Alternate Best Supporting Actor 1939: Results

5. Thomas Mitchell in Gone With The Wind - Mitchell gives a very strong performance by so effectively realizing the wear of loss through his enthusiastic portrayal before the war and his haunting one after it. 

Best Scene: The return to Tara.

4. Lee J. Cobb in Golden Boy - Cobb completely overcomes his potential miscasting by exuding both the age and background of his character so effortlessly through his performance. Cobb goes even past that to give such striking yet almost silent depiction of the moral center of the film.

Best Scene: Mr. Bonaparte before the fight.

3. Ralph Richardson in the Four Feathers - Richardson gives a powerful performance that effectively steals the spotlight of the film through his depiction of the breakdown of a proper soldier.

Best Scene: Durrance realizes who saved him.

2. Bert Lahr in The Wizard of Oz - Lahr is consistently endearing and hilarious in a performance that stands out among a memorable ensemble through his portrayal of a true scaredy cat.

Best Scene: The Lion's introduction.

1. Cedric Hardwicke in The Hunchback of Notre Dame - Good Predictions Luke, and Anonymous. Among a great field Hardwicke stands at the very top for me in his outstanding portrayal of a zealot's struggle to destroy sin which he sees everywhere including in his own desires.

Best Scene: Frollo reveals his feelings for Esmeralda. 

Overall Rank:

1. Cedric Hardwicke in The Hunchback of Notre Dame
2. Thomas Mitchell in Stagecoach
3. Claude Rains in Mr. Smith Goes to Washington
4. Bert Lahr in The Wizard of Oz
5. Frank Morgan in The Wizard of Oz 
6. Ralph Richardson in The Four Feathers
7. Lee J. Cobb in Golden Boy
8. Thomas Mitchell in Gone With the Wind
9. Ray Bolger in The Wizard of Oz
10. Thomas Mitchell in Only Angels Have Wings 
11. John Barrymore in Midnight
12. Jack Haley in The Wizard of Oz
13. Humphrey Bogart in The Roaring Twenties
14. Harry Davenport in Gone With the Wind
15. Edward Arnold in Mr. Smith Goes to Washington
16. Leslie Howard in Gone With The Wind
17. Thomas Mitchell in Mr. Smith Goes To Wasington
18. George Bancroft in Stagecoach
19. Don Ameche in Midnight
20. John Carradine in Stagecoach
21. Robert Preston in Beau Geste
22. John Carradine in Jesse James
23. Thomas Mitchell in The Hunchback of Notre Dame
24. Sam Jaffe in Gunga Din 
25. Claude Rains in Juarez
26. Harry Davenport in The Hunchback of Notre Dame
27. John Carradine in Drums Along the Mohawk
28. Brian Donlevy in Beau Geste
29. Eduardo Ciannelli in Gunga Din 
30. Ward Bond in Gone With the Wind
31. C. Aubrey Smith in The Four Feathers
32. Otto Kruger in Another Thin Man
33. J. Carrol Naish in Beau Geste
34. Frank McHugh in Another Thin Man
35. Nigel Bruce in The Adventures of Sherlock Holmes
36. Sheldon Leonard in Another Thin Man
37. Arthur Shields in Drums Along the Mohawk
38. Donald O'Connor in Beau Geste 
39. Shemp Howard in Another Thin Man
40. Sig Rugman in Only Angels Have Wings
41. Henry Fonda in Jesse James
42. Douglas Fairbanks Jr. in Gunga Din 
43. Adolphe Menjou in Golden Boy 
44. Sig Rugman in Ninotchka
45. Felix Bressart in Ninotchka
46. Alexander Granach in Ninotchka
47. Donald Meek in Young Mr. Lincoln
48. George Zucco in The Adventures of Sherlock Holmes
49. Broderick Crawford in Beau Geste
50. Fredrick Culley in The Four Feathers
51. Humphrey Bogart in Dark Victory
52. Harry Carey in Mr. Smith Goes to Washington 
53. Charley Grapewin in The Wizard of Oz
54. Richard Bathelmess in Only Angels Have Wings
55. Donald Meek in Stagecoach
56. Joseph Calleia in Golden Boy
57. Ward Bond in Drums Along the Mohawk 
58. Jack Allen in The Four Feathers
59. Donald Gray in The Four Feathers
60. Lee Bowman in Love Affair
61. Ward Bond in Young Mr. Lincoln 
62. Paul Henreid in Goodbye, Mr. Chips
63. Guy Kibbee in Mr. Smith Goes to Washington
64. David Niven in Wuthering Heights
65. Morton Lowry in The Hound of the Baskervilles
66. Guy Kibbee in Babes in Arms
67. Henry Hull in Jesse James  
68. Sebastian Shaw in Another Thin Man 
69. Terry Kilburn in Goodbye, Mr. Chips
70. Reginald Gardiner in The Flying Deuces
71. Richard Greene in The Hound of the Baskervilles
72. Jeffrey Lynn in The Roaring Twenties
73. Sidney Blackmer in Convict's Code
74. George Reeves in Gone With the Wind
75. Fred Crane in Gone With the Wind
76. John Garfield in Juarez

Next Up:

An announcement first which is to thank everyone who has been following and continues to comment. I really like how civil the discussions over any films or performances are even when we might disagree vehemently over them. Now I must announce a change in pace due to other obligations. For the time being there probably will only be one review a week and sometimes it might be longer. I'll still leave my thoughts on new movies I see, and update film thoughts now and again. Hopefully in the future I will be able to pick up the pace again, but this is how it has to be for the present.

Now to take a break from trying to find the Best OF before the Bonus Rounds start I'd like to go to the opposite end of things with a WISEAU ROUND (as suggested by Robert MacFarlane). Which means give me your best(worst) performances that are of a different breed entirely.

Alternate Best Supporting Actor 1939: Thomas Mitchell and Leslie Howard in Gone With the Wind

Thomas Mitchell did not receive an Oscar nomination for portraying Gerald O'Hara in Gone With The Wind.

Thomas Mitchell was a prolific actor who was frequently in several films in any given year though 1939 just seemed to be his year. He not only appeared in prominent roles in notable films from the year The Hunchback of Notre Dame, and Only Angles Have Wings, he also managed to be in three best picture nominees this film, Mr. Smith Goes to Washington and Stagecoach which he deservedly won his Oscar for. In Gone With The Wind he plays the part of Gerald O'Hara the father of our protagonist Scarlett O'Hara(Vivien Leigh). In the early scenes of the film Mitchell's part is fairly straight forward as the Irishmen trying to confer a few words of wisdom to his impetuous daughter. Mitchell's good in the role infusing a slight Irish accent, which he doesn't overdo, and bringing the right definite warmth in his interactions with Leigh. He though brings at the same time the right stern quality even within the obvious love that Mitchell portrays first in his technically futile attempt to try to reign in some of his daughter's ambition. This also comes with a slight scolding when she hand waves the importance of Tara their plantation and home. Mitchell's very good in the moment in revealing the intensity of passion in Gerald's words as he expresses not only how much the land means to him, but also how much it should mean to Scarlett as well.

The ideal man of the South we meet in these early scenes takes a long hiatus from the film, in fact almost the entirety of the Civil War. When Scarlett finally makes it back to Tara the place is quite barren on the outside, and when she opens the door she finds her father who possibly looks worse. Mitchell is amazing in just how effectively he portrays Gerald terrible state as the wear of the losses over the time Scarlett has been gone can be so well seen in his harried eyes, and haggard face. Mitchell is terrific as he stays so subdued for much of this time yet the devastation of the man is brilliantly realized by him. Mitchell is heartbreaking as he presents the insanity in Gerald as seemingly his own shield against all that his happened to him as there is this attempted glee in him as he speaks of his deceased wife as though she's living, however within the act the original cause of his state can be seen in this sorrow that never leaves him despite his madness's attempt to cover it up. This is until his last scene where his passion for the land once again reappears, and Mitchell once again brings that to life yet now just with this painful desperation in the moment. It's beautifully rendered work by Mitchell and with so many of his performances he proves himself one of the most capable actor in terms of the depiction of the type of extreme emotional states that might leave to some terrible overacting. Mitchell never allows that to be the case giving a striking performance that manages to stand out with this grand epic, as well as marks just the one of his many strong turns from 1939.

Leslie Howard did not receive an Oscar nomination for portraying Ashley Wilkes in Gone With the Wind.

Leslie Howard was evidently "the" choice for the part of Ashley, which might seem slightly strange for some being an Englishman who in no way hides his accent. Though I don't see why anyone would complain about that given how refined Howard's voice is it seems fitting enough for a refined Southern gentleman as well. Howard I notice frequently gets some derision for his performance in the film, and not just for the accent. Though if one views the test footage of other actors in the part, it seems Howard really was the only possible choice. Now some criticism seems to come in part do to say a definite lower amount of charm than Clark Gable in the male lead role of Rhett Butler. Now Gable's already one of the most charming performers ever to have graced the screen, and this perhaps is him at his most charming, however if one sees more of Howard's filmography, "Pimpernel" Smith and Pygmalion in particular, they'll find he could be quite charming himself. Howard instead more directly serves the role, and the film as whole, by not calling upon that here. Instead he takes the rather admirable approach to differ Ashley from Rhett, as he certainly exudes just what is to be that proper gentleman here, which is never left in question which is in stark contrast to the questionable rascal that is Rhett. Howard brings the right grace to the part, particularly in the early scenes, as he offers the right sort of charisma that makes him standout just not in the way Rhett does thanks to Gable.

Now Ashley's purpose in the story is as the object of Scarlett's affection, as she only sees him despite the fact that he is married early on to Melanie (Olivia de Havilland). Howard does well to really make Ashley the right match for Melanie throughout the film, despite Scarlett's delusion that he should hers. Howard, and de Havilland's work has an unsaid chemistry of sorts given they actually don't share that much time with one another screen. What they do is find the right connection in personal spirit in the way both suggest themselves to be naturally unassuming and unselfish souls. Howard finds the right ease of presence of man who prefers to do the right thing, though states as such in a direct yet quiet fashion. The problem remains though is with Scarlett being constantly smitten with him, to the point that she does not mind how many lives she ruins just to get him. Howard creates the right curious chemistry with Leigh in that he portrays the simple difficulty in interacting with her. He brings the right unease in any of these moments as he manages to suggest Ashley's refusal as man standing in his duty at being a proper husband. When Ashley does reveal that he does love Scarlett in return it's an earned moment by Howard as his delivery is almost that of an unwanted escape of emotion, and depicts a definite guilt within himself after his momentary loss of his usual proper reserve. It's finely measured work by Howard as he keeps Ashley on this certain wavelength of a decent man who is constantly must readjust with his constant interactions with Scarlett. Ashley Wilkes really is a thankless role, in that he's rarely given the spotlight, and he's really there to facilitate the motivations for the other characters. Howard delivers in that respect though giving a supporting performance that truly supports the rest of the cast and the film. 

Alternate Best Supporting Actor 1939

And the Nominees Were Not:

Cedric Hardwicke in The Hunchback of Notre Dame

Lee J. Cobb in Golden Boy

Ralph Richardson in Four Feathers

Thomas Mitchell in Gone With the Wind

Leslie Howard in Gone With the Wind

Bert Lahr in The Wizard of Oz

Ray Bolger in The Wizard of Oz

Frank Morgan in The Wizard of Oz

Jack Haley in The Wizard of Oz 

For Prediction Purposes:

Mitchell in Gone With the Wind

Lahr in the Wizard of Oz

Best Supporting Actor 1937: Results

5. H.B. Warner in Lost Horizon- Warner is perfectly fine in his role as the knowledgeable mysterious man, but it never makes a memorable impact on the film.

4. Roland Young in Topper- Young is okay throughout the film and except for an occasional moment here or there Young never finds just the right way to be a straight man.

3. Ralph Bellamy in The Awful Truth- Bellamy unlike Young does find the right way to be the straight man in his film, and gives a fairly enjoyable performance.

2. Joseph Schildkraut in The Life of Emile Zola- Schildkraut's role is exceedingly limited but he always does make an impact with his passionate and moving performance.

1. Thomas Mitchell in The Hurricane- Good prediction moviefilm. Mitchell wins this year, and yes my first five wins are shared among only two actors. Mitchell gives a strong performance where he is always an energetic, entertaining and charming presence as well as really brings the tragedy at the center of the film to life.

Deserving Performances:
Jean Hersholt in Heidi

Best Supporting Actor 1937: Thomas Mitchell in The Hurricane

Thomas Mitchell received his first Oscar nomination for portraying Dr. Kersaint in The Hurricane.

The Hurricane is a disaster film about a destructive hurricane strikes climatically while a native fugitive Terangi (Jon Hall) tries to escape the authorities to reach his wife (Dorothy Lamour).

I must say it is interesting that Thomas Mitchell was nominated twice, twice as Best Supporting Actor in a John Ford film as a doctor who probably likes his drink just a little too much. I suppose why not have Mitchell is a supportive role as a doctor as it allows him in multiple scenes and Mitchell is an actor who almost always throws a lot of energy into a role. Also why not make him drunk, no one quite plays a drunk like Thomas Mitchell does. Also despite the roles being very very similar Mitchell does not feel like he is just repeating himself in either role.

Mitchell from his very first scene has a serious dedication to the part and brings a much needed weight to the role of the doctor. His opening scene sets the mood as he indicates the loss that will occur later on in the film. Right in Mitchell faces conveys the entire tragedy of the film's finale. His shows a genuine human loss in the doctor's eyes in this moment, as well as his history with the island, a history of a home he once loved, but was all lost in the blink of an eye. It is really a wonderful moment for Mitchell, and it is interesting as Mitchell really shows where the resolution of this man will be in the opening scene of the film.

For the rest of the film Mitchell is almost part of the scenery as the doctor of the strict governor of the region (Raymond Massey). Mitchell basically steals every scene, no that's wrong, Mitchell does not basically, he does steal every scene he is as the doctor. He just a always a perfectly lively and charming presence as the sensible doctor who tries to convince the governor that his strict ways really is not the best way to rule the people of the island. Mitchell as well flawlessly shows the understanding, and intelligence of the doctor. Mitchell manages to make the doctor always the most entertaining, interesting, and intelligent man in any room he is in.

Mitchell does also, despite the limitations on his role, make a character of the doctor who is a drunk for rather different reasons that Josiah Boone. This doctor really is a man, although he knows the people does have some desire for some greater position in life, that makes him drink his days away on the rather limited place of the island. Mitchell shows him not to be an alcoholic like Josiah Boone who was filled with uncertainty, rather Mitchell shows that Doctor Kersaint is really just a drunk since he finds that he just does not have anything better to do. Also it should be said again Mitchell is perfect at playing drunk, somehow he is comical without being over the top and cartoonish.

A great deal of the time Mitchell as the doctor must constantly be the force of wisdom and philosophy in the film. Mitchell does a great job of this actually, especially when these sort of parts can become heavy handed quite easily when in the wrong hands. Mitchell is absolutely the right hands though because there is always just a bit of sly wit behind his jabs at the governor for failing to see the right thing to do. He never makes his passionate pleas or philosophical moments boring, Mitchell always infuses power into these moments because the joy and energy that never ceases in his performance.

Mitchell really shines at the end of the film when The Hurricane finally does strike basically destroying the island. What makes Mitchell so effective here, because like the beginning of the film, he gives a much needed weight to the film but showing a real man in the situation and avoid some of the dodgy acting that can be found in the 30's. He shows the doctor truly go into action in the terrible moment bringing the seriousness of the situation into reality. His best moment comes at the end of the film where most of the actors are showing the aftermath to be bad, but Mitchell manages to really convey just how horrible the event really is. He brings to life this somber man, filled with sadness and pain over the horrendous events that transpired around him. It is in Mitchell's performance that succeeds in bringing to life the tremendous cost of the hurricane. This is very strong work from Mitchell who does far more than support the film, he anchors it.

Best Supporting Actor 1937

And the Nominees Were:

Ralph Bellamy in The Awful Truth

Thomas Mitchell in The Hurricane

Joseph Schildkraut in The Life of Emile Zola

Roland Young in Topper

H.B. Warner in Lost Horizon

Best Supporting Actor 1939: Results

5. Harry Carey in Mr. Smith Goes to Washington- Harry Carey completely fulfills his role, his role just does not ask much of him.

4. Brian Donlevy in Beau Geste- Donlevy's performance is one dimensional evil just as he should be. I suppose someone could have been truly great in this role, but there is nothing wrong about Donlevy's performance.

3. Brian Aherne in Juarez- Aherne creates the earnestness, as well as his naivety well. He comes quite close to being great by the finale of the film where he gives a rather moving portrait of a good man who simply was in the wrong place.

2. Claude Rains in Mr. Smith Goes to Washington- Rains gives a very effective portrait of a corrupt politician. He does this by combining the odd officialism in his cruelty, as well as showing the sadness and regret in the man who at one time was a good man. 

1. Thomas Mitchell in Stagecoach- Both of the top two performance are perfect supporting performances that do far more than perfectly support the leads of the film. Mitchell gets my win because he as well gives an amazing portrait of a man. Doc Josiah Boone could have been a stock, or dull character but Mitchell brings him fully to life, and gives a striking performance. A performance that brilliantly combines weakness with strength, humor with sadness.

Deserving Performances:
Ray Bolger in The Wizard of Oz
Frank Morgan in The Wizard of Oz
Thomas Mitchell in Gone With the Wind

Best Supporting Actor 1939: Thomas Mitchell in Stagecoach

Thomas Mitchell won his Oscar from his second Oscar nomination for portraying Doc Josiah Boone in Stagecoach.

Stagecoach tells the journey of Stagecoach filled with an odd group of characters who must take a dangerous journey due to likelihood of an Apache attack.

Thomas Mitchell his Oscar for Stagecoach, but he was actually in a total of five films that year three which were nominated for Best Picture. I would not say this though is what secured him the win, since one should not forget that Claude Rains was in a total of six films that year although only one was nominated for Best Picture. Mitchell although was good in Gone With The Wind, and Mr. Smith Goes to Washington I would say that he was nominated for the right film, and the right performance here in Stagecoach.

Watching Stagecoach this time was quite interesting in that I almost saw the Doc as the lead of the film. I am not saying this category fraud though, because this is most certainly an ensemble piece, and there is no true lead. Mitchell though for me creates the most interesting character in the film, and the one I wished to follow most through his physical journey on the Stagecoach as well as a personal story where he basically is able to prove how much of a man he really is.

Mitchell as soon as he walks on screen is able to make a memorable impression with Doc. One reason I would say is Mitchell was probably one of the greatest actors ever in terms of being able to play drunk, there is no one who can quite play a drunk as Mitchell can. I say that because Mitchell is able to derive a great deal of humor from his character's attachment of alcohol, without making him seem a clown, and still managing to show the more realistic problems associated with being drunk.

Throughout the film Mitchell manages to give an enjoyable, and charismatic performance. I always found myself interested in him even though the stagecoach starts to get quite full. Mitchell always manages to come through the crowd of characters. Mitchell manages to be effective in both having his humorous perfectly timed reactive statements, as well as offers a greater weight when speaking more seriously about the various troubles of the people in the stagecoach.

His strongest moments though come when he is finally faced with the challenges that require him to be the man he really is. Mitchell is amazing in his single scene where he prepares to deliver the baby of a pregnant woman. Doc is required to face his own personal struggle, and sober up to do what is his job. Mitchell is brilliant as he almost silently coveys the internal struggle that goes through Doc. Mitchell portrays the struggle combined with his growth of a quiet inner strength, and courage beautifully.

After successfully completely his duties as a doctor, the Doc undergoes a change. He is not a completely different man, but a man he was always able to be. Mitchell transition here is perfect because it is utterly natural. Mitchell shows that he is hardly perfect now but there is rather a greater strength inside the Doc that he was able to bring out in himself, which he successfully shows by curtailing his drinking habits to a degree, as well showing an iron resolve in the battle with the Apache, and near the end of the film where he stands up to an armed killer. Mitchell final moments are excellent showing how the Doc has come fully around to be  able to stand up what he sees as wrong, rather than just drinking to basically forget about it. This is simply a fantastic supporting performance, that easily stands out as the best part of the whole ensemble of the film.

Best Supporting Actor 1939

And the Nominees Were:

Brian Donlevy in Beau Geste

Brian Aherne in Juarez

Thomas Mitchell in Stagecoach

Claude Rains in Mr. Smith Goes to Washington

Harry Carey in Mr. Smith Goes To Washington