Alternate Best Actor 1946: Results

5. Sydney Greenstreet in The Verdict - Greenstreet is innately an interesting performer but even that struggles under the often repetitive role he has here. 

 

Best Scene: Summary.  

4. Michel Simon in Panique - Simon gives a convincing performance as an eccentric but mostly innocent man being played as the fool.

 

Best Scene:  Finale.

3. Franco Interlenghi in Shoeshine - Interlenghi gives a moving and convincing portrayal of a boy's friendship but also his hardened state slowly being worn away by a cruel system.

 

Best Scene: Interrogation.  

2. Michael Redgrave in The Captive Heart - Redgrave gives a moving portrayal of the quiet tension but also determination of a man living under constant threat yet still trying to maintain his humanity. 

 

Best Scene: Explaining his story. 

1. Charles Boyer in Cluny Brown - Good prediction Robert. Boyer is at his most charming here in delivering on the wonderful wit of his character where he manages to be the smartest man in the room so effortlessly and delightfully.  

 

Best Scene:  Final talk with Cluny.

Updated Overall 

 

Next: A few supporting reviews for 46. 

Alternate Best Supporting Actor 1946: Michael Redgrave in The Captive Heart

Michael Redgrave did not receive an Oscar nomination for portraying Capt. Karel Hašek alias Geoffrey Mitchell in The Captive Heart. 

The Captive Heart follows the story of various British POW’s during WWII. 

Michael Redgrave is the most dominant but technically just one of many stories among a handful that we follow throughout the film. He is featured in the one with the most dramatic tension as we are first introduced to him as an officer who is fluent in German, though we quickly flashback to see Redgrave as a distraught man who hurriedly takes the clothes of a dead British officer who dies in front of him. Redgrave leaves a fine and quick impression as he brings just so much innate emotion within his face here. There’s the sense of a lot of years within the man, though I think this distinct combination between wear but also empathy. Even though we see him as a false soldier initially, we suspect better of him with the care within Redgrave’s performance as he tries to help the British soldiers before they are sent to the camp. Within the camp the other soldiers soon begin to suspect the fake captain due to his suspicious behavior and fluency in German leading to a confrontation. A scene where you really see the power of Redgrave’s presence, which is one honestly built on silences more than declarations. As the man actually named Karel’s reply is to admit the truth, which is that he is in fact a Czech concentration camp survivor, whose only chance was to replace the captain, and within this delivery Redgrave is wonderful as you can feel the intensity of position of isolation, however also this quiet degree of shame but also determination with needing to take the measures he did. Redgrave convinces you that Karel’s actions were justified and in turn makes it wholly believable that not only are the men willing to believe him, they eventually champion his survival. 

A situation that is all the more difficult as the camp’s gestapo agent was also at Karel’s concentration camp, though this initially enabled him to prove his story to the British. Redgrave brings such a striking emotional power within largely his silent reactions where you can see him taking in the severity of the situation while in the silence still presenting the man just being a soldier no more no less. Through the film then we follow him as he tries to maintain his identity which becomes all the trickier when the agent is wondering why he doesn’t send any letters home leading to Karel not only needing to break his hand but also write the unknowing widow Celia (Rachel Kempson, Redgrave’s actual wife) as the man he is impersonating. It speaks to Redgrave’s specific abilities as a performer as he does bring so much nuance within these moments of wording the letters and even contemplating the weight of the ruse. Something that is initially a survival necessity slowly becomes more with each letter and within each letter Redgrave’s performance in a few words but mostly just in thoughtful reflection conveys the connection. A connection all the more meaningful as Karel learns of the deaths of his own family and Redgrave presents a man in a personal purgatory reaching out to another, albeit in a most curious fashion. 

While having that more emotional story we follow one step after another of the specific deceits that eventually lead to Karel needing to find a way out in a large prisoner release through a daring mission, which again Redgrave adds a bit more gravity just in embodying the tension that Karel is going through as witnesses the difficult steps to get him out. Leading to probably the weakest aspect of the film, though it isn’t bad, where the film runs through everyone returning home and Karel having the strange duty of not only revealing to the captain’s wife that her husband’s dead but that she’s also had been corresponding with him the whole time. We do get a good scene of Karel telling the truth to her where again Redgrave is able to weaponize the empathy in such a moving fashion where you do sense completely his understanding of her plight but also brings just as much assurance that he had to do it. Finding though with just the right glint of appreciation and warmth, fittingly not to push too far given the nature of the moment but laying the seed that their connection might’ve been more than ruse. Unfortunately I will say the last bit of the film that basically is a montage of the two coming together feels less like the natural realization of the relationship and more of a “let’s wrap this up”, though this is no fault of Redgrave. Redgrave gives a strong performance that often is working in the silences and naturally finds the needed power in those silences. 

Alternate Best Actor 1946

 And the Nominees Were Not:

 

Michel Simon in Panique

 

Michael Redgrave in The Captive Heart

 

Charles Boyer in Cluny Brown

 

Franco Interlenghi in Shoeshine

 

Sydney Greenstreet in The Verdict  

Alternate Best Supporting Actor 1945: Michael Redgrave in Dead of Night & Boris Karloff in The Body Snatcher & Results

Michael Redgrave did not receive an Oscar nomination for portraying Maxwell Frere in Dead of Night.

Dead of Night tells a series of supernatural tales.

One such supernatural tale is a doctor recounting a most unusual criminal case featuring a ventriloquist performer Maxwell Frere and his dummy Hugo. This is indeed the original horror dummy story that would influence others, yes Erich von Stroheim also was a bit dummy obsessed in The Great Gabbo, but the dummy's nature was more generalized craziness than horrifying madness. Although this film is a series of spooky tales, that one could say has a campfire style, none of the performers treat the material as anything less than something worthwhile, particularly not Michael Redgrave. Redgrave brings as much devotion as we'd later see from Anthony Hopkins in Magic in terms of portraying this very specific role, though Redgrave doesn't do the voice. Although even without that touch, Redgrave's performance is fascinating to watch in his first performance in tandem with the dummy Hugo, as Hugo entertains the crowd and Redgrave's Maxwell goes along with it. Redgrave portrays a few things at once. One being his performance as ventriloquist where he just so slightly is mouthing to be believed that this may be just the act of the man, as Hugo goes around entertaining, but watch everything Redgrave does as Hugo speaks to the audience. Redgrave is creating this sense of a piercing anxiety in the man in every conversation, and this very specific awkwardness as though Maxwell is behind the joke every time. Redgrave leaves the ambiguity if this is a clever act as he plays the "dummy" or if it is a man that genuinely doesn't know. This seems to come to light when they speak to another ventriloquist where Hugo acts as though Maxwell may be worthless, where Redgrave brings all the intensity of the sense of an immediate betrayal of an underlying being mistreated by his boss as he lashes out and slaps Hugo. Maybe the act still, but Redgrave depicts a man very much distraught at the notion. When the man comes to see both in their dressing room, where Hugo invites the man to take over. Where Redgrave then is seething in emotional distress, and a pure mania in his eyes. A man with a terrible fixation as he speaks about Hugo with this sense of dread and despair almost at the idea of Hugo moving on from him. Redgrave makes all of this eerily tangible, which could be ridiculous, but here Redgrave makes it terribly real in its strange way. There's a physical brilliance in the moments where Redgrave is in the sphere of Hugo, where there's a subtle stiffness to Redgrave almost as though he moves a bit as the dummy himself, in the way he hangs himself at a bar matching Hugo, much more than just as a man would and Maxwell is the dummy. Although a short within anthology, Redgrave doesn't waste a moment in creating this increasing insanity and descent, as he acts, perhaps as Hugo's arm, as he shoots the other ventriloquist, calling him a "dirty thieving swine", with a completely deranged performance which is altogether amazing. As Redgrave devotes fully to the idea, as particularly when now in jail they bring Hugo back to him, and Redgrave is outstanding in the way he first acts in this sudden fear, then discovery, and a near jubilant happiness of his old partner finding him worthy. Before Redgrave acts as almost a beaten partner, as he reacts as a dejected and such potent fear as Hugo says he'll rid himself of Maxwell, and Redgrave is such a brilliant festering mess of a man as he lashes out against his abuser. Even his final moment, where Maxwell is fully the dummy, Redgrave, physically sells it more so than the voice, in the chilling artificial mask of a smile as he "performs" as Hugo fully. Redgrave delivers the horror of this segment by somehow both giving into the absurd insanity of this notion while at the same time convincing one of its reality by presenting as the portrait of the breaking point of a degraded and abused partner. 

Boris Karloff did not receive an Oscar nomination for portraying cab-man John Gray in The Body Snatcher.
 

The Body Snatcher follows a respected doctor, his new assistant, and the cab-man he hires to provide him with cadavers.
 

Theoretically in the long line of creepy Boris Karloff performances as a titular character of one sort or another, and to be fair to Karloff he's often good regardless of the quality of the film. This one is a little different in that Karloff is just *that* good here. Playing a non-supernatural role, and one where his makeup is relatively limited, more striking really is his costume which is just a great look for a character regardless as this cab driver from a certain time, who we actually meet in somewhat humble circumstances as he gives a ride and helps out a little girl to visit the respected surgical professor, Dr. Wolfe MacFarlane (Henry Danielle). Karloff doesn't change his voice to any monstrous thing here, rather he seems to almost try to emphasize even more this certain English delicacy within,  to the point I'd say he sounds most similar to his narration from The Grinch Stole Christmas, and as narrator not as the Grinch. And it is with a masterstroke of this decision because Karloff has never been creepier than he is here in portraying John Gray. Karloff is so gentle with the little girl with his bright smile as he helps her in that you just know there can't be anything good that is going to come from all this. And the truth of this becomes quite clear when the next time we see Gray he's dropping off someone else at the doctor's office, with reception by our bland hero (required for all horror films of this time it would seem) Donald Fettes, although this time Gray is dropping off a corpse. Karloff though has just as much of a bright smile, and just as much of this light way of speaking that instantly is bone chilling in the ease about it. We soon find out that Gray has become the corpse provider for Dr. Wolfe, as we see him talk to the doctor at the inn, and the genius of Karloff's performance becomes all the more evident.
 

The scene between Gray and Wolfe, whom Gray calls Toddy as a nickname is just amazing because of Karloff. Karloff's manner is incredible here because technically everything he says, except the use of Toddy, even his physical way of almost bending down to the man, it is all of this servile manner, as though he is the most grateful servant to be able to speak to a "great" man like the doctor. Yet as courteous and modest as Karloff makes Gray, it is all this genius subversion where just *how* gentle he is in his voice, and his gracious eyes always have this glint that you know this is all a lie, even as he speaks to with a truth. It is absolutely an outstanding portrayal of this sort of hectoring as nothing he is saying, other than again the overly familiar use of Toddy, isn't being respectful, yet the way Karloff fashions it, he is respectful while being terrifyingly threatening and penetrating with just how "respectful" he is. And it has to be said this is one of those performances that is just magnetic in such an unusual way, that the moment Karloff appears, you can't take your eyes off of him, because he's so fascinating here in presenting John Gray's particular evil. And that's before we even know the real evil of Gray, as perhaps he's just a grave robber at this point, and our boring younger surgical student thinks so when he asks Gray to find a corpse to help heal a crippled little girl. To which Gray listens out to hear a homeless alms singer in the distance. Karloff's expression as we see Gray perhaps fully as himself as it grows this sudden ideal as an immediate prey to be found and there is a horrifying clarity upon his face. Something that is all the more disturbing when he comes over with the dead corpse of the poor woman, and Karloff comes with that genial quality as though he were delivering milk to the surgical student. We are granted a little more insight when the doctor's other assistant Joseph (Bela Lugosi, which you know a doctor is quite suspicious when he has Karloff and Lugosi working for him), comes to Gray with knowledge of his murder. To which Gray initially seems to invite him into the whole idea, telling him with the story of Burke and Hare who were real life serial killers who provided cadavers via their victims, which Karloff delivers every word of this tale as though this is a wonderful fairy tale with his whole sprite manner. Karloff is devilishly sinister as he slowly twists the notion and then turns to Joseph with clearly a different intention than a partner as he stares at him. Karloff provides the utmost vile menace but with the most "pleasant of smiles" before going in for the more literal kill. We only technically get the truth of Gray's motivation when the doctor tries to basically beg him, where Karloff changes his tone so slightly and with such potent intensity as he now speaks so calmly yet directly of the satisfaction he gets from being able to mentally torture the "superior" doctor. Karloff relishing in every word he articulates and dominates the scene by portraying so calmly yet viciously the man's motivation, which is less blood lust and more of the most diabolical of class warfare. Karloff IS this film in a way few performances are, in that the film really wouldn't be much, but Karloff is such a powerful presence that he makes the whole film worth watching because he's worth watching. He is captivating every moment he's onscreen, to the point the film is captivating every moment he's onscreen, because he makes his fiendish cab-man a most charismatic villain, though in his own uniquely fiendish way.

Updated Overall

Next: 1998 Lead

Alternate Best Actor 1963: Michael Redgrave & Laurence Olivier in Uncle Vanya

Michael Redgrave did not receive an Oscar nomination for portraying Uncle Vanya nor did Laurence Olivier did not receive an Oscar nomination for portraying Dr. Astrov in Uncle Vanya.

Much like the Stuart Burge directed Othello, also starring Olivier, this film isn't quite just a filming of the play but it is close to it. There is no audience, and it is not just one day they decided to film the play. It is shot on a stage set, but the performances/direction, are attuned towards a general cinematic idea, more so than even in Othello, with edits, closeups, etc. being used by Burge, rather than just flatly filming a play performance. In that context, the film does work quite well as a strong staging of a remarkable play.

Michael Redgrave, who rarely played a happy man, plays the titular role of Uncle Vanya, though not necessarily the central role. He is one man within the estate in which the story is set. The old house of Vanya's sister, who is now deceased but left the house, an old maid daughter Sonya (Joan Plowright), and her husband the professor Serebryakov. The professor's visit being the catalyst in the story as he visits the estate with his new young wife Yelena (Rosemary Harris). Vanya is a role that is as unimportant as it is essential in terms of the state of being that defines Vanya. He is a middle aged man, an intelligent one, essentially without purpose within the rural estate. Redgrave's performance perhaps benefits from the pseudo cinematic form the most as so much of his performance are the moments of focusing on him, even when he turned away from whoever is speaking. Redgrave's initial approach is very much the success of his work entirely in realizing his Uncle Vanya. This is as he makes the man in this nearly comical tragic state of a man having had his life been wasted away, seemingly by circumstance. This is not drudgery to watch, as it could've been, as Redgrave tilts within that certain humorous overarching approach that is a rather fascinating one.

A frequent visitor, and fellow denizen of the provincial, is Dr. Astrov, who in many ways is the other side of the very same coin as Vanya. Astrov being played by the great Olivier, who I will praise to no end at any chance, and this will be no exception in that regard. Astrov's role is the more active of the two, which Olivier takes hold of naturally enough. Olivier leading into a given scene with such charisma as a man, who has just a bit more stature within his profession as doctor, but there is a bit more to it than that. Olivier though from the outset is wonderful to watch here playing the part with such a wonderful zest that makes Astrov stand out as he should, as a man who speaks his mind just a bit more than his fellow visitors and residents. Olivier of course takes hold of this idea splendidly with such rapturous deliveries, fitting to Astrov's natural musing upon the situations around him. Olivier delivers the right sort atypical extroverted bent to the man with a love of nature, and just really a general spirited attitude. Olivier exudes the right type of joy of at least the experience of interaction, which is where his performance intermingles with Redgrave's the most. This is as again, Astrov from a cursory look seem like they might be the opposite, which is the fantastic part of what Redgrave and Olivier do together, as the two are in a very similar situation.

Redgrave was an expert at the discontent of life, giving an all-time great performance depicting that in The Browning Version, in portraying such a natural anxiety. This is the case here as Redgrave in a given scene just exudes this discomfort of one's state being. This as making Vanya a man who can find comfort in his own skin even given the discomfort he has had with his life. Redgrave's work again though is terrific because he does not make it this slog and adheres to the idea of Uncle Vanya, the play, is technically a comedy. This is not to say he exactly gives a comedic performance, but what Redgrave does makes sense of the character through this humorous approach. A darkly humorous approach however as Redgrave plays the part as though Vanya can't help but nearly laugh at the expense of himself at every given situation. Rather than cry, Redgrave is rather powerful in making such a painful smile as he just shakes his head at his existence again and again. There is a real pathos Redgrave finds with this, that he carries as almost Vanya's shield from completely breaking down into despair. This even as he declares his love for the young Yelena, Redgrave is heartbreaking as his delivery is inundated with self-deprecating scoffs and grins. This as Redgrave plays the moment quite effectively as one of self-defeat, knowing his attempt for the younger woman will fail, but tries anyway.

Now the two are of the same coin in that Astrov is very much in the same situation as Vanya. In that neither is happy in their place in life, and feel very much out of place within their setting for their existence. Olivier though shows that Astrov quite simply is not as burdened by this knowledge as Vanya is. He instead delivers the mention of their unfortunate circumstances with a blunt straight forward, "yes this is how it is", of a man whose basically made peace with it. Olivier though underlines this though with portraying the doctor as trying to enjoy what there can be found in his life as much as can be found. One of the ways is even within trolling Vanya a bit, as he basically makes fun of him from time to time, which Olivier portrays as biting though with a definite good nature, as his eyes subvert the words with an affectionate warmth. He conveys an empathy within Vanya's plight as he himself is experiencing it, though the way he can experience is taking those bits of joy, which includes pestering Vanya a bit. Olivier accentuates the different nature of this same existence particularly effectively when he also declares his love to Yelena, unfortunately while she was trying to see if the doctor was interested in the "said to be homely" Sonya. This as Olivier portrays this immediate energetic thrust towards the opportunity, attempting to woo her at the chance of something more, which contrasts effectively against the sabotage of Redgrave as Vanya.

Yelena mostly rejects Astrov as she did Vanya, and I love the bit of smug delight Olivier depicts in Astrov's minor victory he can hold over the bitter Vanya. The Vanya who gets worse before he gets better as the story goes on and Redgrave is great in depicting his own breaking point. This as not from denied opportunities, but rather the loss of even the existence he has when the professor suggests selling their home off. Redgrave's exceptional in the moment by finally making his self-deprecating laughs as unbearable, as they sweep away in his eyes towards an abject madness. This as he finally lashes out without hesitations, towards violent action, which Redgrave makes it natural by creating it as this breaking point where Vanya's humor no longer can save him. This leaving Vanya trying to literally kill the professor but failing in that too, therefore left just to sulk within his home again. Redgrave, though he only has a few lines, is great in his final scene by showing Vanya no longer with even that pained smile on his face. This as he attempts to attempt suicide, at least as an act of an attempt by stealing Astrov's morphine, where Redgrave is remarkable just in realizing the sad state of the man now directly living his depression. This again contrasting against Olivier as Astrov who blithely tells Vanya to give him back his morphine and go kill himself properly by shooting himself. Olivier's approach again effectively delivers a comedic bent to it, though in the moment he carefully still grants a genuine concern in the man's eyes for Vanya. Olivier though shows the alternative path as Astrov still is in the same state of existence, however Olivier exudes still just this sense of the simple joy of the little success he had with Yelena and life, though with its own pathos in his pitch perfect reaction as he sadly turns away from Sonya's romantic hopes before leaving the estate. Both Olivier and Redgrave do justice to their roles by finding an effortless tone that serves the material so well, as creating these barriers of comedy, from the tragedy within.

Alternate Best Actor 1963

And the Nominees Were Not:

Michael Redgrave in Uncle Vanya

Laurence Olivier in Uncle Vanya

Patrick McGoohan in Dr. Syn, Alias The Scarecrow

Gunnar Björnstrand in Winter Light

Peter Breck in Shock Corridor

Alberto Sordi in Il Diavolo

Predict those five (Redgrave from Vanya for prediction purpose),  these five (Shaw from The Caretake for Prediction Purposes) or both

Robert Shaw in The Caretaker

Donald Pleasence in The Caretaker

Steve McQueen in Love With a Proper Stranger

Burt Lancaster in The Leopard

Maurice Ronet in The Fire Within

Marcello Mastroianni in The Organizer

Alternate Best Actor 1951: Results

5. Raj Kapoor in Awaara - Despite the somewhat disjointed nature of what is required of him, Kapoor actually matches well any tone or style is requested of him by himself as director.
  
Best Scene: Raj catches the "thief".

4. Richard Basehart in Fourteen Hours - Basehart keeps most of his more theatrical tendencies under control to an effective portrayal of the intense state of mind on the edge both literally and metaphorically.

Best Scene: Robert speaks with Dunnigan about the good things in life.

3. Oskar Werner in Decision Before Dawn - Werner effectively elevates his film through his moving and nuanced portrayal of a righteous traitor.

Best Scene: Happy argues for the deserter.

2. Trevor Howard in Outcast of the Islands - Howard gives a downright brilliant portrayal of man who only becomes worse after being given a chance for redemption.

Best Scene: Madness in the rain.  

1. Michael Redgrave in The Browning Version - Good prediction Tahmeed. I have to admit the choice for the final overall was relatively easy despite my love for the performances of Marlon Brando, Montgomery Clift, Alec Guinness, Robert Walker, Trevor Howard and Alistair Sim from 1951. I thought Redgrave was a good actor before watching this film, but his extraordinary work here put him in even greater light for me. It is such precise yet naturalistic, uncompromising yet heartfelt, complex and poignant depiction of a man who has slowly given up on life.

Best Scene: The speech.

Updated Overall Lead
Updated Overall Supporting

Next Year: 1993 Lead

Alternate Best Actor 1951: Michael Redgrave in The Browning Version

Michael Redgrave did not receive an Oscar nomination, despite winning Cannes, for portraying Andrew Crocker-Harris in The Browning Version.

The Browning Version is a rather excellent film about the last days of a public school professor.

Michael Redgrave is an actor who I have appreciated his past work to be sure, though those were often in smaller roles, or as co-leads. Redgrave is the central figure to this film, and I won't attempt to obscure my feelings this is work is rather extraordinary. The film opens with his character, Crocker-Harris being introduced by the school headmaster as well as through the interactions of a few school students. It is far more common for films with a teacher at the focal point to be more broadly inspirational, not unlike Goodbye Mr. Chips which is referenced in this film. This film seems to purposefully subvert that trope. Both the head master and the students paint Crocker-Harris as an unlikable professor and almost view him as a dictatorial figure, with his first appearance sitting silently seemingly being the figure he is described as. This is a rather interesting character study from the outset as this sort of character is more often found as a side character, just a one note antagonist setup to be flustered when our free spirit protagonist wins the day. This film offers a fascinating alternative perspective to such a character, even though we are technically introduced to him a way in which we observe him through the limited lens that everyone else seems to.

Michael Redgrave's first speaking scene is found when we watch Crocker-Harris's replacement come to observe the man's methods in action. Although we are shown a loud uproarious classroom next door we are told such things do not occur in Crocker-Harris's classroom. Redgrave is downright brilliant as he reveals his crafting of this particular professor. It would not be good enough to simply be the posh stuck up gentleman, that wouldn't be correct, Redgrave instead creates something quite unique in his realization of the man. The vocal choice that Redgrave takes is a stroke of genius. He inflicts himself with a higher pitched voice. It is of course very proper yet dull, perfect for long recitations of foreign languages, also perfect for an imitation, as Crocker-Harris's students so often indulge. There is something particularly intelligent Redgrave does with this voice, which I will get to a bit more down below. Redgrave furthers his creation of Crocker-Harris as the perfect dusty old professor with his physical presence. There is an utter rigidity he brings to his performance as he takes his seat at the head of classroom, keeping this very particular gaze, and very specific tightness in place almost as a statue representing a teacher.

We are then allowed to see Crocker-Harris in action, and Redgrave is wholly convincing in being the master of his classroom. He does not do this by raising his voice, yet there is this cold incisiveness that has a strange power to it. There is an intensity within it which is absolutely believable in the way it controls the classroom. As he distributes his punishment in addition to stating the class's failures on their work it absolutely pierces through in the way Redgrave in such a matter of fact fashion carries the old crock. Redgrave shows us a man who does rule, not with an iron fist, rather an iron tongue and resolve of sorts which is unflinching. In this view you'd never second guess this man in his space of command, even if it appears to make the majority of his students so miserable. The whole idea of the image of the man, as stated by the students, is there in Redgrave's work. He is indeed a character though a character in terms of how the student's view of him. There is something even slightly comical about this, not that Crocker-Harris is being funny exactly, rather he's humorous in the way the student's see him. That is not all there is to Crocker-Harris as the film continues.

We are still given technically the limited view of him as one of the students, Taplow, comes for an additional lesson, much to his dismay, as does Crocker-Harris's fellow professor Frank Hunter under the pretense of a friendly visit, though in fact there to continue on his affair with Crocker-Harris's wife Millie. Redgrave shows Crocker-Harris ease up a bit, though not entirely, as he shows up for the additional lesson at first, suggesting just a hint of less prickly figure, though still rather prickly. Redgrave goes on as the tired old teacher until Taplow mentions translating "Agamemnon" from Greek properly, suggesting a real enthusiasm for the material. Redgrave is fantastic in this moment as he still portrays such reservation in the conversation, as though Crocker-Harris is carefully trying to understand whether or not Taplow is being genuine. Redgrave eventually reveals just a dim bit of passion that reveal itself from beneath his skin, quietly explaining his own interest in the work by mentioning his own attempt at translating it. After the lesson Taplow leaves though and we are left with Crocker-Harris and his personal life.

Now in terms of Redgrave's performance we also see a bit of loss in his vocal work in that his high pitched voice though retained, is now entirely natural sounding where in class it seemed just ever so slightly put on. Redgrave is also terrific in creating such anti-chemistry with Jean Kent as Millie, as they eat together in such complete detachment from one another. If there ever was love between them, it is absolutely gone. Redgrave's interactions though aren't those with a stranger though, but rather an enemy who has done him so much wrong he can barely spare her a look in the eye. They later on go to walk about the academy as a cricket game is going along, and we soon learn why this is the case. Crocker-Harris first goes to speak with the head master who informs Crocker-Harris that he not only will not receive his pension, but he is also asked that at his retirement ceremony that he speak before a younger teacher despite it being entirely against protocol. Redgrave's work is so remarkable in the way he internalizes Crocker-Harris is discontent so effectively in the moment, while just barely whispering out his protests that the head master easily waves away. Redgrave gives us a man so defeated by life, and makes the humanity within it so honest, that it is actually a bit painful to witness.

Of course his treatment by the head master is nothing compared to the way his wife brow beats him incessantly for his failures. Redgrave again makes you feel the pain, while maintaining the man's posture and stature as to what suits his position. The measure of suffering is deeply felt in Redgrave's performance, but it goes further in that you see the years of it in the man. He does not even speak against his wife treatment, though in his eyes he shows it hurts him no less, as he presents Crocker-Harris's terrible existence in such vivid detail. The idea of this is only grown as he explains his history as a professor to his successor, which is a tale defeat. In the scene though Crocker-Harris describes his intentional playing up of certain mannerisms to try to entertain the boys originally, which completely matches that somewhat heightened voice and physical performance we saw in his early scenes. The tale is more than just a revelation, and Redgrave instead expresses a confession. A striking confession of the anguish in a man who is admitting to his own loss of will to do what he believed to have been a noble cause.

There is just a bit of hope given to Crocker-Harris, to give his years some meaning when Taplow later returns to give him the titular Browning version of "Agamemnon". Redgrave give such poignancy to the moment as he allows a bit more of that old passion to reveal itself in the way he so beautifully breaks down in just a moment of joy from the gift. Unfortunately his wife refuses to grant any such happiness to Crocker-Harris as she proclaims that Taplow as merely mocking him with the gift, which is so hurtful that even the Hunter, the man having an affair with his wife, is horrified by it. Redgrave though is heart wrenching as he brings Crocker-Harris to almost the end, as you can feel the emotion all pent up and on the edge of the man with every tense word and irritated movement. Redgrave depicts the tremendous effort in Crocker-Harris as he's trying to keep himself proper, even while so clearly falling apart inside. He is especially heartbreaking when he reveals to Hunter that he's always known about the affair, since his wife told him. Redgrave makes the moment almost unbearable because he shows the man who has essentially accepted his pain as he reveals to Hunter, his wife's inability to love him. Redgrave is devastating since there is this sense of warmth he brings to the words, but a warmth lost long ago to the past. It isn't the end of Crocker-Harris though as Hunter tirelessly attempts to get him to stand up for himself, basically insisting he is not as useful as the way his wife treats him. Redgrave renders his understanding of this so eloquently and believable in his quiet reactions. Redgrave calls upon something within his work in the discontent to carefully and convincingly to create a change in Crocker-Harris. Redgrave does not compromise the character though, as when he dismisses his wife Redgrave's whole performance earns this suggesting it has been a long thing coming to begin with. Crocker-Harris's turn around does not end there though as in the farewell ceremony he insists on speaking second, as is his right to do so. Redgrave is downright amazing in the scene as he begins in Crocker-Harris's stilted professor manner at first, before breaking out to essentially giving an anti-inspirational speech. In that he admits his failures to all his students, and Redgrave finally wholly reveals the old passions of the man in this speech. It is a truly cathartic moment, and Redgrave manages to make inspiring in its own way. As now Redgrave, even when admitting defeat, he shows that Croker-Harris is no longer defeated as a man. I honestly could go on and on in discussing the greatness of this performance. I absolutely loved this performance not a second is wasted in Redgrave's outstanding work. He so effortlessly crafts this portrait of this distinct figure in such humanizing and powerful detail.

Alternate Best Actor 1951

And the Nominees Were Not:

Raj Kapoor in Awaara

Oskar Werner in Decision Before Dawn

Trevor Howard in Outcast of the Islands

Michael Redgrave in The Browning Version

Richard Basehart in Fourteen Hours

Alternate Best Actor 1940: Results

5. Michael Redgrave in The Stars Look Down - Redgrave, despite being somewhat limited by his film, gives an effective depiction of a shy man finding courage for a cause.

Best Scene: His last speech.

4. Laurence Olivier in Pride and Prejudice - Although apparently in the minority I find Olivier gives a charming and rather funny portrayal of an excessively proper gentleman.

Best Scene: His failed proposition.

3. Edward G. Robinson in Brother Orchid - Robinson calls upon his more serious gangster performances then cleverly subverts them to give a comic, and surprisingly moving portrayal.

Best Scene: Brother Orchid is denounced.

2. Cary Grant in His Girl Friday - Grant gives a very entertaining performance that creates the properly dominating and manipulative presence of the character while still being quite charming.

Best Scene: The final sequence.

1. James Stewart in The Shop Around the Corner - Good Predictions Michael Patison, Jackiboyz, ruthiehenshallfan99, and RatedRStar. Stewart gives an immensely likable and sympathetic performance that is a great example of his appeal as a leading man.

Best Scene: Alfred confronts Vadas.

Overall Ranking:

1. Laurence Olivier in Rebecca
2. Charlie Chaplin in The Great Dictator
3. James Stewart in The Shop Around the Corner
4. Henry Fonda in The Grapes of Wrath
5. Conrad Veidt in Contraband
6. Cary Grant in His Girl Friday 
7. Edward G. Robinson in Brother Orchid
8. Laurence Olivier in Pride and Prejudice
9. James Stewart in The Mortal Storm
10. Michael Redgrave in The Stars Look Down 
11. Brian Donlevy in The Great McGinty 
12. W.C. Fields in The Bank Dick
13. Joel McCrea in Foreign Correspondent 
14. Errol Flynn in The Sea Hawk
15. Henry Fonda in The Return of Frank James
16. Stanley Ridges in Black Friday
17. Cary Grant in My Favorite Wife
18. Raymond Massey in Abe Lincoln in Illinois 
19. Boris Karloff in Black Friday
20. Cary Grant in The Philadelphia Story
21. Tyrone Power in The Mark of Zorro
22. Dickie Jones Pinocchio
23. James Stewart in The Philadelphia Story
24. Charles Laughton in They Knew What They Wanted 
25. Frank Craven in Our Town
26. William Holden in Our Town
27. Mickey Rooney in Strike Up The Band
28. Gary Cooper in The Westerner 

Next Year: 1940 Supporting

Alternate Best Actor 1940: Michael Redgrave in The Stars Look Down

Michael Redgrave did not receive an Oscar nomination for portraying Davey Fenwick in The Stars Look Down.

The Stars Look Down an effective film depicting the hardships a mining village in England.

Michael Redgrave played Davey who we follow through most the story as the son in a family of mine workers, although he's studying in order to go to university. Redgrave is indeed the lead though the film gives ample time to the community of the miners particularly in the opening scenes where Redgrave's appearances are somewhat sparse. In the few appearances we do see him though Redgrave makes for a likable enough lead, and does well to realize two sides to Davey's character. The first being the somewhat shy and unassuming bookworm type. Redgrave has a particularly meek manner and a very meek voice. Redgrave portrays this quite naturally which is very important for what his character means for the film. Although the miners show their discontent they don't have an exact voice, and this is what Davey intends to be, which might seem odd considering how he usually behaves. Redgrave's approach is an intelligence one that gives a certain arc for his character that might not have been there otherwise.

This is found through his delivery of four key speeches throughout the film. In the first speech, which is particularly impromptu, Redgrave is very good in portraying all the passion in Davey as it is fierce and you really feel the emotions that pour into. At the same time though Redgrave makes it tense and sharp in a way that is not that of a natural speaker. The shyness is there in the speech, even though the speech itself is an extroverted act, Redgrave does well to depict the sort of hesitation and effort required for such a man to do this. At this point Davey goes away to University to where gets into vying for the affection of a young woman with the more outgoing Joe Gowlan (Emlyn Williams), the young woman Jenny being played by Redgrave's The Lady Vanishes co-star Margaret Lockwood. Where Redgrave and Lockwood were quite endearing in Hitchcock's comedic thriller, this relationship is very different. Well of course Redgrave plays an introverted fellow rather than his extroverted outgoing hero in that film, and instead of playing a spunky heroine plays a vapid woman.

During this time we are given his second speech in a college debate which Redgrave begins to give a bit more refinement in his speech, though there is still a certain weakness, and distance reflecting that in the moment Davey is not in the presence of the people he wants to fight for. At the same time the relationship continues and Redgrave and Lockwood once again have chemistry though this time of a different sort. Redgrave depicts Davey's interest in Jenny with all earnestness, and shows him to almost be in fear in his interactions with her as though he is so taken aback that she is bothering to give him the time of day, even though she's really just using him as a game on Joe. Joe rejects the game leaving Davey for Jenny to fall back on who takes her to his home, which she is not particularly found. Lockwood and Redgrave are quite good at striking up the right sort of awkwardness as her thin personality results in constant complaints and strong passive aggressive streak, while Redgrave so well portrays Davey's terrible state of clearly being ruled by infatuation while realizing simply a resigned confusion idea with Davey on what to do with her behavior.

Although his return home does not work for his marriage it brings him to make one more attempt for some sort of reform. This third speech Redgrave earns Davey as finally being in his element with the passion and power of persuasion in his force. There's no hesitation in this case as he makes his speech, it only comes when he pressed on his marital woes, and Redgrave is quite good in how he slightly reduces Davey to his meeker self when reminded of his personal weaknesses. The film's final act actually forced Redgrave to disappear for much of it as it instead focuses on a group of men stuck in a mine, and the efforts to attempt to rescue them. Redgrave isn't even given much to do in between the lines so to speak in these scenes as he's simply off screen much like the early scenes of the film. He's never really given any focus again until right near the end of the film where Davey gives his last "speech", which isn't a speech at all, but rather a rejection of his earlier position as the speaker for the miners. It's a powerful moment as Redgrave shows Davey's grief and apparent final understanding of the world. Although Redgrave's character is often sidelined, he still manages to give a moving and compelling portrait of a man finding his place in life.

Alternate Best Actor 1940

And the Nominees Were Not:

Edward G. Robinson in Brother Orchid

Cary Grant in His Girl Friday

James Stewart in The Shop Around the Corner

Laurence Olivier in Pride and Prejudice

Michael Redgrave in The Stars Look Down

Alternate Best Actor 1938: Results

5. Nikolai Cherkasov in Alexander Nevsky- Cherkasov gives a solid turn in his film, but is held back by his paper thin character.

Best Scene: Nevsky rides victoriously into the city.

4. Errol Flynn in The Adventures of Robin Hood- Flynn is extremely charming in his role and makes this one fun adventure.

 Best Scene: The climatic fight.

3. Michael Redgrave in The Lady Vanishes- Michael Redgrave gives a very enjoyable performance treading carefully as he stays humorous well never comprising the suspense of the film.

Best Scene: Gilbert and Iris play Holmes and Watson.

2. Cary Grant in Holiday- Grant gives an enjoyable performance that is funny but also conveys his character's personal desires well.

Best Scene: Johnny gives his fiancee an ultimatum.

1. Jean Gabin in The Human Beast- Gabin makes his character a ticking time bomb as a man who is gentle in his heart, but mad in his blood.

Best Scene: The beast comes out for a second time.

Overall Rank:

1. James Cagney in Angels With Dirty Faces
2. Jean Gabin in The Human Beast
3. Jean Gabin in Port of Shadows
4. Cary Grant in Bringing Up Baby
5. Robert Donat in The Citadel
6. Leslie Howard in Pygmalion
7. Cary Grant in Holiday
8. Raimu in The Baker's Wife
9. Michael Redgrave in The Lady Vanishes
10. Charles Laughton in Sidewalks of London 
11. Errol Flynn in The Dawn Patrol
12. Edward G. Robinson in A Slight Case of Murder
13. Errol Flynn in The Adventures of Robin Hood
14. Lionel Barrymore in You Can't Take it With You
15. Ronald Colman in If I Were King 
16. Claude Rains in White Banners
17. Edward G. Robinson in The Amazing Dr. Clitterhouse
18. Charles Laughton in The Beachcomber
19. Aleksei Lyarsky in The Childhood of Maxim Gorky
20. Stan Laurel in Block Heads
21. Oliver Hardy in Block Heads
22. Nikolai Cherkasov in Alexander Nevsky
23. James Stewart in Vivacious Lady 
24. Walter Huston in Of Human Hearts
25. Brian Aherne in Merrily We Live
26. Laurence Olivier in The Divorce of Lady X 
27. James Stewart in Of Human Hearts  
28. Clark Gable in Test Pilot
29. Charles Boyer in Algiers
30. Serge Grave in  Les Disparus de Saint-Agil
31. Fred Astaire in Carefree 
32. Mieko Takamine in The Masseurs and a Woman
33. Shin Tokudaiji in The Masseurs and a Woman
34. Gary Cooper in Bluebeard's Eighth Wife
35. Groucho Marx in Room Service 
36. Mickey Rooney in Love Finds Andy Hardy
37. Spencer Tracy in Boys Town
38. Henry Fonda in Jezebel
39. Jackie Cooper in White Banners
40. Reginald Owen in A Christmas Carol 
41. Tyrone Power in Alexander's Ragtime Band
42. Tommy Kelly in The Adventures of Tom Sawyer
43. Mickey Rooney in Boys Town
44. Tyrone Power in In Old Chicago
45. Robert Taylor in Three Comrades
46. Richard Greene in Kentucky

Next Year: 1938 Supporting

Alternate Best Actor 1938: Michael Redgrave in The Lady Vanishes

Michael Redgrave did not receive an Oscar nomination for portraying Gilbert in The Lady Vanishes.

Although The Lady Vanishes takes a few minutes to hit its stride, but once it does it becomes a very entertaining thriller about a young woman Iris (Margaret Lockwood) who is sure that an old woman has disappeared from the train she is on, but no one will believe her.

Michael Redgrave's role here as Gilbert is in a similar vein to Robert Donat's in the 39 steps as they both are the male leads in Hitchcock thrillers. There are some differences though. The biggest being that Redgrave's role is technically secondary lead in that he does not get to be the one in the precarious situation. Instead Gilbert is the one who needs some convincing, and Redgrave never leads the film solely as Robert Donat had in the earlier film. Redgrave though definitely takes a similar approach to the material as Donat had though.

Before the thriller starts this movie is more of a lightweight comedy. Redgrave appears briefly in these scenes as another vacationer who likes to play his clarinet loudly in the hotel the vacationers are staying at, and after Iris bribes the hotel manager to kick him out he does not mind imposing on Irish until she has him reinstated. Redgrave's scenes are brief here and in these scenes he is almost entirely comedic in his style. Redgrave does this well, and plays Gilbert in a witty fashion that allows Gilbert's rather flamboyant actions play out in a fashion that never makes them too over the top.

When the thriller starts Iris chances upon Gilbert on the train they are taking back to England, and he decides to help her look for the missing old woman. Redgrave keeps a light touch in these scenes as well, but he is rather enjoyable in the tone he sets up for Gilbert. On one end he does add some nice bits of humor to the proceedings whenever he has a chance, and has some nice timing to add something humorous at just the right moment. At the same time though he never goes too far though to mess with the more serious moments, although Redgrave does appropriately leave Lockwood to bring the dramatic weight as Gilbert for a long time is not entirely convinced.

Redgrave does well to ease into a greater seriousness as the situation slowly becomes much more dire as they find themselves in the plot. Redgrave always keeps that lighter touch though even in the climax, but he does find the right tone and allows their predicament to be enjoyable as well as thrilling. Redgrave also does work well with Margaret Lockwood, and Redgrave handles the romantic angle particularly well. There is not too much focus given to it throughout the film. Redgrave is good in the brief moments where Gilbert suggests interest which are very much underplayed, but effectively so. When they do end up with each other it works out just fine.

Michael Redgrave gives a nicely handled performance here that serves this fun thriller well. I would say as Alfred Hitchcock leads of this kind I did prefer Robert Donat's work in the 39 Steps. That is not to say anything negative about Redgrave's performance though as I really liked Donat's performance in that earlier film I also quite liked Redgrave's performance as well. Honestly I found Redgrave's performance quite delightful the whole way through the adventure always bringing that nice comic touch, while being entirely convincing when it is necessary to adjust his performance for the more harrowing sequences.

Alternate Best Actor 1938

And the Nominees Were Not:

Nikolai Cherkasov in Alexander Nevsky

Cary Grant in Holiday

Jean Gabin in The Human Beast

Errol Flynn in The Adventures of Robin Hood

Michael Redgrave in The Lady Vanishes

Best Actor 1947: Results

5. Gregory Peck in Gentleman's Agreement- All Phil Green does is make speech after speech about antisemitism, or give disapproving looks. No actor could really have made these constant speeches interesting. The only other part of his performance are his romantic scenes with Dorothy McGuire which lack chemistry.

4. Michael Redgrave in Mourning Becomes Electra- Orin is very difficult character and Redgrave gives his best go at it. He mixes his performance with both a little subtlety that works fairly well, and theatrics which are interesting but are not always entirely convincing.

3. John Garfield in Body and Soul- Garfield gives a a good performance throughout but his character is a little too simple for most of the film. When he does get a chance to do more he does, it is shame his character was not more fully written for the whole film.

2. William Powell in Life With Father- Poor Powell always second place. Powell last Oscar nomination is a nice funny performance, it is not that much but certainly an entertaining performance.

1. Ronald Colman in A Double Life- A good prediction Dinasztie Colman gives a terrific performance interspersing subtlety of Anthony John with the insanity of Othello especially well. It is a risky performance for sure but one that succeeds very well. He was last Lead Actor winner I saw and I am glad the last I saw was a great one.