Michael Palin in A Fish Called Wanda
Alan Rickman in Die Hard
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 1988 Best Supporting Actor. Show all posts
Showing posts with label 1988 Best Supporting Actor. Show all posts
Tuesday, November 15, 2011
Best Supporting Actor 1988: Results
Michael Palin in A Fish Called Wanda
Alan Rickman in Die Hard
Best Supporting Actor 1988: Kevin Kline in A Fish Called Wanda
Kevin Kline won his Oscar from his only nomination so far for portraying Otto West in A Fish Called Wanda.
A Fish Called Wanda is crime caper comedy about various jewel thieves, and an English Barrister trying to get the best of each other.
Although one criticism of the Oscars that usually comes up is that they do not reward enough comedies, and comedic performance. This really is not at all true for the supporting actor category where many of the winners are either comic relief characters in some way, have a lot of humor in a dramatic performance sort of characters, and even characters who are full completely just about completely comedic such as Charles Coburn in The More the Merrier, and Kevin Kline in this film.
Kevin Kline plays one of the jewel thieves Otto who is a weapon specialist who claims to be the brother of the female thief Wanda (Jamie Lee Curtis), even though he is actually not her brother but rather her lover. This is a completely insane by Kline that does not have an ounce of subtly in it, every reactions is very broad, and makes itself known. Although I do not usually go for performances like this this one is just about perfect because Kline is in a broad comedy, not a drama or even dramedy.
Although in broad comedy one could still blunder with the wrong material, for taking the material in the wrong way. Luckily for Kline the material is quite good, and to Kline's own credit he knows exactly how to play it. Kline simply makes the moment of every line and every moment he has. Kline never lets his performance for a moment slow down and is always putting a little humor in every sly smile, broad physical gesture, or look.
Kline is just hilarious whenever he can be. A comedic performance like this really is one of the hardest type of performance to say why it is so funny. Kline simply gets it right from his spot on timing, to his perfect expressions. He makes Otto the perfect pompous idiot who thinks he is a genius just because he happens to read a lot of different philosophers. It is just a hilarious unique characterization that absolutely works.
I suppose my favorite two scenes though are scenes with Micheal Palin (whose performance is my favorite in the film) as Ken the animal loving, inept hitman, and stuttering fellow thief. First Otto's interrogation of Ken is just perfect, than only topped for me by their final face off against each other at the end. I cannot help but laugh as the two play off each other so well. This is simply a great comic performance from Kevin Kline that makes the most of everything he has and does not falter once as a performance like this can so easily.
Although one criticism of the Oscars that usually comes up is that they do not reward enough comedies, and comedic performance. This really is not at all true for the supporting actor category where many of the winners are either comic relief characters in some way, have a lot of humor in a dramatic performance sort of characters, and even characters who are full completely just about completely comedic such as Charles Coburn in The More the Merrier, and Kevin Kline in this film.
Kevin Kline plays one of the jewel thieves Otto who is a weapon specialist who claims to be the brother of the female thief Wanda (Jamie Lee Curtis), even though he is actually not her brother but rather her lover. This is a completely insane by Kline that does not have an ounce of subtly in it, every reactions is very broad, and makes itself known. Although I do not usually go for performances like this this one is just about perfect because Kline is in a broad comedy, not a drama or even dramedy.
Although in broad comedy one could still blunder with the wrong material, for taking the material in the wrong way. Luckily for Kline the material is quite good, and to Kline's own credit he knows exactly how to play it. Kline simply makes the moment of every line and every moment he has. Kline never lets his performance for a moment slow down and is always putting a little humor in every sly smile, broad physical gesture, or look.
Kline is just hilarious whenever he can be. A comedic performance like this really is one of the hardest type of performance to say why it is so funny. Kline simply gets it right from his spot on timing, to his perfect expressions. He makes Otto the perfect pompous idiot who thinks he is a genius just because he happens to read a lot of different philosophers. It is just a hilarious unique characterization that absolutely works.
I suppose my favorite two scenes though are scenes with Micheal Palin (whose performance is my favorite in the film) as Ken the animal loving, inept hitman, and stuttering fellow thief. First Otto's interrogation of Ken is just perfect, than only topped for me by their final face off against each other at the end. I cannot help but laugh as the two play off each other so well. This is simply a great comic performance from Kevin Kline that makes the most of everything he has and does not falter once as a performance like this can so easily.
Monday, November 14, 2011
Best Supporting Actor 1988: River Pheonix in Running On Empty
River Phoenix received his only Oscar nomination for portraying Danny Pope in Running On Empty.
Running on Empty depicts two former radicals who have been long since on the run for their actions earlier in life. They have been on the run so long that they now have two sons.
River Phoenix plays the older son of the two radicals who is becoming tired of having to run from place to place changing their names and their lives at every different place they go to. This is not a supporting performance by River Phoenix as the film is all about Danny's growth away from the family, and his want to no longer run. This again tough falls into because the person is too young, as well as playing a young character they are thrown in the supporting category where they do not belong.
River Phoenix who was sort of a James Dean with his sudden death, although with far less of a legacy and impact. I only really make this comparison though really because Phoenix certianly takes a very much James Dean like approach in the part of Danny Pope in this film. Through his performance he stays rather almost strangely quiet just as James Dean did in many key scenes of his films, although unlike James Dean he does this basically throughout his performance and with far less mannerisms. Just like James Dean though he brings attention to himself through his quietude strangely enough.
Phoenix certainly has a screen presence and low key charisma fitting for the role of Danny who charms many people although always stays a mystery to them. Although the audience themselves know the mystery of the character Phoenix creates it in all of his scenes where the other characters do not know it. He shows there is always an extra layer to Danny, that is always apparent although very difficult to pin down exactly in Phoenix's performance just as it should be.
Although Danny leaves a troubled life, and very much wants to get out of it there is never a big scene where he bursts out in complete anger or anything like that. This actually makes perfect sense, and was the right approach for Danny. Danny has always been keeping secrets for his parents therefore purposefully never acts out, and Phoenix shows this history in his performance. Phoenix lets in little moments showing Danny wanted to perhaps say more, but always showing that there is the overriding loyalty to his family that keeps him with his quiet demeanor.
Phoenix gives an effective performance throughout the film that certainly reaches its height at the end of the film when Danny must face the facts about his life with his family. His final scene in particular is well handled by Phoenix conveying both a love for his family, as well as sense of Danny's new found freedom. This is a good performance but I personally cannot quite call it a great one.
Although most certainly fine throughout only his final scene really was moving for me. I do think this could have been even more than it was particularly with his scenes with Martha Plimpton as they could have been more interesting than they were if Phoenix and Plimpton had stronger chemistry. Still this most certianly is a fine performance from Phoenix that creates the portrait of the very particular Danny quite well.
River Phoenix plays the older son of the two radicals who is becoming tired of having to run from place to place changing their names and their lives at every different place they go to. This is not a supporting performance by River Phoenix as the film is all about Danny's growth away from the family, and his want to no longer run. This again tough falls into because the person is too young, as well as playing a young character they are thrown in the supporting category where they do not belong.
River Phoenix who was sort of a James Dean with his sudden death, although with far less of a legacy and impact. I only really make this comparison though really because Phoenix certianly takes a very much James Dean like approach in the part of Danny Pope in this film. Through his performance he stays rather almost strangely quiet just as James Dean did in many key scenes of his films, although unlike James Dean he does this basically throughout his performance and with far less mannerisms. Just like James Dean though he brings attention to himself through his quietude strangely enough.
Phoenix certainly has a screen presence and low key charisma fitting for the role of Danny who charms many people although always stays a mystery to them. Although the audience themselves know the mystery of the character Phoenix creates it in all of his scenes where the other characters do not know it. He shows there is always an extra layer to Danny, that is always apparent although very difficult to pin down exactly in Phoenix's performance just as it should be.
Although Danny leaves a troubled life, and very much wants to get out of it there is never a big scene where he bursts out in complete anger or anything like that. This actually makes perfect sense, and was the right approach for Danny. Danny has always been keeping secrets for his parents therefore purposefully never acts out, and Phoenix shows this history in his performance. Phoenix lets in little moments showing Danny wanted to perhaps say more, but always showing that there is the overriding loyalty to his family that keeps him with his quiet demeanor.
Phoenix gives an effective performance throughout the film that certainly reaches its height at the end of the film when Danny must face the facts about his life with his family. His final scene in particular is well handled by Phoenix conveying both a love for his family, as well as sense of Danny's new found freedom. This is a good performance but I personally cannot quite call it a great one.
Although most certainly fine throughout only his final scene really was moving for me. I do think this could have been even more than it was particularly with his scenes with Martha Plimpton as they could have been more interesting than they were if Phoenix and Plimpton had stronger chemistry. Still this most certianly is a fine performance from Phoenix that creates the portrait of the very particular Danny quite well.
Sunday, November 13, 2011
Best Supporting Actor 1988: Martin Landau in Tucker: The Man and His Dream
Martin Landau received his first Oscar nomination for portraying Abe Karatz in Tucker: The Man and His Dream.
Tucker: The Man and His Dreams depicts the efforts of Preston Tucker (Jeff Bridges) to bring to life his pioneering car design despite severe opposition from the big three Automobile producers.
Martin Landau plays a businessman Abe Karatz who is the first person of business to hear about Tucker's specific idea. Landau does a good job of just establishing the type of man Abe Karatz is simply through the way he walks and talks. Landau shows just from an always slightly harried look, and a tired walk that Karatz has frankly been through some bad buisness deals. Landau though shows not so many that he has given up his pursuit of money, but Landau shows in his whole body language that Abe is a business man through and through.
Martin Landau actually for a good amount of the film does not get to do very much other than talk about business and be aghast at some of Tucker's more flamboyant actions. There are certain moments though which shows Abe's slowly growing more attached to Tucker and his family, as well as Tucker's idea. Although for most of the film it is not given much time, but Landau is effective as he slowly shows Abe warm up to Tucker and his group quite effectively without it seeming at all forced.
Landau's most important scenes though come at the end of the film where Tucker faces some serious troubles when he is being prosecuted for fraud, and Abe reveals that he had earlier served time for bank fraud. Landau is great in his two key scenes one where he tells Tucker how he has grown to truly believe in Tuckers dream, which is effectively moving becuase Landau shows that this is first thing Abe has really ever believed in a very long time.
Landau's other most important moment comes from his single scene where he is testifying at the trial. Landau's performance is just great when Abe is asked if he expects anyone to believe him, and he says in reply "one". Landau in this moment shows an honest portrayal of friendship with Tucker as well as an earnest belief in Tucker himself. Although Landau never quite is amazing, and his part is sometimes limited he gives an effective performance that adds well to his film.
Martin Landau plays a businessman Abe Karatz who is the first person of business to hear about Tucker's specific idea. Landau does a good job of just establishing the type of man Abe Karatz is simply through the way he walks and talks. Landau shows just from an always slightly harried look, and a tired walk that Karatz has frankly been through some bad buisness deals. Landau though shows not so many that he has given up his pursuit of money, but Landau shows in his whole body language that Abe is a business man through and through.
Martin Landau actually for a good amount of the film does not get to do very much other than talk about business and be aghast at some of Tucker's more flamboyant actions. There are certain moments though which shows Abe's slowly growing more attached to Tucker and his family, as well as Tucker's idea. Although for most of the film it is not given much time, but Landau is effective as he slowly shows Abe warm up to Tucker and his group quite effectively without it seeming at all forced.
Landau's most important scenes though come at the end of the film where Tucker faces some serious troubles when he is being prosecuted for fraud, and Abe reveals that he had earlier served time for bank fraud. Landau is great in his two key scenes one where he tells Tucker how he has grown to truly believe in Tuckers dream, which is effectively moving becuase Landau shows that this is first thing Abe has really ever believed in a very long time.
Landau's other most important moment comes from his single scene where he is testifying at the trial. Landau's performance is just great when Abe is asked if he expects anyone to believe him, and he says in reply "one". Landau in this moment shows an honest portrayal of friendship with Tucker as well as an earnest belief in Tucker himself. Although Landau never quite is amazing, and his part is sometimes limited he gives an effective performance that adds well to his film.
Friday, November 11, 2011
Best Supporting Actor 1988: Alec Guinness in Little Dorrit
Alec Guinness received his fourth and final acting Oscar nomination for portraying William Dorrit in Little Dorrit.
Little Dorrit is probably the longest film ever to be nominated for an acting award running over six hours in its telling of the Charles Dickens' story of Little Dorrit about a young girl who is born and grows up in a debtors prison.
Alec Guinness plays William Dorrit the father of Little Dorrit. He was the once wealthy man but do to many debts ended up in the debtors prison bringing his family along with him. Guinness in the chronological early moments of his performance shows a depressed man. Guinness shows that William can barely believe that he has ended up in such a place, and has fallen to such a lowly position in which he must raise his children in to.
What amazes me always about Alec Guinness is the way he so naturally portrays almost all of his parts despite the fact there certainly must have been a great deal of calculation below the surface. The part of William Dorrit is no exception for Guinness. In his early scenes where he basically sits in a room rather depressed he shows various facets of William Dorrit. One important facet the fact that he was once wealthy. There is always the indication of Dorrit former situation in the way he talks, and acts, but Guinness shows he has ceased in the same way his luck has.
In the debtors prison he shows different shades of William Dorrit from when he is dealing with two of his less quiet children. In these scenes he still has an attempt of a fatherly strength to mold the children but it is clearly very much weakened because of his overall depressed state. He also when with his brother Guinness suggests that earlier in life William was the more successful brother, whom his brother looked up to, but not he no longer is. Guinness effectively though attempts to show his brother he still is a role model, although in an appropriately weak effort.
Guinness only seems to really show the honest to truth William when alone with Little Dorrit. When with Little Dorrit he is just a sad sad man, who really can barely believe how he has come to be the way he is. Guinness mixes in a great deal of regret and a sort of acceptance brilliantly. Guinness also effectively brings a poignancy to these moments in a quiet subtle fashion. William loves his youngest daughter very much and Guinness shows a genuine love, but it is never only that, because Guinness always adds an underlying shame William feels as well.
Guinness shows almost a complete transition though when William suddenly becomes wealthy again. Guinness is just perfect in his change that is almost instant. It is seemingly unnatural almost, but Guinness makes it work showing that the patrician in William was always there just waiting for the chance to come out. Guinness is no longer somber and modest in his performance, but becomes domineering and always in control. He goes from the perfect poor man to the perfect rich man basically instantly it is a fantastic transformation that few actors could have pulled off with such ease as Guinness is able to.
Although Little Dorrit is much much to long at six hours Guinness managed to keep my attention than managed to hold in my memory better than any aspect of the film. Guinness creates a unique portrait of William Dorrit that in the wrong hands could have been a complete failure, or just fallen into obscurity as much of the supporting cast does in this film. Guinness though instead creates fascinating characterization of man who always a victim of his situation whether he is rich or poor. As with most of Guinness work this performance only improved the more I thought of it, and it really is great work from Alec Guinness.
Alec Guinness plays William Dorrit the father of Little Dorrit. He was the once wealthy man but do to many debts ended up in the debtors prison bringing his family along with him. Guinness in the chronological early moments of his performance shows a depressed man. Guinness shows that William can barely believe that he has ended up in such a place, and has fallen to such a lowly position in which he must raise his children in to.
What amazes me always about Alec Guinness is the way he so naturally portrays almost all of his parts despite the fact there certainly must have been a great deal of calculation below the surface. The part of William Dorrit is no exception for Guinness. In his early scenes where he basically sits in a room rather depressed he shows various facets of William Dorrit. One important facet the fact that he was once wealthy. There is always the indication of Dorrit former situation in the way he talks, and acts, but Guinness shows he has ceased in the same way his luck has.
In the debtors prison he shows different shades of William Dorrit from when he is dealing with two of his less quiet children. In these scenes he still has an attempt of a fatherly strength to mold the children but it is clearly very much weakened because of his overall depressed state. He also when with his brother Guinness suggests that earlier in life William was the more successful brother, whom his brother looked up to, but not he no longer is. Guinness effectively though attempts to show his brother he still is a role model, although in an appropriately weak effort.
Guinness only seems to really show the honest to truth William when alone with Little Dorrit. When with Little Dorrit he is just a sad sad man, who really can barely believe how he has come to be the way he is. Guinness mixes in a great deal of regret and a sort of acceptance brilliantly. Guinness also effectively brings a poignancy to these moments in a quiet subtle fashion. William loves his youngest daughter very much and Guinness shows a genuine love, but it is never only that, because Guinness always adds an underlying shame William feels as well.
Guinness shows almost a complete transition though when William suddenly becomes wealthy again. Guinness is just perfect in his change that is almost instant. It is seemingly unnatural almost, but Guinness makes it work showing that the patrician in William was always there just waiting for the chance to come out. Guinness is no longer somber and modest in his performance, but becomes domineering and always in control. He goes from the perfect poor man to the perfect rich man basically instantly it is a fantastic transformation that few actors could have pulled off with such ease as Guinness is able to.
Although Little Dorrit is much much to long at six hours Guinness managed to keep my attention than managed to hold in my memory better than any aspect of the film. Guinness creates a unique portrait of William Dorrit that in the wrong hands could have been a complete failure, or just fallen into obscurity as much of the supporting cast does in this film. Guinness though instead creates fascinating characterization of man who always a victim of his situation whether he is rich or poor. As with most of Guinness work this performance only improved the more I thought of it, and it really is great work from Alec Guinness.
Thursday, November 10, 2011
Best Supporting Actor 1988: Dean Stockwell in Married to The Mob
Dean Stockwell received his only Oscar nomination so far for portraying Tony "The Tiger" Russo in Married to The Mob.
Married to The Mob is comedy about a mob wife (Michelle Pfeiffer) who wants out of the life after her hitman husband is killed, but is still followed by the FBI and luster after a mob boss.
Dean Stockwell plays the mob boss who is chasing after Pfeiffer's character as well as the person the FBI wants to put away. Stockwell plays his part basically straight as the mob boss. He is basically serious throughout the film, and just goes about through the plot in this way. Although he could have easily overacted a whole lot in his part especially with the name Tony The Tiger, but Stockwell just keeps it toned down in the part.
Although what he does works out just fine there really is nothing too special about his performance either. He just plays the part straight which was the better way to play it, particularly at the end of the film where he could have gone way over the top, but Stockwell stays appropriately realistic without being too realistic to be out of place in the film either. Stockwell keeps Tony just in the right tone throughout.
The only problem is he just mainly required to look like a mob boss walk around talk like a mob boss except at the end of the film where he needs to act rather scared. Stockwell handles all of these very small variations of Tony as well as possible really, but it never amounts to that interesting of a character. Although he is a better aspect if not the best aspect of the film in this film that is not saying that much.
Dean Stockwell plays the mob boss who is chasing after Pfeiffer's character as well as the person the FBI wants to put away. Stockwell plays his part basically straight as the mob boss. He is basically serious throughout the film, and just goes about through the plot in this way. Although he could have easily overacted a whole lot in his part especially with the name Tony The Tiger, but Stockwell just keeps it toned down in the part.
Although what he does works out just fine there really is nothing too special about his performance either. He just plays the part straight which was the better way to play it, particularly at the end of the film where he could have gone way over the top, but Stockwell stays appropriately realistic without being too realistic to be out of place in the film either. Stockwell keeps Tony just in the right tone throughout.
The only problem is he just mainly required to look like a mob boss walk around talk like a mob boss except at the end of the film where he needs to act rather scared. Stockwell handles all of these very small variations of Tony as well as possible really, but it never amounts to that interesting of a character. Although he is a better aspect if not the best aspect of the film in this film that is not saying that much.
Wednesday, November 9, 2011
Best Supporting Actor 1988
Alec Guinness in Little Dorrit
River Phoenix in Running on Empty
Kevin Kline in A Fish Called Wanda
Martin Landau in Tucker: The Man and His Dream
Dean Stockwell in Married to the Mob
