Alternate Best Supporting Actor 1974: Results

5. Christopher Lee in The Man With the Golden Gun - Lee as expected makes for a proper Bond villain both charismatic and menacing even if perhaps he's too much of a match for his Bond.

Best Scene: Proposing the duel.

4. Roberts Blossom in The Great Gatsby - Roberts Blossom gives the most resonate performance in his film and even manages to offer a bit of tragedy left lacking by the film's underwhelming film.

Best Scene: Mr. Gatz in Gatsby's room.

3. David Warner in Little Malcolm - The underrated Warner gives a terrific performance as usual giving an amusing and even moving portrayal of a wannabe philosopher whose positive outlook stands in a striking contrast to the titular wannabe philosopher.

Best Scene: Sentenced to death.

2. Ken Takakura in The Yakuza -Takakura gives a brilliant performance that sets up an enigma which he slowly reveals in a deeply poignant portrait of a man defined by the sacrifices he makes for the sake of his honor.

Best Scene: Revelation of his real relationship.

1. Richard Harris in Juggernaut - Good Predictions Tahmeed, Omar, Luke, RatedRStar, and Michael McCarthy. Richard Harris seems to be in a role just right for him as he gives an incredibly charming performance, that is so effortlessly compelling in his portrayal of a bomb disposal expert with his own personal style and philosophy towards his job.

Best Scene: "Fallon is the champion"

Updated Overall

Next Year: 1988 Lead

Alternate Best Supporting Actor 1974: Christopher Lee in The Man With the Golden Gun

Christopher Lee did not receive an Oscar nomination for portraying Francisco Scaramanga in The Man With The Golden Gun.

The Man With the Golden Gun though not a utter failure, as common for a Moore era Bond, suffers from a disengaged lead and tonal problems, such as when it randomly becomes a Kung Fu movie briefly,  or when Clifton James unfortunately returns as the hillbilly Sheriff from Live and Let Die.

Roger Moore as per usual seems to be not taking anything very seriously which is a bit problematic when James Bond is marked for death. Bond as played by Moore only ever seems mildly concerned by this at the very worst. The film though seems somewhat aware that this Bond is almost a non-character in a way therefore it does give a certain focus to the villain right down to the opening pre-credits action sequence being devoted to our villain rather than our hero. Well if the film is going to lean on the villain a bit it is a good thing that it's played by serial film villain Christopher Lee, who has graced just about every franchise in existence with his presence at one time or antoher. Lee must be said is a particularly good fit for a Bond villain with his suave style, and deep booming voice that's perfect for the Bond style villain who loves his tailored suits, tropical villas, and overly elaborate methods of killing people. For Scarmanga the ex-KGB, ex-trick shot artist, slash high priced hit man his method technically should be swift, killing with a gold bullet and a highly impractical golden gun, however he ensures the unneeded elaboration since Scaramanga will only kill Bond after he's outsmarted him a set number of times, frankly a few too many to be honest.

Christopher Lee though brings what you'd expect him to do so which is a natural bit of gravitas for the character and is the smooth villain you'd expect him to be. Lee makes such a strong use of that devious grin of his in particular whether it is one of the many time he tricks Bond, or he deals with a no longer useful associate. Lee is simply fun to watch here as he grants a much needed shot of energy to the film through his charismatic approach to the grandiose villain. Lee though knows how to balance the style for a Bond villain with some genuine menace. This of course comes very easily to Lee as usual, and the moments where he gets his villain speeches are the best in the film. Thankfully we are granted two of these and absolutely dominates the screen in these scenes to make Scaramanga a proper threat. The only problem I'd say is that Moore never really plays off of him too much say the way Sean Connery did to Robert Shaw in From Russia With Love. Lee delivers the needed intimidation in his performance, but Moore does not really bother to reflect this himself limiting the tension of these scenes. This cannot be blamed again Lee who remains on point to the point that he work stands far above the film itself. This isn't even Lee just throwing in an as expected good villain turn, it is Christopher Lee after all. He goes further in the action scenes himself by portraying a little vulnerability and fear in Scarmanaga to try to create any sense of reality in these scenes. This is yet again wasted by Moore's excessively light touch in what ends up being a colossal disappointment in terms of the final duel. Christopher Lee though is never disappointing. He delivers a proper Bond villain in every regard however it's a shame it's a little wasted on a rather indifferent Bond.

Alternate Best Supporting Actor 1974: Richard Harris in Juggernaut

Richard Harris did not receive an Oscar nomination for portraying Lieutenant Commander Anthony Fallon in Juggernaut.

Juggernaut though starts a bit slow is a rather compelling thriller, once it gets going, about a cruise ship being held for ransom after being armed with a series of time bombs.

Now what gets the film truly going is Richard Harris as bomb dismantling expert Fallon. There is perhaps that character that just seems "right" for an actor and this seems to be the one for Harris. There is that role that seems in tune with their onscreen persona, and for Harris here his off screen, or at least, interview persona. This requires a bit of an explanation I suppose though I would just suggest one should go watch Harris in any of his interviews as he is one of the most effortless and entertaining actors in that setting. That charm brings so wonderfully in that setting he transfers here as Fallon, perhaps this was even hoped for by the filmmakers given that they have Fallon being a particularly fond of an alcoholic beverage now and again. Harris to begin with brings such a natural quality to his work with the sheer ease of his performance, and brings a natural levity to the film, despite the severity around his role. Harris is simply naturally entertaining to watch here in a role that he just makes his own in that very special way from the point that in that outset it seems to become quite evident that only Richard Harris could have possibly played this part quite like this.

This is not to say Harris is coasting here, far far from it in fact, in a way it is pretty astonishing how Harris brings himself to the role while fully developing Fallon as his own man. This includes Harris's own bountiful charm for sure, but this is actually part of the character in a two fold way. In part Harris through this shows the confidence of the character that by his charm is wholly endearing, and makes sense out the man who we initially meet as he's casually disarming a far less impressive bomb. Harris though goes further with the idea than just showing Fallon as this expert. There is more in that Harris conveys this lightness in his work often in some of the more intense moments actually. In these scenes Fallon constantly makes humorous side remarks, which Harris does deliver in a genuinely funny way however he goes further with this. Harris in these moments suggests this as partially a defense mechanism of sorts for Fallon in dealing with the situation. This is because Harris never delivers them in a way that seems tonally awkward or ever out of character in the slightest.

Now a reason for that is Harris's overall approach to the part particularly in the bomb disposal scenes which are the highlight of the film, and Harris is a major reason for this. Although Harris projects that confidence so well, along with that humor he doesn't downplay the severity of it in Fallon's mind. In even the moments where he makes his little jokey asides Harris's eyes convey very much the very real concerns for Fallon. Harris is never static here instead his whole performance alludes to a man who has gone through this particular line of work, and has found his way of dealing with. That partially includes his humor, but Harris never simplifies it. I love an early moment where Fallon espouses on his talents in this particular line of work and mutters he wishes he was as such a success in a different line of work. Harris doesn't deliver this line with an overt sadness or anything like this but rather an amused shrug which so well emphasizes the way Fallon has come to terms with this. When Fallon is pressed by the ship's captain (Omar Sharif) on his attitude though we get a bit of a darker side to Fallon, which potentially could've become a confusing aspect to the character, however Harris's firm grasp on the material ensures that it is not.

When something goes wrong or Fallon's methods are questioned Fallon delivers some darker views in regards to the technical insignificant amount of lives in the scheme of the entire universe. These moments much of the time are still with the other members of the bomb squad where Harris still brings a more comedic bent in this philosophy, but with the captain, after Fallon's lost another one of his men, Harris matches the darkness of the message. The callousness though that Harris delivers though comes through an insincerity in attitude in this moment. Harris in part suggests one that he is not terribly impressed by the Captain's concerns, since Fallon is more keenly aware than anyone in regards to the severity of the situation, but it also actually reinforces his personal way of dealing with his particular line of work. Again Harris usually adds that humorous touch to this but in this moment Fallon understandably doesn't bother with easing the words. Harris though shows with that humor and insincerity though the fashioned belief the man uses, not to truly delude himself, but rather to help himself deal with his job where he could die at any moment therefore he needs to be a little insensitive now and again just to be sane in his work.

What we came to the film for though was to see Richard Harris disarm a bomb and we get that in style with Harris. He is down right mesmerizing in these scenes, and he is essential to the film's success since the parts of the film that truly work are the disarmament scenes. Harris again is brilliant in that he layers his performance as noted in bringing a real depth actually to the character's manner during these scenes however he still ratchets the tension up in every moment. Harris is particularly great near the end of the film where the situation becomes more dire and he could be killed at any moment. Harris is fantastic in doing so much tension through his performance by slowly losing some of that comfort in Fallon right down to the final scenes where he loses his humor, and physically Harris reflects the real fear in the situation. Fallon never falls apart, but Harris is great by realizing that he's still a man doing a very dangerous task. My favorite moment of Harris's performance and the film is at the end with naturally one last wire to cut. Harris builds to the moment so effectively, and then releases the tension with his final moment of comfort and perfect delivery of Fallon's very much earned self-congratulatory "Fallon is the champion".  I love the line because as much as it is a genuinely, for the lack of a better word, a cool moment for Harris, he also does brings that sense of a sigh of relief along with it. Harris absolutely owns this part from beginning to end creating such a captivating character that steals the film without question.

Alternate Best Supporting Actor 1974: Bruce Dern, Scott Wilson, and Roberts Blossom in The Great Gatsby

This adaptation of the Great Gatsby though it could have used a little more vibrant direction, and there is a black hole at the center of it I still found to be a rather compelling film. This is in part due to the screenplay by Francis Ford Coppola but also due to the overall ensemble. Although there is that black hole in the center of it with Robert Redford in the titular role, who despite being well cast seems indifferent to the film, which is rather problematic for Gatsby a man with a passion infused purpose. The rest of the performers though make up for this including two of the main supporting actors of the film, and technically a minor one.

The two major ones though are Bruce Dern who was not Oscar nominated despite being nominated for a Golden Globe for portraying Tom Buchanan the lecherous husband of Daisy (Mia Farrow) the object of Gatsby's affections, and Scott Wilson who was not Oscar nominated as George Wilson the working class husband of the woman, Myrtle (Karen Black), Buchanan is having an affair with. Both roles honestly could have been simplified through the performances. In Dern's case Tom is a truly despicable character who even beyond his lechery indulges in brief physical abuse of his mistress, and espouses on his views on white supremacy. Meanwhile Scott Wilson's George is a fairly simple minded gas station owner who only slowly comes to even realize that his wife his having an affair despite the fact that she and Tom do little to hide it. In both circumstances they avoid any simplicity that lesser performances could have entailed. Dern in no way hides the miserable nature of Tom portraying the vile smugness when espousing his beliefs, and the limited selfishness when berating his mistress. Dern still makes Tom a human being if a vile one. In even his cruel scenes with Myrtle Dern portrays it less as Tom being intentionally sadistic, but rather depicts it the troubling reaction of a spoiled man who is not getting something exactly as he wants it. This is pivotal though in Tom as he does love Myrtle and this is shown in Dern's performance. I also love Dern in the scene where he spends time with Gatsby and Daisy. Again Dern's terrific by not playing into a villain but rather bringing an awkwardness and even shyness in Tom as he tries to hide his distress while struggling with his wife's infidelity. Obviously what Dern brings to the role doesn't make Tom any more sympathetic, even his pains involve a severe hypocrisy but what he does do is create a three dimensional role that could have been a one note villain. This leads to there even being some real power to Dern's performance particularly when a terrible tragedy occurs as Dern realizes the heavy loss in Tom, which doesn't make him a better man, but does show that he's human.

Scott Wilson, as usual really, excels with his brief screentime initially revealing just a real earnestness in his George. Wilson brings the right simplicity of attitude that grants an understanding to his initial blindness. He delivers his early moments just with the proper friendliness of a man of his nature where it would be beyond him to second guess his wife. We don't see him learn of the truth but we do see him after he has discovered it. Wilson is great in revealing just the quiet subdued pain in the man who really doesn't want anyone to know about his foolishness, yet Wilson brings such a palatable distress as the man speaks to finally figuring everything out. Wilson's George ends up carrying out the second most horrific act in the film, however what he does in the role creates a direct sympathy for the poor man's plight. Even when committing the violent act at the end of the film. Wilson is very moving by portraying the sheer weight of the emotional anguish that propels the man to his horrible actions. Again a role that could have just been the fool, or just a plot device. Wilson is neither as he offers a real insight into George's suffering, and makes him a victim rather than a villain.

Roberts Blossom did not receive an Oscar nomination for portraying Mr. Gatz in The great Gatsby.

My favorite performance in the film though is a rather short one by Roberts Blossom, yes the old man in Home Alone, who offered something rather special to that film as he does the same here. Blossom doesn't appear until the last ten minutes of the film as Gatsby's father with Gatsby's real last name Mr. Gatz. Blossom appears late after the tragic death of his son. What Blossom does here is absolutely remarkable in such short time, and yes I'll admit I have a particular affection whenever an actor can do so much with so little. He appears and underlying to begin with he is wholly heartbreaking in every moment as the loss of his son is felt in every moment of his performance. In every halted breath, and stumbling moment in his physical performance Blossom exudes the sheer grief that the man is suffering through. The extent of his sadness is so well realized as Blossom shows a man just barely keeping it together as he attends his son's funeral. This is not merely a heartbreaking depiction of grief, which it is, but there is such a richness to this portrayal that goes beyond that despite how potent and poignant that aspect of his performance may be. Blossom brings a certain discovering in his depiction realizing the man finding out what it is his son became though with that there is a sense of confusion of the man trying to come to terms with what his son became. Blossom finds that confusion but also a bit of pride as he speaks of his son's ambition and his search for his son. Blossom finds everything that that his son meant to Mr. Gatz, and everything that his loss meant to him. Although he's only onscreen for a few minutes I found his worked resonated more than any other in the film. It went even beyond that because as much as this performance works as such a powerful portrayal of a father's bereavement he also made me care more about Gatsby than Redford ever did. Blossom finds the tragedy of the man who gained everything only to lose it all, and he didn't even play that character. This performance is a testament to what a great character actor like Roberts Blossom can do even in the most minor of roles.

Alternate Best Supporting Actor 1974: Ken Takakura in The Yakuza

Ken Takakura did not receive an Oscar nomination for portraying Ken Tanaka in The Yakuza.

Ken Takakura enters the Yakuza as the man to help the American Harry (Robert Mitchum) navigate the Japanese underworld in order to rescue Harry's businessman friend's daughter. We see the film through Harry's eyes, however with an edit of the film it would be easy enough to establish Tanaka as the main character though in a way this would be a different film. In the story we see Harry coming to terms with his past, while trying to deal with the future. Mitchum makes Harry a very open hero however Takakura's Tanaka is far more constrained. We initially meet him teaching at a dojo and Takakura's performance is very exact in his realization of the expression of Tanaka as a man. On the surface when speaking about the job he'll help Harry do, since he owes him for saving his "sister" long ago, Takakura portrays sincerity in his pledge to help. He portrays a man seemingly ready to help, however underneath this Takakura carries a greater complexity. From his first glance to Harry Takakura evokes in his eyes pain of the past in regards to the man, and carries this certain underlying tension in his interactions with the man.

Takakura's performance works particularly well as a companion work to Mitchum's and a contrast to it. On the one side of it Takakura is very effective, as Mitchum is, in the action scenes. He brings the right type of "cool" so to speak in these scenes though Tanaka takes on foes with the sword while Harry uses a gun. As with Mitchum the action scenes are never something taken lightly within Takakura's performance, although he technically goes even further with this partially due to the overtly physical nature of the action he participates in. Takakura brings a real weight to every moment by portraying every ounce of the battles in his own performance. This is in part due to realizing the physical exasperation of the fight, particularly in the final duel, but he also captures the emotional intensity involved. The fight becomes very personal for Tanaka, partially due to honor partially due to loss, and this is never lost in Takakura's performance. In every moment of the fight what motivates the man is keenly felt and makes every action scene all the more compelling because of this.

Again the contrast against Mitchum though is what is truly remarkably in this as Harry is the man we know pretty quickly, but Tanaka is the mystery of the film, the mystery who slowly unravels in order for us to understand. Takakura's performance is always in an exact tandem with this unraveling and through this makes the most compelling aspect of the film. After the initial rescue, which only leads to greater problems for Ken, which Harry tries to help him with. There's a great scene for Takakura where Harry tries to counsel him on what to do with his severe problem involving honor and the Yakuza where Ken's life is on the line. Takakura is amazing in the scene because every line of delivery has an abruptness, even a coldness of a man who doesn't care much about what Harry is saying, and just will do what he needs to do for himself. In every words about Harry, particularly when Harry speaks about his "sister's" concern for him, there is such a palatable anguish within Takakura's eyes. Takakura is deeply affecting as a reveals the real man suffering beneath essentially the requirements of honor, alluding to what the man is really going through even before we learn what that is.

Takakura is terrific in keeping in this dual nature of the man as he does portray an absolute conviction within the honor, yet there is always the sense of the sacrifice this entails. Takakura keeps in mind this idea throughout his performance though in every moment large or small, in even a slight reaction such as watching Harry being embraced by his "sister", there is those subtle hints to the far more vulnerable man who is burdened by his giri, his obligation, due to when Harry's past actions saved his "sister's" life. Eventually we learn the truth of the man which is that Harry never had saved his sister but actually his wife, and his honor left him to support Harry even as the two had an romantic affair. This revelation is bluntly revealed in a heartbreaking moment as grieves over the death, due to a gunfight, of his thought to be niece but was in fact his daughter. Takakura reveals the severity of the loss in revealing the out pour of almost the full anguish of the man's life. That is not only an incredibly powerful moment in the scene itself, but looking at the revelation naturally grants an understanding to the whole of Takakura's performance.

With this mystery revealed Takakura's performance is interesting in that it is the same yet with the perspective of knowing the truth you see every moment of the man in a different and very poignant light. In that way we are much like Harry in the film who by the end comes to fully understand the sacrifices of Tanaka himself. This leads to the two men coming together to realize a friendship between the two. It's a great scene for both actors though especially so for Takakura. Takakura in the moment loses that tension between the two sides of the man as Harry offers his apology. Takakura opens up most honestly emotionally in the moment, no longer is directed around any pain, no longer with the distance to the man who both righted and inadvertently wrong him. There is such an earned tenderness and respect in his delivery of "No man has a greater friend" which is both heartwarming and devastating as we see that two men finally fully knowing one another. This is a great performance by Ken Takakura as he provides the hidden heart of the film through his slow dissection of this initial enigma of a man that grants a real substance to the film that elevates the potentially pulpy story.

Alternate Best Supporting Actor 1974: David Warner in Little Malcolm and His Struggle Against the Eunuchs

David Warner did not receive an Oscar nomination for portraying Dennis Charles Nipple in Little Malcolm and His Struggle Against the Eunuchs.

Ah old David Warner the actor always giving such compelling work in the margins of any film he may appear, shining so well if he's ever allowed the center of a film. Thankfully we are granted some undiluted Warner here in about three or four scenes as one of the friends of the titular Malcolm (John Hurt), the recently kicked out of college pseudo thinker trying to create a phallic based political party. We are introduced to Warner's Dennis Charles Nipple last out of the principal players as he engages in a philosophical, and somewhat practical conversation on the quality of a jacket. As I mentioned in my review of John Hurt's performance in this film the script still feels very much of the stage. Like Hurt, Warner is such a great performer though that he manages to elevate the script and alleviate this problem to the certain extent through his performances. The monologues are perhaps too long, but they aren't too shabby when delivered by an actor of Warner's caliber. Warner is engaging simply to watch and speak in this role to begin with, however Warner takes this further through his successful approach to the role of Mr. Nipple.

Although before that I must commend the film for the costuming on Warner here which is something special in itself. Warner does not waste that useful starting point from the first scene on. Now his performance works best in terms of specifically how it relates to John Hurt's not only in terms of their chemistry but also how he makes Dennis differ from Malcolm. Now on one end you see how these two are friends as they meet each other in terms of their love of philosophical argument, although each seem to get something different out of this. The argument itself that opens their first scene together is quite useless about knowing "proper corduroy" though the two great actors make the most of it in certain terms in that is rather amusing to see both men bring such a misplaced intensity in this conversation. The nature of the intensity is a bit different though in that Hurt portrays a real frustration in not being able to convince Dennis on his belief, whereas Warner portrays a different dynamic. Warner portrays always a certain thrill, a real pleasure of just having the conversation itself, he brings just a little bit of frustration towards Malcolm, but Warner captures that natural friendly frustration when trying to get a point across, something I experienced myself quite recently in a discussion over whether Mother! is a masterpiece or a piece of trash, but I digress.

Past their direct arguments over their own specific viewpoints there is also a difference in the nature of the stance and frankly the use of their philosophy. Warner makes the passion in Dennis far more genuine and shows that the man doesn't use his personal views to build any facade for himself. Warner depicts a real comfort in his views and even when they may be ridiculous in his own way Warner makes Dennis rather endearing by making his passion so honest. When describing his own dreamlike experience from not eating Warner delivers this was such a sincerity, as a man trying to share his own wonderment, and potential illumination rather than force upon them like Malcolm. When Warner speaks Dennis's words there is the spirit of a man truly of this nature as Warner portrays Dennis wholly at comfort with himself. This is in stark contrast to Malcolm, but also Malcolm's other two friends Wick and Irwin whose connection isn't as fellow amateur philosophers, but rather are there for Malcolm's guidance. Warner's terrific when they enter as he shows very specifically that Dennis is only there for the discussions with his friend, through his reactions where he establishes just how unimpressed he is with Malcolm's followers.

Dennis sticks around for the beginnings of Malcolm's political movement, however the way Warner's maneuvers these scenes are key. Warner takes on an endearing curiosity and even playfulness suggesting Dennis sees it just as a game, and mostly there to just spend time with his friend. Warner keeps the right distance as just a man really playing around, which is in an effective sharp contrast to the bluster of Malcolm, and the blind devotion of Wick and Irwin. The one moment Dennis really does speak up early on is to offer a different more respectful view of women through one of his stories, which Warner again brings a gentle passion that stands against the viciousness of Malcolm's party. Dennis not really being into the phallic party is what leads to Warner's final scene where he is put on trial for his "crimes" by Malcolm and the other two. In this scene Warner once again begins with Dennis not taking too seriously as he protests the claims against him with the concern of playing game, however this changes when Malcolm sentences Dennis to ostracization and "death". Warner in this moment importantly captures the man outside the game in a way by so well expressing his eyes the growing sense in Dennis that there may be something seriously wrong with Malcolm. Warner is rather heartbreaking even in capturing a realization of the severity of the game, and the simple betrayal of friendship Dennis assumed they shared. Warner gives wonderful work here as he is not only one of the watchable aspects of the film, he alleviates some of its problems, and is pivotal in creating a wholly sympathetic, though still atypical, man to provide almost the antidote to the venom of our central character.

Alternate Best Supporting Actor 1974

And the Nominees Were Not:

Ken Takakura in The Yakuza

Richard Harris in Juggernaut

David Warner in Little Malcolm and His Struggle Against the Eunuchs

Christopher Lee in The Man With The Golden Gun

Roberts Blossom in The Great Gatsby

Alternate Best Supporting Actor 1974: Results

5. Marty Feldman in Young Frankenstein- Feldman gives an entertaining and enjoyable performance.

Best Scene: Igor says what his father would say in rough times. 

4. Martin Balsam in The Taking of Pelham One, Two, Three- Balsam does a great job of humanizing his hijacker, and makes it easy to follow through his own small story within the film.

Best Scene: Mr. Brown reacts to the first murder. 

3. John Huston in Chinatown- Huston gives a great villainous performance creating a fantastic mystery within his character who acts warmly, but evil seems lurking beneath his grin.

Best Scene: Gittes first meets with Noah Cross. 

2. Robert Shaw in The Taking of Pelham One, Two, Three- Shaw gives an excellent performance as a steely cold and calculated villain.

Best Scene: Mr. Blue kills the first hostage. 

1. John Cazale in The Godfather Part II- Good Prediction RatedRStar. Although I do love Shaw's and Huston's performances Cazale does fairly easily win this year for me. He too could be argued as playing a villain, but Cazale turns his character's pathetic plight into a truly heartbreaking portrait of a brother who just was never good enough.

Best Scene: " I'm your older brother Michael"

Overall Rank:

1. John Cazale in The Godfather Part II
2. John Huston in Chinatown
3. Robert Shaw in The Taking of Pelham One, Two, Three
4. Richard Harris in Juggernaut
5. Robert De Niro in The Godfather Part II
6. Ken Takakura in The Yakuza
7. Lee Strasberg in The Godfather Part II
8. Michael V. Gazzo in The Godfather Part II
9. David Warner in Little Malcolm
10. Roberts Blossom in The Great Gatsby
11. Harrison Ford in The Conversation
12. Bruce Dern in The Great Gatsby
13. Martin Balsam in The Taking of Pelham One, Two, Three
14. Robert Duvall in The Godfather Part II
15. Sylvester Stallone in The Lords of Flatbush
16. Eddie Albert in The Longest Yard
17. Scott Wilson in The Great Gatsby 
18. Ben Johnson in The Sugarland Express
19. David Warner in From Beyond the Grave
20. Richard Jordan in The Yakuza
21. Marty Feldman in Young Frankenstein 
22. Harvey Korman in Blazing Saddles  
23. Gene Wilder in Blazing Saddles  
24. Holger Lowenadler in Lacombe Lucien
25. Kris Kristofferson in Alice Doesn't Live Here Anymore
26. Christopher Lee in The Man With the Golden Gun
27. Ian Holm in Juggernaut 
28. Gene Hackman in Young Frankenstein
29. Hector Elizondo in The Taking of Pelham One, Two, Three
30. John Cazale in the Conversation 
31. Paul Williams in Phantom of the Paradise
32. Robert Duvall in The Conversation
33. Vincent Gardenia in Death Wish  
34. Harvey Keitel in Alice Doesn't Live Here Anymore
35. Tony Roberts in The Taking of Pelham One, Two, Three  
36. Anthony Hopkins in Juggernaut 
37. James Shigeta in The Yakuza
38. Cyril Cusack in Juggernaut 
39. Peter Cushing in From Beyond the Grave
40. Gig Young in Bring Me the Head of Alfredo Garcia
41. Robert Webber in Bring Me the Head of Alfredo Garcia
42. Freddie Jones in Juggernaut
43. Paul Sorvino in The Gambler
44. Kenneth Mars in Young Frankenstein
45. Lee Wallace in The Taking of Pelham One, Two, Three  
46. James Hampton in The Longest Yard
47. Clifton James in Juggernaut
48. Geoffrey Lewis in Thunderbolt and Lightfoot
49. James Caan in The Godfather Part II  
50. Roy Kinnear in Juggernaut
51. Donald Pleasence in From Beyond the Grave
52. Denholm Elliot in The Apprenticeship of Duddy Kravitz
53. Omar Sharif in Juggernaut
54. Michael Gorrin in The Taking of Pelham One, Two, Three
55. Allen Garfield in The Conversation
56. Fred Astaire in The Towering Inferno
57. Warren Oates in Badlands 
    
58. John Gielgud in Murder on the Orient Express
59. Jerry Stiller in The Taking of Pelham One, Two, Three 
60. Charles Tyner in The Longest Yard
61. Perry Lopez in Chinatown 
62. Michael Byrne in Butley
    
63. George Kennedy in Earthquake
64. William Daniels in The Parallax View 
65. Gerrit Graham in Phantom of the Paradise
66. George Kennedy in Thunderbolt and Lightfoot 
67. Richard O'Callaghan in Butley
    
68. Dick O'Neill in The Taking of Pelham One, Two, Three 
69. G.D. Spradlin in The Godfather Part II
70. Earl Hindman in The Taking of Pelham One, Two, Three 
71. Roshan Seth in Juggernaut
72. Herb Edelman in The Yakuza
73. John Schuck in Thieves Like Us
74. Joseph Wiseman in The Apprenticeship of Duddy Kravitz 
75. John Steadman in The Longest Yard
76. John McEnery in Little Malcolm
77. Raymond Platt in Little Malcolm
78. Ian Carmichael in From Beyond the Grave
79. George Memmoli in Phantom of the Paradise
80. Anthony Perkins in Murder on the Orient Express 
81. Larry Hagman in Harry and Tonto  
82. Randy Quaid in The Apprenticeship of Duddy Kravitz
83. Morris Carnovsky in The Gambler
84. Hume Cronyn in The Parallax View
85. Henry Winkler in The Lords of Flatbush
86. David Wayne in The Front Page 
87. Jim Siedow in The Texas Chainsaw Massacre
88. Kris Kristofferson in Bring Me the Head of Alfredo Garcia
89. Richard Kiel in The Longest Yard
90. Richard Pryor in Uptown Saturday Night
91. Gaston Machin in The Godfather Part II   
92. Sean Connery in Murder on the Orient Express
93. Frederic Forrest  in The Conversation
94. Gunnar Hansen in The Texas Chainsaw Massacre
95. Jack Warden in The Apprenticeship of Duddy Kravitz
96. Brian Keith in The Yakuza
97. Richard Widmark in Murder on the Orient Express 
98. Michael Lerner in Busting
99. Vincent Gardenia in The Front Page
100. Bert Remsen in Thieves Like Us 
101. Harold Gould in The Front Page
102. Lorne Green in Earthquake
103. Charles Durning in The Front Page
104. Ian Ogilvy in From Beyond the Grave
105. Alfred Lutter in Alice Doesn't Live Here Anymore 
106. Calvin Lockhart in Uptown Saturday Night
107. David Hemmings in Juggernaut 
108. Perry King in The Lords of Flatbush 
109. Ian Bannen in From Beyond the Grave
110. Michael Conrad in The Longest Yard
111. Joe Mantell in Chinatown
112. Harry Belafonte in Uptown Saturday Night
113. Allen Garfield in Busting
114. Alex Rocco in Freebie and the Bean 
115. Ed Launter in The Longest Yard
116. Wlater Ladengast in The Enigma of Kaspar Hauser
117. Bruno Kirby in The Godfather Part II
118. Martin Balsam in Murder on the Orient Express  
119. Robert Vaughn in The Towering Inferno
120. Denis Quilley in Murder on the Orient Express 
121. William Holden in The Towering Inferno
122. Michael York in Murder on the Orient Express  
123. Christopher Morley in Freebie and the Bean
124. Edwin Neal in The Texas Chain Saw Massacre
125. Hervé Villechaize in The Man With the Golden Gun
126. Walter Matthau in Earthquake
127. Paul A Partain in The Texas Chain Saw Massacre
128. Richard Chamberlain in The Towering Inferno
129. Allen Danziger in The Texas Chain Saw Massacre
130. William Vail in The Texas Chain Saw Massacre
131. Clifton James in The Man With the Golden Gun

Next Year: 2011 Supporting

Alternate Best Supporting Actor 1974: Marty Feldman in Young Frankenstein

Marty Feldman did not receive an Oscar nomination for portraying Igor in Young Frankenstein.

Marty Feldman portrays the rather strange looking Igor although wearing his black hood, having a hump that changes side, and Feldman's own bulging eyes. Young Frankenstein is of course an extreme comedy in that it is only going for comedy and lots of it. Even if there is the slightest sort of a dramatic moment in the film there will be a joke still instantly afterwards. The film though does sort of take one thing seriously which is replicating the look of the old horror films of the thirties, and to a degree does the look part partially as well.

Feldman slinks around in the film much like one would in one of those old movies, and even says yes master constantly as well. Aside from the yes masters and the way he scurries about this is a completely comedic performance. His performance mostly consists of little humorous aside to the main scene whether it is a look, or a strange comment that he makes about something about himself, or some sort of slightest pestering comment against Dr. Frankenstein.

Feldman handles his very specific role, and most of his little reactions, and quite amusing, and many of them are hilarious. Feldman has quite a bit of fun having the dichotomy of the look of his character which is very much that of the 30's monster movies, but with an entirely modern manner in his portrayal of Igor's personality. It works quite well for the part, and Feldman certainly creates some of the highlights of the film.

Technically speaking his character is the most constant in the film as his role is quite firm which is making funny and bizarre observations throughout. Feldman makes the most out of all his moments though and they are terrific. One little moment I particularly find hilarious is his remarks about what his father said in times of distress. Feldman gives an entertaining and enjoyable comedic performance in the film that hits just the right notes.

Alternate Best Supporting Actor 1974: Robert Shaw in The Taking of Pelham One, Two, Three

Robert Shaw did not receive an Oscar nomination for portraying Bernard Ryder "Mr. Blue" in The Taking of Pelham One, Two, Three.

Robert Shaw portrays the leader of the hijackers who controls the train in his power, and makes the contact with the authorities. Shaw takes unquestionable command with his performance here as Mr. Blue. From his very first scene where he commands the train driver that he is stealing his train, Shaw handles with such insurance. He breaths a constant intensity in the part that is absolutely cold and controlled at all times. From the start he shows that Mr. Blue is a force that is not to be dealt with lightly in any way.

Shaw is master villain here, and it is marvelous to watch him build such a threatening character yet keeping the character extremely calm and cool throughout the film. I particularly love the scene where he tells the hostages they are hostages and tells them that with his machine gun he could kill all of them before they could even get out of their seats. There is an incredible underlying intensity that shows that every threat he makes he will be able to fulfill quickly without a second thought necessary. Shaw makes Mr. Blue a truly imposing force throughout the film.

Shaw, even though Mr. Blue is indeed very calm and collected individual, never for an instance makes this a one note performance. Shaw has a great deal of fun alluding to the background, as well as motivation of Mr. Blue even though this really is not given too much time. These come in his terrific scenes with Martin Balsam's Mr. Green, and as I said in his review the two are great together. Shaw though is spectacular becuase he honestly makes the ability for Blue to go from threatening a group of people with two to casually talking about not wanting to sell insurance both entirely natural, as well as properly humorous. The same goes for every little short aside with Walter Matthau when Matthau's Garber makes a snarky comment toward, and Shaw perfectly comes back with Blue's bluntness to Garber's jokes.

Shaw also has a lot of delicious fun with just the overt Britishness of his character. Blue was a soldier in the British army and it clearly has rubbed off on him. Shaw shows that the way he handles the train is much like the way a strict commander would handle his troops, but as well he has lighter entertaining moments from his outstanding diction and his always proper use of British language. One moment in particular that is superb is when Mr. Blue tells to put two men approaching the train to put their hands in evidence, but quickly has to adjust to telling them to put their hands up. Shaw so well uses such small subtle moments to endless benefit in this performance.

In this great underrated film humor and serious moments are intertwined flawlessly from scene to scene, and Shaw aids in this along the way with the moments with Balsam and Matthau in particular, but he the strongest moments of the film due come in the more dramatic moments. For most of the time things go absolutely according to Blue's plan which he states without hesitations, Shaw presses this point especially well when he lists a long lists of demands and in his entirely confidant fashion says that he'll shoot a hostage if any of the demands are not met. There is no grey area in Shaw performance, Blue will not be convinced to do anything other than he has determined to do.

His two most powerful moments in his performance are the two scenes where Mr. Blue kill someone. The first which is retribution for one of his men being fired on is made especially chilling by Shaw because of how welcoming and pleasant he is toward the man he is leading toward his death. The actually killing is done quickly in a purely business man like fashion, but the equally strong moment of Shaw's performance is the deadly look he gives his psychotic subordinate Mr. Grey who he stares down showing clearly who is in charge. After the killing Shaw important;y does not show remorse in Mr. Blue, but rather when contacting Garber again only angry frustrations for being forced to do his own perceived duty to carry out his personal mission.

The second killing comes in the form of dealing with Mr. Grey, which Shaw again shows purely efficiently, with just the slightest distaste in his face, not for his action, but for having to ever have to deal with the sort that was Mr. Grey. Shaw makes Mr. Blue as the greatest villain he possibly could have been. A portrait of a brilliant commander who has taken on a different endeavor, than his training was for but still handles the new situation with all of his skill. Shaw makes Blue a completely imposing villain that always does things his way no matter what, even at the end of the film where it seems he has only one option Blue still goes out his way, and Shaw portrays this final act like a man who only does things the way he wants. All together Shaw makes Mr. Blue an entertaining, chilling, and imposing villain all at once.

Alternate Best Supporting Actor 1974: Martin Balsam in The Taking of Pelham One, Two, Three

Martin Balsam did not receive an Oscar nomination, although he did receive a BAFTA nomination for portraying Harold Longman "Mr. Green" in The Taking of Pelham One, Two, Three.

Martin Balsam portrays Mr. Green one of the hijackers of a subway train who hold several passengers hostage for a million dollars. Mr. Green is the hijacker with the greatest knowledge of the subway, and is the only one who is able to drive. He also is the one who has the clearly the greatest conscience of the group, as the hijackers' threat is to kill one hostage per minute after the hour time they have given for the million dollars to reach them.

Balsam performance certainly is not the focus of the film, and really the role of Green could have been forgotten in the light of the main villain Mr. Blue. Balsam though very important does make the most in humanizing one of the hijackers very well. Balsam does not try to make Mr. Green overly sympathetic in any way in regards to any sort of pleading with the audience, Mr. Green still is doing it for the money, but the humanity of Green created by Balsam especially when compared to the others is subtly but powerfully handled by Balsam.

Balsam's performance is made up of quite a few reactionary moments that are extremely well played by him. They are mostly in when Green sees the full extent of Mr. Blue's plan, and that his threats are entirely true. Balsam makes everyone of them impact well as he shows that Green really is in it far deeper than he ever wanted to be, and he portrays an honest realistic disbelief in who is essentially just an average joe who happened to come in on a job that really is not in his line in any way. Balsam is quite moving in just these small important moments best out of anyone portraying the severity of the situation.

My favorite human moments though come in his short little conversations with Mr. Blue as they wait for money. He and Shaw are great together in the way they play off the extreme contrasts in terms of the personality, but in at the same time there is a certain camaraderie and respect between the two as two men working on a project. The two have some nice humorous moments particularly when Balsam talks about Green's reason for firing which was a crime he did not commit. The two back and forth in the moment is terrific showing a human side to both character but not at all compromising the intensity of the later scenes in the film.

Balsam gives a very good performance by making Green likable, and he even effectively twists the audiences sympathy just to the right making it so you do not want the hijackers simply all to be killed. He turns Mr. Green into any actual normal man who embarks on a rather foolish endeavor. Balsam allows us to follow Mr. Green through this decision all the way through both the lows, and the seeming highs. He believably shows entirely genuine reactions to what Mr. Green goes through the entire film. Balsam with a character who could have been a throwaway he makes Green three dimensional, and doing so adds greatly to his film.

Alternate Best Supporting Actor 1974: John Huston in Chinatown

John Huston did not receive an Oscar nomination for portraying Noah Cross in Chinatown. 

Chinatown is a fantastic mystery and the man behind the mystery is John Huston as Noah Cross. Huston actually is in only in a total of three scenes in the film, but he makes tremendous impact in each of his scenes. Noah Cross is a rich and powerful man who owns the water department formerly with the deceased Hollis Mulwray, who just happened to married to Cross's daughter Evelyn (Faye Dunaway). He is heavily embroiled it in it in some way and for some reason and private detective J.J. Gittes (Jack Nicholson) is determined find out how and why.

Huston handles his first scene impeccably when Gittes first meets him to question him. Huston has a tremendous presence, which could not be used better than it is here. He gives an even better similar type of performance as Lee Strasberg did in the Godfather Part II. Like Strasberg Huston does convey a certain grandfatherly quality in his performance a welcoming warmth as he speaks to Gittes, an ease in his personality that makes it easy to see how he could easily convince other that he has no ill intent toward others.

Huston though masterfully brings to life the two faces of of Cross as Gittes talks to him. Through every little extra question that Cross launches back at Gittes there is something very dark beneath the surface of this man. Huston keeps what exactly it is appropriately as a mystery, but he makes a truly striking dynamic between the apparent warmth of the man, and the more calculated murky side of him. There talk is an incredible scene  for Huston and my favorite moment of it is a purely silent one. He waves at some riders with a big kindly smile, but hearing another question Huston effortlessly morphs his expression into that of a man with horrible secrets.

Next we see him is when Gittes has found much of the truth about him and attempts to confront him. Huston creates an imposing villain in the screen, and the evil of the character especially prevailing. Huston is absolutely terrifying in how calmly talks of Cross's evil deeds which Cross feels no regrets over. Huston does not compromise what he established making Cross all the more chilling of villain. Huston still has that warmth here, which he still plays as such even though he means nothing warm in the way he talks, which makes Cross an especially compelling villain. Even when he threatens Gittes it is with a quiet genial command that made as very threatening due to Huston terrific portrayal here.

Noah Cross in the end does not lose in the film, and really Huston is the one who makes there no question to why this happens. Even when Gittes is trying his best to take him down Huston never loses the command of his character who pulls right to the front of every situation, no matter what the odds might seem to be. Huston through his three scenes makes Cross an unforgettable villain that controls the film without any seeming effort, and is a very disturbing portrait of depravity. In final act of the film as Cross comforts his "granddaughter" is made absolutely horrifying by Huston due to with such ease Cross is able to hide his evil. Huston gives an outstanding performance that makes a great villain with very little time at his disposal.

Alternate Best Supporting Actor 1974: John Cazale in The Godfather Part II

John Cazale did not receive an Oscar nomination for portraying Fredo Corleone in The Godfather Part II.

In the Godfather Saga every actor who played a son of Vito, even his step son, received an Oscar nomination except for John Cazale who played Fredo. Just like in the group of brothers Cazale is the forgotten and mistreated brother, he is not considered smart like Michael, or tough like Sonny, he is seen more like a nothing. This is unbelievable though as Cazale is good in the first film even if his part that is rather limited, but he takes what he did in the film and is amazing in Part II.

It is quite strange that Cazale was completely forgotten for this film as there most certainly was a Godfather love fest by the academy, and it received three nominations in Supporting Actor. Where they honestly more impressed by Michael V. Gazzo in the same film, that seem very unlikely. Was it that he also gave a good, but less substantial performance in the Conversation the problem. Well the way his performance was in that best picture nominated film would only help his chances for this film. His snub is a true head scratcher.

In his early moments Cazale suggest the pathetic nature of Fredo, as he is unable to control the woman who has come with him, establishing his weakness. There is also perhaps a bit of naivety that Cazale has in his interactions with Michael in these early scenes. Cazale shows that Fredo really has  failed to fully grasp how much really Michael has changed, and views him as far somewhat still as his kid brother, and no longer as the cold man he has become.

One thing great about Cazale is he is never afraid to show that Fredo really is stupid. He certainly never overplays this lack of intelligence, but brings it to life without fault. In fact Cazale shows Fredo's lack of intelligence as the sad truth behind his downfall. In his phone call at night suggesting what Fredo did to Michael, Cazale is excellent portraying his complete lack of understanding of the situation as well, but as well as bringing to life the piercing guilt and fear over what he has done.

Cazale's strongest moments though all come when he directly interacts with Michael. Firstly in his small moment where he talks to Michael, and attempts to hide his guilt in an attempted hit against Michael, well showing what is a genuine love for Michael he does has as well. Cazale though shows that Fredo really is a jumble of emotions, and cannot really properly control them at any time, such as in this scene where he tries to really talk to Michael, but is unable to get over what he done either.

His single best scene though is when he finally describes to Michael why he did what he did. Fredo did not do it for anything truly malicious, but Cazale honestly portrays he wanted something something for himself, and to be able to have something that would allow him to be something other than the forgettable dumb brother. Cazale is completely heartbreaking in this scene becuase he does not show his anger toward Michael from any ambition of an evil man, but just from a sad child who wanted more.

This a truly tragic depiction of a character, and it certainly is one of the most powerful ever portrayed. Cazale gives a flawless performance here, that is only ever is genuine. His performance stays honest as he never does seem to try to steal the spotlight as Fredo, as that would be incorrect to the character, yet he manages to do it in his own quiet and very moving fashion. This is simply one of the greatest most poignant supporting performances ever given, and the fact he was nominated is one of the biggest mistake in the Academy's history.

Alternate Best Supporting Actor 1974

And the Nominees Were Not:

Martin Balsam in The Taking of Pelham One Two Three

Robert Shaw in The Taking of Pelham One Two Three

John Huston in Chinatown

John Cazale in The Godfather Part II

Marty Feldman in Young Frankenstein