Alternate Best Actor 1932: Charles Laughton in Island of Lost Souls

Charles Laughton did not receive an Oscar nomination for portraying Dr. Moreau in Island of Lost Souls. 

The Island of Lost Soul tells the tale of a man happening onto the island of a mad doctor who lives in and around a strange hybrid of animals and men. 

As seemed to be the requirement of many of the horror films of the period, it wouldn't be true to the period if the main lead wasn't better named Blandy McBland with a similarly bland love interest, where the film must be saved by a better actor in the juicier part of someone at least responsible for the horror in some way. Charles Laughton obviously was and became known as one of the very best actors of his generation, so naturally he's more than up to the task. Laughton first appears as the man is dumped on a remote stop by an amoral Captain, and Laughton's initial reaction is just quiet frustration of a man who wants nothing to do with outsiders. Unfortunately the man is left and he becomes the doctor's problem. Laughton is working on a whole different level here as well, in portraying such ease in his performance and even more importantly a charisma even in playing obviously a villainous role. Laughton though is charming in his approach, as when he sees he's stuck with the man, Laughton presents himself with a generous enough spirit of the welcoming host, if more than a bit cautious in terms of sharing the whole of the story of his island. An island populated with near feral animal-men who live outside the gates of the Doctor's home, whom the doctor warns his guest against, though with glances by Laughton that immediately share a knowledge of the situation that goes far beyond simple concern. Laughton presents a man who is very much complicit in these creatures, and is just wonderful to watch as he acts out this part. 

Laughton knows how to make exposition in itself natural within his performance, but even more importantly knows how to make it entertaining. Laughton has a wonderful style because he presents his doctor as someone who perhaps was respectable at one time, and in terms of his whole manner treats himself as though everything he is doing is respectable. He speaks with a quiet authority and absolute intelligence as he makes suggestions to his guest, and even convinces his more moral assistant that the man could stay for something that the doctor is working on. The doctor envisioned some experiment to use the new guest as, by introducing him to the Panther Woman, also a beast-human hybrid, however for a greater emphasis on the human side, and essentially wants to test her out via pairing her with the man. Laughton is brilliant in the way he delivers this plan with a complete lack of shame, and even more than that some grand pride in every delivery. A man whose eyes denote this idea with a keen sense of what he thinks should be done. When the attempted experiment begins, Laughton takes it a step further though by showing beneath the veneer of the egotist mixed in with the English charm is obviously just a creepy man living out his fantasies. Laughton brings more than just a glint in his eyes as he watches the two proceed with more than a hint of lust, and Laughton performs the note beautifully in revealing the grand designs of the man that have nothing to do with simple scientific curiosities, let alone noble ones. 

Meanwhile while he enacts his attempts to entice the visitor with the panther woman, Moreau frequently reveals his most obvious nature through his interactions and dismissals of his other "experiments" aka the native populations. A key line that essentially echoes Dr. Frankenstein's line in the 1931 films about feeling what it is like to be God, is more or less spoken by Moreau in this film. Where it was that of mania with Colin Clive's performance, Laughton is that of calm assurance, the insanity is in the glint of his eyes, however Laughton presents it as a man well controlled in his insanity. And we see that as he dictates over his "people" with his calm assurance, yet with an unmistakable internalized intensity for genuine violence. In each instance where the islanders begin to act too animalistic Moreau with a whip, and occasionally some support from Bela Lugosi as one of the creatures, however Laughton presents each as the lion tamer, and the brutal dictator as he insists they follow his rules lest they suffer more pain at his hands. Laughton brings the diabolical sneer of a proper villain who is lording over these creatures as part of an extension of his ego, and portrays the madness of his character even though the man is capable of presenting it all as for the sake of scientific curiosity. But what all this adds up to more importantly than anything, is an entertaining villainous performance, where Laughton simply shines every moment he is on screen. Whenever Moreau is onscreen, the film is working, because Laughton is so engaging. But more than that, while this adaptation purposefully leans closer to the horror aspects of the story than the philosophical, whatever depth can be mined within the screenplay is found by Laughton, as while being enjoyable to watch, he does find an actual character here with greater notions to his evil, even if the film is only slightly interested in that. 

Alternate Best Actor and Supporting Actor 1938: Results

5. Claude Rains in White Banners - Rains gives a properly dignified and endearing turn if in a rather limited role.

Best Scene: Finding out the truth. 

4. Erich von Stroheim in Les Disparus de Saint-Agil - von Stroheim has fun playing around with his usual menacing presence to be a rather memorable part of the film's mystery.

Best Scene: Joining the investigation.

3. Charles Laughton in Sidewalks of London - Aside from his accent to an extent, Laughton gives a properly charming yet moving portrayal of a street entertainer.

Best Scene: Final performance.

2. Raimu in The Baker's Wife - Raimu gives a moving portrayal of the slow breakdown of a man by revealing the real pathos behind the humor of his simple baker and his predicament.

Best Scene: suicide attempt

1. Jean Gabin in Port of Shadows - Good predictions Michael McCarthy and Luke. Gabin delivers yet another great performance this time as a rather modest yet charming man who slowly comes out of his shell while also getting lost into a dark web of deceit.

Best Scene: Violent outburst.

Updated Overall

Updated Supporting Overall 

Next Year: 1948 Lead, I'd appreciate any supporting suggestions as well.

Alternate Best Actor 1938: Charles Laughton in Sidewalks of London

Charles Laughton did not receive an Oscar nomination for portraying Charles Staggers in Sidewalks of London.

Sidewalks of London though a little tonally wonky, such as where it briefly devolves into The Great Ziegfeld, is somewhat unique for its time in its focus on working class Londoners. Although interesting in that sense it never quite mines deeply enough in terms of broaching what should be the heart of the material.

The film is about two Londoners in specific one being a Liberty "Libby" (Vivien Leigh) a pickpocket, later performer, and Charles Staggers a London street performer. Charles Laughton's performance style, particularly for his era, was remarkable given his approach. Laughton was an earlier instance of an actor attempting a more chameleon style approach, though certainly distinctly Laughton as well. Laughton though was clearly never pigeonholed by a role playing an affable timid butler, a forceful yet emotional Javert, and a tyrannical Captain Blight all in the same year after all. This idea is again further explored here where he is playing a man of no great historical note, rather is just playing a man. A cockney busker who appears on the street with a grand, yet low class, recitation for a random crowd. Now aside his cockney accent, which is hardly Laughton's greatest affectation though it is easy enough to get use to as the film progresses, however he makes up for it with his physicality in his performance which delivers the man's background and really personal style so effectively.

Laughton's approach on the whole finds the whole of the street style just in the openness of his physical movement. Whether this is just the way he bends his head, or even rubbing his nose is naturally not of a lord. It goes further than that though to realize the style of the man who mostly eases his way through life, at least that is what appears on the surface. This is further emphasized by Laughton when as a busker he compares himself to none other than John Gielgud in his recitation ability. The actual moment of performance is a bit of brilliance by Laughton as it is a bit of atypical charisma as he makes Charles more than sufficiently entertaining in the moment however in a rather specific way. There is something so wonderfully unassuming about the performance as Laughton delivers with such gusto the monologue as a man who just finds just a joy in the performance itself. Within that unassuming quality though Laughton also very realizes the somewhat haphazard, even if frequently recited, act very much fitting to a man of his ilk, as the energy Laughton brings is not only endearing but also somewhat wild natural to a man essentially improvising, not so much the words, rather the action itself.

The film shifts towards its intent when the street smart Charles spots the pickpocket Libby prying her trade rather literally, and confronts her over the matter. It is as Libby pleads her case, mostly over the pains of existence, where Laughton grants a different side to Charles that is rather well put. Charles does not try to hide any facts yet bluntly returns the difficulty of life, and Laughton in his delivery of this is strictly without sentiment. Laughton in the moment doesn't reveal that the performance as the busker is wholly an act, but very much the surface to the much more earthly man within. Laughton is brilliant in this moment by shedding any false bravado in his blunt approach to the words, and in his face so effectively revealing a man who has had a difficult life. There is an inspiration though in this through the calm that Laughton exudes showing that while Charles is aware of life burdens he is prepared to face them. After this Libby and Charles live together ostensibly as co-dependents in their pursuits towards the theater. Laughton carefully though alludes to the truth, while allowing the miscommunication in a sense by delivering so well again that charisma though with a certain timidness within it. For example when mentioning his age there is such a cheerfulness in creating the conversation, however a definite vulnerability Laughton brings when reinforcing that Charles is 39, not forty.

There is a potential problem in the film that arises as Leigh and Laughton really don't have chemistry, evidently having a poor relationship while making the film, however in a way this doesn't wholly matter as Laughton portrays his side effectively as a difficult state of unrequited love. He portrays the interactions well with that friendly glee as Laughton presents Charles certainly trying to win her over, however without a clear revelation of affection for her beyond just friendship. This in turn naturally delivers the moment in which Charles does reveal his real love for her which Laughton presents so well as a moment of a particularly quiet and modest Charles. Laughton reveals the man just barely airing out the message being very much against his nature to do so, but so earnest in his delivery of that truth. She rejects him bluntly, and the film essentially fumbles around a bit as it follows her rise to stardom and Charles's fall into despair and jealousy. Now Laughton is again on point performance wise however the film never quite finds the right approach in terms of its focus within these scenes to illicit the power possible from at least the concept of the material. This in turn leaves Charles's switch, from a wreck to letting Libby go, rather rushed. Laughton at the very least delivers in each of these moments in first having the man almost wholly losing that joy, having just the faintest twinkle in his spirit, such as his slight performance while being arranged, that makes it all the more terrible of state. These moments are moving in parts due to Laughton, however never build to something wholly remarkable. When the moment comes of his choice Laughton again delivers in bringing back the old sprightly Charles, however it doesn't quite deliver the impact it should due to the shortcomings of the film. Even with that though this is another strong performance by Charles Laughton who amplifies the strengths of the film, and avoids the majority of its shortcomings with yet another unique characterization.

Alternate Best Actor 1938

And the Nominees Were Not:

Jean Gabin in Port of Shadows

Raimu in The Baker's Wife

Charles Laughton in Sidewalks of London 

Claude Rains in White Banners

Erich von Stroheim in Les Disparus de Saint-Agil

Alternate Best Actor 1939: Results

5. Henry Fonda in Young Mr. Lincoln - Fonda gives an atypical performance as Lincoln, but an effective one finding the right charisma within an unassuming personality.

Best Scene: Lincoln stops a Lynching.

4. Conrad Veidt in The Spy in Black - Veidt effectively humanizes his character making his German spy far more than just a villain who needs to be stopped.

Best Scene: The ending. 

3. Basil Rathbone in The Hound of Baskervilles - Rathbone earns his place as the most iconic Sherlock Holmes by giving a well rounded portrayal of the character. As he delivers the right command in the role, but also finds a certain humor which never undercuts the gravity of the situation.

Best Scene: Holmes's introduction

2. James Cagney in The Roaring Twenties - As per usual Cagney gives a strong portrait of an intimidating gangster, but also as per usual he ends up being surprisingly moving as well.

Best Scene: Eddie's final confrontation with George. 

1. Charles Laughton in The Hunchback of Notre Dame - Laughton gives a downright brilliant performance capturing the physicality needed for Quasimodo, and the emotional core of the character in heartbreaking detail.

Best Scene: "why was i not made of stone like thee"

Overall Ranking:

1. Charles Laughton in The Hunchback of Notre Dame
2. Clark Gable in Gone With The Wind
3. James Stewart in Mr. Smith Goes to Washington
4. Laurence Olivier in Wuthering Heights
5. Robert Donat in Goodbye, Mr. Chips
6. James Cagney in The Roaring Twenties
7. Basil Rathbone in The Hound of Baskervilles
8. Conrad Veidt in The Spy in Black
9. William Powell in Another Thin Man 
10. John Wayne in Stagecoach
11. Cary Grant in Only Angels Have Wings 
12. Basil Rathbone in The Adventures of Sherlock Holmes
13. Henry Fonda in Young Mr. Lincoln
14. Edmond O'Brien in The Hunchback of Notre Dame 
15. William Holden in Golden Boy
16. Stan Laurel in The Flying Deuces
17. Oliver Hardy in The Flying Deuces
18. Brian Aherne in Juarez
19. Gary Cooper in Beau Geste
20. Ray Milland in Beau Geste 
21. John Clements in The Four Feathers
22. Melvyn Douglas in Ninotchka
23. Victor McLaglen in Gunga Din
24. Nigel Bruce in The Hound of Baskervilles 
25. Paul Muni in Juarez 
26. Cary Grant in Gunga Din
27. George Brent in Dark Victory
28. Charles Boyer in Love Affair
29. Henry Fonda in Drums Along the Mohawk
30. Mickey Rooney in Babes in Arms
31. Tyrone Power in Jesse James
32. Robert Kent in Convict's Code

Next Year: 1939 Supporting

Alternate Best Actor 1939: Charles Laughton in The Hunchback of Notre Dame

Charles Laughton did not receive an Oscar nomination for portraying Quasimodo in The Hunchback of Notre Dame.

The Hunchback of Notre Dame is a solid enough version of the story bolstered particularly by William Dieterle's direction, and something else.

It is rather interesting to see Charles Laughton to take on this role, perhaps best known previously for proper British gentlemen, though these gentleman certainly varied a great deal in terms of personality. However this is a completely different role for Laughton as Quasimodo the titular Hunchback. Quasimodo in this version of course has his hunchback deformity as well as a skewed eye, bulging half of his face, few teeth in his mouth and to evidently top it all off he is also deaf. The distance given to Quasimodo is far greater since even though he is a leading role, we are often given the perspective of the observer of Quasimodo rather than of the man himself. Now Laughton disappears into the role, which is understandable given the makeup, but that's not all there is to Laughton's work here. Laughton finds the labored movement of Quasimodo due to his hunch, but he goes further revealing the difficult life Quasimodo has had to live in the rest of his face. The wear of such a life can be found imprinted right into the poor soul. Laughton never leaves anything to what is already is there, working with it wholly to make it all singular into his work as Quasimodo. All of it feels completely natural and in way Laughton gives life to the technically artificial elements of the character.

Now Quasimodo's first appearance in this version is during the festival of fools as he makes a surprise appearance to accidentally be the oddest face in order to be crowned the king of fools. Now Laughton is downright brilliant in this first scene as he establishes so well Quasimodo in more than one way. Just about everyone's aversion to him is realized by Laughton because of how effectively he not only gives the sense of his physical state, but also in the way he interacts. Laughton has a disjointed quality about his manner as he realizes how Quasimodo scares those even past his disfigurement. Laughton is terrific in the way he shows Quasimodo's deafness in his awkward method as he is frequently surprised by other people's movement, but Laughton portrays how this surprise may make it appear that he may be dangerous in some way. However even as Laughton establishes this he also alludes to the true nature of Quasimodo in the scene as well. As he looks out at the crowd and those who seem ready to make him the King of the ceremonies, there is a definite enthusiasm that Laughton finds. This enthusiasm is not in terms of the ceremony exactly, but rather Laughton finds the way that Quasimodo is simply incredibly happy to be able to interact with other people.

The film actually keeps Quasimodo at a certain distance for some time as he's merely used by Frollo (Cedric Hardwicke), which gets him into trouble. Quasimodo's trial sorts is another marvelous scene for Laughton as he expresses so well the confusion in Quasimodo as he tries to understand what's going on and tries desperately to communicate in anyway he can. Laughton again finds the inherent awkwardness of Quasimodo in such convincing fashion as he attempts to speak. Laughton's great as he does not reveal Quasimodo to be a unintelligent individual, but rather as someone who can only speak so well given his hearing as well his understandable lack of social skills. The lack of eloquence Laughton finds is not really his choice of words but rather his inability to verbalize them well. Laughton's delivery has the right variation of a man who is actually unable to hear himself speak clearly. There is something so painful about Laughton's work because he is able to show someone reaching out into the world for some sort of connection, but due to everything against him he can't seem to find it. Now fantastic as his ability to create all these traits of Quasimodo that's not all there is to Laughton's performance as we find after he sentenced to a flogging. Everyone seems to ignore his pain except for the gypsy Esmeralda (Maureen O'Hara) who gives him water.

Laughton brings such poignancy in the moment as he presents the relief in Quasimodo physically but also mentally as someone finally seems to care whether he lives or dies. Laughton is outstanding as he brings such sheer jubilation in Quasimodo in the succeeding scenes as in his eyes there is definite hope in him as it seems he's finally found the connection he was seeking. Eventually Quasimodo is able to more than return the favor by saving Esmeralda from hanging and keeps her in sanctuary of the bell tower of Notre Dame. In their initial meeting Laughton is finally able to directly verbalize Quasimodo's own personal hardship, and he does not waste this. As he explains his condition, his name of being half formed, Laughton is extremely moving as he basically laughs and cries at the same time suggesting Quasimodo's pain as well as his attempt to deal with his life by finding humor in it at the same time. Laughton never allows him to be one note in this regard though as he still infuses such eagerness in him as he attempts to connect further with Esmeralda by explaining his life in the bell tower with the few pleasures he does have. There is such a warmth that Laughton is able to bring as he finds without question the humanity behind the "monster". This version of the story is decidedly less tragic than the source material, though that is quite easy to do, the ending of the film still is very powerful largely due to Laughton. Quasimodo acts as the hero, defeating the villain, but in the end Esmeralda as well as the public in general still favor the traditionally handsome hero to fall in love with. This still leaves Quasimodo as an outcast in the end. Laughton is absolutely heartbreaking in his somber delivery of his final lines "why was i not made of stone like thee" as Quasimodo speaks to a Gargoyle, his only companion, as he sees the outside world abandon him once more. This is an astonishing performance by Laughton as he matches all the challenges presented in the role by effortlessly capturing not only the physicality needed for the role, but also even more importantly the emotional core of Quasimodo.

Alternate Best Actor 1939

And the Nominees Were Not:

Charles Laughton in The Hunchback of Notre Dame

Conrad Veidt in The Spy in Black

Henry Fonda in Young Mr. Lincoln

James Cagney in The Roaring Twenties

Basil Rathbone in The Hound of Baskervilles

Alternate Best Actor 1936: Results

5. Spencer Tracy in Fury - Tracy is charming and moving in his depiction of a man wrongly facing death, but he plays the second half too much like a villain.

Best Scene: Embracing Rainbow.

4. Jean Gabin in The Lower Depths - Gabin gives an enjoyable portrayal of a charismatic thief which effectively matches the tone of this version of the story.

Best Scene: His first meeting with the Baron.

3. Charlie Chaplin in Modern Times - Chaplin gives a very entertaining and rather wonderful sendoff to his most famous creation.

Best Scene: The Ending.

2. Charles Laughton in Rembrandt - Even with the film's rather swift pace Laughton gives a remarkable portrayal of the famous painter throughout his life's journey. 

Best Scene: Rembrandt attempts to paint his wife one last time.

1. Edward Arnold in Come And Get It - Good Predictions RatedRStar, Michael McCarthy and Luke. The underrated Edward Arnold is given the chance to depict the origins of one of his rich and powerful men, and does not waste that chance. He gives a heartbreaking performance that realizes what such a man might sacrifice to earn that power.

Best Scene:  The Ending.

Overall Rank:

1. Edward Arnold in Come And Get It 
2. Charles Laughton in Rembrandt
3. Charlie Chaplin in Modern Times
4. Walter Huston in Dodsworth 
5. William Powell in After The Thin Man
6. Jean Gabin in The Lower Depths 
7. William Powell in My Man Godfrey
8. William Powell in The Great Ziegfeld
9. Leslie Howard in The Petrified Forest
10. Clark Gable in San Francisco
11. Warner Baxter in The Prisoner of Shark Island
12. Errol Flynn in The Charge of the Light Brigade
13. Gary Cooper in Mr. Deeds Goes to Town
14. James Cagney in Great Guy
15. Boris Karloff in The Invisible Ray
16. C. Aubrey Smith in Little Lord Fauntleroy
17. Oskar Homolka in Sabotage
18. Fred Astaire in Swing Time
19. Freddie Bartholomew in Little Lord Fauntleroy
20. Fred Astaire in Follow the Fleet
21. Paul Muni in The Story of Louis Pasteur 
22. John Gielgud in Secret Agent
23. Roland Young in The Man Who Could Work Miracles
24. Gary Cooper in The General Died At Dawn
25. Fred MacMurray in The Trail of the Lonesome Pine
26. Spencer Tracy in Fury
27. Jack Hayley in Pigskin Parade
28. Henry Fonda in The Trail of the Lonesome Pine
29. Fredric March in Anthony Adverse
30. Robert Taylor in Camille 
31. John Loder in Sabotage
32. Leslie Howard in Romeo and Juliet
33. Kenneth Craig in Reefer Madness

Next Year: 1936 Supporting

Alternate Best Actor 1936: Charles Laughton in Rembrandt

Charles Laughton did not receive an Oscar nomination for portraying Rembrandt Harmenszoon van Rijn in Rembrandt.

Rembrandt is a fine biographical film about the famous painter, my only major complaint would be that it probably should have been longer.

Rembrandt is the second biographical film directed by Alexander Korda starring Charles Laughton. The first was The Private Life of Henry VIII, for which Laughton won his only Oscar. Rembrandt is far lesser known film of the two, I imagine mostly because of Henry's Oscar recognition, although they technically follow a similar formula. Both examine the life of the two famous individuals mainly through their romantic relationships. Rembrandt opens very near the death of his wife, just as Henry opened near the death of Anne Boleyn Henry's second wife, although the nature of the deaths could not be more different. The men also could not be more different and it is interesting to see Laughton take on this role. In the early scenes of the film Laughton presents Rembrandt as very specifically the great artist. After all why should he not be seen as such considering he's quite successful as well as has a happy personal life with his wife and son. Laughton carries himself in a very particular way that accentuates just how much of a genius Rembrandt is, and the reason for this is his successes allow him to behave in this way. Laughton's excellent though in that he brings a certain pompousness of his artistic ideas, yet he still manages to make it seem rather earned by the man.

Laughton captures a merited greatness of the man as the words he speaks do seem to have depth and meaning even though he technically speaking might be a bit indulgent in his approach. Laughton importantly does not make this seem an intentional instead he creates this man who has almost risen to a higher echelon of thinking. This can't last forever though when Rembrandt's wife suddenly dies. Laughton is incredibly effective in realizes the way the death changes Rembrandt as he has been thrown off his pedestal by being hit with the cruelty of reality. Laughton is very good in realizing the unique sort of grief in Rembrandt as he deals with the death. He does not play it as an overt sadness but says so much through the way the man withdraws somewhat. There is one especially powerful moment where Rembrandt shows just how much he cared for his wife by attempting to draw one more portrait of her even though he no longer has her there to model for him. Laughton is quite moving as he portrays Rembrandt last moments of holding onto his wife until her image fades from his mind forever. Onward, even after his grieving period, he is still unable to find his former self, not at all helped by his son's wet nurse, his first mistress, who seems to demand her position as such due to having put her time in, more than because she truly loves Rembrandt.

Rembrandt's work in particular changes and Laughton projects a rougher personality altogether. In a scene where he has to deal with some unhappy costumers who did not care for his portrait of them, Laughton is terrific in bringing a strong incisiveness to Rembrandt as he bluntly states what he dislikes about the men without hesitate. Laughton is great in bringing a certain vicious bitterness in Rembrandt as now he seems to place himself above others, but does not hesitate to remind them of this fact now. At the same time though Laughton brings a certain earthy quality in these scenes as though Rembrandt is more aware of the world he exists in, the fact that he's far less successful as artist does not seem to hurt. There is one particularly good scene where Rembrandt goes back to his family in the country and has to deal with the locals. There dynamic that Laughton strikes up that is rather brilliant. He projects Rembrandt taking in the local color as one of them with a certain joy, yet he still brings his artistic flourishes that keeps him a distance. Every once in a while Rembrandt will make a quote, which every time Laughton delivers in a flawless and beautiful fashion that so well suggests the man's artistry without showing him creating a panting.

Rembrandt continues in his problematic dueling natures until he meets a different potential mistress his maid played by Elsa Lanchester. The real life husband wife had shared the screen as at least potential lovers in Henry VIII, but their relationship basically amounted to a comic bit. This time though the relationship is taken far more seriously. Laughton and Lanchester have inherent warmth in their scenes together and do quite well to show exactly how this relationship differs from Rembrandt's previous mistress. The relationship has many difficulties though as he is unable to marry her due to his wife's will, and the public looks down upon their unwed status leaving her to become excommunicated. In these scenes Laughton very gradually brings Rembrandt perhaps to his best point as a man and as artist as he finally seems to start to find contentment in his life and his work. Laughton brings back a joy to life in Rembrandt, but without even the distance he created in the early scenes. Instead Laughton very effectively brings Rembrandt to the point where he finally seems to fully understand his place in the world and how to find happiness within it. What is perhaps most notable his transformation throughout is that technically it is all a bit rushed by the film's swift pace, yet Laughton never stumbles in fact making it seem as though Rembrandt's life story is not rushed at all.  This is a tremendous performance by Laughton as he so well realizes every moments of this journey through his complex depiction of this remarkable man.

Alternate Best Actor 1936

And the Nominees Were Not:

Edward Arnold in Come and Get It

Charles Laughton in Rembrandt

Charlie Chaplin in Modern Times

Spencer Tracy in Fury

Jean Gabin in The Lower Depths

Alternate Best Actor 1943: Results

5. Claude Rains in The Phantom of the Opera- Rains is held back by his film but he manages to be both rather sympathetic, and effectively evil in this film.

Best Scene: The Phantom's Face is revealed.

4. Henry Fonda in The Ox-Bow Incident- Fonda is overshadowed by other elements in his film, but he is consistently solid and exceptional in one scene.

Best Scene: Gil reads Donald Martin's letter.

3. Charles Laughton in This Land is Mine- Laughton gives a strong performance that makes the transition from cowardice to bravery believable.

Best Scene: Albert watches as his friend is executed.

2. Roger Livesey in The Life and Death of Colonel Blimp- Livesey's performance is one of the finest examples of portraying the progression of a character over time and through experiences.

Best Scene: Candy reunites with Theo.

1. Joseph Cotten in Shadow of a Doubt- Good Prediction Psifonian feel free to name a request. Cotten easily wins this year with his incredible charming and chilling performance as a man with dark secret he wants to hide.

Best Scene: Uncle Charlie tells young Charlie about the true nature of the world.

Overall Rank:

1. Joseph Cotten in Shadow of A Doubt
2. Roger Livesey in The Life and Death of Colonel Blimp
3. Paul Lukas in Watch on the Rhine
4. Charles Laughton in This Land is Mine
5. Eddie Bracken in The Miracle of Morgan's Creek
6. Orson Welles in Jane Eyre
7. Pierre Fresnay in La Main Du Diable
8. Pierre Fresnay in Le Corbeau
   
9. Joel McCrea in The More the Merrier 
10. Mickey Rooney in The Human Comedy
11. Henry Fonda in The Ox-Bow Incident
12. Ralph Richardson in The Silver Fleet
13. Claude Rains in Phantom of the Opera
14. Humphrey Bogart in Sahara 
15. Robert Donat in The Adventures of Tartu
16. Franchot Tone in Five Graves to Cairo
17. Joseph Cotten in Journey Into Fear
18. James Mason in The Man in Grey
19. Massimo Girotti in Ossessione
20. Monty Woolley in Holy Matrimony
21. Charles Boyer in The Constant Nymph
22. Don Ameche in Heaven Can Wait 
23. Hans Albers in Münchhausen
24. Susumu Fujita in Sanshiro Sugata
25. Fred MacMurray in Above Suspicion
26. Frank Morgan in A Stranger in Town
27. Errol Flynn in Edge of Darkness 
28. Ralph Morgan in Hitler's Madman
29. Thorkild Roose in Day of Wrath
30. Preben Lerdorff Rye in Day of Wrath 
31. Gary Cooper in For Whom The Bell Tolls
32. Walter Pidgeon in in Madame Curie 
33. Stewart Granger in The Man in Grey
34. Eddie Anderson in Cabin in the Sky
35. Dana Andrews in The North Star
36. Farley Granger in The North Star 
37. Richard Carlson in A Stranger in Town
38. Alan Curtis in Hitler's Madman

Next Year: 1943 Supporting

Alternate Best Actor 1943: Charles Laughton in This Land is Mine

Charles Laughton did not receive an Oscar nomination for portraying Albert Lory in This Land is Mine.

This Land is Mine is a fairly solid anti-Nazi film about about a school teacher in a Nazi occupied country who finds himself in between the ideas of collaboration and resistance.

Charles Laughton plays the school teacher Albert Lory who is a particularly pathetic character. He is always worried about everything who falls in line with all the commands of his whiny mother, and in the school itself is constantly ridiculed by his students. Laughton played a meek character before in Ruggles of Red Gap, but Albert Lory at the start of this film makes Ruggles look like Henry VIII. This is not a comedic meekness though as Ruggles was, and Laughton goes about giving a serious portrayal of a man like this. It is very interesting to see Laughton take on a very similar role this time for dramatic purpose whereas his earlier portrayal was largely for the laughs.

Laughton is rather hard to watch early on in this film not because he is bad but rather because he is too good in the role. Laughton unlike in Ruggles does not really change his manner to play Ruggles to that of a meek man. Rather what Laughton does is entirely in the attitude of Albert. Laughton emphasizes that Albert just goes along with his meekness and what comes from it. When his mother commands him Albert just maybe sulks a little but just does it. When his students drop water on his head he barely recognizes it and just goes along with it as something as his routine. When the Nazi occupation force comes in and forces him to censor their school books once again Laughton shows Albert just go along with it as pure routine.

When the routine is broken in anyway, such as an air raid, the meekness of Albert only comes out the stronger. Laughton doesn't shy away from making Albert downright pathetic as he basically goes about acting liking a young child in his mother's arm as he fears the planes dropping bombs from the outside. Laughton is very effective because he doesn't overplay it and he does not try to at all make this something funny as the situation very well could have become. Instead Laughton brings to life this character whose actions on the outside seem to have almost no value, he is afraid of any change of his small little world which consists of him just taking what others give to him.

There is quite the change in store for the character and Laughton has some strong subtle moments early on that plant the seeds for the change for his character. Although overwhelming in his characterization is the weakness of Albert Laughton does express a certain passionate conviction underneath this. It is the smallest part of the man that is hidden right along with his love for his co-worker Louise (Maureen O'Hara), but it is still there. Laughton brings this miniscule of personal strength into Albert as a character in just the right way as it does not all make him seem like a confidant capable human being early on, but it does give just the slightest hope that Albert could redeem his character.

Albert is forced to try and do this when the Nazis begin to round up hostages after a saboteur begins to try to disrupt the Nazis. Laughton is very good in the transition as the initial stages are frankly rather easy as Albert just has to go along with a fairly simple lie to protect someone well keeping his mouth shut. Laughton not only shows that inner strength peep through, but as well suggests a certain enjoyment in Albert as he finally stops doing everything that is expected of him for once. Albert is forced to change even more so though when he is also arrested and questioned over the matter of the saboteur, and later over accidentally being in the wrong place after a Nazi informant has committed suicide.

While being held though he sees a group of men executed one of them being the head master of his school. Laughton is very moving in the scene expressing the sadness in Albert but as well further change as he shows the resolve in Albert only grow from witnessing the horrible sight. Laughton brings Albert naturally to the point where he has his long speech about fighting against the evil of the Nazis. This is very much a speech in the same vein as many speeches from films before and during World War II which is to denounce the terrible nature of the Nazis well pushing the idea of resistance. Laughton handles it well because he gives a quiet very poignant power. He gets the message across firmly yet still within the character of Albert Lory who only has recently overcome his repressed nature.

Like Ruggles of Red Gap this is another example of Charles Laughton giving a strong performance that is not in his more common flamboyant fashion. Laughton also doesn't tread any water even though he once again plays a meek man who is able to change and find his internal strength. Albert Lory's transformation is the crux of the film and it very well could have been rather unbelievable, or at least one part of his performance could have been stronger than the other. Laughton absolutely succeeds from Albert when he is the loser that would collaborate just because it would be the easier thing to do and throughout his whole transition to the man who will stand proudly for what he believes in even if it might mean his own death.

Alternate Best Actor 1943

And the Nominees Were Not:

Henry Fonda in The Ox-Bow Incident

Roger Livesey in The Life and Death of Colonel Blimp

Joseph Cotten in Shadow of a Doubt

Charles Laughton in This Land is Mine

Claude Rains in Phantom of the Opera

Best Supporting Actor 1935

Again 1935 is not a year where there are a clear five or even a clear four that stand clearly out as most films really focused heavily only on the leads such as in 39 Steps where the main villain gets only a very brief scene. Still I will cover a few performances quickly.

James Cagney in A Midsummer's Night Dream- James Cagney plays a self absorbed player Nick Bottom who eventually get a donkey head in place of his own. Where some of the actors fail to make the Shakespearean material come to life like Dick Powell or Mickey Rooney who is just terrible as Puck, Cagney though knows how to bring it to life quite brilliantly even though he is not the first actor that would come to mind as Shakespearean. Cagney though is a whole lot of fun in the role and the film really comes to life when he is on screen. He is very funny in his portrayal of Bottom as he fails to act out the part in his play doing it instead in a properly hammy fashion. Cagney surprisingly is not overshadowed by the scene with the Donkey head and actually manages to be very amusing through simply his voice and his physical reactions to dealing with the donkey head. It is Cagney who really makes the story come to life with a great deal of humor. This is a different type of role by Cagney and very well handled one actually. 4/5.

W.C. Fields in David Copperfield- W.C. Fields was usually known for his role as W.C. Fields the likable drunkard a comic star in the vein of Laurel and Hardy. Here in David Copperfield he plays a more traditional type of character as Mr. Micawber a kingly if somewhat incompetent business man who takes David under his wings. Fields nicely moves into the character actually and gives a nice performance as Mr. Micawber. He stresses above everything else the warmth of his character which Fields makes genuine, and he stands well as a wonderful character while outside of his presence David consistently suffers. This is not incredible work by any means but Fields stays in the character and brings out the tenderness that Mr. Micawber should have. 3.5/5

Charles Laughton in Les Miserables- Charles Laughton portrays Javert the inspector who stop at nothing to catch Jean Valjean. Laughton is pretty good in portraying the strictness of Javert's belief in the law system and is actually quite moving when he subtly suggests that without the law there is nothing to Javert. He is quite strong in both of his most pivotal scenes when Valjean lets him go and his last scene. He expresses the conflicting emotions of hate, disbelief and distress over Valjean's actions quite powerfully. He is not the very best Javert I have seen, that would be Philip Quast in the musical concert. I did feel that he could have been a little more imposing on the whole, and he is somewhat limited by the fact that the conflic between he and Valjean could have been done better in term of the film's direction. Nevertheless he is a strong Javert that meets the complexities of the character that some unfortunately ignore. 4/5.

Edward Arnold in Crime and Punishment- This version of Crime and Punishment is told very dispassionately in terms of direction but the performances by Peter Lorre as the man who believes in the right of murder to the superior sort, and Edward Arnold as the police inspector who becomes suspicious of him offers the film some life. This is not a great role, but Arnold shows his skills as an actor well here offering the right sort of presence in the role and being properly incisive that would make it believable that Peter Lorre's character would become as nervous as he does by the inspector's increasingly suspicious nature.  3/5

Ernest Thesiger in Bride of Frankenstein-Thesiger plays the evil mad scientist Doctor Pretorius who convinces doctor Frankenstein (Colin Clive) to make a bride for the monster. Thesiger takes the opposite of Clive's manic approach to the mad scientist instead he emphasizes the madness in his mind through his face. Thesiger plays his role with a certain flamboyancy all his own that has just a creepiness that oozes from him without effort. He makes the derangement of Pretorious quite unique, and is pretty effective in the part. He does not leave the biggest impression on the film, that would be Karloff, but he is quite good in the role. 3.5/5.

Overall Rank:

1. James Cagney in A Midsummer's Night Dream
2. Charles Laughton in Les Miserables
3. Ernest Thesiger in Bride of Frankenstein
4. Lionel Barrymore in Public Hero No. 1
5. W.C. Fields in David Copperfield
6. Herbert Marshall in The Dark Angel
7. Edward Arnold in Crime and Punishment
8. Frank McHugh in A Midsummer's Night Dream 
9. Charles Ruggles in Ruggles of Red Gap
10. Wallace Ford  in The Informer
11. Joe E. Brown in A Midsummer's Night Dream
12. Edward Everett Horton in Top Hat 
13. Basil Rathbone in Anna Karenina
14. Roland Young in Ruggles of Red Gap
15. O.P. Heggie in Bride of Frankenstein 
16. Donald Meek in The Whole Town's Talking 
17. Joseph Schildkraut in The Crusades
18. Eugene Pallette in The Ghost Goes West 
19. Ted Healy in Mad Love 
20. Joseph Calleia in Public Hero No. 1
21. Godfrey Tearle in 39 Steps
22. Reginald Owen in A Tale of Two Cities 
23. Edward Brophy in Mad Love 
24. Cedric Hardwicke in Becky Sharp
25. William Harrigan in G Men
26. Freddie Bartholomew in Anna Karenina
27. Franchot Tone in Mutiny on the Bounty  
28. Cedric Hardwicke in Les Miserables
29. Lionel Barrymore in David Copperfield
30. Guinn Williams in Private Worlds
31. Edward Brophy in The Whole Town's Talking 
32. Barton MacLane in G Men
33. Colin Clive in Bride of Frankenstein
34. David Manners in The Mystery of Edwin Drood
35. Basil Rathbone in David Copperfield
36. Donald Woods in A Tale of Two Cities  
37. Nigel Bruce in Becky Sharp 
38. Chico Marx in A Night at the Opera  
39. Joel McCrea in Private Worlds
40. C. Aubrey Smith in The Lives of the Bengal Lancers
41. Gavin Gordon in Bride of Frankenstein
42. Henry B. Walthall in A Tale of Two Cities
43. Hay Petrie in The Ghost Goes West 
44. Basil Rathbone in A Tale of Two Cities 
45. Donald Calthrop in Scrooge 
46. Charles Grapewin in Alice Adams
47. Roland Young in David Copperfield
48. Henry Stephenson in Captain Blood
49. Harpo Marx in A Night at the Opera
50. Basil Rathbone in Captain Blood
51. Robert Armstrong in G Men
52. Thurston Howell in The Black Room 
53. Fred Stone in Alice Adams
54. Victory Jory in A Midsummer's Night Dream
55. Lionel Atwill in Captain Blood
56. Oscar Asche in Scrooge
57. Gyles Isham in Anna Karenina
58. Hugh Sinclair in Escape Me Never
59. Robert Allen in The Black Room
60. Griffith Jones in Escape Me Never
61. John Beal in Les Miserables
62. Richard Cromwell in The Lives of the Bengal Lancers
63. Dick Powell in A Midsummer's Night Dream
64. Mickey Rooney in A Midsummer's Night Dream

Next Year: 1991 Lead

Alternate Best Actor 1935: Results

5. Paul Muni in Black Fury- Muni overacts as usual. He has a moment or two of decent acting but most of the time he just yells in an a needlessly loud fashion.

Best Scene: I guess when he finds out his girlfriend has left him. 

4. Errol Flynn in Captain Blood- Aside from one scene of weakness Flynn gives a charming performance that effortlessly carries his film.

Best Scene: Any of the swashbuckling scenes.

3. Charles Laughton in Ruggles of Red Gap- Laughton gives a particularly modest performance but still gives a very strong performance that is very funny but also quite moving when it needs to be.

Best Scene: Ruggles recites the Gettysburg Address. 

2. Robert Donat in 39 Steps- Donat is great as the wrong man playing well the down to earth reactions but as well giving a very charming and quite humorous performance as well.

Best Scene: Hannay finds himself handcuffed to a woman who believes him to be a murderer.

1. Boris Karloff in Bride of Frankenstein- This is actually a pretty strong year for lead actors, and I think the academy could have been bothered to nominate more than four actors for the Oscar. It was a close one but my runner up for the year goes to Boris Karloff  who finds new ground with the monster giving a oddly enough tender performance as the monster learns to talk, and attempts to relate to others.

Best Scene: The Monster meets his Bride.

Overall Rank:

1. Victor McLaglen in The Informer
2. Boris Karloff in Bride of Frankenstein
3. Robert Donat in 39 Steps 
4. Charles Laughton in Ruggles of Red Gap
5. Edward G. Robinson in The Whole Town's Talking
6. Boris Karloff in The Black Room
7. Clark Gable in Mutiny on the Bounty
8. Ronald Colman in A Tale of Two Cities
9. Fredric March in Les Miserables
10. Claude Rains in The Mystery of Edwin Drood
11. Charles Laughton in Mutiny on the Bounty
12. Robert Donat in The Ghost Goes West
13. Fredric March in The Dark Angel
14. James Cagney in G Men
15. Peter Lorre in Crime and Punishment 
16. Groucho Marx in Night At the Opera
17. Errol Flynn in Captain Blood
18. Fred Astaire in Top Hat 
19. Franchot Tone in The Lives of the Bengal Lancers
20. Charles Boyer in Private Worlds
21. Bela Lugosi in The Raven 
22. Peter Lorre in Mad Love
23. Freddie Bartholomew in David Copperfield
24. Fredric March in Anna Karenina
25. Boris Karloff in The Raven 
26. Fred MacMurray in Alice Adams
27. Franchot Tone in Dangerous
28. Colin Clive in Mad Love
29. Frank Lawton in David Copperfield
30. Seymour Hicks in Scrooge 
31. Gary Cooper in The Lives of the Bengal Lancers
32. Douglass Montgomery in The Mystery of Edwin Drood
33. Paul Muni in Black Fury  
34. Henry Wilcoxon in The Crusades
35. Chester Morris in Public Hero No. 1

Next Year: 1935 Supporting 

Alternate Best Actor 1935: Charles Laughton in Ruggles of Red Gap

Charles Laughton did not receive an Oscar nomination for portraying Marmaduke Ruggles in Ruggles of Red Gap.

Ruggles of Red Gap is an enjoyable film about a butler who learns about freedoms due to his services being traded to fulfill a gambling debt.

Charles Laughton had a banner year for 1935 appearing in two best picture nominees Les Miserables, and this film as well as best picture winner Mutiny on the Bounty. In Les Miserables and Mutiny he portrayed villains but this film he portrays the lead protagonist of the film. This performance is very different from most of his characters who tend to be flamboyant larger than life characters who tend to be rather brazen in their manner. Charles Laughton in this film as the butler Ruggles plays a rather meek and modest character. Ruggles early on in the picture actually says very little other than proper butler things to say.

Laughton knows how to make his presence known well staying appropriately meek, and he has a lot of fun with his character's manner in which he sticks to procedure. Laughton is quite amusing as he shows Ruggles attempt to keep proper while encouraged to be anything but by his new American employer. A particularly amusing early on is Ruggles rather poor attempt to smile when encouraged to do so by the American, and Laughton's portrayal of Ruggles's attempt is just hilarious. In the early half Laughton stays lightly comedic and enjoyably so as Ruggles is forced by the American to slowly lose some of his butler mannerisms, but Laughton is very funny as he portrays Ruggles in between styles.

Laughton does stay rather modest in his portrayal but handles the transition of Ruggles very well. He eases into properly as Ruggles only slowly loses his mentalities and to a certain degree never fully loses his old habits. This is a particularly charming performance by Charles Laughton, and he makes Ruggles really likable through the genuine fashion in which he portrays Ruggles. When Ruggles discovers the new joys in place to having more freedom, and begins enjoying himself Laughton handles it all very honestly which is interesting as he still manages to be humorous in the transition at the same time. He combines these conflicting elements actually quite well even as his portrayal moves more toward the dramatic at the end. 

Laughton handles the dramatic finale of his role particularly well as he makes Ruggles fully become his own man. He does it though simply that is fitting for Ruggles as he passionately reveals that he truly does care for his own freedom in a particularly powerful scene where he recites the Gettysburg address. He makes these final scenes moving as he plays the modest Ruggles stand up for himself. He does this so well because although finally Ruggles completely stands out on his own it is still done in an appropriately modest fashion that fits the character he has established from the beginning, and the final change has been earned by his performance through the film. This is a very strong performance by Charles Laughton very low key for him yet he still manages to stick out through humorous and honest portrayal that I actually prefer over his Oscar nominated work from 1935.