Alternate Best Supporting Actor 1932: Leslie Howard in Smilin' Through & Results

Leslie Howard did not receive an Oscar nomination for portraying Sir John Carteret in Smilin' Through.

Smilin' Through is your romantic melodrama about lovers Kathleen and Kenneth (Norma Shearer, Fredric March) divided by WWI and the wounds of family history.

Leslie Howard was a little curious of an actor of the period, as typically one was a leading man or not, but he was going from leading to a supporting role from film to film. Here Howard plays the rare substantial supporting role in this film for the period. The substantial supporting role, in that the film actually opens with his character, older, where he is standing watch over the grave of his wife Moonyean (also Shearer). Howard's performance, despite not really adjusting his voice, is surprisingly convincing in his physical manner in the past in presenting just the age of the man. Howard's movements are slower and just his natural manner has this weight about him in age. What is wonderful though is how much hope that Howard brings as he also expresses  the dismay of the character. In his eyes there is this innate sadness about the man, even as when he's called upon to do anything, there's an unquestioned life to him. Howard establishes, without it needing to be said yet, the tragedy of the man, as he always suffers from his loss, but the man's innate being is not to wallow in the pain. Howard creates the sense of a man very much anchored to the past, even if it doesn't fully weigh him into nothingness. And we see what the man still has in him as he's presented with his child niece Kathleen, who is coming to live with him, and well Howard is just so charming. But he's charming in such an easy way as he invites the child to live with him, as there's kind of a somber quality there still, but his expressions are the man living with that however letting his natural warmth be the best of him instead as he goes about making Kathleen feel as welcome as can be.

We jump in time of course as Kathleen grows up to be Shearer, but we continue to see from Howard just such a loving performance from him. He exudes that sense of affection out of every element of his performance, and you are granted the immediate sense of this uncle who seemingly wants only what is best for his niece. Unfortunately things get complicated quickly when an American Kenneth appears in the old house of his father, and makes his way about charming and romancing Kathleen. And there we have the two sides of the man where Howard brings that quiet sense of assurance and love towards Kathleen as a given, until she reveals that the man is Kenneth Wayne, the son of the man who killed Carteret's wife on the day of their wedding. We first flashback where we get Howard to briefly get to be the romantic lead, and he is naturally charming in portraying the unabashed sense of love with his wife. And again Howard shows this loving man is the innate nature, and is moving in the reaction of immediate anguish when Moonyean is murdered in front him. And we understand Carteret's feelings towards the whole Wayne family including this new Wayne, where Carteret is instantly horrified at the prospect of Kathleen having anything to do with him. I think this is where the challenge of the performance truly is, though I was impressed by Howard's quietly warm and charming work before this point. Because it is easy to play into the melodrama in a way that accentuates the less believable aspects of the plot point rather than make it convincing despite being a fairly over the top concept. This is where Howard shines because of the way he presents the bitterness and stubbornness of Cartlett. The dominant emotion Howard presents in his performance is the sorrow within the man, as his expression is always looking inward, usually not facing who is talking to, and almost shows the man always looking to the grave of his wife in a way in this situation. When speaking about Howard is blunt in his delivery in his bitterness, but there is always the sense that it is coming from the pain of the loss of his old love more than even hate for the man who wronged him so deeply. Because of this, Howard is far more dynamic as the "angry old man", by showing very convincingly where he's coming from, granting understanding to it, being less of an obstacle to the central romance, but rather being a character in his own right. Howard by creating this basis for the behavior then wholly earns the change of heart of Carteret when he sees that Kenneth is willing to sacrifice his happiness for Kathleen's, and ends up encouraging the romance. Howard's work again is wonderful in showing less the warmth coming back, but rather just the bitterness fading away so gently to show the warmth was always still there all the time. Creating a moving depiction of the man changing his mind, because the sudden shift feels so natural because of how motivated Howard made every moment of it. And that might've been my favorite moment, if he didn't have his final scene where he's visited by the spirit of his wife, who had also visited him in the opening of the film, where Carteret mentions his mistakes. I love Howard's quiet self-deprecation of the man's uneasiness, but also sense of hope in giving it all up. But more so, as much as it wasn't the focus of the film, he once again has wonderful easy chemistry with Shearer in the moment, and ties such a heartfelt bow at the end of this story.

Updated Overall

Next: Backlog Volume 5 and feel free to give your recommendations. 

Alternate Best Supporting Actor 1939: Results

5. Thomas Mitchell in Gone With The Wind - Mitchell gives a very strong performance by so effectively realizing the wear of loss through his enthusiastic portrayal before the war and his haunting one after it. 

Best Scene: The return to Tara.

4. Lee J. Cobb in Golden Boy - Cobb completely overcomes his potential miscasting by exuding both the age and background of his character so effortlessly through his performance. Cobb goes even past that to give such striking yet almost silent depiction of the moral center of the film.

Best Scene: Mr. Bonaparte before the fight.

3. Ralph Richardson in the Four Feathers - Richardson gives a powerful performance that effectively steals the spotlight of the film through his depiction of the breakdown of a proper soldier.

Best Scene: Durrance realizes who saved him.

2. Bert Lahr in The Wizard of Oz - Lahr is consistently endearing and hilarious in a performance that stands out among a memorable ensemble through his portrayal of a true scaredy cat.

Best Scene: The Lion's introduction.

1. Cedric Hardwicke in The Hunchback of Notre Dame - Good Predictions Luke, and Anonymous. Among a great field Hardwicke stands at the very top for me in his outstanding portrayal of a zealot's struggle to destroy sin which he sees everywhere including in his own desires.

Best Scene: Frollo reveals his feelings for Esmeralda. 

Overall Rank:

1. Cedric Hardwicke in The Hunchback of Notre Dame
2. Thomas Mitchell in Stagecoach
3. Claude Rains in Mr. Smith Goes to Washington
4. Bert Lahr in The Wizard of Oz
5. Frank Morgan in The Wizard of Oz 
6. Ralph Richardson in The Four Feathers
7. Lee J. Cobb in Golden Boy
8. Thomas Mitchell in Gone With the Wind
9. Ray Bolger in The Wizard of Oz
10. Thomas Mitchell in Only Angels Have Wings 
11. John Barrymore in Midnight
12. Jack Haley in The Wizard of Oz
13. Humphrey Bogart in The Roaring Twenties
14. Harry Davenport in Gone With the Wind
15. Edward Arnold in Mr. Smith Goes to Washington
16. Leslie Howard in Gone With The Wind
17. Thomas Mitchell in Mr. Smith Goes To Wasington
18. George Bancroft in Stagecoach
19. Don Ameche in Midnight
20. John Carradine in Stagecoach
21. Robert Preston in Beau Geste
22. John Carradine in Jesse James
23. Thomas Mitchell in The Hunchback of Notre Dame
24. Sam Jaffe in Gunga Din 
25. Claude Rains in Juarez
26. Harry Davenport in The Hunchback of Notre Dame
27. John Carradine in Drums Along the Mohawk
28. Brian Donlevy in Beau Geste
29. Eduardo Ciannelli in Gunga Din 
30. Ward Bond in Gone With the Wind
31. C. Aubrey Smith in The Four Feathers
32. Otto Kruger in Another Thin Man
33. J. Carrol Naish in Beau Geste
34. Frank McHugh in Another Thin Man
35. Nigel Bruce in The Adventures of Sherlock Holmes
36. Sheldon Leonard in Another Thin Man
37. Arthur Shields in Drums Along the Mohawk
38. Donald O'Connor in Beau Geste 
39. Shemp Howard in Another Thin Man
40. Sig Rugman in Only Angels Have Wings
41. Henry Fonda in Jesse James
42. Douglas Fairbanks Jr. in Gunga Din 
43. Adolphe Menjou in Golden Boy 
44. Sig Rugman in Ninotchka
45. Felix Bressart in Ninotchka
46. Alexander Granach in Ninotchka
47. Donald Meek in Young Mr. Lincoln
48. George Zucco in The Adventures of Sherlock Holmes
49. Broderick Crawford in Beau Geste
50. Fredrick Culley in The Four Feathers
51. Humphrey Bogart in Dark Victory
52. Harry Carey in Mr. Smith Goes to Washington 
53. Charley Grapewin in The Wizard of Oz
54. Richard Bathelmess in Only Angels Have Wings
55. Donald Meek in Stagecoach
56. Joseph Calleia in Golden Boy
57. Ward Bond in Drums Along the Mohawk 
58. Jack Allen in The Four Feathers
59. Donald Gray in The Four Feathers
60. Lee Bowman in Love Affair
61. Ward Bond in Young Mr. Lincoln 
62. Paul Henreid in Goodbye, Mr. Chips
63. Guy Kibbee in Mr. Smith Goes to Washington
64. David Niven in Wuthering Heights
65. Morton Lowry in The Hound of the Baskervilles
66. Guy Kibbee in Babes in Arms
67. Henry Hull in Jesse James  
68. Sebastian Shaw in Another Thin Man 
69. Terry Kilburn in Goodbye, Mr. Chips
70. Reginald Gardiner in The Flying Deuces
71. Richard Greene in The Hound of the Baskervilles
72. Jeffrey Lynn in The Roaring Twenties
73. Sidney Blackmer in Convict's Code
74. George Reeves in Gone With the Wind
75. Fred Crane in Gone With the Wind
76. John Garfield in Juarez

Next Up:

An announcement first which is to thank everyone who has been following and continues to comment. I really like how civil the discussions over any films or performances are even when we might disagree vehemently over them. Now I must announce a change in pace due to other obligations. For the time being there probably will only be one review a week and sometimes it might be longer. I'll still leave my thoughts on new movies I see, and update film thoughts now and again. Hopefully in the future I will be able to pick up the pace again, but this is how it has to be for the present.

Now to take a break from trying to find the Best OF before the Bonus Rounds start I'd like to go to the opposite end of things with a WISEAU ROUND (as suggested by Robert MacFarlane). Which means give me your best(worst) performances that are of a different breed entirely.

Alternate Best Supporting Actor 1939: Thomas Mitchell and Leslie Howard in Gone With the Wind

Thomas Mitchell did not receive an Oscar nomination for portraying Gerald O'Hara in Gone With The Wind.

Thomas Mitchell was a prolific actor who was frequently in several films in any given year though 1939 just seemed to be his year. He not only appeared in prominent roles in notable films from the year The Hunchback of Notre Dame, and Only Angles Have Wings, he also managed to be in three best picture nominees this film, Mr. Smith Goes to Washington and Stagecoach which he deservedly won his Oscar for. In Gone With The Wind he plays the part of Gerald O'Hara the father of our protagonist Scarlett O'Hara(Vivien Leigh). In the early scenes of the film Mitchell's part is fairly straight forward as the Irishmen trying to confer a few words of wisdom to his impetuous daughter. Mitchell's good in the role infusing a slight Irish accent, which he doesn't overdo, and bringing the right definite warmth in his interactions with Leigh. He though brings at the same time the right stern quality even within the obvious love that Mitchell portrays first in his technically futile attempt to try to reign in some of his daughter's ambition. This also comes with a slight scolding when she hand waves the importance of Tara their plantation and home. Mitchell's very good in the moment in revealing the intensity of passion in Gerald's words as he expresses not only how much the land means to him, but also how much it should mean to Scarlett as well.

The ideal man of the South we meet in these early scenes takes a long hiatus from the film, in fact almost the entirety of the Civil War. When Scarlett finally makes it back to Tara the place is quite barren on the outside, and when she opens the door she finds her father who possibly looks worse. Mitchell is amazing in just how effectively he portrays Gerald terrible state as the wear of the losses over the time Scarlett has been gone can be so well seen in his harried eyes, and haggard face. Mitchell is terrific as he stays so subdued for much of this time yet the devastation of the man is brilliantly realized by him. Mitchell is heartbreaking as he presents the insanity in Gerald as seemingly his own shield against all that his happened to him as there is this attempted glee in him as he speaks of his deceased wife as though she's living, however within the act the original cause of his state can be seen in this sorrow that never leaves him despite his madness's attempt to cover it up. This is until his last scene where his passion for the land once again reappears, and Mitchell once again brings that to life yet now just with this painful desperation in the moment. It's beautifully rendered work by Mitchell and with so many of his performances he proves himself one of the most capable actor in terms of the depiction of the type of extreme emotional states that might leave to some terrible overacting. Mitchell never allows that to be the case giving a striking performance that manages to stand out with this grand epic, as well as marks just the one of his many strong turns from 1939.

Leslie Howard did not receive an Oscar nomination for portraying Ashley Wilkes in Gone With the Wind.

Leslie Howard was evidently "the" choice for the part of Ashley, which might seem slightly strange for some being an Englishman who in no way hides his accent. Though I don't see why anyone would complain about that given how refined Howard's voice is it seems fitting enough for a refined Southern gentleman as well. Howard I notice frequently gets some derision for his performance in the film, and not just for the accent. Though if one views the test footage of other actors in the part, it seems Howard really was the only possible choice. Now some criticism seems to come in part do to say a definite lower amount of charm than Clark Gable in the male lead role of Rhett Butler. Now Gable's already one of the most charming performers ever to have graced the screen, and this perhaps is him at his most charming, however if one sees more of Howard's filmography, "Pimpernel" Smith and Pygmalion in particular, they'll find he could be quite charming himself. Howard instead more directly serves the role, and the film as whole, by not calling upon that here. Instead he takes the rather admirable approach to differ Ashley from Rhett, as he certainly exudes just what is to be that proper gentleman here, which is never left in question which is in stark contrast to the questionable rascal that is Rhett. Howard brings the right grace to the part, particularly in the early scenes, as he offers the right sort of charisma that makes him standout just not in the way Rhett does thanks to Gable.

Now Ashley's purpose in the story is as the object of Scarlett's affection, as she only sees him despite the fact that he is married early on to Melanie (Olivia de Havilland). Howard does well to really make Ashley the right match for Melanie throughout the film, despite Scarlett's delusion that he should hers. Howard, and de Havilland's work has an unsaid chemistry of sorts given they actually don't share that much time with one another screen. What they do is find the right connection in personal spirit in the way both suggest themselves to be naturally unassuming and unselfish souls. Howard finds the right ease of presence of man who prefers to do the right thing, though states as such in a direct yet quiet fashion. The problem remains though is with Scarlett being constantly smitten with him, to the point that she does not mind how many lives she ruins just to get him. Howard creates the right curious chemistry with Leigh in that he portrays the simple difficulty in interacting with her. He brings the right unease in any of these moments as he manages to suggest Ashley's refusal as man standing in his duty at being a proper husband. When Ashley does reveal that he does love Scarlett in return it's an earned moment by Howard as his delivery is almost that of an unwanted escape of emotion, and depicts a definite guilt within himself after his momentary loss of his usual proper reserve. It's finely measured work by Howard as he keeps Ashley on this certain wavelength of a decent man who is constantly must readjust with his constant interactions with Scarlett. Ashley Wilkes really is a thankless role, in that he's rarely given the spotlight, and he's really there to facilitate the motivations for the other characters. Howard delivers in that respect though giving a supporting performance that truly supports the rest of the cast and the film. 

Alternate Best Supporting Actor 1939

And the Nominees Were Not:

Cedric Hardwicke in The Hunchback of Notre Dame

Lee J. Cobb in Golden Boy

Ralph Richardson in Four Feathers

Thomas Mitchell in Gone With the Wind

Leslie Howard in Gone With the Wind

Bert Lahr in The Wizard of Oz

Ray Bolger in The Wizard of Oz

Frank Morgan in The Wizard of Oz

Jack Haley in The Wizard of Oz 

For Prediction Purposes:

Mitchell in Gone With the Wind

Lahr in the Wizard of Oz

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

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

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

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

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

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

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

Overall Ranking:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Overall Ranking

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

Next Year: 1996 lead

Best Actor 1933: Results

3. Leslie Howard in Berkeley Square- Howard's performance simply takes the wrong approach from the beginning, investing too little into the whole story, then suddenly trying to invest everything.

2. Paul Muni in I Am a Fugitive From A Chain Gang- Muni gives a realistic performance that effectively portrays the journey of a man which slowly deteriorates him.

1. Charles Laughton in The Private Life of Henry VIII- There was no question to me who was the strongest this year, because Laughton performance simply stands far above the rest. He gives a fulfilling, funny, powerful and very entertaining portrait of Henry VIII.

Best Actor 1933: Leslie Howard in Berkeley Square

Leslie Howard received his first Oscar nomination for portraying Peter Standish in Berkeley Square.

Berkeley Square tells of an American living in than modern London who travels back into the period around the American Revolution, this sounds possibly interesting but in actuality it is quite dull.

Leslie Howard's performance here is quite strange actually. For a good time of his performance his character acts with almost an uncaring attitude to the fact that he traveled through time. Partially due to this reason Howard is quite dull, and really feels like he is just going through the motions of a performance, than a real performance.

Leslie Howard does very little more than just sort of read his lines that feel rather unspectacular throughout the film. There is not a single moment that seems special in his entire performance, it is just one rather conventional moment than another. Howard does not have any special charm or wit in this performance, that frankly most of the time just felt rather boring to watch.

Howard is required a little more to do when he falls in love with one of his ancestors. The problem is the way he barely seemed to care about his whole situation really off sets this part of his performance poorly, since suddenly he wants to act like he does care. There is not a moment that I bought this romance, because they are very dull together.

Leslie Howard certainly could be quite good, like he was as Henry Higgins in Pygmalion, but none of that sardonic wit can be found in this part. Howard instead just gives a incredibly uninteresting performance. It fails to ever have a convincing, or effective scene throughout his performance, this is simply a bad performance just like the film itself.

Best Actor 1933

And the Nominees Were:

Leslie Howard in Berkeley Square

Charles Laughton in The Private Life of Henry VIII

Paul Muni in I Am a Fugitive From a Chain Gang

Best Actor 1938: Results

5. Spencer Tracy in Boys Town- Spencer Tracy's performance is not really bad, but he is not required to do anything more than be nice.

4. Charles Boyer in Algiers- Although I liked what Boyer did with what he had. Boyer was properly smooth, but the character just did not have enough to it to create a really interesting performance.

3. Leslie Howard in Pygmalion- Leslie Howard is quite effective as Henry Higgins, not only in creating an entertaining portrait of the pompous professor, but also a more in-depth complex portrait of a cold man as well.

2. Robert Donat in The Citadel- Donat brings an effectiveness and believability of every single phase of his character. Donat's performance is powerful, charming, and very effective. 

1. James Cagney in Angels With Dirty Faces- Cagney does his usual gangster performance for part of the performance which is good, but the best part of the performance is showing the soft side of the gangster as he tried to help his old friend who is priest. Also his last scene is amazing.

Deserving Performances:

Best Actor 1938: Leslie Howard in Pygmalion

Leslie Howard received his second and final Oscar nomination for portraying Henry Higgins in Pygmalion.

Pygmalion is the story of Professor Henry Higgins, and his attempt to turn a lower class flower girl Eliza Doolittle and turn her into a proper lady.

This is the first of the two times someone was nominated for portraying the phonetics professor Henry Higgins.  The second time being of course Rex Harrison in the musical My Fair Lady. It is interesting to note the similarities and differences between these two performances. At the beginning of the film they both begin as the rather pompous Henry Higgins, as he declares his abilities in front of everyone around.

It is interesting to see how they convey this flamboyant pompousness demeanor in rather different fashions. Where Harrison portrays Higgins in a completely outwardly and perhaps more obvious fashion, after all he is in a musical, Howard portrays Higgins in a far more restrained and realistic fashion. His more restrained approach is quite interesting because he is still portrays the pompous nature of the character quite well suggesting more of the internal pathos of Higgins, but still in rather entertaining way.

Howard's portrayal of Higgins' teaching of Eliza manners and diction is rather interesting, because in this version he basically pounds the change into her, rather waiting for it to come as in My Fair Lady. Howard is properly domineering actually as he drills her, to mold, and create her into a proper lady. Howard puts the right gusto into as well, making Higgins both articulate, and energetic in his command of Eliza.

Howard continues to be strong when Henry takes Eliza and presents her to many various well to do people. Howard is quite strong in these scenes because he is always perfectly apt at showing Henry's complete enjoyment of knowing he knows more than anyone else in the room. His reactions to every step of the deception are properly amusing, and effective because of the sheer fun he shows that Henry has with his whole project.

The greatest moments of his performance though are after his project is done and his relationship changes with Eliza. Howard here shows that his pompous exterior does indeed hide what is in some ways a cold and very complicated man. Higgins does not want Eliza to marry someone else, yet he refuses to show that he has an actual care for her.

Howard shows the various emotions of Henry especially well. He conveys his want to control Eliza, as well as a hint of a very much hidden love for her, as well as a facade of his usual uncaring all at once, showing that Henry is not the simple yet articulate pompous professor he claims to be. It is terrific because Howard never lets one side of Henry take over and mixes all facets of his character together creating the complete portrait of a man. His final reaction I think shows this the best which could not be better where he shows a surprise and his joy in seeing Eliza, but his change back to his pompous fashion in an instance, an incredible final moment to this strong performance.

Best Actor 1938

And the Nominees Were:

Robert Donat in The Citadel

Leslie Howard in Pygmalion

Spencer Tracy in Boys Town

James Cagney in Angels With Dirty Faces

Charles Boyer in Algiers