Robert Shaw in Jaws
John Cazale in Dog Day Afternoon
Charles Durning in Dog Day Afternoon
Max von Sydow in Three Days of the Condor
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..
Best Supporting Actor 2011: Nick Nolte in Warrior
Nick Nolte received his third Oscar nomination for portraying Paddy Conlon in Warrior.Warrior details a winner take all mixed martial art tournament whose two main combatants are estranged brothers (Tom Hardy, Joel Edgerton) fighting for their own difficult reasons.
Alternate Best Actor 2011
And the Nominees Were Not:Ryan Gosling in DriveRobert Wieckiewicz in In DarknessMichael Fassbender in ShameMichael Shannon in Take ShelterBrendan Gleeson in The Guard..
Showing posts with label 1975 Best Supporting Actor. Show all posts
Showing posts with label 1975 Best Supporting Actor. Show all posts
Friday, June 8, 2012
Best Supporting Actor 1975: Results
Robert Shaw in Jaws
John Cazale in Dog Day Afternoon
Charles Durning in Dog Day Afternoon
Max von Sydow in Three Days of the Condor
Best Supporting Actor 1975: Brad Dourif in One Flew Over The Cuckoos Nest
Brad Dourif received his first Oscar nomination for portraying Billy Bibbit in One Flew Over the Cuckoos Nest.
Brad Dourif is someone who today might be described as a bit of a chronic over actor, or at least one strange actor with many performances that are certainly quite the far cry from his first credited film performance as Billy Bibbit a patient in a mental ward. This actually for most of the film is a small and subtle performance by Dourif. For much of the film Dourif is part of the group of men in the mental ward. I would say he is one of the more prominent ones, but always along with the others admiring Randall McMurphy's (Jack Nicholson) antics well also being scared by Nurse Ratched (Louise Fletcher).
Dourif is always good as part of the crowd and adds well to the atmosphere of the hospitality. He is quite good in showing that Billy is one of the men who most idolizes McMurphy as well as consistently being facinated by McMurphy's presence in the hospital. He adds well to showing how much of an effect really McMurphy has on the other patients by showing Billy being genuinely curious as well as somewhat inspired by McMurphy's defiant attitude toward Nurse Ratched. Dourif though always stays back though as he should, because although he is most certainly impressed by McMurphy, he still is very much unable to stand up for himself.
Dourif is very much a likable presence in the film and gives a rather honest portrait as the very meek Billy Bibbit. Dourif body language and his stutter are both handled very well. He does not overplay either aspect and they feel like an performance, but rather genuine aspect of Billy that actually helps amplify his personality. Dourif perfectly conveys just how shy and retiring Billy is, as well as he effectively conveys how troubled Billy is as well. Although we never see her Dourif is able to show in just a few short moments by the fear, and anguish in Billy's face that this has been caused by his his own mother.
Although I won't say that Dourif really sticks out all that much through most of the film as this is Jack Nicholson's show from almost beginning to end, Will Sampson as Chief has the end, but Dourif really should not be. All of the other men are suppose to be smaller men than McMurphy who is properly made the focus by Nicholson's incredible performance which I must say after watching him again he is now neck and neck with Pacino for me just like all of his runner ups in the 70's. Anyways Dourif fits in with the other men properly and creates with the other actors effectively create the environment of the film as well as show the impact of McMurphy.
Dourif though near the end of the film though does have a moment all his own after Billy loses his virginity due to McMurphy's idea of using his prostitute girlfriend for the task, but Nurse Ratched catches him with the woman and threatens to tell his mother. Dourif is heartbreaking in this scene because he at first shows Billy as far more outgoing person who possibly can break out of his constant fears, but when threatened he reverts completely. Dourif is terrific when Billy pleads Ratched not to tell his mother bringing to life the intense terror Billy faces over knowing what will happen if his mother were to find out. He screams of pain are truly moving as Billy completely falls apart into tragic despair. This is a strong work by Dourif and this final scene of his is great which makes a very substantial impact on the film. I won't say Dourif's is the most memorable performance in the film, but I would say his performance is certainly a memorable performance from the film.
Dourif is always good as part of the crowd and adds well to the atmosphere of the hospitality. He is quite good in showing that Billy is one of the men who most idolizes McMurphy as well as consistently being facinated by McMurphy's presence in the hospital. He adds well to showing how much of an effect really McMurphy has on the other patients by showing Billy being genuinely curious as well as somewhat inspired by McMurphy's defiant attitude toward Nurse Ratched. Dourif though always stays back though as he should, because although he is most certainly impressed by McMurphy, he still is very much unable to stand up for himself.
Dourif is very much a likable presence in the film and gives a rather honest portrait as the very meek Billy Bibbit. Dourif body language and his stutter are both handled very well. He does not overplay either aspect and they feel like an performance, but rather genuine aspect of Billy that actually helps amplify his personality. Dourif perfectly conveys just how shy and retiring Billy is, as well as he effectively conveys how troubled Billy is as well. Although we never see her Dourif is able to show in just a few short moments by the fear, and anguish in Billy's face that this has been caused by his his own mother.
Although I won't say that Dourif really sticks out all that much through most of the film as this is Jack Nicholson's show from almost beginning to end, Will Sampson as Chief has the end, but Dourif really should not be. All of the other men are suppose to be smaller men than McMurphy who is properly made the focus by Nicholson's incredible performance which I must say after watching him again he is now neck and neck with Pacino for me just like all of his runner ups in the 70's. Anyways Dourif fits in with the other men properly and creates with the other actors effectively create the environment of the film as well as show the impact of McMurphy.
Dourif though near the end of the film though does have a moment all his own after Billy loses his virginity due to McMurphy's idea of using his prostitute girlfriend for the task, but Nurse Ratched catches him with the woman and threatens to tell his mother. Dourif is heartbreaking in this scene because he at first shows Billy as far more outgoing person who possibly can break out of his constant fears, but when threatened he reverts completely. Dourif is terrific when Billy pleads Ratched not to tell his mother bringing to life the intense terror Billy faces over knowing what will happen if his mother were to find out. He screams of pain are truly moving as Billy completely falls apart into tragic despair. This is a strong work by Dourif and this final scene of his is great which makes a very substantial impact on the film. I won't say Dourif's is the most memorable performance in the film, but I would say his performance is certainly a memorable performance from the film.
Wednesday, June 6, 2012
Best Supporting Actor 1975: George Burns in The Sunshine Boys
George Burns won his Oscar from his first Oscar nomination for portraying Al Lewis in The Sunshine Boys.
Something funny about this year is that George Burns won his Oscar from what some believe to be a veteran award, but in all truth the last time Burns had been in a film was before two of his fellow nominees Brad Dourif, and Chris Sarandon were even born. Burns work here is most certainly not just a throwaway award to the entertainer, since Burns gives a great performance here as the retired former vaudevillian brought back to just one more show with his old partner Willie Clark for a television special. Burns performance for whatever reason has been described as one of the worst winners in the category, which is outrageous of course, but they usually say this is because either basically Burns was old when he won as well as they say his performance is one note.
I suppose with a rather broad definition of one note one could describe Burns's performance as such, but that would be one note of dead pan brilliance. From his first moment on screen to his last Burns is hilarious in the role, but just how much he downplays his entire performance. There is not a single visible moment in which you can spot Burns trying to go for a laugh as Al Lewis, yet that is all that Burns really is doing for almost his entire performance. This is a completely spot on dead pan work from Burns that it very very difficult to pull off effectively, after all you don't ever act out for you laughs you underplay for them, but Burns is a master of it here.
This approach is fitting for Al Lewis who is a rather unassuming old man who just likes to relax at his daughter's home, and spend time with his grandchildren, and really is the polar opposite of his former frantic comedy partner Willie. Their scenes together are the highlight of the film, as well as the only time I really feel that Matthau's performance and the character of Willie really work. Their dynamic is terrific as the constantly upset in some way Willie is always ready to argue at the slightest disagreement and Matthau really plays up every scene with all sorts of yelling and hand gestures, whereas Al is always calm, and Burns is absolutely quiet and barely moves.
Where Matthau's old man routine gets old in all of the other scenes, they work here because of Burns to basically make the punchline to every set up by giving his simple response to every one of Matthau's over the top action. I will admit Burns absolutely steals every scene, and pretty much just uses Matthau's performance to his own end, since every time I laughed at any of these scenes it was due to Burns not Matthau. Burns knows exactly how to play off of Matthau so really he always gets the last laugh. Burns is just on the entire time he is on screen and he never has a wrong moment during his entire performance, it is deadpan comedy gold from beginning to end.
George Burns is really just perfect in the role as the aged vaudevillian. I should also say that it does not matter whether he is Matthau or not, he is equally hilarious with Richard Benjamin as Willie's nephew and agent as he is with Matthau. Everything about Al Lewis is portrayed brilliantly by Burns rather it is his old aged memory lapses, to his actual on stage performance which although is still dead pan Burns brilliantly adds just a little more energy to the proceedings showing the difference between his off stage and on stage personalities. This difference is slight and subtle but Burns could not handle it better. Burns's act here never gets old, and every moment he has he makes as enjoyable and entertaining as he possibly can.
I will say that the more dramatic moments in his performance which come near the end are similarly well handled, even if they are short. There are two scenes in near the end of the film where he worries about Willie's health. Burns still stays consistent to his portrayal of Al as a quiet and simple man, but he does effectively convey that although Al and Willie constantly fight he does love the big guy after all. Burns again makes it simple but a genuine care he shows Al has for Willie, and it works extremely well for the end of the film. This is not the main facet of his performance, the main facet of his performance is just being funny in his brilliant deadpan manner, but it is just another part of this great characterization by Burns.
I suppose with a rather broad definition of one note one could describe Burns's performance as such, but that would be one note of dead pan brilliance. From his first moment on screen to his last Burns is hilarious in the role, but just how much he downplays his entire performance. There is not a single visible moment in which you can spot Burns trying to go for a laugh as Al Lewis, yet that is all that Burns really is doing for almost his entire performance. This is a completely spot on dead pan work from Burns that it very very difficult to pull off effectively, after all you don't ever act out for you laughs you underplay for them, but Burns is a master of it here.
This approach is fitting for Al Lewis who is a rather unassuming old man who just likes to relax at his daughter's home, and spend time with his grandchildren, and really is the polar opposite of his former frantic comedy partner Willie. Their scenes together are the highlight of the film, as well as the only time I really feel that Matthau's performance and the character of Willie really work. Their dynamic is terrific as the constantly upset in some way Willie is always ready to argue at the slightest disagreement and Matthau really plays up every scene with all sorts of yelling and hand gestures, whereas Al is always calm, and Burns is absolutely quiet and barely moves.
Where Matthau's old man routine gets old in all of the other scenes, they work here because of Burns to basically make the punchline to every set up by giving his simple response to every one of Matthau's over the top action. I will admit Burns absolutely steals every scene, and pretty much just uses Matthau's performance to his own end, since every time I laughed at any of these scenes it was due to Burns not Matthau. Burns knows exactly how to play off of Matthau so really he always gets the last laugh. Burns is just on the entire time he is on screen and he never has a wrong moment during his entire performance, it is deadpan comedy gold from beginning to end.
George Burns is really just perfect in the role as the aged vaudevillian. I should also say that it does not matter whether he is Matthau or not, he is equally hilarious with Richard Benjamin as Willie's nephew and agent as he is with Matthau. Everything about Al Lewis is portrayed brilliantly by Burns rather it is his old aged memory lapses, to his actual on stage performance which although is still dead pan Burns brilliantly adds just a little more energy to the proceedings showing the difference between his off stage and on stage personalities. This difference is slight and subtle but Burns could not handle it better. Burns's act here never gets old, and every moment he has he makes as enjoyable and entertaining as he possibly can.
I will say that the more dramatic moments in his performance which come near the end are similarly well handled, even if they are short. There are two scenes in near the end of the film where he worries about Willie's health. Burns still stays consistent to his portrayal of Al as a quiet and simple man, but he does effectively convey that although Al and Willie constantly fight he does love the big guy after all. Burns again makes it simple but a genuine care he shows Al has for Willie, and it works extremely well for the end of the film. This is not the main facet of his performance, the main facet of his performance is just being funny in his brilliant deadpan manner, but it is just another part of this great characterization by Burns.
Tuesday, June 5, 2012
Best Supporting Actor 1975: Burgess Meredith in The Day of The Locust
Burgess Meredith received his first Oscar nomination for portraying Harry Greener in The Day of the Locust.
The Day of the Locust tells of some various strange characters living in depression era Hollywood.
Burgess Meredith portrays one of the strange characters a former vaudevillian Harry Greener who is the father of wannabee starlet Faye (Karen Black). Harry no longer has work on the vaudeville scene and instead is a door to door salesman. This sort of film has many character's given little time, and they also sometimes make very little impact. Meredith though even with his short amount of screen time does make quite an impact on the film particularly in his first scene when he tries to move his product to people by doing a bizarre version of his former vaudeville act.
Meredith is superb in this scene having all the energy and joy just like in a genuine vaudeville act, but it comes off as almost grotesque though do to the way it is being used. Meredith though is excellent because he has that spirit of the stage like Harry is performing in front of an entire audience even though he is only performing in front of one for a likely shoddy and overpriced product. Meredith makes an outstanding but bizarre dynamic in this scene clearly showing a very downtrodden man, but still that gleam of hope in his eyes.
Meredith has a fascinating method of portraying his character through out his whole small little section. He shows a heartbreaking portrait of a physically haggard man, which Meredith portrays flawlessly, but as well always shows this as an upbeat portrait. Really this could have just been one depressing character given his sickness in the film, and the sad state of the once great vaudevillian reduced in the way he is, but Meredith never portrays the character as such. There is always a certain joy and charm in his performance to show that even at rock bottom Harry always can still keep a smile on his face.
Meredith certainly has some strange scenes where Harry is coughing, and wrenching, but even in these moments Meredith still shows Harry is playing for a laugh. It is most certainly strange that Harry is always trying to be entertaining even when he is dying, but Meredith throws himself entirely into the role, and actually manages to make the character believable. It is a fascinating portrayal, and even though many of the character's just seem to be odd for odds sake, Meredith actually manages to breath actual life into his role, and makes Harry Greener a person first.
Meredith only has a few scenes but he never wastes one of them, he is particularly good in his later scenes where he tells about the good old days of his life, as well as about his unfaithful wife. Again Meredith miraculously never is overbearing in this moment, he shows a man with regrets in his life certainly, but also a great degree of happiness in these memories as well. Meredith in this scene brilliantly conveys the golden age of this man, as well as his particular history, and his own rather peculiar outlook in his life, particularly when speaking of his wife.
Harry certainly is not proud his wife, most certainly has little regard for her, but still he loves her despite all of it. Meredith is wonderful because of this undying positive quality always is made absolutely genuine in his performance, it never feels false which is incredible. He never makes Harry just seem stupid either, in his reflections he shows Harry certainly had pains, but Meredith just shows that his enthusiasm for life has always overpowered these feelings. This is a great performance by Burgess Meredith creating a unique heartbreaking as well almost inspiring portrait of a dying vaudevillian. I would say I only wished he had been in the film more, but Meredith in his few scenes makes his own distinct and memorable mark on his film.
Burgess Meredith portrays one of the strange characters a former vaudevillian Harry Greener who is the father of wannabee starlet Faye (Karen Black). Harry no longer has work on the vaudeville scene and instead is a door to door salesman. This sort of film has many character's given little time, and they also sometimes make very little impact. Meredith though even with his short amount of screen time does make quite an impact on the film particularly in his first scene when he tries to move his product to people by doing a bizarre version of his former vaudeville act.
Meredith is superb in this scene having all the energy and joy just like in a genuine vaudeville act, but it comes off as almost grotesque though do to the way it is being used. Meredith though is excellent because he has that spirit of the stage like Harry is performing in front of an entire audience even though he is only performing in front of one for a likely shoddy and overpriced product. Meredith makes an outstanding but bizarre dynamic in this scene clearly showing a very downtrodden man, but still that gleam of hope in his eyes.
Meredith has a fascinating method of portraying his character through out his whole small little section. He shows a heartbreaking portrait of a physically haggard man, which Meredith portrays flawlessly, but as well always shows this as an upbeat portrait. Really this could have just been one depressing character given his sickness in the film, and the sad state of the once great vaudevillian reduced in the way he is, but Meredith never portrays the character as such. There is always a certain joy and charm in his performance to show that even at rock bottom Harry always can still keep a smile on his face.
Meredith certainly has some strange scenes where Harry is coughing, and wrenching, but even in these moments Meredith still shows Harry is playing for a laugh. It is most certainly strange that Harry is always trying to be entertaining even when he is dying, but Meredith throws himself entirely into the role, and actually manages to make the character believable. It is a fascinating portrayal, and even though many of the character's just seem to be odd for odds sake, Meredith actually manages to breath actual life into his role, and makes Harry Greener a person first.
Meredith only has a few scenes but he never wastes one of them, he is particularly good in his later scenes where he tells about the good old days of his life, as well as about his unfaithful wife. Again Meredith miraculously never is overbearing in this moment, he shows a man with regrets in his life certainly, but also a great degree of happiness in these memories as well. Meredith in this scene brilliantly conveys the golden age of this man, as well as his particular history, and his own rather peculiar outlook in his life, particularly when speaking of his wife.
Harry certainly is not proud his wife, most certainly has little regard for her, but still he loves her despite all of it. Meredith is wonderful because of this undying positive quality always is made absolutely genuine in his performance, it never feels false which is incredible. He never makes Harry just seem stupid either, in his reflections he shows Harry certainly had pains, but Meredith just shows that his enthusiasm for life has always overpowered these feelings. This is a great performance by Burgess Meredith creating a unique heartbreaking as well almost inspiring portrait of a dying vaudevillian. I would say I only wished he had been in the film more, but Meredith in his few scenes makes his own distinct and memorable mark on his film.
Monday, June 4, 2012
Best Supporting Actor 1975: Jack Warden in Shampoo
Jack Warden received his first Oscar nomination for portraying Lester Karpf in Shampoo.
Shampoo tells of a hairdresser George Roundy (Warren Beatty) various affairs and the troubles that ensue from them.
Jack Warden portrays Lester a wealthy man who is the husband of one of George's lovers, and is well having an affair with another. He is hapless in that he does not suspect George is having an affair with either of them because he believes George to be gay. This actually is not too much of a role for Warden and it is a pretty standard rich man duped by those around him. He usually is a bit confused, or a bit annoyed, by those around him. This really is quite the stock role for Warden in this film, but I will say though since Warden is always a competent character, he still is fine in the role even if it is simple.
Warden certainly fulfills the role and is believable as the rich man who really does not know very much about those around him even if he thinks he does. His reactions at the various situations are humorous enough while not going over the top making it so when he finally does realize what is going on it is believable that he would. There really is just not much to be said about his performance here, because the role really is quite simple, but whatever he does do in the role Warden does do well. It is not particularly spectacular work, but Warden as usual knows how to portray the part.
Lester could have been an extremely unlikable character due to his behavior in many scenes, but I will credit to Warden for having a certain natural charm to keep Lester from being completely despicable. In fact in a few of the later scenes Warden carefully but effectively shows a bit of a nicer side to Lester. In the end though there just is not a lot to the character, so there really is not much to his performance. Warden though successfully plays the part, he does what is required not much more, but certainly no less. This is not a great performance but it is fine work from a fine character actor.
Jack Warden portrays Lester a wealthy man who is the husband of one of George's lovers, and is well having an affair with another. He is hapless in that he does not suspect George is having an affair with either of them because he believes George to be gay. This actually is not too much of a role for Warden and it is a pretty standard rich man duped by those around him. He usually is a bit confused, or a bit annoyed, by those around him. This really is quite the stock role for Warden in this film, but I will say though since Warden is always a competent character, he still is fine in the role even if it is simple.
Warden certainly fulfills the role and is believable as the rich man who really does not know very much about those around him even if he thinks he does. His reactions at the various situations are humorous enough while not going over the top making it so when he finally does realize what is going on it is believable that he would. There really is just not much to be said about his performance here, because the role really is quite simple, but whatever he does do in the role Warden does do well. It is not particularly spectacular work, but Warden as usual knows how to portray the part.
Lester could have been an extremely unlikable character due to his behavior in many scenes, but I will credit to Warden for having a certain natural charm to keep Lester from being completely despicable. In fact in a few of the later scenes Warden carefully but effectively shows a bit of a nicer side to Lester. In the end though there just is not a lot to the character, so there really is not much to his performance. Warden though successfully plays the part, he does what is required not much more, but certainly no less. This is not a great performance but it is fine work from a fine character actor.
Sunday, June 3, 2012
Best Supporting Actor 1975: Chris Sarandon in Dog Day Afternoon
Chris Sarandon received his first Oscar nomination for portraying Leon Shermer in Dog Day Afternoon.
Dog Day Afternoon has a great supporting cast particularly in regard to supporting actors. Charles Durning is great in the role of the police officer desperately trying to negotiate a non violent solution to the bank robbery turned hostage situation caused by Sonny (Al Pacino). The for some impossible to know reason never nominated John Cazale is amazing as Sonny's accomplish Sal who is both convincingly dangerous as well as heartbreaking in the role. The only man nominated though for the film though was Chris Sarandon who has a smaller role than the other two men, but a role very important to the film.
Sarandon is the center of his two scenes as Leon who is the man brought in for Sonny after Sonny requested that his wife be brought to the scene of the botched robbery. Leon is the homosexual lover of Sonny as well as a pre-operative transsexual. Sarandon has only two scenes to establish his character who is an important one in the film, but Sarandon is completely successful in realizing Leon even though he does not have much time to do so. This was Sarandon first film role, but there is not amateurism in his performance. He is instantly up to the task of the part, and manages to hold the screen when he finally does appear.
Portraying a homosexual character can easily be a place where an actor can overact, or actually simply show their abilities. Thankfully Sarandon stands on the William Hurt in Kiss of the Spider Woman side of things rather than the Ed Harris in the Hours side. Sarandon certainly uses some mannerisms in his performance being not only a pre-operative transsexual but also quite dazed from coming out of a drug induced state. Sarandon though carries these subtly and always as the character. It only serves to amplify Leon as a character, and it never feels like an obvious performance ever.
Chris Sarandon is absolutely terrific in both of his scenes. Sarandon is very effective in his first scene showing Leon to a very confused person by both the situation with Sonny, as well as his own current situation in his life. Sarandon is completely convincing in this scene showing exactly who Leon is, and showing us where exactly Leon has come from. Sarandon doesn't once overplay any moment of when Leon is telling the police how he has gotten to this point with Sonny. Sarandon brings to life his emotional pressure on Leon, as well as his pain vividly without a false moment.
Where he is great in his first scene he is incredible in his second when he has a phone call with Sonny. This is a shining moment in both Pacino's and Sarandon's performance as they absolutely nail the relationship between the two. Sarandon is excellent here because he shows that Leon has one very complex relationship with Sonny. He shows Leon as emotional and frightened over the events transpiring, and looking to Sonny for some sort of comfort, but at the same time Sarandon always conveys that Leon is also a bit scared of Sonny as well. Sarandon is quite heartbreaking because he does have Leon care very much for Sonny, but at the same time there is always a pain there indicating the unpredictability of their relationship that Sarandon shows Leon has trouble dealing with.
After this scene Leon is not seen again, but nevertheless in this one scene the two actors say it all really between the two. It is an amazing scene that is one of the most memorable scenes in the film thanks to both of the actors. Although Sarandon is only these two scenes he is great in both of them fully realizing Leon as a real person. Sarandon completely is Leon, and gives a strong performance making the absolutely most of every second of screen time, as well not once failing to meet the challenge of such a unique character as Leon is.
Sarandon is the center of his two scenes as Leon who is the man brought in for Sonny after Sonny requested that his wife be brought to the scene of the botched robbery. Leon is the homosexual lover of Sonny as well as a pre-operative transsexual. Sarandon has only two scenes to establish his character who is an important one in the film, but Sarandon is completely successful in realizing Leon even though he does not have much time to do so. This was Sarandon first film role, but there is not amateurism in his performance. He is instantly up to the task of the part, and manages to hold the screen when he finally does appear.
Portraying a homosexual character can easily be a place where an actor can overact, or actually simply show their abilities. Thankfully Sarandon stands on the William Hurt in Kiss of the Spider Woman side of things rather than the Ed Harris in the Hours side. Sarandon certainly uses some mannerisms in his performance being not only a pre-operative transsexual but also quite dazed from coming out of a drug induced state. Sarandon though carries these subtly and always as the character. It only serves to amplify Leon as a character, and it never feels like an obvious performance ever.
Chris Sarandon is absolutely terrific in both of his scenes. Sarandon is very effective in his first scene showing Leon to a very confused person by both the situation with Sonny, as well as his own current situation in his life. Sarandon is completely convincing in this scene showing exactly who Leon is, and showing us where exactly Leon has come from. Sarandon doesn't once overplay any moment of when Leon is telling the police how he has gotten to this point with Sonny. Sarandon brings to life his emotional pressure on Leon, as well as his pain vividly without a false moment.
Where he is great in his first scene he is incredible in his second when he has a phone call with Sonny. This is a shining moment in both Pacino's and Sarandon's performance as they absolutely nail the relationship between the two. Sarandon is excellent here because he shows that Leon has one very complex relationship with Sonny. He shows Leon as emotional and frightened over the events transpiring, and looking to Sonny for some sort of comfort, but at the same time Sarandon always conveys that Leon is also a bit scared of Sonny as well. Sarandon is quite heartbreaking because he does have Leon care very much for Sonny, but at the same time there is always a pain there indicating the unpredictability of their relationship that Sarandon shows Leon has trouble dealing with.
After this scene Leon is not seen again, but nevertheless in this one scene the two actors say it all really between the two. It is an amazing scene that is one of the most memorable scenes in the film thanks to both of the actors. Although Sarandon is only these two scenes he is great in both of them fully realizing Leon as a real person. Sarandon completely is Leon, and gives a strong performance making the absolutely most of every second of screen time, as well not once failing to meet the challenge of such a unique character as Leon is.
Saturday, June 2, 2012
Best Supporting Actor 1975
Chris Sarandon in Dog Day Afternoon
Burgess Meredith in The Day of The Locust
George Burns in The Sunshine Boys
Brad Dourif in One Flew Over the Cuckoos Nest
Jack Warden in Shampoo
And here it is my final year in the supporting category.
