Saturday, 27 November 2021
Alternate Best Actor 1955: Masayuki Mori in Floating Clouds & Results
Monday, 6 October 2014
Alternate Best Actor 1953: Results
Best Scene: Father Logan confronts the murderer.
Best Scene: Johnny runs from the mob.
3. Glenn Ford in The Big Heat- Ford might not reach the heights that the role seems to offer, but he still gives a fairly striking subversion of his usual decent average man type of character.
Best Scene: Bannion confronts the murderer.
Best Scene: Genjuro reunites with his "wife".
- Montgomery Clift in From Here to Eternity
- James Mason in Julius Caesar
- Chishū Ryū in Tokyo Story
- James Stewart in The Naked Spur
- James Mason in Charade
- Burt Lancaster in From Here to Eternity
- Masayuki Mori in Ugetsu
- Charles Boyer in The Earrings of Madame de….
- Masayuki Mori in Love Letter
- Clifton Webb in Titanic
- Charles Vanel in The Wages of Fear
- Yves Montand in The Wages of Fear
- Hans Conried in Peter Pan
- Trevor Howard in The Heart of the Matter
- Glenn Ford in The Big Heat
- Marlon Brando in The Wild One
- Montgomery Clift in I Confess
- James Mason in The Man Between
- Lars Ekborg in Summer With Monika
- Eitaro Ozawa in Ugetsu
- Charles Winninger in The Sun Shines Bright
- Jack Hawkins in The Cruel Sea
- Alan Ladd in Shane
- Vincent Price in House of Wax
- Gregory Peck in Roman Holiday
- Richard Widmark in Pickup on South Street
- Arturo de Córdova in El
- Louis Jourdan in Rue de l’estrapade
- Fred Astaire in The Band Wagon
- David Niven in The Moon is Blue
- Fredric March in Man on A Tightrope
- Laurence Olivier in The Beggar's Opera
- Charlton Heston in The President's Lady
- Alec Guinness in The Captain's Paradise
- Åke Grönberg in Sawdust and Tinsel
- Kazou Hasegawa in Gate of Hell
- William Tallman in The Hitch-Hiker
- Van Heflin in Shane
- Niall MacGinnis in Martin Luther
- Howard Keel in Kiss Me Kate
- Jack Palance in Man in the Attic
- John Wayne in Hondo
- Raf Vallone in Thérèse Raquin
- Jacques Tati in Monsieur Hulot's Holiday
- Richard Burton in The Desert Rats
- Edmond O'Brien in The Hitch-Hiker
- William Holden in The Moon is Blue
- Spencer Tracy in The Actress
- Stewart Granger in All The Brothers Were Valiant
- Tyrone Power in The Mississippi Gambler
- Richard Widmark in Take the High Ground
- Michael Wilding in Torch Song
- Frank Lovejoy in The Hitch-Hiker
- Kenneth Moore in Genevieve
- Bobby Driscoll in Peter Pan
- Clark Gable in Mogambo
- Bud Abbott in A & C meet Dr. Jekyll and Mr. Hyde
- Lou Costello in A & C meet Dr. Jekyll and Mr. Hyde
- Dean Martin in The Caddy
- Max Showalter in Niagara
- John Gregson in Genevieve
- Edmond O'Brien in The Bigamist
- Robert Taylor in All The Brothers Were Valiant
- Richard Burton in The Robe
- Cary Grant in Dream Wife
- Mel Ferrer in Lili
- Stewart Granger in Salome
- Tommy Rettig in The 5000 Fingers of Dr. T
- Gene Barry in The War of the Worlds
- Elroy Hirsch in Crazylegs
- Jerry Lewis in The Caddy
- Robert Wagner in Beneath the 12-Mile Reef
- Robert Taylor in Knights of the Round Table
- Ed Wood in Glen or Glenda
- Richie Andrusco in Little Fugitive
- John Brown in Robot Monster
- George Nader in Robot Monster
- John Mylong in Robot Monster
Saturday, 4 October 2014
Alternate Best Actor 1953: Masayuki Mori in Ugetsu
Mori is quite good in the role by portraying Genjuro having a bit of a simple charm in the role. He does particularly well in regards to showing Genjuro's various ideas about being rich even as their village is threatened by violent soldiers. Mori doesn't portray Genjuro's ambition as some sort of unshakeable drive in his personality, but rather presents it as something far more down to earth as well as fitting to an average man like Genjuro. Mori shows both the greed and the ambition to be pretty simple fitting the simple man as he is as just the search for the pleasure the money will bring. There is no scheming or grand ideas in his eyes instead Mori is quite good, almost like a game show contestant, in portraying this particular sort of desire. Mori handles this well because he manages to be endearing in the role even though Genjuro begins to do some rather reprehensible things.
Genjuro eventually leaves his wife and son, supposedly for their own safety, as leaves with his friend, who is ever worse in his own dream of becoming a samurai, and heads off to sell his pottery for a great profit. While there Genjuro comes across a strange alluring woman who seems to be oddly interested in him. At this point in the film Mori's performance mostly reactionary in nature as Genjuro allows himself to be manipulated by this odd woman and her servant. Mori does not get to do all that much but he's actually quite good in his depiction of Genjuro being pulled into this odd world the woman seems to inhabit. Mori's performance works especially well in tandem with the film's direction. It creates this otherworldly scene and Mori does well to amplify that through his reaction as Genjuro. Mori portrays a true astonishment and entrancement as he is brought into the woman's house and eventually seduced by her.
Wednesday, 1 October 2014
Alternate Best Actor 1953
Masayuki Mori in Ugetsu
Glenn Ford in The Big Heat
James Mason in Julius Caesar
Montgomery Clift in I Confess
Marlon Brando in The Wild One
Thursday, 29 August 2013
Alternate Best Supporting Actor 1950: Results
Best Scene: Emmerich tries to double cross the Doc.
4. Alastair Sim in Stage Fright-Sim gives an entertaining performance that up shows the entire film around him.
Best Scene: Eve Gill brings Johnathan to Commodore Gill's home.
3. Takashi Shimura in Rashomon- Shimura performance gives an interesting and moving performance as a seemingly moralistic woodcutter who might be hiding something himself.
Best Scene: The woodcutter is called out by the commoner.
2. Richard Attenborough in Morning Departure- Richard Attenborough gives a very strong turn being appropriately intense as a man who goes to extremes due to fear, but as well quite tender as the very same man who finds courage within himself.
Best Scene: The remaining crew play a game of cards.
1. Masayuki Mori in Rashomon- Good Prediction Psifonian feel free to name another year and performance to go with it. Mori gives an incredible performance giving four different perceptions of the same doomed man. He is able to be chilling then heartbreaking, brave then cowardly, and his reserved style here works perfectly in creating a very memorable dynamic with Toshiro Mifune's flamboyant turn. I will keep Sanders as the winner for the moment but I will say he is on thin ice. I will have to get around to watching All About Eve again as that will make or break his placement over Mori.
Best Scene: The samurai tells his version of the story.
Overall Rank:
- George Sanders in All About Eve
- Masayuki Mori in Rashomon
- Sam Jaffe in The Asphalt Jungle
- François Périer in Orpheus
- Richard Attenborough in Morning Departure
- Takashi Shimura in Rashomon
- Alastair Sim in Stage Fright
- Louis Calhern in The Asphalt Jungle
- Anton Walbrook in La Ronde
- Minoru Chiaki in Rashomon
- Victor Sjorstrom in To Joy
- Francis L. Sullivan in Night and the City
- Sessue Hayakawa in Three Came Home
- Juano Hernandez in Young Man With A Horn
- Alec Guinness in The Mudlark
- Edmund Gwenn in Louisa
- Luis Van Rooten in Cinderella
- Herbert Lom in Night and the City
- Ward Bond in Wagon Master
- Charles Coburn in Louisa
- Kichijiro Ueda in Rashomon
- Juano Hernandez in The Breaking Point
- Stanislaus Zbyszko in Night and the City
- Wallace Ford in The Breaking Point
- James Whitmore in The Asphalt Jungle
- Jack Warner in The Blue Lamp
- Erich von Stroheim in Sunset Blvd.
- Juano Hernandez in Stars in My Crown
- George Cole in Morning Departure
- Karl Malden in Where the Sidewalk Ends
- Cecil B. DeMille in Sunset Blvd.
- Mario Vitale in Stromboli
- Ivan Desny in Madeleine
- Hugh Marlowe in Night and the City
- Michael Brennan in Morning Departure
- Marc Lawrence in The Asphalt Jungle
- Nigel Patrick in Morning Departure
- Jack Webb in The Men
- Denis O'Dea in Treasure Island
- Everett Sloane in The Men
- Gary Merrill in Where the Sidewalk Ends
- Edmund Gwenn in Mister 880
- Richard Erdman in The Men
- Stephen McNally in Winchester '73
- Millard Mitchell in The Gunfighter
- Jack Palance in Panic in the Streets
- Wendell Corey in The Furies
- Cecil Kellaway in Harvey
- John McIntire in Winchester 73'
- Anthony Caruso in The Asphalt Jungle
- Miles Malleson in Stage Fright
- Jack Hawkins in Morning Departure
- Zero Mostel in Panic in the Streets
- Basil Sidney in Treasure Island
- Stephen McNally in No Way Out
- Brad Dexter in The Asphalt Jungle
- Wallace Ford in Harvey
- Karl Malden in The Gunfighter
- Barry Kelley in The Asphalt Jungle
- Will Geer in Winchester '73
- Paul Douglas in Panic in The Streets
- Millard Mitchell in Winchester '73
- Tod Andrews in Outrage
- Luther Adler in D.O.A
- Norman Woodland in Madeleine
- Michael Wilding in Stage Fright
- Patric Knowles in Three Came Home
- Jeff Chandler in Broken Arrow
- Robert Clarke in Outrage
- William Prince in Cyrano de Bergerac
- Hugh Marlowe in All About Eve
- Richard Carlson in King Solomon's Mine
- Charles Drake in Harvey
- Skip Homeier in The Gunfighter
- Gary Merrill in All About Eve
- Charles Drake in Winchester '73
- John McIntire in The Asphalt Jungle
- Neville Brand in D.O.A.
- Gregory Ratoff in All About Eve
Monday, 19 August 2013
Alternate Best Supporting Actor 1950: Masayuki Mori in Rashomon
Akira Kurosawa's films are not always known for their ensembles. This is not a problem as I never believe this causes any actual problems for the film, but they are usually driven by one or two performances. Rashomon though is an exception. Yes, as usual, it contains a great performance by Toshiro Mifune but almost every actor in the film has a moment to shine. Out of the supporting characters the man who shines the most is Masayuki Mori as the samurai Takehiro Kanazawa whose fate is the constant of the four different stories of the same event. The samurai's fate being that he is killed one of the many things that are disputed though is who killed him not to mention how he was murdered and why exactly he was killed.
Mori like Toshiro Mifune gives four different sides of apparently the same man. The samurai though is a little different though from his wife and the bandit because we never see the samurai as himself in the court we only know him through the perspectives of the story tellers. Mori's work is very different form Mifune's almost the polar opposite particularly in terms of how little he says as well as the fact he very much downplays the emotions of his character whereas Mifune revels in them. As Mifune's fiery performance reflected the free spirited nature of his character Tajomaru the infamous bandit, Mori's icy turn reflects his role as the controlled samurai who at first is just very normally moving one place to another through a forest with his wife.
Tajomaru's version of the events is told like an adventure despite the results of it therefore the samurai is pictured as an adversary although importantly a worthy adversary. Mori in this version is just about silent in his portrayal of the samurai. Every action he takes seems to be deducing what the bandit wants to do and attempting to thwart him the best that he can. Even when he is tied to the tree in defeat Mori portrays the samurai with a strong willed defiance like even though he is defeat he will not lay down, the perfect enemy to say that the bandit eventually defeats. When they do finally fight Mori once again portrays the samurai as a worthy foe who is brave, tough, and someone that makes it so the bandit can be very proud of his victory within his story.
In the wife's story Mori brings a subtle variation on the first story's version. Where Mori portrayed the samurai as most certainly unhappy in the first story the focus of the second his his intense disgust not at the bandit but at his wife for succumbing to the bandits advances. Mori portrayal of this disgust is particularly effective because of just how cold he is yet still forceful in the emotional intensity of his hatred. Mori barely says anything again yet there is such power in his stare without any remorse as he condemns his wife in his eyes. This version of the samurai is killed by his wife leaving her an emotional wreck and Mori makes both the wife's actions as well as her emotional state in the court believable through his bitter scowl.
I will skip over his version as that is the strongest point of his entire performance and go to the woodcutter's version. The woodcutter's version seems the most pathetic and perhaps the most realistic as the whole event leaves a terrible taste in the mouth. Mori's work is particularly interesting here as the samurai once again denounces his wife yet Mori plays it in a completely different fashion yet somehow it seems like it still could have come from the same man. Mori's plays this denouncement in a far more open and to the point manner probably far more like how most men would turn from their wives. Mori is still very harsh but it is fascinating the way in this version how he portrays the same action in such a different fashion yet still seems as though he is portraying the same character.
Mori is particularly effective in showing not only how their fatal battle starts but also how it ends. In this version it is being emasculated by the wife that leads both men to fight. Instead of being the stoic worthy adversary of the first story Mori's portrays the samurai much more as a normal man who is forced by pride to try and fight like a man. As I said in Mifune's review he and Mori are terrific in the portrayal of the battle particularly when compared to the bandit's version. Where the first was made a rousing affair by the actors in this version it is a particularly unpleasant sight to watch as both are frightened as they attempt to kill one another. Mori is very powerful as in the end does not portray the finale of the fight as a worthy opponent accepting defeat but rather just a very scared man pleading for his life.
Mori's greatest moment though is when the samurai himself tells the story through a medium, a person who speaks for the dead. Mori says the most as we hear his voice but do not see him. Mori's voice is extremely haunting and it is as it should be the voice of a dead man suffering in darkness. Through his voice we hear the samurai's version of the events. Mori is incredible because where the other scenes his performance properly acts as a man closed off from us, in this one he opens up to us as we see samurai as he sees himself. Mori still stays reserved in his performance but although there is not warmth precisely there is not that same coldness instead we are allowed see the basic human feelings in this man.
In this version of the story the samurai does not hate his wife for letting the bandit have his way with her but rather because she insists that the bandit murder him. Mori is actually quite heartbreaking in this version as he so honestly portrays how this tears the samurai inside. There is not anger that Mori portrays in this version but only sadness in the samurai due to all that he has lost from the event. It is especially moving because of the difference in this quietly emotional depiction in contrast to the cold version as he is seen by the other observers. That is the achievement of this performance by Masayuki Mori as he is able to create four different sides of the samurai yet never making it an entirely different character. His performance just like Mifune's is compelling complex portrait of the four perceptions of a man which Mori makes a particularly effective counterpart through his far more restrained portrayal to Mifune's flamboyant work.
Friday, 16 August 2013
Alternate Best Supporting Actor 1950
Masayuki Mori in Rashomon
Takashi Shimura in Rashomon
Louis Calhern in The Asphalt Jungle
Alastair Sim in Stage Fright
Richard Attenborough in Morning Departure











