Alternate Best Supporting Actor 1968: Results

5. Trevor Howard in The Charge of the Light Brigade - Howard gives a properly strict and slightly ridiculous portrayal fitting to a man who cares more about his stature as an officer than for any of his men. 

Best Scene: Strange seduction.

4. Klaus Kinski in The Great Silence - Kinski gives an effective villainous performance interestingly by taking a rather low key approach showing his Loco as always taking a calm and easy approach to his killings.

Best Scene: Loco wins.

3. Ian Holm in The Bofors Gun - Holm makes an impact through his limited screentime by so effectively presenting the incisiveness of the one man willing to confront both his immediate superior and his out of control fellow soldier.

Best Scene: Flynn confronts O'Rourke.

2. Tom Courtenay in A Dandy in Aspic - Courtenay gives a brilliant performance that creates a complex portrait of a spy who purposefully hates everything and everyone as a means of defense, and rises far above the one note villain the film likely would have settled for.

Best Scene: Gatiss visits Eberline in the hotel. 

1. Tony Curtis in The Boston Strangler - Curtis gives a chilling and effective performance which never relishes in the idea of playing a serial killer, instead offering a haunting and vivid depiction of a psychotic.

Best Scene: DeSalvo's breakdown. 

Updated Overall

Next Year: 2003 Lead

Alternate Best Supporting Actor 1968: Trevor Howard in The Charge of the Light Brigade

Trevor Howard did not receive an Oscar nomination, despite being nominated for a BAFTA, for portraying Lord Cardigan in The Charge of the Light Brigade.

The Charge of the Light Brigade depicts the titular event during the Crimean war, unlike the original film that bared the title this one takes a harsh look at the British military. It's a film where the effort to make a great film seems apparent, but never is it successful in becoming one even for a single scene.

Trevor Howard plays the pivotal role of Lord Cardigan who lead the titular charge that led many British soldiers to their deaths, but without any actual ground gained on the battlefield. The film acts as a build up towards the titular event where we meet the unit and the various personalities in the battalion. The unit includes the somewhat rebellious yet seemingly heroic Captain Nolan (David Hemmings), the amiable yet ineffective leader Lord Raglan (John Gielgud), and Howard's Cardigan. Howard's a natural fit for the character who is a brash and bold leader which is a quality Howard is obviously quite capable in realizing. Howard's performance is fairly broad in his approach but it does make sense for the role of Cardigan. After all Cardigan is a man who in the film, and in real life, demanded punishment for bringing a black bottled wine, to a champagne only dinner. Howard's work makes sense of this insane sort of mentality as he gives the part this innate intensity fitting to such a man. Howard always keeps Cardigan with underlying strictness to the idea of soldering.

Howard's approach is rather clever though in that he shows this idea to be very egocentric as it is to Lord Cardigan. In that Howard always gives himself this stiff manner always in his physical portrayal particularly in his rather tight jaw throughout, along with delivery that is most often this very exact bark as though he is always giving orders even when he is not. Howard does not present this as a man being a great soldier though instead he presents it as a man very much abusing his power as a commanding officer, in that he shows a man so caught up in himself that he only cares about the soldiers in the context that they do not reason why they just do or die. Howard in his approach effectively creates the internal logic in the man that manages to realize the mindset behind such a man who would hound one of his men merely for not for drinking what he's drinking. Howard in that intensity presents the weakness and sensitivity in a way, since Howard shows with a man so wound up that the outrage just seems to come so naturally.

Now this is a film where you can tell it was cut up by studio mandates as there are scenes that indicate subplots that either having been started or are not properly resolved. It makes for a messy film, though it does give us a scene where Howard gets to play more with Lord Cardigan. That is a moment, a historically inaccurate one, where Cardigan goes about having an affair with the wife of one of his fellow officers. Howard makes the most of it by portraying the awkwardness of the career soldier in the scene, as he portrays it with all the needed vigor but in a most improper way. Howard again maintains Cardigan as always the officer and treats the woman less as a woman, and more a horse he's breaking in. Now that scene seems somewhat arbitrarily thrown in but at the very least Howard thrives with Cardigan in different circumstances. That scene though is just a moment before leading to the titular event, which is a strangely muted scene for the most part, and does not deliver the impact it should, like say maybe the ending of Gallipoli does. One can barely sense the climax as it occurs. Howard is consistently good even in the ending though and stays with the terrible man that he has set up Cardigan as even through the charge. In that he still shows the man staying true to who he has always been. When the time comes to name the blame Howard gives just the right bit of final bluster to a man who has learned absolutely nothing from his experiences or from the deaths of his men, adding actually the right bit of cruelty to it all. This is a good performance, in fact most of the performances in the film are good, though it's a shame it is part of a film that almost wastes the great potential of the story.

Alternate Best Supporting Actor 1968

And the Nominees Were Not:

Ian Holm in Bofors Gun

Trevor Howard in The Charge of the Light Brigade

Tony Curtis in The Boston Strangler

Tom Courtenay in A Dandy In Aspic 

Klaus Kinski in The Great Silence

Alternate Best Actor 1951: Results

5. Raj Kapoor in Awaara - Despite the somewhat disjointed nature of what is required of him, Kapoor actually matches well any tone or style is requested of him by himself as director.
  
Best Scene: Raj catches the "thief".

4. Richard Basehart in Fourteen Hours - Basehart keeps most of his more theatrical tendencies under control to an effective portrayal of the intense state of mind on the edge both literally and metaphorically.

Best Scene: Robert speaks with Dunnigan about the good things in life.

3. Oskar Werner in Decision Before Dawn - Werner effectively elevates his film through his moving and nuanced portrayal of a righteous traitor.

Best Scene: Happy argues for the deserter.

2. Trevor Howard in Outcast of the Islands - Howard gives a downright brilliant portrayal of man who only becomes worse after being given a chance for redemption.

Best Scene: Madness in the rain.  

1. Michael Redgrave in The Browning Version - Good prediction Tahmeed. I have to admit the choice for the final overall was relatively easy despite my love for the performances of Marlon Brando, Montgomery Clift, Alec Guinness, Robert Walker, Trevor Howard and Alistair Sim from 1951. I thought Redgrave was a good actor before watching this film, but his extraordinary work here put him in even greater light for me. It is such precise yet naturalistic, uncompromising yet heartfelt, complex and poignant depiction of a man who has slowly given up on life.

Best Scene: The speech.

Updated Overall Lead
Updated Overall Supporting

Next Year: 1993 Lead

Alternate Best Actor 1951: Trevor Howard in Outcast of the Islands

Trevor Howard did not receive an Oscar nomination for portraying Peter Willems in Outcast of the Islands.

Outcast of the Islands is a very intriguing character study about a rogue who is given a second chance on trading post/island.

Trevor Howard is an actor I've liked in the past in his roles as either the suave gentlemen, or the fierce gruff type, this is perhaps the most challenging role I've seen him undertake. It is also the first of his leading turns where he's actually the sole and central lead. The film opens with his character Peter Willems acting as a manger for a merchant at a trading post near Singapore. Howard is pretty marvelous to begin with in portraying a man about town. He brings such confidence in Willems as he goes about his life of luxury. Howard gives us a man without really a care in the world as he about his day of smoking, drinking and playing games while casually ignoring his wife and most things around him. Howard is quite a lout though in that he does manage to bring a genuine charm within this behavior and is rather suave. It suggests how Willems earned his position to begin with, as he really is rather smooth to be sure. There seems to be more to this though when an old mentor of sorts arrives, a trading ship Captain, Tom Lingard (Ralph Richardson) who took a liking to Willems when he was younger.

During the arrival of Lingard, Willems announces himself and Howard brings such a genuine pride in Willems as he shows off his finery and states his rather cushy position. Unfortunately this is a short lived joy when Willems is instantly fired when he is accused of having stolen from the very merchant he had been working for. Howard technically seems to pull off the impossible  of sorts as he somehow prevents you from instantly condemning Willems, even though he really should be. Howard to be sure does not hold back in showing the immediate reaction in Willems that reveals the man's petty nature.  Howard brims with this intense bitterness of the man, as for a moment any sense of that charm is lost as he closes down into seemingly a hatred for everyone. Howard is particularly despicable when Willems essentially dismisses his wife as only a burden to him, the venom in Howard is oh so pure, hinting early on the real nature of the man. Something funny happens though after this point, and as everyone seems to ignore his requests for help, Howard kind of wins you over once again.

It is not for becoming a better man truly, as Howard makes Willems a real sad sack, though earnestly so that you do feel sorry for him, even though you shouldn't. For some reason it helps that Howard carefully brings back that glint of a roguish charm that is hard to ignore. Howard is remarkable because as he for some reason gains sympathy from the audience once again, he makes it wholly believable that he'd convince Richardson's Lingard to give him a second chance, because hey why not. There is something truly special in this in that Howard's charisma makes it seem like he has the potential for change, even though Howard has not shown a single sign of real repentance in his performance. It's pretty great as Willems gains Lingard's sympathy by faking a suicide, because after all look at that sorrowful face it looks like he's learned his lesson. Of course though it might seem like sorrow on the outer surface, Howard is honest to his character as if you look any deeper you can see the man is only sorry that he got caught. Nevertheless he is given his chance as Lingard brings him to the more remote trading post, filled with local natives, in order to reform himself by working with Lingard's son-in-law Elmer Almeyer (Robert Morley).

Howard is clever as he does show a change in Willems in this new situation, but hardly for the better. Howard more than anything expresses a general discontent in the man, a tension in his physical manner of a man who simply is somewhere he does not want to be. Howard is careful though in that he still somehow hides just how despicable he truly is, and he tricks you into thinking this might be a story about a man's redemption, it isn't. Willems begins to interact with the natives and Elmer along with his wife (Wendy Hiller), and Howard portrays all of this in a very casual way. That is he never suggests much growth in Willems, finding instead that the man treats the island as an inconvenience most of the time, and essentially interacts mostly to remove his boredom. Willems eventually finds something he believes is worth his interest in the local chief's daughter Aissa (Kerima). A romance does develop though Howard again doesn't give it much depth, and no that's not a criticism. Howard instead stays true to the man Willems is instead by conveying such a distinct lust in Willems throughout the affair, which luckily for Willems Aissa shares the same lust for him.

Howard is fascinating to watch as he conveys  a most unusual reaction once he become more acquainted with the island, which does not lead to good things. Above all Howard conveys a lack of understanding of it, rather always maintaining the sense that Willem's life is more defined with pleasure than anything else. Willems runs into trouble when the chief does not condone his relationship with his daughter, yet Howard shows it never phases Willems. He reunites with her again and again, and Howard still only shows the most surface of interaction even when he ends up critically injuring the chief after the chief attacks him with a knife. There is a frustration that Howard brings, but still never a true revelation. Howard is terrific in portraying the confusion that arrives from a man who never bothers to care to know what his actions truly amount to. After the attack Willems learns nothing, and even decides to stab Lingard in the back by joining up with a rival merchant after Almeyer refuses to give Willems any further help.

Willems though decides to misuse the new found position to get back at Almeyer. Howard is pretty amazing in the sequence where he essentially leads a native attack against Almeyer and his storehouse. Howard brings this pettiness about the whole affair, with a hint of madness, all just to get back at the man who had every right to ignore him. Howard shows a sloppiness as well though as he throws himself into the intensity of emotion as Willems once again goes about stealing what he wants without for a moment thinking of the ramifications. Afterwards we see Willems in a luxury of sorts and Howard brings that sense of a certain contentment as he reaps the awards of his misdeeds, yet he keeps that underlying lack of insight as he still interacts with the natives with almost a bizarre hesitation, the hesitation of a man who is unaware of his surroundings. This even includes the chief's daughter, and I love the awkwardness Howard brings whenever Willems is not lusting after her.

The death of the chief though leads Willems to be exiled to a remote location as well, though still with the chief's daughter, but Lingard returns to essentially name Willems his sins before leaving him to rot for his actions. Howard is outstanding in this final sequence as he portrays the madness of Willems broken by his actions, revealing the despicable lout he always had been. Howard not only earned that through the way he established the man but as well his curious descent while being adrift in this land.  Howard gives us a man with nothing left but his pathetic self, and it is extremely visceral depiction of madness. Howard releases all the fear and paranoia of the man who fears his only companion, the chief's daughter, believing she'll seek revenge for his father as he still fails to understand her. Then he's so perfectly raw as he first begs then threatens Lingard for help. Howard is incredible depicting the rogue's end as just a mess. This is a downright brilliant performance by Howard. He makes this unlikable character absolutely captivating even while never compromising his arc that is of a man revealing himself to only be worse given the chance. 

Alternate Best Actor 1951

And the Nominees Were Not:

Raj Kapoor in Awaara

Oskar Werner in Decision Before Dawn

Trevor Howard in Outcast of the Islands

Michael Redgrave in The Browning Version

Richard Basehart in Fourteen Hours

Alternate Best Actor 1945: Results

5. Trevor Howard in Brief Encounter- Although overshadowed by Celia Johnson Howard still fulfills his part well through his considerable charm and honest chemistry with her.

Best Scene: Alec and Laura declare their love for one another.

4. Cornel Wilde in Leave Her to Heaven- Best his actual nominated work in every way through his adequate work for most of the film and his powerful performance at the end.

Best Scene: His courtroom testimony.

3. James Mason in The Seventh Veil- Although his role is very limited Mason still steals it through his ability to make his character's bitterness something truly palatable.

Best Scene: Nicholas ignores Francesca's marriage plans.

2. Edward G. Robinson in Scarlet Street-Robinson gives a moving depiction of a meek man abused to the point of insanity.

Best Scene: Christopher is haunted in his room.

1. Jean-Louis Barrault in Children of Paradise- Barrault gives a wonderful portrayal of both his character's stage portrayal of a romantic mime, but as well the subtle differences found in the equally romantic and charming but much more flawed real man off the stage.

Best Scene: Baptiste recreates a mugging through a pantomime.

Overall Rank:

1. Ray Milland in The Lost Weekend
2. Laird Cregar in Hangover Square
   
3. Pierre Brasseur in Children of Paradise 
   
4. Jean-Louis Barrault in Children of Paradise 
5. Claude Rains in Caesar and Cleopatra
6. Edward G. Robinson in Scarlet Street
7. James Mason in The Seventh Veil
8. Roger Livesey in I Know Where I'm Going
   
9. Aldo Fabrizi in Rome, Open City  
10. Trevor Howard in Brief Encounter
    
11. Cornel Wilde in Leave Her to Heaven
12. Errol Flynn in Objective, Burma!
13. Robert Donat in Vacation From Marriage
    
14. Basil Rathbone in The House of Fear
    
15. Edward G. Robinson in Our Vines Have Tender Grapes
16. Rex Harrison in Blithe Spirit
17. Georg Rydeberg in Two People
    
18. Denjuro Okochi in The Men Who Tread on the Tiger's Tail
19. Marcello Pagliero in Rome, Open City
20. Robert Walker in The Clock 
21. Joseph Cotton in Love Letters 
22. Mervyn Johns in Pink String and Ceiling Wax
    
23. Henry Danielle in The Body Snatcher
    
24. James Cagney in Blood on the Sun
    
25. Susumu Fujita in Sanshiro Sugata Part II
26. Nigel Bruce in The House of Fear
27. Burgess Meredith in The Story of G.I. Joe 
28. Danny Kaye in Wonder Man
    
29. Robert Montgomery in They Were Expendable
30. John Wayne in They Were Expendable
31. Humphrey Bogart in Conflict  
32. Raymond Rouleau in Paris Frills
33. Paul Bernard in Les Dames du Bois de Boulogne
    
34. Zachary Scott in The Southerner 
35. Robert Young in The Enchanted Cottage
    
36. Robert Walker in What's Next Corporal Hargrove?
37. Dana Andrews in Fallen Angel
    
38. Dick Haymes in State Fair
39. Paul Muni in A Song to Remember 
    
40. Gene Kelly in Anchors Aweigh
41. Gregory Peck in The Valley of Decision
    
42. Stanley Clements in Salty O'Rourke
    
43. Alan Ladd in Salty O'Rourke
    
44. Tom Neal in Detour 
45. John Garfield in Pride of the Marines
    
46. Lawrence Tierney in Dillinger
    
47. Bing Crosby in The Bells of Saint Mary's 
48. Lloyd Nolan in The House on 92nd Street
    
49. Cornel Wilde in A Song to Remember
50. Dennis Morgan in Christmas in Connecticut
51. Arturo de Cordova in A Medal for Benny 
    
52. Gregory Peck in Spellbound
53. Russell Wade in The Body Snatcher
    
54. Hurt Hatfield in The Picture of Dorian Gray
    
55. William Eythe in The House on 92nd Street
    

Next Year: 1945 Supporting

Alternate Best Actor 1945: Trevor Howard in Brief Encounter

Trevor Howard did not receive an Oscar nomination for portraying Dr. Alec Harvey in Brief Encounter.

Brief Encounter is beautiful handled film by David Lean about a married woman Laura Jesson (Celia Johnson) who is tempted to cheat on her husband by a chance meeting with a stranger at a railroad station.

Trevor Howard would later play another potential man for a wife's infidelity in Lean's later less effective foray into similar subject matter in The Passionate Friends. Howard had a few things against him one being his character was a bit underwritten, as well as he had to create chemistry with the as usual fairly dull Ann Todd. It was not helped either that the film seemed surprisingly interested in the jilted lover and perhaps it helped him even less that he was portrayed by Claude Rains who ran away with that film without a question. This film though there is no Claude Rains to be seen, and instead of Ann Todd we get Celia Johnson. Johnson's performance is an incredible piece of work, and I have to say it is ridiculous she lost to Olivia De Havilland's forgettable work in To Each His Own.

Howard does not utilize his somewhat rough style I know him best for as he plays a gentle married doctor who befriends the housewife. Howard is very sweet and appropriately charming in his performance. Doctor Harvey is an idealist and Howard portrays this in his always enthusiastic and naturally suggests the compassionate side of the doctor particularly well. Dr. Harvey in himself is not an extremely complicated character by himself but Howard plays the part well by making the doctor rather pleasant company to be with so it is is not at all surprising that Laura would find him to be pleasant company as well. It is relatively simple work by Howard but he plays it just right.

A little more though comes from the chemistry Howard and Johnson create in the film. It is fairly interesting in the way they both play the mutually growing attraction and love each have for the other. Howard and Johnson just feel right together as there is such a great ease in the way they interact with one another. Both of them build the romance not on an overwhelming lust for one another, but such a strong affection for one another. When they are together neither of them play it as if they are trying to purposefully even have an affair so to speak, but rather each of them plays it as a powerful affection for the other's presence. They portray a constant empowering joy when together, and honestly create that drive that keeps bringing them together.

Trevor Howard gives a consistently good performance as Dr. Alec Harvey in the film, but it simply is Celia Johnson's film. She not only gets the stronger perspective, but she as well does make a more notable impact with her performance. It is her show from beginning to end, and there is not a moment where Howard comes close to stealing the spotlight from her. That is hardly a problem though in that Howard still fulfills his part quite well. What he must do more than anything is to properly facilitate her performance by creating a believable object of her affections, and to be a man that such a woman would consider forgetting family for. He fulfills this need well, and although he is not the best part of the film he is an essential part of what makes the film great.

Alternate Best Actor 1945

And the Nominees Were Not:

Jean-Louis Barrault in Children of Paradise

Trevor Howard in Brief Encounter

Cornel Wilde in Leave Her to Heaven 

James Mason in The Seventh Veil

Edward G. Robinson in Scarlet Street

Alternate Best Supporting Actor 1970: Results

5. Leonard Frey in The Boys in the Band- Frey, although his voice is a bit theatrical, gives an effective in his portraying his character's sharp cynicism.

Best Scene: Harold cuts Michael down.

4. Donald Sutherland in Kelly's Heroes- Sutherland gives a weird performance but an endearing character as the aptly named Oddball. 

Best Scene: Oddball takes a break from battle.

3. Trevor Howard in Ryan's Daughter- Howard gives a strong performance that deftly mixes in rather coarse qualities with a genuine heart.

Best Scene: Father Hugh talks to Rosy about marriage.

2. Alec Guinness in Scrooge- Guinness has only two scenes but two scenes of brilliance in his dryly comic performance as a ghost.

Best Scene: Marley in Hell.

1. Karl Malden in Patton- Good Predictions JackiBoyz, Maciej, and Kevin. Karl Malden gives a great performance as the unassuming General Omar Bradley by being the perfect foil for George. C. Scott's depiction of the pride filled Patton, and showing that a modest man can still be a complex man.

Best Scene: Bradley openly speaks his mind to Patton.

Overall Rank:

1. David Warner in The Ballad of Cable Hogue
   
2. Karl Malden in Patton
3. Charlton Heston in Julius Caesar
   
4. Alec Guinness in Scrooge
5. Trevor Howard in Ryan's Daughter
6. Bernard Cribbins in The Railway Children
   
7. Christopher Plummer in Waterloo
   
8. John Mills in Ryan's Daughter
9. Leo McKern in Ryan's Daughter
10. Donald Sutherland in Kelly's Heroes
11. Barry Foster in Ryan's Daughter
12. Yves Montand in Le Cercle Rouge
    
13. Don Rickles in Kelly's Heroes 
14. Chief Dan George in Little Big Man
15. Forrest Tucker in Barquero 
16. Michel Bouquet in La Rupture
    
17. Leonard Frey in The Boys in the Band
18. Mick Jagger in Performance
    
19. Anton Rodgers in Scrooge  
20. Colin Welland in Kes
    
21. Oleg Dahl in King Lear
22. Klaus Kinski in Count Dracula 
23. Gian Maria Volonte in Le Cercle Rouge
    
24. Rabi Ghosh in Aranyer Din Ratri
    
25. Regimantas Adomaitis in King Lear
26. Soumitra Chatterjee in Aranyer Din Ratri 
    
27. Yoshitaka Zushi in Dodes’ka-den
    
28. Orson Welles in Catch-22
29. Anthony Perkins in Catch-22 
30. Subhendu Chatterjee in  Aranyer Din Ratri
    
31. Kenneth More in Scrooge 
32. Samit Bhanja in  Aranyer Din Ratri
    
33. Giancarlo Gianni in The Pizza Triangle 
34. Jack Palance in Monte Walsh
    
35. Robert Duvall in MASH 
36. Junzaburo Ban in Dodes’ka-den
    
37. Robert Vaughn in Julius Caesar 
38. Strother Martin in The Ballad of Cable Hogue
39. Jeremy Kemp in Darling Lili
40. Maximilian Schell in First Love
    
41. Kārlis Sebris in King Lear
42. John Marley in Love Story
43. Tom Skeritt in MASH
44. Leonhard Merzin in King Lear
45. Martin Balsam in Little Big Man
46. Vladimir Yemelyanov in King Lear
47. Richard S. Catellano in Lovers and Other Strangers
48. Richard Mulligan in Little Big Man
49. Gig Young in Lovers and Other Strangers
50. Jean Gascon in A Man Called Horse
    
51. Bob Newhart in Catch-22
52. Martin Balsam in Catch-22
53. Henry Fonda in Sometimes a Great Notion 
54. Bob Balaban in Catch-22
55. Rene Auberjonois in MASH
56. Gerald Sim in Ryan's Daughter
57. Charles Grodin in Catch-22
58. Len Lesser in Kelly's Heroes
59. Martin Sheen in Catch-22 
60. So Yamamura in Tora! Tora! Tora!
61. Martin Balsam in Tora! Tora! Tora!
62. Jason Robards in Tora! Tora! Tora!
63. Tatsuya Mihashi in Tora! Tora! Tora!
64. James Whitmore in Tora! Tora! Tora! 
65. E.G. Marshall in Tora! Tora! Tora! 
66. Takahiro Tamura in Tora! Tora! Tora!
67. Donatas Banionis in King Lear
68. Ray Milland in Love Story 
69. Colin Blakely in The Private Life of Sherlock Holmes
    
70. Orson Welles in Waterloo 
71. Kerwin Mathews in Barquero
72. Lou Gossett Jr.in Landlord
73. Christopher Lee in The Private Life of Sherlock Holmes
    
74. Richard Johnson in Julius Caesar
    
75. Timothy Dalton in Cromwell 
76. Roy Scheider in Puzzle of a Downfall Child
    
77. Hal Holbrook in The Great White Hope 
78. Franco Nero in Tristana
    
79. Jon Voight in Catch-22 
80. Peter White in The Boys in the Band
81. Richard Jaeckel in Sometimes a Great Notion
82. Gianni Santuccio in Investigation of a Citizen Above Suspicion
83. Gastone Moschin in The Conformist
84. Art Garfunkel in Catch-22
85. Robert Morley in Cromwell
86. David Collings in Scrooge
87. Carroll O'Connor in Kelly's Heroes 
88. Gary Burghoff in MASH
89. Edward Binns in Patton
90. Cliff Gorman in The Boys in the Band
91. Michael Medwin in Scrooge
92. Laurence Naismith in Scrooge 
93. Dan O'Herlihy in Waterloo
    
94. Enzo Tarascio in The Conformist
95. Chester Morris in The Great White Hope
96. Billy Bush in Five Easy Pieces  
97. Herbert Lom in Count Dracula
    
98. Richard Benjamin in Catch-22 
99. Michael Bates in Patton
100. Federick Combs in The Boys in the Band 
101. Richard Beaumont in Scrooge
102. Laurence Luckinbill in The Boys in the Band
103. Patrick McDermott in Joe
104. Lawrence Dobkin in Patton
105. Jack Gilford in Catch-22
106. Ralph Waite in Five Easy Pieces 
107. Robert La Tourneaux in The Boys in the Band
108. Cal Bellini in Little Big Man

Alternate Best Supporting Actor 1970: Trevor Howard in Ryan's Daughter

Trevor Howard did not receive an Oscar nomination, despite being nominated for a Golden Globe, for portraying Father Hugh Collins in Ryan's Daughter.

Trevor Howard plays the role of the priest of a small Irish village. The role was written for Alec Guinness and it is easy to see him in the role. Guinness turned it down though and Trevor Howard was cast instead. Alec Guinness is not an anagram for genuine class for nothing, Trevor Howard on the other hand name is not an anagram for vow rot harder for nothing either. What I mean by that nonsense is that, while I'm sure Guinness would have been great in the role, Howard's casting offers a rather interesting take on the character of the priest. Howard has a natural roughness to him making him far from a genial man which tend to be the nature of most supportive priest characters.

Howard keeps his usual gruff personality in his portrayal of Father Hugh who does his best to be the moral compass of the village, and basically goes about checking to make sure everything is going as it should be. Howard's performance is a rather effective one because he balances between his natural roughness and the good nature of his character. Howard does not tone down anything about rough side to portray Father Hugh. Howard brings a power to his character through the roughness actually by making him a man who will speak his mind, and speak his mind without reservation either. The way everyone seems slightly weary of Father Hugh is made believable because Howard makes him a force to be reckoned with.

Even though Howard makes Father Hugh gruff he does not forget to convey the morality of the character. Howard actually in part uses the gruffness to add to the righteousness of the man. There is no sense of falseness of his morality because Howard shows that Father Hugh is a character who could never even think of even having the slightest pretension. Howard makes Father Hugh a man who knows what is right and will not hesitate just to speak his mind quickly when he sees someone is at fault. When Father Hugh sees the bad or sometimes rather evil actions of the towns people, Howard is terrific in getting right to the point with his fierce moral indignation that he conveys from the priest.

Howard importantly brings the proper nuance to Father Hugh when he talking to someone he thinks deserves more than a slap in the face. Howard is very warm in his scenes with Sarah Miles as Rosy the titular character. In these scenes Howard is able to convey the importance of his beliefs strongly, and as something more than just a reason to cut sinners down to size. Howard gives the role the appropriate heart needed whenever the Father tries to talk to Rosy gently about her ideas of romance, or later when he tries his best to mend thing after Rosy has an affair of her marriage with a British soldier. Howard carefully shows that although Father Hugh will condemn when necessary, that there is a large heart behind his somewhat coarse exterior.

It is rather odd that the academy decided to ignore Howard's performance here, but I guess they felt they rewarded the film enough by recognizing John Mills's Oscar winning performance as the village idiot Michael (a performance that I will continue to defend, as I do believe he was the best of the truly supporting performances nominated). The academy though should have also recognized Trevor Howard as well as he very much excels with his performance as Father Hugh Collins. Howard succeeds in giving the local priest that large personality that makes him in a way one of the commanding forces of the island,  but Trevor as well well still brings the right tenderness there should be in a man who wants his congregation to be moral and thrive as they should.

Alternate Best Supporting Actor 1970

And the Nominees Were Not:

Alec Guinness in Scrooge

Donald Sutherland in Kelly's Heroes

Trevor Howard in Ryan's Daughter

Karl Malden in Patton

Leonard Frey in The Boys in the Band

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: Trevor Howard in The Passionate Friends

Trevor Howard did not receive an Oscar nomination for portraying Professor Steven Stratton in The Passionate Friends.

The Passionate Friends tells the usual story of two lovers who continue their passions far too long in their life without making a proper commitment. It is a well handled version of this story though particularly since it is directed by David Lean.

Trevor Howard portrays the man in the situation to Ann Todd's Mary who is the woman in the situation. Trevor Howard in this performance as Steven has a considerable charm in his portrayal. He and Todd don't have perfect chemistry due to Todd, but Howard is able to override this a bit with his performance. Howard handles this type of role well by not trying to make Steven some sort of rebel personality that entices Mary. Instead Howard honestly just makes Steven just a very charming, and fun loving fellow that makes it easy to see why Mary would be as taken with him as she is. 

Their problems arise at first though because Mary does not want to be married where Steven most certainly wants to be. Howard is quite good in his portrayal of the passion in Steven in this respect. He is genuine in making Steven a bit of a hopeless romantic. This type of character trait could have made Steven either seem dull or a dullard, but Howard's earnestness overcomes any problem that really could be associated with it. Howard makes this overwhelming aspect to Steven's personality work and he succeeds in showing why Mary would be both pulled in by as well as even pulled away with it due to his intensity for these feelings.

Eventually troubles arise as she leaves Steven and marries a wealthy older man Howard (Claude Rains), but they still carry on. Howard properly has that same enthusiasm in his performance to push forward to make the continued affair convincing. Howard's role is fairly straight forward except for a scene where he must more directly confront Mary's husband over the affair. Howard is good in this scene as well, showing the appropriate passion within Steven, and important showing that the love Steven feels is truthful even if not exactly the most well thought out idea either.

At the end of the film Steven moves on to another woman, and Howard plays this effectively though because he does not suggest Steven as a bad man for doing this. Instead he again shows Steven to be a genuine man who really just has a great deal of love to give more than anything else. It not that his current love is false or his past with Ann was false either instead Howard correctly portrays Steven as a true romantic. This is a nicely handled performance by Trevor Howard, even if the role is somewhat simple and there is another performance that you remember far more vividly from this film.

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

Best Actor 1960: Results

5. Trevor Howard in Sons and Lovers- I like that Trevor Howard tries to get something out of his fairly simplistic character, but he just is simply not given enough to do.

4. Spencer Tracy in Inherit the Wind- Tracy does a lot of big acting court room scenes, as well as believable mannerisms, he does both well, but not that well. And yes that's 9 losses to 0 wins for Tracy.

3. Jack Lemmon in The Apartment- Jack Lemmon gives a charming, and humorous performance, that simply is enjoyable to watch. He creates a character and performance that is just great to follow through on his corporate misadventures.

2. Burt Lancaster in Elmer Gantry- Lancaster's performance is a terrific one because of his fascinating creation of Elmer Gantry. His wild energy is just perfect for the wild Gantry. Lancaster completely throws himself into his role creating a compelling character, with a fascinating combination of sarcasm, and earnestness.

1. Laurence Olivier in The Entertainer- I will admit this one really was pretty easy for me to choose. Olivier stood out for me as the best with his outstanding portrait of the on his last legs Vaudevillian Archie Rice. Olivier portrait of Rice's facades he puts on to hide the truth are perfectly handled by Olivier, and his moments where he shows the real honest Rice are incredible.

Deserving Performances:
Anthony Perkins in Psycho