Alternate Best Supporting Actor 2000: Results

10. Jeremy Irons in Dungeons & Dragons - The best part of his atrocious film, however doesn't achieve the true brilliance of a performance of its ilk.

Best Scene: Blood in the sky.

9. Lucas Black in All The Pretty Horses - Brings a moving authenticity that is bluntly missing from the rest of his film.

Best Scene: Being taken off.

8. Stephen Tobolowsky in Memento - Tobolowsky in his brief screentime finds the humanity in his odd state.

Best Scene: Insulin.

7. Sean Connery in Finding Forrester - Connery one last time brings out his actor in delivering a properly charismatic yet also troubled turn as a recluse.

Best Scene: Explaining why he is recluse.

6. Kyle MacLachlan in Hamlet - MacLaclan gives a powerful portrayal that manages to modernize the role of Claudius while also mine the greatness of the character in his traditional form.

Best Scene: Limo phone call.

5. Song Kang-ho in Joint Security Area - Song gives a brilliant portrayal of man who puts on a facade of the cold soldier, and reveals the empathetic human within.

Best Scene: The Event.

4. Joaquin Phoenix in The Yards - Phoenix proves his measure early on here in his remarkable and intense portrayal of a wannabe gangster coming to terms with himself. 

Best Scene: Final scene.

3.  Emilio Echevarria - Amores Perros - Echevarria gives a terrific portrayal of man struggling with empathy so naturally seguing from a broken animal lover and a callous hitman.

Best Scene: Finding the dogs.

2. Paddy Considine in A Room For Romeo Brass - Considine delivers an absolutely stunning debut turn that manages to be equally every bit of the mess of a man both terrifying yet also heartbreaking.

Best Scene: The threat.

1. Malcolm McDowell in Gangster No.1 - Good predictions Razor, Ytrewq, Shaggy (X2), and Brazinterma. McDowell delivers a proper ferocious portrayal of a vicious gangster, yet is also oddly heartbreaking in his portrayal of a man realizing the meaningless of his life.

Best Scene: "Number one"

Updated Overall

Next: 1955 Lead

Alternate Best Supporting Actor 2000: Sean Connery in Finding Forrester

Sean Connery did not receive an Oscar nomination for portraying William Forrester in Finding Forrester. 

Finding Forrester is perhaps an overly straight forward, though wholly good film, about an aspiring athlete/writer Jamal (Rob Brown), chancing upon a reclusive though extremely famed writer with whom he strikes up an unlikely mentor-ship/friendship. 

Sean Connery's last decade of his active career is easily his least impressive as a performer. This decade was marked most frequently as a somewhat self-indulgent performer. After his Oscar win many of his performances suggested an actor who had nothing left to prove critically or commercially, so he just kind of coasted on his general charisma while calling it a day. This was certainly the case for his final performance in the properly maligned League of Extraordinary Gentlemen, but if Connery had ended his career one film earlier, he would've exited the profession on a performance he bothered to actually try. That being this film in Gus Van Sant's spiritual followup to Good Will Hunting, a film also about an unexpected young genius finding guidance via a bearded star, though to be fair there's more of a back and forth here, and Connery was bearded at most times post Bond. Anyway though, Connery plays here outside of the aged badass and instead plays a renowned literary figure, modeled on JD Salinger by being a recluse, having one age defining novel, and also an interest in baseball evidently. Connery's own presence is used well in the introduction of his Forrester, by basically an importance to character is naturally enforced because, well, it is Sean Connery, and he naturally makes an impact. 

Connery is playing into a type initially as the cold man with a past, though what I like here is that actually Connery nor the film dwell on this too much. We get a bit of exasperation from the aged man, and Connery delivers this well. He brings much more of an edge than we got in a lot of his 90's work, where he was often so Connery, it was a problem. That presence of his is here, but in his initial reaction towards Jamal, when he trespassed on him based on basically a dare, Connery's intensity actually reveals character and he's not just coasting on his remarkable presence as a performer. Honestly before watching the film I had imagined a little bit in my head the lazy version of this performance by Connery himself, this just as the exasperated old man who is harsh yet secretly caring. I think what I found special here then is one being the moments of exasperation Connery doesn't sugarcoat it creating a real sense of the bitterness in the man in these moments. What is even more surprising though is how much of this performance isn't that coldness, and really we get a genuinely warm performance from Connery. This in the moment of Forrester saying his limits, which essentially Jamal needs to largely not ask him about his reclusiveness, Connery shows an honest eagerness for connection with the young man. This as his moments of teaching are with enthusiasm and in his eyes there is the sense of the old spirit of the writer being encouraged by this young man's own talents. I mean the fact that Connery's delivery of "You're the man now, dog!", doesn't come off as ridiculous is a testament to the devotion he brings here, and makes just this natural moment of Forrester being playful with Jamal.

Connery earns the warmth here by portraying each moment of this as really this excitement within the act of teaching, and the enjoyment really of the life behind writing. Connery finds a nice balance within his delivery of Forrester's wisdom that brings both a sense of the fun Forrester has with imparting wisdom, while also the proper conviction to convey such a form of wisdom. Connery devotes himself here in a way that feels like prime Connery and through his chemistry with Brown creates a genuinely moving and endearing friendship/mentorship at the center of the film. There is that entertaining quality in the unlikely pair, but they are also wholly believable all the same. This to the point when Forrester pours out his trauma to Jamal, essentially his reclusive life is from the death of his brother, it feels like a natural progression and is helped all the more by Connery's delivery of the moment. He brings a natural vulnerability here that speaks to Connery's best work. He isn't James Bond in this moment, or some variation of the character, he's Forrester the writer hurt by his seeming failures. This as Connery conjures a genuine sense of the history in his quiet delivery of the monologue. A monologue that he paints not with big melodrama, but a quiet sense of a buried pain that has left the man anchored to such a singular existence. And again as much as this isn't a great film, partially through the plot progression that makes things a little too clean, Connery is always good. This being most notable in the film's somewhat contrived climax where Forrester needs to come out of his home to deliver a dramatic speech to save Jamal from a jealous college professor (F. Murray Abraham). Connery though gives credence to the situation through his performance. What I like so much about the scene is that Connery doesn't over play it, or just play it as pure passion, as he easily could've. Rather he stays with the character of recluse, giving some awkwardness to the speech at points, almost stumbling in moments, and bringing a degree of shyness befitting a confident man, but a confident man who has spent years speaking to few people. He plays the moment as William Forrester, not as Sean Connery. And in that sense this is that performance, that should've been his swan song, as it features Connery giving a truly devoted turn here one last time, one that speaks to his strengths as a star presence, but also his strengths as an actor.

Alternate Best Supporting Actor 2000

And Nominees Were Not:

Emilio Echevarria in Amores Perros

 

Kyle MacLachlan in Hamlet

 

Malcolm McDowell in Gangster No. 1 (and to continue to contemplate his placement)

Stephen Tobolowsky in Memento

Sean Connery in Finding Forrester

Predict those Five, These Five or Both.

 

Joaquin Phoenix in The Yards

Lucas Black in All The Pretty Horses

Jeremy Irons in Dungeons and Dragon

Paddy Considine in A Room For Romeo Brass

Song Kang-ho in Joint Security Area

Alternate Best Actor 2000

And the Nominees Were Not:

John Cusack in High Fidelity

 

Denis Lavant in Beau Travail

 

Sol Kyung-gu in Peppermint Candy

 

Lee Byung-hun in Joint Security Area

 

Sean Connery in Finding Forrester

Best Actor Backlog Vol. 1: Results

5. John Hurt in 1984 - Hurt gives a devastating of a portrait of a man slowly finding humanity only to have it immediately and violently expunged from his soul.

Best Scene: "I love you"

4. Sean Connery in The Offence - Connery plays into yet also against type in creating a brutal and powerful portrait of a man unraveling within his mental trauma from his work as a detective of the worst crimes.

Best Scene: What really happened.

3. Claude Laydu in Diary of a Country Priest - Laydu gives a moving portrait of a man curious descent as he becomes confounded by his duties intertwined within personal doubts.

Best Scene: Personal Confession.

2. Al Pacino in Scarecrow - Pacino gives one of his best performances in his expressive, endearing but also very moving portrayal of a man who tries to get through his tough life by bringing joy to others.

Best Scene: "Baptism"

1. Nicol Williamson in The Bofors Gun - Honestly watching this performance again, this work deserves far more recognition in general, as it is one of the most captivating and searing portrayals of a self-destructive man that I've seen.

Best Scene: Asking for an answer.

Next: Still 43 lead/supporting, which judging by what I've seen so far, will not be a lineup, not that they're bad performances, just haven't found anything *too* remarkable yet.

Alternate Best Actor 1973: Sean Connery in The Offence

Sean Connery did not receive an Oscar nomination for portraying Detective Sergeant Johnson in The Offence.

The Offence is a non-too pleasant though not ineffective film following a policeman losing a grip on his sanity.

Sean Connery is an actor who is more so known as a star than an actor, however the latter element is something that while could be forgotten in some of his more disposable commercial fair, is something that should not be when looking at his overall abilities as a talent. One director that seemed to see the potential of Connery was Sidney Lumet who cast him twice in two roles that were, while not entirely against type, pushed Connery past a comfort zone of the "man's man" presence of James Bond, to something far more notable, while working within the idea of a man partially defined by his masculinity, however not so simply. In The Hill, Connery showed an imprisoned soldier who individuality and cynicism led him towards a power struggle in a military prison. We once again return to a potentially more typical Connery role as a police detective who who get his men, even violently, however this is not treated in the way of your standard action film. We find Connery here as Detective Sergeant Johnson, a man who perhaps at one time lived for more romantic ideas of heroics, however as we enter the film we see something quite different, and in turn we see something quite different within the work of Sean Connery. Connery being an actor who thrives on his confident cool, here completely disposes of that here, to portray from the outset just this sense of anxiety within his eyes as we see the man just approaching the scene of a likely brutal crime in the opening of the film.

Connery does speak to his fellow officers with a ferocity of a former hard-boiled cop, although the anger within this seems even more severe than that in Connery's delivery. An anger alluding to something that has been festering within him for sometime. It is fascinating to see Connery here as his performance manages to create the surface of the tough police officer, but subtly within his eyes evokes a desperation within the man. This is something that brings itself to the surface as Johnson finds the latest victim of a pedophile. Connery's performance within the search is that of fear but also something a bit more uneasy as he finds the victim. Connery's performance in this scene is amazing, and such a different side to himself as a performer. This portraying this demented moment in his work that portrays a mental breakdown within his attempts to comfort the girl, making it any thing but comforting to the viewer. Connery manages to depict this strange fascination within the moment as he eases the girl into some sense of security. It isn't heartwarming, in Connery's performance that while does project an attempt at a sincere solace, also manages within his eyes this near insanity of the man as though he is living out in some detached state of fantasy. This brilliantly alluding to some deep seeded wound within Johnson's psyche that goes beyond this single instance of a such a horrible sight.

Outside of this more intimate scenario Connery returns Johnson seemingly to his fashioned state of the dogged detective, however even this is not Connery on auto-pilot, but rather depicting a man going on auto-pilot. Connery playing within the idea of a sledge hammer for the law, something that Connery is obviously able to support with his fierce presence as a performer, however once again here it is something far less pleasant than his usual heroes, and Connery in his own way even makes these moments carry this unpleasant intensity that make them their own strange act of desperation. His state is eventually tested as they seem to find the likely culprit Kenneth Baxter (Ian Bannen). Although we initially see glimpses of his interrogation of the man, this as Connery brings the violent imposing rage of the interrogator, however only glimpses as he attacks the man before being sent away for his actions. We our to return to that moment, but before that we see Johnson attempting to live out his night. We see him return home where Connery is simply incredible in delivering years of discontentment, along with the wounds of the night as he yells at his wife. Again Connery's performance is unrelenting, and effectively so, in showing a man who bordering on a complete mental breakdown, only living through violence of a certain kind.

Connery is outstanding in the moment as he proudly speaks initially of attacking the man, which Connery delivers as though it is this official recitation, and a long labored monologue to defending his actions. This as he continues the words it is with again a mania that creates a sense of complete derangement that Connery conveys before returning to a sense of clarity for a moment. This before when asked of the victim herself that the pains of the man return again to Connery's performance. His work is truly remarkable as he delivers an unexpected vulnerability as he speaks towards this pain regarding seeing so many horrible victims. Connery though goes further in showing the cracked state of mind as he keeps speaking as Connery's expression delivers this state that goes beyond pain, but rather this fundamental chaos of his mind that cannot fully comprehend how what he's gone through has changed him. Connery's performance not only expresses the strange situation of the mind of Johnson within the scenario, a man twisted within his work, and shows a completely different side of himself as a performer. This is not by going entirely against his type, but rather rather garnering a different type of depth to a potentially more typical Connery role. This part pushes Connery, and he goes along with it to show his greater potential as an actor.

This as Connery creates a different portrait of the brutal detective, here as we see Johnson slowly unravel himself in front of us. This as in the final scenes of the film where he himself is interrogated by a superior Trevor Howard, where Connery certainty in his initial candor slowly breaks down to just a sorrow of his state of a man. This as we see the interrogator interrogated, and Connery depicts a brilliant mess of sorts as he delivers this attempt at this stake of that confidence, however always falls towards this harrowing vulnerability. Connery making this grotesque, yet still natural state of the man attempting to be one thing, yet in a way torn down into another, by that attempt. We see this even more so in the final scene of the film where we flashback to his one on one interrogation of Baxter. This as Connery begins as the "good cop" however this act as he speaks to the man, it is with a false bravado of a man speaking towards his own pains even as his words are a man supposedly easing the man into the interrogation. Baxter's lack of relaxation quickly resorts to Johnson manhandling Baxter, however even this physical act is a stroke of brilliance on the part of Connery's performance. This as he handles certainly with violent intensity, as you'd expect, however it is less striking, and almost sexual as this act of control and dominance, rather than of just harm. Baxter though strikes back, not through violence himself, but rather words as he speaks towards Johnson's broken mind through his growing state of becoming like the men he has been tracking for so long. In this moment Connery brings back the forceful detective, however even this is still of this wretched act, of a searing emotion. This as his eyes of a blind demented state before himself breaking down which Connery depicts with a sincerity of the man giving into those demons that have been underneath the surface throughout. This before returning to violence where Connery's state is not one of cool emotion, but a emotional mess of a man filled with both a strange sadism and masochism wrapped within the act. Connery delivers a great performance here as he manages to create the real complexity of this man being broken by the vices he himself attempts to destroy. Connery makes this a convincing descent and in doing so, also provides a striking reminder of his talent that goes beyond that of his star persona.

Best Actor Backlog Volume 1

And the overlooked performances are:

Nicol Williamson in The Bofors Gun

John Hurt in 1984

Claude Laydu in Diary of a Country Priest

Al Pacino in Scarecrow

Sean Connery in The Offence

Alternate Best Supporting Actor 1989: Results

5. Burt Lancaster in Field of Dreams  - Lancaster gives a moving and memorable performance that was a worthy one to be his last.

Best Scene: Moonlight's introduction.

4. Fred Gwynne in Pet Sematary - Gwynne rises above his film to give an entertaining, but also very affecting performance that finds the right tone for the material.

Best Scene: Jud apologizes for what he has done.

3. Ray McAnally in My Left Foot - McAnally is a great performance by realizing his character as complex father who's capable of cruelty but love as well.

Best Scene: "Mother"

2. Bruce Dern in The 'burbs - Bruce Dern gives a consistently hilarious performance that brings some laughs to every scene he is in.

Best Scene: The Klopeks come back.

1. Sean Connery in Indiana Jones and the Last Crusade - Good Predictions Luke, Jackiboyz, Michael McCarthy, GM, and Anonymous. Connery succeeds completely in playing a part against his usual time giving an extremely enjoyable humorous turn, but at the same time effortlessly turns Henry Jones Sr into the beating heart of the film.

Best Scene: End of the tank chase.

Overall Rank:

1. Sean Connery in Indiana Jones and the Last Crusade
2. Bruce Dern in The 'burbs
3. Ray McAnally in My Left Foot
4. Hugh O'Conor in My Left Foot
5. Danny Aiello in Do The Right Thing
6. Fred Gwynne in Pet Sematary
7. Ray Liotta in Field of Dreams
8. Derek Jacobi in Henry V
9. Ossie Davis in Do The Right Thing
10. Burt Lancaster in Field of Dreams
11. Andre Braugher in Glory 
12. Beau Bridges in The Fabulous Baker Boys
13. Morgan Freeman in Glory
14. Joe Pesci in Lethal Weapon 2 
15. Peter MacNicol in Ghostbusters II 
16. Ian Holm in Henry V
17. Rick Ducommun in The 'burbs
18. James Earl Jones in Field of Dreams
19. Jerry Orbach in Crimes and Misdemeanors
20. Christopher Lloyd in Back to the Future Part II
21. Robert Eddison in Indiana Jones and the Last Crusade
22. John Turturro in Do the Right Thing
23. Denzel Washington in Glory
24. Ethan Hawke in Dead Poets Society
25. Harold Ramis in Ghostbusters II
26. Danny DeVito in The War of the Roses
27. Willem Dafoe in Born on the Fourth of July
28. Jason Robards in Parenthood
29. John Leguizamo in Casualties of War 
30. Denholm Elliot in Indiana Jones and the Last Crusade 
31. Michael Biehn in The Abyss
32. Robert Downey Jr. in True Believer
33. Richard Jordan in Romero
34. River Phoenix in Indiana Jones and the Last Crusade
35. Henry Gibson in The 'burbs 
36. John Mahoney in Say Anything 
37. Dan Aykroyd in Ghostbusters II
38. Paul Scofield in Henry V
39. John Rhys-Davies in Indiana Jones and the Last Crusade
40. Corey Feldman in The 'burbs
41. Julian Glover in Indiana Jones and the Last Crusade
42. Joss Ackland in Lethal Weapon 2
43. Ernie Hudson in Ghostbusters II
44. DeForest Kelley in Star Trek V: The Final Frontier
45. Kevork Malikyan in Indiana Jones and the Last Crusade
46. Tom Hulce in Parenthood
47. Gale Hansen in Dead Poets Society
48. Rick Moranis in Ghostbusters II
49. Bruno Kirby in When Harry Met Sally
50. Randy Quaid in Christmas Vacation 
51. Giancarlo Esposito in Do The Right Thing
52. Charles Hallahan in True Believer
53. Robert Sean Leonard in Dead Poets Society
54. Brian Doyle-Murray in Christmas Vacation
55. Raymond J. Barry in Born on the Fourth of July
56. William Hickey in Christmas Vacation
57. Alan Alda in Crimes and Misdemeanors
58. John C. Reilly in Casualties of War 
59. Benecio Del Toro in License To Kill
60. Miko Hughes in Pet Sematary 
61. Joaquin Phoenix in Parenthood
62. Zakes Mokae in A Dry White Season 
63. Keanu Reeves in Parenthood 
64. Sam Waterston in Crimes and Misdemeanors
65. Brian Blessed in Henry V
66. Marlon Brando in A Dry White Season
67. Christian Bale in Henry V
68. Macauley Culkin in Uncle Buck
69. Tom Bower in True Believer
70. Don Patrick Harvey in Casualties of War
71. Robert Davi in License to Kill
72. Brother Theodore in The 'burbs
73. Michael Byrne in Indiana Jones and the Last Crusade
74. Robin Williams in Dead Poets Society
75. Ian McKellen in Scandal
76. Kurtwood Smith in True Believer
77. George Carlin in Bill & Ted's Excellent Adventure
78. John Randolph in Christmas Vacation
79. Pat Morita in The Karate Kid Part III
80. Michael Gough in Batman
81. Laurence Luckinbill in Star Trek V: The Final Frontier
82. Bill Nunn in Do the Right Thing 
83. Rick Ducommun in Little Monsters
84. Samuel L. Jackson in Do the Right Thing 
85. Peter Gallagher in Sex, Lies, and Videotape
86. Jackey Vinson in The Wizard
87. Jurgen Prochnow in A Dry White Season 
88. Robbie Coltrane in Henry V
89. Dan Aykroyd in Driving Miss Daisy
90. Frank Whaley in Field of Dreams
91. E.G. Marshall in Christmas Vacation
92. Rick Moranis in Parenthood
93. Billy Dee Williams in Batman
94. Alan King in Enemies, A Love Story
95. Leonard Nimoy in Star Trek V: The Final Frontier 
96. Martin Kove in The Karate Kid III
97. Thomas F. Wilson in Back to the Future Part II
98. Johnny Galecki in Christmas Vacation
99. Cary Elwes in Glory
100. Abe Vigoda in Look Who's Talking
101. Pat Hingle in Batman
102. Robert Wuhl in Batman 
103. Timothy Busfield in Field of Dreams
104. George Segal in Look Who's Talking
105. Reginald VelJohnson in Turner & Hooch
106. Thomas Ian Griffith in The Karate Kid III
107. Beau Bridges in The Wizard
108. Daniel Stern in Little Monsters
109. Glenn Shadix in Heathers 
110. Frank Whaley in Little Monsters 
111. Scott Paulin in Turner & Hooch 
112. Mickey Rooney in Little Nemo: Adventures in Slumberland 
113. Christian Slater in The Wizard
114. Jay Underwood in Uncle Buck
115. Ben Savage in Little Monsters
116. Brad Greenquist in Pet Sematary
117. Luke Edwards in The Wizard 
118. Frank Whaley in Born on the Fourth of July
119. Will Seltzer in The Wizard
120. Sean Penn in Casualties of War
121. Josh Evans in Born on the Fourth of July

Next Year: 1959 Lead

Alternate Best Supporting Actor 1989: Sean Connery in Indiana Jones and the Last Crusade

Sean Connery did not receive an Oscar nomination, despite being nominated for a Golden Globe and a BAFTA, for portraying Henry Jones Sr. in Indiana Jones and the Last Crusade.

Indiana Jones and the Last Crusade is an excellent adventure film, I actually even prefer it over Raiders, about Indiana Jones searching for the Holy grail.

Sean Connery's casting as Indiana Jones (Harrison Ford)'s father seems just about perfect, after all who should raise one iconic action hero other than James Bond perhaps the most iconic of them all. This seems played into by the film where we only get a glimpse of Henry in the film's opening flashback. In the scene we do not see Connery, only hear his voice who quietly commands young Indiana to wait for his attention. After this point we keep hearing many things about Henry, and knowing it is Connery, there is a considerable build up for his appearance which does not come until over forty minutes in. When he finally does appear though, which involves Indiana infiltrating a German castle, we don't quite get what we should have expected. Connery is known best for playing his calm and quite commanding characters like James Bond. Even when Connery grew older he still continued to play these sort of roles, after all his Oscar winning role only two years earlier was a street smart cop there to toughen up that film's hero, his first physical appearance though proves that this will not be the case in this film.

Well Sean Connery actually plays against type here, but like James Caan in Misery it's the sort of playing against type an actor rarely gets credit for. Connery usually plays a man ripe and ready to handle any situation he sees, well that's just not Henry Jones. The film does seem to purposefully set this up as Indiana is dramatically hit by a vase after he comes into his father's prison room. Although as the camera finally shows Connery it seems kind of serious. Well that's all broken once Henry's expression changes and Connery reveals the sort of man Henry is as he looks on with joyous surprise that it is indeed "you Junior", before casually lamenting the broken vase before being relieved that it is nothing but a fake. Henry is not necessarily a meek man, but he's certainly a far cry from his son. Connery, even though he's playing actually very different sort than he so often plays, fits the role like a glove. After the revelation Connery simply is Henry and he could not be more comfortable in the role. He perfectly creates the sort of more retiring manner fit for a man who has spent much of his life examining old books and artifacts in a quest to find a single item.

Connery does more than convince us in this first scene that he's more than suited in the role, but he also gives us the idea of just how entertaining he is going to be in it as well. This becomes particularly evident in his absolutely hilarious reactions in just a few minutes of the screen time. One being when Indiana reveals he brought Henry's important diary right into a Nazi lair, as Connery is great in portraying such exasperation towards his son, then I think this perhaps only topped by his quite comical disbelief after his son has gunned down a group of Nazis who were holding them at gunpoint. It is interesting Indiana Jones and the Last Crusade is one of the best sequels of all time, even though it could have easily seemed repetitive of the first one given the similair plot, but it never does. Something that I think helps a considerable amount in this regard is Connery's presence which does bring something brand new to the proceedings. That being that he is with Harrison Ford's Indiana through just about every scene of the second half of the film which offers quite a different dynamic by having these two as a duo together.

Connery is marvelous in every scene as probably one of the funniest comic reliefs in an action film ever, but it's really quite intriguing since Ford himself is also quite funny already in the role. Connery only seems to amplify any thing that Ford does, I especially love the dumb smile both of them give when they accidentally find a secret passage and come face to face with a female Nazi. Connery does distinguish himself well from Ford in the action scenes by basically presenting a novice in the arena of chases and fights. Connery's reaction are always just priceless as Henry is so surprised by so many people trying to kill him, because he states himself it is a new experience for him. There is a certain excitement about all that Connery also exudes that makes every scene all the more fun. Of course it does not even need to be an action scene for Connery's comedic timing to be flawless here. One of the most enjoyable moments has to be his scoff when he figures out the beautiful Nazi is talking to his son, and not him. This really is one of those supporting performances that just seems to go the extra distance since there is never a moment where Connery does not add something.

You know I could go on and on listing every little moment of his performance from his face after accidentally shooting their own plane, to his jubilation at discovering another secret passage just by sitting down, but there's just so many. This performance goes above and beyond all that since he also does create a more in depth relationship between Henry and his son than you might expect given the style of the film. Connery brilliant inserts just these short moments where Henry reveals the stern father, particularly in judgment of Indiana enjoying some of the action a little too much. I must admit Connery somehow works this also into some very humorous deadpan moments. Connery extends it further than that in his type of chemistry with Ford. There is not an excessive connection between the two though there seems to be an understanding of sorts. Connery brings just the right sort of warmth though with a certain distance about it as though he expects Indiana to be knowledgeable enough to know that he cares for him without directly saying it. There short dinner scene is particularly good because in an instance Connery realizes Henry's parenting method, which is not exactly cold, but leaves his son to perhaps do a little too much of his own thinking.

Now given that this is such a funny performance you'd might think it would be only capable of that, but that once again is not the case. The moments where they discuss the quest to find the grail and Connery reveals that considerable passion in Henry fitting for a man who has obsessed for it for his whole life. Connery though is outstanding in the moment where Henry explains the severity of the situation, and Connery brings such dramatic weight to the importance of finding the grail. This conviction in his speech is wonderfully handled, and in his eyes you see what the grail means to Henry. Even the relationship with Indiana, which certainly has a lot of laughs, is not only played for that though. The moment where he reprimands Indiana for blasphemy Connery shows the difference between the two and even a certain disappointment in Indiana's cynicism. Also when in a moment where it seems Indiana has died Connery is heartbreaking as he reveals so well just how much he loves his son. He earns the moment and makes the one a few moments later when he embraces his son who has survived truly poignant. Connery's portrayal of Henry adds so much to the film as he either makes a great scene all the more entertaining, or enliven a dramatic moment all the more. I don't mind saying it. I love this performance it simply is one those perfect examples of what makes a great supporting performance.

Alternate Best Supporting Actor 1989

And the Nominees Were Not:

Ray McAnally in My Left Foot

Hugh O'Conor in My Left Foot

Bruce Dern in The 'burbs

Rick Ducommun in The 'burbs

Sean Connery in Indiana Jones and the Last Crusade

Burt Lancaster in Field of Dreams

James Earl Jones in Field of Dreams

Fred Gwynne in Pet Sematary  

For the prediction Contest:

McAnally for My Left Foot

Dern for The 'burbs

Lancaster for Field of Dreams 

Alternate Best Actor 1975: Results

5. Gene Hackman in Night Moves- Gene Hackman as usual gives a solid performance as a footballer turned private detective who is out of his element, but his best work this year was his heartbreaking reprise of Popeye Doyle in French Connection II.

Best Scene for the French Connection II: Doyle suffers withdrawal.  

4. Tim Curry in The Rocky Horror Picture Show- Curry gives a delightful entertaining strange performance that is by far the highlight of his film.

Best Scene: "Sweet Transvestite" 

3. Roy Scheider in Jaws- Scheider gives a great reactive performance that amplifies the intensity of his film by being a very human guide and who we can relate to.

Best Scene: Chief Brody sees the Shark attack. 

1. Michael Caine and Sean Connery in The Man Who Would Be King- I find it almost impossible to separate these performances as they both amplify each other through their impeccable chemistry and together they create two marvelous characters that end up both being very entertaining as well as rather heartbreaking as well. As for the year itself I feel like kicking myself for my placement for any one of the top seven performances because I love all of them. I hate putting Hackman as low as he is because I love that performance. This is just a tremendous year and all seven of my top seven would be a worthy winners.

Best Scene: Danny apologizes to Peachy. 

Overall Rank:

1. Jack Nicholson in One Flew Over the Cuckoos Nest
2. Al Pacino in Dog Day Afternoon
3. Gene Hackman in French Connection II  
4. Michael Caine and Sean Connery in The Man Who Would Be King
5. Roy Scheider in Jaws  
6. Giancarlo Giannini in Seven Beauties
7. Maximilian Schell in The Man in The Glass Booth
8. Robert Redford in Three Days of the Condor 
9. Richard Dreyfuss in Inserts
10. Gene Hackman in Bite the Bullet
11. Tim Curry in The Rocky Horror Picture Show
12. Maxim Munzuk in Dersu Uzala
13. Gene Hackman in Night Moves
14. Robert Mitchum in Farewell, My Lovely
15. Charles Bronson in Hard Times
16. Jack Nicholson in The Passenger 
17. Sean Connery in The Wind and the Lion
18. Jack Lemmon in The Prisoner of Second Avenue 
19. Glynn Turman in Cooley High
    
20. Fabio Testi in That Most Important Thing: Love
21. Rafael Roco in Manila in The Claws of Light
22. Woody Allen in Love and Death
23. William Atherton in The Day of the Locust
24. Don Johnson in A Boy and His Dog
25. Warren Beatty in Shampoo
26. David Hemmings in Deep Red
27. George C. Scott in The Hindenburg
28. Steven Keats in Hester Street
29. Daniel Olbrychski in The Promised Land
30. Tim McIntire in A Boy and His Dog
31. James Caan in Rollerball 
32. James Coburn in Hard Times 
33. John Wayne in Brannigan
34. Dharmendra in Sholay
35. Amitabh Bachchan in Sholay
36. Lawrence Hilton-Jacobs in Cooley High
    
37. Clint Eastwood in The Eiger Sanction
38. Michael Caine in The Wilby Conspiracy
39. Yury Solomin in Dersu Uzala
40. Walter Matthau in The Sunshine Boys
41. Victor Lanoux in Cousin Cousine
42. Sidney Poitier in The Wilby Conspiracy
43. Ryan O'Neal in Barry Lyndon
44. John Wayne in Rooster Cogburn
45. Barry Bostwick in The Rocky Horror Picture Show
46. Kirk Douglas in Once is Not Enough
47. Paul Hampton in Shivers
48. Roger Daltry in Tommy
49. David Carradine in Death Race 2000
50. James Caan in The Killer Elite

Next Year: 1948 lead

Alternate Best Actor 1975: Sean Connery and Michael Caine in The Man Who Would Be King

Sean Connery and Michael Caine did not receive Oscar nominations for portraying Daniel "Danny" Dravot and Peachy Carnehan respectively in The Man Who Would Be King.

The Man Who Would Be King is an extremely enjoyable adventure film about two former British soldiers in India who wish to set on a journey that would make them Kings in an even more secluded land.

It is interesting to note that its director John Huston intended to make it for some time originally planning for Humphrey Bogart and Clark Gable to play the lead roles. Although that probably also would have made a pretty good film the performances probably would not have been nearly as fitting for the parts of Danny and Peachy. The reason I am reviewing both of them together is that it is hard to separate them, there are a few differences in their performances which I will get to, but a great deal of the success comes from their work together as one. One aspect that the two share that makes both Danny and Peachy great characters is the past of the two men that we learn from both Caine and Connery's performances.

Danny and Peachy are adventurers and con men to say the least who intend to find some fortune by out scheming one of the natives out of a fortune of some sort. These two are a mischievous sort and the duo play this marvelously. The both have wink and sly grin to go along with their scheme. They handle this just right bringing us into the scheme right along with them through their mutual charms, and never seeming self indulgent as they could have easily been. Caine and Connery are both of the time and are always within in their story with their scheming. They have a certain knowing in their style but this always feels natural to the pair while still naturally bringing out the humor of the situations they get into quite effectively.

One of the ways they do this is although they are mischievous con men they are mischievous con men who are former proper British soldiers as well. Both of their styles are a brilliant combination of both of the rather low with the oh so proper. Connery and Caine both play them with a great firmness in style and step. They were soldiers their is no doubt about that and they absolutely sell the idea that the two men would write up a proper contract about their insane expedition before starting it. They play this type of style both with the utmost conviction, but as well with the utmost wit about it too. They are able to make their march not only the march of soldiers but as well easily finds the humor in making it part of the dynamic between their actions and method.

The two act as the best type of guides as they take us through their adventure through this strange mix of proper British conviction along with their more technically low brow scheming. Connery and Caine take such an unique approach for the leads of an adventure film and it absolutely pays off. It is interesting in the way that Caine and Connery bring out the pride of individualism as men in the manner in which they go about their task even teaching the natives how to fight and die like "real" soldiers, while they have this sharp edge still as they still show a sarcasm in their delivery. Connery and Caine find such an enjoyably dichotomy that makes this such a particularly fun ride.

Caine and Connery as a duo are perfect for one another. Caine and Connery are two of the most charming and charismatic actors around, and the fact that neither out charms the other it only makes the charm of the two only amplified with the two. Caine and Connery play off each other with expert timing never seeming to lose their place as one never does for a moment overwhelm the other performance together they are just an extremely entertaining pair. What is so special though is they are able to each stand out on their own when necessary as well. When they do stand out it does not seem like they are trying to one up the other instead they each allow one another great individual moments while never losing the terrific chemistry they have together.

There is a splitting point for each though as Danny is accidentally declared a god by the natives taking a role as a King. Connery changes his style a little bit when he starts portraying Danny who is swept up into the whole idea of being a god and begins to believe it himself. Connery nicely changes from the slightly sarcastic soldier to a man of lordly dignity who wants to rule his dignity as a king and a god should. Connery is excellent as he eases into this delusion and shows that the con man starts to leave him and the over confidence of his delusions begins to rise in him. Connery makes Danny become exactly what he believes him to be, and effective shows how the former con man could so easily forget his purpose and be enveloped by the delusion.

Caine's performance moves in the other direction as Peachy's cynical edge only becomes stronger as Danny becomes more and more earnest. Caine is equally good as he moves Peachy in the opposite direction of Danny in his portrayal of Peachy's reactions to Danny. He shows Peachy almost in complete disbelief to the point that he just finds it all very amusing. Caine is very good as he moves Peachy's reaction from a cynical bemusement to the situation to a much sadder disappointment in his comrade. Caine is a very to the point as Peachy bluntly expresses this disappointment and does well to stand as basically the call for reality to Danny which is made particularly incisive because Caine expresses that the humor in Peachy is now gone from this matter.

Thanks to the schism between Danny and Peachy is believably portrayed it really makes the finale of the film all the more powerful. After Danny's godhood is shown to be nothing more than a falsehood. This revelation leads them both two a bitter end and a quick reconciliation as they find themselves surrounded by angry natives. When Danny apologizes to Peachy it is a great  moment because it not only is it very funny in the way they still do things in their proper British fashion, but it is also very sweet in that it shows how genuine the friendship between the two has been all along. This also contributes incredible final scene between the two of them as Danny goes to meet his maker. It is a beautiful scene as they both sing "The Son Of God Goes Forth to War" and we see just how much Danny and Peachy really meant to each other as well as how much we as the audience have grown to love the rascals.

These are great performances all on their own and truly something special when considered together. Sometimes with two leads there is a duel to see who conquers the picture, but in this case Caine and Connery rule the picture as Kings together. Neither shines brighter than the other they together instead are almost symbiotic in their characterizations of these peculiar yet very endearing pair of adventurers. The two together are both in top form throughout the picture, they are brilliant as a team and stay brilliant even when they slide apart. These are wonderful turns from both actors and rank as some of the very best work from each of the actor's cannon, and they just might create two of the very best characters you have ever been able to go on an adventure like this with.

Alternate Best Actor 1975

And the Nominees Were Not:

Sean Connery in The Man Who Would Be King

Michael Caine in The Man Who Would Be King

Roy Scheider in Jaws

Gene Hackman in Night Moves

Tim Curry in The Rocky Horror Picture Show

Best Bond: Results

6. Roger Moore in Live and Let Die- Moore sits as the worst Bond due to his excessively light approach that makes his Bond seem frankly disinterested at times. He tries to just be charming and funny but the problem he does not even do that all that well.

5. George Lazenby in On Her Majesty's Secret Service- Moore has more screen presence than George Lazenby but I do prefer Lazenby because he actually seems into the action scenes and he is pretty good in his last scene. As a whole though his Bond is underwhelming just by how indistinct his approach is to the character.

4. Pierce Brosnan in GoldenEye- Brosnan gives a slick and suave approach to Bond similar to that of Connery. He does not reach the heights of Connery but he gives nice performance as Bond that balances the serious and humorous elements of his character well.

3. Timothy Dalton in The Living Daylights- Although Brosnan is more consistent I prefer Dalton for dealing with the inconsistent tone of his picture and actually delivering well on his darker approach to Bond when there is a scene that actually allows him to do it. I would love to see Dalton in a bleak picture about espionage.

2. Daniel Craig in Casino Royale- Craig gives an excellent portrayal of Bond that shows a much more vulnerable and less experienced Bond. Unlike Dalton, who went alone, he and the film go together to effectively explore a darker place for the character.

1. Sean Connery in From Russia in Love-Good Prediction RatedRStar. My favorite Bond performance goes to Sean Connery in this film. He took on a role that was already big shoes to fill and instead of just fulfilling the role he instead made the role his own. He made him the iconic character he has become through his charming, suave, and charismatic portrayal that could even go darker when necessary. He simply made Bond.

I might do something like this again down the road if I can think of something good

Overall Rank:

1. Sean Connery in From Russia With Love
2. Daniel Craig in Casino Royale
3. Sean Connery in Dr. No
4. Sean Connery in Goldfinger
5. Daniel Craig in Skyfall
6. Daniel Craig in Quantum Of Solace
7. Timothy Dalton in The Living Daylights
8. Pierce Brosnan in GoldenEye
9. Timothy Dalton in License to Kill
10. Sean Connery in Thunderball
11. Sean Connery in You Only Live Twice
12. Pierce Brosnan in Tomorrow Never Dies
13. Sean Connery in Diamonds Are Forever
14. Pierce Brosnan in The World is Not Enough
15. Pierce Brosnan in Die Another Day
16. George Lazenby in On Her Majesty's Secret Service
17. Roger Moore

Next Year:  1935

Best Bond: Sean Connery in From Russia With Love

Sean Connery was the first person to portray James Bond in a film the first being Dr. No which was soon followed by From Russia With Love.

From Russia With Love is a very enjoyable spy thriller and one of best entries in the Bond series. It has dated elements, but it is a very entertaining ride.

Connery first appearance was indeed in Dr. No, but I decided instead to review him for this film as this film asks him a little more to do well still showing the type of qualities he brings to the role of Bond. Connery is the very first to portray Bond therefore having quite the challenge in finding exactly how to portray the spy. There was the earlier portrayal of Bond by Barry Nelson in a television program that did not serve the character very well giving a rather undistinguished performance, what really would not give Connery any basis to go on. Connery instead had to go all or nothing in his portrayal as James Bond as it was his star making role too.

The most important facet of Connery portrayal of Bond in all of his films is his charisma. Connery was charming fellow in his previous lesser known efforts like Darby O'Gill and the Little People, but as James Bond he goes to a whole new level Bond. Connery is just owns the screen as Bond he has so much presence as Bond that Connery made it pretty obvious that he was a star. He amps it up even more as Bond and it is something particularly special to watch all on its own. Connery also makes it an essential facet to James Bond. As an operative he is also working this charm, and makes his way through many situations because of it. This is something Connery makes look absolutely effortlessly which is perfect for Bond.

Connery does something special as Bond which is he portrays a character who is very much full of himself, yet Connery never comes off as pompous in the role. Instead despite not striving for so he makes Bond immensely likable in perhaps his upfront unabashed manner. Yes his Bond knows he is great yet Connery makes his Bond worthy of the greatness. Well he is that great there isn't any effort in bringing out this assurance in Bond, Connery just meets with such a particular style that he meets that quality one definitely wants in the character. He never alienates the audience despite being someone they would never be or never even meet. It is the cliched line, but Connery honestly does make Bond the man you want to be.

Connery is just perfectly slick and suave as Bond. Everything he does has such a energy and realizes the character so brilliantly. Connery just is Bond and goes along the film so effectively so. There are so many ways the Bond could falter so easily without Connery in the lead, but he doesn't because of Connery strength in the role. For example there are the quips that Bond makes throughout the film some are quite terrific in their simplicity such as after facing off against Red Grant "You Won't Be Needing this Old Man", but than some are not nearly as good such as "Yes She's Had Her Kicks". Connery delivery each is so good that even when the line is not particularly good they don't fall flat as they would have in lesser hands.

Now these earlier Bonds are fairly breezy in tone and Connery fits that quite well throughout offering the right humor to the proceedings when needed. Importantly though, particularly in From Russia With Love, when there is a more serious moment required he can bring that weight when necessary. Connery is great in the way he can switch between the natures of the role without there being a disconnection. He play so well in the lighter fashion for most of the film. When there is a more dramatic moment though such as when Bond faces off against Red Grant who is played by Robert Shaw so he easily could have just the film stolen him by the great Shaw, but Connery holds his own and meets the demands of the scene incredibly well.

I like Connery's performance in From Russia in Love the most because he does give the hints of the darker nature of the spy method in this portrayal as Bond. This mostly has to do with his treatment of the film's bond girl Tatiana Romanova. He of course romances here but Connery actually is quite good in showing that this really is just part of Bond's job, and although he might as well enjoy it it isn't love he has. This is evidenced by the scene where he roughly interrogates here as well as when there on the run and he rather coldly tells her that he will leave her behind if she does not get moving. Connery portrays this coldness well as perhaps even the true nature of Bond when it comes to the tough decisions, and he is terrific in showing this more lowly nature effectively.

Connery had some tough shoes to fill in the role of Bond just by the way the character was in the novels. Connery though did not fill the shoes instead he threw them away and made Bond his shoes. He absolutely made the part his own and could not be better Bond in this film as well in Dr. No and Goldfinger. Also through the brief but important moments showing the more shadowier nature of the game, suggests that he very well could have taken Bond to different places if it had been required of him. I pondered the rating for this film in particular and thought 4.5, but since he is perfect the Bond in this film with this film being his greatest challenge as the character I will not hesitate in my rating. It is true his Bond quality went down in the later films as he clearly became tired of the series, but going by his very best in the role he set the standard all actors who would take the role in the future would have to live up to.