Alternate Best Supporting Actor 1960: Results

5. Gene Kelly in Inherit the Wind- Kelly plays with his type once again playing a loud showman, but this time with a deep rooted cynicism.

4. Charles Laughton in Spartacus- Laughton gives a nice enjoyable performance that creates a believable portrait of a politician who uses quiet methods of persuasion.

3. Fred MacMurray in The Apartment- MacMurray is quite good in role giving a commanding presence that revels to just the right degree in his character immorality.

2. Laurence Olivier in Spartacus- Olivier as usual gives a great performance here as the main villain of the film. He is effectively a tremendous force of evil, but as well still creates a three dimensional character out of the tyrant that is his character. 

1. Eli Wallach in The Magnificent Seven- This was a very close one for me, and yes I was ready to give Olivier by lead and supporting for this year. Wallach though is equally excellent in his role in the Magnificent Seven, and manages to do basically anything he possibly could with his role. Even with his role being very limited Wallach never makes it feel that way giving an extremely entertaining as well as being appropriately menacing as well.

Overall Rank:

1. Eli Wallach in The Magnificent Seven
2. Laurence Olivier in Spartacus
3. Peter Falk in Murder, Inc.
4. Peter Ustinov in Spartacus
5. Fred MacMurray in The Apartment
6. Steve McQueen in The Magnificent Seven
7. James Coburn in The Magnificent Seven
8. Peter Ustinov in The Sundowners
9. Roger Livesey in The Entertainer
10. Charles Laughton in Spartacus
11. Sal Mineo in Exodus
12. Gene Kelly in Inherit the Wind
13. Arthur Kennedy in Elmer Gantry
14. Martin Balsam in Psycho
15. Trevor Howard in Sons and Lovers
16. Herbert Lom in Spartacus
17. Jack Kruschen in The Apartment
18. Woody Strode in Spartacus
19. Ray Walston in The Apartment
20. Alan Bates in The Entertainer
21. Harry Morgan in Inherit the Wind
22. Brad Dexter in The Magnificent Seven
23. David Lewis in The Apartment
24. Albert Finney in The Entertainer
25. Richard Conte in Ocean's Eleven
26. Laurence Harvey in The Alamo
27. Charles Bronson in The Magnificent Seven
28. Tony Curtis in Spartacus
29. Richard Widmark in The Alamo 
30. Robert Vaughn in The Magnificent Seven 
31. Dick York in Inherit the Wind
32. John Wayne in The Alamo
33. Alan Young in The Time Machine
34. Joseph Wiseman in The Unforgiven 
35. Cesar Romero in Ocean's Eleven
36. Albert Salmi in The Unforgiven
37. Horst Buchholz in The Magnificent Seven
38. Charles Bickford in The Unforgiven
39. John Dall in Spartacus
40. Dean Jagger in Elmer Gantry
41. John Gavin in Psycho
42. John Gavin in Spartacus 
43. Sammy Davis Jr. in Ocean's Eleven
44. Dean Martin in Ocean's Eleven
45. Michael Anderson in The Sundowners
46. Akim Tamrioff in Ocean's Eleven
47. Chill Wills in The Alamo
48. John Ireland in Spartacus
49. Claude Akins in Inherit the Wind
50. Vladimir Sokoloff in The Magnificent Seven
51. The Rest of the Villagers in The Magnificent Seven

Next Year: 1999 Supporting 

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Alternate Best Supporting Actor 1960: Fred MacMurray in The Apartment

Fred MacMurray did not receive an Oscar nomination for portraying Jeff D. Sheldrake in The Apartment.

Fred MacMurray despite portraying three important roles in best picture nominees like Double Indemnity, The Caine Mutiny, and best picture winner The Apartment he was never nominated. This is particularly odd for the latter two since he was not nominated in favor of actors in far smaller simpler roles who gave far less impressive performances. I suppose one could say perhaps the snub came from the lowly nature of his character compared to Jack Kruschen's, but that would be hard to say since in the same year they nominated Peter Falk, and Peter Ustinov who played a hit man and a slave holder respectively.

Perhaps what really hurt MacMurray though was that what he was good at was too problematic. MacMurray in most of his less famous roles portrayed usually kindly likable fellows, here and his other darker turns he does not entirely refute his other performance even though he is playing despicable characters. MacMurray even in this role as the amoral womanizing insurance executive still has the same sort of Fred MacMurray charm, yet he brilliantly redirects here to show it being used to troubling end. Although Sheldrake is a very reprehensible sort, MacMurray portrays the part through the film showing that he either does not care or is not aware how bad of a person he is.

Fred MacMurray carries the part excellently as he makes the command of Sheldrake entirely believable in both the business sense and the personal sense. In the business sense Sheldrake pushes everyone around in the office apparently, and gets his way doing so. MacMurray with his sly grin, and his casual but no nonsense approach fully controls the scenes he is in during the early parts of the film. MacMurray equally is effective in his scenes with Shirley MacLaine. He makes the affair believable because again there is a certain charm in his performance and even a dominance in his performance that makes it so the affair can actually be believed. 

Sheldrake is a constant in the film though in that he never changes really in tone, or even in his own sense of morality. When he does something that hurts someone else MacMurray portrays as only interested to a point of pure selfishness. Even when his actions hurt himself there is no change portrayed by MacMurray, but MacMurray entirely earns the lack of change. MacMurray is steadfast in making Sheldrake the unrepentant selfish jerk he should be. There is nothing learned, when something does go wrong MacMurray portrays it as only an internal annoyance for Sheldrake, that he only really cares about how it harms him. MacMurray plays the part straight and works just as it should for the part, and the film as a whole.

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Alternate Best Supporting Actor 1960: Gene Kelly in Inherit the Wind

Gene Kelly did not receive an Oscar nomination for portraying E.K. Hornbeck in Inherit the Wind.

Gene Kelly on screen performance for the most part are very similar. They are basically only slight variations on the performance that he gave in his Oscar nominated performance in Anchors Aweigh. Kelly though plays a far more dramatic role here as the news paper writer who comes to town to cover the story of a teacher put on trial for teaching evolution in the classroom. Kelly portrays Hornbeck who is based on H.L. Mencken, who was interestingly also the basis for Arthur Kennedy's character in Elmer Gantry, although his character in that film is given a little less focus than Kelly here.

Kelly plays his part as a cynical showman, and actually he uses well his usual screen persona well refuting it in a way at the same time. He of course as the same voice, and one could argue almost the same delivery as in his musicals as Hornbeck, but with Hornbeck there is always an underlying deep rooted cynicism that always prevails. Kelly infuses every line he has with a great deal of enthusiasm and well showmanship, but below everything that he says there is always an unmistakable amount of venom within it.

This is a fairly limited role for Kelly actually after his speeches early in the film he mostly just has a quick reaction that only ever is brief, which is especially true in the court room scenes where he takes a back seat. That is not to say Kelly is forgotten, and he is good in coming in whenever he can bringing about the sharp wit of his character very well. He does not do a great deal though more until the end when Spencer Tracy's character questions his cynicism. Kelly is quite good in this scene as he shows Hornbeck feign any feelings of self-doubt, and quickly go back to his old ways. This is a pretty simple, Kelly does play it well though, and it shows that he had more in him than the Gene Kelly musical character.

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Alternate Best Supporting Actor 1960: Laurence Olivier in Spartacus

Laurence Olivier did not receive an Oscar nomination although he did receive a globe nomination for portraying Crassus in Spartacus.

Crassus is the main villain of the film a powerful Roman military commander who tries to seize all the power in Rome. He is a powerful man who tries to manipulate all to get the power he desires. Laurence Olivier here takes on the part with a forceful presence. He is very different from Laughton's Gracchus in that Olivier shows that Crasssus is one who directly forces his will on another through his own incredible force of will, something Olivier is simply incredible at doing. In every scene that he is in Olivier leaves not questions to who the commanding presence is, he is always controlling in almost every way as Crassus.

Olivier conveys especially well the pompous superiority in Crassus, that almost never ceases, especially since he is never truly defeated in the film. Even though Crassus repeatedly claims that he is a Roman true and true, and his passion for Rome comes from his own heritage as a patrician, Olivier is keen in showing that really his since of honor is entirely about himself. Olivier is terrific because he tells both a lie and the truth when telling others about his belief in Rome, and his love of his heritage. Olivier appropriately puts the conviction that makes it believable to all others would buy his sentiment, but Olivier brilliantly in his eyes suggests the truth that Crassus only cares of himself. 

As a villain Olivier is excellent in portraying the brutal intelligence of Crassus quietly. He is able to create the brilliant strategist that is Crassus in both quiet and louder moments. In the louder moments he is the dominate personality that makes Crassus a true dictator who has absolute sway. In the quieter moments Olivier never fails to still pull you in with a great intensity. In the final battle scene for example Olivier almost barely moves but nevertheless the intelligence, conviction, and even is brutality is all shown in Olivier's pronounced and unwavering expression.  He make Crassus simply a force that is not to be reckoned, Olivier actually makes Spartacus's eventual defeat an inevitability.

Now importantly Olivier never plays Crassus as just a one dimensional evil tyrant, he certainly portrays him as an evil tyrant but never a one note one. Olivier does this best in the scenes where he interacts with Spartacus's love interest and later wife Varinia (Jean Simmons). Olivier who so perfectly showed the power of the man in the political arena now just as effectively portrays the weakness of the man in the personal arena. Olivier is astounding as he honestly brings to light the pain in Crassus over his inability to understand how she can love Spartacus and not him. It is a entirely genuine struggle and fear in Crassus that Olivier conveys within Crassus over her inability to love him in that same way.

This is just a brilliant performance from the great Olivier. He only succeeds in the role of Crassus creating a fascinating villain that can't help but be a villain. One of my favorite moments of this performance is when Crassus is trying to woo Varinia, and he threatens his child. Olivier plays it so wonderfully because he doesn't pile on the menace like Crassus is just trying to be evil, no instead he does it entirely casually as if Crassus do to his life as a Roman can't help but be evil. This is a terrific work by Olivier as he masterfully creates Crassus into an overpowering villain, and he never once fails to be the worthy adversary needed for the film, but just as well always succeeds in making Crassus a three dimensional character as well as a villain.

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Alternate Best Supporting Actor 1960: Charles Laughton in Spartacus

Charles Laughton did not receive an Oscar nomination for portraying Gracchus in Spartacus.

Charles Laughton portrays Gracchus the powerful Roman senator who is described as the head of the mob. He stands as the most powerful opponent to the wannabe dictator Crassus (Laurence Olivier), but he himself is not exactly opposed to certain vices like making somewhat shady deals to get his ends.Watching the film once again I must say that I ended up being a little less impressed by Laughton and more impressed with Peter Ustinov who Laughton appears in many scenes with. I must say in fact I upped Ustinov to a 4 and he now stands second place out of the nominees.

Laughton though is certainly is usually enjoyable self in the role of Gracchus bringing his usual sly manner and wit to the part that is fitting for Gracchus who is constantly playing the politics within Rome to try get what he wants. Laughton makes Gracchus a likable, quietly charming sort, although he effectively inserts the technically unsavory qualities of his character in the usual Laughton style. He is an enjoyable character when he is on screen and his scenes with Ustinov are particularly entertaining as the two play off of each other splendidly.

Laughton is properly believable though in the scenes of the political fighting. Laughton takes the opposite approach to Olivier in that he shows that Gracchus moves to get his way through indirect manner. He does not push his personality on the others rather Laughton shows a far more calm sort of charisma that shows the presence and strength of Gracchus in the political setting well. He creates an interesting contrast with the forceful performance by Olivier, and makes their scenes where they go head to head quite powerful.

This is not quite an incredible performance by Charles Laughton but it is most certainly is a good one. Laughton makes Gracchus a worthy opponent to Olivier's Crassus. He as well creates some of the most entertaining moments in the film through his fun scenes with Ustinov that are work especially well. This is a worthy performance that adds well to his film working well to make the political aspects of the story just as  if not more interesting than the slave revolt.  

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Alternate Best Supporting Actor 1960: Eli Wallach in The Magnificent Seven

Eli Wallach did not receive an Oscar nomination for portraying Calvera in The Magnificent Seven.

The Magnificent Seven although holds a certain entertainment value certianly is flawed, and inferior to the Seven Samurai.

I actually considered doing all of the supporting six of the Magnificent seven as one group of reviews, but I thought I could just handle them at the the beginning of this review. Steve McQueen shows conviction with every line whether they deserve them or not, and is quite good in his usual way. James Coburn probably is my favorite of the seven even though, or perhaps because he has the simplest role, but he is great at being the stoic bad ass of the group. Aside from McQueen and Coburn the other four all of their little human stories to go with them for better or worse.

Charles Bronson and Brad Dexter are descent even if they are saddled down by dealing far too much with terrible actors supporting their stories. Robert Vaughn has perhaps the most baity role actually, in that he most certainly has the traditional "Oscar scene". Vaughn actually is fine at being quietly uneasy throughout, but his big break down scene doesn't really work even though again he has to deal with terrible supporting actors for the scene. Vaughn does not really earn the scene enough, but I suppose it probably would have been better if he was not supported in such an awful fashion.

Horst Buchholz technically speaking is almost lead as he is sort of playing the Toshiro Mifune role, although Vaughn sort of elements of his role as well, but the role is truncated and heavily changed from the original. Buchholz certainly gives it a try, he is no Mifune, but he is also no Steve McQueen when it comes to conviction and likability. Buchholz just does not make his character of Chico very endearing. He unfortuantely becomes actually rather annoying. In fact his performance is the least effective of the six supporting heroes, even though he might actually get the most time individually.

The Magnificent Seven certainly has many reasons why it is inferior to The Seven Samurai. Kurosawa's film is very much a director's film and through his direction he avoid many of the flaws in this version. For example there is far too much on the villagers who are the awful supporting actors I referred to. This version also suffers through clunky philosophical dialogue, and even though there is greater emphasis on the performances in this version for the most part most of the actors do not capitalize on this fact. The Magnificent Seven must be given its due in two points though it has a great score, and a far more memorable villain than the original film.

Apparently Wallach originally wanted the role which was going to be the Toshiro Mifune equivalent character, but ended up being wanted for the role of the leader of the bandits Calvera. Wallach apparently only would take the role if he was allowed to have Calvera look like a man who actually spent his money from his thievery, and this request of Wallach is a great indication to the fact that he refuses to ever allow Calvera to be just a throw away villain. Wallach takes the role that could have been absolutely forgettable, and seeks to make the most of him even with the little time he is actually given.

Wallach in his opening scene brings a great deal of fun and style into the role. In the scene Calvera goes on about telling the village about how he will steal their crops, and their is not anything they can do about it. Wallach is very entertaining in this scene having a certain charm even while carrying the underlying threat perfectly. Wallach takes on the role with such naturalism actually, he does not play Calvera with anger until Calvera would actually get angry. Wallach has a joy here as Calvera tells the people about how he sees the world. Wallach with ease honestly turns Calvera into an actual person first as there is no reason he should be constantly evil.

When Calvera does kill one of the villagers Wallach plays it out brilliantly he does not laugh or enjoy killing in any way. Instead Wallach more realistically portrays Calvera being frustrated with indignation to the villagers for forcing him to kill him. Wallach makes a great first impression and really there could not be more that one would want from a character like this that Wallach gives. To be absolutely truthful Wallach does not make one dread the return of the bandits as one might thing, but the only thing the return of the bandits means more of Wallach's performance as Calvera.

Wallach in all of his appearances manages to liven the screen with his presence, stealing every scene that he is in completely through the great style he brings to part. Every moment and every line delivery he never leaves simple, and makes Calvera a truly entertaining villain. Due to the fact that he never focuses on the menace, Wallach actually creates a far greater impact when the more intense side to Calvera does come out. This is simply just an expert depiction of villain where Wallach does far more than the part required, which perhaps is best shown in his death scene.

Throughout his performance Wallach brilliantly added touches of a certain underlying philosophy in Calvera, that brought about his actions in the film. He lightly portrays the quiet sense of superiority Calvera feels over the villagers that leaves him flabbergasted over the Seven's repeated attempts at helping them. Wallach is simply marvelously as he honestly portray the lack of understanding Calvera has for their heroic actions, particularly in his death scene. Wallach almost allows us to sympathize with Calvera for a moment because he truthfully portrays the moment of disbelief than realization without fault. An incredible performance by Wallach only held back by the limitations of the part, but Wallach shows exactly how a great actor can make the most out of any part.

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Alternate Best Supporting Actor 1960

And the Nominees Were Not:

Fred MacMurray in The Apartment 

Eli Wallach in The Magnificent Seven

Charles Laughton in Spartacus

Laurence Olivier in Spartacus

Gene Kelly in Inherit The Wind

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