Alternate Best Actor 1934 and Alternate Best Supporting Actor 1934: Henry Brandon in Babes in Toyland and Boris Karloff in The Lost Patrol

Well this is first for a lead year where there was not at least two performances let alone one that was perceived as obvious snub, or even obviously a great performance. Most of what I hear from this performance is about It Happened One Night, and rightfully so as it is the best film of the year and contains the best actor and actress performance from that year. Well here are some performances at least worth mentioning briefly that I watched in an attempt to find a great performance that was missing from the Oscars line up.

Leslie Howard in The Scarlet Pimpernel - A surprisingly fun performance from Howard who could also be found in the melodramatic Of Human Bondage. Howard was fine in his usually fairly stuffy mode on the slightly better end but he was not exactly pulling a Pygmalion in that one. Howard is a little different here as the hero Sir Percy Blakeney with a secret identity who pretends to be The Scarlet Pimpernel in an attempt to save those threatened by the reign of terror during the French Revolution. When he is acting as the Pimpernel it is more standard Howard, but he is lively here so he works rather well still. He is rightfully commanding in a sly and sharp fashion to suggest his character's brilliance. The surprising part is how he plays Percy around potential foes which is that of a daffy fool. It is odd to see Howard go so silly and he is pretty enjoyable in these scenes, he is not completely consistent with his portrayal of the mannerisms he comes up with but it is entertaining to see the usually restrained Howard to really play it up a bit. This is not a great performance by Leslie Howard but it is something different from him which is nice to see.
3.5

Clark Gable and William Powell in Manhattan Melodrama - Interestingly the two main contenders for the Best Actor prize in 1934 also competed for also starred together about two childhood friends who find themselves at odds when one goes the way of the criminal and the other the law. Gable is naturally the crook I suppose and the performance is a bit of a combination of his pre-stardom tough guy act with his stardom charming guy act. Gable does the combination act pretty well for the most part although he never is on ay the level of James Cagney in Angels with Dirty Faces as Gable does not combine the two sides to perfection. He is good throughout though, and his end scene he handles particularly well where his character Blackie refuses to accept Powell's characters help. In that scene Gable marks the right combination as he gives the sense of Blackie's past, but as well his convictions as a criminal. Powell gets the less interesting role as the straight arrow politician. He does get over on Gable in one way which is Powell does have a superior chemistry with their mutual love interest played by Myrna Loy. Powell plays well off of Gable establishing their history, but most of the time he gets his dead serious morality speeches. Powell gives these enough of a passion but to be honest I like Powell when he's a cynic. Neither reach the heights of their Oscar nominated work, but both are definitely good.
3.5 - Gable
3.5 - Powell

Boris Karloff and Bela Lugosi in The Black Cat - The Black Cat is not a film I would put up with the best horror films of the period but it is quite a bit of fun. Lugosi actually plays a hero here, although a very troubled one, and it is interesting to see him in such a role. Lugosi honestly brings some poignancy to his part at moments as he portrays a man very much haunted by his past. Unfortunately there are some moments of overacting any time he has to be scared by his cat, and not the good type of Lugosi overacting either. He does get to make up for a bit at the end of the film when he gets an upper hand on the film's villain then he does the enjoyable Lugosi overacting. Karloff gets to be the Satan worshiping architect, is there any other type of architect?, who traps women so he can murder them and put them in glass. Anyway Karloff is a hoot here really playing up the evil to delicious levels wonderfully underplaying every scene but always with such great menace in every single word he speaks.
3.5 - Karloff
3.5 - Lugosi 

John Barrymore in Twentieth Century - John Barrymore plays Oscar a Broadway director who makes a star out of a former model renamed Lily (Carole Lombard). Barrymore performance is that of either playing it really down quiet intense with a suggested tenderness, or very extreme and loud screaming when barking orders. There are a few instances in the middle where he react to something happening in a broadly comic fashion. Technically all of the insanity is just fine because this is suppose to just be a funny performance as the lead to this screwball comedy. Well Barrymore is good enough here as there are some hilarious moments amidst all of his big moments. He is not always entertaining in every single moment of the film and I think he could have gone a lot further with the part. Overall I would describe his performance as enjoyable though.
3.5 

Victor McLaglen in The Lost Patrol - This time McLaglen actually plays a fairly level headed man opposed to the rather foolish brutes that he portrayed in his Oscar winning and Oscar nominated performances. Here McLaglen plays the Sergeant who tries his best to get his men out of the terrible situation they are in. It is a relatively simple performance in that the Sergeant must stay obviously calm and cool throughout to try to help his men. McLaglen proves him capable of playing a capable man and has the right assured passion in his performance that makes the Sergeant the appropriately calming figure. McLaglen is also effective as the death count piles up by underplaying, in that Sergeant should still remain calm, and instead in subtle fashion at first suggesting how each death does effect the Sergeant although he must still stay in charge. McLaglen remains very effective though even as the Sergeant resolve begins to wain as the likelihood of survival becomes less and less, McLaglen handles the loss of passion and slight loss of sanity in the Sergeant well.
4

Overall Ranking:

1. Clark Gable in It Happened One Night
2. William Powell in The Thin Man 
3. Harry Baur in Les Miserables
4. Oliver Hardy in Babes in Toyland
5. Stan Laurel in Babes in Toyland
6. Victor McLaglen in The Lost Patrol
7. Takeshi Sakamoto in A Story of Floating Weeds
8. Robert Donat in The Count of Monte Cristo
9. Claude Rains in Crime Without Passion 
10. Herbert Marshall in The Painted Veil
11. W.C. Fields in It's a Gift
12. Clark Gable in Manhattan Melodrama
13. Boris Karloff in The Black Cat
14. Fredric March in Death Takes a Holiday
15. John Barrymore in Twentieth Century
16. Leslie Howard in The Scarlet Pimpernel
17. Maurice Chevalier in The Merry Widow 
18. Fredric March in The Barrets Of Wimpole Street
19. Bela Lugosi in The Black Cat
20. William Powell in Manhattan Melodrama
21. Leslie Banks in The Man Who Knew Too Much
22. Leslie Howard in Of Human Bondage
23. Wallace Beery in Viva Villa! 
24. George Arliss in The House of Rothschild
25. Frank Morgan in The Affairs of Cellini
26. Fredric March in The Affairs of Cellini 
27. Henry Wilcoxon in Cleopatra
28. Jean Daste in L'Atalante
29. David Manners in The Black Cat
30. Warren William in Cleopatra
31. John Davis Lodge in The Scarlet Empress

Supporting actually at least had two performances that I felt stuck out.

 Henry Brandon did not receive an Oscar nomination for portraying Silas Barnaby in Babes in Toyland.

This is the greatest version of Babes in Toyland that I have seen because it throws in Laurel and Hardy for great hilarity.

This is one of the best Laurel and Hardy films as it features some of their best work, but as well has many great elements besides them. One of these elements is Henry Brandon who actually contests for Stan and Ollie for the funniest performance in the film. Brandon plays Silas Barnaby the richest man in Toyland who wants to marry Little Bo Peep even if it means manipulating everyone in the town. Brandon was actually only around 22 years old when the film was made yet he plays the elderly without hitch. He plays the evil old man mannerisms quite brilliantly with his arched back, and the way always raises his head beyond it. He makes it obvious that old Barnaby is the villain, and shows early on that he is going to have as much fun with the part as possible.

Brandon does indeed have a great deal of fun as every line and delivery and every movement he gives a extra evil emphasis to show just how evil Barnaby is. Brandon plays it up to the max, which is exactly how he should be in this film. What is wonderful is that despite being the villain and playing up that fact he also gives a very funny performance in portraying the character. Brandon has this one reaction he always makes to every surprise that Barnaby faces when he is tricked. Brandon mouth is completely agape and his eyes wide open, and it is hilarious every time. His funniest moment in this regard though is when the wooden soldiers comes to stop him at the end of the film and his reaction that time he almost seems to somehow go even wider, I pretty much burst out laughing every time I see it.

What I really like about this performance is that Brandon never settles into just being the bad guy or even being overshadowed by Laurel and Hardy which definitely would be easy enough to do. It is rather interesting that Brandon actually manages to bring some menace into his moments while never stopping with humor though. He particularly combines the menace with the funny well in a scene where Stannie and Ollie accidentally knock off his hat leaving him to lurch toward them. Brandon makes his eyes fierce and determined with the appropriate grimace, yet completely amusing still with well just how intensely he shows that yes Barnaby indeed the mustache twirling villain. Brandon simply never let's the film down in any scene, always bringing an constant energy to the proceedings.

Henry Brandon gives a very enjoyable performance here utilizing each second of his screen time. Whether it is one of his devilish line readings, or one of his moments of great physical comedy, one scene where he takes a broom to the face is a particular highlight, it is just a joy to watch Brandon at work here. The best part is that the part of Barnaby could have been one of the often forgettable villains from the period or just one of those over serious types that are often the villains in the comedies from the periods. Brandon aptly meets all the villainous demands of the part, but he as well goes the extra mile by turning this villainous performance into a completely comedic performance. He goes far enough even to go face to face with Laurel and Hardy in their own film, and he does not falter in their presence.

Boris Karloff did not receive an Oscar nomination for portraying Sanders in The Lost Patrol. 

The Lost Patrol is an effective film about a group of soldiers lost in the desert.

Well before playing the Satan worshiping architect in The Black Cat he was playing Sanders one of the soldiers in a British regiment who find themselves lost in a desert while be lead by the steadfast Sergeant (Victor McLaglen). Sanders naturally is a very devote man of God. Karloff was a very interesting actor back in the old days as he would give his larger than life lead performances in all those horror films but at the same time he could be found in supporting roles in more "serious" fare. Although many supporting actors from the period just sort of fade into the background usually letting the lead make the only impression if anyone is to make an impression at all. This is not the case with Boris Karloff who makes the strongest impact in the film in his portrayal of Sanders.

The first scene we see Sanders is after one of the men has been killed and has been buried. Before they leave to brave the desert Sanders is quick to remind the Sergeant that nothing has been done for the soul of the man. Sanders reads a few words from scripture and Karloff is fantastic in showing what the words for Sanders. The words to him are most meaningful, although Karloff shows this not to be in the traditional way most religious men would treat the words. Karloff does not express Sanders's faith as something that gives him comfort or any sort of greater pride. Karloff is rather striking instead making it a slightly disconcerting need in Sanders as if he almost suffers from how much his devotion goes into him to the point that the words almost pain him to say.

The religious zealot is an easy enough role to screw up as it can lead to excessive overacting, and often the actors takes entirely the wrong approach. Technically speaking Sanders does many of the usual things such as ridiculing those he deems unfaithful, or becoming more emotionally intense as the situation becomes worse. In the moment of questioning the lack of faith of another Karloff is very powerful because although he does make Sanders overbearing in a certain way so you understand the hatred the other men for him, their is such an honesty in his portrayal. The honesty being in the need that Karloff portrays the strong need to save the others, it is not something he can forget Karloff makes it an intense pull in the man. Karloff establishes it as something that Sanders must do.

As the situation slowly becomes worse Karloff is remarkable in portraying the slowly deteriorating psyche of  Sanders. Karloff makes great use of his very expressive eyes in conveying the growing madness of Karloff. Again Karloff does more than just give us some madness though as he also adds to be always reinforcing the faith of the man within the insanity. There is a strange tenderness that Karloff brings even craziness of his character that really makes every one of his scenes something special. Where in The Criminal Code Karloff stole the picture from beginning to end, despite not even being the lead, as the smartest man in a prison even though he was crook, even though in a far meeker role with greater competition from the rest of the cast Karloff once again steals the film.

Overall Ranking

1. Henry Brandon in Babes in Toyland 
2. Boris Karloff in The Lost Patrol
3. Charles Vanel in Les Miserables 
4. Sam Jaffe in The Scarlet Empress
5. Peter Lorre in The Man Who Knew Too Much
6. Charles Laughton in The Barrets Of Wimpole Street
7. Michel Simon in  L'Atalante
8. Raymond Massey in The Scarlet Pimpernel
9. Walter Connolly in It Happened One Night 
10. Boris Karloff in The House of Rothschild
11. Edward Everett Horton in The Merry Widow
12. George Barbier in The Merry Widow 
13. Emile Genevois in Les Miserables
14. Felix Knight in Babes in Toyland  
15. Joseph Schildkraut in Cleopatra
16. Porter Hall in The Thin Man
17. Wallace Ford in The Lost Patrol 
18. Henry Krauss in Les Miserables 
19. George Brent in The Painted Veil
20. Guy Standing in Death Takes a Holiday
21. Louis Calhern in The Affairs of Cellini
22. Charles Dullin in Les Miserables 
23. Reginald Denny in The Lost Patrol
24. Ward Bond in It Happened One Night 
25. Donald Meek in The Merry Widow
26. Louis Calhern in The Count of Monte Cristo
27. Jean Servais in Les Miserables 
28. Sidney Blackmer in The Count of Monte Cristo
29. Warren William in Imitation of Life
30. Stuart Erwin in Viva Villa!

Next Year: 1996 lead

Best Supporting Actor 1952: Results

5. Richard Burton in My Cousin Rachel- Although I thought his performance was effective, but I think part of why this was because of a clear inexperience in his acting that happened to work well for his inexperienced character. That is the only real reason he is at the bottom of my list.

4. Arthur Hunnicutt in The Big Sky- Hunnicutt places fourth mostly because had had the least emotional reaction to his performance out of the nominees. He still was very good, and manged to turn a stock role into a warm and effective performance.

3. Jack Palance in Sudden Fear- An effective performance by Palance which requires him to be both charming, and deceitful. His performance is required for the believability of the film, and since he succeeds he enables the film to actually be realistic for a thriller of course.

2. Anthony Quinn in Viva Zapata!- Quinn brings much needed realism and authenticity to his role, and the film he is in. He gives an effective performance throughout, and although I did not think his conclusive was completely earned in terms of the film's structure I thought his performance in that scene was indeed terrific.

1. Victor McLaglen in The Quiet Man- Topping what is indeed a strong year of supporting actors is Victor McLaglen. I will say this was not easy at all to decide my choice unlike so many a supporting year. I really had a tough choice this year, Palance perhaps had the biggest challenge, Quinn the most realistic perhaps, but McLaglen for me was the most enjoyable. I think he gives an amusing performance. Yes it is over the top in ways, but in a manner completely fitting of his character. A close call, but I will just with the one I enjoy watching the most.

Deserving Performances:
Barry Fitzgerald in The Quiet Man
Stanley Holloway in The Lavender Hill Mob

Best Supporting Actor 1952: Victor McLaglen in The Quiet Man

Victor McLaglen received his second and final Oscar nomination for portraying 'Red' Will Danaher in The Quiet Man.

Well this perfect timing to review this performance on St. Patrick's day, a film all about Ireland. Anyways this is one of my favorite films ever, about  an Irish born, but American ex-boxer Sean Thorton (John Wayne) who runs from his past in America to go back and settle in Ireland in the cottage he was born in.

Victor McLaglen portrays a character certianly in his type that have a large brutish fellow, unlike in his Oscar winning performance in the Informer, where he was a brutish fellow but a modest one as well, this one he is a very loud obnoxious man. Danaher is basically a friend of no one and particularly dislikes the Yank Sean Thorton from the first time he sees him. This comes to quite a problem when Thorton wants to marry his sister Mary Kate (Maureen O'hara), which he objects to quite quickly and quite stubbornly which due to tradition means they cannot even date.

McLaglen is loud most certianly in this role. He always is taking up the screen in more ways than one, which I must say is the perfect style for the role of Danaher. I really think Danaher could have been played all wrong, in that he could have seemed too threatening, and without a comedic edge to the performance, but McLaglen finds precisely the right tone for his performance I think. He certainly is loud, and obnoxious and is properly over asserting, but McLaglen makes his boorish behavior actually fairly effective, and at the same time entertaining. He manages to create a good amount of humor due to some his reactions when he loses about something, or gets insulted in some way.

An interesting part about Danaher is that usually palooka characters like these are generally written incredibly simply. Danaher is a little different in that they actually write in that he himself wishes for love with a local rich widow. Now he makes rather amusing indications of this when he attempts his non too subtle come ons to her. He is in fact tricked because of this desire by locals to allow Sean Thorton and his sister date and marry by making him think that if he does the widow will marry him. On the wedding night of Mary Kate and Sean Thorton though he realizes the trick when the widow rejects him. I think McLaglen was actually quite good because he managed to make me actually a little sorry for Danaher as he pleads, and questions the others what went wrong before he figures out the trick.

Well anyways he denies the married couple the dowry causing marriage trouble between the Thorton's which leads to him and Danaher duking it out in one of the best fights in film. It is not because it is a dramatic fight, but rather because it is a hilarious rousing fight. I think actually even here McLaglen actually does still excel, because he could just fight, but some of his reactions in the fight I find are just gold. The best part of the fight is the end where he and Sean share a cold drink become friends. This would seem like an utterly impossible notion, but McLaglen makes it utterly believable showing his boisterous nature was a bit of a facade all along. Overall a performance a like very much, that could very well have been nothing, and just adds to a film, I already adore.

Best Supporting Actor 1952

And the Nominees Were:

Victor McLaglen in The Quiet Man

Jack Palance in Sudden Fear

Anthony Quinn in Viva Zapata!

Arthur Hunnicutt in The Big Sky

Richard Burton in My Cousin Rachel

Best Actor 1935: Results

4. Franchot Tone in Mutiny on the Bounty- Franchot done does his job well enough, but he never is all that amazing either. His character mostly reacts. Tone handles his reactions well enough, but still his performance never really stands out all that much.

3. Charles Laughton in Mutiny on the Bounty- Charles Laughton plays Bligh as a cruel man, a man who is simple and very cruel. Laughton portrays Bligh's cruelty in an effective manner both quietly when being systematically evil, and when being louder when his authority is challenged.

2. Clark Gable in Mutiny on the Bounty- Clark Gable has his usual slick charm and manner here which work especially well for Fletcher Christian. Gable gives a strong star performance that fulfills Flercher's role of passion and power perfectly.

1. Victor McLaglen in The Informer-McLaglen gives a terrific portrait of a man whose conscience slowly but surely grows on him, despite making great attempts to ignore it. McLaglen performance is incredibly effective and very memorable. He makes Gypo Nolan a  fascinating as well as likable character, making this an early Oscar well deserved.

Best Actor 1935: Victor McLaglen in The Informer

Victor McLaglen won an Oscar from his first Oscar nomination for portraying Gypo Nolan in The Informer.

The Informer is an effective film, since it takes view of the informer, and really presents his fight with his own conscience. My own problem with film is I think it should have stayed with Gypo Nolan for the entire film rather than drifting from his point of view a few times which it really should not have.

Victor McLaglen who eventually played many character actor roles as usually a tough Irishman of varying dispositions. It rather interesting to see him here as Gypo Nolan though because Gypo although is still technically formidable physically he is a very unassuming man. It is fascinating to see McLaglen as a very vulnerable man. I think particularly here scene where he meets his old IRA pal. His telling of how he could not kill another man, really shows that Gypo is a simple man who was forced by others to be more brutal than he wanted to be.

I find McLaglen creation of Gypo rather interesting because he makes him such a simple sad man. He is not what I would say as stupid exactly but just simple. He really wants just a good life, but sees things in too simple of fashion. McLaglen creates this almost always drifting character wonderfully. The fact that Gypo informs on his old friend to the British army really is completely natural because the way McLaglen established Gypo as such a man. He did not really even seem to inform on him for Greed but rather that getting 20 pounds from his informing would everything right. Now none of this really said in the film, but I feel McLaglen suggests it all in the sad faced, simple performance Gypo.

After receiving his awards McLaglen shows a more joyful Gypo, combined with a sometimes clear and sometimes silent guilt that slowly grows as his night drinking and spending the money goes. McLaglen creates a fascinating performance of a man who tries to hide his guilt and responsibility with outburst of sadness, with blaming others, and with pleasures gained from the money. McLaglen portrays all of Gypo's conflicting emotions well without overplaying any of them, but always seeming to react in the perfect way which fits Gypo.

The growing guilt and drunkenness are both handled well by McLaglen as they both grow through the night, until finally he is brought to an IRA trial, where his guilt is brought to the forefront, and his drunkenness turns to the pain of a hangover. McLaglen is excellent in this pivotal scene showing both the internal and external pain of Gypo equally well, creating a powerful performance showing the Gypo really just did not know what he was doing when he turned his friend in. I find this is a great performance since he makes a very simple man fascinating, is compelling to follow through his journey during the night, and since he makes Gypo, who did a very bad thing, stay likable. I was on the fence of a 4.5 and 5 but I fell to the latter because the performance has really had a lasting effect on me, and remain quite vivid.

Best Actor 1935

And the Nominees Were:

Victor McLaglen in The Informer

Clark Gable in Mutiny on the Bounty

Franchot Tone in Mutiny on the Bounty

Charles Laughton in Mutiny on the Bounty

Who will it be the informer or one of the men of the bounty?

Note: I decided not to include Paul Muni in Black Fury because he was not nominated actually. He got votes but someone like Boris Karloff for Bride of Frankenstein technically could have as well, so I decided to only take the actually nominated.