Alternate Best Supporting Actor 1968

5. Oliver Reed in Oliver!- Reed despite not singing actually gives the best performance in his film never failing to bring the menace with his performance.

Best Scene: Bill returns to Fagin after the murder. 

4. Michael York in Romeo and Juliet- York plays Tybalt as well as he really could be through his portrayal of the role with his pompous flamboyant delivery, and his success in bringing more weight to the role than one would expect.

Best Scene: Tybalt and Mercutio sword fight. 

3. Timothy Dalton in The Lion in Winter- Dalton despite having possibly the least screen time of the important characters in the film has one of the strongest impacts giving a powerful portrayal of the vengeful French King.

Best Scene: Henry is shown his children's secrets by Philip. 

2. Anthony Hopkins in The Lion in Winter- The hardest part of this ranking was determining between the two Lion in Winter supporting men who should have been nominated over Jack Wild and especially Daniel Massey. Hopkins is terrific in his role as Richard bringing across the power of the King in the man, but also being very powerful in his depiction of his vulnerabilities as well.

Best Scene: Philip manipulates Richard.

1. Jason Robards in Once Upon A Time in The West- Good Prediction Koook160. Robards gives a great performance in his very important supporting role in this film. He manages to be a humorous presence, an imposing one with some mystery, and even a tender one.

Best Scene: Cheyenne talks about his mother. 

Overall Rank:

1. Jason Robards in Once Upon a Time in The West
2. Anthony Hopkins in The Lion in Winter
3. Timothy Dalton in The Lion in Winter
4. Gene Wilder in The Producers
5. Seymour Cassel in Faces
6. Gabriele Ferzetti in Once Upon a Time in The West
7. Dick Shawn in The Producers 
8. John McEnery in Romeo and Juliet 
9. Oliver Reed in Oliver!
10. Michael York in Romeo and Juliet
11. Milo O'Shea in Romeo and Juliet
12. Dirk Bogarde in The Fixer
13. Kenneth Mars in The Producers
14. Patrick Wymark in Where Eagles Dare
15. Percy Rodriguez in The Heart is a Lonely Hunter 
16. Ian Holm in The Fixer
17. Douglas Rain in 2001: A Space Odyssey
18. John Castle in The Lion in Winter
19. Derren Nesbitt in Where Eagles Dare
20. Woody Strode in Once Upon a Time in The West
21. Maurice Evans in Planet of the Apes
22. Jack Elam in Once Upon a Time in The West
23. Robert Vaughn in Bullitt
24. Stacy Keach in The Heart is a Lonely Hunter
25. Michael Hordern in Where Eagles Dare
26. Harry Secombe in Oliver! 
27. Roddy McDowall in Planet of the Apes
28. Anton Diffring in Where Eagles Dare
29. Jack Wild in Oliver!
30. Gary Lockwood in 2001: A Space Odyssey 
31. Keenan Wynn in Once Upon a Time in The West
32. Herb Edelman in The Odd Couple
33. Karl Hardman in Night of The Living Dead
34. Robert Beatty in Where Eagles Dare
35. John Fiedler in The Odd Couple
36. Donald Houston in Where Eagles Dare 
37. Hugh Griffith in Oliver!
38. Christopher Hewett in The Producers
39. Frank Wolff in Once Upon a Time in The West
40. Paolo Stoppa in Once Upon A Time in The West
41. Daniel Massey in Star
42. Lionel Stander in Once Upon a Time in The West
43. Joseph O'Conor in Oliver!
44. Peter Bogdanovich in Targets
45. Nigel Terry in The Lion in Winter

Next Year: 1951 Leading

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Alternate Best Supporting Actor 1968: Timothy Dalton in The Lion in Winter

Timothy Dalton did not receive an Oscar nomination for portraying King Philip II in The Lion in Winter.

In Becket John Gielgud was nominated for portraying Louis VII the King of France who dealt with King Henry earlier also played by Peter O'Toole. This film is not a sequel to Becket, even though due to O'Toole's presence, and the few mentions of Thomas Becket it definitely feels connected. In Becket we say Louis as a man mistreated by Henry, who only got his revenge in small measured ways. Here we pick up in this particular struggle with Louis's son Philip as played by a young Timothy Dalton, who is visiting Henry to discuss matters of importance to the two countries particularly over who owns what land.

Dalton actually might have the least screen time out of the main player, but that really does not matter because he tears into every scene he has with an incredible ferocity. We first see him in his public greeting with Henry where they both warmly greet one another. Dalton just like O'Toole suggests that in his eyes warmth is the last thing that comes to his mind when it comes to the other King. The public pleasantries soon go away when they retreat to a private quarters to discuss their problems much more openly than before. Dalton knows exactly how to set up his character in this scene to ensure he sets up Philip properly. 

Dalton in the first personal scene between Henry and Philip portrays Philip well as a young inexperienced man who wishes to make something for himself. Dalton has a great intensity in his performance that portrays well a passion in Philip to be more than just a pawn to Henry. Dalton is strong here because he shows that Philip is attempting very much is to try to stand on firm ground with Henry, but his inexperience in the matters keeps him from doing so. He is effective in showing that Philip's distaste is obviously far deeper than just on their current negotiations, but there is a powerful hatred in him for Henry that clearly stands for their two countries history but as well from the way Henry does not treat him seriously.

Philip is absent for a great period of time until each of Henry's sons come to negotiate with him to try to steal the crown. Dalton is perfect here as he portrays Philip finally finding away to gain ground. Dalton presents a bit of an inner King come out of himself, that in at least one way is equal to Henry. When Henry's sons Geoffrey, and John try to convince him to go to war in an alliance. Dalton is great in his the ambition he creates within Philip that makes the King instantly seize on the opportunity. Dalton has a forcefulness in his confidence that would fool the brothers that he will agree to the alliance, but Dalton still shows that Philip clearly taking into account what he can do to Henry with the betrayal of his sons.

The scene is his pivotal scene, and it continues when Richard also goes to meet him, and Dalton is brilliant as he shows Philip unfold more of his plan. Dalton is terrific as Philip eases into a tenderness, and Dalton brings this warmth about suddenly but effectively. He makes entirely believable the way Richard breaks down, although again Dalton leaves just the right indication that he is still planning something by having Richard open up in this way. His plans are finally revealed when Henry appears unknowing that his sons are all in the room. Dalton's portrayal of Philip in this scene is excellent as he goes completely on the offensive against Henry and the inexperience has seemed to left.

Dalton makes Philip on the same field as Henry here particularly through his hate he expresses incisively. His hatred not only for his own treatment, but as well a hatred that stems from Henry's treatment of Philip's father. Dalton is very powerful in this scene particularly when he reveals all of the betrayals around him showing that he was only leading on everyone to exact vengeance against Henry. Dalton absolutely nails the moment as Philip reveals his full level of cruelty against everyone, as well as the very important pleasure he takes in hurting all of the men. That is Dalton's last scene but he unquestionably makes the impression he needs to with his performance standing toe to toe with Peter O'Toole, and delivering a great supporting performance.

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Alternate Best Supporting Actor 1968: Anthony Hopkins in The Lion in Winter

Anthony Hopkins did not receive an Oscar nomination, despite being nominated for a Bafta, for portraying Richard The Lionhearted in The Lion in Winter.

Anthony Hopkins in his film debut takes on the role of the future king of England Richard The Lionhearted. The Lion in Winter is very much a film about its acting with the towering lead performances by Peter O'Toole (who certainly maintains his win for me) as King Henry II and Katharine Hepburn as Queen Eleanor. Than there are the supporting group of younger people including the three surviving sons of the King and Queen, Henry's mistress, and The young King of France Philip. They are the supporting characters, but each of them get their chances to at least attempt to shine on their own.

The performances as the younger two sons are a bit on the one note side. John Castle is descent if a bit uninspired as Geoffrey the son who no one considers for King, but constantly tries to scheme to be able to take the power for himself anyway. Nigel Terry as John is honestly quite terrible. Yes John should be spineless disgusting weasel, but Terry just goes too far to try to portray John. There is no depth to his portrayal and he is entirely one note. Many of Terry's expressions in the role are ridiculously over the top and he is pretty much eaten whole by the rest of the cast in every scene he is in despite his overacting.

Out of the three actors portraying the sons Hopkins is so easily the best. Early on in the film Hopkins makes his presence known as Richard. Where John is the favorite son of Henry, Geoffrey is the best schemer, Richard honestly seems to be the best candidate for King. Where the other two actors are very forceful to get these traits out of their characters it is amazing to see how Hopkins so effortlessly brings Richard's qualities out. Hopkins makes Richard the naturally born King out of the three. He has a certain strength and command in his demeanor, and his voice that creates the type of authority one would expect from a future King.

Hopkins makes Richard seem like the only one of the sons to take the important traits from his father. He does not have the same power that Peter O'Toole as Henry, which makes since as Henry is a man of far greater experience. Hopkins though is able to show that Richard is the man most capable of becoming like Henry, and there are elements of that power within Richard. He has that greater force in his presence and the way he even goes about attempting to win the crown to suggest that this is the Richard who will go on to be the notable King who succeeded Henry.

Hopkins is strong in making the King, but also showing the more personal elements to Richard in relation to his family. Hopkins is quite good in his scenes with Katherine Hepburn as in his eyes he shows that Richard very much does love and care for his mother, but there is still a certain coldness he expresses that is always put first to keep her at distance to fully understand her own scheming. Hopkins is also effective in showing a lack of any of this in his scenes with O'Toole. There he suggests there very cold history together through the way he never seems to let go of his guard down in front of his father.

The one scene where Richard does let his guard down is when he goes to speak with his friend and apparent lover Philip. In this scene Hopkins is excellent as he eases into the way Richard loses his strength, and he powerfully shows the emotions that Richard tries to keep quiet. He is just perfect in a single reaction of heartbreak when Philip tells Henry of the whole affair for only a political prospect. It is a brilliant scene as Hopkins portrays this breakdown in Richard, and he is very moving as Hopkins shows that it even forces Richard to express his own feelings of abandonment toward Henry. It is a great scene because it shows what Richard must hide, but does not compromise his performance either.

Anthony Hopkins gives a great supporting performance here, and honestly one could not ask for a better screen debut. Most of the supporting players in the film are easy to forget in face of the lead but Hopkins (as well as another co-star that I will be getting to soon) absolutely holds his own with his performance. He able to find the complexities of his role in an effortlessly fashion and brings out both the strength of Richard and the weaknesses of him in equal ability. He makes Richard a compelling presence in the film, and realizes him in such a way that I honestly would have liked to follow where Hopkins's Richard would go after this point in his life.

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Alternate Best Supporting Actor 1968: Jason Robards in Once Upon a Time in The West

Jason Robards did not receive an Oscar nomination for portraying Cheyenne in Once Upon a Time in The West.

Sergio Leone's characters in his westerns are usually left with a great deal of mystery, and many of his characters are a man of few words. This is true for that of the drifter Harmonica (Charles Bronson), and the brutal assassin Frank (Henry Fonda) in this film, but here (as he also did in The Good, The Bad, and The Ugly) has one character a man who does not mind speaking his mind. In this case it is portrayed by Jason Robards a outlaw whose whole character arc seems to be revealing exactly who he is, this also represented by his musical theme which starts out cold and slowly becomes more lively throughout the film as we learn more about Cheyenne.

This film is filled with four classic entrances for the characters that are all just perfect for each character. Cheyenne's first appearance is at a trading post where we hear a gun fight clearly go on outside, and the victor of the gunfight walks in covered in shadow who turns out to be Cheyenne clearly having just escaped from his captors. Robards establishes Cheyenne perfectly in this scene as a very certain type of man. The way he handles the room of somewhat nervous patrons, despite being hand cuffed, is perfect in the way he sets up Cheyenne as a very particular sort of an imposing figure. Robards instantly makes his own particular stamp on the film.

His first scene shows his terrific ability to seem like a dangerous man in the way he quickly moves, and incisively spots any potential threats. Robards is particularly great is when he only points to freeze a man reaching for a gun, and then later uses that man's gun to shoot out his own handcuffs. Robards is excellent having just the right playfulness along with conveying the right sort of threat with Cheyenne as well. It is really brilliant way he sets up Cheyenne here as he makes it possible that he could be hero in the nice bits of humor he puts in his performance, but as well as through his more menacing demeanor he conveys as well.

His next scene he appears to the recently married as well as widowed Jill McBain (Claudia Cardinale) at her secluded farmhouse to inquire about why her family was murdered, since he and his gang were framed for the killings. His scenes with Cardinale shows much more to Cheyenne, and Robards is great in the way he opens up the outlaw and showing the true nature of the man. The scenes between Robards and Cardinale are quite effectively played particularly by Robards who almost makes them romantic in a way. In these scenes Robards shows Cheyenne to be essentially a good man, despite being a bandit, by just having a great deal warmth in his portrayal of Cheyenne treatment of the very mistreated woman.

Robards's performance here is one of the reasons why this film is as good as it is. As Cheyenne he really brings his all and gives a consistently entertaining performance. The scene where he saves Harmonica well being held by Frank's men is absolutely incredible thanks to each of Robards's reactions as he dispatches each of the men in an efficient as well as comedic fashion. Robards is just very enjoyable throughout, and his scenes with Bronson are great. The two work together brilliantly and they bring out the best of the dialogue through Bronson's more dead pan delivery against Robards's more acerbic method of speaking.

It would have been easy enough to be a scene stealing comic relief, or a weightier more tender depiction of an outlaw with a heart of gold. Robards takes neither approach and instead just goes about doing both. He is amazing in every scene whether it is hilarious back and forth with Bronson about the amount of money Judas got for Jesus, or if it is one of his poignant moments at the end of the film where he brings a great deal of weight to the themes of the film about the end of a certain kind of man in the west, that is particularly powerful why Cheyenne is being so reflective in that moments at the very end of the film.

Jason Robards here knows exactly when and how to make his impact on the film and does it wonderfully well. Where Frank, Harmonica, and Jill we see most of what they do Cheyenne is really the supporting facet of the film because there are many instances where he does something entirely off screen. Robards makes the most of his character in every second he does have, and along with the way his musical theme unfolds Robards unfolds Cheyenne in an equally effective fashion. Robards has the talkative character of the film, and he never wastes that fact. He is always an energetic presence, always a humorous presence, and even one that makes a surprising emotional impact. This is a great performance by Jason Robards that is fitting of his incredible film.

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Alternate Best Supporting Actor 1968: Oliver Reed in Oliver!

Oliver Reed did not receive an Oscar nomination for portraying Bill Sikes in Oliver!.

Oliver Reed plays Bill Sikes in this musical version of Oliver Twist, and although the film won best picture he was never going to be nominated as he plays what might be the least favorite type of Oscar character. Bill Sikes is just a despicable character, but without any "redeeming" style in the way he goes about being despicable. Although this is a musical adaptation and many of the characters are fairly lightened up through this adaption particularly Fagin and Artful Dodger, Oliver Reed's portrayal of Sikes makes no concessions for the fact that there is all sorts of singing and dancing around him.

Sikes actually had a song in the original musical, but it was removed from the film. This might have been done because Reed could not sing, but it was probably a good idea to remove Sikes singing making him stand out as a character who does not have a song in his heart. Reed plays Sikes insanely straight, and his portrayal of Sikes would have worked in a down and dirty adaptation of Oliver Twist. He goes for playing the character as Charles Dickens envisioned him. Reed portrayal of him does not ever try to avoid creating the extreme brutality that lies right within the character.

Oliver Reed is quite effective in his performance as Sikes as he brings a quite menace to the part that works for two reasons. One is that he shows the great possibility of violence that Sikes is capable of, and does indeed act upon later in the film. The silence also works because although the menace is there Reed manages to make it believable that the good hearted Nancy (Shani Wallis) would stay with him at all. The reason is in his silence it seems that very well she could easily accept him, and even believes that she loves him as the vicious criminal is not always rapidly apparent.

Reed though carries his menace well into when he talks as well and we see the full extent of the killer inside. He is particularly chilling in the scene where he threatens Fagin by telling what chickens do when their necks are rung off. Reed delivery of this scene is incredibly good, and shows exactly what there is to Sikes. Reed is good in the role because how base evil he is as Sikes who is just a criminal thug, not a mastermind, but capable of horrible deeds anyway. Reed is great as Sikes in the quiet scenes, but he also succeeds at the end of the film when Sikes is a man on the run after having murdered someone.

Reed succeeds well in his last scenes showing Sikes lose his more restrained demeanor at the end, as he becomes almost like an animal in corner as he is chased. Reed is quite good in this scene because after he does the murder it would have been easy enough to show Sikes just keep his demeanor from before. Reed does much more by showing that Sikes definitely knows what he has done.  He might not show remorse exactly for his action he expresses that Sikes understands there is no turning back from what he is done. Reed gives this moment a lot more weight by doing this, and does far more here than was honestly required of Sikes as character. It is a good performance, and despite being the one character who does not sing in this musical he honestly gives the best performance in the film.

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Alternate Best Supporting Actor 1968: Michael York in Romeo and Juliet

Michael York did not receive an Oscar nomination for portraying Tybalt in Romeo and Juliet.

Michael York is an actor with a very distinct voice that is both posh and pompous sounding to begin with.  This helps in portraying the pompous Tybalt one of the leading men in Capulet clan. Where the other men might go about with various insults to one another, and build to the antagonism Tybalt throws himself full force in it. Tybalt is easy to be just a bully, but York takes this role and makes a most of it from his first scene by showing that Tybalt just completely revels in the idea of conflict. York does not this to portray Tybalt is just evil or anything close to it though, which is how he gets so much out of his role.

York is very energetic in the role with a big smile and a broad manner that really characterizes Tybalt brilliantly for this film. One thing this version of the play really does well is show that the tragedies that occur in the film were not an inevitability by any means. York contributes to this idea well by not portraying Tybalt as sadist in regards to enthusiasm to fight, or even call out his enemy like when he wants to kick Romeo out of a party. Instead York makes him almost a wannabe romantic hero, he wants to brash and big with his fight even if he does not have the slightest idea what he really is fighting for.

Tybalt's manner of course leads him to his fateful duel with Romeo's friend Mercutio (John McEnery). This scene is the highlight of a good film, and a lot of the credit for this deserves to go to York and McEnery. They are terrific as the two go up each other in a duel that is more about theatrical antics and showing up one another in public more than trying to kill each other. The two have a lot of fun in the scene as they both try to show up the other in their technique and style they use. It is a particularly strong scene because both actors show the men are having genuine fun in their act there is no malice making the tragedy all the greater when Tybalt accidentally stabs Mercutio.

York single short reaction to seeing the blood and the blade is absolutely perfect. We see the remorse that Tybalt has for this action, and he makes it clear that murdering Mercutio was never his intention. It actually is a very moving moment despite being a very short one. When Romeo demands vengeance for the death of his friend York is excellent because we see his rage match Romeo yet York subtly infuses a bit of confusion and angst over the whole matter that came about so accidentally. Of course York's performance ends quite quickly after this point, but York has made his impact on the film. His take on Tybalt is unique and quite effective. Although Tybalt still is not the most complex character around York actually manages to get even more than there is out of the character.

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Alternate Best Supporting Actor 1968

And the Nominees Were Not:

Anthony Hopkins in The Lion in Winter

Timothy Dalton in The Lion in Winter

Jason Robards in Once Upon a Time in The West

Oliver Reed in Oliver!

Michael York in Romeo and Juliet

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