Alternate Best Actor and Supporting Actor 1938: Results

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

Best Scene: Finding out the truth. 

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

Best Scene: Joining the investigation.

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

Best Scene: Final performance.

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

Best Scene: suicide attempt

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

Best Scene: Violent outburst.

Updated Overall

Updated Supporting Overall 

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

Alternate Best Supporting Actor 1938: Erich von Stroheim in Les Disparus de Saint-Agil

Erich von Stroheim did receive Oscar nomination for portraying Walter, the English teacher in Les Disparus de Saint-Agil.

I rather enjoyed Les Disparus de Saint-Agil for the strange coming of age mystery (?) that it is, about a boys school where some strange disappearances begin to occur.

Spoiler Alert, as I write about the best known actor among the supporting cast of a mystery. That usually means only one thing, well that seems to be the point in this case. Actor/director Erich von Stroheim didn't always play the villain, however he does carry a natural striking presence that is also more than a little menacing. This is merely a side effect though rather than a strict intention. This makes him perfectly cast here as Walter the English teacher of the boys school who everyone views as a little scary. von Stroheim's approach in this really is perfect by not trying in a certain sense. Of course he tries but von Stroheim rather delivers just that ease of menace that naturally comes from his presence without really adding much on top of it. The one notable thing he does is to avoid diminishing it, but also not amplifying it either. He rather establishes this natural state of Walter as this very calm and demure individual. He speaks with a quiet yet direct and assured manner. He walks as a man who is essentially a loner, in his very small and very internalized method of moving. von Stroheim presents a man who is not trying to bring attention to himself, however through that brings attention to himself as this overly insular man. There is an early moment that represents this so well where Walter asks the kids essentially if they think he is scary, which von Stroheim delivers beautifully as there is both a solemn hollowness in his manner yet an earnestness deep within it all the same as a man who doesn't want to be seen as scary.

The character of Walter the English teacher for most of the film is quite the red herring which is played up so well by von Stroheim. Again how von Stroheim plays it though is essential in this by carrying that casual unintentional menace. This is through his way of playing every weird action of the man as though he is unable to be anything but a little creepy. I love that von Stroheim doesn't create any false moments just to mislead you in the mystery, but rather makes it this accidental frustration. In the end von Stroheim reveals the truth by so consistently presenting the man as he is, and as this genuine person even if the genuine man always looks a little suspicious. Eventually though suspicious are lifted from him as he ends up helping one of the young rebellious boys trying to solve the mystery. This portion of the film is sadly a little rushed, typical to so many films from the period that want to keep their running time short. Thankfully we do get a bit of it and von Stroheim is rather entertaining as he is tries to go along with the boy. What is entertaining about this is actually von Stroheim once again sticking to the consistency of the character through his performance. von Stroheim still performs him in the same way, which works as both once again reinforcing that the man was honest the whole time, but also makes it a little funny to see Walter become a bit of a Sherlock Holmes of sorts along with the boy. Sadly this does not last nearly long enough. It is however enough to make the final scenes of the film, where a few of the boys welcome Walter into their secret club, properly heartwarming particularly through von Stroheim whose expression still is consistent in his stoic manner yet still reflects a very subtle appreciation in the reserved man. Although I wish the film made a greater use of his work this is a fun little performance from Erich von Stroheim that makes such great use of his onscreen persona.

Alternate Best Actor 1938

And the Nominees Were Not:

Jean Gabin in Port of Shadows

Raimu in The Baker's Wife

Charles Laughton in Sidewalks of London 

Claude Rains in White Banners

Erich von Stroheim in Les Disparus de Saint-Agil

Alternate Best Actor and Supporting Actor 1929: Results

 Erich von Stroheim in The Great Gabbo - GABBO! GABBO! GABBO! for you Simpsons fans out there. This is perhaps one of the earliest examples of the story of the ventriloquist who becomes a little too convinced that his dummy is real, although this is a bit more low key in that regard than the two Twilight Zone episodes that cover that material or say Magic with Anthony Hopkins. Of course it is Gabbo who is the ventriloquist and the dummy's name is Otto. Although Gabbo is not forced into murdering anyone he just kinda makes some bad decisions that get him into trouble personally and professionally. The film does not have too much to offer really on its own past Erich von Stroheim's performance. von Stroheim just is an enjoyable performer to watch and he has some fun here. Whether it is doing his actual act with such confidence and precision or on the other end of things as he goes a bit nuts confining in Otto about his various insecurities. von Stroheim manages to be fairly entertaining and elevates the film probably as much as he can with his loony performance. 4/5

Overall Leading Rank:

1. Ronald Colman in Bulldog Drummond
2. Ronald Colman in Condemned 
3. George Bancroft in Thunderbolt
   
4. Eric von Stroheim in The Great Gabbo
5. Oliver Hardy in Big Business 
6. Stan Laurel in Big Business
7. Willy Fritsch in Woman in the Moon
8. Maurice Chevalier in The Love Parade
9. William Powell in The Canary Murder Case
10. Groucho Marx in The Cocoanuts
11. Paul Muni in The Valiant
12. William Powell in The Greene Murder Case
13. Douglas Fairbanks in The Iron Mask
14. Warner Baxter in Behind That Curtain
15. Douglas Fairbanks in The Taming of the Shrew
16. Lars Hanson in The Informer
17. George Arliss in Disraeli
18. Gary Cooper in The Virginian
19. Ricardo Cortez in The Phantom in the House
20. Harry Stubbs in Alibi
21. Daniel L. Haynes in Hallelujah
22. Chester Morris in Alibi
23. Fuller Mellish Jr. in Applause
24. Johnny Mack Brown in Coquette
25. Harry Bannister in Her Private Affair
26. Matt Moore in Coquette
27. John Loder in Her Private Affair
    
28. Henry Wadsworth in Applause

Louis Wolheim in Condemned -  To be perfectly honest Louis Wolheim does not have too much of a character here as Jacques. He essentially just is Ronald Colman's prisoner buddy who replaces him as the Warden's wife's assistant. Well one could not ask for a better pair at the time with Colman as the lead and Wolheim as the support as both actors successfully transitioned from Silence to Sound since they not only knew how to present themselves towards the camera they also knew how to speak naturally. Wolheim does some good work here merely by just giving some life to a part that under most of the supporting actors from the period would have been as bland as everyone else, or over accentuated everything while being bland. Well Wolheim has a grand presence even in a role like this adding a nice bit of character to a nothing part as he always brings something to every line or action he has no matter how standard they might be. Wolheim manages to make Jacques an endearing sidekick in just a few moments, not really even scenes, and successfully makes his sacrifice at the end mean something even though the film doesn't really even work for it. 4/5

Top Ten Supporting:

1. Louis Wolheim in Condemned
2. Walter Huston in The Virginian
3. Lupino Lane in The Love Parade
4. Klaus Pohl in Woman in the Moon
5. Eugene Pallette in The Canary Murder Case 
6. Fritz Rasp in Woman in the Moon
7. James Finlayson in Big Business
8. Gustav von Wangenheim in Woman in the Moon
9. Eugene Pallette in The Greene Murder Case
10. Boris Karloff in Behind That Curtain

Next Year: 1969 Lead

Alternate Best Supporting Actor 1937: Erich von Stroheim in Grand Illusion and Results

Erich von Stroheim did not receive an Oscar nomination for portraying Captain eventually Major von Rauffenstein in Grand Illusion.

Grand Illusion is a great film about a few French soldiers imprisoned during World War I who continually make escape attempts from their captivity.

 The last time I covered a performance by Stroheim was for his villainous portrayal of Rommel in Fiver Graves to Cairo. Here he once again plays a German officer but this time it is obviously during World War I (since this film is pre-World War II), but he is a far different man as well. We first meet Erich von Stroheim's German ace pilot just as he has shot down Captain de Boeldieu (Pierre Fresnay) and Lieutenant Maréchal (Jean Gabin). The first order from Rauffenstein though is to gather the men and have them join him for a meal. von Stroheim is great as he portrays a great pride of a soldier who is delighted by his accomplishment, not at all from possibly killing someone but rather simply proving himself able as a soldier. von Stroheim is a great as he brings a gentlemanly charm as he invites the two men in. von Stroheim does not portray his courtesy as in any way mocking of the men but of a man who honestly wishing to pay tribute to his fellow officers.

Rauffenstein disappears for a great deal of time as the men are brought to a relatively simply jail but after repeated escape attempts they are forced, along with another man, to go to a castle fortress that is harder to escape from. Rauffenstein is now the warden of the castle. Where von Stroheim presented the man in his first scene, as a man happy in his place as a great fighter pilot, von Stroheim is very effective in portraying a man who has lost a great deal in this time. Not only is he no longer a pilot but a man permanently injured having burned his hands as well as hurt his spine forcing him to have to wear a neck brace. von Stroheim gives the sense of despair in Rauffenstein in his manner as he speaks with a far less pride as he tells the men about their new living quarters. von Stroheim is terrific in having still a light touch as he creates little humorous moments that feel fitting to the character, as though Rauffenstein does not take his duties too seriously, even though still even in these moments von Stroheim presents Rauffenstein as a broken man.

Rauffenstein discovers a kindred spirit with Captain de Boeldieu because they are both are aristocrats. von Stroheim and Fresnay are quite good in their scenes together as they strike up a naturally chemistry between each other. Both connect in a certain way and this is aided by the way von Stroheim and Fresnay's performances connect. Both play their scenes at a bit of a different wavelength from every one else as their manner in war is always that of the gentleman who takes a very particular pride in fulfilling his duties. Their manners match and together you see how both have come from the same aristocratic background. von Stroheim and Fresnay tread a very fine line here since they could come off as pompous rich guys, but rather surprisingly they don't. The camaraderie they establish between two men feel so genuine and has a great deal of warmth. What works so well is that von Stroheim and Fresnay convey how it is not their wealth that truly makes the connection, but rather fact that they both know they will be lost in the world created after the war is over.

Eventually their friendship is forced into question because the Captain decides to act as the distraction to allow his other comrades to escape during the commotion. Despite his pleading for the Captain to stop Rauffenstein is forced to shoot, and von Stroheim is really very moving as he portrays the way this decision pains him so deeply to do it. Rauffenstein despite trying to shoot him in the leg accidentally shoots him in the stomach wounding the Captain fatally. von Stroheim are fantastic in their final scene together as they play the scene so brilliantly even though it seems like a peculiar approach. Both still keep themselves as good reserved aristocrats yet the heartbreak in both men is palatable. von Stroheim in his reserve powerfully alludes to how the Captain's death does devastate him as it is not only his friend but one of the few men he understands that he has lost. This is a memorable performance by Erich von Stroheim as he gives such a fascinating and poignant portrait of how a man with a very unique code of honor fulfills his duties as a soldier.

Other Performances:

Jean Hersholt in Heidi  - Hersholt plays Heidi's (Shirley Temple) grandfather in the film, and even though its a corny style Shirley Temple film Hersholt does not fall into that himself really. In his early scenes he genuinely is fairly cold and retiring in his performance and is quite affecting as he portrays the way he gradually comes to love Heidi. His revelation of grandfather's warmth is very much earned by him and does not feel sappy because of this. His scenes are easily the most moving, and I probably become more invested in the film than I would have otherwise because of Hersholt's performance as the grandfather. When Heidi gets taken away Hersholt brings some actual pathos in his performance and is quite good particularly in the scene where he curses out God to help him. Hersholt brings a great conviction to his role, much more than you might expect in a Shirley Temple film, and gives honesty to a role that could been a single note caricature.

Humphrey Bogart in Dead End - Bogart plays the role he was often confined to in his early career that being the gangster. Bogart though fits this sorta of role quite well though of course. He's especially good when he first shows up have a great cool and confidence as he passes on some of his "wisdom" to the neighborhood kids who might dream to be him one day. Bogart as per usual also exudes though that rough exterior and is completely believable as the tough mobster known as Baby Face Martin who's going back to his old neighborhood for a visit. Bogart actually is great in portraying the sense of nostalgia that he has as he remember the "good old time" with a bright smile as he looks upon the dirty old place. Of course all is not so great as he visits his clearly mentally unstable mother who is not happy to see him and meets his old girlfriend who has turned to prostitution. Bogart is very effective as portraying when reality shatters his fantasy of what was. He suggests all of the confusion and downright horror at seeing that his old actions did nothing to help his family and friends. Bogart was an actor who often benefited from stretching his talent with more emotionally volatile characters. That is certainly the case here as he not only gives an appropriately convincing depiction of a gangster, but all the more remarkable is his depiction of one man being forced to realize the truth of his past.

Overall Rank:

1. Erich von Stroheim in Grand Illusion 
2. Douglas Fairbanks Jr. in The Prisoner of Zenda
3. Humphrey Bogart in Dead End
4. Thomas Mitchell in The Hurricane
5. Joseph Schildkraut in The Life of Emile Zola
6. Pierre Fresnay in Grand Illusion
7. Claude Rains in The Prince and the Pauper
8. Jean Hersholt in Heidi
9. Marcel Dalio in Grand Illusion
10. Ralph Bellamy in The Awful Truth 
11. Humphrey Bogart in Kid Galahad
12. Edward Arnold in Easy Living
13. Errol Flynn in The Prince and the Pauper
14. Fernand Charpin in Pepe Le Moko
15. Thomas Mitchell in Make Way For Tomorrow
16. James Finlayson in Way Out West 
17. Maurice Moscovitch in Make Way For Tomorrow
18. Ray Milland in Easy Living 
19. Alexander D'Arcy in The Awful Truth
20. Donald Crisp in The Life of Emile Zola
21. Raymond Massey in The Hurricane
22. Lionel Barrymore in Captains Courageous 
23. Edward Everett Horton in Lost Horizon
24. John Carradine in The Hurricane
25. Pinto Colvig in Snow White and the Seven Dwarves
26. Melvyn Douglas in Captains Courageous
27. Harry Carey in Kid Galahad 
28. Thomas Mitchell in Lost Horizon 
29. Edward Everett Horton in Shall We Dance
30. J. Edward Bromberg in Seventh Heaven
31. John Carradine in Captains Courageous
32. Joel McCrea in Dead End 
33. C. Aubrey Smith in The Prisoner of Zenda 
34. Adolphe Menjou in Stage Door
35. John Carradine in Thank You Mr. Moto
36. Lucas Gridoux in Pepe Le Moko
37. Raymond Massey in Fire Over England
38. Roy Atwell in Snow White and the Seven Dwarves 
39. Jean Hersholt in Seventh Heaven
40. Sam Jaffe in Lost Horizon
41. Ward Bond in Dead End 
42. Arthur Treacher in Heidi 
43. David Niven in The Prisoner of Zenda
44. Stanley Fields in Way Out West
45. Adolphe Menjou in A Star is Born  
46. Raymond Massey in The Prisoner of Zenda
47. Otto Kruger in They Won't Forget 
48. Chico Marx in Day at the Races
49. Sidney Blackmer in Heidi
50. Louis Calhern in The Life of Emile Zola
51. Eugene Pallette in Topper
52. Otis Harlan in Snow White and the Seven Dwarves 
53. Harpo Marx in Day at the Races
54. Jerome Cowan in You Only Live Once
55. Billy Halop in Dead End
56. Walter Connolly in The Good Earth
57. Mickey Rooney in Captains Courageous
58. Reginald Owen in Conquest
59. Clinton Rosemond in They Won't Forget
60. Sig Rugman in Nothing Sacred
61. Lionel Stander in A Star is Born
62. Charley Grapewin in The Good Earth
63. John Boles in Stella Dallas
64. William Gargan in You Only Live Once
65. C. Aubrey Smith in The Hurricane
66. Robert Newton in Fire Over England 
67. John Clements in Knight Without Armour
68. H.B. Warner in Lost Horizon
69. Barton MacLane in You Only Live Once
70. Andy Devine in A Star is Born
71. Vladimir Sokoloff in The Life of Emile Zola 
72. Harry Stockwell in Snow White and the Seven Dwarves
73. Alan Marshal in Night Must Fall
74. Scotty Beckett in Conquest
75. Charles Winninger in Nothing Sacred
76. John Howard in Lost Horizon

Alternate Best Supporting Actor 1943: Dana Andrews in The Ox-Bow Incident and Results

Dana Andrews did not receive an Oscar nomination for portraying Donald Martin in The Ox-Bow Incident.

Dana Andrews often played characters who were stern and very restrained in their emotions such as in films like Laura and Boomerang. This performance is in a way is as much against type as Joseph Cotten was in Shadow of a Doubt due to the emotional nature of the role. Dana Andrews plays the man who is the leader of a group of three men who are stumbled upon by the posse hoping to avenge the death of a local rancher. The men are accused of the murder, and they are helped by the fact that they have some of the man's cattle without a proper receipt for the purchase. These leaves Martin to try and convince the very angry men to believe that he and the other men had nothing whatsoever to do with the murder and are innocent.

Andrews has none of his usual demeanor in this performance instead giving a very emotionally charged performance as Martin. His first scene is incredible reflecting the complete confusion of the man as he founds himself surrounded and instantly accused of a very severe crime. Andrews is absolutely terrific bringing about the strain of the situation into his performance. Andrews is excellent in showing how hard it is for Martin to try to keep his thoughts together as he tries to juggle all of the question being asked at him as well as trying to keep things under control among his own men, and from the extremely hostile crowd who are ready to string him up without even the slightest explanation.

It is especially powerful to see the usually so confidant Andrews give such an emotionally violate performance. Andrews is especially raw an intense in nature, and in a time where so many performances could be dull it is amazing to see such an uncompromising depiction of feeling as Andrews gives. His pleas for understanding, sympathy, and for the sake of his family are heartbreaking. There is never a moment of false sentiment in his portrayal. His performance is only ever genuine. There is nothing showy about this but rather he plays the part in such a purely genuine fashion that he is utterly gut wrenching to hear his pleas that are only the pleas of an innocent man fighting for his life.

 Andrews's performance pretty much takes over the picture  with his presence as even when he is not saying anything his silent reactions to the posse's deliberations are just as powerful as when he is talking. When the posse vote on whether to kill them or to let them live Andrews's performance is that brings the power of the scene so strongly to life. His face is so haunting as he shows Martin trying so hard to keep it together as the men choose. He is so moving as he gives the glimpse of hope in his eyes when some choose to let them live, but his reaction to most of the choosing death is one of the saddest moments ever put in a fictional film as we see Martin see that he has no chance to live. 

The Ox-Bow Incident is about showing the horrors and wrongfulness that is the act of lynching along with the mob mentality that goes along with it. Andrews gives the portrait of the victim of this injustice with his delicate and poignant performance. Dana Andrew's performance stands for me as one of the most affecting performances ever through his wholly genuine depiction of a man pleading for mercy against a wall of seemingly deaf ears. Although I still did not cry watching this performance his work right along with Richard Jordan's performance in Gettysburg stands as two of the few performances that I can't help but choke up when watching and come very very close to losing my composure.

Other Performances:

Anthony Quinn in The Ox-Bow Incident- Although Dana Andrews does leave the strongest impression on the film a very young Anthony Quinn makes his mark in the film as one of the other men in the accused group of three men. Quinn plays Juan Martínez who seems like he is the least savory of the three men. Quinn is very good in creating his character form the get out from his expression when he first sees that they have been surrounded by the posse. It isn't of fear or surprise but rather like he was thinking that he would be caught for something eventually. His character has some secrets, and Quinn is very good in being an unpredictable element in the film as a bit is revealed about Juan throughout his brief screen time. Each of the men react to their potential lynching differently, and the three actors each portray their parts differently. Quinn is very effective in being the cynical one who doesn't accept his fate, and won't let his captors see any fears in his eyes. His role is a short one which doesn't get the majority focus as most is given to Andrews, but Quinn makes a strong impact with all that he has.

Erich von Stroheim in Five Graves to Cairo- Erich Von Stroheim plays Field Marshall Rommel, but that really is not important. He plays the main Nazi villain of the film, which was a common villain during the 40's, and often they would be one note or rather bland. Stroheim buck this trend though in giving a fairly intelligent performance as Rommel. He plays Rommel as the arch villain with a strong presence, and just the right amount of flamboyance. Rather just trying to be evil like most Nazi villains of the time Stroheim goes about making Rommel a worthy adversary, and an entertaining character. He tears into all his scenes with a certain refined style where he expresses the ability of Rommel, and just is a fun character to watch while still successfully being the villain he is suppose to be. A fairly limited role on the whole, but one that Stroheim plays with the appropriate gusto to make Rommel one of the best parts of this film.

Overall Rank:

1. Dana Andrews in The Ox-Bow Incident
2. Charles Coburn in The More the Merrier
3. William Demarest in The Miracle of Morgan's Creek
4. Anthony Quinn in The Ox-Bow Incident
5. Erich von Stroheim in Five Graves to Cairo
6. Harry Davenport in The Ox-Bow Incident
7. Palau in  La Main Du Diable
8. Lee J. Cobb in The Song of Bernadette
9. George Sanders in This Land is Mine
10. Francis Ford in The Ox-Bow Incident
11. Vincent Price in The Song of Bernadette 
12. Rex Ingram in Cabin in the Sky
13. Walter Brennan in Hangmen Also Die
14. Walter Brennan in The North Star
15. Walter Huston in Edge of Darkness
16. Walter Huston in The North Star 
17. John Carradine in Hitler's Madman
18. Takashi Shimura in Sanshiro Sugata
19. Henry Travers in Shadow of a Doubt
20. Charles Coburn in The Constant Nymph
21. Laird Cregar in Heaven Can Wait  
22. Hume Cronyn in Shadow of a Doubt
23. Harry Morgan in The Ox-Bow Incident  
24. Peter Lorre in The Constant Nymph
25. Charles Coburn in Heaven Can Wait 
26. Rex Ingram in Sahara 
27. Frank Morgan in The Human Comedy 
28. Anton Walbrook in The Life and Death of Colonel Blimp 
29. Orson Welles in Journey Into Fear
30. Akim Tamiroff in Five Graves to Cairo 
31. Pierre Larquey in Le Corbeau
32. Leigh Whipper in The Ox-Bow Incident 
33. Eugene Palette in Heaven Can Wait
34. George Coulouris in Watch on the Rhine
35. Walter Slezak in This Land is Mine  
36. Gene Lockhard in Hangmen Also Die
37. Richard Nugent in Sahara 
38. Frank Conroy in The Ox-Bow Incident
39. Dan Duryea in Sahara 
40. Denjiro Okochi in Sanshiro Sugata
41. Van Johnson in The Human Comedy
42. George Coulouris in This Land is Mine
43. Wallace Ford in Shadow of a Doubt 
44. Henry Daniell in Jane Eyre
45. Ray Collins in The Human Comedy
46. Peter van Eyck in Fives Grave to Cairo
47. William Eythe in The Ox-Bow Incident
48. Paul Hurst in The Ox-Bow Incident
49. Kent Smith in This Land is Mine
50. Louis Mercier in Sahara
51. Matt Briggs in The Ox-Bow Incident
52. J. Carrol Naish in Sahara
53. Charles Bickford in The Song of Bernadette
54. Henry Brandon in Edge of Darkness
55. Chris-Pin Martin in The Ox-Bow Incident
56. Albert Bassermann in Madame Curie
57. Marc Lawrence in The Ox-Bow Incident
58. Henry Travers in Madame Curies
59. Dick Rich in The Ox-Bow Incident
60. Yukiki Todoroki in Sanshiro Sugata 
61. Akim Tamiroff in For Whom the Bell Tolls
62. Macdonald Carey in Shadow of a Doubt 
63. William Eythe in The Song of Bernadette
64. Kurt Kreuger in Sahara
65. James Craig in The Human Comedy
66. John Wengraf in Sahara
67. Donald Buka in Watch on the Rhine
68. Richard Gaines in The More the Merrier
69. Nelson Eddy in Phantom of the Opera
70. Edgar Barrier in Phantom of the Opera
71. Eric Roberts in Watch on the Rhine

Next Year: 2002 Lead

Best Supporting Actor 1950: Results

5. Jeff Chandler in Broken Arrow- Chandler is already miscast around actual Native Americans, and his dull performance never makes up for this problem.

4. Edmund Gwenn in Mister 880- Gwenn is properly sweet and charming in his part, but the part of the most benevolent of criminals is not much of one.

3. Erich von Stroheim in Sunset Blvd.- Stroheim is perfectly cast adding another layer to his character simply through his own background. He also is always proper in his role, but his performance never becomes that amazing for me. Max Meyerling is certianly an interesting character but a limited one.

2. Sam Jaffe in The Asphalt Jungle- In many years I sort of look forward to rarely talked about nominated performance which are ample in this category. I usually find out why they are rarely spoken of like Gwenn, and Chandler, but I was very pleasantly surprised to find Jaffe's incredibly strong work. Jaffe's performance is subtle even simple work at times, that is amazingly effective and very memorable.

1. George Sanders in All About Eve-Sanders simply could not be better in the role of Addison De Witt. He channels the snarky smug, yet incredibly intelligent and suave ways of the character. Sanders always makes his presence known with every single comment he makes, and to top it off he has one unforgettable scene that is just a magnificent piece of acting.

Best Supporting Actor 1950: Erich von Stroheim in Sunset Blvd.

Erich von Stroheim received his only Oscar nomination for portraying Max von Meyerling in Sunset Blvd.

Now here is a performance and character I find that raises the interesting question of the difference between great casting, and a great performance. It must be said that it was quite brilliant to cast Erich von Stroheim as Norma Desmond's butler. The fact that Stroheim really was a famous director as Meyerling reveals himself to have been does add an extra layer. That Stroheim just like Meyerling had been reduced from once being a great director not quite to being a butler, but still being reduced to playing a butler. This casting just does add to whole underbelly of Hollywood feel to the film that works quite well in its favor.

Now his actual performance is a different story, since if you had no idea who Stroheim was his casting really would not have added an extra layer to the film. Stroheim early on just does a the butler duties of a butler role. He does them well with the right undercurrent of strangeness which goes well with the strangeness of the whole life of Norma Desmond. Stroheim is not given much to do, but he stays noticeable as a fixture of Norma Desmond's mansion. Stroheim does display the right odd devotion and caring of Meyerling to Desmond, and I do like his small way of revealing more of Max along the way, such as when he says not to look to closely at Norma Desmond's fan letters.

Meyerling is of course not just a butler but Desmond's ex-husband, and director. Stroheim does handle this reveal well, and did suggest it properly beforehand. He also is good at showing his inability to disappoint Norman when he is unable to tell her the truth about her popularity. Also Stroheim is good in the final scene showing Meyerling inner director come out at the end. I think Meyerling is a very interesting character far more so than he needed to be. Stroheim also does really portray the part as well as one could, his background does add to the film, but I do not think this is an amazing performance though. It is good Stroheim was perfectly cast, but I just cannot call this a great performance.

Best Supporting Actor 1950

And The Nominees Were:

Erich Von Stroheim in Sunset Blvd.

Edmund Gwenn in Mister 880

George Sanders in All About Eve

Jeff Chandler in Broken Arrow

Sam Jaffe in The Asphalt Jungle

Before I jump back to Best Actor and gain back my ability to relax as I review here is another Supporting year.