski with such considerable ease. There’s the next challenge though is that all this superior intelligence could easily come off as pompous, but Boyer is damn charming here. Boyer’s magnificent in the way he’s able to articulate the nature of Belinski who is smarter than everyone, knows this fact, yet I think he manages to find the tricky high wire of owning but still making Belinski so likable. I think Boyer knows how to emphasize the fun of it all and only brings a more admonishing quality in his quick asides when Belinski is being more corrective against societal foolishness. We even have the opening meeting where he basically gets the host to let him sleep somewhere through this word juggling that Boyer makes so easy to in a way talking down to the man’s manner yet doing so in a way in which he seems the most gracious of teachers. 

The party though leads to two different meetings, one is meeting a young man of wealthy family Andrew (Peter Lawford) who is currently struggling to confirm his romantic relationship Betty Cream (Helen Walker) who is purposefully playing a love triangle between him and another man. Andrew knows of Belinski and offers him a place to stay at his parent’s mansion. I love Boyer’s reactions to the young man’s earnest but also political posturing, where he so naturally manages to bring a graciousness while wholly sarcastically appreciating the young man’s act of writing letters to a newspaper as his great act. Regardless Belinski takes up the offer, and I think what Boyer manages to do though is create in even his sarcasm this genuine glint of appreciation of any passion for his cause even if perhaps the safest. The even more important meeting though comes from the titular Cluny Brown (Jennifer Jones) who acts on her uncle’s behalf, though not with his knowledge, to fix the man’s plumbing issues. Cluny, who loves to plumb, is a ball of fire of enthusiasm though too she ignores the expectations of society though more so in being exactly who she is than coming at Belinski’s intellectual superiority. Either way Boyer’s great in being as impressed with the young woman’s candor, as frankly we the audience are. Boyer’s wonderful in presenting this utter fascination towards Cluny as someone far above and beyond the norm, while offering even this minor self-depication as a non-romantic pact to support each other in their ill-fitting ways. 

Belinski becomes a guest at the house of Andrew’s family which by chance, at the same time Cluny is hired as their new maid, in an attempt by her uncle to set her on the "right path". Although she is almost immediately fired for speaking freely at meals by earnestly suggesting the best food, only saved by Belinski’s intercession pointing out that the host indeed took the piece she suggested. Boyer’s great in just his work of his eyes of admiration but also kind of taking in each scene with the sense of criticism being prepared before he says them, though delivered again in that fantastic way of confronting without confrontation that Boyer makes feel so natural each time. Belinski’s indirect methods get the best of him when he learns Cluny is seeing a local chemist as a romantic partner just as he realizes his own interest in her as such. Something I think Boyer again thrives in his way of cultivating the sense of true admiration that goes beyond just enjoying her rejection of norms but loving everything she does. Boyer’s fantastic in showing this as even something that knocks Belinski back in the moments where he gives his hand away particularly in the almost childlike enthusiasm he brings as Belinski questions Betty if the talkative Cluny ever mentions him. Meanwhile Belinski is still plying his methods beyond that such as directly trying to resolve the Betty, Arthur issue by simply asking her what’s the deal. Where I do love Boyer is just playing the directness of it so well but with his natural humorous touches. Even the moment of commenting on the need to press on in his Anti-Nazi effort, Boyer I think beautifully hits that passionate note with a quiet conviction that reveals the real heart of Belinski. Speaking of my favorite moment of his performance actually isn’t the wit, as much as I’ve enjoyed that, it is a moment of certain earnestness. That is when he’s leaving, thinking Cluny will be married off, she rushes to meet him before he leaves. Where we do get the key chemistry between Jones, where it is less of lusty eyes but rather the combination of Cluny getting to be herself while Boyer projecting nothing but the purest appreciation where both honestly glow as one. I love the pivotal moment where Boyer shows Belinski taking his usual appreciation of Cluny’s one of a kind qualities, until she notes that she was coldly dismissed by the chemist, his mother and other guests for daring to do some needed plumbing. There’s a surprising power in the humor completely lifting from Boyer’s face and there being nothing but deep concern for this horrible treatment of Cluny. Boyer unlocks the key of the moment so naturally in seeing as much as he adores the idiosyncrasy of her, he also hates the rejection of her. A relatively swift wrap up to the film, however honestly it wholly worked for me greatly because I feel both Boyer and Jones deliver the moment so honestly you can’t help but feel they should be together. 

Alternate Best Actor 1946: Michel Simon in Panique

Michel Simon did not receive an Oscar nomination for portraying Monsieur Hire in Panique.

Panique follows an eccentric outsider as he gets slowly set up to take the fall of a murder by the murderer and his accomplice girlfriend. 

Simon honestly doesn’t play a role too far removed from his work with Jean Renoir in La Chienne. Where both films are essentially setups for one man to be treated cruelly by a couple with the woman acting as a black widow to ensnare the unsuspecting man. A key word in both instances however is unsuspecting, not innocent. We first really see Hire from a bit of a distance as a potentially suspicious man as the film opens with the murder of a woman and the whole town wondering who might be the culprit. We see Hire lurking about and Simon in a way creates the potential doubt where the man is knowingly looking on in these moments and it seems like he knows something. Well he does know something as a new woman comes into town, Alice (Viviane Romance), who has already helped the actual murderer, Alfred (Paul Bernard), cover up a different murder before even coming to see him as a false stranger so they can be together while avoiding police suspicion. Simon plays directly a creep figure as he leers at Alice from his window then even approaches her the following day, in no way trying to soften those elements. Although one can argue a noble effort that Hire wants to warn her about Alfred, because he knows for sure that Alfred is the killer, since Hire knows it becomes a strange game he is also playing given he could easily turn over his evidence to the police at any time that he claims to have. Simon though is effective and convincing in presenting the strangeness in a very tangible way where you never doubt that Hire would proceed in this way as the man just has his own way about life and interacting with others. 

The film then progresses as Alice is instructed to ingratiate herself with Hire to eventually plant evidence of the murder, meanwhile Alfred spreads rumors around about the already disliked Hire to try to get the town to turn on him. In their interactions Simon manages an artful combination between some genuine pathos as he describes with this accepted manner his own life as an outsider in all places, while holding this cheery disposition when speaking of his own wife who died. In those moments Simon is quietly moving, although at the same time he does bring a certain overbearing quality in moments that again emphasize that eccentricity in ways that are less endearing. While we know Alice is manipulative, and the real reason why she’s there, Simon very much presents a certain obliviousness even with some bits of creepiness as the man is just fascinated by this woman who is bothering to give him the time of day. I haven’t said it in awhile but this film is a bit of a director’s film where the overall vision is most pronounced and to a certain point the characters are more so puzzle pieces in that tapestry more than fully coming to life beyond it. At a certain point Hire is given less time, particularly in the lead up to the climax, although he returns for the climax where Simon certainly is moving and makes his whole scene of becoming a pariah hard to watch. Simon emphasizing just the confusion of the moment that turns to fear and just the final sorrow in his eyes is heartbreaking. There is however a certain limitation by the nature of the script however and by comparison the similar role in La Chienne had more he could sink his teeth into, no pun intended. It’s a good performance as Simon creates the tragedy both in terms of showing why people might not trust Hire, why Hire might conceal his knowledge of the murder, but also how he still is a victim regardless. 

Alternate Best Actor 1946: Sydney Greenstreet & Peter Lorre in The Verdict

Sydney Greenstreet did not receive an Oscar nomination nor did Peter Lorre for portraying Superintendent George Grodman and Victor Emmric respectively in The Verdict. 

The Verdict follows the murder investigation in gaslit London. 

The film opens as we follow Greenstreet, this time on the side of the law, following the execution of a man he had led the investigation of only to learn the man was innocent due to the arrival of a key witness in the most inopportune time. Greenstreet has a most remarkable presence as a performer which certainly can be seen here. This role though I would say is far more interesting on paper than execution. Greenstreet opens with just a repeated simplistic scene of needing to present the Inspector contemplating his failure with a quietly needling guilt, not helped by his pompous replacement Buckley (George Coulouris) lording over his failure. He does that though I wouldn’t say I was deeply moved by what Greenstreet is doing but he delivers on it in a general sense. We soon find another murder that seems even more difficult to solve, which while Buckley is now leading the investigation, Greenstreet's Grodman seems always in orbit of the situation. Where the film enters its atypical section where it is constantly switching perspectives of the characters and plants so many seemingly red herrings in there just to throw everyone off the trail it would seem. One of these characters is George’s friend Victory played by Lorre, an artist also fascinated by crime. 

Where we get a legendary duo who were in many films together since their great mutual villainy in The Maltese Falcon. Unlike that film though neither man is getting to enjoy a great character as Victor is vaguely drawn, no pun intended, what is there is mostly just that Lorre is innately a little interesting. This isn’t one of Lorre’s most interesting roles though we get a bit of him being a cad and some differing moments of fascination and fear around the investigation. Again I appreciate Lorre’s presence but as Lorre performances go it isn’t all that distinctive. I think this might be in part by the design of the film to keep you guessing as Lorre must only be “kind of” things that way he might be the killer as he acts kind of creepy, however kind of innocent too, kind of fearful, and it’s all a little too little for him to really play with. Speaking of that, Greenstreet stays mainly imperious as the inspector is always there with a comment, not always very interesting and the man seems a little blank. This too is to set up the mystery to lead to the spoilers, revelation that he is in fact the killer. Although a noble killer as he’s killed the killer of the original murder, though less noble in having done it in a way that framed an innocent man and to make Buckley look foolish. So in order to make it surprising Greenstreet was just kind of there, so the revelation should be time to sink his teeth in right? Wrong. Greenstreet is surprisingly muted in the delivery of every bit of revelation. He’s not bad but it does all feel a bit too matter of fact for announcing such a grand plan to everyone. Even his final aside to Lorre is fine but also just kind of exists more than really enlivens their characters into anything more. There’s nothing special about this team-up between the pair. It’s nice to have their presences but the roles don’t allow either to really run with anything and are victims of the film needing to preserve the mystery, though in doing so I don’t think makes the film terribly compelling. If I'm being perfectly honest I was more compelled by Coulouris and Joan Lorring, because it felt like they were actually able to define their characters. Which it is quite rare for Greenstreet and Lorre not to standout in one of their films but in this instance they really don't, though they're not bad, but look to their earlier collaborations for their far more memorable work. 

Alternate Best Actor 1946

 And the Nominees Were Not:

 

Michel Simon in Panique

 

Michael Redgrave in The Captive Heart

 

Charles Boyer in Cluny Brown

 

Franco Interlenghi in Shoeshine

 

Sydney Greenstreet in The Verdict  

Alternate Best Actor 1946: Results

5. David Niven in A Matter of Life and Death - Niven, despite a strong start, gives an adequate performance but one that is overshadowed both by the supporting players and the film's direction.

Best Scene: Peter's "goodbye".

4. Henry Fonda in My Darling Clementine - The film doesn't really do much with Wyatt Earp as a character but Fonda still manages to gives a solid leading turn befitting the film.

Best Scene: The O.K. Corral

3. Van Heflin in The Strange Love of Martha Ivers - Van Heflin gives a surprisingly charming performance that carefully maneuvers around the film's intensely melodramatic story. 

Best Scene: Sam leaves the house as well as his past.

2. Jean Marais in Beauty and the Beast - He makes for an appropriately jerky villain but as well brings the right humanity and animal into his earnest depiction of the beast.

Best Scene: Just before the transformation.

1. Dana Andrews in The Best Years of Our Lives - Good Prediction RatedRStar, mcofra7, and Luke. Andrews gives a powerful understated portrayal of man repressing his anguish of the war as he faces civilian life once again.

Best Scene: Fred visits an old bomber.

Overall Rank:

1. James Stewart in It's A Wonderful Life
2. Charles Boyer in Cluny Brown 
3. Fredric March in The Best Years of Our Lives
4. Dana Andrews in The Best Years of Our Lives
5. Humphrey Bogart in The Big Sleep
6. Jean Marais in Beauty and the Beast 
7. Franco Interlenghi in Shoeshine
8. Dan Duryea in Black Angel 
9. Boris Karloff in Bedlam 
10. Michel Simon in Panique   
11. Van Heflin in The Strange Love of Martha Ivers
12. Trevor Howard in I See a Dark Stranger 
13. Louis Jouvet in A Lover's Return 
14. Paul Muni in Angel on My Shoulder
15. Cary Grant in Notorious
16. Burt Lancaster in The Killers
17. John Mills in Great Expectations 
18. Ray Milland in Kitty 
19. Pierre Blanchar in The Pastoral Symphony
20. Paul Bernard in Panique  
21. Orson Welles in Tomorrow is Forever 
22. William Borchert in The Murderers Are Among Us
23. Henry Fonda in My Darling Clementine
24. Peter Lorre in Three Strangers  
25. Yves Montand in Gates of the Night 
26. Gérard Philipe in L'Idiot 
27. Edmond O'Brien in The Killers  
28. Edward G. Robinson in The Stranger
29. Basil Rathbone in Terror By Night  
30. David Niven in A Matter of Life and Death
31. Claude Jarman Jr. in The Yearling 
32. Carl Radditz in Unter den Brücken
33. Gustav Knuth in Unter den Brücken
34. Dana Andrews in Canyon Passage 
35. John Garfield in Humoresque 
36. Rinaldo Simordoni in Shoeshine 
37. Peter Lorre in The Verdict 
38. Sydney Greenstreet in The Verdict 
39. Vincent Price in Dragonwyck 
40. Lew Ayres in The Dark Mirror 
41. Sydney Greenstreet in Three Strangers 
42. Orson Welles in The Stranger
43. Glenn Ford in Gilda
44. John Garfield in The Postman Always Rings Twice
45. Dean Stockwell in The Green Years
46. Alan Ladd in The Blue Dahlia
47. Tom Drake in The Green Years
48. Gregory Peck in The Yearling
49. Bud Abbott in The Time of Their Lives
50. Lou Costello in The Time of Their Lives
51. Fred Astaire in Blue Skies 
52. Bob Hope in The Road to Utopia
53. Bing Crosby in The Road to Utopia
54. Joseph Cotten in Duel in the Sun 
55. Philip Dorn in I've Always Loved You 
56. Tyrone Power in The Razor's Edge
57. Cary Grant in Night and Day 
58. Gregory Peck in Duel in the Sun  
59. Bing Crosby in Blue Skies 
60. Larry Parks in The Jolson Story
61. Rex Harrison in Ann and The King of Siam 

Next Year: 1946 Supporting

Alternate Best Actor 1946: Henry Fonda in My Darling Clementine

Henry Fonda did not receive an Oscar nomination for portraying Wyatt Earp in My Darling Clementine.

My Darling Clementine is a decent enough, although especially inaccurate I mean it seems to almost go out of its way in this regard having Morgan Earp the only surviving brother even though he was the only one who died in Tombstone, telling of Wyatt Earp's time as the Marshall of Tombstone as he faces off against the Clantons.

Henry Fonda plays the famous and often portrayed Wyatt Earp, but My Darling Clementine isn't really trying to represent the historical Earp nor is it really realizing much of its own vision regarding the man. Fonda would go on to portray a rather negative depiction of an Earp like character in Warlock but in this film, as written, Earp is more of just a pretty standard western hero. The film makes brief mention of his earlier days in law enforcement but they are mostly glossed over in favor of him being a fairly typical hero you'd expect in a John Ford western. He comes in with his brothers to Tombstone with cattle, and is just looking to make a new life for himself much like many a standard heroes. This is only continued when he gets wrong by someone leaving him to have to stay in Tombstone to find the culprits again in a pretty standard hero sort of fashion.

Henry Fonda's performance though does work well enough within this extremely limited version of Wyatt Earp in which every part of him is pretty muted as written. The history of the character is only mentioned without giving any more depth to the man, his brothers are non-entities, and he's barely even friends with Doc Holliday (Victor Mature). In fact they are slightly antagonistic to one another before Holliday helps at the end to get revenge. Even the antagonism between the two is pretty simplified to the point of Earp just saying for Holliday not tell people they need to get out of town. Then there is Earp's romance with the titular Clementine which never amounts to anything more than a few longing glances from Earp since she is far more interested in Holliday than him. This is altogether a pretty thin role and really it's only in the depiction of Earp's vengeance for his brothers that the film illustrates much about the character.

The character is actually pretty much left to Fonda himself since Earp's most defining feature throughout the film is to want to keep the peace despite the rowdy nature of almost everyone around him. Fonda certainly brings the needed presence and command for a part such as his, but really what he adds to most is the slightly humorous touches he brings to his character. It isn't that this is even a funny performance exactly but rather Fonda has this certain ease in all the standard western moments that manages to lighten them up a bit. Now he goes the exact opposite when Earp gets his revenge which is rather brief actually, but Fonda certainly brings the needed intensity when it is called upon him. This is hardly the definitive portrayal of Wyatt Earp by any means, but that's always feels like it is the writing's fault not Fonda's. I don't think I've found that definitive performance yet, but on its own Fonda gives a solid enough leading turn in a John Ford western.

Alternate Best Actor 1946: Dana Andrews in The Best Years of Our Lives

Dana Andrews did not receive an Oscar nomination for portraying Captain Fred Derry in The Best Years of Our Lives.

The Best Years of Our Lives was well loved by the Oscars being nominated for 8 Oscar winning seven of them and even receiving an extra honorary Oscar for Harold Russell to go along with his supporting win. Although it is pretty ridiculous that Teresa Wright wasn't recognized for her supporting work in the film it seems even stranger that out of the three men playing the veterans returning home after the war Andrews, who probably has the most substantial role, was ignored. It is perhaps the role that sunk Andrews since his manner of dealing with his problems from the return home are a bit more muted than the other men. Harold Russell's Homer lost both his hands which he often hides with a sunny disposition to cover his deep emotional turmoil, and Fredric March's Al resorts merely to drink when facing his return to home life some of which does not exactly sit right with him. Fred, other than one nightmare that brings him back to his time as a Air Force bomber, stays rather reserved.

One may think Dana Andrews to merely be a somewhat limited leading man if they, for whatever reason, only ever watched his performances in films like Boomerang and Laura. This idea is instantly shattered if they were to watch his very emotional work in The Ox-Bow Incident. His performance The Best Years of Our Lives Andrews meets a bit of an understanding between this two sides in his portrayal of Fred Derry. Andrews portrays Fred most of the time as a mostly unassuming man who even stays unassuming when dealing with many of his problems involving his return home. These includes his inability to find himself decent employment as well as dealing with very shallow wife (Virginia Mayo) who obviously seemed to have married Fred mainly for his soldier's pay. Andrews plays Fred much of the time as dealing with this problems with a brave face to say the least as he presents Fred as trying to merely pick up the pieces after coming back from the war.

Andrews's method here is quite effective though as he does not portray Fred as being an unemotional or boring man, but rather a reserved one who doesn't ever rely on someone else for his problems. Andrews does well in the role by taking this approach as he makes him likable enough in his own way, but also suggests a certain way that Fred has chosen to deal with his problems which is mainly to not acknowledge them. This leaves Andrews to take on a particularly subtle approach for the character which actually works incredibly well. Andrews brings such tremendous emotional intensity in just his eyes yet in an interesting way he's not exactly forceful about which shows how in a way Fred lets his problems pile up because of his refusal to stand up and say something. Andrews though is fantastic in the way he internalizes the problems of Fred so well as even though he does not act out his frustrations, Andrews always makes you feel those frustrations within Fred's reserved frame.

There is technically only really one major moment that Fred reacts outwardly which is his dream, fitting since Fred obviously would not be able to control himself in such a circumstance. Andrews handles the scene well as basically a hysteria as he realizes the sting of the memory which is a traumatic battle. It's a strong moment but his most remarkable part of his performance is again a silent moment where Fred goes back into an old bomber and consciously relives his trauma. Andrews makes Fred a ticking time bomb of sorts as there is always that tension Andrews suggests in Fred, yet when he does break open here Andrews still takes a restrained approach. Andrews does so much in merely his expression and the growing distress as he shows bluntly Fred being overwhelmed by all of the pain he had suffered during combat once again. Andrews reveals all of his pent up anguish, although still in a silent but oh so powerful moment.

Andrews performance here is a great example of someone thriving in a tricky role. Fred's nature even extends to his relationship with Al's daughter Peggy (Teresa Wright) since Fred has to keep his affections in check since he is married. Andrews and Wright manage to develop kinda an unspoken chemistry rather honestly and very much earn the final moments since they suggest how the two feel simply through their glances. This is really the testament to the whole power of Dana Andrews performance where he does so much with so little. It is not even that the role is underwritten, it isn't at all actually, it is though that to be true to Fred's character he had to give a somewhat distant performance. Andrews thrives though within these limitations giving a poignant and moving portrait of a man suffering from post traumatic stress yet fights within himself not to let it affect him. It is terrific work and he should have been recognized right along with Harold Russell's and Fredric March's Oscar winning turns.

Alternate Best Actor 1946: Van Heflin in The Strange Love of Martha Ivers

Van Heflin did not receive an Oscar nomination for portraying Sam Masterson in The Strange Love of Martha Ivers.

The Strange Love of Martha Ivers is an often a bit over the top in its melodramatic story about a cold but powerful married couple who's dark secret comes to the surface when their old childhood friend comes to town.

Van Heflin, according himself, was told that he would never get the girl at the end of the film. This can certainly be seen in probably his two made famous films, at least in modern times, of Shane and 3:10 to Yuma. Funny enough he actually gets the "girl" in both of those films so to speak, but in both of those films he plays the more bland average man character, as written, compared to the more flamboyant individuals of Shane and Ben Wade played by Alan Ladd and Glenn Ford respectively. The reason I mention this is in this film because both of the two main women of the film are both rather blunt in displaying their affections toward Heflin's character. One being his old childhood friend the titular Martha Ivers (Barbara Stanwyck) who is married to a man named Walter (An against type Kirk Douglas since it was his first film before he even had a type), and another being a troubled woman Toni (Lizabeth Scott).

Van Heflin is actually kinda against type himself by playing the technically romantic lead which is interesting since his character starts out as the more troubled child. Even though he is drifter who does some gambling Sam is in no way a malicious character. It is interesting to see Heflin, who was obviously being very generous to his co-stars in those later westerns he made, since he proves himself to have quite the charm when he calls upon. Heflin carries himself well with a certain slick devil may care manner as Sam first arrives into town and he just seems to be enjoying his time of soaking in the nostalgia of being in his old hometown. His instant befriending of Toni is made wholly believable by Heflin's performance. He has a great easy going charisma here and he does a great job of establishing Sam as a likable guy, and his work here makes it a bit surprising the way he was often given the role as the other guy.

Heflin does well to kinda establish Sam outside of the melodrama a bit as his performance always feel very reserved well the emotions start flying quite freely with the other characters. Heflin's take with the character really works because he frankly presents Sam as basically a reluctant participant in the almost absurd level of drama that takes place involving Douglas's and Stanwyck's characters. This makes the most sense because Sam is not only tricked into staying more than once by Martha, but this also leads to him being constantly harassed by goons hired by Walter who happens to be a politician with some local sway. This leaves Sam as basically a man who just wants to leave possibly with the young woman he happened across. Unfortunately for Sam Martha keeps making her advances which leaves Walter to also become increasingly desperate as well. Heflin is great by portraying just the very down to earth exasperation of dealing with the insanity he'd rather not be a part of.

Van Heflin does some fine work here by resisting the urge ever to become part of the melodrama and it is perfect for the character of Sam who is really pulled along to the plot. Heflin is able to somewhat alleviate the intensity of the melodrama by playing Sam in just a rather charming and honest fashion. This does limit his character arc somewhat in that he mainly becomes disillusioned with his old friends, but Heflin handles this well by just being so genuine in his depiction of Sam's reactions throughout. The film isn't a great success but Heflin is essential to keeping it on a rail as he brings some power to the situation by portraying how a sane man would respond to such insanity. He kinda stabilizes the melodrama in a way but as well offers enough relief through the surprisingly amount of charm that he does bring into the role. It's very solid work from probably one of the most underrated actors from the period.

Alternate Best Actor 1946: Jean Marais in Beauty and the Beast

Jean Marais did not receive an Oscar nomination for portraying the Beast and Avenant in Beauty and the Beast.

Beauty and the Beast is rather wonderful telling of the classic fairy tale.

Jean Marais plays the Beast but he also plays Avenant who's Belle's (Josette Day) boyfriend and technical antagonist. Technically in this version Belle's sisters are more problematic and Avenant is hardly a Gaston like figure. Avenant's more of kinda of a jerk, but he's not really aggressively evil or anything. Marias's role is pretty limited as Avenant, but still does a pretty job of it. I like that he does not portray Avenant as being overly menacing or  anything close to that. Marais instead, rather naturally, showed him to be just a fairly charmless and foolish man. When he invades the Beast's palace at the end of the film Marais's manner is not that of a man who trying to commit some cruel act, but rather that of a fool who is about to make a very serious mistake.

The more interesting side of his work here is as the Beast. There are some technical limitations on Marais as he is only left his eyes and physical movements to make the Beast his own. The first time we see the Beast it is in his more beastly way as Belle's father goes to retrieve a rose and he suddenly appears when the father takes the rose. He quickly sentences the father to a quick death unless he brings one of his daughters for the same death. Marais does not simply make the costuming do the work here. In his first appearance he portrays the Beast as rather imposing figure. Marais accentuates an ever so slight almost hiss as he speaks that is effective in creating the animal of the character, while never making it seem silly either. It's a relatively short scene but he sets up the cold side of the beast in a rather effectively.

Belle is the one to come in order to save her father, but immediately it becomes obvious that the Beast's demands were less due to a vicious nature but rather those of a lonely man. Marais is terrific in his first scene where Beast meets Bell as instead of that commanding presence he brought in the meeting with her father there is a shyness to his physical manner as though the Beast is ashamed of his appearance while being around a beautiful woman. Marais manages to go from being the threatening monster to a rather somber figure quite efficiently. Marais makes the most of his eyes suggests the strong humanity in the beast as you see the sadness and even fear in the eyes of the Beast as he must face his own image. Marais artfully overcomes the restrictions of his costume and does what he should which is to show the beauty in the beast.

The love story is done in a rather low key fashion, and it is not exactly done as this larger than life romance exactly. Instead it is portrayed as more of Belle coming to understand and sympathize with the beast plight which is made believable by Marais's performance. Marais does a great job of still keeping this certain animal quality with the beast, even as his sweet nature becomes obvious. Marais earns the sweetness he slowly reveals within the Beast which he portrays in a very elegant yet quiet fashion. What works so well is how he brings out the tenderness and meekness really in the beast as he seems to only earnestly urge Belle to love if rather than trying any overt romantic gestures. With the sweetness though Marais is quite moving in his depiction of the Beast slowly weakening resolve and the way it seems that the Beast is far more fearful of the beauty than she is of him.

The chemistry he and Day strike is most unusual really yet so affecting in a rather otherworldly fashion. The connection they create though absolutely works. What I like most in this version though is in the pivotal scene where the Beast becomes the Prince. What I love about is Day and Marais don't quite present it as you might think. Instead of instantly embracing each other or anything like that there is instead a certain awkwardness both actors bring to the scene. This awkwardness is a good thing though kinda making it like the beast now as the Prince does need to reintroduce himself again since he has become a man again. Marais brings a certain hesitation as if the Beast is making sure she still loves him even though he's no longer the beast. Both of their performances in this scene allows them to earn their happy ending much more as they take the moment to recognize the transition, and give it the wondrous quality it needs. 

Alternate Best Actor 1946: David Niven in A Matter of Life and Death

David Niven did not receive an Oscar nomination for portraying Squadron Leader Peter David Carter in A Matter of Life and Death.

A Matter of Life and Death is basically a better made and more interesting reversal of Here Comes Mr. Jordan. Instead of a man being taken too early to Heaven this one is about a man who is mistakenly left behind and forced to plead his case for being allowed to stay on earth.

David Niven plays the man who gets into the most bizarre set of circumstances that leaves him fighting for his life in a most atypical sort of way. Largely this performance is based on Niven's charm. Niven has a charm but I have to say that it doesn't always work, and sometimes can be more obnoxious than charming such as in The Pink Panther. This is not the case here though where Niven uses it rather well to establish Peter as a fairly likable guy. This is not Niven really trying anything overly different here but rather just giving a performance to make it easy enough to follow Peter through his most unusual journey. There technically isn't that much more to his character here than that except for the love story he has and the whole idea of his dealing with the other world that he is forced to visit from time to time.

The whole aspect of the other world is supposedly kept to be possibly all in Peter's mind, although it doesn't really try too hard in this respect, but nor does it really need to. Niven for the most part presents his interactions in a fairly matter of fact fashion, which certainly works well enough. The biggest challenge of Niven's is to present the way each visit seems to cause a slow deterioration of his physical state while he refuses to accept that he should die. Again Niven doesn't make too big a deal of this either, but again it works well enough of the film as he shows Peter slowly losing his physical resolve as the film progresses. Again there is not anything that special about what Niven does in this regard but what he does do works well enough for the film as a whole, and there is nothing to complain about unlike the final aspect of his performance.

That is the love story Peter has with an American woman June (Kim Hunter) who heard his "final words" over the radio before he jumped from his critically damaged plane failed to die.I have to say Hunter and Niven don't really have that much chemistry and I never felt anything special between them except for in the opening scene where they speak over the radio. In their opening scene Niven is quite good portraying Peter's excessively cheery and proper resolve even as he's basically indicating that's he's about to die. In turn Hunter's reactions are effective and together they connect simply in the sense of both feeling this loss of a human life together. It's a powerful moment but I'd say the only time where their relationship truly works. Interestingly enough the film has enough going on otherwise that he doesn't matter the central relationship isn't even anything special. Niven as well gives a suitable performance throughout, but he is very much overshadowed Powell and Pressburger's vision as well as the supporting cast.

Alternate Best Actor 1946

And the Nominees Were Not:

David Niven in A Matter of Life and Death

Jean Marais in Beauty and the Beast

Dana Andrews in The Best Years of Our Lives

Van Heflin in The Strange Love of Martha Ivers

Henry Fonda in My Darling Clementine