Alternate Best Actor 1983: Om Puri in Ardh Satya

Om Puri did not receive an Oscar nomination for portraying Sub inspector Anant Velankar in Ardh Satya.

Ardh Satya follows a man as he is pulled between a romance with young peaceful woman, and his career put upon him as police officer, by his violent father.

Om Puri portraying the officer Velankar who we are introduced to in largely humane circumstances of a man just attending a social gathering. This is where we see him initially meet up with the lovely young woman Jyotsna (Smita Patil). Puri is charming in a low key way in just expressing the bit of happiness that stems from the two interacting. Puri bringing an earnest modesty and an appropriate shyness in the interaction, suggesting a woman he really likes, and setting up this point importantly in his character. This is before we see him though first acting as a cop, just interacting with the other police officers. This initially isn't too concerning as Puri just portrays a slight disarming boast about potentially meeting someone worthwhile to the others, and we see a man just going about hid duties which seem perfunctory for the moment. This though is interrupted however with flashback s towards Velankar's past where his father launched into verbal and physical assaults against Velankar's mother. This leaving Puri portrays sort of this a difficult state. This as Velankar only ever watched the behavior, something that clearly effected him negatively to see the mistreatment yet while reaming the dutiful son. These moments establish essentially what will be the contrasting influences for Velankar throughout the film, as he goes deeper into the relationship with Jyotsna, but also deeper into the life of the police officer with all that it entails.

The film then show the progress of each, and really the disagreement between these two sides of the man. In this reminded me strongly of Puri's later BAFTA nominated performance in East of East, where there were also two extremes within his character. This though is one more of a progression of each, and where that conflict comes in. This as we see his work as a police officer, where we initially just see the determination of a man doing his job. Puri brings an intensity to be sure, but at first it appears more of the requirements for the man of such a position. This with a stiff spine and stern look, but not beyond that. This still though is in contrast with Jyotsna that continue to have this growing tenderness between them, with both actors sharing a sweet chemistry with one another. The moments as the officer though we see the frustrations within Puri's work as Velankar's efforts are not particularly successful and he pushed towards more violent actions required within his city. This as we see him attempting to take down a legitimate criminal, posturing as the strong man doing the right thing, however this failing entirely. This too changes his relationship with Jyotsna, though largely from her concerns for his actions. This as Puri himself portrays initially this attempted distance and detachment from the other man. This as though it is just a job, portraying just a man attempting to be loving towards her, even with those concerns growing.

This as the man's violent actions only continue to worsen as he beats down protestors and becomes altogether more vicious. Puri's performance of this, as was his work in East is East, is quite frankly startling in just how real he makes the violence. This showing just it as something that is plainly ugly, and befitting a man who is basically doing the will of the very worst he saw in his own father. Puri giving a startling depiction of a horrible misery that inflicts the man, and we see what appears to be all the hate he learned from his father as he delivers it onto what essentially become his victims. Puri is remarkable though as he naturally shows us what appeared to be just a likable man initially as this horrible person. He still shows the man who tries to separate himself from it with Jyotsna, but when he goes far too far with his violence, it finally forces him to face facts. This scene is a downright amazing scene for Puri. This as we see the man finally reflect upon his actions, and upon his past regarding his mother. Puri is heartbreaking by showing the man finally facing his violent side is in a moment of such vulnerability. This showing it in his connection with this woman he clearly loves, but with a certain terrible resignation within looking at where he has gone due to his personal flaws. Puri conjures up the whole sense of the failures of his father, and regrets of childhood with such striking nuance. He shows the man desperation in the moment beautifully, even if so painfully. This showing a man finally seeing both sides of himself. This continues though as he confronts the true criminal again, and again Puri shows a slightly different combination of the sides of the man. This as we see this viciousness though with this sort emotional determination, as while his act isn't good, Puri now portrays it as personal, rather than just detaced cruelty of a state.  Puri's performance shows us the good man theoretically who could just be in this relationship, charming and even endearing at times. He makes the terrible path of the man though wholly tangible in that gradual descent, that while it eventually leads to that powerful moment of reflection, also realizes how man detaching himself from his actions can lead to near atrocities.

Alternate Best Actor 1983

And the Nominees Were Not:

Gerard Depardieu in Danton

Wojciech Pszoniak in Danton

Om Puri in Ardh Satya

Keith Gordon in Christine

Oleg Yankovsky in Nostalgia

David Bowie in Merry Christmas, Mr. Lawrence

Tom Conti in Merry Christmas, Mr. Lawrence

For Prediction Purposes:

Depardieu from Danton

Bowie from Lawrence

Alternate Best Supporting Actor 1978: Results

5. Bruce Dern in The Driver - Dern brings the right color to his purposefully minimalist role, finding the character through his eccentric presence.

Best Scene: Ending.

4. Scott Reiniger in Dawn of the Dead - Reiniger delivers the strongest performance in his film, creating a unique and moving arc within a zombie narrative.

Best Scene: "Perfect baby"

3. Barry Bostwick in Movie Movie - Bostwick best realizes the tone of his film, delivering a properly lively musical performance that has the right fun with the approach.

Best Scene: "I just need the Girl"

2. Christopher Plummer in The Silent Partner - Plummer delivers a properly diabolical turn who only hides his most overt psychopathy for a bit of sadism.

Best Scene: "We're partners"

1. Yaphet Kotto in Blue Collar - Good prediction Luke. GM, Tahmeed BRAZINTERMA, John Smith and Calvin. Kotto makes a memorable impression in the film offering so well a vivid sense of his character's camaraderie with his co-stars, but also the sense of his alternative perspective. 

Best Scene: Speech. 

Updated Overall

Next: 1983 Lead

Alternate Best Supporting Actor 1978: Christopher Plummer in The Silent Partner

Christopher Plummer did not receive an Oscar nomination for portraying Harry Reikle in The Silent Partner.

Christopher Plummer, whose film career has been a little random in terms of jumping into the size, scope and quality of parts, perhaps alluding to why stage other stage preferring actors like Paul Scofield and Mark Rylance tended to be a bit more selective. Plummer though in this thriller gets a more than decent sized role, and a chance to show a very different side of himself, from his then most famous film role as Captain von Trapp in The Sound of Music. This as the villain of this thriller, the bank robber, whom bank teller Miles (Elliott Gould) figures out a way to steal from, so in the robbery Miles takes the majority of cash his Reikle would've taken. Technically speaking Miles is the smarter of the two players in this game, but Reikle has an advantage. That being he's a psychopath. Although Plummer is memorable enough as a mall Santa Claus with a far to incisive stare for father Christmas, his greater impression comes when he goes about targeting Miles to get the rest of his theoretical money. This beginning with a phone call and a quiet threat from Reikle, while Miles is trying to romance a co-worker. Plummer's usually quite dignified voice is used here to great effect in being extremely menacing as Reikle notes that Miles is trying to do the woman he is with, what he did to Reikle. Plummer making an immediate sense of a particularly unnerving perversity within that menace. This continues in Plummer's work as Reikle essentially congratulates Miles on his cleverness, which his technically admiring words are delivered in a playful though in turn altogether creepy fashion. Plummer though reinforces always Reikle more direct intention in his eyes that always suggest that real killer's intention for Miles, this being particularly remarkable when he peers through Miles's mailbox with a horrifying gaze.

Plummer effectively sets a stake in place, as Miles finds a way to have Reikle imprisoned, temporarily. The threat though is never gone due to the impact that Plummer makes in those early scenes that show Reikle as someone not to be taken lightly. While in prison though he sends a woman, Elaine, to spy on Miles, though this backfires when she genuinely falls for him. Plummer has a fantastic moment where Elaine falsely reports to Reikle. This as Plummer finds a way to deliver this completely fake charm in his smile towards Elaine, as though he enjoys her in anyway, which he brilliantly subverts in the same moment he loses that falls display as his expression bears a sadistic glint in a matter of a moment. Plummer creating a terrific sense of unpredictability in his own performance, that creates a logic though of Reikle being just a killer at heart, though able to put on some minor airs, if barely, when needed. This as Plummer being an effortless and properly chilling creep. This when Reikle suddenly appears to Elaine, having gotten out of prison early, and makes an instantly tense situation in just the mere way he says "hey" with a vile sleaze. Plummer portraying Reikle as not even putting up any front as a particularly horrible prospect. When Reikle unleashes his real psychosis at Elaine, Plummer doesn't hold back in bringing the extreme sadistic nature of the man, showing both a sense of rage, but also worse this certain pleasure in it all. After this though Miles come to apparently cut a bargain with Reikle to give him the cash through another robbery. Plummer is great once again though by showing that with Miles Reikle still doesn't mind playing games. This delivering this artful flow as when Miles pushes back Plummer pushes the intensity up, but when Miles seems to give in at all, that faux affability comes back to Plummer's voice, as Reikle still wishes to play with his prey. In this penultimate confrontation though there small moment, but I think quite worth mentioning where Reikle questions Elaine's motives, which Miles affirms were devoted to him not Reikle. Plummer's reaction to this though helps to kind of show the effort of this work. This as he takes the time, in this reaction, to convey not exactly humanity, but a sense of real frustration in Reikle, subtle frustration, as he conveys how honestly takes in that information that Elaine wasn't so devoted to him after all. Not as a good person mind you, but still as a person. Of course, Plummer does indeed deliver on the main intention of this role which is to be an intimidating and reprehensible villain. This making his final scene particularly cathartic, amplified by how Plummer plays it. This beginning with a face brimming with smug sat as it appears his plan is going perfectly, until Miles pulls a trick, and Plummer's "aw crap" face is equally satisfying, for us. Plummer making for a proper adversary for our hero in Gould, and the proper force of evil any decent Hitchockian style thriller should have.

Alternate Best Supporting Actor 1978: Yaphet Kotto in Blue Collar

Yaphet Kotto did not receive an Oscar nomination for portraying Smokey James in Blue Collar.

The underrated Yaphet Kotto is always a welcome presence to any film that he shows up in. Unfortunately too often not the most well used performer throughout his career, and sadly just probably hit at the wrong time in terms of properly breaking out. Nonetheless here in Blue Collar, Kotto has a chance to shine, and doesn't waste it. Kotto playing one of the co-workers of the family men Zeke (Richard Pryor) and Jerry (Harvey Keitel), which his Smokey is not. As I mentioned in my review of Pryor, at the beginning of the film we get a real sense of the mutual plight but also the camaraderie between the men, even in the early scenes that play more towards a low key comedy. This in initially just portraying the frustration of the others. Kotto offering the mutual sense of sort low brow fun with them, though he offers a slightly different presence as a man with a bit more sketchy of a past. This is even though in the portrayal of initial frustrations, there is this slightly more stoic manner to Kotto, of perhaps someone with either a bit more wisdom, or at  least acceptance towards their current situation. Kotto's work balances though the comic with the dramatic, as well as known comic performer Pryor there. In fact Kotto has notable ease with Pryor that is worth noting, particularly when the two debate the attractiveness of a woman, and Kotto's comic timing is on par with Pryor, as he speaks with no shame his disregard for Zeke's praises of the woman. Kotto is endearing though as he describes an earlier incident of accidentally confronting a cop, where he balances the sense of humor of someone telling a good story. When Zeke mentions that Smokey also kills someone though, Kotto's change in manner in the moment is fantastic, and his easy, yet very textured way of saying "I never killed nobody". Kotto delivering an insistence almost not to be factored as a certain sort, however leaving an ambiguity within it suggesting in the quite the striking fashion the past of Smokey in just a few minutes of screentime.

Kotto's work is terrific in portraying someone who is in almost the same situation as the other guys, but there's a sense in his work of a slightly different perspective. This as even when the other men are more bluntly complaining about their existence, Kotto exudes an empathy to this, but also this blunt lack of surprise regarding it all. Kotto showing a man who has less in a way, but also has seen worse in a way. In this sense his urging then to steal from the corrupt union, it is with this glint in his eyes of a man just saying "why not". Kotto though is particularly great at finding a way in it by showing a man who is in the whole situation of it for the ride of it. This granting a sense of experience of the man with a shadier past, but also as someone with nothing to lose. Kotto accentuating this though as granting the man almost a certain insight that the others lack, or are afraid to speak. This when in their robbery they discovery evidence of corruption, Kotto depicts once again so well, by expressing a distinct lack of shock regarding the news. Kotto is amazing in the moment where he lays out the situation for the other two men directly. Kotto's philosophical speech about keeping people in their roles, is so artfully performed, as he brings such a real power, through how quietly actually he delivers it. This with just saying it as a man who is aware of it as just as a truth. With this declaration though Smokey suggests blackmail, to at least help themselves, and though low key his eyes deliver an incisive determination at essentially a little revenge. The plan though doesn't work however as the corrupt forces intend to do whatever it takes to rid themselves of the "leak" so to speak. This resulting in plans to basically peacefully convince Zeke and Jerry, but knowing Smokey has nothing to lose, plan more violent means for him. This is something that initially it appears Smokey is ready for. Kotto bringing a sort of confidence initially when two men come to try to take threaten him initially. Kotto offering frankly a badass cool about Smokey, as a man seemingly primed for the situation. This with Kotto making the most out of his few "leading" moments, as he watches the two men, Kotto just tells the sense of knowing, topped off with a little joy from a man who doesn't mind making a few thugs suffer a bit as he lures them into the trap. Kotto's great as he confronts the two men with a raw intensity, as we really see probably the man who might've murdered someone, although here used a good cause technically. Kotto though is a force in the scene as he shows a man purely in his element, though as he asks specially who sent them, he offers a proper glint of desperation of a man who also knows he might be in a corner. That desperation foreshadowing Kotto's final scene, where Smokey is locked in a paint room at their car factory purposefully to die. It's a horrifying scene, and Kotto is essential in this. This as his performance amplifies the terror of the situation, by showing the progressive sense of unease and downright fear, as the situation becomes more dire. Kotto delivering a raw visceral quality to it, as makes you feel the oxygen just slipping from him in each moment of it. Kotto creating a brutal end to his character, both in terms of the present moment, but seeing the life slowly slip from the man he makes so vivid to us. Although Kotto has the least screentime of the central trio, and is technically the supporting member, he never any less important in a larger part due to his performance. Kotto finding the right place with his work both as part of the group, but also in terms of memorably accentuating what sets him apart. This making it so even though we don't see him in final frame, the re-use of one of his lines leaves a remarkable impression because Kotto left such a remarkable impression as well.

Alternate Best Supporting 1978: Scott Reiniger in Dawn of the Dead

Scott Reiniger did not receive an Oscar nomination for portraying Roger "Trooper" DeMarco in Dawn of the Dead.

Dawn of the Dead is perhaps one of the best "cheap" movies ever made about four people who try to survive the zombie apocalypse.

Now I don't refer to "cheap" as the cost, as for the time anyways it wasn't all that low budget of a film. George Romero's work as director though doesn't have, we'll say, the typical expertise when it comes to the sound design which is a bit a shoddy, the cinematography kind of whatever it is, and even the makeup effects show an an inconsistency. This as while there are some very impressive ones, there's also times where we get some obvious dummies, and some terrible "zombie" looks that look like people just have a bit of blue paint on their face. I am I'll admit more directly critical with the less technical imperfections, that being Romero's attempts at social satire get a little obnoxious when the characters speak them by either saying the most on the nose lines possible, or BY YELLING EVERY LINE BECAUSE HUMANITY CAN'T GET ALONG, GET IT! I say all that though, because I do rather like this film overall despite all its flaws. One of the reasons being the moments in which it seems to take a strangely down to earth approach as we follow the four survivors, who just try to hole up in the mall, and follow the appropriate problems and joys they'll get in this endeavor. This is also helped by following squarely on four characters, a pilot, his girlfriend and two swat officers.

Although I'll say, much like the rest of the film, the acting does carry a certain amateurish quality, particularly the bit players, which thankfully we don't spend too much with. The most confident being I'd say is the Afghan prince himself, Scott Reiniger as one of the two sway officers. This is to the point that I actually think his performance is one of the most interesting things in the film, as he is neither the panicky idiot we find in zombie films, like David Emgee as the pilot Steve "Flyboy" Andrews or the stoic heroic type like Ken Foree as the other swat member Peter. Reiniger's realizes his more unique arc from the outset of the film where we initially witness his fear as he and the swat team engage government housing filled with zombies. This as Reiniger portrays a bit of the horror of killing other humans, however we see a bit of change as he we see him start to kill the zombies. There is no horror in this and Reiniger portrays what is most interesting about his characterization which is this certain sense of cool that develops from his performance. It's more remarkable that it is not immediately evident in his performance but rather develops as we proceed through the story, and Roger gets to do something important, which is kill a lot of zombies. Reiniger doesn't portray this as a necessary act, but rather this becoming this certain sport for Roger. The more the situation becomes like a horror film, the more he portrays it as a game for Roger, almost like a life calling. I especially love the joy that Reiniger exudes in his performance in the moments when Roger does his specific aim to knock the heads off the zombies, one would assume for maximum points. Reiniger's riff though works well though in making Roger stand out more than just the "extra" guy, in fact early on you might think he'd be the sole survivor, as we see a man who seems absolutely in his element in killing zombies. Reiniger brings a real thrill in it as they go about securing the mall to become their shelter, bringing such a life in his expression of a man who is basically living his best life as someone who has found his true calling. This in his physical ease in the part, and really the cool that he projects of a guy who has found an environment that supports his skills. Reiniger builds this effectively in his work by making him more and more carefree in each successive sequence. Doing it in a way, that he doesn't become pompous, rather you come to quite like Roger through this approach. Also worth mentioning in that though is his chemistry with Foree, where we do get a sense of camaraderie and warmth in the interaction between the two. Granting a sense of the mutual minds to part, with some nice moments of ribbing and mutual enthusiasm that create a good sense of the friendship between Roger and Peter. As they are further prepping the mall by using truck as barriers to the mall, Reiniger shows someone having way too much fun as he goes about it, and in a way creates the danger in someone with over confidence. This comes to a head when one of the zombies almost gets him. This we see a snap that Reiniger portrays well as this even greater energy in the man, but now as some kind of derangement. This as a manic energy, with his eyes as someone quite losing it to this adrenaline rush. His delivery of "perfect baby, perect" as calm as it is, it is anything but sane as this detachment from his situation. This naturally leading to even riskier behavior that leads Roger to be bitten. Turning what in way made Roger so engaging, his downfall quite remarkably. That thankfully isn't the end of Reiniger's performance, as he nicely segues this towards showing a return to modesty again, as he still manages to help the other even when disabled. This though with a sense within his eyes, of a man hit with more than humility. There is then a real poignancy we do find in his final moments of a drugged, almost zombified Roger, asking Peter to make sure not to kill him until he "comes back". His insistence that he'll "try not to come back" is moving as Reiniger having lost all that confidence and cool, but a bit genuine tenderness in the moment with Foree. I won't say this performance completely loses itself from that Romero "quality" in the acting, but this is a good performance that offers a lot more to this film than just being a typical zombie victim.

Alternate Best Supporting Actor 1978: Barry Bostwick in Movie Movie

Barry Bostwick did not receive an Oscar nomination, despite being nominated by a few critics groups, for portraying Johnny Danko and Dick Cummings in Movie Movie.

Movie Movie is two shorter films as a double feature, both directed by Stanley Donan, one a boxing movie fashioned around seemingly Golden Boy and the other a musical fashioned around 42nd Street. The boxing film doesn't work as the film seems unsure of whether it is a comedy making fun of an old school boxing picture or trying to be one. Fittingly the musical actually is rather enjoyable, as it manages to find the right tongue in cheek tone more suited to musicals to begin with.

One of the reasons, although there are many, the second half is so much more successful is the performances seem far more properly attuned. Although really I am just referring to Harry Hamlin's leading turn in the boxing section, that cannot decide if he's doing a parody or playing it straight, problem is it makes him neither funny nor earnest in the role. Now fittingly the old pros all seem to get it, Eli Wallach, George C. Scott, Red Button, Art Carney, but the relative newcomer, who also gets it, is one Barry Bostwick. Now just to note, he does play a gangster with a heart of gold in the first segment. I hesitate to even mention it as Bostwick has almost nothing to do, other than to look honest, despite being dressed like a crook. Well he does that, but it doesn't really stress his talents in anyway. Thankfully this all changes on the musical side of things. The musical that follows an impresario Spats Baxter (George C. Scott), who is hoping to have one last musical hit before he dies from a disease that effects mainly artistic types. Anyway, Bostwick in this half plays Dick Cummings, the klutzy new accountant for Baxter, and of course wannabe songwriter. Bostwick's performance now gets it, because he throws himself right into a musical of this ilk that would be from 30's, perhaps slightly heightened, but musicals typically were heightened anyways. Bostwick making for a proper klutzy potential romantic type early on in the segment, in quite artfully hitting his properly foolish marks. This with just the right wide eyed earnest quality in selling his nerdiness along with his movements befitting a scarecrow learning how to walk. Now as much as I did enjoy Bostwick being a goofy accountant, what really makes this performance worth noting, is when Spats, in need of a new composer, lets his accountant take a crack at it. Bostwick's performance of Dick's number of "I just need the girl", is a musical marvel. This as Bostwick just is wonderful every step of the performance, from his growing, and wholly contagious enthusiasm as he describes the instrumentation/while singing the song. Bostwick though throws his own entire self into the sequence, though in every step and movement as he conducts as he sings. Bostwick just exudes the best sort of energy in his movements that he remain scarecrow, but one in his steps, with just how much he does with himself in the scene. Bostwick is wildly entertaining capturing the very best of the classic musical style enthusiasm. Although that is the peak of his work, it's quite a peak, that I've found myself revisiting by just how much joy there is in the number is due to Bostwick's performance. Bostwick's work though is right attuned in every moment. This as he captures that right type of endearing energy, that has certain comical charm of it, but also works because of how earnest it all feels. The sort of melodramatic romance, of being pulled being the equally earnest ingenue or manipulated by the prima donna, Bostwick sells the best of ways. Whether this being the most sincere of smiles to inviting the ingenue, that proper hangdog expression, when hearing what the prima donna really thinks of him, or the pouring of somber goodwill when he insists he'll do right by a dying Spats. Bostwick hits the marks so well, and his work here seems to most understand the right path for Movie Movie. This is as he's delightful by finding the right combination by having the right good natured fun perhaps technically at the expense of the performances of the time, but also by just being one.