Alternate Best Actor 1968: Results

10. Vincent Price - Witchfinder General - Price gives an interesting performance attempting to bring complexity to his morally compromised inquisitor, unfortunately the film decides to use him just as a one note villain.

Best Scene: Being convinced to give a reprieve.

9. Jean-Louis Trintignant in The Great Silence - Trintignant gives a good performance as he brings the steely gaze needed for his swift killer, along with a bit of pathos within his silence alluding to his motivations though he is a tad overshadowed by his more maniacal co-star.

 Best Scene: Silence remembers.

8. Malcolm McDowell in If.... in McDowell gives a good performance as he portrays the gradual breakdown of a student into essentially a psychopath even though if it might feel like a warm up to his more renowned turn as a juvenile killer.  

Best Scene: Killing spree

7. Burt Lancaster in The Scalphunters - Lancaster gives an enjoyable turn portraying the right comical frustrations within his more typical western hero, along with striking the right endearing chemistry with his co-star.

Best Scene: The final fight.

6. Lee Marvin in Hell in the Pacific - Marvin gives a memorable one man show as a man slowly losing his mind as well as a memorable two man show in realizing a most unique yet believable chemistry with Toshiro Mifune.

Best Scene: The curious showdown. 

5. Ossie Davis in The Scalphunters - Davis gives a very entertaining portrayal of his outgoing yet quietly cunning character, and again has great chemistry with his co-star Lancaster.

Best Scene: The final fight. 

4. Toshiro Mifune in Hell in the Pacific - Shares his scenes so well with Marvin, as well as stands out well with his own one man show as the refined soldier struggling through his ordeal.

Best Scene: Finding the magazine.

3. Max von Sydow in Shame - von Sydow as per usual creates such a convincing relationship with Liv Ullmann which is especially pivotal here as the two together offer such a natural and harrowing depiction of a married couple dealing with and being changed by war.

Best Scene: Killing a man.

2. Charles Bronson in Once Upon a Time in the West - Bronson more than fulfills the role of the badass gunslinger, he goes further though creating such an endearing and humorous chemistry with his co-star Jason Robards, then goes even further in offering such an underlying emotional poignancy to the film through his performance. 

Best Scene: The final duel.

1. Burt Lancaster in The Swimmer - This one for the overall came down two rather different performances though by both masterful in their separate intentions. Bronson being such a brilliant minimalist performance, and Lancaster being such a brilliant expressive tour de force. Both have their unique challenges and match every one of them. Lancaster's task is different. Bronson is an essential part to an amazing film. Lancaster though is the factor that makes his film work at all offering a reality and heartbreaking humanity to such a surreal concept. Once Upon a Time in the West would have probably still have been great with a lesser lead, but not as great. The Swimmer would probably have been a failure without what Lancaster does. Even with that somewhat flimsy reasoning though this is still sort of a toss up as I love both performances, but I have to choose one.

Best Scene: "This is my wagon"

Updated Overall

Next Year: 1968 Supporting

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Alternate Best Actor 1968: Burt Lancaster in The Swimmer

Burt Lancaster did not receive an Oscar nomination for portraying Ned Merrill in The Swimmer.

The late 1960's offers a peculiar stage in filmmaking, representative of the greater cultural changes of the time. In the final few years there was a strange state in how different the films were as there were the old Hollywood mainstays still, in fact the featured actor of this review's other vehicle of 1968 was in the more traditional western The Scalphunters. The Swimmer offers quite the difference in style, and is a style that only existed for those few years really. In that the new Hollywood was starting to or about to start to come into presence in the seventies yet there were those old Hollywood films that looked as though they could have been made in the fifties. There were also those films that were quite unique though as they represent some of those directors attempting change their styles or utilize the new techniques sometimes effectively sometimes not so much, leaving the films sort of between two periods. The Swimmer is one of those films as it has those qualities, and takes upon subject matter that in terms of the broad ideas was tackled in fifties yet its approach is quite different. This is fitting though to this film given that the story of a man who decides to "swim" his way home one summer day doesn't exactly suggest a most literal interpretation.

Although the film presents its events as literal, as in they do happen, the technique often falls into the surreal fitting to the surreal concept behind the story. This story though, and the film itself could devolve all into itself becoming an exercise or an experiment, possibly even a failed one if it were not for Burt Lancaster. If I may go on a slight tangent for a moment and think about the comparison of Lancaster and his friend and frequent co-star Kirk Douglas. That connection is not their only one given their breakout in the mid-forties and their similair careers as leading men. I have stood by my clear preference towards Douglas for his consistency as an actor, though this view has become grayer the more I see of Lancaster. Nothing will rid Lancaster of his lesser works, yet with him there is this individuality of his best work, a surprise of it, a rarity in that it seems as though it is only capable from Lancaster himself. Now to divert back to this film as this is an example of that, not just because of Lancaster's swimmer's physique, but there is something he does here that only seems like it could come from the actor.

The film opens with Lancaster's Ned as he dives to swim through a pool coming out to be greeted by a small group of friends. Ned was swimming in his friends' pool and seems to be on good terms with the people as they engage in very small talk. Lancaster's performance here sets up Ned very effectively as he seeds who he is, yet does not tells us who he truly is, yet. In that Lancaster creates the right ease of conversation as they speak about really nothing at all though Lancaster does emphasize a particular focus in Ned on the pool and swimming. When speaking about other things Lancaster shows enough of a comfort as Ned speaks of them, but switches to a far stronger passion in his words when discussing the idea of swimming. This becomes all the more notable when he speaks to his friends about the days of old and swimming down a stream in the summertime. There is such a powerful nostalgia for his words as Lancaster's eyes seem looking back to those old times with such affection, though perhaps just as a man reliving a good memory. This leads Ned though to come up with a rather strange idea.

The strange idea to make his way home by going from house to house for a swim in each of his neighbors' pools. When discussing this idea Lancaster carefully portrays this in that it can be taken one way, though with hindsight we'll learn it means something else. Lancaster at first though speaks of the idea with such earnest desire and that it seems like it might just be the fun idea of some free spirit having a good time on a summer day. There is nothing too alarming about Ned's plan, and Lancaster to his utmost credit seems to create a logic to it in his portrayal of Ned's nostalgic perspective. As he begins his journey, the journey itself seems suitable to this view as the initial swims are given this lust for life through Lancaster's physical performance. In every physical gesture early on, whether it is swimming through a neighbor's pool, or running alongside a horse there is such sheer unadulterated joy Lancaster reveals in the act. It goes beyond just a fun time though as the exuberance in every facet of Lancaster's being emphasizes the idea of a man living to the fullest, or so it seems.

As the swims continue as do Ned's interactions with the various people around the neighborhood and this seems a pleasant enough affair at first. One of the first groups Ned comes across is a group of neighborhood former kids including Julie who used to babysit his kids. This initial meeting is brilliantly portrayed by Lancaster because on the surface he continues as this man on his pleasant journey as he greets every one of them so warmly, and even races Julie in the pool for a good swim a few times. Lancaster though, in this warm greeting, though suggests a sadness, a subtle quiet one just as he reflects on just how old all the kids have gotten. He doesn't lose the smile on his face but in his eyes and within the words Lancaster alludes towards this hidden sorrow. Again it's slight, and it seems not too worrisome, but it's there. It can be forgotten soon enough as he goes off with Julie for awhile and she talks about her old fantasies of the past involving Ned, which leads to a future one from Ned. This is even made somewhat innocuous by Lancaster, despite being technically a creepy old man lusting a young woman as there is a purity to the request as though he is asking to live out a dream or perhaps the past.

Julie rejects the offer leaving what Lancaster depicts as a frustrated yet not broken state as he continues his journey. His next interaction with a few neighbors is a little salty, but he eventually comes across a boy near his empty swimming pool. This is a downright amazing scene for Lancaster which he uses to reestablish Ned's journey as something special, something hopeful. He takes the boy on an imagined swim, by miming the motions through the empty pool, and that joy of life resumes. As he speaks to the boy there is such palatable optimism that Lancaster brings as he speaks about wishing one's dreams true. There is such belief of this in that moment, and Lancaster shows the way Ned recaptures the spirit to live out this peculiar dream of his through his interactions with the boy which are genuinely heartwarming if inspiring. Lancaster shows the way Ned basically goes on cloud nine after this experience until this moment realization, where Lancaster perfectly breaks that certain gaze when Ned runs back to stop the boy since he believes he might try diving into the empty pool. In that moment Lancaster offers a strict reality, and I love the way he does this as it emphasizes a danger in dreaming.

From there on Lancaster's work further reveals what is going on with Ned as he continues his trek to less friendly waters such as when he crashes another party with less than welcoming hosts. Lancaster's performance effectively creates this conflict within Ned as he attempts to continue his own dreams even as realities keep confronting him. In the gate crashing party Lancaster turns on the charm on the hostess and a guest, though it doesn't do much for him, but it calls back to the beginning of the man who seemed to be enjoying life. The salty reactions though offer little, and Ned is bluntly faced with a bit reality again when he sees that the neighbors have a hot dog cart he used to own. This scene could easily fall apart but it doesn't because of Lancaster. He somehow makes this man pining for his old hot dog wagon absolutely heartbreaking since he shows such a loss in his resolve as he asks for it. Although it could be like a boy wanting his toy back, and in some ways it is, Lancaster makes it so painful to Ned as in the pleading he reveals just how much the item means to him beyond the object itself.

The journey does not get much better though Lancaster still reveals just hints of pleasure when he has the few chances to swim or run. Lancaster's physical portrayal is so pivotal as again there is something primal in these moments of the man attaching himself to the act as form of comfort. The comfort though is wasted though such as when Ned meets his old mistress at another pool, where Lancaster carries the overlying charm as he speaks about their old times together yet undercuts it all with the unease in his face as she reveals nothing pleasant about the experience. That terrible time leaves Ned with only one pool left the communal swimming pool, which he struggles into and as he swims through Lancaster finally shows not even a hint of happiness in that act anymore. Things only worsen when the locals harass the "rich man" Ned over his debts and his personal failures. Lancaster is devastating as he shows Ned without the net of his dreams even as he attempts to defend himself through false claims that reek of such desperation revealing just the pitiful soul Ned is in the end. The revelation being that in way Ned is kind of the crazy man walking around in his underwear spouting nonsense, he just happens to wear better. What we see when Ned gets home is just inevitability due to Lancaster's performance. This is outstanding piece of work by Lancaster as he makes the film successful by always providing a human element that stops the film from being overcome by its stylistic choice and its metaphors. Lancaster makes the human connection through his work which is incredible as he makes the viewer understand Ned's delusions and even creates the appeal of them. He makes sense even out of the central conceit by so brilliantly realizing who this man is in such harrowing detail. I love this performance as it is a masterful and deeply emotional portrait of man lost in both his dreams and his sorrows.

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Alternate Best Actor 1968: Burt Lancaster and Ossie Davis in The Scalphunters

Burt Lancaster and Ossie Davis did not receive Oscar nominations for portraying Joe Bass and Joseph Lee respectively in The Scalphunters.

The Scalphunters is a very entertaining western about a fur trapper and a former slave attempting to take on a group of vicious scalp hunters.

The Scalphunters fits into that apparently too rare sub-genre of the unlikely pair western, the western equivalent to the buddy cop movie. Like Red Sun and much later Shanghai Noon it takes the enjoyable formula of mixing two types that normally wouldn't go on a western adventure together. In this one we get technically the more typical western hero with Burt Lancaster's Bass who is just trying to make his living trapping yet gets cheated by an Native American chief who forces him to trade his furs for the slave Joseph played by Ossie Davis. Of course Joseph goes around claiming to be a Comanche Indian rather than a slave. There we have our set up but what needs to make this truly work is our two leads. First we have Lancaster who nicely is actually giving a bit of a mix of what are his two usual starting points of either the stoic man or the crazy one. Lancaster nicely plays this one in that Lancaster begins physically looking as though he may be a your more usual typical western hero but the moment he opens his mouth Lancaster strongly suggests otherwise. Then we get Ossie Davis who is usually quite the welcome presence in any film that he appears, this film is no different in that regard.

What sets any film of this sort apart, and what often determines its success is the chemistry between the leads. This is established well to begin with, through the very differing styles of the characters which are properly realized by both Davis and Lancaster. Davis brings this consistent energy as Joseph Lee portraying him as a man with often a smile on his face, but this is not a simple sort that Davis makes. There is always this certain glint that Davis brings to his eye, though more on that later. Lancaster on the other hand is entertaining by his method of portraying Joe Bass as this "hard man". Although technically speaking Bass does have the requisite skills of a western hero Lancaster skews this to begin with by having this comedic element with the character perceived toughness. Lancaster is terrific in the way he portrays the character's constant fussy state that cleverly undercuts the usual western type. After all Lancaster does indeed stand tall, he's technically the right type to begin with yet Lancaster purposefully subverts that by showing those frustrations, that Bass has over losing his furs and most things for that matter, in this sort of childish manner.

The two of them are great fun together in their clashing styles of essentially comedy. Lancaster so intensely portraying Bass while Davis carrying such an easy going approach to Lee. The two of them strike up that right type of antagonist friendship through that conflicting approaches. Davis delivering his long eloquent statements by Lee showing off his considerable skill as a orator, while Lancaster depicts such pained reactions at being unable to compete at the same verbal level is a particular delight. The two though importantly, even initially as the two try to get up on the other in some way, portray this underlying warmth between the interactions even when they fight. This is something just small in their interactions though it properly plants the seeds of a real camaraderie once the plot gets started.The plot being when the group of scalp hunters, lead by Telly Savalas's Jim Howie, not only steal Bass's furs themselves but also capture Joseph Lee. Although this might seem a somewhat swift separation of our co-leads, they thankfully have many more moments together throughout, but also get their chances to shine on their own as well.

Davis fittingly for Joseph Lee gets the most to say as he tries his usual routine with the scalp hunters in order to gain some favor, even though they plan to sell him when given the chance. Davis though again gives such a charismatic portrayal that he makes it wholly believable he would sort of win his captors over. Again though Davis even as he charms with his elegant ability with words, which Davis grants such an innately pleasant quality to, there is that glint in his eye still. That glint though revealed to be a definite cunning by Davis in Joseph Lee who is never quite as carefree as he makes him out to be. Davis does this even when technically Joseph is playing the part of the likable companion, as he brings this certain incisiveness in even his kind words, and always that knowing quality beneath his delivery. Lancaster's scenes are technically a tad more limited given that all he can interact with is his loyal horse yet he still makes the most of these moments. Again Lancaster sort of charges his performance the right way as he is quite humorous while convincing in portraying the perhaps misplaced intensity in Bass as he strives to get his furs back no matter what in a sort of vengeance more fitting to familial loss than monetary loss.

Thankfully though we still get the two occasionally meet whenever they have the chance which generally results in some marvelous comedic moments as Lancaster and Davis know exactly how to play off each other to make their friendship just so endearing. They successfully earn the weight that is granted as the situation becomes more severe and they both start to get into life or death fights. Lancaster and Davis give such an honesty to portraying the concern the two have for each other in the end, though they do this so well by playing these moments so quietly, almost as though the men are hiding their concern yet absolutely earnest in it. The two naturally come together as a real duo even though their final act really is a extended fight scene between the two, but they even manage to create this sense of good nature within that despite their frequency of going for the dirty blows. The two of them capture that remarkable ease in creating the right dynamic that makes all their fighting almost a show of affection, though it just be a most curious show. Lancaster and Davis just exude that fun right in their performances which is infectious to watch as well. The two  are a classic entertaining mismatched pair throughout the film, and really if the film chose to continue on their final quest I could have gone right along with them.

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Alternate Best Actor 1968

And the Nominees Were Not:

Lee Marvin in Hell in the Pacific

Burt Lancaster in The Scalphunters

Charles Bronson in Once Upon a Time in the West

Malcolm McDowell in If....

Vincent Price in Witchfinder General

Predict Those Five or These Five.

Toshiro Mifune in Hell in the Pacific

Ossie Davis in The Scalphunters

Jean-Louis Trintignant in The Great Silence

Max von Sydow in Shame 

Burt Lancaster in The Swimmer

Or Both. 

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