Alternate Best Actor 1961: Results

5. Sidney Poitier in A Raisin in the Sun- Poitier tends go a little more theatrical at times than he needs to but for the most part Poitier gives an effective performance as a character that is far from the heroic roles he usually played.

Best Scene: The opening scene.

4. Clark Gable in The Misfits- Gable gives a moving portrayal of a individualistic cowboy past his prime that is worthy of being his swan song.

Best Scene: Gay goes to recapture the horses.

3. Dirk Bogarde in Victim- Although I do wish the film let Borgarde explore his character a little more, Bogarde still gives a powerful portrayal of a repressed homosexual.

Best Scene: Melville Farr reveals the truth to his wife.

2. James Cagney in One, Two, Three- James Cagney gives a very entertaining and incredibly energetic performance that could not be a better fit for the screwball comedy he leads.

Best Scene: MacNamara tries to solve all his problems in a few hours.

1. Toshiro Mifune in Yojimbo - Well I did not even need to have a second to think of my favorite performance by a leading actor from 1961. This is one of the very best performances from Toshiro Mifune creating one of the most memorable heroes in cinema.

Best Scene: The Final Duel.

Overall Rank:

1. Tatsuya Nakadai - The Human Condition III: A Soldier's Prayer
2. Toshiro Mifune in Yojimbo
3. Stuart Whitman in The Mark
4. Paul Newman in The Hustler
5. Marcello Mastroianni in Divorce, Italian Style 
6. James Cagney in One, Two, Three
7. Dirk Bogarde in Victim
8. Clark Gable in The Misfits
9. Peter Cushing in Cash on Demand
10. Alberto Sordi in A Difficult Life
11. Vincent Price in The Pit and Pendulum
12. Jean-Paul Belmondo in Leon Morin, Priest
13. Anthony Quinn in Barabbas
14. Marcello Mastroianni in La Notte
15. Andre Morell in Cash on Demand
16. Keiju Kobayashi Happiness of Us Alone
17. Kirk Douglas in Town Without Pity
18. Sidney Poitier in A Raisin in the Sun
19. Spencer Tracy in Judgment At Nuremberg
20. Alberto Sordi in The Best of Enemies
21. David Niven in The Best of Enemies
22. Masayuki Mori in The Other Woman
23. Rock Hudson in Lover Come Back
24. Tatsuya Nakadai in Immortal Love
25. Peter Finch in No Love For Johnnie
26. Franco Citti in Accattone
27. Gregory Peck in The Guns of Navarone
28. Anthony Perkins in Goodbye Again
29. Toshiro Mifune in The Important Man
30. Ebbe Rode in Harry and the Butler
31. Marc Michel in Lola
32. Loredana Detto in Il Posto
33. Osvald Helmuth in Harry and the Butler
34. Edward Judd in The Day the Earth Caught Fire
35. Giorgio Albertazzi in Last Year in Marienbad
36. Warren Beatty in Splendor in the Grass
37. Yves Montand in Goodbye Again
38. Marlon Brando in One Eyed Jacks
39. Rod Taylor in 101 Dalmatians
40. Burt Lancaster in The Young Savages
41. Richard Widmark in Two Rode Together
42. Alec Guinness in A Majority of One
43. Cliff Robertson in Underworld USA
44. Fred MacMurray in The Absent Minded Professor
45. Charlton Heston in El Cid
46. James Stewart in Two Rode Together
47. Jerry Lewis in The Ladies Man
48. Jeffrey Hunter in King of Kings
49. George Peppard in Breakfast At Tiffany's
50. Richard Beymer in West Side Story
51. John Kerr in The Pit and Pendulum
52. Hiroyuki Nagato in Pigs & Battleships
53. Glenn Ford in Pocketful of Miracles
54. Horst Buchholz in Fanny
    
55. Warren Beatty in The Roman Spring of Mrs. Stone

Next Year: 1961 Supporting

Alternate Best Actor 1961: Clark Gable in The Misfits

Clark Gable did not receive an Oscar nomination for portraying Gay Langland in The Misfits.

The Misfits is a solid enough film about the relationship between a younger divorcee and three somewhat off men who try to maintain their independence by catching wild mustangs.

Misfits is particularly notable film as it is one of the last films of Montgomery Clift, the last completed film of Marilyn Monroe, and the final film of Clark Gable. Clark Gable portrays Gay Langland a cowboy who is still trying to keep to his old ways even as the world is so obviously changing around him, and making his independent ways far more difficult to achieve. Gable in his later performances still tried to keep his old charm, in films such as Teacher's Pet for example, while it obviously his face could not hide his age. This film is quite a bit different as Gable seems to embrace his age more here as he adjusts his performance here considerably, and although he certainly has his charm in this case he changes from his old days.

Gable still brings plenty of charm but he plays it through his character of Gay quite brilliantly. He has a rougher quality to it suggesting Gay's background as a cowboy, but as well Gable suggests the age of Gay in his performance. Gable still lights up a room with his presence to be sure but it it not quite a bright as it always was. Gable wears the right sort of somberness in his performance. It is not even anything that is even slightly overpowering in his performance but Gable brings it subtly in his performance. Gable makes it a very natural facet to Gay that is simply an essential part of the man alluding to his own history that has brought him to this point in his life. You never are told what Gay has gone through but you can see some of it simply through Gable's face.

Clark Gable carries himself very well in the film and never seems out of place with Eli Wallach, Clift or Monroe. Gable even manages to create some pretty believable chemistry with Monroe as the rather sensitive divorcee Roslyn and despite their age difference their relationship actually seems believable. Gable of course has that charm which helps in making the relationship have a foundation, but he goes even further creating some honest warmth even in the somewhat rough exterior of Gay. Gable manages the right balance between realizes both the tough individualistic qualities in Gay, but as well the softer more likable qualities that would make Roslyn fall for him. The central relationship is realized very well by Gable and Monroe and it never seems odd or wrong for Gay and Roslyn to be together.

When the men decide to round up Mustangs for a quick profit conflict arises since Roslyn learns that the captured Mustangs will be sold off to butchers. Gable is quite strong though in portraying the conflict within Gay himself as he is constantly trying to reason the use of the Mustangs to Roslyn. What Gable does so well is show the strong enthusiasm in the catch, portraying the sense of Gay living the life he wants to live for the moment. Gable brings this moments down in just the right way though by making Gay's reactions to Roslyn's reactions very natural, and most of all true to the character. Although I feel Roslyn's objections are written in too much of a heavy handed and one note fashion, Gable does make up for it by realizing a complexity in the conflict through his performance as Gay.

Gable is excellent in the final scenes of the film after the Mustangs have been released due to Roslyn's objections but Gaye still ties them up to only release them again. This might seem odd, but Gable makes it absolutely convincing with Gable conveying the undying belief that Gay has in himself to still make his own decisions. Gable is quite moving by showing a desperation in Gay that it is not even his pride that make Gay perform this seemingly odd action, it is a need to keep onto his own life that he loves so dearly. Gable personifies the old west individualism beautifully here, and I could have easily seen him in Melvyn Douglas's role in Hud. Unfortunately Gable died before this film even found release but it is a performance worthy to mark the end of the legendary career of Clark Gable.

Alternate Best Actor 1961

And the Nominees Were Not:

Clark Gable in The Misfits

Dirk Bogarde in Victim

Sidney Poitier in A Raisin in The Sun

Toshiro Mifune in Yojimbo

James Cagney in One, Two, Three

Alternate Best Actor 1934 and Alternate Best Supporting Actor 1934: Henry Brandon in Babes in Toyland and Boris Karloff in The Lost Patrol

Well this is first for a lead year where there was not at least two performances let alone one that was perceived as obvious snub, or even obviously a great performance. Most of what I hear from this performance is about It Happened One Night, and rightfully so as it is the best film of the year and contains the best actor and actress performance from that year. Well here are some performances at least worth mentioning briefly that I watched in an attempt to find a great performance that was missing from the Oscars line up.

Leslie Howard in The Scarlet Pimpernel - A surprisingly fun performance from Howard who could also be found in the melodramatic Of Human Bondage. Howard was fine in his usually fairly stuffy mode on the slightly better end but he was not exactly pulling a Pygmalion in that one. Howard is a little different here as the hero Sir Percy Blakeney with a secret identity who pretends to be The Scarlet Pimpernel in an attempt to save those threatened by the reign of terror during the French Revolution. When he is acting as the Pimpernel it is more standard Howard, but he is lively here so he works rather well still. He is rightfully commanding in a sly and sharp fashion to suggest his character's brilliance. The surprising part is how he plays Percy around potential foes which is that of a daffy fool. It is odd to see Howard go so silly and he is pretty enjoyable in these scenes, he is not completely consistent with his portrayal of the mannerisms he comes up with but it is entertaining to see the usually restrained Howard to really play it up a bit. This is not a great performance by Leslie Howard but it is something different from him which is nice to see.
3.5

Clark Gable and William Powell in Manhattan Melodrama - Interestingly the two main contenders for the Best Actor prize in 1934 also competed for also starred together about two childhood friends who find themselves at odds when one goes the way of the criminal and the other the law. Gable is naturally the crook I suppose and the performance is a bit of a combination of his pre-stardom tough guy act with his stardom charming guy act. Gable does the combination act pretty well for the most part although he never is on ay the level of James Cagney in Angels with Dirty Faces as Gable does not combine the two sides to perfection. He is good throughout though, and his end scene he handles particularly well where his character Blackie refuses to accept Powell's characters help. In that scene Gable marks the right combination as he gives the sense of Blackie's past, but as well his convictions as a criminal. Powell gets the less interesting role as the straight arrow politician. He does get over on Gable in one way which is Powell does have a superior chemistry with their mutual love interest played by Myrna Loy. Powell plays well off of Gable establishing their history, but most of the time he gets his dead serious morality speeches. Powell gives these enough of a passion but to be honest I like Powell when he's a cynic. Neither reach the heights of their Oscar nominated work, but both are definitely good.
3.5 - Gable
3.5 - Powell

Boris Karloff and Bela Lugosi in The Black Cat - The Black Cat is not a film I would put up with the best horror films of the period but it is quite a bit of fun. Lugosi actually plays a hero here, although a very troubled one, and it is interesting to see him in such a role. Lugosi honestly brings some poignancy to his part at moments as he portrays a man very much haunted by his past. Unfortunately there are some moments of overacting any time he has to be scared by his cat, and not the good type of Lugosi overacting either. He does get to make up for a bit at the end of the film when he gets an upper hand on the film's villain then he does the enjoyable Lugosi overacting. Karloff gets to be the Satan worshiping architect, is there any other type of architect?, who traps women so he can murder them and put them in glass. Anyway Karloff is a hoot here really playing up the evil to delicious levels wonderfully underplaying every scene but always with such great menace in every single word he speaks.
3.5 - Karloff
3.5 - Lugosi 

John Barrymore in Twentieth Century - John Barrymore plays Oscar a Broadway director who makes a star out of a former model renamed Lily (Carole Lombard). Barrymore performance is that of either playing it really down quiet intense with a suggested tenderness, or very extreme and loud screaming when barking orders. There are a few instances in the middle where he react to something happening in a broadly comic fashion. Technically all of the insanity is just fine because this is suppose to just be a funny performance as the lead to this screwball comedy. Well Barrymore is good enough here as there are some hilarious moments amidst all of his big moments. He is not always entertaining in every single moment of the film and I think he could have gone a lot further with the part. Overall I would describe his performance as enjoyable though.
3.5 

Victor McLaglen in The Lost Patrol - This time McLaglen actually plays a fairly level headed man opposed to the rather foolish brutes that he portrayed in his Oscar winning and Oscar nominated performances. Here McLaglen plays the Sergeant who tries his best to get his men out of the terrible situation they are in. It is a relatively simple performance in that the Sergeant must stay obviously calm and cool throughout to try to help his men. McLaglen proves him capable of playing a capable man and has the right assured passion in his performance that makes the Sergeant the appropriately calming figure. McLaglen is also effective as the death count piles up by underplaying, in that Sergeant should still remain calm, and instead in subtle fashion at first suggesting how each death does effect the Sergeant although he must still stay in charge. McLaglen remains very effective though even as the Sergeant resolve begins to wain as the likelihood of survival becomes less and less, McLaglen handles the loss of passion and slight loss of sanity in the Sergeant well.
4

Overall Ranking:

1. Clark Gable in It Happened One Night
2. William Powell in The Thin Man 
3. Harry Baur in Les Miserables
4. Oliver Hardy in Babes in Toyland
5. Stan Laurel in Babes in Toyland
6. Victor McLaglen in The Lost Patrol
7. Takeshi Sakamoto in A Story of Floating Weeds
8. Robert Donat in The Count of Monte Cristo
9. Claude Rains in Crime Without Passion 
10. Herbert Marshall in The Painted Veil
11. W.C. Fields in It's a Gift
12. Clark Gable in Manhattan Melodrama
13. Boris Karloff in The Black Cat
14. Fredric March in Death Takes a Holiday
15. John Barrymore in Twentieth Century
16. Leslie Howard in The Scarlet Pimpernel
17. Maurice Chevalier in The Merry Widow 
18. Fredric March in The Barrets Of Wimpole Street
19. Bela Lugosi in The Black Cat
20. William Powell in Manhattan Melodrama
21. Leslie Banks in The Man Who Knew Too Much
22. Leslie Howard in Of Human Bondage
23. Wallace Beery in Viva Villa! 
24. George Arliss in The House of Rothschild
25. Frank Morgan in The Affairs of Cellini
26. Fredric March in The Affairs of Cellini 
27. Henry Wilcoxon in Cleopatra
28. Jean Daste in L'Atalante
29. David Manners in The Black Cat
30. Warren William in Cleopatra
31. John Davis Lodge in The Scarlet Empress

Supporting actually at least had two performances that I felt stuck out.

 Henry Brandon did not receive an Oscar nomination for portraying Silas Barnaby in Babes in Toyland.

This is the greatest version of Babes in Toyland that I have seen because it throws in Laurel and Hardy for great hilarity.

This is one of the best Laurel and Hardy films as it features some of their best work, but as well has many great elements besides them. One of these elements is Henry Brandon who actually contests for Stan and Ollie for the funniest performance in the film. Brandon plays Silas Barnaby the richest man in Toyland who wants to marry Little Bo Peep even if it means manipulating everyone in the town. Brandon was actually only around 22 years old when the film was made yet he plays the elderly without hitch. He plays the evil old man mannerisms quite brilliantly with his arched back, and the way always raises his head beyond it. He makes it obvious that old Barnaby is the villain, and shows early on that he is going to have as much fun with the part as possible.

Brandon does indeed have a great deal of fun as every line and delivery and every movement he gives a extra evil emphasis to show just how evil Barnaby is. Brandon plays it up to the max, which is exactly how he should be in this film. What is wonderful is that despite being the villain and playing up that fact he also gives a very funny performance in portraying the character. Brandon has this one reaction he always makes to every surprise that Barnaby faces when he is tricked. Brandon mouth is completely agape and his eyes wide open, and it is hilarious every time. His funniest moment in this regard though is when the wooden soldiers comes to stop him at the end of the film and his reaction that time he almost seems to somehow go even wider, I pretty much burst out laughing every time I see it.

What I really like about this performance is that Brandon never settles into just being the bad guy or even being overshadowed by Laurel and Hardy which definitely would be easy enough to do. It is rather interesting that Brandon actually manages to bring some menace into his moments while never stopping with humor though. He particularly combines the menace with the funny well in a scene where Stannie and Ollie accidentally knock off his hat leaving him to lurch toward them. Brandon makes his eyes fierce and determined with the appropriate grimace, yet completely amusing still with well just how intensely he shows that yes Barnaby indeed the mustache twirling villain. Brandon simply never let's the film down in any scene, always bringing an constant energy to the proceedings.

Henry Brandon gives a very enjoyable performance here utilizing each second of his screen time. Whether it is one of his devilish line readings, or one of his moments of great physical comedy, one scene where he takes a broom to the face is a particular highlight, it is just a joy to watch Brandon at work here. The best part is that the part of Barnaby could have been one of the often forgettable villains from the period or just one of those over serious types that are often the villains in the comedies from the periods. Brandon aptly meets all the villainous demands of the part, but he as well goes the extra mile by turning this villainous performance into a completely comedic performance. He goes far enough even to go face to face with Laurel and Hardy in their own film, and he does not falter in their presence.

Boris Karloff did not receive an Oscar nomination for portraying Sanders in The Lost Patrol. 

The Lost Patrol is an effective film about a group of soldiers lost in the desert.

Well before playing the Satan worshiping architect in The Black Cat he was playing Sanders one of the soldiers in a British regiment who find themselves lost in a desert while be lead by the steadfast Sergeant (Victor McLaglen). Sanders naturally is a very devote man of God. Karloff was a very interesting actor back in the old days as he would give his larger than life lead performances in all those horror films but at the same time he could be found in supporting roles in more "serious" fare. Although many supporting actors from the period just sort of fade into the background usually letting the lead make the only impression if anyone is to make an impression at all. This is not the case with Boris Karloff who makes the strongest impact in the film in his portrayal of Sanders.

The first scene we see Sanders is after one of the men has been killed and has been buried. Before they leave to brave the desert Sanders is quick to remind the Sergeant that nothing has been done for the soul of the man. Sanders reads a few words from scripture and Karloff is fantastic in showing what the words for Sanders. The words to him are most meaningful, although Karloff shows this not to be in the traditional way most religious men would treat the words. Karloff does not express Sanders's faith as something that gives him comfort or any sort of greater pride. Karloff is rather striking instead making it a slightly disconcerting need in Sanders as if he almost suffers from how much his devotion goes into him to the point that the words almost pain him to say.

The religious zealot is an easy enough role to screw up as it can lead to excessive overacting, and often the actors takes entirely the wrong approach. Technically speaking Sanders does many of the usual things such as ridiculing those he deems unfaithful, or becoming more emotionally intense as the situation becomes worse. In the moment of questioning the lack of faith of another Karloff is very powerful because although he does make Sanders overbearing in a certain way so you understand the hatred the other men for him, their is such an honesty in his portrayal. The honesty being in the need that Karloff portrays the strong need to save the others, it is not something he can forget Karloff makes it an intense pull in the man. Karloff establishes it as something that Sanders must do.

As the situation slowly becomes worse Karloff is remarkable in portraying the slowly deteriorating psyche of  Sanders. Karloff makes great use of his very expressive eyes in conveying the growing madness of Karloff. Again Karloff does more than just give us some madness though as he also adds to be always reinforcing the faith of the man within the insanity. There is a strange tenderness that Karloff brings even craziness of his character that really makes every one of his scenes something special. Where in The Criminal Code Karloff stole the picture from beginning to end, despite not even being the lead, as the smartest man in a prison even though he was crook, even though in a far meeker role with greater competition from the rest of the cast Karloff once again steals the film.

Overall Ranking

1. Henry Brandon in Babes in Toyland 
2. Boris Karloff in The Lost Patrol
3. Charles Vanel in Les Miserables 
4. Sam Jaffe in The Scarlet Empress
5. Peter Lorre in The Man Who Knew Too Much
6. Charles Laughton in The Barrets Of Wimpole Street
7. Michel Simon in  L'Atalante
8. Raymond Massey in The Scarlet Pimpernel
9. Walter Connolly in It Happened One Night 
10. Boris Karloff in The House of Rothschild
11. Edward Everett Horton in The Merry Widow
12. George Barbier in The Merry Widow 
13. Emile Genevois in Les Miserables
14. Felix Knight in Babes in Toyland  
15. Joseph Schildkraut in Cleopatra
16. Porter Hall in The Thin Man
17. Wallace Ford in The Lost Patrol 
18. Henry Krauss in Les Miserables 
19. George Brent in The Painted Veil
20. Guy Standing in Death Takes a Holiday
21. Louis Calhern in The Affairs of Cellini
22. Charles Dullin in Les Miserables 
23. Reginald Denny in The Lost Patrol
24. Ward Bond in It Happened One Night 
25. Donald Meek in The Merry Widow
26. Louis Calhern in The Count of Monte Cristo
27. Jean Servais in Les Miserables 
28. Sidney Blackmer in The Count of Monte Cristo
29. Warren William in Imitation of Life
30. Stuart Erwin in Viva Villa!

Next Year: 1996 lead

Best Actor 1935: Results

4. Franchot Tone in Mutiny on the Bounty- Franchot done does his job well enough, but he never is all that amazing either. His character mostly reacts. Tone handles his reactions well enough, but still his performance never really stands out all that much.

3. Charles Laughton in Mutiny on the Bounty- Charles Laughton plays Bligh as a cruel man, a man who is simple and very cruel. Laughton portrays Bligh's cruelty in an effective manner both quietly when being systematically evil, and when being louder when his authority is challenged.

2. Clark Gable in Mutiny on the Bounty- Clark Gable has his usual slick charm and manner here which work especially well for Fletcher Christian. Gable gives a strong star performance that fulfills Flercher's role of passion and power perfectly.

1. Victor McLaglen in The Informer-McLaglen gives a terrific portrait of a man whose conscience slowly but surely grows on him, despite making great attempts to ignore it. McLaglen performance is incredibly effective and very memorable. He makes Gypo Nolan a  fascinating as well as likable character, making this an early Oscar well deserved.

Best Actor 1935: Clark Gable, Franchot Tone, and Charles Laughton in Mutiny on the Bounty

Mutiny on the Bounty is an aged film certainly but it still is enjoyable in its own old fashioned way. The story is not really accurate apparently Captain Bligh was really just a man trying to do his job, and the mutineers all ended up basically killing each other when they got to their paradise of an island, instead the it position the film as a struggle between good and cruelty. The three nominees represent different parts of this conflict on the ship.

First there is Clark Gable who received his second Oscar nomination for portraying Fletcher Christian. Fletcher Christian as portrayed here is the good man aboard the ship who tries his best to help his fellow sailors, and eventually takes the ship due to the cruelty of Captain Bligh. Christian is not all too complicated none of the characters are, nor do they exactly need to be.

Clark Gable sans his usual mustache portrays Fletcher Christian effectively. Christian as I said is not a complicated character but just an honest man doing his best to make conditions on the Bounty better. He portrays Christian with the right amount of passion, and power in the performance. He is instantly believable as the the commander of the men, and there is absoultely no doubt that people would look up to Christian in this film.

Clark Gable gives a very good performance and does have his usual charm which is an always welcome factor in his film. I would say that his charm is not quite as great as in his other two Oscar nominated performances but it still is always apparent in this performance. I would say the most important part of his performance is just the fact that it is so easy to follow through the film with Gable in the lead. He was a true movie star and he proves that once again with his undeniable charm and screen presence. It is not his best performance but it is again a good one, which completely works well for the dashing daring Fletcher Christian.

In the middle the semi-neutral party is Ensign Byan in portrayed by Franchot Tone with his only Oscar nomination. Byan is a simple idealistic midshipman, who like Christian wants to be treated with respect, and also dislikes the cruelty of Captain Bligh. Byan though does not really act out, he says Bligh has done wrong, but does not end up participating in the Mutiny himself.

Tone actually is just fine in his role as Byan, who really is more of a supporting role, but since there was only one actor category there is no surprise he was nominated here. Byan is not complicated but Tone portrays him as just the good guy he is. He handles Byan's reactions realistically and effectively enough. He and Gable get along well in the film as well, and their scenes together work fairly well.

My reservation is Byan does not do all that much, but stand in the middle between the forces for most of the film, but he does not standout like Bligh's nastiness does, and Christian's charm, but than again nor should he since he is the man in the middle really. Byan though eventually does have to stand up for himself, when he is put on trial as a mutineer. Tone handles his one big scene at the end fairly well, even if not amazingly. Overall Tone is never all that special in his role, but he is just fine.

Finally the last part of the struggle is the evil Captain Bligh portrayed by Charles Laughton in his second Oscar nomination. Charles Laughton portrays Bligh as an evil slimy Captain. Bligh I would not say is really portrayed as a whole human being but perhaps is more representation of a type of systematic cruelty.

Laughton portrays Bligh fairly well even if the character is rather simple. Bligh as written mostly does just two things. One of them is smugly look at the proceedings as he orders other people about, whether that is their task, or if he orders a cold punishment for a mind infraction. Laughton is properly cold and calculated in his cruelty. He shows his characters power madness in such a strict structural ways that works well once again with the film.

Bligh really is never not being evil even if at times he is doing the ship work in a normal captain like way. He never really acts as a normal human being, but nor is he suppose to be. This is a film about very thematic characters and no character is more like this than Laughton. Laughton never really acting like a normal descent person is appropriate with Bligh's power hungry attitudes, and the fact that he is suppose to be really just an evil villain not a normal person.

He really is suppose to be the representation of cruelty which Laughton does quite well. He does this both when he acts rather quietly evil with just the orders when he is control, or when he roars and yells back at Christian in the pivotal mutiny scene. Laughton performance is not an amazing one, or even a subtle one but like the others it is an effective performance that work well for the film.

Best Actor 1935

And the Nominees Were:

Victor McLaglen in The Informer

Clark Gable in Mutiny on the Bounty

Franchot Tone in Mutiny on the Bounty

Charles Laughton in Mutiny on the Bounty

Who will it be the informer or one of the men of the bounty?

Note: I decided not to include Paul Muni in Black Fury because he was not nominated actually. He got votes but someone like Boris Karloff for Bride of Frankenstein technically could have as well, so I decided to only take the actually nominated.

Best Actor 1939: Results

5. Mickey Rooney in Babes in Arms- Mickey Rooney I think he is just fine and functionally correct in his role. Not all that much, but I really thought he did what he had to.

4. Robert Donat in Goodbye, Mr. Chips-Robert Donat really is a strong winner showing his transition from a young man, to an old teacher brilliantly. He handles all of Chips changes throughout his years brilliantly, and gives a very memorable performance.

3. Laurence Olivier in Wuthering Heights- Heathcliff is a very dramatic character who certainly is an Archetype but Olivier does not stop this from giving a great performance. He is perfect at first as the romantic lead than his transitions brilliantly and truly effectively as the dark and cold Heathcliff.

2. James Stewart in Mr. Smith Goes to Washington- James Stewart using his charm which only has really gives a very strong performance. Stewart really is great in his way as the innocent Smith, to his transition to the lone man fighting for what is right.

1. Clark Gable in Gone With The Wind- Clark Gable gives a truly legendary performance as Rhett Butler. Rhett is made is into the extremely memorable character by Gable. Gable is able to stand out in this epic, and stand with Vivien Leigh which is an incredible achievement. An iconic performance that is truly a great performance. This whole year was a great year for acting performances, and each would have been deserving in any year, but I feel Gable happens to be the most powerful, most effective performance, and really was the most challenging character. For such achievement Gable becomes my second two time lead winner now tying with Walter Huston.

Deserving Performances:
John Wayne in Stagecoach

Best Actor 1939: Clark Gable in Gone With the Wind

Clark Gable received his third and final Oscar nomination for portraying Rhett Butler in Gone With The Wind.

 Gone With The Wind is an incredibly strong epic. It is a long movie, that is actually worth watching the whole. It has a few problems but overall it really is a truly great and grandiose film experience.

Clark Gable performance is certainly is an iconic performance, just about everything about him is a truly iconic performance. Now an iconic performance does not automatically mean a good one or a great one, it can merely be the idea or image of the performance. But there is one thing for sure when speaking of the character there seems that only that person could have ever really be thought as that character.

Clark Gable just is Rhett Butler, and Rhett is Gable. As soon as he appears, he is the character there is no doubt, he just simply is the part. Everything about him only ever insures him as Rhett Butler. I never for a moment in the film questioned him in the part which aided the making his performance as a truly iconic one. His performance as Rhett is one that is essential to the film, and Gable is a character of great impact of the film. This all begins with his initial entrance at the bottom of the stair case looking up at Scarlett (Vivien Leigh). His single look here begins the ease of performance Gable has with this performance. He says nothing but Gable has already suggested more than enough of Butler. Gable look is absolutely perfect there is no question to that look it is as Scarlett describes it, being able to see through her clothes.

For about a third of the film Rhett really does not continuously appear in scenes in comes in and out of the film. Every time though he appears he certainly makes a strong impact, this partially in the way Rhett is written but more fully due to Gable incredibly powerful presence. Gable's presence here is like none other, his natural charisma and strength are never more visible and as strong than as Rhett. Every single moment Gable is on screen his personality is simply magnetic. He always stands out in a scene and always a perfect command in them. Such as his first scene where he questions the abilities of the southern gentlemen to win against the North. He shows Rhett is a man who always has command over his situation. He makes Rhett into a man who knows what he wants and how to get it, and a man who shall not be forgotten, and is not forgotten ever in the film.

Now the most important factor of his performance though that really makes it legendary are his scenes with Vivien Leigh. Vivien Leigh's performance is an astounding performance, one of true brilliance, and Gable being able to stand up along with Leigh performance is a true feat there. Both of the two work wonderfully together. They both are completely in tune with their characters and in each other to make their scenes together scenes of cinematic greatness. I really like Gable way of dealing with Leigh and the way she deals back toward him. They simply could not be better, and both are absolutely brilliantly in showing these two characters who sees things the way they are even if they are of low character at times. They are fantastic in the way they tear at each other down to their true selves. These "romantic" scenes together are fascinating because they really are not tender, but in many ways harsh, yet they still hold tremendous power, because of Leigh and Gable are truly great together.

Gable finally consistently appears in the final fourth of the film, after Rhett marries Scarlett. Gable got along perfectly before that point, excelling as Rhett, while Rhett was always able to stay away partially and never truly become involved with the troublesome Scarlet. Rhett when he does become even more deeply involved with Scarlet including to having a daughter together, Rhett finds great troubles with this relationship, and this really puts Gable performance to the test. Gable is more than up to the task, though and gives truly emotionally honest portrayal as Rhett. He shows Rhett desire to love Scarlet but also his sadness and regret due to her inability to shake her own selfishness. Gable is simply perfect in all of these scenes, and especially the final scene where Scarlet goes to Ashley Wilkes (Leslie Howard) for the last time. His exit and final line delivery are mark of not only an iconic performance, but also of a truly great legendary performance.

Best Actor 1939

And The Nominees Were:

James Stewart in Mr. Smith Goes to Washington

Laurence Olivier in Wuthering Heights 

 Robert Donat in Goodbye, Mr. Chips

 Mickey Rooney in Babes in Arms

Clark Gable in Gone With The Wind

So will it be one of the three screen legends, the then young star, or the actor who should be far better remembered than he is?

Best Actor 1934: Results

3. Frank Morgan in The Affairs of Cellini- Frank Morgan plays a Duke in this film who is always worried and nervous. Morgan tries to be funny and he is a little bit at the very beginning of the film, but then his nervous act gets old fast.

2. William Powell in The Thin Man- Powell is in top form as Nick Charles. He is a perfect Sleuth to follow because of his perfect charm and wit, and his perfect chemistry with Myrna Loy.

1. Clark Gable in It Happened One Night- This is an interesting year because all three lead performances are comedy performances, I wonder is this is the only year where all the nominees are trying to be funny. Gable wins partially because he is the funniest as Peter Warne. Every scene he is in he is incredibly charming and his comedic timing could not be better. Also his chemistry with Claudette Colbert is astounding, so a well deserved win for "The King"

Deserving Performances:
Stan Laurel in Babes in Toyland
Oliver Hardy in Babes in Toyland
Henry Brandon in Babes in Toyland

Best Actor 1934: Clark Gable in It Happened One Night

Clark Gable won an Oscar from his first nomination for portraying Peter Warne in It Happened One Night.

It Happened One Night is an extremely enjoyable romantic comedy. I just love every minute of it and I am not a fan of romantic comedy.

Clark Gable here does not give a performance that bares his soul, it is not one that requires him to bare his darkest deepest emotions, no that is not what is required. But who cares he gives a great performance from something entirely different, his comedic timing and charm. Clark Gable is just brilliant here, he is just wonderful in the film from beginning to end. Every single moment he has he is always and utterly entertaining. The only thing that really requires dramatic work involves his change from only wanting to benefit from getting a story from a runaway socialite Ellie Andrews (Claudette Colbert) to falling in loving with her. This part of the character Gable handles well,   making it very natural, but that is hardly what makes this performance so strong.

The rest of his performance is Gable himself who is as charming as possible as Warne. He is simply magnetic in the role, and infuses great comedic energy in every scene. His comedic timing is always spot on in every scene but I have some particular scenes that I enjoy the most. One I really like is when he gets rid of someone trying to tell on Ellie by pretending he is a gangster who kidnapped Ellie. He is hilarious with the voice he uses and pretends to act tough. Another scene that I like a lot is when he tells Ellie of his various methods of hitch hiking. His faces he makes and the way he tells about is one is just perfect, and very funny. I find that all his comedic work is just great every second of it. His charm is just strong, every scene he has is wonderful, Gable is usually a charming presence anyways but here I feel he really does out do himself. Something as simple as undressing is made into cinematic magic simply by the way Gable does it.

As for his chemistry with Claudette Colbert I would be hard pressed to name a better film couple. Again they are just perfect together in every type of scene. Their initial disdain for each other is well handled without being too much to make it so their love still makes sense. Their comedic scenes together are handled so each one lets each other be funny and the other reacts in the right way. Also when their being funny at the same time it is great such as when they pretend to be a feuding married couple to fool detectives looking for Ellie. Their romantic scenes are equally effective. Together they are absolutely right and true, their romance never seems wrong but only ever seems right. These two characters disliking each other than coming together is made seamless because of these two actors who work marvelously together. Gable does not have any scenes typical of an Oscar nominee or an Oscar winner but that does prevent this being a great performance that is just wonderful to watch, and truly deserving winner of a different style.

Best Actor 1934

And the Nominees Were:

William Powell in The Thin Man

Clark Gable in It Happened One  Night

Frank Morgan in The Affairs of Cellini

Who do you Pick? Which of the Mustached Men will win?