Alternate Best Actor 1967: Results

5. Richard Harris in Camelot - Harris is charming when he needs to be and knows how to bring weight to the dramatics, but can't completely overcome the weaknesses of the film.

Best Scene: Final reprise of Camelot

4. James Garner in Hour of the Gun - Garner is effective in portraying the intensity of this vengeful Wyatt Earp, unfortunately the film doesn't let him explore the role enough.

Best Scene: Earp's final kill

3. Sidney Poitier in In the Heat of the Night - Poitier is a commanding and charismatic portrayal of his determined detective, and especially shines in any scene he shares with Rod Steiger.

Best Scene: At the chief's house.

2. Alain Delon in Le Samourai - Delon gives an excellent minimalistic performance as he does so much in the creation of the physical manner of his character.

Best Scene: The Samourai final assassination attempt.

1. Robert Blake in In Cold Blood - Good prediction Fisti. This came down to Delon doing so much with such a purposefully limited character and Blake making the absolute most out of great as he manages to give such a heartbreaking yet wholly chilling portrayal of Perry Smith.

Best Scene: Perry recounts a part of his life before his execution.

Overall Ranking:

1. Robert Blake in In Cold Blood
2. Alain Delon in Le Samourai
3. Rod Steiger in In The Heat of the Night
4. Sidney Poitier in In The Heat of the Night
5. Toshiro Mifune in Samurai Rebellion
6. Paul Newman in Cool Hand Luke
7. Scott Wilson in In Cold Blood
8. James Mason in The Deadly Affair
9. Sidney Poitier in To Sir With Love
10. Gene Wilder in The Producers
11. Michel Simon in The Two of Us
12. Paul Newman in Hombre
13. Charlton Heston in Will Penny
14. Toshiro Mifune in Japan's Longest Day
15. Dustin Hoffman in The Graduate
    
16. Tatsuya Nakadai in The Age of Assassins
17. Joe Shishido in Branded To Kill
18. Dirk Bogarde in Our Mother's House
19. Warren Beatty in Bonnie & Clyde
20. Lee Marvin in Point Blank 
21. Dudley Moore in Bedazzled
22. Yūzō Kayama in Two in the Shadow
23. Richard Burton in The Taming of the Shrew
24. Ugo Tognazzi in L'immorale
25. Ljubiša Samardžić in The Morning
26. James Garner in Hour of the Gun
27. Lee Van Cleef in The Big Gundown
28. Peter O'Toole in The Night of the Generals
29. Peter Cook in Bedazzled
30. Zero Mostel in The Producers
31. Sean Connery in You Only Live Twice
32. Albert Finney in Two For the Road
33. Richard Harris in Camelot
34. Shin Seong-il in Mist
35. Sergei Bondarchuk in War and Peace Part IV
36. Sergei Bondarchuk in War and Peace Part III
37. Uttam Kumar in Chiriyakhana
38. Tomas Milian in The Big Gundown
39. Robert Morse in How to Succeed in Business Without Really Trying 
40. Lee Marvin in The Dirty Dozen
41. Lee Van Cleef in Death Rides a Horse
42. George C. Scott in The Flim-flam Man  
43. John Wayne in The War Wagon
44. Spencer Tracy in Guess Who's Coming to Dinner
45. Milo O'Shea in Ulysses
46. Tetsurō Tamba in Portrait of Chieko
47. Omar Sharif in The Night of the Generals
48. Sidney Poitier in Guess Who's Coming to Dinner
49. Michael Sarrazin in The Flim-Flam Man
50. Kirk Douglas in The War Wagon
51. Dirk Bogarde in Accident
52. Jacques Tati in Playtime
53. Dick Van Dyke in Divorce American Style
54. Bekim Fehmiu in I Even Met Happy Gypsies
55. Alain Cohen in The Two of Us
56. Robert Redford in Barefoot in the Park
57. Antonio Gades in El Amor Brujo 
58. Maurice Roëves in Ulysses
59. James Fox in Thoroughly Modern Millie 
60. John Philip Law in Death Rides a Horse
61. Richard Burton in The Comedians
62. Rock Hudson in Tobruk
63. Leonid Kuravlyov in Viy
64. Marlon Brando in A Countess From Hong Kong
65. Rex Harrison in Doctor Dolittle
66. Tadao Takashima in Son of Godzilla
67. Akira Kubo in Son of Godzilla
    
68. Roy Orbison in The Fastest Guitar Alive

Next Year: 1967 Supporting

And yes apparently the Producers is 67 by my rules.

Alternate Best Actor 1967: Sidney Poitier in In the Heat of the Night

Sidney Poitier did not receive an Oscar nomination, despite being nominated for a Golden Globe and a BAFTA, for portraying Detective Virgil Tibbs in In The Heat of the Night.

Sidney Poitier's lack of Oscar recognition in this film seems a bit of strange thing. The film of course won best picture as well as best actor for his co-star Rod Steiger, and Poitier had a banner year with this film, the also best picture nominated Guess Who's Coming to Dinner? and the popular To Sir With Love. Now there were things against him first apparently every awards body agreed it was Steiger's time to win therefore probably deflecting some of Poitier's impact, he also was lead in all three of his films which can be problematic. Also there is not obvious person who upset him since the nominees were made up of Steiger who won, Spencer Tracy giving his final performance, Dustin Hoffman with his very popular breakout performance, Warren Beatty giving his best performance, and Paul Newman who perhaps got in over Poitier due to maybe late surge love for Cool Hand Luke as evidenced by George Kennedy's supporting actor win.

Despite his lack of recognition In The Heat of the Night is perhaps one of Poitier, if not most, iconic roles as Mr. Tibbs a black detective from Philadelphia who finds himself forced into solving a homicide in a racist town. Everything seems set out to make this a memorable role from the outset with the compelling situation he's in, that unique name of his, and even the rather snappy way in which he is dressed. Although it is in the case of most of his roles, starting all the way back with No Way Out as doctor dealing with a prejudiced Richard Widmark, Poitier's character doesn't take any flack from any racist this probably the time where his character was perhaps the most fervent about it. It was most often the case that Poitier would ease into this discontent by first being his usual extremely charming self, this time though Poitier actually begins with a harder edge which makes is fitting since the first thing that happens to Tibbs is that he is charged with the murder himself.

Poitier despite being somewhat more outwardly defiant in this one Poitier still carries himself in his usual classy dignified fashion. Poitier here is the master of frankly the refined anger as he manages to bring such an intensity in Tibbs's objection to his treatment by the police chief Gillespie (Steiger) and his men. Poitier barely even has to raise his voice to still be a palatable force of passion, and when he does raise his voice such as with his famous "They call me Mr. Tibbs!" it is quite powerful. Poitier interestingly doesn't fall upon his substantial charm all that often with this performance, almost holding it as a secret weapon in the reserved persona of Tibbs. Poitier only brings it out in very particular situations when Tibbs needs to derive information out of someone. Poitier very effectively uses his charm in these moments showing it as almost a strategy to make Tibbs instantly likable to the person he's trying to get the information from.

It is no surprise that Poitier went to reprise Tibbs two more times in sequels, although apparently far less successful films in every regard. Poitier has such a commanding presence with Tibbs and he makes for a consistently compelling lead here. Poitier is terrific by realizing Tibbs's method in such an eloquent and precise manner that is always interesting to watch. Poitier is quite good at carrying the film so well, as he's always so good at carrying film yet at the same time he manages to convey Tibbs's particular method of solving the crime. Poitier conveys the methodical nature of Tibbs deductions and makes every revelation he discovers well earned. There is only one moment where Poitier drops this and that is when confronting a known racist who has a motive for the murder. Poitier earns this especially emotional moment, and far from his most calculating, by portraying it as very much the gut reaction of man being forced to deal with an extremely racist individual with a smug sense of entitlement.

As great as Poitier is alone what really makes this performance standout is the way he works with Steiger throughout the film. Both are in top form here as they both are equally brilliant in realizing their characters. They are especially good because In the Heat of the Night is plot driven yet neither Tibbs nor Gillespie ever feel like characters just there to move through the plot. They realize them as fascinating men all on their own and they even come even more to life in their various conflicts during the film. The way the two go from outwardly aggressive to one another to an eventual mutual respect is one of the best elements of the film and it only really works because of Poitier and Steiger. There is not a single moment where the two agree to be friends or to even stop hating each other. There is just a rather slow understanding the two actors build so naturally from scene to scene that they make the transformation in both men not only believable but quite poignant in the end.

Alternate Best Actor 1967

And the Nominees Were Not:

James Garner in Hour of the Gun

Alain Delon in Le Samourai

Sidney Poitier in In The Heat of the Night

Robert Blake in In Cold Blood

Richard Harris in Camelot

Alternate Best Actor 1961: Results

5. Sidney Poitier in A Raisin in the Sun- Poitier tends go a little more theatrical at times than he needs to but for the most part Poitier gives an effective performance as a character that is far from the heroic roles he usually played.

Best Scene: The opening scene.

4. Clark Gable in The Misfits- Gable gives a moving portrayal of a individualistic cowboy past his prime that is worthy of being his swan song.

Best Scene: Gay goes to recapture the horses.

3. Dirk Bogarde in Victim- Although I do wish the film let Borgarde explore his character a little more, Bogarde still gives a powerful portrayal of a repressed homosexual.

Best Scene: Melville Farr reveals the truth to his wife.

2. James Cagney in One, Two, Three- James Cagney gives a very entertaining and incredibly energetic performance that could not be a better fit for the screwball comedy he leads.

Best Scene: MacNamara tries to solve all his problems in a few hours.

1. Toshiro Mifune in Yojimbo - Well I did not even need to have a second to think of my favorite performance by a leading actor from 1961. This is one of the very best performances from Toshiro Mifune creating one of the most memorable heroes in cinema.

Best Scene: The Final Duel.

Overall Rank:

1. Tatsuya Nakadai - The Human Condition III: A Soldier's Prayer
2. Toshiro Mifune in Yojimbo
3. Stuart Whitman in The Mark
4. Paul Newman in The Hustler
5. Marcello Mastroianni in Divorce, Italian Style 
6. James Cagney in One, Two, Three
7. Dirk Bogarde in Victim
8. Clark Gable in The Misfits
9. Peter Cushing in Cash on Demand
10. Alberto Sordi in A Difficult Life
11. Vincent Price in The Pit and Pendulum
12. Jean-Paul Belmondo in Leon Morin, Priest
13. Anthony Quinn in Barabbas
14. Marcello Mastroianni in La Notte
15. Andre Morell in Cash on Demand
16. Keiju Kobayashi Happiness of Us Alone
17. Kirk Douglas in Town Without Pity
18. Sidney Poitier in A Raisin in the Sun
19. Spencer Tracy in Judgment At Nuremberg
20. Alberto Sordi in The Best of Enemies
21. David Niven in The Best of Enemies
22. Masayuki Mori in The Other Woman
23. Rock Hudson in Lover Come Back
24. Tatsuya Nakadai in Immortal Love
25. Peter Finch in No Love For Johnnie
26. Franco Citti in Accattone
27. Gregory Peck in The Guns of Navarone
28. Anthony Perkins in Goodbye Again
29. Toshiro Mifune in The Important Man
30. Ebbe Rode in Harry and the Butler
31. Marc Michel in Lola
32. Loredana Detto in Il Posto
33. Osvald Helmuth in Harry and the Butler
34. Edward Judd in The Day the Earth Caught Fire
35. Giorgio Albertazzi in Last Year in Marienbad
36. Warren Beatty in Splendor in the Grass
37. Yves Montand in Goodbye Again
38. Marlon Brando in One Eyed Jacks
39. Rod Taylor in 101 Dalmatians
40. Burt Lancaster in The Young Savages
41. Richard Widmark in Two Rode Together
42. Alec Guinness in A Majority of One
43. Cliff Robertson in Underworld USA
44. Fred MacMurray in The Absent Minded Professor
45. Charlton Heston in El Cid
46. James Stewart in Two Rode Together
47. Jerry Lewis in The Ladies Man
48. Jeffrey Hunter in King of Kings
49. George Peppard in Breakfast At Tiffany's
50. Richard Beymer in West Side Story
51. John Kerr in The Pit and Pendulum
52. Hiroyuki Nagato in Pigs & Battleships
53. Glenn Ford in Pocketful of Miracles
54. Horst Buchholz in Fanny
    
55. Warren Beatty in The Roman Spring of Mrs. Stone

Next Year: 1961 Supporting

Alternate Best Actor 1961: Sidney Poitier in A Raisin in The Sun

Sidney Poitier did not receive an Oscar nomination, despite being nominated for a Golden Globe and a Bafta, for portraying Walter Lee Younger in A Raisin in The Sun.

A Raisin in The Sun is about the trials of a poor black family when it seems their lives may be improved by an insurance payment. As a play adaptation it is pretty much by the numbers for the time, particularly in the use of its score, but the material itself is strong enough to make the film worth watching.

Sidney Poitier is playing rather far from his usual type here as Walter Lee Younger is neither a hero or really even that good of a man. In fact it would be easy enough to call him a bit of a jerk. Poitier in turn gives a performance that is rather different from most of his performances from the time. Firstly he practically rids himself of that substantial charm that made him such a star to begin with. Poitier smartly does this though as Walter Lee really simply is not a man worthy of Poitier's charisma, and it would be wrong for Poitier to approach the part in his usual way. Instead from his first scene we see a very different Sidney Poitier since the first scene depicts Walter Lee complaining about his current plight but in a way where his hatred is very much directed at his exasperated wife Ruth (Ruby Dee).

It is very interesting see Poitier in a genuinely unlikable role like this and Poitier does not appear out his element as he creates Walter Lee as a man who pretty much has some sort of problem with everything in his life. The initial scene of Walter harassing Ruth is well done by Poitier because he really establishes it as a very casual manner to it. Poitier does not make Walter Lee's behavior out to be that of a monster, but rather in his performance Poitier very much makes it a reflection of Walter Lee's own defense mechanism. Walter Lee hates so many things about his life but rather living with it in himself he takes it out on his family instead. Poitier shows this through his performance as he makes Walter Lee's behavior have a wavering intensity fitting for just his standard attitude to attempt to deal with his life. 

Poitier is rather good at capturing the behavior of Walter Lee which runs a certain gambit yet is always controlled by that general frustration toward his life. There will be moments where Poitier brings some warmth and joy when times seem somewhat happy. Poitier handles this well though by keeping always an underlying unpleasantness reinforcing the idea that Walter Lee is driven by his frustrations. Poitier builds his around this idea quite well and makes every action of Walter Lee's seem believable. In the moments where Walter is basically just wallowing in self pity Poitier shows Walter Lee in these moments as having been overwhelmed by his frustrations to the point that he can't get over them merely by complaining or harassing someone else.

I have to say that I do have a problem with this performance it is that Poitier does fall a bit on the theatrical side of things a little too often. Walter Lee should be a loud a boisterous jerk anyway, but at times the loudness feels much more like Poitier's acting than what should be coming from the character. This is fairly surprising I suppose as Poitier usually has considerable restraint in his performances, but then again his characters more often are pretty restrained men which is not the case here. Poitier definitely does not bad because of this but it definitely is noticeable here. That is a shame though because Poitier does indeed have such an effortless quality in his other performances that result in definitely more refined performances than this performance which does not come off as nearly as assured.

Honestly the weakness of Poitier's work seem very much the nature of the film's direction which just tries a little harder than it needs to a certain times. Poitier for the most part though does gives an effective performance that makes his character's actions understandable even if some scenes he could have toned his performance down a little for a stronger impact. This is an intriguing performance to be sure as Poitier does play against type and in terms of playing against type Poitier definitely succeeds. The shortcomings of his work come from somewhere else entirely, and perhaps it simply was because he was reprising his stage role so he did not really attune himself for film in this case. Either way this still stands as a good, if imperfect performance, that suggests Poitier was capable of playing flawed characters.

Alternate Best Actor 1961

And the Nominees Were Not:

Clark Gable in The Misfits

Dirk Bogarde in Victim

Sidney Poitier in A Raisin in The Sun

Toshiro Mifune in Yojimbo

James Cagney in One, Two, Three

Alternate Best Supporting Actor 1955: Results

5. Sidney Poitier in Blackboard Jungle- Poitier gives a nicely handled and surprisingly believable turn as a disrespectful student who is capable of improving himself, even if I do wish he had gotten a few more scenes to flesh out his character. 

Best Scene: Miller encourages Dadier to say the word.

4. Walter Brennan in Bad Day At Black Rock- Brennan gives an effective portrayal of a man filled pessimism but optimistic in heart.

Best Scene: The doc tries to convince the others to help Macreedy. 

3. Peter Sellers in The Ladykillers- Sellers gives a very amusing performance as slick criminal who find himself in over his head.

Best Scene: Harry tries to fetch Mrs. Wilberforce's bird.

2. Takashi Shimura in I Live in Fear- Shimura gives a moving performance as the quiet observer of a situation where there is not obvious solution.

Best Scene: Dr. Harada meets with Nakajima.

1. Raymond Massey in East of Eden- Massey's work is one I have grown to appreciate more with time. His unusual dynamic with Dean is perfect in creating the powerful rift between the father and Massey realizes Adam as man in terms of the good nature of his character, but as well his past before we meet him.

Best Scene: Adam reveals the truth about Cal's mother.

Overall Rank:

1. Raymond Massey in East of Eden
2. Takashi Shimura in I live in Fear
3. Jack Lemmon in Mister Roberts
4. Peter Sellers in The Ladykillers
5. Sal Mineo in Rebel Without a Cause 
6. Walter Brennan in Bad Day At Black Rock
7. Orson Welles in Mr. Arkadin
   
8. Cecil Parker in The Ladykillers
9. Sidney Poitier in Blackboard Jungle
10. Ralph Richardson in Richard III
11. Masayuki Mori in Forever A Woman
12. Herbert Lom in The Ladykillers
13. Paul Meurisse in Les Diaboliques 
14. Richard Conte in The Big Combo
    
15. Jarl Kulle in Smiles of a Summer Night
    
16. Vic Morrow in Blackboard Jungle
17. Robert Ryan in Bad Day At Black Rock
18. Charles Vanel in Les Diaboliques 
19. Mischa Auer in Mr. Arkadin 
20. James Cagney in Mister Roberts
21. Ernest Borgnine in Bad Day At Black Rock
22. Danny Green in The Ladykillers 
23. Jules Dassin in Rififi
24. Carl Mohner in Rififi
    
25. Robert Manuel in Rififi
    
26. Bill Thompson in Lady and the Tramp 
27. Preben Lerdorff Rye in Ordet 
28. Akim Tamiroff in Mr. Arkadin 
29. Todd Duncan in Unchained
    
30. Kanu Banerjee in Pather Panchali
31. Michael Redgrave in Mr. Arkadin
    
32. Lee Marvin Bad Day At Black Rock 
33. Rod Steiger in Oklahoma
    
34. Cecil Parker in The Court Jester
    
35. Donald Crisp in The Man from Laramie 
36. Eddie Albert in Oklahoma
    
37. Emil Hass Christensen in Ordet
    
38. Robert Middleton in The Desperate Hours 
39. Gene Nelson in Oklahoma
    
40. Arthur Kennedy in The Man from Laramie 
    
41. William Powell in Mister Roberts
42. Burl Ives in East of Eden  
43. Franco Frabizi in Il Bidone
    
44. John Gielgud in Richard III
45. Basil Rathbone in The Court Jester
46. Robert Middleton in The Big Combo
    
47. Louis Calhern in Blackboard Jungle
48. Edmond O'Brien in Pete Kelly's Blues
    
49. Minoru Chiaki in I Live in Fear
50. Darren McGavin in The Man With the Golden Arm 
51. Wesley Addy in The Big Knife
    
52. Arthur Kennedy in Trial  
53. Brian Donlevy in The Big Combo
    
54. Arthur O'Connell in Picnic
    
55. Jim Backus in Rebel Without a Cause 
56. Everett Sloane in The Big Knife
    
57. Robert Strauss in The Man With the Golden Arm 
58. Lee Marvin in Pete Kelly's Blues 
59. Lee Van Cleef in The Big Combo
60. Earl Holliman in The Big Combo
    
61. John Ericson in Bad Day At Black Rock
62. James Gleason in The Night of the Hunter  
63. Eddie Albert in I'll Cry Tomorrow
    
64. Wallace Ford in The Man From Laramie 
    
65. Stanley Baker in Richard III
66. Frank Sutton in Marty 
    
67. Timothy Carey in East of Eden 
68. Chester Morris in Unchained
    
69. Frank Alvin Silvera in Killer's Kiss
70. Dean Jagger in Bad Day At Black Rock
71. Ryōji Hayama in Forever a Woman
72. Basil Rathbone in We're No Angels 
73. James Whitmore in Oklahoma
    
74. Gig Young in The Desperate Hours 
75. Rossano Brazzi in Summertime
    
76. Richard Davalos in East of Eden
77. Ward Bond in Mister Roberts  
78. Sheldon Leonard in Guys and Dolls 
79. Robert Flemyng in Cast a Dark Shadow
80. Leo G. Carroll in We're No Angels
    
81. Wilfrid Lawson in The Prisoner
82. Dewey Martin in The Desperate Hours
83. Koji Tsuruta in Samurai II 
84. Darren McGavin in Summertime
    
85. Peter Graves in The Night of the Hunter  
86. Jay C. Flippen in Oklahoma
    
87. Joe Mantell in Marty
88. Royal Dano in The Trouble With Harry
89. Don Beddoe in The Night of the Hunter 
90. Richard Conte in I'll Cry Tomorrow
    
91. Cliff Robertson in Picnic 
92. Roger Moore in Interrupted Melody
    
93. John Hoyt in Blackboard Jungle
94. Alex Nicol in The Man from Laramie
95. Corey Allen in Rebel Without a Cause
96. Arthur Kennedy in The Desperate Hours 
97. Burt Lancaster in The Rose Tattoo
    
98. Arnold Stang in The Man with the Golden Arm
99. Dan Terranova in Blackboard Jungle
100. Jerry Mathers in The Trouble With Harry 
101. Ben Cooper in The Rose Tattoo
     
102. Cameron Mitchell in Love Me Or Leave Me
103. Ronald Lewis in The Prisoner
104. Tor Johnson in Bride of the Monster
105. Rafael Campos in Blackboard Jungle
106. Rafael Campos in Trial
107. Rod Steiger in The Big Knife
     
108. Harvey P Dunn in Bride of the Monster

Next Year: 1970 lead

Alternate Best Supporting Actor 1955: Sidney Poitier in Blackboard Jungle

Sidney Poitier did not receive an Oscar nomination for portraying Gregory Miller in Blackboard Jungle.

Blackboard Jungle is mostly effective film, unfortunately it becomes a bit preachy and too melodramatic at times, about a teacher Richard Dadier (Glenn Ford) trying to teach in a troubled inner city school.

Sidney Poitier plays one of Dadier's students even though Poitier had been playing adult characters before this film. Poitier was indeed much older than his character, but he and Vic Morrow, as one of the other students, are surprisingly believable despite their age. Poitier and Morrow don't really look younger than they really, but it is rather the way in which they portray their parts. They both convey in their physical manner the right sense of irresponsibility and immaturity. They bring the right type of slouching posture really that always reinforces their casual ways toward life, and the whole idea that they just don't seem to really care about much of anything.

Poitier's Gregory Miller is a troubled teen but not a bad one. He does not really have a lot of respect for adults as shown in his attitude toward Dadier for most of the film, but he is not a criminal like Artie West played by Morrow. Poitier is very good in playing indignation and he does it well here when Miller has quite the bad attitude in regards to Dadier. Poitier brings a calm and cool smugness to Miller, especially when he refers to Dadier as "chief" in a derogatory fashion. Poitier treads carefully not to go too far with Miller's treatment of Dadier. Poitier gets across the disrespect of a teenager and shows that he does not care much for Dadier, but properly stops short of hating him.

It is revealed that Miller is a decent enough guy really as the film progresses, but the film does not really stop to show this transition. The film pretty much leaves it up just to Poitier's performance to turn Miller from Dadier's enemy to his ally by the last scene of the film. Poitier is one actor who can do a whole lot with very little and he is able to do that here through his considerable natural charm. Poitier brings out his charm more fully as the film progresses and Miller begins to respect Dadier, and makes an effective transition by the end. Poitier makes it work by having not overplayed Miller's negative qualities at the beginning, but still keeping just the right edge to him even by the end.

The only problem with Poitier's work here are the limitations set upon him. I would have really liked to have seen more scenes involving Miller, and less of the melodramatic ones that involved Dadier's wife. It would have been more interesting for the film itself it did get into a little more detail with both Gregory Miller and Vic Morrow's character since their scenes tend to be the best in the film. Poitier never has quite enough material to turn this into a great supporting performance, but with what he does have Poitier gives a good one. Poitier makes his own impression throughout with his magnetic presence, and often out shines star Glenn Ford when they share the screen together.

Alternate Best Supporting Actor 1955

And the Nominees Were Not:

Walter Brennan in Bad Day At Black Rock

Sidney Poitier in Blackboard Jungle

Raymond Massey in East of Eden

Takashi Shimura in I Live in Fear

Peter Sellers in The Ladykillers

Best Actor 1963: Results

5. Rex Harrison in Cleopatra- Harrison is the only performance that stands far apart from the others, which is a bad thing. Harrison is miscast as Caesar, and his at ease style may work well for Henry Higgins but as Julius Caesar it leaves much to be desired.

4. Albert Finney in Tom Jones- Finney gives a brilliantly charming performance that is winning during every moment that he has.

3. Sidney Poitier in Lilies of the Field- Poitier gives a wonderful performance, filled with charm, and charisma. I love every minute of this performance, and I really could watch this particular performance over and over again.

2. Richard Harris in This Sporting Life- Harris gives a complex and powerful performance, which shows the depth of what may seem like the depth less.

1. Paul Newman in Hud- Paul Newman gives another complex realistic performance that never takes an easy solution in the development of his character. He shows Hud as the amoral man he is, and whenever he does show more about Hud, it is always well placed and within Hud's realm.

Deserving Performances:
Sean Connery in From Russia With Love

Best Actor 1963: Sidney Poitier in Lilies of the Field

Sidney Poitier won his Oscar from his second nomination for portraying Homer Smith in Lilies of the Field.

Lilies of a Field is not a complicated, but an enjoyable film about a black handyman who helps a group of German nuns build a Chapel in Arizona.

Homer Smith is not a particularly complex character that must be known. He is portrayed as a rather average guy who gets into a slightly above average situation, and reacts to it like any average guy probably would. He does not have any personal demons, trauma, addiction, nor does he need them.

This is instead the perfect example of how a great actor can do wonders with any role, whether it be an overly heavy dramatic performance, or a lighter simpler one like this. Poitier simply is an actor who there was anyone like him before he started acting, nor has there been anyone quite like him these days either. Poitier really is a one of a kind actor.

What makes him so one of a kind is clearly presented in this performance as Homer Smith. There is simply something about Poitier in this performance that makes him just so easy to watch. He has one of the most unique screen presences out of any actor ever, with his incomparable charm and charisma that simply cannot be ignored.

He uses his charm, and charisma perfectly in this role as Homer Smith. Homer as I said is just an average guy and it very well could have been an average role with a lesser actor, but Poitier truly brings Homer to life. I also do not think this is Poitier being just himself, certainly channeling his personal charm and ability but using to create Homer Smith into still his own man.

Homer wants just build something for himself well as live his life, and Poitier shows that even if a character is not one of the most complicated he still shows they can be fully realized in their simplicity. He also shows that even a simple story can be one that is incredibly enjoyable to watch.

This is a performance that I honestly loved watching, and I could go anywhere with his Homer Smith, becuase simply Poitier makes him such a joy to be around. Every moment Poitier livens them up with his unique manner and delivery that just works incredibly well. Poitier never fails to put the right emphasis on a word, or action to make even the smallest moment a delight of sorts. 

I think I should note one of my favorite moments in his performance is his singing of Amen. It is not actually even him singing, but he gives a better performance singing than many actual singers. He may not be singing but he is the one who infuses the scene with his trademark charm because he shows the true joy in his performance. That is the key to the whole performance, is he always shows his joy of performance and lets the audience enjoy it along with him.

Best Actor 1963

And the Nominees Were:

Albert Finney in Tom Jones

Rex Harrison in Cleopatra

Sidney Poitier in Lilies of the Field

Paul Newman in Hud

Richard Harris in This Sporting Life 

Best Actor 1958: The Results

5. Spencer Tracy in The Old Man and The Sea- Tracy fails to really make an actual character out of the old man, and always is clearly acting. His narration is better than his performance.

 

4. Paul Newman in Cat On A Hot Tin Roof- Paul Newman gives a good performance as Brick, and shows the characters pains and frustrations very well.

 3. David Niven in Separate Tables- The falseness of the character is well done, and then his later admittance of his actually nature is well handled by Niven.

2. Tony Curtis in The Defiant Ones- Curtis is very good at showing the depth of his character, and never overdoes a single part of his performance. His character's transformation is earned and feels natural opposed to artificial.

1. Sidney Poitier in The Defiant Ones- Poitier uses his natural charisma and his abilities to create a powerful character. 

Deserving Performances:
Alec Guinness in A Horse's Mouth
James Stewart in Vertigo

Best Actor 1958: Sidney Poitier in The Defiant Ones

Sidney Poitier received his first Oscar nomination for playing Noah Cullen a black convict who is trying to escape prison in The Defiant Ones.

Poitier plays the black convict very well. Poitier has his usually natural charisma, although he clearly reduces it here a bit to be believable as the convict. He does have a natural "cool" to him no matter what that works quite well. He has it when he not saying anything at all, and he does it with just a look. Poitier many times uses that as Cullen's way of basically fighting back against Joker (Tony Curtis). This mights have not worked but Poitier does it so Cullen wins even if Joker says a lot more. Poitier natural presence works incredibly well throughout the film, and Poitier though never only uses just that and forgets to act.

Poitier makes a strong portrait of an angry man who is basically just tired of being looked down and upon and being mistreated. Poitier never makes him just only angry but rather a complicated man, who shows exactly why he is angry. Poitier is always strong particularly when he tells Joker not to call him boy or anything else derogatory.  His scenes where he explains his anger are very well done. Such as when he complains about his wife always telling to be nice, or tells about his religious father. Also when he speaks about how he ended up in jail. He creates reason for his character and sympathy through his explanations, but he never panders for it and earns it naturally. 

 

Everything Poitier does in this film is well done. The only problem I might have is that Cullen really does not undergo any changes. He is basically the same man throughout the film, and just goes back to his singing at the end. All the development belongs to Curtis' character. But this is not Poitier's fault his character not changing is merely in the script. Poitier though anyways pulls a lot out his character, and probably created a much deeper character than was in the script due to his performance. Both he and Curtis succeed with their separate characters, and they both work together well. Both give very good performances, and I believe Poitier could have given an even greater performance if the script did not prevent it.

 

Looking back at both the reviews of Curtis and Poitier, I actually don't disagree with anything I originally wrote other than perhaps that Poitier had anything against him because his character of Noah doesn't change. That I will say I was wrong about, for two reasons, one there are subtle changes in Poitier's performance in regards to how he interacts with Curtis. He begins with a more open internalized disregard and distaste for the man, particularly as Joker to the obvious word. And Poitier naturally segues within his performance between a bit more of an appreciation to Joker, but I think it is important to note it isn't overt. Even when Joker runs to save Noah, Poitier's reactions are still with some doubt towards the man even if he's come to accept him a bit more. Poitier shows the process of not Noah accepting Joker, but rather Noah seeing how much trust he should earn from Noah. But the other part of it is, Poitier's performance is about the revelation of a man who is who he is, and there he is so dynamic. As we have the opening of the man's singing which remains a constant of purposeful disregard for the authority that holds him. And we see him as the man very physically trying for survival and making do with his unlikely and oftentimes unfortunate companion in Joker. But again the "be nice" speech is such great work by Poitier, as there is so much pain within it, and genuine outrage. There is a danger in the way he says "be nice" with such spite, and it isn't the overly friendly and disarming character Poitier was often accused of playing. His Noah is a complicated man, a man defined by the injustice done to him, however fully fleshed out as a man. Curtis is also great, and I pretty said so in my original review so his rating didn't even make too much sense as is. Regardless. I just wanted to also mention his major scene with Cara Williams, which is extremely erotic work in presenting the chemistry, less based on love but lust between the two. And Curtis is great in portraying sort of the erotic confidence in the moment, but more so what is so remarkable is the shared desperation of it as they are together in their connection based on that. It's a striking scene and Curtis is great in it. But both he and Poitier are fantastic in creating fully fleshed out people within the situation, who never reduce them down to "white man" "black man", they are each their own person. 

Best Actor 1958

And The Nominees Were:

Tony Curtis in The Defiant Ones

Sidney Poitier in The Defiant Ones

David Niven in Separate Tables 

Paul Newman in Cat on a Hot Tin Roof

Spencer Tracy in The Old Man and the Sea

Who do you Pick? Who do you Predict?