Alternate Best Actor 1950: Results

5. Vincent Price in The Baron of Arizona - Price gives a properly devious turn even if the film's odd perspective of his character limits him a bit.

Best Scene: Arguing for his guilt.

4. Alec Guinness in Last Holiday- Guinness gives an unexpectedly remarkable turn in his wholly convincing portrayal of a man coming into his own as he faces death.

Best Scene: Final sendoff. 

3. Jean Marais in Orpheus - Marais gives a terrific atypical leading turn ideal for his wonderfully off-beat romantic fantasy.

Best Scene: Trying to not look at his wife. 

2. John Garfield in The Breaking Point - Garfield gives his best performance in his uncompromising portrayal of a man willing to take the easy way out even as it leads to dire consequences.

Best Scene: Final shootout. 

1. Richard Widmark in Night and the City - Richard Widmark delivers a frankly pioneering portrayal that captures his character's determination and mania as he tries to get himself out of a hole by digging to the other side.

Best Scene: Final idea.

Updated Overall

Next: Review of François Périer in Orpheus and supporting update.

Alternate Best Actor 1950: Richard Widmark in Night and The City

Richard Widmark did not receive an Oscar nomination for portraying Harry Fabian in Night and the City.

Night and the City is a brilliant film that follows a street hustler as he attempts to get into wrestling promotion in London. 

Speaking before on John Garfield's work in The Breaking Point as an actor who might've before his time, this perhaps could also be attributed to one Richard Widmark. Perhaps not as much for the work he almost had to settle into as the types for leading men of the time, but for his earliest performances. This as he gave what has to be considered a pioneering performance in terms of portrayals of onscreen psychopaths in Kiss of Death (which I too often forget was his feature film debut), which is far more alike modern villains than those of Golden age of Hollywood. We find that again here in the role of Harry Fabian, who's a character who would fit right into the 70's or modern independent cinema. This as Harry Fabian is neither a good guy or a bad guy in the traditional sense of the time. He's not the hero, nor is the guy who takes the wrong path for a moment, he's something entirely different. Now in this all I can preface is saying this is a brilliant performance by Richard Widmark, and just go from there. That's because it is, and his unique sort of portrayal here, particularly unique for the time, is oddly something you can see from the silent opening scene as we watch Harry run home to his and his girlfriend Mary's (Gene Tierney) home. This while being chased by a pursuer. There's even just something about the way Widmark runs here, something fascinating about it honestly. There's just a sort movement of as though it is a casual affair, even as he is dogged in his movement, this as though it is nothing atypical to Harry to be running from someone. This with a particular moment where he loses his corsage, with Harry taking time to pick it back up and Widmark so gently placing it back in though maintaining that is as important as the man chasing him meaning to do harm. 

We find as Harry outruns his pursuer to return to Mary where Widmark is all charm. The essential thing is even with what we saw a moment ago, Widmark's charm here is wholly genuine in the sheer exuberance he does in every interaction with her and his repeated use of calling her "the duchess" with such loving regard for her. Widmark finding wholly what Mary sees him in an instance. This then we segue towards what is an essential core to Harry as he shows Mary some scheming idea of pills that will increase a car's gas use, supposedly. Widmark is downright amazing in the sheer jubilation as he speaks the idea. This in his eyes of a man seeing a dream in his eyes as he explains the concepts, and you'd think the man has won the lottery. Widmark presenting it as absolutely the dream realized in the moment as this full forced emotion as he throws his whole self within the idea. His eyes glaring with just an amazement just as his voice is this unabashed joy. This though hit with reality when Mary asks about the man who had been chasing him and is still waiting outside. Widmark's shift is great though in the vulnerability he so naturally settles to as he meekly speaks that the man is a "co-investor" in the gas scheme aka someone he owes some money to, which Mary eventually pays for me. Widmark in this introduction revealing really a protagonist that was so rare for the time, in as we meet him he is obviously flawed, but also obviously fascinating. Flawed also not as a villain but flawed as a man. 

We then follow Harry in the day in the life, or perhaps more appropriately a night in the life. There is a spectacular sequence where we follow Harry about town where he appears to be everyone's friend. Widmark's work here is marvelous as he out pours a certain charisma as he takes a moment with seemingly almost everybody. Widmark is affable and energetic in the best of ways. This as he delivers every word as though for that second the person is the most important person in his world, and also you just see him walk with the manner of a man who is simply thriving upon the atmosphere. This walking with the utmost confidence and almost floating through the streets as someone who has become so accomplished with them. We found out though he is largely a hustler who works on commission for a club owner Phil Nosseross (Francis L. Sullivan) and his wife/a potential old flame of Harry's Helen (Googie Withers). We see Harry ply his trade on those who don't know him. This as I love Widmark's performance in these moments. This as he takes the moments in we see in his eyes Harry gauging his mark, then basically reinventing himself for the need. Whether this be just a jovial man about town to some businessmen he sends to Phil's club, or shifting himself to an adoring fan, passionate about wrestling to a seasoned wrestler Gregorius (Stanislaus Zbyszko). Widmark showing the man capitalizing on his "preys" interest this with a man beaming and interested in whatever is needed. Widmark expertly revealing Harry's game, by being so convincing in playing Harry's game. 

That second game, which also makes Harry run afoul of Gregorius son, wrestling promoter/criminal Kristo (Herbert Lom), is what we follow Harry on. This initially as he falters to find funds with most of the same crowd of the criminal underworld. Widmark is incredible with every one of these "sells" this as he settles into that gear of his to the sale, as though this wrestling idea just "can't lose". This believable to any one glancing unknowing of Harry's way, however everyone knowing Harry's sales at this point turn him down. Widmark is great in every turn down showing the man's immediate desperation that wears across his face at the tear down of that sale of confidence. Widmark showing really the fearful young man whose had to fight for everything beneath it all whenever his confidence just isn't enough. Eventually Harry does find the money in Helen who obviously still has feelings for him to some regard. Widmark is great in this scene in showing the somewhat reserved Harry's reactions in the moment in trying to gauge what she is getting at. This in presenting the certain unease of a man's former loss having been left behind by Helen marrying Phil to climb the ladder. Widmark revealing in the hesitations again the man's very real uncertainty behind all that certainty of his. This eventual investment though essentially is the trigger for Harry to go ahead with anything he can to make it all work. This is as we get into the next jump of the story, where you can see some likely great influence on the recent Uncut Gems, as we see a man who seems to believe he can win any race, even if it doesn't matter how many short cuts he takes along the way. 

Widmark is downright mesmerizing as he brings us right along with him as Harry basically does anything he can to make the wrestling angle work for him. Widmark is exceptional in the way his energy is in this state of constant flow and he so naturally portrays the sort of spiraling action of Harry as he goes through the night trying to make it work. This in so quickly going from moment of being the best confident man in the business to Gregorius, to the slickest con artist as he prods a rival questionable wrestler known as the strangler, through lobbing a series of insults. Widmark is great by showing the way Harry pulls the tricks from his hat, as we get the quick moment of the calmest of supporters of Gregorius, to the most fierce doubter as he delivers random asides in decrying the strangler. This though in just as naturally falling apart to a straight desperation when he has to steal from Mary, or lie to Helen about the nature of forget document he gives her. Widmark in the latter is great in even his reaction his manner is almost as he can't know any better in the moment as he barely even second guesses the trick since it is the only way to continue. In the former though Widmark reveals really the addict for some kind of success beneath it all. This in the straight frustration and single focused manner as he just goes out of his way to find the money. His physical manner focused upon that goal to the point of playing the scene as though Mary is invisible. Widmark though in the end showing what the man gets out of it, in just a marvel of a moment where Harry tells of his success to Phil. The wonderment in Widmark as he describes it, the almost musical maneuvers of him, reveal the jubilation in the man that goes far beyond just enjoying financial success. Widmark in this moment shows that is the essential part of living for him. Unfortunately for him though as series of unfortunate events, some purposeful some accidental, lead to his wrestling game falling apart, and also leaving Kristo putting a 1000 pound bounty on Harry's head. Widmark's performance captures then the desperation of Harry as he tries to run through the night in looking for some escape from his fate. He is as mesmerizing here in so viscerally creating the sense of his state as he avoids one betrayal one bad man after another, Widmark showing Harry still plying his trade however now literally to save his life. This though in showing the natural degradation, physical and mental, of the man as he collapses in one of his last allies. This leading to a great moment of introspection as Widmark reveals again the fearful man beneath it all looking upon his failures, this only amplified when Mary appears, and Widmark hides his head as though Harry is nothing but a scared child. Widmark being so vulnerable in the moment speaking without a bit of bluster as he speaks to Mary without a shield. This until she mentions the 1000 pounds on his head, and Widmark is absolutely heartbreaking as he recalls back to the salesman one more time. This time so aggressively and painfully as the man merges his desperation with the sale now by actually earnestly suggesting Mary make herself rich by selling him to Kristo. I love this performance. This as Widmark gives an absolutely daring turn here. Not shying away from the character's flaws rather embracing them in a way that almost make them seem his virtues. Widmark thriving in realizing the complexity of the role, and crafting this immaculate portrait of the obviously flawed yet always transfixing protagonist that is pioneering.

Alternate Best Actor 1950

And the Nominees Were Not:

Richard Widmark in Night and the City

Alec Guinness in Last Holiday

John Garfield in The Breaking Point

Vincent Price in The Baron of Arizona

Jean Marais in Orpheus

Best Supporting Actor 1947: Results

5. Charles Bickford in The Farmer's Daughter- Bickford is certainly fine in his part, but nothing special. He perhaps could have stolen some scenes but he never is able to.

4. Thomas Gomez in Ride the Pink Horse- Although his part is fairly limited Gomez gives an enjoyable and charming performance that only adds to his film.

3. Edmund Gwenn in Miracle on 34th Street- Gwenn is not really a definitive Santa Clause by any means, and this is not any sort of great performance, but it is a good one where Gwenn makes Santa Clause just as kind and warm as he should be.

2. Robert Ryan in Crossfire- Robert Ryan plays the sort of role he became best known for and the truth is there is a reason he became known for this sort of role, because he was very good at it. This is not his best variation on this sort of character though.

1. Richard Widmark in Kiss of Death- There is no question for me who wins this year though as Widmark easily gives the most memorable and most effective performance out of the nominees. Widmark becomes basically invisible in his chilling creation of Tommy Udo a psychopath who only ever finds joy from what he does.

Best Supporting Actor 1947: Richard Widmark in Kiss of Death

Richard Widmark received his only Oscar nomination for portraying Tommy Udo in Kiss of Death.

Kiss of Death details the story of a criminal who becomes an informant to help his family, which gets him into a dangerous situation with one of the men he informed on.

Richard Widmark although had a long screen career he was only ever nominated for his for film role ever as the giggling psychopath Tommy Udo. What I found interesting from his first scene in this film was the fact that Widmark's performance here in no way resembles his later screen persona which was usually a deep voiced commanding figure. In this film though I barely recognized Widmark as he completely becomes the role of Tommy Udo.

As I said Widmark has a deep voice but here that is not apparent in the least. Widmark here instead has a rather high pitched weasel type of voice that works perfectly for the role of Tommy Udo. He makes Tommy Udo not some sort of overwhelming figure who seems to command, but far more freighting by always seeming to be dangerous by just how off of a person Widmark makes him, Widmark always shows that there is something simply off about Udo.

What makes Widmark's performance so memorable though is that Tommy is not only a Killer but a true sadist who loves to kill. The famous wheelchair pushing scene would not be nearly as memorable as it is if it were not for the grinning joyful face that Widmark has the moment Tommy is doing it. There is not a single moment in which Widmark shows any sort of sympathy inside of the disturbing Tommy.

Widmark simply makes the most out of the character of Tommy Udo who easily could have been played way over the top, but instead Widmark makes him bizarrely real in his psychopathy and all the more chilling because of that. There are so many aspects of this performance that could have gone wrong in lesser hands but with Widmark they never do. This is truly an accomplishment becuase of how risky Widmark plays his role, which is a little surprising since it was his first performance in a film.

The way he walks, the way he talks, the way he laughs, and especially the way he smiles only ever work to make Tommy Udo an unforgettable character. Every moment of the film he is in, which is not as much as one might think Widmark makes the most of. He absolutely holds your attention in every scene for every second with his fascinating portrayal. He makes Udo such an effective villain that even when he was off screen I was thinking about him. This is an amazing performance by Widmark that creates a chilling portrait of a smiling psychopath.

Best Supporting Actor 1947

And the Nominees Were:

Robert Ryan in Crossfire

Richard Widmark in Kiss of Death

Edmund Gwenn in Miracle on 34th Street

Thomas Gomez in Ride the Pink Horse

Charles Bickford in The Farmer's Daughter