Alternate Best Supporting Actor 1963: Results

5. Tatsuya Nakadai in A Woman's Life - I guess I'll note that I decided against reviewing both he and Steiger, as I found neither were notable examples of their talents, though for different reasons. For Nakadai it is just far too limited of a role, reduced even more so by the film's strange structure. He only gets the chance really to be charming, which he of course delivers on, but as Nakadai roles go it wastes him more than a bit.

Best Scene: Years later.

4. Rod Steiger in Hands Over the City - I'd actually say Steiger had a good role here but he's sabotaged by really a bad dub job. Obviously it's not going to be his real voice anyways, but it's worse than that because it doesn't really ever seem to be coming out of him, even with that in mind. It sadly detracts from his work even as dubbing go. This is a shame as his role is pretty meaty, but Steiger just can't shine. I'll give him credit that he does still convey a certain ego and powerful manner of a manipulative businessman. Sadly the dubbing issues keep a certain detachment there. Steiger is obviously acting his heart out at every point, but given the amount of dialogue in particular, it's a shame we can't hear him.

Best Scene: Opening

3. Geoffrey Keen in Dr. Syn, Alias the Scarecrow - Keen makes for a properly despicable villain who brings the right sort of glee and venom to his role.

Best Scene: "Don't be a fool, they'd hang anyway."

2. Anil Chatterjee in Mahanagar - Chetterjee gives an effective turn in offering humor, somberness and a bit of poignancy in his depiction of a husband slowly rediscovering his place in his family and his wife. 

Best Scene: Reconciliation.

1. Alan Bates in The Caretaker - Bates fairly easily conquers this lineup for me, this even if he might reach the heights of his co-stars, gives a terrific performance between them offering the one typically "sane" man, as society would see him, who plays around with the "insane" man by acting a bit insane himself.

Best Scene: Final Scene. 

Updated Overall

Next Year: 2001 Lead

Alternate Best Supporting Actor 1963: Anil Chatterjee in Mahanagar

Anil Chatterjee did not receive an Oscar nomination for portraying Subrata Mazumdar in Mahanagar.

Mahanagar is a terrific film that follows the "fallout" when the housewife of a traditional home in Calcutta gets a job.

Anil Chatterjee's performance is an instrumental part of this film as in a way how he features as a performer also relates to the power exchange at the center of the story. This is as the film opens Chatterjee appears to be our lead as a smalltime banker. This is as he gives a quietly charming turn as we see him live his life and interact with his house including his in-laws, his son, his father, his sister and his, at the beginning of the film, housewife Arati (Madhabi Mukherjee). Chatterjee carries himself with this underlying confidence in all things as he glides through his life, even in his romantic circumstances with his wife where he presents an outpouring of warmth towards her. This going to the point that he supports the idea of his wife also getting a job to support the household. Chatterjee portrays this moment with a rather slick assurance of himself to the point he presents a sincere urging towards his rather hesitant wife, though with also perhaps a lack of severe thought on the process. This leaving the man only to be initially slightly taken aback by his father's extreme rejection of refusing to speak with his son after this decision. In turn Chatterjee portraying a moment of unsure disbelief that shows the first little crack in that leading man we initially saw. Chatterjee portraying suddenly a man whose whole life isn't that of some dream. This also featuring  a break in his performance where he is no longer that leading man in charge of it all, suddenly he's no longer the center of the world or the film.

As Arati begins her job, and slowly gets better at it, we have a regression of sort of Subrata so well realized in Chatterjee's performance. His work initially just shows those cracks as he loses that initial certainty towards initially and confusion towards the situation, particularly the extreme reactions like that of his father's. The initial reaction to this is to make the calm suggestion that she quit the job, based largely on his father's reaction. Chatterjee's delivery of this is essential as the suggestion he portrays with just a hint of that old confidence, while painting more largely within the realm of concern for his relationship with his father. This though immediately changes when he loses his own job due to his bank collapsing, and Subrata even being attacked by an angry mob due to that fact. His call to his wife, to tell her to absolutely keep her job due to him no longer having one, Chatterjee realizes the shattered state of the man in the moment by creating this real sense of fear for his family's livelihood. This in his meek delivery as he pleads to ensure that his wife keeps her job. This act not only make Arati the one keeping the family financially afloat, but also in turn pushes Chatterjee more often than not into the background. This isn't to say however Chatterjee becomes unimportant in fact this change perhaps leads to the most remarkable moments of Chatterjee's performance.

Chatterjee manages this notable tone within his portrayal of Subrata as he becomes basically an observer in his own family, as he just watches his wife accomplish much, while he accomplishes very little. What is so notable in this is that Chatterjee manages to create this sense of a sort of emasculation with both humor and pathos. There is something very funny in certain moments where Chatterjee shows Subrata so meekly looking over his shoulder as he finds a thing of lipstick in his wife's purse, or looks on as his wife makes up stories about his own success as a husband. Chatterjee's unease is genuinely amusing in this as we see the man in this state of extreme modesty. This never becomes cartoonish, even if one can get a good chuckle from it, as he does find something very sad in this sense of disconnection to his wife that also comes from this. This as he saunters off to do a basic chore, when she states it is not as though he is doing anything else, and Chatterjee reflects an earnest somberness and embarrassment of a man seemingly without purpose. What is key within this is though Chatterjee doesn't portray any direct maliciousness towards his wife's success, rather instead conveys this confusion in the man that stems from him being pushed out of his place of comfort in more ways than one. This is as he is no longer able to be the breadwinner for his family and he isn't sure what to take from the changes in his wife. Chatterjee manages to find such a real nuance in these moments of a man both unsure of himself and his own world in a way. Chatterjee emphasizing though this state of confusion that keeps him at this certain distance, uncertainty and insecurity of his situation. This comes to a head in the final scene of the film where Arati quits her job, though in a moment of advocating for a friend and fully confident in herself. Arati finally truly confides in Subrata, and Chatterjee is fantastic, in still a largely reactionary moment, of essentially showing the confusion lifting in this scene. It is quite moving as he manages to finally return to that direct sense of love and warmth to his wife, though now deeper in a sense as Chatterjee's eyes reflect a man seeing his wife in a different light, and of equal value to himself. This is a terrific performance by Anil Chatterjee, as he slowly essentially loses his leading man status within the film itself, however within this gives a captivating depiction of a man coming to a better comprehension of just who his wife truly is and what she means to him.

Alternate Best Supporting Actor 1963

And the Nominees Were Not:

Tatsuya Nakadai in A Woman's Life

Anil Chatterjee in Mahanagar

Alan Bates in The Caretaker

Rod Steiger in Hands Over the City

Geoffrey Keen in Dr. Syn, Alias the Scarecrow

George Cole in Dr. Syn, Alias the Scarecrow 

Patrick Wymark in Dr. Syn, Alias the Scarecrow

For prediction purposes: Keen out of the Scarecrow men.