Alternate Best Actor 1998: Results

10. Vinícius de Oliveira in Central Station -  A performance that is fine in moments however he is always overshadowed by his co-star, and frequently reveals certain limitations that the film directs/edits around.

 

Best Scene: Any bonding moment.

9. Sean Gullette in Pi - Gullette has the occasional scene, however he frequently is overshadowed by the vision of the film, and often provides somewhat thin reactions to that vision. 

Best Scene: Any talk with Margolis.

8. Hugo Weaving in The Interview - His film frequently wastes him through a plot no one cares about, but Weaving is consistently captivating whenever he's onscreen in his portrayal of a serial killer. 

Best Scene: Confession.

7. Christopher Lee in Jinnah - The film tries to cover too much in too little time, but Lee gives a striking gravitas to the central character and offers any other levels whenever he can. 

Best Scene: Seeing the violence.

6. Han Suk-kyu in Christmas in August - Han gives a moving portrayal of the kind man and the emotional distress of his tragic situation.

Best Scene: One more picture.

5. John Hurt in Love and Death on Long Island - Hurt manages the tone of the piece quite effortlessly in portraying the very specific fascination of his character with a subtle emotion and humor. 

Best Scene: Confession.

4. Bob Hoskins in TwentyFourSeven - Hoskins is charismatic as usual in portraying a man with a vision but also excels whenever he is allowed to reveal the character's vulnerabilities.

Best Scene: Apology to no one.

3. Shah Rukh Khan in Dil Se...- Khan impressively deals with the various changing tones of the film, managing to keep them together even as they are so disparate. 

Best Scene: Final scene

2. Peter Mullan in My Name is Joe - Although bogged down by some plot mechanics later on, Mullan gives a charming and moving portrayal of a man trying to find a new leaf.

Best Scene: Why he quit drinking.

1. Matthew Lillard in SLC Punk - Well color me as surprised as anyone else that Lillard topped this year, but actually watching the film was no surprise at all, as it was the performance that hit that "extra something" that makes a performance truly great for me, where his performance energy is ideal for the role, however he also excels in being the straightman to the other "punks" while also bringing that comedic chaos himself, while also finding depth in this journey that ends up being surprisingly moving in the end. 

 

Best Scene: "Now what am I doing to do for friends?"

Updated Overall

Next: 1998 Supporting

Alternate Best Actor 1998: John Hurt in Love and Death on Long Island

John Hurt did not receive an Oscar nomination for portraying Giles De'Ath in Love and Death on Long Island.

Love and Death on Long Island follows a prestigious widowed British writer as he becomes obsessed with a d-list grade American actor.

The role of Giles De'Ath is an extremely idiosyncratic character to the point that artifice could've immediately realized itself from the outset, as from the outset we begin with a very specific man as a widower who shirks all technology, and lives a most solitary man of time gone by, including the death of his wife. And perhaps with a lesser actor this might've been obvious as a caricature of such a man, but thankfully John Hurt was cast in this part who has a way about getting into tricky parts. A tricky part this is, and Hurt from the outset makes us convinced of Giles, who I think one might've gone too hard on the sort of stiffness of the character, Hurt though brilliantly creates this convincing sense of history in this shyly withdrawn manner. Not shy of people in the traditional sense, but shy of the world that isn't the world of his literary genius that he obviously has been in for some time. So much of this film then becomes Hurt creating the sense of exploration when just by chance he is left out of his flat in the rain and stumbles upon a cinema, going accidentally to dumb teenager romp. Hurt's performance is beyond key because so much of this could come off as weird posturing or absurdly specific, however Hurt's many that creates a very real sense of confusion and discovery, with just the right tinge of comedic value to each that makes it work. The comedy being something that Hurt finds in the earnest way he presents the fish out of water mentality of the proper literary type suddenly watching the equivalent of a Porky's film, which is being both taken aback and in a kind of disbelief. However, things take a bigger turn when while watching the film he comes across one of its stars, Ronnie Bostock (Jason Priestley) and Giles is changed forever.

Again I think the idea of Giles specific shift where his whole world is changed by one glimpse of Ronnie, is fairly absurd as this isn't just a cinematic crush, this is a fundamental destruction of everything that was the closeted and cloistered Giles. Something that could be ridiculous if Hurt was anything less than perfectly convincing, thankfully he is perfectly convincing. Hurt's performance brings this sort of naivety even that works so well within the idea of the man's fascination, as with every moment of finding out more about Ronnie, who really is a run of the mill nothing actor, Hurt  combines this specific fascination, eagerness but also boy like adventurous manner of someone going on some kind of exposition. It would be easy enough to pinpoint it as just lust, but Hurt makes it more complicated effectively of Giles nearly leaving his own state to engage in this, something that is partly this falling in love, but just as much this man breaking those confines in his becoming something quite different. As it isn't just discovering Ronnie but Giles also discovers the whole world of technology, even if in technical pursuit of Ronnie. Hurt is fantastic in managing to be idiosyncratic with this indeed somewhat comedic manner of the amateur being most taken aback by every new bit of it all, but empathetic within that idiosyncrasy by also being so very nuanced in the moments of the very human way one can be excited to change one's world with the right motivation. Hurt gives such depth to every step of it, that while amusing because of how extreme it might seem, he never loses the sight of the man being so earnestly finding life in this new way, even if it is technically just fanboying over one specific actor, however he balances it beautifully to make something tangible if also out there at the same time.

Of course the film doesn't stop with such fascinations as Giles decides to use his literary clout to pursue Ronnie at his home, in Long Island itself, a move that honestly could be portrayed as stalker horror in many films, at the very least very unhealthy obsession in others, however here it is treated as almost charming eccentricity, something that again might not have worked if it had not been for John Hurt. Hurt manages to be both comedic and earnest, comedic by being earnest, by being so properly English and literary even while essentially fanboying his way into Long Island. Hurt has all that dignity in his performance, though showing a real fascination, but doing so again in this very proper way that makes it funny even if it is very serious when it comes to Giles's own feelings as presented by Hurt. Giles goes so far as to purposefully run into Ronnie's girlfriend, a scene that again would be too much in many ways if not Hurt's performance, who manages to even sell the pseudo physical humor of ramming his cart, because he manages to be oh so very sincere as he apologizes to her, despite lying through his teeth, as he will continue to do so in either lies or half-truths as he tries to get closer to Ronnie. Hurt when finally meeting Ronnie, manages to modulate his performance ideally within the subtle glances and moments of reservations of a man holding much in, but finding ways to explore when making suggestions and overtures of his career. Hurt putting in this reasonable delivery of every word of support, as much as it is just glowing fanboying, in stating his love for the young man, while keeping that very specific reserve on the surface that slowly wilts away as spends more time with Ronnie. And here is unfortunately where I think the film doesn't know exactly what to do, so it just kind of does a sudden speed run to an ending where Ronnie's girlfriend wants him to spend less time with Giles, so Giles has to speak one more time to Ronnie. A great scene for Hurt however in the way we see within the scene of Giles's finally letting that veneer go as the conversation goes. As he begins with that reserve, that artificial regalness and intelligence, that segues to such natural desperation in Hurt as he makes more of a plea, and then just genuine vulnerability in Hurt's eyes as he speaks as honestly as possible about his love for the man that he has felt all this time. Unfortunately then the film wraps it up a little too quickly for its own good, leaving a bit on the table. Regardless, Hurt delivers a captivating turn that consistently elevates and really sells the material that could've gone wrong in the hands of a lesser actor. 

Alternate Best Actor 1998

 And the Nominees Were Not:

Christopher Lee in Jinnah

Sean Gullette in Pi

Vinícius de Oliveira in Central Station

Bob Hoskins in Twenty Four Seven

Shah Rukh Khan in Dil Se..

Predict those five, these five or both:

John Hurt in Love and Death on Long Island

Han Suk-kyu in Christmas in August

Peter Mullan in My Name is Joe

Hugo Weaving in The Interview

Matthew Lillard in SLC Punk!

Alternate Best Supporting Actor 1979: John Hurt, Harry Dean Stanton, Tom Skerritt & Yaphet Kotto in Alien

John Hurt, Harry Dean Stanton, Tom Skerritt and Yaphet Kotto did not receive Oscar nominations, despite Hurt receiving a BAFTA nomination, for portraying Kane, Brett, Dallas and Parker respectively in Alien. 

Comparing Alien to most science fiction films of the period, such as the ill-advised Black Hole for example, or Star Trek the Motionless Picture (though it does have an amazing score), seems like they are of two different eras. Why is that? Well many reasons really. It has such a tangible sense of reality even though the whole film takes place on either a spaceship or an alien planet. A great deal of that has to do with the cast. I can just praise all of the cast together as one in part of what makes their work together. Take any scene where it is all of them together, before any xenomorphs show up, and what you have is such an authentic depiction of this specific community of people. Their interactions are just honest in such a fundamental sense and you get just the way they casually talk the small dynamics and the big ones just as they talk to one another as people, and just really co-workers as they do this job together as basically a group of space truckers. There are great aspects of reality that each actor brings to this. If you take even John Hurt waking up from hypersleep as the film opens where he doesn't just show a man getting up, rather there is a striking sense of reality by showing the wear on the man as he's trying to gain his bearings again and realize a sense of awareness. Or take Yaphet Kotto and Harry Dean Stanton who are both great at being part of the crew but also separate from the crew. That is as Parker and Brett are separated as basically the "grunts" of the crew, doing the dirty work and getting paid less. In turn, Kotto and Stanton have a great sort of sub-chemistry in the first scene as you see the two frequently commiserate a bit on their own, having just the right natural glances before they start asking if they can get better pay. Kotto is sort of the dominant "head" of the department though with endearing energy with Stanton as they espouse a mutual frustration with this kind of mischievous knowing that they're doing what they can to get a little more. Contrasting that again though is Tom Skerritt in the role that would seem the lead in an earlier film of the ilk, perhaps played by say a Charlton Heston, as sort of the no-nonsense Captain of the ship. Skerritt brings a nice low-key naturalism to the performance of just the ease about Dallas's reactions towards the slight indignation of certain members but also just wrangling everyone. He brings enough confidence though even this is behind a degree of exasperation just like most of the crew. 

Now, why is this better than so many of the horror films that attempted to copy it or some of the sequels, many directed by Ridley Scott even? Well many reasons really, but one of them is the cast of characters being developed as they are performed as they are. Ridley Scott behind the scenes for the film essentially stated that he focused on the visual aspects more knowing he had a strong cast who could carry their weight. And in a sense this cast is just that much better, they are working with a better script, but a script with lesser actors might've struggled here a bit. The script is strong and shows that to establish characters actually doesn't require that much time you just need to do it well, and need to perform it well. Hurt shows the more insular and particularly spent man just going through the motions as the crew investigates a nearby planet as commanded by their corporation. Skerritt has that right sort of ease and kind of unease as a Captain who does give out the orders but the camaraderie is such that he doesn't bark, he just asks in just about every one of his deliveries. And you get again Stanton and Kotto who honestly are rather delightful as the comic duo. Particularly when Sigourney Weaver's Ripley argues with them as they do the investigation and both are acting annoyed. Both are perfect though with their particular hidden grins of theirs both act like their jobs are especially hard as they purposefully troll as a marvelous duo. Their chemistry really is effortless as they find the most "working class" of the group. Stanton, by the way, being such an inspired choice for sci-fi, as an actor, he seems anything but that, and therefore gives the film this extra bit of credence as honest people in this situation. Have to give particular mention to the great back and forth as when Parker says any idea, Brett follows with a right, and Stanton and Kotto bring such naturalistic and still quite hilarious timing in crafting the sense of the duo being a proper pair. 

All four of the actors, along with Weaver and Cartwright give such a rich sense of this crew (Holm wonderfully doing his own thing as the odd "man" out), and that even in the divisions, like Parker and Brett's financial objections, you only get a stronger sense of the specific bond of coworkers who have been through quite a bit together. You know who each person is and in turn, there could easily have been a version of the film just called the crew, and make it hang out movie, I think it would've worked. This is a horror film, but the point is the film takes time, and the actors have the talent to make the eventual victims of the titular creature real people. You see this when Kane gets the face hugger on him, and everyone else shows their concern. I love Kotto's delivery of the guy on the side with an extra suggestion every time, but in that Kotto shows such genuine care for Parker. Skerritt though shows this specific concern of the Captain with kind of this more reserved quality of the leader trying to make the right decision in a stressful situation. Even Brett who doesn't say much, adds a lot just in his silent reaction of concern. Kane's unexpected awakening is a brilliant brief moment for Hurt even as his character is a dead man he still takes the time to be so haunting as he just mentions this internal sense of real pain and fear of pondering a dream of smothering. Against that, I love Stanton, Skerritt, and Kotto's reactions of the pure joy of just appreciating that their friend is alright. And in a way that "last supper" scene is particularly heartbreaking because again you see the crew as just a likable group of people having fun together. Of course, that also marks Hurt's final moment, which I'm guessing earned Hurt is BAFTA nomination (though hard to convince it should've been over Holm), in depicting the chestburster reveal of the alien. A scene where a good part of the horror is the visceral reality that Hurt brings as he wretches in pain and makes every moment of the terror all the more vivid as it really feels like something is killing him from the inside. A scene oft repeated, often quite lamely, and Hurt showed how it was done to the point it was never properly replicated. 

Soon afterward you get Brett's final moments, and again what is so great about Alien is the intensity it creates with the time it takes. Part of the reason is you have Harry Dean Stanton granting an absolute reality to the man walking around the dark portion of the ship, enjoying a bit of water on his face, before portraying spine-chilling terror as the creature descends upon him. Skerritt is also great in presenting Dallas basically attempting to become the true leader now, and portrays just the right combination of attempted bravery with fear. When giving orders just enough awkwardness in his delivery as he gives out orders and shows a man trying to be the leader in every way. Contrasting that his alone time with the computer of the ship, gives no help, Skerritt is filled with desperation in his face of a man as terrified as anyone. The scene of Dallas then trying to kill the Alien in the air ducts is amazing through everyone's acting really, but of course, Skerritt is at the center of it as Dallas. There to hunt the Alien, but instead quickly becomes the hunted. I love one particular delivery by Skerritt as Dallas basically says he needs to get out of there, as suddenly you see no hero, no captain, no leader, just a man filled with fear and wanting to escape the horror that awaits him. While not the focus of the film exactly Skerritt in a quick microcosm breaks down sort of the expected hero, by showing the man who doesn't find his greatest strength in times of trouble, but rather his greatest weakness. Against that though is Kotto's Parker, who despite being the lovable goof in the early scenes kind of becomes the potential hero of the film. Again, not focused on a shot even real, but watch Kotto after Brett's death scene, he completely shows a man torn up about losing his friend. Not a lot of time is spent on it, but just by his reaction, you feel the weight of it completely. Kotto realizes this growing pointed intensity in Parker as he tries to take on the role of the hero and in some ways succeeds like when he stops Ash from killing Ripley. Kotto brings this natural dogged determination that shows such a sense of conviction in the eyes of a man trying to help his friends and survive. I again especially love his moment of ensuring Ash's death. Nothing is said, it is just in Kotto's expression of hate and joy that you see a man purposefully avenging the death of his friends, as Ash's actions helped to kill everyone. Kotto even brings this kind of intensity in Parker's last scene by showing the man just going head first into battle, unfortunately, a hand-to-hand battle he could never win. I love though that even in his demise Kotto's eyes carry still a fighting ferocity, and it would've been easy to imagine a version of the film where he was the sole survivor. Of course, why do I love this film? Well, it is everyone in the cast is someone, and not idiots either. I love that everyone basically more or less makes good decisions, other than the insidious Ash, unfortunately, the Alien is greater than the sum of their strengths. Everyone though is a real person, with a life beyond the scenario. Each has its own story, some you get more than others, but you get a strong sense of each person, with each actor delivering on the promise of more than just they'll be victim # whatever. It's a truly stellar ensemble, not one performance is wasted. Everyone breaths their own life into the piece, and create memorable people that could've existed beyond this one story. As it is they give this one story a greater depth, and life than any other horror film of its ilk. 

(Stanton)

(Skerritt & Hurt)

(Kotto)

Best Actor Backlog Vol. 1: Results

5. John Hurt in 1984 - Hurt gives a devastating of a portrait of a man slowly finding humanity only to have it immediately and violently expunged from his soul.

Best Scene: "I love you"

4. Sean Connery in The Offence - Connery plays into yet also against type in creating a brutal and powerful portrait of a man unraveling within his mental trauma from his work as a detective of the worst crimes.

Best Scene: What really happened.

3. Claude Laydu in Diary of a Country Priest - Laydu gives a moving portrait of a man curious descent as he becomes confounded by his duties intertwined within personal doubts.

Best Scene: Personal Confession.

2. Al Pacino in Scarecrow - Pacino gives one of his best performances in his expressive, endearing but also very moving portrayal of a man who tries to get through his tough life by bringing joy to others.

Best Scene: "Baptism"

1. Nicol Williamson in The Bofors Gun - Honestly watching this performance again, this work deserves far more recognition in general, as it is one of the most captivating and searing portrayals of a self-destructive man that I've seen.

Best Scene: Asking for an answer.

Next: Still 43 lead/supporting, which judging by what I've seen so far, will not be a lineup, not that they're bad performances, just haven't found anything *too* remarkable yet.

Alternate Best Actor 1984: John Hurt in 1984

John Hurt did not receive an Oscar nomination for portraying Winston Smith in 1984.

1984 is not quite definitive, but certainly an effective adaptation of George Orwell's tale of a dystopian future, where thought itself is strictly regulated.

Returning again to the great John Hurt, in his banner year of 1984, where he made for a surprising, yet convincing, sporting lead in Champions, a notable against type turn as a cunning hit-man in The Hit, and here in the role Winston Smith, a character very much created with the intention to be our average man in this world. We follow Winston Smith as he enters into the world seemingly content to be part of it, as we open the film by watching him watch the government propaganda broadcast. This being part of a mass hysteria, albeit less intense one, supporting the violent causes of the their government against the apparent traitors. Hurt only showing a minor hesitation, a minor hesitation of any free will, and with that we have our man that is Winston Smith. The early scenes of the film are as we come to experience the existence through John Hurt's performance. This where he delivers in a way perhaps one of his most straight forward performances, this to the point that he even seems to ease back on his throat just a bit, that which typically carried a harsher tone even as relatively younger man. John Hurt emphasizing though effectively the average nature of Winston, he is not a man who is of some great note, and Hurt plays into this, however he does not use this as an excuse for a boring performance. Hurt rather excels in finding what is special within the observation of the average man in this society.

John Hurt manages to find what I would describe as a careful humanity in Winston. This as he looks upon his world so often just a man, but with a minor curiosity. A curiosity that alludes to where he eventually ends up, but also truly subdued in a man who initially only is simply part of the populace. This with much of a passive manner that Hurt brings with, though within that his eyes do conduct the minor element of discontent merely in that he isn't entirely a drone. This as we see him initially notice of Julia (Suzanna Hamilton), that is with this minor interest. This is alone though is major with the society of detachment, and in a way this alone spells doom for Winston. His initial tryst with her is portrayed curiously though quite effectively by Hurt, as this sort of breaking of a state. This as it begins almost as a game of sorts with the two following each other into a field for sex. Hurt's portrayal of Winston's wish for sex, presented through words of corruption against the words of purity as pushed by the state, are nearly stilted, though brilliantly shows of a man exhibiting this emotion, within such a deep seeded repression. This revealing the man's real lust within his delivery, though still controlled fitting to a man who is engaging in something entirely new within this type of rebellion. Their second rendezvous is quite a bit different, and less animalistic. This reflected in Hurt's reaction to seeing her in a dress, this with a simpler, more humane appreciation of her beyond simply a lust.

It is interesting as the two's chemistry actually becomes one less of an extreme passion and slowly more of sensitivity towards one another. Hurt's performance revealing just this modicum of more humanity within these interactions revealing more of a normal man in Winston, and in turn less content within the society. This though is not portrayed as a heroic journey, but rather one of a simple discovery of humanity. This even as he seems to discover outlawed texts, Hurt presents this as a greater appreciation seemingly for life in general. This with a greater attachment to the words that note the controlling society he lives in, but also just in his connection with Julia. Again a simple connection but a very tender one as found in the performances. They which create the sense of discovery within each other just the affection for one another. This as they begin to show as though they have a sense of happiness, as Hurt speaks with hope for the future as people, this of course being right before they are immediately arrested by the thought police. This leading to Winston to being "interrogated" separately by O'Brien (Richard Burton), a man he formerly believed to be a rebel. This involving much physical and mental torture. Hurt, as he previously showed quite memorably in Alien, is a master of depicting extreme physical pain. This in Hurt making these scenes extremely visceral alone on the sense of the torture of the man, being so brutal in Hurt's work that makes every moment of it feel almost unbearably real at times.

Hurt's performance is brilliant, though honestly quite hard to watch, throughout the torture sequence of the film. This as the collapse of the man's resolve is brought within his wilting delivery, and his eyes that are of a man slowly shattering before our eyes. The intensity of his work capturing the extreme nature of the situation but also showing essentially the act of exploiting the man's state. Hurt's work shows this not be a heroic man, but rather that of extreme suffering once again. The suffering granted an excruciating detail, given that Hurt somehow manages to show that there is a descent even from that extreme he begins at. This in his moment of confession Hurt's work is indeed heartbreaking by portraying this vulnerability of a man only able to bare himself at this point. The emotions of his love he did have true, but now wrapped in each moment with such agony. This as then the act becomes not Winston turning into the man he was at the beginning of the film, but almost a creature crafted by the state. This to be first wiped away to almost nothing, something crafted so terribly, in an incredible way, by Hurt's work as the decaying corpse he becomes, as few are able to do broken as well as Hurt. Hurt shows a man wholly broken in mind and spirit at the end of it, so gripped in pain that his delivery of the pain becomes internalized, as though he is so weakened he can barely speak.

This as Hurt shows the man turning into a hollow husk, his eyes representing a man gone to nearly unfeeling due to that suffering he has endured. This leaving seemingly at the end, yet there is one more test still, as O'Brien brings him to the dreaded Room 101, where he threatens to feed him to rabid rats. Hurt makes the scenario truly horrifying, as not only is the fear so gripping within his expression, and his voice just now this whisper of a man begging for his life. That being the end of the torture, where we find the "rehabilitated Winston" meeting the "rehabilitated" Julia. Hurt being wholly haunting, as now he is detached again, but now with this greater passive quality, and eerie contentment. A man seemingly without himself, as he callously ignores Julia, and speaks the party lines with conviction yet as robotic. Hurt showing a man alive but seemingly now without a soul. The film ends though, with a slight departure from the book, though even this is by leaving just a bit of ambiguity. This in itself is found in Hurt's performance, creating the most powerful moment in the end of the film, as we see Winston say "I love you" one more time. In the book this refers directly to the state represented by big brother. Hurt's performance though offers an alternate interpretation, though no less tragic, as his eyes bare emotion again, pathos and sorrow. This alluding to that he may still love Julia after all, as this is the only show of emotion. Of course, tragic still as in Hurt's expression it is that of a hopeless love that will never be experienced again.

Best Actor Backlog Volume 1

And the overlooked performances are:

Nicol Williamson in The Bofors Gun

John Hurt in 1984

Claude Laydu in Diary of a Country Priest

Al Pacino in Scarecrow

Sean Connery in The Offence

Best Voice Over: Tony Jay in The Hunchback of Notre Dame, Michael Graham Cox in Watership Down and John Hurt & Christopher Benjamin in The Plague Dogs

Tony Jay did not receive an Oscar nomination for portraying Judge Claude Frollo in The Hunchback of Notre Dame.

The nature of a vocal performance is perhaps an under discussed performance art form, with rare the credit given to the accomplishment. This as the vocal turn must do something quite unique in garnering the life and emotion to the images, at its best past even what the often vibrant images entail. The nature of a Disney villain performance may be another form in itself as it is often the source of entertainment for their films. This finding the right combination of a lively menace and just an enjoyable enthusiasm towards evil. Well with that we have Tony Jay as the greatest Disney villain, have no hesitations in that statement, as Judge Claude Frollo. Jay's booming baritone voice was previously used in a minor villainous role in Beauty and the Beast, as the corrupt head of an insane asylum. His work initially is an expansion on this as we see in his introductory scene. Jay quite powerfully carries a menace with such remarkable ease, and even a strange grace that suggests an unquestioned authority. Jay's work though has nuance, even before we are even given more in the introduction of the film where he murders a woman, and almost kills her malformed child if not called upon his faith to stop him. This as his pondering on the future of the "creature" as he puts it, with a manipulative intrigue at the idea of potential. This expanded upon as we see the later years as is teaching the "creature" grown up in the secluded bell tower to be Quasimodo. This as Jay brings a gentler tone, as nearly genuine one, that is rather remarkable in creating an honest sense of manipulation and even close to warmth in his explanations to his strange ward of how he should stay hidden. I particular affection for his introduction to "Out There" as the counterpart to Quasimodo's hopes of the outside world against the fierce condemnation of it by Frollo. This is something that Jay speaks not as a broad evil, but a fearful teaching with a false concern of manipulation.

Now we are given the broader evil, however even this Jay's work leaves a striking impact in specific intensity. This as a careful rage that seems to define the man's hate of the other. Frollo's evil though has far more to it than many a Disney villain, who are usually born evil, connected to the character of the novel, who is actually even more complex, however still notable to see that all complexity was not lost in this technically kid minded version. This is as even at his most evil, Jay delivers this proper conviction of a true zealot feeling his crusade has some divine purpose despite it obviously being to the contrary. This being the calm in his evil so often. This though he undercuts so effectively though as we see Frollo at his worst, with this more emotional venom, alluding to less a servant a God, and more a weak man defined by his own personal demons. The greatest depth though comes within his kept fascination with Esmeralda, and the lust that entails. Jay is outstanding in delivering this element most notably through he all time great song "Hellfire". Jay's singing is already terrific, but his performance of the song goes beyond technical skill. It is amazing the complexity Jay finds in the delivery of just one song. This as he opens with the solemn delivery of a faithful man of prayer. This slowly segues into this brilliant mix of genuine fear of the thoughts, with a desperate need related to them, along with a vindictive hate towards the temptation all the same. The detail and intensity of the emotion is simply incredible, as Jay manages to find, through his voice, a rawness within Frollo's mental state that goes beyond a generalized evil. Jay's work is not just an excellent villainous turn, as much as it is that, as he grants depth even oddly enough a distinctly flawed humanity to the hypocrite.

Michael Graham Cox did not receive an Oscar nomination for portraying Bigwig in Watership Down.

The vocal "responsibility" of the films of Martin Rosen is a little bit different in a way, as the animals, while still expressive to a degree, are a little more realistically depicted than a Disney expectation. This requires than vocal turns that some how both fit this specific tone of frankly a harsher animated film, along with breathing life within the character beyond the animation, which here is purposefully more limited. The films manage to capture this tone though and the cast of both is an essential element of each. Watership Down being a brilliant film that is part horror film, part adventure film in the context of a group of rabbits somehow trying to survive. Despite some valiant efforts of John Hurt here as the crafty leader of the group Hazel, my favorite of the cast and character is that of Bigwig. A larger rabbit, original burrow enforcer, who joins the group. What I love about Cox's performance is beyond granting the needed life to the character, through such devoted work, which is throughout the cast. This being just about every vocal turn delivers the conviction of a drama rather than the broader approach usually found in animated films. The standard here though is that of bringing a strict humanity to the animal characters because the performers treat the material as a seriously as they would any real dramatic piece. This is the same for...

John Hurt who did not receive an Oscar nomination or Christopher Benjamin for portraying Snitter and Rowf respectively in The Plague Dogs.

The Plague Dogs, is the, somehow, darker followup to "Watership", honing in an even more desperate tale of two dogs, who had been brutally experimented on, trying to find some place to live in the English countryside. This is all while the government is trying to kill them. I'll admit The Plague Dogs, does tear one's heart out then show it to you before you die, more so than any animated film that I've seen. An essential part of this being the performances of John Hurt and Christopher Benjamin together. This is again in both grant a given humanity to the dogs, who again have a purposefully limited emotional expression compared to many an animated film, however never seems as such. This partly due to just how careful the animation is but also what Benjamin and Hurt bring through their performances. Each give a complimentary performance to the other that is brilliant in creating the dynamic between Snitter and Rowf. Snitter being this strange optimist against the pessimistic Rowf. Hurt delivering, even within this sense of anguish buried within every line that reflects Snitter's horrible life, there is this hopeful wistfulness that Hurt garners to it. This is against Benjamin's performance that has a more grizzled quality to begin with, and a more immediately heartbreaking quality. This as the very wear of the dog, who was experimented on with forced drownings, is within his more overt anguish that speaks to the burden the life has had on Rowf.

But back to Michael Graham Cox again, who I love in his realization of Bigwig's arc. This as his initial performance carries the sort of inherent strength you'd expect. His voice creating just the since of a force of the rabbit with a tough stiffness. This though with a bit lacking in emotion other than anger towards some of Hazel's decision. Cox suggesting this potential bully even in the sort of force of his voice, but also a sense of confidence as well. Cox suggests Bigwig as a figure to be feared, even as he is on Hazel's side, and the sense of strength in every word he speaks as the larger rabbit. This suddenly changes however as Bigwig is trapped in a snare, a gut wrenching scene if there was ever one, that Cox also adds to in his harrowing haggard voice as he whispers out of his lines of the dying Bigwig. Bigwig manages to survive, and Cox is excellent in creating the sense of change in the rabbit in both in terms of respect for his company as well as general care for others. Cox is terrific in portraying this greater urgency and sense of warmth in his words. There is still this sense of strength, particularly as he takes lead later on in taking on the villainous Rabbit General Woundwort. The sense of determination that Cox delivers creates a sense of real passion that makes Bigwig stand out as this true hero. Cox brings this forcefulness that is remarkable in his voice though as it is underlined by a real care concern of that hero, rather than the seeming bully he might've been mistaken for early on. I in particular adore his vocal work in the final fight with Woundwort, where he brings such powerful sense of righetous distaste and intensity in every word he utters in the fight. This making quite honestly Bigwig was a proper, for the lack of a better word, badass, even as a rabbit. The moment of this that is the greatest in Cox's work is as he seems cornered but refuses to leave the smaller rabbits at the General's mercy. Cox is amazing in his voice manages to capture such desperation, still a striking defiance, and charity all with the same words. It is excellent work and with the best vocal turns it is that ability to create such a fluid and complex emotions, while never seeing the performer's face that is so notable. 

Speaking of, Hurt and Benjamin are particularly unique, and I'm not sure the circumstances of their recordings, but there is a such strong dynamic the two form with their voices. This is as Hurt is no stranger to exasperation, however his hardened voice only keeping that as an underlying factor makes it all the more moving in his portrayal of the consistently optimistic Snitter dreaming of an island paradise and a hope for the future. This is against Benjamin's work that offers an as moving portrayal of the bent nature of the dog, as his voice evokes the years of hardship and the waning belief in any chance at a real life. The two together though craft a warmth in between the two as their words to each other evoke a friendship and concern. A differing concern for each mind you, however Hurt haunting disjointed optimism along with Benjamin's broken resignation creates such a poignancy in each dog, but most importantly their friendship. Hurt's delivery is fascinating as in the optimism there is this bit of an intensity, a randomness at times, alluding to a mind that technically isn't quite right. In Benjamin there is a contrast in a bluntness of despair, but also still a passionate wish for survival with his friend. The ending scene is perhaps the best work from each as the two create a role reversal as they attempt to swim away from the authorities intending to kill them both. In Hurt you have that underlying exasperation brings itself to the surface in his voice that creates this heart wrenching hysteria as his certain madness is noted by despair rather than hope, however this is against Benjamin's work now of encouragement. His encouragement though is as blunt as his former despair, though now pushing his friend to push on. Their consistency though now with a different philosophy in the end, is brilliantly realized by each actor who creates this incredible moment. This of the two keeping part of their nature but changing this outlook. Both John Hurt and Christopher Benjamin's work makes the film as hard to watch as it is, though only because it is as affecting as it is, as they grant not only humanity and personality to the dogs, but a real sense of kinship and love.

Alternate Best Actor 1974: Results

5. Bruno S. in The Enigma of Kaspar Hauser - S. creates a proper enigma as he is always at a certain distance yet is always compelling.

Best Scene: Philosophies.

4. James Caan in The Gambler - Caan gives a terrific performance where he plays with his usual image to create a man at odds with himself as essentially meek man deluding himself with the risk his gambling addition entails.

Best Scene: End of the game.

3. Robert Mitchum in The Yakuza - Mitchum is a proper badass as you'd expect yet he finds a real substance within the role by so effectively exploring the history with the man.

Best Scene: Amputation forgiveness.

2. John Hurt in Little Malcolm - Hurt gives a downright brilliant performance that makes sense of his potentially unwieldy material, and is always engaging even as the film loses steam.

Best Scene: Malcolm's delusions are confronted.

1. Warren Oates in Bring Me the Head of Alfredo Garcia - Good Predictions Luke, Charles, Robert, Tahmeed, Omar, RatedRStar, Matt C., BRAZINTERMA Prêmio Fictício, Anonymous and Calvin. Oates easily wins this lineup for me for his dynamic and daring portrayal of a man already on the edge falling off.

Best Scene: "Because it feels so good."

Updated Overall

 Next Year: 1974 Supporting

Alternate Best Actor 1974: John Hurt in Little Malcolm and His Struggle Against the Eunuchs

John Hurt did not receive an Oscar nomination for portraying Malcolm Scrawdyke in Malcolm and His Struggle Against the Eunuchs.

Little Malcolm follows an English layabout who attempts to create some strange virility based political party after being thrown out by college.

John Hurt's appearance here is very similair, though perhaps this is just uniform for an English near-do-well, to David Thewlis as Johnny in Mike Leigh's Naked. The comparison doesn't stop there though as they both handle their cigarettes by holding them just barely at the bottom of their mouth, saunter along with a poorly postured gate, most of the time anyways, and aren't just any sort of layabout they're the, unfortunately perhaps, philosophical sort. Now my, brief research into a recognized connection between the two brought up nothing, but I still felt I had to point it out it. Naked is the superior film though as this film feels very much stuck within its stage roots leaving itself to be really carried by the actors, luckily for the film two of those actors are John Hurt and David Warner. John Hurt is such a great actor that to see him just take on an "actor's role" is probably going to be a bit of treat. Hurt again begins in effectively creating that unique personal style of the character, that I have to believe influenced at least one film to come. Hurt's terrific at being this man who we seem to meet at a particular low point in his life, as that does seem emphasized in his very physical being. The way Malcolm deals with this problem though is rather strange, and seems like something that it's a bit difficult to make logical within the more literal medium of film.

Hurt's performance is remarkable as he does make logical sense of the character even with the odd way in which his character behaves. He does this by first establishing that starting point of the character. In the moments where Hurt is alone he portrays him basically as this loser. He just there with little to no passion within the man as he sits around his apartment doing nothing but wasting his hours away. Hurt takes this further actually by creating a real sadness in Malcolm's lack of accomplishments, which seem centered around his inability to take a further step with the young woman Ann who seems interested in him yet he fails to properly compensate. Hurt stays nuanced in these moments as he just reveals the quiet, yet palatable internalized sadness in these reactions to her. When he verbalizes essentially his impudence Hurt importantly does not place any theatricality on these thoughts. In these moments Hurt breaks down Malcolm to his purest form which is just as a sad little man pained by his weaknesses. Hurt in these moments effectively anchors the movie since he shows, that despite anything else that we will see, Malcolm is this troubled college drop out beneath anything else we may see.

Hurt builds upon his setup and we see this when we witness Malcolm interact with the other characters. In his scenes alone with the subtly named, I write with much sarcasm, Charles Nipple (David Warner) Hurt presents just a layer of a facade for Malcolm. Hurt only fashions a partial one that he portrays mostly as this surface reaction to Charles a man who seems so comfortable with himself. Hurt presents a direct anger and antagonism. Hurt carefully directs this in the scenes though as a passion, simplistic, hatred not so much really towards the man, but rather that confidence he exudes in being himself. Hurt astutely does not make these moments pure in the facade though as Hurt shows much more of the real Malcolm still in these moments. As the anger he inflicts towards Charles has still a great deal of that sadness that defines the man, and there still is a great degree of discomfort in himself even as he lashes out at Charles for being so at ease with his very being. Hurt though has another layer to facet though, sort of the crux of the story though, since it's the version of Malcolm that I suppose sells the plot as well as uses up a great deal of the film's screentime.

The last relationship is between Malcolm and two of his other friends, more of lackeys, Wick and Irwin. It is there where he fashions the political party based on proper erections, and dominant men. Hurt in these scenes creates the full facade of them which actually makes sense of the whole ridiculousness of the concept, since within the film Hurt portrays Malcolm essentially playing the part. The part Malcolm is playing is of this maniacal cult or rebel leader with the other men. Hurt does not depict this a mere fantasy for the sake of it but rather shows it as an active display of Malcolm attempting to delude himself into any type of confidence. In these moments Hurt makes Malcolm a different man but only in terms of putting on this fake act. Now all credit must go to Hurt for making these scenes make any sense, however they also are technically just a chance for some serious ACTING on John Hurt's part. Thankfully if John Hurt's doing the ACTING up all for it, especially he does bother to ground these through his other scenes. Now these scenes are a bit much with just how thick the dialogue and monologues are in these scenes of Malcolm creating phony trials, kidnappings and other duplicitous acts in the name of the part.

Hurt is great in these scenes and has earned the right to throw himself right into them. The film further benefits from them since you get to have John Hurt playing different types of roles as part of this one which is quite the splendid thing. We actually get some shades of both his later dictator in V For Vendetta, as well as how his own O'Brien in 1984 might have been if he ever got a chance to reverse the roles. Hurt brings that grandeur of the firebrand leader, and the viciousness of a true violent anarchist as he vindictively pursues his "righteous" cause. Hurt goes all the way in bringing the fullest intensity, and I'll admit it is rather fun to watch just all on its own because of Hurt. This is even as the scenes as written do become a bit tiresome. Hurt's a great actor, so naturally he's great at acting while acting within this film. He's wonderfully insane brute as he leads his men as a downright insane impotent army. Hurt carefully never loses his fundamental definition of the role as even in these scenes he has these careful moments where he breaks, where he delivers the man filled with a brief anxiety that he can only overwhelm by reinforcing his sentiments in all the more zealous fashion. Eventually though Malcolm is called directly on his delusions by Ann which is an outstanding scene for Hurt. In the scene Hurt reverts to the sad quiet man filled with desperation. When she outright asks for him to have sex with her, Hurt's amazing as in his face he represents sheer terror of a man who has no idea how to connect with a woman in any real way. It is only when his henchmen reappear that Hurt reveals slowly growing confidence again but only in the most despicable way. Hurt reveals the man just revert to his delusions, but this time it is even messier as his speaks with such certainty yet his eyes are still are clasped into a deep depression. This time the fantasy holds not a bit of enjoyment for anyone, as Hurt makes the worlds collide in a most, purposefully, unappealing way. Although I would not classify this film as a major success, or perhaps even a success, this is great performance by John Hurt. He takes a potentially unwieldy role and successfully translates the threads into a cohesive and compelling whole.

Alternate Best Actor 1974

And the Nominees Were Not:

Warren Oates in Bring Me the Head of Alfredo Garcia

Robert Mitchum in The Yakuza

James Caan in The Gambler

John Hurt in Little Malcolm and His Struggle Against the Eunuchs

Bruno S. in The Enigma of Kaspar Hauser

Alternate Best Actor 1984: Results

5. John Cassavetes in Love Streams - Cassavetes is convincing as the off-beat playboy, as well as the supportive brother, but the impact of his work always remains rather muted. 

Best Scene: A naked man. 

4. Jack Lemmon in Mass Appeal - Lemmon tries his best to salvage his material giving some honesty to his character even within such a problematic film.

Best Scene: Browning speech.

3. Tsutomu Yamazaki in Farewell to the Ark - Yamazaki manages to find balance within the film's strange tone giving a funny yet still honest portrayal of his character's intense frustrations.

Best Scene: He snaps. 

2. Terence Stamp in The Hit - Stamp gives an amusing yet moving portrayal of a dead man walking who seemingly has come to terms with his fate.

Best Scene: "Death be not Proud"

1. John Hurt in The Hit - Good prediction Varun. The immensely talented Hurt proves himself more than capable at being the heavy this time around giving a properly chilling turn yet offers more depth in his vivid portrayal of a hit man who has been at his job for too many years.

Best Scene: The titular moment

Update Overall

Next Year: 1984 Supporting

Alternate Best Actor 1984: Terence Stamp and John Hurt in The Hit

Terence Stamp did not receive an Oscar nomination for portraying Willie Parker and John Hurt did not receive an Oscar nomination for portraying Mitchell Braddock in The Hit.

The Hit is a terrific low key crime film about two hit men attempting to transport a police informant to face his former colleague.

The Hit features to begin with very interesting reverse casting for the accomplished actors in the two leads. Terence Stamp who often played the predator in films such as The Collector, Superman, and Far From the Madding Crowd plays the prey in the form of the police informant Willie while John Hurt who was often the unfortunate victim such as in Alien and 10  Rillington Place, is the would be assassin. The two very talented actors have no difficultly with this adjustment, as we first see Braddock in the film's stylized intro, but we first meet Stamp's Willie as he is successfully testifies against his old gang. Stamp technically plays his trick early on which is the basis for his characterization of Willie, but no reason to give away the trick quite yet. In terms of the sheer basic performance requirement it is a lot of fun seeing Stamp in this more passive sort of role especially in this opening scene as he testifies against his former colleagues. Stamp is curiously enjoyable as he portrays Willie almost a little too aloof in his testimony as though he's barely giving a second though, I particularly like his strangely passionless explanation that he's only testifying because he thinks it is the right thing to do.

The film then jumps ahead ten years to reveal Willie hiding in Spain where he gets caught up by some local thugs and is brought to the English hit men of Braddock and his young accomplice Myron (Tim Roth) who will take him the rest of the way. Once Willie sees the men, and figures where he's going he takes somewhat curious yet rather brilliant approach. In that he again makes Willie rather easygoing given his rather difficult situation. Stamp portrays this all the way in these scenes as his very physical manner is as though he is on a casual vacation, and speaks as though he's talking to some acquaintances. The trick is, though not specifically stated, is within Stamp's performance in that while rather aloof he's not entirely detached. Stamp instead suggests that Willie is playing a game, and is trying to work the men though without them noticing. Stamp's great as he actually gives a rather comedic performance at times by portraying Willie as trolling the two men in an attempt to mess up their plan. When early on Willie introduces himself to a stranger, Stamp's delivery is oh so pleasant yet there seems to be a distinct pleasure in the act that makes things a bit more complicated for Braddock and Myron.

Well that brings us to old Braddock played by the one and only John Hurt. Hurt's performance plays so perfectly against Stamp because he shows quite bluntly that Braddock is not playing a game, he's doing a job. Hurt's whole presence exudes this world weariness fitting to a man whose job is to kill people, and to a man who has doing it for quite some time. Hurt portrays no joy or eagerness when they initially catch Willie, he just gives him a straight stare as though he's confirming a work order. Hurt does not use this to suggest that Braddock is any way fed up with his job, but rather that he's so accustom to it that it has become rather routine. The two are a great balance, and only amplified more so by the overeager Myron. Braddock is the man of the least words leaving most of the speaking to Myron, except for the words that actually need to be said. Hurt's performance is almost the opposite of his turn in the Elephant, where his face was almost entirely covered, as so much of this turn relies on his facial reactions. Hurt, like Stamp, is often rather funny though with Hurt it is through exasperated reactions towards the stupidity of Myron or his attempt to figure out what exactly Willie is up to.

That is not to say Braddock is some hapless sap, in fact far from it. It is fascinating to see Hurt take on the role given that he is not the most physically imposing figure yet that does not matter. Hurt in a strange way makes use of his wiry frame to add to the personal style of Braddock which is this minimalist and specific action. Hurt is actually quite chilling in the role by so effectively realizing this method of Braddock, as he says so much even as he speaks so little. The menace that Hurt exudes is quite remarkable by how effortless he makes it. On one end this is in portraying the exactness of the man's action, as Hurt is excellent in his slight reaction conveying the way Braddock dissects then acts. For example there is a moment where Willie suggests that a third party probably will talk, and Hurt is rather chilling by managing to convey in his expression Braddock determining that the man must die. In the scenes where Braddock goes about killing someone Hurt is so quietly terrifying, as he does not show quite a true sadism as Braddock but does show just how simple the act has become for him.

I rather love how Hurt approaches this because it manages to do two things. On one hand he is the heavy he needs to be by making an act so vicious by being so unassuming while doing it, as he will just casually hold a gun or reveal it since he's done it for so many years. Hurt technically has the traits of the usual "cool" hit man, with his sunglasses, his way of smoking, his casual demeanor, but he uses for a more disturbing end. Hurt's work goes further than that as it also suggests the weight of the years of this life. Hurt though doesn't use this to garner Braddock a true sympathy but rather a troubling understanding. He can be so blase because he's killed so many people in his life, and there is something quite unnerving about such a situation. When Braddock gives sort of a stay of execution at times for Willie, as well as their unfortunate fourth passenger, Maggie who they take along as hostage, Hurt makes it less of the man feeling any sorrow for them rather just sort of saying "Hmm not quite the right time yet". In this way Hurt technically is on a similair wavelength to Stamp in that he's also playing a trick on his companions and the audience, the difference is it isn't quite as purposeful. You may think that Braddock might have a bit of mercy in him somewhere, but in reality we just don't know him well enough yet.

Now I seem to be wrongly ignoring Stamp who stays rather consistent through much of the film, which is not problem given what he shows his character's up to, and also the fact that he is also consistently entertaining in the role as Willie so jovially plants the seeds of doubt in his captors' minds. Stamp though does portray this gradual transition of sorts as though Willie is kind of slowly getting more and more into this character he's developed for himself to trick the men with. The character being a man who is frankly above it all, to the point that he even claims to be above dying. When he describes that death is but a natural process, Stamp grants it the sincerity of a true philosopher who maybe believes exactly what he says. Fittingly as always Hurt's equally good in the scene in portraying Braddock genuinely taken aback by someone who has come to terms with death, something he himself hasn't. The problem is all the tricks come to a head though and all is revealed. On one hand Stamp shows that this really is an act that old Willie has crafted, and over the day has almost begun believe his own acting. Stamp earns a change in this as when he is initially captured, as well as initially threatened by his old colleagues, he shows a man fearful of his life. This is revealed to be the real man when Braddock reveals he's decided to kill them all early. Stamp's actually rather heartbreaking as his act breaks with such a genuine moment of realization of the fear of death as Braddock tells him his time is up. Hurt on the other hand again was showing no trick, but rather a misinterpretation of his actions. Braddock reprieves were not out of any sympathy but just a man knowing he could finish the job later. As we are reminded of Braddock's violent moments which are all standout moments due to Hurt. There's a moment where Maggie attempts to get help, and Hurt's reaction is sheer perfection as it is less "oh no" and more "what you really think I haven't handled something like this before?". This everyday approach to the hit man is downright amazing especially in those small moments that seem so fitting to a man just going through the motions that make the character particularly menacing. Now Stamp gives a fantastic performance, but I absolutely loved Hurt's approach to his role. Although we never leave the confines of the job Hurt through these scenes gives such a vivid portrait of this hit man that in no way makes him any less intimidating.

(For Stamp)

(For Hurt)