Alternate Best Actor 1962: James Stewart and John Wayne in The Man Who Shot Liberty Valance

James Stewart did not receive an Oscar nomination for portraying Ransom Stoddard in The Man Who Shot Liberty Valance.

The Man Who Shot Liberty Valance is perhaps John Ford's best western about two men's whose lives are intertwined by one vicious outlaw.

The Man Who Shot Liberty Valance is perhaps Ford's most introspective western as it is no way about merely the good people defeating the bad elements in the west. After all we know right from the title that the outlaw Liberty Valance (Lee Marvin) is going to die. Although the basis for much of the story alludes to this confrontation is seems far more interested in the examination of the historical interpretation of the event. The film actually begins only reinforces the inevitable all the more as we appear to meet the titular man as he arrives in the town where the event took place, now a much older, and very successful United States Senator. Oddly enough these scenes have Stewart actually nearer to his actual age, than the scenes set in the past. In these scenes though Stewart reflects a man who has been created from a life of rich reward. He truly is the politician he was meant to become now as Stewart carries himself with certain grandeur about himself, and that anytime in which he speaks to people, who are not old friends, he does it with strong voice which has clearly made more than a few important speeches in its time. He appears to the great man the local press wishes him to be, though when mentioning why Ransom has returned to the town, the politician begins to fade away.

We then jump back to the past when Ransom first arrived in the west where the first thing that happens to him is he is robbed and beaten by Liberty Valance and his gang. It is quite incredible actually that Stewart somehow manages to not show his age with his performance, despite obviously looking older Stewart in no way seems like a man of over fifty playing the part. Stewart in the first scene successfully calls back to the early phase of his career bringing that similair sort of energy to his performance as he attempts to deal with Liberty. Stewart brings that sort of youthful passion, found in say his performance in Mr. Smith Goes to Washington, as he espouses his outrage out of Liberty's behavior which leaves him from an inch of his life. Ransom is saved by a local Tom Doniphon played by John Wayne. I guess I'm legally required at this point that Wayne was also not nominated for his performance in this film. Anyway with The Quiet Man and The Searchers I covered performances by Wayne where he was a bit out of his comfort zone, or at least his type. The Man Who Shot Liberty Valance on the outset seem in Wayne's comfort zone, after all parodies and imitations of Wayne always use the line "pilgrim", even though this is the only film where he really said it.

Now Wayne's performance here is very intriguing example of Wayne's onscreen persona, because actually of the limited view we are given to Doniphon in the film. Now this raises a point of order whether or not Wayne is actually co-lead with Stewart, or in fact supporting. I'll admit this is a case where if one were to decide on either choice I would not disagree with them. After all there is only really one major scene where he is alone without Stewart, though many of the scenes where he is with Stewart he is given equal importance. I'll just say it's up for an actual debate, but for the moment I'll have in him in lead. The position in the film Wayne takes though enables for Wayne to actually give one of his most assured performances in the traditional Wayne style. If one were to ask the appeal of Wayne onscreen it would be best to point to this performance. Wayne is terrific as he is just in his element here and in turn makes Doniphon a man who is absolutely in his. Wayne's command of the screen here is truly effortless as he makes Doniphon the great man that everyone already believes him to be as the film begins. Wayne carries himself so precisely here in that you completely believe the status given to him, and like Stewart some how overrides the fact that he's too old for the part.   

Stewart is not to be forgotten though with his performance as Ransom as Stewart so effectively depicts Ransom's attempt to get a grasp on the nature of life in the west. Stewart brings a bit of that aw shucks enthusiasm here in the scenes where Ransom attempts to offer what he believes that he can offer that being his knowledge of the law and education. Stewart depicts this with a likable earnestness though also alludes to Ransom's naivety in terms of the situation he happens to be in. The ideas of the east are clearly well kept in Ransom, and Stewart brings an appropriate straight forward quality to the man as he points out a law that should put Liberty Valance behind bars, the problem is no one cares the local Marshall included. This makes Ransom the constant victim of abuse from Liberty in particular, but also others due to his manner that does not fit to the exact limits of masculinity expected in the west. Stewart is very good in providing a gradual emotional breakdown of sorts in Ransom as he stands for himself his own way though is repeatedly beaten down and disrespected nonetheless. This partially even comes from Doniphon himself as the two are connected mainly by two things.

The first being Liberty Valance as Ransom is consistently ridiculed by him, and brings Doniphon into the mix as well. There is a great scene between Stewart, Wayne, as well as Lee Marvin when Liberty trips Ransom on his way to deliver a steak dinner to Doniphon leading to a face off. Wayne is exceptional in bringing such palatable  intensity as Doniphon stares down Valance and makes it believable that even Liberty could back off from the stare. Although the two are in such a showdown of powerful personalities that leaves Ransom. Stewart is not lost in the scene, but manages his own place brilliantly in depicting Ransom's outrage at both men for seeming so eager for violence. Stewart's intensity is the equal of both his co-stars, but he makes it on a different wave length of them as though it is impossible for him to connect to this sort of duel. Due to this Doniphon attempts to educate Ransom on this, somewhat harshly at times. Stewart and Wayne are pitch perfect together as they find such a clear divide between the two as they are very different men, yet within that they are convincing in developing the unsaid understanding between the two that is pivotal for the film.

Now their other connection concerns a mutual love interest Hallie (Vera Miles). Hallie is treated simply as a certainty by Doniphon, but Ransom calls this into question. I don't know if anyone other than Stewart could make Ransom's "stealing" of Hallie from Doniphon work as well as it does. Stewart's charm is so natural that he makes his interactions with Miles, to not have an even slightly problematic intent. Stewart makes it that Ransom manages to win her over, but does not even for a moment intend to do so, he just happens to. Of course these two connections ultimately come to a head when Liberty attempts to stop statehood, supported by Ransom to the point he is made a delegate to an important conference, through any violent means necessary. This leads to Ransom confronting Liberty in a duel. Stewart is amazing in the scene as he portrays a definite fear as he takes the fateful steps towards Liberty, but also a tremendous determination as he faces down the man. It appears he kills Liberty, and is hailed a hero by most. Stewart is fantastic as he portrays an overwhelming guilt in Ransom, showing a man who believes he's betrayed himself by using violence to stop problems. He is shaken out of this daze though by Doniphon. Wayne is equally strong as he shows a man perhaps even more haunted by something as he reveals he in fact saved Ransom by shooting Liberty from a distance. The result which lead Doniphon to destroy his own home, which he prepared for his life with Hallie. Wayne is heartbreaking in this scene, as he loses the qualities of that persona revealing a far more sensitive man honestly torn apart by the sacrifice he made. The sacrifice being that Doniphon murdered Liberty to save Ransom because knew Hallie loved him, and in turn lost her himself. The film then comes back to Ransom many years later successful due to the lie, while Doniphon is dead, alone, and having fallen into obscurity. Stewart is outstanding in proving such a poignant yet somber moment, as he presents Ransom without a hint of the politician. Stewart instead portrays a man almost defeated knowing that his life was not only made by a lie, but also that it was at the cost of the happiness of another. Both give two of their best performances Stewart in his portrait of a normal man made into a legend, Wayne in his portrait of a legend made into a man.

Alternate Best Actor 1976: Results

5. Gregory Peck in The Omen - Gregory Peck gives an effective and honest performance which manages to ground the rather extreme nature of his film.

Best Scene: Learning of his wife's fate.

4. Robert Redford in All The President's Men - Redford never is lost in the procedural as his performance amplifies the story while still managing to find his character.

Best Scene: Handling two calls at once. 

3. David Carradine in Bound For Glory - Carradine gives a rather unique and memorable depiction of a one of a kind sort.

Best Scene: Reading the fortune.

2. John Wayne in The Shootist - Wayne gives a wonderful and moving performance worthy as a sendoff for his legendary career.

Best Scene: Books tells the truth about gunfighters.

1. Clint Eastwood in The Outlaw Josey Wales - Good Prediction Anonymous. In the end this year came down to three performances I have about equal affection for, and even now I'll admit my overall could easily switch back to Finch when I re-watch Network, but for the moment my favorite is Eastwood. There are certainly plenty of classic Eastwood moments to be found, but his portrayal goes beyond that. This performance takes the step more though as Eastwood realizes both the viciousness and the tragedy that comes from Wales's violent past with his surprisingly poignant work..

Best Scene: Wales returns to the wounded boy.

Overall Rank:

1. Peter Finch in Network
2. Clint Eastwood in The Outlaw Josey Wales
3. John Wayne in The Shootist
4. David Carradine in Bound For Glory
5. Jack Nicholson in Missouri Breaks 
6. Robert Redford in All the President's Men
7. Dustin Hoffman in Marathon Man 
8. Sean Connery in Robin and Marian
9. Robert De Niro in Taxi Driver 
10. Bruce Dern in Family Plot
11. William Holden in Network 
12. Gene Wilder in Silver Streak 
13. Walter Matthau in The Bad News Bears
14. Dustin Hoffman in All The President's Men
15. Gregory Peck in The Omen 
16. Clint Eastwood in The Enforcer
17. Sylvester Stallone in Rocky
18. Woody Allen in The Front 
19. Peter Sellers in The Pink Panther Strikes Again 
20. Lenny Baker in Next Stop, Greenwich Village
21. William Devane in Family Plot
22. Mel Brooks in Silent Movie
23. Michael Caine in The Eagle Has Landed 
24. Roman Polanski in The Tenant
25. Marlon Brando in Missouri Breaks
26. Cliff Robertson in Obsession
27. Jeff Bridges in King Kong

Next Year: 1976 Supporting

Alternate Best Actor 1976: John Wayne in The Shootist

John Wayne did not receive an Oscar nomination for portraying John Bernard "J.B." Books in The Shootist.

The Shootist is an interesting film about the last days of a famed gunfighter, although I don't believe it quite reaches the heights that seem possible from its central idea.

The last film of an actors career can sometimes be unmemorable in that it just is another film in their filmography like The Harder They Fall for Humphrey Bogart, it sometimes can be quite memorable for the wrong reasons like Bela Lugosi in Plan 9 From Outer Space where it is an unfortunate indication of where their career ended up, or it can seem like the right final showcase for their talent that seems like a final reflection on their career. Clark Gable had this with The Misfits, Burt Lancaster had this with Field of Dreams, but perhaps the most perfect example of this has to be John Wayne's last film being the Shootist. Wayne was always known best for his work in westerns, and it's fitting for that last film to be in that genre. This takes a step further than that since the central character is dying from cancer, unfortunately what Wayne would die of a few years after this film. Not only that but in a way the story of J.B. Books seems to be that of many a John Wayne character and in way this is both a sendoff for Wayne, and for all those various western heroes he played throughout his career.

Every time I've covered John Wayne outside of his Oscar nominations they've been for somewhat atypical performances for Wayne. The first being the Quiet Man as the romantic lead where he played a guy whose problems came from his refusal to fight, and the other being for The Searches where he was the lead in a western but as a much harder and colder man than usual. That is not the case with this film as J.B. Books feels like the end to a more typical John Wayne hero. The film has a certain dark edge to it, but it in itself isn't all that dark. Books's life is not that of William Munny from Unforgiven, Ryunosuke from The Sword of Doom, or even Wayne's own Ethan Edwards where the violence of the men was most often a result of their own selfishness or viciousness. It's made known that Books only kills people who break one of his few personal rules, and as well that he even spent time as a law man. This is not unlike the more typical Wayne character, and this is John Wayne style John Wayne performance. Of course in the war films and the westerns the effectiveness and strength of the typical Wayne could vary, sometimes it would work, sometimes less so, luckily The Shootist is the very best John Wayne John Wayne performance I've seen.

Wayne is especially on here to say the least as he just has this grander larger than life quality often what he seems to be striving for in his performances, and this is fitting quite well to the man of J.B. Books who is considered the living legend, the last great gunfighter. Wayne carries himself well with this in man as his whole stature and manner here feels that of such a man. Wayne's presence is in his usual way but stronger than in any other film as this sort of man. There just is something more remarkable here as Wayne brings something extra as though Books is not like those previous characters, but instead seemed to have been everyone meaning he's lived quite a life. There is a gracefulness evident here that seems indicative of his ways as a shootist. Whenever he does deal with someone with the gun Wayne plays these scenes perfectly by not giving any hesitation or fear in Books, instead he portrays Books as being basically a professional in the way he takes down any opponent. What Wayne does not put in though is any sort of sadism in Books as again this is a John Wayne type of character, and the film presents every man he kills as basically making the first move against him, although this is not to say that it's quite the simple within Wayne's performance.

I would not necessarily put John Wayne as one of the most charming actors of all time, that was never exactly part of his appeal, but here Wayne really is incredibly charming. It's an intriguing one though as Wayne again does not feel that different from his earlier similair performances, but it seems as though he learned from all those earlier work as he makes himself charming within the rough and tough sort of character. Wayne just seems to hit his mark every time in this film as his little bit of humor thrown in here or there in some of his banter in dealing with phonies or just other folk works especially well here. All the old Wayne tricks and touches are here, but Wayne makes them the best he's  Wayne has a generous amount of warmth in his performance here and his chemistry with Lauren Bacall as local inn keep named Bond is surprisingly effective. It's not romantic chemistry in this case, but rather just a honest feeling companionship that they develop. Wayne is wonderful in their more tender moments together as he shows quite clearly a love of life within in Books, and that the cancer that's killing him is no way a blessing, even with so many gunning for his life, rather Wayne shows he's a man who has enjoyed his time on earth even though it has not always been easy.

The film is not a depressing requiem as there is something very encouraging about Books right until his last scene in the film. There is that darker edge within there and this mostly comes from Wayne's own work. Although Wayne is quite moving in portraying that enjoyment of life in Books, that is not all there is when Bacall's character does press him a bit more on his life and what exactly it has lead to. In these moments Wayne is striking by revealing a deeper sorrow in the man as though when he is forced to truly reflect on things that all that he's done has not added up to enough. There is a powerful anguish in moments, and although in the end Books goes to face death head on, Wayne suggests a most definite fear of this when Books is at his lowest moments. The best moments of his performance is when he deals with Bond's son Gillom (Ron Howard) who idolizes the man. The younger man is eager to learn all the tricks from Books about gunfighter, and he's eager enough to shoot with him as well as tell him the truth that it's more about will and nerves than accuracy in a gunfight. What's outstanding about Wayne's work though is how he actually undercuts these words with his own delivery of them. He ends up being quite heartbreaking actually when he tells Gillom these things it is not pride that Wayne conveys rather he brings a considerable sadness in them as though Books himself is realizing that what's he's best at and what he's defined his life with is not something worth living for. This is a great performance by Wayne because he does not leave death as a one note. There is of course sadness in there in those moments of regrets, there's those glints of nostalgia, as well as the appreciate of what's still left there. What makes this truly special though is that John Wayne is also able to make it feel like one final hurrah for his whole career as a star, as almost everything that defined that is found here through his portrayal of J.B. Books, and not only that Wayne happens to make it the greatest iteration of that classic John Wayne persona.

Alternate Best Actor 1976

And the Nominees Were Not:

John Wayne in The Shootist

Clint Eastwood in The Outlaw Josey Wales

Robert Redford in All The President's Men

David Carradine in Bound For Glory

Gregory Peck in The Omen

Alternate Best Actor 1956: Results

5. Paul Newman in Somebody Up There Likes Me - Newman frankly tries a bit too hard in the role luckily his natural charm and talent makes up for it.

Best Scene: Rocky proposes.

4. Sterling Hayden in The Killing - Sterling Hayden gives a very efficient performance managing to establish his character while moving along with the film's particularly brisk pace.

Best Scene: Johnny accepts his fate.

3. Toshiro Mifune in Samurai III: Duel At Ganryu Island - Mifune gives a satisfying final performance as Miyamoto Musashi naturally rounding off the character to a true master who values peace even more than his prowess with the sword.

Best Scene: The titular duel.

2. John Wayne in The Searchers - John Wayne gives an outstanding performance as a bitter man driven by hate, and brilliantly subverts his usual western hero image.

Best Scene: They figure out the Comanche's plan.

1. James Mason in Bigger Than Life - Good Predictions GetDonaldSutherlandAnOscar, Jackiboyz, and Luke. I can make a sigh of relief in finally giving the victory to one of my favorite actors James Mason although he did have some very strong competition from both John Wayne and Kirk Douglas. Mason though stands as my favorite for his chilling yet heartbreaking depiction of the transformation of a decent man to a psychotic.

Best Scene: Ed decides on the solution for his son. 

Overall Rank:

1. James Mason in Bigger Than Life
2. John Wayne in The Searchers
3. Kirk Douglas in Lust For Life
4. Eli Wallach in Baby Doll
5. Alastair Sim in The Green Man
6. Toshiro Mifune in Samurai III: Duel At Ganryu Island
7. Henry Fonda in The Wrong Man
8. Sterling Hayden in The Killing
9. James Stewart in The Man Who Knew Too Much 
10. Van Heflin in Patterns
11. Jack Palance in Attack
12. Clifton Webb in The Man Who Never Was
13. Koji Tsuruta in Samurai III: Duel At Ganryu Island 
14. Brandon De Wilde in Goodbye, My Lady
15. George Cole in The Green Man
16. Humphrey Bogart in The Harder They Fall 
17. Karl Malden in Baby Doll
18. Tom Ewell in The Girl Can't Help It
19. Paul Newman in Somebody Up There Likes Me
20. Rock Hudson in Giant
21. William Smithers in Attack
22. Cantinflas in Around The World in Eighty Days
23. Gary Cooper in Friendly Persuasion
24. Burt Lancaster in The Rainmaker
25. Dean Jagger in X: The Unknown
26. Charlton Heston in The Ten Commandments
27. Raymond Burr in Godzilla, King of the Monsters
28. Yul Brynner in Anastasia 
29. Jose Ferrer in The Great Man 
30. Desi Arnaz in Forever Darling
31. Gregory Peck in Moby Dick 
32. Rock Hudson in Written on the Wind
33. Gregory Peck in The Man in the Grey Flannel Suit
34. Wendell Corey in The Bold and the Brave
35. Jeffrey Hunter in The Searchers
36. Don Taylor in The Bold and the Brave
37. Yul Brynner in The King And I
38. Bing Crosby in High Society
39. Frank Sinatra in High Society
40. David Niven in Around The World in Eighty Days
41. Don Murray in Bus Stop
42. John Wayne in The Conqueror

Next Year: 1956 Supporting

Alternate Best Actor 1956: John Wayne in The Searchers

John Wayne did not receive an Oscar nomination for portraying Ethan Edwards in The Searchers.

The Searchers tells the story of two men in the old west trying to track down their loved ones after kidnapping by a native American tribe. The Searchers has some impressive sequences but is certainly rather inconsistent and often problematic. There are many dated elements, and not at all in a good way, such as the particularly corny romantic scenes, the attempts at comedy that don't involve Ward Bond and the atrocious performance by Hank Worden as the wacky daffy Mose Harper.

One facet of the film that is always above these inconsistencies is the character of Ethan Edwards played by John Wayne. Obviously Wayne is no stranger in the western particularly not ones directed by John Ford, but Ethan is very much against Wayne's usual type. Wayne in the various westerns would play the likable hero who usually is a bit more sensible than anyone else in the story. His character would usually be quite similar in the films but that's not the case here. Ethan Edwards initial arrival seems to indicate this as it's a bit colder than the standard way in which Wayne usually rides up in the opening of the film. There's not that big welcoming smile or that usually friendly demeanor found to the usual characters played by Wayne. Wayne carries himself from the beginning with a far colder demeanor than usual showing from just his somber way of riding up that Ethan's life has not been a good one. There is just the most minor bit of Wayne's more common persona in simply the kinder attitude he presents in Ethan in the way he treats his brother's children, but Wayne only really shows this to be more of courtesy towards children than anything else.

In addition to that there is something that Wayne does especially well early in the film which is convey the relationship between Ethan and his brother's wife. Wayne specifically shows that the way he interacts with her is far more than the usual kindness between a man and his sister-in-law. Wayne is terrific as he gives the distance of the troubled past while still an obvious desire for her. It is made known that they obviously had an affair at one time, which is never stated out loud even once in the film itself. Wayne does great work by establishing that past relationship, which explains some of Ethan's distant relationship with his brother and some of his later motivation. Wayne does much with little early on as he creates the rawness of Ethan personality who still refuses to admit surrender in the Civil War and has clearly been robbing banks just before he arrived to his brother's home. Ethan's has had a rough life and that is worn by Wayne incredibly well. His life has not been the adventures of the usual character played by Wayne who still seems to have love of life even in bad situation, Wayne is quite effective as he seems to create Ethan as a man who seems like he might hate life.

Eventually the Comanche tribe seems to have attacked some cattle which leaves Ethan and his adopted nephew Martin (Jeffrey Hunter) to join a posse to track them down while the rest of the family stays home. It turns out though that the Comanches only created a diversion to attack Ethan's family. Wayne has one particularly memorable moment when much of the posse goes to protect another potential target while that leaves Martin and Ethan to rush make the long way back to the Edwards's home. As Martin rushes off in the heroic fashion more fitting of probably the normal heroic Wayne type character Ethan rejects the idea. Wayne is brutally hard boiled in his delivery of Ethan's harsh wisdom as he states that their horses need rest and it is impossible to make the journey in time. Wayne does not hold back in portraying the cruel reality in Ethan as he basically says that he won't be the hero since there is absolutely no way in which to be one. Wayne though is very moving though as in the moment, unseen by anyone else and in complete silence, Wayne does express the reserved heartbreak in Ethan. In his eyes you see that Ethan knows that his family is doomed, but also knows that there is nothing that he can do about it.

The family is indeed massacred although it appears that Ethan's two nieces have survived and been taken by the tribe leaving the posse to take after them. Wayne is amazing in these scenes as he begins to reveal just how Ethan has been shaped by his interactions with the Comanche which likely started when they murdered his mother. Wayne does something particularly unique, for the time in particular, which is that he does portray Ethan quite bluntly, and I would say intentionally so, as a racist. Of course Ethan is given allowance for his feelings towards the Comanche, as revenge is often a good motivator for a hero, and that is usually considered acceptable. Wayne actually rejects this route because it is not the stoic type of hatred usually associated with that sort of character. Wayne makes it much more extreme, an absolutely searing thing which is a constant in Ethan towards the Comanche. Wayne does not make it a pretty hate no not all one. One scene exemplifies it the best where they find one of the dead Comanche raiders buried and Ethan goes about shooting out the corpse's eyes which the Comanche believe are needed to enter the afterlife. Wayne is amazing in the moment portraying a sadism in this, his hate is about more than revenge, he hates the people seemingly as notion.

What makes much of Wayne's performance so effective is that he never is the simple revenge seeking hero. He's really a mess of a man in all honesty and Wayne is convincing in creating the damaged mindset of Ethan as the story unfolds. One element so fascinating about his performance is that he never really shows an exact grief in Ethan. In the scene where Ethan has found that one of the nieces was in fact murdered, and probably worse. Wayne does not react with sadness but instead as almost a contained madness as Ethan mimes the burial and just another thing seems to snap in Ethan as he clearly thinking about another thing that he has lost to the Comanche. Wayne shows him to be a man, who's lost so much, that he's perhaps he's given up on grief leaving everything else but fuel to encourage his vendetta. Wayne carries himself with the needed intensity to convey just how much hate really is in Ethan's heart. One of his best scenes is when he comes face to face with the war chief Scar (Henry Brandon). It's a great moment as both men stare daggers into each other and we see the two men meet who have both been created in a way by each other, or at least men like them. I would actually say that the film would have benefited greatly if it developed the dynamic even more between Ethan and Scar.

That is sort of obvious though since all of the moments of the film that could be described as masterful involve Ethan, unfortunately the film takes its detours away from its compelling protagonist and leading performance. The detours are not good, although they don't harm Wayne. For one thing often he's just kinda to the side in these scenes, and when he is forced to interact he treads carefully enough to avoid being tarnished by them. The film does force him to be away from his darker side in moment but Wayne never forgets that side importantly. Actually some of his more memorable scenes are when Ethan gets slightly poetic. Wayne though makes Ethan's "That'll Be The Day", or "We'll find 'em. Just as sure as the turnin' of the earth.". Wayne makes sense of this, and delivers them quite brilliantly as coming technically from that same narrow view of Ethan. Wayne develops this in an outstanding fashion suggesting that Ethan is almost nothing without his violent intention. He succeeds in making the film's marvelous final shot honestly poignant as Ethan is left alone no longer with the purpose of the search or even revenge, left to drift since there is no place for him in decent society. Wayne creates a unforgettable subversion of his usual screen persona here giving a powerful portrait of a man truly created by the harshness of the west.

Alternate Best Actor 1956

And the Nominees Were Not:

James Mason in Bigger Than Life

Sterling Hayden in The Killing

John Wayne in The Searchers

Toshiro Mifune in Samurai III: Duel At Ganryu Island

Paul Newman in Somebody Up There Likes Me

Alternate Best Actor 1952: Results

5. James Mason in 5 Fingers- Mason creates an effective villain by emphasizing the cynicism of his character bluntly.

Best Scene: Diello finds out he's been had.

4. Laurence Olivier in Carrie- Olivier gives a strong performance playing a doomed romantic.

Best Scene: Hurstwood confesses his love to Carrie.

3. Michael Denison in The Importance of Being Earnest- Denison gives a hilarious turn that always has brilliant timing and brings the humor out of his material.

Best Scene: His reactions to the final revelations.

2. John Wayne in The Quiet Man- Wayne gives a winning performance that capitalizes on the best of his on screen persona.

Best Scene: Remembering the fatal fight.

1. Takashi Shimura in Ikiru- I should quickly say that I added what I thought was the best scene from each performance simply for fun. This year came down to Wayne and Shimura, although Denison was right behind them as I loved his performance as well. I have to say I hate and love these years as I hate to have to choose to between two performances I like equally but I hate to have to choose. Either way my choice goes to Shimura's powerful performance that is a heartbreaking and inspiring depiction of a dying man.

Best Scenes: "Gondola no Uta" the first and the last time.

Overall Rank:

1. Takashi Shimura in Ikiru
2. John Wayne in The Quiet Man
3. Michael Denison in The Importance of Being Earnest
4. Laurence Olivier in Carrie
5. James Mason in 5 Fingers
6. Dirk Bogarde in Hunted
7. Charlie Chaplin in Limelight 
8. Marlon Brando in Viva Zapata!
9. Orson Welles in Othello
10. James Stewart in Bend of the River 
11. Gary Cooper in High Noon
12. Carlo Battisti in Umberto D.  
13. Robert Mitchum in The Lusty Men
14. Kirk Douglas in The Bad and the Beautiful
15. Ray Milland in Thief
16. Burt Lancaster in Come Back Little Sheba
17. Alec Guinness in The Card 
18. Jack Palance in Sudden Fear
19. Michael Redgrave in The Importance of Being Earnest 
20. Shin Saburi in The Flavor of Green Tea Over Rice
21. Richard Burton in My Cousin Rachel 
22. Micheal MacLiammoir in Othello
23. John Payne in Kansas City Confidential 
24. Kirk Douglas in The Big Sky 
25. Charles McGraw in The Narrow Margin 
26. Gene Evans in Park Row
27. Spencer Tracy in Pat and Mike
28. Arthur Kennedy in The Lusty Men
29. Georges Poujouly in Forbidden Games 
30. Humphrey Bogart in Deadline USA
31. Serge Reggiani in Casque D'or
32. Danny Kaye in Hans Christian Anderson
33. Stewart Granger in The Prisoner of Zenda
34. Jose Ferrer in Moulin Rouge  
35. Gene Kelly in Singin in The Rain
36. Charlton Heston in The Greatest Show on Earth
37. Spencer Tracy in Plymouth Adventure 
38. Nigel Patrick in The Sound Barrier 
39. Robert Taylor in Ivanhoe
40. John Beal in My Six Convicts
41. Cornel Wilde in The Greatest Show on Earth
42. Gregory Peck in The Snows of Kilimanjaro  
43. Robert Mitchum in Angel Face
44. Bob Hope in The Road to Bali
45. Bing Crosby in The Road to Bali
46. Dewey Martin in The Big Sky
47. John Whiteley in Hunted

Next Year: 1952 Supporting

Alternate Best Actor 1952: John Wayne in The Quiet Man

John Wayne did not receive an Oscar nomination for portraying Sean Thornton in The Quiet Man.

Against type usually refers to an actor who plays good guys playing bad guys or vice versa. Wayne sort of plays against type here although not in the way one usually sees an against type performance. John Wayne is of course best known for all the westerns he starred in and he often carried a gun. This is one film where Wayne does not even hold a gun once and is a very different story about an American raised but Irish born who tries to return to his birth place to settle down and escape his old life. Maybe it was that different nature of the role is what caused his snub despite the fact that the film was nominated for best picture and actually won best director for John Ford.

This is not to say this is not a John Wayne performance, instead rather he uses what is best about his on screen persona to portray his character in this film. The title the Quiet Man is apt for Wayne. This is not to say he is some sort of George Smiley sort here, but rather Wayne just plays him in a modest fashion. This is a great example of a true low key charm. Wayne doesn't try to pile on anything about his character instead lets his character to be a very likable sort by just letting his natural charisma play out with ease. There is no question that why most everyone would take a liking to Sean Thornton, because Wayne makes him just a man with a nice warm personality.

Wayne in this film acts as the perfect guide for us through the pleasant setting of the small Irish village of Innisfree. Wayne does this carefully and very effectively. There is a nostalgia and distinct pleasure in his performance that adds to the pleasure of watching the film. One moment in particular that is excellent is just the moment as he looks upon his old childhood home and remembers his mother's words about the place. Wayne in his face tells us a large portion of the motivation in his smile as he looks at the place, and we see the genuine joy that Thornton feels in his homecoming which suggests properly that Thornton is trying to find that wonderful place his mother always spoke of.

As with many films of this nature the town is filled with various characters. The Quiet Man really works because all these character only add to the film with none of them being too over the top or out of place. Wayne adds to all of their more flamboyant performances for his own performance which is a little more easy going in a few ways. Wayne is great in his reactions to everyone in the town which he always handles well. Wayne is quite endearing in all of these scenes as he shows only an honest enjoyment of almost all those around him, and he becomes the perfect sort of welcomed outsider. He never blends right in with them, but Wayne shows that he can be comfortable with them in his own way.

The core of the story of this film is a love story though between Sean and the fiery Mary Kate Danagher (Maureen O'Hara), although it is not an easy one due to the objections of her brutish brother 'Red' Will Danagher (Victor McLaglen). Wayne and O'Hara have excellent chemistry here, and once again it is established in rather quiet way. Much of the attraction and love between them is shown through only really the smallest reactions to one another. They are beautifully handled by both actors as this is not a romance that involved big speeches, or even the usual romantic comedy back and forth insult routine. Instead they portray a powerful attraction and connection through mostly their manner to one another, and it works incredibly well.

Wayne and O'Hara do well to establish their character's love as something always underlying so even when they to have quite the conflict it is believable that they would stay together. Their conflict comes from her believing him to be a coward as he refuses to fight her brother despite that her brother will not give her rightful inheritance. Wayne is excellent in portraying the way Sean does not want or even entirely understand why to deal with Will. Wayne shows in part what this comes from is being the outsider to a certain degree and just doesn't see what's important about it. Wayne importantly never makes Sean seem foolish, instead he allows us to entirely empathize with Sean's lack of cultural understanding.

There is another reason though and that is also the secret reason why Thornton came from America which is that he was a professional boxer who killed a man in the ring. Once again Thornton's battle with his own guilt over the death and the fear of fighting again. Wayne again handles this all in very subtle moments, and mainly silent. Once again though Wayne's method is absolutely works in the role and these scenes are quite powerful in portraying what haunts the man as well. One especially great moment is in a flashback where we see Sean reaction to the man's death. It is a terrific moment for Wayne as he says nothing but we see just how it tears him apart inside. Sean is able to get over it, but again Wayne handles the realization in an unassuming yet entirely satisfying fashion.

This is definitely a different character for Wayne with his character trying to avoid violence, and all he ends up doing is getting in a rather comedic fight. Wayne shows here that he does not need to shoot someone to be a compelling screen presence. He uses his charm to give one of the very best romantic comedic performances. It is a shame that the Academy failed to recognize Wayne for this film despite the amount of nominations and support the Quiet Man found in other categories. Wayne focuses on the basics of the character finding his place in the film wonderfully, and just all around giving a winning performance that really brings this great film together.

Alternate Best Actor 1952

And the Nominees Were Not:

John Wayne in The Quiet Man

Michael Denison in The Importance of Being Earnest

Takashi Shimura in Ikiru

Laurence Olivier in Carrie

James Mason in 5 Fingers

Best Actor 1969: Results

5. John Wayne in True Grit- Wayne's performance is an odd one with his strange choice to play the part as if he was Wallace Beery, which does not work particularly well for the role. This was certainly a career award since Wayne gave better performances before and after this one.

4. Peter O'Toole in Goodbye, Mr. Chips- O'Toole plays Chips rather differently than Robert Donat did, and a lot less effectively. Chips undergoes far fewer changes, and stays rather stiff throughout. I did think O'Toole was properly stiff, without being excessively boring, as well as has a few fairly effective moments such as his big speech.

3. Richard Burton in Anne of the Thousand Days- An interesting year where three nominated characters were again or before portrayed in Oscar nominated performances. Burton's performance is extremely over the top making every emotion known as much as possible. I can't say this is the wrong approach for King Henry entirely as some moments do work, but his overall effect is lacking.

2. Jon Voight in Midnight Cowboy- There was no question who was going to be in the top two slots this year the only way Wayne, O'Toole and Burton could have competed with these two is if their best performances were nominated this year, but all three of those performances were far, far from their best, the only real question was in what order the top two would be. Voight stands second, why, it is hard for me to say, because Voight is amazing in his performance of Joe Buck. His performance is a raw amazing performance, that could not be more effective if he tried. He gets every single moment of this challenging performance correct, I could not ask for more.

1. Dustin Hoffman in Midnight Cowboy- This was really hard to choose, and I will admit a tie seemed reasonable because the two of their performances depend on each other so well, and they achieve so much together. I finally went with Hoffman, why, well again it is hard for me to say, but Hoffman is incredible he takes a enormous amount of risks from his voice to his physical characterization but they all feel entirely natural, and only add to Enrico "Ratso" Rizzo as a character. Every moment he is on screen he is amazing, and his performance is simply one the most heartbreaking performances ever given.

Deserving Performances:
William Holden in The Wild Bunch

Best Actor 1969: John Wayne in True Grit

John Wayne won his only Oscar from his second acting nomination for portraying Reuben J. "Rooster" Cogburn in True Grit.

True Grit tells of Mattie Ross (Kim Darby) who wants to avenge her murdered father and employs the help of a U.S. Marshall.

John Wayne portrays the Marshall who is a hard drinking law man. Here is a performance criticized in that it is usually described as a very standard western performance by John Wayne, therefore should not have been rewarded. I will disagree and say this is not a standard western performance by John Wayne at all, and in fact this is a strangely daring performance in some ways. The ways being that he does not do this as John Wayne the western hero at all, instead he plays it as Wallace Beery the western hero. In almost his entire performance he imitates Wallace Beery both physical in the way Beery protruded his mouth forward when he spoke, as well as the way he speaks like Wallace Beery in the way he begins sentences, with a lot of oh, and wells given extra emphasis.

This whole Wallace Beery facade is a strange move on Wayne's part, and I can't really say it is a good one. It is odd the way he just is Wallace Beery in the part, I really found no purpose or point to being Wallace Beery in the role of Rooster Cogburn. It never becomes effective and frankly makes his performance here seem far more dated than say his performance in any other western he was ever in. Wayne does not even keep his Beery impersonation throughout and in the scene where he talks to Mattie about his past he lets up on it, making that scene probably his best scene in the film. Every other scene seems over acted because he is acting in the style of an actor whose whole technique was over emphasis on everything he did.

Wayne I do not think is entirely terrible though. He does not stop the film still with his performance, even if it is overacted. Also he is not exactly dull either, which was something else Wallace Beery commonly was. It is not like every emotion he portrays is off or anything extremely bad, instead he just gives a thoroughly unimpressive performance throughout. John Wayne simply was given an award for this performance, because they wanted to give him one, not because this was his best performance, if they gave him an award in 1952 or 1956 I really doubt there would be that many complainers about John Wayne winning an Oscar. This performance though is just a mistaken approach, that sets it actually below a standard Wayne performance, making this actually one of his more lacking of efforts.

Best Actor 1969

And the Nominees Were:

Dustin Hoffman in Midnight Cowboy

Jon Voight in Midnight Cowboy

John Wayne in True Grit

Richard Burton in Anne of the Thousand Days

Peter O'Toole in Goodbye, Mr. Chips

Best Actor 1949: Results

5. Richard Todd in The Hasty Heart- Todd performance never gets the below the surface with his performance. He is okay overall, despite a fairly over the top accent, but never anything special.

4. Gregory Peck in Twelve O'clock High- Peck's sometimes dull, and unemotional manner, works for the role of General Savage. Peck has the right commanding presence in the film, and although his performance is never exactly interesting it does work for the film.

3. John Wayne in Sands of Iwo Jima- John Wayne gives a standard Wayne performance, as the tough commanding sergeant Stryker. Wayne is fine, and fairly effective especially in reaction shots, but his performance is never anything that special.

2. Broderick Crawford in All The King's Men- Crawford is terrific as the evil slimy Willie Stark, but his transition into the evil Stark from a the good Stark is haphazard. Also in his public persona scenes as Stark he lacked the right amount of charisma to make his ascension to power completely believable.

1. Kirk Douglas in Champion- Douglas begins in the film as an incredibly charming guy, but than slowly dissolves into a manipulative cold man. Douglas' believable and carefully done transformation shows to Crawford, and Todd, how to do a character transformation properly.

Deserving Performances:

James Cagney in White Heat
Dennis Price in Kind Hearts and Coronets

Best Actor 1949: John Wayne in Sands of Iwo Jima

John Wayne received his first Oscar nomination for portraying Sgt. John M. Stryker in Sands of Iwo Jima.

Sands of Iwo Jima is a fairly standard old fashioned war movie, it is entirely cliched  but I suppose it is sort of made finely for this type of film.

There are many types of different types of actors in terms of Oscar relation. There is the properly nominated actors in the sort of Laurence Olivier, or Marlon Brando, there is the over nominated like say Spencer Tracy or Warren Beatty, or there is the never nominated snubs of people like Edward G. Robinson or Peter Lorre, and there are also the under nominated of miss nominated meaning they are indeed Oscar nominees but they were nominated too few of times, or they were always nominated for the wrong performances. I must say John Wayne is an actor of this last type mentioned, he was indeed nominated for Oscars but only twice and for performances many detract from.

I actually think Wayne is fine as an actor in his standard performances, he sometimes over does it, and is limited in his way but I find he is fine in his standard roles that are right for him, and I do think he has a few performances that should have been his nominations, if he was only to be nominated twice he should have been nominated most certainly for The Quiet Man my favorite performance of his where he is surprisingly charming, comedic, and tender, or his most praised performance in The Searchers where he is coldly effective. Now he was not nominated for these his best roles, but rather this first for a very standard Wayne role of a Military man leading troops. Now The reason I went on this rather long opening description is I think Wayne is given at times an overly hard time as an actor, and I do think he could be great at the right time and for the right role, so I just wanted to make clear I do think he deserved an Oscar nomination or two just maybe not for this performance.

Wayne portrays Stryker in what is a very standard Wayne performance. He commands his troops in his own commanding way at which Wayne is just fine at. He is not amazing as the Sergeant, but sure I certainly did believe him well enough in the role. No he does not do anything great as he deals with his men of every different type with his appropriate man of military, but I did think it was fine for the film, and I believed his performance. Wayne does try his best to make the sometimes incredibly cliched dialogue with conviction, and I think he handles as well as any other actor really could have, which is not much but fine.

Wayne is fine most of the film, and I do think he is a little better in his performance in the war scenes. He has the right command of a fine although not perfect marine sergeant. He again does display the right emotions, and using silent reactions to what he sees and does is well handled enough, amazing, no, but well enough. In fact his reaction shots are always the best part of his performance in this film which convey a more feeling and emotion then whenever he is talking. I do think Wayne is good here, and in particular scenes, and he is just fine and functional in other scenes. A great performance no, the best performance of Wayne's career, no, the best performance of Wayne this year, no he was better in She Wore a Yellow Ribbon, but I still thought he was fine.

Best Actor 1949

And the Nominees Were:

John Wayne in Sands of Iwo Jima 

Gregory Peck in Twelve O'Clock High 

Broderick Crawford in All The King's Men

Richard Todd in The Hasty Heart

Kirk Douglas in Champion