Alternate Best Supporting Actor 1992: Results

5. Samuel West in Howard's End- West handles his part well, but he fails to leave that much of a lasting impression.

Best Scene: Bast first meets the Schlegel sisters. 

4. Steve Buscemi in Reservoir Dogs- Buscemi gives a good performance by giving a realistic depiction of a man who strives to be professional above all else.

Best Scene:  The Mexican standoff.

3. Richard Harris in Unforgiven- Harris gives a strong performance by nicely building up his character's prim pompousness just to have it cut down.

Best Scene: English Bob and Little Bill meet once again. 

2. Alec Baldwin in Glengarry Glen Ross- Just one great monologue and he delivers it flawlessly.

1. Paul McGann in Alien 3- Good Predictions Michael McCarthy and Psifonian Although it was never in question who would take this year overall, it should be noted that McGann gives a great portrayal of uncontrollable madness.

Best Scene: Golic apologizes for a killing.

Overall Rank:

1. Gene Hackman in Unforgiven
2. Paul McGann in Alien 3
3. Al Pacino in Glengarry Glen Ross
4. Alec Baldwin in Glengarry Glen Ross
5. Richard Harris in Unforgiven
6. Charles Dance in Alien 3 
7. Morgan Freeman in Unforgiven 
8. Charles S. Dutton in Alien 3
9. Fred Gwynne in My Cousin Vinny
10. Ed Harris in Glengarry Glen Ross
11. Kevin Spacey in Glengarry Glen Ross
12. Steve Buscemi in Reservoir Dogs
13. Jaye Davidson in The Crying Game
14. Kevin Kline in Chaplin
15. Saul Rubinek in Unforgiven
16. J.T. Walsh in A Few Good Men
17. Robin Williams in Aladdin
18. Tom Hanks in A League of Their Own
19. Alan Arkin in Glengarry Glen Ross
20. Michael Madsen in Reservoir Dogs
21. Jonathan Pryce in Glengarry Glen Ross
22. Samuel West in Howard's End
23. Lawrence Tierney in Reservoir Dogs
24. Anthony Wong in Hard Boiled
25. Pete Postlethwaite in Alien 3
26. Jeff Goldblum in Deep Cover
27. West Studi  in The Last of the Mohicans
28. Dana Carvey in Wayne's World
29. Chris Penn in Reservoir Dogs
30. Anthony Hopkins in Dracula
31. Ray Walston in Of Mice and Men
32. Tim Curry in Home Alone 2
33. Sidney Poitier in Sneakers
34. Russell Means in The Last of the Mohicans
35. Oliver Platt in Beethoven
36. Stanley Tucci in Beethoven
37. Al Freeman Jr. in Malcolm X
38. Fred Ward in The Player
39. James Earl Jones in Sneakers
40. James Woods in Chaplin
41. Jim Broadbent in The Crying Game 
42. Rob Campbell in Unforgiven
43. Kevin Bacon in A Few Good Men 
44. Stephen Tobolowsky in Sneakers
45. Delroy Lindo in Malcolm X
46. Billy Bob Thornton in One False Move
47. Tom Waits in Dracula
48. Philip Seymour Hoffman in Scent of a Woman 
49. Jack Nicholson in A Few Good Men
50. Anthony James in Unforgiven
51. Rob Lowe in Wayne's World
52. Danny Webb in Alien 3
53. Joe Pesci in Home Alone 2
54. David Strathairn in Sneakers
55. Gilbert Gottfried in Aladdin 
56. River Phoenix in Sneakers
57. David Paymer in Mr. Saturday Night
58. Ralph Brown in Alien 3
59. Ian Watkin in Dead Alive
60. Philip Chan in HardBoiled
61. Eddie Bracken in Home Alone 2 
62. Edward Bunker in Reservoir Dogs
63. Eric Schweig in The Last of the Mohicans
64. Ben Kingsley in Sneakers
65. Vincent D'Onofrio in The Player
66. Jonathan Freeman in Aladdin
67. Richard E. Grant in The Player
68. Philip Kwok in Hard Boiled
69. Forest Whitaker in The Crying Game 
70. David Strathairn in A League of Their Own
71. Lance Henriksen in Alien 3
72. Robert Prosky in Far and Away
73. Mako in Sidekicks
74. Wayne Knight in Basic Instinct
75. James Rebhorn in Scent of a Woman
76. Richard E. Grant in Dracula
77. Peter Gallagher in The Player
78. Dan Aykroyd in Sneakers
79. Harvey Keitel in Sister Act
80. Brian Doyle-Murray in Wayne's World
81. Daniel Stern in Home Alone 2
82. Anthony Hopkins in Chaplin
83. Cary Elwes in Dracula
84. Christopher Walken in Batman Returns
85. George Dzundza in Basic Instinct
86. Michael Beach in One False Move
87. Wolfgang Bodison in A Few Good Men 
88. Jaimz Woolvett in Unforgiven 
89. James Wilsby in Howard's End
90. Kevin Pollack in A Few Good Men
91. Ralph Maccio in My Cousin Vinny
92. Ralph Brown in The Crying Game 
93. Maurice Roeves in The Last of the Mohicans
94. Billy Campbell in Dracula
95. Dean Jones in Beethoven
96. Dan Aykroyd in Chaplin
97. John Heard in Home Alone 2
98. Jonathan Brandis in Ladybugs 
99. Ron Silver in Mr. Saturday Night
100. Bradley Whitford in Scent of a Woman
101. Danny DeVito in Batman Returns
102. Casey Siemaszko in Of Mice and Men
103. Kiefer Sutherland in A Few Good Men
104. Chuck Norris in Sidekicks
105. Beau Bridges in Sidekicks 
106. Gregory Sierra in Deep Cover
107. Thomas Gibson in Far and Away
108. Quentin Tarantino in Reservoir Dogs 
109. Spike Lee in Malcolm X
110. Pauly Shore in Encino Man
111. Charles Martin Smith in Deep Cover
112. Michael DeLuise in Encino Man
113. Joe Piscopo in Sidekicks
114. Keanu Reeves in Dracula

Next Year: 1945 Lead

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Alternate Best Supporting Actor 1992: Samuel West in Howard's End

Samuel West did not receive an Oscar nomination, despite being nominated for a Bafta, for portraying Leonard Bast in Howard's End.

Howard's End is a very fine adaptation of the novel which tells the story of three families through the exchanging of a house Howard's End that goes from person to person.

Each of the families in Howard's End represents a different class of Edwardian England. The Wilcox family being the very wealthy upper class, the Schlegel sisters being the bourgeoisie, and Bast being the lower class. Of course it is a relative lower class for Bast as he is a white collar lower class still as he does not look poor when you look right at him, but unlike those above him money seems to be an actual concern for him. West plays Bast very much in the appropriate style that most of the actors employ. The style being firmly in that Edwardian bent where emotions are to be very specifically expressed, and even when one's emotions become more volatile it's still to be done in a fairly repressed way that still must keep one's proper manner intact at all times.

The Edwardian confines are an interesting challenge for any actor because it is up to them to not simply be dull in his portraying this particular style of person, and as well attempt to see what they can do below the surface with the work. West technically gets a little more wiggle room with Bast as he is one of the more emotional characters, although still not that emotional. West definitely is good in coming up with that Edwardian reserve as he always seems at least slightly constrained in some way, as a good Edwardian should even though he is technically an emotional fellow. West is effective in always keeping that a mostly proper stance, and when there is something for him to be a little more emotional about West is effective in stressing a stronger intensity in these moments to basically show a strong repression.

Bast comes in and out of the film usually being roped along by the whims of the the Schlegel sisters who think they are helping Bast, but he continually finds himself off in slowly worse circumstances. There are few moments where Bast takes exception with them but they are played as very Edwardian by West which certainly is the way they should be played. For the most part though West plays Bast as a man who just is slowly getting more and more depressed over his situation. He plays it as a particularly inward bound depression as he just seems to sunken from the inside. This does not change even when he has an affair with one of the sisters as the film seems to play it that she does this in part because of his rather miserable state both financially and emotionally.

 West handles his dissolution of the man well enough to even the point that his sudden exit at the end of the film can even be believed rather easily. West's work here is a good performance which firmly stands within the realm of the Edwardian culture. I don't see this as a particularly great performance though as he never quite stands out really all that much with his performance. It's a good enough performance in that I have no real complaints and he definitely gets across exactly what should be gotten across in regards to Bast as a character. It's fine work but just fine. There is perhaps there could have been ground gained with the character it is hard to say, but either way I find that his performance is more than adequate but also pretty easy to forget.

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Alternate Best Supporting Actor 1992: Richard Harris in Unforgiven

Richard Harris did not receive an Oscar nomination for portraying English Bob in Unforgiven.

One of the aspects of Unforgiven that I love is that it is far more than a revenge story as it delves into the whole idea of what means to be a gunfighter. Where this aspect of the film really starts is the appearance of English Bob played by Richard Harris. Richard Harris is an actor I've always liked, you'd certainly be hard pressed to name an actor more entertaining in an interview than him, and this gets to be a somewhat showboating performance from him at least when we are introduced to English Bob. English Bob is riding a train and espousing his views on the recent shooting of President Garfield. Harris plays the role with all proper diction and refinement making sure he puts the English in English Bob to its fullest extent, and proving himself just as capable as playing a gentleman as he would thug.

Harris has some fun with the role, and is pretty entertaining in portraying Bob as a man who is purposefully tying to pick a fight with others with his pompous demeanor. Harris in his opening scene creates the ego brilliantly of the man as you can see his great joy he takes in proving himself superior to others. Harris does more than that though by suggesting exactly what Bob is which is a killer underneath all his fine clothing. My favorite moment of his in this scene is when one of the men is taking offense to Bob and another warns him of Bob's history as a gunfighter. Harris is steely gaze is perfect as he suggests in just that moment the deadly abilities of Bob, and that yes indeed Bob would not really mind cutting down a few lesser sorts if they wanted to start something even if it is over whether or not America should have a monarch.

English Bob's destination is the town of Old Whiskey where the local prostitutes are offering a bounty against some men who cut one of them. As Bob still continues on in his pompous way into town even having too much delight in pretending to shoot a few bystanders Harris. He continues on in this way though until he finds himself surrounded by deputies and the sheriff Little Bill Daggett (Gene Hackman). Harris and Hackman are great in this scene as they play just the right casual antagonism that instantly reinforces the fact that Bob and Little Bill go way back, although not as old chums to be sure. Harris is great in the scene though by keeping Bob calm and cool and still rather genial as a good gentleman should be as he gives up his first gun. This end in one of my favorite moments of he film though and that is when Daggett asks for one more gun hidden in Bob's coat.

Harris's reaction to that moment is absolutely flawless and I love because not only is it a terrific ah hell sort of face but also Harris shows all that English gentlemen act just completely drain out of him in a moment. He gets drained more thoroughly out of him when Little Bill beats the living tar out of him and locks him in jail for the night. Inside the prison Hackman of course owns the scene as he just about owns the film with his unquestionably the greatest supporting performance of 1992, yeah don't worry, but that should not diminish what Harris still does in the scene. Of course Harris is limited by that he must be writhing in pain, which Harris does well, but his silent reactions to the true revelation of the west are all very well handled as only with his face Harris suggests Bob being somewhat ashamed about what he has done in the past that really does live up to his present image he likes to present.

One of the best moments of the film, again this is a great film so I can say that a lot, is when Little Bill has Bob's biographer (Saul Rubinek) try pulling the trigger of gun which he balks at, but then decides try for Bob's hand in it. It is one of Hackman's most incredible moment as he goes from an amiable warmth to completely chilling in a moment, but Harris does not slouch either. Harris also brings out the killer side in Bob at the same moment as he approaches the gun, and is very effective though in showing that Bob does know to accept defeat. Bob then is sent on his not so merry way with Harris leaving Bob as taken down many notches from his entrance. This is relatively short performance but he so nicely adds to the film in just the right way. The film is not about English Bob, but Harris realizes him as another part of the complex West that Unforgiven portrays.

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Alternate Best Supporting Actor 1992: Paul McGann in Alien 3

Paul McGann did not receive an Oscar nomination for portraying Golic in Alien 3.

Alien 3 tends to be a heavily bashed film, but I rather dug it even if some of the visual effects are quite poor. I suppose maybe if you've seen Aliens first though you probably will take exception to the instant demise of the characters from Aliens, but Sigourney Weaver's great performance alone should stop this film from being instantly dismissed. Then again I've only watched the apparently superior assembly cut.

The film though should not be dismissed anyway though as I was surprised by the strong performances from most of the supporting actors particularly Charles Dance's kind yet troubled doctor, Charles S. Dutton's strong willed spiritual leader of the prisoners, and of course Paul McGann as Golic one of the most troublesome inmates on the planet. At the beginning of the film Golic is a formerly deranged killer, although he has since mellowed out through the religion of the men, but even with that he still seems a bit off to say the least and the other inn mates still do not exactly jump to have to be around him. The role of Golic is technically one of pure insanity even when he is saner at the beginning of the film as he is completely mentally unhinged man, since even among killers and rapists he seems crazy.

This type of role is a ripe one for all sorts of overacting and in most cases it probably would not help that it is also a sci-fi horror film where sometimes actors take an excuse to act extremely poorly. McGann's performance though is a revelation as I think he gives better portrayal of insanity and mental disability than many actors who play those sort of roles in more "serious minded" films. McGann is only ever Golic with this performance as he resists any moment to overact, and even though his portrayal is technically speaking acting at its most extreme you really won't notice it because of  how good McGann is in the role. The way he moves, the way he talks, and all of his little physical tics all are made by McGann as part of Golic and it is quite a fascinating performance to watch.

The Alien makes mince meat out of a few of the prisoners with Golic being the only survivor out of the small group of men, and we get a bit of a different horror reaction out of McGann. It's still a reaction of fear, but McGann is remarkable in showing an already deranged man become more deranged. The scene technically is pretty simple as it is just a few men getting killed with Golic having to react and then run away as fast as possible can after seeing the monster. It is made incredibly memorable by McGann keeping with his character in the moment. When Golic runs in from fright it is quite different as the man also reverts at the same time. It's an outstanding moment for McGann as it is fascinating to see him pull off the mental decay of Golic so exceptionally well in his portrayal of the change of Golic.

In the early scene McGann made Golic as quite insane but properly reflected the effect of the prison in him which made him a repressed insanity although still insane. Once Golic sees the alien though McGann holds nothing back in turning Golic into a man completely controlled by his derangement and it is something to behold. McGann turns Golic into a mostly gibbering mess though its amazing because he actually goes to edge without faulting once giving a startling depiction that honestly makes the idea of the alien more frightening through his performance than the alien really is in this film. Golic only continues in the wrong direction when he once again witnesses the monster, who does not kill him and something sets off in him as he seems to worship the alien which McGann is completely convincing in Golic's captivation.

Ripley and the other convicts manage to trap the Alien but Golic sets to free what he sees as his savior of sorts. Again Golic's whole scene could have been nothing but it is astonishing because of McGann's fervent depiction of the uncontrollable craziness. McGann never becomes one note even the character is technically one element but McGann never gives into one set attitude but rather is compelling through the randomness of Golic's mind. One of the most disturbing moments is just before Golic releases the alien as he kills the man guarding the door. McGann does not do cold, but is more disconcerting by showing Golic genuinely repentant toward the act. It might seem bizarre but McGann only leaves it as part of who Golic is.

The role of Golic is actually pretty much a throwaway part, and I find it very easy to see how a lesser performance would have treated the character as just an excuse to act wacky for awhile or really been a completely forgettable character all together. This is particularly noticeable in that apparently in the theatrical release it is just assumed that he dies off screen, and even in the version I saw Golic still is fairly quickly done away with and off screen but with an actual reason. I frankly would have wished for Golic to continue into the film as McGann's performance is such an interesting portrait of insanity to watch. He gives it his all and he only succeeds in giving vivid life to his character's madness.

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Alternate Best Supporting Actor 1992: Steve Buscemi in Reservoir Dogs

Steve Buscemi did not receive an Oscar nomination, despite winning an Independent Spirit Award, for portraying Mr. Pink in Reservoir Dogs.

Mr. Pink is the only jewel thief who is not compromised in some way Mr. White (Harvey Keitel) becomes too much of a mentor to Mr. Orange, which is a problem because Mr. Orange (Tim Roth) spoiler is very compromised because he is a cop,  Mr. Blonde(Michael Madsen) might know how to get things done but he is very problematic because of his psychotic behavior, Mr. Blue (Eddie Bunker) is too busy being a red herring, and Mr. Brown is very compromised not because not only does he die soon after the robbery he's also unfortunately played by Quentin Tarantino. That leaves Mr. Pink, the non-tipper, as the only man who really wants to be a professional even after the job has gone seriously wrong.

Steve Buscemi is an actor who does not really need to convince you that he is criminal through any sort of performance technique, he just naturally has that shady look about him. Well Buscemi does not toy with this in anyway for sure and fits together will the very well cast array of crooks in the film. Buscemi though has the right demeanor in his performance during the various flashbacks in the films that reveal what the men were doing before they went to the robbery. Buscemi even here carries the right relaxed approach that suggests Pink's calmer nature. How Buscemi does this though is portray Pink as a man rather relaxed in his circumstances who treats the upcoming proceedings as just a thing he does from day to day being a professional and all.

Buscemi is very good and even rather enjoyable by taking this approach in the flashbacks and does well not to oversell the more humorous lines he has. In his own monologue about his preference not to tip Buscemi plays it very to the point in a realistic fashion. In doing so he is very effectively setting up Pink as a naturally calculating sort, and looking at things too much is just his way of doing things. The same goes for when they are assigned the name and he is forced to take exception with the color choice given to him. Buscemi makes the reaction appropriately amusing by once again delivering it naturally as possible making basically the reaction that most men would have after being given the unfortunate name he is given.

His demeanor of course changes quite severely though once they make it to the warehouse after the botched robbery. Buscemi is extremely effective in bringing the needed intensity to the situation. He plays Pink very well by giving the right agitation as well volatility in his performance that sums of the feelings of man who does not know what's going on but wants to. Buscemi's best moments are when Pink reacts to the more extreme behavior by some of his cohorts. Buscemi's reactions are perfect in expressing the disbelief of the others, and reinforces always the fact that Pink is a professional above else. My favorite moment of his has to be his strained plea during the Mexican standoff that sums up how a sane man would view the insane situation quite nicely.

Buscemi's work is all together a solid work that adds to the film nicely and fulfills Pink's part of the dynamic of men incredibly well. I would not describe this as one of those supporting performances that steals the film though. He is indeed my favorite out of the cast, but that is not to say he always makes the strongest impression in every scene, I would say he makes the strongest in many scenes but not all. I don't want to sound like I am really criticizing Buscemi in anyway though as he handles the material just as he should, and really the only thing that really holds him back is the nature of the film. It's a very good performance by Buscemi although his best portrayal of a criminal would come as a less professional sort.

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Alternate Best Supporting Actor 1992: Alec Baldwin in Glengarry Glen Ross

Alec Baldwin did not receive an Oscar nomination for portraying Blake in Glengarry Glen Ross.

Glengarry Glen Ross has a terrific ensemble from Jack Lemmon leading work, that I still scratch my head over how he failed to get any awards traction for, Pacino rightfully nominated turn, Ed Harris's portrayal of the loudmouth who blames everyone but himself, Kevin Spacey as one of the most punchable characters ever written, and Alan Arkin and Jonathan Pryce do some strong work as well in their smaller roles as rather meek men. Baldwin is actually only in one scene in the film early on as a motivational speaker of sorts who is sent by the men at the head office to "inspire" the salesmen who have been in a bit of slump. This role was not in the original play, and apparently written specifically for Baldwin to perform in the film.

Baldwin only has one scene yet his monologue is consistently one of the most mentioned aspects of the film. There is a reason for this as it is brilliantly written by David Mamet to be sure, but it is also brilliantly played by Baldwin. Blake begins his rant by basically bringing silence to the room and stating firmly that Lemmon's Shelley Levene is not allowed coffee because only closers can I have coffee. Closers referring to those salesman who manage to actually sell the properties they are hocking and close the deal completely. Baldwin starts like a military commander who has a serious bug up a certain part of his body as Blake verbally abuses all of the men without hesitation. Baldwin delivery and demeanor is fierce as if Blake could burst into violence at any moment although he won't it is the level of intensity that Baldwin brings to the role.

Baldwin's makes every insult sting just as it should and perfectly exemplifies the severity of the situation for the salesman by showing just how stinking uncaring Baldwin plays Blake as. Of course the viciousness Baldwin brings to the part is entertaining and gets the point across quite brutally, but I don't think it would be as memorable if he did not also bring across the more inspiring aspects of the speech. Well inspiring so to speak, as the reason Blake is there is to inspire them not to go make them go into despair, although the two can be confused but that's definitely the point. Baldwin makes the right changes in tone at the right moments such as when he seems to lighten up ever so slightly when asking Levene if he is going to grab those opportunities that are so obvious, or when he quiets down a little bit for some more direct humiliation for Ed Harris's character.

The film obviously continues for some time after Baldwin leaves as he has no additional scenes or even reminders in the script that callback to his character. Baldwin has just the one scene to call his own, but boy does he call it his own. Baldwin does not waste a second of the monologue and gives it the tremendous  impact it should have setting what it is that the men are up against really, but as well just being a scene that is great to watch. Baldwin's performance is fitting to the strength of the writing and the two come together in a most beautiful and brutal tandem. Although he has only one scene Baldwin still makes himself one of the very best parts of the film. With all the great moments it could have been easy to forget this one, that definitely does not happen though and it is no surprise that this is probably the most remembered scene of the film.

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Alternate Best Supporting Actor 1992

And the Nominees Were Not:

Alec Baldwin in Glengarry Glen Ross

Paul McGann in Alien 3

Richard Harris in Unforgiven

Steve Buscemi in Reservoir Dogs

Samuel West in Howard's End

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