Alternate Best Actor 1974: Robert Mitchum in The Yakuza

Robert Mitchum did not receive an Oscar nomination for portraying Harry Kilmer in The Yakuza.

The Yakuza I found to be a pretty effective action/crime film about an retired American detective with connections in Japan being sent there by an old friend/businessman whose daughter has been kidnapped by a yakuza gangster, naturally things aren't as they appear.

Robert Mitchum managed to fashion a later career for himself not by attempting to hide his age but by embracing it. Mitchum was willing to play the meek schoolteacher in Ryan's Daughter and the down on his luck mobster in The Friends of Eddie Coyle. Although Mitchum gets to play perhaps a more traditionally appealing leading man here he does not attempt to position the part as something its not in fact he ensures the years past are something which define his Harry. Now from the outset though Mitchum made his breakout originally through crime noirs  and here is returning to a genre though with a twist through its setting which mostly takes place in Japan. The appeal of Mitchum's screen presence is of course quite evident, and it is perhaps only amplified by his age to be honest. Mitchum has that same ease onscreen and is naturally compelling as usual. This is not a copy of those earlier performances though by any means, as again Mitchum takes in consideration who Harry has been and where he has been. This is not a man fresh into the life of dealing with crime, he's a seasoned veteran, and Mitchum brings just the right inherent world weariness within his work for the crime world.

Although Mitchum properly keys into the losses in the life of this man, he carefully does not let that be the character's only definition. In a early scene we see Harry as he goes to see the Japanese woman Eiko and her daughter who he had saved and had an affair with long ago. Mitchum is great in this scene as he brings such a genuine warmth creating such a strong sense of the love they once shared, and which he certainly fully feels towards her. Mitchum uses these moments so well in creating a real honest tenderness within the character, that makes it all the easier to invest into his story.  There is a severe complication though is in her apparent brother Ken (Ken Takakura), who seems to hold quite the disdain for Harry, though is honor bound to help him for what he did for his sister. Mitchum is careful in also creating this history between the two men as there is a strong sense of the bitterness which Mitchum shows not within Harry himself rather he portrays it as part of this unease he exudes in their early interactions. Mitchum always emphasizes though a definite respect in the way he looks and interacts with Ken.

I'll spoilers for the rest of this review since of course while saving the kidnapped girl goes well the rest does not as soon becomes known that the kidnapping was due to an arms transaction between the yakuza and Harry's American friend which leads to Harry and Ken being the ones in the line of fire. Now in part this does lead to some premium Robert Mitchum as an aged badass, seeing him take down bad guys with a pistol and double barrel shot gun definitely has an appeal. Mitchum always is good at being "cool" in such scenes, while never compromising the intensity of them. In fact here's he's particularly good in every moment of his physical work portraying the way Harry becomes rather exasperated throughout the experience. Mitchum being just entertaining to watch is only part of his performance here as he goes much further in developing the continued relationship with Ken which becomes all the more complicated when he learns that Ken was in fact Eiko's husband not her brother. Mitchum doesn't let a moment of this slide bringing such a poignancy in his reactions to learning this information. Mitchum importantly lets this dictate their later interactions, as he does not make this a ill-fitting action duo, rather Mitchum offers a real sensitivity in portraying in every moment such a guilt and severe concern for the man in every interaction. When the battle is won by the two of them they share a final scene that Mitchum is incredible exceptional in. Mitchum brings such a power in revealing the modest yet palatable gratitude in his eyes that reveal a sadness for what he has done to the man, but also an appreciation for all his sacrifices. Even though the scene involves chopping off an appendage, Mitchum and Takakura make it heartwarming in its own way as in the brief interaction between the two they reveal a mutual understanding between the two that feels wholly earned by both performances. This is a terrific performance by Robert Mitchum as he not only offers a strong presence to keep this thriller compelling, he goes further by amplifying any substance to be found within it. 

Alternate Best Actor 1974: James Caan in The Gambler

James Caan did not receive an Oscar nomination, despite being nominated for a Golden Globe, for portraying Axel Freed in The Gambler.

The Gambler is an effective character study following a literary professor and his gambling addiction.

After watching this film I must say it caused a bit of a perspective change in regards to its 2014 remake and Mark Wahlberg's performance in that film. Now I thought that film was disposable to begin with, and Wahlberg's performance underwhelming, now they're even worse than that in my mind through its fundamental misunderstanding of the source material, a bit like The Beguiled remake in that sense. It is not as though this film is a masterpiece, I'd describe it probably as just a good film, however it properly knows that this protagonist is not a "cool" hero for us to follow, he's a bit of mess. James Caan is known for his tough guys, but here this is both a fulfillment of certain expectation but also a subversion from him. Caan's performance is particularly essential in using this idea, and in general to the film as the film never spells out Axel's motivation. This is almost entirely left to Caan's performance. We are only granted a few hints within the script, usually not directly about Axel, which take place when Caan is least like a usual Caan character which is when he's working as the literary professor. I like what Caan does in these scenes, where technically he's spelling out who the character is through what he is teaching such as William Carlos William's piece on George Washington from In The American Grain, and Dostoyevsky's sentiment on making 2 + 2 equal to five rather than 4.

Caan in his scenes as the professor importantly plays them most closely to the chest, and carefully does not give away his hand. This is important for two main reasons one being on the surface Caan rightfully downplays his usual presence in order to be believable as this literary professor, which he is, but secondly he keeps away from making the nature of Axel too obvious within the film. Axel is in many ways speaking of himself in these moments but Caan carefully avoids making this obvious instead portraying the right low key passion fitting to such a professor. He never oversteps the bounds of his character there effectively realizing a man creating this discussion with his class, though there is of course still more to this type of exact attachments to these sentiments which directly relate to Axel as a man. In the Washington piece there is a reduction of the image of the great American leader, and in this way Caan makes a reduction of his own screen persona with Axel here. In general Axel is really just a guy and we see him when he's with his mother, or with his rich grandfather, as this fairly meek man where Caan subtly reveals this man filled with a real vulnerability. He not only doesn't take charge of the situations we see him in, he's not even in charge as he just speaks to his mother, as Caan even when stealing money from her makes it a plainly pathetic moment in the unease in which he portrays within Axel in that moment.

Caan's Axel is not a man who is assured of his life in any way, and he's certainly not a cool customer. In his scenes with his girlfriend Caan is notably not assured much of the time. He brings moments of this spark of a charm, yet so often Caan defines again this inherent lack of confidence that ends up defining the relationship. Caan has these great instances ofbringing in this attempted, man's man type of confidence, which is common in his performances, yet here he makes it purposefully flimsy, making a problematic part of who Axel is. Caan's especially strong in some the early scenes where he sees the actions of some of his book makers when they become much more violent. Caan never shows Axel brushing this off, although he internalizes it to a certain degree, he reveals a real fear the man. When he himself is almost on the chopping block stuck with few options Caan's terrific in the way he reveals the man almost closing down in being honestly terrified at the danger he is in. These moments are essential to the character yet must be carefully examined against his actions throughout the film, which can seem contradictory to this, but they are not due to Caan so effectively realizing the nature of the character. The potential contradiction though comes when we see Axel as the titular character so to speak, and the most essential facet within the story.

As the Gambler is where the Dostoyevsky's math comes in, which is found right there in Caan's performance. In the gambling scenes is where we see Caan in his purest form in terms of the Caan type in that he brings that more overt confidence in these moments. Now this is not Caan contradicting the sorta sad sack professor we see the rest of the time. Instead what Caan presents is Axel when he is not seeing that 2 + 2 equals to 4, which is when he fears for his well being due to his gambling debt or is the meek son/grandson, but rather here is the man who defies logic to believe that in this instance that 2 + 2 can equal to five. That confidence here adheres to this hubris where Axel is thriving on essentially this delusion, but a delusion that he firmly believes in the moment. Caan is terrific in finding this state of the man as he gambles which is heightened in a way since in every moment while gambling he brings this thrill, but also that assurance that everything will be as he sees it in the moment. He of courses comes into this state and goes out of it throughout the film, and Caan plays this naturally. There's one particularly strong scene in this regard for Caan where he's going from phone to phone making bets, while occasionally snapping back to pay attention to his girlfriend. It's remarkable as Caan makes the delusion feel so honest, even in the moment he suddenly drops it when he sees she's about to leave him, despite having been so influence by it a second ago. Caan finds that pull of the addiction brilliantly. Perhaps my favorite realization of that for Caan is in the final sequence of the film where he bribes one of his students to shave points in a basketball game to wipe his debts clean. In the game itself Caan delivers that burden of the tension as the game goes on, given his life is on the line. Afterwards though Caan plays Axel as frankly bored by the events, and  oddly takes a risk by going into a dangerous neighborhood where he solicits a prostitute seemingly just to get into a violent altercation with her pimp. Now with an actor with looser grip on the character this scene would make no sense, thankfully the remake did drop this scene for their own good, Caan though understand the role and makes you understand Axel through performance. In this scene Caan shows us Axel becoming bored with the results, since the risk is now gone, and in the end he brings that engagement and confidence back only when once again Axel is taking this nonsensical risk that defies logic, yet makes sense to Axel in the moment.

Alternate Best Actor 1974: John Hurt in Little Malcolm and His Struggle Against the Eunuchs

John Hurt did not receive an Oscar nomination for portraying Malcolm Scrawdyke in Malcolm and His Struggle Against the Eunuchs.

Little Malcolm follows an English layabout who attempts to create some strange virility based political party after being thrown out by college.

John Hurt's appearance here is very similair, though perhaps this is just uniform for an English near-do-well, to David Thewlis as Johnny in Mike Leigh's Naked. The comparison doesn't stop there though as they both handle their cigarettes by holding them just barely at the bottom of their mouth, saunter along with a poorly postured gate, most of the time anyways, and aren't just any sort of layabout they're the, unfortunately perhaps, philosophical sort. Now my, brief research into a recognized connection between the two brought up nothing, but I still felt I had to point it out it. Naked is the superior film though as this film feels very much stuck within its stage roots leaving itself to be really carried by the actors, luckily for the film two of those actors are John Hurt and David Warner. John Hurt is such a great actor that to see him just take on an "actor's role" is probably going to be a bit of treat. Hurt again begins in effectively creating that unique personal style of the character, that I have to believe influenced at least one film to come. Hurt's terrific at being this man who we seem to meet at a particular low point in his life, as that does seem emphasized in his very physical being. The way Malcolm deals with this problem though is rather strange, and seems like something that it's a bit difficult to make logical within the more literal medium of film.

Hurt's performance is remarkable as he does make logical sense of the character even with the odd way in which his character behaves. He does this by first establishing that starting point of the character. In the moments where Hurt is alone he portrays him basically as this loser. He just there with little to no passion within the man as he sits around his apartment doing nothing but wasting his hours away. Hurt takes this further actually by creating a real sadness in Malcolm's lack of accomplishments, which seem centered around his inability to take a further step with the young woman Ann who seems interested in him yet he fails to properly compensate. Hurt stays nuanced in these moments as he just reveals the quiet, yet palatable internalized sadness in these reactions to her. When he verbalizes essentially his impudence Hurt importantly does not place any theatricality on these thoughts. In these moments Hurt breaks down Malcolm to his purest form which is just as a sad little man pained by his weaknesses. Hurt in these moments effectively anchors the movie since he shows, that despite anything else that we will see, Malcolm is this troubled college drop out beneath anything else we may see.

Hurt builds upon his setup and we see this when we witness Malcolm interact with the other characters. In his scenes alone with the subtly named, I write with much sarcasm, Charles Nipple (David Warner) Hurt presents just a layer of a facade for Malcolm. Hurt only fashions a partial one that he portrays mostly as this surface reaction to Charles a man who seems so comfortable with himself. Hurt presents a direct anger and antagonism. Hurt carefully directs this in the scenes though as a passion, simplistic, hatred not so much really towards the man, but rather that confidence he exudes in being himself. Hurt astutely does not make these moments pure in the facade though as Hurt shows much more of the real Malcolm still in these moments. As the anger he inflicts towards Charles has still a great deal of that sadness that defines the man, and there still is a great degree of discomfort in himself even as he lashes out at Charles for being so at ease with his very being. Hurt though has another layer to facet though, sort of the crux of the story though, since it's the version of Malcolm that I suppose sells the plot as well as uses up a great deal of the film's screentime.

The last relationship is between Malcolm and two of his other friends, more of lackeys, Wick and Irwin. It is there where he fashions the political party based on proper erections, and dominant men. Hurt in these scenes creates the full facade of them which actually makes sense of the whole ridiculousness of the concept, since within the film Hurt portrays Malcolm essentially playing the part. The part Malcolm is playing is of this maniacal cult or rebel leader with the other men. Hurt does not depict this a mere fantasy for the sake of it but rather shows it as an active display of Malcolm attempting to delude himself into any type of confidence. In these moments Hurt makes Malcolm a different man but only in terms of putting on this fake act. Now all credit must go to Hurt for making these scenes make any sense, however they also are technically just a chance for some serious ACTING on John Hurt's part. Thankfully if John Hurt's doing the ACTING up all for it, especially he does bother to ground these through his other scenes. Now these scenes are a bit much with just how thick the dialogue and monologues are in these scenes of Malcolm creating phony trials, kidnappings and other duplicitous acts in the name of the part.

Hurt is great in these scenes and has earned the right to throw himself right into them. The film further benefits from them since you get to have John Hurt playing different types of roles as part of this one which is quite the splendid thing. We actually get some shades of both his later dictator in V For Vendetta, as well as how his own O'Brien in 1984 might have been if he ever got a chance to reverse the roles. Hurt brings that grandeur of the firebrand leader, and the viciousness of a true violent anarchist as he vindictively pursues his "righteous" cause. Hurt goes all the way in bringing the fullest intensity, and I'll admit it is rather fun to watch just all on its own because of Hurt. This is even as the scenes as written do become a bit tiresome. Hurt's a great actor, so naturally he's great at acting while acting within this film. He's wonderfully insane brute as he leads his men as a downright insane impotent army. Hurt carefully never loses his fundamental definition of the role as even in these scenes he has these careful moments where he breaks, where he delivers the man filled with a brief anxiety that he can only overwhelm by reinforcing his sentiments in all the more zealous fashion. Eventually though Malcolm is called directly on his delusions by Ann which is an outstanding scene for Hurt. In the scene Hurt reverts to the sad quiet man filled with desperation. When she outright asks for him to have sex with her, Hurt's amazing as in his face he represents sheer terror of a man who has no idea how to connect with a woman in any real way. It is only when his henchmen reappear that Hurt reveals slowly growing confidence again but only in the most despicable way. Hurt reveals the man just revert to his delusions, but this time it is even messier as his speaks with such certainty yet his eyes are still are clasped into a deep depression. This time the fantasy holds not a bit of enjoyment for anyone, as Hurt makes the worlds collide in a most, purposefully, unappealing way. Although I would not classify this film as a major success, or perhaps even a success, this is great performance by John Hurt. He takes a potentially unwieldy role and successfully translates the threads into a cohesive and compelling whole.

Alternate Best Actor 1974

And the Nominees Were Not:

Warren Oates in Bring Me the Head of Alfredo Garcia

Robert Mitchum in The Yakuza

James Caan in The Gambler

John Hurt in Little Malcolm and His Struggle Against the Eunuchs

Bruno S. in The Enigma of Kaspar Hauser

Alternate Best Supporting Actor 1949: Juano Hernandez in Intruder in the Dust and Results

Juano Hernandez did not receive an Oscar nomination for portraying Lucas Beauchamp in Intruder in the Dust.

Intruder in the Dust follows the story of a well to do black man accused of murdering a white man. The film falls mostly inert by too often focusing on the rather bland leading characters of the lawyer and his son who decide to help the man.

Juano Hernandez plays the most compelling role in the film and it is a notable case of non-stereotypical role for a minority actor. Of course I suppose it is worth noting that sympathetic roles often fell to the man wrongly accused of murder, but again there is more to the role of Lucas Beauchamp than merely not being an overt the top stereotype. He's accused of the murder but the situation does not define Hernandez's performance. In fact it is very notable about his work is that he does not attempt to elicit an obvious sympathy, in that he does not make Lucas a sorrowful sort despite being in jail, as that would undercut the nature of the man he portrays. Hernandez's performance is notable from his first scene as he presents this real confidence in his work but also through the character of Lucas. When he goes about helping a young man stuck in a river, Hernandez conveys presence of not really the "local helper" but rather the strength of this man who does things his ways. Hernandez is able to find a real history in this manner of this individualistic man who stands firmly as his own man.

When he is arrested we sadly don't get many scenes of him throughout the film, but the scenes in which he appears are the best in the film. Again Hernandez just is terrific in realizing the story of the man far beyond the limits we see him through the slight plot. Throughout the story Lucas refusing any easy ways out, and mentions his difficulties of the situation yet never is overcome by them. He's great though in the nuance of his work where he recognizes his plight in a very quiet way fitting to a man who has obviously been through a lot. His eyes show a wear that hasn't worn the man away, but only seem to make him all the more seasoned and ready for the world. The years that have built this man are felt through Hernandez's work that finds the substance of the role even though the film sort of fails to do so fully. Hernandez makes Lucas a fascinating character in his time, far beyond his circumstances, and I wish we had gotten a film entirely about him. Unfortunately we are granted a narrow view of the character due to his screentime, however he utilizes every moment that is granted to him to create a three dimensional character. Hernandez to his credit as an actor develops the role beyond these certain limits to steal the film in his dynamic depiction of a one of a kind sort.

Updated Overall

Next Year: 1974 Lead

Alternate Best Actor 1949: Results

5. Anton Walbrook in The  Queen of Spades - Walbrook's role is a touch limited however he is an effective coldly manipulative Lothario then incredibly entertaining in portraying the glee and madness of his greedy soldier who believes he's found the key to his success.

Best Scene: "MY WIN"

4. Howard Vernon in Le Silence de la Mer - Vernon gives a moving performance within the limits of his film through his humane depiction of a Nazi coming to terms with his situation.

Best Scene: Finally a message.

3. Robert Ryan in The Set-Up - Ryan gives a terrific portrayal of a hopeful desperation of a man trying just for one last shot in the ring.

Best Scene: The Fight

2. Chishū Ryū in Late Spring - Ryū gives such a remarkable modest performance that creates such naturalistic and downright heartbreaking depiction of a man quietly letting go of his daughter.

Best Scene: Peeling the apple.

1. David Farrar in The Small Back Room - Good Predictions Luke, Jackiboyz, RatedRStar and Michael McCarthy. Farrar gives an outstanding complex portrait of a brilliant man, yet one suffering from pain, doubt, and self-pity.

Best Scene: Tearing apart the room.

Update Overall

Next: Review of Juano Hernandez in Intruder in the Dust, and updated Supporting.

Alternate Best Actor 1949: Howard Vernon in Le Silence de la Mer

Howard Vernon did not receive Oscar nomination for portraying Lt. Werner von Ebrennac in Le Silence de la Mer.

Le Silence de la Mer is an intriguing film about a Nazi officer taking up residency in occupied France with a small French family who refuse to speak to him.

The film takes a unique approach for this story as the French family which consists of a man and his niece almost don't speak a single word in the film. Their thoughts are represented by the narration by the man. The only person we hear actively speaking within the house is the Nazi officer played by Howard Vernon. Now this is interesting in that when we open the film, and first see Vernon's Werner von Ebrennac he could easily be any Nazi from any villain stock room in terms of his appearance. This is not to say Vernon comes out all vile and mean to begin with, he begins the part with a bright smile as the man lets himself into the home of the family, though perhaps with just a bit of coldness as needed to be in his official role. The charming Nazi who reveals his vicious intents though is a common thing though, so one will sympathize with the French family at this early stage. The film continues though and in this Vernon's performance is technically the far less distant one as the family are very static characters, almost just part of the background in a way given that they do not speak. This is even with many scenes between the lieutenant and the family however in these scenes the soldier is the only one who speaks, but he's also the only one who attempts any interaction whatsoever.

After their particularly cold initial interactions the Lieutenant attempts to change it up by only visiting their sitting room in civilian clothes trying to speak to virtues of the French such as which author best represents the French spirit. There still is no real relationship however Vernon's performance is quite effective in portraying this man trying so hard to create one. Vernon beams in almost every moment projecting the enthusiasm of just a man who wants to engage in any conversation it does not need to be even an important one. In his words, and even the way he physically engages with the room itself has the right casual style to it. There's a real warmth within this method of man who essentially just wants to make friends, or at least wants to make some human connection yet the family is wholly resilient as they stay mute. As the one sided conversation continues Vernon portrays well the two sides of the man's interactions in that he keeps a real warmth in the man trying to make a connection, as every word is said as a friend not an invader, while at the same time, Vernon reveals within his eyes the growing bit of desperation and sadness as the result of trying so hard to connect yet seemingly failing to do so.

We are given scenes though with the lieutenant outside of the silent household, although these scenes are pretty sparse in terms of actual dialogue as well. What we do see is the man's connections to his duties as a Nazi in the way he interacts with France itself. In the earlier scenes in terms of speaking on his duties and the way he goes about admiring the conquered landmarks within France, Vernon expresses the attitude of a man proud of his endeavors. Vernon though is careful to portray this with a definite conviction, the conviction of a man who speaks in these grand platitudes, that he firmly believes, yet they are more fitting to a propaganda pamphlet than a wholly genuine experience. In the film though the lieutenant slowly learns of the real intentions of his armies, and again Vernon's reactionary work is essential to the power of the film. As his superiors speak of the intentions of the Nazis to destroy rather than build we see the similair desperation and hesitations as when he takes in the silence of the family. Although Vernon is the main speaker of the film even he does not speak a great deal and the arc of the officer is left often in those silent margins. Vernon finds though changes effectively to reveal slowly a reality dawning within the soldier, and that warmth dissolves in the solider, not that he becomes a hardhearted man, but rather he is moving by revealing a man who has come to understand everything he has known has been a lie. The film leaves on fittingly a silent yet poignant moment where the family interacts with the officer their only time, indirectly, by supporting his choice to leave France due to the Nazi intention. This communication is only through a passage in a book that they set up for the officer read, and Vernon's final reaction is remarkable as he realizes the somberness still of his situation, yet with just a bit of underlying joy of appreciation for the family. Howard Vernon's work, though the least limited in the film, is still fairly limited by the confines of the film's vision. Vernon though still excels well within those confines and is essential in discovering the emotional potency of the story through his humane depiction of a Nazi with a conscience.