Alternate Best Actor 1971: Results

5. Jon Finch in Macbeth - The film purposefully restricts his ability to explore the character, but Finch still manages to give an effective portrayal of the transformation of Macbeth particularly in the way he suggests his misdeeds age him.

Best Scene: Learning about the Lady

4. Al Pacino in The Panic in Needle Park - Pacino, unlike the film itself, creates an understanding in his character's disjointed nature effectively showing the different sides of such a man whether he's revealing an abundance of charm, or simply wasting away.

Best Scene: Bobby asks Helen to score for him.

3. Max von Sydow in The Emigrants -I apologize as I did not mean to shortchange this great actor, but I chose not to review the performance only because I felt I could not add anything to what I wrote about his work in the sequel where I felt he had a more dynamic character arc to realize since everything that's great in this performance can be seen there as well he only gets to explore the character further. This is also a very strong performance though that once again works through the sheer simple honesty he brings to the role, along with his marvelous chemistry with Liv Ullmann(who once again is perfection by the way) that works so in tandem with the wonderful vision realized by the film.

Best Scene: Watching over his sick wife.

2. Oliver Reed in The Devils - Reed gives a great performance as he stands as a needed straight man for the film, but also creates an affecting portrait of a priest devoted to his specific ideals.

Best Scene: Defending himself in court.

1. Paul Scofield in King Lear - Good Predictions RatedRStar, Michael Patison and Luke. Scofield more than proves his ability with the words of the bard, through his daring and truly powerful portrayal of the tragic king.

Best Scene: The storm.

Updated Overall (with a few extras):

Next Year: 1971 Supporting

Alternate Best Actor 1971: Paul Scofield in King Lear

Paul Scofield did not receive an Oscar nomination for portraying the titular character in King Lear.

King Lear is Shakespeare's tragedy about the fallout after an elderly monarch foolishly divides his Kingdom among his daughters. King Lear, despite being often hailed as one of Shakespeare's greatest works, is not noted in terms of its cinematic adaptations, well other than the  Japanese version, that I hear is quite good. This is perhaps the most noted adaptation in the English language, that bears the original title, and it is a rather forgotten film. This version of King Lear was not especially well received when it was released, and it is apparently much too obscure today for a reappraisal. It is understandable why though director Peter Brook has a personal vision for the material. That vision though is that of an overwhelming gloom as the film is more of filmed in black and grey than black and white. It's a dark world this Lear lives in to begin with and the progression of the story simply allows the people to more closely fit in with the mood of their surroundings.

This adaptation of  King Lear stands as Paul Scofield's only major Shakespearean role on film, he had minor roles in Branagh's Henry V and Zeffirelli's Hamlet, despite being one of the most highly regarded Shakespearean actors of all time. Well as his one major cinematic performance utilizing the bard's work it is certainly an interesting one. Now it should be no surprise to anyone whose ever seen any performance by Paul Scofield that he thrives with Shakespeare's words. Scofield frankly does this with any writers' work with his precise and so eloquent manner of speaking that helps to create that rather unique cinematic presence of his. Scofield excels in this regard as he's particularly effective in the way he manages to find the beauty in the words while still always making them grounded in a definite reality. Scofield's approach is flawless in this regard since his delivery seems effortless to the point that it is entirely natural while in no way lacking a certain style all the same. Again though this should be no surprise for one familiar with Scofield's work, however what might be more surprising is in his approach to the old King Lear.

Laurence Olivier and Ian McKellen, both great Shakespearean actors in their own right, would later play King Lear. In both of their performances they approach the role of Lear as really a kindly old man at heart, which seems to be the most common approach to the part. Scofield though completely rejects such an approach evidenced from his first scene where Lear decides on the division of his Kingdom based upon his how his daughters express their love for him. From the start of it Scofield takes even an unorthodox approach to his physical depiction of the man's age. Instead of having the grace of a nice old white haired man, Scofield instead plays it as though Lear is a man fighting against his years in a way. Scofield expresses the wear in his face yet he never shows Lear to embrace it, as there is this certain tension about it as though Lear is attempting to keep his features that of younger man. However the age cannot not be hidden, from his grey hair, to his sunken features, and his quivering lip, which is a particularly brilliant touch by Scofield, and there is a certain unease to be found by Scofield portraying Lear as a man not fully comfortable with himself.

Scofield's daring approach continues though as he makes Lear a rather harsh man from the beginning. In the opening scene as he concerns himself with his daughters' gifts, his question to each of them of how much they love him does not seem that of just a old man looking for some comfort, but rather that of ruler demanding a concise answer to resolve the current matter of his Kingdom. Scofield places an emphasis on the idea of this King with his performance. In Scofield's portrayal there is that gravitas of a proper monarch, and the forcefulness of a man who has truly made an impact on his country. Scofield projects the power of the man's personality in the scene as there seems to be a great leader and perhaps warrior in his Lear. The only problem is that this is still made something of the past by Scofield, as he shows the scorn of age in his work, as the strength of such a many has slowly left him, though he certainly tries to hold onto it. Now with this approach Scofield actually is a particularly cold Lear, especially in the opening scene of the film where he rejects his daughter Cordelia because she refuses to play his little game to claim her inheritance. Scofield makes this work incredibly well as he importantly is able to suggest that this coldness is not that of an unloving person, but rather of a strict ruler.

King Lear's choice to reject Cordelia, while rewarding his elder daughters Goneril and Regan, quickly results in a chaos of a power struggle since his others daughters were not nearly as loyal as they proclaimed. Scofield utilizes his initial setup for Lear's in a fascinating fashion as now he goes a step further than a man slowly discovering the turmoil caused by his decision, but also explores the life of the King as he tries to be a man no longer as true King. Scofield displays well this definite awkwardness in Lear as he struggles to no longer be King in a way, and plays this almost gentle curiosity as he tries to go about his day at first as a man seemingly no longer burdened by his status. There is as well though an early sense of disbelief that Scofield conveys in Lear as shows the King to be genuinely surprised by the results of his actions. This only becomes worse though when he attempts to deal with his daughters and is treated as though he was nothing. Scofield is marvelous in the moment by making this betrayal particularly painful, as the sense of his once great standing as King seems to begin to fade from the man, and he becomes just the old man that his daughters view him as.

Scofield's work is amazing as he delivers the rage in the storm truly with the force of a man of such, former, power. Scofield turns this to not only a man who seems to raging as against his daughters treatment of him but also as a man turning his anger on fate itself as he must bear witness to the loss of all that he had. Scofield is fantastic the way he portrays this madness of the moment in Lear since he does not portray it as a detached psychosis, but rather a man specifically losing his mind due to having lost control of his realm. It is not a simple anger that Scofield reveals but also a terrible sadness within it as Lear falls apart along with his Kingdom. Scofield earns the moment wholly as all the seeds of weakness, his age, his daughters, his loss of power, weigh on him in the single moment reducing him to almost nothing. Lear though seems to have a chance at redemption as he finds that his daughter Cordelia has returned, and recognizes that she was the only one who loved him all along. Scofield is heartbreaking in the moment of realization in Lear, as he finally finds some warmth in the old man as he sees what he has done. What I love about Scofield's take though is he finds an even greater impact in this, as he makes the realization of more than just one mistake. Scofield instead finds a man understanding that being lost in his position caused him to be blind to his family. Scofield utilizing all that came before in making the strongest impact, as he loses that awkwardness as he becomes his age, and finally allows his own love for his daughter to fully reveal itself. Scofield's is truly affecting as he portrays the final scenes of the tragedy as a man recognizing his failures, and oh so briefly appreciating what he ignored. Scofield is perfection in Lear's final agonizing moments as he somberly accepts everything he ever cared for crumble around him in surprisingly quiet yet undeniably effective way. It is a shame Scofield's cinematic Shakespearean efforts were so limited, as this is a masterful portrayal by Scofield. He not only finds a unique approach to the character but from that finds an even greater depth to the tragedy of this King.

Alternate Best Actor 1971

And the Nominees Were Not:

Oliver Reed in The Devils

Jon Finch in Macbeth

Paul Scofield in King Lear

Al Pacino in The Panic in Needle Park

Max von Sydow in The Emigrants

Best Actor 1966: Results

5. Alan Arkin in The Russians Are Coming, The Russians Are Coming- Arkin's performance is not exactly lacking, but besides doing a Russian accent, and making a few slightly humorous reactions there is just not a lot to this performance.

4. Steve McQueen in The Sand Pebbles- McQueen is simply strange here since in many scenes he has moments of subtle power, as well as a commanding screen presence, at other times he seems strangely unconvincing and stilted.

3. Michael Caine in Alfie- Caine is able to bring the right amount of charm and humor through his performance, while bringing the right depth and reflection to the part as well.

2. Richard Burton in Who's Afraid of Virginia Woolf- It is a challenging role the Burton fulfills completely giving a performance that combines brutality, with weakness, coldness with humanity, charm while being despicable into one complete and natural performance.

1. Paul Scofield in A Man For All Seasons- Scofield gives a consistently dignified, properly passionate, as well as effective performance.

Deserving Performances:
Eli Wallach in The Good, The Bad, and the Ugly

Best Actor 1966: Paul Scofield in A Man for All Seasons

Paul Scofield won his Oscar from his first nomination for portraying Thomas More in A Man For All Seasons.

A Man for All Seasons follows Thomas More as he must stand by what he believes in therefore against the King of England Henry VIII.

In some instances when an actor reprises a stage role actors fail to refine their performance for film, and can come off as somewhat theatrical in terms of their performance. Paul Scofield though as Thomas More never for moment has the problem, giving one of the most restrained performance in this category. As More Scofield attunes his performance perfectly for film, making the silence, and the dignity of the character truly come to life.

Although playing slimy characters certianly can result in great performances like Richard Burton's and Michael Caine's from this year, there perhaps is not enough credit given when an actor manages to give a truly effective performance when portraying a wholly good character. More as portrayed here is a man of quiet dignity, who believes in what he believes in and refuses to comply with any other if they wish for him to forget his conscience, frankly More could have been very dull, but Scofield never is.

Scofield never makes More some sort of above human character, instead he always realizes the idea that More is still just a man, an intelligent passionate, with a great deal of inner strength, but still a man. I think what helps so much in this is how natural the dignity of More is through Scofield. Scofield never seems to be trying to be dignified, he simply is a man of that stature. Scofield's voice, and manner just has class that simply of its own, and completely as More should be in the film.

Throughout all of More's trials and tribulations Scofield brings out the power in theses scenes because of how natural he is in them. More has many verbal fights defending his choice to remain silent despite the pressure being put on him, by many of the King's men. Scofield does not ever make his case seem pompous, because he genuinely shows that his beliefs are those true to his heart and himself, and simply cannot be comprised no matter what the cost. 

More speaks of a many laws, and the various complexities of ones conscience and responsibility in many longs speeches, speeches that easily could have been overblown by any other actor, but Scofield does not do this because he has such truthful conviction in his words. There is a moment of artificiality in any of More words Scofield shows that they are the honest belief, of More and his ability to speak at such lengths and so well, comes naturally from his intelligence, because Scofield has the utmost consistency in what he says.

Scofield slow exhaustion through his trial is well handled through both his physical disintegration, and just his mental exhaustion from his constant harassment, and ill treatment. Scofield although shows his body weaken he always shows how steadfast More is in his beliefs. His slow transition into realizing how far his trial will go is natural, and what is terrific is his final scenes at the trial where he finally speaks out against the King. It is certainly a slow transition, but an earned one since when he finally yells he shows Thomas in his full force of will which has the strength it needs.

What I particularly like about Scofield's performance are the little moments in his performance with his family. They are not exactly the warmest of families, really but there is an honest love between them which Scofield carefully shows throughout through small honest reactions. Scofield never becomes overly emotional even in this last heartfelt goodbye, yet Scofield still manages to make it a meaningful, and heartbreaking relationship Thomas has with his family. Their final scene together is more moving I think because Scofield stays restrained enough to be true to Thomas, yet still subtly portrays the devastating effect seeing his family, for what he knows to be the last time.

Scofield's whole performance is an effect subtle work for the most part, that excels in a fashion few performances do. He makes Thomas an interesting man, even though he is a wholly good man. More's characterization easily could have been a boring performance, that feels just like one really long lecture on politics, and religion. Scofield though never turns his performance into lecture, and Scofield never fails to bring the honest natural passion performance that serves appropriately serves the Thomas More, and the film itself.

Best Actor 1966

Well here it is, finally the last year of my Best Actor reviews (well until this year's nominees anyway).

And the Nominees Were:

Michael Caine in Alfie

Richard Burton in Who's Afraid of Virginia Woolf

Paul Scofield in A Man for All Seasons

Steve McQueen in The Sand Pebbles 

Alan Arkin in The Russians Are Coming, The Russians Are Coming

Best Supporting Actor 1994: Results

5. Chazz Palminteri in Bullets Over Broadway- Palminteri plays his role straight as the play writing gangster, and just as it should be played.

4. Paul Scofield in Quiz Show- Scofield gives a quiet dignified performance that effectively places the emphasis on the underlying warmth of his character.

3. Gary Sinise in Forrest Gump- Sinise finds the right balance within the film's tone. Although held back by it to a degree, Sinise never underwhelms within those limitations.

2. Samuel L. Jackson in Pulp Fiction- Jackson works well with John Travolta to create a some very iconic moments. More importantly Jackson has a strong presence throughout the film, and makes a believable and effective transition from a man of violence to a man of peace.

1. Martin Landau in Ed Wood- This actually is a pretty good supporting year. The Palminteri, Sinise, and Scofield are all good in their own ways, Jackson is great and would have been a deserving winner in many other years, but Landau still stands high above the rest. His portrayal of Bela Lugosi is just astounding from beginning to end. It is a sad poignant performance, but also an incredibly entertaining performance. It is a true embodiment of Lugosi, which is simply a pleasure to behold.

Deserving Performances:
Open to suggestions

Best Supporting Actor 1994: Paul Scofield in Quiz Show

Paul Scofield received his second and final Oscar nomination for portraying Mark Van Doren in Quiz Show.

The Quiz Show tells the story of the revealing of the truth behind fixed game show 21, and one of its stars Charles Van Doren.

 

I think what is notable about this performance, which is relatively brief within the scheme of the film, is the amount of warmth of Scofield's performance. This was even when watching the film the first time, as Scofield often played striking authority figures, I expected as much this time as the poet father of Ralph Fiennes's quiz show pawn Charles Van Doren. This is anything but the case from the first scenes of Scofield just in the presence of the high society. Scofield brings of course that powerful presence of his, but he actually just lets that be a rather light given. It's there but he doesn't accentuate. This makes him an ideal fit for a notable academic, as he just seems like a great man, and no more needs to be said. Scofield though is remarkably warm within that. This as he speaks to his son it is with just a sincere love and affection. This as his whole manner is that of the supportive caring father, who seems genuinely interested in his son and is very much eager to express the utmost pride in his accomplishments.

Now as Charles's fame grows, due to knowing the answers to popular game show 21, Scofield is wonderful in almost silently expressing the mix of feelings. There's a great birthday scene for Scofield where the attention turns from his poem to Charles's current quiz show success. Scofield's great in that he shows that there is less jealousy but more just a slightly taken aback quality. Still even as he expresses this sort of surprise there is still a sense of affection even in his looks to his son in this moment. This as Scofield's powerful consistent emphasis is his love for his son. This is even as he finally watches the show, due to being given a tv by Charles, the nervousness that Scofield presents is of a father being only naturally invested in his son. I love how sweet Scofield makes the moment, like a father seeing his kid perform a difficult recital. It's of a father who absolutely cares for his son and only wants the best, to the point it creates that concern. This setting up then is just a powerful scene when Charles has to reveal his culpability in the quiz show scheme. Scofield is fantastic in this scene at first with only that calm ferocity that Scofield could do as he denounces the idea without knowing his son is part of it. When Charles reveals Scofield is exceptional, this as his reaction is of disappointment and concern equally. This makes it all the more potent as that disappointment is all the greater as the father still only sincerely wishes the best for his son. Scofield's work is absolutely essential in making Mark van Doren quietly the heart of the film, and the fundamental sin of Charles isn't his failure to live up to his father's accomplishments, but rather his failure to live up to his father's belief in him. 

Best Supporting Actor 1994

And the Nominees Were:

Paul Scofield in Quiz Show

Chazz Palminteri in Bullets over Broadway

Martin Landau in Ed Wood

Samuel L. Jackson in Pulp Fiction

Gary Sinise in Forrest Gump