Alternate Best Supporting Actor 1955: Results

5. Sidney Poitier in Blackboard Jungle- Poitier gives a nicely handled and surprisingly believable turn as a disrespectful student who is capable of improving himself, even if I do wish he had gotten a few more scenes to flesh out his character. 

Best Scene: Miller encourages Dadier to say the word.

4. Walter Brennan in Bad Day At Black Rock- Brennan gives an effective portrayal of a man filled pessimism but optimistic in heart.

Best Scene: The doc tries to convince the others to help Macreedy. 

3. Peter Sellers in The Ladykillers- Sellers gives a very amusing performance as slick criminal who find himself in over his head.

Best Scene: Harry tries to fetch Mrs. Wilberforce's bird.

2. Takashi Shimura in I Live in Fear- Shimura gives a moving performance as the quiet observer of a situation where there is not obvious solution.

Best Scene: Dr. Harada meets with Nakajima.

1. Raymond Massey in East of Eden- Massey's work is one I have grown to appreciate more with time. His unusual dynamic with Dean is perfect in creating the powerful rift between the father and Massey realizes Adam as man in terms of the good nature of his character, but as well his past before we meet him.

Best Scene: Adam reveals the truth about Cal's mother.

Overall Rank:

1. Raymond Massey in East of Eden
2. Takashi Shimura in I live in Fear
3. Jack Lemmon in Mister Roberts
4. Peter Sellers in The Ladykillers
5. Sal Mineo in Rebel Without a Cause 
6. Walter Brennan in Bad Day At Black Rock
7. Cecil Parker in The Ladykillers
8. Sidney Poitier in Blackboard Jungle
9. Ralph Richardson in Richard III
10. Herbert Lom in The Ladykillers
11. Paul Meurisse in Les Diaboliques
12. Vic Morrow in Blackboard Jungle
13. Robert Ryan in Bad Day At Black Rock
14. Charles Vanel in Les Diaboliques
15. James Cagney in Mister Roberts
16. Ernest Borgnine in Bad Day At Black Rock
17. Danny Green in The Ladykillers
18. Bill Thompson in Lady and the Tramp
19. Donald Crisp in The Man from Laramie
20. Robert Middleton in The Desperate Hours
21. Lee Marvin Bad Day At Black Rock
22. Arthur Kennedy in The Man from Laramie
23. William Powell in Mister Roberts
24. Burl Ives in East of Eden 
25. John Gielgud in Richard III
26. Louis Calhern in Blackboard Jungle
27. Minoru Chiaki in I Live in Fear
28. Darren McGavin in The Man With the Golden Arm
29. Arthur Kennedy in Trial 
30. Arthur O'Connell in Picnic
31. Jim Backus in Rebel Without a Cause
32. Robert Strauss in The Man With the Golden Arm
33. John Ericson in Bad Day At Black Rock
34. Gig Young in The Desperate Hours
35. Richard Davalos in East of Eden
36. Ward Bond in Mister Roberts 
37. James Gleason in The Night of the Hunter 
38. Wallace Ford in The Man From Laramie
39. Stanley Baker in Richard III
40. Frank Sutton in Marty
41. Timothy Carey in East of Eden
42. Wilfrid Lawson in The Prisoner
43. Dewey Martin in The Desperate Hours
44. Koji Tsuruta in Samurai II
45. Dean Jagger in Bad Day At Black Rock
46. Peter Graves in The Night of the Hunter 
47. Joe Mantell in Marty
48. Royal Dano in The Trouble With Harry
49. Don Beddoe in The Night of the Hunter
50. Cliff Robertson in Picnic
51. John Hoyt in Blackboard Jungle
52. Alex Nicol in The Man from Laramie
53. Corey Allen in Rebel Without a Cause
54. Arthur Kennedy in The Desperate Hours
55. Arnold Stang in The Man with the Golden Arm
56. Dan Terranova in Blackboard Jungle
57. Jerry Mathers in The Trouble With Harry
58. Cameron Mitchell in Love Me Or Leave Me
59. Ronald Lewis in The Prisoner
60. Tor Johnson in Bride of the Monster
61. Rafael Campos in Blackboard Jungle
62. Rafael Campos in Trial
63. Harvey P Dunn in Bride of the Monster

Next Year: 1970 lead

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Alternate Best Supporting Actor 1955: Takashi Shimura in I Live in Fear

Takashi Shimura did not receive an Oscar nomination for portraying Dr. Harada in I Live in Fear.

Akira Kurosawa's other frequent collaborator Takashi Shimura often played the wiser man to Toshiro Mifune's brasher individual, at least until the thankless roles Shimura was given in Kurosawa's later films, but there is perhaps a bit of a twist on that idea here. Shimura plays Dr. Harada who is almost a co-lead to Mifune's elderly Kiichi Nakajima who is spending his decedents inheritance to protect himself from a nuclear holocaust he views as inevitable. Dr. Harada acts as a Domestic court counselor, which means he basically decides the case against Nakajima, along with two other men. The film follows his story too, although Shimura is not given a substantial amount of screen time, and his story is always firmly connected to Nakajima's.

The twist on the usual dynamic found between Shimura and Mifune in the film is that Dr. Harada really does not know who exactly to take away from Nakajima's fears. Dr. Harada acts as the impartial observer throughout the film as he merely must witness the story play out and his only technical action that changes the course of the film is that he decides, along with the two other court officials, to remove Nakajima's ability to spend his own money. Dr. Harada is a very quiet character because of this as he personally investigates the situation and deeply ponders the complex situation. Dr. Harada is a reactionary man, and thankfully Shimura plays him who must be one of the greatest actors in terms of finding the power in the unsaid.

Shimura is very important to the film in structuring the film really as showing the one good man in the whole affair, as both Nakajima and his children are flawed. Shimura never once wastes his presence in the film in his performance that is able to convey the right confusion in terms of the situation. It is not a confusion as if that Dr. Harada does not understand the situation, but rather the confusion of not knowing truly to do react to it because Nakajima's fears do have basis but his method of running from society is far from a logical solution. Shimura finds the right place to put Harada in every scene in terms of both personal attachment but as well as the detachment of the observer. Shimura in a way is the stand in for the audience of the film who also must decipher the complex issue at the center of the film.

Shimura plays his part incredibly well by never overplaying his hand. He shows Harada as a man who connects with the Nakajima's plight but never allows it to overwhelm either. Shimura finds just the right tone with his performance to add to every scene but never try steal the attention wrongly in his direction. Harada simply is not the focus of the film, but Shimura amplifies the impact of every scene that he is in his portrayal of Harada very realistic and down to earth reactions. Shimura brings a true poignancy in his short moments in the film honestly showing the struggle in Harada. Shimura is moving because he finds the truth in his character as Harada is troubled by the case, but there is always that underlying idea that he just does not know exactly what to do either.

Akira Kurosawa had one of the greatest acting duos at his disposal in Toshiro Mifune and Takashi Shimura as shown in Stray Dog, Seven Samurai, and in this film. In this film Mifune's performance goes down an insane path which is fitting considering that Nakajima believes he has left the earth by the end of the film, Shimura does a terrific balancing act in his portrayal of the grounded Dr. Harada. Mifune's final scene is a powerful one on his own but Shimura adds so much though through his silent performance as Dr. Harada can only watch a man's full descent into madness. It is a great testament to Shimura's strength as an actor in summing up the finale of the film through his simple physical reaction that realizes the disheartening quality of the end, but as well the sense that there was no real solution to Nakajima's dilemma. Takashi Shimura's work here is memorable performance by being the soul of the picture in such an unassuming yet remarkable fashion.

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Alternate Best Supporting Actor 1955

And the Nominees Were Not:

Walter Brennan in Bad Day At Black Rock

Sidney Poitier in Blackboard Jungle

Raymond Massey in East of Eden

Takashi Shimura in I Live in Fear

Peter Sellers in The Ladykillers

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Alternate Best Supporting Actor 1950: Results

5. Louis Calhern in The Asphalt Jungle- I hate to put Calhern fifth as I really liked everyone in this line up. Calhern gives an effective performance bringing a nice complexity to his role as an amoral lawyer.

Best Scene: Emmerich tries to double cross the Doc.

4. Alastair Sim in Stage Fright-Sim gives an entertaining performance that up shows the entire film around him.

Best Scene: Eve Gill brings Johnathan to Commodore Gill's home.

3. Takashi Shimura in Rashomon- Shimura performance gives an interesting and moving performance as a seemingly moralistic woodcutter who might be hiding something himself.

Best Scene: The woodcutter is called out by the commoner.

2. Richard Attenborough in Morning Departure- Richard Attenborough gives a very strong turn being appropriately intense as a man who goes to extremes due to fear, but as well quite tender as the very same man who finds courage within himself.

Best Scene: The remaining crew play a game of cards.

1. Masayuki Mori in Rashomon- Good Prediction Psifonian feel free to name another year and performance to go with it. Mori gives an incredible performance giving four different perceptions of the same doomed man. He is able to be chilling then heartbreaking, brave then cowardly, and his reserved style here perfectly in creating a very memorable dynamic with Toshiro Mifune's flamboyant turn. I will keep Sanders as the winner for the moment but I will say he is on thin ice. I will have to get around to watching All About Eve again as that will make or break his placement over Mori.

Best Scene: The samurai tells his version of the story.

Overall Rank:

1. George Sanders in All About Eve
2. Masayuki Mori in Rashomon
3. Sam Jaffe in The Asphalt Jungle
4. Richard Attenborough in Morning Departure
5. Takashi Shimura in Rashomon
6. Alastair Sim in Stage Fright
7. Louis Calhern in The Asphalt Jungle
8. Minoru Chiaki in Rashomon
9. Sessue Hayakawa in Three Came Home
10. Luis Van Rooten in Cinderella 
11. James Whitmore in The Asphalt Jungle
12. Erich von Stroheim in Sunset Blvd.
13. Kichijiro Ueda in Rashomon
14. George Cole in Morning Departure
15. Cecil B. DeMille in Sunset Blvd. 
16. Michael Brennan in Morning Departure
17. Marc Lawrence in The Asphalt Jungle
18. Nigel Patrick in Morning Departure
19. Jack Webb in The Men 
20. Everett Sloane in The Men
21. Edmund Gwenn in Mister 880
22. Richard Erdman in The Men
23. Stephen McNally in Winchester '73
24. Millard Mitchell in The Gunfighter
25. Jack Palance in Panic in the Streets
26. Cecil Kellaway in Harvey 
27. John McIntire in Winchester 73'
28. Anthony Caruso in The Asphalt Jungle
29. Miles Malleson in Stage Fright
30. Jack Hawkins in Morning Departure
31. Zero Mostel in Panic in the Streets
32. Stephen McNally in No Way Out
33. Brad Dexter in The Asphalt Jungle
34. Wallace Ford in Harvey
35. Karl Malden in The Gunfighter
36. Barry Kelley in The Asphalt Jungle
37. Will Geer in Winchester '73
38. Paul Douglas in Panic in The Streets
39. Millard Mitchell in Winchester '73
40. Luther Adler in D.O.A
41. Michael Wilding in Stage Fright
42. Patric Knowles in Three Came Home
43. Jeff Chandler in Broken Arrow 
44. William Prince in Cyrano de Bergerac
45. Hugh Marlowe in All About Eve
46. Charles Drake in Harvey
47. Skip Homeier in The Gunfighter
48. Gary Merrill in All About Eve
49. Charles Drake in Winchester '73
50. John McIntire in The Asphalt Jungle
51. Neville Brand in D.O.A.
52. Gregory Ratoff in All About Eve

Next Year: 1966 lead

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Alternate Best Supporting Actor 1950: Takashi Shimura in Rashomon

Takashi Shimura did not receive an Oscar nomination for portraying the woodcutter in Rashomon.

Takashi Shimura plays the woodcutter the only person to tell a version of the story where the samurai dies and his wife is raped who does not appear in the story himself. The woodcutter, along with a priest and a commoner discuss a story while waiting for a rainstorm to stop underneath the city gate. The woodcutter claims at first to have been the one to come upon the corpse of the samurai and report the crime to the police. Where the priest laments the situation and the commoner just seems to mostly enjoy hearing the story, the woodcutter though for some reason consistently decries each of the stories as lies made by the storyteller and not the truth.

Takashi Shimura's role is a limited role and Shimura plays his role in a seemingly simple fashion at first as the film cuts back to the three men before and after each of the stories. He and Minoru Chiaki as the priest accent each of the stories by portraying the men's reactions to hearing each version of the story. Minoru Chiaki effectively shows the great distress over the nature of the story as he sees people acting morally bankrupt. Shimura portrays a similar reaction which adds to the impact to each story by showing what it means to them. Shimura though is careful in that he portrays the woodcutter's reaction which is not the same as there seems to be some sort of outrage he has under that haunted expression as he reflects on the stories he has heard.

Takashi Shimura in his performance carefully sets up the secret the woodcutter has as he tears down each of the stories by calling the three storytellers liars, and Shimura gives the sense that this there is more to what the woodcutter knows which is revealed later. The woodcutter claims to have seen the whole event himself and depicts the story in a particularly unromantic light, and paints all of the three participants rather poorly. Shimura handles the scenes before and after the woodcutter's story just right as it is impossible to tell if he is lying or if he telling the truth yet Shimura never makes this seem lacking in distinction. Shimura portrays that the woodcutter is most definitely haunted for a reason and hates what has happened but he leaves the viewer to decide from where this outrage comes.

The scenes of the three men discussing the crime build up to the point in which they find an abandoned baby and the commoner steals a kimono that was with it, the woodcutter calls him on it leaving the commoner to reveal that perhaps the woodcutter was also acting in self-interest with his story as he was the one who took the expensive knife left after the crime. Shimura is very moving using mostly his expressive face as the woodcutter must face his own guilt. Shimura shows the weakness that exists in the man as well and powerfully expresses the shame the man feels for his actions. Shimura is actually able to retain the mystery of the story as he again leaves it open where exactly the shame lies in that man whether it is for stealing the knife or perhaps for making up his version of the story.

The film leaves Shimura and Chiaki a difficult scene to end on as they must make an optimistic ending from the often pessimistic narrative. The optimism comes from the woodcutter's willingness to take the baby and takes care of it as one of his own acting no longer in self interest. The scene comes out of the blue and it is easy to see how it might not have worked but it ends up being a terrific ending to the film due to the performances of Shimura and Chiaki. Shimura is only genuine in his depiction of the woodcutter's moral redemption as he is willing to do a purely selfless act. Shimura's and Chiaki's scene has such honest warmth and feeling and gives hope at the end of the film that does not feel forced or sanctimonious in the least.

Shimura's screen time is limited and his scenes are decidedly not the showy ones of the film as we only see the woodcutter in the strictest terms. Shimura despite this still gives a complex performance within the woodcutter who seems simple at first yet he and the film reveal this to not be the case in a most effective fashion. It is a most intriguing portrait that he creates of the observer as we see both his own reactions to the three other stories but as well what makes up actually why a man might take the selfish route and create his own perspective in the film place. His work makes the stories out of the realm of the rashomon effect hold their own power as well as amplify the power of the stories, and as well his portrayal of the morality of the woodcutter acts as the natural and very poignant personification of one of the major themes of this film.

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Alternate Best Supporting Actor 1950

And the Nominees Were Not:

Masayuki Mori in Rashomon

Takashi Shimura in Rashomon

Louis Calhern in The Asphalt Jungle

Alastair Sim in Stage Fright

Richard Attenborough in Morning Departure

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Alternate Best Actor 1952: Results

5. James Mason in 5 Fingers- Mason creates an effective villain by emphasizing the cynicism of his character bluntly.

Best Scene: Diello finds out he's been had.

4. Laurence Olivier in Carrie- Olivier gives a strong performance playing a doomed romantic.

Best Scene: Hurstwood confesses his love to Carrie.

3. Michael Denison in The Importance of Being Earnest- Denison gives a hilarious turn that always has brilliant timing and brings the humor out of his material.

Best Scene: His reactions to the final revelations.

2. John Wayne in The Quiet Man- Wayne gives a winning performance that capitalizes on the best of his on screen persona.

Best Scene: Remembering the fatal fight.

1. Takashi Shimura in Ikiru- I should quickly say that I added what I thought was the best scene from each performance simply for fun. This year came down to Wayne and Shimura, although Denison was right behind them as I loved his performance as well. I have to say I hate and love these years as I hate to have to choose to between two performances I like equally but I hate to have to choose. Either way my choice goes to Shimura's powerful performance that is a heartbreaking and inspiring depiction of a dying man.

Best Scenes: "Gondola no Uta" the first and the last time.

Overall Rank:

1. Takashi Shimura in Ikiru
2. John Wayne in The Quiet Man
3. Michael Denison in The Importance of Being Earnest
4. Laurence Olivier in Carrie
5. James Mason in 5 Fingers
6. Dirk Bogarde in Hunted
7. Charlie Chaplin in Limelight 
8. Marlon Brando in Viva Zapata!
9. Orson Welles in Othello
10. James Stewart in Bend of the River 
11. Gary Cooper in High Noon
12. Kirk Douglas in The Bad and the Beautiful
13. Ray Milland in Thief
14. Burt Lancaster in Come Back Little Sheba
15. Alec Guinness in The Card 
16. Jack Palance in Sudden Fear
17. Michael Redgrave in The Importance of Being Earnest
18. Richard Burton in My Cousin Rachel 
19. Micheal MacLiammoir in Othello
20. Kirk Douglas in The Big Sky
21. Jose Ferrer in Moulin Rouge  
22. Gene Kelly in Singin in The Rain
23. Charlton Heston in The Greatest Show on Earth
24. Cornel Wilde in The Greatest Show on Earth
25. Gregory Peck in The Snows of Kilimanjaro 
26. Robert Mitchum in Angel Face
27. Bob Hope in The Road to Bali
28. Bing Crosby in The Road to Bali
29. Dewey Martin in The Big Sky
30. John Whiteley in Hunted

Next Year: 1952 Supporting

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Alternate Best Actor 1952: Takashi Shimura in Ikiru

Takashi Shimura did not receive an Oscar nomination, despite being nominated for a Bafta, for portraying Kanji Watanabe in Ikiru.

Ikiru is a powerful film about a bureaucrat who learns he is dying.

Takashi Shimura is the other frequent collaborator with Akira Kurosawa and was often featured with Toshiro Mifune sometimes in smaller supporting parts, but as well in lead roles who often were calmer wiser character in comparison to the more reckless and crazed characters played by Mifune. Although I do have to admit I did feel Mifune stole the show of those earlier film Shimura never was a slouch either usually giving a strong performance himself particularly in Drunken Angel. In Ikiru though Shimura is the sole lead, and Ikiru also stands as the only film by Kurosawa from Drunken Angel to Red Beard not to feature Mifune in any role, so Shimura stands as the true focus of the film. 

The early scenes of Shimura's performance are some of the most depressing moments ever put on film. When we first meet him Shimura portraying Kanji as that of a man who might as well be dead due to the way in which he goes about his life. There is nothing to the man whatsoever as Shimura portrays him. He occupies a desk and that is all that he does. There is not a hint of anything else other than a man wasting away only doing the most mundane things in a most mundane fashion as a bureaucrat who just basically stamps one document then another, and nothing else. Even worse is that there is not even a sadness in Shimura's performance instead he goes to an extra level with Kanji as the bureaucrat who seems to be connected to absolutely nothing in the world.

Kanji soon finds out that he has stomach cancer, and the sadness of the man finally comes out. Shimura is absolutely brutal in just how he never is shy about portraying just how little happiness there is in this man's life. Kanji even as he tries to reflect back on a better time can only still think what was wrong in his past as well. Shimura shows us a depression in his performance that is truly memorable because of how overpowering he portrays this in this man. Shimura shows the in no way compromised feelings of a man who has never really lived learning he is going to die. It is not a depression that there is even a feeling of anger in, instead Shimura is all the more striking by making us see a man who almost resigns to his fate.

Kurosawa's protagonists tend to have a strong will, Ikiru presents us a protagonist who is almost exactly the opposite. Shimura himself in Stray Dog, Seven Samurai and Drunken Angel plays his roles with always a great strength of personality, as Kanji he creates one of the most meek characters ever put on screen. This goes beyond just his actions and Shimura makes every physical attribute meek in this man. He always has a hunched back, a hunched back fitting of a man who only ever hunched over his desk for year upon year, and his voice is that of a man who has almost never spoken. Shimura's voice here is weak, unassuming, and at times comes out with barely any mouth motions. This physical depiction Shimura gives us the results of a life not spent.

Kanji in an attempt to do something decides to live is to basically party and gets a young man to go take him around the night life. Shimura shows a man here reaching from the void trying to find something to change his lot that has befallen him in at least someway. In the night life Shimura is very good channeling the different emotions going on in this man's mind as he experiences something he was not aware of. There are moments with a smile where we see the man enjoying himself in at least some way, but even in the happiness Shimura portrays a certain confusion at the same time. He never seems to fully understand even what exactly he is trying to do, and Shimura even in the moments of brief pleasure shows that the overpowering depression within in the man never does leave him.

In the middle of the night of at least an attempted pleasure there is a moment where they stop for a moment and Kanji requests a piano player to play the song "Gondola no Uta". The song is about the briefness of life, and as the song is played on the piano Kanji sings along. Shimura is absolutely heartbreaking in this scene as he sings the words in such a quiet yet powerful fashion in that meek voice of Kanji's. Although his voice may not be strong the emotions in that voice are. Shimura as he sings shows us the thoughts of Kanji of the song that speaks to him all to well. The sadness of the man in this moment is not hidden in anyway and for a moment here this passionless man gains a passion even if it is a passion for his own depression. It is an absolutely incredible scene by Shimura.

Although there are moments of momentary enjoyment Kanji is still left depression by the end of the night, and still confused over what he can do to really live. Kanji believes he can find though out from his young co-worker who seems to enjoy life named Toyo Odagiri (Miki Odagiri), and he decides to spend time with her. Shimura again is terrific because he does not give an easy answers to Kanji in his plight. Again with Toyo Shimura suggests some enjoyment he has as he speaks to someone he thinks knows the path. It is purer pleasure here though, not something just of the moment, and we do see him honestly enjoy himself. Shimura though still keeps his depressed state as something that clearly never leaves his mind, and his wasted life and bitter feelings to his son even seem to over take the bit of happiness from the young woman.

The happiness is challenged even further though as Toyo quickly becomes suspicious of the intentions of Kanji and confronts on the issue forcing Kanji to finally reveal what he really wants. Shimura is excellent because even when he must blurt out what he wants he still keeps the nature of Kanji as a character. He tries several times to verbalize his desire with what remains of his life, and when he finally gets it out Shimura delivers it in a humble but with earnestness. When Toyo offers something very small as her reason for enjoying life, which is that she creates toys, Kanji takes off in attempt to do something like that himself in his short time left. Shimura's expression as he leaves is particularly notable because although we see finally a hope and even a drive these are still but a glimmer and desperation still remains the dominating emotion.

After this point we mainly get flashbacks to Kanji as he finally attempts to do something himself which is to take action in his work, and finally help a group of people by building a park over a cesspool. In these scenes we finally meet Kanji who has gained a purpose. Shimura importantly does not change the whole nature of Kanji as physically he stays much the same man, as it would be impossible for him to change the type of man in such a short time. Shimura instead shows the change in Kanji in a far more subtle fashion. There now is a passion as he works to make the park. Although still modest in his depiction Shimura is able to suggests an understanding of himself, and now an inner strength portrayed. As he tirelessly tries to make something worthwhile Shimura suggests that Kanji does not find something foreign, but instead that this potential was always was possible in the man.

This all ends in what is one of the most incredible moments in cinema which is the last time we see Kanji as he has finally realized his dream. It is a triumph of Kurosawa and his cinematographer Asakazu Nakai in the beautiful staging of the scene as we see the lone figure of Kanji swinging in the park swing all while it snows around him. The poignancy of the scene though is achieved through the final moments of Shimura performance. He once again sings "Gondola no Uta". Although his singing voice obviously has not improved or changed in some way the expression of the man most certainly has. Where intense sadness was the overlying emotion in his face before now there is the face of contentment as he sings finally having lived his life even if it had been only for the brief time.

The power of Shimura's work is in his firm approach for the character. Shimura portrayal of the man's plight is fiercely tragic, and it is never something that he eases away in his performance either. Due to this the redemption of the man is far more inspiring because the low the man finds himself in is realized so strongly beforehand. He never forgets the resigned nature of the man, and his fervor that does come is found in this same man. The redemption is not something that is found in an instance or a moment, but instead Shimura finds it slowly and in a heartfelt fashion that makes Kanji's journey of self discovery unforgettable. Takashi Shimura's performance as Kanji is an outstanding performance which is remarkable as he allows his character's plight to be properly mournful but eventually inspiring as well.

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Alternate Best Actor 1952

And the Nominees Were Not:

John Wayne in The Quiet Man

Michael Denison in The Importance of Being Earnest

Takashi Shimura in Ikiru

Laurence Olivier in Carrie

James Mason in 5 Fingers

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Alternate Best Actor 1949: Results

5. Trevor Howard in The Passionate Friends- Howard has a limited role, and is overshadowed by a co-star, but he does handle his own role well through his charming performance.

Best Scene: Steven tries to defend his affair.

4. Takashi Shimura in Stray Dog- Shimura creates an effective portrait of a veteran detective effortlessly portraying his character's substantial wisdom, and ability. 

Best Scene: Detective Sato manages a baseball game. 

3. Dennis Price in Kind Hearts and Coronets- Price meets the difficult challenge of finding the right tone for his film through his dry and thoroughly witty performance.

Best Scene: Louis defends himself in court. 

2. James Cagney in White Heat- Cagney plays his most evil role with a great deal of energy and he especially stands out when his character goes over the edge.

Best Scene: Cody finds out that his mother is dead. 

1. Toshiro Mifune in The Quiet Duel- Good Prediction Mark. Toshiro Mifune gives an excellent performance as man who sacrifices his happiness to do the right thing. It is a powerful poignant performance that shows Mifune's ability to excel in both quiet and flamboyant roles.

Best Scene: The doctor finally breaks down. 

Overall Rank:

1. Toshiro Mifune in The Quiet Duel
2. Toshiro Mifune in Stray Dog
3. Kirk Douglas in Champion
4. James Cagney in White Heat
5. Dennis Price in Kind Hearts and Coronets
6. Takashi Shimura in Stray Dog
7. Joseph Cotton in The Third Man 
8. John Wayne in She Wore a Yellow Ribbon
9. Montgomery Clift in The Heiress
10. Trevor Howard in The Passionate Friends
11. Van Johnson in Battleground
12. Broderick Crawford in All The King's Men
13. Ronald Reagan in The Hasty Heart
14. John Wayne in Sands of Iwo Jima
15. Gregory Peck in Twelve O'Clock High
16. Richard Todd in The Hasty Heart
17. Gene Kelly in On the Town
18. Frank Sinatra in On the Town
19. John Ireland in All the King's Men
20. Budd Abbott in Africa Screams
21. Lou Costello in Africa Screams

Next Year: 1949 Supporting

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Alternate Best Actor 1949: Takashi Shimura in Stray Dog

Takashi Shimura did not receive an Oscar nomination for portraying Detective Sato in Stray Dog.

Stray Dog is a very effective crime film about a rookie detective Murakami, and a veteran detective who team up to find the crook who has been using the rookie's recently stolen gun.

I actually could have once again nominated Toshiro Mifune in the role of the rookie Murakami. Mifune is again very effective in his role, and with each film I see of his the more he moves up my list of favorite actors. Anyway I chose though instead to review his somewhat frequent co-star Takashi Shimura who plays the veteran detective to Mifune's rookie. Shimura actually takes a little bit to appear as the film at first only follows Murakami's investigation to find the gun peddlers who stole his gun. After he does this we first see Shimura as the experienced detective, who takes on the case as well as takes Murakami under his wing. In the first scene we see the inherit difference between the two men where Mifune plays up the inexperience and emotions of Murakami, Shimura takes a more gentle approach with detective Sato.

In his first scene we see Sato interrogating the gun peddlar woman. It is clear that Murakami intends to forcefully get the information out, but when he gets that she is laughing comfortably well eating with Sato. Shimura is quite good in portraying the detective's technique here as a man with a long experience in his trade, therefore he handles this type of subject with slow manuevered inquiring rather than blunt questioning. Shimura handles it well by showing that Sato appraoch is an effective one in that he keeps both the prisoner at ease and relaxed well he does have that inquiring touch to get the information he wants. Shimura makes the fashion that Sato handles this entirely believable that Sato would handle a suspect this way, but also that he would get exactly what he desired from the witness.

Shimura makes Sato a true veteran in the whole film. He is very good by showing that what transpires in the investigation never surprises him in the way it does Murakami. Shimura shows the history of the detective simply through his relaxed manner of dealing with the crimes that go on. It is not that Sato does not care by any means, but rather Shimura effectively establishes that it is a job he knows so well that he simply will not have to sweat out the problems of the street as he has been fully aware of them for quite some time. It is a nicely handled portrayal as he finds the right tone for Sato who is so astute as a detective that he can go about his job as a detective the way other people would not even go about considerably less stressful positions. Shimura never goes too far with this as he always has the right undercurrent of seriousness and inquisitiveness in him along with his more casual manner.

This is a very early example of the vetran cop/rookie cop dynamic and Mifune and Shimura handle it especially well together. These two are unique as despite their tasks being quite different they are never really in conflict with one another. Shimura is very good adding a great deal of warmth to the relationship between the two. When Mifune portrays Murakami gettting angry over the crimes or greatly troubled by them Shimura always nicely combats it with his portrayal of Shimura's calm wisdom when it comes to crime. Where Murakami is rather conflicted in his philosophy Sato is firm. Shimura is excellent in the way he brings out this wisdom which he expresses so well as coming from the history of Sato as a cop. When Shimura basically shuts up a stressed out Murakami Shimura is great because he never does it with force but rather in a truly comforting fashion as a father would do for a son.

Takashi Shimura is very good throughout the film effectively bringing to life the wisdom and experience of his character to life. He and Mifune make the dynamic work perfectly and naturally ease into the mentor/student to a mutual friendship that is both believable and very moving when something happens to one of them late in the film. This is a strong performance by Takashi Shimura and simply fascinating the way he shows the much more firm view that Sato takes on morality. He makes the harsher stance that Sato takes on criminals really work because he conveys his feelings as something entirely genuine and something that comes from the fact that he has seen a truly great number of crimes in his lifetime. This is a very good performance by Shimura as he creates this character all the while moving through the film's plot.

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Alternate Best Actor 1949

And The Nominees Were Not:

Takashi Shimura in Stray Dog

Toshiro Mifune in The Quiet Duel

James Cagney in White Heat

Dennis Price in Kind Hearts and Coronets

Trevor Howard in The Passionate Friends

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