Alternate Best Actor 1988

And the Nominees Were Not:

Jeremy Irons in Dead Ringers

John Malkovich in Dangerous Liaisons

William Hurt in The Accidental Tourist

Bob Hoskins in Who Framed Roger Rabbit?

Forest Whitaker in Bird 

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Alternate Best Supporting Actor 2005: Results

5. Val Kilmer in Kiss Kiss Bang Bang- Kilmer is just excellent in giving a deliciously amusing and cyncial performance that compliments Robert Downey Jr's leading work marvelously.

4. Jeff Daniels in The Squid and the Whale- Daniels is terrific at being one of the most self indulgent character's ever, he never strives from the indulgence instead reveling in it creating a very entertaining performance.

3. Mickey Rourke in Sin City- Rourke unlike so many of his co-stars finds just the right tone for the material giving an effective turn that is easily the best part of the film.

2. Barry Pepper in The Three Burials of Melquiades Estrada- Pepper is great here giving a moving performance as a foolish man who is forced to change when confronted with his crime.

1. Ed Harris in A History of Violence- This was an extremely difficult year to choose as I loved all of these performances, and the top two of Pepper and Harris were very hard to choose just one. For the moment though I will go with Harris who despite having the least screen time out of all gives performances he has just as great impact with his powerful villainous turn in this film.

1. Ed Harris in A History of Violence
2. Barry Pepper in The Three Burials of Melquiades Estrada
3. Mickey Rourke in Sin City
4. Jeff Daniels in The Squid and the Whale
5. Val Kilmer in Kiss Kiss Bang Bang
6. William Hurt in A History of Violence
7. Cillian Murphy in Batman Begins
8. Danny Huston in The Proposition
9. Clifton Collins Jr. in Capote
10. John Hurt in The Proposition
11. Matt Dillon in Crash
12. Paul Giamatti in Cinderella Man
13. Liam Neeson in Batman Begins
14. Brendan Gleeson in The Goblet of Fire 
15. Donald Sumpter in The Constant Gardener
16. Gary Oldman in Batman Begins
17. Stephen McHattie in A History of Violence
18. Ciaran Hinds in Munich
19. Danny Huston in The Constant Gardener
20. Rockmond Dunbar in Kiss Kiss Bang Bang 
21. Mathieu Kassovitz in Munich
22. Jack Black in King Kong
23. Michael Caine in Batman Begins 
24. Powers Boothe in Sin City
25. Linus Roache in Batman Begins 
26. Paddy Considine in Cinderella Man
27. Tom Wilkinson in Batman Begins  
28. Michael Pena in Crash  
29. Daniel Craig in Munich
30. Julio Cedilla in The Three Burials of Melquiades Estrada  
31. Don Cheadle in Crash 
32. Mathieu Amalric in Munich
33. Skandar Keynes in The Lion the Witch and the Wardrobe
34. Frank Langella in Good Night and Good Luck
35. Chris Cooper in Capote
36. Omar Metwally in Munich
37. Elijah Wood in Sin City
38. George Clooney in Good Night and Good Luck 
39. Dwight Yoakam in The Three Burials of Melquiades Estrada
40. Terrence Howard in Crash
41. Hans Zilcher in Munich
42. Corbin Bernsen in Kiss Kiss Bang Bang
43. Craig Bierko in Cinderella Man
44. Ralph Fiennes in The Goblet of Fire
45. Robert Downey Jr. in Good Night and Good Luck
46. Morgan Freeman in Batman Begins
47. Geoffrey Rush in Munich
48. Benecio Del Toro in Sin City
49. Clive Owen in Sin City
50. Bruce Willis in Sin City
51. Kevin James in Hitch
52. Ryan Phillippe in Crash
53. William Baldwin in The Squid and the Whale
54. Tim Robbins in The War of the Worlds
55. Owen Kline in The Squid and the Whale
56. George Clooney in Syriana 
57. Ashton Holmes in A History of Violence
58. Michael Gambon in The Goblet of Fire
59. Michael Clarke Duncan in Sin City
60. Ian Mcdiarmid in Revenge of the Sith
61. Chris Bridges in Crash
62. Brendan Frasier in Crash
63. Kyle Schmid in A History of Violence

 Next Year: 1988 Lead

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Alternate Best Supporting Actor 2005: Mickey Rourke in Sin City

Mickey Rourke did not receive an Oscar nomination for portraying Marv in Sin City.

Sin City is a film that has effective elements but frankly its style wears thin and the numerous problems of the film start to wear down heavily on re-watch. 

One of the major flaws of the film is the acting. Many of the performances are just awful as they struggle to read the lines, and sound as wooden as possible. Also the way the film tries to replicate the scenes from its source material make many of the actors stand and moves in ways that makes their performances seem extremely stilted. Also sometimes a performance can switch from awful to effective in the same scene like Bruce Willis at the beginning of the film. Some of his physical pain is well handled but his early scene where he talks with Michael Madsen's character it feels like both of them are reading off of cue cards.

Where so many of the actors get swollen whole by the overwhelming style of the direction and the rather cumbersome script, particularly its dialogue, its amazing that Mickey Rourke manages to avoid all of the problems that so many of the other actors suffer from. The film basically consists of three stories of equal importance and they each have a lead character the first being Rourke's, the second being Clive Owen's and the third being Bruce Willis's. They are each the lead in their own story, and due to that none of them drive the entire film making it more of an ensemble all together. Out of the three though Rourke's story is easily the best mainly because Rourke easily gives the best performance.

Out everyone in the cast Rourke just meets the material perfectly, and wears it perfectly from his elderly Kirk Douglas makeup, to even his place in the stylized background, Rourke just fits. I don't know frankly how he does it here, but where so many of the actors seem stiff in the recreations of the comic book scenes Rourke seems entirely natural, even if stylized. He meets the style just right that it really works only to amplify the effectiveness of the character and the story. He meets the style not only in a physical sense but he does so equally within his performance. Where so many of the actors struggle with the faux noir style of the language Rourke is just a master of it.

What perhaps works so well about Rourke's performance is that even though he embraces the style to the right degree, he in his own still goes about giving a convincing performance as Marv. Marv's story is about him having a one night stand with a beautiful woman Goldie who he finds is dead in the bed right next to him unaware of how it happened. After finding out he has been framed for the murder he goes about trying to discover who did it and get revenge for her death. This is a performance that very much has to move quickly as Marv is rarely given any time to talk. Rourke very much has to create Marve from scratch as fast just as he runs through the plot, and he does a marvelous job of it.

Mickey Rourke makes Marv an intensely likable hero who does all his mayhem with a certain bit of humor that is well utilized. He has a lot of fun in the role and makes us be able to take a ride with Marv through the film nicely, and actually does well to make the overly grim aspects of the film not as overwhelming due to the lighthearted fashion that he takes with the part. The lines that are so forced coming from the other actors just fly off the tongue out of Rourke, he just knows exactly what to do with the material. It all really comes down though to mixing just the right amount of realism with the style, sure his part is larger than life, but Rourke keeps him grounded in just the right degree in the right area.

Rourke combines well the physical humor aspects flawlessly with portraying the emotional drive in Marv that comes from him losing the only woman other than his mother that ever seemed to honestly love him. Rourke honestly is very subtle in the brief moments of portraying the very real pain and doubts of his character. These scenes are quick and to the point but Rourke does well to make the emotions honest, and not at all stylized. This great entertaining work by Rourke, and it easily makes his section of the film the most watchable. He is one of the few actors to really not get in engulfed by the material, and is the only actor to make his very own distinct mark on the film, although that is obvious since he is easily the best part of the film.

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Alternate Best Supporting Actor 2005: Val Kilmer in Kiss Kiss Bang Bang

Val Kilmer did not receive an Oscar nomination, despite winning a Satellite award (yes that award is considered a bit of a joke but hey they awarded Javier Bardem for Skyfall so they can reward a good performance), for portraying  "Gay" Perry van Shrike in Kiss Kiss Bang Bang.

Val Kilmer here portrays a private detective who work for a film studio. In the beginning of the film he takes on our hero and accidental actor Harry (Robert Downey Jr) on an investigation to supposedly prepare him for a film role. Val Kilmer's character is named Gay Perry for a reason, and its not because he is happy all the time. Playing a character who is explicitly gay certainly is place for pitfalls as shown by the likes of Ed Harris and Tom Hanks. Kilmer though luckily does not fall into this. He uses a slight accent, and mannerisms in his performance but in a very low key fashion that only amplifies his character.

I might as well not beat about the bush and say that Kilmer is a joy to watch in this film as he, like Robert Downey Jr, knows just how to play the material. As Downey does in his lead performance he finds just the right tone for his performance being slightly comic throughout yet displaying such an ease with the more dramatic moments as well. Kilmer though is slightly different here as he is the supporting player whereas Downey is the lead. Kilmer properly makes Perry less sympathetic than Harry, although still very likable, but he properly has a more cynical edge that causes him to differ from Downey' performance.

Kilmer is great in the role as he takes a bit of a rougher approach to some of the material that work particularly well for the film, as well as does a lot to emphasize the experience that Perry has in the sort of matters that take place in the film oppose to Harry who is a bit more of a freshman. Kilmer is properly convincing in the role as Perry and Harry deal with the mystery. Kilmer has the proper conviction and strength in the role to properly suit the mentorish properties of Perry. Kilmer exudes just the right degree of confidence in the role that works well in the film, almost being a comforting factor at times because he shows Perry to be just about always on the ball.

Val Kilmer most importantly has terrific chemistry with Robert Downey Jr. They are just a great duo throughout the film, and they play off each other wonderfully making all of their scenes together delightful. Kilmer is excellent playing Perry as the smarter older, although less passionate of the two. He is particularly great in any scene where Perry straightens out Harry a little bit for the dumb decision he makes time to time. Kilmer is always hilarious in these moments having just the right bluntness in the moments. The two are just perfect together in their antagonistic scenes always bringing out the humor in their conflict brilliantly.

This is a very entertaining performance bringing the best out of the script of the film, and even out of Robert Downey Jr. They both just play the scenes so well that they do not overshadow each other than just amplify each other. Val Kilmer turns his mentor/partner character into just an extremely likable character throughout the film. Kilmer's performance here just works to the point that I have to admit I was very relieved when Perry was alive for no sensible reason at the end of the film other than Perry is just awesome. Kilmer is the one who makes Perry as awesome as he is. Kilmer gives another fantastic characterization here, and shows along with Tombstone that it is shame his talent is not exploited more often.

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Alternate Best Supporting Actor 2005: Jeff Daniels in The Squid and the Whale

Jeff Daniels did not receive an Oscar nomination, despite being nominated for a Golden Globe for portraying Bernard Berkman.

The Squid and the Whale is an intriguing and entertaining film about the conflict that develops when a literary family is broken apart by divorce.

Daniels here boarders I would say on a lead and a supporting performance. I would say he can be taken as lead by his ample screen time and strong presence in the film. He can also be taken as supporting as the film never is from his perspective as well as there are plenty of scenes without him in it. The true lead of the film is Jesse Eisenberg as Bernard's son Walt as the film largely entails the way he deals with the divorce. The same case can be made for Owen Kline as Bernard's son Frank, but in the end he really takes a back seat to Walt's story. I say Daniels can fairly be put in either category, and for the moment he is in supporting.

Daniels anyway is brilliant in this performance in just the way he creates this character. This is a performance that can be taken as almost one note in the broad strokes, though that is not true due to the subtleties of Daniels's work. What Daniels does here is take self absorption to an all new level with his performance here as a once great writer who still considered himself so, even though no one else seems to. Daniels always is reassuring the fact that Bernard is as much into himself as a man possibly can. Daniels doesn't show a hint of doubt as he says such things as the Tale of Two Cities being "lesser Dickens" or than Kafka was one of his predecessors.

Daniels makes it clear throughout the film that he has no concerns in any way if people even doubt his genius because he is so self assured. Daniels is terrific here because there is not ever a doubt in our minds that he has no doubt about himself. Daniels is actually quite hilarious in how pure the self absorption is in his performance. Daniels portrays Bernard as a man very much in love with himself without the need for anyone else's approval because they are not geniuses like him anyways. It is almost a derangement considering how sure of himself he really is, but Daniels of course shows it only ever to be a calm very very collected derangement that Bernard has.

It is a brilliant note that Daniels plays the part at and really it would be wrong for Daniels to ever get off that note as Bernard never does lose his intense devotion to himself, even at the end of the film Daniels still stays firm in support of Bernard's derangement. Daniels shows that Bernard simply is incapable of losing his superiority complex. Daniels is pure as whether it is trying to teach his kids a lesson, or fighting with his wife Bernard never stops with his own approach of quiet reserved smugness. The only time he really breaks this frame is when he is shown not to be the best, and Daniels is quite good that only when pushed into a corner that exposes an inferiority does he break out in anger.

Daniels is brilliant in his broader creation of course, but his best moments perhaps are in the silent expressions of his performance. He is particularly excellent in any scene where someone praises Bernard's wife's writing in his presence. Daniels always portrays a deep wound in his face in Bernard anytime that he hears that his wife may be a better writer than he. Daniels is equally strong in his moments of interacting with his kids particularly when he expresses love to them. Daniels is particularly interesting in these seems as when Bernard tries to talk warmly to them he does and he doesn't. Daniels finds just the right difficult tone needed as Bernard does love his kids, but never enough to love them more than he loves himself.

This is a terrific performance by Jeff Daniels where he succeeds in making an extremely unlikable character extremely enjoyable to watch. The challenge of this character really is a big one in that Bernard could easily just be obnoxious with his constant self promotion, or dull with his relaxed manner of doing so. Jeff Daniels though more than meets the challenge presented by the character with such an effortless assurance with his performance. He simply has a grasp on the part, which is essential for this character to work as he really cannot have even the slightest doubts to be believed. Daniels absolutely makes his character work as well as he possibly could being the entertaining despicable "genius" Bernard Berkman should be. 

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Alternate Best Supporting Actor 2005: Barry Pepper in The Three Burials of Melquiades Estrada

Barry Pepper did not receive an Oscar nomination for portraying Mike Norton in The Three Burials of Melquiades Estrada.

Barry Pepper plays someone here who is best described as a bit of an idiot. Mike Norton is a boarder guard who basically spends his time looking at Porno magazines when he is not beating up Mexicans trying to cross into the United States. He spends time at home mostly watching television and unceremoniously having sex with his wife. Playing an idiot is something that actually is far more a challenge than one would think as it commonly can be used to give a one dimensional performance, but Pepper although most certainly is playing Mike as an idiot he makes him a compelling character nevertheless.

In all truth Pepper's approach is what makes not only his performance work but really the film work as a whole. Mike Norton is the man who killed Melquiades Estrada, and one could try to say that he is therefore the villain of the film. Pepper certainly does no portray him as a villain in any respect though, and instead portrays him as a thick headed man who honestly did something very bad simply because he just is not very smart. As strange as it sounds Pepper is honest in his portrayal of Norton's stupidity, he never plays it for laughs, but instead establishes it as really the motivating factor of most of his behavior.

For example when we see Mike actually perform the act of Melquiades Estrada there is no hate in his face or anything remotely similar to that. Instead Pepper shows it as entirely an act of desperation, and he emphasizes the lack of understanding in Mike. Mike jumps too quickly to firing back from a stray bullet, and Pepper shows that this action comes from Mike's lacking skills as a frankly just responsible person let alone boarder guard. When Mike see what he has done, Pepper allows us to actually sympathize with Norton to some degree as he portrays instantly the regrets of Mike over the situation, because his face shows that he honestly did not mean to do it.

Mike troubles grow though when Melquiades Estrada's best friend Pete (Tommy Lee Jones) decides to kidnap Mike to go on an expedition to properly bury his friend. Pepper is excellent in his scenes with Jones by playing the reactions of Mike very much close to the bone. Pepper is very good in simply playing the role as realistically as possible in his reactions to Pete demands of him. He is convincing through the entirety of their journey and Pepper matches the jumbled emotions of Mike all the way. Whether it is his anger at being taken, his pain from the various displeasure he suffers along the way, the regrets he feels when the point of Melquiades death comes up, and most powerfully his fearful uncertainty over what Pete is going to do to him. 

Mike seems to undergo a transformation during their journey. It is not that he necessarily that he becomes any smarter exactly, but he seems to slowly break the stupor he seemed to be in at the beginning of the film that really lead him to the unfortunate events that caused Melquiades's death. Pepper is excellent here because he makes Mike's apparent transition something that honestly feels quite natural. He never overplays it nor does he reject the old Mike, as even near the end he still suggest some of the old Mike as he still acts defiantly to Mike. His transition though is made moving by Pepper as he portrays it coming from both a greater understanding of something other than himself as well as in part the psychological and physical trauma he faces through the journey.

This really is not a quiet by nature character, but really the power of Pepper's performance is very much in his face. At the beginning of the film it is a stubborn indistinct expression that he carries mostly that sums of Mike as a person. As the film proceeds though the expression opens up though and he allows us to emphasize with Mike, as he truthfully portrays Mike's changes throughout with particularly strong moments when he opens up fully. These moments are earned, and used perfectly by Pepper as his performance show exactly what Mike is going through. The moment he breaks into tears from a soap opera is extremely well handled he is understated even in the breakdown where Pepper expresses finally an actual understanding of his relationship with his wife.

Pepper builds incredibly though to his final scene where Pete forces him to ask for forgiveness to Melquiades. He starts well though by still showing some of the old Mike as he almost teases Pete. Pepper though is terrific as he genuinely portrays the regrets and sadness Mike does feel for what he has done, even though he pressured Pepper shows what does come is the truth. The only moment better than this in his performance is his final short line asking if Pete will be okay. In this single short sentence Pepper shows us a changed Mike. His expression empathetic, with Mike's wanting to understand know about someone else, and no longer in that stupor. This is an outstanding performance by Barry Pepper creating a fascinating portrait of a stupid man.

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Alternate Best Supporting Actor 2005: Ed Harris in A History of Violence

Ed Harris did not receive an Oscar nomination for portraying Carl Fogarty in A History of Violence.

Ed Harris portrays the Philadelphia gangster who comes looking for diner owner Tom Stall who recently killed two men trying to rob his diner. Fogarty though believes Tom Stall (Viggo Mortensen) to actually be Joey Cusack who was involved with the criminal underworld in Philadelphia. He is one of the two major villains, the other being William Hurt who shows up only at the very end of the film. Where William Hurt portrays Richie Cusack Joey Cusack's brother. Forgarty knows Joey from the same period, but where Richie and Joey seem to have a love hate relationship, the only seems to be the latter when it comes to Forgarty relationship with Joey.

Harris is not always my favorite actor as he sometimes can either overact or just not make any sort of distinction with his performance. Harris the tears right into the film though as Carl Fogarty as he walks into the diner. Harris as he walks in takes our attention as the man who most certainly seems out of place in this place as he sits to question Mortensen's character. Harris is particularly effective here because he does not show for a moment that Carl Fogarty might think that Tom is Joey, Harris makes it clear that Fogarty entirely knows that this is Joey. Harris portrays Fogarty's questions not as Forgarty trying to find out if he is Joey, but rather waiting to see if Tom will admit it.

Harris is a great villain here in the way he conveys the threatening quality of Forgarty as something always there, but very much below the surface. He is excellent the way he portrays the slight bemusement that Fogarty has over finding Tom's attempts to deny his accusations as pathetic. In a way Harris shows that Fogarty attitude toward Tom is one of a great deal of familiarity. Although it entirely comes from Harris, as Tom of course only keeps denying things, Harris creates Forgarty's troubled relationship with Joey through his performance. He both is able to create the sense of familiarity with Joey showing that they go way back, but that their history is quite a troubled one.

The threat comes in his performance in the subtle way Harris looks at Mortensen in their scenes together that always presents an underlying hatred in Fogarty for what Joey did to him, which was trying to rip out his eye with barb wire leaving his eye dead. Harris always keeps Fogarty very calm and collect in a dangerous fashion but he is especially fierce when his hatred comes out fully. Harris is particularly powerful when he confronts Tom's wife Edie (Maria Bello) as the full amount of hate for Tom he feels comes out as he describes what happened to his eye. Harris is excellent though as he shows Fogarty as well controlled man who returns to his conviction that Tom is Joey as he pressures Edie with questions in regard to Joey's violent abilities.

Harris actually is only in four scenes total in the film, but he makes the most out of each of them. Through his performance he creates the dark world that Joey came from in his ease in which he makes himself a threat to Tom, while never outwardly being so. Harris dominates all of scenes in his portrayal of his character's determination to get what he wants. Fogarty is a character that could have been just a one note forgettable villain considering his screen time, but Harris just does all he can with the role. Harris with ease infuses each scene with both a cryptic intensity as well as even a dark humor. Harris manages to make both the line "There's no need for that kind of Language" in a slightly comic fashion and in the same scene the line “Ask your husband, why he's so good at killing people” work perfectly without any hesitation in his performance. This just outstanding work from Harris that makes Carl Fogarty a truly memorable antagonist.

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Alternate Best Supporting Actor 2005

And the Nominees Were Not:

 Barry Pepper in The Three Burials of Melquiades Estrada

Jeff Daniels in The Squid and the Whale

Ed Harris in A History of Violence 

Mickey Rourke in Sin City

Val Kilmer in Kiss Kiss Bang Bang

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Alternate Best Actor 2005: Results

5. Guy Pearce in The Proposition- Pearce gives a strong understated performance that is particularly effective in portraying the complex relationship that motivates his character.

4. Robert Downey Jr. in Kiss Kiss Bang Bang- Downey could not be better in his role finding just the perfect tone for the film.

3. Tommy Lee Jones in The Three Burials of Melquiades Estrada- Jones perfectly cast himself portraying the complex motivations of his character brilliantly.

2. Viggo Mortensen in A History of Violence- Mortensen is terrific in his depiction of the slow dissolution of his character.

1. Ray Winstone in The Proposition- The underrated Ray Winstone wins this year with his powerful performance as a man trying to bring the law to the lawless. Winstone succeeds far more than anyone would expect creating a poignant depiction of a character that could perhaps have been a throwaway in lesser hands.

1. Ray Winstone in The Proposition
2. Viggo Mortensen in A History of Violence
3. Philip Seymour Hoffman in Capote
4. Tommy Lee Jones in The Three Burials of Melquiades Estrada
5. Heath Ledger in Brokeback Mountain
6. Robert Downey Jr. in Kiss Kiss Bang Bang
7. Guy Pearce in The Proposition
8. Russell Crowe in Cinderella Man
9. Ralph Fiennes in The Constant Gardener 
10. Pierce Brosnan in The Matador
11. Jake Gyllenhaal in Brokeback Mountain
12. Eric Bana in Munich
13. David Strathairn in Good Night and Good Luck
14. Christian Bale in Batman Begins
15. Joaquin Phoenix in Walk the Line
16. Greg Kinnear in The Matador
17. Jesse Eisenberg in The Squid and the Whale
18. Tom Cruise in The War of the Worlds
19. William Moseley in The Lion the Witch and the Wardrobe  
20. Adrien Brody in King Kong
21. Matt Damon in Syriana
22. Daniel Radcliffe in The Goblet of Fire 
23. Terrence Howard in Hustle and Flow
24. Johnny Depp in Willy Wonka and the Chocolate Factory
25. Hayden Christensen in Revenge of the Sith

Next Year: 2005 Supporting

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Alternate Best Actor 2005: Tommy Lee Jones in The Three Burials of Melquiades Estrada

Tommy Lee Jones did not receive an Oscar nomination for portraying Pete Perkins in The Three Burials of Melquiades Estrada.

The Three Burials of Melquiades Estrada is a very effective film about the shooting of a Mexican Melquiades Estrada by a border patrol officer Mike Norton (Barry Pepper), and the Mexican's friend's attempt to find justice.

Tommy Lee Jones portrays Pete Perkins a rancher near the Mexican rancer who is friends with Melquiades. Robert Downey Jr. was a perfect choice for his role in Kiss Kiss Bang Bang as the quick talking manic man, well Tommy Lee Jones is also perfectly cast here as a world weary crusty rancher type. Jones simply fits this role like a glove. There is never a question to Jones as the man, he just fits the part so well, that he already has already a leg up on the part. He does not even need to convince us that he is this man, he simply is the man from the first second to the last second.

The film jumps around in time early on the film so it really is best to focus on this performance in chronological order. Tommy Lee Jones in his scenes that show his friendship with Melquiades handles the part perfectly. He portrays Pete's friendship with Melquiades as something quite natural. He has the right sort of warmth and camaraderie in these scenes, but he does not draw too much attention. He portrays Pete as a bit playful with his friend, and they just portray the proper happiness in their scenes together. He does not overdo it ever, creating just a believable friendship between the two.

After Melquiades is killed though Jones changes Pete's manner severely as he seems as a far more of a haunted individual, who seems to have lost his best friend. Jones is effective as he conveys the fact that the happiness has really been sucked right out of Pete as he stays troubled by the death of his friend. Jones is quite moving in how quietly he portrays the grief in Pete over his death. He is particularly powerful in the scene where he asks the local authorities why they buried his friend without even telling him. Jones in this moment shows just how much the friendship meant to Pete, and how heartbroken he has become after his friend's sudden death.

Pete suddenly learns the truth of who killed his friend though and goes on a strange quest to properly bury his friend on horse all the while keeping the officer as a hostage. Jones is brilliant in realizing the incredible drive that pushes Pete forward on his peculiar journey. Jones has a such a conviction in the part that as he moves on the journey we entirely believe character's actions, even when we do not entirely understand where he will go with the man. Jones combines the passionate devotion of his character, with a very real threatening element as well. He keeps Pete;s actions a mystery well, but he never limits out abilities to empathize with his plight either.

Tommy Lee Jones here does so much with the smallest of expressions. Pete really is a man of very few words throughout the film, but Jones always is able to bring to life just how important this expedition is as well as how meaningful it is to Pete. In very subtle moments Jones portrays a deep seeded loneliness that seems to prevail within Pete over the death of his friend. Although in the big emotional scenes Jones really does stay reserved he never fails to deliver on the power and the poignancy of them. 

Directing one's self to a performance certainly can be a tricky thing to do, it works if an actor knows their limits and boundaries, but not so much if they don't.  Jones most certainly knows everything about his screen presence as he utilizes it so well. He never turns Pete into some sort of one dimensional angle of vengeance of anyway. Jones is always very effective as he creates the internal struggle within Pete over his decisions, but as well his heartbreak involving his friend. Jones succeeds in bringing this unique character to life with likable, sometimes even humorous naturally intertwined with the powerful core of what pushes his character forward.

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Alternate Best Actor 2005: Robert Downey Jr. in Kiss Kiss Bang Bang

Robert Downey Jr. did not receive an Oscar nomination for portraying Harry Lockhart in Kiss Kiss Bang Bang.

Kiss Kiss Bang Bang is an extremely entertaining film about a Hollywood mystery a small time thief accidentally gets involved with.

Robert Downey Jr. plays the small time thief who also narrates the film, although he does narrate in a Morgan Freeman fashion, but instead in an entirely self aware fashion. Robert Downey Jr. really makes this movie work through his performance, because he knows exactly how to play the material, particularly the narration. Downey knows how to do self aware well in a way that it only adds humor and an appreciation to the film rather than seeming smug and self indulgent as it easily could have. Downey gets just the right tone for the film with his narration, and makes every line work extremely well.

Outside of the narration Downey again fits the part like a glove. He just knows how to be playful with an incredible charm. He is never cloying in the role instead he is always just very likable. It is so easy to follow Downey through the film as he carries us with him. He has just the right amount of fun in the role to the point that it succeeds in bringing out the comedy, but he never does overdo it either. Downey strikes the perfect chord sin the part, and part of that is his ease with every aspect of the role. Downey not only commands the quick dialogue with the utmost finesse but he just as easily handles the more dramatic moments found in the film as well.

Robert Downey Jr. is probably one of the very best actors when it comes to blending comedy with drama, as he does so brilliantly here. There are sudden moments throughout the film that require some quick heavy lifting from Downey such as when Harry sees a woman murdered and takes revenge in anger. He absolutely sells these scenes completely, bringing in the necessary power to the moments, while never compromising the tone the film has. He keeps it all together marvelously really bringing all of the elements in the film in a terrific fashion as he never loses the humor of the situation or the seriousness of it.

His chemistry with his co-stars is great with both Michelle Monaghan as Harry's childhood friend Harmony, and Val Kilmer as the private detective known as Gay Perry.With Monaghan Downey achieves a nice warmth that works quite well as the two dance around the romance nicely without it every becoming problematic. The two find the sort of style of an old screwball comedy romance that is certainly quite effective. With Kilmer they are just a great comic duo as the two play off each other perfectly from scene to scene. They never overwhelm each other but properly share the spotlight to the point of great entertainment.

This is just a fabulous performance in all regards by Downey who moves the film along as well as an actor possibly could. Everything works about his performance, and he completely succeeds in bringing the very best out of the film's most unusual script. In all truth this is just a perfect infusion of character and actor as I really could not imagine anyone else fitting in this role as well as Downey does. He knows exactly how to see the film through from beginning to end, as well as making the film just an entertaining and enjoyable ride throughout.

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Alternate Best Actor 2005: Viggo Mortensen in A History of Violence

Viggo Mortensen did not receive an Oscar nomination for portraying Tom Stall or is he Joey Cusack in A History of Violence.

Viggo Mortensen portrays at the beginning of the film Tom Stall a man who lives in a small town is happily married with two children, and runs a diner. Mortensen portrays Tom Stall as pretty much an every man. Mortensen plays him straight as just an average man living his life, there seems to be no play, and there is no suggestion that one should suspect anything from him. He just seems to be a man enjoying his rather simple life, and there is not a reason that there is any man other than the one we are seeing in this man. One might think he should show shades here, but really Mortensen does well by not doing because there are no suspicious of Tom Stall who likes his life.

His good life he is living is shattered though when late at night two violent men come into the diner to rob the place. Tom springs into action saving the people in the diner by killing the two men. Mortensen here shows the prominent physical aspect of his performance, as he shows Tom here act with precision. There is no hesitation just an instant and immediate kill. Importantly here Mortensen does not show this to be an act of violence though, but rather a gut level act of desperation. A hidden ability comes out in Stall with Mortensen portrayal more than anything else. He displays part of the history of violence not the whole of it.

Mortensen is very good as soon as this scenes ends showing a change in Stall, and an underlying sense of doubt on the man comes over. Now there does seem to be flaws that appear in the happy average man, as Mortensen conveys a growing sense of paranoia as well as starts to show that the happy man starts to seem at least partially a facade. The happiness seems quite drained, and all of sudden he seems far less assured. Mortensen is particularly effective when Tom is confronted by mobsters from Philadelphia who claim that he is one Joey Cusack. Mortensen shows well the way Tom denials although believable enough to everyone else, there is a clear weakness that would never convince the mobsters.

Mortensen does well in portraying though the frustrations that Tom faces as he deals with the trauma caused by the mobsters harassing his family, as he knows shows a bit of desperation as he tries to deal with his family even though they are no longer convinced that he does not have a past with the men. Mortensen is terrific as he portrays Tom's resolve to deny the men starts to wain until the point the mobsters directly threaten him and his family if he does not go with them to Philadelphia. Mortensen in this scene as he brutally kills the gangsters now shows his violence as not only assured but something entirely of his own. There is not even a desperation shown in his brutal attacks now, but instead he shows himself to be the violent man that the mobsters had claimed him to be.

After killing the gangsters though the average man seems to become wholly a facade, and Mortensen basically eases into Joey as he lets go when he tells the truth to his wife (Maria Bello). Mortensen brilliantly portrays the scene as almost a relief to be able to tell someone who he is. Mortensen though properly still shows that this is to say Tom was not a real person, he most certainly assures that the new him is something he very much earned founded in when he says he killed Joey, but Mortensen makes it clear that at this point the man is both Tom and Joey at once. Mortensen handles this all incredibly well because he perfectly conveys the internal struggle between the two forces as he tries to remain calm and understanding toward his family as Tom would, but also has the moments of brutality like Joey would.

The real meeting of the two men comes down to when he goes to meet his mob boss brother Richie (William Hurt) to sort things out. Mortensen and Hurt are excellent in the scene as the two instantly create the love hate relationship history the two have with one another. Mortensen though also importantly here shows Tom/Joey almost settling into a single man. In the scene Mortensen portrays properly an acceptance Tom has of Joey's history as there are no denials, and he fully embraces his brother. At the same time Mortensen shows that his Tom side is always very much there in his eyes as he tries to make peace with his brother, as well as when he quietly says he sees the good in a marriage. After this scene the film really leaves us on a ambiguous note for both the film, and with Mortensen's performance, which is really the right way to end the film as after the events neither Tom or Joey could be completely forgotten.

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Alternate Best Actor 2005: Ray Winstone in The Proposition

Ray Winstone did not receive an Oscar nomination for portraying Captain Morris Stanley in The Proposition.

Ray Winstone portrays the other lead of the film the lawman who makes the most unusual proposition to Charlie Burns (Guy Pearce) to kill his brother. Winstone like Pearce gives a very understated performance as the Captain who gives this proposition in his attempt to civilize the Australian Outback. Winstone really has a rather interesting role as the Captain, as this role really very easily could have been an unsympathetic character. After all Winstone certainly is not opposed to playing unsympathetic roles, but in this case Winstone actually gives the most sympathetic performance he probably has ever given.

In his very first scene when the Captain makes the Proposition Ray Winstone portrays it with a calm but clear authority. He shows the Captain who very much intends to get what he wants, but more importantly Winstone here does not portray the Captain as a small minded man. The Captain in telling Charlie about the proposition also tells him how he plans to civilize the land. Winstone in does particularly well in portraying the Captain's sentiments here as partially dream perhaps, but he makes the Captain's statement as one of earnestness and entirely genuine. He makes the Captain an honest man, who is very easy to empathize with his plight.

Winstone is brilliant in internalizing so well the pain the Captain feels over his difficult struggle to try to fulfill his duties. Winstone is perfect in honestly showing how the responsibilities weigh very heavily on the Captain. Winstone importantly shows that the Captain still is very able, intelligent, knowledgeable of what it is that he is doing. Winstone though always conveys that underneath the Captain never is able to alleviate all that is on his mind due to all that is required of him of his job. Winstone carefully never makes this as something too overbearing in his performance, but rather something that is simply part of the Captain he can't get over.

One of the most important parts of the story with the Captain is his relationship with his wife Martha (Emily Watson). The relationship between the two is extremely understated, and at times quite unspoken. Winstone, and Watson are terrific together because despite the quietness in their relationship the two are able to bring to life the two unrequited love together clearly, even though their is a distance as well. Winstone is excellent because through his tenderness in the moments with Watson he shows that the Captain does very much love his wife very deeply, but at the same Winstone always portrays a certain distance as well. Winstone though is careful to show it comes from not wanting to share his pain, and horrible experiences though.

Winstone is terrific in creating the Captain as a man who honestly does want to do what his right, and there is nothing underhanded about his desire to civilize. Winstone is always great in reflecting the very real dangers that the Captain entirely understands, which is especially true in the scene where the Captain's bureaucrat superior Fletcher (David Wenham) orders that the captured and mentally troubled Burns's brother Mikey be whipped for the crimes of Arthur Burns. Winstone, though still staying reserved, is very moving as the Captain tries to convince Fletcher both for the fact that he knows Mikey's mental state, but as well knows what will happen if the proposition is broken. Winstone is amazing as he powerfully shows in this scene the way the Captain can barely hold back his pain due to knowledge of what the consequences will be.

This is really an outstanding performance by Ray Winstone because really the Captain in lesser hands could have been a throwaway part almost, as the complexities of the man could have easily been lost. Winstone though makes the Captain a fascinating three dimensional character whom we can easily empathize with. Importantly though he makes the Captain story just as interesting, and in fact more powerful even than the other half with the Burns brothers. Truthfully the Captain story could have seemed dull compared to the crazy and violent Burns clan. Winstone though never allows his half of the story to sink for even a moment though. He uplifts it at all times creating a full fledged and incredibly poignant portrait of a man whose dream to civilize becomes a nightmare of chaos.

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Alternate Best Actor 2005: Guy Pearce in The Proposition

Guy Pearce did not receive an Oscar nomination for portraying Charlie Burns in The Proposition.

The Proposition is an effective film about a British lawman making a deal with an outlaw that if the outlaw kills his older brother he will not hang the outlaw's younger brother.

Guy Pearce portrays the outlaw given the proposition that he seems to accept, and goes off to find his older brother Arthur (Danny Huston) while his younger brother Mikey is being held to be hung if Charlie does not kill his brother by Christmas. Pearce portrays one of the two leads in this film, which is a very interesting film in that although there are flamboyant performances in the film from a great number of the supporting cast particularly Danny Huston, and John Hurt as a racist Bounty Hunter, but the leads of the film both give rather understated performances.

Pearce portrays Charlie Burns as a reserved man and does well to show the life of the man is reflected in his face. In the film we only learn of rather limited information about the Burns boys and their endeavors of outlaws. We never do learn exactly how much Charlie and Mikey were really involved with the crimes ascribed to Arthur, but Pearce does well in creating his own history of Charlie through his performance. He portrays Charlie as a rather hard man, certainly with his own wealth of less than savory experiences that seems to have permanently tarnished his expression to at least some degree.

The Proposition is an interesting film in that really one can sympathize with both leads, even though they are in a way at opposite ends. Pearce though allows us to easily follow Charlie through his half of the story as well as sympathize with him by portraying that the driving force that propels him in this story is his concern for his younger brother. Pearce is very strong in creating the strong need Charlie has to protect his brother. In the film itself Charlie says very little in regards to how deeply he cares about, but Pearce very powerfully portrays the very emphatic need Charlie feels to do what is best for his brother. 

Pearce really says very little throughout the film, in fact most of the time he is looking at others studying them in some way. Pearce is especially adept at portraying the feelings within Charlie without saying very much at all during his performance. His very best scenes involving this come in all of his scenes with Danny Huston as Charlie's deranged older brother. Pearce is almost completely silent in these scenes but he is perfect in conveying the struggle within Charlie during these scenes on whether or not to kill his older brother to save his younger. Pearce is excellent because he portrays a distaste for his brother, yet at the same time the two actors properly establish a familiarity between the two.

Guy Pearce is a strong presence throughout the film, but his best scenes come at the very end of the film when Charlie finally does choose to act. Pearce is perfect in the last moments of the film portraying the part still very quietly but with tremendous impact as he shows quickly Charlie's grief for his younger brother that quickly becomes a passionate anger against Charlie's older brother. His fierce stare, and his delivery of "no more" Pearce absolutely delivers the necessary impact the final scene of the film deserves, and as well he creates the proper resolution between the relationship between the two brothers.

Guy Pearce gives a very good performance here as the co-lead of the film, and fulfills his half of the film extremely well. Pearce although underplays his role very throughout the film but he does not fail to stand out just the same. Even in scenes with far more extroverted characterizations Pearce never allows himself to be overshadowed in the film. He stays firm in the film doing well in his assured, and realistic reactions in the film. In a way Pearce through his work here even allows the performances of Hurt, and Huston the impact they should through the way he reserves himself in the film. Yet Pearce even in his minimalist approach still creates a remarkable portrait of this outlaw.

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Alternate Best Actor 2005

And the Nominees Were Not:

Guy Pearce in The Proposition

Ray Winstone in The Proposition 

Viggo Mortensen in A History of Violence

Tommy Lee Jones in The Three Burials of Melquiades Estrada

Robert Downey Jr. in Kiss Kiss Bang Bang

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Alternate Best Supporting Actor 1984: Results

5. Robert Preston in The Last Starfighter- Preston gives an entertaining enjoyable performance doing his usual thing that perfectly his character.

4. Jeffrey Jones in Amadeus- Jones gives a funny little performance with his reactions throughout the film, but does convey the right command of his character.

3. Richard Burton in 1984- Burton gives a swan song performance being properly oppressive and cruel as his torturer character. 

2. Hector Elizondo in The Flamingo Kid- Elizondo gives a very moving performance and effectively is the heart of his film.

1. James Wood in Once Upon a Time in America-Woods wins this year easily as he gives the most complex and compelling performance. He creates an incredible depiction of one man's journey of ambition and where it leads him to. 

Overall Rank:

1. James Woods in Once Upon a Time in America
2. Hector Elizondo in The Flamingo Kid
3. Richard Burton in 1984
4. Jeffrey Jones in Amadeus
5. Harold Ramis in Ghostbusters
6. Daniel Day-Lewis in The Bounty 
7. Robert Preston in The Last Starfighter
8. Dan Aykroyd  in Ghostbusters
9. Adolph Ceasar in A Soldier's Story
10. Roy Dotrice in Amadeus 
11. William Atherton in Ghostbusters
12. Richard Crenna in The Flamingo Kid
13. Richard Frank in Amadeus 
14. Robert Englund in A Nightmare on Elm Street
15. John Malkovich in The Killing Fields
16. Rick Moranis in Ghostbusters
17. Pat Morita in The Karate Kid
18. Dean Stockwell in Paris, Texas
19. Treat Williams in Once Upon a Time in America 
20. Charles Kay in Amadeus 
21. Denzel Washington in A Soldier's Story
22. Rusty Jacobs in Once Upon a Time in America
23. Ernie Hudson in Ghostbusters
24. Judge Reinhold in Beverly Hills Cop
25. John Malkovich in Places in the Heart
26. Rob Reiner in This is Spinal Tap 
27. Simon Callow in Amadeus 
28. Harry Shearer in This is Spinal Tap
29. Martin Kove in The Karate Kid
30. John Ashton in Beverly Hills Cop
31. Liam Neeson in The Bounty
32. James Fox in A Passage to India
33. Danny Glover in Places in the Heart
34. Dan O'Herlihy in The Last Starfighter
35. Patrick Hines in Amadeus
36. William Zabka in The Karate Kid
37. Jonathan Moore in Amadeus 
38. Christopher Lloyd in Star Trek III
39. Ian Holm in Greystoke
40. Alex Guinness in A Passage to India
41. Joe Pesci in Once Upon a Time in America
42. Gregor Fisher in 1984
43. Ronny Cox in Beverly Hills Cop
44. William Forsythe in Once Upon a Time in America 
45. DeForest Kelly in Star Trek III
46. Mike Monetti in Once Upon a Time in America 
47. Anthony Andrews in Under the Volcano 
48. Amrish Puri in The Temple of Doom
49. Ed Harris in Places in the Heart
50. Nigel Havers in A Passage to India
51. Jonathan Banks in Beverly Hills Cop
52. Danny Aiello in Once Upon a Time in America
53. Ralph Richardson in Greystoke
54. Julian Sands in The Killing Fields
55. Steven Berkoff in Beverly Hills Cop
56. Johnny Depp in A Nightmare on Elm Street
57. Scott Tiler in Once Upon a Time in America
58. Jonathan Ke Quan in The Temple of Doom

Next Year: 2005 Lead

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Alternate Best Supporting Actor 1984: Hector Elizondo in The Flamingo Kid

Hector Elizondo did not receive an Oscar nomination for portraying Arthur Willis in The Flamingo Kid.

The Flamingo Kid like the Last Starfighter is very much a film of the 80's, nevertheless it is an enjoyable film about a young man Jeffrey (Matt Dillon) who decides to work beach resort being pulled in by the lifestyles of its customers particularly a slick car salesman Phil Brody (Richard Crenna).

Although the film was nominated for one Golden Globe nomination for Richard Crenna, but the best performance in the film was not nominated. I should quickly say that Richard Crenna is fine in his role being both appropriately slick with just the right amount of slime as well hidden by a certain charm. Crenna makes the way Dillon's character becomes fascinated by the man, is made believable by Crenna. The best performance though comes as really the rival of Crenna's character is Elizondo as Jeffrey's father who does not like the path his son is taking.

Hector Elizondo plays the role of Arthur Willis in a very down to earth, and decidedly flamboyant fashion that is rather different from Richard Crenna's performance. Elizondo plays Arthur as very much an honest joe, who works hard and wants the best for his son. In his first scene Elizondo is very good in naturally showing a fatherly camaraderie with his son as they playfully talk to one another. He and Dillon are very good in this scene because they establish properly the good relationship the two have with one another that feel very genuine due to the performances.

The father's role is very much a reality to Jeffrey who tries to convince Jeffrey that the way of life taken by the car salesman is not as good as it looks. Elizondo is extremely good in all of the scenes where Arthur tries to convince his son not to abandon everything that he seemed to value before getting his new job. Elizondo is excellent because he does not show Arthur to be angry with his son over these decisions but instead actually disappointed with him. Elizondo portrays that this disappointment does not stem from Jeffrey not doing what he wants, but rather than he loves his son and wants what is the very best for him.

Even as Jeffrey continues down the wrong path failing to heed his father's warning Elizondo is steadfast in his portrayal that he very much does love son, and that is where the disappointment comes from. Elizondo is very moving as he shows Arthur's sadness slowly grow as he continues to see his son accept values that he knows will not be good for him. Elizondo is very quiet, but terrific in portraying the way his concerns do create a strong understated passion in him. He is particularly strong in his scene where he confronts Crenna, the two are excellent in this scene together as Elizondo plays an upfront quality that plays off well against all of Crenna's slick talking.

This is a very good performance by Hector Elizondo as he stays as the firm presence of good really as he tries to convince his son to do the right thing. He creates his character honestly making every one of his scenes is very moving without every seeming sappy. His final scene is especially effective as he finally reconnects with his son after his son has learned his lesson. The way the two play the scene is marvelously because they both reaffirm the love the son and the father share with on another, yet they do it in a blunt fashion that ends really working due to both Elizondo and Dillon. Elizondo's work is not nearly as showy as Crenna's work, but Elizondo effortlessly makes his character the heart of the movie.

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Alternate Best Supporting Actor 1984: Robert Preston in The Last Starfighter

Robert Preston obviously did not receive an Oscar nomination for portraying Centauri in The Last Starfighter.

The Last Starfighter is certainly a film of the 80's, but there is enjoyment to be had from it. It stays mostly remembered for its story about a young man Alex (Lance Guest) who after getting a high score on an arcade game he finds it is in fact a test to join in an intergalactic battle against an evil empire.

Robert Preston also like Richard Burton is giving his last feature film performance, although there is no reason to assume this here as Preston looks considerably healthier here than Burton did in his film. The Last Starfighter is very much a very typical eighties film about a young man in a trailer park who wants more, but finds is unlikely to go where he wants. There is not anything too notable about until Preston appears in a strange looking car as apparently the inventor of the video arcade game The Last Starfighter which Alex has just gotten the high score on. 

Preston takes a unique take on the part of the "man" who gets Alex into the intergalactic battle. This could have easily been a part of a dull mentor perhaps, but Preston instead portraying Centauri as an energetic con man of sorts. Preston does his quick talking thing marvelously here, and is very entertaining as he tries to convince Alex to join the fight. There is the right slightly mischievous grin in his face suggesting that he may have some alternative motives, but as well certainly suggesting there is something fun in store. Preston is just a delight as Centauri.

Centauri might not be as a follower of the cause as he might claim and really his intent is to try to make money for himself by bringing in a Starfighter. Preston is enjoyable because he shows that Centauri is a man, while more an alien who has no second thoughts about just trying to get his fair share of the money no matter what, but it his scene where Centauri seems like he is dead Preston does a very good job in making Centauri noble after all with his final short impassioned speech.

Robert Preston here pretty much makes the movie as he breaks through some of the cheesier material with his sarcastic portrayal of Centauri. I frankly wished the film had been entirely about Centauri since as soon as he dies I miss him very quickly. Thankfully he does appear again as Centauri hasn't died after all, and we get a little more of the likable schemer from Preston. This is most certainly one of the very best cases of Preston doing Preston as it perfectly fits the part of Centauri.

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Alternate Best Supporting Actor 1984: Jeffrey Jones in Amadeus

Jeffrey Jones did not receive an Oscar nomination, despite being nominated for a Golden Globe, for portraying Emperor Joseph II. 

One thing I have to say before I get on with my review is my annoyance in the way the director's cut of the film is used as the preferred cut by distributors. The film is a masterpiece as the theatrical cut, the director's cut adds nothing to the film, and at times very much hurts the perfect pace found in the Best Picture winning original cut.

Anyway with that out of the way onto Jeffrey Jones as the Emperor of Vienna Joseph II considered the musical King who wishes Mozart (Tom Hulce) to become part of his court, even though many of the other musical officials of Vienna dislike Mozart including the jealous Salieri (F. Murray Abraham) the official court composer for the Emperor. Amadeus is a film really with many enjoyable smaller roles filled well by various character actors, but Jones perhaps does the most with his part as the Emperor. His role is not a big one but important to the film.

Jones plays the Emperor as not a man of great power, or necessarily even a man of great substance. Jones finds a very particular way of portraying the Emperor as a bit of a doofus, well at least when it comes with the official musical dealings of the court. Jones is quite good though because he puts a great deal of wit into his portrayal that really could have been far more of an over the top idiot, but instead Jones finds just the right tone in which to play the part.The most important part of this is by taking this approach to the part he frankly is far funnier.

It is an entertaining performance particularly in his short little moments of showing the Emperor's ineptitude like when he struggles to think of a word to describe how he felt about Mozart's first opera for him, and merely takes to heart the suggestion of one of his underlings. Importantly though Jones does not overplay the stupidity of the Emperor, as there are other times where he believably shows himself to at least be a leader of some sort. In the way he carries himself, and addresses others he does suggest the right undercurrent of power in the man, but as well as a certain welcoming quality within in.

Jones finds a way to play the Emperor as he should be by supplying both laughs in displaying the Emperor's lack of musical knowledge, but as well that this man is an Emperor after all. He is particularly very good in the scene where Mozart pleads his case to be able to put on the Barber of Seville. He does well in conveying a genuine interest in the artists endeavor, but as well just the right power in his oppositions. As the Emperor states his own case Jones is convincing in that he is not opposed because he is stupid, but rather it does stem from a genuine concern as the leader of his people. This is not an especially complex part, but Jones handles it just right and as quite a bit of joy to his film.

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Alternate Best Supporting Actor 1984: Richard Burton in 1984

Richard Burton did not receive an Oscar nomination for portraying O'Brien in 1984.

1984 is about a totalitarian state ruled over by Big Brother, but one man Winston Smith (John Hurt) tries to rebel by falling in love with a woman. The film is effective although not always an easy film to watch.

Richard Burton who died soon after completing the film barely received any awards attention for his performance despite it being his last film performance. I suppose the academy was more interested in Ralph Richardson for a posthumous nod. Burton death soon after this is not surprising considering his very haggard look, in fact I would say Ralph Richardson looked much healthier than Burton despite being much older. Burton's physical state is most certainly noticeable here to the point it must be mentioned, but it really does not harm his performance.

In the early scenes Burton is mostly in the background of the film as just another man in their grey world. Burton eventually has a little more screen time as a man who suggests, and seems to encourage Winston to rebel. Burton keeps the mystery of the character intact as there is no reason to really suspect of anything, but at the same time he does suggest that maybe Winston should not go all out in revealing things to him. Burton does not get all that much to do until in the third act of the film after Winston finds himself as well as Julia the woman he was having an affair with caught by Big Brother, and brought in for re-education.

The man who re-educates Winston is Burton's O'Brien. Burton is the epitome of coldness here as O'Brien. Burton commanding voice works perfectly here as an inescapable voice of control. Burton shows no play in O'Brien he will not be fooled by Winston at any point, he will change Winston's mind simply as that. The torture scenes are extremely brutal and Burton only succeeds in amplifying this as he portrays O'Brien as having no hesitations whatsoever in creating as much pain for Winston as he wants to get Winston's mind the way he wants it. Burton's manner is perfect in these scenes creating personally the inescapable oppression that Winston cannot escape from.

This is not Burton's greatest performance by any means but it is a worthy performance to be his very last in a feature film. This is a performance here that does show his considerable talent he had though, and makes use of it well. Burton uses some of his greatest assets here in his creation of a man without any humanity, and only purpose in life seems to make others fit the view of the state. He brilliantly personifies the Big Brother with his performance that is properly overwhelming, as he makes O'Brien a force that not only cannot be reasoned with, but as well shows that the breaking of Winston is simply an inevitability.

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Alternate Best Supporting Actor 1984: James Woods in Once Upon a Time in America

James Woods did not receive an Oscar nomination for portraying Maximilian 'Max' Bercovicz in Once Upon a Time in America.

James Woods portrays one of the four friends who slowly become important crime figures during prohibition in New York City. He is the leader of the group along with Noodles (Robert De Niro) who come up with the strategies of the group to give them greater power in the underworld. One of the main focuses of the film is the friendship between Noodles and Max as they commit crimes through the years. What also is important is how their friendship slowly changes through the years, and particularly the type of man that Max becomes as well and how that differs from the type of man that Noodles becomes.

Woods is a very strong presence in the film and he creates an important dynamic with De Niro in the film. Woods casting here is necessary as Max really needs to stands on the same ground as Noodles, and Woods has the right command of the screen to easily stand toe to toe with De Niro. Max is the supporting character of course, and he really is not given the personal scenes that Noodles is given, but that does not matter in Woods's portrayal. Woods in all of scenes takes a strong grasp of the part never letting go in creating an especially compelling portrait of man seeking power no matter the cost.

Noodles in his crimes mostly just seems to want to commit the crimes for wealth, and only really power to the point that it gives him more freedom to do whatever he feels like. Woods portrays Max differently in that there is always a tremendous amount of ambition that seems to bubble below the surface within Max. Woods infuses it into his performance marvelously throughout the film. At first when he first welcomes Noodles back into the fold, Woods shows Max mostly as a gangster enjoy what he does, but in subtle moments portrays the incisive looks of a growing want for more than his current lot.

As the film progresses Woods does a wonderful job of slowly growing in this quality of Max that propels him further into a seeming insanity at times possibly. Woods is terrific in portraying the growing intensity in Max he seems less and less likely to give up on his attempts to gain more power, even as Noodles becomes far more content with his position. Woods is excellent because he not only shows the ambitious growing in Max from his outwardly intensity, but as well is how more internally his warmth towards Noodles as friend slowly seems to start to seize. 

Woods and De Niro are both very effective creating the friendship almost entirely through silent looks they give one another to indicate their common bond. Woods though succeeds in portraying the coldness of Max growing as he simply stops showing the same familiarity Max usually displays towards Noodles. This is a strong performance during most of the film, but what makes this performance is a great one is his last scene. It appears from the beginning of the film that Max is dead from the start do to Noodles warning the police of a heist planned by Max, and Max apparently was killed in a battle with the police.

In the end of the film (spoilers) it is revealed that Max is very much alive now called Secretary Bailey a very powerful rich man, married to Noodles's old girlfriend. He seems to be doing quite well other than the fact that he is wanted for a criminal investigation, and his fellow criminal wants him dead to keep him silent. Woods is outstanding in his depiction of Max at the end, not showing Max to be a man happy with all the power he has, but instead a haunted shell of a man.

His final conversation with Noodles as he tries to convince Noodles to kill him for money is possibly the best scene in the film. Woods is terrific as he creates the history of Max, even though we do not see it, simply through his performance in this one scene. Woods shows that his ambitious has brought him to a basic nothingness of himself, other than just a hatred for himself due to his actions. Again De Niro and Woods are just about perfect together in the unspoken relationship the two share, as they stare at one another after so many years after appearing to betray one another. Woods creates a compelling depiction of Max, and brilliantly creates the dark path of his ambition.

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