Alternate Best Supporting Actor 1985: Treat Williams in Smooth Talk

Treat Williams did not receive an Oscar nomination, despite being nominated for an Independent Spirit Award, for portraying Arnold Friend in Smooth Talk. 

Smooth Talk follows a teen girl Connie (Laura Dern) exploring her sexuality leading to danger. 

The most concrete danger comes in the form of Treat Williams playing an older man, Arnold Friend who rides around in a convertible with his name plastered on the side. Although he isn't truly important to the film until just before a full hour in, we briefly see Williams as we follow Dern's Connie as she's going around town flirting, though not really quite sure herself when it comes to her precise decisions, but one of her interactions does briefly lead her to interact briefly with Williams's "Friend". Williams doesn't necessarily make an impact majorly one way or another as his character notes "I'm watching you" to Dern's Connie, though Williams delivery could  be inappropriate joking, sleazy, or creepy, however his appearance is merely a brief establishment of the character. A character who returns to the focal point of the last act of the piece, as Connie is home alone when Friend, and another man appear on her front door in broad daylight. This sequence is very much what takes the film to another level, as it is the purest element of the adaptation of the short story the film is based on and where Williams's performance is the essential facet to the success of the entirety of the overall film. Williams's performance is one of those performances where an actor has a mastery of the material where the brilliance of his work is just how easy he makes it all seem. Because there's nothing easy about the role that would be so easy to fall into over the top cliche, or fail to reach the true insidiousness of the character. Williams avoids that but he goes one step beyond because what he manages to do is be both supernatural yet also absolutely real, which is quite the disturbing trick to pull off. 

Initially Williams does seem just a man passing by, where the danger and potential threat bubbles just beneath. As he introduces himself as watching you, and going for a drive, Williams again brings a jovial quality, that he may just be a man inappropriately joking with a young girl, but it won't go further than that. However Williams's delivery of certain words like how he emphasizes and twists to "go for a ride" with sudden euphemism alluding to a disgusting lust of his own that we know that Friend isn't there just to joke around. As the conversation continues, which Connie goes from being intrigued by to terrified by moment to moment, Williams brings this supernatural quality, as he almost seems an embodiment of the devil with this sly smile as he begins to tell Connie exactly what she will do and exactly how much he knows. Williams's smile speaks to anything but happiness or concern for Connie, as the intention behind that smile always is ever present in the viewer's mind. Williams has the titular smooth talk where Williams's confidence is overpowering in a rather disturbing way, because you can entirely see where he would be successful in the way he does intrigue Connie. Williams's presentation of a simple charm, though elements of his performance would theoretically be potentially charismatic, though it's hard to speak of charm in such a situation, there is also an almost omnipresent element within that charisma. When Friend starts to talk about Connie's family being at a barbecue with exact details about what they are doing, Williams makes Friend almost otherworldly in the command of his words where everything he says seems to cut so deeply into Connie's consciousness, and Williams performs it all with such eerie magnetism. 

But as much as Williams makes him the devil, he also makes him the skeevy man he is, who is disturbingly capable in this sickening arena. When he continues to speak to Connie and notes that they'll be "lovers", Williams still speaks with that same easy confidence of broaching the subject, forcing the notion on Connie but with the accentuating in the edges of the line and in his eyes the very clear lustful motivation behind Friend. Although at a certain moment, when his buddy in the car makes a noise, there is a change in the approach and the awful humanity becomes all the more evident. When Williams performs the verbal attacks on the other man, his performance suddenly loses any ethereal quality, and suddenly he's just a very scary man telling his accomplice to stop screwing him with his plan. The immediacy of the viciousness in his delivery Williams makes Friend that much more dangerous because he becomes truly unpredictable. It twists the rest of his performance further as he returns to his calmer voice with his urging towards Connie to let him in and making veiled threats of how things like a screen door won't keep him back. Williams's work becomes that much more oppressive with every word you see the man offering himself but also within every delivery creating the sense of the very real menace that exists making it only a horrid inevitability that Connie will eventually go with him. Williams delivers a terrifying performance here, one that is in broad daylight, with never any on screen violence yet it is one of the most oppressive and menacing performances you'll see. As Williams makes it so, by making it seem so easy in the way he is captivating, where we see him both as a demon from hell where nothing escapes his sight, however never is he less than real in creating the most disturbing of human behaviors. 

Alternate Best Supporting Actor 1985: Results

5. Ian Holm in Wetherby - Sorry about doing it again. Holm though has only a few minutes of screen time sprinkled throughout the film as one of the main character's friends. Holm does what he can in establishing a real pathos to his character's diatribes. He's good but there's almost no time for him to fully flesh out his character.

Best Scene: Stanley ponders about Thatcher. 

4. Roddy McDowall in Fright Night - McDowall gives a delightful performance as he brings just the right amount of humor as his vampire hunter actor turned vampire hunter.

Best Scene: Peter gives Jerry the vampire test.

3. John Lone in Year of the Dragon - Lone is the highlight of his film giving a complex and consistently compelling portrayal of an ambitious gangster.

Best Scene: Joey Tai meets with the soldiers.

2. Ian Holm in Dreamchild - Holm gives a downright brilliant performance as he makes his Lewis Carroll a fascinating enigma that allows for the needed interpret while never seeming vague in his portrayal either.

Best Scene: Dodgson asks Alice about marriage.

1. Daniel Day-Lewis in My Beautiful Laundrette - Day-Lewis gives a great performance as per usual, as less per usual for him here he shows off his ability to be quite charming and crafts a truly endearing and sympathetic character.

Best Scene: Johnny and Omar meet up again.

Updated Overall

Next Year: 2011 Lead

Alternate Best Supporting Actor 1985: Daniel Day-Lewis in My Beautiful Laundrette

Daniel Day-Lewis did not receive an Oscar nomination for portraying Johnny Burfoot in My Beautiful Laundrette.

My Beautiful Laundrette is a fairly interesting film essentially about the intersecting lives of Pakistani immigrants living in London, and a few locals all around a single laundromat.

Daniel Day-Lewis made his international breakout as a potentially one a kind talent when A Room With a View and My Beautiful Laundrette both premiered on the exact same day in New York. Day-Lewis despite not being a clear lead in either film, with Laundrette there's an argument that can be made but the film's wavering perspective makes it difficult to say precisely either way, was noted heavily by critics at the time. The reason being the roles could not be more different. In Room with the View he gave a brilliant depiction of a repressed wealthy man in Edwardian England, here he plays a homosexual working class punk in Thatcher's England.We first meet Johnny Burfoot played by Day-Lewis here as an aimless guy who squats in empty houses, and most commonly hangs around street corners with his pseudo gang of equally disengaged friends. I suppose at this point it almost seems pointless that Day-Lewis disappears into the role, but eh I'll do it anyway. Day-Lewis succeeds in disappearing into the role of Johnny Burfoot just as he did Cecil Vyse in A Room With A View.

Daniel Day-Lewis despite being held up often as possibly the greatest living actor currently, which is only further encouraged by his leading actor Oscar record, is all the same still criticized by some for being too clinical of a performer. This performance is yet Day-Lewis showing another side to his capabilities. Yes there are a few tenets of a classic Day-Lewis performance, that being a flawless and always consistent accent. A fairly light one in this case however effective in illustrating Johnny's working class background. Day-Lewis also does employ certain mannerisms in his performance yet in such a naturalistic fashion that are particularly subdued. Day-Lewis's approach is quite remarkable here in the way he almost internalizes the flamboyancy in Johnny. He never acts out in this big way, something Day-Lewis quite adept at anyway, however what he does really works for the part. Day-Lewis gives this sense of possibly a more flamboyant past with the character through his method of portraying Johnny doing things in his own style, yet this style never insists upon itself either. Day-Lewis carries himself as a man at ease with himself as a gay man, and does not need to announce this to others constantly either.

Although Johnny is seen in a few brief moments beforehand his role grows substantially in the story once he meets up with the son of one of the Pakistani immigrants named Omar(Gordon Warnecke). The two have a history which becomes largely known through the chemistry between Warnecke and Day-Lewis. The two just have the spark from the very beginning and from the way they both look at each other one can see that it is not one of only friendship. Now in these scenes Day-Lewis successfully calls upon something that is not always expected him given the often violent or deeply troubled he plays,  that something being charm. Day-Lewis though is exceptional here in making Johnny an extremely likable presence in the film. He brings this low key and very natural type of cool to the role. Day-Lewis is endearing rather than cloying as he so honestly presents Johnny as a guy who tends to do things his way, but this does not allude to any stubbornness on his part. Day-Lewis brings always this undercurrent of warmth about Johnny that shows so well the intended good nature of the man despite the nature of the rest of the crowd around him as well as his past.

Now the progression of the main story comes in as Omar brings in Johnny to help him run a laundromat that is owned by Omar's family. The two go about renovating the place to turn it into truly a beautiful laundrette. Within that setup the two's relationship progresses more, and again the two's chemistry is notable. There is a playfulness at times, and just something so inherent about the love the two have for each other that works so well. I love that Day-Lewis and Warnecke are able to keep it an often unspoken yet always understandable relationship between the two. Although the two have that connection not everything is easy due to the complications of the past and present around them. Johnny's own past is complicated due to certain fascist leanings of the past, and Day-Lewis is very moving as he so subtly reveals the remorse in Johnny as he apologizes for his old mistakes. Day-Lewis also excels in his still quiet yet rather powerful depiction of Johnny's personal struggle in terms of dealing with his old gang and the rest of Omar's family. Day-Lewis adds so much in this aspect to the character largely through just small reactions. In terms of the relationships with the rest of Omar's family Day-Lewis brings the right distance, but also eagerness in manner to be a man who wants to do right by them despite not being one of them. One scene I love in particular is when Johnny interacts with Omar's father, and we instantly see through their interactions that the two also have shared history as Day-Lewis exudes a sense of respect. Respect does not define all the relationships especially with Omar's cousin Salim, a drug dealing criminal with little care for anyone besides himself. This forces Johnny to consider his place between his old friends, and Omar and the other Pakistanis. Day-Lewis conveys wholly the complexity of Johnny's difficulty in dealing with his separate loyalties, and again very little of it is said bluntly. However when Johnny goes about helping the obnoxious Salim it is absolutely convincing as Day-Lewis has only made the gradual transition of the character a genuine one. As Day-Lewis performances and characters go this is rather unassuming yet no less remarkable. Day-Lewis gives understated yet magnetic performance. I found that even when the film stumbled a bit Day-Lewis kept me engaged through his always compelling work here.

Alternate Best Supporting Actor 1985: Ian Holm in Dreamchild

Ian Holm did not receive an Oscar nomination for portraying Charles Dodgson more famously known as Lewis Carroll in Dreamchild.

Dreamchild is a curious film that covers parts of the early and later life of Alice Liddell, the girl who was the inspiration for Alice in Wonderland.

Dreamchild tells its story in a jumbled fashion as it jumps around from the younger Alice, the older Alice, a reporter hoping to get a good story out of her, and a few fantasy moments depicting sequences from Alice in Wonderland itself. We are given glimpses of Ian Holm's portrayal of the author of that novel, Charles Dodgson, who was more famously known by his pen name Lewis Carroll. We never see through Dodgson's eyes throughout the story, and the film seems to purposefully keep a distance from the man. He has few spoken line, as Holm is often silent. There are  times where it seems a pivotal line is coming in terms of explaining the character, yet the film stops just before verbalizing an exact understanding of Dodgson. The character seems left in Ian Holm's hands, and much of the film relies on what he is able to do within the confines set against him which are quite extreme. Dodgson is a ghost in the film, not literally but rather the memories of himself always haunt Alice in the future as she ponders the past. This idea is how we first see Dodgson as he is in and around Alice's life due to Dodgson being one of the lecturers at Christ Church, where Alice's father was the dean.

Holm is a performer who can indicate a great deal without directly revealing himself either as seen formerly in Alien. The brilliance of Holm's work begins with the very image he crafts of Dodgson as a man. The manner Holm takes is striking as there is something inherently withdrawn about his work. Even when he is not trying to communicate Holm effortlessly realize a difficulty in this regard through through the often closed off spirit that Holm exudes in the man. Holm alludes to a painful life in Dodgson as a man who is almost forced into an inherent awkwardness due to the standards of society. Holm is a naturally compelling performer, and that is readily apparent in these glimpses of Dodgson we are given. There is something truly fascinating about Holm's work as he succeeds in creating this sense of unease when we see him, and even by the notion of him. This is not to say this is some sort of horror based performance, it's not, but rather Holm is able to wordlessly inflict the anxiety within the unknown. This unknown being connected to the way the elderly Alice views the man, but also the way we view him since we can only ever see him through her eyes.

The complexity of this relationship is never simplified by Holm's performance, and that sense of discontent does not define Holm's work. Quite the opposite as early on there is a scene where Dodgson entertains Alice and her sisters by regaling one of his stories that would eventually become Alice in Wonderland. Holm in the moments of storytelling reveals an abundance of warmth and a sense of Dodgson calling upon something rather special within him to tell these stories. There is a tenderness about the man Holm brings to these words, but also a comfort in one's self. When Holm speaks these words there is this firm belief in them, and in the moment that unease about the man fades. Holm conveys this through the way he depicts Dodgson living through the stories in his mind while he regales them to the children. What would make Dodgson, Lewis Carroll,  a world renowned figure is realized so gently by Holm. That inspiration that created Wonderland seems something fluid in Holm's performance, which gives understanding to the eventual perspective of the man in the greater public eye.

The film stays closer in the private eye of Alice though as she spends time going over her memories in an apparent attempt to decipher the man. Holm is flawless in crafting this difficult perception of the man as he interacts with the little girl. Holm does not falter in terms of maneuvering the conflicting view of the character. The unease of the man seems to come with the man being potentially a pedophile, who is lusting after Alice. Holm glares towards her reflect a definite desire yet he does not allow one to condemn the man so easily, since he does explicitly note the desire. In those sames eyes Holm is able to suggest a certain enchantment of man who only sees a kindred spirit within the child's innocence. When one watches Holm one can also see the somberness of a lonely man, who cannot be exactly who he is. Again this could be a man hiding from society because what he hides is something disturbing, or a man of a purer nature than what society allows for. Holm enablesthis duplicity of view yet he never enforces it precisely. It's fascinating work since Holm doesn't just switch his performance in a Rashomon sort of way, he presents one man exactly as he is, and leaves it to us to see who he is. At the same time this never feels an inarticulate or vague performance, Holm knows who the man is and only ever shows us that man. It's astonishing what he is able to do since he is able to be off putting while we are still able to emphasize with the man. There is an incredible scene for Holm when Dodgson asks Alice about marriage. He doesn't finish his question. Holm in this is a lusty old man propositioning a girl, but also heartbreaking as man wishing a girl to hold on to the innocence he found so special. There are few scenes where Alice lashing against Dodgson since he never explains his intentions clearly to her either. Holm allows you to see it as a creepy man getting his comeuppance in a second, then again he seems like a broken boy who just bullied by one of his few friends. This is outstanding work by Ian Holm as he matches the challenge of the role, by making a challenging character for the audience.  Holm realizes an enigmatic yet profound portrait fitting to the mystery of the man that Lewis Carroll was.

Alternate Best Supporting Actor 1985: Roddy McDowall in Fright Night

Roddy McDowall did not receive an Oscar nomination for portraying Peter Vincent in Fright Night.

Fright Night is rather enjoyable horror film about a teenager Charley (William Ragsdale) suspecting that his new neighbor Jerry Dandrige (Chris Sarandon) is a vampire.

Fright Night is not a by the numbers vampire movie due to the sense of humor it has about the subject with the characters in the film having seen other vampire movies. This element is perhaps best represented by Roddy McDowall who plays Peter Vincent, his names stemming from horror actors Peter Cushing and Vincent Price, a former horror movie actor turned horror TV host. Of course Peter Vincent unlike his namesakes isn't a very good actor as shown in the brief clips we see of his films shown on TV, as Roddy McDowall does some extreme slices of ham fitting for a terrible actor in the genre. We do not meet Peter Vincent in person until later in the film when Charley seeks some sort of expert in the field vampires in order to expose Jerry. Unfortunately that expert is Peter Vincent, who has just been fired from being host of the show. McDowall sets the tone well for his performance from his first scene as Peter outside of the television, so to speak. McDowall is rather entertaining as he plays Peter in a bit of a self loathing daze as he first assumes Charley is just a fan wanting an autograph, until his hilarious break in his mindset when Charley states he's interested in something else.

McDowall just adjusts throughout the scene so well as he portrays Peter's inability to exactly decipher how to interact with Charley. First as McDowall brings all the fluster of a proper actor's ego as he states that he's been fired due to low ratings. This suddenly changes when Charley pledges his belief in vampires, and McDowall's face light up so wonderfully as Peter believes he knows a true fan. McDowall has this dissolve into the best sort of confusion and fear as Charley makes it known that his belief is real. Despite Peter's hasty exit he is brought back into the situation by Charley's friends Amy (Amanda Bearse) and "Evil" Ed (Stephen Geoffreys), who want to use Peter as a method to prove to Charley that Jerry isn't a vampire. McDowall is once again a joy as Peter tries to put on the act of the true actor who just wants to move on from his experience, making it all the funnier in his snap delivery in accepting the assignment when offered a 500 dollar saving bond for his trouble. This leads Peter to go with the trio to set things "straight", with Peter going full costumed as a true vampire hunter.

This leads to a very enjoyable scene for McDowall as he plays it with such pride with Peter Vincent as a man finally in his element. McDowall is quite charming in the scene as he has Peter giving a bit of a show, for the money he has been payed, as Peter goes about "proving" Jerry is not a bloodsucker through a test. After the test though, Peter accidentally discovers Jerry's true nature through a mirror, and McDowall's surprised reaction is pure gold as the confidence of before disintegrates in an instance. After this point the film proceeds to its final somewhat darker act, and a bit of a challenge is presented to McDowall in terms of maintaining the right tone with his performance. McDowall succeeds in seeding in a few of the dramatic moments into his performance in a natural fashion. McDowall is rather affecting before the final battle, as the full extent of Peter's self loathing appears as refuses to help Charley.

That makes when he finally comes to Charley's aid all the more powerful, as McDowall earns the change through the way he shows Peter trying to build up his confidence. I love the way McDowall approaches this as an actor striving hard to stay in character as he even keeps reminding himself that he's a vampire hunter. The most remarkable moment for McDowall though is when he watches the death of one of the monsters. McDowall is surprisingly moving in the moment as reveals the empathy in Peter for the poor creature as it writhes in pain. Now the rest of his work is less serious minded in the finale.  McDowall never undercuts the intensity of the situation yet still manages to earn plenty of laughs through his very amusing reactions throughout the fight. I love how McDowall is constantly playing with Peter's act occasionally being the killer he needs to be, but more often a scaredy-cat just barely making it through. I must admit I really enjoyed this performance by Roddy McDowall. McDowall finds just the right touch for the movie and never slips in terms of treading the fine line of the dark yet humorous material.

Alternate Best Supporting Actor 1985: John Lone in Year of the Dragon

John Lone did not receive an Oscar nomination, despite being nominated for a Golden Globe, for portraying Joey Tai in Year of the Dragon.

Year of the Dragon tells the story of a police Captain Stanley White (Mickey Rourke) trying to take down the organized crime within Chinatown in New York.

Year of the Dragon does not work as a film, though it is not a standard failure. Its problems largely stem from the parts of the film focusing on our "hero" played by Rourke. The set up is already strange because it seems the character was suppose to be far older than Rourke was, judging by the grey hair they gave him. This side of the story fails, aside from a few directorial touches by Michael Cimino. This in part in its inability to tell one story, or at the very least balance its various facets well. It seems like it might be a Scarface style gangster film, then others possibly a more serious minded one. At others it seems like it might be trying to be a straight one man's revenge type thriller. It also throws in a misguided romance which could never have succeeded due to the atrocious performance by Ariane Koizumi as the Asian reporter Stanley gets involved with. It also includes in there one man dealing with his racism which seems like just a footnote put into the end of the film in an attempt to balance some of the remarks made by Stanley. There is yet another portion of the film though which is the best part of the film, which stars John Lone.

Now I wish I could say that John Lone borders on being co-lead since the film would be better if that were the case. Actually I wish I could say that John Lone merely was the sole lead to the film as it could have potentially been a great film that focused on the rise of power of this criminal in the Chinese underworld. Instead we get glimpses of this story, which more often than not seem oddly detached from the police Captain's story, yet these glimpses are still the high points of the film. John Lone plays Joey Tai who we meet early on when Stanley goes to try to intimidate those in power in Chinatown. Lone brings the needed intensity to the moment as he eyes daggers back at Stanley as he makes his accusations which the men deflect. Lone finds nuance in this moment and is very effective in the way he portrays Tai analyzing Stanley in the moment seemingly determining whether or not he will be a threat to him. Lone is terrific in this scene as he manages to give Joey Tai a definite presence this early on even before he does much of anything, but makes it clear he will have an impact as the film proceeds forward.

After that scene Lone is rarely in scenes that directly engage with the main story, which is a good thing for Lone. These scenes focus upon Tai as he attempts to ensure deals go down, as well as increase his control over Chinatown. These things theoretically could have been more simplistic as basically a villain setting up his villainy so to speak, but that's not what happens due to Lone. A lot of these scenes showcase just how good of an actor Lone is, especially in the scenes of negotiating with other criminal elements. Lone carries himself so well again because he never forces Tai to just be a standard gangster stereotype. Lone exudes the confidence needed for the role as Tai goes face to face with various other dangerous men, and the power of the man is made into a fact by Lone's assured work. Lone never defines these scenes one way such as when he speaks with the Italian mob. Lone is subtly able to give the sense of Tai considering his actions before he takes them alluding to just a hint of apprehension before going for the throat to get what he desires. Lone earns the confidence of the character by building to it in these scenes, and portraying a growth in Tai to a "better" criminal in these scenes.

Lone never wastes his screentime, I particularly love the sequence where he meets with a military group in Asia. In the scene the men try to force him to kill someone who he he shares a history with. Lone says a great deal in the silence of the moment brilliantly suggesting the past between the two men as he avoids the murder. The most remarkable element of this scene is that Lone manages to pivot in the scene to Tai revealing he had another man decapitated who was one of is competitors. Lone shows this side of Tai as the cutthroat businessman who will do what it takes to secure his interests. Lone is quite menacing through this approach in any of the scenes where Tai orders violence to be carried out. Lone does not portray it as a maniacal villain, but rather is quite chilling by presenting him as a man just meticulously removing obstacles out of his path. When Tai orders a murder, Lone does not yell the order, he calmly orders it as though it is a standard transaction. The film technically undercuts all that Lone is doing by having him just be a straight villain to be defeated by ending the film in a gunfight between Tai and Stanley. To Lone's credit he does not compromise avoiding going over the top even as he gets into a duel on a train track. Lone even goes out on a high note by finding a modicum of actual humanity in the character as Tai somberly asks Stanley for an easier way out. Lone delivers beyond the call of duty by giving a compelling portrait of an ambitious gangster, when it seems the film would have probably settled for just a one note bad guy.

Alternate Best Supporting Actor 1985

And the Nominees Were Not:

Ian Holm in Dreamchild

Ian Holm in Wetherby

Daniel Day-Lewis in My Beautiful Laundrette

Roddy McDowall in Fright Night

John Lone in Year of the Dragon

Alternate Best Supporting Actor 1985: Results

5. Danny Glover in The Color Purple- Glover is properly intense in his brutality in his role as an abusive husband, but he is unable to get past the restrictions of the part.

Best Scene: Mister is ridiculed by his father. 

4. Wilford Brimley in Cocoon- Brimley gives the best performance of the cast being the quietly commanding presence of the group, as well as creating the greatest emotional impact of the various stories.

Best Scene: Ben tells his grandson he's going away. 

3. M. Emmet Walsh in Blood Simple- Walsh creates a deliriously evil and memorable villain by beautifully playing up the sleaze and menace of his slimy private detective.

Best Scene: Visser double crosses Marty. 

2. Crispin Glover in Back to The Future- Glover gives my second favorite supporting turn of the year in his absolutely hilarious, but when it needs to be moving turn as the spineless George McFly.

Best Scene: George stands up to Biff. 

1. Christopher Lloyd in Back to the Future-Well Good predictions to Paoloduncan, and Lezlie please throw out a year and a performance. Lloyd wins this year as it came to the two Back to the Future performances which I love both. I have to choose one so I will choose Lloyd manic and funny turn creating Doc Brown into a truly memorable character.

Best Scene: Doc reveals he did read the letter after all. 

Overall Rank:

1. Christopher Lloyd in Back To The Future
2. Treat Williams in Smooth Talk
3. Daniel Day-Lewis in My Beautiful Laundrette
4. Ian Holm in Dreamchild
5. Crispin Glover in Back To The Future
6. Michael Mckean in Clue
7. Martin Mull in Clue
8. Christopher Lloyd in Clue
9. M. Emmet Walsh in Blood Simple
10. John Lone in Year of the Dragon
11. Roddy McDowall in Fright Night
12. Dan Hedaya in Blood Simple  
13. Michael Palin in Brazil
14. Chris Sarandon in Fright Night
15. Tim Curry in Legend
16. Robert De Niro in Brazil
17. Wilford Brimley in Cocoon
18. Willem Dafoe in To Live and Die in LA
19. Klaus Maria Brandauer in Out of Africa
20. John Gielgud in The Shooting Party
21. Thomas F. Wilson in Back to the Future  
22. Roshan Seth in My Beautiful Laundrette
23. Stephen Geoffreys in Fright Night 
24. Jan Rubes in Witness
25. Peter Vaughan in Brazil 
26. David Gale in Re-Animator
27. Lucas Haas in Witness
28. Brian Dennehy in Cocoon  
29. John Heard in Trip to the Bountiful 
30. Saeed Jaffrey in My Beautiful Laundrette
31. Bob Hoskins in Brazil   
32. Mark Holton in Pee Wee's Big Adventure
33. Ian Holm in Brazil
34. John Pankow in To Live and Die in LA
35. Danny Glover in The Color Purple
36. Josef Summer in Witness 
37. Ian Holm in Wetherby
38. Paul Gleason in The Breakfast Club 
39. Hume Cronyn in Cocoon 
40. Nicol Williamson in Return to Oz
    
41. John Turturro in To Live and Die in LA   
42. Jim Broadbent in Brazil 
43. Ken Wantanabe in Tampopo 
44. Shinnosuke Ikehata in Ran
45. Dean Stockwell in To Live and Die in LA 
46. Gary Marshall in Lost in America 
47. Tom Wilkinson in Wetherby
48. Curtis Armstrong in Better Off Dead
49. Masayuki Yui in Ran
50. John Heard in After Hours 
51. Hisashi Igawa in Ran
52. Jack Gilford in Cocoon 
53. Leo McKern in Ladyhawke 
54. Jonathan Stark in Fright Night 
55. Hector Alterio in The Official Story
56. Sam Elliott in Mask 
57. Daisuke Ryu in Ran 
58. David Ogden Stiers in Better Off Dead
59. Christopher Walken in A View To Kill
60. Adolph Caesar in The Color Purple 
61. John Hurt in The Black Cauldron
    
62. John Kapelos in The Breakfast Club
63. Charles Napier in Rambo First Blood Part II 
64. Gordon Jackson in The Shooting Party
65. Richard Crenna in Rambo First Blood Part II 
66. Freddie Jones in Young Sherlock Holmes
67. Derrick Branche in My Beautiful Laundrette 
    
68. Armin Mueller-Stahl in Colonel Redl
69. Brian Dennehy in Twice in a Lifetime 
70. Sean Barrett in Return to Oz
    
71. Nigle Hawthorne in The Black Cauldron 
72. Brian Henson in Return to Oz
    
73. Roger Ashton-Griffiths in Young Sherlock Holmes
74. John Russell in Pale Rider
75. Jinpachi Nezu in Ran
76. Akira Terao in Ran 
    
77. Robert Loggia in Jagged Edge
78. Freddie Jones in The Black Cauldron
    
79. Will Patton in After Hours 
80. Edward Fox in The Shooting Party
81. Robert Sampson in Re-Animator
82. Michael Moriarty in Pale Rider 
83. James Cromwell in Explorers
84. Tommy Chong in After Hours
85. Cheech Marin in After Hours
86. Danny Glover in Witness
87. Dennis Dun in Year of the Dragon
88. Chris Penn in Pale Rider 
89. Robert Picardo in Explorers
90. Robert Hardy in The Shooting Party  
91. Richard Dysart in Pale Rider
92. Peter Coyote in Jagged Edge 
93. Raymond J. Barry in Year of the Dragon
94. Dolph Lundgren in Rocky IV 
95. Pat Hingle in The Falcon and the Snowman 
96. Peter Gallagher in Dreamchild 
97. Stephen Lang in Twice in A Lifetime
98. Anthony  Higgins in Young Sherlock Holmes
99. Richard Dysart in Mask  
100. William Hickey in Prizzi's Honor
101. Don Ameche in Cocoon
102. Burt Young in Rocky IV
103. John Wood in Ladyhawke
104. John Lithgow in Santa Clause
105. Steve Guttenberg in Cocoon 
106. John Byner in The Black Cauldron
     
107. Eric Roberts in Runaway Train

Next Year: 1960 Supporting

Alternate Best Supporting Actor 1985: Wilford Brimley in Cocoon

Wilford Brimley did not receive an Oscar nomination for portraying Ben Luckett in Cocoon.

Wilford Brimley portrays one of the retirees in Florida Community who finds new life through a pool used by Extraterrestrials that caused it to have a rejuvenating power. Interestingly about Brimley is that he is actually by far the youngest of the group, as Brimley wasn't that old when the film was made, which is quite something since Brimley actually creates the most moving story out of the four stories of the elderly men that inter cut through the film about how the pool is effecting them.

There is of course Don Ameche's Oscar winning but not particularly interesting story about getting married that really does not go anywhere special. Hume Cronyn somewhat interesting story about his character going back into old bad habits after regaining his youth. There is the rather short, but moving in the pivotal moment story involving Jack Gilford whose character refuses to use the pool even for his dying wife believing that that it is entirely unnatural. Then there is Brimley's story involving leaving his grandson to go with the aliens to live forever.

Brimley actually only has a few scenes where Ben spends time with his grandson, and really the importance of the scenes does not come until one near the end of the film as they fish together. There scenes before this one are nice as they show warmth together, but the power really comes in the fishing scenes where Brimley shows Ben trying to tell his grandson that he is going away. Brimley is very moving in this scene but really because he does not push the emotion. Brimley allows to come naturally in the scene as he calmly explains why he has to go even well still showing some regret since he must leave his grandson.

Aside from that scene though Brimley does an excellent job of standing out the most out of everyone within the cast as Ben, who although enjoys the rejuvenation stays calm and collected about the whole affair. Brimley as usually to his roles has a certain command even in this role as the elderly Ben, and he quietly carries on as really the moral center well. Even as the others fight Ben stands firm in his place caring about what is the important, and Brimley conveys the conviction within Ben as a strong quietly demanding internal strength. 

This is a good performance by Wilford Brimley and he stands as the best part of the film, as he not only has the greatest emotional impact with his performance, but as well usually has the greatest presence in the group scenes. I do have to say though watching Cocoon again is that Cocoon is not the greatest of films, and all of the stories seem at least a little undercut in some way. Brimley though does his best to make the most of his parts of the film, giving the strongest performance in the film.

Alternate Best Supporting Actor 1985: Danny Glover in The Color Purple

Danny Glover did not receive an Oscar nomination for portraying Mister Albert Johnson in The Color Purple. 

The Color Purple is a film about the trials of a young African American woman Celie (Whoopi Goldberg).

To say the men depicted in The Color Purple are cruel would probably be a bit of an understatement. Most of the men depicted are easily angered individuals not opposed to severely beating women or raping them without hesitation. They are creeps, and Glover gets the biggest role of the creeps as the man who basically buys Celie for a wife that he wants to merely take care of his house, and keep his kids in line. Mister, as he is referred to, is not a nice man and that is the way Glover portrays him without really trying to make any silver lining to the character.

Almost all of his scenes with Goldberg Glover portrays Mister in really one of two ways. One is the more explosively violent abusive side of Mister as he constantly yells at her, hits her if  he so chooses, and does not take a second thought about the whole affair. Glover certainly is blunt and unapologetic as Mister who brings the brutality of Mister to life fairly well. I would say his other way though is perhaps just as brutal which is when he not being as openly hostile.

When he is not being hostile though Glover plays it as though Mister barely recognizes her as a person. Glover has Mister barely look at her or acknowledge her in anyway even during sex, which he does well in showing that Mister does not really see Celie as anything to him. In these moments when Mister notices her at all he only acts in a quick violent manner to get her to do something for her. Glover is actually quite good in portraying that no matter what if Mister is not directly abusing her, he is always ready to.

There is another side to Mister also seen that is not really much better than his violently abusive side which instead is a constantly lustful side. Here really is where one would maybe expect a little more depth from Glover's performance as he lusts after women, but really it is pretty much on the surface again. There is not anything special about him here he just wants the women he wants and tries to smile into his way to get them where he wants them. The fact that his charm is really a joke is actually a fine enough way to portray Mister, but never makes him particularly interesting.

One of the underlying ideas in this film is the way the abused can easily become abusers themselves. Mister himself his abused by his father verbally in one scene, and Glover is rather effective in this scene showing Mister as the one without the power for once. Glover handles it well by losing all of his intensity of before in this scene and almost seeming to become a child in this scene as Mister becomes shy and filled with hesitations to say anything to his father's angry attacks against him.

Mister though is a fairly repetitive character as he stays abusive until near the end of the film after Celie leaves him, and he becomes a pathetic mess of a man. Again Glover could have the chance for to really make a great impression with his performance, but really he stays fine in the part. His final scenes Glover portrays it as less of a transformation for Mister, but more him becoming that shy child again without power, who know might as well do something right since he no longer has the power to do something wrong.

To be perfectly fair to Danny Glover as written Mister Albert Johnson is a pretty thin character, and he mostly is there to be the terrible force that Celie wants to get away from. Glover actually is fine in being brutal, and intense in a believable fashion as it would have been really easy to go way too over the top with this character. This never becomes a particularly fascinating sort of characterization and as the story wants it Mister is always overshadowed by the female characters, and Glover is overshadowed by the female performances.

Alternate Best Supporting Actor 1985: Christopher Lloyd in Back to the Future

Christopher Lloyd did not receive an Oscar nomination for portraying Doctor Emmett "Doc" Brown in Back to the Future.

Christopher Lloyd portrays Doctor Emmet Brown who is the actual inventor of the time machine that Marty McFly uses to go back to 1955. Lloyd creates a very unique performance as the scientist. Lloyd certainly takes risk with his portrayal. He takes a very manic approach to portraying the just slightly off his rocker Doc. He creates an undeniable impression from his very first scene where he finally tries the time travel device, and shows it off to Marty. It is an interesting take that Lloyd takes on Brown as he almost plays him as more down to earth average sort of man scientist.

Lloyd in his first scenes shows off a manic approach to Doc Brown, that is a very enjoyable and endearing method to his performance. Every line he says has an incredible energy behind it, as does the physical aspect of his performance. There is something very special to Lloyd take on Brown's style that never seems forced, and effectively helps to amplify the idea that his character is the eccentric scientist. He never overplays the mannerisms, but rather he works all of them within his performance wonderfully to help make Doc Brown as memorable of a character as he is.

Lloyd just makes an endearing character in the wacky but goodhearted Doc, and he makes Doc very likable from the instant we see him. There is just a charm he brings out to his performance that like Crispin Glover, and Michael J. Fox in this film he does this by adding a great deal of humor in his performance as well. A great example of how this works is when he forces Marty to video tape the time travel experiment directly in front of the car which will run them over if his experiment does not work. His reaction as he looks at Marty to stand properly in line, although technically devious never feels so due to just how amusing Lloyd's look is.

One of the best aspects of Lloyd's performance is the pride in his character, but just as well as the way he shows that really Brown is not much of a scientist, and just happened to be able to invent the time machine. There is though a profound wonderment when he first sees his machine work, as well as when the past version of himself finds out that he has actually discovered something has work that Lloyd brings to life with a great deal of joy, but always wonderment that he actually could invent something in the end. After all one of my favorite moments in his performance is when he tries a clearly shoddy machine, and his hilarious frustration at it shows a long standing history of such frustrations.
 
One of the most important parts of his performance though is his relationship with Marty played by Michael J. Fox. As I said in Fox's review the two absolutely make this friendship work together as well as it could. Although again there is no explanation between Marty and Doc, the two just have a natural chemistry together that absolutely makes the most of it. Although the idea of the friendship might of seemed unbelievable in the hands of any other pair of actors, the two absolutely do not leave the viewer questioning the friendship between the two. They succeed together both in a comedic fashion, as well as even in a more serious fashion.

Together the two play off each other wonderfully with Lloyd playing it up and Fox playing it down, as well as in the past Lloyd playing up the 50's sentiments, and Fox playing up the 80's. Both actors just match each other perfectly every reaction and line that work off each other just hits the mark. For example the exchange between the two as Marty says their situation is heavy, and Doc question the statement believing there something to be wrong with the earth's gravitational pull, to Marty ending it with a huh. The two just have excellent timing and they just are an excellent duo, it is no wonder they continued for two more films after this.

Lloyd and Fox just as easily create an honestly moving relationship between the two which is largely based on that Marty knows that Doc was killed just before he went back in time. Although at first somewhat hostile due to a humorous disbelief as portrayed by Lloyd, the past Doc and Marty quickly becomes friends as well. The two genuinely create a believable caring the two have for each other that absolutely works with each other. Both actors actually make their arguments over Marty wanting to tell Doc, but Doc wanting to avoid messing with time honestly poignant particularly their final goodbye to one another.

Christopher Lloyd gives a terrific performance creating Doc Brown into a memorable entertaining character. He just lights up every scene he is in with his great vigor that never lets up. He successfully never stops being both consistently funny in the role, but as well creating an honestly moving portrait of this rather strange character. Lloyd just effortlessly creates this manic and incredibly fun performance that realizes the character marvelously. Doc Brown could easily have not been nearly as remembered as he is, but every mannerisms every reaction that Lloyd gives in this performance works and only succeeds in making this one of the great characters of the 80's.

Alternate Best Supporting Actor 1985: Crispin Glover in Back to the Future

Crispin Glover did not receive an Oscar nomination for portraying George McFly in Back to the Future.

Crispin Glover portray George the father of Marty McFly (Michael J. Fox) who we first see in the present time as a spineless man who does his supervisor and former bully Biff's (Thomas F. Wilson) work, as well even letting Biff destroy his family's car. Glover is quite a sight to be seen early on here with his cheap looking business attire, that far too greasy hair cut, and something that can be given entirely to Glover's credit is that horrible posture that carries as the older George. Glover makes these earliest scenes of George some of the funniest in the film through his portrayal of George's lack of confidence.

Glover does not give off even a hint of strength in George's character here as he shows George taking the same abuse from Biff he always has been. Glover is very good here becuase although George is being entirely exploited by Biff his entire, he still portrays George reaction to it as basically a discomfort that he still tries to be pleasant about. He does not suggest in any way at this point that George could possibly do anything about Biff's constant harassment of him. Glover very importantly really does show really the end of the wrong path for George, as a man who never once stood up for himself ever, which factors in well later on into the film.

Now of course this film is never a downer despite George's predicament at the beginning of the film, and Glover adds a great deal of humor well into his performance. His laugh as the older George is just downright hilarious in just how ludicrous it is, yet Glover makes the laugh entirely into the character of George here, and although odd it does come off as natural to him. It is also important to mention that Glover is effective at being the father here, honestly portraying a certain warmth, as well as amusingly showing George is weak willed attempts at fatherly advice. I particularly like Glover's strained emphasis as George just attempts to apologize to his son for not standing up to Biff.

After Marty goes back in time and by chance meets his father in the past, and Glover brings about the younger George well loosening up on the posture, and shows not nearly as excessively pathetic of George. This is not to say he is not pathetic but rather he is on his way to becoming the George at the beginning. Although technically speaking it is more of being George being himself, Glover finds more way to make the character enjoyable in his lacking qualities. Again although pathetic Glover wears such a bright smile while still being bullied that he makes it all rather entertaining.

Glover gives just a brilliant comedic performance in every scene he is in realizing the nerdy George. Glover is a master of physical comedy here expression so well in every one of scenes the meekness of George, he only adds to it with his always reluctant voice and expression. He really truly makes a meek man here, although he makes him an absolutely hilarious man of such meekness. One moment I particularly love that is comedic gold but also with just the right amount of sadness is when Marty tries to introduce George to his future wife Lorraine (Lea Thompson), but she completely ignores him. Glover is absolutely perfect in how awkwardly he  attempts to greet her, than after his failure he so quietly slinks away.

What is so special about this performance though is although consistently funny Glover always puts it entirely within his character. There is nothing forced about the humor, it all works in wonderfully with George, and amplifies his qualities marvelously. He just like Fox did in his performance finds just the right tone bringing in the right amount of comedy in the role well not losing the dramatic weight required for the role. He finds just the right harmony between the two that this performance really works, and even becomes rather moving at times because of this.

Some of the best moments of his performance are when Marty tries to push George to stand up for himself, and actually asks Lorraine out. Glover is amazing when he tries to ask her out in the diner as he prepares so awkwardly, but again hilariously finding courage through a milk...chocolate. Although he still does not have much strength in him, Glover does indicate well that there is at least a hint of it as he shakily tries to ask her out. His smile when he says his name and finally pronounces destiny instead of density it just terrific, and actually honestly quite heartwarming for the moment as actually the two indicate to each other the connection the two would eventually have.

The pivotal moment of his character comes when he is finally is forced to stand up to Biff, and that little of bit of strength is capitalized on. Glover shows that what really does force George to finally break his shell is the seriousness of the situation and his slow turn from fear to determination is handled with a fierce power. Absolutely important though is Glover's reaction after finally punching Biff out. It is a moving combination of pride, with astonishment of what he has been capable of, and moving toward sympathy and love when asking if Lorraine is okay. He does not lose his manner completely here, as he should not, but Glover flawlessly brings out the best of George here showing that he will never go back to his meekness of before.

Glover again is appropriate in his final scene. This is actually the least notable of all of his scenes as the flawed George is clearly more interesting of a character, but nevertheless Glover handles it well. In the new present he portrays George with a proper posture, life, and confidence in himself. From his absolutely great moments from the end of the past part of the film, Glover manged to make it entirely believable that George would become this man in the end. This is just a great performance in every regard, being both a laugh out loud depiction of nerdy incompetence and lack of confidence, but as well a genuinely moving portrayal of a man overcoming his fears and weaknesses for the better. 

Alternate Best Supporting Actor 1985: M. Emmet Walsh in Blood Simple

M. Emmet Walsh did not receive an Oscar nomination, although he did win an independent spirit award, for portraying Loren Visser.

Blood Simple is a thriller about a man who hires a private detective to murder his wife and her lover. I would say this an effective film although held back a bit by the leads who are not particularly interesting.

M. Emmet Walsh portrays the private detective with a great deal of sleaze and sweat. Visser whole point in the film is to be an individualistic evil, who chooses to take the money to kill the couple, but double crosses the man instead killing the man and merely taking the money for himself. Visser only investment in the whole affair is his own well being financially, and physically, and decides to kill the couple after all only because he believes they threaten him. There is nothing technically emotional about Visser does even though it is all about himself.

Walsh is every effective in the role becuase of how casually he portrays the part of the detective. He wears his creepy smirk, and generally murky demeanor with gusto. He goes all the way with the sleaze and never strives from it for a moment. Walsh actually manages to use the sleaze to amplify the lack of morality within Visser. Walsh portrays no hesitation when Visser kills, he goes entirely unphased. Murdering for money is something that just comes as naturally to him as his generally slimy demeanor.

Visser comes in and out of the film as his evil presence, and Walsh becomes the chilling amoral evil in the film. Although he might not be as well together or as stoic as Javier Bardem in No Country For Old Men, Walsh is able to achieve the same effect with his performance. The effect is that the sinister force he creates when he is on screen carries off when he is not. The most horrifying moments in the film are when you are aware Visser is around, but you only hear him but do not see him. Like Bardem is so well able to the evil alive on screen that it even carries over when he is off.

M. Emmet Walsh despite portraying the most reprehensible character in the film, there is something strangely compelling about him becuase of Walsh's portrayal. He just wears the slime of his character with such as joy that he creates Visser into just a fascinating portrayal of a villain.The way he laughs in delight, even at his own end is played with menacing delight by Walsh. Every moment that M. Emmet Walsh is on screen he has a powerfully visceral effect with his performance. 

I would say my only actual complaint of the character is that I wish there was more of Visser since even though he is the most mysterious character in the film Walsh still makes him the most interesting of them all. His somewhat limited screen time though does not reduce the great strengths of his performance in his demented startling turn as opportunist detective. After all it is really a compliment when the worst thing you can say about a performance is that you wish there was more of it.

Alternate Best Supporting Actor 1985

And the Nominees Were Not:

Crispin Glover in Back to the Future

Christopher Lloyd in Back to the Future

M. Emmet Walsh in Blood Simple 

Wilford Brimley in Cocoon

Danny Glover in The Color Purple