Best Supporting Actor 1956: Anthony Perkins in Friendly Persuasion

Anthony Perkins received his only Oscar nomination Josh Birdwell in Friendly Persuasion.

Friendly Persuasion tells of a peaceful Quacker family who attempt to hold onto their values as the Civil War moves toward them.

Anthony Perkins is an interesting an enjoyable case of an actor who became famous for a certain role that held stark contrast to their previous work. Even though their most famous role was against type they their role seems to make them that type. I was able to enjoy something similar during the last year I did where I got to watch Since You Went Away with Robert Walker as an unimposing squeaky voiced soldier which stands in a rather enjoyable contrast to his performance as the psychopathic stranger in Strangers of the Train. The same is true here as Perkins portrays an unassuming kind Quaker which is a very different performance from his most famous role as Norman Bates in Psycho.

Part of the reason his performance as Norman Bates probably worked so well though was because of Perkins's ability to portray an entirely descent but somewhat shy person like the character of Josh Birdwell in this film. Josh Birdwell the older son of a Quaker family, he is a good Quaker who always tries to remain faithful to the ideals of his faith and obey his mother and father. Friendly Persuasion has a little bit of trouble like other films that try a specific antiquated style of speaking that is not Shakespearean. Usually when a film tries this it shows why actors specifically study to speak the Shakespearean language convincingly, when the actor is unfamiliar with the language style or meaning their performance can sound needlessly stilted and it sounds like they spend most of their effort just being able to remember the words without properly bringing meaning to them.

This is not as much of a problem as it could be as Friendly Persuasion only lays on the Quaker dialect heavily at first, and to Anthony Perkins' credit he is the actor who most convincingly speaks the words actually, and he does not have the same problems as some of his co-stars have ridding his performance from any unneeded distractions which riddle a few of the other performances in the film. Perkins gives a good performance early on and realistically portrays his somewhat shy and gentle Josh. He does not make a huge impact early on and nor should he is suppose to be a wholly good son. Perkins realizes this well and honestly portrays the part without being dull. He still turns Josh into a character of his own that does have his own feelings, and emotions.

Perkins offers nice support early on and does his best to help create real family element to the film with his nice warm portrayal of the son who at first tries to be a quiet modest pacifist. I have to admit Perkins does not have the rest of the cast to really support his efforts to make a memorable family portrait in the film, but Perkins most certainly does his best to do his part. His performance does not remain in the role of the good son the whole time though as Josh is faced, just as the rest of the family is with the pressing issue of the civil war as their livelihood will soon be threatened by Rebel troops. Josh is the one who actually is most troubled by the issue and his conscience over whether or not to fight and kill to protect his family and friends.

Perkins' portrayal of Josh's struggle with his conscience is the best part of his performance. Early on Perkins gives some small subtle indications of just the realistic uncertainty in Josh's mind over what he will or won't do. Later on when he finally does decide to fight Perkins gives a moving portrait of Josh's still very quiet but painful choice to fight what he does believe is right. Perkins is effective here because he conveys that it is not a simple decision for Josh and Perkins shows all of the conflicting and troubling emotions within Josh. Perkins brings us right into Josh's fears as he finally does fight, and the terrible guilt after the fight is over. Through his performance Perkins realizes the central theme of the film very well. My only wish was his character was devoted more time as he always came off as the most realistic and most interesting of the cast, and he deserved more time at the end of the film than he is given. Nevertheless this is a fine performance Perkins that succeeds in realizing his character's struggle in a honest unassuming fashion.

Best Supporting Actor 1956: Don Murray in Bus Stop

Don Murray received his only Oscar nomination for portraying Beauregard 'Bo' Decker in Bus Stop.

Bus Stop is about a cowboy who tries to convince a saloon singer (Marilyn Monroe) to marry him.

Don Murray portrays the cowboy who loves yipping and hollering in a Richard Dix sort of fashion, which you know is never a good thing. Murray stays hooting and a hollering almost entirely throughout his performance as the very very dumb Bo Decker who goes to participate in a rodeo and at the same time thinks of picking up a woman. He goes along with his mentor of sorts Virgil (Arthur O'Connell) who tries to keep him in line. I must say it is absolutely amazing that out of the cast of Bus Stop they decided to reward Murray for his efforts since he gives the least impressive performance in the entire film.

It is made even more amazing though by the fact that he is not at all supporting and is in fact the male lead of the film, but perhaps the weakness of the performance put him supporting in their eyes, but if they noticed the weakness of his performance why would they have nominated him? Anyways Murray is extremely repetitive in his performance as he repeats the same over the top cowboy mannerisms almost throughout the performance which aren't even well done in the first place and do feel like a performance at all times. Murray stays basically one note the whole way through never trying to create anything layered about Bo.

He pretty much shows Bo to just be an idiot, or at least that is the way he plays him. He is so dumb though I questioned why we had to witness this character at all, or why the other character's took to the end of the film to give him a good beating. An extremely dumb character, and portrayal that keeps the dumbness to a maximum usually are only found in broad comedies, or if not they are usually small bit parts neither is the case with old Bo leaving him as just an obnoxious character that seems strange as a lead. It might have worked perhaps if Murray was ever funny in the role, but he does not has one moment that has the slightest bit of humor.

His two main relationships in the film have nothing special to them. He lacks any sort of chemistry with O'Connell or Monroe. Their scenes together only really illustrate how much better performers Monroe and O'Connell are than he is. He does not hold a single scene as his own since he just participates in the same unbearable shtick throughout, any scene with any other actor always belongs to the other actor in the scene it is quite insane really that Murray was nominated here. His performance is just that unremarkable, and is one of those types of work that come along every so often that is both dull and over the top which is a deadly combination.

His performance is not absolutely awful for only one reason which is his last scene after Bo is deservedly beaten for mistreating everyone and being a bully while being his hooting self. All of a sudden Murray learns subtly for his very last scene, although I would say even though he does learn subtly for this scene it still doesn't make much sense. He was almost a cartoon for the rest of the film and the Bo Murray shows in the last scene does not seem to be another side of Bo, or even a changed Bo, but an entirely different and unrelated man. As a unrelated man he is technically okay in the scene suggesting an actual person rather than a series of different loud noises. Still this one scene is not amazing by any means and only prevents this from being the worst nominated in this category, but it does not stop it from being one of the worst.

Best Supporting Actor 1956

And the Nominees Were:

Mickey Rooney in The Bold and the Brave

Don Murray in Bus Stop

Anthony Quinn in Lust for Life

Anthony Perkins in Friendly Persuasion

Robert Stack in Written on The Wind

Best Supporting Actor 1944: Results

5. Monty Woolley in Since You Went Away- Woolley although limited by his screentime does gives a nice humorous performance as a stuffy man who becomes less stuffy.

4. Hume Cronyn in The Seventh Cross- Hume Cronyn has a fairly simple role as an average man trying to help his friend, but he makes the most of it. He gives a convincing performance effectively finding the quiet decency of his character.

3. Claude Rains in Mr. Skeffington- Although Rains has to contest with a wildly overacting co-star he does far more than hold his own as he creates a genuinely moving portrait as the titular character.

2. Clifton Webb in Laura- Webb is almost perfect throughout having the perfect superior demeanor throughout the film. He creates a memorable character and even though his final scene could have been even better this is still a strong performance.

1. Barry Fitzgerald in Going My Way- After almost winning the lead category for this year I find it very easy to give Fitzgerald his deserved win for the category he belongs. He gives a simply wonderful supporting performance that is a humorous warm performance that could not be better.

Deserving Performances:
Edward G. Robinson in Double Indemnity
William Bendix in Lifeboat
Peter Lorre in Arsenic and Old Lace

Best Supporting Actor 1944: Clifton Webb in Laura

Clifton Webb received his first Oscar nomination for portraying Waldo Lydecker in Laura.

Laura tells the investigation of the murder of a young advertising executive Laura (Gene Tierney).

I should mention this review really must have spoilers  for the mystery of Laura. Though one can usually guess who the killer is in a mystery when there was someone nominated in the best supporting actor category. Clifton Webb portrays Waldo Lydecker a newspaper columnist who knows how to easily spew venom and way he wishes whenever he wishes to. Webb could not be better cast for the role as he challenges John Gielgud for being the King of portraying stuffy upper class individuals with quite a superiority complex.

Webb never leaves an moment open for when Waldo is on screen to question to question whom Waldo believes to be the smartest man in the room. Webb does not exactly control every scene with his presence which would be wrong for Waldo actually, but he is always part of the room that you cannot ignore. Webb always has the right emphasis with every single one of Waldo's snarky comments that he comes up with in all of his scenes. Webb always has the right demeanor in these moments as he shows that Waldo does this effortlessly.

Webb keeps Waldo as a bit of a enigma as he should be, in that he never gives away exactly who Waldo is in detail. Yes he is a pompous columnist which Webb displays in spades, but Webb never does leave a bit of mystery behind the man that may or may not contribute to his motivations. Although Webb never makes Waldo not a suspect he never makes it obvious that he will be the villain in the end. Yes it is clear that he is a rather low life sort of man who seems to try to prey on people's weaknesses and manipulating others is not beyond him. Webb never shows it as evil, but rather that is simply the way Waldo is.

An interesting criticism that the film sometimes receives is that Webb who was gay in real life does not seem like ever a romantic possibility with Laura. Well firstly I would say Webb could portray a straight person well enough when he wanted to like in Cheaper by the Dozen he is a believable father and husband. On the other hand in Sitting Pretty the plot point about the town gossip about Webb's character and the housewife played by Maureen O'Hara seemed implausible because, well its Clifton Webb. Even though Clifton Webb is Waldo, and Waldo is suppose to love Laura, I would say Webb still does make the relationship work in his own way.

Although Webb does show that Waldo loves Laura, and that he is the only one who want Laura it is only in his own particular and strange fashion. Webb never seems to show any sexual sort of desire for Laura though as almost he is above that sort of thing. Even in his fits of jealously over Laura he never shows it as a jilted lover but rather the reaction of a man who believes his possession is being tampered with. That really is the key to Webb's portrayal in that he shows a love for Laura by Waldo an intense unwavering one, but as he would for his prize not for a woman he loves.

His sort of love he shows for Laura also factors in perfectly to when it reveals he is in fact the man who murdered the woman. After all it never shows Laura really reject Waldo, it more of shows that she never really considers him, after all he is played by Clifton Webb. Webb creates Waldo relationship with Laura into something that could only really ended in one way since she is not a painting but a human being. This leads to his final scene where he again decides to murder. Webb shows a darker side to Waldo here, and I would by lying if I would to say it is a wholly satisfying conclusion scene for Webb. I do love his final goodbye which perfectly realizes the underlying insanity of Waldo, but I just feel when he threatens her he perhaps just could have been a little better as it seems just a little below Waldo. Nevertheless Webb still gives a terrific performance that creates a memorable character that serves his film just about perfectly.

Best Supporting Actor 1944: Claude Rains in Mr. Skeffington

Claude Rains received his third Oscar nomination for portraying the titular Job Skeffington in Mr. Skeffington.

Mr. Skeffington details the loveless marriage between the vain Fanny Trellis (Bette Davis) and a wealthy Jewish stockbroker Mr. Skeffington.

Claude Rains received three of his four nominations for portraying antagonists of some sort. This is the only time he was nominated for a character who actually might be described as good. It is also the only time out of all his nominations that he could be argued as the leading man of the film. I do not mind his placement in the supporting category since he just about completely disappears for about the second half of the film, he is very much the leading man of the film for the first half. Although this is a very different performance for Rains in regards to his four nominated performances it is one of two of his nominations where he portrays a man married to a woman he loves whom does not love him back.

Rains is in a rather odd spot in this film as he acts opposite Bette Davis who plays Fanny who only marries Mr. Skeffington so she can support her embezzler brother. The reason he is in an odd spot is how over the top and outrageous Davis' performance is in this film. She doesn't have a subtle moment throughout her whole performance which is filled with some of the oddest gestures and Davis almost seeming to do an overdone imitation of herself. Although it would probably be easy to succumb to the temptation to try to outdo or match Davis' performance in terms of extravagant behavior like Richard Waring does as Fanny's brother Trippy Rains actually gives an understated and very much restrained performance to counter Davis' theatrics.

Although Rains certainly is most famous for his villain parts he also does know how to portray a descent man as well, as shown as Mr. Skeffington who is such a nice man that even when he faces an embezzler he still treats them with far more courtesy than they deserve. Rains manages to turn Job into a descent man effectively as he is just a gentleman in the best sense of the word. He is kind courteous and has a low key sort of charm that shows that Skeffington is an entirely descent and respectable man. Rains is the perfect sort of gentleman in the role never trying to stress this fact he merely is. Rains interestingly enough shows here, unlike his other three nominated performances, there really is not anything under the surface of Skeffington he is exactly who he says and claims to be.

The main aspect of Rains' work though comes down to the central relationship in the film between Job and Fanny. There is actually an interesting dynamic between the character's and the two actors as Rains is as subtle as Davis is over the top. I won't say it is a great dynamic though as Davis went too far frankly, an actor can over the top but they have to absolutely sure of their performance and Davis never is. Rains therefore absolutely holds every scene in his possession as he comes off as much more believable because of his far more natural performance. Rains is actually quite moving as Job as he marries Fanny in the belief that he can eventually earn her love. Rains makes it clear that Job is not stupid he shows that he absolutely see Fanny as the gold digger she is, but he also shows that there is a desperation in Job to try to change Fanny.

Much of the early half of the film is dealing with Fanny's many suitors and Job trying to get her to genuinely love him. Rains is convincing in his quite way he shows Job's methods to try to bring out the love he desires out of Fanny. He is gentle in his performance showing that Job only wishes to tell her that he is good for her, and that he does love her, and only wants the same love in return. Rains is actually quite moving as he faces the utter amorality of his wife as he finally faces her down over her cruelty toward him. Although really he could have overacted Rains instead still stays quiet as Job intensely questions Fanny's behavior toward him. The film does not give him enough time and gives him an excessively melodramatic conclusion scene but Rains does manage to realize some of the heartbreak his character faces over his troubled relationship with his wife. This is a good performance by Rains that even manages to haunt the film even after he disappears for a great deal of time by his earlier presence. I wish Davis' performance matched his more thoroughly and the writing of the film was less over the top at times, but as it is Rains still gives a moving portrait of a tragic character. 

Best Supporting Actor 1944: Hume Cronyn in The Seventh Cross

Hume Cronyn received his only Oscar nomination for portraying Paul Roeder in The Seventh Cross.

The Seventh Cross is an effective film that depicts the escape attempt of George Heisler (Spencer Tracy) from a concentration camp in Nazi Germany.

Cronyn portrays Paul Roeder a man in George's hometown whom George goes to for help after not being able to come up with anyone else to go and see. Paul is just a normal working man who has no particular political ideas far from the norm but seems to be a man with a good heart. The Seventh Cross is a film filled with much dread as George narrowly escapes many close calls that will most certainly lead to his death, and comes across many cold individuals along the way who refuse to help him. Cronyn first appears well into the picture but he is a breath of fresh air as a wholly upbeat and positive character in the film.

Cronyn is effective of his portrayal of Paul who is just an average working man with a wife and a family, but still will do the right thing when he is called on to do so. Cronyn is quite good early on as he helps George with no knowledge of George's predicament, as he just joyfully treats his friend well with no presumptions of any kind. Cronyn honestly shows Paul to be just an average goodhearted fellow though without every being boring in his portrayal nor does he ever show a false show of goodness, Cronyn realizes that Paul simply is truly a good man.

Cronyn's performance as Paul is quite interesting as he almost becomes the lead of the film for a brief period as Paul risks his own well being by trying to reach connections in the underground to help George escape Nazi's Germany. Cronyn is effective in Paul's quick change as he must face the problems of his country even though he was trying to live a normal life beforehand. Cronyn is great in just the way that after George lets Paul know why he actually needed to stay at his place Paul's whole body language and manner instantly change. As Cronyn shows the happy Paul instantly faced with the troubling reality creates fear and paranoia as well as some anger in Paul due to learning of George's circumstances.

Cronyn brings right into Paul's fears as he tries to help George as we can easily sympathize with Paul because of Cronyn honest and completely believable portrayal. He makes Paul into an any man that is likable and successfully brings out the film's message of some people that are in the worst of situations can still be good people. Cronyn brings this out naturally through his portrayal firstly of his warmth and his natural chemistry with his actual wife Jessica Tandy portraying Paul's wife that makes us care for his welfare just as much as the main character George who have spent more time with. Cronyn effectively portrays though a quiet strength within Paul that comes out, and Cronyn brings us completely with him through his troubles as he slowly realizes how poorly off his country really is. It is a moving and natural performance by Cronyn that succeeds in making Paul Roeder almost the lead of his own short film within the larger film about Tracy's character's struggle.