Alternate Best Supporting Actor 1967: Donald Pleasence in Will Penny, Kenneth Mars & Dick Shawn in The Producers & Results

Donald Pleasence did not receive an Oscar nomination for portraying Preacher Quint in Will Penny. 

Will Penny is an off-beat and effective western about an aging trail hand (Charlton Heston).

Donald Pleasence takes up the role of the heel required for the western and a very peculiar one. Pleasence after all isn’t necessarily an actor you’d instantly envision as a western actor given his Englishness is readily evident. The atypical nature of the casting plays effectively into the weirdness of his character. A character who suddenly appears as the ranch hands try to claim an elk only to be suddenly advanced upon by Pleasence’s Preacher Quint and his family. Pleasence as per usual, and not too surprisingly given that he is playing in a western setting, fashions a new accent for himself, something that isn’t quite American or English but completely works for the character. It is a strange ramshackle quality that denotes a man who has lived much of his life in very low circumstances but strives yet fails to present himself as some strange learned man of God. It is instantly ear catching as is his whole physical performance, where there is a scavenger like energy that Pleasence exudes as he peers upon the men whose only crime was to come across the same elk. Pleasence delivers a raw intensity and insanity though tempered with a particularly devious edge. Pleasence plays into the whole idea of the “Preacher” as very much a fire brimstone center of town square type preacher, although Quint is just in some random places trying to harass people who aren’t part of his family. Pleasence’s sermons are magnificent bits of performance from him as they are full bodied in just announcing himself as though he is about to leap out of his body as he implores some kind of divine intervention for his hideous actions. 

Every time Pleasence speaks it. It is as though he is trying to call upon the forces beyond nature to destroy his enemies with the mania in his piercing eyes. There’s a bit of subversion by Pleasence though, just a bit that is a brilliant little touch where kind of between the overtures there’s like a glint in his eyes of a knowing or just a moment where his voice falls a little where he suggests that even the preacher bit is nothing more than a game that Quint plays around with as part of a madcap act to lead his family. Pleasence has a great hideousness within his character as initially Will saves his friends by killing one of Quint’s family, where we get a standout moment of Pleasence praying to God to wreak vengeance on them where he makes the words sing as this blinded madness. Pleasence comes in and out of the film after this confrontation as this unwanted parasitic force of evil. Pleasence creates a vicious terror in his menace that isn’t so much defined by confidence but rather the rabid madness of the character. Pleasence creating almost a darkly comic quality to the character by playing into the grotesquery with such glee. Something that is particularly unnerving after a long loving sequence of Will helping and falling in love with a fatherless family, where Pleasence storms in with his delivery of “Merry Christmas” being as though the devil has come to call. Followed by one of his most disturbing acts as forces the widow to choose between his sons, while also disparaging his sons, the energy Pleasence brings creates such incredible distress by how much he seems within this moment to the point of a true demented hysteria. My only complaint about the character would be he doesn’t really have a great final moment to really let Pleasence sink his teeth into one more time, as the confrontation is relatively quick. But that is a case of only wanting more of a good thing, and really this is an amazing turn by Pleasence through the impact he makes. As he takes a germ of the false preacher and runs with it for his relatively limited screentime, making a tremendous impact, and in a role that I think many lesser actors would’ve made some forgettable rote heavy, Pleasence turns him into something more unique and impressive. 

Kenneth Mars did not receive an Oscar nomination for portraying Franz Liebkind nor did Dick Shawn receive an Oscar nomination for portraying Lorenzo St. DuBois but his friends call him L.S.D. in The Producers. 

Maybe The Producers as a film is a bit like the old Beatles or Elvis or Beatles or Rolling Stones debate where either you’re a Max (Zero Mostel) or a Leo (Gene Wilder) person, or you’re a Franz Liebkind or an LSD person. Not that you don’t like them all, but there is some degree of preference, although I think this largely speaks to the treasure trove of comedy evident within the film regardless. In terms of the supporting competition each play the broadest of the characters perhaps with Mars first to appear as the author of the play, “Springtime for Hitler” chosen by the titular producers as a surefire flop. A character who is patently absurd from the get go as we meet him pretending to be a proper “good American” going so far as two terribly sing Yankee Doodle Dandy, while of course also donning a German war helmet that might confuse the issue just a bit. Mars’s performance very much plays into this ridiculousness in many ways playing his role as an over the top German soldier in a war auctioneer just with different ends. As his German accent is just as over the top thick with the emphasis on that particular harshness used for more villainous characters, however something he instantly subverts with his silliness from the outset. An idea that expands when the producers surprise him with wanting to actually put on his play where Mars begins to espouse his views more openly though his exact perspective on Hitler and the whole Nazi regime seems a bit tilted even as ridiculous Nazis go. Mars's performance as the drunken Liebkind brings to it this combination between a lost love’s adoration towards Hitler against his unbridled, though wholly hilarious, rage against Winston Churchill as a comparison. Going off on all the ways Hitler was better based mostly on their paintings (though maybe a little mixed up on what type of painting Hitler did exactly), their dancing of course and Chruchill’s way of pronouncing Nazi. Mars’s performance of playing between basically what is best described as lovey dovey towards Hitler, then a sourpuss to Churchill is a magnificent silly dance of switching expressions and physical manner as he goes from wistfully dancing for Hitler to become ogre-like as he looks down upon Churchill. It’s a grand bit of ridiculousness.

Unfortunately for the Producers, they perhaps go too all in with their scheme and instead of just choosing the worst play they seem intent on choosing the worst of everything including the worst possible Hitler. Leading us to the introduction of Dick Shawn as Lorenzo St. DuBois aka LSD played by Dick Shawn where I’ll actually start with the later scenes of his performance, where his star turn as Hitler turns Liebkind’s straightforward adoration to that of a satire. Shawn is absolutely hilarious in pulling off basically proving the concept that this swerve would make the play a success as he brings his specific beatnik energy to the dictator. Where Shawn is outrageous through every swing of his performance as he opens with his anxiety over losing the war by serenading himself by piano, and using the word “baby” far more than Liebkind or history would support. Shawn’s portrayal of that specific distress is particularly funny by just how weirdly distressed he is in such a bizarre yet perfectly funny way. But his Hitler expands on that as we also get him with his troops, where Shawn once again is great in just playing up the stupidity as he so earnestly delivers the line that “we can’t attack Germany, we’re Germany”. But we also get the marvelous scene of his whole sequence of dealing with his “Little Joey” to cheer him up, Joey being Joseph Goebbels, we’re they’re best buds, proper beatnik best buds however in every overly chummy interaction, with even an all important high five, that is pure comedy gold as they “man” and “baby” each other in such joy as Joey lays out his new track, that being a propaganda piece where they beat England. 

Something that gets interrupted by Liebkind, whose distress at seeing the play matches the comedy on stage wonderfully well, playing it with this sincerity of his distress close to crying baby in every bit of being distraught at seeing “his Fuhrer” saying “Baby”. Leading to two great bits as Franz first dresses down an audience member for interrupting his bemoaning by noting that he’s the author and “outranks her” with all the same billowing as his Churchill rant, followed though by his knocking out of stage hand where Mars is hilarious by being frankly so silly in his “you please be unconscious” so gently before physically assaulting a man. And honestly where Franz goes through the last bits of the film are more looney tunes than anything, not a criticism mind you as Mars delivers it with aplomb from coming in to shoot the producers like Yosemite Sam as sneers his way through trying to kill them to a more Elmer Fudd pathos as he admits his failures and attempts suicide, which while about suicide still wholly funny through the silliness of Mar’s over the top somberness as he decides his own fate…only to be thwarted by his own lack of bullets. Even that continues though as we get him to try to blow up the theater to stop the show, where we get Mars’s portrayal of attempted intelligence, which is Franz being particularly stupid, as he analyzes his fuses. The sudden insightful manner in his eyes and the way he stares so intently as he discovers his short fuse for dynamite, by naturally lighting, before the great reaction of realizing his error, is a most pleasant cherry on the top of the performance. 

Now I held off on LSD’s audition because for me it just might be my favorite scene in a hilarious film. Although I think this brings up something about “dated” and whatever it really means because the character of Lorenzo St. DuBois is specifically a sendup of Beatnik/Hippie types, yet despite being so specific it doesn’t really matter because what he is doing is funny regardless if you connect to specificity or just enjoy the insanity of it. Well I enjoy the insanity of thanks in large part due to everything that Shawn does in the part, particularly the swings of the part in the audition scene. From as he strolls in with such casual ease asking if the Hitler auditions were the auditions for Boomerang, only to be told of his error leading to Shawn’s immediate and strangely natural switch to such anxiety as he seems to ridicule his own, one would assume, drug addled brain. Combined with his perfect hat in hand demeanor when admitting to his six months in prison and his insistence that he’s clean. But he gets the audition where somehow LSD summons a band to play his performance of “Love Flower”. A performance that is amazing every second of it. From his initial intensely hippie loving everyone manner as he opens the song about giving people his love flower, before switching to a more hostile love flower to cops and landlords, where Shawn’s switch to such raging intensity of a man hating the “man” of society to such a degree and in such a contrast to his “loving” side it is absolutely beautiful comedy. Only perhaps topped as he continues that intensity to such comedy genius to one of my all time favorite bits of physical comedy as he announces that he will dance in song, leading to Shawn’s somehow frozen yet free bodied movement of everything but his legs in this singular form that is utterly ludicrous yet utterly amazing. Followed again by his switch to suddenly some existential fear around the love flower, where Shawn is intense now through that terror rather than anger before collapsing to the floor, where he peels a banana peel like it is a life line before dismissing it to instead suckle his mini cymbals instead with a face of best described as wacky contentment. After such a display one can only say “THAT's OUR HITLER!”. Or really this is just an incredibly funny performance that never ceases to make me laugh despite how many times I've seen his bit. 

(Mars)

(Shawn)

UPDATED OVERALL

Next: 2004 Lead

Alternate Best Supporting Actor 1966: Results

5. Donald Pleasence in Fantastic Voyage - Pleasence is the best part of his film, doing his best to make the most out of some pretty vague ideas.

Best Scene: Claustrophobia.

4. Paul Meurisse in Le Deuxième Souffle - Meurisse gives a nice spirited turn in creating the methods of an intelligent investigator.

Best Scene: Analyzing the crime scene.

3. Murray Hamilton in Seconds - Hamilton, in some very brief time, gives a very moving portrayal of a journey that reflects the central one, just in a microcosm.

Best Scene: His scene.

2. John Randolph in Seconds - Randolph gives a powerful setup for the main character of his film, in giving a moving portrayal of a man gripped by an anxiety and detachment from his life.

Best Scene: Reflecting on his life.

1. Will Geer in Seconds - Good predictions Mitchell Murray, RatedRStar, Calvin, Michael Patison and Razor.  Will Geer gives a brilliant portrayal. This in subverting his typical folksy manner to create a particularly unnerving portrayal of a man giving some loving wisdom that is wholly nihilistic.

Best Scene: Sendoff.

Updated Overall

Next: 2002 Lead

Alternate Best Supporting Actor 1966: Donald Pleasence in Fantastic Voyage

Donald Pleasence did not receive an Oscar nomination for portraying Dr. Michaels in Fantastic Voyage.

Fantastic Voyage follows an attempt to save a man from an assassination attempt by shrinking down and entering his body.

Fantastic Voyage is really what you can qualify as a bad effects driven picture, not that the effects are bad for the time, it probably was deserving of its Oscar there, but in its approach to an effects driven film. This is as the effects are basically all there is to the film. This with the ever frustrating inconsistent career of Richard Fleischer, who made a wonderful effects driven film in 20,000 Leagues Under the Sea, but here makes a rather tepid one. This was because in that earlier film it was only part of it, he spent time on the stories, spent time with the characters both in terms of having fun and in terms of creating a dramatic arc within the film, while also making use of his actors. Here we actually do have a cast filled with characters actors who gave good to great performances elsewhere, but here mostly saddled with bland cardboard cutouts who just need to recite exposition after exposition. I guess though a film like this is almost a challenge to the performers to try to make something out of almost nothing, while then leave it to the best actor in the cast to make a go of it. That of course being Donald Pleasence who appears as one of the scientist in charge of the operation, Dr. Michaels. Pleasence tries to make an impression even in his boring exposition through his overly detached way of speaking that riffs on it a bit to grant the sense of Michaels as seeming to examine the situation in a curious situation.

Pleasence even in the very boring scenes of preparing for the trip and the slow shrinking scene, tries to add to something through that penetrating glare here. This that he slowly tips it towards insanity before Michaels has brief outburst claiming he has claustrophobia. Although not really treated with much of anything within the film, you get that classic Pleasence gravitas as he describes having been covered by debris in England during the war. Pleasence is fantastic in the way he can bring emotion to the line while still speaking in the detached way he takes to Michaels. It is almost a trick he pulls as he doesn't even break his voice yet his eyes create a sense of some idea of an anxiety within the man in the moment. A brief moment that has no real followup other than to indicate early on that Michaels is the saboteur as things begin to go wrong with the mission. Pleasence then becomes at first a man constantly doubting the mission with a nefarious intensity in his voice. This doesn't go really far at all other than allowing Pleasence getting to act evil a bit. He does it well of course, but sadly even as a villainous turn it doesn't give him much to sink his teeth into. He though does his best to make the most out of it. This even in his final scene in facing the body's internal defense system closing in on him, where Pleasence portrays some genuine fear in attempting to create a real reality to the ludicrous situation. Sadly though all this does not add up to nearly enough. None of the ideas really are given any further detail beyond just a vague idea.  Having said all that though Pleasence gives a good performance by running as far as he can with those vague ideas, this is as he is definitely the best of the cast and is actually by far the best thing about the film.

Alternate Best Supporting Actor 1966

And the Nominees Were Not:

John Randolph in Seconds

Will Geer in Seconds

Murray Hamilton in Seconds

Paul Meurisse in Le Deuxième Souffle

Donald Pleasence in Fantastic Voyage

Alternate Best Actor 1966: Results

5. Eddie Axberg in Here Is Your Life - Axberg gives a largely reactionary turn, however it works in creating the right naturalism within his character for his film.

Best Scene: Date.

4. Anatoly Solonitsyn in Andrei Rublev - Although very low key Solonitsyn's often observant turn effectively still realizes his character's quietly striking arc throughout his film.

Best Scene: After the bell rings. 

3. David Warner in Morgan - A Suitable Case for Treatment - Warner effectively gives a wild comic yet intense turn, even if his film doesn't use him all that well.

Best Scene: Trying to assassinate someone.

2. Donald Pleasence in Cul-De-Sac - Pleasence brilliantly captures the suffocating neurosis of his character and its degradation throughout the story.

Best Scene: Final breakdown.

1. Per Oscarsson in Hunger - Oscarsson performance naturally captures the tragic state of his character while doing so with a remarkable levity.

Best Scene: Hunger.

Updated Overall

Next: 1966 Supporting

Alternate Best Actor 1966: Donald Pleasence in Cul-de-Sac

Donald Pleasence did not receive an Oscar nomination for portraying George in Cul-de-Sac.

Cul-de-sac is a somewhat intriguing riff on the somewhat tried plot of a criminal creating a hostage situation by seeking refuge with some normal people, the normal people here not being all that normal.

After all the man, whom criminal Dickey (Lionel Strander), chooses to hide out at is played by Donald Pleasence. That already suggests this isn't exactly going to be a Desperate Hours situation of an average family man dealing with a violent criminal. We instead have Pleasence, known for the more we'll say extreme individuals, who we first meet as he is frolicking in his bedroom with his young wife Teresa (Françoise Dorléac). Pleasence is brilliantly mad in this sequence as he gets dressed up as a woman with makeup as well as they interact. This as Pleasence captures a rather unique tone within the scene that is a combination of something that while being technically intense towards the idea the character's lust, yet also spells doubt within his sort state within this relationship. This as Pleasence plays both active and passive within the interactions. This as his eyes capture the mania of going along with the act, and at the same time that certain mania alludes to the way he also has a neurotic quality combined within that. Pleasence showing a man in a state of relationship that obviously has some sort of intimacy there, but it is also a detachment all the same within the near insanity of the interaction. This marital "bliss" is short lived within the film though as the two's dalliance is broken up by Strander's Dickey who demands to use their house to hideout with the two being held as basically assumed gun point.

Pleasence's performance then in many ways here is the factor within the film that differentiates itself from most stories of the ilk. This as there is nothing about George that is a man in this situation traditionally as the secret hero or event he obvious coward. Pleasence is terrific in portraying basically this nervous breakdown the man is having in presence over the criminal, although his breakdown isn't seemingly in wholly relation to the criminal. Donald Pleasence granting his performance this near constant unease in the physicality of his work. This as even just in the way Pleasence breaths has a hurried quality, his head constantly taut, and his movements with a messy quality within them. Pleasence granting the sense of George on the verge of this breakdown and his performance portraying a man seemingly filled with worry, far beyond dealing with a violent criminal. In his interactions with the violent criminal Pleasence's portrayal of the so called fear of it is with a broken intensity of a man tip toeing on the edge of some cliff. Pleasence speaking with this near mess of words together his his deliveries this particularly when speaking of his relationship with his wife.  Although he doesn't quite state it directly, Pleasence speaks each word regarding her with this straining anxiety. Pleasence's portrayal is that of a worn mind that seems unable to comprehend his current situation almost given how caught up he is within his own mind.

The only switch though is when guests briefly come over to the house, where they must act as though nothing is out of the ordinary. This though technically is where Pleasence heavily changes his performance towards creating the idea of likely how George usually presents himself to most people. Pleasence's changes though are in the presentation of this George. This as he changes his physical performance to careful movements that are so careful they're a touch stilted. He speaks in ways with a quieter quality, though incisive though as he grants even in this quiet delivery that intensity if more carefully wound. Pleasence showing a man who even here is just barely keeping together within the normal society.  After the guests leave it essentially only leave a final violent confrontation with George to take action against Dickey. It is a remarkable portrayal of a complete mental breakdown in Pleasence's performance. This in the very act of the killing by George is with a demented neurosis. This as he barely even looks upon his target and he presents this act as a moment of sheer insanity. This though is not the end of it as Pleasence's whole performance reveals the mess of George's mind that remains after it all. His work showing the way the neurosis that was ever present fully take over as his he speaks as a man with a most limited grasp on reality. His whole manner becoming detached from all things except the randomness of the ramblings that Pleasence grants the right sense to, the sense being that George has entirely lost his mind in the moment. Although in the end I wish overall the film had maybe a bit more complexity within the scenario itself, there is still much to be found within Pleasence's portrait of man on an edge being pushed off.

Alternate Best Actor 1966

And the Nominees Were Not:

David Warner in Morgan - A Suitable Case For Treatment

Per Oscarsson in Hunger
 
Eddie Axberg in Here is your Life
 
Donald Pleasence in Cul-de-sac
 
Anatoly Solonitsyn in Andrei Rublev

And a review of:

Paul Newman in Harper

Alternate Best Actor 1963: Robert Shaw & Donald Pleasence in The Caretaker

Robert Shaw did not receive an Oscar nomination for portraying Aston nor did Donald Pleasence for portraying Mac Davies in The Caretaker.

The Caretaker is the most effective cinematic adaptation of the three Harold Pinter play's I've seen. This still, as with the other films, being largely a direct translation, though here with some careful cinematic additions within the film, most noticeably the film's eerie sound design.

Obviously, performances are essential with any play adaptation, however they seem to take on an even greater purpose within the ambiguous writing of Harold Pinter. His writing rarely spells things out, more of granting subtle shades of ideas, and alluding to things while rarely ever flatly telling you the direct truth of a matter. In this in mind we are introduced to two men walking down the streets as this film opens, observed by a third man. The first man appears to be a basic hobo played by Donald Pleasence. An actor who is best known today for his genre turns as Dr. Loomis in Halloween or perhaps as one take on James Bond's arch nemesis Blofeld. Although even as those turns show the evidence of the man's talent, they barely even skim the surface of his great ability as a performer. If one were to witness his turn here, one will immediately see all the greater dynamic of a performer, who already seemed rather remarkable. Pleasence is a far cry from the troubled yet clearly affluent Doctor Loomis, this as a lower class man, that Pleasence immediately embodies in a wholly transformative turn. Pleasence's whole physical manner is of this retiring behavior, a manner clearly defined by a hardship of some sort, a messy existence of a man living in the cracks of society. There's a particularly brilliant way with one hand Pleasence keeps warm essentially, as the other, reaching for expressions, keeping the man protecting himself, while seeming to attempting a conversation of some kind with the other man.

The other man is Aston, played of course by Robert Shaw, an actor who thankfully is best known for his greatest performance, however the greatness of his ability is perhaps still under looked. Shaw here though seems perhaps this is within a certain element of his wheelhouse. This being the cold man. This as there is such a stark contrast between Pleasence and Shaw, as Shaw walks barely with a glance to Pleasence, with a careful step, every movement along their pathway. The idea of interaction even seems almost alien, as Shaw makes Aston appear ever so distance. This curious state continues as Aston shows the elder man into an apartment, which he claims is a place he'll be able to stay for at least the night. Shaw's performance in this film actually is one of the result, and a most fascinating one. Because again, this appears as Shaw is working within the idea of the refined English gentleman, who is so austere in his manner, that there appears a contradiction as Aston makes this invitation to Pleasence's Davies. Shaw seems most peculiar, almost as though he is perhaps a calm collected murderer, as he just quietly delivers each line, while keeping this rather consistent eye contact with him. This as Aston remains always so observant yet so detached within Shaw's portrayal, that seems contradictory, at first.

Speaking of contradictions, of the more obvious sort, is the man that is Davies, who gives the name of Bernard Jenkins, along with a variety of different claims, depending on the slightest hint of an idea from Aston. Pleasence is downright amazing in realizing the rather tricky dialogue, of sorts, at hand in Davies who when in conversation imparts a constant stream of various thoughts, typically half-thought. Pleasence thrives with this, with an entirely different accent from his typically posher sort, that is not only crasser but also a natural lisp fitting to a man whose teeth are familiar with the street than a dentist's chair. Pleasence's accent, along with aforementioned physicality is not only so naturally realized, but immediately grants you a sense of this man as any presumed notions of a Pleasence performance are wiped away. Pleasence's ability with that the tricky dialogue is part of this, as he manages to make it sing, in the properly disjointed way it should be. He grants this perfect rambling tempo, when no one gets in the way of Davies's speech, that evokes so effectively a man who has basically made a good portion of his life just blathering to whoever is in ear shot. A man you may believe seems is eager for conversation, establishing why it is perhaps that Aston is walking with him as the film opens.

As great as the transformation already is by Pleasence, it theoretically could be easy enough to stop it there and leave him just this flat kook of a strange sort. Pleasence though takes this performance far beyond that, and in many ways, makes the film through how dynamic his portrayal is in terms of creating the nature of Davies. This is especially within portraying the shades of the man depending on his audience and depending on his circumstance. In that opening Pleasence has a false affability, in that it is very much egotistical in the grand standing way he speaks every word as this accomplishment, however brought to life in this outgoing fashion that one might believe is friendly, if one is poorly experienced in such things. This changes rather subtly in Pleasence's work as Aston offers Davies a place to stay. Pleasence so cleverly begins to subvert the initial impression a bit as he starts to eye the place with both a curiosity and suspicion. This as he conveys so effectively that Davies isn't quite sure what to make of Aston's offer, yet given his current circumstances is more than willing to utilize it. As he continues with this process Davies quiets just a bit, only a bit, and Pleasence is fantastic in a moment of scoffing at the lack of a usable gas stove. This with a directness, that Pleasence emphasizes within his delivery, that establishes sort of the essential "secret" of his character.

There is more to Davies as he comes into interactions with our third character, the observing man from the opening, Mick (Alan Bates) who is Aston's brother. He initially comes in though hectoring Davies by trying to scare him. Pleasence capturing an initial vicious reaction to attempt to push off any real threat, fitting to a man of the street as though he would be attempting to scare off any mob of men harassing him. When Mick reveals himself, and plays verbal games as well, Pleasence is great in portraying Davies finding his gear of dealing with this brother as well. This initial with these more hostile ramblings, when it appears Mick himself might be hostile, ramblings that build himself up. Pleasence is excellent in each bit of banter as though it is this exact, slightly mad, yet still skilled attack to attempt to settle his place. This almost drowning out any attacks on him through the sheer amount of lies he can espouse in single conversation. Pleasence realizes this beautiful mess in his work, as he manages to create the right degree of mania, with also a certain astuteness. Pleasence doesn't exactly portray this as wholly a lie in the man, but rather the man's method of defense, and as we will also see, attack.

Meanwhile we have Shaw's Aston who continues to seemingly be rather friendly in terms of his offerings to Davies. This is as he gives the man a place to stay and recommends that he have a job as well as the caretaker. This while also consistently mentioning his need to build a shed, a exceptionally performed and especially important line for him. This as he delivers it with this certain fixation on the idea, which matches this fixation we see in his eyes upon Davies. This as Shaw speaks as though he constantly looking for something from the man, something that Shaw doesn't portray as intense outwardly, but rather this internalized intensity towards an interest. This is the key to Shaw's performance though as we find in Shaw's major moment within the film, and the most concrete bit of information within the story. Once again proving the master of the monologue, Shaw's delivery of Aston's story is spellbinding. This is as he finally really speaks and Shaw pulls you into every word. This being another harrowing story of the past, but with a different tilt to the one he would become legendary for. This is as Shaw reveals a man essentially broken mentally, relating the story of the electroshock given to him. Shaw is haunting in every word by finding this most unique emotionalism, within just his eyes, and even the sharp distance of his story. This as he fashions this searing pain of the past within his words, that ends up being reflected into the present. This as he grants sense to the entirety of his performance, as explaining a man who has been stunted and detached emotionally. Shaw realizes this as man though, with still emotion, that still exists within him, but hidden within his hide damaged by perhaps illness, perhaps this trauma. Shaw's quiet intention to harm the man who had done this act to, he brings as this moment of remarkable clarity, as he conveys it as a bit of something Aston can hold onto in his difficult state. This is especially well realized as Shaw then segues back to Aston's statement of shed building, again as fixation he also uses as his base attempt at communication.

Shaw manages to convey the real purpose of Aston's long stares, and kindly actions as he seeks for human interaction yet struggles to find it. This making Davies seem the ideal candidate from his boisterous words, that again could seem affable enough, particularly for someone as socially stunted as Aston. Pleasence excels as he slowly portrays Davies not so much as changing, but revealing himself. This as he begins to slowly find friendlier terms with Mick, at the same time Aston attempted to reveal more of himself. With the former brother Pleasence fashions this almost good old boy attitude, as he revels in joy with the back and forth with almost this maniacal glee. This turns even more so to this as Pleasence speaks with quiet venom these little words of antagonism towards Aston to Mick, and reveals a subtle manipulation within the man. This is against his scene with Aston, as even when Aston really reveals his deepest vulnerability to him, Pleasence is terrific actually by making Davies's reaction so limited. This as this almost confusion of why the man would share such information, almost a disinterest as Pleasence reveals the secret of Davies, which that he's an entirely self-serving freeloader. I especially love the moment in which Davies's ramblings, which are usually false pleasantries, fake bake stories and general odd ego stroking, fall into threats. Pleasence rambles these off as he would any other, making them particularly cruel as Davies mentions he could have Aston returned to the electroshock, as though it is just a casual idea to him, and revealing just how little Aston's moment of vulnerability meant to him. This however making Davies's game becoming a bit more obvious as the manipulator, as he attempts to pit the brothers against one another for his benefit. There's a particularly simple scene in this regard where in the night Davies makes random noises while Aston is trying to sleep, again to be another manipulation. Pleasence is an amazing weasel as again he brings just such a casual earnestness in the self-serving suggestions, claiming an alternative job offer from Mick, even with the act having this fiendish intelligence revealed within his eyes as he makes his seemingly noises. Shaw is also great in this scene in portraying Aston's distaste finally with Davies's behavior, again through so little, that Shaw excels with in still conveying this disappointment in his eyes, rather than the eyes of interest and a hope for connection that we had seen before.

This eventually leading to the final confrontation of sorts as Davies duplicity perhaps gives a chance for connection for the brothers as Aston decides to evict Davies. Shaw does so much with so little in this scene as we are granted the one major interaction between the brothers, where Shaw finds a real poignancy in just the smallest sense of familiarity and affection he grants in the tiny glance between the brothers. This showing that perhaps Aston finally has found his connection with another person. This against his moment with Pleasence, where Shaw speaks volumes through his retiring manner, that distance himself as much as possible. This without uncaring deliveries, that are so notable, and make actually the sense of his earlier ones all the more. This now showing there's a truly detached Aston, from a sense of uncaring, rather than that early detachment in Aston due to his damaged mind, the two sides that Shaw flawlessly brings to life. Shaw says very little, but shows that Aston has no interest or purpose for Davies who abused his kindness. Pleasence offers one more magnificent scene, which is almost not necessary to say I suppose as Pleasence is outstanding every second he's onscreen here. I love what Pleasence does though as we have him again riffing through different terrible self-serving ideas, that are particularly obvious at this point, towards Aston to allow him to stay. As much as Pleasence does allow one to see just how despicable he is, he manages to find just the modicum of humanity in conveying a very real fear between each suggestion, of man with a very uncertain future. Both actors give downright brilliant performances. This is as each realizes a very tricky character, but grants a real sense to them and power to their existence. Shaw through a rather minimalist yet impactful turn of slowly revealing the truth of a broken, and Pleasence through a grand, yet nuanced and oh so complex portrayal of a broken man of an entirely different sort.

Alternate Best Actor 1963

And the Nominees Were Not:

Michael Redgrave in Uncle Vanya

Laurence Olivier in Uncle Vanya

Patrick McGoohan in Dr. Syn, Alias The Scarecrow

Gunnar Björnstrand in Winter Light

Peter Breck in Shock Corridor

Alberto Sordi in Il Diavolo

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

Robert Shaw in The Caretaker

Donald Pleasence in The Caretaker

Steve McQueen in Love With a Proper Stranger

Burt Lancaster in The Leopard

Maurice Ronet in The Fire Within

Marcello Mastroianni in The Organizer

Alternate Best 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 Supporting Actor 1971: Donald Pleasence in Wake in Fright

Donald Pleasence did not receive an Oscar nomination for portraying Doc Tydon in Wake in Fright.

Wake in Fright is rather unique and effective horror film of sorts about a middle-class teacher John Grant (Gary Bond) who finds himself in a mining town known as The Yabba.

Now the film is often described as a thriller though I don't feel that's quite accurate since those usually need more of an exact plot than this film has, although describing the film as a horror film might give the wrong impression as well. It is a horror film just you won't find your usual supernatural monsters, or even serial killers here. You'll just find people. It's all about the people though. Our main character John first enters the mining town, and is shown around by the local sheriff. The place seems like it could be harmless enough, though he finds two of the main sources of entertainment are constant drinking and gambling over a game that involves flipping two coins. As his little tour ends he comes across a man who immediately changes the tone set by the sheriff. That being Donald Pleasence who breaks any possibly positive sentiments with the incisive cynicism in his flawless delivery of his introductory line "All the little devils are proud of hell". Pleasence, as he would later prove with his performance in a Halloween as well, is a master of infusing a sense of dread in words and sets the tone for the rest of the film, which is not a horror of a single event but rather the horror of the very existence of the people in the Yabba, which again is not what you'd expect it to be.

Now with that introduction one might think Doc is somehow separate from the rest of the Yabba, but that's not quite the case, and with that is the brilliance of Pleasence's performance. Pleasence opens with that harsh truth of a man who has no delusions about where he lives, but in just a few moments afterwards we see Doc playing the coin toss game as though he's enjoying it just as much as anyone else. Pleasence plays this as the truth as well, which is very important to the way he develops Doc's character throughout the film. After these initial moments with Doc, where John loses all his money on the coin toss game and becomes stranded in the Yabba. This is where the horror starts which is found in the lifestyle of the men which involves brutal kangaroo hunts, gambling, and almost non-stop drinking. Despite being often in the open air there is a distinct sense of claustrophobia that amounts from the crudity of this life, which slowly seems to penetrate John's sanity. Most of the other denizens are of the place, and every moment is unexplained yet natural, as this is their existence. Pleasence though offers a different view through his portrayal of Doc, who does not quite fit with everyone else, but not in the way John fails to do so.

Again when Doc turns up again it is a card game, where there once again is plenty of drinking, and Pleasence only reveals Doc as a man completely at harmony with the other men as they go about downing yet another beer while making one crude remark after another. However the next morning when John finds himself in Doc's house, his association with the town becomes understood. Pleasence is terrific as Doc explains his enjoyment of what the town of Yabba has. There is devilish quality in Pleasence's grin as he states his ability to have all his sexual desires fulfilled and only looks down upon those who question his lifestyle. The sheer pleasure is shown by Pleasence as something more to the Doc than any of the other people who only know that way of life. Pleasence reveals instead this certain understanding and intelligence in the Doc's words actually, as he basically uses the nature of Yabba to live the life he wishes live, which would not be possible in a more savory place. the thrill Pleasence reveals of a man who has found his place, though again Pleasence does not allow this to be a simplification. Pleasence in that same smile still finds a definite self-loathing within, as he knowledge to perceive the sort of man he has to be to thrive in such a place.

Pleasence sort of takes over the film in its last act in an interesting way, in the way Doc seems to control John. Pleasence again does not do this as one would expect, in that he does not become commanding in the traditional sense. Instead Pleasence exudes an influence in an interesting, organic fashion as though the pleasure oozes from him in a way that spreads into John's mind. Pleasence is excellent as he goes full force to the point that this behavior is made grotesque, as the film intend, though he never makes it inhuman. The base qualities within it are always found deep rooted in Pleasence chilling yet always honest portrayal of this hedonist. This is pivotal to Pleasence's approach which succeeds in being more than just a personification of the Yabba. Pleasence is outstanding in his final scenes that he again subverts. This includes an implied homosexual encounter with John, which Pleasence carefully makes less exploitative than it might have been if the film had been completely left to its own devices. This is found in the surprising tenderness found in Pleasence's interactions with towards John, that again is comfortable with what he's doing, though it places John in a place he's most decidedly not comfortable in. I love Pleasence's final scene as once again presents a warmth as Doc comforts John with an apologetic tone acknowledging he went too far with him. This never feels like an inconsistency as Pleasence makes every aspect of the Doc only part of a cohesive whole. This is exceptional work for Pleasence as he helps craft the horrific atmosphere, though never simplifies his character, creating a fascinating portrait of a man who, for better or worse, has found his place in the world.

Alternate Best Actor 1978: Results

5. Christopher Reeve in Superman- Reeve has some weaknesses in his performance but it is hard to think of an actor more fitting for the role of Superman.

Best Scene: Superman sees that he has failed.

4. Dustin Hoffman in Straight Time- Hoffman gives a solid performance that overcomes the fact that he doesn't exactly fit the part, although it seems he could have gone further with the role.

Best Scene: Max confronts his worthless driver.

3. Anthony Hopkins in Magic- Hopkins is quite effective in portraying all acts of a man and his puppet who he is a little too friendly with.

Best Scene: Corky tries not to use Fats for five minutes.

2. Donald Pleasence in Halloween- Pleasence gives a great performance that adds so effectively to the atmosphere of dread found in his film.

Best Scene: Dr. Loomis describes Micheal Myers.

1. Peter Ustinov in Death on the Nile- Good Prediction Psifonian, feel free to name a year and a performance. Peter Ustinov is an absolute delight as Poirot acting as a witty entertaining guide for the audience to follow through the murder mystery.

Best Scene: Poirot reveals the murderer.

Overall Rank: 

1. Robert De Niro in The Deer Hunter
2. Richard Pryor in Blue Collar
3. Alan Bates in The Shout
4. Jon Voight in Coming Home
5. Peter Ustinov in Death on the Nile
6. Harvey Keitel in Fingers
7. Donald Pleasence in Halloween
   
8. Gary Busey in The Buddy Holly Story
9. Anthony Hopkins in Magic
10. Elliott Gould in The Silent Partner 
11. Ken Ogata in The Demon
12. Donald Sutherland in Invasion of the Body Snatchers
13. Dustin Hoffman in Straight Time  
14. Bruno Ganz in Knife in the Head
15. Harvey Keitel in Blue Collar
16. Volker Spengler in In a Year of 13 Moons
17. Robert Shaw in Force 10 From Navarone
18. Christopher Reeve in Superman
19. Laurence Olivier in The Boys From Brazil
20. Gregory Peck in The Boys From Brazil 
21. Roberto Cobo in The Place Without Limits
22. John Hurt in Watership Down
23. John Travolta in Grease
24. Warren Beatty in Heaven Can Wait
25. Ryan O'Neal in The Driver
26. John Hurt in The Shout
27. Tom E. Lewis in The Chant of Jimmie Blacksmith
28. Paul Sorvino in Slow Dancing in the Big City
29. Steve McQueen in An Enemy of the People
30. Richard Gere in Days of Heaven
31. Roy Scheider in Jaws 2 
32. James Caan in Comes a Horseman
33. Harrison Ford in Force 10 From Navarone
34. Ugo Tognazzi in La Cage aux Folles
35. Michel Serrault in La Cage aux Folles
36. Richard Dreyfuss in The Big Fix 
37. Sylvester Stallone in F.I.S.T
38. Peter Falk in The Brink's Job
39. Keith Carradine in Pretty Baby
40. George C. Scott in Movie Movie
41. Ken Foree in Dawn of the Dead 
42. Jackie Chan in Drunken Master
43. Kirk Douglas in The Fury
44. William Holden in Damien: Omen II
45. Kris Kristofferson in Convoy
46. Tommy Lee Jones in Eyes of Laura Mars 
47. Burt Reynolds in Hooper
48. Jack Nicholson in Goin' South 
49. Peter Falk in The Cheap Detective
50. Gordon Liu in The 36th Chamber of Shaolin
51. George Segal in Who is Killing the Great Chefs of Europe   
52. Luigi Ornaghi in The Tree of Wooden Clogs
53. Dirk Bogarde in Despair
54. Mark Hamill in Corvette Summer 
55. Richard Burton in Absolution
56. Robert Mitchum in The Big Sleep
57. Dominic Guard in Absolution 
58. David Emgee in Dawn of the Dead
59. Jonathan Scott-Taylor in Damien: Omen II
60. Fabrice Luchini in Perceval
61. Harry Hamlin in Movie Movie
62. Michael Caine in The Swarm
63. Brad Davis in Midnight Express
64. Alan Alda in Same Time, Next Year
65. Christopher Guard in The Lord of the Rings 
66. John Amplas in Martin
67. Richard Gere in Bloodbrothers 
68. Chevy Chase in Foul Play
69. John Travolta in Moment by Moment

Next Year: 1978 Supporting