Best Supporting Actor 1959: Results

5. Ed Wynn in The Diary of Anne Frank- Ed Wynn although not the most memorable of the cast still gives a performance showing another honest portrait of a man living in a terrible situation, and he does add a little humor nicely enough when he can.

4. Robert Vaughn in The Young Philadelphians- Although Vaughn most gives functional work for the most of the film he makes up for it in two pivotal scenes where he nails the pain and trauma that his character is going through.

3. Arthur O'Connell in Anatomy of a Murder- O'Connell has a nice supporting turn offering a charming and warm presence in the film, and as well succeeds with the slightly more dramatic material also needed of him.

2. Hugh Griffith in Ben-Hur- Griffith is the comic relief purely and simply and he suceeds completely at being so. In his few scenes he successfully lightens the mood, and offers some much needed laughs for his film.

1. George C. Scott in Anatomy of a Murder- George C. Scott easily takes the win though in what one could almost argue is the simplest character of the nominees yet Scott makes it so he has the greatest impact out of all the nominees. His performance as Dancer is an intense piece of acting that absolute holds your attention on screen. Every second he has Scott makes the most of, and is the perfect rival for James Stewart in that film.

Deserving Performances:
Joseph Schildkraut in The Diary of Anne Frank
Stephen Boyd in Ben-Hur
Laurence Olivier in The Devil's Disciple
James Mason in North by Northwest

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Best Supporting Actor 1959: Hugh Griffith in Ben-Hur

Hugh Griffith won his Oscar from his first nomination for portraying Sheik Ilderim in Ben-Hur.

This is a bit of surprise winner if you watched Ben-Hur before finding who won best supporting actor for it simply because one would think Stephen Boyd as the villainous Messala would have been the winner from that film, at least would have been the actor nominated with the film, at least would have been nomination along with Griffith, but no Boyd was not even nominated despite the fact he even won the Golden Globe for his performance. I suppose maybe what sunk Boyd was the fact he played Messala too well in that he was a truly detestable villain that was impossible to like, whereas the winner Griffith portrayed Sheik Ilderim who is the joyful comic relief of the film.

Hugh Griffith after all does come in the perfect time in the film during when Ben-Hur is basically overwhelmed with thoughts of vengeance. Griffith as a jovial, warm and comedic presence is most certainly a nice welcome to the film and they really could not have chosen a better character and actor to lighten things up a bit. Griffith from the first second he is on screen does just that as he is attempting to train a chariot rider for his horses he holds so dear. Griffith has a great deal of comedic energy as he hollers about his rider's inability, that certainly succeeds in making everything at little less weighty.

His best comedic moments come though from his quieter conversations with his pitch perfect humorous reactions such as his inability to recall how many wives he has, and that it is uncivilized to have only one wife. His best scene though, and my favorite dialogue based scene in the film comes when he sets up the odds for betting on the chariot race with Messala. Hugh Griffith is hilarious in this scene as the Sheik basically gets exactly what he wants without getting angry once over the Romans pointless insult. I particularly love his delivery and reaction when he says "bravely spoken" in regards to their boasting and belief in their own superiority.

Griffith is great in those scenes, and I'm sure his odds scene is what got him both the nomination and the win in the category. Other than those being a nice warm and comedic presence for these few scenes Griffith does not do anything more with the Sheik, nor did have to though. His performance is exactly as it should rather short, but funny and it is the type of comic relief performance one would want. Firstly Griffith is actually funny, and secondly his comedic character still fits with the rest of film. Although I can't say he should have been nominated instead of Boyd I will say Griffith still managed to give Ben-Hur as a film exactly what needed and when it needed it, and that is most certainly worth something.

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Best Supporting Actor 1959: George C. Scott in Anatomy of a Murder

George C. Scott received his first Oscar nomination for portraying Assistant State Attorney General Claude Dancer in Anatomy of a Murder.

When I reviewed Arthur O'Connell in this same film I said he was the sort of supporting performance that's whole purpose was to literally support the lead, and never really attempt to steal a scene for himself as the loyal confidant of James Stewart's defense attorney Paul Biegler. George C. Scott on the other hand plays the Assistant State Attorney General who comes to help the local D.A. prosecute the murder case. The whole point of Scott's performance is to basically attempt to up show James Stewart's performance in the court room scenes as the lawyers basically play a game a showmanship, with some keen observation  and attacks against each other's cases for and against the defendant.

The character of Dancer is very simple in that he is in the film purely for the reason stated in the film There are no scenes to indicate his life outside of the courtroom, but just because a performance a relatively simple task, does not mean the performance of that character cannot be great, and a fully realized characterization. Scott shows that a character does not need to the most complex to create a wonderful performance nevertheless. Scott from his first scene knows what his part should be, and knows exactly how to make a huge impact in the film as the prosecutor Dancer.

In everyone one of his scenes Scott makes his presence known in the film, even when he is just sitting down at the prosecutors table and saying nothing at all. Scott in every silent moments always shows an intelligence in Dancer, and you can just tell that he is dissecting everything that is being said. It abundantly clear that Dancer is just waiting for his time to attack. Scott also with absolute ease shows the control and superiority Dancer has over the D.A. through the way he always speaks with absolute control but never visible seems to be trying he just simply is.

Scott's best scenes come out when Dancer finally attacks and he and Stewart face off interestingly enough as not only their character but really as actors as well. Stewart gives one of his best performances, but Scott manages to match him just about every turn, creating the best scenes in the film. Scott is completely on in everyone of his cross examination scenes. Scott is striking in every one of these moments as he intensely interrogates every witness. Scott is able to portray Dancer quick thinking and pressure tactics perfectly, and he makes it absolutely believable that the witnesses would be overwhelmed by him.

Scott is incredible for every moment he is on screen and never lets Stewart really win, making Dancer the perfect adversary for Stewart's Biegler. Scott has such a great impact on the film, that really it is unthinkable to see anyone else in the role. Scott simply is fantastic as Dancer who was essential to the success of the film which would not have worked if Stewart seemed in charge the entire time. Instead Scott though matches Stewart, and shows that a great actor can make an undeniable impression even if their character as written might seem simple.

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Best Supporting Actor 1959: Arthur O'Connell in Anatomy of a Murder

Arthur O'Connell received his second and final Oscar nomination for portraying Parnell Emmett McCarthy in Anatomy of a Murder.

Arthur O'Connell portrays somewhat washed up lawyer Parnell McCarthy who acts as a sort of supportive friend, and research to defense attorney Paul Biegler (James Stewart). He is an alcoholic fellow, but an apt legal mind although not a confidant one. O'Connell really gives a supporting performance that is the very definition of a supporting performance. Parnell just mainly supports Stewart's character throughout the film offering support, someone to talk to, advice, and his skills as a researcher, not much more than that.

O'Connell is absolutely appropriate for the role though without his not quite fatherly, but sort of elderly knowledge and warmth in equal quantities. O'Connell stay low key throughout the film never trying to stealing a scene from Stewart, but nor should he since he is suppose to be supporting Stewart first and foremost. O'Connell never attempts to take the spotlight in the film but does manage to show you can most certainly serve the film even if one is always more content to be around it.

O'Connell has a good chemistry with Stewart in all of their scenes together. They are natural and their is a certain warmness between them that work quite well, without ever bringing unneeded attention to their friendship which is only a very small aspect in the overall story. O'Connell always though acts as a brighter warmer side of this film without naturally without disrupting the tone of the rest of the film just through his natural charm.

Besides his chemistry with Stewart and his overall charm the only other pivotal part of his performance is his alcoholism and feelings of inadequacy. His struggle with these are especially short moments, and handled mostly only by small reactions, since as I said earlier O'Connell's Parnell is never really in the spotlight. O'Connell though despite the shortness of these moments, does convey both the fear, and eventual strength that lies in Parnell in a few short moments. This really is not a great performance, but it does act as a good supporting part to Stewart's great leading performance.

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Best Supporting Actor 1959: Robert Vaughn in The Young Philadelphians

Robert Vaughn received his only Oscar nomination so far for portraying Chester A. 'Chet' Gwynn in The Young Philadelphians.

The Young Philadelphians tells of Tony Judson (Paul Newman) who social climbs his way up the Philadelphia social latter, and does some poor things along the way to get ahead.

Robert Vaughn portrays Newman's roommate at first who has some big connections through the family although he is an alcoholic himself. Vaughn in these early moments is barely in the film, but he does have the right manner for his high society character, but with just the right degree of sloppiness to suggest his problems with alcohol. His only really notable scene though is when he describes that he became alcoholic after his family basically forced him out of a marriage with a poorer woman. It is a very short scene but Vaughn is convincing enough to show that what happened to him indeed to wound him deeply.

Vaughn though goes missing for great lengths of the film. He though appears again for a single scene of Chet's has lost his arm in the Korean war. Vaughn again is given very little time, but he able bring pain of his character realistically to life. Then it is another long delay until we see him in two pivotal scenes where Chet alcoholism has gotten the better him, his family has disowned him basically, and on top of all of that he is charged with murder. Vaughn in these two scenes therefore must show a completely disheveled and changed Chet believably, and without forgetting his earlier characterization of Chet.

Luckily Vaughn makes these two scenes his Oscar scenes. These sort of scenes are an incredible challenge actually as they are the sort scenes where an actor will resort to the worst sort of overacting, but Vaughn actually completely succeeds in both of the scenes. Vaughn realistically shows a completely at his ropes end Chet, and gives a very moving performance. Vaughn honestly conveys Chet's complete fall in his single scenes with a frantic intensity that absolutely brings out terrible troubles his character has been through. It is a powerful pair of scenes the best in the film because of Vaughn. I wish his character had been given a conclusion scene, or a few scenes to allow Vaughn to show more of Chet's downfall. Nevertheless Vaughn still makes the most of what he has, and manages to gives a strong performance.

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Best Supporting Actor 1959: Ed Wynn in The Diary of Anne Frank

Ed Wynn received his only Oscar nomination for portraying Albert Dussel in The Diary of Anne Frank.

The Diary of Anne Frank is an ensemble filmed caused by the fact that it is a group of character in their cramped hiding place trying to deal with each other. Only two were nominated from the ensemble though Shelley Winters in her Oscar winning role as Petronella Van Daan, and Ed Wynn as the dentist Albert Dussel who arrives later to join in their hiding place. Wynn's nomination probably was helped by the fact that Joseph Schildkraut, who gives the best performance in the film in my opinion, most likely suffered category confusion, and Wynn was likely helped by the fact that he plays against type.

Ed Wynn was best known for his comedic work, and it is almost rather hard to believe that one would ever expect for Wynn to play anything but comedy. This is because the fact that Wynn not only just naturally looks funny, but his voice has to be one of the funniest natural voices ever heard on film. Wynn though proves himself capable of giving a dramatic performance here, although it should be noted it is a dramatic performance with comedic undertones. Dussel is suppose to be just a normal man, but has just some rather fussy habits that the film attempts to derive humor from.

Ed Wynn actually is effective in his role though, even though it is most certainly limited by the very nature of the ensemble film. A funny thing about this performance actually is that Wynn seemed to have to tone down his voice and his face, since he stays mostly quiet in the film almost to prevent his comically sounding voice from coming out, as well his facial expressions are always withdrawn as well almost again to hide the fact that he just is rather funny looking when wide eyed. This is only really noticeable though if you have seen many of Ed Wynn's other performances, as I have, and Wynn actually does a good job of keeping realism in his performance as Dussel.

Ed Wynn best scenes though are his quietest ones especially his very first scene where he sadly tells of a list of many Jewish people who have been taken away by the Nazis. Wynn performance here is not overly emotional yet rather there is a haunting quality because he only sadly tells of the facts that cannot be ignored. Wynn never is nearly as effective as his initial scene as he becomes more of just part of the ensemble. Yet Wynn does not becomes forgotten in the rest, and still has a certain presence in their scenes even if it is less than say Winters or Schildkraut.

Wynn comes in and out of focus scenes with most small reactions that for the most part are appropriate. Really his leas effective moments come in when he freaks out near the end of the film, only really because his voice comes out more, but still Wynn presents Dussel as a man honestly troubled by his terrible situation. Wynn casting though likely did come from the fact there is some humor involved with the part involved in just his fussiness. Wynn is able to add some humor, while still keeping it within the tone of the actually film. Wynn actually does add a nice presence to the film overall with his humor, and genuine emotions he does bring to the part. It is not the most memorable, or best performance in the film but it is a good one.

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Best Supporting Actor 1959

And the Nominees Were:

Arthur O'Connell in Anatomy of a Murder

George C. Scott in Anatomy of a Murder

Hugh Griffith in Ben-Hur

Ed Wynn in The Diary of Anne Frank

Robert Vaughn in The Young Philadelphians

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