Alternate Best Supporting Actor 1979: Results

5. David Warner in Time After Time - Warner as expected gives a properly calm and menacing portrayal of Jack the Ripper. 

Best Scene: Hotel room.

4. Frederic Forrest - Forrest gives yet another striking portrayal within his film, giving such a potent portrayal of a man struggling to maintain his sanity in an insane world. 

Best Scene: Civilian boat.

3. Art Carney in Going in Style - Carney gives a funny but also moving portrayal of a man attempting to live out a fantasy of sorts. 

Best Scene: Listening to Willie's story. 

2. Oliver Reed in The Brood - Reed gives a striking portrayal of a strange form of therapy while also so carefully walking a rope of ambiguity within his character. 

Best Scene: Opening. 

1. Yaphet Kotto in Alien - Kotto gives a great performance, often between the lines, in just creating such an endearing energy that shifts naturally to a fierce intensity as the situation becomes dire. 

Best Scene: Destroying Ash. 

Updated Overall

Next: 1981 Lead

Alternate Best Supporting Actor 1979: John Hurt, Harry Dean Stanton, Tom Skerritt & Yaphet Kotto in Alien

John Hurt, Harry Dean Stanton, Tom Skerritt and Yaphet Kotto did not receive Oscar nominations, despite Hurt receiving a BAFTA nomination, for portraying Kane, Brett, Dallas and Parker respectively in Alien. 

Comparing Alien to most science fiction films of the period, such as the ill-advised Black Hole for example, or Star Trek the Motionless Picture (though it does have an amazing score), seems like they are of two different eras. Why is that? Well many reasons really. It has such a tangible sense of reality even though the whole film takes place on either a spaceship or an alien planet. A great deal of that has to do with the cast. I can just praise all of the cast together as one in part of what makes their work together. Take any scene where it is all of them together, before any xenomorphs show up, and what you have is such an authentic depiction of this specific community of people. Their interactions are just honest in such a fundamental sense and you get just the way they casually talk the small dynamics and the big ones just as they talk to one another as people, and just really co-workers as they do this job together as basically a group of space truckers. There are great aspects of reality that each actor brings to this. If you take even John Hurt waking up from hypersleep as the film opens where he doesn't just show a man getting up, rather there is a striking sense of reality by showing the wear on the man as he's trying to gain his bearings again and realize a sense of awareness. Or take Yaphet Kotto and Harry Dean Stanton who are both great at being part of the crew but also separate from the crew. That is as Parker and Brett are separated as basically the "grunts" of the crew, doing the dirty work and getting paid less. In turn, Kotto and Stanton have a great sort of sub-chemistry in the first scene as you see the two frequently commiserate a bit on their own, having just the right natural glances before they start asking if they can get better pay. Kotto is sort of the dominant "head" of the department though with endearing energy with Stanton as they espouse a mutual frustration with this kind of mischievous knowing that they're doing what they can to get a little more. Contrasting that again though is Tom Skerritt in the role that would seem the lead in an earlier film of the ilk, perhaps played by say a Charlton Heston, as sort of the no-nonsense Captain of the ship. Skerritt brings a nice low-key naturalism to the performance of just the ease about Dallas's reactions towards the slight indignation of certain members but also just wrangling everyone. He brings enough confidence though even this is behind a degree of exasperation just like most of the crew. 

Now, why is this better than so many of the horror films that attempted to copy it or some of the sequels, many directed by Ridley Scott even? Well many reasons really, but one of them is the cast of characters being developed as they are performed as they are. Ridley Scott behind the scenes for the film essentially stated that he focused on the visual aspects more knowing he had a strong cast who could carry their weight. And in a sense this cast is just that much better, they are working with a better script, but a script with lesser actors might've struggled here a bit. The script is strong and shows that to establish characters actually doesn't require that much time you just need to do it well, and need to perform it well. Hurt shows the more insular and particularly spent man just going through the motions as the crew investigates a nearby planet as commanded by their corporation. Skerritt has that right sort of ease and kind of unease as a Captain who does give out the orders but the camaraderie is such that he doesn't bark, he just asks in just about every one of his deliveries. And you get again Stanton and Kotto who honestly are rather delightful as the comic duo. Particularly when Sigourney Weaver's Ripley argues with them as they do the investigation and both are acting annoyed. Both are perfect though with their particular hidden grins of theirs both act like their jobs are especially hard as they purposefully troll as a marvelous duo. Their chemistry really is effortless as they find the most "working class" of the group. Stanton, by the way, being such an inspired choice for sci-fi, as an actor, he seems anything but that, and therefore gives the film this extra bit of credence as honest people in this situation. Have to give particular mention to the great back and forth as when Parker says any idea, Brett follows with a right, and Stanton and Kotto bring such naturalistic and still quite hilarious timing in crafting the sense of the duo being a proper pair. 

All four of the actors, along with Weaver and Cartwright give such a rich sense of this crew (Holm wonderfully doing his own thing as the odd "man" out), and that even in the divisions, like Parker and Brett's financial objections, you only get a stronger sense of the specific bond of coworkers who have been through quite a bit together. You know who each person is and in turn, there could easily have been a version of the film just called the crew, and make it hang out movie, I think it would've worked. This is a horror film, but the point is the film takes time, and the actors have the talent to make the eventual victims of the titular creature real people. You see this when Kane gets the face hugger on him, and everyone else shows their concern. I love Kotto's delivery of the guy on the side with an extra suggestion every time, but in that Kotto shows such genuine care for Parker. Skerritt though shows this specific concern of the Captain with kind of this more reserved quality of the leader trying to make the right decision in a stressful situation. Even Brett who doesn't say much, adds a lot just in his silent reaction of concern. Kane's unexpected awakening is a brilliant brief moment for Hurt even as his character is a dead man he still takes the time to be so haunting as he just mentions this internal sense of real pain and fear of pondering a dream of smothering. Against that, I love Stanton, Skerritt, and Kotto's reactions of the pure joy of just appreciating that their friend is alright. And in a way that "last supper" scene is particularly heartbreaking because again you see the crew as just a likable group of people having fun together. Of course, that also marks Hurt's final moment, which I'm guessing earned Hurt is BAFTA nomination (though hard to convince it should've been over Holm), in depicting the chestburster reveal of the alien. A scene where a good part of the horror is the visceral reality that Hurt brings as he wretches in pain and makes every moment of the terror all the more vivid as it really feels like something is killing him from the inside. A scene oft repeated, often quite lamely, and Hurt showed how it was done to the point it was never properly replicated. 

Soon afterward you get Brett's final moments, and again what is so great about Alien is the intensity it creates with the time it takes. Part of the reason is you have Harry Dean Stanton granting an absolute reality to the man walking around the dark portion of the ship, enjoying a bit of water on his face, before portraying spine-chilling terror as the creature descends upon him. Skerritt is also great in presenting Dallas basically attempting to become the true leader now, and portrays just the right combination of attempted bravery with fear. When giving orders just enough awkwardness in his delivery as he gives out orders and shows a man trying to be the leader in every way. Contrasting that his alone time with the computer of the ship, gives no help, Skerritt is filled with desperation in his face of a man as terrified as anyone. The scene of Dallas then trying to kill the Alien in the air ducts is amazing through everyone's acting really, but of course, Skerritt is at the center of it as Dallas. There to hunt the Alien, but instead quickly becomes the hunted. I love one particular delivery by Skerritt as Dallas basically says he needs to get out of there, as suddenly you see no hero, no captain, no leader, just a man filled with fear and wanting to escape the horror that awaits him. While not the focus of the film exactly Skerritt in a quick microcosm breaks down sort of the expected hero, by showing the man who doesn't find his greatest strength in times of trouble, but rather his greatest weakness. Against that though is Kotto's Parker, who despite being the lovable goof in the early scenes kind of becomes the potential hero of the film. Again, not focused on a shot even real, but watch Kotto after Brett's death scene, he completely shows a man torn up about losing his friend. Not a lot of time is spent on it, but just by his reaction, you feel the weight of it completely. Kotto realizes this growing pointed intensity in Parker as he tries to take on the role of the hero and in some ways succeeds like when he stops Ash from killing Ripley. Kotto brings this natural dogged determination that shows such a sense of conviction in the eyes of a man trying to help his friends and survive. I again especially love his moment of ensuring Ash's death. Nothing is said, it is just in Kotto's expression of hate and joy that you see a man purposefully avenging the death of his friends, as Ash's actions helped to kill everyone. Kotto even brings this kind of intensity in Parker's last scene by showing the man just going head first into battle, unfortunately, a hand-to-hand battle he could never win. I love though that even in his demise Kotto's eyes carry still a fighting ferocity, and it would've been easy to imagine a version of the film where he was the sole survivor. Of course, why do I love this film? Well, it is everyone in the cast is someone, and not idiots either. I love that everyone basically more or less makes good decisions, other than the insidious Ash, unfortunately, the Alien is greater than the sum of their strengths. Everyone though is a real person, with a life beyond the scenario. Each has its own story, some you get more than others, but you get a strong sense of each person, with each actor delivering on the promise of more than just they'll be victim # whatever. It's a truly stellar ensemble, not one performance is wasted. Everyone breaths their own life into the piece, and create memorable people that could've existed beyond this one story. As it is they give this one story a greater depth, and life than any other horror film of its ilk. 

(Stanton)

(Skerritt & Hurt)

(Kotto)

Alternate Best Supporting Actor 1979: Oliver Reed in The Brood

Oliver Reed did not receive an Oscar nomination for portraying Dr. Hal Raglan in The Brood.

The Brood marks a step in Cronenberg's career, where he doesn't quite achieve a wholly successful horror film, though gets a bit closer than Shivers about a man investigating his wife's strange psychiatrist while brutal murders begin to occur. Where the film suffers is in its bland lead Frank (though I think more so the writing here overall), and the makeup effects not *quite* being there, it's definitely a problem when I started laughing at what is supposed to be a disturbing murder scene. 

Anyway, one advancement offered to Cronenberg was a greater budget and seems like with that Cronenberg used it to bring along two more notable actors in Samantha Eggar as our hero's strange wife Nola going through isolated therapy, and Oliver Reed as her strange doctor. Reed opens the film as we see the doctor's methods firsthand as he "treats" a patient. Dressed in a guru's robe, seated and staring right at the man Reed makes a fascinating first impression. Reed's performance in a way illustrates his unique talent a presence because he is such a ferocious physical presence, yet has such an elegant voice. Here we get this in such a brilliant performance as he "treats" his patient by attacking the man on his said to be feminine qualities. Reed's eyes stare right into the man's soul, honestly similar to the first processing scene later seen in The Master, as Reed has that enigmatic power as the man seems to cut right into the man's mind. Reed's performance is amazing because he manages to be incredibly violent in his deliveries of the insults (seemingly evoking the man's abusive father), but Reed's dulcet voice seems to redirect the energy slightly as though he is performing some kind of therapy still. There is a strange comfort even in the violence and he illustrates this as in the end, he seems to indeed have a breakthrough with the man even after all that had been said. It is a bizarre scene that works because of Reed's performance that does naturally realize Hal's strange methods in tangible ways. What Reed also does with this play with the audience's expectation of his performance as he doesn't allow you to pinpoint what exactly the doctor is, whether is he an evil man or is there some method to this madness. Reed plays with ambiguity so effortlessly as we see him outside of the sphere of performing his therapy as Frank confronts him about his daughter having been hurt after visiting his wife. Reed is quite fascinating in his performance in that every delivery of his is a kind deflection though also calming in his responses. Reed doesn't specify but he alludes to something. Reed's eyes suggest a man knowing far more than he is saying, but doesn't simplify what exactly that is. 

He creates a marvelous idea of perhaps an egomaniac doctor refusing to have his methods questioned or someone dealing with something he isn't quite sure of himself. We occasionally see him in his scenes with Eggar (who is wonderfully bonkers in the role), where Reed shows the doctor playing his role. Reed asking her about her daughter's injuries, though not directly, and is fascinating in that he plays her parent at the moment while also seemingly trying to derive something more from her. Again I think even a lot of the dialogue here works because Reed is so convincing in his portrayal of it, and makes the techniques tangible as odd as they are. Reed is captivating in every one of his scenes whether he is playing directly the form of therapy of the doctor, or the therapist who seems to be hiding much from those questioning him. Reed creates this force to be reckoned with and also an element of this film that consistently works, both being actively compelling in giving these strange ideas some truth in performance, but also by letting you ponder whether he is the true villain of the piece or not. Spoilers he's technically not exactly either hero or villain, but his therapy led to the creation of small sinister creatures that kill Nola's "tormentors". Reed though is great in his final scene where he finally reveals the truth to Frank. Reed shows at this moment the man isn't trying to hide or try anything. His eyes at the moment totally earnest as he looks at Frank in the moment. He speaks now just trying to say everything as an honest statement of the man attempting to make some kind of amends with a regretful tone he brings to the whole moment. Reed is terrific in the film, a film that really with a lesser actor in this role would've been fully goofy I think. Reed though never treats the material as monster shlock, as it could've been treated, offering only a real depth and gravity in realizing both his character and the film's odd scenario. 

Alternate Best Supporting Actor 1979: G.D. Spradlin, Albert Hall, Laurence Fishburne, Herb Rice & Frederic Forrest in Apocalypse Now

G.D. Spradlin, Albert Hall, Laurence Fishburne, Herb Rice & Frederic Forrest did not receive Oscar nominations for portraying General Corman, Chief, Clean, Roach and Chef respectively in Apocalypse Now.

Apocalypse Now, as much as it is seen as a grand epic directorial achievement by Francis Ford Coppola, and it is, what seems to often make a true masterpiece is no singular element merely is, and almost every element seems to contribute to that greatness, the grand ensemble of this film included. Take for example one of the earliest scenes where Willard (Martin Sheen) is given his mission by three officials. Technically an exposition scene, but nothing about it do you think of exposition as it is filled with such mood and atmosphere, with the performances being an essential part of this. I could even have spoken of Harrison Ford, playing very much not his expected type, as the nervous junior Officer giving Willard the lowdown on his mission to assassinate Colonel Kurtz (Marlon Brando) clearing his throat denoting his discomfort of the situation or I could mention Jerry Ziesmer's nearly silent but wholly enigmatic portrayal of the man in civilian clothes who seems to be peering into Willard's soul as he has this overt comfort in the conversation. I decided though to focus on G.D. Spradlin, who previously worked with Coppola by playing a sleazy politician with great aplomb in The Godfather Part II, here has a small role, but one where you can see how much a performance can add. Technically all that the character of General Corman is saying is that Kurtz has gone off the deep end. Spradlin's performance though brings so much more subtext to each statement. His eyes almost drifting off as he speaks to Willard as though he has a fixation on some potent memory. His delivery on Kurtz believing himself to be God has this empathetic quality, not at all just informative, and his eyes almost seem to suggest some understanding of Kurtz if not even a direct personal connection to the man. Spradlin speaks with a strict empathy for the Colonel as he is technically ordering his demise, and in just the single scene presents a strange struggle the man is having in making this decision to execute. We never learn anything more about Corman, or his connection to Kurtz, however, within that there is such a greater depth by making the exposition far from it.

The Do Long Bridge scene I may be coming around to believing to be the greatest scene in a film filled with brilliant scenes, where Willard and his crew come across the last US outpost in Vietnam where it is a chaotic mess of men fighting or just existing while being attacked by an unseen Vietcong. Willard comes across one machine gun nest that fails to kill a pestering Vietcong, leading them to call on one Roach, which leads to the appearance of Herb Rice's Roach. This is one of those performances, as brief as it is, that I have never forgotten despite its brevity. Technically speaking Roach just shows up shoots a grenade launcher to kill the soldier then disappears into the darkness, yet in that short span leaves an unforgettable impression. Rice's whole manner is so strange yet so perfect in the not quite human manner in which he seems almost above the idea of the warzone. It isn't quite stoic I would say, but there is something where he seems beyond the state of his existence where his intention is so clear so and precise. His mentioning that the soldier "is close" with this sort of primeval almost understanding of the battle that isn't of some soldier of any modern-day, but something twisted beyond that. The reason I had to write about this performance though is his final moment where Willard, who has repeatedly been asking this question to no avail, "do you know who's in charge here". Rice's delivery of "Yeah" is genius in its ambiguity yet also in the sheer conviction of it. Roach most certainly knows something and has achieved some higher disturbing plain of existence in this state. The yeah alluding to whatever you want, but wholly chilling as Rice makes it a statement of absolute certainty in Roach's mind yet would be the opposite of anyone determining what that is. 

The most substantial supporting cast in terms of screen time is the crew of the boat that Willard is using to reach Kurtz, this includes the very young Laurence Fishburne as Clean, Frederic Forrest delivering his other notable turn from 1979, after his more subdued work as a man in a very complicated relationship in The Rose, as Chef and Albert Hall as the very similarly named Chief. I did not mention Sam Bottoms as the surfer Lance who I think actually is the weak link of the cast as the whole, though not bad, however, he apparently was on drugs while filming which is befitting his drugged-out surfer, however, it isn't quite as pointed as say Dennis Hopper who also was extremely high, though maybe that just speaks to Hopper's talent. Anyway, each man offers a different kind of soldier, and are fascinating in realizing the different men as they are. Fishburne actually is almost a performance defined by a kind of id that is rather fascinating to behold. This as his youth is quite obvious however the energy that Fishburne runs around the boat is very particular and exudes a man who has no idea quite that he's even in a warzone. There's this sense of a young boy playing a war throughout his performance and his almost mischievous quality as he moves around the boat often pestering others while never quite seeming to understand the severity of his situation. Opposed to that is Albert Hall's chief who gives a performance that I think I appreciate a bit more with every subsequent viewing. He gives one of the most low-key performances in the film basically making Chief as much of a straight man as there can be in the film. His portrayal actually would be equal to really what one would expect is the John Wayne character in a war film, in that he's a man who is going to do his duty and try to stay as calm as he can be. Hall is terrific in finding the right sense of this sort of professionalism for the lack of a better word as the soldier that puts him in stark contrast to everyone else on his ship. This is especially when compared to Frederic Forrest, who though it might sound like a joke, is maybe the sanest man in the whole film and that is entirely the problem. Forrest finds this very specific and really brilliant basic tone in his performance. This being actually quite the intense extreme that he presents Chef as basically a man who knows he is going insane and therefore is either falling into moments of that or is this attempt at some kind of Zen. The key here in Forrest's performance though is that Chef doesn't ever achieve that instead there is so much bottled-uped intensity in Forrest's eyes that you see someone almost always ready to explode. 

In the earliest scenes of the boat, we get some great small moments from each of the actors with Fishburne dancing around as though Clean hasn't a care in the world. Forrest has a great comic moment when questioning why some soldiers sit on their helmets and his pitch-perfect humorous mimic of the technique. Again though even while funny Forrest is great in portraying the sense in his eyes as he laughs about it, thinks about it, and then technically like the sanest man decides to use his helmet to guard his testicles as the soldiers had suggested. Hall is great in his subtle work that always supports Chief trying to maintain order best he can, with his delivery always supporting the idea of trying to keep things together. I love the bit of underlying suspicion he presents when asking Willard questions about the mission as though Chief is trying to sense if Willard is going to potentially kill his men or not, men that Hall always quietly alludes to the very genuine care he does have for his men despite the situations he technically follows putting them into. There is nothing blithe in Hall's performance, particularly compared to some other authority figures in the film, he seems to actually have a reasonable degree of concern in his duty. Back to Forrest who I think has little gems throughout the film in realizing the tightly wound man who is just right to burst. Everything about his physical presence is built within Forrest's performance from the way his posture is almost in a slight fetal position at times to just his often clenched teeth. Again though that is of this man holding onto sanity that often pops off. The first full instance we see of this is when he and Willard take a brief expedition into the jungle where they encounter a tiger and Forrest's full-bodied freakout of Chef's, as he says to never leave the boat, is a masterful portrayal of complete hysteria and this natural movement from the tightly wound to the full explosion of mania. Now going back to the Chef as the sanest man in the film, which my prior description would contradict. Forrest emphasizes throughout his performance a man who knows he's in a war zone, in mortal dangers at all times, he understands it so well, that he's properly tightly wound if not made wholly insane by that sane understanding of his situation. 

The highlight scene for the boat crew is when they all come across a boat of locals that Chief wants to check for weapons, despite Willard's protests. Hall again is great by really playing the discontent with Willard in just a glance and moment, and this sense of a man being fed up with the danger of the orders as well as the seeming shirking of his duties. Chief ordering the inspection with the manner of the proper ship Captain, trying to maintain a routine, even if he's in a place and world where routine is madness. Fishburne portrays Mr. Clean as basically a boy with a raygun as he's aiming it at the civilians, meanwhile, Chef has the thankless duty of searching the boat. Forrest again is great in portraying the hesitating awkwardness as he rather haphazardly searches. Forrest just exuding such anxiety in every moment as Chef clearly wants to be anywhere but there, checking every search point in a rushed chaotic hurry trying just to get it over with. When one of the people makes a sudden move Clean literally jumps the gun leading to a massacre of all the people right next to Chef. Fishburne portrayed in Clean still just rush of adrenaline with little meaning in the deaths, Chief frustrated but holding it together to try to lead still, meanwhile again as in many ways the sanest man, Forrest is amazing in portraying the quick mental breakdown. His delivery of every random yell that goes from extreme empathy to extreme callousness creates the sense of a man's mind breaking in two trying to create a sense of the horror he just saw. Forrest completely being so powerful in showing the man just cracking in two at the moment while just barely holding it together. He grants it a mania in his eyes, but carefully it is always with this particular sense of extreme sadness and disbelief at what he's seeing. Now in short order, Clean himself is killed, and it needs to be noted the important reactions of both Chief and Chef. Both Hall and Forrest show that the men are genuinely heartbroken at the death, and show that as much as one man is barely holding onto his sanity and the other is so controlled that it seems insane, they did deeply care for their shipmate. Sadly this is followed even sooner by Chief's death via spear which is an outstanding bit of acting from Hall. This first his kind of ironic bemusement at the act, as he kind of laughs at the joke being played on him by the universe, while also wholly conveying the sudden pain and surprise of it. Followed right by finally seeing all the hate he had for Willard realized in his eyes as he tries to kill Willard in his literal final breath. It is a great moment, particularly because we see the truth of Chief that he was holding together all along that without the pretense of duty he had plenty of festering humanity. Speaking of festering humanity, Forrest's final major scene with Willard, where both discuss how to handle the Kurtz situation, is great acting from Forrest again. This is Forrest conducts just the right sense of focus with confusion, conviction with exasperation, and madness with sanity. His delivery of Chef's strange articulation of the darkness of the place, as a place he'd rather die in than stay any longer, should make no sense, and it doesn't per se, but it does in Forrest's pitch-perfect articulation of it. It all makes sense in Chef's rattled mind, a rattled mind that Forrest made so powerfully tangible. Although none of these performances typically get the press with this film, it shows the greatness of the film with just how much vibrancy and depth they bring nonetheless. Although in some cases small parts, yet substantial in crafting the tapestry of this masterpiece. 

(Spradlin, Rice & Fishburne)

(Forrest and Hall)

Alternate Best Supporting Actor 1979: Art Carney & Lee Strasberg in Going in Style

Art Carney and Lee Starsberg did not receive Oscar nominations for portraying Al and Willie respectively in Going in Style. 

Art Carney and Lee Strasberg play the equally elderly friends of Joe (George Burns). Joe leads the other two on a bank robbery heist to enliven their later years. Carney and Strasberg are quite different in terms of their history as performers, Carney coming up from his all-time great comedic television work as Ed Norton, which segued successfully to comedically inclined dramatic work on the film. Strasberg on the other hand known for being the famed acting teacher of many legendary performers only really had a brief career in film with this film marking his last feature film in his short career. Anyway, forget all that because you instantly do as you enter the film with the two of them hanging out with Burns as Joe on a park bench in New York. As aforementioned in Burns's review, the chemistry between the guys is the first great bit of their performances together. They share this infectious and honest commaraderie between the three. It is just a given in their interactions, nothing forced in their reactions towards each other or anything they speak is always to an old friend. You are granted a sense from all three that these three have been hanging out at this bench for a long while and together they are just sincerely a group of friends. An important note for Carney's performance is like his Oscar-winning turn in Harry and Tonto, Carney is wholly convincing as a man much older than he was. Carney actually being only in his early sixties but is able to adjust his performance to be wholly fitting right along with both Strasberg and Burns who were genuinely the ages of their characters. 

I think a key difference between Carney's and Strasberg's performances is that there's less innate frustration as you see with Burns as they sit on that park bench, although they are certainly set in their ways it is less of a painful element in their performances. In turn, when Joe brings up the idea to the other two that he wants to rob a bank, I love both Carney and Strasberg's performances they are very natural. Strasberg shows Willie just completely confused by the prospect meanwhile Carney is just bemusement at Joe's suggestion. Carney naturally shows this sense of fun with the idea, whereas Strasberg is terrific in real being the voice of reason in his reaction that is with this sort of break in the reality that is known to them. The whole idea is pretty mad and Strasberg's performance voices that initially with such honest disbelief. Both bring separate energy that is just terrific with Carney bringing this excitement over the job, such as when he's describing the guns his nephew has for the job, like a "proper crook" doing the job, even right down to his expression that has the right sort of sense of play. This works so effectively against Strasberg's continued very realistic confusion as Willie still doesn't quite seem to believe his friends, but is slowly more amused by the idea if not even intrigued. He segues within his work just minor expressions and is so natural in what isn't exactly an ordinary situation. 

The further they are with the planning the more we get a sense of fun both men start having and in turn, a love of life seems to come across both of their faces. Carney's wonderful in a scene after scoping out of the bank where we get really a bit of classic Ed Norton silly dance movements as Al has some fun playing with the musicians like a much younger man, but I also love what Strasberg does in his more subtle expression of basically Willie getting infected by the promise of the job. Strasberg shows just this spark in his eyes and the sense of Willie starting to really get a kick out of the idea of being a crook as well. Strasberg earns this change so naturally by realizing just a bit more genuine interest to the point he's finally in on it fully. The night before the robbery Strasberg and Carney have a one truly great scene together as Al comforts Willie as he can't sleep. Strasberg is fantastic as Willie talks about an incident where he kept spanking his oldest son, who had died when he was young, to try to get him to confess. Strasberg is heartbreaking in recounting speaking at first with the expectation of what he was meant to do as the "dad" punishing his son for misbehavior but falling into such severe emotion through the sadness he so potently reveals as he notes that the incident broke their relationship and might've sent his son on a bad path. Carney's performance deserves mention in the scene as well, by just his reactions that bring such a powerful empathy to the moment showing Al absolutely being there for Willie as his friends recount this pain from his life. Carney truly puts the support in supporting, by his reactions allowing the scene to be that much more poignant. 

The two men though basically get to seemingly escape their past as they go off on their living fantasy of the bank robbery. Both are great in the robbery scene in bringing this physical awkwardness as they initially are brandishing their guns and attempting to play the part of the thugs. That is until Willie has to take action as two people wander into the bank, Strasberg brings out his inner Hyman Roth and delivers some genuine menace as Willie fully buys into the part of the crook. Emphasized all the more as they make their escape and Strasberg is exuding such a genuine thrill in Willie as the one who suddenly is most into really the robbery fully embracing this. It is great work from Strasberg because he breathes real life into the idea, showing such a genuine transformation of the questioning old man, who goes all in, and never does there feel an artifice, rather finding a powerful portrait Willie finding this second wind. To the point that spoilers it is heartbreaking when Willie suddenly dies after the robbery. Carney like Burns is very moving in revealing the real loss of Al losing his friend. Carney after this point shows Al, who really brought the most levity throughout, has just a bit of a somberness within that is striking compared to what we saw of him before that point. Joe in a way to relieve this, and enjoy some of the money, have the two of them go to Las Vegas to gamble and enjoy the "high life". As stated in Burns's review, despite this film seeming lighter, has a bit of a surprising weight to it. With Carney portraying along with Burns this hollowness in the attempted materialistic joy, glimpses of it are in momentary reactions, but always limited. We even get a brief bit of physical comedy from Carney as he non-verbally, and somewhat unknowingly plays around with a young woman (likely a prostitute), that again is just Carney in his comedic powers as a performer. Also just being a great comedic scene partner with Burns as they try to enjoy life as much as they can and in their own ways. Still, in each scene, Carney reflects a great exasperation even within the bits of joy, showing real no matter what gains they might've had from the robbery both men lost more in losing Willie as a friend. Carney and Strasberg's performances endear you to the trio, to each man, and to the whole idea of the endeavor. Even while Burns is the lead and given sort of the dramatic heft of the piece, Strasberg and Carney in their supporting parts offer endearing and also very moving portraits of the two old men finding an unexpected spark in their lives. 

Alternate Best Supporting Actor 1979: David Warner in Time After Time

David Warner did not receive an Oscar nomination for portraying Dr. John Leslie Stevenson aka Jack the Ripper in Time After Time. 

Although it is always with sadness to learn of the death of a great actor, such as was the case with David Warner, I will say it makes me appreciate being able to look back at all his work, including his more obscure fair that maybe I would've never discovered if I had decided to stick to this endeavor, that revealed a truly talented individual with a tremendous range of tone, character, and emotion. An example of a somewhat more obscure fair is Time After Time, again a wonderful time adventure film as we follow H.G. Wells (Malcolm McDowell) tracking down Jack the Ripper. A character who opens the film, as we enter his POV, though hear his voice, a certain someone's a very elegant and regal voice that of course being David Warner. Warner's voice probably has one of the greatest of eases when it comes to crafting menace. Here you can see just the way he accentuates "there" at his soon-to-be victim can suddenly denote ill intention, though a different ill intention that the poor prostitute would think of. Warner though voices the killing with the expected distinct edge before we even see the man. 

We see the man in flesh as one of the guests of H.G. Wells who wishes to show off his newly invented time machine. We see Ripper representing himself as the respectable doctor with a less innately chilling quality within his voice. Warner though still finds this certain lower-key sinister quality as he speaks towards humans as just predator and prey, and there certain weight upon his brow alluding to his secret even as it appears he's perfectly safe within the presence of the other men. The police appearing leaves Jack to make his escape via Wells's time machine, leaving Wells himself to pursue the ripper alone best that he can. Jack reappears as Wells tracks him to a hotel room where we see the ripper much more comfortable than Wells in the 20th century, seeming a man of the 20th century almost entirely. His seeing of Wells with a certain annoyance that Warner reflects even as he speaks almost as slightly admiring if critical friend towards Wells. When Wells walks past him, loves a little bit as Warner grits his teeth revealing the greatest psychotic edge of the character when Wells is not looking. When Wells attempts basically just to kindly ask him to return, Warner brings this bemusement at the suggestion with a disregarding smile towards Wells's innate goodness and Victorian demeanor. Jack states his refusal by showing the violence within the 20th century, where John tells Wells about essentially being at home where Warner delivers this sort of savoring fervor to the moment. Warner portrays this sort of joy in the sense that he's found a new hunting ground that will be most welcoming to him. Warner brings great relish as John states he's gone from a freak to an amateur through time. After this scene, Warner's character moves more towards the background as the film shifts closer to the romantic connection between Wells and a modern bank teller Amy (Mary Steenburgen). There Warner is fantastic in his glimpses of just showing the peering psychotic drive of the ripper. The glimpses of his performance exudes such vile sort of lustful taste for his killings that he depicts as basically this near sexual drive. This building until he takes Amy hostage as he faces off with Wells. And Warner makes for a good straightforward villain in these scenes by just accentuating the fiendishness of his villainy. Warner cuts deep by being so straightforward in the ease of the character's evil as he pesters and plays with Wells to his own satisfaction. The only major flaw I'd say in the film is the ending climax is a bit simple with Wells simply pulling one key too many while the Ripper is in the time machine, sending him off, in not really all that thrilling of climax. Having said that Warner still is terrific in the moment before this as he and Wells have a moment, and Warner's reaction is great in showing that Ripper understands what is about to happen and essentially accepting finally being defeating in this game of "chess". Warner doesn't require that I really write this terrific work, because that really was the expectation of Warner as a performer. He would always come in, and always deliver, in roles big and small, funny and deadly serious, deeply emotional or cold cunning. A performer one could always depend on and it is a shame that we won't get to appreciate any new performances from him. Thankfully his body of work will never fade, and we will always be able to appreciate the man's great talent. 

Alternate Best Supporting Actor 1979

 And the Nominees Were Not:

Art Carney in Going in Style

Oliver Reed in The Brood

David Warner in Time After Time

Yaphet Kotto in Alien

Frederic Forrest in Apocalypse Now

Alternate Best Supporting Actor 1979: Results

5. James Remar in The Warriors- Remar is gives a compelling and complex portrayal of the most interesting member of the Warriors even if his performance is cut short.

Best Scene:  Ajax is caught.

4. Marlon Brando in Apocalypse Now-Brando earns the build up to his character and gives a fascinating depiction of a man lost in his delusions of grandeur.

Best Scene: "An errand boy"

3. Michael Palin in Life of Brian- Palin creates several hilarious characters particularly a not particularly commanding Pontius Pilate, and a particularly pleasant Centurion.

Best Scene: The guard sends men on their way to the cross.

2. Dennis Hopper in Apocalypse Now- Hopper, despite not even giving a name, creates a fascinating depiction, worthy of his own film, of a burn out who has discovered an odd sort of faith.

Best Scene: Photojournalist greets Willard.

1. Ian Holm in Alien- Holm gives an excellent performance, which is amplified all the more by the terrific ensemble around him, of a rather unique deception and a particularly chilling depiction of a unique sort of evil.

Best Scene: Ash's final message.

Overall Ranking:

1. Robert Duvall in Apocalypse Now
2. Ian Holm in Alien
3. Dennis Hopper in Apocalypse Now
4. Yaphet Kotto in Alien 
5. Michael Palin in Life of Brian
6. Oliver Reed in The Brood
7. Art Carney in Going in Style
8. Lee Strasberg in Going in Style
9. Frederic Forrest in Apocalypse Now
10. Marlon Brando in Apocalypse Now
11. David Warner in Time After Time
12. Albert Hall in Apocalypse Now
13. John Hurt in Alien 
14. Tom Skerritt in Alien
15. Herb Rice in Apocalypse Now
16. Harry Dean Stanton in Alien
17. James Remar in The Warriors
18. Justin Henry in Kramer vs. Kramer
19. G.D. Spradlin in Apocalypse Now
20. Frederic Forrest in The Rose
21. Rentarō Mikuni in Vengeance is Mine
22. Utpal Dutta in The Elephant God
23. Laurence Fishburne in Apocalypse Now
24. Vladimir Samoilov in Siberiade
25. Vitaly Solomin in Siberiade
26. Nikita Mikhalkov in Siberiade
27. Sergey Shakurov in Siberiade
28. John Cleese in Life of Brian
29. Eric Idle in Life of Brian
30. Bernard Blier in Série Noire
31. Klaus Löwitsch in The Marriage of Maria Braun
32. Denholm Elliott in Saint Jack
33. Mick Ford in Scum
34. Larry Hankin in Escape From Alcatraz
35. Sam Neill in My Brilliant Career
36. Burgess Meredith in Rocky II 
37. Julian Firth in Scum
38. Paul Dooley in Breaking Away
39. Carl Weathers in Rocky II
40. Wilford Brimley in The China Syndrome
41. Michael O'Keefe in The Great Santini
42. Santosh Dutta in The Elephant God
43. Charles Grodin in Real Life
44. Richard Attenborough in The Human Factor
45. Harrison Ford in Apocalypse Now
46. Jackie Earle Haley in Breaking Away
47. Jackie Mason in The Jerk
48. Laurence Olivier in A Little Romance
49. Richard Dysart in Being There 
50. John Friedrich in The Wanderers
51. Harry Dean Stanton in Wise Blood
52. Siddhartha Chatterjee in The Elephant God
53. John Forsythe in And Justice For All
54. Andreas Katsulas in Série noire
55. Robert Morley in The Human Factor
56. Patrick McGoohan in Escape From Alcatraz 
57. Peter O'Toole in Zulu Dawn
58. Christopher Lloyd in The Onion Field
59. David Patrick Kelly in The Warriors
60. M. Emmet Walsh in The Jerk
61. Haradhan Bandopadhyay in The Elephant God
62. Donald Sutherland in Murder By Decree
63. Ted Danson in The Onion Field
64. Ned Beatty in Wise Blood
65. Paul Benjamin in Escape From Alcatraz
66. Michael Douglas in The China Syndrome
67. Dan Shor in Wise Blood
68. Mickey Rooney in The Black Stallion
69. Deforest Kelly in Star Trek The Motion Picture
70. Sam Bottoms in Apocalypse Now
71. Mario Adorf in The Tin Drum
72. Ray Winstone in Quadrophenia
73. Michael Murphy in Manhattan
74. Laurence Olivier in Dracula
75. Roger Hill in The Warriors
76. Joe Spinell in Rocky II
77. Dennis Quaid in Breaking Away
78. Hoyt Axton in The Black Stallion
79. Dorsey Wright in Hair
80. Matt Dillon in Over the Edge
81. Roland Topor in Nosferatu The Vampyre
82. G.D. Spradlin in North Dallas Forty
83. John Gielgud in The Human Factor
84. Ned Beatty in Promises in the Dark
85. Peter Bogdanovich in Saint Jack
86. Jack Warden in And Justice For All
87. Leonard Nimoy in Star Trek the Motion Picture
88. Daniel Stern in Breaking Away
89. Warren Oates in 1941
90. Toshiro Mifune in 1941
91. Treat Williams in 1941
92. Robert Stack in 1941
93. Bobbi Di Cocci in 1941
94. Christopher Lee in 1941
95. Murray Hamilton in 1941
96. Dan Aykroyd in 1941
97. Daniel Olbrychski in The Tin Drum
98. Walter Ladengast in Nosferatu The Vampyre 
99. Leigh Lawson in Tess
100. Melvyn Douglas in Being There
     
101. Peter Boyle in Hardcore
102. Alan Bates in The Rose
103. Erland van Lidth in The Wanderers
104. Donald Pleasence in Dracula 
105. Bob Hoskins in Zulu Dawn
106. Jose Ferrer in Natural Enemies
107. Charles Durning in Starting Over
108. Peter Firth in Tess
109. Michael Lonsdale in Moonraker
110. Willie Nelson in The Electric Horseman
111. Brian Dennehy in 10
112. William Andrews in The Wanderers
113. Ed Begley Jr. in The In-Laws
114. Burt Lancaster in Zulu Dawn
115. John Gielgud in Caligula
116. John Saxon in The Electric Horseman
117. Steve Bisley in Mad Max
118. Burt Young in Rocky II
119. Robert Webber in 10
120. Melvyn Douglas in The Seduction of Joe Tynan
121. Jack Warden in Being There
122. Marcelino Sanchez in The Warriors
123. Terry Jones in Life of Brian
     
124. John Belushi in 1941
125. David Hemmings in Murder By Decree
126. Trevor Eve in Dracula
127. Richard Libertini in The In-Laws
128. Tim Matheson in 1941
129. Rod Steiger in The Amityville Horror
130. Richard Keel in Moonraker
131. Sam J. Jones in 10
132. Jeffrey Tambor in And Justice For All

Next Year: 1942 lead

Alternate Best Supporting Actor 1979: James Remar in The Warriors

James Remar did not receive an Oscar nomination for portraying Ajax in The Warriors.

The Warriors is a stylish and rather entertaining film about a gang who must return to their territory through many enemies after a grand meeting of the gangs has gone terribly wrong.

Although I do genuinely like the Warriors as a film it's not a film I would describe where the acting really stands out, for the most part anyway. Michael Beck is a bit too stoic as the lead Warrior Swan and most of the other warriors seem pretty interchangeable. The same goes for most of the villains who are more defined by their look then whatever it is that they do, well except for David Patrick Kelly who is always a perfect fit in the role of a slimy weasel. Out of the warriors though there is one performance that stands out and obviously that performance belongs to James Remar. Remar plays Ajax who while not the leader of the Warriors is one of their most prominent members. Ajax wants to be leader and does not mind saying that he's a better man for the job than Swan. Remar's performance, unlike almost every other performance in the film, makes his presence known refusing just to be part of the scenery created by Walter Hill.

Remar's carries himself with a considerable amount of cool early on oozes with the right sort of menace in his performance. Remar's makes himself an imposing bad ass incredibly well, and has a certain charisma with his part that is a tad a lacking with his co-horts in the film. Remar honestly makes you think that Ajax should be the leader simply because Remar carries so much more command with his performance than Beck is able to ever muster with his work. This technical problem is made worse though as Remar just is so much more in the situation with his performance in a physical sense to as he brings the energy needed in the situation, and although you obviously see the fight with the rest of the performances, it is through Remar's performance that you really feel the fight as well. The funny thing though is the film does wish to show us Ajax as a hot head with the wrong kind of lusts who is too crazy to be the leader, and Remar does not reject this idea either.

Remar is equally effective in showing why Ajax is also far from the ideal leader since he probably likes certain elements of gang life a little too much. Remar's always shows that Ajax has an energy about him, a definite violent energy that is ready to explode at every time. As I wrote before, Remar brings the right physicality to the role as he shows that Ajax almost is always holding himself in a bit since he is ready to explode at any minute. Violence is not all that he loves as Ajax is also a very lusty sort since he is also often preoccupied with women, the problem is for him is he never really stops thinking about the violence either. Remar builds up his character well so when Ajax finally just decides to go on and fight we see the full extent of Ajax's ferocity as a fighter while Remar is careful to show that Ajax is also loving every moment of the battle.

Remar's best scene is when all of Ajax's vices come together as he tries to harass a woman in the part. Remar's quite good in this scene because he portrays it every simply as the worst of the thug mentality, and shows technically what the real nature of Ajax is. The best moment comes when the woman reveals herself to be a cop while handcuffing Ajax to a bench and signaling for him to be picked up. Remar's is very good in the scene portraying Ajax as losing any of that cool he had before, and almost turns him into an animal in a cage that is simply trying to get from from his bonds. The only problem is with the scene is it is instantly the end of Ajax and we never see him again once he is taken away by the police leaving us only with the far less interesting characters. Remar with his relatively brief time though gives a much fuller portrayal of gang member as he honestly brings the cool with the tough carefree attitude, yet cleverly subverts that by showing he still is a thug when you see what really compels him.

Alternate Best Supporting Actor 1979: Ian Holm in Alien

Ian Holm did not receive an Oscar nomination for portraying Ash in Alien.

Alien is a masterful horror film about a crew of spaceship who answer a distress call that leads to contact with a deadly life form.

One of the great elements of Alien is found in its ensemble. Although I have focused on Holm for the review everyone is worthy of mention. The crew of the spaceship called the Nostromo are not just dead meat, despite their high mortality rate, nor are they the standard character usually found in Science fiction. This reflected in almost everyone's performance who play their parts in a particularly down to earth fashion, as they reflect the fact that this crew is not a group of space adventurers rather they are simply a group of people doing a routine job for money. Along with that there is considerable amount of camaraderie the actors create with each other suggesting that the group have been working together for awhile. Their performances just intertwine incredibly well, and it only ever feels like a genuine group of people you meet not just some standard sci-fi or horror archetypes as they easily could have been.

John Hurt, who actually was nominated for a Bafta, gives a very strong performance as one of Kane a crew member who is particularly tired, and finds everything is just rather routine. He very nicely though shows the right excitement in Kane when searching through the odd ship they discover from the distress call. Hurt deserves particular praise for the film's most famous scene of the chestburster. The scene may not have been as effective if it were not for Hurt's portrayal who gives one of the most searing portrayals of pain on screen, and makes you believe that this horrible thing is happening to Kane. Tom Skerritt is also quite good in portraying the ship captain's Dallas. Skerritt brings the right likability and relaxed quality to be the captain of such a ship, but he also brings the right sort of command to the part. He is a comforting factor in the film, seeming perhaps the hero, making all the more effective with his early departure.

Harry Dean Stanton is a particularly interesting choice to be in a sci-fi film, and he offers some nice comic relief early on. He's quite enjoyable in being just about a janitor for the ship. Stanton brings a different kind of exasperation one where he seems to genuinely not care about anything other than the fact that he's getting less money than the rest of the crew. Along with Stanton on the janitorial crew is Yaphet Kotto as Parker who also is upset about the lack of money, although Kotto makes it in a somewhat more amiable half joking sorta fashion. He and Stanton are great together and I love the way the two have kinda a connection between each other but a certain distance throughout the rest due to their more "lowly" jobs on the ship. Kotto gets to do a little more than Stanton, since he lasts longer, and very effectively and believably shifts Parker into passionate man who wants to stop the monster and save the crew.

The ladies are no slouches either. Sirgourney Weaver is exceptional from the beginning as Ripley, although she would later achieve even higher heights with the character in the two sequels to this film, this is still a very assured performance that leads the later of the half incredibly well. Weaver might not give the best performance in this film, as is the case in Aliens and Alien 3, but her strong screen presence adds so much to the film. Veronica Cartwright has what could have been a technically thankless role as the weakest member of the crew Lambert. Cartwright is amazing in the role though because she creates such a real and intense fear. Cartwright does not show that Lambert is just afraid, no she makes Lambert someone almost petrified by her situation. Cartwright makes her absolutely gripped with fear, and it has to be said that Veronica Cartwright is perhaps the greatest cinematic screamer of all time.

What about old Ian Holm though, the man this review is technically all about? Holm is kinda the odd man out, and this is a great ensemble in the best sense since all the other performances amplify Holm's. As I said before you really believe the crew as they all have the right relaxed quality toward one another, well everyone except Holm. Holm has a certain cold streak to his performance, and never seems to share any real connection with other crew members. The crew also all are rather tired of their jobs again this makes Holm stand out. Holm has Ash always very up to task never giving the sense that the character is tired in the least. Holm portrays Ash with constant engagement rather different from the general half-hearted attitude given by the other crew members towards their tasks. Holm and the rest of the cast together create the perfect dynamic by showing that Ash is definitely not like the rest.

Holm is very interesting in the early scene of the film as there is an oddness he brings to his performance, that is all the more pronounced when compared to the particularly naturalistic performances given by the rest of the cast. Holm's performance is particularly astute as he throws in some strange mannerisms that Ash has some of the time. The mannerisms are not strange in the usual way, and Holm is brilliant in his odd choices here. Holm adds in some overly human things to do like for example when he blows out his breath when he is suppose to be bored. It is technically something a human does, but the way Holm does it seems like it is a man acting as you know a proper human should act. You can kinda see the performance, not Holm's, but Ash's. Holm never goes too far with this to give away the game completely, but he alludes to the fact that there is something not quite right about Ash in such a clever subtle fashion.

The deal with Ash is kept a secret by the film and Holm when Kane finds himself incapacitated with an Alien facehugger. On one hand Holm portrays Ash very passionate about letting Kane back on the ship for treatment, and even fervently performs Ash's argument with Ripley since he overrode quarantine protocols which claims was for the sake of Ash. Holm carefully conflicts these claims with his portrayal of Ash's attitude toward Kane while the creature does whatever it is doing to him. Holm plays it rather interestingly as he shows Ash to be very intrigued, and quite gentle in these scenes. The thing Holm never portrays this as Ash having sympathy toward Kane, but rather his tender movements seem toward the creature. Holm again is excellent because he plays his hand in just the right fashion to not give away the truth about Ash, but still completely setting up the intent of the character.

One of my favorite scenes for Holm is the dinner after Kane has seemingly recovered. Again everyone else amplifies Holm's work as they are all just talking casually seeming ready to enjoy Earth again soon enough and happy to see their friend healthy again. Holm though is brilliant as he shows that Ash is absolutely knows something is going to happen, and happen very soon. Holm makes Ash completely knowing as he simply just watches Kane the entire time with a bit of reserved excitement ready to see what is going to happen next. When the alien does rear its ugly head its not fear or disgust that Holm expresses like the rest of the crew, but instead he shows a cruel fascination at the turn of events. Holm is so good though because again he still does not quite seem to give up the game, and it is believable that the others would take so long to suspect him because Holm does keep Ash's oddities so subtle.

Eventually Ash is caught by Ripley mainly because he seems to be bleeding but the problem is his blood is white not red. Holm is amazing though as he instantly switches to becoming incredibly imposing in an instant as Ash decides that Ripley knows to much. Despite Holm's stature, he still brings a strong menace as there is just such a sudden fierce determination to bring death that Holm portrays in Ash, while Ash seems to have far more strength than a normal human being. Well that's because Ash is in fact an android which becomes even more apparent as he is attacked by the other remaining crew members and begins to malfunction. This could lead to some rather bad overacting, but Holm actually completely sells the scene as Ash begins to convulse wildly before his head is knocked off. Holm honestly comes across as machine losing its proper functionality and its just a wonderfully acted scene by Holm.

Holm, despite only being a head, actually gets one more scene as the crew revives him temporarily to find out what he knows about the Xenomorph. Holm, again only acting with his head, is marvelous in the scene. Holm, while still being the android by showing the malfunctions, delivers Ash's final speech perfectly. He brings such dread to Ash's message while making it more fiendish by showing that Ash is so satisfied that they will soon die. Holm is absolutely bone chilling with his final smile he gives after he tells the crew that even though they are doomed they do have his sympathy. This is a fantastic performance by Ian Holm because he never gives away the secret of his performance, but when it is revealed it makes absolute sense due to the hints from his performance. A lesser actor may have given up the game instantly, or just made it a cheap twist, but Holm executes the character of Ash so perfectly creating a truly memorable villain that works so wonderfully with the rest of the cast.

Alternate Best Supporting Actor 1979: Michael Palin in Life of Brian

Michael Palin did not receive an Oscar nomination for portraying Mr Big-Nose, Francis, Mrs A, Ex-leper, Ben, Pontius Pilate, Boring Prophet, Eddie, Nisus Wettus, and the 3rd wise man in Life of Brian.

I have not seen a great deal of what Monty Python has to offer, as I have not seen many of their old sketches, nor all that many of their films. Nevertheless whenever a film involves multiple Pythons the one who almost always stands out to me is Michael Palin. This is once again the case here in Life of Brian. Graham Chapman is fine as the straight man, John Cleese and Eric Idle are quite enjoyable as their various character but the highlight of the film is Michael Palin and his various characters. Cleese and Idle are both enjoyable in their various characters but they are not excessively dissimilar in nature. Cleese and Idle's main goal is just to be funny though and they certainly succeed at that, but Palin really goes the extra distance with his performance. Palin does this by never allows one of his characters to be just a copy of another.

One of the way that Palin does this is that he makes a far better use of the physical side of his performance than Cleese and Idle do. Palin changes more than just his voice or merely just his lines, but he changes himself with each new character. For example there is when he is Mr. Big-Nose for example he is sure footed and withdrawn as the manner of a man restraining his anger. As the cured leper Palin walks with a particularly strong stand and every movement is especially robust to fully suggest that the man is in the best physical condition. There is also his Pontius Pilate where Palin very brilliantly suggests the previous Pilate portrays as his movements have that stoic quality fitting for the man of the Pilate position. Almost every one of Palin's characters has a different feeling about them, and Palin never just makes it Michael Palin being funny in another costume.

This is a comedic performance though so is he funny. Well yes he is. Palin in fact by physically playing Pilate so "correctly" it makes it all the funnier when he speaks with his speech impediment. The speech impediment would not be funny all by itself, but Palin makes it funny because he still carries Pilate as if he is this great authority figure despite the fact that everyone has to hold back laughter well around him. My favorite of Palin's character here though is as a prison official in charge of telling prisoners where they need to go. Palin creates some pure comedic gold as he keeps the prison official so overly courteous and gentle as he directs various people to their deaths by crucifixion. It only gets better in that these scenes are paired with his Pilate ones making it so Palin just gets to top himself with the amount of laughs he is able to derive with his competing performances.

Michael Palin here does not have any character arcs just characters to have some fun with. In this task he completely succeeds as he is consistently entertaining in his various random appearances throughout the film. He's always a bright spot in his quick appearances, and his largest role of Pilate is one of the true high points of the film. Palin steals this film quite efficiently yet rather modestly with his particular manner of comedic style. Honestly I think Palin probably could have just played all the character and it would have worked out fine as he's so good in creating those different types of characters to make them unique in some way while making sure that he never forgets to be very amusing as well. Palin serves the film with his set of supporting performances probably just as well as he possibly could since he certainly adds plenty of comedy to this comedy.

Alternate Best Supporting Actor 1979: Dennis Hopper in Apocalypse Now

Dennis Hopper did not receive an Oscar nomination for portraying the American photojournalist in Apocalypse Now.

As I wrote in my previous review Apocalypse Now depicts many forms of madness whether it is the rigid and controlled madness of Colonel Killgore (Robert Duvall), the delusions of grandeur of Colonel Kurtz (Marlon Brando), the hidden madness of our guide Willard (Martin Sheen), the almost comatose sort of madness of most of Kurtz's followers, and I suppose the more traditional, as in the very extroverted, type of madness is best personified by Dennis Hopper's nameless photographer. Hopper makes an unexpected appearance just a little bit of time before the expected appearance of Brando's Colonel Kurtz, as Willard and the other crew members arrive to Kurtz's compound which is littered with Kurtz's native worshipers as well as the corpses of many other natives, who perhaps weren't the worshiping type.

One of the best aspects of Apocalypse Now are the surprises found in the journey. One of these surprises is Hopper who plays a photojournalist who obviously has been in Vietnam probably longer than most of the soldiers. Hopper's no stranger to unstable character and he's pitch perfect here as the photojournalist. Hopper turns the photojournalist into a man who seems completely spent in almost every way imaginable. Hopper's physical performance is flawless as his odd, yet entirely natural seeming, movements convey the idea that the man is probably under the influence of more than one substance. Everything about Hopper's manner also instantly suggests the derangement of the man as in his eyes and face you can see that this man has had probably too many experiences to count in the war, and have permanently left him a more than a little mentally off.

Hopper is also terrific in his portrayal of a different kind of worship of Kurtz opposed to the more reserved catatonic manner of the other followers. Hopper instead shows the photojournalist as a strange observer, and outsider despite technically being quite influenced by Kurtz. Hopper is brilliant in his performance of the photojournalists own admiration of Kurtz as the photojournalist seems to be completely awe struck by the idea of the man. Hopper is excellent as he makes the photojournalists own unique worship of Kurtz completely believable, as he makes it some sort of revelation for the photojournalist as if Kurtz has become something he believe in. Hopper's never makes this one note though as there is the short moments where the photojournalist points out that Kurtz is far from perfect. Hopper is great because he brings the moments of defensive doubts in the man so naturally, and never leaves the photojournalist as a simple fanatic.

Like the performances of Frederic Forrest, Robert Duvall and Marlon Brando, it is just fascinating to watch Hopper perform here. He takes on this completely insane character but never just hams it up in the part. He certainly never leaves the insanity in question in anyway, but makes it feel completely authentic to the setting of the film as well as the part. If I had a problem with Hopper's performance, and in reality don't, is that I only could have gone for more of him in the film. Hopper's overall screen time is extremely brief yet Hopper still makes his impact beautifully and realizes this character absurdly well. Hopper, despite not even getting a name for his character, creates the photojournalist in such vivid detail that he suggests that this man had his own complicated story to Kurtz's compound. This is exceptional work by Dennis Hopper as he makes his nameless supporting character really worthy of being a lead character in his own film.