Alternate Best Supporting Actor 1984: Results

5. Tim Roth in The Hit - Roth gives a properly entertaining performance in creating the superficiality of his young wannabe hitman.

Best Scene: The Hit.

4. John Candy in Splash - Candy steals his film with ease with his funny take as a pseudo lothario that makes his scenes the only scenes worthwhile in the film.

Best Scene: Listening in.

3. Denholm Elliott in A Private Function - Elliott is the funniest part of his film by taking the role overly seriously, playing his hoity toit doctor as a menacing pseudo-gangster.

Best Scene: Threat to the couple.

2. Kenneth McMillan in The Pope of Greenwich Village - McMillan proves himself a great character actor with not only his wildly entertaining portrayal of a intergalactic madman in Dune, but also this down to earth heartfelt honest portrayal of a small time criminal.

Best Scene: Saying goodbye to his wife.

1. Harry Dean Stanton in Repo Man - Good Predictions Michael McCarthy, and Luke. Well for me it came down to two great characters actors giving two remarkable performances within years were they gave kind of the opposite style in the same year. Stanton with his great lead performance in the low key Paris, Texas, and here in his extremely enjoyable absurdist tone as a veteran repo man. Honestly I could switch between the two down the road, but at this moment I'm going for Stanton's hilarious turn.

Best Scene: "You calling me an asshole?"

Updated Overall

Next Year: 2012 Lead

Alternate Best Supporting Actor 1984: Denholm Elliott in A Private Function

Denholm Elliott did not receive an Oscar nomination, despite winning BAFTA, for portraying Dr. Charles Swaby in A Private Function.

A Private Function is yet another off-beat film from 84 this time about a husband Gilbert (Michael Palin) and wife Joyce (Maggie Smith) getting into the complicated black market during food rationing in post-war England.

Denholm Eliott, in the second of his three consecutive BAFTA winning performances, plays the ringleader of the "nefarious" group secretly procuring food outside of the food rationing policies set by the government. Denholm Elliott is the funniest part of this comedy of manners because he plays the part the role less as a stuck up high class doctor and more as a crime boss not entirely unlike Michael Caine's Mortwell in Mona Lisa. Elliott's approach is to take everything so seriously that it ends up becoming more than a little hilarious, I won't say he quite plays it straight though because he doesn't exactly. There is a build up to this though as we see glimpses of his character as he is working with his "gang" of other well to dos who plan on getting their pork for a pivotal private function no matter what it takes, well maybe not no matter what. These guys though are pretty severe though it seems evidenced by Elliott's mere body language in these scenes as he sits with his darkened expression among the others, clearly the man of power, of course we're talking about the leader of a hoity toit dinner.

Unfortunately for doctor Swaby and his "villains" the new doctor in town, foot doctor that is, Gilbert accidentally comes wind of their hidden pigs who, egged on by his wife, decide to steal it in order to social climb. This leads to the doctor to be short of one pivotal main course for his dinner party leading to a break down among his gang. Elliott is hilarious in this scene, particularly the pained distress in his reaction at being suggested that they replace the main course with salmon. Elliott's great as he takes this atypical swing around as he plays it more mobster than snob in the viciousness he exudes in his speech against the changing mores of England. It is not entirely unlike Bob Hoskins's final speech in The Long Good Friday though of course Elliott's anger stems from having to share a little rather than due to losing everything. What I actually loved is that Elliott does not wink at any point in this playing the whole thing straight yet skewed still as a most ridiculous society man.

Elliott's best scenes come in the climax in the film where the men find their stolen pigs and must deal with Joyce and Gilbert in order to proceed with their proper meal on time. Elliott again stays with his oh so amusing approach as he brings so much intensity to the role. I with all sincerity hope Elliott played a legitimate gangster once since Elliott would be genuinely menacing in the role if his threats were more than just rather vague insults. Of course that is what makes Elliott so funny as he delivers his lines with the same type of determined hate you'd expect from a man who will kill to get what he wants, although of course the doctor really won't go that far. Elliott's subversion is quite something with the highlight being perhaps his version of Robert Prosky's speech in Thief since Elliott does not hold back directing his brutal words so effectively yet his brutal words basically amount to "hey nobody likes you, leave town". Elliott gives a very entertaining performance as he stays so true and consistent in his initial setup of portraying Dr. Charles Swaby as the most "merciless" of all dinner party hosts.

Alternate Best Supporting Actor 1984: Harry Dean Stanton in Repo Man

Harry Dean Stanton did not receive an Oscar nomination for portraying Bud in Repo Man.

Repo Man is a downright bonkers film, and I mean that in a good way, about a young punk Otto (Emilio Estevez) taking a job as a repo man in L.A. where strange things occur.

Harry Dean Stanton plays Bud the man who randomly recruits Otto to repossess a car on the street through a lie saying his wife's in labor and he doesn't want to leave her car in "bad area". Now just the way Stanton says bad neighborhood told me that I was going to be in for quite the treat with this performance. Although I guess the fact that it's Harry Dean Stanton in a prominent role should have already tipped me off of that. In fact old Stanton is even top billed here, though he is indeed supporting to Estevez's Otto. Stanton's bud though acts as the access point to the strange world of repossessions. Stanton's old scraggly mannerisms perfect for the seedy world of the repo as he dulls out his advice with this rough certainty. It is quite something just to have Stanton being the mentor character of sort to Otto, as Stanton does fulfill this though not in the way you may expect. Stanton's certain type of world weariness, although I'm not certain is quite the right word as Stanton doesn't suggest Bud's tired of the world just rather he's not terribly impressed by it.

Stanton's performance makes bud as though he's this hardboiled detective giving out information on the job though of course he's not a detective. Stanton's approach though makes what this advice is quite something to say the least such as telling Otto he needs to wake up early but also that all repo men are on speed which is then shown through Bud snorting drugs up with Otto. This performance is as bonkers as the film yet it's so special because of how down to earthish Stanton plays the role. Stanton is consistently hilarious in everything he does in this film in portraying Bud's gruff, rough yet fairly casual demeanor towards his job. Stanton's so funny in just being this hard ass type which is perhaps most evident when he comes across his rival repo man and whenever Stanton delivers a salty insult their way it's a little gem. One of my favorite moments though is perhaps his annoyed scoff when the two men threaten to sue them after he gets revenge by crashing into their car.

The consistency is perhaps though what makes this performance so good as Stanton's portrayal of Bud's unflappable attitude is what is so terribly  amusing about his work here.  I love the way that even when he gets ready to take on some store robbers he still deals with it like it's just part of his daily routine. This even includes when things begin to get stranger around one car that seems to have an alien presence within it. Ol' Bud decides to commandeer it despite it risking his life for it. When Otto presses him on his hypocrisy in regards to his earlier advice, that no car is worth dying for, Stanton makes it a moment of comedic gold as he portrays the anger specifically in Bud over being called an asshole indirectly by Otto since that's what he referred to people who risked their lives over cars. I loved everything about this performance to the point that I loved every second Stanton was onscreen. He's always doing something that is at least a little entertaining through his pitch perfect portrayal of the caustic Bud. Although this is a bigger role in ways, it's another of Stanton making such an impact with fairly limited resources. Every line delivery, every reaction, there's just that extra little something that could only be brought out by Harry Dean Stanton. 

Alternate Best Supporting Actor 1984: Kenneth McMillan in Dune & The Pope of Greenwich Village and Sting in Dune

Kenneth McMillan nor Sting received an Oscar nomination for portraying Baron Vladimir Harkonnen and Feyd-Rautha respectively in Dune.

Well you won't quite seen any film like David Lynch's Dune, but that isn't exactly a good thing unlike most Lynch films. Seeing Lynch take on something like this is interesting in itself, but unfortunately that's mainly in the concept. In the execution it's often a dull film with Lynch, strangely enough of all people, making sure to explain everything within the sci-fi universe with constant long winded exposition.

Adding to the curiosity of the film is its notable cast, though some would gain their notoriety after this film, including Jurgen Prochnow, Brad Dourif, Richard Jordan, Max von Sydow, Jose Ferrer, Linda Hunt and Patrick Stewart. I'm focusing on perhaps two of the lesser known performers, as actors mind you, Kenneth McMillan and the musician Sting. Much of the cast is as dull as so many of the lines they deliver, luckily there are these two crazies waiting in the wings. McMillan and Sting play the two central, active, villains in the film who are bent on destroying the house of Atreides to which our hero Paul (Kyle MacLachlan) belongs. McMillan plays the Baron Harkonnen who spends much of his time having his giant pustules drained of their pus while he murders his servants via a heart plug he has installed in them, while Sting plays his nephew Feyd-Rautha who spends much of the film seemingly waiting in his green room in order to do something evil.

These two are the highlights of the film in every way possible because they're the only ones who want to try to make this a fun sci-fi adventure. McMillan is terrific by embracing the grotesque nature of his character to the nth degree. McMillan just revels in it in the best of ways as he portrays such a sick glee in the Baron as he goes about scheming to destroy the Atreides but also just when he goes about randomly doing any evil act. McMillan is the excessively indulgent creep he should be as his performance feels like gluttony incarnate. McMillan wastes no image of himself as even the way he rises and floats, rather than walks, has this deliciously sick sinister quality to it. Sting's take is a bit different in just that he plays Feyd-Rautha as though he knows he's the main boss for the film, and I mean the main boss in video game terms. Sting provides this overpowering confidence in just his swagger particularly in his scene where he walks around in a speedo for some reason. Sting even makes that scene work in a way though because the sheer ego of his portrayal matches such an act.

The two of them together are a whole lot of fun and the film comes to life whenever they are onscreen. It rather struggles the rest of the time, but with either the Baron or Feyd-Rautha onscreen you are in for some real entertainment. Although they are almost kind of in a different movie, that's fine because it's a much better movie. In that the two turns are fitting for a crazy science fiction adventure film rather than a boring one. McMillan is a great villain in his scenes as he captures a real menace by portraying such disgusting sadism so effectively. McMillan makes his scenes compelling by so intricately realizing the vile nature of the Baron in such an entertaining way. McMillan's work here, though again with a sci-fi bent, feels like a proper personification of Lynchian insanity, something that is sorely lacking or strangely underwhelming in so many other aspects of the film. I wish the rest of the film was able to match the wavelength that McMillan is on as the Baron. The only person who is there for him is Sting who again is built up so much until his final scene which is not wasted by him. Sting comes in with such cockiness and just everything about him provides the perfect smugness for his villain. Of course the high point of all of it is Sting rather brilliant and properly absurd delivery of the line "I WILL KILL HIM!!!!" again and again. Do these two chew the scenery, sure, but have you seen this scenery? These two are the only ones who know how to handle the scenery and handle they do. They become one with ridiculousness that surrounds them to create two great stylized villains worthy to be David Lynch villains, even if the film is more than cut below the average Lynch.

(For Sting)

(For McMillan)
Kenneth McMillan also did not receive an Oscar nomination for portraying Barney in The Pope of Greenwich Village.

Kenneth McMillan sadly is one of those actors who died just as he was breaking out as a character actor. He proved his talents though in 1984 where he appeared in three high profile films. The aforementioned Dune, this film, and Amadeus. His appearance in Amadeus was only in two deleted scenes, added back into the director's cut, though I don't feel those scenes belong in the film McMillan was good in them. His larger two roles of 1984 are the ones I'm covering here which together are signs of a great character actor. In Dune he proves his ability to find his own path within a problematic film, and in Pope of Greenwich village he proves another important skill for a character actor through his success in a potential throwaway role. McMillan plays Barney a clock repairman but also a amateur safe cracker who goes along with the two hapless criminals/cousins of Charlie (Mickey Rourke) and Paulie (Eric Roberts) on a robbery in order to solve all their money problems. McMillan though ensures that Barney isn't just the third wheel of the crew even though he is given the least importance within the film.

First off McMillan proves that he is quite capable of given a far more low key performance here than in Dune. He is just as effective at giving a reality to this shop keep in New York as he is giving the grand madness to a space tyrant. From his first scene I love the history that McMillan infuses into Barney. He portrays a complete lack of ego as he explains his skills presenting the sort of man who has mostly come to terms with who he is. McMillan gives it a bit of somberness in his eyes yet with just a quiet touches of pride in his delivering showing a guy who isn't completely happy where he's ended up yet is not planning on giving up just yet. McMillan's work gives so much nuance to Barney even in the scenes where he is just watching Charlie and Paulie as they are talking. McMillan says so much even when he's saying nothing as Barney examines his two partners with a slight critical eye. McMillan adds a nice touch of humor by revealing just how unimpressed Barney is by them, but by also offering a contrast in style. McMillan portrays Barney with a very casual demeanor as they discuss the crime, as he's done similair work before, against Charlie and Paulie who bring far more intensity in the discussion given they are amateurs.

What I love about McMillan's performance is he's the lead of his own story, there is nothing about what McMillan does that limits Barney. McMillan leaves no moment just lying there as he brings depth to all his onscreen behavior. Even something like how he acts in the robbery scene McMillan does so well as he captures some underlying fear of the situation yet still brings the assurance of a guy whose had the past experience. McMillan adds just that that extra bit of honesty to every scene by giving every reaction and interaction this richness of a life lived. As good as McMillan is before the robbery scene he's great afterwards. Again Barney could have been a throwaway role with a lesser actor, just a footnote for Charlie and Paulie's story. McMillan doesn't allow that. In a scene afterwards where he asks Charlie to essentially make sure his family gets his share, McMillan offers such earnestness that made me care more about Barney than Paulie or even Charlie. I'll admit watching the film the first time I became quite concerned, since often things don't often turn out well for the older accomplice in films. This became all the more troubling when we see Barney ready himself to leave New York saying goodbye to his wife. McMillan is absolutely heartbreaking the scene as his strained delivery suggests his years of failures yet with such genuine affection in his eyes as he says farewell to his wife. In only a moment onscreen McMillan alludes to so many years and even allows you to sense his relationshis with his wife. I was overjoyed when Barney does escape and that was because McMillan made me so invested in this poor old guy. This is an incredible supporting performance as he goes far beyond the call of the role to create such a vivid portrait of this small time crook that could have been just an easily forgotten side character in the film. That achievement is the mark of a great character actor.

Alternate Best Supporting Actor 1984: John Candy in Splash

John Candy did not receive an Oscar nomination for portraying Freddie Bauer in Splash.

Splash, finally watching from beginning to end, I found to be kind of a terrible romantic comedy with a curiously unappealing central performance by Tom Hanks, but there was one thing I liked.

Well obviously I'm talking about the gone too soon John Candy, who was sadly not properly appreciated in his time. It's a shame since his ability is so evident in a film this where he plays the brother to Tom Hanks's Allen. Candy's whole agenda in the film seems to be to make better any way he can whenever he is onscreen. Candy's Freddie is this strange lothario of sorts right down to his pseudo playboy attire. The last time I covered a Candy performance it was as the more lovable though luckless salesman in Planes, Trains & Automobiles. This role actually depends a different sort of angle for Candy to go off of, and Candy is more than up to the task. His style here is indulgent in the right way fitting to a guy who just goes about loving his life and living in his own sort of way which is great foil against old the oddly unpleasant Allen who somehow can even seem to enjoy life when he's with a sexy mermaid. Where Hanks is being always so down Candy is the perfect antidote that just seems to brighten every frame as the cheeky Freddie.

Anyway there really is not enough Candy to go around in this film, but when Candy appears it is highlight, in fact just the scenes with Candy simply are the good scenes of the film. Candy does his best to pick up the slack of Hanks's performance at every turn. One of his most enjoyable scenes is early on as they are going about Allen's business together and Freddie is hanging around delivering one liners about either Allen's misfortunes or his useless employees. Well Candy knocks these out of the park really with his madcap delivery. He goes even further though with the madness he inflicts in every scene of his madness that can come from any direction whether it is as he bursts out laughing so suddenly, or so many of his quietly judgemental reactions that are most often hilarious. Candy tries to make a bit work even when other facts are not working such as again Hanks is oddly misguided turn. Candy fulfills the role of the best friend, which is a mainstay of the romantic comedy. This is terrific example of that trope as Candy does provide all that these types of roles need. He importantly does bring the support needed. In that he has the right earnest warmth in his scenes where he encourages Allen, like the kind older brother. I love the slight twist in Candy's demeanor though in there are moments where he goes almost like a drill Sergeant that still serves the purpose of support though in the form of a much tough love, of course it also results in him being quite amusing at the same time. The focus is of course is that comedy which Candy is on point every second he's onscreen with his infectious energy. I hate that the film almost seems to waste him, as he's absent for a large chunk of the film, and we barely get a proper sendoff for Freddie. Nevertheless Candy, while he can't save the film due to lack of screentime, is the one who delivers any of the enjoyment the film has to offer. 

Alternate Best Supporting Actor 1984: Tim Roth in The Hit

Tim Roth did not receive an Oscar nomination for portraying Myron in The Hit.

Tim Roth plays junior hitman Myron to John Hurt's Braddock tasked with taking mob informant Willie (Terence Stamp) from Spain to meet his end in Paris. Tim Roth, fitting to a screen debut, gives a very eager performance that is also rather fitting to his role as first time on the job hitman Myron. Unlike the calm and collected Braddock, Roth portrays the right irrationality from the outset portraying Myron getting far too much of a kick at capturing poor Willie. Roth's performance works by sort of his lack of tacking things seriously, or more accurately professionally in any way. Roth plays it mostly as Myron treating the whole thing like a thrill seeking experience more than anything else. In the early scenes there is a severe lack of understanding towards Willie as even Roth's grin seems to scream "Yeah let's kill this guy", but with no real depth to this sentiment whatsoever.

Roth brings the right sort of bluster to his performance which is all show in the right way. In the way he walks and talks he's a great contrast to the consummate professional Braddock who is very low key. Roth brings the right lack of maturing in all that he does as he brandishes the gun like a kid playing an outlaw, not a real outlaw, the way he walks around with such a strut, and shows off all his weaponry is all that of kid playing show and tell. Roth, even in the scenes where Myron talks big against Willie, is properly not menacing since he plays it as all a put on by the young Myron. One of my favorite moments of his early on, reminiscent of Colin Farrell in In Bruges another first timer hitman, is when Braddock has to adjust the plan and go to Madrid in attempt to lose the authorities. Roth's terrific since his reaction is that of a spoiled brat annoyed that he's going have to wait for his "treat".

Roth's performance properly makes Myron a surface level guy since even when we are allowed a different side of Myron through another captive of a beautiful local Maggie (Laura del Sol), Roth doesn't truly show any depth in Myron. Myron does tend to the woman attempting to help her, but again even this Roth makes fairly juvenile. In that Roth focuses on that he is obviously just very much smitten by Maggie's beauty, and that even his more tender notions come from a very simple mindset. Roth after awhile is quite good in showing just how lacking Myron is in every quality by showing how quickly he forgets his facade of either the tough hitman or the caring one. Roth's work rightfully has the awkwardness of a young man who has no idea what he is doing at any time. I feel this is best summed up in his final scene where he refuses to kill, but again just as a sad sack loser with no real convictions. He's actually darkly hilarious in the stupid look that Roth wears as he fails to comprehend that he's made a dire mistake. This is an entertaining portrayal by Tim Roth as he adds a nice bit of character to the film. He technically is a bit overshadowed by Stamp and Hurt but not in bad way. Braddock and Willie are functioning really on different level, and Roth gives enjoyable turn as someone wholly out of his element even if he thinks otherwise.

Alternate Best Supporting Actor 1984

And the Nominees Were Not:

Kenneth McMillan in Dune

Kenneth McMillan in The Pope of Greenwich Village

Sting in Dune

Harry Dean Stanton in Repo Man

Denholm Elliott in A Private Function

Tim Roth in The Hit

John Candy in Splash

For prediction purposes the Sting/McMillan/McMillan slot goes to whichever McMillan performance I prefer. 

Alternate Best Supporting Actor 1984: Tsutomu Yamazaki in Farewell to the Ark

Tsutomu Yamazaki did not receive an Oscar nomination for portraying Sutekichi Tokito in Farewell to the Ark.

Farewell to the Ark is a strange film about a village losing their old traditions and gradually moving to a modern mindset.

After Kurosawa's final epic, Ran, few non-animated Japanese films have made an international impact. This lack of notoriety has left a mystery of sorts in the careers of two of the greatest living Japanese actors Tatsuya Nakadai and Tsutomu Yamazaki who have consistently worked since their notable collaborations with Kurosawa. Although Nakadai's post-80's career still is entirely a mystery for me I have seen a handful of films featuring Yamazaki where it seems like he became the go to actor for a supporting or leading role in dramedies such as in Go, Tampopo, and Departures. That brings me to his two performances from 1984. The first being in The Funeral, directed by Juzo Itami the same man who would later make Tampopo. That film is in a similar, yet less farcical vein about a family holding a traditional Japanese funeral where there are serious undertones yet the whole film has a certain levity. This is included in Yamazaki's performance as the husband of the bereaved daughter who is particularly detached from the whole affair since he's mainly there to comfort his wife who really isn't too broken up by her father's death.

Yamazaki in that film has a low key role yet is effortless in realizing both the dramatic and comedic realities of the situation. In that Yamazaki very honestly presents just a man going through the motions of the event and there is something darkly amusing as his greatest unease comes at the thought of having to give a speech at the funeral. Yamazaki appropriately plays it very close to the chest offering just that sort of solemn grace of a man respecting the funeral even while technically not treating it with the proper sincerity internally. Although he is just barely lead, Yamazaki's work is largely reactionary and effectively so, as his performance often highlights a mistake or a faux pas just through his humorous understated glances. His only major action is when his character's mistress pops up and he has a dalliance in the forest surrounding the funeral home. Even this scene is handled with the care of non-melodramatic everyday life, and again Yamazaki's work thrives in seeming just to be so natural to life. It's funny yet never tries to be finding the humor entirely through natural interactions within the situation.

Well that brings me to his second performance from 1984 which I have classified as supporting. Yamazaki's scenes are from his perspective and he seems the most important figure for the first half of the film. His last scene comes with still a good forty minutes left in the film though, and even then his proceeding scenes were broken up by the various vignettes featuring the other villagers. I will say this is rather unfortunate since the film's wavering focus is problematic as it attempts to cover too much forcing the narrative to become overstuffed and there is only a single character I became invested in. Of course that is Sutekichi played by Yamazaki, and in large part it is due to the role being played by Yamazaki. Again Yamazaki is called upon for a balance of drama and comedy though this time it is skewed given the far more insane storytelling present in this film. Yamazaki's Sutekichi's main story is about his inability to sexually perform with his wife/cousin Sue for the unfortunate reason that she has been fastened with a locked, seemingly impregnable (no pun intended) chastity belt.

Again Yamazaki excels within this rather bizarrely challenging role. This time, even though the tone itself is perhaps a bit more absurd to begin with, Yamazaki takes things all the more seriously, which is the right approach since he's one of the few actors who does not turn his character into a caricature. Yamazaki gives Sutekichi's situation an earnest gravity as he does not hold back in portraying the intensity of the man's frustrations particularly in the moment of attempted consummation. Again though Yamazaki knows exactly what he is doing as his approach makes the emotion real yet all the same funny in a very cruel way because how honest he allows it to be. Poor Sutekichi's life is only made worse as gossip spreads that his difficultly is due to impotence which leaves him ostracized and isolated from the rest of the community. Yamazaki brings an even greater intensity as he internalizes these frustrations, showing the way Sutekichi's pent up...well everything only gradually grows until he is about to burst. When it does happen, in the form of killing a relative for mocking his problems. Yamazaki in the moment grants the madness of such pent up anger, yet I also burst out laughing when the act happened I must admit. Yamazaki knows exactly how to maneuver the absurd tone and instead of becoming lost in it he amplifies its best assets. This forces Sutekichi to leave with his wife where he falls into this crisis as he sees the dead man but also believes forgetting everything to the point that he makes written reminders of what is around him as well even who he is. Due to the film's excessive subplotting this portion is a bit oddly paced especially with the wrap up that almost entirely forgets the character exists. Yamazaki again to his credit makes the most of this in developing the mental collapse which avoids making Sutekichi being a merely a symbol of the old, but actually makes him a credible man despite the situation. Yamazaki renders honesty to mess of fear, anger, and horror that haunt the man until he loses himself entirely. With his work in this film and The Funeral Yamazaki masters the tone of each finding both the humor and the drama in the material and through his characters.

Alternate Best Supporting Actor 1984: Results

5. Robert Preston in The Last Starfighter- Preston gives an entertaining enjoyable performance doing his usual thing that perfectly fits his character.

Best Scene: Centauri's introduction.

4. Jeffrey Jones in Amadeus- Jones gives a funny little performance with his reactions throughout the film, but does convey the right command of his character.

Best Scene: The Emperor gives his opinion on Mozart's new opera. 

3. Richard Burton in 1984- Burton gives a swan song performance being properly oppressive and cruel as his torturer character.

Best Scene: O'Brien tortures Winston. 

2. Hector Elizondo in The Flamingo Kid- Elizondo gives a very moving performance and effectively is the heart of his film.

Best Scene: Mr. Willis meets Mr. Brody. 

1. James Wood in Once Upon a Time in America-Woods wins this year easily as he gives the most complex and compelling performance. He creates an incredible depiction of one man's journey of ambition and where it leads him to.

Best Scene: Noodles meets Secretary Bailey.

Overall Rank:

1. James Woods in Once Upon a Time in America
2. Harry Dean Stanton in Repo Man
3. Kenneth McMillan in The Pope of Greenwich Village
4. Adolph Caesar in A Soldier's Story
5. Pat Morita in The Karate Kid
6. Kenneth McMillan in Dune
7. Hector Elizondo in The Flamingo Kid
8. Denholm Elliott in A Private Function
9. Harold Ramis in Ghostbusters  
10. Tsutomu Yamazaki in Farewell to the Ark
11. Richard Burton in 1984
12. Jeffrey Jones in Amadeus
13. Daniel Day-Lewis in The Bounty 
14. Sting in Dune
15. Robert Preston in The Last Starfighter
16. Dan Aykroyd  in Ghostbusters
17. Roy Dotrice in Amadeus 
18. Richard Frank in Amadeus  
19. Rick Moranis in Ghostbusters
20. Robert Englund in A Nightmare on Elm Street 
21. John Candy in Splash 
22. Powers Boothe in Red Dawn
23. John Malkovich in The Killing Fields  
24. William Atherton in Ghostbusters 
25. Tim Roth in The Hit 
26. Sy Richardson in Repo Man
27. John Litgow in Footloose
28. Richard Crenna in The Flamingo Kid  
29. Bill Hunter in The Hit
30. Amrish Puri in The Temple of Doom 
31. Dean Stockwell in Paris, Texas
32. Treat Williams in Once Upon a Time in America  
33. Tracey Walter in Repo Man
34. Charles Kay in Amadeus  
35. Fred Gwynne in The Cotton Club
36. Richard Griffiths in A Private Function 
37. Burt Young in The Pope of Greenwich Village
38. Martin Kove in The Karate Kid 
39. Patrick Hines in Amadeus 
40. Wilford Brimley in Country
41. William Zabka in The Karate Kid 
42. Jonathan Moore in Amadeus 
43. Bob Hoskins in The Cotton Club
44. Denzel Washington in A Soldier's Story 
45. Wilford Brimley in The Natural
46. Simon Callow in Amadeus 
47. Richard Edson in Stranger Than Paradise
48. Rusty Jacobs in Once Upon a Time in America 
49. Richard Farnsworth in The Natural 
50. Dan O'Herlihy in The Last Starfighter
51. Ernie Hudson in Ghostbusters
52. Judge Reinhold in Beverly Hills Cop
53. John Malkovich in Places in the Heart
54. Pete Postlethwaite in A Private Function
55. Rob Reiner in This is Spinal Tap 
56. Harry Shearer in This is Spinal Tap
57. John Ashton in Beverly Hills Cop 
58. Robert Duvall in The Natural
59. Liam Neeson in The Bounty 
60. Nicolas Cage in The Cotton Club
61. James Fox in A Passage to India  
62. Harry Dean Stanton in Red Dawn
63. Danny Glover in Places in the Heart
64. Christopher Lloyd in Star Trek III 
65. Edward Woodward in Champions
66. Robert Prosky in The Natural 
67. Ian Holm in Greystoke 
68. Charlie Sheen in Red Dawn 
69. Hard Boiled Haggerty in Micki and Maude
70. Alec Guinness in A Passage to India 
71. Gregg Henry in Body Double 
72. Matthew Modine in Mrs. Soffel
73. Joe Pesci in Once Upon a Time in America
74. Richard Jordan in Dune 
75. Darren McGavin in The Natural
76. Ray McNally in Cal
77. Nick Apollo Forte in Broadway Danny Rose
78. Michael Winslow in Police Academy
79. Gregor Fisher in 1984
80. Ronny Cox in Beverly Hills Cop
81. William Forsythe in Once Upon a Time in America  
82. Richard Mulligan in Micki and Maude
83. C. Thomas Howell in Red Dawn
84. DeForest Kelly in Star Trek III
85. Mike Monetti in Once Upon a Time in America 
86. Anthony Andrews in Under the Volcano  
87. Ed Harris in Places in the Heart 
88. Bubba Smith in Police Academy
89. Nigel Havers in A Passage to India
90. Jonathan Banks in Beverly Hills Cop 
91. James Remar in The Cotton Club
92. Danny Aiello in Once Upon a Time in America 
93. Fernando Rey in The Hit
94. Ralph Richardson in Greystoke
95. Julian Sands in The Killing Fields
96. Steven Berkoff in Beverly Hills Cop
97. Dan Hedaya in Tightrope
98. Chris Penn in Footloose 
99. Seymour Cassel in Love Streams
100. Patrick Stewart in Dune
101. Jose Ferrer in Dune
102. Jurgen Prochnow in Dune 
103. Scott Glenn in The River 
104. Freddie Jones in Dune
105. Wallace Shawn in The Bostonians
106. Charles Durning in Mass Appeal
107. Johnny Depp in A Nightmare on Elm Street
108. Dean Stockwell in Dune 
109. Bruce Davison in Crimes of Passion
110. Brad Dourif in Dune 
111. Jonathan Ke Quan in The Temple of Doom 
112. Eugene Levy in Splash
113. David Graf in Police Academy
114. Andrew Rubin in Police Academy
115. Scott Tiler in Once Upon a Time in America

Next Year: 2005 Lead

Alternate Best Supporting Actor 1984: Hector Elizondo in The Flamingo Kid

Hector Elizondo did not receive an Oscar nomination for portraying Arthur Willis in The Flamingo Kid.

The Flamingo Kid like the Last Starfighter is very much a film of the 80's, nevertheless it is an enjoyable film about a young man Jeffrey (Matt Dillon) who decides to work beach resort being pulled in by the lifestyles of its customers particularly a slick car salesman Phil Brody (Richard Crenna).

Although the film was nominated for one Golden Globe nomination for Richard Crenna, but the best performance in the film was not nominated. I should quickly say that Richard Crenna is fine in his role being both appropriately slick with just the right amount of slime as well hidden by a certain charm. Crenna makes the way Dillon's character becomes fascinated by the man, is made believable by Crenna. The best performance though comes as really the rival of Crenna's character is Elizondo as Jeffrey's father who does not like the path his son is taking.

Hector Elizondo plays the role of Arthur Willis in a very down to earth, and decidedly flamboyant fashion that is rather different from Richard Crenna's performance. Elizondo plays Arthur as very much an honest joe, who works hard and wants the best for his son. In his first scene Elizondo is very good in naturally showing a fatherly camaraderie with his son as they playfully talk to one another. He and Dillon are very good in this scene because they establish properly the good relationship the two have with one another that feel very genuine due to the performances.

The father's role is very much a reality to Jeffrey who tries to convince Jeffrey that the way of life taken by the car salesman is not as good as it looks. Elizondo is extremely good in all of the scenes where Arthur tries to convince his son not to abandon everything that he seemed to value before getting his new job. Elizondo is excellent because he does not show Arthur to be angry with his son over these decisions but instead actually disappointed with him. Elizondo portrays that this disappointment does not stem from Jeffrey not doing what he wants, but rather than he loves his son and wants what is the very best for him.

Even as Jeffrey continues down the wrong path failing to heed his father's warning Elizondo is steadfast in his portrayal that he very much does love son, and that is where the disappointment comes from. Elizondo is very moving as he shows Arthur's sadness slowly grow as he continues to see his son accept values that he knows will not be good for him. Elizondo is very quiet, but terrific in portraying the way his concerns do create a strong understated passion in him. He is particularly strong in his scene where he confronts Crenna, the two are excellent in this scene together as Elizondo plays an upfront quality that plays off well against all of Crenna's slick talking.

This is a very good performance by Hector Elizondo as he stays as the firm presence of good really as he tries to convince his son to do the right thing. He creates his character honestly making every one of his scenes is very moving without every seeming sappy. His final scene is especially effective as he finally reconnects with his son after his son has learned his lesson. The way the two play the scene is marvelously because they both reaffirm the love the son and the father share with on another, yet they do it in a blunt fashion that ends really working due to both Elizondo and Dillon. Elizondo's work is not nearly as showy as Crenna's work, but Elizondo effortlessly makes his character the heart of the movie.

Alternate Best Supporting Actor 1984: Robert Preston in The Last Starfighter

Robert Preston obviously did not receive an Oscar nomination for portraying Centauri in The Last Starfighter.

The Last Starfighter is certainly a film of the 80's, but there is enjoyment to be had from it. It stays mostly remembered for its story about a young man Alex (Lance Guest) who after getting a high score on an arcade game he finds it is in fact a test to join in an intergalactic battle against an evil empire.

Robert Preston also like Richard Burton is giving his last feature film performance, although there is no reason to assume this here as Preston looks considerably healthier here than Burton did in his film. The Last Starfighter is very much a very typical eighties film about a young man in a trailer park who wants more, but finds is unlikely to go where he wants. There is not anything too notable about until Preston appears in a strange looking car as apparently the inventor of the video arcade game The Last Starfighter which Alex has just gotten the high score on. 

Preston takes a unique take on the part of the "man" who gets Alex into the intergalactic battle. This could have easily been a part of a dull mentor perhaps, but Preston instead portraying Centauri as an energetic con man of sorts. Preston does his quick talking thing marvelously here, and is very entertaining as he tries to convince Alex to join the fight. There is the right slightly mischievous grin in his face suggesting that he may have some alternative motives, but as well certainly suggesting there is something fun in store. Preston is just a delight as Centauri.

Centauri might not be as a follower of the cause as he might claim and really his intent is to try to make money for himself by bringing in a Starfighter. Preston is enjoyable because he shows that Centauri is a man, while more an alien who has no second thoughts about just trying to get his fair share of the money no matter what, but it his scene where Centauri seems like he is dead Preston does a very good job in making Centauri noble after all with his final short impassioned speech.

Robert Preston here pretty much makes the movie as he breaks through some of the cheesier material with his sarcastic portrayal of Centauri. I frankly wished the film had been entirely about Centauri since as soon as he dies I miss him very quickly. Thankfully he does appear again as Centauri hasn't died after all, and we get a little more of the likable schemer from Preston. This is most certainly one of the very best cases of Preston doing Preston as it perfectly fits the part of Centauri. 

Alternate Best Supporting Actor 1984: Jeffrey Jones in Amadeus

Jeffrey Jones did not receive an Oscar nomination, despite being nominated for a Golden Globe, for portraying Emperor Joseph II. 

One thing I have to say before I get on with my review is my annoyance in the way the director's cut of the film is used as the preferred cut by distributors. The film is a masterpiece as the theatrical cut, the director's cut adds nothing to the film, and at times very much hurts the perfect pace found in the Best Picture winning original cut.

Anyway with that out of the way onto Jeffrey Jones as the Emperor of Vienna Joseph II considered the musical King who wishes Mozart (Tom Hulce) to become part of his court, even though many of the other musical officials of Vienna dislike Mozart including the jealous Salieri (F. Murray Abraham) the official court composer for the Emperor. Amadeus is a film really with many enjoyable smaller roles filled well by various character actors, but Jones perhaps does the most with his part as the Emperor. His role is not a big one but important to the film.

Jones plays the Emperor as not a man of great power, or necessarily even a man of great substance. Jones finds a very particular way of portraying the Emperor as a bit of a doofus, well at least when it comes with the official musical dealings of the court. Jones is quite good though because he puts a great deal of wit into his portrayal that really could have been far more of an over the top idiot, but instead Jones finds just the right tone in which to play the part.The most important part of this is by taking this approach to the part he frankly is far funnier.

It is an entertaining performance particularly in his short little moments of showing the Emperor's ineptitude like when he struggles to think of a word to describe how he felt about Mozart's first opera for him, and merely takes to heart the suggestion of one of his underlings. Importantly though Jones does not overplay the stupidity of the Emperor, as there are other times where he believably shows himself to at least be a leader of some sort. In the way he carries himself, and addresses others he does suggest the right undercurrent of power in the man, but as well as a certain welcoming quality within in.

Jones finds a way to play the Emperor as he should be by supplying both laughs in displaying the Emperor's lack of musical knowledge, but as well that this man is an Emperor after all. He is particularly very good in the scene where Mozart pleads his case to be able to put on the Barber of Seville. He does well in conveying a genuine interest in the artists endeavor, but as well just the right power in his oppositions. As the Emperor states his own case Jones is convincing in that he is not opposed because he is stupid, but rather it does stem from a genuine concern as the leader of his people. This is not an especially complex part, but Jones handles it just right and adds quite a bit of joy to his film.

Alternate Best Supporting Actor 1984: Richard Burton in 1984

Richard Burton did not receive an Oscar nomination for portraying O'Brien in 1984.

1984 is about a totalitarian state ruled over by Big Brother, but one man Winston Smith (John Hurt) tries to rebel by falling in love with a woman. The film is effective although not always an easy film to watch.

Richard Burton who died soon after completing the film barely received any awards attention for his performance despite it being his last film performance. I suppose the academy was more interested in Ralph Richardson for a posthumous nod. Burton death soon after this is not surprising considering his very haggard look, in fact I would say Ralph Richardson looked much healthier than Burton despite being much older. Burton's physical state is most certainly noticeable here to the point it must be mentioned, but it really does not harm his performance.

In the early scenes Burton is mostly in the background of the film as just another man in their grey world. Burton eventually has a little more screen time as a man who suggests, and seems to encourage Winston to rebel. Burton keeps the mystery of the character intact as there is no reason to really suspect of anything, but at the same time he does suggest that maybe Winston should not go all out in revealing things to him. Burton does not get all that much to do until in the third act of the film after Winston finds himself as well as Julia the woman he was having an affair with caught by Big Brother, and brought in for re-education.

The man who re-educates Winston is Burton's O'Brien. Burton is the epitome of coldness here as O'Brien. Burton commanding voice works perfectly here as an inescapable voice of control. Burton shows no play in O'Brien he will not be fooled by Winston at any point, he will change Winston's mind simply as that. The torture scenes are extremely brutal and Burton only succeeds in amplifying this as he portrays O'Brien as having no hesitations whatsoever in creating as much pain for Winston as he wants to get Winston's mind the way he wants it. Burton's manner is perfect in these scenes creating personally the inescapable oppression that Winston cannot escape from.

This is not Burton's greatest performance by any means but it is a worthy performance to be his very last in a feature film. This is a performance here that does show his considerable talent he had though, and makes use of it well. Burton uses some of his greatest assets here in his creation of a man without any humanity, and only purpose in life seems to make others fit the view of the state. He brilliantly personifies the Big Brother with his performance that is properly overwhelming, as he makes O'Brien a force that not only cannot be reasoned with, but as well shows that the breaking of Winston is simply an inevitability.

Alternate Best Supporting Actor 1984: James Woods in Once Upon a Time in America

James Woods did not receive an Oscar nomination for portraying Maximilian 'Max' Bercovicz in Once Upon a Time in America.

James Woods portrays one of the four friends who slowly become important crime figures during prohibition in New York City. He is the leader of the group along with Noodles (Robert De Niro) who come up with the strategies of the group to give them greater power in the underworld. One of the main focuses of the film is the friendship between Noodles and Max as they commit crimes through the years. What also is important is how their friendship slowly changes through the years, and particularly the type of man that Max becomes as well and how that differs from the type of man that Noodles becomes.

Woods is a very strong presence in the film and he creates an important dynamic with De Niro in the film. Woods casting here is necessary as Max really needs to stands on the same ground as Noodles, and Woods has the right command of the screen to easily stand toe to toe with De Niro. Max is the supporting character of course, and he really is not given the personal scenes that Noodles is given, but that does not matter in Woods's portrayal. Woods in all of scenes takes a strong grasp of the part never letting go in creating an especially compelling portrait of man seeking power no matter the cost.

Noodles in his crimes mostly just seems to want to commit the crimes for wealth, and only really power to the point that it gives him more freedom to do whatever he feels like. Woods portrays Max differently in that there is always a tremendous amount of ambition that seems to bubble below the surface within Max. Woods infuses it into his performance marvelously throughout the film. At first when he first welcomes Noodles back into the fold, Woods shows Max mostly as a gangster enjoy what he does, but in subtle moments portrays the incisive looks of a growing want for more than his current lot.

As the film progresses Woods does a wonderful job of slowly growing in this quality of Max that propels him further into a seeming insanity at times possibly. Woods is terrific in portraying the growing intensity in Max he seems less and less likely to give up on his attempts to gain more power, even as Noodles becomes far more content with his position. Woods is excellent because he not only shows the ambitious growing in Max from his outwardly intensity, but as well is how more internally his warmth towards Noodles as friend slowly seems to start to seize. 

Woods and De Niro are both very effective creating the friendship almost entirely through silent looks they give one another to indicate their common bond. Woods though succeeds in portraying the coldness of Max growing as he simply stops showing the same familiarity Max usually displays towards Noodles. This is a strong performance during most of the film, but what makes this performance is a great one is his last scene. It appears from the beginning of the film that Max is dead from the start do to Noodles warning the police of a heist planned by Max, and Max apparently was killed in a battle with the police.

In the end of the film (spoilers) it is revealed that Max is very much alive now called Secretary Bailey a very powerful rich man, married to Noodles's old girlfriend. He seems to be doing quite well other than the fact that he is wanted for a criminal investigation, and his fellow criminal wants him dead to keep him silent. Woods is outstanding in his depiction of Max at the end, not showing Max to be a man happy with all the power he has, but instead a haunted shell of a man.

His final conversation with Noodles as he tries to convince Noodles to kill him for money is possibly the best scene in the film. Woods is terrific as he creates the history of Max, even though we do not see it, simply through his performance in this one scene. Woods shows that his ambitious has brought him to a basic nothingness of himself, other than just a hatred for himself due to his actions. Again De Niro and Woods are just about perfect together in the unspoken relationship the two share, as they stare at one another after so many years after appearing to betray one another. Woods creates a compelling depiction of Max, and brilliantly creates the dark path of his ambition.

Alternate Best Supporting Actor 1984

And the Nominees Were Not:

Richard Burton in 1984

Jeffrey Jones in Amadeus

James Woods in Once Upon a Time in America

Robert Preston in The Last Starfighter

Hector Elizondo in The Flamingo Kid