Alternate Best Actor 1948: Lamberto Maggiorani in Bicycle Thieves

Lamberto Maggiorani did not receive an Oscar nomination for portraying Antonio Ricci in Bicycle Thieves.

The Bicycle Thieves is a beautiful and very moving film about a man and his son who search for his stolen bicycle which he needs to keep his job which he desperately needs.

Although Lamberto Maggiorani is plays the man Antonio who is looking for bicycle the true star of the film is director Vittorio De Sica. It is a film that creates almost a breathable atmosphere through the images and sounds that De Sica brings to the screen. Among those images is Lambert Maggiorani's performance and to a certain degree he is simply one of those images. What seems to be the most important facet of Maggiorani throughout the film is his face which tends to be photographed like a portrait to accentuate every emotion he has. De Sica uses him as part of the tapestry that is this film.

Antonio is a simple character. He is a simple man who just wants his good job to feed his family and then just wants his bicycle back simply to keep that job. There is not a great complexity here, but nor should there be. He is suppose to be just an average man. Maggiorani's performance never challenges this notion which he plays as to the point as possible. There is not any hidden shadows in him he just is a man who wants to do best for his wife and son. Maggiorani portrays this in a very earnest fashion. There is not any doubt that is what the man wants through that honest expression Maggiorani has.

Maggiorani actually tends to keep basically the same expression with the part depending what he is doing whether it is the happy passion found at the beginning or that desperate need shown when he is looking for it later. It is a consistent expression that fits the nature of the film as that face is part of the whole portrait that De Sica paints. At times he is the focus but other times the background seems almost as important as he is.. This is not anything against Maggiorani as keeping the expressions the same works as well as are fitting of the simple man that Antonio is suppose to be.

There is perhaps a little more to Antonio in terms of his relationship with his son Bruno. There is not all that much though as it mostly is a relationship of trading quiet glances. It does absolutely work though with Maggiorani definitely showing that he cares about his son and very much loves him. Maggiorani though at the same time when Antonio gets a little fed up with his son he makes the believable to as just a simple reaction from Antionio's increasing desperation. Even when he yells at his son though Maggiorani keeps it simple but effective as just the guy emotional reaction from Antonio.

This is not an especially complex performance as a great deal of time he does maintain the same expression. This performance is one that works very well though within the film scenes and events. By staying just the simple man with his simple but emotional reactions he does allow the film to achieve the power it has. Maggiorani's portrayal is part of the film as a whole, it is not a performance that exactly stands out all on its own. It is a performance though that very much works within the framework of the film. Maggiorani never goes off his own but he succeeds in going along to be part of the beauty contained in this film.

Alternate Best Actor 1948: Humphrey Bogart in The Treasure of the Sierra Madre

Humphrey Bogart did not receive an Oscar nomination for portraying Fred C. Dobbs in The Treasure of the Sierra Madre.

Humphrey Bogart was an actor who would usually play characters who were consistent throughout the film. Usually his character might change slightly but in terms of his manner he would still be a man in control of his situation. His performance in this film though is in a completely different style from Bogart as Fred C. Dobbs ends up as a very different character at the end of the film than the one we meet from the beginning. At the beginning of the film we first meet Dobbs as a down and outer in Mexico who seems to be looking for some sort of fortune even if he doesn't exactly know what of. Bogart does not give his performance the usual confidence one finds in many of his performances. This is not the movie star Humphrey Bogart here in any way, and here he very much stresses the character above else.

It is quite remarkable to see Bogart downplay his screen presence actually in his portrayal of Dobbs. Of course Bogart carefully does not reject all of his other performances entirely at first. There are some qualities in his performance early on that reflect that more known Bogart style. He does have a certain likability in his portrayal, and Bogart does well in making Dobbs just seem just like an average sort of guy. Although he may not be a perfect guy but he seems decent enough, and Bogart importantly sets this up as the beginning for Dobbs. Dobbs is not perfect or even close to being so but Bogart does make him rightfully an average sort of guy that we can first follow along. Bogart is believable in Dobbs's proposed honesty at first as he puts in the most money for the gold expedition along with fellow drifter Curtin (Tim Holt) and Howard (Walter Huston).

Bogart importantly though does show the signs of weakness and plants the seeds in the man. When he espouses how he will be able to easily just take enough gold as well as will easily be able to share it there is a great enthusiasm in Bogart's delivery. Bogart though actually handles it brilliantly though as he shows almost too much enthusiasm in that it feels superficial to at least some degree. Now Bogart does not show Dobbs to be putting on a facade when speaking about this in anyway, but he conveys almost a lack of thought as Dobbs says it. It is almost too forceful suggesting that it really is not something that goes right down to the soul of the man by any means, and Bogart properly suggests that there is quite a great possibility for Dobbs to do the exact opposite of what he proclaims he will do.

As the three of them proceed Bogart is excellent in being the novice prospector. Bogart stays very believable as he and others try and attempt to find the gold. He's very good in expressing the passion as they keep going but slowly the exasperation and anger that builds up as he reaches his wits end. What is perfect though is when they finally do find the gold and the expression that forms in Dobbs. Humphrey Bogart is terrific in the face that he shows when he finally sees the real gold and knows what it means for him as well. Bogart does not just have Dobbs get excited by the idea of the gold he absolutely is entranced by it. Bogart expresses what this is to him as Dobbs almost salivates over the prospect showing that the gold is having a profound affect on him.

From this point on Bogart's performance is an absolutely brilliant portrayal of a man being swallowed whole by gold fever. He is terrific as he goes from moment to moment slowly showing the insanity growing within him. Bogart's deliberate pace in his portrayal of the change is particularly effective because he doesn't rush any phase of it. At first Bogart inserts little moments where Dobbs becomes agitated, but only moments. He is able to step back from it well enough and he does make it seem like there is some hope that he could possibly get over the fever. He never does get over it only become worse and worse as they go, and Bogart is outstanding in these scenes. It is not just his attitude but his whole physical manner that changes as he becomes paranoid over his gold.

Although Bogart suggests there is some hope for Dobbs at first but as they find more gold and have more confrontations between the three it soon becomes clear there is not going back for Dobbs. Bogart's terrific in his moments of anxiety as Dobbs just keeps voicing his concerns to himself thinking no one can hear him. Importantly he is never one note. He maybe down and suspicious for a moment but he will come back from that. Bogart though never shows him become that same old Dobbs again though. Now even when he comes back from the brink he still always has this intensity in him. It is startling intensity that Bogart brings to his performance from the way he stares to his nervous and the way that everything he says is quick and sharp as to attack anything anyone says.

This performance is amazing the whole film through yet it only gets better by the end of the film when Bogart is able to show that the greed paranoid Dobbs is not the lowest the man can go. The final set of scenes consists of Dobbs and Curtin being left alone with the gold and Dobbs's greed and insanity is only becoming worse as they go along. Bogart is downright frightening as the greed consumes him to being nothing more than man of suspicion and hatred. Bogart's face suggests nothing of any of the possible goodness there was to the man only showing a thieving hateful man in that maniacal grin. Of course Bogart manages to have him go even lower than that in Dobbs's final moments.

What is particularly special about them is the fact that Bogart's does not leave any redemption in him. In the end he becomes a pathetic wreck. Bogart shows still humanity and that is the part that makes the end of Dobbs so powerful. After Dobbs believes he has done something truly terrible Bogart does not portrait it as you might think. There might be a little honest regret for his actions in his scared face but for the most part the fear that Bogart suggests most is in Dobbs is that he might not have done it. Bogart leaves him as no more than a whimpering mess now only overwhelmed by what the gold has done to him. Bogart makes him a hollow shell of man with that always haunted expression leaving Dobbs in a state of paranoia that he never escapes.

The transformation of Dobbs from the somewhat average man wanting to make his way to a despicable man willing to kill just for gold is one of the strongest aspects of this great film. The reason this part of the story works so well though is that Humphrey Bogart is flawless in his depiction of the transformation. There is not an aspect that seems rushed or forced. Also knowing that he usually plays rather controlled men there is an extra thrill to see him play a man without any self control so effectively. He takes his time and makes it a profound and believable change that brings to life the central theme of the film in a marvelous fashion. It seems like it was quite a shame that Bogart mostly played parts that were well into his comfort zone because this performance, where he is out on a limb pretty much the entire time, he absolutely delivers.

Alternate Best Actor 1948: Orson Welles in Macbeth

Orson Welles did not receive an Oscar nomination for portraying the titular character of Macbeth.

Welles's Macbeth is not the definitive version of Shakespeare's tragedy, but it is a version with some merit found in its visual style.

A Shakespearean performance is always something interesting to examine as you can see how an actor not only delivers the language but as well as their interpretation of a character who has been played countless times before and since. Macbeth the Scottish Thane who becomes a murderer to gain the throne of the king is a character open for unique interpretations particularly in the how much hesitation and how much guilt he feels for his crimes, as well as how much of a villain Macbeth becomes later on in the story. It is interesting to see how exactly the actor will play each of the famous scenes and soliloquies as Macbeth descends into darkness.

Welles as a Shakespearean actor is very competent with the language itself, and it is clear that he has a strong grasp of it. The only problem in terms of the vocalization of the language is the accent that Welles uses. Now this is a somewhat difficult point to talk about as supposedly there are two versions of this film one where Welles does a Scottish accent and a different one. I believe the one I watched was the Scottish accent version, but I have not watched the other version so I cannot be sure what the exact difference is or if the two versions really do exist. Having said that the accent takes a little getting used to, and because the thickness of it the speeches never quite have that poetic quality.

As a director Welles simply has the soliloquies thought out loud rather than the way Olivier interwove them through narration and speaking that gave them almost a mystical quality. One could try to argue that Welles is trying a rougher approach it being Macbeth and all, but really this isn't the case. Now I probably should stop comparing Welles unfavorably to my favorite actor as Welles himself wanted to avoid comparisons to Olivier's Hamlet. Welles to his credit though still finds power in the language even with the accent, and the somewhat more standard method of handling the words on screen. None of the soliloquy fall flat, and they all fit their function in the story.

Where the strength lies in Welles's performance though really is in his facial reactions. This would have been an incredible silent Macbeth performance because Welles's conveys a great deal with his expressions throughout the film, and in the expressions is where we see the path of Macbeth. Welles takes a fairly traditional approach in terms of the character in that he begins as a decent enough man but with great temptation he soon finds himself a murderer. Welles at every step changes his appearance quite effectively. At the beginning a stern straight face nothing to note, but when he hears the prophecy the perfect amount of confusion and concern sets in changing him to a less assured man suddenly.

As Macbeth goes along with his wife and begins the killing Welles shows the ambition but along with it the hesitation. When he first commits the act Welles powerfully expresses the regret in his eyes showing that Macbeth barely can believe what he has done. As the story proceeds though any hesitations quickly move aside as everything seems to be going his way in terms of both his power growing as well as the witches prophecy that seems to show Macbeth a path to unbeatable glory. At this point Welles makes Macbeth the true villain in his face. He is a man of sin now and it is quite remarkable how any goodness in the man is wiped away within him leaving him only as an evil villian.

This is an interesting performance to examine as physically Welles is outstanding in the part. His last scene is incredible as Welles portrays a modicum of humanity emerge in Macbeth as he is faced with death showing a very human fear as he realizes that he will die after all. In terms of his vocal performance though he does not make as much of an impact. I was always fascinated by what he was doing silently but when he spoke he does not carry nearly as much power. Of course this is more of because how good he is silently, and he isn't really bad at all in his verbal performance. The lack of synergy between the two parts keeps him from being the greatest Macbeth on film, that would be Toshiro Mifune, but the greatness there is in aspects of his performance still leaves this as a memorable portrayal of the treacherous Thane.

Alternate Best Actor 1948: Ralph Richardson in The Fallen Idol

Ralph Richardson did not receive an Oscar nomination, despite winning NBR and getting second place for NYFCC, for portraying Baines in The Fallen Idol.

The Fallen Idol is an excellent film about an impressionable young boy and son of a diplomat named Phillipe's relationship with his butler.

Ralph Richardson plays the boys butler who also takes care of the boy along with his cold wife due to the boy's parents frequently being away. Butler's are often characters that are either just someone in the background, an overly repressed man, or a witting supporting player. Richardson as Baines is nothing like any of the standard butler as he plays him him as much more of a man first a butler second whereas with most do emphasize the butler mannerisms Richardson certainly is a butler in the role in terms of his proper but he does not have it something that is a constant. Richardson portrays it far more as the job Baines does opposed to the job he was born to do as butler's usually are portrayed.

Richardson's character is a man seen through the perspective of Phillipe who sees him as some sort of great man due to the stories that Baines tells of adventures he had in Africa. Richardson is very good in these moments where Baines tells the stories. Richardson is good because he really shows that Baines is not really taking this all that seriously. It is not that he is telling a joke but as through the view of an adult perspective we see that he is simply telling stories to amuse himself as well as to hold the attention of the easily distracted little boy. Richardson shows that this intention is through subtle nuances that any clear thinking adult would easily see, but at the same time how they are really something a boy like Phillipe would not really be able to notice or understand.

Richardson is very good in realizing the two sides of Baines the one shown to Phillipe and the one that everyone else would be able to see. Importantly Richardson does not portray it as a ruse really, but rather just a simple way for him to keep the boy interested and entertained. Richardson in the forward projection of Baines is that of a likable confidant sort he speaks with a pleasant authority and it is easy to see how Phillipe takes to Baines as much as he does. Richardson does not have this as a facade in the traditional sense because when we see more of Baines it is not a reveal in the same way as we simply see him when he is not playing with the boy and just being himself.

Richardson is rather moving when we see the real Baines much more clearly as he is really just a quiet but sad man who is attempting to move away from his wife and to a far more caring woman named Julie. Richardson's performance is good because he portrays the scenes between Julie and Baines with a great deal of earnestness. Yes he does show a the deliberate method that Baines takes to keep Phillipe from spoiling his secret but Richardson is effective in the just the calm way he speaks to her. Richardson is very good in conveying both the sadness in Baines over the difficulty he is clearly having with his wife, but as well we see in his eyes a man with a woman he very much loves something we never see when he is with his wife.

The glimpses we see of Baines Richardson creates the right sympathy for the man through the genuine quality he gives the man in despite the lies he tells the boy as well as his wife. The sympathy he creates is very much needed in the last act of the film after an accidental death which the boy believes was caused by Baines but we as the audience know he is innocent. Richardson allows us to care for Baines is plight thereby amplifying the intensity of the scenes late in the film as he comes under suspicion for the death that he had not caused. Richardson is very good in these expressing the fears in Baines well in an internalized fashion as he tries to both tell the police the truth about what happened, but lie to try to keep the police away from the affair he is hiding at the same time.

Richardson's performance here works well really because he gives the character of Baines just the right complexity. For example when he is being interrogated Richardson is effective in showing all that's going on through Baines's head as he tries to deal with the troublesome interrogation, but when he is questioned about the tales he told Phillipe he dismisses them quickly. Richardson doesn't have it be life scattering for Baines in the least to say his tales with false because they merely something for him to say to keep the boy interested. Richardson gives a strong performance that finds just the right path for Baines making it so that he is sympathetic as just a normal human being but as well properly creates that image that Phillipe would not be able to see through although every else might not even notice.

Alternate Best Actor 1948: Toshiro Mifune in Drunken Angel

Toshiro Mifune did not receive an Oscar nomination for portraying Matsunaga in Drunken Angel.

Drunken Angel is an interesting film by Akira Kurosawa about a drunk but goodhearted slum doctor Sanada (Takashi Shimura) who tries to help various residents of the slum including a gangster with a deadly disease.

This is Toshiro Mifune's first collaboration with Kurosawa which apparently came about when Kurosawa saw an audition of his. Kurosawa not only cast Mifune in this part but he actually expanded the part due to Mifune's portrayal. Mifune plays the young gangster who we first meet while he has a bullet taken out of his hand by the good doctor. Mifune here has his trademark intensity once again though this time handled rather differently from when it was insanity fueled in Seven Samurai, anger filled in Throne of Blood, or held up inside as it was in the quiet duel. Mifune here takes a different approach and this time it comes off as sometimes misplaced and inconsistent intensity fitting for the young Matsunaga.

Early on in the film Matsunaga jumps in and out as Sanada keeps trying to tell him that he should take the fact that he has tuberculosis far more seriously than he is. Mifune is excellent in his somewhat brief scenes in portraying the style of Matsunaga. Mifune in one moment is able to be the true gangster you would imagine a man like Matsunaga would have to be to be the boss of any area even a slum. Mifune has the perfect cocky stride and pompous demeanor that shows the assurance of the young man in his somewhat powerful position. In the next moment though Mifune effectively turns him into an angry violent man. Mifune though is great because it is not anger of hate, but anger of fear that he conveys in his performance as all that Matsunaga wants to do is deny his illness. 

Mifune is terrific the way he makes Matsunaga such a mess of emotions. He portrays the struggle in Matsunaga merely to heed Sanada's warning. Mifune is excellent in portraying the fierceness in the sudden emotional bursts that comes from Matsunaga, and he creates an interesting portrait of the gangster who cannot get over himself to help himself. Mifune though creates sympathy because every time Matsunaga fails to listen to the doctor Mifune is very believable in portraying this and is able to convey why exactly he keeps falling back on his vices. Mifune importantly allows us to see the struggle in his eyes and that there always is considerable resistance in Matsunaga even when he falls once again.

Like most of Mifune's performances he has a great physicality in the role. Here it is particularly notable and important to his performance as it not only tells of the unpredictable nature of the young gangster but as well portrays his physical degradation. Mifune is something just to watch in the way he changes in his physical manner that reflects the emotional state of Matsunaga. When he is trying to keep it together he plays it with a sturdy forceful posture fitting of his man in his power. In his drunken or angry rages he reduces down almost to animal like quality that is quite electrifying to watch Mifune's sheer unrelenting power of his performance. Mifune is fascinating to watch him simply in the act of his performance.

A great deal of the sympathy we are allowed to feel comes from Mifune's portrayal of Matsunaga tuberculosis that slowly becomes worse throughout the film. Mifune delivers this quite effectively throughout the course of his character and makes it a slow but very natural process as that strength we see of him early on quickly becomes to dissipate. Mifune properly does not rush through any part of it instead showing almost the entire process in its entirety showing properly the sadness of the situation as Mifune moves from a young physically fit man who seems entirely sure of himself to eventually nothing more than a physical wreck by the end who can barely stand on his own.

Although at first Matsunaga seems no more than a foolish young man. As we proceed though Mifune gives a complex portrait of the man whose disease thrives from his personal circumstance. Mifune shows above else the one thing that Matsunaga holds on to is a pride and honor of the Yakuza. Although the truth seems quite the otherwise, Mifune makes it believable that Matsunaga would hold this view through the conviction of his performance. It is a foolish conviction one that Mifune shows through the lens of a youthful inexperience. It isn't something he thinks too much about but Mifune's passionate portrayal shows that he definitely believes in it.

That conviction that Mifune brings to the role is what makes this a tragic portrayal. Mifune's very best scene comes when Matsunaga goes to the head boss to clear things up thinking he will be on his side. Mifune is perfect as he waits with a foolish smile, and that pride so filled in his face. As he listens though Matsunaga finds that not only does the boss not take his side but in fact seems to care nothing about Matsunaga's possible death. Mifune is terrific seeing the lost of the pride all at once a great sadness, and Mifune expression suggests that of a man who sees that so much of his life has been a lie. It is an absolutely brilliant scene by Mifune that honestly shows how much this revelation tears him apart. 

This is a great performance by Toshiro Mifune and despite being one of his earliest roles Mifune already establishes himself as incredible screen actor. It is no wonder that Kurosawa expanded the role after seeing Mifune as Mifune presence is truly remarkable. There is such an enthusiasm and energy in his performances that it is hard not to watch him on screen. Of course this performance is not only about screen presence, like his performances I have reviewed before he uses that screen presence to create a compelling character. Mifune turns Matsunaga into a memorable tragic portrait by emphasizing the foolishness in his pride but as well suggesting so poignantly that underlying potential for redemption.

Alternate Best Actor 1948

And the Nominees Were Not:

Toshiro Mifune in Drunken Angel

Ralph Richardson in The Fallen Idol

Humphrey Bogart in The Treasure of the Sierra Madre

Orson Welles in Macbeth

Lamberto Maggiorani in Bicycle Theives

Alternate Best Actor 1975: Results

5. Gene Hackman in Night Moves- Gene Hackman as usual gives a solid performance as a footballer turned private detective who is out of his element, but his best work this year was his heartbreaking reprise of Popeye Doyle in French Connection II.

Best Scene for the French Connection II: Doyle suffers withdrawal.  

4. Tim Curry in The Rocky Horror Picture Show- Curry gives a delightful entertaining strange performance that is by far the highlight of his film.

Best Scene: "Sweet Transvestite" 

3. Roy Scheider in Jaws- Scheider gives a great reactive performance that amplifies the intensity of his film by being a very human guide and who we can relate to.

Best Scene: Chief Brody sees the Shark attack. 

1. Michael Caine and Sean Connery in The Man Who Would Be King- I find it almost impossible to separate these performances as they both amplify each other through their impeccable chemistry and together they create two marvelous characters that end up both being very entertaining as well as rather heartbreaking as well. As for the year itself I feel like kicking myself for my placement for any one of the top seven performances because I love all of them. I hate putting Hackman as low as he is because I love that performance. This is just a tremendous year and all seven of my top seven would be a worthy winners.

Best Scene: Danny apologizes to Peachy. 

Overall Rank:

1. Jack Nicholson in One Flew Over the Cuckoos Nest
2. Al Pacino in Dog Day Afternoon
3. Gene Hackman in French Connection II  
4. Michael Caine and Sean Connery in The Man Who Would Be King
5. Roy Scheider in Jaws  
6. Giancarlo Giannini in Seven Beauties
7. Maximilian Schell in The Man in The Glass Booth
8. Robert Redford in Three Days of the Condor 
9. Richard Dreyfuss in Inserts
10. Gene Hackman in Bite the Bullet
11. Tim Curry in The Rocky Horror Picture Show
12. Maxim Munzuk in Dersu Uzala
13. Gene Hackman in Night Moves
14. Robert Mitchum in Farewell, My Lovely
15. Charles Bronson in Hard Times
16. Jack Nicholson in The Passenger 
17. Sean Connery in The Wind and the Lion
18. Jack Lemmon in The Prisoner of Second Avenue 
19. Glynn Turman in Cooley High
    
20. Fabio Testi in That Most Important Thing: Love
21. Rafael Roco in Manila in The Claws of Light
22. Woody Allen in Love and Death
23. William Atherton in The Day of the Locust
24. Don Johnson in A Boy and His Dog
25. Warren Beatty in Shampoo
26. David Hemmings in Deep Red
27. George C. Scott in The Hindenburg
28. Steven Keats in Hester Street
29. Daniel Olbrychski in The Promised Land
30. Tim McIntire in A Boy and His Dog
31. James Caan in Rollerball 
32. James Coburn in Hard Times 
33. John Wayne in Brannigan
34. Dharmendra in Sholay
35. Amitabh Bachchan in Sholay
36. Lawrence Hilton-Jacobs in Cooley High
    
37. Clint Eastwood in The Eiger Sanction
38. Michael Caine in The Wilby Conspiracy
39. Yury Solomin in Dersu Uzala
40. Walter Matthau in The Sunshine Boys
41. Victor Lanoux in Cousin Cousine
42. Sidney Poitier in The Wilby Conspiracy
43. Ryan O'Neal in Barry Lyndon
44. John Wayne in Rooster Cogburn
45. Barry Bostwick in The Rocky Horror Picture Show
46. Kirk Douglas in Once is Not Enough
47. Paul Hampton in Shivers
48. Roger Daltry in Tommy
49. David Carradine in Death Race 2000
50. James Caan in The Killer Elite

Next Year: 1948 lead