Alternate Best Supporting Actor 1970: Charlton Heston in Julius Caesar

Charlton Heston did not receive an Oscar nomination for portraying Mark Antony in Julius Caesar. 

I decided to go elsewhere in the lineup mainly by virtue that I previously covered a powerhouse Shakespearean Heston turn built around a great speech. Then when starting to write my response to give thoughts on his work, it became quite long anyways, so might as well make it an official review. That being said, this is another powerhouse Shakespearean turn by Heston. Where in the 53 version it was a matter of dueling speeches between Mason and Brando rejecting Caesar and praising him. In this version there is no duel to be had, Heston simply owns the second speech, but also might as well be the entirety of the film. It is fascinating the way that Heston isn't usually an actor one thinks of as this deeply emotional performer, but when he's speaking Shakespeare it is hard to describe as anything but. Heston is brilliant here within the speech this as he essentially makes an entire event within itself in his single speech. This as he performs his Antony as true to his intention to remember Caesar, but also to seek revenge within the speech. This as he opens it with an initial sense of grief before falling back into himself, until leading the people into fascination of the will. Heston playing around with the will in part this intentional manipulation in his eyes, but also a vicious hate that is wholly genuine that reveals itself every time he speaks of the "honorable men" who killed his friend. Heston controlling the crowd one parts the greatest eulogy one can give, but also a conductor controlling the crowd to his will. Each moment Heston imbues with such potency. This particularly as he looks upon the body of the murdered Caesar. Heston is amazing as every word drifts off his tongue with such magnificence in Heston's delivery. This as the words themselves are not only magnetic in Heston's deliver, but there is such a sense of the emotional quality within the state still of Antony. This in being a man wishing to reek havoc on the conspirators. Again though I also love the moments where Heston tempers himself, and uses a calmer expression of his voice when specifically manipulating the crowd. This again his whole manner is simply conducting each man to his will, as he directs them with a calmer purpose. Heston artfully moves back and forth within the speech making the speech both truthful and a strategic manipulation. It is a shame Heston didn't perform Shakespeare more often as in both instances there is a ferocity and emotional intensity of his work that was rarely seen within him. Strangely enough, the words of the bard seemed to compel him to let loose more than ever as a performer. This being a striking example, that puts one of his co-stars in particular to shame, of Heston thriving beyond the expectations of himself his performer. Heston's typical strong presence is of course here, but there is far more than that. Although true the role is largely the speech, however it is the highlight of the film, particularly given how dull Robards is as Brutus. It deserves higher praise though as Heston's delivery is that of a brilliant version of Julius Caesar, even if the rest of the film doesn't meet that standard, Heston elevates every second he is onscreen to deliver this dynamic and quite mesmerizing portrayal of Caesar's most loyal man. 

Alternate Best Supporting Actor 1996: Results

5. Eric Tsang in Comrades: Almost a Love Story - Tsang delivers a moving portrayal of a gangster with more heart than you'd expected.

Best Scene: Many wives.

4. Ed Harris in The Rock - Harris, despite being in a dumb film, gives a complex portrayal of a soldier whose convictions slowly bring about his tragic downfall.

Best Scene: Breakdown of command.

3. Harry Belafonte in Kansas City - Belafonte gives a film stealing performance by subverting his typically affable presence, in his portrayal of almost demonic philosopher/gangster.

Best Scene: Racist joke.

2. Charlton Heston in Hamlet - Heston proves his measure with Shakespeare in making the words sing, but also offering such potent emotion within it.

Best Scene: Monologue

1. Peter Stormare in Fargo - Good predictions Razor and Bryan. Stormare offers the perfect other half along with Steve Buscemi, as two less than professional criminals, in his performance that works both as a hilarious deadpan comedic partner, and a chilling portrayal of a truly amoral killer.

Best Scene: Highway Massacre

Updated Overall

Next: Back to 1943 (will be brief)

Alternate Best Supporting Actor 1996: Charlton Heston in Hamlet

Charlton Heston did not receive an Oscar nomination for portraying The Player King in Hamlet.

Kenneth Branagh's epic, complete, Hamlet is a fascinating examination of just how much within Shakespeare's play, given the complexity of elements that are usually passed over in most adaptations. Branagh within his epic approach in every regard includes including all-star cameos per the most minor role. A choice to give essentially each character some impact, although the choice overall is imperfect given some of the more lackluster performances attempting Shakespeare, it also provides major dividends, none greater than Charlton Heston as the Player King. Heston throughout his career was known for a more specific roles, almost as the prototype towards the more modern action hero in many ways. Heston though technically came up through Shakespeare, which seems alien towards so many of his cinematic roles. This training, which was rarely called upon throughout his cinematic career, was finally given the chance to truly shine, though in an unlikely role. The Player King typically is not a part of note in Hamlet, he is there just to basically help reenact Claudius's, via a play, murder of his brother to get a visible reaction of guilt out of the treacherous king. This usually played by no one of note, but you know what "Do we have to put up with this? Can't we get a better actor. I know it's a small part, but I think we can do better than this?" Well no more requests to be said. Although the part is more substantial within the play therefore this version, as the entrance of the players to the kingdom, gets more than just excitement from Hamlet, giving him a chance to essential fanboy over the performance of tragedies he loves so much. It is here we get a proper introduction of the Player King, as he is called upon for a monologue on the tragedy of Priam and Hecuba, an even greater monologue than the one about that one perfect day on Gordon street. As much as a joke about another Heston cameo, this is downright brilliant work from Heston. This as he calls upon all his might as a performer to deliver the story of the dying king. Heston's considerable presence honestly has never been greater, as he commands the screen with an ease, even at his older age, the sheer force of his physical manner has never been more potent. Heston is mesmerizing in a way that quite honestly you may not have expected him to be. This as his sheer ferocity of his work here is incredible, only amplified by that so wonderfully worn yet still refined voice of his. This as he speaks the words so dynamically and so effectively, he grips you into each and every one of them. The extent of this though is remarkable as Heston shows a true effortlessness with Bard, but goes even further than just being well delivered speech. This in his work delivers within it this emotional vulnerability, that grants the speech an even greater impact, as he seethes with an initial rage in his face initially in creating the fury around the story, that slowly segues to tragedy. This in his eyes, that do indeed bare tears, captures so poignantly the loss within his monologue. This as he shows a man fully within the world of his words, and in turn brings us right into that same emotion. The degree of that range of emotion here, almost makes one ponder why Heston seemed to be holding out on us in his other roles. This as his work here is simply stunning. Heston's work actually also is fulfilling a plot point, within the play typically removed, of Hamlet seeing the ability of the actor to elicit such a great emotion, which he could use against Claudius. Heston earns that idea, and then performs it, as we see him in the more expected scene of performing the play that acts out Claudius's betrayal. Though in this scene is less as directly intense in its power, it is still a fantastic scene for Heston, as he delivers such a quiet warmth within the dialogue of the soon to be dead king with his wife. This creating seemingly a sentimental soul as he instead finds the power in the words through more tender emotions. This in offering the sense of an understanding of one's demise in his quiet sense of resignation along with that sense of a loving man. Heston's work here is simply incredible, in that he offers both the blunt force of personality you'd be more likely except from him, though never better, but with a vulnerability and emotional range, you'd never expect in his lesser roles. Heston earns the right of the non-truncated play, through showing the value of what is cut in this magnificent work. It is a true showcase of making the utmost of a minor role, and becoming a true highlight of the film.

Alternate Best Supporting Actor 1996

And the Nominees Were Not:

Charlton Heston in Hamlet

Ed Harris in The Rock

Peter Stormare in Fargo

Harry Belafonte in Kansas City

Eric Tsang in Comrades: Almost A Love Story

Alternate Best Supporting Actor 1965: Results

5. Donald Pleasence in The Greatest Story Ever Told - Pleasence makes a large impact in a few brief moments by granting such an unnerving gentleness to his otherworldly evil.

Best Scene: In the cave.

4. Claude Rains in The Greatest Story Ever Told - Rains gives a worthy swansong for his career through one last go with a performance that realizes a properly entertaining and oh so devious villain.

Best Scene: Fear then a smile.

3. Charlton Heston in The Greatest Story Ever Told - Heston gives his best biblical epic turn in a supporting role, by so effectively depicting the overwhelming even if somewhat mad strength of his John the Baptist's conviction. 

Best Scene: Confrontation with Herod.

2. Richard Harris in Major Dundee - Harris gives a marvelous turn that while being actively entertaining also realizes the more complex themes of the film through his vivid portrayal that gives understanding to this gentlemanly yet violent soldier and his specific code of honor.

Best Scene: The deserter.

1. Robert Shaw in Battle of the Bulge - In a year of incredible supporting turns Shaw offers yet another one. Shaw once again creates a truly menacing villain yet he goes further in capturing the complexity of the role by giving understanding, though not sympathy, to his pragmatic Nazi.

Best Scene: The battlefield is home.

Updated Overall

Next: I think I'll take a break before the Official Oscar nominations. However if everyone would like to recommend one film for me to watch from 2017, or a year I've covered in the bonus rounds already, or an animated, documentary or television film from any year. I'll watch them during the interim.

Alternate Best Supporting Actor 1965: Claude Rains, Charlton Heston and Donald Pleasence in The Greatest Story Ever Told

Claude Rains did not receive an Oscar nomination for portraying Herod the Great in The Greatest Story Ever Told.

The Greatest Story Ever Told takes a grand scale approach to telling the life of Jesus although perhaps too grand as there is something lost in terms of finding the power directly within the personal story of Jesus.

There is perhaps something gained though in the grand scale as it gives time to character who might not be granted as such with a more intimate portrait of Jesus. The film has an all-star cast that surrounds Max von Sydow, then unknown to American audiences, as Christ. This approach in the casting is actually largely effective in giving life to minor character except a few instances that a bit problematic, well mainly John Wayne as a Roman centurion is more than bit distracting. Thankfully though this also had the film include Claude Rains in his final cinematic turn. Rains in his final turn obviously never lost a step as previously shown in his shrewd work as the political operative in Lawrence of Arabia, this though hearkens back to Rains's earlier roles as a more maniacal character. Rains in his first, of only a few scenes, greets the three magi looking for Jesus at his birth. Rains is terrific in this scene in his eyes conveys such an inherent madness in the man though he does not allow this to overwhelm his portrayal. As Rains in his delivery effectively uses his refined manner to hide Herod's intentions quite artfully. Rains even this though suggests a certain ego even when speaking in a way to hid what  his real actions will be, as he states his own piousness as a rules. Rains brilliantly both reveals and attempts to hide the evil man in the same scene. Rains in his following scene though is incredibly entertaining though genuinely menacing as well as he shows Herod no longer hiding his intentions. Rains is a master of this combination of sort of being both overt and very subtle at the same time. There is grandness in his gestures, and again those fantastic mad eyes in the role, yet in his delivery brings such a cold incisiveness in every word. He's quite chilling in fact as he describes his order for the deaths of children with such certainty of man who believes he can avoid fate. Rains only has a brief final scene yet it is perfection as Herod is delivered news of the massacre. Rains bringing only a fear in his face before his soldier delivers his news to which Rains grants the most diabolical grin fitting to man of Herod's corruption. This is a brief performance to be sure yet makes such an impact in just his three scenes. It is one final reminder and a worthy swansong by the great Claude Rains of his unique talent as the invisible man provides one final cinematic sinner.

Charlton Heston did not receive an Oscar nomination for portraying John the Baptist in The Greatest Story Ever Told.

Charlton Heston obviously never the stranger to the biblical epic having played the lead as Moses in The Ten Commandments, and the titular character of Ben-Hur, who crossed paths with Christ on a few occasions. This is a change for Heston in biblical epics, but also in general as he gives supporting performance when usually playing the lead. Although it is true there are many cameos from other leading men from the period this is not a cameo by Heston. John the Baptist is a substantial role within the film, and Heston offers a particularly interesting contrast to von Sydow's portrayal of Jesus in the film. Where von Sydow is very quiet and subdued, Heston is the opposite though this is fitting to John the Baptist seen by as a crazy man in the desert. Heston as expected brings his everything to his delivery here though, and particularly powerfully here. As he would late show in Hamlet there can be something very special when Heston evokes a greater emotion in his so confident delivery. His often repeated words of "repent" is that of a truly zealous prophet who intends on others to know his truth through force rather than gentle encouragement. The only thing that silences him is the appearance of Christ which is fantastic moment for Heston. Heston quiets in this moment in his reaction that creates such a sense of this recognition of the one who would come to succeed him. Heston is wonderful in the moment as he embodies both a sense of familiarity of a cousin but also the awe of the devoted servant. After that initial sequence though Heston continues as this dramatic warrior almost of Christ's message putting every ounce of himself it seems into speaking it. John's story does not end there as he comes afoul with Herod's son Herod Antipas (Jose Ferrer), where it must be said Heston makes John sort of what is best described as the badass prophet. This entirely works though for the role as he so successfully shows a man absolutely aware of his personal beliefs. I especially love his two scenes of directly facing down Ferrer. Heston brings such a tremendous intensity in every line, and absolutely brings such a potency to every single one of his comebacks to Herod's various threats. Heston makes every word pierce as it should and this actually leads to these two scenes being among the best in the film. This is a very strong performance by Heston as it plays into his strengths as a performer, and suggests perhaps he should have taken on a few more supporting roles throughout this career as usually makes such an impact with them.

Donald Pleasence did not receive an Oscar nomination for portraying the hermit in The Greatest Story Ever Told.

Pleasence first appears as Jesus fasts in the desert running into the hermit waiting in a cave, of course he is no ordinary hermit. It must be said Pleasence is one of the all time great cinematic creepers to begin with. He's particularly unnerving in his approach though in how quietly he approaches this initial scene. Pleasence utilizes his naturally off-putting physical manner so well engaging those haunting eyes of his and devious grin from the start to allude to an otherworldly demonic spirit. Pleasence though employs such a soft delivery though in the temptation, showing the allure of the temptation. When commenting that Jesus's climb was hard there is a genuine concern Pleasence brings to this even if his intentions are not noble. As he doesn't try to demand Christ takes from his food or drink, he rather so nicely suggests the act. When he prods him to behave contrary to his quest Pleasence brings such a sinister tenderness as he so earnestly encourages Jesus to fall to his wishes. As with Rains, Pleasence makes an impression in his first scene but he appears occasionally throughout the rest of the film. Every one of Pleasence's later appearances are particularly dynamic moments throughout the film particularly as the hermit watches over as Jesus is being marched towards his death. Pleasence stands out as this figure of darkness in these moments so well especially in his venomous delivery of the hermit's request for crucifixion that leads the crowd to wish the same. Pleasence brings such a certain joy in the call among the crowd. Pleasence embodies a certain kind of evil here as the hermit is never a despicable man but this unnatural shadow that chases Jesus wherever he goes either to tempt or to destroy him. Pleasence offers another terrific supporting turn within the film, though while I wouldn't say that this quite makes this film a true success it makes it whole lot more interesting than it otherwise would be.

Alternate Best Supporting Actor 1965

And the Nominees Were Not:

Robert Shaw in Battle of the Bulge

Richard Harris in Major Dundee

Claude Rains in The Greatest Story Ever Told

Charlton Heston in The Greatest Story Ever Told

Donald Pleasence in The Greatest Story Ever Told

Alternate Best Actor 1965: Results

5. Lou Castel in Fists in the Pocket - Castel fails to become a Brandonian sociopath instead just comes off a general creep that leaves his character a very repetitive figure.

Best Scene: Seizure

4. Zbigniew Cybulski in The Saragossa Manuscript - Cybulski, this time not going for a James Dean cool, is an entertaining enough straight man for the truly mad film around him properly processing both the comical and horrifying events he witnesses.

Best Scene: First meeting the princesses.

3. Charlton Heston in Major Dundee - Heston grants his usual bravado and commanding presence that he subverts somewhat here in portraying perhaps a certain weakness and desperation that slowly reveals itself within the ego.

Best Scene: Recovering from his wound.

2. Jozef Kroner in The Shop on Main Street - Kroner gives a powerful portrayal that slowly reveals an average man for all his faults, but also his qualities through his relationship with a deaf Jewish shop owner facing persecution.

Best Scene: Waiting inside during the deportation. 

1. Orson Welles in Chimes at Midnight - Welles gives one of the all time great Shakespearean performances through his complete embodiment of Sir John Falstaff in all his grandeur, and all his foolishness.

Best Scene: The battle.

Updated Overall

Next Year: 1965 Supporting

Alternate Best Actor 1965: Charlton Heston in Major Dundee

Charlton Heston did not receive an Oscar nomination for portraying Major Amos Dundee in Major Dundee.

Major Dundee, in its proper extended version, is a terrific western, despite a little bit of clashing between a traditionalist and modernist view of a western, about a Union cavalry officer calling upon the aid of Confederate prisoners in order to avenge an Apache massacre near the end of the civil war.

Charlton Heston, known for his roles as steadfast leads, seems well enough equipped for the role of the tough Union officer, however this is a bit atypical, particularly for the time for him, given it is a film by Sam Peckinpah, and his leads are never simple heroes. Heston's presence here makes for an interesting one in the film in the way it is used with the character of Major Dundee. Now on the surface Heston is in prime Heston form. He has all his stature, and the power of screen presence that is a consistent factor in all of his performances, even in lesser ones. Heston's innate confidence suits well Dundee as we first meet him in charge of a fort deep into west and out of the way of the main civil war, with the primary mission in housing a group of confederates lead by Captain Benjamin Tyreen (Richard Harris). Heston's blunt approach works effectively in establishing Dundee as this blunt force of will early on. Heston makes the character's determination convincing which is particularly important to the plot where he makes his mortal enemies work for him. Heston delivers in presenting Dundee as this unshakable force from the outset.

The point of Dundee is interesting though as watching it you initially believe the man as well given just how Heston brims with such a confidence. This is even as the film hints that the man is far more flawed than how he presents himself suggests. After all why would such a formidable soldier be practically a prison warden then, it is hinted at that his actions in the battle of Gettysburg were for his own glory than the overall success of the war. This actually can be taken as his motivation to avenge the massacre since Heston portrays this as somewhat dispassionate. In that he never portrays a direct anger or anguish towards those who died, rather his determination seems to only surround the idea of the daring of the task which involves catching such a sly prey, which even involves going into Mexico and risking coming afoul the French army posted there. Heston does not convey those humane ideas as settling at any point into Dundee's mind rather only seemingly the idea of the potential glory in the task through the strength of a man absolutely certain in this resolve. This choice is actually the proper one for the character, and again though watching the film it would seem this is because Heston is just making Dundee this type of unflappable hero, however that is not the case.

The truth is revealed as the film goes on but examining this performance it is two faced once you know this truth. During the beginning of the journey there are moments where Dundee is quiet honestly a jerk, and Heston doesn't hold back in these scenes. He's frankly cold in moments as he lobs insults at one of his men because he comes from the artillery, or questioning the loyalty of one of the Apache working with his battalion. At initial glance this may seem just a man who sufers no fools, but with the understanding of the whole of Dundee it is a palatable egotism that Heston reflects in his performance. Now to be sure this is not a case of Heston making this a pure negative rather he does find the complexity of this brashness of a soldier. On one point Heston does realize essentially the usefulness of this in any scene in which he initially comes to a battle of wills with Tyreen. The intensity of the man's daring that Heston provides shows effectively his ability to keep them inline. This is also seen in his moments of strategy against the enemy which Heston conveys the worthwhile nature of his passion for victory. There is a darkness within this though as Heston reveals such a lack of empathy as a man perhaps willing to risk everyone lives if it means a great victory.

Now I will say in part this is a performance that is aided greatly by his frequent scene partner in Richard Harris. As Stephen Boyd did in Ben-Hur, Harris provides the right type of foil against Heston's more direct work. What Harris does, which I will get more detailed on later, is essential in creating some of the complexity of the character of Dundee by the way he challenges the typical Heston presence. To be fair, unlike as Ben-Hur where he stays much more the hero, though here Heston challenges it a bit himself. This is mostly seen through a needed diversion where Dundee is wounded and must be taken to hospital in Mexico. In typical Peckinpah form this challenges the values of Dundee when he is without his army, without his pride, without even his physical power as a man. Heston does deliver in breaking down his presence to powerfully reveal a more vulnerable man as he struggles to stand and is even caught in caring for the results of his actions for a moment. Heston gives these scenes the impact they need, however I don't think he quite lets them influence the rest of his work enough. He tones the egotism a bit, but the last act should have brought a far more changed Dundee. We get a little change, but there was a greater potential there that perhaps a William Holden in the role could have brought out as he did in his own collaboration with Peckinpah. This stands as a good performance still from Heston which does subvert his work to an extent, but perhaps not enough.

Alternate Best Actor 1965

And the Nominees Were Not:

Lou Castel in Fists in the Pocket

Charlton Heston in Major Dundee

Orson Welles in Chimes at Midnight

Jozef Kroner in The Shop on Main Street

Zbigniew Cybulski in The Saragossa Manuscript

Best Actor 1959: Results

5. Paul Muni in The Last Angry Man- Paul Muni's performance is frustrating because he shows some honest moments in his performance, but what perpetuates throughout most of his performance is a lot of overacting.

4. Jack Lemmon in Some Like it Hot- Jack Lemmon's performance is one loved by many, I find he is good myself infusing a lot of energy into his part, but I just did not like him as much as most people seem to.

3. Charlton Heston in Ben-Hur- Charlton Heston's performance is not at all perfect, but it works incredibly well for the film. His strong presence carries this epic the whole way through. 

2. Laurence Harvey in Room at the Top- Besides some very small nitpicks this is an almost perfect performance by Laurence Harvey. He shows a fascinating portrait of man filled with hate, and ambitious, but as well as something underneath the rough surface.

1. James Stewart in Anatomy of a Murder- Good prediction Dinasztie. The only reason Stewart really tops Harvey for me is that Harvey had almost unnoticeable flaws, where Stewart is flawless. The reason Stewart is the best of the year though is because of how brilliant, entertaining, funny, effective he is in this role. Paul Biegler really could have been a lackluster role in lesser hands but Stewart shows what how an old pro can truly bring the absolute best out of a role.

Deserving Performance:
Cary Grant in North by Northwest

Best Actor 1959: Charlton Heston in Ben-Hur

Charlton Heston won his Oscar from his only nomination for portraying Judah Ben-Hur in Ben-Hur

Ben-Hur tells of a Jewish prince who becomes a slave due to be being betrayed by his old friend Marcella (Stephen Boyd) who has become a Roman centurion.

Charlton Heston performance in Ben-Hur certainly received criticism which certainly expands to Heston himself. Heston is an actor it would be hard for anyone to say he ever really disappears into a role. I would not say that is not automatically a problem with an actor, as due to the actor's style that may be impossible, and an actor who is good at playing in their own style can have a unique appeal which only he has. Heston does certainly have an appeal, with his distinct voice, and commanding stature. He is not that of an appealing actor to me though, but I will just say I do not automatically dislike him, and I will say he does have something that others actors could not imitate exactly. Heston was not the only choice for Ben-Hur, and it is interesting to examine two who stick out of the potentials. Burt Lancaster who probably would have given his straight man style performance and perhaps a bit boring, and Paul Newman who as he said probably would not have looked good in a Tunic, and also he failed to carry an epic well, in my opinion, in Exodus a year later.

My point though is although Heston does have less range than those actors he probably was the better choice for Judah Ben-Hur. I will say he most certianly does carry the picture. He carries the entire epic on his shoulders, and I did not find his performance to be overly empathetic but his strong command and presence in the role of Ben-Hur just worked for the epic, and that is all there is to it. Is it amazing acting? no, but it is an effective leading performance. Heston made me want to follow Ben-Hur through his journey, and his ultimate revenge. Now this is not a flawless performance obviously, that's why I said it was not great acting. Some of his line readings can be a be stilted at times, it is pretty obvious he was unable to cry on camera since he always turns away when he is going to, but I still felt most of the time what he did as Ben-Hur worked.  It is a strong and passionate lead performance, that fully services the film it is in. Hardly perfect, and perhaps a little overshadowed by the film itself but it is not a bad performance.

Best Actor 1959

And the Nominees Were:

James Stewart in Anatomy of A Murder

Jack Lemmon in Some Like it Hot

Charlton Heston in Ben-Hur

Paul Muni in The Last Angry Man

Laurence Harvey in Room at the Top

I suppose this is my special Easter edition of best actor thanks to the actual winner Ben-Hur.