Alternate Best Supporting Actor 1970: Results

5. Leonard Frey in The Boys in the Band- Frey, although his voice is a bit theatrical, gives an effective in his portraying his character's sharp cynicism.

Best Scene: Harold cuts Michael down.

4. Donald Sutherland in Kelly's Heroes- Sutherland gives a weird performance but an endearing character as the aptly named Oddball. 

Best Scene: Oddball takes a break from battle.

3. Trevor Howard in Ryan's Daughter- Howard gives a strong performance that deftly mixes in rather coarse qualities with a genuine heart.

Best Scene: Father Hugh talks to Rosy about marriage.

2. Alec Guinness in Scrooge- Guinness has only two scenes but two scenes of brilliance in his dryly comic performance as a ghost.

Best Scene: Marley in Hell.

1. Karl Malden in Patton- Good Predictions JackiBoyz, Maciej, and Kevin. Karl Malden gives a great performance as the unassuming General Omar Bradley by being the perfect foil for George. C. Scott's depiction of the pride filled Patton, and showing that a modest man can still be a complex man.

Best Scene: Bradley openly speaks his mind to Patton.

Overall Rank:

1. Karl Malden in Patton
2. Alec Guinness in Scrooge
3. Trevor Howard in Ryan's Daughter
4. John Mills in Ryan's Daughter
5. Leo McKern in Ryan's Daughter
6. Donald Sutherland in Kelly's Heroes
7. Barry Foster in Ryan's Daughter
8. Don Rickles in Kelly's Heroes
9. Leonard Frey in The Boys in the Band
10. Orson Welles in Catch-22
11. Chief Dan George in Little Big Man
12. Anthony Perkins in Catch-22
13. Robert Duvall in MASH
14. John Marley in Love Story
15. Tom Skeritt in MASH
16. Kenneth More in Scrooge
17. Martin Balsam in Little Big Man
18. Richard S. Catellano in Lovers and Other Strangers
19. Richard Mulligan in Little Big Man
20. Gig Young in Lovers and Other Strangers
21. Bob Newhart in Catch-22
22. Anton Rodgers in Scrooge 
23. Martin Balsam in Catch-22 
24. Henry Fonda in Sometimes a Great Notion 
25. Bob Balaban in Catch-22
26. Rene Auberjonois in MASH
27. Gerald Sim in Ryan's Daughter
28. Charles Grodin in Catch-22
29. Len Lesser in Kelly's Heroes
30. Martin Sheen in Catch-22
31. Ray Milland in Love Story
32. Timothy Dalton in Cromwell
33. Hal Holbrook in The Great White Hope
34. Jon Voight in Catch-22 
35. Peter White in The Boys in the Band
36. Richard Jaeckel in Sometimes a Great Notion
37. Gianni Santuccio in Investigation of a Citizen Above Suspicion
38. Gastone Moschin in The Conformist
39. Art Garfunkel in Catch-22
40. Robert Morley in Cromwell
41. David Collings in Scrooge
42. Carroll O'Connor in Kelly's Heroes 
43. Richard Benjamin in Catch-22 
44. Gary Burghoff in MASH
45. Edward Binns in Patton
46. Cliff Gorman in The Boys in the Band
47. Michael Medwin in Scrooge
48. Laurence Naismith in Scrooge
49. Enzo Tarascio in The Conformist
50. Chester Morris in The Great White Hope
51. Billy Bush in Five Easy Pieces 
52. Michael Bates in Patton
53. Federick Combs in The Boys in the Band 
54. Richard Beaumont in Scrooge
55. Laurence Luckinbill in The Boys in the Band
56. Patrick McDermott in Joe
57. Lawrence Dobkin in Patton
58. Jack Gilford in Catch-22
59. Ralph Waite in Five Easy Pieces 
60. Robert La Tourneaux in The Boys in the Band
61. Cal Bellini in Little Big Man

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Alternate Best Supporting Actor 1970: Leonard Frey in The Boys in the Band

Leonard Frey did not receive an Oscar nomination for portraying Harold in The Boys in the Band.

The Boys in the Band is a film about a group of homosexual friends who get together for a birthday party although problems arise when their various past traumas are revealed and one of the men invites his old straight roommate. Although the film is well enough written and directed it is problematic because of the performances of the cast.

The actors in this film are reprising their stage roles and the majority of them are making their film debuts. This unfortunately is more than a little noticeable in their performances as most of them seem to be playing to the back rows. The film wants to make it doubly clear, in case you did not know already that the characters are definitely all gay. The performances may even well fit with the flamboyant characters but the actors often falter with the more subtle moments required of their characters. Leonard Frey did not make his film debut here though, but he too certainly gives a less than subtle way of delivery his lines. His voice here sounds like a more nasal version of the voice that Al Pacino used in Dog Day Afternoon.

Frey appears well into the film although he build up quite a lot as it is his birthday. His entrance is quite dramatic, and suggests that Harold will not necessarily be bringing cheer to the proceedings. Harold, like the main character Michael (Kenneth Nelson), has a strong passive aggressive streak that only becomes more openly aggressive as the night proceeds. Although the voice Frey uses is less than subtle, much like most everyone else, but unlike most of them Frey does know to bring some subtext to within this flamboyance rather than trying just when they are asked to be less loud by the script. Frey, because he seems to understand film the most, gives by far the best performance in the film.

Harold's is a bile filled man ready to take on Michael's bile with great stride. The main difference between the two is that Harold is far more comfortable not only as a homosexual but as well in his sardonic style. Frey is very effective in creating a loathing pessimist who seems to find solace in whatever way he can trade offenses with Michael who happens to be in particularly bad mood. Frey is very good in the most surface side of his character which is making every verbal swipe toward Michael with the utmost precision. It is rather interesting to see the man who played the shy Motol in Fiddler on the Roof play the role of a vicious cynic with such ease and even some menace.

Frey is makes Harold more than just a set of zingers to hit Michael with through the course of his visit. Frey, unlike most everyone else, makes great use of his silent moments during the film. Frey in these moments suggests that his cynicism is not all there is to Harold. There is a certain sadness Frey suggests in his quiet moments and in his reactions to Michael's antics that slowly seek to make everyone as miserable as he is. Frey largely steals these scenes by showing that as Michael harasses the others Harold is slowly building up his own distaste and in turn his own case against Michael. When Harold finally cuts Michael down Frey absolutely earns the moment by building to it properly and delivering with the cold ferocity necessary.

The only problem I would have with Frey's performance is his voice that he uses that does always feel like a straight carry over from the stage without proper adjustment for it to seem wholly natural. It still does feel more of an actor's choice than something entirely natural to his character. Other than that choice though Frey's gives a strong performance that easily bests everyone else in the cast by bringing more to his character than some obvious mannerisms or absurdly labored line readings. If it were not for my one major reservation of his choice in voice I would say this is very close to being a great performance by Leonard Frey, as he very much delivers in his portrayal jaded man who gets the most pleasure in his life by punishing a man who just is not nearly as good at being jaded.

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Alternate Best Supporting Actor 1970: Trevor Howard in Ryan's Daughter

Trevor Howard did not receive an Oscar nomination, despite being nominated for a Golden Globe, for portraying Father Hugh Collins in Ryan's Daughter.

Trevor Howard plays the role of the priest of a small Irish village. The role was written for Alec Guinness and it is easy to see him in the role. Guinness turned it down though and Trevor Howard was cast instead. Alec Guinness is not an anagram for genuine class for nothing, Trevor Howard on the other hand name is not an anagram for vow rot harder for nothing either. What I mean by that nonsense is that, while I'm sure Guinness would have been great in the role, Howard's casting offers a rather interesting take on the character of the priest. Howard has a natural roughness to him making him far from a genial man which tend to be the nature of most supportive priest characters.

Howard keeps his usual gruff personality in his portrayal of Father Hugh who does his best to be the moral compass of the village, and basically goes about checking to make sure everything is going as it should be. Howard's performance is a rather effective one because he balances between his natural roughness and the good nature of his character. Howard does not tone down anything about rough side to portray Father Hugh. Howard brings a power to his character through the roughness actually by making him a man who will speak his mind, and speak his mind without reservation either. The way everyone seems slightly weary of Father Hugh is made believable because Howard makes him a force to be reckoned with.

Even though Howard makes Father Hugh gruff he does not forget to convey the morality of the character. Howard actually in part uses the gruffness to add to the righteousness of the man. There is no sense of falseness of his morality because Howard shows that Father Hugh is a character who could never even think of even having the slightest pretension. Howard makes Father Hugh a man who knows what is right and will not hesitate just to speak his mind quickly when he sees someone is at fault. When Father Hugh sees the bad or sometimes rather evil actions of the towns people, Howard is terrific in getting right to the point with his fierce moral indignation that he conveys from the priest.

Howard importantly brings the proper nuance to Father Hugh when he talking to someone he thinks deserves more than a slap in the face. Howard is very warm in his scenes with Sarah Miles as Rosy the titular character. In these scenes Howard is able to convey the importance of his beliefs strongly, and as something more than just a reason to cut sinners down to seize. Howard gives the role the appropriate heart needed whenever the Father tries to talk to Rosy gently about her ideas of romance, or later when he tries his best to mend thing after Rosy has an affair of her marriage with a British soldier. Howard carefully shows that although Father Hugh will condemn when necessary, that there is a large heart behind his somewhat coarse exterior.

It is rather odd that the academy decided to ignore Howard's performance here, but I guess they felt they rewarded the film enough by recognizing John Mills's Oscar winning performance as the village idiot Michael (a performance that I will continue to defend, as I do believe he was the best of the truly supporting performances nominated). The academy though should have also recognized Trevor Howard as well as he very much excels with his performance as Father Hugh Collins. Howard succeeds in giving the local priest that large personality that makes him in a way one of the commanding forces of the island,  but Trevor as well well still brings the right tenderness there should be in a man who wants his congregation to be moral and thrive as they should.

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Alternate Best Supporting Actor 1970: Karl Malden in Patton

Karl Malden did not receive an Oscar nomination for portraying General Omar N. Bradley in Patton.

Patton is a film almost wholly involved with the story of General George Patton played by George C. Scott. The film's weakest aspects are when it attempts to diversify the story with the excessively simplistic German scenes that easily could have been removed from the film. There is only one supporting character who makes an impression on the film, Michael Bates might have with General Montgomery if he had not played him as such a caricature, that performance is of course Karl Malden as General Omar Bradley. The film carefully spotlights Bradley advancement as a General while following Patton, and in terms of the literal beginning of the story Malden actually appears before Scott does.

I always though of Malden's performance as a good one but watching the film again for his performance the  only improved the strength of the work. This is readily apparent from his very first scene where he rides to see the end result of a battle in which the allies took heavy losses. Malden establishes the nature of Bradley very effective in the way he handles the scene. He barely says much of anything, but brilliantly portrays the reaction that Bradley has toward the tragic result of the situation. Malden expresses rightly the subtle way that Bradley is forced to suffer the sight. Malden shows that it definitely does move him to see so many of the men dead, but Malden correctly keeps it in the man of Omar Bradley who is must do his duty.

Omar Bradley is the opposite of George Patton in most ways other than that they are both competent. Patton is a loud passionate and very fierce man who does things his own way without even a question with others opinions on the matter. He is easy to find conflict and does seem to have some delusions of grandeur in his belief that he is the reincarnation of many a great warriors. Omar Bradley is nothing like that with an easy going nature, and a complete lack of glory seeking in his attitude. Malden successfully makes Bradley the perfect foil for Scott's Patton. Malden, like his Oscar winning turn, is great in playing unassuming roles. Malden is great because he does not mind being genuine in this regard, and instead of finding flamboyance where there shouldn't be, he brings out the complexities of such a man.

Malden is excellent in the role in bringing to life this man, who is in the war to do his job as efficiently as he thinks he can. Malden does not make Bradley a simple sort, as many may have, and just like Mitch Malden knows that just because a man is reserved does not make him dull. I should say Malden doesn't reprise Mitch here though as Malden has the right forceful presence necessary for a commander of man like Bradley, but Malden shows Bradley to man who carries this power in his personal determination. Malden makes Bradley a restrained man among the nature of Generals, and especially when compared to the overwhelming personality of George S. Patton. Bradley would be a man who is part of the room, Patton on the other hand insists on being the room.

The greatness of Malden's performance is in his chemistry with Scott's performance. Malden is quite fascinating in that he makes Bradley a proper right hand man at first who wants to work with Patton to fight against the Nazis, but Malden has certain hesitations suggested within Bradley kind supportive face. Although Malden goes along with Patton, but in Patton's most eccentric moments Malden hints at a certain coldness toward Patton. This is important as Bradley career takes off and Patton slowly becomes muddled in various controversies. When they meet again on less even ground Malden still keeps Bradley as mostly amiable, but when Patton goes too far Malden  reveals Bradley's side that openly distastes Patton prideful, and less professional side.

Karl Malden gives a great performance that complements Scott's main performance in a marvelous fashion. Although it is Scott's film of course, Malden is not to be forgotten through his fascinating depiction of Omar Bradley. Malden easily could have fallen into the rest of the supporting characters of the film that are forgotten as soon as they leave, or even before that. Malden, unlike the rest of the supporting cast, makes the most of his somewhat limited screen time. In his time he shows a honest depiction of a General who is passionate about his duty, but in heart is an ordinary man taking a down to earth attitude to this duty. He's extremely effective in finding the finer details of the man, especially in Bradley complex relationship to a man whose manner toward war is almost antithesis to his own.

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Alternate Best Supporting Actor 1970: Donald Sutherland in Kelly's Heroes

Donald Sutherland did not receive an Oscar nomination for portraying Sergeant "Oddball" in Kelly's Heroes.

Kelly's Heroes is an entertaining film about a ragtag group of World War II  soldiers who hatch a plan to steal some Nazi gold. I should say though I do wish there were more character driven moments, Clint Eastwood who plays the titular Kelly said many were cut from the final product, as the ones that were not cut are the best moments of the film.

Donald Sutherland plays one of the members of the odd group appropriately named Oddball. Oddball commands three Sherman tanks and helps act as the brawn to help their forces pierce through the enemy lines to get to the money. This is a bit of a departure from Sutherland's usual characters, as he often does play saner roles, well at least saner than this. Oddball's name just is not just a name as he has a philosophy, style and accent all his own. This performance is all about the creation of the character, who is rather consistent throughout as he always stays in his very peculiar manner throughout the film. It really would be out of character for Oddball to strive for long from his own personal daze.

Sutherland's performance is weird, but it's the right type of weird. He delivers every line with his bizarre accent that only succeeds in accentuating every random statement that he seems to make. Sutherland's performance works because he is entertaining to watch him simply do whatever it Oddball is doing. He importantly finds the right tone to play Oddball in, in that he never goes too far with his performance. He, in I suppose the Sutherland fashion, doesn't really play Oddball in a loud crazy fashion. Sutherland instead is very effective in playing the weirdness in a fairly quiet fashion, which works in portraying his very relaxed attitude and philosophy toward life and the war.

Sutherland's portrayal of Oddball's antics in the war scenes are particularly striking as he still seems to take everything in stride even when he is taking down a column of German men with his tank unit. The scene might seem a bit intense, but not at all thanks in part to Donald Sutherland's Oddball. It is easy to see how everything involving Oddball could have failed miserably a he is a very absurd character, which often can mean a very obnoxious character. Sutherland makes everything work at just the right pitch turning Oddball into an endearing and strangely lighthearted presence in the film. 

Sutherland portrayal of Oddball is just a fun performance to watch. He has some very enjoyable moments throughout the film but my favorite moment of Sutherland's has to be his casual dismissive behavior when Oddball reveals he knows how to ride in tanks, but does not know how they work in anyway. My problem is that the film does seem like it perhaps left off some great moments off the cutting room floor as the film did leave me wanting more of almost all the main characters including Oddball. Sutherland even with that gives a rather memorable turn with his portrayal of this rather memorable character.

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Alternate Best Supporting Actor 1970: Alec Guinness in Scrooge

Alec Guinness did not receive an Oscar nomination for portraying Jacob Marley in Scrooge.

It seems that almost every great actor seems to have one role where they just get show off how awesome of an actor they are. This does not always work if the role does not call for it, or they are not great actors but when these two factors are met it can result in a very memorable performance like Laurence Olivier in Sleuth or Gene Hackman in Superman for example. Well that brings me to Alec Guinness in the often played role of Jacob Marley. A character dead to begin with which must be distinctly understood or you'll think it is odd that he's so white and likes chains so much. Anyway he's the old partner of Ebenezer Scrooge who comes to warn him about the result of evil ways.

Alec Guinness, much like Albert Finney as Scrooge, takes a unorthodox approach to his character. Marley is most often portrayed as a wailing man suffering from his terrible fate. In that regard he was best portrayed by Michael Hordern, but Guinness is not going to follow the rest because he's Alec Guinness. Guinness only has really two scene the one where he visits Scrooge, and another one that was probably added because again he's Alec Guinness. Guinness does quite a lot in these scenes, and as per usual with Guinness although this is definitely a PERFORMANCE sort of performance Guinness very simply is Jacob Marley in the film. Marley is a small role, but Guinness proves that cliche that I dare not utter.

Guinness firstly takes a very physical approach with the role as he enters Scrooge's chambers. There is a unnatural flow to the way he steps and walks. He moves his body as if he is actually apart from the gravity of the earth. Guinness does not rely on special effects, or even his makeup, but has his own body convey the ghostly nature of Marley. Guinness becomes the ghost with his movements and makes his entrance particularly striking and memorable. His ghostly ways are not his only deviations from the normal Marley method, as he also suggests a very different relationship with Scrooge before he died. Where most Marley is too consumed with his own grief to establish it, Guinness a more shrewd approach with his depiction.

Guinness basically says that Marley kind of looked down upon Scrooge and given his whole current predicament he has not exactly become any less sour in his mindset. Guinness always seems slightly condescending in his attitude to Scrooge as he talks to him in his perfect crackly voice. Guinness creates an underlying comedy, while still staying appropriately creepy, through this condescension. My personal favorite moment might be when Scrooge is accusing Marley of being a hallucination making Marley no more than an old potato. Guinness's reaction is hilarious as he shows Marley as being rather ticked off that his old business partner, who he did not care for, is daring to to talk back to him and calling him an old potato.

In his first scene Guinness leaves a great impression bringing the haunting quality, in the haunted house sense, that Marley should have while have the right type of underlying humor to the whole thing. In this version though Marley appears again during the Ghost of Christmas Future segment. Instead of just being shown his grave Scrooge in this version falls into finding himself in Hell, and greeted by who else but his old partner. Guinness changes his performance quite a bit but all accordingly with the plan. Being in hell, gravity is present once again for him and that otherworldly quality is no longer there. Guinness also removes his ghostly reserve and his passive aggressive behavior toward Scrooge becomes much more blunt.

Guinness is hilarious in this final scene as he portrays Marley relishing in every moment he gets to present Scrooge with the result of his greed. Every line Guinness delivers with a dry and extremely sharp wit. Guinness is wildly entertaining in his deviousness in the scene effectively turning the scene into a brilliant dark comedy when it might have simply been horror. I love every moment Guinness has in this scene, but my favorite has to be when he almost bursts out laughing when finally seeing what Scrooge's chain looks like. Like Hackman in Superman and Olivier in Sleuth, Guinness definitely shows off here, but like those performances it absolutely works. In his two scenes he steals the film and manages to be the greatest Jacob Marley even though his approach is most unorthodox.

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Alternate Best Supporting Actor 1970

And the Nominees Were Not:

Alec Guinness in Scrooge

Donald Sutherland in Kelly's Heroes

Trevor Howard in Ryan's Daughter

Karl Malden in Patton

Leonard Frey in The Boys in the Band

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