Alternate Best Supporting Actor 1978: Results

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

Best Scene: Ending.

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

Best Scene: "Perfect baby"

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

Best Scene: "I just need the Girl"

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

Best Scene: "We're partners"

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

Best Scene: Speech. 

Updated Overall

Next: 1983 Lead

Alternate Best Supporting Actor 1978: Barry Bostwick in Movie Movie

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

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

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

Alternate Best Supporting Actor 1978

And the Nominees Were Not:

Barry Bostwick in Movie Movie

Bruce Dern in The Driver

Yaphet Kotto in Blue Collar

Christopher Plummer in The Silent Partner

Scott Reiniger in Dawn of the Dead