Alternate Best Actor and Supporting Actor 1948: Results

5. John Garfield in Force of Evil - Garfield gives one of his better performances in his nearly uncompromising portrayal of a sleazy lawyer. 

Best Scene: Falling from comfort.

4. Rex Harrison in Unfaithfully Yours - Harrison gives an appropriately entertaining and irreverent portrayal of a romantic falling into madness.

Best Scene: Failing to murder.

3. Ray Milland in The Big Clock - Milland gives a terrific wrong man performance that is particularly effective in realizing the film's tricky tone throughout.

Best Scene: Confrontation.

2. Robert Donat in The Winslow Boy - Donat delivers on the promise of playing a barrister, by delivering a powerful portrayal of a man capable of weaponizing his passions.

Best Scene: Interrogating the boy.

1. Takashi Shimura in Drunken Angel - Good Predictions Anonymous, Robert, Bryan and RatedRStar. Shimura gives one of his greatest turns against type, before he had his type, in delivering the mess of  man that covers the noble spirit of the titular angel.

Best Scene: Pondering the Yakuza.

Updated Overall

Updated Supporting Overall 

Next Year: 1975 Lead

Alternate Best Actor 1948: Takashi Shimura in Drunken Angel

Takashi Shimura did not receive an Oscar nomination for portraying Doctor Sanada in Drunken Angel.

Drunken Angel is a notable turning point within Akira Kurosawa's career as he continued to move past the burdens of propaganda era Japanese cinema, though still within U.S. military censorship, beginning to achieve his international notoriety, but most of all just becoming all the more remarkable as a filmmaker. An asset towards this was of course within his discovery of Toshiro Mifune as the tuberculosis ridden gangster Matsunaga, but also within the expanded use of his even longer time collaborator Takashi Shimura. Shimura is actually the true lead, or the very least the titular lead. This is a very interesting performance from Shimura, particularly in regards to his work with Kurosawa, as it is not only one of the times he seems to play a character who isn't seen as an older man, but also is one of those against type performances before his type was realized. Shimura is allowed to actually play his age, being one of those actors who always seemed to play characters at least a decade older than himself, but also the role is far from the stoic mentors he become known for particularly in Stray Dog just one year later and Seven Samurai.

Now Shimura does play the part as the more morally righteous figure against Mifune, which was typically their dynamic pre-1960's. The role of Doctor Sanada though is not played by Shimura as a quietly earnest stoic sort. He is, after all the titular character, the "Drunken Angel", obviously a good man but also...a drunk. Shimura doesn't at all conduct himself as the "hero" even in the opening scene where we see him treating Mifune's gangster's bullet wound. Sanada purposefully makes it a painful operation while openly boasting about planning on overcharging. Shimura delivers this in turn portrays a complete lack of empathy in this initial moment, as he wraps every glance and delivers with a clear disgust. Shimura reacts not so much in a personal way, rather his demeanor illustrates a man viewing this gangster as he views any other lowlife. Shimura portrays this as a man having no waste of sympathy even creating a very real intensity in his eyes as he looks as his patient writhing in pain that he is inflicting. This isn't even lost by Shimura as Sanada pesters the man over a cough that may be tuberculosis. Shimura delivers this with mocking, though not overly so, tone again reinforcing the man irritability towards such wasteful men.

The opening scene reveals a darker side in Shimura's performance, however he does reveal the titular angel while Sanada gives Matsunaga a TB exam. Once Sanada discovers that the man may have the deadly disease, Shimura subtly pulls back on the disgust to develop the right hint of sympathy given the severity of the situation. Although Shimura does not wholly open up, he is particularly effective in his approach by so quietly assuming just the right hints of concern in his eyes, and even in his softer delivery while still speaking words mostly dismissive of the gangster. Shimura naturally reveals the good heart that defines Sanada, however this first scene is not an outlier in terms of portraying this rougher side of the character. Shimura, even as Sanada is on a theoretically positive duty to inform the gangster of his condition, portrays essentially this struggle between the man's virtues and his vices. Shimura is fascinating to watch here as his performance is so physically expressive, arguably more so than Mifune in this film which is saying something, and he thrives in this approach.

Now to be fair Shimura is always an expressive actor however this is usually honed within his face, although there's that of course which I'll get to, he is remarkable in his depiction of Sanada as this sous. Shimura doesn't hold back in this regard showing an absolute lust in his moments of drink as a man who is wholly desperate in this act as a severe addiction. Shimura even develops the man's physical stature as this weakly in how he shows that Sanada is indeed menaced by Matsunaga's violent outbursts. Although he doesn't show a man who truly cowers as he brings still such a palatable resilience in his delivery in these moments, however he doesn't hide the physical weakness of the man that reveals a genuine fear, if even mostly from instinct. The weaknesses of the man do not come from interaction with the troublesome individuals that live in his slum. Shimura delivers the difficulty of the man's experience at every point as this contradiction. There's wonderful slight moment early on as he looks for Matsunaga explaining he is the type of guy women go for. Shimura's whole manner is that of a defeated man, and even in his sardonic line of how women should prefer him, there is real pathos in Shimura's eyes that allude to perhaps more honestly within that sentiment than he would care to admit.

Sanada as a character, in turn is the noble sort in nearly all of his actions but no in attitude. Again Shimura is excellent in the way he brings to life this angle defined by his demons. His interactions rather with Mifune are great throughout the film, and very different from their typical dynamic. In this one when Mifune barks, Shimura barks right back at him which is rather remarkable. Shimura expresses so well Sanada not as a man who calmly informs people to do the right thing, rather demands it. Shimura again delivers this intensity of a man nearly broken by his circumstances whose outrage goes beyond a single case such as Matsunaga, but rather is screaming towards everyone who has failed to make use of his good will. This is in stark contrast to the few, yet important, moments where we see Sanada with another one of his TB patients who is actually listening to his orders for recovery. In these moments Shimura reveals such a quiet and quiet powerful realization of the sheer warmth within the man when it isn't hidden by his anger. An anger that Shimura reveals perhaps even deeper than at society but also perhaps against his own problems. Shimura never hides the pathetic nature of his character, even as he does unquestionable good.

The crux of the film comes as Matsunaga attempts reformation by trying to take on a former gang boss of the neighborhood, while also dying from his TB. Meanwhile Sanada only keeps his attempt to save the man essentially by yelling him into submission, while also dealing with the gang boss who is looking for his old girlfriend who happens to be the doctors assistant. Shimura effectively presents Sanada as a constant in these scenes showing that the man doesn't change his approach even when threatened with death. Matsunaga is instead the one to take action that leads to his death, though also does lead to the imprisonment of the gang boss once again. This leaves a final scene for Shimura which is one of the best of his career. It is an amazing scene as he keeps on bringing Sanada's temper into the moment, though calmed a bit, as he espouses his hatred of the way and waste of the Yakuza gangsters. His voice is disparaging, yet Shimura in that expressive face of his reveals the very real heartbreak in Sanada over the loss of his patient that delivers this final poignancy on his relationship with the gangster. Shimura delivers a great performance here as he finds essentially the diamond in the rough, not as a hero in a slum, but rather the kindness within a wretched man.

Alternate Best Actor 1948

And the Nominees Were Not:

Takashi Shimura in Drunken Angel

Rex Harrison in Unfaithfully Yours

Ray Milland in The Big Clock

Robert Donat in The Winslow Boy

John Garfield in Force of Evil

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: Takashi Shimura in I Live in Fear

Takashi Shimura did not receive an Oscar nomination for portraying Dr. Harada in I Live in Fear.

Akira Kurosawa's other frequent collaborator Takashi Shimura often played the wiser man to Toshiro Mifune's brasher individual, at least until the thankless roles Shimura was given in Kurosawa's later films, but there is perhaps a bit of a twist on that idea here. Shimura plays Dr. Harada who is almost a co-lead to Mifune's elderly Kiichi Nakajima who is spending his decedents inheritance to protect himself from a nuclear holocaust he views as inevitable. Dr. Harada acts as a Domestic court counselor, which means he basically decides the case against Nakajima, along with two other men. The film follows his story too, although Shimura is not given a substantial amount of screen time, and his story is always firmly connected to Nakajima's.

The twist on the usual dynamic found between Shimura and Mifune in the film is that Dr. Harada really does not know who exactly to take away from Nakajima's fears. Dr. Harada acts as the impartial observer throughout the film as he merely must witness the story play out and his only technical action that changes the course of the film is that he decides, along with the two other court officials, to remove Nakajima's ability to spend his own money. Dr. Harada is a very quiet character because of this as he personally investigates the situation and deeply ponders the complex situation. Dr. Harada is a reactionary man, and thankfully Shimura plays him who must be one of the greatest actors in terms of finding the power in the unsaid.

Shimura is very important to the film in structuring the film really as showing the one good man in the whole affair, as both Nakajima and his children are flawed. Shimura never once wastes his presence in the film in his performance that is able to convey the right confusion in terms of the situation. It is not a confusion as if that Dr. Harada does not understand the situation, but rather the confusion of not knowing truly to do react to it because Nakajima's fears do have basis but his method of running from society is far from a logical solution. Shimura finds the right place to put Harada in every scene in terms of both personal attachment but as well as the detachment of the observer. Shimura in a way is the stand in for the audience of the film who also must decipher the complex issue at the center of the film.

Shimura plays his part incredibly well by never overplaying his hand. He shows Harada as a man who connects with the Nakajima's plight but never allows it to overwhelm either. Shimura finds just the right tone with his performance to add to every scene but never try steal the attention wrongly in his direction. Harada simply is not the focus of the film, but Shimura amplifies the impact of every scene that he is in his portrayal of Harada very realistic and down to earth reactions. Shimura brings a true poignancy in his short moments in the film honestly showing the struggle in Harada. Shimura is moving because he finds the truth in his character as Harada is troubled by the case, but there is always that underlying idea that he just does not know exactly what to do either.

Akira Kurosawa had one of the greatest acting duos at his disposal in Toshiro Mifune and Takashi Shimura as shown in Stray Dog, Seven Samurai, and in this film. In this film Mifune's performance goes down an insane path which is fitting considering that Nakajima believes he has left the earth by the end of the film, Shimura does a terrific balancing act in his portrayal of the grounded Dr. Harada. Mifune's final scene is a powerful one on his own but Shimura adds so much though through his silent performance as Dr. Harada can only watch a man's full descent into madness. It is a great testament to Shimura's strength as an actor in summing up the finale of the film through his simple physical reaction that realizes the disheartening quality of the end, but as well the sense that there was no real solution to Nakajima's dilemma. Takashi Shimura's work here is memorable performance by being the soul of the picture in such an unassuming yet remarkable fashion.

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

Alternate Best Supporting Actor 1950: Results

5. Louis Calhern in The Asphalt Jungle- I hate to put Calhern fifth as I really liked everyone in this line up. Calhern gives an effective performance bringing a nice complexity to his role as an amoral lawyer.

Best Scene: Emmerich tries to double cross the Doc.

4. Alastair Sim in Stage Fright-Sim gives an entertaining performance that up shows the entire film around him.

Best Scene: Eve Gill brings Johnathan to Commodore Gill's home.

3. Takashi Shimura in Rashomon- Shimura performance gives an interesting and moving performance as a seemingly moralistic woodcutter who might be hiding something himself.

Best Scene: The woodcutter is called out by the commoner.

2. Richard Attenborough in Morning Departure- Richard Attenborough gives a very strong turn being appropriately intense as a man who goes to extremes due to fear, but as well quite tender as the very same man who finds courage within himself.

Best Scene: The remaining crew play a game of cards.

1. Masayuki Mori in Rashomon- Good Prediction Psifonian feel free to name another year and performance to go with it. Mori gives an incredible performance giving four different perceptions of the same doomed man. He is able to be chilling then heartbreaking, brave then cowardly, and his reserved style here works perfectly in creating a very memorable dynamic with Toshiro Mifune's flamboyant turn. I will keep Sanders as the winner for the moment but I will say he is on thin ice. I will have to get around to watching All About Eve again as that will make or break his placement over Mori.

Best Scene: The samurai tells his version of the story.

Overall Rank:

1. George Sanders in All About Eve
2. Masayuki Mori in Rashomon
3. Sam Jaffe in The Asphalt Jungle
4. François Périer in Orpheus
5. Richard Attenborough in Morning Departure
6. Takashi Shimura in Rashomon
7. Alastair Sim in Stage Fright
8. Louis Calhern in The Asphalt Jungle
9. Anton Walbrook in La Ronde
   
10. Minoru Chiaki in Rashomon 
11. Victor Sjorstrom in To Joy
    
12. Francis L. Sullivan in Night and the City
    
13. Sessue Hayakawa in Three Came Home 
14. Juano Hernandez in Young Man With A Horn
15. Alec Guinness in The Mudlark
    
16. Edmund Gwenn in Louisa
    
17. Luis Van Rooten in Cinderella  
18. Herbert Lom in Night and the City
19. Ward Bond in Wagon Master
    
20. Charles Coburn in Louisa
21. Kichijiro Ueda in Rashomon
22. Juano Hernandez in The Breaking Point
    
23. Stanislaus Zbyszko in Night and the City
24. Wallace Ford in The Breaking Point
    
25. James Whitmore in The Asphalt Jungle  
26. Jack Warner in The Blue Lamp
    
27. Erich von Stroheim in Sunset Blvd.
28. Juano Hernandez in Stars in My Crown
    
29. George Cole in Morning Departure 
30. Karl Malden in Where the Sidewalk Ends
    
31. Cecil B. DeMille in Sunset Blvd.
32. Mario Vitale in Stromboli 
33. Ivan Desny in Madeleine
    
34. Hugh Marlowe in Night and the City 
35. Michael Brennan in Morning Departure
36. Marc Lawrence in The Asphalt Jungle
37. Nigel Patrick in Morning Departure
38. Jack Webb in The Men  
39. Denis O'Dea in Treasure Island
    
40. Everett Sloane in The Men 
41. Gary Merrill in Where the Sidewalk Ends
    
42. Edmund Gwenn in Mister 880
43. Richard Erdman in The Men
44. Stephen McNally in Winchester '73
45. Millard Mitchell in The Gunfighter
46. Jack Palance in Panic in the Streets
47. Wendell Corey in The Furies
    
48. Cecil Kellaway in Harvey 
49. John McIntire in Winchester 73'
50. Anthony Caruso in The Asphalt Jungle
51. Miles Malleson in Stage Fright
52. Jack Hawkins in Morning Departure
53. Zero Mostel in Panic in the Streets 
54. Basil Sidney in Treasure Island
    
55. Stephen McNally in No Way Out
56. Brad Dexter in The Asphalt Jungle
57. Wallace Ford in Harvey
58. Karl Malden in The Gunfighter
59. Barry Kelley in The Asphalt Jungle
60. Will Geer in Winchester '73
61. Paul Douglas in Panic in The Streets
62. Millard Mitchell in Winchester '73 
63. Tod Andrews in Outrage
    
64. Luther Adler in D.O.A 
65. Norman Woodland in Madeleine
    
66. Michael Wilding in Stage Fright
67. Patric Knowles in Three Came Home
68. Jeff Chandler in Broken Arrow  
69. Robert Clarke in Outrage
    
70. William Prince in Cyrano de Bergerac
71. Hugh Marlowe in All About Eve 
72. Richard Carlson in King Solomon's Mine
    
73. Charles Drake in Harvey
74. Skip Homeier in The Gunfighter
75. Gary Merrill in All About Eve
76. Charles Drake in Winchester '73
77. John McIntire in The Asphalt Jungle
78. Neville Brand in D.O.A.
79. Gregory Ratoff in All About Eve

Next Year: 1966 lead

Alternate Best Supporting Actor 1950: Takashi Shimura in Rashomon

Takashi Shimura did not receive an Oscar nomination for portraying the woodcutter in Rashomon.

Takashi Shimura plays the woodcutter the only person to tell a version of the story where the samurai dies and his wife is raped who does not appear in the story himself. The woodcutter, along with a priest and a commoner discuss a story while waiting for a rainstorm to stop underneath the city gate. The woodcutter claims at first to have been the one to come upon the corpse of the samurai and report the crime to the police. Where the priest laments the situation and the commoner just seems to mostly enjoy hearing the story, the woodcutter though for some reason consistently decries each of the stories as lies made by the storyteller and not the truth.

Takashi Shimura's role is a limited role and Shimura plays his role in a seemingly simple fashion at first as the film cuts back to the three men before and after each of the stories. He and Minoru Chiaki as the priest accent each of the stories by portraying the men's reactions to hearing each version of the story. Minoru Chiaki effectively shows the great distress over the nature of the story as he sees people acting morally bankrupt. Shimura portrays a similar reaction which adds to the impact to each story by showing what it means to them. Shimura though is careful in that he portrays the woodcutter's reaction which is not the same as there seems to be some sort of outrage he has under that haunted expression as he reflects on the stories he has heard.

Takashi Shimura in his performance carefully sets up the secret the woodcutter has as he tears down each of the stories by calling the three storytellers liars, and Shimura gives the sense that this there is more to what the woodcutter knows which is revealed later. The woodcutter claims to have seen the whole event himself and depicts the story in a particularly unromantic light, and paints all of the three participants rather poorly. Shimura handles the scenes before and after the woodcutter's story just right as it is impossible to tell if he is lying or if he telling the truth yet Shimura never makes this seem lacking in distinction. Shimura portrays that the woodcutter is most definitely haunted for a reason and hates what has happened but he leaves the viewer to decide from where this outrage comes.

The scenes of the three men discussing the crime build up to the point in which they find an abandoned baby and the commoner steals a kimono that was with it, the woodcutter calls him on it leaving the commoner to reveal that perhaps the woodcutter was also acting in self-interest with his story as he was the one who took the expensive knife left after the crime. Shimura is very moving using mostly his expressive face as the woodcutter must face his own guilt. Shimura shows the weakness that exists in the man as well and powerfully expresses the shame the man feels for his actions. Shimura is actually able to retain the mystery of the story as he again leaves it open where exactly the shame lies in that man whether it is for stealing the knife or perhaps for making up his version of the story.

The film leaves Shimura and Chiaki a difficult scene to end on as they must make an optimistic ending from the often pessimistic narrative. The optimism comes from the woodcutter's willingness to take the baby and takes care of it as one of his own acting no longer in self interest. The scene comes out of the blue and it is easy to see how it might not have worked but it ends up being a terrific ending to the film due to the performances of Shimura and Chiaki. Shimura is only genuine in his depiction of the woodcutter's moral redemption as he is willing to do a purely selfless act. Shimura's and Chiaki's scene has such honest warmth and feeling and gives hope at the end of the film that does not feel forced or sanctimonious in the least.

Shimura's screen time is limited and his scenes are decidedly not the showy ones of the film as we only see the woodcutter in the strictest terms. Shimura despite this still gives a complex performance within the woodcutter who seems simple at first yet he and the film reveal this to not be the case in a most effective fashion. It is a most intriguing portrait that he creates of the observer as we see both his own reactions to the three other stories but as well what makes up actually why a man might take the selfish route and create his own perspective in the film place. His work makes the stories out of the realm of the rashomon effect hold their own power as well as amplify the power of the stories, and as well his portrayal of the morality of the woodcutter acts as the natural and very poignant personification of one of the major themes of this film.

Alternate Best Supporting Actor 1950

And the Nominees Were Not:

Masayuki Mori in Rashomon

Takashi Shimura in Rashomon

Louis Calhern in The Asphalt Jungle

Alastair Sim in Stage Fright

Richard Attenborough in Morning Departure

Alternate Best Actor 1952: Results

5. James Mason in 5 Fingers- Mason creates an effective villain by emphasizing the cynicism of his character bluntly.

Best Scene: Diello finds out he's been had.

4. Laurence Olivier in Carrie- Olivier gives a strong performance playing a doomed romantic.

Best Scene: Hurstwood confesses his love to Carrie.

3. Michael Denison in The Importance of Being Earnest- Denison gives a hilarious turn that always has brilliant timing and brings the humor out of his material.

Best Scene: His reactions to the final revelations.

2. John Wayne in The Quiet Man- Wayne gives a winning performance that capitalizes on the best of his on screen persona.

Best Scene: Remembering the fatal fight.

1. Takashi Shimura in Ikiru- I should quickly say that I added what I thought was the best scene from each performance simply for fun. This year came down to Wayne and Shimura, although Denison was right behind them as I loved his performance as well. I have to say I hate and love these years as I hate to have to choose to between two performances I like equally but I hate to have to choose. Either way my choice goes to Shimura's powerful performance that is a heartbreaking and inspiring depiction of a dying man.

Best Scenes: "Gondola no Uta" the first and the last time.

Overall Rank:

1. Takashi Shimura in Ikiru
2. John Wayne in The Quiet Man
3. Michael Denison in The Importance of Being Earnest
4. Laurence Olivier in Carrie
5. James Mason in 5 Fingers
6. Dirk Bogarde in Hunted
7. Charlie Chaplin in Limelight 
8. Marlon Brando in Viva Zapata!
9. Orson Welles in Othello
10. James Stewart in Bend of the River 
11. Gary Cooper in High Noon
12. Carlo Battisti in Umberto D.  
13. Robert Mitchum in The Lusty Men
14. Kirk Douglas in The Bad and the Beautiful
15. Ray Milland in Thief
16. Burt Lancaster in Come Back Little Sheba
17. Alec Guinness in The Card 
18. Jack Palance in Sudden Fear
19. Michael Redgrave in The Importance of Being Earnest 
20. Shin Saburi in The Flavor of Green Tea Over Rice
21. Richard Burton in My Cousin Rachel 
22. Micheal MacLiammoir in Othello
23. John Payne in Kansas City Confidential 
24. Kirk Douglas in The Big Sky 
25. Charles McGraw in The Narrow Margin 
26. Gene Evans in Park Row
27. Spencer Tracy in Pat and Mike
28. Arthur Kennedy in The Lusty Men
29. Georges Poujouly in Forbidden Games 
30. Humphrey Bogart in Deadline USA
31. Serge Reggiani in Casque D'or
32. Danny Kaye in Hans Christian Anderson
33. Stewart Granger in The Prisoner of Zenda
34. Jose Ferrer in Moulin Rouge  
35. Gene Kelly in Singin in The Rain
36. Charlton Heston in The Greatest Show on Earth
37. Spencer Tracy in Plymouth Adventure 
38. Nigel Patrick in The Sound Barrier 
39. Robert Taylor in Ivanhoe
40. John Beal in My Six Convicts
41. Cornel Wilde in The Greatest Show on Earth
42. Gregory Peck in The Snows of Kilimanjaro  
43. Robert Mitchum in Angel Face
44. Bob Hope in The Road to Bali
45. Bing Crosby in The Road to Bali
46. Dewey Martin in The Big Sky
47. John Whiteley in Hunted

Next Year: 1952 Supporting

Alternate Best Actor 1952: Takashi Shimura in Ikiru

Takashi Shimura did not receive an Oscar nomination, despite being nominated for a Bafta, for portraying Kanji Watanabe in Ikiru.

Ikiru is a powerful film about a bureaucrat who learns he is dying.

Takashi Shimura is the other frequent collaborator with Akira Kurosawa and was often featured with Toshiro Mifune sometimes in smaller supporting parts, but as well in lead roles who often were calmer wiser character in comparison to the more reckless and crazed characters played by Mifune. Although I do have to admit I did feel Mifune stole the show of those earlier film Shimura never was a slouch either usually giving a strong performance himself particularly in Drunken Angel. In Ikiru though Shimura is the sole lead, and Ikiru also stands as the only film by Kurosawa from Drunken Angel to Red Beard not to feature Mifune in any role, so Shimura stands as the true focus of the film. 

The early scenes of Shimura's performance are some of the most depressing moments ever put on film. When we first meet him Shimura portraying Kanji as that of a man who might as well be dead due to the way in which he goes about his life. There is nothing to the man whatsoever as Shimura portrays him. He occupies a desk and that is all that he does. There is not a hint of anything else other than a man wasting away only doing the most mundane things in a most mundane fashion as a bureaucrat who just basically stamps one document then another, and nothing else. Even worse is that there is not even a sadness in Shimura's performance instead he goes to an extra level with Kanji as the bureaucrat who seems to be connected to absolutely nothing in the world.

Kanji soon finds out that he has stomach cancer, and the sadness of the man finally comes out. Shimura is absolutely brutal in just how he never is shy about portraying just how little happiness there is in this man's life. Kanji even as he tries to reflect back on a better time can only still think what was wrong in his past as well. Shimura shows us a depression in his performance that is truly memorable because of how overpowering he portrays this in this man. Shimura shows the in no way compromised feelings of a man who has never really lived learning he is going to die. It is not a depression that there is even a feeling of anger in, instead Shimura is all the more striking by making us see a man who almost resigns to his fate.

Kurosawa's protagonists tend to have a strong will, Ikiru presents us a protagonist who is almost exactly the opposite. Shimura himself in Stray Dog, Seven Samurai and Drunken Angel plays his roles with always a great strength of personality, as Kanji he creates one of the most meek characters ever put on screen. This goes beyond just his actions and Shimura makes every physical attribute meek in this man. He always has a hunched back, a hunched back fitting of a man who only ever hunched over his desk for year upon year, and his voice is that of a man who has almost never spoken. Shimura's voice here is weak, unassuming, and at times comes out with barely any mouth motions. This physical depiction Shimura gives us the results of a life not spent.

Kanji in an attempt to do something decides to live is to basically party and gets a young man to go take him around the night life. Shimura shows a man here reaching from the void trying to find something to change his lot that has befallen him in at least someway. In the night life Shimura is very good channeling the different emotions going on in this man's mind as he experiences something he was not aware of. There are moments with a smile where we see the man enjoying himself in at least some way, but even in the happiness Shimura portrays a certain confusion at the same time. He never seems to fully understand even what exactly he is trying to do, and Shimura even in the moments of brief pleasure shows that the overpowering depression within in the man never does leave him.

In the middle of the night of at least an attempted pleasure there is a moment where they stop for a moment and Kanji requests a piano player to play the song "Gondola no Uta". The song is about the briefness of life, and as the song is played on the piano Kanji sings along. Shimura is absolutely heartbreaking in this scene as he sings the words in such a quiet yet powerful fashion in that meek voice of Kanji's. Although his voice may not be strong the emotions in that voice are. Shimura as he sings shows us the thoughts of Kanji of the song that speaks to him all to well. The sadness of the man in this moment is not hidden in anyway and for a moment here this passionless man gains a passion even if it is a passion for his own depression. It is an absolutely incredible scene by Shimura.

Although there are moments of momentary enjoyment Kanji is still left depression by the end of the night, and still confused over what he can do to really live. Kanji believes he can find though out from his young co-worker who seems to enjoy life named Toyo Odagiri (Miki Odagiri), and he decides to spend time with her. Shimura again is terrific because he does not give an easy answers to Kanji in his plight. Again with Toyo Shimura suggests some enjoyment he has as he speaks to someone he thinks knows the path. It is purer pleasure here though, not something just of the moment, and we do see him honestly enjoy himself. Shimura though still keeps his depressed state as something that clearly never leaves his mind, and his wasted life and bitter feelings to his son even seem to over take the bit of happiness from the young woman.

The happiness is challenged even further though as Toyo quickly becomes suspicious of the intentions of Kanji and confronts on the issue forcing Kanji to finally reveal what he really wants. Shimura is excellent because even when he must blurt out what he wants he still keeps the nature of Kanji as a character. He tries several times to verbalize his desire with what remains of his life, and when he finally gets it out Shimura delivers it in a humble but with earnestness. When Toyo offers something very small as her reason for enjoying life, which is that she creates toys, Kanji takes off in attempt to do something like that himself in his short time left. Shimura's expression as he leaves is particularly notable because although we see finally a hope and even a drive these are still but a glimmer and desperation still remains the dominating emotion.

After this point we mainly get flashbacks to Kanji as he finally attempts to do something himself which is to take action in his work, and finally help a group of people by building a park over a cesspool. In these scenes we finally meet Kanji who has gained a purpose. Shimura importantly does not change the whole nature of Kanji as physically he stays much the same man, as it would be impossible for him to change the type of man in such a short time. Shimura instead shows the change in Kanji in a far more subtle fashion. There now is a passion as he works to make the park. Although still modest in his depiction Shimura is able to suggests an understanding of himself, and now an inner strength portrayed. As he tirelessly tries to make something worthwhile Shimura suggests that Kanji does not find something foreign, but instead that this potential was always was possible in the man.

This all ends in what is one of the most incredible moments in cinema which is the last time we see Kanji as he has finally realized his dream. It is a triumph of Kurosawa and his cinematographer Asakazu Nakai in the beautiful staging of the scene as we see the lone figure of Kanji swinging in the park swing all while it snows around him. The poignancy of the scene though is achieved through the final moments of Shimura performance. He once again sings "Gondola no Uta". Although his singing voice obviously has not improved or changed in some way the expression of the man most certainly has. Where intense sadness was the overlying emotion in his face before now there is the face of contentment as he sings finally having lived his life even if it had been only for the brief time.

The power of Shimura's work is in his firm approach for the character. Shimura portrayal of the man's plight is fiercely tragic, and it is never something that he eases away in his performance either. Due to this the redemption of the man is far more inspiring because the low the man finds himself in is realized so strongly beforehand. He never forgets the resigned nature of the man, and his fervor that does come is found in this same man. The redemption is not something that is found in an instance or a moment, but instead Shimura finds it slowly and in a heartfelt fashion that makes Kanji's journey of self discovery unforgettable. Takashi Shimura's performance as Kanji is an outstanding performance which is remarkable as he allows his character's plight to be properly mournful but eventually inspiring as well.

Alternate Best Actor 1952

And the Nominees Were Not:

John Wayne in The Quiet Man

Michael Denison in The Importance of Being Earnest

Takashi Shimura in Ikiru

Laurence Olivier in Carrie

James Mason in 5 Fingers

Alternate Best Actor 1949: Results

5. Trevor Howard in The Passionate Friends- Howard has a limited role, and is overshadowed by a co-star, but he does handle his own role well through his charming performance.

Best Scene: Steven tries to defend his affair.

4. Takashi Shimura in Stray Dog- Shimura creates an effective portrait of a veteran detective effortlessly portraying his character's substantial wisdom, and ability.

Best Scene: Detective Sato manages a baseball game. 

3. Dennis Price in Kind Hearts and Coronets- Price meets the difficult challenge of finding the right tone for his film through his dry and thoroughly witty performance.

Best Scene: Louis defends himself in court. 

2. James Cagney in White Heat- Cagney plays his most evil role with a great deal of energy and he especially stands out when his character goes over the edge.

Best Scene: Cody finds out that his mother is dead.

1. Toshiro Mifune in The Quiet Duel- Good Prediction Mark. Toshiro Mifune gives an excellent performance as man who sacrifices his happiness to do the right thing. It is a powerful poignant performance that shows Mifune's ability to excel in both quiet and flamboyant roles.

Best Scene: The doctor finally breaks down. 

Overall Rank:

1. Toshiro Mifune in Stray Dog
2. Toshiro Mifune in The Quiet Duel
3. David Farrar in The Small Back Room 
4. Chishū Ryū in Late Spring
5. James Cagney in White Heat
6. Kirk Douglas in Champion
7. Ray Milland in Alias Nick Beal 
8. Dennis Price in Kind Hearts and Coronets
9. Takashi Shimura in Stray Dog
10. Van Heflin in Act of Violence
11. Joseph Cotton in The Third Man 
12. John Wayne in She Wore a Yellow Ribbon
13. Robert Ryan in The Set-up 
14. Burt Lancaster in Criss Cross
15. Montgomery Clift in The Heiress 
16. James Mason in Caught 
17. Jean Gabin in The Walls of Malapaga
18. Spencer Tracy in Adam's Rib
19. Howard Vernon in Le Silence de la Mer
20. Anton Walbrook in The Queen of Hearts 
21. Cary Grant in I Was A Male War Bride 
22. James Stewart in The Stratton Story
23. Wendell Corey in Holiday Affair
    
24. Robert Ryan in Caught
25. Edward G. Robinson in House of Strangers
26. Robert Mitchum in The Big Steal
27. Trevor Howard in The Passionate Friends
28. Van Johnson in Battleground
29. Broderick Crawford in All The King's Men
30. Robert Mitchum in Holiday Affair
    
31. Thomas Mitchell in Alias Nick Beal
    
32. Dana Andrews in My Foolish Heart
33. Basil Radford in Whiskey Galore! 
    
34. Richard Conte in House of Strangers
35. Ronald Reagan in The Hasty Heart
36. John Wayne in Sands of Iwo Jima
37. Gregory Peck in Twelve O'Clock High
38. Joseph Cotten in Under Capricorn
39. Richard Todd in The Hasty Heart
40. Gene Kelly in On the Town
41. Frank Sinatra in On the Town
42. Claude Jarman Jr. in Intruder in the Dust
43. John Ireland in All the King's Men
44. Michael Wilding in Under Capricorn
45. Budd Abbott in Africa Screams
46. Lou Costello in Africa Screams
47. Victor Mature in Samson and Delilah
48. David Brian in Intruder in the Dust

Next Year: 1949 Supporting

Alternate Best Actor 1949: Takashi Shimura in Stray Dog

Takashi Shimura did not receive an Oscar nomination for portraying Detective Sato in Stray Dog.

Stray Dog is a very effective crime film about a rookie detective Murakami, and a veteran detective who team up to find the crook who has been using the rookie's recently stolen gun.

I actually could have once again nominated Toshiro Mifune in the role of the rookie Murakami. Mifune is again very effective in his role, and with each film I see of his the more he moves up my list of favorite actors. Anyway I chose though instead to review his somewhat frequent co-star Takashi Shimura who plays the veteran detective to Mifune's rookie. Shimura actually takes a little bit to appear as the film at first only follows Murakami's investigation to find the gun peddlers who stole his gun. After he does this we first see Shimura as the experienced detective, who takes on the case as well as takes Murakami under his wing. In the first scene we see the inherit difference between the two men where Mifune plays up the inexperience and emotions of Murakami, Shimura takes a more gentle approach with detective Sato.

In his first scene we see Sato interrogating the gun peddlar woman. It is clear that Murakami intends to forcefully get the information out, but when he gets that she is laughing comfortably well eating with Sato. Shimura is quite good in portraying the detective's technique here as a man with a long experience in his trade, therefore he handles this type of subject with slow manuevered inquiring rather than blunt questioning. Shimura handles it well by showing that Sato appraoch is an effective one in that he keeps both the prisoner at ease and relaxed well he does have that inquiring touch to get the information he wants. Shimura makes the fashion that Sato handles this entirely believable that Sato would handle a suspect this way, but also that he would get exactly what he desired from the witness.

Shimura makes Sato a true veteran in the whole film. He is very good by showing that what transpires in the investigation never surprises him in the way it does Murakami. Shimura shows the history of the detective simply through his relaxed manner of dealing with the crimes that go on. It is not that Sato does not care by any means, but rather Shimura effectively establishes that it is a job he knows so well that he simply will not have to sweat out the problems of the street as he has been fully aware of them for quite some time. It is a nicely handled portrayal as he finds the right tone for Sato who is so astute as a detective that he can go about his job as a detective the way other people would not even go about considerably less stressful positions. Shimura never goes too far with this as he always has the right undercurrent of seriousness and inquisitiveness in him along with his more casual manner.

This is a very early example of the vetran cop/rookie cop dynamic and Mifune and Shimura handle it especially well together. These two are unique as despite their tasks being quite different they are never really in conflict with one another. Shimura is very good adding a great deal of warmth to the relationship between the two. When Mifune portrays Murakami gettting angry over the crimes or greatly troubled by them Shimura always nicely combats it with his portrayal of Shimura's calm wisdom when it comes to crime. Where Murakami is rather conflicted in his philosophy Sato is firm. Shimura is excellent in the way he brings out this wisdom which he expresses so well as coming from the history of Sato as a cop. When Shimura basically shuts up a stressed out Murakami Shimura is great because he never does it with force but rather in a truly comforting fashion as a father would do for a son.

Takashi Shimura is very good throughout the film effectively bringing to life the wisdom and experience of his character to life. He and Mifune make the dynamic work perfectly and naturally ease into the mentor/student to a mutual friendship that is both believable and very moving when something happens to one of them late in the film. This is a strong performance by Takashi Shimura and simply fascinating the way he shows the much more firm view that Sato takes on morality. He makes the harsher stance that Sato takes on criminals really work because he conveys his feelings as something entirely genuine and something that comes from the fact that he has seen a truly great number of crimes in his lifetime. This is a very good performance by Shimura as he creates this character all the while moving through the film's plot.

Alternate Best Actor 1949

And The Nominees Were Not:

Takashi Shimura in Stray Dog

Toshiro Mifune in The Quiet Duel

James Cagney in White Heat

Dennis Price in Kind Hearts and Coronets

Trevor Howard in The Passionate Friends