Alternate Best Actor 1946: Sydney Greenstreet & Peter Lorre in The Verdict

Sydney Greenstreet did not receive an Oscar nomination nor did Peter Lorre for portraying Superintendent George Grodman and Victor Emmric respectively in The Verdict. 

The Verdict follows the murder investigation in gaslit London. 

The film opens as we follow Greenstreet, this time on the side of the law, following the execution of a man he had led the investigation of only to learn the man was innocent due to the arrival of a key witness in the most inopportune time. Greenstreet has a most remarkable presence as a performer which certainly can be seen here. This role though I would say is far more interesting on paper than execution. Greenstreet opens with just a repeated simplistic scene of needing to present the Inspector contemplating his failure with a quietly needling guilt, not helped by his pompous replacement Buckley (George Coulouris) lording over his failure. He does that though I wouldn’t say I was deeply moved by what Greenstreet is doing but he delivers on it in a general sense. We soon find another murder that seems even more difficult to solve, which while Buckley is now leading the investigation, Greenstreet's Grodman seems always in orbit of the situation. Where the film enters its atypical section where it is constantly switching perspectives of the characters and plants so many seemingly red herrings in there just to throw everyone off the trail it would seem. One of these characters is George’s friend Victory played by Lorre, an artist also fascinated by crime. 

Where we get a legendary duo who were in many films together since their great mutual villainy in The Maltese Falcon. Unlike that film though neither man is getting to enjoy a great character as Victor is vaguely drawn, no pun intended, what is there is mostly just that Lorre is innately a little interesting. This isn’t one of Lorre’s most interesting roles though we get a bit of him being a cad and some differing moments of fascination and fear around the investigation. Again I appreciate Lorre’s presence but as Lorre performances go it isn’t all that distinctive. I think this might be in part by the design of the film to keep you guessing as Lorre must only be “kind of” things that way he might be the killer as he acts kind of creepy, however kind of innocent too, kind of fearful, and it’s all a little too little for him to really play with. Speaking of that, Greenstreet stays mainly imperious as the inspector is always there with a comment, not always very interesting and the man seems a little blank. This too is to set up the mystery to lead to the spoilers, revelation that he is in fact the killer. Although a noble killer as he’s killed the killer of the original murder, though less noble in having done it in a way that framed an innocent man and to make Buckley look foolish. So in order to make it surprising Greenstreet was just kind of there, so the revelation should be time to sink his teeth in right? Wrong. Greenstreet is surprisingly muted in the delivery of every bit of revelation. He’s not bad but it does all feel a bit too matter of fact for announcing such a grand plan to everyone. Even his final aside to Lorre is fine but also just kind of exists more than really enlivens their characters into anything more. There’s nothing special about this team-up between the pair. It’s nice to have their presences but the roles don’t allow either to really run with anything and are victims of the film needing to preserve the mystery, though in doing so I don’t think makes the film terribly compelling. If I'm being perfectly honest I was more compelled by Coulouris and Joan Lorring, because it felt like they were actually able to define their characters. Which it is quite rare for Greenstreet and Lorre not to standout in one of their films but in this instance they really don't, though they're not bad, but look to their earlier collaborations for their far more memorable work. 

Alternate Best Supporting Actor 1936: Results

5. Frank Morgan in The Great Ziegfeld - Morgan strikes up an entertaining and eventually moving dynamic with William Powell as a similarly sarcastic showman.

Best Scene: The final scene. 

4. James Stewart in After the Thin Man - Stewart is charming in his usual way, which makes it all the more effective when he subverts that in the film's final revelation.

Best Scene: All the suspects meet.

3. Louis Jouvet in The Lower Depths - Jouvet gives an endearing portrayal of a rich man's transition into becoming one of the poor.

Best Scene: The baron meets the thief.

2. Humphrey Bogart in The Petrified Forest - Bogart gives a strong performance that creates the menace needed for his big time bank robber, but also carries a palatable anguish reflecting the man's view of life.

Best Scene: His entrance into the diner.

1. Peter Lorre in Secret Agent - Lorre easily gives the most memorable supporting performance of this year giving a fittingly absurd portrayal of an absurd assassin. Bringing to life the flamboyant nature of the part in an entertaining way, while still realizing the chilling nature of the character in a most effective fashion.

Best Scene: The General finds out he killed the wrong man. 

Overall Rank:

1. Peter Lorre in Secret Agent
2. Humphrey Bogart in The Petrified Forest
3. Louis Jouvet in The Lower Depths
4. James Stewart in After the Thin Man
5. Frank Morgan in The Great Ziegfeld
6. Walter Brennan in Come and Get It
7. Eugene Pallette in My Man Godfrey 
8. John Carradine in The Prisoner of Shark Island
9. Robert Young in Secret Agent
10. Claude Rains in Anthony Adverse
11. Roger Livesey in Rembrandt
12. William Frawley in The General Died At Dawn
13. Nigel Bruce in The Charge of the Light Brigade
14. Robert Le Vigan in The Lower Depths
15. Henry Stephenson Little Lord Fauntleroy
16. Joel McCrea in Come and Get It
17. Donald Crisp in The Charge of the Light Brigade
18. Vladimir Sokoloff in The Lower Depths
19. George Zucco in After the Thin Man
20. Bela Lugosi in The Invisible Ray
21. Sam Levene in After the Thin Man
22. Spencer Tracy in San Francisco
23. Elisha Cook Jr. in Pigskin Parade
24. Harry Carey in The Prisoner of Shark Island
25. Basil Rathbone in Romeo and Juliet
26. Joseph Calleia in After The Thin Man
27. David Niven in The Charge of the Light Brigade
28. Paul Lukas in After The Thin Man
29. James Burke in Great Guy
30. Henry Daniell in Camille
31. David Niven in Dodsworth
32. J. Carrol Naish in The Charge of the Light Brigade
33. Ralph Richardson in The Man Who Could Work Miracles
34. Guy Kibbee in Little Ford Fauntleroy
35. Rex O'Malley in Camille
36. Nigel Bruce in The Trail of the Lonesome Pine
37. Randolph Scott in Follow the Fleet
38. Charles Carson in Secret Agent
39. Ernest Thesiger in The Man Who Could Work Miracles
40. George Bancroft in Mr. Deeds Goes to Town
41. Victor Moore in Swing Time
42. Mickey Rooney in Little Lord Fauntleroy
43. Desmond Tester in Sabotage
44. Percy Marmont in Secret Agent
45. Walter Brennan in Fury
46. Lionel Barrymore in Camille
47. Lionel Stander in Mr. Deeds Goes to Town
48. Walter Abel in Fury
49. Akim Tamiroff in The General Died At Dawn
50. Edward Ellis in Fury
51. Fred Stone in The Trail of the Lonesome Pine
52. Akim Tamiroff in Anthony Adverse 
53. Herbert Lomas in Rembrandt
54. John Barrymore in Romeo and Juliet 
55. Dick Foran in The Petrified Forest
56. Stuart Erwin in Pigskin Parade
57. Mischa Auer in My Man Godfrey
58. Frank Albertson in Fury 
59. Frank Lawton in The Invisible Ray
60. Patric Knowles in The Charge of Light Brigade
61. Andy Divine in Romeo and Juliet 
62. George Walcott in Fury
63. Robert Barrat in The Trail of the Lonesome Pine
64. Dudley Digges in The General Died At Dawn
65. Dave O'Brien in Reefer Madness
66. Josef Forte in Reefer Madness

Next Year: 2007 Lead

Alternate Best Supporting Actor 1936: Peter Lorre in Secret Agent

Peter Lorre did not receive an Oscar nomination for portraying General Pompellio Montezuma De La Vilia De Conde De La Rue in Secret Agent.

Secret Agent is considerable step below from some of Hitchcock's other work from the 30's such as the 39 Steps or The Lady Vanishes, but it is a decent enough thriller about three British agents looking to assassinate a German spy.

Lorre plays one of the agents who calls himself  General Pompellio Montezuma De La Vilia De Conde De La Rue a ridiculously long name leaving him to be known mostly as the General but he's also known by the "Hairless Mexican". His lack of hair, and the fact that he does not seem to actually be a general, or probably even Mexican leaves the General as the most peculiar of characters in the film. Although if you want a character's eccentricity to stand out all the more I suppose one would cast Peter Lorre in the part, as he's certainly no stranger for that sort. Lorre might as well be the film as he's very much needed for the film to come to life as he plays the sidekick, of sorts, to John Gielgud's more straitlaced Captain Edgar Brodie. It is abundantly clear that this will be a particularly expressive performance by Lorre to say the least, which is all the better. His well rather assuming performance is rather necessary because one simply could not look like his character in this film, or behave like the character does without it seeming quite a bit off. Lorre embraces the idea with his work here and the film is all the better for it, since any scene with Lorre in it belongs to Lorre.

Lorre is terrific in playing into essentially an extravagance of the character as though the General is aware of his own absurdity and plays into to perhaps hide his actual intention. It does not make a great deal of sense for a spy to be so obvious yet Lorre gives sense to by making the General such a weird creature that perhaps he is a harmless one. Lorre does this well in that in interactions with most he brings this courteous quality as well as pride though as he announces his ridiculous name, which probably is not even real, to anyone he might meet. Lorre effectively builds a front of making the General this weird foreigner from wherever he might be from, but he's amusing in his own way so one would not need to suspect him of anything. Well other than attempting to be a devil with the ladies and again Lorre plays this up in an interesting fashion as though the General is perhaps fulfilling the role of the latin lover. Lorre is very entertaining as he shows the General strange way of trying to woo any pretty woman he might come in contact with. There seems to be an insanity to his enthusiasm, but it would appear as though it is all in good fun, or is it?

Well there are two members of the team with the leader of the group Edgar, Elsa (Madeleine Carroll) who's there to provide Edgar with a stronger cover by pretending to be his wife, but the General is there for one reason, which is killing the target as selected by Edgar. Lorre plays this side of the General equally well and is especially efficient in the way he reveals this to be behind the rest of his whole routine. Lorre's enjoyably grim though in the moments where he speaks about an eventual murder, often by indicating a throat slitting, or when he admires an assassination well done. Lorre is terrific in making the General so callous in the discussions involving death as though for him it is merely a profession and that a job well done should be recognized as such. Even when the General finds out that a man he killed was not the target, Lorre presents the reaction as a crazed laughter, as though it's merely one of those things that can happen on the job. Now when the General is actually killing though, Lorre brings the professional quality of the kill as most important, as in the moment he brings a particularly chilling determination, although not without perhaps a hint of joy as well. 

Lorre is easily the best part of this film, with Robert Young being the second best as another duplicitous individual, as the two of them are allowed to embrace the murky waters involved in the world of the film. This is actually a film where the leads get a bit too bogged down with being overly moral leaving them to unfortunately become somewhat boring characters. Where the fun is to be had is found in Lorre's depiction of the government endorsed murderer who has no qualms with his duties. Lorre even manages to give any sense to the ridiculous fate of his character. This is where the General decides to offer a drink to the dying German spy they were after, and Lorre actually makes some sense of this by stressing the General's professionalism and he's merely giving curtsey to another man in the same profession. It's still a bit much that the General would put his gun in reach of the man allowing the man to fatally shoot the General. Again Lorre does his absolute best to save the scene though as the General one last time announces his name, and Lorre is surprisingly moving as he seems to resign himself to his fate, finally dropping the facade as though there was no longer a point. Lorre does some very good work here that really manages to elevate the film which without him would be a bit forgettable.

Alternate Best Supporting Actor 1936

And the Nominees Were Not:

Peter Lorre in Secret Agent

James Stewart in After the Thin Man

Humphrey Bogart in The Petrified Forest

Louis Jouvet in The Lower Depths

Frank Morgan in The Great Ziegfeld

Alternate Best Supporting Actor 1941: Results

5. Joseph Cotten in Citizen Kane - Aside from his scenes as an old man Cotten gives a considerably more assured performance than most of co-stars, and effectively creates a sympathetic character arc to follow along Kane's own. 

Best Scene: After Kane loses the election.

4. Herbert Marshall in The Little Foxes - Marshall gives a very moving portrayal of the physical and mental decay of a decent man among fiends.

Best Scene: Horace rejects Regina's request.

3. Edward Arnold in The Devil and Daniel Webster - Arnold realizes the assumed greatness of his character through his strong presence and genuine passion.

Best Scene: Daniel Webster addresses the jury.

2. Laird Cregar in I Wake Up Screaming - Cregar gives a brilliantly grim portrayal of his shadowy detective, but also manages to be rather heartbreaking when explaining the underlying motivations of the character.

Best Scene: Ed Cornell reveals his connection to the deceased.

1. Peter Lorre in The Maltese Falcon - Peter Lorre is superb managing to be both quite humorous and very sinister in his enigmatic portrayal of Joel Cairo. This an amazing year for supporting actor, especially for the 40's, and I really hate to leave Arnold out of the top five.

Best Scene: Cairo's arrival.

Overall Rank:

1. Walter Huston in The Devil and Daniel Webster
2. Van Heflin in Johnny Eager
3. Peter Lorre in The Maltese Falcon
4. Laird Cregar in I Wake Up Screaming
5. Sydney Greenstreet in The Maltese Falcon
6. Edward Arnold in The Devil and Daniel Webster
7. Herbert Marshall in The Little Foxes
8. Joseph Cotten in Citizen Kane
9. Claude Rains in The Wolf Man
10. Claude Rains in Here Comes Mr. Jordan
11. Donald Crisp in How Green Was My Valley
12. Barry Fitzgerald in The Sea Wolf
13. William Demarest in The Lady Eve
14. Elisha Cook, Jr. in The Maltese Falcon
15. Leslie Howard in 49th Parallel
16. John Qualen in The Devil and Daniel Webster
17. Anton Walbrook in 49th Parallel
18. Walter Brennan in Meet John Doe
19. Dana Andrews in Ball of Fire
20. Gene Lockhart in The Sea Wolf
21. Niall MacGinnis in 49th Parallel 
22. Richard Haydn in Ball of Fire
23. Henry Travers in Ball of Fire
24. S.Z. Sakall in Ball of Fire
25. Leonard Kinskey in Ball of Fire
26. Tully Marshall in Ball of Fire
27. Aubrey Mather in Ball of Fire
28. Oskar Homolka in Ball of Fire
29. Edmund Gwenn in The Devil and Miss Jones
30. H.B. Warner in The Devil and Daniel Webster
31. Raymond Massey in 49th Parallel
32. Charles Coburn in The Lady Eve
33. S.Z. Sakall in The Devil and Miss Jones
34. Alan Hale in The Strawberry Blonde
35. Elisha Cook, Jr. in I Wake Up Screaming
36. Finlay Currie in 49th Parallel
37. William Demarest in Sullivan's Travels
38. Edward Everett Horton in Here Comes Mr. Jordan
39. Robert Cummings in The Devil and Miss Jones
40. Edward Arnold in Meet John Doe
41. Jack Carson in Love Crazy
42. Donald MacBride in High Sierra
43. Eugene Pallette in The Lady Eve
44. Ward Bond in The Maltese Falcon
45. Jack Carson in The Strawberry Blonde
46. Porter Hall in Sullivan's Travels
47. Jerome Cowan in The Maltese Falcon
48. Edward Arnold in Johnny Eager
49. James Gleason in Meet John Doe
50. Henry Travers in High Sierra
51. Walter Brennan in Sergeant York
52. Laurence Olivier in 49th Parallel
53. Rhys Williams in How Green Was My Valley
54. Richard Carlson in The Little Foxes
55. Dan Duryea in Ball of Fire
56. Barry Fitzgerald in How Green Was My Valley
57. Henry Hull in High Sierra
58. Frances Sullivan in "Pimpernel Smith"
59. Nigel Bruce in Suspicion
60. Dan Duryea in The Little Foxes
61. Bela Lugosi in The Wolf Man
62. Ray Collins in Citizen Kane
63. Vladimir Sokoloff in Love Crazy
64. Barton MacLane in The Maltese Falcon
65. James Barton in The Shepherd of the Hills 
66. Gene Lockhart in The Devil and Daniel Webster
67. Ralph Bellamy in The Wolf Man 
68. Paul Stewart in Citizen Kane
69. Cornel Wilde in High Sierra
70. Charles Dingle in The Little Foxes
71. Arthur Kennedy in High Sierra 
72. Ward Bond in The Shepherd of the Hills
73. Leo G. Carroll in Suspicion 
74. Walter Pidgeon in How Green Was My Valley
75. William Alland in Citizen Kane
76. Ward Bond in Sergeant York
77. Carl Benton Reed in The Little Foxes
78. Alan Mowbray in That Hamilton Woman
79. Sam Levene in Shadow of the Thin Man
80. Walter Abel in Hold Back the Dawn
81. George Tobias in Sergeant York 
82. Allyn Joslyn in I Wake Up Screaming
83. Cy Kendall in Johnny Eager 
84. George Coulouris in Citizen Kane
85. Alan Mowbray in I Wake Up Screaming
86. Everett Sloane in Citizen Kane
87. James Gleason in Here Comes Mr. Jordan
88. Arthur Shields in How Green Was My Valley
89. Paul Stewart in Johnny Eager

Next Year: 1990 Lead

Alternate Best Supporting Actor 1941: Peter Lorre in The Maltese Falcon

Peter Lorre did not receive an Oscar nomination for portraying Joel Cairo in The Maltese Falcon.

The character of Joel Cairo could be seen as unnecessary to the story merely since there is already technically the main villain in the form of Kaspar Gutman (Sydney Greenstreet) who already has a henchmen in the form of Wilmer (Elisha J. Cook Jr.). Cairo is simply another man in search of the elusive title figure there really for an added bit of character, but with a bland actor he could have seemed truly superfluous. Well Peter Lorre is about as the opposite of bland as an actor can be. Really I think Lorre might have been the only actor from the period to fully earn Humphrey Bogart's reaction as Sam Spade to the appearance of Joel Cairo in his office. Bogart face is almost as if a naked man walked through the door, while Cairo earns such a surprise. Lorre is downright brilliant in the whole manner he carries himself as Cairo with his most peculiar mannerisms which Lorre wears with such a natural ease it's something to watch. Everything that Lorre does in his scenes, every facial movement, creates Joel Cairo as quite the specimen who Lorre makes rather unforgettable just from his first scene.

Lorre is an interesting case here in that he's not exactly menacing, which I doubt was the point since Spade disarms and knocks out Joel Cairo in his very first appearance. What Lorre does so well is personify the lurid world around the search for the Maltese Falcon. Lorre creates such a innately sinister sense in Cairo just as he propositions Spade for a job, before he has even shown any technical evil side on his part. All Cairo is technically saying at first is that he wants Spade to find the object for him, offering him money, not expecting him to break the law, and he even offers Spade some condolences for his dead partner. Of course everything along with that particularly that smile of his that seems to have such pure malevolence within it. There is such a deviousness  in every word that he speaks even the condolence seems two sided in some way. Lorre makes it as though everything about Cairo seems as though he's crawled out a particularly dark place just before he came to enter Spade's office. When he suddenly draws his gun on Spade it would have been far more surprising if he left the office without threatening Spade with death.

Lorre is also just very funny in the part although never does he have a set of punchlines to say. I particularly love after Spade has knocked him out and searched him. Lorre is such a great weasel as he acts though he is apologizing for the whole affair in such a sweet fashion as though everything they had was just a misunderstanding. He even asks for the gun back in such a calm unassuming way with those big eyes of his bringing such a surface earnestness to it he makes you believe that Spade would give him a gun back. This make it all the more hilarious when Lorre switches back to wholly sinister presence as he wants again draws the gun on Spade insisting that he look through his office. Lorre really is a villainous delight any time in which he appears and it is wonderful the dynamic Lorre is able to achieve in the part. He makes Cairo an absolute fiend to be sure, but such an enjoyable fiend to watch. There is another splendid moment where he has a discussion with Spade and Brigid O'Shaughnessy (Mary Astor). He begins so professionally as he inquires about Brigid's knowledge then he delightfully falls about apart into a mess as gets into a fight with her when Spade leaves for a few seconds.

Of course just about the best of everything comes in the final sequence of the film as all the players get into a single room to receive the Falcon. This final scene is perhaps the best example of what makes Lorre's performance so good here. Technically speaking Joel does not have too much to say in this last scene as most the dialogue is given between Greenstreet's Gutman and Bogart's Spade. Lorre though would never let himself be forgotten in the midst of all that. Every little gesture of his adds at least a little something to the scene. Lorre frankly is not okay with just standing in the back as he just adds just the right bit of extra color to the scene. Lorre's knows exactly how far to go as he keep Cairo a considerable presence within the scene while not going so far as to be a distraction either. Again he makes Cairo such a terrific weasel within the frame just the way he whispers into ear has something so eloquently devious about it. I especially like though is how he gives the sold out Wilmer such a cold stare, after Wilmer realizes his position, but then proceeds to give him a warm pat on his back like he's saying "ah don't feel too bad". When Lorre does get his little moment though it's all the better. His reaction to finding the real nature of the Falcon is marvelous as breaks down to almost a crying baby over not getting the treasure, while blaming Gutman. I'd say he only tops this with his next reaction of true inspired happiness as Gutman asks him to come along to keep searching for it. This is outstanding work from Lorre as he makes Joel Cairo such memorable part of the story, and shows exactly how to give a flamboyant performance which only adds to the strength of his film.

Alternate Best Supporting Actor 1941

And the Nominees Were Not:

Joseph Cotten in Citizen Kane

Laird Cregar in I Wake Up Screaming

Edward Arnold in The Devil and Daniel Webster

Peter Lorre in The Maltese Falcon

Herbert Marshall in The Little Foxes

Alternate Best Supporting Actor 1944: Results

5. Sydney Greenstreet in The Mask of Dimitrios- Greenstreet does his master of exposition quite well here and does explore the little depth in his character well.

Best Scene: Mr. Peters searches Cornelius's room.

4. William Demarest in The Miracle of Morgan's Creek- Demarest gives a hilarious portrayal as the reactive face of exasperation at the absurd events during the film.

Best Scene: The constable tries to get Norval to escape from the jail.

3. Peter Lorre in Arsenic and Old Lace- Lorre gives a very funny comedic turn that steals his film in almost a weasel like fashion.

Best Scene: Dr. Einstein tries to warn Mortimer.

2. William Bendix in Lifeboat-William Bendix gives a heartbreaking portrayal of the degradation of his character in both body and soul.

Best Scene: Gus prepares for his amputation.

1. Edward G. Robinson in Double Indemnity- Good prediction Psifonian, Mark and koook160. Well this year was no contest for me and I love William Bendix's and Barry Fitzgerald's performances as well really like plenty of other performances this year too. There is just no question for me that Edward G. Robinson gives the best supporting performance of 1944. He is on every second he is on screen giving an extremely entertaining and even rather moving portrayal of a claims adjuster who can see everything except what is directly in front of him.

Best Scene: All of his scenes.

Overall Rank:

1. Edward G. Robinson in Double Indemnity
2. Barry Fitzgerald in Going My Way
3. William Bendix in Lifeboat
4. Peter Lorre in Arsenic and Old Lace
5. Clifton Webb in Laura
6. Hume Cronyn in The Seventh Cross
7. Heinrich Gretler in Marie-Louise
   
8. Sydney Greenstreet in The Mask of Dimitrios
9. Walter Slezak in Lifeboat
10. Vincent Price in Laura
11. William Demarest in Hail the Conquering Hero
12. Henry Hull in Lifeboat 
13. Monty Woolley in Since You Went Away
14. Stig Jarrel in Torment 
15. Franchot Tone in Phantom Lady
    
16. Eric Portman in A Canterbury Tale
17. Charles Laughton in The Canterville Ghost
    
18. Dan Duryea in Ministry of Fear
19. Walter Brennan in To Have and Have Not
20. Barry Fitzgerald in None but the Lonely Heart 
    
21. Thomas Mitchell in The Keys to the Kingdom 
22. Walter Slezak in Till We Meet Again 
23. Raymond Massey in Arsenic and Old Lace 
24. Harry Davenport in Meet Me in St. Louis 
25. Thomas Gomez in Phantom Lady
26. Donald Crisp in National Velvet
    
27. Otto Kruger in Murder, My Sweet
    
28. Donald Crisp in The Uninvited 
29. Emilio Cigoli in The Children Are Watching Us
    
30. Henry Travers in None Shall Escape
    
31. Dan Duryea in The Woman in the Window  
32. Mike Mazurki in Murder, My Sweet
    
33. Dan Seymour in To Have and Have Not
34. Frank McHugh in Going My Way
35. Joseph Cotten in Gaslight  
36. Leon Ames in Meet Me In St. Louis
    
37. Thomas Mitchell in Wilson
38. Hume Cronyn in Lifeboat
39. Robert Mitchum in Thirty Seconds Over Tokyo
40. John Hodiak in Lifeboat  
41. John Alexander in Arsenic and Old Lace 
42. Canada Lee in Lifeboat 
43. John Mills in This Happy Breed
    
44. Edward Everett Horton in Arsenic and Old Lace
45. Charles Coburn in Wilson 
46. Robert Walker in Thirty Seconds Over Tokyo
47. Alan Napier in The Uninvited
48. Spencer Tracy in Thirty Seconds Over Tokyo
49. Robert Walker in Since You Went Away 
50. Erskine Sanford in Ministry of Fear
51. Porter Hall in The Miracle of Morgan's Creek 
52. Ray Collins in The Seventh Cross
53. William Frawley in Going My Way 
54. Joseph Cotten in Since You Went Away
55. Raymond Massey in The Woman in the Window
56. James Gleason in Arsenic and Old Lace
57. Alan Napier in Ministry of Fear
58. Vincent Price in The Keys to the Kingdom
59. Gene Lockhart in Going My Way
60. Felix Alymer in Henry V
61. Vincent Price in Wilson 
62. Elisha Cook Jr. in Phantom Lady
    
63. Porter Hall in Double Indemnity
64. Stanley Clements in Going My Way
65. Cedric Hardwicke in The Lodger
66. Porter Hall in Going My Way
67. Jack Carson in Arsenic and Old Lace
68. Hoagy Carmichael in To Have and Have Not 
69. Allan Curtis in Phantom Lady
    
70. Takashi Shimura in The Most Beautiful
    
71. Walter Abel in Mr. Skeffington 
72. Tom Powers in Double Indemnity
73. James Brown in Going My Way
74. Bill Edwards in Hail the Conquering Hero
75. Bryon Barr in Double Indemnity
76. Richard Waring in Mr. Skeffington

Next Year: 1971 Supporting

Alternate Best Supporting Actor 1944: Peter Lorre in Arsenic and Old Lace

Peter Lorre did not receive an Oscar nomination for portraying Dr. Herman Einstein in Arsenic and Old Lace.

Arsenic and Old Lace is an enjoyable dark screwball comedy about a recently wed drama critic Mortimer Brewster (Cary Grant) who finds that his aunts are murderers at the same time his murderer brother Jonathan (Raymond Massey) comes home to hide from the police.

Peter Lorre role is that of the drunkard surgeon and partner in crime of Jonathan Brewster who is the one who caused him to look like Boris Karloff. In the theater production of the play Boris Karloff himself played the man who looked like Boris Karloff, it seems perhaps to act as a replacement of sorts, as Massey simply could not replace Karloff as Karloff, when they got another horror icon to play Brewster's partner. Although I have no idea if there was even a thought behind this but having Peter Lorre play the inappropriately named Dr. Einstein was quite a stroke of genius for this film as he fills in the gap that seems might have been created by the lack of Karloff.

Peter Lorre went on to be one of the most often parodied actors particularly in various Warner Brothers cartoons. Peter Lorre here gives basically the Peter Lorre parody before the Peter Lorre parodies, and the simple truth is who better to give a comedic version of a Peter Lorre performance then Peter Lorre himself. Peter Lorre here goes all out Peter Lorre so to speak with the way he is always slinking around screen, always making these slight gestures, having that always slightly nervous quality about him, and of course not in any way trying to adjust his accent here, letting his voice be the Lorre voice of his cartoon iterations.

Of course this type of performance can easily spell doom as it did in 1944 for Bette Davis in Mr. Skeffington, except the differences are that Arsenic and Old Lace is meant to be a comedy and Peter Lorre knows what he is doing. Lorre is terrific in adapting himself to a purely comic performance and is the highlight of the film with his performance. Lorre steals every scene he is in even when he is just in the background through the gestures of unease the makes as the situation slowly becomes more absurd through the film. Even when he is not the focus Lorre still steals the spotlight, as he finds just the perfect tone for his performance.

Lorre work is quite clever in the way he steals each scene he is in by doing what the film itself says he is doing which is underplaying. One of Lorre's best scenes is when Grant's character is going off about how dumb characters won't notice that the killer is coming behind them. Well Grant does a rather big display of acting the best part of the scene is Lorre's perfect comic timing as he shows Einstein's disbelief that Mortimer could be so thick headed. He also is the one who makes Massey work just fine as Jonathan because again what Massey is doing usually is usually rather straight, but what is so funny are the nervous interjections brought by Lorre.

Lorre gives the funniest performance in the film by finding the right balance with his performance unlike Cary Grant who overplays a tad and Raymond Massey who frankly could be a bit more humorous. Lorre though finds a more measured approach and is the funniest person in the film because of it. Lorre knows how to sell the material the best in that he gets all the comedic worth out of Dr. Einstein's actions through the film whether it be his unease at his partner's violent tendencies, his nervous drinking or his futile attempts to quietly warn Mortimer about Jonathan's attentions. Lorre sells every moment just enough to be funny without going over the top.

The role of Dr. Einstein really is not poised to necessarily do all that much in fact he easily could have been overshadowed by the characters who he is usually standing in the shadow of. Lorre never lets that happen though giving a thoroughly enjoyable supporting performance which is quite an interesting performance to from Peter Lorre as he goes for a fully comic performance since often there were light comic touches in his more dramatic performances anyways. Lorre with the chance to go all the way comic proves himself more then capable of taking the next step since he knows how to stay grounded with his character while being very amusing.

Alternate Best Supporting Actor 1944

And the Nominees Were Not:

Peter Lorre in Arsenic and Old Lace

Sydney Greenstreet in The Mask of Dimitrios

Edward G. Robinson in Double Indemnity

William Bendix in Lifeboat

William Demarest in The Miracle of Morgan's Creek

Alternate Best Actor 1944: Results

5. Eddie Bracken in Hail the Conquering Hero-Bracken gives an enjoyable performance and handles his final dramatic speech well, but his best performance of the year was in the other Preston Sturges comedy he starred in.

Best Scene: The "hero" tells the truth.

4. Peter Lorre in The Mask of Dimitrios- Lorre really does not have a character so it is to his testament that he still gives an effective and enjoyable performance.

Best Scene: Cornelius finds the smuggler in his room.

3. Ray Milland in Ministry of Fear- Milland leads this thriller effectively throughout and delivers when needing to delve in his character's dark background.

Best Scene: Stephen tells about how he murdered his wife.

2. Edward G. Robinson in The Woman in the Window- Robinson gives a subdued and effective performance as the lead in a noir who is frankly to old for a noir.

Best Scene: The professor tries to come up with a way to kill a blackmailer.

1. Fred MacMurray in Double Indemnity- Good Prediction Michael Patison, JackiBoyz, RatedRStar and moviefilm. (I should note I allowed the correct prediction apply in terms of Milland whether your prediction correctly placed him for The Uninvited or Ministry of Fear) MacMurray wins this year without a second thought as his portrayal of the insurance salesman whose lusts get the better for him stands easily as the strongest leading performance of the year.

Best Scene: Keyes lights the match of Neff.

Overall Rank:

1. Fred MacMurray in Double Indemnity
2. Laird Cregar in The Lodger
3. Laurence Olivier in Henry V
4. Charles Boyer in Gaslight
5. Alexander Knox in None Shall Escape
   
6. Alexander Knox in Wilson
7. Edward G. Robinson in The Woman in the Window
8. Ray Milland in Ministry of Fear
9. Claude Rains in Mr. Skeffington
10. Errol Flynn in Uncertain Glory 
11. Charles Laughton in The Suspect
    
12. Gregory Peck in The Keys to the Kingdom 
    
13. Humphrey Bogart in To Have and Have Not 
    
14. Dick Powell in Murder, My Sweet
    
15. Robert Newton in This Happy Breed 
16. William Powell in The Thin Man Goes Home 
    
17. Fredric March in The Adventures of Mark Twain
    
18. Alf Kjellin in Torment
    
19. Paul Lukas in Uncertain Glory
20. Charles Vanel in Le Ciel Est à Vous
    
21. Van Johnson in Thirty Seconds Over Tokyo
22. Peter Lorre in The Mask of Dimitrios
23. Ray Milland in The Uninvited 
    
24. Eddie Bracken in Hail the Conquering Hero
25. Pedro Armendariz in Maria Candelaria
    
26. Dana Andrews in Laura 
27. Ray Milland in Till We Meet Again
    
28. John Carradine in Bluebeard
    
29. Luciano De Ambrosis in The Children Are Watching Us
    
30. Nikolai Cherkasov in Ivan The Terrible Part I 
31. Dennis Price in A Canterbury Tale
    
32. Cary Grant in Arsenic and Old Lace 
33. Clive Brook in On Approval
34. Ronald Culver in On Approval
    
35. George Sanders in The Lodger 
36. John Sweet in A Canterbury Tale
    
37. Spencer Tracy in The Seventh Cross
38. Bing Crosby in Going My Way
    
39. Cary Grant in None but the Lonely Heart
40. Mickey Rooney in National Velvet
    
41. Robert Young in The Canterville Ghost
    
42. Walter Pidgeon in Mrs. Parkington
    
43. Zachary Scott in The Mask of Dimitrios
    

Next Year: 1944 Supporting

Alternate Best Actor 1944: Peter Lorre in The Mask of Dimitrios

Peter Lorre did not receive an Oscar nomination for portraying Cornelius Leyden in The Mask of Dimitrios.

The Mask of Dimitrious is a decent enough mystery film about a mystery novel writer who teams up with a smuggler (Sydney Greenstreet) to find out what really happened to a notorious crook named Dimitrios.

This one is a strange one in that Peter Lorre and Sydney Greenstreet, instead of hounding Humphrey Bogart, actually team up to find out what happened to an evil criminal. Lorre actually plays the hero of sorts to the film as a mystery writer who, due to curiosity, starts trying to find out more of the criminal after seeing the man's apparent corpse. The reason I only say this is a decent enough mystery actually is that there is not enough of Lorre's search for the truth and too much of the flashbacks that show what Dimitrios was doing before the start of the film. Those scenes frankly just aren't that interesting particularly, and it is not helped by the fact neither Lorre nor Greenstreet appear in them.

Lorre's role here is rather strange one in that the writer Cornelius is always an observer of the events and only really gets involved directly with the turn of events at the very end of the film when he has to fight for his life. Before that point Cornelius goes along from place to place checking out various clues while being somewhat perplexed by Greenstreet's character who is a man who clearly knows more then he says as well seems to go by many names. Lorre's role is quite simplistic in nature and in terms of conception the story of Dimitrious should be far more interesting but it is a strong testament to Lorre's talent that he steals the film anyway.

It's funny that Lorre played so many villains so well because he is able to be such a charming fellow with such an innate likability. Lorre is just fun to be around with in this film and things are only helped once Sydney Greenstreet shows up. It is no surprise that Greenstreet and Lorre were in so many films together as they just have some great chemistry together. The two are quite brilliant at making the dialogue sing especially well giving their scenes together a wonderful life to them something that is sorely missing from the scenes without them. Lorre and Greenstreet are just terrific to watch to see them go along through the plot where they are able to bring the humor almost just through the style of their back and fourths.

Honestly this is not really much of a role in any way shape or form. Cornelius doesn't really have a back story, his motivation for getting involved in the plot is fairly weak, and he really doesn't have very much even to do. None of that matters though because Peter Lorre is in the role and that is apparently all it takes for the role to be rather interesting. Peter Lorre is incredibly enjoyable to be around so to speak and he makes it fun to go through the plot of the film with him. It is unfortunate that the part has absolutely no meat to it and would be just one big nothing if it were not for Lorre. This is not a great performance by Peter Lorre but it is a great example of a great actor doing something with almost nothing.

Alternate Best Actor 1944

And the Nominees Were Not:

Peter Lorre in The Mask of Dimitrios

Edward G. Robinson in The Woman in the Window

Fred MacMurray in Double Indemnity

Ray Milland in Ministry of Fear

Eddie Bracken in Hail The Conquering Hero  

Alternate Best Actor 1931 and Supporting Results

5. Boris Karloff in Frankenstein- Boris Karloff gives a remarkable performance by showing the tragedy behind the creation of the monster. 

Best Scene: The monster plays with Little Maria.

4. Bela Lugosi in Dracula- Bela Lugosi creates the iconic Dracula with menace but as well with a captivating allure.

Best Scene: "I Bid You Welcome"

3. Charlie Chaplin in City Lights- Chaplin is in top form as the tramp being both quite funny and very sweet in this winning performance.

Best Scene: The blind girl finally sees the tramp.

2. Edward G. Robinson in Little Caesar- Edward G. Robinson makes another iconic character for 1931 in his brilliant tour de force that depicts the rise and fall of a little Caesar.

Best Scene: "Mother of Mercy, Is this the end of Rico?"

1. Peter Lorre in M- Good Prediction Psifonian, Anonymous, and koook160 feel free to name a year with a requested performance. This was actually a fairly strong year with great work from two of the all time snubbed. Although I do love Robinson in Little Caesar my vote easily goes to Peter Lorre's absolutely chilling and oddly sympathetic work in M.

Best Scene:Hans Beckert stands trail.

Overall Rank:

1. Peter Lorre in M
2. Edward G. Robinson in Little Caesar
3. James Cagney in The Public Enemy
4. Charlie Chaplin in City Lights
5. Bela Lugosi in Dracula
6. Boris Karloff in Frankenstein
7. Fredric March in Dr. Jekyll and Mr. Hyde
8. Michel Simon in La Chienne
   
9. Raimu in Marius
10. Edward G. Robinson in Five Star Final
11. Tokihiko Okada in Tokyo Chorus
    
12. Harry Baur in David Golder 
13. Henri Marchand in À Nous La Liberté
14. Pierre Fresnay in Marius 
15. Edward G. Robinson in Smart Money
    
16. Jackie Cooper in Skippy
17. Raymond Cordy in À Nous La Liberté
18. Ronald Colman in Arrowsmith
    
19. Oliver Hardy in Chickens Come Home
20. Stan Laurel in Chicken Come Home
21. Groucho Marx in Monkey Business 
22. Maurice Chevalier in The Smiling Lieutenant
    
23. Colin Clive in Frankenstein 
24. Adolphe Menjou in The Front Page
25. Pat O'Brien in The Front Page
26. John Barrymore in Svengali 
27. Raul Schnoor in Limite
    
28. Matahi in Tabu
29. Harry Carey in Trader Horn 
30. Clark Gable in Possessed
    
31. Victor McLaglen in Dishounered
    
32. Jackie Cooper in The Champ
33. James Dunn in Bad Girl
    
34. Wallace Beery in The Champ
    
35. Richard Cortez in The Maltese Falcon
36. Alfred Lunt in The Guardsman 
37. Ramon Novarro in Mata Hari
38. Hal Skelly in The Struggle
    
39. Phillips Holmes in The Criminal Code
40. Charles Farrell in Delicious
41. Raul Roulien in Delicious
42. Richard Dix in Cimarron

Supporting Top Ten:

1. Boris Karloff in The Criminal Code
2. Lionel Barrymore in A Free Soul
3. Clark Gable in A Free Soul
4. Harry Myers in City Lights
5. Zeppo Marx in Monkey Business 
6. Clark Gable in Night Nurse 
7. Tatsuo Saitō in Tokyo Chorus
   
8. Gustaf Grundgens in M
9. James Finlayson in Chickens Come Home
10. Boris Karloff in Five Star Final 

Next Year: 1944 lead

Alternate Best Actor 1931: Peter Lorre in M

Peter Lorre did not receive an Oscar nomination for portraying Hans Beckert in M.

M is a masterpiece by Fritz Lang about the search for a child murderer whose crimes are so heinous that it causes even the city's criminals to look for the elusive murderer.

Peter Lorre's screen time in this film is actually extremely limited. His character though is the central character of the film and his performance is the only one in the film that stands out. This is not to say the other performances in the film are bad, in fact they tend to be rather solid, but they are really a sea of faces that Lang makes to represent the populace of the city looking and reacting to one man. Lorre plays the one man, that either everyone is looking for or worried about, in his most eerie role. Lorre went on to play many many of villains throughout his career but this is the one that started them all.

What Lorre does, that is quite striking particularly for a film from the thirties where dull or over the top performances was too often the norm, is go about playing the part of Hans Beckert in a very realistic manner. Lorre method of playing this role in that way makes it one of the most chilling portrait of a psychopath ever given on the screen. In his first scene Lorre is able to just make his silhouette frightening as he approaches a new victim. Lorre's is terribly natural in this scene as he approaches a little girl, inviting her to have a fun time with him in such a calm and welcoming manner.

Lorre uses his expressive face perfectly here as Beckert as he creates a living contradiction. Lorre has a soft face that can seem to be the face of just a gentle kind man, like he actually was in 20,000 Leagues Under the Sea, as Beckert there is something very off about it. Lorre wield both sides of the sword without a fault in his swing as he shows the face he would show any child. The face that is able to entice them into an afternoon with him, but with the same exact expression though Lorre also portrays the insanity. There is something very evil in Beckert and Lorre is especially chilling by keeping it in his softness.

The portrait of the killer that Lorre creates is particularly off putting in the film and the fear that he creates from his mere presence is overwhelming. There is not any flashy tricks that Lorre tries, he is not at all flamboyant in his portrayal, instead Lorre just gives a blunt portrayal of the worse kind of killer. Lorre performance is deeply disturbing because of the matter fact manner that he brings to Beckert. He gives life to man as horrible as Hans Beckert. Lorre does not try to make him anymore then he in and doing so truly disturbs with every frame of his performance as he walks the street stalking his helpless prey.  

The brilliance of M as well as Peter Lorre's performance is that suddenly the film takes a twist once the hunter becomes the hunted and the criminals track down Beckert by firstly stamping his back with the mark of M for murder. Lorre begins the transition masterfully with the classic moment as Beckert notices the mark in the mirror and instantly loses some of his composure knowing for sure that someone knows his dark secret. The succeeding scenes are just outstanding, mostly silent, moments of Lorre as he now shows the very real fear in Beckert as he tries to run from the large group of finding him. 

Lorre's performance compliments Fritz Lang's direction of the scenes of the criminals slowly closing in on Beckert. As Lang shows, in great detail, every facet of the criminals method to find Beckert in large building, Lorre adds a greater tension to the scene by portraying the growing desperation in Beckert. Lorre is outstanding as he shows the fear grow in Beckert as he almost seems to become a visibly smaller man as the men come closer and closer to finding him. Lorre makes his performance as important as Lang's direction, as every turn Lang takes in showing the men on their mission, Lorre matches it by Beckert's crumbling demeanor as he comes closer to capture.    

Peter Lorre's strongest scene comes when the men finally capture him which is also the first time Lorre is allowed to say more then just a few words as Beckert tries to defend himself in front of a jury of his "peers". Lorre is simply amazing as he presents Beckert's attempts to tries anyway to keep his life. Lorre combines such an array of emotions as Beckert goes from doubting the validity of the trail, attacking the criminals outright for their crimes, and trying to defend his own actions. It is an outstanding display of acting for Lorre going from a vicious anger, to a pathetic sadness, to even a grief over himself which Lorre portrays so powerfully as the most genuine reaction of a man pleading for life.

Lorre is awe inspiring when Beckert tells the men why he has to kill. It is a tremendous scene because Lorre  is absolutely honest in his portrayal of the sick mind of Hans Beckert as he describes in details the irresistible urge to kill that he cannot shake. We never see Beckert murder anyone through the course of the film, but it feels as though we do as Lorre pantomimes Beckert cycle of murder starting as a haunted man with a twisted mind, to the vicious killer as we see the sadistic glee as Lorre represents Beckert's mind as he does the killing to finally the satisfaction in Beckert after he has met his irresistible need.

M is a film with a strong director's hand throughout and it would have been easy for even the character of Hans Beckert to have just been part of the portrait that Lang is creating, especially considering that the character really is not in the film all that often. Peter Lorre though manages to make his performance stand firmly along with Lang's direction as the most memorable aspects of this film. Lorre actually made it so I forgot that he so little time in the film because he makes such a strong impression with each second on screen so his presence is felt even when he is off screen. Peter Lorre gives an all time great performance as Hans Beckert which has not aged a day.

Alternate Best Actor 1931

And the Nominees Were Not:

Bela Lugosi in Dracula

Boris Karloff in Frankenstein

Peter Lorre in M

Edward G. Robinson in Little Caesar

Charlie Chaplin in City Lights

Alternate Best Supporting Actor 1954: Results

5. Clifton Webb in Three Coins in a Fountain- Webb is a bit wasted in his film, but he does well to create a warmer take on his most frequent role as a snobbish intellectual.

Best Scene: Shadwell confesses both his love and the fact that he is dying. 

4. Raymond Burr in Rear Window- Burr certainly gets help from his director, but in very key moments his performance as well amplifies power of his character within the film.

Best Scene: Thorwald notices Jeff.

3. Fred MacMurray in The Caine Mutiny- MacMurray makes for an excellent villain playing the part with such charm that he tricks you into thinking that he is not even the villain.

Best Scene: Keefer suggests the officers mutiny. 

2. Peter Lorre in 20,000 Leagues Under the Sea- Lorre is a very likable and lends some very nice lighthearted relief in his film as the endearing sidekick Conseil.

Best Scene: Any scene between Conseil and Ned Land.

1. Van Johnson in The Caine Mutiny-Johnson gives the best performance not nominated for an Oscar this year through his moving down to earth portrayal of a man who tries to do the right thing despite tremendous pressures all around him.

Best Scene: Maryk takes the stand in his court martial. 

Overall Rank:

1. Toshiro Mifune in Seven Samurai 
2. Humphrey Bogart in The Caine Mutiny
3. Rod Steiger in On the Waterfront
4. Lee J. Cobb in On the Waterfront
5. Karl Malden in On The Waterfront
6. Alastair Sim in An Inspector Calls
7. Fredric March in Executive Suite
   
8. Peter Finch in The Detective
9. Van Johnson in The Caine Mutiny
10. Peter Lorre in 20,000 Leagues Under the Sea
11. Kuroemon Onoe in Samurai I: Musashi Miyamoto
12. Richard Basehart in La Strada
13. Fred MacMurray in The Caine Mutiny
14. Raymond Burr in Rear Window
15. Ken Uehara in Sound of The Mountain
16. Van Johnson in Brigadoon 
17. Geoffrey Keen in Carrington V.C
18. John Williams in Dial M For Murder  
19. Eitaro Shindo in The Crucified Lovers
20. Jose Ferrer in The Caine Mutiny 
21. Geoffrey Keen in Doctor in the House
22. Louis Calhern in Executive Suite
23. Clifton Webb in Three Coins in a Fountain
24. Edmund Gwenn in Them!
25. Rene Dary in  Touchez Pas Au Grisbi
26. John Williams in Sabrina 
27. Allen Cuthbertson in Carrington V.C
28. Brian Worth in An Inspector Calls
29. Robert Cummings in Dial M For Murder
30. Minoru Chiaki in Seven Samurai
31. Bryan Forbes in An Inspector Calls
32. Isao Kimura in Seven Samurai  
33. Lee Marvin in The Raid
34. Emile Meyer in Riot in Cell Block 11
35. Broderick Crawford in Human Desire
36. John Hamilton in On the Waterfront 
37. Paul Fix in The High and the Mighty
38. Walter Pidgeon in Executive Suite 
39. Otto Kruger in Magnificent Obsession
40. Seiji Miyaguchi in Seven Samurai
41. Pat Henning in On the Waterfront 
42. Alexander Knox in The Divided Heart
43. Yoshio Inaba in Seven Samurai 
44. Lino Ventura in Touchez Pas Au Grisbi
45. Robert Newton in The High and the Mighty 
46. Geoffrey Keen in The Divided Heart
47. James Robertson Justice in Doctor in the House
48. Walter Brennan in The Far Country
49. Paul Douglas in Executive Suite
50. Rentaro Mikuni in Samurai I: Musashi Miyamoto
51. Richard Widmark in Broken Lance
52. Ernest Borgnine in Johnny Guitar
53. Donald Houston in Doctor in the House
54. Arthur Young in An Inspector Calls
55. Walter Hampden in Sabrina
56. Dean Jagger in Executive Suite 
57. Edmond O'Brien in The Barefoot Contessa
58. Wendell Corey in Rear Window 
59. Brock Peters in Carmen Jones
60. Harry Morgan in The Glenn Miller Story 
61. Charles Bronson in Vera Cruz
62. Ernest Borgnine in Vera Cruz 
63. Robert Stack in The High and the Mighty
64. Paul Muller in Journey to Italy
65. John McIntire in The Far Country
66. William Holden in The Country Girl 
67. Cesar Romero in Vera Cruz 
68. Jack Carson in Phffft
69. Dean Jagger in White Christmas
70. Charles Bickford in A Star is Born 
71. Cecil Parker in The Detective 
72. E.G. Marshall in Broken Lance
73. Russ Tamblyn in Seven Brides for Seven Brothers
74. Noah Beery Jr. in The Black Dakotas
75. Rory Calhoun in River of No Return
76. Tom Tully in The Caine Mutiny
77. Sidney Blackmer in The High and the Mighty
78. Louis Jordan in Three Coins in a Fountain
79. Jack Carson in A Star is Born 
80. John Broomfield in The Black Dakotas
81. Rossano Brazzi in Three Coins in a Fountain

Next Year:  1993 supporting