Alternate Best Actor 1992: Results

5. Eric Stoltz in The Waterdance - Stoltz gives an effective performance that offers a rather low key and alternative take to the disabled man story.

Best Scene: Asking Anna to move on.

4. Benoît Poelvoorde in Man Bites Dog - Poelvoord's work does not just fit but also creates the chilling off-beat tone in his strange portrayal of a vicious serial killer.

Best Scene: Heart Attack murder.

3. Russell Crowe in Romper Stomper - Crowe gives a terrific initial indication to his considerable talent through his brutal portrayal of a neo-nazi where he grants emotional nuance to the character yet purposefully never makes him sympathetic while doing so.

Best Scene: Hando finds Davey and Gabrielle.

2. Peter Coyote in Bitter Moon - Coyote embraces yet also provides some needed depth to his lurid material in his terrific realization of a man slowly overwhelmed by bitterness.

Best Scene: Final remorse.

1. Willem Dafoe in Light Sleeper - Dafoe gives a powerful internalized portrayal of his drug dealer, showing the man attempting to find a new life after having already seemingly suffered through the worst.

Best Scene: Street Jumper. 

Update Overall

Next Year: 1992 Supporting

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Alternate Best Actor 1992: Eric Stoltz in The Waterdance

Eric Stoltz did not receive an Oscar nomination for portraying Joel Garcia in The Waterdance.

The Waterdance is a surprisingly low key film about a writer dealing with being confined to a wheel chair after breaking his neck.

This film follows Eric Stoltz in the lead role of Joel as he deals with his injury within a hospital ward where he interacts with other men in a similair situation most frequently former biker Bloss (William Forsythe) and braggart Raymond (Wesley Snipes). The film really is almost as much about those two as it is Joel, though we most often see those two in how they way Joel perceives them. Stoltz, whose career unfortunately never really fully recovered from being replaced in Back to the Future, though once again proves himself to be a particularly natural performer. This allows for a kind of a different take on the injured man story line that is fitting to the film's style which again seems to be striving to avoid the usual melodrama associated with these types of stories. Although that is not to say there isn't drama, but the film very much takes it in a calm and controlled fashion. This is partially due to Stoltz's performance which begins with the character in a mental state that is a tad unexpected, although this plays partially into the structure of the film where we open post-injury before we had time to even meet the man before his time in the film.

Stoltz portrays initially a strange euphoria in the character, perhaps relating to initial survival of his injury which one could presume was near death. Stoltz is effective in his portrayal of this though as he shows it to be almost a detached state in some ways. As he speaks not as though he is out of it, but as though his focus is upon his survival rather than his injury. Stoltz does not overplay this making it feel a very natural state of being for the moment, a being of a certain contentment in his existence. This naturally though is a relatively short lived state of a mind, as Stoltz rather naturally portrays the progression to a more earthly understanding of what's real going on around him. Again though Stoltz's portrayal of this switch is very nuanced as he does abruptly losing one the switches, but rather he gradually reveals the other emotions creeping into his work. A notable aspect of this though is how Stoltz works this in whether he is the focus or not. He never wastes his time when a scene is more clearly focused upon Bloss or Raymond rather than Joel. His reactions are always remarkable as Stoltz relates them to Joel's own state of mind.

The main focus of Joel's story comes in his relationship with his married girlfriend Anna (Helen Hunt apparently prepping very early on for The Sessions). Again though unlike say The Men with Marlon Brando, Stoltz and the film takes this very easy though effectively. After that early period of enthusiasm, where it seems as though their is no hesitation in their relationship despite the injury, the problems soon arise. Stoltz though is terrific in revealing these seeds of potential bitterness so internally in his work, in a glance, or a moment. He is infrequently direct in any moment yet Stoltz's work never feels vague in this regard either. He instead portrays exactly the pain Joel's going through but in a distinctly understated fashion. Again his reactions within the other men's stories are key, particularly in the moments where Raymond struggles with his wife, and Stoltz reflects Joel taking the it in which only seems to create his own certain distress. As much as this pain gradually moves in, it also gradually is changed as well in Stoltz's performance. The acceptance of his condition and his difficulty of that is all equally a quiet one. Even in the major scene where he suggests Anna move on from their relationship, Stoltz downplays it yet still manages to be rather affecting in portraying a subtle anguish in this choice.  The film fittingly leaves on a modest note of Joel leaving the hospital to start his life on the outside, not necessarily a perfect man, but a man comfortable with his existence. This is a good performance by Eric Stoltz as he is essential in realizing this distinct approach the film takes to the material, as even in its modesty he creates a poignant portrait of this man's recovery.

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Alternate Best Actor 1992: Russell Crowe in Romper Stomper

Russell Crowe did not receive an Oscar nomination for portraying Hando in Romper Stomper.

Romper Stomper follows a neo-nazi gang who launches their own personal war against a group of Vietnamese Australians.

I have previously covered two other actors having played neo-nazis those being Ryan Gosling in The Believer and Edward Norton in American History X. Both films dealt with treacherous subject matter with both actors taking on the role of such morally reprehensible men. In both instances though there was perhaps a safety net of sorts for the films, for the actors and really for the audience watching the film. In American History X, after the opening sequence we cross cut between Norton playing a full blown neo-nazi, a man seeking redemption and showing remorse for his previous actions. In The Believer we know from the outset that that Ryan Gosling's character is more complicated since we immediately learn of his Jewish heritage and upbringing. There is no such "safety net" for Romper Stomper or Crowe in the role Hando, perhaps that has helped keep this film fairly obscure outside of Australia, and likely it would be even more forgotten if not for Crowe's later career being of such notoriety. There are no truly sympathetic character within the film, the closest the film comes is one of neo-nazis showing some minor regrets yet not doing anything about it, and the young woman Gabrielle who joins the group, who is broken from years of abuse, yet still participates in the gang's horrible acts.

The film in no way hides the brutality of the group as we open with them beating a few teenagers, we see that the worst of them is their leader played by Crowe. The character of Hando is a wholly despicable sort, and perhaps made all the terrible because he's played by Russell Crowe. Crowe's considerable presence as an actor is wholly evident this early in his career as he does command the screen as Hando. Crowe realizes the charisma of Hando quite effectively, and even though this won't really work on any sensible viewer since we know what he is from the start, Crowe makes it absolutely convincing that Hando would command the men as he does. Crowe carries himself with such swagger as though Hando firmly believes himself to be this leader of men for a greater cause, and is so determined in this that he easily convinces his followers of this as well. When he speaks of his philosophy, which is complete garbage, Crowe though does infuse every word with such a palatable passion that again would be most effective in rallying his men to his demented cause.

Again this film is not easily digested, and part of this is how many scenes it has of Hando and his men being the horrible people they are. Crowe perhaps makes them even harder to watch then they are in conception because of how good he is in the role. Crowe brings such a intensity in every hateful word and act that makes every moment of it utterly chilling to watch. Crowe does not hold back for a moment in making the hate truly so venomous as it seems to exist in every pour. Every part of his performance in his eyes, his physical manner that always carries an aggressiveness, asserts Hando as this hate filled man. There is no goodness underlying the man, or some hidden pain to try to alleviate the motivation some way. He's a hateful man, and that's all there is to it. Crowe does not ever make this seem simplistic though and again this is what makes the film all the more difficult. He's not a cartoon of a neo-nazi, rather Crowe's method of fully embodying the vileness grants it a terrible honesty, the honesty that this man is just a rotten man to his core.

Crowe's portrayal works within technically the one note as he does show that Hando is always defined by his hate at every point. He avoids caricature though by always showing that this evil man is still a man who does these things. Crowe does not try to make us sympathize with Hando in these moments, but rather just shows that Hando has a depth though only in terms that he isn't just a detached personification of cruelty. Crowe shows there is more to him, but that more isn't any better than the man at his most violent. We follow his relationship with Gabrielle. Crowe in these moments shows Hando a little quieter as he romances, well more of has sex with her, yet the nature of the man isn't any different. Crowe still depicts this always as self-centered act, as he speaks only still as things concern himself, and when he randomly lashes out against her it seems to make sure attention is directed back to himself. There is a moment late in the film where Hando finds Davey has slept with Gabrielle. Crowe's great in this scene where he has Hando not lash out, only because he's concerned with his own safety as the police are looking for him. Crowe though in that moment reveals all the desperation of a man with not only his freedom on his late, but also the sense of personal betrayal. It's a terrific moment though as it does not create any sympathy for the man, but it humanizes him just in terms of showing he's human. One needs to remember though this is as the worst of humanity but still humanity. This performance isn't about making a good man, just a horrible one, but still a man. Crowe's performance throughout the film lends nuance and complexity but only in terms of emotions we see in Hando. He's not a complex person in any way, he's Neo-nazi who does what he does because he's a barbaric monster, but since he's a person there is at least some complexity in his emotional state at any given point, Crowe realizes that. Although this isn't an appealing performance in any way, it is a very good one, and an early indication of Crowe's considerable talent.

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Alternate Best Actor 1992: Willem Dafoe in Light Sleeper

Willem Dafoe did not receive an Oscar nomination for portraying John LeTour in Light Sleeper.

Light Sleeper, despite some questionable choices by the director, is an often effective thriller though more of a character study about a "high class" drug dealer.

Now I will admit before watching the film I expected a rather different film and performance for that matter with Willem Dafoe playing a drug dealer in a film written and directed by the Taxi Driver's scribe. The name of Light Sleeper even seems to evoke the idea of perhaps a similair insomniac to Travis Bickle slowing going insane in the underbelly of Manhattan. Well that's not the case, the film and Willem Dafoe's performance are far more low key than that. Dafoe here portrays actually a man who is sort of past that phase that probably would have been similair to Travis Bickle. In that we meet his John LeTour after he's no longer a drug addict, and is wanting to escape his life, only staying in it through his by appointment only drug dealing through his supplier Ann (Susan Sarandon) who isn't your typical drug kingpin. John goes on specific assignments to wealthy clients creating a different sort of man of the night. Dafoe's work keeps this in mind and establishes this history of another life in his presentation of who John LeTour is as well when we follow him from one appointment to the next.

Willem Dafoe gives a very quiet performance to the point I will admit to being a bit taken aback by it for a bit as I was watching it. However Dafoe's approach is with purpose. There's a wear in his portrayal of John's demeanor, a wear of the past more even so than his current occupation. When he visits to make some of the deals, there's a certain exasperation not over the act of dealing the drugs entirely, but rather this disengagement with the behavior he once took part in. The idea of the history as a junkie himself is shown in that basically straight resistance to interaction, and even lack of patience with the more aggressive customers. He does not stare them down as just a man who hates, there is a self-loathing within his eyes in these moments, and a forcefulness to be as detached from that as he can. Of course he is technically stuck due to the easy money associated with his life even though this is often a detached life, where again Dafoe portrays that distance. That distance that is not only the suggestion of the past, but also a certain professionalism as the drug dealer.

In his scenes of dealing Dafoe portrays an efficiency and precision in his straight and direct delivery. Dafoe portrays the right awareness as he is not doing it as a junkie anymore, and always carries himself with that certain watchfulness, making his ability to spot when being trailed by an undercover cop convincing. Of course this is not the story of the successful drug dealer, as this isn't the life John wants still. I actually love the scene where we see how this really isn't John, despite his success, in the scene where he confronts the cop. Dafoe begins as the one in charge, seemingly this master of the streets as he prods the badge from the cop. The cop though turns this around pointing out that he's well aware of John's activities which he blackmails him with for information on a murder. Dafoe's terrific as he reveals such a vulnerability and the real guy that John as in the moment, who really isn't any sort of professional criminal. Dafoe crumbles so effectively by losing any confidence, and just revealing the desperation of a man in place he really should never have been in.

We naturally see John trying to escape the life a bit through his old girlfriend, Marianne (Dana Delany), though this is corrupted since they met each other originally as junkies. Now I will admit there is a bit of a problem here because of Delany's performance, who is a better voice actress than actress. This is oddly enough shown here as her line deliveries are very good, but her physical performance is very stilted. Luckily there is Dafoe to pick up the slack. Dafoe is surprisingly affecting in these scenes because he portrays so earnestly. He shows only genuine care in every moment for Marianne and her family. Every moment he depicts only wanting a healthy relationship, and Dafoe finds such a poignancy in the purity of these scenes. This even extend to John purely platonic relationship with Marianne sister Randi (Jane Adams). Those moments I particular love as Dafoe portrays such a palatable warmth realizing John as almost this caring older brother as he offers his support to both sisters as their mother is dying.

Nothing is forgotten easily though for John, as Marianne continues to reject him due to their past, and Dafoe's great in portraying so simply the considerable yet subtle anguish within John as he keeps being kept in his place in the drug world. Of course the drug world is not entirely bleak through his relationship with Sarandon's Ann. The two actually share a splendid chemistry which is basically established just through the way they interact with each other early on. You can sense the attraction and love for one another, in just their silent language towards one another, though they remain employer employee for much of the film. Eventually a tragedy happens that forces all hands in a way, and Dafoe is excellent in the last act of the film. This begins with his two heartbreaking reactions to seeing the tragedy, its initial beginnings, then its end, again Dafoe remains pretty internalized yet so powerfully so. This continues as he seeks a sort of revenge, and again Dafoe stays quiet. He does so effectively though as he conveys just the passion, and pain in this through his eyes. His final act, which is Travis Bickle like in action is not Bickle like in the emotion behind it. Defore portrays not a psychotic reaction, but rather again presents that same earnestness warmth actually in the act of violence. I found this to be a rather wonderful performance by Willem Dafoe, in granting a humane and moving depiction of a drug dealer.

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Alternate Best Actor 1992: Peter Coyote in Bitter Moon

Peter Coyote did not receive an Oscar nomination for portraying Oscar Benton in Bitter Moon.

Bitter Moon, if perhaps it was a bit more violent, would seem Roman Polanski making a Brian De Palma erotic thriller as it similarly embraces its trashiness in its story about a man, Hugh Grant, on a cruise being pulled into the story regaled by a crippled man about his relationship with his wife.

Peter Coyote, who somehow I never noticed before sounds just like Henry Fonda, is most often an authority figure character actor not unlike Scott Glenn, or more recently Richard Jenkins. Coyote's role is a strict departure from that as we first meet him as a shady figure, lurching around in his wheelchair all too eager to reveal his long history with his seductive wife Mimi (Emmanuelle Seigner). This film as a trashy erotic thriller again very much embraces the trashiness, and really the success of such a film depends on how entertaining it manages to be within that, as well as if it attempts to perhaps just a bit more than that. Well this film really falls almost entirely upon Coyote's shoulders to make the film work as the hot mess it is, given that Hugh Grant, and Kristin Scott Thomas, are only fairly bland diversions while Seigner seems mostly there to strip nude. That leaves Coyote to make something of it all, and I suppose I would not reviewing him here if he didn't. There is already a bit of fun to be had just from seeing Coyote in such a role, but Coyote plays into the film's style in the right way. He's certainly having fun right from his first devilish glare, as he invites Grant's Nigel to listen to his story, but he allows us on it as well.

Coyote in the present set scenes is pretty great in embracing that style of the film in the fashion to the point of amplifying it. His work matches the nature material as even in Coyote's slimy lecherous manner he seems to embody the film. He's sweaty, he's perhaps unappealing in many ways, yet there is something most intriguing about him. Now much of the film though takes away from the crippled Oscar as he tells Nigel his past with his wife Mimi that left him in this state. We see Oscar as a wannabe writer who meets, and falls for the waitress Mimi. Now in what are a series, of somewhat repetitive scenes that seem often made just to get Polanski's wife in new sex position, Coyote does make something of them. His performance in these scenes actually attempts to derive a bit of substance past being entertaining trash, even if the focus perhaps is most closely upon it. Coyote's performance bothers to find any depth in this as in the early scenes, he's quite good at being perhaps a more typical role for himself as just the ambitious yet romantic writer who finds this most intriguing woman. Coyote finds an earnestness, not overt, as he keeps the overt style away here enough creating a more sensible frankly portrayal of this man as he enters what at first seems an ideal relationship.

Their relationship ends up being anything but ideal though as they seem to try to trump one another as it constantly goes back and forth from seeming genuine affection, to hatred, to any sex act you can name, to intense manipulation. Now Seigner's performance really only has two settings and is more of an idea, really more a fantasy, than a character, but Coyote's work does bother to connect the strands. In his work he has the starting point be that genuine love he seems to hold for her, and on that he only portrays such a genuine intrigue at whatever she may have next for him. In that there is a direct hook he creates, as Coyote shows the way in every interaction how he holds onto her for so long. As it continues though Coyote gradually reveals a greater frustration as an innate growing element in Oscar that only worsen, which he attaches to this attempt to find any thrill with his wife.  Coyote combines both in portraying this tightrope of intensity in his performance of one of such lust and irritation. Every act has some of both in his delivery and whole manner that creates this horrible dynamic that makes the collapse of the relationship merely an inevitability. Of course as soon as it ends, being such a film as this is, Oscar finds himself crippled due to a road accident.

Mimi returns to him, and again Coyote is excellent by showing the cycle as essentially starting again. As he once again portrays such genuine affection, yet that subsides to this time a seeking for a thrill, which Coyote now shows to be unsatisfying as Mimi essentially tortures him. This cycle is given a soft reset as the two finally get married, and go on that cruise that is the framing device. Now what Coyote has down I suppose foremost is deliver the tale in a most entertaining way with his narration being filled with such a vivid texture representative of the lascivious story. He also though brings us to Oscar's current state which is as this bitter man. Coyote again is entertaining but also fascinating in that he again makes sense of the central relationship. Now his work exudes such palatable and striking bitterness in every word, that is compelling in itself.  He again though connects to the idea of this thrill seeking between Oscar and his wife, as now they attempt to ensnare this new couple into their web. Coyote's great as he shows Oscar loving it as the two seem to fall, I have particular affection myself for his devious reaction when Nigel comes across Oscar in what he expects to be Mimi's bed. Both Oscar and Mimi laugh at that man, and there you see the shared joy once again though in a most unusual endeavor. This continues until they succeed in pulling them in and we have one last scene with Coyote. It is a brief scene yet a fantastic one for Coyote, as he grants an understanding to the whole character and relationship. His reaction is swift yet effective as any joy stemming from the bitterness that leads to the misery of others falls from him and Coyote portrays Oscar falling to the initial affection again. This time though it is through a powerful despair at what the two have done and what they have become. Coyote's performance stands as a turn that makes schlock work by being properly enjoyable, but he does go further to add a bit substance perhaps a little nuance to this trash.

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Alternate Best Actor 1992: Benoît Poelvoorde in Man Bites Dog

Benoît Poelvoorde did not receive an Oscar nomination for portraying Ben in Man Bites Dog.

Man Bites Dog is a faux documentary that goes along with a camera crew as they follow a serial killer go about his life. Benoît Poelvoorde's performance is not one that attempts to find any sort of reality within the idea of the serial killer, this is not Michael Rooker in Henry: Portrait of a Serial Killer. In fact his performance seems more akin to say Jean-Paul Belmondo in Breathless, and not simply due to his appearance and the fact he speaks French. The reason rather is Poelvoorde playing the character named merely Ben seems as though he is in some way above it all, even though that involves killing people, and unlike in Breathless this involves many many people. Poelvoorde's performance is of course this style through that which seems necessary given the tone of the film, that is at least slightly absurd given the concept at its core. Poelvoorde's approach technically matches this in that this must be an almost unrealistic, though then again The Jinx does exist, portrait of a psychotic. As it is about a man willing to go around showing his methods, and just doing his murders from place to place. Fitting to this Poelvoorde has that casual quality of any comfortable documentary subject who is ready just to give the filmmakers some insight into his day to day life. 

Poelvoorde in this approach does end up being extremely chilling even with this random set up that one would imagine would be more of a dark comedy which is only truly so with this film in terms of the contexts that it places our murderer in. Even with that potential comfort this is an unnerving performance to watch since Poelvoorde is so natural in any given scene whether he is randomly beating down a mail man to death, shooting person upon person, committing home invasions, coming up with new tricks of the trade such as killing a heart patient merely through fear. Poelvoorde's performance is consistently unnerving because of how at home he plays the whole thing, and even though he's not creating a normal reality of this serial killer he does realize the reality within the film. That creates this most unpleasant, yet effective realization of the killer as Poelvoorde makes the character so at home with this life of a specific violent crimes. There is never a real wink to comfort us even with the core setup of the black comedy. Poelvoorde makes the man rotten to his core within the film as he plays with the concept and gives it a life, a peculiar one, but one that is most unsettling to witness. 

Although much of the time is spent killing not all of the film is as we do get to see the man's life past his brutal murders. We spend some time as he visits his girlfriend or sees his parents. Now in these scenes Poelvoorde actually gives a consistent performance to the rest of his work, in that he really is not a different man as he presents the same comfort with a normal life then he does going around murdering. His delivery, his approach, establishes that it is very much all the same time him. To the point Poelvoorde does not even portray much concern just a knowing smile when Ben's mother comments that she would prefer that a murderer, not knowing it is Ben, would suffer the most severe punishment. Poelvoorde's work emphasizes a man who loves his life, and portrays not a hint of true empathy just a man above it all in his sinister amorality. Again though the amorality is not something that sets him back, or slow him down. Throughout the film there are little asides on one subject or another for Ben to philosophize on a bit. What Poelvoorde does is remain once again true to the man he has always established which is to show someone who portrays such joy in whatever it is he is doing whether it is just talking or committing one violent murder after another. There is no separation yet this is effectively so. Poelvoorde's work is this specific to the intention of the film which is to be this documentary subject, and Poelvoorde makes Ben a great one. A man you just get to know and learn about with his unique insights and way of life. Those insight and way of life just happen to be terrifying. Poelvoorde's performance realizes the concept in a vivid and oh so horrible way, yet that is the only way for the film.

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Alternate Best Actor 1992

And the Nominees Were Not:

Benoît Poelvoorde in Man Bites Dog

Peter Coyote in Bitter Moon

Russell Crowe in Romper Stomper

Willem Dafoe in Light Sleeper

Eric Stoltz in The Waterdance

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Alternate Best Actor 1954: Results

5. George Sanders in Journey to Italy - Sanders gives a somewhat interesting alternate take on his usual persona, though the film's limitations limit his work as well. 

Best Scene: Breaking it off.

4. Fredric March in Executive Suite - March gives a terrific performance that refuses to ever make his character a straw man as he gives credence to his character and his views in every one of his scenes.

Best Scene: His philosophy.

3. Anthony Quinn in La Strada - Quinn, despite being dubbed, makes quite the impact in his depiction of a real man of the earth in his blunt physical performance though with the nuance of a man rather than just a symbol.

Best Scene: The Beach

2. Jean Gabin in Touchez Pas Au Grisbi - Gabin sets the standard for the old badass back for one more job trope, by delivering a compelling, charming and always confident performance.

Best Scene: The Exchange

1. Alec Guinness in The Detective - Guinness gives a brilliant portrayal of Father Brown managing to cohere both the detective and the priest in a single incredibly entertaining performance.

Best Scene: Final meeting with Flambeau.

Updated Lead Overall

Update Supporting Overall

Next Year: 1992 Lead

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Alternate Best Actor 1954: Alec Guinness in The Detective

Alec Guinness did not receive an Oscar nomination for portraying Father Brown in The Detective.

The Detective is a rather enjoyable about a priest who is also an amateur sleuth attempting to stop a notorious thief.

The film itself lives and dies on the shoulders of Alec Guinness, and a bit on Peter Finch, as Father Brown. This is again Guinness, very notable within the time, going for a sort of chameleon style of performance. Not through overt makeup or anything, just through his performance. Now Guinness previously played a priest in Kind Hearts and Coronets, also directed by Robert Hamer, again in a bit of a disappearing act. Guinness though finds yet another unique characterization in his creation of Father Brown. Guinness begins with his alteration of his accent just ever so slightly, that just seems so fitting to a beloved sort of local priest. Guinness though continues in his physical manner that is all his own here, as even specific behavior, such as a moment of imagination, Guinness fashions something unique to his Father Brown. As typical for Guinness though he's both incredibly consistent in the mannerisms he grants to his character, and perhaps more importantly he makes this feel wholly natural to the role. It not only feels natural to the role, but it succeeds in amplifying it as you just feel you're with Father Brown after a few scenes with Guinness.

Guinness is especially important to making this character work as there are several elements that need to be made sense of. Guinness on the first aspect must be the sleuth of course for any good mystery, or crime film of this sort. Well, as he showed to an even further extent in Tinker Tailor Soldier Spy, Guinness is a master of the incisive stare. Guinness though does this in a rather fascinating way here as there is a softness within this in a strange way that seems just right for the character. Guinness though provides sort of that detectives spark of intuition in his work so well through he sheer energy he brings as Brown goes about trying to solve case. Of course none of this is at the expense of his portrayal of Brown as a priest either though. Guinness in the moments where Brown must fulfill his role in a sermon or in providing guidance to a parishioner, Guinness offers that grace and dignity within his performance which does not at all seem at odds with the rest of his performance. Guinness rather shows very directly though that Brown is one man, but even he is technically aware that he is a professional priest, but not quite a professional detective.

Now the priest being a detective may seem a touch far out, but Guinness even makes this absolutely work through his approach. The idea is quite mad after all as shown in the opening scene where he arrested after returning stolen goods for one of his flock, and Guinness plays into this so effectively. Guinness does this by bringing a bit of madness into his performance, now not that he is psychotic or anything like that but Guinness brings the right eccentric kookiness to the role. Guinness makes this an essential motivation for his performance actually. In that he makes that sort of insanity a part of who Brown is and this is needed to partially make sense of the man. He is a bit off his rocker and Guinness uses this without compromising the character in the slightest. Again Guinness uses this to amplify him so well by creating an understanding in his viewpoint even if it is more than a little atypical to say the least. Guinness makes the whole central concept work by playing into that it is somewhat ridiculous but never making fun of it either. He instead makes Brown a man capable of being what he is which includes being not quite the most normal priest.

A major difference between Brown and most amateur sleuths though is his intentions. He intends to stop criminals, but that is not his primary intention as he first and foremost desires to save their souls. The central plot follows Brown as he wishes to stop the thief Flambeau (Finch) by not having him arrested, rather by trying to convince him to move towards a more righteous path. This is an element that Guinness properly offers a great deal gravity to and properly takes the most seriously. Guinness as he describes his purpose offers the strongest passion within his work, by creating such an honesty to Brown's words to help who he sees as a man lost. I would be remiss though not to also mention Finch who also gives a very effective performance and makes for a great scene partner with Guinness here. In that both together help to grant a certain reality to the idea of stopping the thief by convincing him that his life path is wrong, rather than sending him to prison. The two are great because both actually provide such an earnest conviction to their points of view. Finch bringing a proper cynicism which is so well counted by Guinness who manages to deliver Brown's speeches with grounded idealism. The certainty that Guinness brings not only is powerful but almost rather profound. Guinness makes an especially strong impact in their final confrontation as he delicately explains the way Flambeau has set up his own private prison. Guinness refuses any smugness yet rather brings this tender concern and warmth, showing Brown's attack on the man's life as an act of unconditional love.

Of course as much as Guinness excels in every facet of the character and making Father Brown a cohesive whole, it must also be said that this is just an incredibly entertaining performance to watch. Guinness is prime Guinness here which means it is just fun to watch him work, and he enlivens every scene with his mere presence. Whether it is trying out his various wrestling holds, or coming up with his own new plot to catch Flambeau Guinness is effortlessly engaging. Guinness is just an enjoyable detective and tha kind of would have been enough for this to be a very good performance, but he does go more than a few steps beyond that. As this is a brilliant realization of what is really a tricky character. It would have been easy to make him feel too sanctimonious, too bland or even annoying. Guinness not only avoids any such pitfalls he instead merges the threads of the character to make a single compelling figure for us to follow through his story. He is indeed the efficient detective, he is indeed the devoted priest, he even is just barmy enough to connect those two things, yet only makes the task of the man an absolutely endearing ideal. This is wonderful work from the always exceptional Guinness, and it's a bit of a shame that he never once returned to the role. 

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Alternate Best Actor 1954: Anthony Quinn in La Strada

Anthony Quinn did not receive an Oscar nomination for portraying Zampanò the strongman in La Strada.

La Strada is a great film by Federico Fellini which focuses upon a poor girl's, Gelsomina (Giulietta Masina), travels with a circus performer she's sold to.

Anthony Quinn plays that performer, and typically to western actors in foreign films he is dubbed so we unfortunately are not granted Quinn's booming voice which sadly would've have been especially fitting to this character. Luckily though this is a very physical performance, and Quinn is a very physical actor. In terms of casting Quinn is a perfect fit for the role as the circus strong man, but also everything that Zampanò represents. Fellini evidently described the character as representing the earth and we can see essentially that sort of grit from Quinn in his opening frame. Any high flying ideals are non-existent in Quinn's portrayal from the outset as he takes on Gelsomina Quinn exudes the general disinterest in her setting up quite obviously that Zampanò is only taking her on as necessity rather than any real desire. Quinn's expression hold the right discontent with this woman who seems to be looking for more out of life. Quinn on the other hand paints a man who is very much part of the darker side of life, and though perhaps he is not truly content with this in that he isn't exactly happy, yet he seems to help create this state of mind.

Quinn's work most often provides a striking contrast to the purity of Masina's Gelsomina. Zampanò is anything but that with Quinn accentuating this harshness though not overplaying it. Quinn rather than emphasizing an active sadism towards her portrays Zampanò treating her mostly as some sort of nuisance that he has to put up with. That is not to say that Quinn's approach is not at all cruel, in fact there is a distinct cruelty within just how little regard Quinn expresses in Zampanò's treatment of her. When he hits her with a switch in order to properly play the drums for his act Quinn's whole manner is less of a man mistreating this woman, but rather almost like he's trying to get a dog to learn a trick. We are given a slightly different side to the strong man when he is performing as such, and Quinn's terrific in these scenes in presenting the showman if only a for the few minutes while the act is going on. Those  moments arethe few times he doesn't seem tired with life, although just right after the act he returns to just as he was before. Quinn establishes only the slightest bit of joy in his whole being whenever he's finding in any direct satisfaction, such as with a different woman, or the monetary boon from performing his act. 

Quinn for much of the film is this force of nature that seems unchanging as hardened earth. Quinn brings that quality to life without becoming too symbolic though as he does create a man in the amoral Zampanò. There is nuance in his work, something that comes solely from Quinn, in the scenes as Zampanò keeps retrieving Gelsomina despite his disregard for her. There are hints of just a bit of remorse in Quinn's eyes, yet he reflects this as only a hint that never overtakes him long enough to become a good man for even a moment. Eventually the two also meet another performer, the fool (Richard Basehart) who purposefully pesters Zampanò for an unknown reason. Now in these interactions Quinn is more direct in presenting Zampanò's viciousness yet even this is shown as instinctual more than anything. As when Zampanò takes things too far Quinn depiction of the attack is that of careless bullying than real hatred. That act leads Zampanò to finally abandon Gelosomina, and though Quinn was the secondary lead for most of the film he becomes the primary lead in the last few scenes. Quinn is excellent in these scenes as he takes just that hint of remorse he brought in the earlier moments with Masina, to naturally reveal a man finally facing his actions. Quinn is honestly heartbreaking in portraying this man essentially writhing in his past actions, so effectively depicting this palatable anguish as the man who no longer can get by simply by not feeling. This is a terrific performance by Anthony Quinn, as even though we don't hear his voice, he makes a considerable impact on the film realizing the simplicity of the man without making this a simplistic performance.

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Alternate Best Supporting Actor 1954: Fredric March in Executive Suite

Fredric March did not receive an Oscar nomination, despite being nominated for a BAFTA, for portraying Loren Phineas Shaw in Executive Suite.

Executive Suite is a rather effective drama about the power struggle that ensues in a successful company after their president dies without leaving an obvious successor.

Executive Suite follows the several vice presidents of the company dealing with the calamity. The two strongest figures shown in the film are William Holden's McDonald "Don" Wallin against March's Shaw. Now March's performance is essential to the film in more ways than you may initially expect. Now on one hand this is simply an engaging performance, as March tends to be when he dials it back a bit playing to his strengths as a performer. That is what March does here as he carries his very distinct and assured presence to the role of Shaw. March brings that confidence to the role to create Shaw as a powerful figure in the company. March is innately compelling here as he offers such an efficiency in his performance, so rarely wasting time on the wrong emotions which is quite fitting to his character. This is part of March's performance which is always very much on point and straight forward in a remarkable way. In that there is nothing dull in this as March in particular makes the technical dialogue involving the company not only effortless in his delivery yet always comprehensible. When in the early scenes of the film Shaw figures out what happens and takes immediate action, March brings an incisiveness not only in words but also through his very assured physical body language as he carefully breaks down the reasoning behind his actions.

Now this is where March's performance though goes beyond in terms of how it amplifies the film. There are elements to the film that could have made it potentially into a more hamfisted morality play particularly in the role of Shaw. March's work is what avoids this problem. It would easy to imagine Shaw being made into an overt villain, but March wisely avoids this and in turn avoids simplifying the drama. March importantly always plays the role as a man who believes he is doing the right thing throughout the film. Again in that early scene where he establishes basically his authority, where technically Shaw is just assuring that the company will not collapse, March presents a confidant man yet not an egotistical one as he could have been here. There is a sense of righteousness but not a sanctimonious self-righteousness. March brings what is a genuine passion within his words that reflect the will of a man who is looking beyond himself even as he does take steps to try to secure his position as president. When he's making his moves within the story Shaw moves with precision but again March plays these scenes by emphasizing how Shaw working towards his goal. When he negotiates even with the less savory men of the company, March delivers his lines in a direct fashion again reinforcing that this is not a game to Shaw, but something he feels must be done.

The plot comes to a head with the final voting to determine who will be the next president and what their exact vision for the company is. Shaw offers his vision which is essentially to keep things as they are but in doing so ensuring the greatest dividends to their stockholders. In this explanation March gives it all the sincerity and certainty of a seasoned and intelligent businessman. There is no purposeful stubbornness in March's approach but a very direct earnestness behind the explanation. Now this is a low key earnestness to be sure, but March uses that so well to give his view that paints Shaw as a reasonable man who wants what he believes to be best for the company. Even as the first vote does not exactly go his way March is very good in revealing a bit more emotion in Shaw. March even in this stays true to his approach and plays this emotion most strongly as a quiet frustration that they are making things more difficult for the company. I particularly like his scene with Louis Calhern's more amoral board member, where March just presents such a genuine disbelief that the fool would sabotage his own desires by voting against him. March portrays no real anger, but rather reinforces the nature of Shaw by only being confused by the man's actions. When Holden's Don presents his view with a stirring speech, March earns the acceptance in Shaw due to his reactions not being of a man being defeated but rather taking in the idea and seeing that they could work towards the success of the company. March's performance here keeps the film from becoming too black and white by providing a real opposition to what becomes the final message. He never allows Shaw to be a straw man by not only delivering his view as a reasonable alternative but also creating three dimensional character who is merely doing what he believes is the right.

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Alternate Best Actor 1954: Jean Gabin in Touchez Pas Au Grisbi

Jean Gabin did not receive an Oscar nomination for portraying Max in Touchez Pas Au Grisbi.

Touchez Pas Au Grisbi is a terrific crime thriller about an aging gangster who must come out of retirement after a rival gangster goes after his best friend and old partner in crime in order to ransom for an old score of theirs.

Jean Gabin fulfills what must be one of the earliest examples of the now well worn trope of the older man who has to come back for just one more job. Gabin, in what was apparently was his post-war comeback role, is a prime figure to fulfill such a role. This film came several years after his suave work in Pepe Le Moko, but Gabin did not lose a step in that time. In the early scenes, and really throughout the film, we do get plenty of classic smooth Gabin. Gabin once again just has this effortlessness in his presence here and just exudes the confidence of the character. This is a seasoned Gabin though and it seems like he even needs to try even less than he did in his earlier roles. Of course this is Gabin making it look so easy which is all the more notable here as Max is the ladies man to every woman in the general vicinity, and Gabin enables this to be wholly convincing. Again Gabin brings this charm with such ease that is perfect for this role as he presents a man who has just be on top of the world for many years, and this comes off him in a way that makes it so evident why he is such an appealing figure to just about everyone. Gabin sets his place at the head of the table without question.

Gabin though carefully compromises his role, in that obviously that confidence is something that is there and always evident yet he is aware of that even within the character in the right way. Gabin does not hide his age which works so well for the character who does not hide it on his own. Gabin though somehow makes himself seem all the more assured though in the way he delivers his lines about just wanting to retire early in the night, or his "I'm too old for this" type of lines. He has those in the film yet Gabin delivers them not as a man who is not unhappy about this, but rather is entirely content in this. There is a comfort in the age that Gabin presents that somehow only gives the character a greater inherent strength because of it. Gabin shows a man who simply know how to age, and some of his power seems to come from how well he is accommodate to himself essentially. In the first act Gabin has that needed presence as he does the little work he still deals with and Gabin makes Max the man at the top of his craft even in retirement. Again he could be the definition of smooth of how he creates in Max that skill of a master setting up the man who is at ease in his life, and someone who should never be taken lightly.

Unfortunately a younger gangster does try to force Max out of his semi-retirement by launching a plot involving kidnapping his old partner Riton (Rene Dary) in order to extort the considerable loot from an old heist. Once the plot starts, matching the perhaps less films that would come later, Max reveals his particular set of skills. Gabin, despite already seeming such a confident and strong figure manages to take it even further in these scenes. Gabin in these scenes, as Max breaks down the situation and goes about taking down his opponents, reminded me a bit of Alain Delon in Le Samourai or even more fittingly Albert Finney in Miller's Crossing. In that Gabin just in his physical manner is this man who apparently was born for this life and was destined to be a gangster. In every moment Gabin offers that complete control and even a certain thrill of it. Gabin shows Max technically exactly where he should be as he goes about defeating his much younger opponents. This is not merely Gabin being well, cool, there is more to the role in regards to his relationship with Riton. Although Max derides him early Gabin delivers these lines with the utmost warmth actually showing the very strong soft spot that Max has for his old partner, and a genuine love within the gangster. This carries the right underlying poignancy through the story as Gabin emphasizes that this goes further than business for him. Gabin holds onto this idea so effectively building towards his final moment in the film which is this nuanced but oh so powerful reaction where Gabin so subtly reveals Max's quiet sorrow due to the events of the film. This is a great performance by Jean Gabin as he perhaps set the initial standard for the badass ready for just "one more job".

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Alternate Best Actor 1954: George Sanders in Journey to Italy

George Sanders did not receive an Oscar nomination for portraying Alexander 'Alex' Joyce in Journey to Italy.

Journey to Italy is almost an anti-Roman Holiday about a couple whose marriage becomes increasingly strained as they vacation in Italy.

George Sanders is best known for his purring villains, whether or not he is playing a literal feline, or at the very least he is an intellectual sort with a biting wit whether or not he's even a sympathetic sort. This performance is again in that vein yet what we see of him here is different from those earlier performances. In that Sanders here is playing a man in a more modest situation with his wife Katherine (Ingrid Bergman) as they travel abroad. Sanders in many ways gives the performance you'd expect from him in that he is his usual suave self particularly when Alex and Katherine are among others. He has that certain wit about him and is properly as Sanders should be. This takes on a different shade though when the two are alone together or alone separately. In that Sanders's has this certain misery within that behavior, his statements being particularly caustic, emphasized as such by Sanders's delivery which lacks that certain joy in the cynicism found in his most of his work. This performance Sanders presents more of such a man that you get to know both when he is "on" in front of the crowd and off when alone with his wife.

Sanders's style is effectively subverted in these moments as we see him essentially as Katherine does which is as the excessively cynical sort, and this is one of the most painful marks on their relationship. Their interactions are notable for their broken chemistry of sorts as they only seem to connect in minor instances of social interaction, or when they are being more directly critical of one another. They lack any real warmth, but what Sanders and Bergman do though is capture this specific sort of coldness. It is not of two people wholly without a history rather there is a familiarity in this but an unpleasant familiarity represented often in a mutual disinterest or an unease in recognizing the faults they see in one another. The film breaks them apart where we see each going off their own where perhaps Bergman is allowed to create a bit more insight into her character partially because she speaks to herself. Sanders does have a few scenes though where we see him pondering a potential affair with a local. These scenes do feel a touch limited at times, and perhaps there was an intentional vapidness in Sanders's work. They don't leave the same impact though in Bergman's similair scenes where we seem to come to understand Katherine more than we do Alex.

Eventually the two troubles come to a head in their final day in Italy. Again this is where Sanders shines along with Bergman for that matter as they so well capture this certain vicious sniping the each make towards one another as the final conflict builds in that day. They once more capture the mutual stress in these moments, and their delivery works as this sudden messy outpouring of frustrations against one another. They work so well in creating this dissolution though along with their sudden switching to basically appease their hosts as their tour continues. The two find the difficulty in their attempts to switch back to their proper social behavior while always conveying their ongoing fight is still weighing on their minds. This eventually leads to the two getting caught up in a religious procession where suddenly their relationship turns around. Although as written there appears to be something missing there, though perhaps that is the point in that both Bergman and Sanders don't quite make that easy in their performance. The reason being that even as they declare their renewed love of sorts there is something off and desperate in the moment that suggests perhaps it is not as happy of an ending as it might seem. Although there seem something missing in his scenes away from Bergman with her Sanders gives a compelling alternative view of his usual screen persona.

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Alternate Best Actor 1954

And the Nominees Were Not:

Anthony Quinn in La Strada

Fredric March in Executive Suite

Jean Gabin in Touchez Pas Au Grisbi

George Sanders in Journey to Italy

Alec Guinness in The Detective

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Alternate Best Supporting Actor 2003: Results

5. Park Hai-il in Memories of Murder - A performance that grew on me considerable with a re-watch as it develops another layer as he presents both a guilty and innocent man as the potential serial killer.

Best Scene: Interrogation.

4. Jason Isaacs in Peter Pan - Isaacs is both an effectively meek yet eventually heartwarming Mr. Darling while also being a properly menacing yet entertaining Captain Hook.

Best Scene: Hook tricks Tinkerbell.

3. Bernie Mac in Bad Santa - Mac gives an hilarious portrayal of his straight shooting security chief who isn't exactly completely on the level himself.

Best Scene: "Half"

2. James Caan in Dogville - Caan's performance delivers this remarkable impact for the finale of his film, as he, in only really single scene, not only establishes a long difficult history with Nicole Kidman's Grace, but also realizes his distinct personal philosophy towards the world.

Best Scene: "Arrogance"

1. Yoo Ji-tae in Oldboy - Good predictions Omar and Calvin. Yoo Ji-Tae gives an outstanding performance that offers a most atypical villain for a revenge thriller, and also delivers his own portrayal of his character's own tale of revenge that ends up oddly  trumping the "hero's".

Best Scene: The Elevator.

Update Overall

Next Year: 1954 Lead

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Alternate Best Supporting Actor 2003: Park Hae-il in Memories of Murder

Park Hae-il did not receive an Oscar nomination for portraying Park Hyeon-gyu in Memories of Murder.

Memories of Murder is a brilliant film that follows the search for a serial killer in the South Korean countryside.

Park Hae-il appears rather late into the film as a man who the detectives, Park Doo-man (Song Kang-ho) and Seo Tae-yoon (Kim Sang-kyung), believe may be the killer. His connection to the crimes come in a single song he requested that plays on the radio every time the murders occur though it is also every time it rains at night. Park Hae-il's performance as the subject is a very interesting one, and essential to serving his purpose in the film, which is to be a giant question mark. I have to say what he does here is rather remarkable in that his performance actually forces the viewer into the same viewpoint as Detectives Seo and Park find themselves in. In that the first time I watched the film I was convinced that he was guilty. This was through his portrayal of the quiet dispassion that seemed that of psychopath, there was a sinister distance as he answered the questions as guilty man simply thriving on the knowledge that they have no hard evidence against him. However watching the film again his performance plays a different way which is fascinating. That dispassion can be interpreted less as something sinister. It not only can reflect an earned distaste for the police, earned due to the random brutality of one of their members, but also suggests perhaps just an anti-social man living a difficult isolated life.

Park's performance remains though an enigma, yet his work never feels vague in this. Again in the initial viewing his few later scenes, after his initial interrogation, he is off-putting as seeming to be the killer gloating against his foes for their inability to catch him. On re-watch though this can be as easily viewed as a man already living an unpleasant life becoming understandably ill at ease with such severe accusations being made against him. Again it is yet another brilliant element of this film this idea that it make you get caught up in the evidence, the evidence against the man that you believe to be airtight yet becomes much more flimsy once the emotion surrounding it dies down. Of course again in that initial viewing right when you are with the detectives, in all of their frustrations and pain over the case, there is a desire for some sort of closure somewhere, and the only candidates seems in Park's off putting man. It is then easy enough to get caught up in the final confrontation where detective Seo is about to kill the man in cold blood after another murder has taken place. Again Park's turn only seems to encourage this as the unrepentant killer, who admits his guilt only with palatable disdain in the heat of the moment. Again though on re-evaluation Park evokes a real fear in the scene suggesting that perhaps the man is just fearful for his life, though perhaps through his military life he reacts to fear through some external anger rather than falling apart as most would. This is terrific performance as in a few scenes he creates this captivating figure that is mystery one can't quite decipher. He allows either interpretation of his character to be valid, yet is genuine in his performance. It is truly remarkable since his performance makes his character frustrating in the right way. You can't quite get a bead on him as Park leads with a fork in the road as this unpleasant behavior could be of a serial killer, or man who has no affection for the world yet is harmless. 

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Alternate Best Supporting Actor 2003: Yoo Ji-Tae in Oldboy

Yoo Ji-Tae did not receive an Oscar nomination for portraying Lee Woo-jin in Oldboy.

Oldboy is the second film in Park Chan-wook's thematic revenge trilogy. That revenge on the surface appears to be based around the man Oh Dae-su's (Choi Min-sik) search for the man who imprisoned him for 15 years. Unfortunately for Oh Dae-su the real revenge at the center of the film is not Oh Dae-su's for that man, but rather that man's for Oh Dae-su. That man being Lee Woo-jin played by Yoo Ji-Tae. After Dae-su is released from his strange prolonged prison sentence he slowly received messages from a man, that man being Lee. They are slight initially and as mysterious as the prison itself. We only hear Yoo a few times, and see his eyes in a couple of straightforward messages. We only finally see him in the flesh rather suddenly when he initially appears to be a helpful bystander who offers aid to Dae-su after a fight. It is there where we first see Yoo's bright smile he brings to the role, such a congenial grin as he almost treats Oh Dae-su as this old friend, ensuring that he will survive that violent encounter.

Yoo Ji-Tae's casting and his performance offer quite an atypical villain for the film, as he first off he just does not look like this truly sinister man just by a glance then there is Yoo's portrayal. Yoo does not try to exert an overt menace with his performance, and again in fact there is this certain friendliness at times, though in reality more of a familiarity that Yoo expresses. Yoo does not do this to undercut his performance, no instead it amplifies in the way he creates this truly unique antagonist with Lee. That familiarity ends up being rather off-putting in one way Yoo alludes to the way that Lee knows so much that Dae-su does not, far too much in fact. There is even more though as Yoo suggests something even deeper than that even. Of course this also becomes duplicitous as Yoo makes that smile get under your skin as there is an innate smugness that Yoo brings, which again goes further than just making him this smug snake. Yes that is there, but again Yoo makes it seem all the more sinister since the smugness suggest his complete control of every situation in the film, and is imposing in his own way by creating Lee as this man who almost seems impossible to decipher while he apparently has everything deciphered around him.

Yoo, despite being very consistent in creating this sense of certainty in Lee, he is never one note. There are these brilliant edges he brings to his performance, moments that he uses so effectively to allude to more about Lee's nature and his real relationship with Oh Dae-su. These often are slight moments, where we see a real burning hatred, these are in small moments when he turns away for just a second, in those moments though are usually related to either when Oh Dae-su reveals absolutely no knowledge of why Lee is doing this to him, or later on when he begins to call back the memory. In those times though there is that intensity of a hatred, fitting to a man bent on revenge, yet Yoo takes it further as there a certain somberness in this anger reflecting his sorrow connected to the revenge. Eventually we do learn that Oh Dae-su caused a rumor, a true rumor, that Lee and his sister were having an incestuous relationship which eventually lead to her committing suicide. It is in the final confrontation where the film does reveal that it has always been about Lee's revenge, not Oh Dae-su's.

Lee brings throughout the scene that domination of what could be the noble avenger if it was not so twisted, as he breaks Oh Dae-su down with such confidence revealing his plan of revenge that entails Oh Dae-su unknowingly sleeping with his own daughter. The revelation causes a full mental breakdown in Oh Dae-su that leads him to beg Lee not to reveal the information to his daughter. Yoo is brutally effective by how he controls every moment and reveals what that satisfaction and familiarity came from. As Yoo presented as Lee knowing his plan was working but also conveying a certain connection through their mutual incest. Yoo is amazing in the final moment as he laughs over Oh Dae-su bringing such a joy in a man who has apparently gotten everything he desired, and essentially fulfilled what had become his life goal. Again though since this is his revenge story it ends as so many do in what is my favorite scene in this great performance. That being when Lee enters the elevator to leave Oh Dae-su alone in his misery with that smile of pure elation. Lee though hears recording of the pain of his actions which causes his mind to drift back to his sister's suicide which he was present for. Yoo is heartbreaking in his painful demise of that smile into such anguish, the anguish that is all he is left with after having avenged the death, which naturally leads to his own demise. Yoo Ji-Tae's performance here is outstanding piece of work as he successfully is so unlike what you'd expect from villain in a revenge film, yet also succeeds in creating this idea that Lee is living out his own revenge through his surprisingly poignant though still chilling portrait of a man consumed by vengeance in his own way.

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Alternate Best Supporting Actor 2003: Jason Isaacs in Peter Pan

Jason Isaacs did not receive an Oscar nomination for portraying Mr. Darling/Captain Hook in Peter Pan.

Peter Pan is a very much forgotten though more than decent big budget and fairly straight forward telling of Peter Pan.

Jason Isaacs as fitting to the tradition of the stage production plays both the role of Mr. Darling and Captain Hook. Isaacs seems like someone who ought to have played Captain Hook sometime in his career, but Mr. Darling presents his side shown far less often. Now we are not given too much time with Mr. Darling though Isaacs does manage to make a nice impression in them, in his approach which differs quite strongly from say the Disney version of the character. In that version we have shades of Hook in Mr. Darling before we see Neverland that's not the case for Isaacs. Isaacs plays Mr. Darling as very much a man of Edwardian England, very proper, very meek but with this undeniable earnestness. In his brief moment where we see his frustrations build towards his children, Isaacs actually successfully creates a sympathy, even when being rather humorous, by showing how desperately Mr. Darling wants to impress his employers. Unfortunately the children lead to an embarrassment where Mr. Darling lashes out. Isaacs effectively handles the scene by portraying the frustration as a burst of sudden emotion, that is not purely cruel rather something far more genuine to a man who otherwise loves children.

Of course what we are really waiting for is Isaacs as Captain Hook, which seems perfect casting given Isaacs's perchance for playing evil Englishman. Isaacs though does not merely reprise his Colonel Tavington, which would be far too dark, nor is he even his Lucius Malfoy which would not be quite right for this children's story. Yes the menace is of course there, Isaacs seems to be overjoyed just to be evil at times which comes through. That menace almost seems to be an innate thing and it is merely a given that he fulfills Hook's role as the big bad pirate, but now he goes so much further than that here. Hook is not just any bad guy really there is something more to be had within his various facets, succeeding in those other facets is the true requite for a great Captain Hook. Isaacs sort of having the menace as a given is a great aid as he pivots this to being more than that. In that he brings this certain style of the grand Pirate Captain fitting to the fantastical setting of Neverland. There's this exuberance he brings in his performance, a grandeur of it that has just the right sort of theatrical bent. His Hook isn't just going to kill Peter Pan in his view, he's going to do in a proper flamboyant style.

Isaacs understands the certain pageantry if you will that goes along with the part, which never compromises the needed menace though. He offers both in a properly intimidating though also incredibly entertaining performance. His Hook has the right sense of mischievousness within the more direct villainy. He never allows his Hook to be defined as only the evil pirate, and has so much of the right sort of fun in the role. I have an especially strong affection for portraying the downtrodden, and falsely empathetic Hook who manages to trick Tinkerbell into helping him. Isaacs is properly amusing in his so falsely, yet appropriately earnest delivery of Hook's concern for Peter Pan. Isaacs finds that right balance in his performance in being the villain but doing it in such an enjoyable fashion. This of course also comes heavily into play in Hook's fear of the crocodile who took his Hook. Although this is not given as much focus as the Disney version, Isaacs still is quite funny in portraying the gripping fear in Hook every moment he believes the crocodile is nearby. Isaacs's Hook steals the film with ease, though I will say that is a fairly common occurrence when it comes to Peter Pan. Isaacs is a great Hook though as he balances the part so well to be such almost oddly endearing fiend for the film. Although it is also worth noting his final return as Mr. Darling where Isaacs is actually rather moving in so honestly portraying Mr. Darling's heartfelt apology for his children. His change of heart is entirely earned, since again even before his lashing out Isaacs's reactions were always that of a caring father. Isaacs excels in both roles being a properly sweet Mr. Darling, and a Captain Hook that captures just about all that the great Captain should be.

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