Alternate Best Actor 1954: Results

5. Charles Laughton- Charles Laughton has a fairly simple role but he is consistently amusing in his performance.

4. James Stewart in Rear Window- Stewart manages to provide a realistic portrait who we can easily go along through the sometimes quite seedy world of being a voyeur.

3. James Mason 20,000 Leagues Under the Sea- Mason gives a great performance of an iconic character by always bringing to life both the wondrous qualities to his portrayal in equal measure with his more violent aspects.

2. Toshiro Mifune in Seven Samurai- Mifune gives a very big but also a very striking performance of a swordsman driven mad by his past.

1. Ray Milland in Dial M For Murder- Again another strong year with four great performances the academy foolishly ignored. Although it was fairly easily to know Brando would still be first it was again difficult to choose the number one out of these four. I give it to Milland though who gives a strong performance by both bringing to life the fierce some hidden motivation of his murderer, but as well as easily adding an appropriate degree of humor in the role as well.

Overall Rank:

1. Marlon Brando in On The Waterfront
2. Ray Milland in Dial M For Murder
3. Toshiro Mifune in Seven Samurai
4. James Mason in 20,000 Leagues Under the Sea
5. James Stewart in Rear Window
6. James Mason in A Star is Born
7. Bing Crosby in The Country Girl
8. Kirk Douglas in 20,000 Leagues Under the Sea 
9. Dan O'Herlihy in Robinson Crusoe
10. Takashi Shimura in Seven Samurai
11. Charles Laughton in Hobson's Choice
12. Humphrey Bogart in The Caine Mutiny
13. John Mills in Hobson's Choice
14. Paul Lukas in 20,000 Leagues Under The Sea
15. Gene Kelly in Brigadoon
16. Bing Crosby in White Christmas
17. Danny Kaye in White Christmas
18. Robert Francis in The Caine Mutiny

Next Year: 1937

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Alternate Best Actor 1954: James Mason in 20,000 Leagues Under The Sea

James Mason did not receive an Oscar nomination for portraying Captain Nemo in 20,000 Leagues Under the Sea.

20,000 Leagues Under the Sea is a pretty entertaining rendition of the Jules Verne novel about three men who end up on a submarine which has been destroying ships for some time and is at first believed to be a monster.

20,000 Leagues Under the Sea is unique for a Disney live action film for the time with its several high profile actors of the time appearing in it such Paul Lukas as the inquisitive professor Arounax, a charming and enjoyable Kirk Douglas as the harpooner Ned Land, as well as a very likable Peter Lorre in a very unPeter Lorre like role as the Professor's assistant. The most important of all though is James Mason as the Captain of the underwater submarine Nautilus who seems to be clearly as brilliant as they come, but the only problem is he might also be just about as mad as they come as well.

Live action Disney films certainly can have some hokey acting just watch Maurice Chevalier's performance in In Search of the Castaways for evidence of that, this is one film though where there is none of that certainly not in the lead performance of Nemo by Mason. James Mason is easily one of my favorite actors and one of the reasons why is he almost always seems to put his all in his performance no matter what the film he showed in his more Oscar favorable fair with his nominated performance in A Star is Born, yes and I do know that this film in fact won more Oscars than that one but I mean in terms of Oscar favored acting, and he shows the same conviction in this performance.

James Mason makes a great impression of the very first scenes where Captain Nemo appears. Mason with an absolute ease conveys the mystery of the character. Mason unique extremely refined persona and voice is perfect for Nemo. Although it is rather easy to argue that Nemo is the villain of the film, Mason never does portray him for a moment as one. Mason actually delves deeper into the character always trying to bring to life the motivation of the man rather than just his actions as a lesser performance might have done. Mason always makes Nemo a man rather than a monster.

Mason makes Nemo into a fascinating anomaly of a man. In the way he speaks about his discoveries and his knowledge about technology that can only be fathomed at best by others at the time. Mason is excellent in conveying the wondrous nature of Nemo's own mind and that he is very much a man of discovery. There though at the same time is an undercurrent of menace, the sort of menace only James Mason could convey so quietly yet so effectively. Mason is able to even in his moments of speaking about his vast accomplishments, is able to bring to life so well the darker undercurrent behind the character.

The dark undercurrent is of course his own origin which involved death and brutal torture in his past. Mason especially excels here as he shows the incredible hate that is always weighing on Nemo's mind. It is really this hate for the inhumanity of man. Mason effectively portrays it as something that Nemo merely cannot shake, by creating a haunting quality within his performance that conveys that Nemo never can forget what has happened to him, and it is that drives his violent passions behind his current mission. Mason never makes this anger a simple evil, but actually a very humanizing element to Nemo.

In the most pivotal moments really of his performance Mason is able to bring to life perfectly the drive that creates the hate in Nemo. Although most of the time it is, as I said, something that is always a part of him but not something he likes to dwell on too much that is except for one scene where Nemo crashes purposefully through a ship from the country that had previously enslaved him. Mason is excellent here as he in a silent scene for Nemo shows the full extent of bitterness in Nemo. It is a striking moment for Mason because all of the proper gentlemanly aspect of Nemo goes away for a moment, and we see the true humanity in Nemo through his anger.

I should also really say that Mason also gives a very entertaining performance that goes hand in hand with his surprisingly character driven performance. Mason is always an extremely likable actor, and it really is just a joy to watch him particularly in a few of the smaller scenes of conversation. Mason here has again a great wit in the role that is extremely well utilized. He of course never hammers it in or very tries to be funny when it is not required. In fact Mason never really appears like he really is trying to be funny, Mason though is able to be humorous in just the right moments of this performance that never once compromise the heavier moments in his performance.

This is a truly great performance by James Mason that is able to bring to life every aspect of the character to the screen, and I must imagine do far more with the role than perhaps the filmmakers even expected. I have to say that I find he is even better here than even in his strong work in his Oscar nominated role from this year. Mason is simple incredible and just fascinating in every one of his scenes in this film. He is able to take an iconic character like Captain Nemo and basically create his very own form of that icon through his performance. In what easily could have been a corny performance, Mason once again shows his strength of an actor by seeming to make the most out of any role he is given.

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Alternate Best Actor 1954: Charles Laughton in Hobson's Choice

Charles Laughton did not receive an Oscar nomination for portraying Henry Horatio Hobson in Hobson's Choice.

Hobson's Choice is enjoyable film about a man who runs a successful bookmaking shop, but his world turns upside down when his eldest daughter marries one of his timid but talented employees.

Charles Laughton is no stranger for portraying somewhat tyrannical figures. All three of his Oscar nominated performances where portraying imposing figures. Here again Laughton portrays a man who at first seems in charge of things, but in reality this time Laughton's Hobson is not nearly as imposing as so many other of Laughton's roles. Here Hobson actually finds that he is not really all that much in charge at all in fact faces difficultly in controlling his very domineering daughter Maggie (Brenda De Banzie), and in a way Laughton sort of parodies his own persona.

Charles Laughton here is not at all commanding really with his presence this time, and in fact is appropriately buffoonish. Charles Laughton usually has humor in his roles even serious ones, but this one humor really is the primary factor of his performance. Laughton has quite a bit of fun in the role of being the rather doltish Hobson who despite his constant attempts to do so he is completely unable to control his daughters despite going off all the time about how he should be in full control. Laughtonr really was the perfect choice for the role since he can be the wannabe monarch Hobson yet still be quite likable in the role.

When Hobson is not trying to boss around his daughters and his employees he mostly spends his time at the local pub making fun of his daughters as well as getting about as drunk as he possibly can be. Although Hobson is said to be an alcoholic by the end of the film, and even starts to hallucinate because of it. Laughton though appropriately only ever portrays this for laughs, and Laughton is quite good in bringing out the comedy in these scenes. A particularly entertaining scene is as Laughton stomps around town eventually falling down a hole, all made quite amusing through Laughton hilarious expressions throughout.

This actually is a pretty simple role for Laughton as Hobson really has no transition, the character arcs really involve how the characters react to Hobson, and the choices they make. Hobson ends not really making any choices are than going along with what others tell him to do. This is not a criticism of the character or Laughton's performance by any means though as this works well for the film. Also I should note Laughton also shares leading status with John Mills as Hobson's employee who slowly grows a backbone after marrying Hobson's stern daughter.

Laughton really does mainly two things in the film try to act bossy and failing miserably, and getting drunk and suffering miserably from the consequences of stumbling around drunk. Laughton of course is very good at fulfilling both the aspects as well as he possibly could, and getting as much humor out of the role as he could as well. This does not stand tall along the greater Laughton works in any way shape or form, but it does allow Laughton to show off in a more saturated fashion his comedic abilities which are certainly worth showing off.

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Alternate Best Actor 1954: James Stewart in Rear Window

James Stewart did not receive an Oscar nomination for portraying  L. B. "Jeff" Jeffries in Rear Window.

Rear Window is an excellent thriller about a photojournalist with a broken leg who spends his day looking out the window and finds that one of the people he is spying on might just have murdered his wife.

James Stewart again is the other leading actor for an Alfred Hitchcock film, and he shares some similarities with Ray Milland for Dial M For Murder. They both spend most of their time in their home, although Stewart's character is forced to be there, whereas Milland happens to be there just by the way the film is set up. They are also both romantically involved with Grace Kelly. The difference here is great though in that Ray Milland's character is already married to her, and plans to murder her, whereas James Stewart's Jeff is very reluctant to marry Kelly's Lisa who is a wealthy socialite.

Stewart is in every scene of this film even if it drifts from him it still is in Jeff's point of view as he glances out his window and witnesses the various events in the lives of the people outside his window. Stewart does something in the role that is important early on which is that he portrays Jeff's only real reason for doing what he does is boredom. Stewart never portrays there as any sinister quality in his voyeurism, he simply has nothing better to do with his time and his broken leg, and as well Stewart conveys the natural curiosity in the photojournalist Jeff.

As usual Stewart does indeed have his bountiful charm on display here as usual that is at least in some way able to make his relationship with Kelly believable. In the same way though Stewart though mutes his charisma just enough to really shows the way sitting around and doing nothing has taken a bit of a toll on Jeff. Jeff is a man who is always seeking something to do constantly, always looking for some sort of excitement, so it is fitting that Stewart so well portrays the fact that Jeff instantly hones in on the first thing outside that might rid himself of his boredom in some way.

Stewart is very effective as well in the personal scenes where Jeff argues with Kelly's Lisa over his lack of commitment which stems from the fact he believes she would not able to take the sort of lifestyle that he desires. Stewart is able to be convincing in his near rejection of her, by really conveying well that it is all part of his own weaknesses. Unlike in so many of Stewart's pre It's A Wonderful Life performances there is a distinct lacking in Jeff, and there is a great deal of hesitation Stewart pulls into Jeff that creates the insecurities that creates the rift that leave the two unfulfilled.

Although hesitant in his personal life Stewart does not show the same hesitation within Jeff when he is coming up with his theory about a murder across the courtyard. Stewart is interesting here in that there is not quite that same old Jimmy Stewart passion you might see in Mr. Smith Goes to Washington, as this is a darkly comic piece by Alfred Hitchcock. There is the same clear insurance of the fact that he is right though that is always unshakable but Stewart here always manages to be actually more casual regarding the whole thing easily adding more comedic lines along with his theories about what happened to the man's wife.

Stewart is incredible as we follow him through as he subtly suggests in the slightest glance, or look that Jeff's internal workings has deciphered a part of the plot, and he is easy to go along with the whole way done his voyeuristic journey. He is always a man of reactions and Stewart nails everyone perfectly being a very real person in the situation that usually mirrors are own reactions to certain moments during the film. I would say his very very best moment in his performance though comes late in the picture when Lisa goes over to the supposed killer's place and he returns home while she is still inside.

Stewart simply is perfect in this pivotal and most suspenseful scene as he reflects are own reaction. All of the horror of the scene is made genuine through Stewart's heart wrenching as Jeff watches helplessly from the distance. Stewart's brings to life the moment as he squirms in fear over seeing the terrible event transpire in front of him. This great part of Stewart's portrayal pretty much sums up the whole of his performance. Stewart manages to provide a realistic portrait who we can easily go along through the sometimes quite seedy world of being a voyeur. He hones the film in and grounds it throughout.

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Alternate Best Actor 1954: Toshiro Mifune in Seven Samurai

Toshiro Mifune did not receive an Oscar nomination for portraying Kikuchiyo in Seven Samurai.

Seven Samurai is an excellent film about poor villagers who hire seven samurai to fight against a large group of bandits who steal their crops.

In the group of the Seven Samurai there is the wise old leader, his young protege, a learned right hand man, a world weary veteran samurai, an poorly skilled but jovial samurai, a stone faced and most skilled of all of them, and Kikuchiyo portrayed by Mifune who is not even a samurai. Kikuchiyo in fact does not seem to really have a name, or at least either does not remember it or does not wish to state what it is. The other samurai in fact give him the name of Kikuchiyo which is in fact rather derogatory. Not really being a samurai he never really is just part of the group as some of the others are and Mifune performance sticks out the most within the film.

Mifune early on in the film is off to the side as Kikuchiyo tries to join the samurai on their adventure even though all he has is a one huge sword, and a fake birth certificate to prove his worth. Mifune is terrific in just being a crazy man easy to being drunk, but very much a wannabe Samurai. Although at this point you cannot tell really where he came from but Mifune still is able to convey that his craziness comes from something in his history. Mufine is also great in just creating the dynamic between the insane Kikuchiyo he does anything but stand still against the rest of the Samurai who are all very stoic and reserved.

Eventually Kikuchiyo makes his way with the Samurai by basically just following them until they give in to allowing him to come as well even though his birth certification does very little to prove that he is of noble birth. He nevertheless becomes one of the most motivated of the fighters, even if his insanity never does seem to leave him. Mifune is like a wild animal at times, a particularly vicious one, as he shows the degree of passion Kikuchiyo does have in the fight. It is extreme and the most intense of any of the men hinting that Kikuchiyo has more invested than just wanting the food they are promised by the villagers.

It should be said that there is a great deal of big acting going on in the film that really separates most of the villagers from the samurai who are rather low key save for Kikuchiyo. Toshiro Mifune though really is a master at this rather broad approach, since he firstly does not forget to still have subtle aspects to the performance that keep his performance properly grounded, but as well being able to act this big is a talent not seeming completely overblown, and Mifune most certainly has this talent. For example one great scene of Mifune is when Kikuchiyo chews out the other samurai for their comments regarding the farmers of the village they are protecting.

In this scene Mifune is full force in his intensity and intimidation as he rattles on about his anger toward the remark against the farmers. His hatred of the disregard of the farmers is violent and vicious and Mifune does not lose a beat as he goes off on Kikuchiyo full loud monologue. While he handles this scene in a very big fashion indeed, Mifune never fails though in the same moment to offer smaller hints as to an underlying sadness within Kikuchiyo since really all of this anger comes from the fact that Kikuchiyo himself came from a farming family.

During the all important battle scenes it is hard not to watch Mifune he is consistently entertaining and effective in the role. He portrays Kikuchiyo as a man with almost a death wish the way he throws himself into the battle field seeming almost psychotic at times when he basically eggs on the bandits to aim for him. There is never a moment where Kikuchiyo does not seem to be throwing himself head first into the fray. Mifune is able to through in just the right amount of humor in his performance through his manic approach. Mifune though is able to with ease bring humor at the same time in showing Kikuchiyo's genuine, and very passionate in regards to fighting the battle.

This is especially powerful performance by Mifune as he uses his energy in his performance to become both a very enjoyable comic relief at times, but also does manage to bring to life the very heartbreaking character that is Kikuchiyo. It is indeed a very manic approach as Mifune shows not the slightest hesitation in any scene whether Kikuchiyo is flopping around the battlefield, or is raging in anguish over witnessing an event that mirrors something in his own past. There is never a disconnection in any moment or any facet of Mifune work here. It is simply a great performance that contributes so much to this amazing film.

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Alternate Best Actor 1954: Ray Milland in Dial M For Murder

Ray Milland did not receive an Oscar nomination for portraying Tony Wendice in Dial M For Murder.

Dial M For Murder is an effective Hitchcock thriller about a man who hires another man to murder his wife (Grace Kelly).

Ray Milland here portrays the man who hires another man to murder his wife. Ray Milland is especially cultured and dignified in this performance as a wannabe murderer. Milland plays it down the line as a villain all the way, even if he sort of a small scale one. There is not a hint of empathy for his wife he plans to murder. Milland does not show a hint of wishing her anything but the worst. Something very particular about his performance is just how cold Milland is regarding to his portrayal of Tony. Even though the motivation of his murder is that his wife Margot was having an affair with an American mystery writer Mark (Robert Cummings), there is never a moment of outburst or anger in Milland's portrayal even when Tony reveals his true thoughts.

This is not to say Milland does not show Tony's  hatred of both of them, he most certainly does. Milland though is far more effective in portraying Tony's vile motivations by being quite subtle in his performance. Milland shows it in these slightest devious and incisive expression as he tells the story of his plan to his would be hit man. When he takes particularly note on that when he first found about the affair he planned to murder them both Milland shows in his eyes the full extent of his desire to his wife killed for the betrayal. Milland does not dwell on this in his portrayal though always making it abundantly clear that Tony is a man who is always very much in control of his emotions, and his biggest concern is the plan at hand.

Milland is terrific in portraying the cold calculations of Tony as he lays out the plan to his pawn who he wishes to use to perform the deed he wants done. Milland shows no hesitation in Tony, he conveys a brilliance in his planning that Tony knows exactly what he is doing, or at least Tony is extremely satisfied to the level in which he has set up his plan. What works so well about Milland performance he how much enjoyment he infuses into Tony's description of his plan. Milland is wonderful as he presents Tony as almost eating up with delight every word he is staying clearly portraying that Tony is very very proud of himself, and has spent a great deal of time and energy on devising his plan.

When he is not hiring someone to kill his wife though Tony shows no hostilities toward his wife, and in fact acts as if he is not even aware that his wife is having an affair. Milland once again portrays Tony with great efficiency as he is completely believable in fooling both his wife and her lover that he is a completely unassuming man. Now Milland still has that glint in his eyes that always underlies the true nature of Tony, but Milland actually is realistic in being the Tony everyone thinks he is. There is not that deviousness just a pleasant man, and Milland even makes Tony supposed confusion as the events unfold. He is just as convincing as the hapless husband, as he is as the true Tony with murderous intentions.

After about halfway through the film Tony's act is implemented, and the rest of the film deals with the fallout of the results. Tony who no longer has a moment to himself makes it so Milland performance becomes a series of reactions shots in trying to portray the true feeling of Tony, as he forced to put on his facade the rest of the time. This is not a criticism in the least though, as again Milland makes the absolute most out of all of them. They are quick moments to delve into Tony's psyche in the moments. They are all effectively portrayed whether he is showing Tony noticing a detail he needs to change, or which are probably the best moments when Tony sees that his perfect plan is not nearly as perfect as he thought.

 Milland is able to pull us into the killer view, basically through just how much pride and dignity he has in the role. Tony although is a rather despicable individual, he portrays the part with such gusto that he never comes off as such. Milland knows how to have just the right amount of fun in his performance to lighten the whole atmosphere of Tony's horrible deed, yet he is still keeps the film thoroughly grounded in portraying both Tony's motivations as well as his ability to keep his true intentions under wraps. This is a great performance by Ray Milland that makes this one murderous husband that is extremely easy to watch as he undergoes his plan. 

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Alternate Best Actor 1954

And the Nominees Were Not:

James Mason in 20,000 Leagues Under The Sea

Charles Laughton in Hobson's Choice

Ray Milland in Dial M For Murder

James Stewart in Rear Window

Toshiro Mifune in Seven Samurai

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