Alternate Best Supporting Actor 1965: Results

5. Donald Pleasence in The Greatest Story Ever Told - Pleasence makes a large impact in a few brief moments by granting such an unnerving gentleness to his otherworldly evil.

Best Scene: In the cave.

4. Claude Rains in The Greatest Story Ever Told - Rains gives a worthy swansong for his career through one last go with a performance that realizes a properly entertaining and oh so devious villain.

Best Scene: Fear then a smile.

3. Charlton Heston in The Greatest Story Ever Told - Heston gives his best biblical epic turn in a supporting role, by so effectively depicting the overwhelming even if somewhat mad strength of his John the Baptist's conviction. 

Best Scene: Confrontation with Herod.

2. Richard Harris in Major Dundee - Harris gives a marvelous turn that while being actively entertaining also realizes the more complex themes of the film through his vivid portrayal that gives understanding to this gentlemanly yet violent soldier and his specific code of honor.

Best Scene: The deserter.

1. Robert Shaw in Battle of the Bulge - In a year of incredible supporting turns Shaw offers yet another one. Shaw once again creates a truly menacing villain yet he goes further in capturing the complexity of the role by giving understanding, though not sympathy, to his pragmatic Nazi.

Best Scene: The battlefield is home.

Updated Overall

Next: I think I'll take a break before the Official Oscar nominations. However if everyone would like to recommend one film for me to watch from 2017, or a year I've covered in the bonus rounds already, or an animated, documentary or television film from any year. I'll watch them during the interim.

Alternate Best Supporting Actor 1965: Robert Shaw in Battle of the Bulge

Robert Shaw did not receive an Oscar nomination for portraying Col. Martin Hessler in Battle of the Bulge.

Battle of the Bulge actually is rather entertaining and works quite well as a war film if one looks at it as more of a Where Eagles Dare, than a Battleground. 

The film despite wearing the name of the real battle is a heavily fictionalized version that follows a somewhat general sense of the real battle but that's about it. It crafts its narrative within original characters within this scheme of utilizing its large cast the most interesting of the characters being Robert Shaw's Martin Hessler. Hessler acts as the chief villain for the film leading the Nazis vanguard of tanks in an attempt to push the allied forces back. Now Shaw in even a basic villain roles is already something special, look no further than The Sting for proof of that, however this is not a basic role particularly as Nazis in war films are often depicted. Shaw makes the most of this as evidenced from his first scene where Hessler's chauffeur dodges an allied plane in order to run for cover while driving towards the German command. Hessler does not move from the car, in part that he knows it is only a reconnaissance plane, but the chauffeur states that wouldn't matter to Hessler if it was a fighter plane. Now Shaw in the moment is commanding, as usual, with his particularly refined voice all the more in his strict accent in the role. Shaw oozes menace as expected however that is not all there is. Hessler explains though he did not "lose a war" to die sitting in the car. Shaw in this suggests more to the colonel as he speaks with a certain underlying pathos in these words showing a soldier recognizing his soon defeat, though still with that confidence of a soldier prepared to do his duty.

The film follows Hessler as he reaches the German command in the area and Shaw carries this certain indifference as Hessler is shown around the compound. Shaw depiction of this though is not of a tired, or pathetic soldier, but rather that of a consternation of his position. Shaw's reaction to the other more ridiculous plans of the command, and more delusional statement effectively reveal Hessler as sensible in his awareness of his situation with such a subtle yet palatable disdain towards his comrades who suffer from this delusion. Shaw's terrific in his blunt delivery of explaining the situation to his commanding officer placing how the allies have them defeated. Shaw's terrific with every word so effectively portraying Hessler's clear view of the war. Shaw carefully shows that Hessler's tone does not change until he sees the sea of Tiger tanks at his disposal. Shaw is brilliant in this scene as his whole demeanor changes to perhaps the Hessler at the start of the war, as he walks now with a dominant passion, and his delivery of "it can be done" are the words of a man firmly in his convictions once more. Hessler is granted an explanation when his chauffeur questions his renewed belief, and Shaw is once again outstanding in reaffirming the man's belief not as false zealousness rather clear understanding of warfare. His monologue on "non-illusions" which include his past victories as well as his current resources, is classic Shaw as he so fiercely reaffirms Hessler's belief with that dynamic emphasis Shaw's a master of.

It has to be said that the character of Hessler is particularly well written within this film, and is actually notable precursor to other pragmatic villains, I can't help but feel he had some influence on A Song of Ice and Fire's Tywin Lannister. Robert Shaw though is essential to bringing out the strength of the writing. Shaw reinforces the idea of the character not as a Nazi who is evil for the sake of being evil, but rather a soldier who intends on doing his duty to the extent he beliefs he can, to the best of his abilities. I love the certain detachment Shaw brings in this that is quite fascinating. Shortly after being granted the Tigers, he is granted a unit of men who attempt to prove their loyalty and devotion to the cause through the singing of a German battle hymn. Shaw in this scene encourages the singing even demanding his chauffeur to do the same before joining in himself. Shaw does not depict this scene as simply as a commander being impressed by his men's devotion or being inspired by them. Shaw is exceptional in as he watches them his eyes reflect a greater intelligence of a man seeing an opportunity and chance in the song. The song less used for himself, but rather he handles the scene as though Hessler is using this very specifically as this tool to prepare his men for the battle ahead. Shaw, even as Hessler joins in, keeps his eyes seemingly fixed on the future objective and this bit of showmanship only is a means to that end.

Often times in these early war films, or later war films for that matter, scenes of the Nazis are little more than exposition scenes to proceed to the next point of the story. That is not the case here where the scenes from the enemy perspective are actually the most engaging in the film because of Shaw's portrayal of Hessler. In the battle scenes Shaw is a properly menacing villain as is to be expected to him, as he brings such a powerful sense of determination and cunning in every scene. Shaw's presence is remarkable as he personifies the strength of the enemy so well, and ensures the enemy attack is particularly intimidating through his portrayal of essentially the Nazi's best soldier. Once the battle begins though there are moments of pause in the advance where we are given the best scenes in the film as Shaw continues to depicts this complex figure Hessler. This is not to say at any point he becomes a truly sympathetic figure, though Shaw ensures you always do understand the man. One chilling scene comes as a French civilian, a teenager, takes a pot shot at Hessler, but the boy's father pleads for his son's life. Hessler spares the boy but orders the death of the father. Shaw is especially unnerving in this scene because he still shows the man working out the best, most pragmatic way to deal with the situation, which to him is to offer mercy though only through an alternative sacrifice. When he orders the death of the father it isn't without sadism, but rather Shaw grants it this professionalism of man doing what he believes he must do.

There are two scenes I absolutely love from Shaw as they directly challenge Hessler, and Shaw wholly illustrates the nature of the character in such a natural and compelling fashion. The first scene is one where an American G.I. confronts him over a massacre of American prisoners, which Hessler had nothing to do with. It is a fantastic scene, it helps that Charles Bronson plays the G.I., however Shaw is pitch perfect in the way he flows through the scene in playing in Hessler's mind while presenting Hessler's direct responses. Shaw expresses within his eyes genuine surprise at the news, while also providing a direct threat in his words as he responds in turn to the G.I.'s threat to start a riot if they are not protected. The two spar so well as Shaw and Bronson both present the direct passion of these men in the armies the represent however there is more within this. In the final agreement for no riot, but also no massacre, both keep an aggressive overt tone however with an underlying understanding. I especially love the little glint of joy Shaw brings to his face showing Hessler's appreciation for a mutually competent soldier. Shaw is terrific in taking that initial underlying surprise and bringing to an overt anger as Hessler calls into the central command to express his distaste for the massacre. Shaw again brings such a power in every word, though again precise in a way that shows his disgust is at his most severe as the massacre has ruined his battle plan which was to destroy the enemy's moral. Shaw is incredible here in that he makes you perhaps even like Hessler a bit due to the way he always portrays him as a sensible man even if he is on the wrong side, that is until he explains his long term plan to his chauffeur which is not win the war rather to extend it indefinitely. It is unsettling as it reveals where Hessler's pragmatism takes him, and Shaw emphasizes the blunt reality of this by speaking every word as simply what must be. Shaw again shows that Hessler still doesn't suffer from a single delusion, rather portrays the same clarity as the rest of his work as the man explains that he knows they've already lost the war, but as a soldier he can now postpone their defeat indefinitely. This is an outstanding performance as that moment, nor any moment, is not of a madman lost in delusion, but rather a true tactician carefully examining his only path as a loyal officer. This is yet another amazing performance by Robert Shaw as he amplifies every intriguing facet of the character making Hessler not only a marvelous villain, but also simply great character.

Alternate Best Supporting Actor 1965: Claude Rains, Charlton Heston and Donald Pleasence in The Greatest Story Ever Told

Claude Rains did not receive an Oscar nomination for portraying Herod the Great in The Greatest Story Ever Told.

The Greatest Story Ever Told takes a grand scale approach to telling the life of Jesus although perhaps too grand as there is something lost in terms of finding the power directly within the personal story of Jesus.

There is perhaps something gained though in the grand scale as it gives time to character who might not be granted as such with a more intimate portrait of Jesus. The film has an all-star cast that surrounds Max von Sydow, then unknown to American audiences, as Christ. This approach in the casting is actually largely effective in giving life to minor character except a few instances that a bit problematic, well mainly John Wayne as a Roman centurion is more than bit distracting. Thankfully though this also had the film include Claude Rains in his final cinematic turn. Rains in his final turn obviously never lost a step as previously shown in his shrewd work as the political operative in Lawrence of Arabia, this though hearkens back to Rains's earlier roles as a more maniacal character. Rains in his first, of only a few scenes, greets the three magi looking for Jesus at his birth. Rains is terrific in this scene in his eyes conveys such an inherent madness in the man though he does not allow this to overwhelm his portrayal. As Rains in his delivery effectively uses his refined manner to hide Herod's intentions quite artfully. Rains even this though suggests a certain ego even when speaking in a way to hid what  his real actions will be, as he states his own piousness as a rules. Rains brilliantly both reveals and attempts to hide the evil man in the same scene. Rains in his following scene though is incredibly entertaining though genuinely menacing as well as he shows Herod no longer hiding his intentions. Rains is a master of this combination of sort of being both overt and very subtle at the same time. There is grandness in his gestures, and again those fantastic mad eyes in the role, yet in his delivery brings such a cold incisiveness in every word. He's quite chilling in fact as he describes his order for the deaths of children with such certainty of man who believes he can avoid fate. Rains only has a brief final scene yet it is perfection as Herod is delivered news of the massacre. Rains bringing only a fear in his face before his soldier delivers his news to which Rains grants the most diabolical grin fitting to man of Herod's corruption. This is a brief performance to be sure yet makes such an impact in just his three scenes. It is one final reminder and a worthy swansong by the great Claude Rains of his unique talent as the invisible man provides one final cinematic sinner.

Charlton Heston did not receive an Oscar nomination for portraying John the Baptist in The Greatest Story Ever Told.

Charlton Heston obviously never the stranger to the biblical epic having played the lead as Moses in The Ten Commandments, and the titular character of Ben-Hur, who crossed paths with Christ on a few occasions. This is a change for Heston in biblical epics, but also in general as he gives supporting performance when usually playing the lead. Although it is true there are many cameos from other leading men from the period this is not a cameo by Heston. John the Baptist is a substantial role within the film, and Heston offers a particularly interesting contrast to von Sydow's portrayal of Jesus in the film. Where von Sydow is very quiet and subdued, Heston is the opposite though this is fitting to John the Baptist seen by as a crazy man in the desert. Heston as expected brings his everything to his delivery here though, and particularly powerfully here. As he would late show in Hamlet there can be something very special when Heston evokes a greater emotion in his so confident delivery. His often repeated words of "repent" is that of a truly zealous prophet who intends on others to know his truth through force rather than gentle encouragement. The only thing that silences him is the appearance of Christ which is fantastic moment for Heston. Heston quiets in this moment in his reaction that creates such a sense of this recognition of the one who would come to succeed him. Heston is wonderful in the moment as he embodies both a sense of familiarity of a cousin but also the awe of the devoted servant. After that initial sequence though Heston continues as this dramatic warrior almost of Christ's message putting every ounce of himself it seems into speaking it. John's story does not end there as he comes afoul with Herod's son Herod Antipas (Jose Ferrer), where it must be said Heston makes John sort of what is best described as the badass prophet. This entirely works though for the role as he so successfully shows a man absolutely aware of his personal beliefs. I especially love his two scenes of directly facing down Ferrer. Heston brings such a tremendous intensity in every line, and absolutely brings such a potency to every single one of his comebacks to Herod's various threats. Heston makes every word pierce as it should and this actually leads to these two scenes being among the best in the film. This is a very strong performance by Heston as it plays into his strengths as a performer, and suggests perhaps he should have taken on a few more supporting roles throughout this career as usually makes such an impact with them.

Donald Pleasence did not receive an Oscar nomination for portraying the hermit in The Greatest Story Ever Told.

Pleasence first appears as Jesus fasts in the desert running into the hermit waiting in a cave, of course he is no ordinary hermit. It must be said Pleasence is one of the all time great cinematic creepers to begin with. He's particularly unnerving in his approach though in how quietly he approaches this initial scene. Pleasence utilizes his naturally off-putting physical manner so well engaging those haunting eyes of his and devious grin from the start to allude to an otherworldly demonic spirit. Pleasence though employs such a soft delivery though in the temptation, showing the allure of the temptation. When commenting that Jesus's climb was hard there is a genuine concern Pleasence brings to this even if his intentions are not noble. As he doesn't try to demand Christ takes from his food or drink, he rather so nicely suggests the act. When he prods him to behave contrary to his quest Pleasence brings such a sinister tenderness as he so earnestly encourages Jesus to fall to his wishes. As with Rains, Pleasence makes an impression in his first scene but he appears occasionally throughout the rest of the film. Every one of Pleasence's later appearances are particularly dynamic moments throughout the film particularly as the hermit watches over as Jesus is being marched towards his death. Pleasence stands out as this figure of darkness in these moments so well especially in his venomous delivery of the hermit's request for crucifixion that leads the crowd to wish the same. Pleasence brings such a certain joy in the call among the crowd. Pleasence embodies a certain kind of evil here as the hermit is never a despicable man but this unnatural shadow that chases Jesus wherever he goes either to tempt or to destroy him. Pleasence offers another terrific supporting turn within the film, though while I wouldn't say that this quite makes this film a true success it makes it whole lot more interesting than it otherwise would be.

Alternate Best Supporting Actor 1965: Richard Harris in Major Dundee

Richard Harris did not receive an Oscar nomination for portraying Captain Benjamin Tyreen in Major Dundee.

While discovering more of Richard Harris's work in general it has brought me to the conclusion that he is among a certain group of actors. Actors like Nicolas Cage and Jack Lemmon, who are this ball of raw talent who can certainly go off in the wrong direction, but when pointed in the right way with the right part they deliver something that only they could. This is certainly the case for Richard Harris here in Major Dundee. Major Dundee is already a slightly curious film as it is an example of Sam Peckinpah attempting to make his own film while still adhering to some older Hollywood standards, although thankfully we are granted a purer version of his vision through the film's extended altered cut. Richard Harris's performance, in any cut of the film, is primed to given Peckinpah exactly what he is looking for. His Benjamin Tyreen from the outset, even more so in that extended cut, is a figure draped in grey far beyond his confederate uniform. It is a fascinating little juxtaposition between the two leads though as though both seem to represent two paths for western, that of the old way. Dundee, a Union soldier, seems fitting enough for a classic John Ford western, while Tyreen's criminal rebel seems to be that of a revisionist approach to the genre.

Tyreen in his opening scene is leading an escape where he has killed one of Dundee's men in an attempt to escape from the Union army prison. In this first scene, and the followup after he and his men have been recaptured, Harris brings the real force of personality expected from a good Richard Harris turn I'll admit. Harris is particularly suited to this role from the outset though in his roguish charm is a natural fit for proper rebel commander. Harris in fact gets a mulligan for the initial murder committed by Tyreen essentially through that charm. Harris helps even more so though by so effectively establishing the will of the man in his first public then private showdown with Heston's Major Dundee. Where Heston is a wall of granite, Harris is the sharpened knife. Harris isn't all charm here bringing the right edge in his approach in these scenes by exuding such a palatable disdain for Dundee. Harris properly takes this a step further than just the hatred of an enemy there is a more severe venom in this hatred that Harris offers. That venom in his delivery alluding properly to their history that extends beyond enemy combatants as Dundee before the civil war even testified against Tyreen for participating in a personal duel that led him to be expelled by the army.

That old wound between Tyreen and Dundee is so effectively established within Harris work from the outset creating the underlying motivated hatred Tyreen has for Dundee. Although as much as Harris would be a proper scoundrel that is not all there is to his role as he effectively naturally changes his approach once the two men cut a deal. The deal being Tyreen and his men will help Dundee for better treatment for all the soldiers, in order to help Dundee avenge a massacre committed by renegade Apaches. Tyreen accepts the deal, and Dundee accepts Tyreen's help as since he gives him this word. Once Tyreen becomes the full commander against Harris is excellent in showing the minor transformation in Tyreen from hate filled prisoner to a proper commander. What I particularly love is how Harris differs from Heston in this regard realizing Tyreen as a very different kind of soldier. Where Heston emphasized strength, Harris emphasized essentially the class and mentality of being a soldier, which for Tyreen requires being a proper gentleman. This philosophy defines Harris's work in his whole physical manner he takes in the role which is always to grant a certain elegance to Tyreen even as he goes head first into violent battle. Harris never simplifies this or caricatures this, rather the history of this lifelong soldier is the foundation of this exemplified through the passionate way Harris plays every moment as the gentleman soldier. 

Now that is not to say Tyreen is this stiff soldier, far far from it, his gentlemanly qualities Harris performs in an exact way that feels natural to this man who both believes in a certain code even while breaking other laws. This never seems hypocritical by how effortlessly Harris applies this aspect as again a foundation of principles deep within the man. Harris properly electric in the role by while offering that stability, also challenges everything within Major Dundee and in a way Heston's performance. Throughout the film Harris is brilliant in the way he works with and in a way around Heston's more steadfast portrayal. Harris pressures and prods Heston's performance by the unpredictability within his work. Harris is very entertaining in offering these snide deliveries where Tyreen is attempting to have a little fun at Dundee expense however he also is very dynamic in the way he differs when one of Dundee's acts more closely contrasts with his own beliefs. This includes a scene where Dundee orders the death of one of Tyreen's men for desertion. Harris is outstanding in this scene by baring the complication of the moment in Tyreen mind. On the surface most directly revealing his still fervent hatred of Dundee as he stands against the command, however minding his distaste for his soldier's cowardice subtly within his eyes. When Tyreen disposes of the man himself it is a inevitable act and Harris is fantastic in revealing the pain in it as he shows a man doing what he knows is the right thing yet hating it since it appeases his sworn enemy.

Harris's work is the performance that remains truly captivating throughout the film as he embodies the more complex themes Peckinpah attempts to tackle in examining these two men. The one who fights for glory and the one who fights for honor. Although Harris is playing the rogue he's excellent in showing Tyreen as the man with a purer causes in terms of his personal beliefs in soldering. The film eventually briefly drifts from Tyreen, which on a side note cements Harris as a supporting player, in an extended sequence where Dundee recovers from his wounds in enemy territory and his own values are challenged. Tyreen though is the one who comes to rescue Dundee, and again I love Harris's portrayal of the Tyreen's methods in this. He's is indeed fun to simply watch perform here, but it also works within the character as Harris portrays even when directly saving Dundee there is this degree of spite in the moment. Not spite for rescuing him, but rather spite in the act of the rescue. Harris even in this brings this delicious bit of joy within Tyreen as he sees Dundee so low, and is the one who has to force the commander back to his proper place as a commander again. This never feels nonsensical to the character rather Harris's so precise portrayal of Tyreen's beliefs makes it a natural act as the honor bound man must help the man he's given his word to. Harris is outstanding as he embodies the Peckinpah hero fully here as a man you could almost is driven to an insane act in order to fulfill what he thinks is right in within his very specific beliefs. As with Pike in The Wild Bunch, or Bennie in Bring Me the Head of Alfredo Garcia, Harris fully embraces the idea of this man going head first into fight even if it means his death. I especially have affection for how Harris matches his character's intent by fully embracing this spirit throughout the film's final scenes, right down to basically wearing Peckinpah's trademark bandana in the last battle. Harris is a proper mad man in the best of ways in the final scene that matches Peckinpah's intensity in the direction of the battle. Although it would be perhaps a few more years before Peckinpah got to direct a film fully in his own vision, this film is not far from it particularly through Richard Harris's dynamite portrait of rebel in spirit and political values, but not within his moral code.

Alternate Best Supporting Actor 1965

And the Nominees Were Not:

Robert Shaw in Battle of the Bulge

Richard Harris in Major Dundee

Claude Rains in The Greatest Story Ever Told

Charlton Heston in The Greatest Story Ever Told

Donald Pleasence in The Greatest Story Ever Told

Alternate Best Supporting Actor 1965: Results

7. Jack Lemmon in The Great Race - I decided not to review Lemmon here for a few reasons. The first being after watching the film I felt he was definitely lead along side Tony Curtis and in no way supporting him. Then I did not really feel it was quite a good enough performance worthy for his own separate lead review. Also no reason to ruin the perfect streak of the previous six performances reviewed. It is amusing to note that the previous collaboration between Lemmon and director Blake Edwards was The Days of Wine Roses so Lemmon went from a harrowing depiction of alcoholism to playing a live action Saturday morning cartoon villain right down to his name of Professor Fate. The film itself I felt was too bloated as you can probably only have so many slapstick gags before they wear a bit thin which is unfortunately the case for this film. Lemmon is quite the energetic presence and his over the top performance is actually fitting for the film. He does his best to sell every gag and his whole portrayal is amusing enough though it can't quite sustain the running time of the film. It's hardly a great performance from Lemmon, but he is indeed the best part of the film. 

6. Ian Bannen in The Hill - Well this was in no way a pleasure to even place the seventh spot in my ranking since I love all of these performances. Bannen merely gives another great performance of one man's own clever ways of survival as military prison guard while never losing his frustrations underneath.

Best Scene: The final confrontation.

5. Ian Hendry in The Hill - Hendry is also great in his uncompromising depiction of his character's sadism. What makes him standout though are the very human weaknesses he also brings to the character particularly in his portrayal of his character's attempt to be the proper military man. 

Best Scene: The final confrontation as well.

4. Oskar Werner in A Spy Who Came In From The Cold - Werner actually does not have too much material but has to make a whole lot of it. Well he does so giving so much life and genuine passion to his character Fiedler that he makes it heartbreaking when it turns out that Fielder has been used all along.

Best Scene: Fiedler realizes he's been had.

3. Toshiro Mifune in Red Beard - The last great performance to be found from the collaboration between Akira Kurosawa and Toshiro Mifune. Mifune takes a rather unorthodox somewhat colder approach with the character of the wise mentor but succeeds wholly in earning the palatable emotions of every scene he is in, and effortlessly becoming a personification of compassion.

Best Scene: Red Beard goes to retrieve the patient from the Brothel.

2. Rod Steiger in Doctor Zhivago - Steiger has a great character and brilliantly realizes his complexity. He's a perfect smiling devil yet Steiger importantly shows that there still a bit of humanity to be found.

Best Scene: Komoravosky tells Zhivago what happened to Pasha.

  1. Harry Andrews in The Hill - Andrews gives an outstanding performance as he carefully differs himself from the other two men playing guards by showing a man utterly devoted to the mindset of the military. Andrews never allows himself to be one note though using every moment to fully realize his character as man who tries to conduct things as a machine. It's hard enough ranking these six but becomes even harder having to consider Tom Courtenay's work in Doctor Zhivago as well, which only improved all the more on re-watch. I really hate to have to leave the Ians out of the top five. Now I do feel I could give any one of these men the win and they would be more than deserving. My choice goes to Courtenay as it's a performance that only gets better the more I think about it, plus if I want to cheat in my reasoning he was also great in King Rat.

Best Scene: Wilson deals with the potential riot.

Overall Rank:

1. Tom Courtenay in Doctor Zhivago
2. Harry Andrews in The Hill
3. Robert Shaw in Battle of the Bulge
4. Rod Steiger in Doctor Zhivago
5. Richard Harris in Major Dundee
6. Toshiro Mifune in Red Beard
7. Oskar Werner in The Spy Who Came in From The Cold
8. Ian Hendry in The Hill
9. Ian Bannen in The Hill
10. Tsutomu Yamazaki in Red Beard
11. Ossie Davis in The Hill
12. Gian Maria Volonté in For A Few Dollars More 
13. Charlton Heston in The Greatest Story Ever Told
14. Claude Rains in The Greatest Story Ever Told
15. Donald Pleasence in The Greatest Story Ever Told
16. Tom Courtenay in King Rat
17. Roy Kinnear in The Hill
18. Cyril Cusack in The Spy Who Came in From the Cold
19. Michael Redgrave in The Hill 
20. Junzaburō Ban in A Fugitive From the Past
21. Tom Courtenay in Operation Crossbow
22. John Gielgud in Chimes at Midnight
23. Hans Christian Blech in Battle of the Bulge 
24. James Mason in Lord Jim
25. Edward G. Robinson in The Cincinnati Kid
26. Trevor Howard in Von Ryan's Express
27. Klaus Kinski in Doctor Zhivago
28. Noel Coward in Bunny Lake is Missing 
29. Telly Savalas in Battle of the Bulge
30. Alec Guinness in Doctor Zhivago
31. Leo McKern in Help!
32. Nigel Green in The Ipcress File
33. Richard Attenborough in The Flight of the Phoenix
34. Jack Watson in The Hill
35. Terry Thomas in Those Magnificent Men in Their Flying Machines 
36. Roy Kinnear in Help! 
37. Peter van Eyck in The Spy Who Came in From the Cold 
38. Warren Oates in Major Dundee 
39. Burgess Meredith in In Harm's Way
40. Hardy Kruger in The Flight of the Phoenix
41. Alfred Lynch in The Hill 
42. Charles Bronson in Battle of the Bulge
43. Van Heflin in The Greatest Story Ever Told
44. James Coburn in Major Dundee
45. Dean Martin in The Sons of Katie Elder
46. Eijiro Tono in Samurai Assassin
47. Alberto Sordi in Those Magnificent Men in Their Flying Machines 
48. Wallace Ford in A Patch of Blue 
49. Richard Harris in The Heroes of Telemark 
50. Christopher Lee in in Dr. Terror's House of Horrors
51. Jose Ferrer in The Greatest Story Ever Told
52. Michael Hordern in The Spy Who Came in From the Cold 
53. Anthony Quayle in Operation Crossbow
54. Ralph Richardson in Doctor Zhivago 
55. Peter Sellers in What's New Pussycat?
56. Eli Wallach in Lord Jim
57. Dirk Bogarde in Darling
58. Keenan Wynn in The Great Race
59. Ronald Fraser in The Flight of the Phoenix
60. Victor Spinetti in Help!
61. Peter Falk in The Great Race
62. Sergio Fantoni in Von Ryan's Express
63. Geoffrey Keen in Doctor Zhivago
64. Vladimir Mensik in Loves a Blonde
65. Woody Allen in What's New Pussycat?
66. Michael Craig in Sandra
67. Karl Malden in The Cincinnati Kid
68. Denholm Elliot in King Rat 
69. Michael Redgrave in The Heroes of Telemark
70. Robert Morley in Those Magnificent Men in Their Flying Machines
71. James Donald in King Rat
72. Ken Takakura in A Fugitive From the Past
73. David McCallum in The Greatest Story Ever Told 
74. Peter Finch in The Flight of the Phoenix 
75. Patrick Cargill in Help!
76. John Mills in King Rat  
77. Jean-Claude Brialy in I Knew Her Well
78. Marino Mase in Fists in the Pocket
79. Sal Mineo in The Greatest Story Ever Told 
80. Patrick Wymark in Repulsion
81. Jack Weston in The Cincinnati Kid 
82. Joseph Schildkraut in The Greatest Story Ever Told 
83. Paul Lukas in Lord Jim
84. Arthur O'Connell in The Great Race
85. Telly Savalas in The Greatest Story Ever Told
86. Norman Bird in The Hill 
87. Ben Johnson in Major Dundee 
88. Donald Sutherland in Dr. Terror's House of Horrors
89. Ed Wynn in The Greatest Story Ever Told
90. Jaime Sanchez in The Pawnbroker 
91. Klaus Kinski in For A Few Dollars More
92. Bernard Lee in The Spy Who Came in From the Cold
93. Derek Jacobi in Othello
94. Ernest Borgnine in The Flight of the Phoenix
95. Richard Haydn in The Sound of Music  
96. Mario Adorf in I Knew Her Well
97. Williams Daniels in A Thousand Clowns
98. Mario Brega in For A Few Dollars More
99. Brandon De Wilde in In Harm's Way
100. Henry Fonda in Battle of the Bulge
101. Dennis Hopper in The Sons of Katie Elder
102. Michael Gough in Dr. Terror's House of Horrors
103. Desmond Llewelyn in Thunderball 
104. Jeremy Kemp in Operation Crossbow
105. Finlay Currie in Bunny Lake is Missing 
106. Peter Cushing in Dr. Terror's House of Horrors
107. Laurence Harvey in Darling
108. Trevor Howard in Operation Crossbow
109. Robert Ryan in Battle of the Bulge
110. Guy Doleman in The Ipcress File 
111. Dana Andrews in Battle of the Bulge 
112. Jim Hutton in Major Dundee
113. Kirk Douglas in In Harm's Way
114. Harry Andrews in The Agony and the Ecstasy
115. Christopher Plummer in Inside Daisy Clover
116. Adolfi Celi in Thunderball 
117. Gene Saks in A Thousand Clowns
118. James Gregory in The Sons of Katie Elder
119. Tom Tryon in In Harm's Way 
120. James Fox in Those Magnificent Men in Their Flying Machines
121. Bernard Lee in Thunderball
122. Rip Torn in The Cincinnati Kid  
123. Hardy Kruger in Lord Jim
124. Maurice Dallimore in The Collector  
125. Martin Landau in The Greatest Story Ever Told 
126. Charles Bronson in The Sandpiper 
127. Michael Anderson Jr. in Major Dundee
128. Martin Balsam in A Thousand Clowns
129. Michael Dunn in Ship of Fools
130. George Segal in Ship of Fools 
131. Robert Redford in Inside Daisy Clover
132. Lee Marvin in Ship of Fools
133. Ian Bannen in Flight of the Phoenix
134. Brock Peters in The Pawnbroker
135. José Ferrer in Ship of Fools
136. Barry Gordon in A Thousand Clowns

Next Year: 1957 Supporting

Alternate Best Supporting Actor 1965: Rod Steiger in Doctor Zhivago

Rod Steiger did not receive an Oscar nomination for portraying Victor Ipolitovich Komarovsky in Doctor Zhivago.

Doctor Zhivago did receive a best supporting actor nomination, and deservedly so, for Tom Courtenay but Steiger could not get double nominated despite the film being well received by the academy. As I stated in Werner's review there seemed to be some prejudice against a leading man even being thought of as a supporting player, but perhaps also what kept Steiger from being recognized was the nature of Komarovsky. Although Courtenay's Pasha does not exactly end on a light note, he at least started as an optimistic man, Komarovsky though may be the most insidious character in the film. We first meet Komarovsky in the per-revolutionary Russia as a wealthy man who is working his ways on the daughter of his friend. The daughter being Lara (Julie Christie) who Komarovsky goes about seducing, and Steiger is almost the lead of the film in these scenes since Zhivago (Omar Sharif) is very much in the background.

Steiger is brilliant here as he is so effortlessly commanding the role of Komarovsky. Steiger is marvelous in his scene with Christie early on as he basically depicts each step of Komarovsky's method from start to finish. In his earliest scenes Steiger presents himself as a charming enough fellow, that of possible even mentor and father figure to Lara. Steiger though effectively undercuts this by always keeping that lust in Komarovsky's eyes as he slowly woos Lara to accept him. Steiger breaks this though, revealing true extent of his sleaze, as he forces himself upon Lara in a cab ride home. Steiger even plays this scene particularly brutally by showing absolutely no hesitation as Komarovsky does this. Of course even when this ends Steiger reverts partially back to an apparently sensible fellow as he presents Komarovsky once again having a vile warmth as he almost acts as though he was merely leaving a lesson for Lara, but this is not the end of Komarovsky's cruel game by any margin. This continues as Komarovsky even bothers to meet Lara's fiancee Pasha.

Komarovsky though is only continuing to use Lara though as he basically states that she lowered herself by giving in to him. Steiger is absolutely brutal in the scene, which Komarovsky claims is not rape, because Steiger keeps his performance so viciously calms as if the whole thing has all been part of his malicious plan to use Lara then basically throw her away. What stands out most though is Steiger does not just play Komarovsky as just an evil manipulator, even though he is that. Steiger though is most effective perhaps when showing the humanity in Komarovsky along with his disgusting behavior. Steiger is particularly good in the scene where he rushes to find help for Lara's mother who has attempted suicide. Steiger suggests the guilt is still palatable in the man, Steiger presents it not as something that will make him change his ways exactly, but that he's still a man and will feel such things. He's equally great in the scene where Lara takes her revenge by shooting Komarovsky, and Steiger's reaction is perfection. It is less fear, but more of realization that perhaps he did go too far in his manipulations of Lara.

One of the most important aspects of his character is that Komarovsky never seems to lose his status despite all the changes going on around him. The reason being that Komarovsky tries to always play all sides in order to keep people as friends even though he is never their friend. This is well shown in the scene immediately after the shooting where he is treated by Zhivago. Steiger is very charming and even makes himself most likable as he talks with Zhivago and even speaks of Zhivago's father. Steiger is quite persuasive in making Komarovsky a man that's easy to like when you are aware of very little about him, and he pulls this trick off pivotal to the character flawlessly. Komarovsky disappears for some time after this point but he does appear late in the film to visit Lara and Zhivago about their impeding doom due to the powers that be after the revolution. The humanity that Steiger did give to Komarovsky earlier in the film is very important here because it would be quite difficult to understand his reasoning here as he has not much to gain, especially since he does intend to help Zhivago as well. 

Steiger is outstanding in these scenes as well because there is a sense of regret within his demeanor yet still that same treacherous glint in his eyes as though maybe there is yet one more game he is playing. Steiger's best moments within in these is when he tells Zhivago the truth of his situation as there is such passionate nihilism Steiger brings in his delivery. Steiger is particularly effective against the more uplifting work of Sharif, as Sharif presents a man trying to look for the best, Steiger unrepentantly shows a man who is aware of the worst. Komarovsky is a rather complex character to begin with but that in no way means that Steiger had an easy here. Steiger is pivotal in giving Komarovsky the strong presence that he needs making it so you never forget him even when he has a more than an hour long absence from the film. Steiger does this and more as he matches the depth of the character with an equally deep portrayal. Steiger is striking in his depiction of the reprehensible fiend that Komarovsky was. Steiger importantly shows that Komarovsky understands that about himself, but also makes it absolutely convincing why Komarovsky would never pay for his crimes with his memorable portrait of duplicitous ingenuity.

Alternate Best Supporting Actor 1965: Toshiro Mifune in Red Beard

Toshiro Mifune did not receive an Oscar nomination for portraying Dr. Kyojō Niide also known as the titular Red Beard.

Red Beard is a technically low key epic by Akira Kurosawa about an arrogant young doctor Dr. Noboru Yasumoto (Yūzō Kayama) who learns there is more to life than status through a series of interactions with patients from the rural clinic for the very poor. I kinda love the film but I can't help but feel it may have benefited from a stronger lead performance. Kayama is at least adequate but he's a little underwhelming in portraying the transformation of his character, I think someone like Tsutomu Yamazaki (who's in the film anyways and great I might add) could have brought more to the character.

Sadly Red Beard must be noted as the final collaboration between Akira Kurosawa and Toshiro Mifune ending the greatest actor/director relationship of all time. It sounds as though their relationship had become strained over time to begin with and unfortunately the production of Red Beard did nothing to alleviate this. Apparently Mifune having to keep the titular beard throughout production caused him financial difficult since he was unable to take any other film work. In addition to this one of the screenwriters, Hideo Oguni, apparently criticized Mifune's performance in the film leading Kurosawa to doubt Mifune's abilities for the first time. So ended their collaborative effort which was unfortunate for both men. Mifune although certainly was still a successful actor none of his later films are as remembered as his work with Kurosawa. Kurosawa perhaps suffered even worse since he no longer had the guaranteed star power of Mifune, and was unable to find funding for his ambitious projects leading Kurosawa's output to diminish substantially. This perhaps unfortunately contributed to Kurosawa's suicide attempt in 1971.

It was a true loss to cinema that the two could never professionally reconcile, they did not even personally until late in both of their lives. One could imagine one project in particular which probably would have been Kurosawa's version of Runaway Train. Imagine that film made by Kurosawa instead especially since the leading character from that film seemed to be tailored made for Mifune. Some have claimed that this is not the case for the part of Red Beard and they see Kurosawa's other frequent collaborator Takashi Shimura as a better fit for the role. Shimura is very briefly in the film, but his days of having a substantial role in Kurosawa films dried up for some reason. I'm sure Shimura would have been good in the role, although there is one scene where he would have been considerably less believable, but likely would have been similar to his performances in Stray Dog and Seven Samurai. Mifune playing the mentor for once offers an interesting challenge for the actor, and makes Red Beard perhaps a more unusual character than he may have been otherwise.

Mifune presents a different character than you might expect from merely knowing the synopsis as the older doctor teaches the younger doctor. As you see in the first scene where Yasumoto goes to see Red Beard Mifune does not play him as the warm lovable type of mentor. Mifune naturally commands the scene, as he does every scene in which he appears in the film, and takes an effective approach as Red Beard greets the young man. Mifune actually takes a fairly cold approach in his portrayal of Red Beard's manner as he directs the man to his duty. Mifune's fairly quiet here as well, but the intensity in his performance is still very palatable. Mifune presents Red Beard as a man of his task in this scene and his brush aside of Yasumoto is basically to put him in his place in an instance. Mifune's approach to give Red Beard a sharp edge from the beginning works quite well in realizing the philosophy of his character. Mifune shows that Red Beard only forces his hand when it is an absolute necessity to do right, but when someone else can improve themselves by doing the right thing Red Beard wants them to find that out themselves.

Mifune therefore leaves Red Beard as a much more introverted mentor than you may have expected from this sort of character. Mifune though is excellent in the way he makes the character this iron willed moral conscience in his own unique way. Mifune very much stays away from sentiment for the majority of his performance instead he presents Red Beard as a man who gives his lessons sometimes through harsh truths. This is perhaps first evident in a relatively early scene after Yasumoto has had a close call with a mentally disturbed patient simply because he was interested in the woman as a sort of freak show. There is something Mifune is able to do that is pivotal for the character of Red Beard.  That is being both so incisive in his blunt morality yet never for a moment seeming like he is trying to hammer it into the characters. Mifune makes often the silence more powerful than what is said by Red Beard simply through the way he carries the character. One scene where Yasumoto keeps explaining away why he went to brothel once, despite not being asked by Red Beard, is made absolutely convincing because of Mifune's performance.

Mifune's style works incredibly well for the character, and there is something special to be found in almost every second he is onscreen here. I especially love one scene where Red Beard is given a confession by a woman who is guilt stricken over having attempted stabbing her family member. Mifune has this way of personifying compassion in his portrayal of Red Beard's reaction as he hears the story. Mifune's warmth that does come from his performance is not in an at all of an upfront and straightforward fashion. It's fascinating though how Mifune still exudes it in quite a powerful way without every seeming to show exactly. Mifune almost makes it as though Red Beard is compassion so in a way he is love without needing to say it. There is such a subtle poignancy that Mifune brings through the part that actually does a great service to the film. Mifune's approach, while keeping the film quite moving to be sure, is able to prevent it from keeping it schmaltzy because of the way he so strongly earns the emotions in his own work as Red Beard.

Now just to note the scene where Mifune definitely would have more believable than Shimura in. The scene is when Red Beard retrieves a sick girl from the abusive madame of a brothel. Red Beard to do so has to take down a group of thugs in bad ass Mifune style. Well actually, although his physicality is much needed, Mifune does not play the scene as the samurai from Yojimbo taking over for a moment for Red Beard. Mifune even adjusts his performance somewhat playing the scene still as a surgeon as he has no pleasure or hate as he basically puts down each man as simply as he which is completely fitting to the character of Red Beard. This is yet another great performance by Toshiro Mifune, and what I love the most about his work is the unorthodox approach he takes with the character. This is his perhaps the most understated of all the performances, as even High and Low and The Quiet Duel had their well earned breakdowns. Mifune's portrayal of Red Beard is essential to the  success of the film as he realizes the philosophy and technique of his character so beautifully. Although it is still unfortunate that this had to be the last time Mifune gave a performance in a film directed Akira Kurosawa, but at least they ended on a high note together.

Alternate Best Supporting Actor 1965: Ian Hendry, Ian Bannen and Harry Andrews in The Hill

Ian Hendry did not receive an Oscar nomination for portraying Staff Sergeant Williams in The Hill.

The Hill depicts the entry of five soldiers into a soldier's prison out in the desert during World War II. The men are the discriminated against African (Ossie Davis), the sensitive Stevens (Alfred Lynch), the tough guy McGrath (Jack Watson), the self centered smuggler Bartlett (Roy Kinnear), and the disgraced hero Roberts (Sean Connery). The men put in charge to deal with the new recruits is prison guard Staff Sergeant Williams played Hendry. When Hendry first comes on the scene he seems to be all a bit much. The way he wears his hat, the way he always stands at attention, his strict movements, and constant attempt at being the imposing military type are almost all too obvious. The whole act to a certain extent seems to be put on by Hendry as it does not feel natural at all. This is not a mistake but actually is a stroke of genius in Hendry's performance. This is because Williams is not really a soldier by trade, merely a prison guard, and Hendry portrays a man basically putting on the best show, too much of a show really, so he can make up for that fact.

The one thing that Hendry shows is very natural in Williams though is the brutal treatment of the soldiers, something that no doubt carried over quite well from the way Williams probably treated civilian prisoners. Hendry brings a quiet but very strong sadism in Williams as he purposefully mistreats the soldiers in any way he can think of. Hendry's cap often covers his eyes leaving him to do so much with just his mouth. That little smirk of his when he watches the men suffer is absolutely putrid as Hendry exudes the pleasure Williams takes in harming the men. Hendry shows a complete comfort in this aspect of Williams's "duty". Hendry is particularly effective though in the moments where he sees that most of the men simply won't have his punishment and at times ignore him. The weaknesses of his facade are shown in slight reactions by Hendry as there is almost a fear as he sees that he might not really have it to control the men the way Williams probably did back home. Williams though is not the only prison guard which brings us to....

Ian Bannen who did not receive an Oscar nomination for portraying Staff Sergeant Harris in The Hill.

What was the idea of the official academy lineup no Oskar Werner, a serious case of extreme fraud from Frank Finlay, and they could not even give Tom Courtenay the win to make up for the nominees. But hey they did nominate Ian Bannen but for the wrong movie. He should have been nominated here where he plays Sergeant Harris who is a vastly different individual from Williams. He's already been in the camp for sometime, and also does not quite fit in though for a much different reason. Bannen also portrays the military manner in a way that helps establish Harris's character. Bannen portrays something off about his but not that Harris is faking it but really its just not his manner at all to do it. Bannen has just enough of a walk but does not exactly keep time as he should. He salutes and move as you'd expect but Bannen always brings this casual quality to Harris's movements. Bannen suggests a man also ill suited for the job, but not because he hates the men, rather he does not view them as simply toys that need to be broken down then rebuilt. Bannen presents Harris as a man first and a soldier second.

Bannen's performance is terrific as he plays the good Sergeant but it is never blunt as that. Although he is indeed a good man, Bannen is careful to show that Harris must exist within the limitations of being in the military still so he can't quite yell his discontent right out in the open. Bannen instead, in the earlier scenes of the film anyways, is quite memorable how he plays the scenes where Harris questions Williams's treatment of the men. Bannen brings an excessive jovial quality to Harris as he basically makes his complaints in a joking way. Bannen does not suggest that Harris is not serious about his complaints, but rather shows the method in which Harris has to voice his complaints in order not to face punishment himself. Bannen shows the true extent of Harris's problems with the system. These are quick reactions but Bannen does the very most with them. In a quick moment, when Harris alone, Bannen quickly shows the very real anger that Harris has not only at what's happening but perhaps at his inability to stop it. The man Harris tries to complain to leads us to....

Harry Andrews who did not receive an Oscar nomination, despite winning NBR and being nominated for BAFTA, for portraying Regimental Sergeant Major Wilson in The Hill.

Now Andrews also utilizes his military manner to express his character although he technically is a bit more straight forward in this regard, but just as good at showing who Wilson is. The reason he's more straight forward here because Andrews's mannerisms are that of the perfect soldier. The way he walks and talks carries an absolute authority. Every step seems to have the utmost precision and there never seems to be a moment where Wilson is at a loss while on duty. Andrews makes Wilson the military personified in his physical depiction of him which is an absolute necessity. Wilson is not merely the head of the guards but also in charge of the prison, even though technically there is a commandant above him, but the commandant is far more interested in frequenting a prostitute than actually acting as the head of the prison. Wilson is the one in charge and Andrews importantly gives that command in his performance. It just seems a natural thing as he lords over almost all, but what makes this film great is that Wilson is no way like Williams.

The difference between Williams and Wilson, even though they both try to be as firm as possible, is that Wilson has no sadism in him. Now that does not mean Wilson is an easygoing guy but the way Andrews portrays the strict behavior of Wilson differs vastly from Hendry's performance. Andrews does no express any pleasure ever from breaking down any of the men, and there is a particularly effective scene early on where Wilson releases two of the former prisoners. Both men now seem to be right back where they should be as ideal soldiers. Andrews is terrific in this scene as he looks upon the men with great pride in his accomplishment. Andrews in this scene suggests Wilson's thinking which is that he is there to help the men in his view. He does not want to break them down for enjoyment, like Williams does, but rather because he sees it as a necessity to build them back up again. Andrews is particularly good in the way he portrays the only hatred in Wilson as a sorta put on when merely when he needs to take charge, and it is not that he truly hates the men. 

Not every scene depicts the three men on duty and these very important moments in realizing the nature of each man. Bannen, who is the most calm anyways, loses the least technically speaking as he shows that Harris does not put on too much of an act. Next is Andrews who shows that much of his bluster is only a purposeful method he uses to command. Andrews is quite good by playing these scenes in a far more relaxed fashion, as he manages to convey that Wilson has his whole plan worked out quite well. Hendry is equally interesting as there still a considerable amount of tension he brings to Williams, who spends some of his spare time running up and down the hill of punishment to prove that he can do it even though he is doing it in far less severe of conditions. Hendry though is also great by losing the facade in these scenes completely. Yes Hendry still shows that Williams never can really relax, but that there is no soldier in him whatsoever when he is not on duty. All three actors here to fantastic job of just giving even more depth to their characters, and realizing them to be more than just the prison guards we first meet.

For a little while Hendry gets a stronger focus as the film depicts him trying to break down the five men, but not exactly having an easy time of it. Hendry makes the despicable nature of Williams all too human as Williams sets his strongest sight on Stevens. When he does this Hendry doesn't suggest that its simply because he can, but rather that Williams almost readjusts his aims to Stevens because he sees him as the easiest target to handle. This is because Stevens does not handle it well at all, and there is an especially good scene for Bannen as Harris quietly urges Stevens to find a way to survive. Again Bannen exudes a subtle warmth as Harris tries to tell him this, while not trying to break his position. Stevens soon dies from the treatment though leaving Wilson to try to cover up for Williams, simply because he's one of his men. Andrews is great as he keeps that military manner as he tells the camp's doctor (Michael Redgrave) to consider it an accident, but is particularly effective though as he shows the actual frustration in the man when he warns Williams that death is not the point of the treatment.

The death causes an uproar in the prison and almost a riot as all the prisoners demand an answer to who killed Stevens. This leads to perhaps Andrews's best scene in the film as he goes about handling every man in the prison. Andrews is in absolute command of every second of the scene and portrays him as almost a master of ceremonies at a circus. There is that viciousness needed as he does threaten the men if they continue the course, yet interestingly Andrews at the same time he's actually quite entertaining as he flawlessly delivers Wilson's jokes in order to calm the situation. He has a particularly brilliant back and forth with Bannen in the scene where they lighten the mood as almost a comedic pair. Andrews, and to a slightly lesser extent Bannen, make it believable that they could get the crowd in line with very few threats through their performances. It's a marvelous scene as you fully scene the way that Wilson rules over the prison. Andrews is not just menacing, even if he is certainly that, but there is certain heart that he brings as Wilson seems to be the prisoners' friend even though he is kinda their enemy.

Williams does not seize in his behavior though as he has Roberts beaten due to Roberts wishing to press the issue of Stevens's death. Hendry again reveals the very human side of Williams as he is almost shaking as he brings the beaten Roberts back, as though he has just realized he's probably gone too far. Andrews is again terrific as Wilson, amidst brow beating prisoners, admonishes Williams for once again doing wrong. Andrews proceeds to be amazing once again when he faces off with Roberts. Andrews, although very forceful, stands particularly distraught as he questions a true military man like himself but who has somehow rejected that path. Andrews portrays Wilson as almost ready to cry in one moment simply because the way Wilson's view is being shattered because how could a man just like him hate the military code so much. Bannen, though put somewhat to the side, is never forgotten though through his reactions as he expresses the growing discontent in Harris, and slowly gains the strength to finally stand up to Wilson fully.

This all comes to a head when the issue is raised that Roberts should be treated at a hospital not in a cell. Hendry again keeps Williams as absolute slime as he keeps his reserve trying to keep pushing the envelope to basically trick Wilson into protecting him. Andrews is equally good as he puts on his most forceful act as Wilson tries to push everyone into doing what he wants. Then there is Bannen who brings such a poignancy and power as he reveals Harris's own passion to try to stand firmly against Wilson and Williams. The way Andrews accepts every defeat, as the doctor and Harris won't stand down, is perfect. Andrews expresses it as a man who will not lose face so its just an instance and acts as though his yelling was just because he lost his head in the moment. The sparks might as well fly in the scene as Bannen, Hendry, Andrews, as well as Connery and Redgrave go at it. They are all on top form and they make it a spellbinding scene as it unfolds. There is no reason not to state it, this is one of, if not the, greatest film ensembles of all time. There's Connery's passionate lead performance, as well the very fine work from Ossie Davis, Roy Kinnear, and Michael Redgrave, and even Watson and Lynch are memorable in somewhat simpler roles. Rounding it out all out the Ians and Andrews who each give a complex and compelling portrait of not only what each man represents, but also of who the man is.  

Alternate Best Supporting Actor 1965: Oskar Werner in The Spy Who Came in From The Cold

Oskar Werner did not receive an Oscar nomination, despite winning the Golden Globe and being nominated for BAFTA, for portraying Fiedler in The Spy Who Came in From The Cold.

Oskar Werner started an unfortunate three year trend of actors winning the Golden Globe for best supporting actor but not even being nominated for an Oscar. Naturally the Academy had to ignore Oskar Werner and Richard Attenborough, but made sure they recognized Daniel Massey's breathtaking work in Star!. In all seriousness though there was an odd bit of thinking where Supporting Actor was considered lesser actor evidenced by some controversy at Montgomery Clift and Judy Garland's Oscar nominations for Judgment At Nuremberg where it was considered below a star to be nominated for supporting. That ridiculously foolish thinking is perhaps why Werner and Rod Steiger could not be double nominated, and if you look there is long period of time where no one was double nominated. That is unfortunate since Werner although was deserving for his work in Ship of Fools, there is no reason that should have made him be ignored for his work as Fiedler in this film.

Fiedler is an east German intelligence agent who interrogates the falsely disgruntled British agent Alec Leamas (Richard Burton). It's a technically friendly interrogation as Leamas has been made out to be a fake traitor to give Fiedler misinformation to take down his superior Mundt as a British agent. Werner seems to have a simple enough role as Fiedler begins to derive his information from Leamas. What Werner does so well is give a great deal of life to Fiedler through the margins. Werner conducts himself brilliantly in these scenes doing so much through the smallest moment. For example when Leamas mentions Mundt was a former Nazi to the Jewish Fielder, Werner's reaction is pure perfection. He reacts as a man with this knowledge already but there is a discontent within in this even though he feigns not caring not to lead on to Leamas that he has a problem with Mundt. It's a great piece of acting by Werner but every second of his scenes with Burton are great as he gives so much character to Fiedler in every little reaction he makes.

There is such a likability that Werner brings as he goes through the questions as Werner presents Fiedler to be essentially an honest man in a profession entirely made up of dishonest people. Werner shows a man who is actually genuine as he tries to deal with Leamas in a respectful way even though Werner still conveys the proper intrigue and intelligence as Fielder slowly deciphers the information. It an interesting trick Werner pulls here as Fiedler could have just been there to be a plot point, but Werner does so much more than that in this scene. His performance stands separately from almost every other performance in the film because Werner presents a man who says who he is. There are things he covers up for sure such as his dislike for Mundt, but Werner portrays this as something he has to do rather than something he truly wants to do. Werner does such a fantastic job of establishing Fiedler, and even creating a sympathy for the man that he makes his final scene something truly special.

The last scene is a trial in front of a East German tribunal where Fielder presents the information, false information he got from Leamas, to incriminate Mundt as a traitor. Werner is outstanding as Fiedler gives his case to the court as he brings so much passion in his pleading to the courts to sentence Mundt for having betrayed the cause. It's fascinating what Werner does in that he shows us the only true believer, which happens to be the enemy cause, but it's hard not to feel for him because Werner presents Fielder's as true to that cause, unlike every other man we see in the spy game. The only moment that trumps the power of that scene though is when the court learns of the British plot to set up Mundt revealing that they were only using Fiedler. Werner is heartbreaking as he shows the utter disbelief and shock as the truth comes out. In Werner's face you can see a man who knows he's suddenly just lost his life. This is marvelous work from Werner as he does something really quite interesting that was absolutely up to the performance. Fiedler is the whole target of the spy trick set up by British Intelligence, but when it is executed it is not a pleasant feeling elicited. Werner's performance creates the brutality of the espionage because he so wonderfully humanizes this enemy, and presented a tragic man who doomed himself by only doing what he thought was right.

Alternate Best Supporting Actor 1965

And the Nominees Were Not:

Toshiro Mifune in Red Beard

Rod Steiger in Doctor Zhivago

Ian Bannen in The Hill

Harry Andrews in The Hill

Ian Hendry in The Hill

Oskar Werner in The Spy Who Came in From the Cold

Jack Lemmon in The Great Race 

For the Prediction Contest the Honor goes to:

Andrews