Best Supporting Actor 1983: Results

5. John Lithgow in Terms of Endearment- Lithgow although hindered by the fact he has few scenes and the film doesn't really care about him gives a good performance showing the simple love expressed by his character well.

4. Jack Nicholson in Terms of Endearment- This is probably a bit of a surprise, but I did actually prefer the two above. Nicholson is inconsistent and some ineffective in his performance at first relying far too much on his trade marks that never meld with his character. He though becomes much better later on capturing the joyous energy of his boisterous character well, as well as creating an interesting relationship with Shirley MacLaine.

3. Charles Durning in To Be or Not Be- Durning only needs to do one thing here and that is for him to be funny. He is funny in all of his scenes and his scenes with co-star Christopher Lloyd are the highlights of the film for me.

2. Rip Torn in Cross Creek- Rip Torn's succeeds in every way Gregory Peck failed to in the role of the real person who inspired Peck's character in the Yearling. Torn creates a unique vivid portrait of his backwoods character and he especially brings great degree of emotional weight to his final scenes.

1. Sam Shepard in The Right Stuff- Shepard win this year giving a great performance in The Right Stuff. Shepard absolutely becomes test pilot Chuck Yeager flawlessly bringing to life the uninhibited confidence and strength of the man. He speaks few words but he holds every moment he appears on the screen.

Deserving Performances:
Darren McGavin in A Christmas Story
Ed Harris in The Right Stuff

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Best Supporting Actor 1983: Jack Nicholson in Terms of Endearment

Jack Nicholson won his second Oscar from his seventh nomination for portraying Garrett Breedlove in Terms of Endearment.

Jack Nicholson is an actor who I think highly of, as he had one of the greatest strings of performances of any actor during the 70's. Nicholson though is an actor whose qualities did downturn a bit from the 80's on though. This mostly seemed to result from Nicholson almost being too aware that he is a great actor that he wasn't nearly as great. Don't get me wrong Nicholson still gave great performances such as with the three performances in which I give him the win Ironweed, Reds, and About Schmidt. The thing is all three of those performances have something in common all three of them are very non Nicholson style performances.

Now it is true that I loved all of Nicholson's nominated work in the seventies all four of those performances are oustanding. It is also true that some of those performances particularly One Flew Over the Cuckoos Nest and Chinatown are completely filled with Nicholson's unique style. The only thing was in the seventies Nicholson used his unique styles always within in characterizations creating remarkable portraits of the men he portrayed. Later on Nicholson started doing his mannerism as a separation thing that he just has to do, and he stopped using them as effectively because of this reason. In fact this is a problem I have with many of his later performance, particularly his work in The Departed because that was just one long over the top Nicholson mannerism fest.

Finally to get to the point is that his use of his mannerisms always seem to be Nicholson performing them rather than actually being part of the character in this performance. This is especially true early in his performance as he almost wants to make an impact in his short scenes by doing his trademark shtick. It just never seems completely true to his character, in fact it is actually a bit distracting. Luckily though Nicholson after his somewhat shaky early scenes does settle down, and actually delves into becoming his character. I don't want to be mistaken though Nicholson is not bad in these scenes, just more of a little too self indulgent and obvious for his own good.

Later on in the film when his character of the womanizing, thrill seeking former astronaut starts a relationship with Aurora Greenway (Shirley MacLaine) Nicholson certainly comes into the role quickly. He certainly is appropriately boisterous and energetic in his role. His character just wants to enjoy life to its fullest, as almost compensate for the fact that he will never have his biggest thrill again which was to go into outer space. Nicholson has a great joy of performance here that works perfectly for his character who only wants to enjoy himself. Nicholson's smile is constantly on display here, and it certainly fits for his sometimes devious character.

Although Nicholson somewhat became typecast as the love interest for a reserved as well as strong willed woman as seen in As Good As It Gets, and Something's Gotta Give his dynamic with Shirley MacLaine certainly does work here, and it shows why Nicholson probably found him self cast in films with rather similar situations. Nicholson always shows the womanizing Garrett early on trying every trick he knows to try to get his way with Aurora, but is rather flabbergasted by the response he gets. Nicholson plays this well finding a great deal of humor in the Garrett's attempts, as well as his reactions to Aurora's sometimes quite stern responses.

Even though their relationship at first is mostly a series of comedic exchanges caused by their personalities a love relationship eventually does develop. This is not a long precise one, but the actors portray it convincingly. Nicholson carefully but effectively shows the deepening of the relationship almost by Garrett letting loose just a bit, and showing Garrett turns off the part of him that wants just instant gratification. It is a subtle transition but very well handled by Nicholson.

Later on in the film though Garrett becomes hesitant to pursue the relationship due the commitment he is feeling toward something the  freewheeling astronaut wants to avoid. Nicholson is good in these later scenes showing Garrett a very much confused man who wants to be there for Aurora to some extent yet at the same time does not want to become too involved either. It is certainly a strange combination of emotion, but Nicholson brings to life wonderfully. He shows him as a man who is always contemplating his situation at almost all times, although Nicholson even in the most serious scenes keeps just the right glint of Garrett's more mischievous side.

All things considered this is a good performance from Nicholson. Creating an entertaining presence for the film and an effective foil for MacLaine's Aurora. I will say that I do not put it as a great performance, or as one of Nicholson's very best. It never achieves the greatness of his earlier work, and part of the reason I would say is his overuse of his trademark mannerisms early in the film, when he could have shown as more of Garrett at that point. Instead too many of his early scenes feel like Nicholson just doing his thing rather than a full fledged character. Nevertheless he does find his character as the film progresses that I would still say this is an enjoyable somewhat standard performance by a great actor.

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Best Supporting Actor 1983

And the Nominees Were:

Sam Shepard in The Right Stuff

John Lithgow in Terms of Endearment

Jack Nicholson in Terms of Endearment

Charles Durning in To Be or Not To Be

Rip Torn in Cross Creek

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Best Supporting Actor 1969: Results

5. Anthony Quayle in Anne of the Thousand Days- Quayle gives a functional performance that turns Cardinal Wolsey into a basically a yes man.

4. Rupert Crosse in The Reivers- Crosse gives a charmingly wacky performance as well as combined with a more serious performance well by never overdoing either aspect of his character.

3. Elliot Gould in Bob & Carol & Ted & Alice- Gould gives an enjoyable and effective performance as he realizes the many facets of his character's confusion.

2. Jack Nicholson in Easy Rider- Nicholson as usual for this period gives a very strong performance that has that unique magnetic quality that is distinctly Nicholson. It never quite reaches the heights of his later work in the seventies but it is an excellent precursor to them.

1. Gig Young in They Shoot Horses, Don't They?- Gig Young easily gives the strongest performance this year. Gig Young's performance is terrific flawless work that realizes the master manipulator aspects of his character as well as the energetic emcee. He effective brings all the facets of his character into one brilliant characterization that never has a simple moment, and creates a fascinating memorable man in the role of Rocky. 

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Best Supporting Actor 1969: Jack Nicholson in Easy Rider

Jack Nicholson received first Oscar nomination for portraying George Hanson in Easy Rider.

Easy Rider portrays a cross country journey of two hippie bikers Billy (Dennis Hopper) and Captain America (Peter Fonda).

Jack Nicholson had a continually outstanding record in the seventies when it came to giving his Oscar nominated performance. Every time he was nominated he gave a great performance uniquely Nicholson. Nicholson though was first nominated for his supporting role in this film. I must say watching Easy Rider for the first time I was quite surprised to see just how supporting Nicholson really was in the role, since he is only in a few scenes, and his role is only one of the people the two bikers meet along their route.

Although he is not the dominating character in the film, Nicholson does easily make an impression since he is in top form. Nicholson like his later work though instantly is absolutely magnetic from his first scene when the bikers meet him in a lock up. George Hanson is a lawyer who has alcohol problem that caused him to be in the lockup, but he is a man who understands the two bikers. Nicholson's performance creates an effective portrait of this man. Nicholson shows just the right degree of being a proper person of society, but showing just the below the surface is a wild man.

All that he really needs to break out of his small little shell is a little bit of alcohol or just joining up with two bikers on their journey himself. Nicholson of course brings a great energy to the role with classic Nicholson moments to the sheer joy he shows when riding the motorcycle, to just his classic Nicholson reaction to drinking his alcohol letting on to the wilder side of his character. Nicholson gives an entertaining and effectively exciting portrayal of this man who clearly makes into a man truly breaking all the way out for the first time in his life.

Nicholson's two monologues about society in two very different ways one about aliens as well as one about the fears some in society have over people like the bikers. Nicholson makes both fascinating in their own ways through his performance even though his first one is complete nonsense. Nicholson presence simply brings a life to these moments, and a real emotional power particularly to the second speech that really brings to life the ideas within the film.

Nicholson is of course great but I would be lying if I did not think his performance is most certainly cut short, I frankly just wanted to see more of his character, and in the end I did wish he was the actual lead of the film even though his dynamic with Fonda and Hopper is quite good. This is strong work from Nicholson no doubt about that and I certainly think it shows of his great presence and style early on. In many ways though it never quite achieves the greatness of his later work particularly his nominated work the very next year, and it mostly serves as a terrific precursor to his later work, but not quite on that level although close.

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Best Supporting Actor 1969

And the Nominees Were:

Anthony Quayle in Anne of the Thousand Days

Elliott Gould in Bob & Carol & Ted & Alice

Gig Young in They Shoot Horses, Don't They?

Jack Nicholson in Easy Rider

Rupert Crosse in The Reivers

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Best Supporting Actor 1981: Results

5. James Coco in Only When I Laugh- James Coco gives an good enough comedic performance, but his moments of sadness, as well as happiness are particularly strong.

4. Howard Rollins in Ragtime- Rollins gives a good performance as a man who goes to great lengths to keep his dignity my only problem was that I though he could have given an amazing performance if he had pushed even harder with his performance during key moments.

3. Ian Holm in Chariots of Fire- Holm gives a great performance as a very particular athletics coach realizing the humanity, the humor and intelligence of the man extremely well.

2. John Gielgud in Arthur- Gielgud gives an impressive comedic performance as well as when needed a heartfelt performance. Gielgud takes every opportunity of his character an makes the most of it.

1. Jack Nicholson in Reds- Out of this great year Nicholson tops it. Nicholson gives an amazing supporting performance that rises far above his film. Nicholson despite his short screentime creates a fully realized portrait of Eugene O'Neil as a man.

Deserving Performances:
John Gielgud in Chariots of Fire

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Best Supporting Actor 1981: Jack Nicholson in Reds

Jack Nicholson received his sixth Oscar nomination for portraying Eugene O'Neil in Reds.

Reds is not a film I particularly care for because it takes too much of a sentimental and romantic view of its subject matter. In turn I thought many of the performances did exactly the same, but one person who rips right through any sort of sentimental ideas is Jack Nicholson as Eugene O'Neil. For me he is the only real reason to watch the film because he is almost on an entirely different level than the rest of the actors in this film, and is the only character I was really at all interested in.

Nicholson successfully steals every single scene he is in as the cynical Eugene O'Neil. He even steals the scene when he barely says anything, or does not say anything at all. Nicholson is very good in these basically silent scenes as he channels O'Neil complete disbelief in the fervor that rules the people he is around, as well as subtly channels the clear attraction he has Louise Bryant (Diane Keaton). Nicholson does an enormous amount with no dialogue far more than say Warren Beatty as Jack Reed who sometimes never stops talking.

His best scenes though come when he does get to talk a little bit more which are the scenes where O'Neil attempts to go after Louise despite her being attached to Jack. Nicholson is simply amazing in this scene as he portrays O'Neil attempt to show how he loves Louise. Nicholson is brilliantly subtle of honestly showing this without for a moment overplaying it. O'Neil never fawns over her, but rather shows it with O'Neil it something deeper within him that really makes him want her for his own. Nicholson is calm, and concise in these scenes and his performance always has a low key charisma that makes not at all question the affair.

This is a fascinating performance by Nicholson because of how well he realizes O'Neil as a person despite the fact that he is given little screentime and very little background information. O'Neil is always looking for a drink Nicholson never plays him drunk but rather shows that he has been an alcoholic for a very long time, since Nicholson always shows O'Neil drinking to be simply something he just does. It is part of his always  state of a sort of semi depression that Nicholson conveys brilliantly, he never forces it on the viewer but it is clearly always a part of O'Neil.

Nicholson though never lets one aspect of O'Neil override all the aspects as characters with a little screentime can sometimes be reduced to. He has enough nuance in his performance to turn Eugene O'Neil in to a full fledged human being. In fact he brings O'Neil more to life than some of the other actors do with their characters. He creates a fascinating performance of a cynical somewhat depressed man, who finds a certain joy, as well as pain with his affair with a married woman. This is great performance that not only stands out in this long film, but is in fact by far the best part of the film.

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Best Supporting Actor 1981

And the Nominees Were:

Ian Holm in Chariots of Fire

James Coco in Only When I Laugh

John Gielgud in Arthur

Howard Rollins in Ragtime

Jack Nicholson in Reds

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