Alternate Best Supporting Actor 1958: Results

5. Christopher Lee in Horror of Dracula - Lee is menacing with his vicious depiction of Dracula, but the film barely gives him anything to do. 

Best Scene: Dracula attacks.

4. Robert Donat in The Inn of the Sixth Happiness- The part is ripe for embarrassment but Donat avoids it by giving a likable and honest performance that avoids the pitfalls of such a part. 

Best Scene: The Mandarin's message to his people as the Japanese invade.

3. Richard Attenborough in Dunkirk- The film limits him too much but Attenborough still shines by giving humanity to the character of a man who profits from a war he does not support.

Best Scene: Holden helps his wife test out the infant gas mask.

2. Burl Ives in Cat on a Hot Tin Roof - Ives is fantastic as Big Daddy bringing the larger than life presence needed for such a character, but along with the genuine depth needed.

Best Scene: Big Daddy recounts the death of his own father.

1. Orson Welles in Touch of Evil - Good Predictions Kooo160, Mark, Michael Patison, RatedRStar, and Michael McCarthy. Technically I should give this to Ives if I was doing on who had the best year overall, and I also should do it if I rated it by Humphrey Bogart's measurement of acting which is rating two actors in the same role. Well Welles played a rip off of Big Daddy in a Long Hot Summer, and Ives wipes the floor with Welles if you compare those performances. I only go by the individual performances themselves though, and although it is close, the supporting performance that left the greatest impact on me was Welles's portrayal of Hank Quinlan. It's a great depiction of dirty cop, not just because he brings the menace and the decay of such a character, but also because he turns it into a tragic portrait of a potentially great man who has lost his way.

Best Scene: Quinlan visits Tanya

Overall Rank:

1. Orson Welles in Touch of Evil
2. Burl Ives in Cat on a Hot Tin Roof
3. Burl Ives in The Big Country
4. Richard Attenborough in Dunkirk
5. Lee J. Cobb in The Brothers Karamazov
6. Gig Young in Teacher's Pet
7. Robert Donat in The Inn of the Sixth Happiness
8. Christopher Lee in Horror of Dracula
9. Ray Walston in Damn Yankees
10. Joseph Calleia in Touch of Evil
11. Lon Chaney Jr. in The Defiant Ones
12. Maximilian Schell in The Long Lions
13. Robert Ryan in Lonelyhearts
14. Dennis Weaver in Touch of Evil
15. Susumu Fujita in The Hidden Fortress
16. Adam Pawlikowski in Ashes and Diamonds
17. Ernest Thesiger in The Horse's Mouth
18. Ernest Borgnine in The Vikings
19. Ray Walston in South Pacific
20. Akim Tamiroff in Touch of Evil
21. Richard Basehart in The Brothers Karamazov
22. Valetin de Vargas in Touch of Evil
23. Tom Helmore in Vertigo
24. Mike Morgan in The Horse's Mouth
25. Robert Shafer in Damn Yankees
26. Chuck Connors in The Big Country
27. Takashi Shimura in The Hidden Fortress
28. Theodore Bikel in The Defiant Ones
29. Don Rickles in Run Silent Run Deep
30. Rod Taylor in Separate Tables
31. John Carradine in The Last Hurrah
32. Jack Warden in Run Silent Run Deep
33. James Donald in The Vikings
34. Orson Welles in The Long, Hot Summer
35. Albert Salmi in The Brothers Karamazov
36. Michael Gough in The Horse's Mouth
37. Charlton Heston in The Big Country
38. Basil Rathbone in The Last Hurrah
39. Michael Gough in Horror of Dracula
40. Pat O'Brien in The Last Hurrah
41. Stephen Chase in The Blob
42. Brad Dexter in Run Silent Run Deep
43. Robert Fields in The Blob
44. Lee Van Cleef in The Long Lions
45. Dean Martin in Some Came Running
46. John Benson in The Blob
47. Jack Carson in Cat on a Hot Tin Roof
48. John Van Eyssen in Horror of Dracula
49. Nick Adams in Teacher's Pet
50. Ray Collins in Touch of Evil
51. James Bonnet in The Blob
52. Arthur Kennedy in Some Came Running 
53. Earl Rowe in The Blob
54. Maurice Chevalier in Gigi
55. Jeffrey Hunter in The Last Hurrah
56. Charles McGraw in The Defiant Ones
57. Alfonso Bedoya in The Big Country
58. Larry Gates in Some Came Running
59. Curt Jurgens in The Inn of the Sixth Happiness
60. Charles Bickford in The Big Country
61. Felipe Pazos Jr. in The Old Man and the Sea
62. Keith Almoney in The Blob
63. Anthony Franciosa in The Long, Hot Summer

Next Year:1979 lead

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Alternate Best Supporting Actor 1958: Orson Welles in Touch of Evil

Orson Welles did not receive an Oscar nomination for portraying Hank Quinlan in Touch of Evil.

Touch of Evil is an excellent thriller about a crime ridden area right on the border between the United States and Mexico.

Touch of Evil opens with a bomb exploding that kills two people in a car right on the border leading it to be investigated by a Mexican detective who happened to be crossing the border with his wife Vargas (Charlton Heston) and a group of Americans lead by detective Hank Quinlan played by the director of the film Orson Welles. Perhaps it is rather obvious that Welles directed, other than because it is a great film, with the extremely memorable entrance Quinlan gets in the film. The scene is being investigated by the other officials with a car driving up with a dramatic close up to reveal the larger than life Hank Quinlan as he emerges from the car instantly inquiring about the case. Welles instantly takes hold of the screen which he will for every other scene in the film as well pretty much every scene he is not in as well. Hank Quinlan is a great character and Welles obviously will not waste this opportunity.

Orson Welles's performance is great in making Quinlan extremely memorable in every regard starting with the physical portrayal. Welles is absolutely spent in the part, and it is something to behold to be sure. His makeup is terrific to being with but Welles goes far past that with the way he plays the part. Welles gives Quinlan a lumbering walk due to Quinlan's limp as well as his size. Welles truly wears the weight the weight in this performance as he shows that Quinlan really even has some trouble breathing due to his condition as a man. Quinlan been through a lot and you can see that right in Welles's face as he suggests that type of damage that Quinlan has taken through his life. Welles is terrific in giving us the history of the man without needing to say at all as we see that Quinlan has been through some bad things. Welles's whole creation is an amazing depiction of a man who is basically decaying.

Hank Quinlan is a very early example of the sort of character later played by the likes of Woody Harrelson, Denzel Washington, Ray Liotta an many others which is the lawman who perhaps has become too good at his job. Welles is terrific because the fact that Quinlan seems like a walking corpse at times is in no way reflected in his portrayal of Quinlan as he proceeds as a detective. Welles commands without question in these scenes as in his eyes and his way about the investigation scenes it is clear that Quinlan is quickly deciphering the clues of the case. The whole dynamic is a difficult one as Welles shows without question that Quinlan is a man of so many vices physically, but Welles brings such a honest and earned confidence in his portrayal of Quinlan as a detective. Welles makes what seems like an inconsistency in Quinlan completely believable as realizes both sides of the complicated man.

One of the most important aspects of Welles's performance is that he wears the past of Quinlan just as well as he wears the present state of the man. Welles's has a particularly wonderful scene when Quinlan goes and visits an old friend/fortune teller Tanya (Marlene Dietrich). Welles is great in this scene as there is such a sense of nostalgia in the joyous expression seen upon Quinlan face as he seems to remembering the good old times in the moment. Welles is great by suggesting in this moment the better man that Quinlan once was, and actually does try to remind himself of this. Welles makes Quinlan incredibly interesting as character because he honestly creates a sense of tragedy within the man. His Quinlan's is not just a standard corrupt cop by any means at all. No Welles makes Quinlan a far more fascinating character, by showing us a man who was once a good man capable of greatness but has lost his way.

Quinlan is forced to only become worse though after Vargas catches Quinlan planting evidence in the house of the man he believes has committed the bombing that opens the film. Welles's is very effective in the last act of the film by believably moving Quinlan to an even darker place once Vargas threatens basically his entire career as an officer of the law. Quinlan starts drinking again, one vice he had given up, and plots to try to frame Vargas's wife in a crime to escape Vargas's inquiries. Welles makes these scenes absolutely convincing by showing the way Quinlan's basically losing himself all the more as he slowly becomes more drunk, and gives in to his negative qualities all the more. Quinlan seemed spent physically from the beginning, but Welles moves on to make Quinlan spent mentally as well as he creates a sense of desperation and even despair that allows Quinlan to do some truly unforgivable things. 

Welles's gives such a fantastic performance here. Hank Quinlan in lesser hands may have just been a one note crummy villain, that we simply applauded at his demise at the end of the film. That is not the case through Welles's work here. Welles certainly brings the needed menace to the part, and as a villain his Quinlan is an extremely memorable one. He's not just a villain though because of how well Welles realizes a modicum of goodness in the man. The final scenes of the film actually are quite moving and Welles brings a certain poignancy to them despite Quinlan getting his comeuppance for his evil. The reason being that Welles is able to make the tale of Quinlan demise of a man who slowly wastes away all of his once great potential both physically, mentally and morally. Welles's performance is a brilliant and powerful piece of work that matches his equally exceptional direction of the film.

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Alternate Best Supporting Actor 1958

And the Nominees Were Not:

Burl Ives in Cat on a Hot Tin Roof

Orson Welles in Touch of Evil

Richard Attenborough in Dunkirk

Christopher Lee in Horror of Dracula

Robert Donat in The Inn of the Sixth Happiness

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Alternate Best Supporting Actor 1966: Results

5. Richard Crenna in The Sand Pebbles- Crenna gives a solid performance that seems to create a more complex character then the film even wanted.

Best Scene: The captain tries to prevent a mutiny.

4. Orson Welles in A Man For All Seasons- Welles in one scene gives complex portrait of Cardinal Wolsey that is worthy of the complex man.

Best Scene: Wolsey tries to persuade More to support the King's divorce.

3. Richard Attenborough in The Sand Pebbles- Attenborough gives a moving performance that effectively conveys his character story almost entirely in his physical performance.

Best Scene: Frenchy talks to Maily for the last time.

2. John Hurt in A Man For All Seasons- John Hurt is the perfect weasel informant here by showing the motivation of what makes such a man.

Best Scene: Richard Rich testifies against Thomas More.

1. Lee Van Cleef in The Good, The Bad and The Ugly- Good Prediction Mark feel free to name a year and a performance. This year came down to the comedic and almost leading work of Walter Matthau against Lee Van Cleef's classic villainous turn. Like Wallach against Nakadai this was not an easy choice but I have to choose one so I am going Van Cleef's chilling performance as the titular Bad.

Best Scene: Angel Eyes has Tuco tortured.

Overall Rank:

1. Lee Van Cleef in The Good, The Bad and The Ugly
2. Walter Matthau in The Fortune Cookie
3. John Hurt in A Man For All Seasons
4. George Segal in Who's Afraid of Virginia Woolf
5. Robert Shaw in A Man For All Seasons
6. Richard Attenborough in The Sand Pebbles
7. Orson Welles in A Man For All Seasons
8. Toshiro Mifune in The Sword of Doom 
9. Richard Crenna in The Sand Pebbles
10. Frank Gorshin in Batman 
11. Aldo Giuffrè in The Good, The Bad and The Ugly 
12. Burgess Meredith in Batman 
13. James Mason in Georgy Girl
14. Harry Andrews in The Deadly Affair
15. Leo McKern in A Man For All Seasons
16. Maximilian Schell in The Deadly Affair
17. Jack Palance in The Professionals
18. Michael Hordern in A Funny Thing Happened On The Way To The Forum 
19. Denholm Elliot in Alfie
20. Ralph Bellamy in The Professionals
21. Eiji Okada in The Face of Another
22. Eli Wallach in How to Steal A Million
23. Nigel Davenport in A Man For All Seasons
24. Cesar Romero in Batman
25. Hugh Griffith in How To Steal A Million
26. Robert Ryan in The Professionals
27. Cliff Osmond in The Fortune Cookie 
28. Yuzo Kayama in The Sword of Doom
29. Antonio Molino Rojo in The Good, The Bad and The Ugly
30. Ichiro Nakatani in The Sword of Doom
31. Woody Strode in The Professionals
32. Luigi Pistilli in The Good, The Bad and The Ugly
33. Corin Redgrave in A Man For All Seasons 
34. Antonio Casas in The Good, The Bad and The Ugly
35. Mako in The Sand Pebbles
36. Laurence Olivier in Khartoum
37. Phil Silvers in A Funny Thing Happened On The Way To The Forum 
38. Mario Brega in The Good, The Bad and The Ugly
39. Cyril Cusack in Fahrenheit 451  
40. Jack Gilford in A Funny Thing Happened On The Way To The Forum
41. Ned Glass in The Fortune Cookie
42. Buster Keaton in A Funny Thing Happened On The Way To The Forum 
43. Ralph Richardson in Khartoum
44. Alfie Bass in Alfie
45. Roy Kinnear in The Deadly Affair
46. Alan Bates in Georgy Girl 
47. Simon Oakland in The Sand Pebbles
48. Michael Crawford in A Funny Thing Happened On The Way To The Forum 
49. Neil Hamilton in Batman
50. James Hong in The Sand Pebbles 
51. Colin Blakeley in A Man For All Seasons
52. Reginald Denny in Batman
53. Peter Bowles in Blow-Up
54. Charles Boyer in How to Steal A Million
55. Alan Napier in Batman
56. Bill Owen in Georgy Girl
57. Stafford Repp in Batman
58. Richard Johnson in Khartoum
59. Cyril Luckham in A Man For All Seasons
60. Graham Stark in Alfie
61. Ron Rich in The Fortune Cookie
62. Charles Robinson in The Sand Pebbles

Next Year: 1987 lead

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Alternate Best Supporting Actor 1966: Orson Welles and John Hurt in A Man For All Seasons

Orson Welles did not receive an Oscar nomination for portraying Cardinal Thomas Wolsey in A Man For All Seasons.

Anthony Quayle actually was Oscar nominated for portraying Cardinal Wolsey in the inferior film about King Henry VIII's divorce Anne of the Thousand Days. His performance left much to be desired as he reduced the man to no more than a yes man who beckoned to the King's every call and not much else. Orson Welles portrays the Cardinal in this film in one brief moment, a major scene, and a brief scene whereas Quayle had several scenes in which he was allowed to portray the Cardinal. In both films his character technically has the same purpose. He starts out as a man serving the King by trying to get all to support the King's divorce then quickly at the end is a man of regret after he has failed to make everything work for the King and is soon to die from illness.

Wolsey was not just a yes man and was as chancellor of England whose power was only second to the King's. Why or how he got to this position as portrayed by Quayle is a complete mystery, but Welles makes it known in his one major scene. Welles has the impressive power of personality needed for a figure of Wolsey's status. He is just doing the King's work yet Welles brings the right subtle knowing in his performance. Wolsey is more than a yes man in Welles's performance as he tries to convince Thomas More (Paul Scofield) to go along with the King's whim Welles makes Wolsey a master of the double talk and within the talk Welles shows that Wolsey is wholly aware of the farce but will do his duty as the servant to the King as he should.

Welles in his single scene shows Wolsey to be a cunning man and in doing so suggests how he came to be a man of such great power. With Welles, which was so lacking in Quayle's performance, there is the power of personality needed for a man of Wolsey's status. Although obviously the film never gets into much of Wolsey's path or his rise to power Welles's is able to suggest the history of the man even though we never do see it. There is clearly far more to his Wolsey we don't see with Welles unlike Quayle who made Wolsey a very shallow and uninteresting figure. Welles's brief final moments of a depressed and dying Wolsey are quite effective showing the end of a much longer journey than we are privy to.

Orson Welles's does not give an all time great performance as Wolsey but it is a terrific example of what a great actor can do with a limited role. Cardinal Wolsey in the scheme of A Man For All Seasons really is not that important and very well could have been played in a forgettable fashion. The film would not have suffered much from it, but Welles bringing as much devotion to the part makes it a better more interesting film as whole. Welles in his three scenes, two of which are extremely short, gives a performance that would have been worthy of a leading turn as Wolsey. The historical Wolsey was clearly a very complicated man and Welles gives a performance that brings the depth needed to bring Wolsey to life.

John Hurt did not receive an Oscar nomination for portraying Richard Rich in A Man For All Seasons.

John Hurt rather than having basically one showy scene for himself early on like Orson Welles is found throughout A Man For All Seasons. He plays Richard Rich who is a young man who hangs out around Thomas More's house trying to get More to recommend him for or give him a post of some importance. Rich's character is basically the opposite of Thomas More's in terms of their morality. More's story consists of him staying with his values even if it means his own death, Rich is far more flexible in this regard. Rich is the secondary direct antagonist in the film, Cromwell (Leo McKern) is the main direct antagonist, and King Henry (Robert Shaw) never quite comes right out as the villain even though he is. Hurt doesn't play him as a villain though particularly early in the film.

Hurt takes an interesting approach as Rich who he plays as a pathetic man but a pathetic man who does not want to be one. Hurt's earnestness in the role is absolutely genuine and technically there doesn't seem to be anything evil about his pleads. Hurt is quite good because although it is obvious in his performance that Rich wants a quick way for advancement without really doing much of anything for it, he portrays it very honestly though in terms of the emotions of it. Hurt's shows the wishes of Rich although selfish and rather lazy in nature there isn't anything intentionally malicious in his behavior. Hurt portrays Rich as a man who does want to do some sort of right for More, and wants More to do see him as a man can do right even if Rich doesn't really know what that means. 

There is one terrific scene with Hurt as the film progresses as Rich is still hanging around More, but has been tempted to be an informant by Cromwell. It is basically their falling out point where Richard tries one last time for More to give him a position while he threatens More he will start working for Cromwell otherwise. The way the More family actually talks about Rich after he leaves suggests Rich perhaps was meant to be more villainous at least in conception. The way Hurt plays it though makes for a much more powerful scene. In the scene Hurt is incredible in the desperation he expresses as Rich asks one more time. He is making a threat at the same time but only a weak pathetic one and Hurt is actually quite moving showing that what Rich would want most is not to go down the wrong path and have More's approval.

After that point Rich becomes Cromwell man although Hurt doesn't have that many lines he is great in portraying Rich's slow turn to becoming morally reprehensible. At first Hurt shows well the hesitations Richard feels to fully go over to Cromwell's way of thinking and completely forget his past with More. As time passes though Hurt portrays Rich as rather not having to bear witness to More anymore and there is one moment that is especially chilling by how much Hurt earns the change in heart which is when it is Rich who actually suggests to Cromwell that they torture More to get the confession they desire out of him. Hurt's movement from a man who could possibly be redeemed to the weasel informant who is close to being morally bankrupt.

John Hurt's very best scene though comes in Thomas More's trial and he is called in to be the man to give the evidenced needed to make it so More will be executed. Hurt is brilliant in the scene starting out with such pompousness as Rich has found himself in an even greater position because of his testimony. Hurt has Rich start out in his immoral way barely noticing More as he starts but as he gets the the point in which his testimony will condemn More he changes in his manner. Hurt conveys the feelings of respect in More, although repressed, are haunting him as he tries to finish his testimony which will sign Thomas's death warrant. Hurt shows Rich's faces the implications of the deed in his mind and Hurt is outstanding as he portrays Rich struggling hard to keep his face as an enemy of More. 

A Man For All Seasons has many strong supporting turns from its illustrious cast but my favorite performance belongs to John Hurt in only his third appearance in a feature film. Where Orson Welles made the most of his role despite the extreme limitations put upon him due to his screen time, Hurt takes an approach to the role that gives a strong motivation to Richard Rich's betrayal and even allows a certain sympathy by showing the humanity in his treachery. Rich could have easily been portrayed just a one note whelp who seemed to be a bad man from the start. John Hurt instead shows the transformation of a man who could potentially be decent man to a pitiful informer. He gives a far more interesting portrait of a man's corruption by showing the failed attempt to resist it.

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Alternate Best Supporting Actor 1966

And the Nominees Were Not:

John Hurt in A Man For All Seasons

Orson Welles in A Man For All Seasons

Lee Van Cleef in The Good, The Bad and The Ugly

Richard Attenborough in The Sand Pebbles 

Richard Crenna in The Sand Pebbles

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Alternate Best Actor 1948: Results

5. Orson Welles in Macbeth- Although there may be a little more to be desired from his vocal portrayal, Welles's silent portrayal of Macbeth is good.

Best Scene: Macbeth finally understands the prophecy. 

4. Lamberto Maggiorani in Bicycle Thieves- Maggiorani gives a simple but effective performance that serves the purpose of his film well.

Best Scene: Antonio becomes a thief himself. 

3. Ralph Richardson in The Fallen Idol-Richardson gives a strong performance showing both the idol a child would see, but as well the lonely sad man an adult would see.

Best Scene: Baines tells Phillipe about his African adventure. 

2. Toshiro Mifune in Drunken Angel- Mifune gives a great early performance by accentuating the foolishness in pride but as well suggesting the underlying possibility of redemption.

Best Scene: Matsunaga finds out about the real "honor" of the Yakuza.

1. Humphrey Bogart in The Treasure of the Sierra Madre- Good Prediction Psifonian feel free to name a year and a performance. Bogart in this film gives his very best performance powerfully and believably portraying the slow descent of a somewhat decent drifter to who a pathetic gold obsessed mad man.

Best Scene: Dobbs tries to find Curtin.

Overall Rank:

1. Humphrey Bogart in The Treasure of the Sierra Madre
2. Laurence Olivier in Hamlet
3. Toshiro Mifune in Drunken Angel
4. Ralph Richardson in The Fallen Idol
5. Takashi Shimura in Drunken Angel
6. Van Heflin in Act of Violence 
7. James Stewart in Call Northside 777
8. Lamberto Maggiorani in Bicycle Thieves
9. Montgomery Clift in The Search
10. Orson Welles in Macbeth
11. John Wayne in Red River
12. Montgomery Clift in Red River
13. Barry Fitzgerald in The Naked City
14. Anton Walbrook in The Red Shoes
15. Tim Holt in The Treasure of the Sierra Madre 
16. Henry Fonda in Fort Apache 
17. Clifton Webb in Sitting Pretty
18. Ivan Jandl in The Search 
19. Lew Ayres in Johnny Belinda
20. John Wayne in Fort Apache
21. Humphrey Bogart in Key Largo
22. Tyrone Power in Luck of the Irish
23. John Dall in Rope
24. Farley Granger in Rope
25. Bobby Henrey in The Fallen Idol
26. John Howard Davies in Oliver Twist
27. Don Taylor in The Naked City
28. Bud Abbott in Abbott and Costello Meet Frankenstein
29. Robert Young in Sitting Pretty
30. Dan Dailey in When My Baby Smiles At Me
31. Lou Costello in Abbott and Costello Meet Frankenstein

Next Year: 48 Supporting

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Alternate Best Actor 1948: Orson Welles in Macbeth

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

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

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

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

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

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

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

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

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Alternate Best Actor 1948

And the Nominees Were Not:

Toshiro Mifune in Drunken Angel

Ralph Richardson in The Fallen Idol

Humphrey Bogart in The Treasure of the Sierra Madre

Orson Welles in Macbeth

Lamberto Maggiorani in Bicycle Theives

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Alternate Best Supporting Actor 1949: Results

5. Kirk Douglas in A Letter To Three Wives- Douglas is effective as usual with his natural charm and intensity. His role though is rather limited, and he lacks that needed chemistry with his on screen wife.

Best Scene: George dissects radio advertisements. 

4. Edmond O'Brien in White Heat- O'Brien's role is overshadowed by Cagney's but he serves his part well as the man of two faces one a loyal gangster and the other a humane face within all the insanity.

Best Scene: Fallon is found out. 

3. Claude Rains in The Passionate Friends- Rains is terrific here taking a thankless role and with it stealing the entire film through his genuine portrayal.

Best Scene: Howard stops Mary's suicide attempt. 

2. Orson Welles in The Third Man- Welles appearance in this film is brief yet he makes a tremendous impact through very memorable portrayal of the slick yet slimy Harry Lime.

Best Scene: Lime's intro.

1. Alec Guinness in Kind Hearts and Coronets- Good Prediction RatedRStar, George Woolf, and Michael Patison. This was a very close choice between Welles and Guinness as there roles are very different. Where Welles plays one short role brilliantly, Guinness portrays eight different roles. Guinness succeeds incredibly in his roles as he manages to be both visible and invisible at the same time. He does something individual and special for each character leaving a very memorable impression.

Best Scene: The Parson indulges in a drink. 

Overall Rank:

1. Alec Guinness in Kind Hearts and Coronets
2. Orson Welles in The Third Man
3. Ralph Richardson in The Heiress
4. Claude Rains in The Passionate Friends
5. James Mason in The Reckless Moment
6. Trevor Howard in The Third Man
7. Edmond O'Brien in White Heat
8. James Whitmore in Battleground
9. Kirk Douglas in A Letter To Three Wives
10. Bing Crosby in The Adventures of Ichabod and Mr. Toad
11. Takashi Shimura in The Quiet Duel
12. Ricardo Montalban in Battleground
13. Bernard Lee in The Third Man
14. Victor McLaglen in She Wore a Yellow Ribbon
15. Paul Horbiger in The Third Man
16. Isao Kimura in Stray Dog 
17. Ernest Deutsch in The Third Man
18. Arthur Kennedy in Champion
19. Gen Shimizu in Stray Dog 
20. Shepperd Strudwick in All the King's Men 
21. Shemp Howard in Africa Screams
22. Arthur Shields in She Wore a Yellow Ribbon
23. Erich Ponto in The Third Man
24. Paul Douglas in A Letter to Three Wives
25. Kenjiro Uemura in The Quiet Duel
26. Ben Johnson in She Wore a Yellow Ribbon
27. Siegfried Breuer in The Third Man
28. Steven Cochran in White Heat
29. Fred Clark in White Heat
30. Paul Stewart in Champion
31. Roy Roberts in The Reckless Moment
32. Dean Jagger in Twelve O'Clock High
33. John Agar in She Wore a Yellow Ribbon
34. Harry Carey Jr. in She Wore a Yellow Ribbon
35. John Agar in Sands of Iwo Jima
36. John Derek in All the King's Men
37. Raymond Greenleaf in All the King's Men
38. Jules Munshin in On the Town
39. Jeffrey Lynn in A Letter to Three Wives

Next Year: Either 1935 or a special set of nominees. I haven't decided yet. 

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Alternate Best Supporting Actor 1949: Orson Welles in The Third Man

Orson Welles did not receive an Oscar nomination for portraying Harry Lime in The Third Man.

The Third Man is a fantastic film about a writer Hollis Martins (Joseph Cotton) who comes to Vienna to meet his old friend Harry Lime, but finds himself investigating the apparent death of his old friend.

This is not a case of Welles appearing flashback as Harry as he does not appear until well in the film as Hollis comes closer to finding out that there is something fishy about Lime's "Death". Hollis still thinks Lime is death until someone seems to be following him only revealed to be Harry himself in what has to be one of if not the greatest introductions to a character in film. The setup of the scene is of course brilliant by just how suddenly we see him considering the build up to his appearance before this point. A lot of things have been said about Harry suggesting many things about the man, but this is the first time we actually get a good look at him.

Welles performance as Lime though contributes greatly to just how good his entrance with his perfect reaction to seeing Hollis notice him. His smile is absolutely perfect conveying the charm of Lime beautifully along with his mischievous quality. You don't even Hollis to say Harry Welles shows in this single reaction that this is the Lime everyone was talking about all along. Welles could not be more brilliant in that expression that conveys pretty much the entire outlook of Harry the whole time which is too have a considerably good time the whole time all the while having a very sinister quality that somehow is part of that very same smirk.

Welles actually only has about four scenes with two of them being very short. His second scene is when he is called out to meet Hollis at an amusement park. Welles is amazing in this scene as he welcomes Hollis with open arms as a good friend would. Welles is outstanding as he creates this very particular sort of dynamic in his performance. On one side whenever he is talking about his exploits, despite being very horrendous in nature, he talks about them like he is just a kid having some fun and making some money. He has a great deal of charm, and enthusiasm here that shows perfectly that Lime's amorality is something that he has gotten a great deal of enjoyment from.

The dynamic that Welles makes though is the way he can switch from his friendly demeanor to that of the brutal criminal he is. Welles brings this moments out in a very effective fashion because he shows it is only when he can't contain his true nature when he believes Holly has done something he won't like. He pulls up and down this scale brilliantly from the true friend, to the true threat to every place in between all in a marvelous fashion. His moment where he tells Hollis of his philosophy about the world  his line "Would you really feel any pity if one of those dots stopped moving forever" is particularly chilling because of just how relaxed he is about the rather despicable thoughts he holds. 

This leaves only the very end of the film where Lime is cornered and must make his escape through the sewers of Vienna. This is a very physical performance at this time by Welles, and he contributes to the scene greatly by showing that smile leave Lime completely as he slowly gets more and more surrounded by the police. This leads to one final scene with a defeated Lime and Hollis exchanging one more look. This is a great moment for one because Welles so effectively shows Lime's desperation as the police have finally got the best of them, but also he and Cotton show in just this small moment that the two really were friends in the end. Welles's portrayal of Lime's acceptance is actually quite moving thanks to the history he and Cotton suggest in such a short moment. This is a perfect supporting performance by Orson Welles. He honestly could not be better in the role, and he makes Harry Lime one memorable villain. What is so astonishing about his work here is the fact that he does it all with such short amount of time. He makes the most out of each and every one of his moments in the film and has just a tremendous impact.

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Alternate Best Supporting Actor 1949

And the Nominees Were Not:

Alec Guinness in Kind Hearts and Coronets

Claude Rains in The Passionate Friends

Orson Welles in The Third Man

Edmond O'Brien in White Heat

Kirk Douglas in A Letter to Three Wives

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