Alternate Best Actor 1963: Results

10. Peter Breck in Shock Corridor - Breck gives a rather underwhelming performance that fails to grant the needed detail to his character's mental transition and his relationship to the other mental patients.

Best Scene: Asking about the murder.

9. Steve McQueen in Love With a Proper Stranger - McQueen gives an effective alternative performance from him that realizes his hapless failure as romantic, which is a far cry than his typical cool characters.

Best Scene: Seeing the abortionist. 

8. Alberto Sordi in Il Diavolo - Sordi gives an effective sort of observational turn that offers both comedy and a bit of poignancy in his portrayal of a tourist not quite getting what he expects from his travels.

Best Scene: Confession. 

7. Maurice Ronet in The Fire Within - Ronet gives a rather effective portrayal of a festering depression that manifests itself in different forms over the course of a day.

Best Scene: Final party.

6. Michael Redgrave in Uncle Vanya - Redgrave manages to find comedy and the right degree of pathos in his portrayal of a man who hates his existence to the point he can't help but laugh.

Best Scene: Finally breaking.

5. Marcello Mastroianni in The Organizer - Mastroianni gives an effective atypical turn from him in his off-beat portrayal of a passionate activist.

Best Scene: Final speech.

4. Gunnar Björnstrand in Winter Light - Björnstrand gives a distant though striking turn as a man whose crafted an existence through rejection of emotion and thought that would otherwise pain him.

Best Scene: Telling his truth. 

3. Robert Shaw in The Caretaker - Shaw gives a powerful internalized portrayal of a man psychologically broken however still attempting to make a human connection.

Best Scene: His story. 

2. Patrick McGoohan in Dr. Syn, Alias the Scarecrow - McGoohan gives a great turn as every facet of his masked hero, from the menacing "villain" that is the scarecrow, to the affable, if seemingly harmless, parson, and the cunning man beneath each ruse. 

Best Scene: The official trial.

1. Burt Lancaster in The Leopard - Good predictions Robert, Luke, BRAZINTERMA, Charles, Tahmeed, Michael McCarthy, RatedRStar, and Bryan. Lancaster reveals his greater versatility once again in his convincing portrayal of his cunning and charismatic prince's method but also a powerful portrayal of his final melancholy.

Best Scene: Alone during the party. 

Updated Overall

Next Year: 1963 Supporting

Alternate Best Actor 1963: Burt Lancaster in The Leopard

Burt Lancaster did not receive an Oscar nomination for portraying Don Fabrizio Corbera, Prince of Salina in The Leopard.

The Leopard is a rather effective film following aristocrat attempting to uphold his family's position within Sicily during a time of upheaval.

Burt Lancaster joins of one of many of the American or international leads taking on the center role of an Italian film...often in Italian. Well having both watched the film in Italian and all of Lancaster's scenes in English, with his own vocal performance, that's is just something to note more than anything else. What the film though does offer a rather a different role for Lancaster, who was perhaps one of the more covertly versatile actors of his period. This as Lancaster inhabits this role from the first scene of the film as we see his Prince taking in a prayer service with his family, before receiving somewhat troubling news of the ongoing revolution around them. Even with his own voice Lancaster embodies this role beautifully in a rather unique way among his own work. This is as Lancaster is almost always a commanding presence. That is just part of his nature as a performer, but what is striking here is how he manages to deliver that in a wholly different way as the prince. His whole physical manner here is remarkable in the way he creates such a powerful presence. This with a perfectly dignified walk, fitting to a royalty that was bred to be as such, but everything he does here Lancaster does so with that regal quality. What is most essential in this, and in a way more notable, is that Lancaster does so with such a genuine ease and grace. Lancaster makes for a most convincing Italian royal, through this brilliant adjustment toward his typical presence, that uses that power but in a new way.

The Leopard, along with director Luchino Visconti's previous film, Rocco and His Brothers, was undoubtedly a great influence on the far better known The Godfather, with all films being about the life of an Italian family. Where "Rocco" you can see perhaps the influence on the life of the family and sibling dynamics of the Corleone family, here though it is difficult not to see at least some influence on the patriarch of the Corleone'sm, Vito, in Lancaster's prince. This is evident within Lancaster's performance, who just visually isn't a far cry from Brando's appearance in that film, but the comparison stretches further than this. This is as we find the Prince who is essentially our hero in the film, though like Vito, a hero who seeks to maintain the way of life and prominence of his family, whom the viewer may or may not agree with. The method of the man is perhaps what sells the sympathies, which is so impeccably realized by Lancaster's portrayal. This as the prince is a man of this quiet power. Again realized in Lancaster's work, where that ease in manner just carries the immediate strength of the man, but as does his voice that carries this careful precision. This as Lancaster finds something essential in his portrayal which is a careful intelligence that the prince uses to ensure his family survives within the upheaval around him.

Lancaster delivers on the expected confidence within the character which he exudes in every encounter. This even when speaking of the most potentially troublesome developments Lancaster's eyes conveys the right degree of calculation as though the prince is immediately deciding on what his next move needs to be. The essential facet though, that I would say is most similar to Vito, and helps to design that sympathy for the man is this unquestioned concern for his family. This is as Lancaster delivers this understated, yet palatable warmth within the role. This particularly well shown as he wishes his nephew, Tancredi (Alain Delon), good fortune in actually joining the rebel army even donating something to it. Lancaster keeps a reserved expression, but is magnificent in delivery such an overpowering still, sense of affection for the young man. In that moment too, Lancaster finds just the right degree of wistful optimism in the encouragement. This is as Lancaster is able to express in the moment, care for his family but also an enjoyment of the the idea of the idealism of joining in the fight. Lancaster holds back enough though as he still keeps the prince within his station as a prince, who theoretically should support the old guard, but carries this natural sense of the appreciation for those potentially trying to create a better world.

That revolution is technically successful however it is worked for the royals to maintain position through a constitutional monarchy, which the prince endorses. This in a series of a few of the public scenes of the prince as he works his will to ensure the survival of his family, by dealing with some corrupt men, or at least all too eager to find power. Lancaster is outstanding in carrying the technically manipulative charisma within the prince. There is a particularly great scene where the prince goes to vote in a fixed election that will maintain his family's prominence essentially through the creation of allies. Lancaster's fantastic in the scene as he's able to carefully play the scene so we see the prince's manipulation even as he's technically had compromised to meet his goal. Lancaster delivers this perfect twinkle in his eye as he charms the local corrupt Don, through his voting, while also carefully ensuring no disfavor comes to his family's priest who likely would not vote the expected way. Lancaster's magnificent because in every moment we see him as the man in command of the situation even as the prince plays into the fix. This with his bright smile that appeases the crowd, but still with the quick incisive eyes of the man who knows he is working his will.

In private though we find a different man, where Lancaster too excels in creating the very real sense of the man. This particularly in the private discussions with his priest. Lancaster again delivers two things so well in this the first again being that genuine warmth. This even extends to discussing his own reasons for adultery, which Lancaster manages to speak without excessive hypocrisy, underlined perhaps as he speaks every moment regarding his family with that with only this honest concern. This that he underlines more with a strict passion as he discusses his reasons for his own political maneuvers. He calmly explains the needs for his family's survival with a striking devotion and even a humble sincerity regarding the path. Lancaster is captivating but also creates the essential concern for his position. This is particularly essential again, as Lancaster makes one care for the royal family maintaining their status, just as Vito Corleone did so for his criminal enterprise. Lancaster embodies a the true sense of the leader as he advocates for his position, not through grand statements but through precise action and compromise. This even to the point he rejects potential real power as a senator, which again Lancaster is outstanding by managing to convey in the moment of rejection again this repressed enthusiasm showing that while the prince's heart would be in it, his sense forces him against it.

The film ends as he sees the success of those who are the most opportunistic, and perhaps not the most principled, succeed including his nephew Tancredi, who switches from the revolutionary to the royal army without a second thought. This technically culminating in an alliance as Tancredi marries the daughter of the opportunistic Don, Angelica (Claudia Cardinale), to their mutual benefit. Lancaster, as great as he is in the rest of the film, is downright extraordinary in the final sequence celebrating essentially the new alliance and really the new world. This sequence doesn't even require one to watch the film with Lancaster's voice, as he carries such a poignancy just within his face throughout the sequences. This as the prince goes off to passively look upon the extravagance of those around him and the somewhat questionable fruits of his labor. The sense of melancholia is particularly moving as there is almost the sense of second guessing all that he has played for, in the quietly, yet so strikingly distraught expression as he looks upon seemingly nothing of value around him. The one respite in this being in seeing the young couple of Angelica and Tancredi, which despite the opportunistic pairing do genuinely love each other. The expression of this is best scene in the moment where the prince dances with Angelica. This in the brief moment Lancaster evokes the spark of the prince so beautifully as he looks upon her with the eyes of appreciation for some future, or at least something worthwhile within it. This is but a respite though as after this moment, the prince resigns himself as basically a fading past. Lancaster's amazing again as delivers that understated yet so resonate in his portrayal of this despair, of a man accepting yet still haunted by essentially being an extinct breed. This is an incredible performance by Burt Lancaster, that is unlike any other performance of his I've seen, in delivering this rather effortless yet always compelling depiction of a man both strict in his conviction for his family though with the intelligence to know when to compromise for that conviction.

Alternate Best Actor 1963

And the Nominees Were Not:

Michael Redgrave in Uncle Vanya

Laurence Olivier in Uncle Vanya

Patrick McGoohan in Dr. Syn, Alias The Scarecrow

Gunnar Björnstrand in Winter Light

Peter Breck in Shock Corridor

Alberto Sordi in Il Diavolo

Predict those five (Redgrave from Vanya for prediction purpose),  these five (Shaw from The Caretake for Prediction Purposes) or both

Robert Shaw in The Caretaker

Donald Pleasence in The Caretaker

Steve McQueen in Love With a Proper Stranger

Burt Lancaster in The Leopard

Maurice Ronet in The Fire Within

Marcello Mastroianni in The Organizer

Alternate Best Actor 1968: Results

10. Vincent Price - Witchfinder General - Price gives an interesting performance attempting to bring complexity to his morally compromised inquisitor, unfortunately the film decides to use him just as a one note villain.

Best Scene: Being convinced to give a reprieve.

9. Jean-Louis Trintignant in The Great Silence - Trintignant gives a good performance as he brings the steely gaze needed for his swift killer, along with a bit of pathos within his silence alluding to his motivations though he is a tad overshadowed by his more maniacal co-star.

 Best Scene: Silence remembers.

8. Malcolm McDowell in If.... in McDowell gives a good performance as he portrays the gradual breakdown of a student into essentially a psychopath even though if it might feel like a warm up to his more renowned turn as a juvenile killer.  

Best Scene: Killing spree

7. Burt Lancaster in The Scalphunters - Lancaster gives an enjoyable turn portraying the right comical frustrations within his more typical western hero, along with striking the right endearing chemistry with his co-star.

Best Scene: The final fight.

6. Lee Marvin in Hell in the Pacific - Marvin gives a memorable one man show as a man slowly losing his mind as well as a memorable two man show in realizing a most unique yet believable chemistry with Toshiro Mifune.

Best Scene: The curious showdown. 

5. Ossie Davis in The Scalphunters - Davis gives a very entertaining portrayal of his outgoing yet quietly cunning character, and again has great chemistry with his co-star Lancaster.

Best Scene: The final fight. 

4. Toshiro Mifune in Hell in the Pacific - Shares his scenes so well with Marvin, as well as stands out well with his own one man show as the refined soldier struggling through his ordeal.

Best Scene: Finding the magazine.

3. Max von Sydow in Shame - von Sydow as per usual creates such a convincing relationship with Liv Ullmann which is especially pivotal here as the two together offer such a natural and harrowing depiction of a married couple dealing with and being changed by war.

Best Scene: Killing a man.

2. Charles Bronson in Once Upon a Time in the West - Bronson more than fulfills the role of the badass gunslinger, he goes further though creating such an endearing and humorous chemistry with his co-star Jason Robards, then goes even further in offering such an underlying emotional poignancy to the film through his performance. 

Best Scene: The final duel.

1. Burt Lancaster in The Swimmer - This one for the overall came down two rather different performances though by both masterful in their separate intentions. Bronson being such a brilliant minimalist performance, and Lancaster being such a brilliant expressive tour de force. Both have their unique challenges and match every one of them. Lancaster's task is different. Bronson is an essential part to an amazing film. Lancaster though is the factor that makes his film work at all offering a reality and heartbreaking humanity to such a surreal concept. Once Upon a Time in the West would have probably still have been great with a lesser lead, but not as great. The Swimmer would probably have been a failure without what Lancaster does. Even with that somewhat flimsy reasoning though this is still sort of a toss up as I love both performances, but I have to choose one.

Best Scene: "This is my wagon"

Updated Overall

Next Year: 1968 Supporting

Alternate Best Actor 1968: Burt Lancaster in The Swimmer

Burt Lancaster did not receive an Oscar nomination for portraying Ned Merrill in The Swimmer.

The late 1960's offers a peculiar stage in filmmaking, representative of the greater cultural changes of the time. In the final few years there was a strange state in how different the films were as there were the old Hollywood mainstays still, in fact the featured actor of this review's other vehicle of 1968 was in the more traditional western The Scalphunters. The Swimmer offers quite the difference in style, and is a style that only existed for those few years really. In that the new Hollywood was starting to or about to start to come into presence in the seventies yet there were those old Hollywood films that looked as though they could have been made in the fifties. There were also those films that were quite unique though as they represent some of those directors attempting change their styles or utilize the new techniques sometimes effectively sometimes not so much, leaving the films sort of between two periods. The Swimmer is one of those films as it has those qualities, and takes upon subject matter that in terms of the broad ideas was tackled in fifties yet its approach is quite different. This is fitting though to this film given that the story of a man who decides to "swim" his way home one summer day doesn't exactly suggest a most literal interpretation.

Although the film presents its events as literal, as in they do happen, the technique often falls into the surreal fitting to the surreal concept behind the story. This story though, and the film itself could devolve all into itself becoming an exercise or an experiment, possibly even a failed one if it were not for Burt Lancaster. If I may go on a slight tangent for a moment and think about the comparison of Lancaster and his friend and frequent co-star Kirk Douglas. That connection is not their only one given their breakout in the mid-forties and their similair careers as leading men. I have stood by my clear preference towards Douglas for his consistency as an actor, though this view has become grayer the more I see of Lancaster. Nothing will rid Lancaster of his lesser works, yet with him there is this individuality of his best work, a surprise of it, a rarity in that it seems as though it is only capable from Lancaster himself. Now to divert back to this film as this is an example of that, not just because of Lancaster's swimmer's physique, but there is something he does here that only seems like it could come from the actor.

The film opens with Lancaster's Ned as he dives to swim through a pool coming out to be greeted by a small group of friends. Ned was swimming in his friends' pool and seems to be on good terms with the people as they engage in very small talk. Lancaster's performance here sets up Ned very effectively as he seeds who he is, yet does not tells us who he truly is, yet. In that Lancaster creates the right ease of conversation as they speak about really nothing at all though Lancaster does emphasize a particular focus in Ned on the pool and swimming. When speaking about other things Lancaster shows enough of a comfort as Ned speaks of them, but switches to a far stronger passion in his words when discussing the idea of swimming. This becomes all the more notable when he speaks to his friends about the days of old and swimming down a stream in the summertime. There is such a powerful nostalgia for his words as Lancaster's eyes seem looking back to those old times with such affection, though perhaps just as a man reliving a good memory. This leads Ned though to come up with a rather strange idea.

The strange idea to make his way home by going from house to house for a swim in each of his neighbors' pools. When discussing this idea Lancaster carefully portrays this in that it can be taken one way, though with hindsight we'll learn it means something else. Lancaster at first though speaks of the idea with such earnest desire and that it seems like it might just be the fun idea of some free spirit having a good time on a summer day. There is nothing too alarming about Ned's plan, and Lancaster to his utmost credit seems to create a logic to it in his portrayal of Ned's nostalgic perspective. As he begins his journey, the journey itself seems suitable to this view as the initial swims are given this lust for life through Lancaster's physical performance. In every physical gesture early on, whether it is swimming through a neighbor's pool, or running alongside a horse there is such sheer unadulterated joy Lancaster reveals in the act. It goes beyond just a fun time though as the exuberance in every facet of Lancaster's being emphasizes the idea of a man living to the fullest, or so it seems.

As the swims continue as do Ned's interactions with the various people around the neighborhood and this seems a pleasant enough affair at first. One of the first groups Ned comes across is a group of neighborhood former kids including Julie who used to babysit his kids. This initial meeting is brilliantly portrayed by Lancaster because on the surface he continues as this man on his pleasant journey as he greets every one of them so warmly, and even races Julie in the pool for a good swim a few times. Lancaster though, in this warm greeting, though suggests a sadness, a subtle quiet one just as he reflects on just how old all the kids have gotten. He doesn't lose the smile on his face but in his eyes and within the words Lancaster alludes towards this hidden sorrow. Again it's slight, and it seems not too worrisome, but it's there. It can be forgotten soon enough as he goes off with Julie for awhile and she talks about her old fantasies of the past involving Ned, which leads to a future one from Ned. This is even made somewhat innocuous by Lancaster, despite being technically a creepy old man lusting a young woman as there is a purity to the request as though he is asking to live out a dream or perhaps the past.

Julie rejects the offer leaving what Lancaster depicts as a frustrated yet not broken state as he continues his journey. His next interaction with a few neighbors is a little salty, but he eventually comes across a boy near his empty swimming pool. This is a downright amazing scene for Lancaster which he uses to reestablish Ned's journey as something special, something hopeful. He takes the boy on an imagined swim, by miming the motions through the empty pool, and that joy of life resumes. As he speaks to the boy there is such palatable optimism that Lancaster brings as he speaks about wishing one's dreams true. There is such belief of this in that moment, and Lancaster shows the way Ned recaptures the spirit to live out this peculiar dream of his through his interactions with the boy which are genuinely heartwarming if inspiring. Lancaster shows the way Ned basically goes on cloud nine after this experience until this moment realization, where Lancaster perfectly breaks that certain gaze when Ned runs back to stop the boy since he believes he might try diving into the empty pool. In that moment Lancaster offers a strict reality, and I love the way he does this as it emphasizes a danger in dreaming.

From there on Lancaster's work further reveals what is going on with Ned as he continues his trek to less friendly waters such as when he crashes another party with less than welcoming hosts. Lancaster's performance effectively creates this conflict within Ned as he attempts to continue his own dreams even as realities keep confronting him. In the gate crashing party Lancaster turns on the charm on the hostess and a guest, though it doesn't do much for him, but it calls back to the beginning of the man who seemed to be enjoying life. The salty reactions though offer little, and Ned is bluntly faced with a bit reality again when he sees that the neighbors have a hot dog cart he used to own. This scene could easily fall apart but it doesn't because of Lancaster. He somehow makes this man pining for his old hot dog wagon absolutely heartbreaking since he shows such a loss in his resolve as he asks for it. Although it could be like a boy wanting his toy back, and in some ways it is, Lancaster makes it so painful to Ned as in the pleading he reveals just how much the item means to him beyond the object itself.

The journey does not get much better though Lancaster still reveals just hints of pleasure when he has the few chances to swim or run. Lancaster's physical portrayal is so pivotal as again there is something primal in these moments of the man attaching himself to the act as form of comfort. The comfort though is wasted though such as when Ned meets his old mistress at another pool, where Lancaster carries the overlying charm as he speaks about their old times together yet undercuts it all with the unease in his face as she reveals nothing pleasant about the experience. That terrible time leaves Ned with only one pool left the communal swimming pool, which he struggles into and as he swims through Lancaster finally shows not even a hint of happiness in that act anymore. Things only worsen when the locals harass the "rich man" Ned over his debts and his personal failures. Lancaster is devastating as he shows Ned without the net of his dreams even as he attempts to defend himself through false claims that reek of such desperation revealing just the pitiful soul Ned is in the end. The revelation being that in way Ned is kind of the crazy man walking around in his underwear spouting nonsense, he just happens to wear better. What we see when Ned gets home is just inevitability due to Lancaster's performance. This is outstanding piece of work by Lancaster as he makes the film successful by always providing a human element that stops the film from being overcome by its stylistic choice and its metaphors. Lancaster makes the human connection through his work which is incredible as he makes the viewer understand Ned's delusions and even creates the appeal of them. He makes sense even out of the central conceit by so brilliantly realizing who this man is in such harrowing detail. I love this performance as it is a masterful and deeply emotional portrait of man lost in both his dreams and his sorrows.

Alternate Best Actor 1968: Burt Lancaster and Ossie Davis in The Scalphunters

Burt Lancaster and Ossie Davis did not receive Oscar nominations for portraying Joe Bass and Joseph Lee respectively in The Scalphunters.

The Scalphunters is a very entertaining western about a fur trapper and a former slave attempting to take on a group of vicious scalp hunters.

The Scalphunters fits into that apparently too rare sub-genre of the unlikely pair western, the western equivalent to the buddy cop movie. Like Red Sun and much later Shanghai Noon it takes the enjoyable formula of mixing two types that normally wouldn't go on a western adventure together. In this one we get technically the more typical western hero with Burt Lancaster's Bass who is just trying to make his living trapping yet gets cheated by an Native American chief who forces him to trade his furs for the slave Joseph played by Ossie Davis. Of course Joseph goes around claiming to be a Comanche Indian rather than a slave. There we have our set up but what needs to make this truly work is our two leads. First we have Lancaster who nicely is actually giving a bit of a mix of what are his two usual starting points of either the stoic man or the crazy one. Lancaster nicely plays this one in that Lancaster begins physically looking as though he may be a your more usual typical western hero but the moment he opens his mouth Lancaster strongly suggests otherwise. Then we get Ossie Davis who is usually quite the welcome presence in any film that he appears, this film is no different in that regard.

What sets any film of this sort apart, and what often determines its success is the chemistry between the leads. This is established well to begin with, through the very differing styles of the characters which are properly realized by both Davis and Lancaster. Davis brings this consistent energy as Joseph Lee portraying him as a man with often a smile on his face, but this is not a simple sort that Davis makes. There is always this certain glint that Davis brings to his eye, though more on that later. Lancaster on the other hand is entertaining by his method of portraying Joe Bass as this "hard man". Although technically speaking Bass does have the requisite skills of a western hero Lancaster skews this to begin with by having this comedic element with the character perceived toughness. Lancaster is terrific in the way he portrays the character's constant fussy state that cleverly undercuts the usual western type. After all Lancaster does indeed stand tall, he's technically the right type to begin with yet Lancaster purposefully subverts that by showing those frustrations, that Bass has over losing his furs and most things for that matter, in this sort of childish manner.

The two of them are great fun together in their clashing styles of essentially comedy. Lancaster so intensely portraying Bass while Davis carrying such an easy going approach to Lee. The two of them strike up that right type of antagonist friendship through that conflicting approaches. Davis delivering his long eloquent statements by Lee showing off his considerable skill as a orator, while Lancaster depicts such pained reactions at being unable to compete at the same verbal level is a particular delight. The two though importantly, even initially as the two try to get up on the other in some way, portray this underlying warmth between the interactions even when they fight. This is something just small in their interactions though it properly plants the seeds of a real camaraderie once the plot gets started.The plot being when the group of scalp hunters, lead by Telly Savalas's Jim Howie, not only steal Bass's furs themselves but also capture Joseph Lee. Although this might seem a somewhat swift separation of our co-leads, they thankfully have many more moments together throughout, but also get their chances to shine on their own as well.

Davis fittingly for Joseph Lee gets the most to say as he tries his usual routine with the scalp hunters in order to gain some favor, even though they plan to sell him when given the chance. Davis though again gives such a charismatic portrayal that he makes it wholly believable he would sort of win his captors over. Again though Davis even as he charms with his elegant ability with words, which Davis grants such an innately pleasant quality to, there is that glint in his eye still. That glint though revealed to be a definite cunning by Davis in Joseph Lee who is never quite as carefree as he makes him out to be. Davis does this even when technically Joseph is playing the part of the likable companion, as he brings this certain incisiveness in even his kind words, and always that knowing quality beneath his delivery. Lancaster's scenes are technically a tad more limited given that all he can interact with is his loyal horse yet he still makes the most of these moments. Again Lancaster sort of charges his performance the right way as he is quite humorous while convincing in portraying the perhaps misplaced intensity in Bass as he strives to get his furs back no matter what in a sort of vengeance more fitting to familial loss than monetary loss.

Thankfully though we still get the two occasionally meet whenever they have the chance which generally results in some marvelous comedic moments as Lancaster and Davis know exactly how to play off each other to make their friendship just so endearing. They successfully earn the weight that is granted as the situation becomes more severe and they both start to get into life or death fights. Lancaster and Davis give such an honesty to portraying the concern the two have for each other in the end, though they do this so well by playing these moments so quietly, almost as though the men are hiding their concern yet absolutely earnest in it. The two naturally come together as a real duo even though their final act really is a extended fight scene between the two, but they even manage to create this sense of good nature within that despite their frequency of going for the dirty blows. The two of them capture that remarkable ease in creating the right dynamic that makes all their fighting almost a show of affection, though it just be a most curious show. Lancaster and Davis just exude that fun right in their performances which is infectious to watch as well. The two  are a classic entertaining mismatched pair throughout the film, and really if the film chose to continue on their final quest I could have gone right along with them.

Alternate Best Actor 1968

And the Nominees Were Not:

Lee Marvin in Hell in the Pacific

Burt Lancaster in The Scalphunters

Charles Bronson in Once Upon a Time in the West

Malcolm McDowell in If....

Vincent Price in Witchfinder General

Predict Those Five or These Five.

Toshiro Mifune in Hell in the Pacific

Ossie Davis in The Scalphunters

Jean-Louis Trintignant in The Great Silence

Max von Sydow in Shame 

Burt Lancaster in The Swimmer

Or Both. 

Alternate Best Supporting Actor 1989: Results

5. Burt Lancaster in Field of Dreams  - Lancaster gives a moving and memorable performance that was a worthy one to be his last.

Best Scene: Moonlight's introduction.

4. Fred Gwynne in Pet Sematary - Gwynne rises above his film to give an entertaining, but also very affecting performance that finds the right tone for the material.

Best Scene: Jud apologizes for what he has done.

3. Ray McAnally in My Left Foot - McAnally is a great performance by realizing his character as complex father who's capable of cruelty but love as well.

Best Scene: "Mother"

2. Bruce Dern in The 'burbs - Bruce Dern gives a consistently hilarious performance that brings some laughs to every scene he is in.

Best Scene: The Klopeks come back.

1. Sean Connery in Indiana Jones and the Last Crusade - Good Predictions Luke, Jackiboyz, Michael McCarthy, GM, and Anonymous. Connery succeeds completely in playing a part against his usual time giving an extremely enjoyable humorous turn, but at the same time effortlessly turns Henry Jones Sr into the beating heart of the film.

Best Scene: End of the tank chase.

Overall Rank:

1. Sean Connery in Indiana Jones and the Last Crusade
2. Bruce Dern in The 'burbs
3. Ray McAnally in My Left Foot
4. Hugh O'Conor in My Left Foot
5. Danny Aiello in Do The Right Thing
6. Fred Gwynne in Pet Sematary
7. Ray Liotta in Field of Dreams
8. Derek Jacobi in Henry V
9. Ossie Davis in Do The Right Thing
10. Burt Lancaster in Field of Dreams
11. Andre Braugher in Glory 
12. Beau Bridges in The Fabulous Baker Boys
13. Morgan Freeman in Glory
14. Joe Pesci in Lethal Weapon 2 
15. Peter MacNicol in Ghostbusters II 
16. Ian Holm in Henry V
17. Rick Ducommun in The 'burbs
18. James Earl Jones in Field of Dreams
19. Jerry Orbach in Crimes and Misdemeanors
20. Christopher Lloyd in Back to the Future Part II
21. Robert Eddison in Indiana Jones and the Last Crusade
22. John Turturro in Do the Right Thing
23. Denzel Washington in Glory
24. Ethan Hawke in Dead Poets Society
25. Harold Ramis in Ghostbusters II
26. Danny DeVito in The War of the Roses
27. Willem Dafoe in Born on the Fourth of July
28. Jason Robards in Parenthood
29. John Leguizamo in Casualties of War 
30. Denholm Elliot in Indiana Jones and the Last Crusade 
31. Michael Biehn in The Abyss
32. Robert Downey Jr. in True Believer
33. Richard Jordan in Romero
34. River Phoenix in Indiana Jones and the Last Crusade
35. Henry Gibson in The 'burbs 
36. John Mahoney in Say Anything 
37. Dan Aykroyd in Ghostbusters II
38. Paul Scofield in Henry V
39. John Rhys-Davies in Indiana Jones and the Last Crusade
40. Corey Feldman in The 'burbs
41. Julian Glover in Indiana Jones and the Last Crusade
42. Joss Ackland in Lethal Weapon 2
43. Ernie Hudson in Ghostbusters II
44. DeForest Kelley in Star Trek V: The Final Frontier
45. Kevork Malikyan in Indiana Jones and the Last Crusade
46. Tom Hulce in Parenthood
47. Gale Hansen in Dead Poets Society
48. Rick Moranis in Ghostbusters II
49. Bruno Kirby in When Harry Met Sally
50. Randy Quaid in Christmas Vacation 
51. Giancarlo Esposito in Do The Right Thing
52. Charles Hallahan in True Believer
53. Robert Sean Leonard in Dead Poets Society
54. Brian Doyle-Murray in Christmas Vacation
55. Raymond J. Barry in Born on the Fourth of July
56. William Hickey in Christmas Vacation
57. Alan Alda in Crimes and Misdemeanors
58. John C. Reilly in Casualties of War 
59. Benecio Del Toro in License To Kill
60. Miko Hughes in Pet Sematary 
61. Joaquin Phoenix in Parenthood
62. Zakes Mokae in A Dry White Season 
63. Keanu Reeves in Parenthood 
64. Sam Waterston in Crimes and Misdemeanors
65. Brian Blessed in Henry V
66. Marlon Brando in A Dry White Season
67. Christian Bale in Henry V
68. Macauley Culkin in Uncle Buck
69. Tom Bower in True Believer
70. Don Patrick Harvey in Casualties of War
71. Robert Davi in License to Kill
72. Brother Theodore in The 'burbs
73. Michael Byrne in Indiana Jones and the Last Crusade
74. Robin Williams in Dead Poets Society
75. Ian McKellen in Scandal
76. Kurtwood Smith in True Believer
77. George Carlin in Bill & Ted's Excellent Adventure
78. John Randolph in Christmas Vacation
79. Pat Morita in The Karate Kid Part III
80. Michael Gough in Batman
81. Laurence Luckinbill in Star Trek V: The Final Frontier
82. Bill Nunn in Do the Right Thing 
83. Rick Ducommun in Little Monsters
84. Samuel L. Jackson in Do the Right Thing 
85. Peter Gallagher in Sex, Lies, and Videotape
86. Jackey Vinson in The Wizard
87. Jurgen Prochnow in A Dry White Season 
88. Robbie Coltrane in Henry V
89. Dan Aykroyd in Driving Miss Daisy
90. Frank Whaley in Field of Dreams
91. E.G. Marshall in Christmas Vacation
92. Rick Moranis in Parenthood
93. Billy Dee Williams in Batman
94. Alan King in Enemies, A Love Story
95. Leonard Nimoy in Star Trek V: The Final Frontier 
96. Martin Kove in The Karate Kid III
97. Thomas F. Wilson in Back to the Future Part II
98. Johnny Galecki in Christmas Vacation
99. Cary Elwes in Glory
100. Abe Vigoda in Look Who's Talking
101. Pat Hingle in Batman
102. Robert Wuhl in Batman 
103. Timothy Busfield in Field of Dreams
104. George Segal in Look Who's Talking
105. Reginald VelJohnson in Turner & Hooch
106. Thomas Ian Griffith in The Karate Kid III
107. Beau Bridges in The Wizard
108. Daniel Stern in Little Monsters
109. Glenn Shadix in Heathers 
110. Frank Whaley in Little Monsters 
111. Scott Paulin in Turner & Hooch 
112. Mickey Rooney in Little Nemo: Adventures in Slumberland 
113. Christian Slater in The Wizard
114. Jay Underwood in Uncle Buck
115. Ben Savage in Little Monsters
116. Brad Greenquist in Pet Sematary
117. Luke Edwards in The Wizard 
118. Frank Whaley in Born on the Fourth of July
119. Will Seltzer in The Wizard
120. Sean Penn in Casualties of War
121. Josh Evans in Born on the Fourth of July

Next Year: 1959 Lead

Alternate Best Supporting Actor 1989: James Earl Jones and Burt Lancaster in Field of Dreams

James Earl Jones did not receive an Oscar nomination for portraying Terence Mann in Field of Dreams.

Fields of Dreams is a particularly earnest film about Iowa farmer Ray (Kevin Costner) who is convinced by an otherworldly voice to build a baseball field in his corn field, and undergo a mysterious journey. I have to admit this is one of those films where I understand why people love it even though I don't carry quite the same enthusiasm for it.

The first man this journey brings Ray to is a controversial and reclusive writer Terence Mann. The character was obviously based on J.D. Salinger to the point that in the original novel it simply was Salinger. Jones's first appearance in the film comes when Ray tracks him down, and Mann is not convinced by Ray's story. Jones puts the cynic in cynicism in his initial appearance as Mann playing him as a curmudgeon who wants nothing to do with his fan. Jones is actually rather funny in portraying Mann as he openly mocks Ray's optimism about being from the 60's and even threatening to beat him with a crowbar only being stopped after Ray reminds Mann that he's a pacifist. This causes him to comically scoff which Jones does deliver quite well. Jones actually makes this work, even though it may appear slightly at odds with the character just the next set of scenes, in that he manages to make it seem as this is likely Mann's usual standard treatment for his fans who are crazy enough to track him down.

The next scenes, while Mann still needs some convincing, are taken a bit more seriously as Mann states his reasons for his reclusive life as well as why he has problems with people who expect too much of him. Jones manages to bridge this gap quite well as he plays these scenes as though Mann's talking much more from the heart. That heart being also quite filled a general pessimism and anger about the way things have turned out. Jones realizes Mann's current state quite well, but this does not last too long as he soon sees a vision as well. Jones makes the transition fairly natural as he portrays at least at first more of a mystification than a whole understanding of what's going on, and what exactly it means. When the two of them go on their guest to find a local doctor who was very briefly a major league baseball player things seem to change a bit. Unfortunately they find the man is already dead, so Mann goes about researching him, and Jones is rather affecting by showing the way Mann seems to quietly find some encouragement for optimism again through Doc's reputation.

This only seems to continue once Ray finally brings Mann back to the field where all the deceased baseball players have come back to life to play again. Jones is actually does a lot merely in portraying the reaction of Terence to the miraculous event. Jones actually just does well by showing what an average person's reaction would be which is surprise followed by a form of disbelief. Jones effectively also attaches to Mann personally as he seems to slowly lose all cynicism. For a long time in the final scenes of the film Jones is merely silent, but does quite a bit in the way he presents Mann soaking all of it in. He builds up the spirit that seems to be enlivening Mann up until he finally gives his big speech about what baseball means exactly. Jones delivers it with all the passion and invigoration of a man whose found a renewed view of life itself. This is a good performance by James Earl Jones and it fits right into the films tone. Jones work probably does not really get into the real gritty details of what would make a guy like Mann tick, rather it sticks to simpler and broader gestures which is what the film advocates, and Jones thrives within the film.

Burt Lancaster did not receive an Oscar nomination for portraying Dr. Archibald "Moonlight" Graham in Field of Dreams.

Field of Dreams ended up being Burt Lancaster's final film and it seems fitting considering how much nostalgia fills the film. The film even includes a short sequence of people gently remembering all these things about Lancaster's character Moonlight Graham. It almost seems to need to be a screen legend playing the part since Moonlight is certainly treated as a local legend while Ray and Terence discover various things about his past. It takes Ray literally traveling back in time while Moonlight still lived for him to be able to run into the old man. When he runs into him it is only fitting that it must be Burt Lancaster who turns around in the moonlight, since who else could fill those shoes? Well while casting Lancaster in the role was certainly an intelligent move on the filmmakers part, what really matters is what does Lancaster bring to the film past his status as an actor. After all technically speaking this was not truly a special appearance by Lancaster in terms of his career, this simply was his final film, since Lancaster never really stopped working after his debut in The Killers.

Lancaster only actually has two scenes, one in which is fairly short, but the first is fairly long when Ray runs into the late doctor in the past. Lancaster matches the description of the character of the Doc completely as he carries such a strong yet quiet dignity about himself. Even when Ray is just asking who he is, Lancaster exudes just a special warmth that suggests the sort of man that would be respected, and loved by those around him. Lancaster does not just leave Doc as such as he brings out a different side of the man when Ray asks about the one inning that he played in the Major Leagues. Lancaster in the moment changes Doc's demeanor slightly as the enthusiasm of a younger man seems to spring out, and he wonderfully suggests the past where he very briefly got to live his dream. Lancaster does not leave it as a moment just joy though as he conveys a bit of longing in the Doc. Not something great to the point that it truly bothers, yet he can't help but feel a bit of sadness in the fact that he got to live his dream, but did it so briefly that he never wholly achieved it.

Lancaster continues to tap into a certain nostalgic feeling as the Doc describes his one wish to Ray, which would be to bat in a major league game just once. Lancaster creates the sense of just how much the idea means to the old man, and in his eyes there is that desire to have perhaps lived a different life. Lancaster does not leave Doc on the note of longing though as he turns down Ray's offer to return with him to the Field of Dreams. Lancaster is very moving as the doc tells Ray that what he was always meant to be was a doctor. Lancaster beautifully shows that in the end doc is wholly satisfied in his life, and in the end seems to have preferred how things turned out. His final smile sums it up, as it is one of a man who has lived a good life with baseball bring a dream that was not necessary for happiness. Lancaster has one appearance late in the film that is basically a shorter version of his earlier scene, as the Doc once more confirms what baseball means to him, but also what it doesn't mean. Lancaster's final exit is probably one of the most memorable and fitting of a final scene of any actor's career. This is a good performance and worthy to be Lancaster's last, although I must admit his performance is not my favorite of the film, and I'm not talking about Jones.

Alternate Best Supporting Actor 1989

And the Nominees Were Not:

Ray McAnally in My Left Foot

Hugh O'Conor in My Left Foot

Bruce Dern in The 'burbs

Rick Ducommun in The 'burbs

Sean Connery in Indiana Jones and the Last Crusade

Burt Lancaster in Field of Dreams

James Earl Jones in Field of Dreams

Fred Gwynne in Pet Sematary  

For the prediction Contest:

McAnally for My Left Foot

Dern for The 'burbs

Lancaster for Field of Dreams 

Alternate Best Supporting Actor 1957: Results

5. Bengt Ekerot in The Seventh Seal - Although nicely boosted by the film's direction Ekerot does not lose the mystery and intrigue of the character when he speaks.

Best Scene: The end of the game.

4. Jack Hawkins in The Bridge on the River Kwai - Hawkins effectively creates yet another intriguing portrait of a most peculiar sort of madness. 

Best Scene: Warden is injured.

3. Lee J. Cobb in 12 Angry Men - Cobb gives a strong performance by fulfilling his duties as the passionate "villain", but always showing the humanity that propels him.

Best Scene: 3's final breakdown.

2. Gunnar Björnstrand in The Seventh Seal - Björnstrand gives a great depiction of a man confidant of his own world forced to face whatever the next may or may not be.

Best Scene: The squire faces death.

1. Burt Lancaster in Sweet Smell of Success - Good prediction Jackiboyz. Lancaster gives a brilliantly and coldly brutal portrayal of a man whose words are his most dangerous weapon.

Best Scene: Sidney goes to see Hunsecker.

Overall Rank:

1. Sessue Hayakawa in The Bridge on the River Kwai
2. Burt Lancaster in Sweet Smell of Success
3. Gunnar Björnstrand in The Seventh Seal
4. Lee J. Cobb in 12 Angry Men
5. Jack Hawkins in The Bridge on the River Kwai
6. Toshiro Mifune in The Lower Depths
7. Jack Warden in 12 Angry Men
8. Ralph Meeker in Paths of Glory
9. Walter Matthau in A Face in the Crowd 
10. Jack Klugman in 12 Angry Men 
11. James Donald in The Bridge on the River Kwai 
12. Karl Malden in Fears Strikes Out
13. Bengt Ekerot in The Seventh Seal 
14. Ed Begley in 12 Angry Men
15. Red Buttons in Sayonara 
16. Tyrone Power in Witness for the Prosecution
17. George Macready in Paths of Glory 
18. Chishū Ryū in Tokyo Twilight
    
19. Martin Balsam in 12 Angry Men 
20. Timothy Carey in Paths of Glory
21. Lee Marvin in Raintree County 
22. John McIntire in The Tin Star
23. Lee J. Cobb in The Three Faces of Eve
24. Minoru Chiaki in The Lower Depths
25. Andre Morell in The Bridge on the River Kwai
26. E.G. Marshall in 12 Angry Men  
27. Jack Warden in The Bachelor Party
28. Robert F. Simon in Edge of the City
29. Larry Blyden in The Bachelor Party
30. Minoru Chiaki in Throne of Blood
31. Edward Binns in 12 Angry Men 
32. E.G. Marshall in The Bachelor Party
33. Kamatari Fujiwara in The Lower Depths
34. Maurice Chevalier in Love in the Afternoon 
35. Wayne Morris in Paths of Glory 
36. Amedeo Nazzari in Night of Cabiria
37. Adolphe Menjou in Paths of Glory
38. Niall MacGinnis in Night of the Demon
39. Dennis Hopper in Gunfight at the O.K. Corral
40. Philip Abbott in The Bachelor Party
41. Jack Warden in Edge of the City
42. Vasili Merkuryev in The Cranes Are Flying
43. Bill Nagy in Across the Bridge
44. Richard Jaeckel in 3:10 to Yuma
45. Nils Poppe in The Seventh Seal  
46. Aldo Silvani in Nights in Cabiria
47. Gunnar Björnstrand in Wild Strawberries
48. Vittorio De Sica in A Farewell to Arms
49. Paul Newman in Until They Sail 
50. Nigel Patrick in Raintree County
51. Ganjiro Nakamura in The Lower Depths
52. John Williams in Witness for the Prosecution  
53. Aleksey Batalov in The Cranes Are Flying
54. Mickey Shaughnessy in Designing Woman
55. George Voskovec in 12 Angry Men 
56. Leo McKern in Time Without Pity
57. Jim Backus in Man of a Thousand Faces
58. Ake Fridell in The Seventh Seal
59. Emile Meyer in Sweet Smell of Success
60. Sebastain Cabot in Johnny Tremaine
61. Alberto Sordi in A Farewell to Arms 
62. Theodore Bikel in The Enemy Below
63. Robert Webber in 12 Angry Men 
64. Sunil Dutt in Mother India
65. Richard Wattis in The Prince and the Showgirl
66. Takashi Shimura in Throne of Blood
67. John Fiedler in 12 Angry Men 
68. Martin Balsam in Time Limit 
69. Lee Van Cleef in The Tin Star
70. Geoffrey Horne in The Bridge on the River Kwai 
71. Jean Marais in White Nights
72. Joseph Sweeney in 12 Angry Men 
73. Howard Smith in A Face in the Crowd 
74. Neville Brand in The Tin Star
75. Richard Basehart in Time Limit
76. Bernard Lee in Across the Bridge
77. Raaj Kumar in Mother India 
78. Pat Hingle in The Strange One
79. Rajendra Kumar in Mother India 
80. Michel Auclair in Funny Face
81. François Périer in Nights of Cabiria
82. James Garner in Sayonara  
83. Arthur Kennedy in Peyton Place
84. David Wayne in The Three Faces of Eve 
85. Sam Levene in Designing Woman
86. Martin Milner in Sweet Smell of Success 
87. Walter Sande in Johnny Tremaine
88. Robert Emhardt in 3:10 to Yuma
89. Oskar Homolka in A Farewell to Arms 
90. Ricardo Montalban in Sayonara
91. Joseph Calleia in Wild is the Wind
92. Jeremy Spencer in The Prince and the Showgirl
93. Lloyd Nolan in A Hatful of Rain 
94. John Ireland in Gunfight at the O.K. Corral
95. George Peppard in The Strange One
96. Russ Tamblyn in Peyton Place
97. John McGiver in Love in the Afternoon
98. Lloyd Nolan in Peyton Place
99. Arthur Storch in The Strange One
100. Richard Beymer in Johnny Tremaine 
101. Leon Ames in Peyton Place 
102. Rip Torn in Time Limit 
103. Paul Langton in The Incredible Shrinking Man
104. David Nelson in Peyton Place
105. Lou Merrill in The Giant Claw
106. Anthony Franciosa in A Face in the Crowd
107. Anthony Franciosa in Wild is the Wind

Next Year: 1937 Supporting if there's time. 

Alternate Best Supporting Actor 1957: Burt Lancaster in Sweet Smell of Success

Burt Lancaster did not receive an Oscar nomination for portraying J.J. Hunsecker in Sweet Smell of Success.

I have noticed some have considered Burt Lancaster a co-lead in Sweet Smell of Success even though his screen time is limited to about seven scenes and he actually does not first appear until over twenty minutes into the film, and the film gives the greater focus to the press agent Sidney Falco (Tony Curtis). I understand though because Hunsecker is the puppet master  of the film as he uses Sidney with promise of some sort of success. In addition to that whenever Hunsecker appears it basically becomes his film. Lancaster is playing very much oppose to his heroic leading man type here as the powerful newspaper columnist whose power comes his pen rather than his physical prowess. Alexander Mackendrick's direction does a fantastic job of helping in this transition for Lancaster actually through that unflattering lighting on his face that accentuates any flaws on his face as well as through his glasses giving him cold soulless eyes. This is not to say though that Lancaster allows himself to be overshadowed by the direction, but this nicely amplifies what Lancaster does in the role.

Lancaster is absolutely commanding in his performance, which you might expect from Lancaster as he has that movie star charisma anyways, but Lancaster kinda does this in a whole different style here. Lancaster is very effective as he makes Hunsecker almost like a snake in which you have to watch and listen to his every movement as you never know who or what he might strike. Lancaster is perhaps at his most imposing here despite he seems to purposefully diminish his usual posture on purpose. Lancaster though brings that incisive quality very much needed to Hunsecker's performance in simply the way he almost leans forward and faces his pretty intimidating them while looking for their weakness for which he will exploit. His opening scene is perfectly executed by Lancaster as Hunsecker humiliates and indicates his superiority over all four of the people around him. Lancaster nails every line as he should giving them the vicious sting they should. Hunsecker's power merely comes from his word and Lancaster establishes this as truth through his performance.

What might be most fiendish in a way about Lancaster's portrayal though is he shows the way Hunsecker can influence. He's not there merely to make fun of the people and make them feel poorly about themselves but also to show how he knows what is right. Lancaster is particularly great as Hunsecker points out to the senator at his table that his affair is quite obvious and that if he's to stay as a respectable politician he better be less obvious about his act. Lancaster does not carry only venom in Hunsecker's words, although there is a deadly dose of that there, he has a teaching tone in his voice as though he is educating in his words. Lancaster importantly gets across that Hunsecker is not merely an acerbic critic of those around him, but that he uses that as his tool to control them even further. Hunsecker ends up controlling the plot because he demands Sidney work something out for him. That something ensuring that Hunsecker's sister Suzy not marry a musician, without Suzy finding out that Hunsecker had anything to do with the breakup.

This brings us to the one side of Hunsecker the perhaps brings out the worst of him as Hunsecker will go any way he can to stop Suzy's marriage even if it means getting the musician fired as well as arrested for a false charge. It does not matter really even who the magician is Hunsecker would hate any man who tries to steal his sister from him. Lancaster does reveal perhaps the only real humanity to Hunsecker in his scenes with his sister. I have read some places that it is incestuous thoughts that propel Hunsecker in these scenes, but I disagree as I don't feel that's how Lancaster plays these scenes. Lancaster I think is far more effective by portraying the quiet moments of thinking of his sister where he creates the only possible sympathy for Hunsecker. It is not a lustful man that Lancaster shows although that does mean he's still not quite creepy. It's fear though that Lancaster suggests as he hears about Suzy's marriage, a palatable fear in a man who knows he would be absolute lone in his world of cynicism if he lost his sister. 

Lancaster often is about consistency in the cold brutality that he brings to his performance and the scene where he carefully cuts down the musician, after faking approval, is particularly brilliant. Lancaster is incredibly good here in the later scenes though as he begins to show Hunsecker's reserve to leaves him as he must get more and more involved in Sidney's plan. Lancaster is terrific in portraying a bit of a growing madness in Hunsecker, a quiet yet fervent madness so fitting for Hunsecker, and the intensity grows as he becomes more determined to keep his sister. Lancaster presents Hunsecker as a man who has always been in control, and Suzy perhaps who he has been controlling for the longest time, finally losing his command which is more than he really can comprehend. Lancaster devolves into a mess of sorts though still perfectly as the reserved Hunsecker as everything begins to collapse around him. There are perhaps two Lancasters the wild man, which the best example of is probably Elmer Gantry, and the far more taciturn Lancaster, which best example of may be found here. He gives a great biting portrayal of a villain who does not need to raise a fist to ruin the lives around him.