Alternate Best Supporting Actor 1978: Results

5. Bruce Dern in The Driver - Dern brings the right color to his purposefully minimalist role, finding the character through his eccentric presence.

Best Scene: Ending.

4. Scott Reiniger in Dawn of the Dead - Reiniger delivers the strongest performance in his film, creating a unique and moving arc within a zombie narrative.

Best Scene: "Perfect baby"

3. Barry Bostwick in Movie Movie - Bostwick best realizes the tone of his film, delivering a properly lively musical performance that has the right fun with the approach.

Best Scene: "I just need the Girl"

2. Christopher Plummer in The Silent Partner - Plummer delivers a properly diabolical turn who only hides his most overt psychopathy for a bit of sadism.

Best Scene: "We're partners"

1. Yaphet Kotto in Blue Collar - Good prediction Luke. GM, Tahmeed BRAZINTERMA, John Smith and Calvin. Kotto makes a memorable impression in the film offering so well a vivid sense of his character's camaraderie with his co-stars, but also the sense of his alternative perspective. 

Best Scene: Speech. 

Updated Overall

Next: 1983 Lead

Alternate Best Supporting Actor 1978: Christopher Plummer in The Silent Partner

Christopher Plummer did not receive an Oscar nomination for portraying Harry Reikle in The Silent Partner.

Christopher Plummer, whose film career has been a little random in terms of jumping into the size, scope and quality of parts, perhaps alluding to why stage other stage preferring actors like Paul Scofield and Mark Rylance tended to be a bit more selective. Plummer though in this thriller gets a more than decent sized role, and a chance to show a very different side of himself, from his then most famous film role as Captain von Trapp in The Sound of Music. This as the villain of this thriller, the bank robber, whom bank teller Miles (Elliott Gould) figures out a way to steal from, so in the robbery Miles takes the majority of cash his Reikle would've taken. Technically speaking Miles is the smarter of the two players in this game, but Reikle has an advantage. That being he's a psychopath. Although Plummer is memorable enough as a mall Santa Claus with a far to incisive stare for father Christmas, his greater impression comes when he goes about targeting Miles to get the rest of his theoretical money. This beginning with a phone call and a quiet threat from Reikle, while Miles is trying to romance a co-worker. Plummer's usually quite dignified voice is used here to great effect in being extremely menacing as Reikle notes that Miles is trying to do the woman he is with, what he did to Reikle. Plummer making an immediate sense of a particularly unnerving perversity within that menace. This continues in Plummer's work as Reikle essentially congratulates Miles on his cleverness, which his technically admiring words are delivered in a playful though in turn altogether creepy fashion. Plummer though reinforces always Reikle more direct intention in his eyes that always suggest that real killer's intention for Miles, this being particularly remarkable when he peers through Miles's mailbox with a horrifying gaze.

Plummer effectively sets a stake in place, as Miles finds a way to have Reikle imprisoned, temporarily. The threat though is never gone due to the impact that Plummer makes in those early scenes that show Reikle as someone not to be taken lightly. While in prison though he sends a woman, Elaine, to spy on Miles, though this backfires when she genuinely falls for him. Plummer has a fantastic moment where Elaine falsely reports to Reikle. This as Plummer finds a way to deliver this completely fake charm in his smile towards Elaine, as though he enjoys her in anyway, which he brilliantly subverts in the same moment he loses that falls display as his expression bears a sadistic glint in a matter of a moment. Plummer creating a terrific sense of unpredictability in his own performance, that creates a logic though of Reikle being just a killer at heart, though able to put on some minor airs, if barely, when needed. This as Plummer being an effortless and properly chilling creep. This when Reikle suddenly appears to Elaine, having gotten out of prison early, and makes an instantly tense situation in just the mere way he says "hey" with a vile sleaze. Plummer portraying Reikle as not even putting up any front as a particularly horrible prospect. When Reikle unleashes his real psychosis at Elaine, Plummer doesn't hold back in bringing the extreme sadistic nature of the man, showing both a sense of rage, but also worse this certain pleasure in it all. After this though Miles come to apparently cut a bargain with Reikle to give him the cash through another robbery. Plummer is great once again though by showing that with Miles Reikle still doesn't mind playing games. This delivering this artful flow as when Miles pushes back Plummer pushes the intensity up, but when Miles seems to give in at all, that faux affability comes back to Plummer's voice, as Reikle still wishes to play with his prey. In this penultimate confrontation though there small moment, but I think quite worth mentioning where Reikle questions Elaine's motives, which Miles affirms were devoted to him not Reikle. Plummer's reaction to this though helps to kind of show the effort of this work. This as he takes the time, in this reaction, to convey not exactly humanity, but a sense of real frustration in Reikle, subtle frustration, as he conveys how honestly takes in that information that Elaine wasn't so devoted to him after all. Not as a good person mind you, but still as a person. Of course, Plummer does indeed deliver on the main intention of this role which is to be an intimidating and reprehensible villain. This making his final scene particularly cathartic, amplified by how Plummer plays it. This beginning with a face brimming with smug sat as it appears his plan is going perfectly, until Miles pulls a trick, and Plummer's "aw crap" face is equally satisfying, for us. Plummer making for a proper adversary for our hero in Gould, and the proper force of evil any decent Hitchockian style thriller should have.

Alternate Best Supporting Actor 1978: Yaphet Kotto in Blue Collar

Yaphet Kotto did not receive an Oscar nomination for portraying Smokey James in Blue Collar.

The underrated Yaphet Kotto is always a welcome presence to any film that he shows up in. Unfortunately too often not the most well used performer throughout his career, and sadly just probably hit at the wrong time in terms of properly breaking out. Nonetheless here in Blue Collar, Kotto has a chance to shine, and doesn't waste it. Kotto playing one of the co-workers of the family men Zeke (Richard Pryor) and Jerry (Harvey Keitel), which his Smokey is not. As I mentioned in my review of Pryor, at the beginning of the film we get a real sense of the mutual plight but also the camaraderie between the men, even in the early scenes that play more towards a low key comedy. This in initially just portraying the frustration of the others. Kotto offering the mutual sense of sort low brow fun with them, though he offers a slightly different presence as a man with a bit more sketchy of a past. This is even though in the portrayal of initial frustrations, there is this slightly more stoic manner to Kotto, of perhaps someone with either a bit more wisdom, or at  least acceptance towards their current situation. Kotto's work balances though the comic with the dramatic, as well as known comic performer Pryor there. In fact Kotto has notable ease with Pryor that is worth noting, particularly when the two debate the attractiveness of a woman, and Kotto's comic timing is on par with Pryor, as he speaks with no shame his disregard for Zeke's praises of the woman. Kotto is endearing though as he describes an earlier incident of accidentally confronting a cop, where he balances the sense of humor of someone telling a good story. When Zeke mentions that Smokey also kills someone though, Kotto's change in manner in the moment is fantastic, and his easy, yet very textured way of saying "I never killed nobody". Kotto delivering an insistence almost not to be factored as a certain sort, however leaving an ambiguity within it suggesting in the quite the striking fashion the past of Smokey in just a few minutes of screentime.

Kotto's work is terrific in portraying someone who is in almost the same situation as the other guys, but there's a sense in his work of a slightly different perspective. This as even when the other men are more bluntly complaining about their existence, Kotto exudes an empathy to this, but also this blunt lack of surprise regarding it all. Kotto showing a man who has less in a way, but also has seen worse in a way. In this sense his urging then to steal from the corrupt union, it is with this glint in his eyes of a man just saying "why not". Kotto though is particularly great at finding a way in it by showing a man who is in the whole situation of it for the ride of it. This granting a sense of experience of the man with a shadier past, but also as someone with nothing to lose. Kotto accentuating this though as granting the man almost a certain insight that the others lack, or are afraid to speak. This when in their robbery they discovery evidence of corruption, Kotto depicts once again so well, by expressing a distinct lack of shock regarding the news. Kotto is amazing in the moment where he lays out the situation for the other two men directly. Kotto's philosophical speech about keeping people in their roles, is so artfully performed, as he brings such a real power, through how quietly actually he delivers it. This with just saying it as a man who is aware of it as just as a truth. With this declaration though Smokey suggests blackmail, to at least help themselves, and though low key his eyes deliver an incisive determination at essentially a little revenge. The plan though doesn't work however as the corrupt forces intend to do whatever it takes to rid themselves of the "leak" so to speak. This resulting in plans to basically peacefully convince Zeke and Jerry, but knowing Smokey has nothing to lose, plan more violent means for him. This is something that initially it appears Smokey is ready for. Kotto bringing a sort of confidence initially when two men come to try to take threaten him initially. Kotto offering frankly a badass cool about Smokey, as a man seemingly primed for the situation. This with Kotto making the most out of his few "leading" moments, as he watches the two men, Kotto just tells the sense of knowing, topped off with a little joy from a man who doesn't mind making a few thugs suffer a bit as he lures them into the trap. Kotto's great as he confronts the two men with a raw intensity, as we really see probably the man who might've murdered someone, although here used a good cause technically. Kotto though is a force in the scene as he shows a man purely in his element, though as he asks specially who sent them, he offers a proper glint of desperation of a man who also knows he might be in a corner. That desperation foreshadowing Kotto's final scene, where Smokey is locked in a paint room at their car factory purposefully to die. It's a horrifying scene, and Kotto is essential in this. This as his performance amplifies the terror of the situation, by showing the progressive sense of unease and downright fear, as the situation becomes more dire. Kotto delivering a raw visceral quality to it, as makes you feel the oxygen just slipping from him in each moment of it. Kotto creating a brutal end to his character, both in terms of the present moment, but seeing the life slowly slip from the man he makes so vivid to us. Although Kotto has the least screentime of the central trio, and is technically the supporting member, he never any less important in a larger part due to his performance. Kotto finding the right place with his work both as part of the group, but also in terms of memorably accentuating what sets him apart. This making it so even though we don't see him in final frame, the re-use of one of his lines leaves a remarkable impression because Kotto left such a remarkable impression as well.

Alternate Best Supporting 1978: Scott Reiniger in Dawn of the Dead

Scott Reiniger did not receive an Oscar nomination for portraying Roger "Trooper" DeMarco in Dawn of the Dead.

Dawn of the Dead is perhaps one of the best "cheap" movies ever made about four people who try to survive the zombie apocalypse.

Now I don't refer to "cheap" as the cost, as for the time anyways it wasn't all that low budget of a film. George Romero's work as director though doesn't have, we'll say, the typical expertise when it comes to the sound design which is a bit a shoddy, the cinematography kind of whatever it is, and even the makeup effects show an an inconsistency. This as while there are some very impressive ones, there's also times where we get some obvious dummies, and some terrible "zombie" looks that look like people just have a bit of blue paint on their face. I am I'll admit more directly critical with the less technical imperfections, that being Romero's attempts at social satire get a little obnoxious when the characters speak them by either saying the most on the nose lines possible, or BY YELLING EVERY LINE BECAUSE HUMANITY CAN'T GET ALONG, GET IT! I say all that though, because I do rather like this film overall despite all its flaws. One of the reasons being the moments in which it seems to take a strangely down to earth approach as we follow the four survivors, who just try to hole up in the mall, and follow the appropriate problems and joys they'll get in this endeavor. This is also helped by following squarely on four characters, a pilot, his girlfriend and two swat officers.

Although I'll say, much like the rest of the film, the acting does carry a certain amateurish quality, particularly the bit players, which thankfully we don't spend too much with. The most confident being I'd say is the Afghan prince himself, Scott Reiniger as one of the two sway officers. This is to the point that I actually think his performance is one of the most interesting things in the film, as he is neither the panicky idiot we find in zombie films, like David Emgee as the pilot Steve "Flyboy" Andrews or the stoic heroic type like Ken Foree as the other swat member Peter. Reiniger's realizes his more unique arc from the outset of the film where we initially witness his fear as he and the swat team engage government housing filled with zombies. This as Reiniger portrays a bit of the horror of killing other humans, however we see a bit of change as he we see him start to kill the zombies. There is no horror in this and Reiniger portrays what is most interesting about his characterization which is this certain sense of cool that develops from his performance. It's more remarkable that it is not immediately evident in his performance but rather develops as we proceed through the story, and Roger gets to do something important, which is kill a lot of zombies. Reiniger doesn't portray this as a necessary act, but rather this becoming this certain sport for Roger. The more the situation becomes like a horror film, the more he portrays it as a game for Roger, almost like a life calling. I especially love the joy that Reiniger exudes in his performance in the moments when Roger does his specific aim to knock the heads off the zombies, one would assume for maximum points. Reiniger's riff though works well though in making Roger stand out more than just the "extra" guy, in fact early on you might think he'd be the sole survivor, as we see a man who seems absolutely in his element in killing zombies. Reiniger brings a real thrill in it as they go about securing the mall to become their shelter, bringing such a life in his expression of a man who is basically living his best life as someone who has found his true calling. This in his physical ease in the part, and really the cool that he projects of a guy who has found an environment that supports his skills. Reiniger builds this effectively in his work by making him more and more carefree in each successive sequence. Doing it in a way, that he doesn't become pompous, rather you come to quite like Roger through this approach. Also worth mentioning in that though is his chemistry with Foree, where we do get a sense of camaraderie and warmth in the interaction between the two. Granting a sense of the mutual minds to part, with some nice moments of ribbing and mutual enthusiasm that create a good sense of the friendship between Roger and Peter. As they are further prepping the mall by using truck as barriers to the mall, Reiniger shows someone having way too much fun as he goes about it, and in a way creates the danger in someone with over confidence. This comes to a head when one of the zombies almost gets him. This we see a snap that Reiniger portrays well as this even greater energy in the man, but now as some kind of derangement. This as a manic energy, with his eyes as someone quite losing it to this adrenaline rush. His delivery of "perfect baby, perect" as calm as it is, it is anything but sane as this detachment from his situation. This naturally leading to even riskier behavior that leads Roger to be bitten. Turning what in way made Roger so engaging, his downfall quite remarkably. That thankfully isn't the end of Reiniger's performance, as he nicely segues this towards showing a return to modesty again, as he still manages to help the other even when disabled. This though with a sense within his eyes, of a man hit with more than humility. There is then a real poignancy we do find in his final moments of a drugged, almost zombified Roger, asking Peter to make sure not to kill him until he "comes back". His insistence that he'll "try not to come back" is moving as Reiniger having lost all that confidence and cool, but a bit genuine tenderness in the moment with Foree. I won't say this performance completely loses itself from that Romero "quality" in the acting, but this is a good performance that offers a lot more to this film than just being a typical zombie victim.

Alternate Best Supporting Actor 1978: Barry Bostwick in Movie Movie

Barry Bostwick did not receive an Oscar nomination, despite being nominated by a few critics groups, for portraying Johnny Danko and Dick Cummings in Movie Movie.

Movie Movie is two shorter films as a double feature, both directed by Stanley Donan, one a boxing movie fashioned around seemingly Golden Boy and the other a musical fashioned around 42nd Street. The boxing film doesn't work as the film seems unsure of whether it is a comedy making fun of an old school boxing picture or trying to be one. Fittingly the musical actually is rather enjoyable, as it manages to find the right tongue in cheek tone more suited to musicals to begin with.

One of the reasons, although there are many, the second half is so much more successful is the performances seem far more properly attuned. Although really I am just referring to Harry Hamlin's leading turn in the boxing section, that cannot decide if he's doing a parody or playing it straight, problem is it makes him neither funny nor earnest in the role. Now fittingly the old pros all seem to get it, Eli Wallach, George C. Scott, Red Button, Art Carney, but the relative newcomer, who also gets it, is one Barry Bostwick. Now just to note, he does play a gangster with a heart of gold in the first segment. I hesitate to even mention it as Bostwick has almost nothing to do, other than to look honest, despite being dressed like a crook. Well he does that, but it doesn't really stress his talents in anyway. Thankfully this all changes on the musical side of things. The musical that follows an impresario Spats Baxter (George C. Scott), who is hoping to have one last musical hit before he dies from a disease that effects mainly artistic types. Anyway, Bostwick in this half plays Dick Cummings, the klutzy new accountant for Baxter, and of course wannabe songwriter. Bostwick's performance now gets it, because he throws himself right into a musical of this ilk that would be from 30's, perhaps slightly heightened, but musicals typically were heightened anyways. Bostwick making for a proper klutzy potential romantic type early on in the segment, in quite artfully hitting his properly foolish marks. This with just the right wide eyed earnest quality in selling his nerdiness along with his movements befitting a scarecrow learning how to walk. Now as much as I did enjoy Bostwick being a goofy accountant, what really makes this performance worth noting, is when Spats, in need of a new composer, lets his accountant take a crack at it. Bostwick's performance of Dick's number of "I just need the girl", is a musical marvel. This as Bostwick just is wonderful every step of the performance, from his growing, and wholly contagious enthusiasm as he describes the instrumentation/while singing the song. Bostwick though throws his own entire self into the sequence, though in every step and movement as he conducts as he sings. Bostwick just exudes the best sort of energy in his movements that he remain scarecrow, but one in his steps, with just how much he does with himself in the scene. Bostwick is wildly entertaining capturing the very best of the classic musical style enthusiasm. Although that is the peak of his work, it's quite a peak, that I've found myself revisiting by just how much joy there is in the number is due to Bostwick's performance. Bostwick's work though is right attuned in every moment. This as he captures that right type of endearing energy, that has certain comical charm of it, but also works because of how earnest it all feels. The sort of melodramatic romance, of being pulled being the equally earnest ingenue or manipulated by the prima donna, Bostwick sells the best of ways. Whether this being the most sincere of smiles to inviting the ingenue, that proper hangdog expression, when hearing what the prima donna really thinks of him, or the pouring of somber goodwill when he insists he'll do right by a dying Spats. Bostwick hits the marks so well, and his work here seems to most understand the right path for Movie Movie. This is as he's delightful by finding the right combination by having the right good natured fun perhaps technically at the expense of the performances of the time, but also by just being one.

Alternate Best Supporting Actor 1978: Bruce Dern in The Driver

Bruce Dern did not receive an Oscar nomination for portraying The Detective in The Driver.

The Driver, which follows a, well, driver (Ryan O'Neal) who is a getaway specialist, was much derided in its time. Although I will say unfairly, I mean the technical virtues of the film alone should've guaranteed it some praise, but I'll say it was before its time. As the film exists purposefully as a specifically cinematic piece, and makes no illusions regarding this fact. The overused criticism of "style over substance" too often ignores that style itself can be enough, particularly if it is the intention of the piece. That is the case for the Driver, which I suppose I will defend as a proper strictly cinematic work by director Walter Hill, that could only exist as a film, and does so with spectacular style. Although I will say this approach was in a way perfected in its spiritual successor of Drive, though by adding a bit more direct substance, I still think it stands well as the purest form of this approach. A film that exists through the language of film.

Speaking to the film's minimalist approach is right within the script that names each character as their role, rather than a person. The approach being to make an action picture distilled to its purest form. Bruce Dern is quite simply ideal for this type approach, as the pseudo antagonist to the driver as the detective trying to catch. This is because if the character itself might be limited, you have a performer like Bruce Dern who is quite simply always a character. The challenge presented to Dern being to make something out of a purpose archetype of the dogged detective who do what it takes to catch his man. I will say many a performer likely would've been completely forgettable in this role, but this part is just right for the always at least a little off-beat Dern. This is as in a way one will take notice of the detective, just as we see him passively playing pool in the opening scene, because well it's Bruce Dern. Bruce Dern is more than just casting though, as he is an actor, who importantly doesn't quite approach a scene like anyone else, much in the same way of say a Christopher Walken, his co-nominee from 1978 for the actual Oscar. This as he questions witnesses looking at a lineup, Dern's slightly manic eyes, and posture almost like a pecking bird, offers us a bit more of an indecisive character within the detective. This is technically as the detective is merely just asking questions, but Dern does far more with it than that. Take as he attempts to interrogate the driver after the first heist of the film, and Dern just owns the dialogue he has, and the scene. This in bringing that bit of mania in his expression as he speaks of his wish to catch the "cowboy that's never been caught" with a delighted glee, that creates a greater sense of obsession than is honestly in the dialogue. Dern makes investigation scenes have something extra to them, as he can add that color to any line, even just remarking on the size of a gun, or just in that atypical physical manner of his that skews things just a bit, while still definitely delivering on the direct point of the role. This in bringing a bit more ego in the detective as he lays down his trap, and boasts about his method. One of Dern's best moments being talking directly with the Driver and commenting on the driver's life. Dern has the right degree of fun with it, showing in turn that the detective loves the chase a bit, and gets a kick honestly out of playing the game with the Driver. Dern in a way showing the needed performance even in the Detective's own action scene of sorts, by bringing to life the dogged determination and frustration of the moment as we follow him nearly silently trying to catch a crook. Dern effectively becoming the protagonist in a way, if only for a scene. My favorite moment of his performance though being the ending, helped by a great edit, where the driver goes to attempt to pickup what he thinks is illicit payment to only find himself surrounding by cops lead by the detective. Dern leading with the right smug posture. What's best about it though, as both men find they were had in some way, Dern delivers a slight modesty in his final lines even a sense of understanding in his eyes as they both accept their "loss". Dern makes the most out of the type, he's given here, making more than there is in the right way, as offering essentially the character for the role.

Alternate Best Supporting Actor 1978

And the Nominees Were Not:

Barry Bostwick in Movie Movie

Bruce Dern in The Driver

Yaphet Kotto in Blue Collar

Christopher Plummer in The Silent Partner

Scott Reiniger in Dawn of the Dead

Best Voice Over: Tony Jay in The Hunchback of Notre Dame, Michael Graham Cox in Watership Down and John Hurt & Christopher Benjamin in The Plague Dogs

Tony Jay did not receive an Oscar nomination for portraying Judge Claude Frollo in The Hunchback of Notre Dame.

The nature of a vocal performance is perhaps an under discussed performance art form, with rare the credit given to the accomplishment. This as the vocal turn must do something quite unique in garnering the life and emotion to the images, at its best past even what the often vibrant images entail. The nature of a Disney villain performance may be another form in itself as it is often the source of entertainment for their films. This finding the right combination of a lively menace and just an enjoyable enthusiasm towards evil. Well with that we have Tony Jay as the greatest Disney villain, have no hesitations in that statement, as Judge Claude Frollo. Jay's booming baritone voice was previously used in a minor villainous role in Beauty and the Beast, as the corrupt head of an insane asylum. His work initially is an expansion on this as we see in his introductory scene. Jay quite powerfully carries a menace with such remarkable ease, and even a strange grace that suggests an unquestioned authority. Jay's work though has nuance, even before we are even given more in the introduction of the film where he murders a woman, and almost kills her malformed child if not called upon his faith to stop him. This as his pondering on the future of the "creature" as he puts it, with a manipulative intrigue at the idea of potential. This expanded upon as we see the later years as is teaching the "creature" grown up in the secluded bell tower to be Quasimodo. This as Jay brings a gentler tone, as nearly genuine one, that is rather remarkable in creating an honest sense of manipulation and even close to warmth in his explanations to his strange ward of how he should stay hidden. I particular affection for his introduction to "Out There" as the counterpart to Quasimodo's hopes of the outside world against the fierce condemnation of it by Frollo. This is something that Jay speaks not as a broad evil, but a fearful teaching with a false concern of manipulation.

Now we are given the broader evil, however even this Jay's work leaves a striking impact in specific intensity. This as a careful rage that seems to define the man's hate of the other. Frollo's evil though has far more to it than many a Disney villain, who are usually born evil, connected to the character of the novel, who is actually even more complex, however still notable to see that all complexity was not lost in this technically kid minded version. This is as even at his most evil, Jay delivers this proper conviction of a true zealot feeling his crusade has some divine purpose despite it obviously being to the contrary. This being the calm in his evil so often. This though he undercuts so effectively though as we see Frollo at his worst, with this more emotional venom, alluding to less a servant a God, and more a weak man defined by his own personal demons. The greatest depth though comes within his kept fascination with Esmeralda, and the lust that entails. Jay is outstanding in delivering this element most notably through he all time great song "Hellfire". Jay's singing is already terrific, but his performance of the song goes beyond technical skill. It is amazing the complexity Jay finds in the delivery of just one song. This as he opens with the solemn delivery of a faithful man of prayer. This slowly segues into this brilliant mix of genuine fear of the thoughts, with a desperate need related to them, along with a vindictive hate towards the temptation all the same. The detail and intensity of the emotion is simply incredible, as Jay manages to find, through his voice, a rawness within Frollo's mental state that goes beyond a generalized evil. Jay's work is not just an excellent villainous turn, as much as it is that, as he grants depth even oddly enough a distinctly flawed humanity to the hypocrite.

Michael Graham Cox did not receive an Oscar nomination for portraying Bigwig in Watership Down.

The vocal "responsibility" of the films of Martin Rosen is a little bit different in a way, as the animals, while still expressive to a degree, are a little more realistically depicted than a Disney expectation. This requires than vocal turns that some how both fit this specific tone of frankly a harsher animated film, along with breathing life within the character beyond the animation, which here is purposefully more limited. The films manage to capture this tone though and the cast of both is an essential element of each. Watership Down being a brilliant film that is part horror film, part adventure film in the context of a group of rabbits somehow trying to survive. Despite some valiant efforts of John Hurt here as the crafty leader of the group Hazel, my favorite of the cast and character is that of Bigwig. A larger rabbit, original burrow enforcer, who joins the group. What I love about Cox's performance is beyond granting the needed life to the character, through such devoted work, which is throughout the cast. This being just about every vocal turn delivers the conviction of a drama rather than the broader approach usually found in animated films. The standard here though is that of bringing a strict humanity to the animal characters because the performers treat the material as a seriously as they would any real dramatic piece. This is the same for...

John Hurt who did not receive an Oscar nomination or Christopher Benjamin for portraying Snitter and Rowf respectively in The Plague Dogs.

The Plague Dogs, is the, somehow, darker followup to "Watership", honing in an even more desperate tale of two dogs, who had been brutally experimented on, trying to find some place to live in the English countryside. This is all while the government is trying to kill them. I'll admit The Plague Dogs, does tear one's heart out then show it to you before you die, more so than any animated film that I've seen. An essential part of this being the performances of John Hurt and Christopher Benjamin together. This is again in both grant a given humanity to the dogs, who again have a purposefully limited emotional expression compared to many an animated film, however never seems as such. This partly due to just how careful the animation is but also what Benjamin and Hurt bring through their performances. Each give a complimentary performance to the other that is brilliant in creating the dynamic between Snitter and Rowf. Snitter being this strange optimist against the pessimistic Rowf. Hurt delivering, even within this sense of anguish buried within every line that reflects Snitter's horrible life, there is this hopeful wistfulness that Hurt garners to it. This is against Benjamin's performance that has a more grizzled quality to begin with, and a more immediately heartbreaking quality. This as the very wear of the dog, who was experimented on with forced drownings, is within his more overt anguish that speaks to the burden the life has had on Rowf.

But back to Michael Graham Cox again, who I love in his realization of Bigwig's arc. This as his initial performance carries the sort of inherent strength you'd expect. His voice creating just the since of a force of the rabbit with a tough stiffness. This though with a bit lacking in emotion other than anger towards some of Hazel's decision. Cox suggesting this potential bully even in the sort of force of his voice, but also a sense of confidence as well. Cox suggests Bigwig as a figure to be feared, even as he is on Hazel's side, and the sense of strength in every word he speaks as the larger rabbit. This suddenly changes however as Bigwig is trapped in a snare, a gut wrenching scene if there was ever one, that Cox also adds to in his harrowing haggard voice as he whispers out of his lines of the dying Bigwig. Bigwig manages to survive, and Cox is excellent in creating the sense of change in the rabbit in both in terms of respect for his company as well as general care for others. Cox is terrific in portraying this greater urgency and sense of warmth in his words. There is still this sense of strength, particularly as he takes lead later on in taking on the villainous Rabbit General Woundwort. The sense of determination that Cox delivers creates a sense of real passion that makes Bigwig stand out as this true hero. Cox brings this forcefulness that is remarkable in his voice though as it is underlined by a real care concern of that hero, rather than the seeming bully he might've been mistaken for early on. I in particular adore his vocal work in the final fight with Woundwort, where he brings such powerful sense of righetous distaste and intensity in every word he utters in the fight. This making quite honestly Bigwig was a proper, for the lack of a better word, badass, even as a rabbit. The moment of this that is the greatest in Cox's work is as he seems cornered but refuses to leave the smaller rabbits at the General's mercy. Cox is amazing in his voice manages to capture such desperation, still a striking defiance, and charity all with the same words. It is excellent work and with the best vocal turns it is that ability to create such a fluid and complex emotions, while never seeing the performer's face that is so notable. 

Speaking of, Hurt and Benjamin are particularly unique, and I'm not sure the circumstances of their recordings, but there is a such strong dynamic the two form with their voices. This is as Hurt is no stranger to exasperation, however his hardened voice only keeping that as an underlying factor makes it all the more moving in his portrayal of the consistently optimistic Snitter dreaming of an island paradise and a hope for the future. This is against Benjamin's work that offers an as moving portrayal of the bent nature of the dog, as his voice evokes the years of hardship and the waning belief in any chance at a real life. The two together though craft a warmth in between the two as their words to each other evoke a friendship and concern. A differing concern for each mind you, however Hurt haunting disjointed optimism along with Benjamin's broken resignation creates such a poignancy in each dog, but most importantly their friendship. Hurt's delivery is fascinating as in the optimism there is this bit of an intensity, a randomness at times, alluding to a mind that technically isn't quite right. In Benjamin there is a contrast in a bluntness of despair, but also still a passionate wish for survival with his friend. The ending scene is perhaps the best work from each as the two create a role reversal as they attempt to swim away from the authorities intending to kill them both. In Hurt you have that underlying exasperation brings itself to the surface in his voice that creates this heart wrenching hysteria as his certain madness is noted by despair rather than hope, however this is against Benjamin's work now of encouragement. His encouragement though is as blunt as his former despair, though now pushing his friend to push on. Their consistency though now with a different philosophy in the end, is brilliantly realized by each actor who creates this incredible moment. This of the two keeping part of their nature but changing this outlook. Both John Hurt and Christopher Benjamin's work makes the film as hard to watch as it is, though only because it is as affecting as it is, as they grant not only humanity and personality to the dogs, but a real sense of kinship and love.

Alternate Best Supporting Actor 1978: Results

6. Sam Shepard in Days of Heaven- Sam Shepard doesn't completely escape the limitations put upon him by Terrence Malick's style but he still gives an intriguing performances within these confines.

Best Scene: The farmer figures out Bill and Abby.

5. John Vernon in Animal House- Vernon gives a hilarious performance through his deadly intensity as a particularly hateful Dean.

Best Scene: Dean Wormer tells the members of Delta their GPAs.

4. Harry Dean Stanton in Straight Time- Stanton has a limited role, but steals the film with his portrayal of a down to earth professional criminal.

Best Scene: Max and Jerry hold up a bank.

3. John Cazale in The Deer Hunter- John Cazale in his final performance gives an effective portrayal of the pathetic member of the group of friends.

Best Scene: Stan is forced to play a game of Russian roulette by Michael.

2. John Savage in The Deer Hunter- John Savage gives a moving portrayal of the most easy going member of the group of friends who has to bear terrible trauma from his time in the Vietnam war.

Best Scene: Steven is unable to bear the idea of playing Russian roulette.

1. Gene Hackman in Superman- Good Prediction Michael Patison, RatedRStar, Lezlie. Gene Hackman gives a great performance as always this time being absolutely hilarious with just the right amount of menace thrown in. 

Best Scene: Lex Luthor reveals the Kryptonite.

Overall Rank:

1. Christopher Walken in The Deer Hunter
2. Gene Hackman in Superman
3. John Savage in The Deer Hunter
4. Yaphet Kotto in Blue Collar
5. John Cazale in The Deer Hunter
6. Harry Dean Stanton in Straight Time 
7. Michael Graham Cox in Watership Down
8. John Vernon in Animal House
9. Christopher Plummer in The Silent Partner
10. James Mason in The Boys From Brazil
11. Richard Farnsworth in Comes a Horseman
12. Barry Bostwick in Movie Movie
13. Sam Shepard in Days of Heaven
14. Jean Carmet in Violette Nozière
15. Ned Beatty in Superman 
16. James Mason in Heaven Can Wait
17. John Hurt in Midnight Express
18. Scott Reineger in Dawn of the Dead
19. Bruce Dern in The Driver
20. Dudley Moore in Foul Play
21. Robert Morley in Who is Killing the Great Chefs of Europe?
22. George Dzundza in The Deer Hunter
23. Michael V. Gazzo in Fingers
24. Peter Carroll in The Chant of Jimmie Blacksmith
25. M. Emmet Walsh in Straight Time
26. John Hurt in The Lord of the Rings 
27. Bruce Dern in Coming Home
28. Alan Bates in An Unmarried Woman
29. Warren Oates in The Brink's Job
30. Edward Fox in Force 10 From Navarone
31. Glenn Ford in Superman 
32. Jackie Cooper in Superman
33. Marc McClure in I Wanna Hold Your Hand
34. Jack Warden in Heaven Can Wait
35. Jeff Goldblum in Invasion of the Body Snatchers
36. Ernest Borgnine in Convoy
37. Jason Robards in Comes a Horseman
38. John Belushi in Animal House   
39. Paul Sorvino in The Brink's Job
40. Harry Andrews in Watership Down
41. Burgess Meredith in Magic
42. Marlon Brando in Superman
43. Stephen Furst in Animal House 
44. E.G. Marshall in Interiors 
45. Bobby Di Cicco in I Wanna Hold Your Hand
46. Chuck Aspegren in The Deer Hunter 
47. Richard Briers in Watership Down 
48. Terrence Stamp in Superman 
49. Roy Kinnear in Watership Down 
50. Zero Mostel in Watership Down 
51. Burgess Meredith in Foul Play 
52. Michael Douglas in Coma
53. David Niven in Death on the Nile
54. Buck Henry in Heaven Can Wait
55. Joss Ackland in Watership Down 
56. Brian Dennehy in Foul Play
57. Simon MacCorkindale in Death on the Nile  
58. Brad Dourif in Eyes of Laura Mars
59. Halvar Bjork in Autumn Sonata
60. Bruce McGill in Animal House 
61. Seymour Cassel in Convoy
62. Leonard Nimoy in Invasion of the Body Snatchers
63. Randy Quaid in Midnight Express  
64. Christopher Lloyd in Goin' South
65. Vittorio Gassman in A Wedding 
66. Leo McKern in Damien: Omen II
67. James Stewart in The Big Sleep
68. Allen Garfield in The Brink's Job
69. Kevin McCarthy in Invasion of the Body Snatchers  
70. Robert J. Wilke in Days of Heaven 
71. Richard Boone in The Big Sleep
72. F. Murray Abraham in The Big Fix
73. Rene Auberjonis in Eyes of Laura Mars
74. Lance Henriksen in Damien: Omen II
75. Kevin Bacon in Animal House
76. Eli Wallach in Movie Movie
77. Richard Widmark in Coma
78. Sid Caesar in Grease
79. Charles Grodin in Heaven Can Wait  
80. John Cassavettes in The Fury
81. Dennis Christopher in A Wedding
82. Bruno Ganz in The Boys From Brazil 
83. Jean-Pierre Cassel in The Meetings of Anna
84. Red Buttons in Movie Movie 
85. Charles Durning in An Enemy of the People
86. Donald Sutherland in Animal House
87. Denholm Elliot in The Boys From Brazil 
88. Paul Dooley in A Wedding
89. Charles Durning in The Fury
90. Gary Busey in Straight Time 
91. Jack Thompson in The Chant of Jimmie Blacksmith 
92. John Lithgow in The Big Fix
93. Richard Jordan in Interiors
94. Carl Weathers in From 10 From Navarone
95. Ed Lauter in Magic 
96. Tom Hulce in Animal House  
97. Sam Waterston in Interiors
98. Dai Bradley in The Absolution
99. Murray Hamilton in Jaws 2
100. Jack Warden in Death on the Nile
101. Marc McClure in Superman 
102. Charles Cyphers in Halloween
103. Trevor Howard in Superman
104. Michael Murphy in An Unmarried Woman
105. Raul Julia in Eyes of Laura Mars 
106. Billy Connolly in Absolution
107. Paul Sorvino in Bloodbrothers
108. William Squire in The Lord of the Rings
109. George Kennedy in Death on the Nile
110. Robert Carradine in Coming Home 
111. Jon Finch in Death on the Nile 
112. Eddie Deezen in I Wanna Hold Your Hand
113. Oliver Reed in The Big Sleep
114. James Widdoes in Animal House
115. Harry Andrews in Superman
116. Fritz Weaver in The Big Fix
117. Brian Andrews in Halloween
118. Charles Martin Smith in The Buddy Holly Story  
119. Tony Lo Bianco in Bloodbrothers
120. Jeff Conaway in Grease
121. Steven Guttenberg in The Boys From Brazil
122. Don Stroud in The Buddy Holly Story 
123. John Houseman in The Cheap Detectvive
124. John Belushi in Goin' South 
125. Jan Michael Vincent in Hooper
126. Peter Riegert in Animal House
127. Tim Matheson in Animal House
128. Edward Fox in The Big Sleep
129. Joseph Mascolo in Jaws 2
130. Mark Metcalf in Animal House 
131. Jeffrey Kramer in Jaws 2
132. James Daughton in Animal House
133. Barry Pearl in Grease 
134. James Coco in The Cheap Detective
135. Don Deluise in The Cheap Detective
136. Richard Kiel in Force 10 from Navarone
137. Michael Tucci in Grease
138. Michael Scholes in The Lord of the Rings
139. Andrew Stevens in The Fury

Next Year: 1931 lead

Alternate Best Supporting Actor 1978: John Vernon in Animal House

John Vernon did not receive an Oscar nomination for portraying Dean Vernon Wormer in National Lampoon's Animal House.

I have to be honest National Lampoon's Animal House is a film I just don't find all that funny. There are funny parts sure, but as whole I just did not laugh all that much. Also some of the performance namely those given by Peter Riegert and Tim Matheson are pretty charmless.

The character of the man of power who hates our "favorite" wacky characters is a very common occurrence in comedies of this type. These characters are usually not very funny like Ted Knight in Caddyshack who was just rather dull as he kind of sorta tries to be funny while being angry. John Vernon as Dean Wormer though is a rarity in that he is not only funny but actually the funniest part of this film. John Vernon who was no stranger to playing authority figures takes on Dean Wormer with, oddly enough, even more conviction then his performances as such characters in serious films like the mayor in Dirty Harry for example.

John Vernon plays the role of Dean Wormer as evil very determined villain that could almost be transferred to a dramatic film without much trouble. Vernon though does know what film he is in but plays the Dean as if the loutish behavior of Delta house is the worst thing possible and must be stopped with extreme prejudice. Vernon's approach is absolutely perfect as he gives such a passionate performance in portraying the unending hatred that the Dean feels toward Delta house which makes him do whatever he can to end their existence at his college.

Vernon is hilarious because of how seriously he plays the part. He never takes time to ham it up, as these roles are usually played, instead he stays steadfast in his portrayal of the Dean's disgust of Delta house. Every scene with Vernon is treat because of his fervent portrayal of the Dean that is always funny because of Vernon intensity which does not cease ever during his film. One particularly enjoyable scene is when he visits the Deltas to tell them about their secret double probation. A fairly over the top evil theme plays which completely goes along with Vernon brilliantly dark way of playing the Dean.

John Vernon very best scene though is when he calls in the Deltas and tells each of them their GPAs and the fact that not only will they be expelled but the Dean has purposefully told their local draft boards they are ready for military service. Vernon is comedic gold in the scene as he shows such a sadistic pleasure when delivering his final judgment against the slackers of the Delta house. The scene, at least on the Dean's end, does not have necessarily funny about it in terms of his lines. What makes the scene is entirely Vernon's performance which is so humorously extreme in his portrayal of the Dean's satisfaction of finally getting the Deltas where he wants them.

The part of Dean Wormer very well could have been the way the part of the uptight authority figure is usually portrayed in this type of film which is always rather boring and often times the worst part of the film. John Vernon though manages to actually be the best part of his film through his determined performance as the hate filled Dean, and shows how parts of this nature should be played. John Vernon gives a brilliant performance by going all the way with the part of the Dean, by taking the part from more then just an angry man to a man consumed with an obsessive hate which allows him the greatest of pleasures from even the slightest victories.

Alternate Best Supporting Actor 1978: Sam Shepard in Days of Heaven

Sam Shepard did not receive an Oscar nomination for portraying the farmer in Days of Heaven.

It seems there are mostly two minds when it comes to the works of Terrence Malick, aside from Badlands you can love that one and hate the rest of his filmography, those who love his films and those who find his films self indulgent and overly pretentious. I don't factor into either of these groups as Days of Heaven is a film I did not hate nor did I love. I thought it was just fine well watching although I was never blown away by it either. Anyway the film's sparse narrative is about a murderer Bill (Richard Gere) who runs from the city to a rural area along with his sister Linda (Linda Manz) and his girlfriend Abby (Brooke Adams) who he claims is his sister.

Sam Shepard plays the rich farmer who the exiles go to work for. The farmer mostly stands at a distance from his workers although he gets closer to Abby after Bill overhears that the farmer is dying. Although Badlands was as much a showcase for Sissy Spacek and Martin Sheen as it was for Terrence Malick, Days of Heaven begins and ends with Malick. Every second of the film belongs to Malick, and though there is not anything wrong with the performances they are very much part of the canvas. The performances simply don't stand out and even the biggest emotional scenes tend to be overshadowed by something that Malick is doing.

Sam Shepard barely has any lines as the farmer, in fact he makes the man with no name look like Tuco. For most of the film he is someone at a distance who is usually observing or being observed by someone else. Shepard does not have a lot to work with luckily, as he later showed in The Right Stuff, has a compelling screen presence even when he says very little. The character arc for the farmer is pretty simple. He is at a distance from everyone, he falls in love with Abby, then he becomes jealous and suspicious over the fact that Abby and Billy are clearly not brother and sister.

Every step of the farmer's story is told mainly through just silent reactions by Shepard and they do work. Shepard has a reserved but expressive quality to his face that really does well to convey everything that the farmer is going through. Shepard always makes the farmer an interesting enigma, and there is something rather powerful about all his emotions through the simple truth that Shepard gives them in his performance.  Shepard often is just like the other actors, by being just part of the images of the film, but Shepard does stand out on his own, as there just is something about his face that suggests something more.

Shepard's performance is a solid performance but it never does break free of the confines created by Malick's style. Among the cast though Shepard proves the most able to thrive within Malick's vision as he has the necessary qualities, that would be fitting to a great silent actor, to make the farmer more then just an image even if the farmer is mostly used as an image. Shepard makes the farmer an intriguing character with the little he does have, and he made me wish the farmer went beyond just being just well the nameless farmer. This is definitely a good performance, but the restrictions set upon it by Malick do keep it from being a great one.

Alternate Best Supporting Actor 1978: John Cazale and John Savage in The Deer Hunter

John Cazale and John Savage did not receive an Oscar nomination for portraying Stan and Steven respectively in The Deer Hunter.

John Cazale and John Savage both play two men in the group of friends, most of whom work at a steel mill, in a small town in Pennsylvania. We meet the group just before two big changes in their lives will occur. One being that one of them, Steven, will be getting married, and that Michael (Robert De Niro), Nick (Christopher Walken), and Steven will be going to Vietnam. Cazale and Savage both do take the back seat to the primary relationship between Michael and Nick and it is no surprise that De Niro and Walken were the Oscar nominated actors. They do both have specific purposes within the film and stand out in their own ways during the film.

Something that the Deer Hunter does so well is paint a very realistic portrait of a group of long time friends. All the actors have a very natural chemistry between each other and their scenes together are very special as they really suggest a long history between all of them through the unique dynamics they all share. Interestingly Savage and Cazale can of are at two ends of things with Savage playing Steven the groom to be as really the one who is the easiest to get along with. Savage has an effective understated gentleness with his performance that portrays Steven as just a nice guy who would be alright hanging around all the guys, and that he would alright with marrying a woman whose been impregnated by another man.

John Cazale, giving his final film performance, plays Stan the guy who is easiest not to get along with. Cazale, just like Savage, gets the nature of the guy across very effectively. Cazale once again plays a pathetic character, but Cazale of course does not feel like he is treading any water with his characterization of Stan. What Cazale does really well with Stan is make it so most of the time he is just alright in being around. He is one of the guys like the rest of them and is never totally out of it. Cazale still stays within the realm of everyone else, and has the right reactionary moments showing that Stan is not oblivious in any way even though he can be a bit of a jerk at times.

Cazale's exceptional moments though are of course the exceptions where Stan's insecurities come and he starts being a rather despicable sort of man who insults others as well as touts a gun around in an attempt to seem tough. Cazale is always such a heartbreaking loser, and although this is his least sympathetic performance, he achieves the same thing he did in all of his other performances. What Cazale does so well is show where the bad actions of his character comes from. Yes Stan is a coward who treats a gun like his personal toy, but Cazale always is able to show where that this behavior comes from a very human weakness. It does far from excuse Stan's behavior but Cazale brings such depth to the character's weakness.

Savage's exceptional scenes come once Steven, Nick and Michael go to Vietnam where they quickly are imprisoned and forced to play Russian roulette. Savage does not get to be in the greatest acted scene of 1978, but Savage is very effective in the proceeding scenes. Savage is incredibly moving by just being extremely blunt in the fears expressed by Steven as he faces the fateful game. Where Michael can face it directly and Nick can do his best Steven can barely keep his composure. Savage is outstanding by just getting to the bare basics of human emotions in his portrayal of the disabling terror in Steven reaction that represents what would probably be most people's reactions to being forced into a game of life and death.

Cazale also does get a bit of a Russian roulette scene himself after Michael comes home and they go hunting where Stan once again tries to act tough with gun again. It is a relatively quick moment but Cazale is great in just the quick very visceral quality he brings when Stan has to face the wrong end of the gun. There is not a great deal of Stan after this point, but Steven if found by Michael in a veterans hospital as Steven had to have  his legs amputated. Savage actually has only two fairly brief scenes in showing Steven's state after facing the war. Savage is very moving in both scenes though by portraying that Steven more then anything does not want to have to face his old friends as he is.

Both John Cazale and John Savage give very strong performances. Although neither of the them quite make the impact that Christopher Walken makes with his performance, they both add a great deal to the film with their performances. It would have been easy for everyone else to be forgotten in the face of the central friendship portrayed by Walken and De Niro, and the film probably still would have been pretty good, but this film does more then that. Cazale and Savage round out a fuller picture of the friends before the war and the tragedies they face afterwards with Cazale portraying the worst tendencies of a man who did not face the hardships and Savage portraying the honest emotional pains of a man who had to face the worst hardships.

Alternate Best Supporting Actor 1978: Gene Hackman in Superman

Gene Hackman did not receive an Oscar nomination, despite being nominated for Bafta, for portraying Lex Luthor in Superman

Although Lex Luthor is the main villain of the film, and his evil plan does involve the deaths of many many people his scenes mostly consist Gene Hackman having the time of his life while giving a largely comic performance as "the greatest criminal mind of our time". Although he may be as good as he says this Lex Luthor, while making his plan to make his worthless land on the west coast worth a fortune by making a new coast line, lives in an underground mansion while dealing with his ditzy girlfriend Miss Teschmacher (Valerie Perrine) and his bumbling henchmen Otis (Ned Beatty). It is a tricky role to have the main villain be this comic but if someone can pull it off look no further than the great Gene Hackman.

This is a rather different performance from Gene Hackman when compared to his other output from the 70's that I have covered not only because he giving a supporting performance, but also in terms of style. This is a far more flamboyant turn by Hackman, but like all the greats if you can play it reserved, like he did so perfectly in The Conversation, you can go flamboyant like he does here. I won't beat around the bush, I love this performance, as it is just a treat to see Hackman just have this much fun with a role. He is playing a villain without reservations about the fact that he is a villain and Hackman definitely makes the the most of this fact.

All the Lex Luthor scenes are just hilarious, and Hackman's has a perfect chemistry of sorts with Perrine and Beatty. Hackman is a great egomaniac as Luthor because he always keeps a comic edge to it especially in his mockery of his companions but he's also great because he does manage to make Luthor honestly seem that smart all at the same time. Hackman is able to have his cake and eat it to because he says everything absurd thing Lex Luthor says with just the right sort of ridiculousness attached to it, and right along with that gives it a strange sincerity since Hackman does really make Luthor seem like "the greatest criminal mind" all the while.

Hackman handles all of his scenes with such gusto and even oddly enough a certain charm that we strangely can have fun right along with Luthor as he sets up his plan to kill millions of people. Hackman makes every insult that Luthor sing in such an enjoyable way, and he is quite entertaining in the humorous way he reacts to the stupidity of his henchmen. Hackman mixes it just right with his open hostility over the dumbness of Otis but his more passive style against Miss Teschmacher. One of my favorite moments is when Luthor explains kryptonite to his two "students" and when looking for some sort of worthwhile comment is left with inane chatter, and Hackman's exasperated reaction is just brilliant. 

Of course Lex Luthor is the villain, even if most of his time he spent being comical, and Hackman slowly builds to the point where the true villain comes out by still having an underlying menace even during his comic moments. The true evil does not come though until Superman pays Luthor a visit, and Hackman continues to be great in the role showing his ability to switch to a more vicious presence on a dime. One of his best moments comes just as Superman arrives asking where Luthor's fake poison pellet is. Luthor says the existence is fake and Hackman still is being funny. When Superman inquires if he Luthor gets his laughs from planning the deaths of innocent people, Hackman switches so naturally to being exceptionally chilling with Luthor's response "No, by causing the death of innocent people.".

The suggestion of Luthor's evil is always there in the earlier scenes but the true sinister nature of the character does not completely come out until Luthor springs the Kryptonite on Superman which allows him to gain the upper hand. Hackman is terrific as he reveals really just how evil Luthor is as he shows just how much malicious joy Luthor derives from getting the upper hand against Superman. In a moment he turns Luthor from a mostly comical curmudgeon to a truly menacing villain. There is nothing lost in the transition and it is the same character, as Hackman still finds still finds some room for humor during the scene. Lex Luthor is a difficult role as being the comic relief and the main villain is not an easy trick to pull off. Gene Hackman  makes it look easy though and is thoroughly entertaining with just the right dose of intimidation thrown in.

Alternate Best Supporting Actor 1978: Harry Dean Stanton in Straight Time

Harry Dean Stanton did not receive an Oscar nomination for portraying Jerry Schue in Straight Time.

Harry Dean Stanton, the always reliable character actor, comes in about halfway through this film as the former criminal associate to the main character Max (Dustin Hoffman) who Max comes to in an attempt to make some big scores. The last time I wrote about Harry Dean Stanton was for his out of the ordinary and quite extraordinary lead performance in Paris, Texas. Stanton in this film is more in the place he has spent throughout his career which is that of the small supporting player. This is a great example though of what makes Stanton such a good character actor.

Jerry is not a major character. Jerry really is there just to serve a very purpose small purpose, but even in this small purpose Stanton makes a strong impact on the film. In just one scene where Max meets with Jerry again, Stanton sets up Jerry as a down to earth criminal. Even though this is just one scene, and a short one at that, Stanton indicates so much in a very short time about Jerry. He suggests even so much more about the man then even technically matters given Jerry's point in the story. Stanton brings the right casual style with Hoffman, alluding to their old time together, and just an underlying desire for crime that is perfect fit for a career criminal like Jerry.

Stanton is just great in the next series of scenes where Jerry and Max go to commit big time scores. Stanton actually owns each of these scenes roundly steals the scenes from Dustin Hoffman despite Jerry not being the main character. Stanton though is quite fascinating in his portrayal of Jerry as a professional above else. Stanton gives create detail to every facet of running the crime and gives a depiction of a sane man committing a crime. One of his best moments is when Jerry and Max plan to hold up a card game and Jerry lectures Max on the need for a shot gun for such a thing. What makes Stanton so good is although he is forceful, there is always the warmth of a friendship in his lecture.

Stanton is again terrific when Max and Jerry rob a bank and Stanton vividly depicts every phase Jerry goes through during the course of the robbery. Stanton has Jerry put on an act actually as he takes the bank, making Jerry in the moment to be the potentially violent man who is able to control the whole bank. Stanton always keeps Jerry a smooth customer who is professional above else, and is very effective in showing the very real frustrations, underneath the act, as Max is taking too long. The best part though is right after they escape Stanton has Jerry drop the whole violent thug act and reveal instead Jerry enjoying the thrill of pulling the job and enjoy the benefits.

Stanton is able to make Jerry surprisingly three dimensional and sympathetic in his short time on screen. The main reason is Stanton gives a whole portrait of a pretty average man who is criminal, and only wants to handle a crime in the most professional way possible. Frankly I felt fed up with Max right along with Jerry because Stanton always makes everything that Jerry does quite reasonable. Harry Dean Stanton does so much more with the role of Jerry then was needed of him, as he is the best part of the film despite his limited screen time. Stanton gives such an interesting portrayal of the stick up artist Jerry, I wished the film actually had been about Jerry since Stanton was able to do so much despite having so little to work with.

Alternate Best Supporting Actor 1978

And the Nominees Were Not:

John Cazale in The Deer Hunter

John Savage in The Deer Hunter

Gene Hackman in Superman

Sam Shepard in Days of Heaven

Harry Dean Stanton in Straight Time

John Vernon in Animal House

Out of the The Deer Hunter men I'll give the honors to the actor giving his final performance.