Alternate Best Actor 1975: Tim Curry in The Rocky Horror Picture Show

Tim Curry did not receive an Oscar nomination for portraying Dr. Frank N. Furter in The Rocky Horror Picture Show. 

The Rocky Horror Picture is a musical about an unassuming couple who find themselves in a strange castle with even stranger residents. Despite its cult following I found the film to be a mostly hollow exercise that I did not find particularly compelling or entertaining, even its "edgy" elements I did not find all that memorable, and the songs felt redundant rather quickly.

It is pretty easy to say that Tim Curry is the best part of the film in his feature film debut as Dr. Frank N. Furter a mad scientist transvestite who hails from the planet of transsexual in the galaxy Transylvania. There is not a great deal to Frank N. Furter other than his overt strangeness and the way he things interested in all things sexual, although is also capable of a great deal of violence when brought to it usually in fits of jealousy. Frank N. Furter is the bizarre sexuailzed version of both doctor Frankenstein as well as the monster itself. I suppose there was probably only one way to play the part, and that is the approach Curry takes which is to go head first with his character and to be completely unabashed with his character's style.

This performance is rather in the same vein as Joel Grey's performance as the Master of Ceremonies in Cabaret where it is more about how the performance is performed than what is being performed. Yes there is various strands to this character the lustful transvestite, the evil scientist, the alien with some plan, or just the homicidal maniac, but they don't exactly make a cohesive whole. I am not saying against Curry nor am I really saying anything against the part as this really is the intention of the part. Frank N. Furter is simply there to freak you out well entertain you at the same time, he is not there to create an in depth look at the nature of an evil alien scientist. Frank N. Furter is simply suppose to be strange and entertaining so it is good that Curry's performance is strange and entertaining.

Curry doesn't hold back, that is for sure, playing the part with a devilish glee almost like Frank N. Furter is filled with orgasmic ecstasy simply from talking. This certainly works in creating the sexual creature that is Frank N Furter, and he only adds to that through his delivery of the songs which are done in such a forceful as well as rather slithery fashion. Curry not only fascinates with his style but as well threatens as well. Curry has such strange menace even well he is singing. It is most unusual but Curry pulls it off quite marvelously as being a pure evil but also quite magical in the musical sense. It is an interesting trick and one that Curry pulls off without any visible effort in his outrageous delivery.

Curry jumps around in the styles from a seductive force with his sly smile and piercing eyes, to the mad scientist with a maniacal glee, and to the jealous psychopath with his a ferocious stare. Curry does this all well and is something fascinating to watch every moment he is given something to do. He is just filled with energy and the fact that he is clearly having so much fun does rub off. The only problem with his part really is the fact that sometimes Frank N Furter is forced to just kind of stand there, and that is part of the problem with the film as a whole when it seems to be trying something but takes too long to do anything and ends up going nowhere. To his credit though Curry would be the reason to see the film since whenever he does get the chance to do something he gives it his all and then some.

Alternate Best Actor 1975: Sean Connery and Michael Caine in The Man Who Would Be King

Sean Connery and Michael Caine did not receive Oscar nominations for portraying Daniel "Danny" Dravot and Peachy Carnehan respectively in The Man Who Would Be King.

The Man Who Would Be King is an extremely enjoyable adventure film about two former British soldiers in India who wish to set on a journey that would make them Kings in an even more secluded land.

It is interesting to note that its director John Huston intended to make it for some time originally planning for Humphrey Bogart and Clark Gable to play the lead roles. Although that probably also would have made a pretty good film the performances probably would not have been nearly as fitting for the parts of Danny and Peachy. The reason I am reviewing both of them together is that it is hard to separate them, there are a few differences in their performances which I will get to, but a great deal of the success comes from their work together as one. One aspect that the two share that makes both Danny and Peachy great characters is the past of the two men that we learn from both Caine and Connery's performances.

Danny and Peachy are adventurers and con men to say the least who intend to find some fortune by out scheming one of the natives out of a fortune of some sort. These two are a mischievous sort and the duo play this marvelously. The both have wink and sly grin to go along with their scheme. They handle this just right bringing us into the scheme right along with them through their mutual charms, and never seeming self indulgent as they could have easily been. Caine and Connery are both of the time and are always within in their story with their scheming. They have a certain knowing in their style but this always feels natural to the pair while still naturally bringing out the humor of the situations they get into quite effectively.

One of the ways they do this is although they are mischievous con men they are mischievous con men who are former proper British soldiers as well. Both of their styles are a brilliant combination of both of the rather low with the oh so proper. Connery and Caine both play them with a great firmness in style and step. They were soldiers their is no doubt about that and they absolutely sell the idea that the two men would write up a proper contract about their insane expedition before starting it. They play this type of style both with the utmost conviction, but as well with the utmost wit about it too. They are able to make their march not only the march of soldiers but as well easily finds the humor in making it part of the dynamic between their actions and method.

The two act as the best type of guides as they take us through their adventure through this strange mix of proper British conviction along with their more technically low brow scheming. Connery and Caine take such an unique approach for the leads of an adventure film and it absolutely pays off. It is interesting in the way that Caine and Connery bring out the pride of individualism as men in the manner in which they go about their task even teaching the natives how to fight and die like "real" soldiers, while they have this sharp edge still as they still show a sarcasm in their delivery. Connery and Caine find such an enjoyably dichotomy that makes this such a particularly fun ride.

Caine and Connery as a duo are perfect for one another. Caine and Connery are two of the most charming and charismatic actors around, and the fact that neither out charms the other it only makes the charm of the two only amplified with the two. Caine and Connery play off each other with expert timing never seeming to lose their place as one never does for a moment overwhelm the other performance together they are just an extremely entertaining pair. What is so special though is they are able to each stand out on their own when necessary as well. When they do stand out it does not seem like they are trying to one up the other instead they each allow one another great individual moments while never losing the terrific chemistry they have together.

There is a splitting point for each though as Danny is accidentally declared a god by the natives taking a role as a King. Connery changes his style a little bit when he starts portraying Danny who is swept up into the whole idea of being a god and begins to believe it himself. Connery nicely changes from the slightly sarcastic soldier to a man of lordly dignity who wants to rule his dignity as a king and a god should. Connery is excellent as he eases into this delusion and shows that the con man starts to leave him and the over confidence of his delusions begins to rise in him. Connery makes Danny become exactly what he believes him to be, and effective shows how the former con man could so easily forget his purpose and be enveloped by the delusion.

Caine's performance moves in the other direction as Peachy's cynical edge only becomes stronger as Danny becomes more and more earnest. Caine is equally good as he moves Peachy in the opposite direction of Danny in his portrayal of Peachy's reactions to Danny. He shows Peachy almost in complete disbelief to the point that he just finds it all very amusing. Caine is very good as he moves Peachy's reaction from a cynical bemusement to the situation to a much sadder disappointment in his comrade. Caine is a very to the point as Peachy bluntly expresses this disappointment and does well to stand as basically the call for reality to Danny which is made particularly incisive because Caine expresses that the humor in Peachy is now gone from this matter.

Thanks to the schism between Danny and Peachy is believably portrayed it really makes the finale of the film all the more powerful. After Danny's godhood is shown to be nothing more than a falsehood. This revelation leads them both two a bitter end and a quick reconciliation as they find themselves surrounded by angry natives. When Danny apologizes to Peachy it is a great  moment because it not only is it very funny in the way they still do things in their proper British fashion, but it is also very sweet in that it shows how genuine the friendship between the two has been all along. This also contributes incredible final scene between the two of them as Danny goes to meet his maker. It is a beautiful scene as they both sing "The Son Of God Goes Forth to War" and we see just how much Danny and Peachy really meant to each other as well as how much we as the audience have grown to love the rascals.

These are great performances all on their own and truly something special when considered together. Sometimes with two leads there is a duel to see who conquers the picture, but in this case Caine and Connery rule the picture as Kings together. Neither shines brighter than the other they together instead are almost symbiotic in their characterizations of these peculiar yet very endearing pair of adventurers. The two together are both in top form throughout the picture, they are brilliant as a team and stay brilliant even when they slide apart. These are wonderful turns from both actors and rank as some of the very best work from each of the actor's cannon, and they just might create two of the very best characters you have ever been able to go on an adventure like this with.

Alternate Best Actor 1975: Gene Hackman in French Connection II

Gene Hackman did not receive an Oscar nomination, despite being nominated for a Golden Globe and a Bafta, for portraying Jimmy "Popeye" Doyle in French Connection II.

French Connection II as a follow up to the first one does has to be taken as a bit of a disappointment, it's just not on the same level, Fernando Rey's reprise of the villainous Charnier is rather wasted, and Roy Scheider is missed. Having said that though it does have good scenes and it is an excellent showcase for Hackman as an actor as it continues the story with Popeye going to France to try to find "Frog One" who alluded him in the first film.

I know I planned to review Hackman in Night Moves which he was also Bafta nominated for, but after watching that film I decided it would be best if I went back to and finally finish French Connection II as well which for whatever reason I stopped watching about thirty minutes in many years ago. Finally finishing I clearly saw what was Hackman's best output from 1975 was. Now that is nothing against Night Moves which itself is a strong character study with a not nearly as strong film noir plot. Hackman, as usual, commits himself admirably there as well as an ex footballer who tries his hand at being a private detective even if his enthusiasm for the job outweighs his competence. 

In both of his performances actually Hackman plays characters who are much more out of their element than they would like to believe. He does this quite well in Night Moves, but in the French Connection II Hackman takes it to another level. What aids in this surely is the memory of his performance in the first film where he was the streetwise New York City detective who knew the city like his own home, the man who could handle a room of criminals like a lion tamer, and had that unshakable drive to get his man. Although if you did not remember this for whatever reason Hackman does it with Doyle's manner as he first arrives to France trying to take that same approach even though Marseille is not New York.

Hackman though does well to show that this is not exactly the same Popeye that we saw last and clearly shows in his face that what happened at the end of the last film has not be completely forgotten by him. Yes Hackman plays the forceful quality of Popeye still there but in his eyes there is some pain to be seen both clearly from the accidental killing in the previous film as well as the fact that he failed to capture the main drug smuggler Charnier. Hackman handles perfectly by coming on so strong at first, showing Popeye trying to be that same street smart cop he was in the city, even though he soon finds out that things do not go for him the same way they did in New York.

Hackman is terrific in portraying what's lost in translation as Popeye does his forceful interrogation and tries his best to get something from the suspect but fails since the suspect can't even understand what he is saying. The same even goes for when Popeye is trying to be a man about town, Hackman again turns on a certain charm like he had in the original, but is perfect in playing up the disappointment as Popeye just is unable to really fit into the place that he knows very little about. Hackman's plays this disappointment perfectly because he has Popeye still putting on a proud face as he keeps making the wrong moves but still suggests at the same time the way it is slowly making him much more vulnerable.

Popeye lumbering around soon finds him in a bad spot where he is captured by Charnier who forcefully uses heroine on him to try to derive information. Hackman is great as he portrays Popeye being forced into the addiction starting with the utmost anger and resistance but slowly fading as they continue to give it to him. Hackman physical performance is outstanding as he plays the phases as he shows that Popeye still will not give up anything he knows but as well cannot avoid the physical and psychological problems that build up do to this treatment. Hackman emphasizes just how much this degrades Popeye leaving him truly a wreck when the police find him.

This leads to when Popeye is forced by the police to go cold turkey to get rid of the addiction. All I can say is these set of scenes is absolutely amazing and some of the greatest work in all of Hackman's career, and that is really saying something. Hackman physically portrays the sheer brutality of the situation and the slow horrible process he undergoes. Hackman is unflinching in playing just how low it takes Popeye and how hard it is for him. There is one particularly outstanding moment as Popeye talks about some random things to try to keep his mind off the pain. Hackman has him speak at first with such a beautiful nostalgia and just a certain pleasantness as Popeye tries his best to ignore the torture.

Hackman's performance is awe inspiring as he speaks so gently and we really see the better times comes out in his expression and delivery as he tries to think of anything other than the present. Hackman though is absolutely heartbreaking though as he shows that the pain just is too much and he feels it once again. Hackman is incredible in his intensity as the pain just overwhelms Popeye and every thought before is slowly compromised until he leaves him to his most vulnerable state making Popeye nothing but a sad shell of his former self. It is just a tremendous scene made so powerful by Gene Hackman as he entirely earns this transformation of Popeye making as heart wrenching as it should be.

Hackman is perfect in his full portrayal of Popeye's recovery because he does not skip a single step leaving all of it to be seen including the way that even after the worse is done he still shows that Popeye still has to take his time to find his old strength. Due to this when Hackman finally builds him back up again it is earned fully, and it has the impact it should. It of course is not the exact same man from the beginning, any pompousness in his Popeye is gone and Hackman shows him to be a man who has learned from his experience and now knows what he needs to do. When he finally goes about taking down the criminals Hackman brings that old drive back, but now with a purpose and an exact mission in his eyes.

This is what all role reprisals should be like. Hackman doesn't just meet his first performance he surpasses it. Where many reprisals seem like their treading water sometimes just seeming like their doing the same old thing, or losing what made the character special to begin with Hackman finds all new ground for his character while still doing justice to his original characterization. This is a great performance from start to finish as he takes Popeye through his very personal journey. Nothing feels like the same old routine while still feeling like this is the same man from the first film. Hackman continues with Popeye brilliantly giving such a powerful turn in his portrayal of both Popeye's psyche as well as his physical condition.

Alternate Best Actor 1975: Roy Scheider in Jaws

Roy Scheider did not receive an Oscar nomination for portraying Chief Martin Brody in Jaws.

The performance usually given the most credit in Jaws is that of Robert Shaw as Quint the shark hunter, as it should be, but Roy Scheider should not be forgotten in his important lead role as the Chief of police who deals with the shark attacks. Scheider as an actor has a certain ease in being just a normal guy with his performances. Scheider knows how exactly to play roles without flamboyance yet still make the role still interesting in his own way. That is certainly the case here as Chief Brody who more than anything would like things just to be calm and normal on the island of Amity.

Scheider acts as the embodiment of our feelings toward the events of the film. He plays him very well by just handling the part in a purely down to earth fashion. There is not style or flamboyance to Brody he is just a guy who is terrified of the idea of the shark as anyone would be. Sheider rightfully leaves these types of performances to Richard Dreyfuss and Robert Shaw whose characters fit that type of portrayal. He does very well to make it so we can easily empathize with Brody throughout the film and he carries us through both the terror and adventure found in the film.

This is a very reactive performance as Brody has to deal with not only the shark attacks but as well as the public reactions whether it be hysteria or denial. Scheider finds the right pitch in the way he handles each and every moment in which Brody deals with the problems presented with them. He in fact through his very grounded reactions amplifies the effectiveness of every scene. For example when the Shark kills the boy on the beach, the thing I remember most from that scene actually is Scheider absolutely perfect in that single shot of his reaction bringing the full weight of the moment through that terror in his eyes.

Scheider also does manage to create Brody into a likable character particularly through the adventure scenes late in the film. His chemistry with both Shaw and Dreyfuss is great bringing so much more to the film. Scheider makes Brody almost the straight man of the three and makes the dynamic between all three of them work. And again it must be stressed how Scheider way of just being there contributes so much like during Shaw's magnificent delivery of the Indianapolis Speech Scheider succeeds by taking the right place within it. The scene of course belongs to Shaw that is unquestionable, but Scheider does contribute through the dread he brings to Brody's face.

As Brody Scheider mixes in both the right strength and hesitations in Brody throughout and he quite excellent in really internalizes the guilt and fears of Brody. He is really great because he makes Brody a man who does have the strength to keep it together, but at the same time still definitely feels the pains from the situation particularly when he is accused of allowing more of the Shark deaths to occur. He adds the layer with subtly and it really is quite powerful because he keeps it contained without seeming a repressed man either, rather the way an honest man would deal with it.

Jaws is a one of the greatest thrillers ever made and Scheider is the perfect hero for the film. His reactionary performance is just brings so much to the film, and Scheider deserves a great deal of credit for the strength of the film as well. The best example being when we first see the shark where Spielberg is (rightfully) credited in making the scene so effective being doing the joke than cutting it off with scare. Scheider though also enjoyably delivers that joke, than is amazing as he instantly switches to just about frozen in terror, then tops it all off with his absolutely brilliant ad lib "We're Gonna Need a Bigger Boat".

This might not be your traditional "great" performance in that he does not really have a really any individual scenes just to express his character, he has to move right along with the whole story and has to express his character quickly as the film moves along. Scheider does it incredibly well though never letting us forget Brody's own personal stake while we are taken in by all that surrounds him as well. Scheider's work he adds that extra emphasis to every scene Scheider brings to us even more fear in the early attacks, and perhaps even more importantly makes feel the joy right along with him when Brody finally gets the shark.

Alternate Best Actor 1975

And the Nominees Were Not:

Sean Connery in The Man Who Would Be King

Michael Caine in The Man Who Would Be King

Roy Scheider in Jaws

Gene Hackman in Night Moves

Tim Curry in The Rocky Horror Picture Show

Alternate Best Supporting Actor 1975: Results

5. Leon Vitali in Barry Lyndon- Vitali gives a good performance being properly pompous but as well managing to be somewhat sympathetic by showing where his character is coming from.

Best Scene: Bullingdon duels Barry.

4. Charles Durning in A Dog Day Afternoon- Durning doesn't have much of a role, but he makes more than the most of it portraying the method of the police negotiator in a very compelling fashion.

Best Scene: Moretti tries to handle Sonny and the crowd. 

3. Max von Sydow in Three Days of the Condor- Max von Sydow is excellent in his portrayal of the cold calculated killer who we absolutely believe when he says his job is refreshing.

Best Scene: Joubert warns Condor about his possible fate.  

2. John Cazale in Dog Day Afternoon- Cazale once again gives a great tragic performance. He is terrific in creating both a danger in that violence bubbling underneath the man, but as well the sadness by earnestly showing just how lost his character is.

Best Scene: Sal asks Sonny if they will really kill the hostages. 

1. Robert Shaw in Jaws- Good Prediction RatedRStar, Michael Patison, and JamDenTel. Although I loved the performances of Max von Sydow, John Cazale, George Burns and Burgess Meredith I did not have to think twice about who would be my choice for the year overall. Robert Shaw is amazing in the role of the Ahab like shark hunter Quint. He is outstanding every moment he is on screen giving an equally entertaining and heartbreaking turn. His delivery of the Indianapolis speech alone should have guaranteed him both an Oscar nomination and an Oscar win.

Best Scene: The Indianapolis monologue. 

Overall Rank:

1. Robert Shaw in Jaws
2. John Cazale in Dog Day Afternoon
3. Max von Sydow in Three Days of the Condor
4. Richard Dreyfuss in Jaws
5. Burgess Meredith in The Day of the Locust
6. George Burns in The Sunshine Boys
7. Nicol Williamson in The Wilby Conspiracy
8. Brad Dourif in One Flew Over the Cuckoo's Nest
9. Bill Owen in In Celebration
10. Charles Durning in Dog Day Afternoon
11. Alan Bates in In Celebration
12. Chris Sarandon in Dog Day Afternoon
13. Brian Cox in In Celebration
14. Bruce Dern in Smile
15. Ugo Tognazzi in My Friends
16. Donald Sutherland in The Day of the Locust 
17. Claude Dauphin in That Most Important Thing: Love
18. Will Sampson in One Flew Over the Cuckoo's Nest
19. Klaus Kinski in That Most Important Thing: Love
20. Leon Vitali in Barry Lyndon
21. Jacques Dutronc in That Most Important Thing: Love
22. Oliver Reed in Tommy
23. Cliff Robertson in Three Days of the Condor 
24. Fernando Rey in Seven Beauties
25. Dominic Guard in Picnic at Hanging Rock
26. Michael Palin in Monty Python and the Holy Grail
27. Keenan Wynn in Nashville
28. Christopher Lloyd in One Flew Over the Cuckoo's Nest
29. Murray Hamilton in Jaws
30. Lance Henriksen in Dog Day Afternoon
31. John Cleese in Monty Python and the Holy Grail
32. Phillppe Noiret in My Friends
33. Eric Idle in Monty Python and the Holy Grail
34. Amjad Khan in Sholay
35. Sydney Lassick in One Flew Over the Cuckoo's Nest
36. Henry Gibson in Nashville
37. William Redfield in One Flew Over the Cuckoo's Nest
38. Richard Attenborough in Brannigan
39. John Jarratt in Picnic at Hanging Rock
40. Wojciech Pszoniak in The Promised Land
41. Peter Eyre in Hedda
42. John Houseman in Three Days of the Condor
43. Christopher Plummer in The Man Who Would Be King
44. Graham Chapman in Monty Python and the Holy Grail
45. Jason Robards in A Boy and His Dog  
46. Richard Benjamin in The Sunshine Boys
47. Allen Garfield in Nashville
48. John Houseman in Rollerball
49. Patrick Stewart in Hedda
50. Sully Boyer in Dog Day Afternoon
51. Philippe Leotard in French Connection II
52. Strother Martin in Hard Times
53. James Coburn in Bite the Bullet
54. Saeed Jeffrey in The Man Who Would Be King
55. Bernard Blier in My Friends
56. Robert Duvall in The Killer Elite
57. Ned Beatty in Nashville
58. Bob Hoskins in Inserts
59. Ben Johnson in Bite the Bullet
60. Scatman Crothers in One Flew Over the Cuckoo's Nest
61. Sylvester Stallone in Death Race 2000
62. James Woods in Night Moves
63. Keith Carradine in Nashville
64. William Duell in One Flew Over the Cuckoo's Nest
65. Andrzej Seweryn in The Promised Land
66. Saeed Jaffrey in The Wilby Conspiracy
67. William Atherton in The Hindenburg
68. Jack Warden in Shampoo
69. Scott Glenn in Nashville
70. Burt Young in The Killer Elite
71. Harold Gould in Love and Death
72. Bruce Robinson in The Story of Adele H.
73. Jackie Earle Haley in The Day of the Locust
74. Danny DeVito in One Flew Over The Cuckoo's Nest
75. Ian Bannen in Bite the Bullet
76. John Huston in The Wind and the Lion
77. Hardy Kruger in Barry Lyndon
78. Michael Murphy in Nashville
79. Fernando Rey in French Connection II
80. Luther Adler in The Man in the Glass Booth 
81. Kenneth Mars in Night Moves
82. Gene Sacks in The Prisoner of Second Avenue
83. George Kennedy in The Eiger Sanction
84. Lawrence Pressman in The Man in the Glass Booth 
85. Patrick Magee in Barry Lyndon
86. James Tolkan in Love and Death
87. James Broderick in Dog Day Afternoon
88. Charles Durning in The Hindenburg
89. Edward Binns in Night Moves
90. Sylvester Stallone in Farewell, My Lovely
91. Harry Dean Stanton in Farewell, My Lovely
92. Robert DoQui in Nashville
93. John Ireland in Farewell, My Lovely
94. Brian Keith in The Wind and the Lion
95. Jack O'Halloran in Farewell, My Lovely
96. Stephen Davies in Inserts
97. Jan-Michel Vincent in Bite the Bullet
98. George Hamilton in Once is Not Enough

Next Year: 1975 Lead

Alternate Best Supporting Actor 1975: Leon Vitali in Barry Lyndon

Leon Vitali did not receive an Oscar nomination for portraying Lord Bullingdon in Barry Lyndon.

Barry Lyndon tells the misadventures of a Irishman who attempts to move up the social latter during the 18th Century. It has plenty of great moments, but it is held back considerably by Ryan O'Neal's inadequate performance in the titular role.

Stanley Kubrick is known for his clinical nature as a director and is never afraid to make a detached film. This film certainly is one of his coldest and most of the performances in this film match that style. O'Neal perhaps was not suppose to match the style but being so bland he ends up doing so. Leon Vitali though gives the most emotional performance in the film at least in an extroverted fashion. He plays the son of the wealthy aristocrat whom Barry marries Lady Lyndon, and Lord Bullingdon as he is known does not care very much for his step father who he sees as a lowly opportunist and usurper.

Vitali actually does not appear until late in the film as the older version of the Lady's son. Vitali makes him someone who appears to always be off on the wrong foot, and he does make an impression despite his late appearance because his character marks a shift in style. It is not that Vitali's performance seems out of place, but it is very notable due to the intensity of his performance which differs greatly from the rest of the cast. He plays Bullingdon as immensely juvenile whose emotions certainly play first with him making it so he will not think twice about infuriating his step father, and is willing to make big scenes about his hatred for both his Barry and what his mother has done.

Vitali mixes rather well the pompousness that one would except from a spoiled brat as Bullingdon is, yet he does manages to elicit sympathy as well. On one hand he does play up his background and emphasizes well the stiff upper lip of the Lord. He expresses just the great bile the Lord feels of being put in such a place, and is rather effective in just the amount of hatred he espouses getting across just how much he can't stand what Barry has done to him. His performances works particularly well because he doesn't do it in a villainous fashion instead the hatred seems to be entirely an emotional response from being stripped of his place by Barry who he views as the lowest of the low.

Vitali although fully pompous in his performance does allow us to feel a little sorry for him as he is correct in his statements that Barry is an opportunist. Yes he shrill, but Vitali also plays him as entirely genuine in terms of where this comes from. Yes he may be a pompous twit but the harm that Barry has caused him is portrayed honestly, even if it becomes overblown due to his background.Vitali's much emotional approach is effective particularly in the scene where he and Barry duel. Vitali allows the scene to really work as he reflects realistic reactions to what occurs during the duel whether it be fear as he awaits Barry's shot, or the unbridled joy when he knows he managed to shoot Barry.

Leon Vitali performance here is a nice addition to the film as he succeeds in being quite different from the rest of the cast without seeming like he is in the wrong movie either. This is a good performance by Vitali although a little too limited for me to quite say it is a great one. Bullingdon is not given a great deal to do and his exit from the film is fairly brief leaving only a quick moment where he silently shows a more confidant Bullingdon which is handled well, but does not really give him that much of a chance to explore the character any further. Vitali does come in at the right moment though and infuses the right type of life into Barry Lyndon at the right time with his emotional portrayal of Lord Bullingdon.