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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 Robert Shaw. Show all posts
Showing posts with label Robert Shaw. Show all posts

Wednesday, October 31, 2012

Alternate Best Supporting Actor 1974: Results

5. Marty Feldman in Young Frankenstein- Feldman gives an entertaining and enjoyable performance. 
4. Martin Balsam in The Taking of Pelham One, Two, Three- Balsam does a great job of humanizing his hijacker, and makes it easy to follow through his own small story within the film.
3. John Huston in Chinatown- Huston gives a great villainous performance creating a fantastic mystery within his character who acts warmly, but evil seems lurking beneath his grin.
2. Robert Shaw in The Taking of Pelham One, Two, Three- Shaw gives an excellent performance as a steely cold and calculated villain.
1. John Cazale in The Godfather Part II- Good Prediction RatedRStar. Although I do love Shaw's and Huston's performances Cazale does fairly easily win this year for me. He too could be argued as playing a villain, but Cazale turns his character's pathetic plight into a truly heartbreaking portrait of a brother who just was never good enough. 
Overall Rank:
  1. John Cazale in The Godfather Part II
  2. Robert Shaw in The Taking of Pelham One, Two, Three
  3. John Huston in Chinatown
  4. Robert De Niro in The Godfather Part II
  5. Lee Strasberg in The Godfather Part II
  6. Martin Balsam in The Taking of Pelham One, Two, Three
  7. Marty Feldman in Young Frankenstein 
  8. Harrison Ford in The Conversation
  9. John Cazale in the Conversation  
  10. Robert Duvall in The Conversation
  11. Harvey Korman in Blazing Saddles
  12. Gene Hackman in Young Frankenstein
  13. Hector Elizondo in The Taking of Pelham One, Two, Three
  14. Gene Wilder in Blazing Saddles 
  15. Vincent Gardenia in Death Wish 
  16. Michael V. Gazzo in The Godfather Part II
  17. Tony Roberts in The Taking of Pelham One, Two, Three 
  18. Kenneth Mars in Young Frankenstein
  19. Lee Wallace in The Taking of Pelham One, Two, Three
  20. Robert Duvall in The Godfather Part II 
  21. Geoffrey Lewis in Thunderbolt and Lightfoot
  22. James Caan in The Godfather Part II 
  23. Michael Gorrin in The Taking of Pelham One, Two, Three
  24. Allen Garfield in The Conversation
  25. Fred Astaire in The Towering Inferno
  26. John Gielgud in Murder on the Orient Express
  27. Jerry Stiller in The Taking of Pelham One, Two, Three
  28. Perry Lopez in Chinatown
  29. William Daniels in The Parallax View
  30. George Kennedy in Thunderbolt and Lightfoot
  31. Dick O'Neill in The Taking of Pelham One, Two, Three 
  32. G.D. Spradlin in The Godfather Part II
  33. Earl Hindman in The Taking of Pelham One, Two, Three
  34. Anthony Perkins in Murder on the Orient Express 
  35. Larry Hagman in Harry and Tonto
  36. Hume Cronyn in The Parallax View 
  37. Gaston Machin in The Godfather Part II  
  38. Sean Connery in Murder on the Orient Express
  39. Frederic Forrest  in The Conversation
  40. Richard Widmark in Murder on the Orient Express
  41. Joe Mantell in Chinatown
  42. Bruno Kirby in The Godfather Part II
  43. Martin Balsam in Murder on the Orient Express
  44. Robert Vaughn in The Towering Inferno
  45. Denis Quilley in Murder on the Orient Express 
  46. William Holden in The Towering Inferno
  47. Michael York in Murder on the Orient Express
  48. Richard Chamberlain in The Towering Inferno
Next Year: 2011 Supporting

Tuesday, October 30, 2012

Alternate Best Supporting Actor 1974: Robert Shaw in The Taking of Pelham One, Two, Three

Robert Shaw did not receive an Oscar nomination for portraying Bernard Ryder "Mr. Blue" in The Taking of Pelham One, Two, Three.

Robert Shaw portrays the leader of the hijackers who controls the train in his power, and makes the contact with the authorities. Shaw takes unquestionable command with his performance here as Mr. Blue. From his very first scene where he commands the train driver that he is stealing his train, Shaw handles with such insurance. He breaths a constant intensity in the part that is absolutely cold and controlled at all times. From the start he shows that Mr. Blue is a force that is not to be dealt with lightly in any way.

Shaw is master villain here, and it is marvelous to watch him build such a threatening character yet keeping the character extremely calm and cool throughout the film. I particularly love the scene where he tells the hostages they are hostages and tells them that with his machine gun he could kill all of them before they could even get out of their seats. There is an incredible underlying intensity that shows that every threat he makes he will be able to fulfill quickly without a second thought necessary. Shaw makes Mr. Blue a truly imposing force throughout the film.

Shaw, even though Mr. Blue is indeed very calm and collected individual, never for an instance makes this a one note performance. Shaw has a great deal of fun alluding to the background, as well as motivation of Mr. Blue even though this really is not given too much time. These come in his terrific scenes with Martin Balsam's Mr. Green, and as I said in his review the two are great together. Shaw though is spectacular becuase he honestly makes the ability for Blue to go from threatening a group of people with two to casually talking about not wanting to sell insurance both entirely natural, as well as properly humorous. The same goes for every little short aside with Walter Matthau when Matthau's Garber makes a snarky comment toward, and Shaw perfectly comes back with Blue's bluntness to Garber's jokes.

Shaw also has a lot of delicious fun with just the overt Britishness of his character. Blue was a soldier in the British army and it clearly has rubbed off on him. Shaw shows that the way he handles the train is much like the way a strict commander would handle his troops, but as well he has lighter entertaining moments from his outstanding diction and his always proper use of British language. One moment in particular that is superb is when Mr. Blue tells to put two men approaching the train to put their hands in evidence, but quickly has to adjust to telling them to put their hands up. Shaw so well uses such small subtle moments to endless benefit in this performance.

In this great underrated film humor and serious moments are intertwined flawlessly from scene to scene, and Shaw aids in this along the way with the moments with Balsam and Matthau in particular, but he the strongest moments of the film due come in the more dramatic moments. For most of the time things go absolutely according to Blue's plan which he states without hesitations, Shaw presses this point especially well when he lists a long lists of demands and in his entirely confidant fashion says that he'll shoot a hostage if any of the demands are not met. There is no grey area in Shaw performance, Blue will not be convinced to do anything other than he has determined to do.

His two most powerful moments in his performance are the two scenes where Mr. Blue kill someone. The first which is retribution for one of his men being fired on is made especially chilling by Shaw because of how welcoming and pleasant he is toward the man he is leading toward his death. The actually killing is done quickly in a purely business man like fashion, but the equally strong moment of Shaw's performance is the deadly look he gives his psychotic subordinate Mr. Grey who he stares down showing clearly who is in charge. After the killing Shaw important;y does not show remorse in Mr. Blue, but rather when contacting Garber again only angry frustrations for being forced to do his own perceived duty to carry out his personal mission.

The second killing comes in the form of dealing with Mr. Grey, which Shaw again shows purely efficiently, with just the slightest distaste in his face, not for his action, but for having to ever have to deal with the sort that was Mr. Grey. Shaw makes Mr. Blue as the greatest villain he possibly could have been. A portrait of a brilliant commander who has taken on a different endeavor, than his training was for but still handles the new situation with all of his skill. Shaw makes Blue a completely imposing villain that always does things his way no matter what, even at the end of the film where it seems he has only one option Blue still goes out his way, and Shaw portrays this final act like a man who only does things the way he wants. All together Shaw makes Mr. Blue an entertaining, chilling, and imposing villain all at once.

Friday, October 26, 2012

Alternate Best Supporting Actor 1974

And the Nominees Were Not:

Martin Balsam in The Taking of Pelham One Two Three

Robert Shaw in The Taking of Pelham One Two Three

John Huston in Chinatown

John Cazale in The Godfather Part II

Marty Feldman in Young Frankenstein 

Friday, April 27, 2012

Best Supporting Actor 1966: Results

5. Mako in The Sand Pebbles- Mako gives a good realistic performance. His role is limited, and his character is frankly cut off just when he is becoming interesting.
4. James Mason in Georgy Girl- Mason although has a thankless role in many ways gives a charming, and dryly comic performance, that manages to turn his character into an actual man and not just a creep as he easily could have been.
3. Robert Shaw in A Man For All Seasons- If I was giving the award to my favorite actor Shaw would take this, with close competition from Mason. Nevertheless Shaw gives a strong performance in only two scenes realizing Henry VIII's distinct personality marvelously.
2. George Segal in Who's Afraid of Virginia Woolf?- Segal has an extremely thankless role especially compared to the flashiness of the performances around him, but Segal stays true to his part and creates an effective realistic portrait of a man in the strange situation of the film.
1. Walter Matthau in The Fortune Cookie- Walter Matthau stands on top for this with his consistently hilarious performance. Matthau never wastes a moment as his shyster lawyer deriving comedy from every facet of his character and makes the film.
Deserving Performances:
Richard Attenborough in The Sand Pebbles
Richard Crenna in The Sand Pebbles
Lee Van Cleef in The Good, The Bad, and The Ugly
John Hurt in A Man for All Seasons

Best Supporting Actor 1966: Robert Shaw in A Man For All Seasons

Robert Shaw received his only Oscar nomination for portraying King Henry VIII in A Man for All Seasons.

I should get it out of the way that Robert Shaw is one of my favorite actors. I have loved him in every performance of his that I have seen so far. It is one of the biggest mistakes by the academy that Shaw was only nominated once, frankly he should have been nominated at least for 73 for the Sting, 74 for The Taking Pelham One Two Three, and 75 for Jaws. If Shaw had won for any of those three great performances of his than he would have been a terrific winner. Unfortunately Shaw was only nominated once for portraying the most popular Oscar character ever King Henry VIII.

Henry was previously portrayed by Charles Laughton, and later by Richard Burton who both were nominated in the lead category for their performances as the English King. Although Burton and Shaw both portray Henry at the same time in his life, when he took over the church to marry Anne Boleyn, his portrayal has more in common with Laughton's work than Burton's excessively over the top and sometimes unconvincing performance in Anne of the Thousand Days. Shaw like Laughton focuses on the sort of the spoiled brat personality one can develop over having been given anything he has ever wanted in life as well as being able to do anything he has ever wanted to do.

Unlike Laughton though Shaw is supporting and only has three scenes in which he appears one very very briefly  from far away, but his second scene certainly is his most important. The moment comes as Henry unexpectedly comes to visit his new chancellor Thomas Moore (Paul Scofield) to see if Moore has changed his mind over Henry's decision to marry Anne Boleyn. Shaw knows how to portray Henry and from his first moment coming in through the shine of the sun you know that this man is King. Shaw has an undeniable presence on screen which he exploits perfectly as Henry. There is no question this man is charge his voice his broad manner, Shaw makes Henry a man of absolute sway.

Shaw has a childlike enthusiasm in the role which absolutely represents his portrayal of Henry. He is always childish which Shaw turns into a believable trait of Henry that suggests his history as always a man of wealth and power. Shaw always shows Henry always showing his power pretty much just for fun at times, of course he can act loud, even obnoxious whenever he wants. Shaw shows that Henry is always aware of the fact that he can act this way and no one can say anything about it. Shaw has a constant fun loving quality that is perfect for the immaturity in Henry. Interestingly though Shaw successfully always brings an undercurrent of threatening instability in Henry.

Shaw is terrific in his scene with Scofield as the two men talk over the pressing issue of the marriage and the troubles with church. Shaw is great as he constantly tries to stay friendly as Henry in the scene. He always has a certain smile and warmth toward Thomas that shows that they certainly are friends, but Shaw has just the right degree of uncertainty in his performance to show that Henry knows his friend might not be on his side for once. Shaw is particularly great when he goes on the attack, but it is fast and almost unexpected as his look goes from the of friendship to hatred just from the mentioning of the former chancellor who Henry feels betrayed him. It is a careful simple threat to Thomas which he darts in the middle of the conversation between the warmth, Shaw pulls this off flawlessly.

After this Shaw has one more scene at the wedding with he and Anne Boleyn. Again Shaw is superb in showing the lust in Henry's eyes he has for his eyes. There is passion, and an obvious expectations of much pleasure for himself in just this short moment, which Shaw pulls of brilliantly. Frankly Shaw shows more depth for this relationship with Anne in his single scene than Richard Burton did in the whole of Anne of the Thousand Days. At the end of the scene though he is interrupted as he thinks he sees Thomas. A short moment but an effective one showing that really Henry really did believe Thomas was a friend, and desperately wanted his friend to see things his way.

Shaw is truly quite great in this basically two scene performance. He completely realizes Henry VIII as a character in the film. In his two scenes he seizes control and shows the power of Henry creating the proper impact on the film he needs to. In his few moments he flawlessly creates the antagonist of the film who is almost always working his will off screen and through other men. I actually with there had been more of his Henry VIII. After watching his performance here I actually wish Shaw had gotten a film where he had been the lead as Henry VIII because of what he does with the character despite his extremely limited time. In any case this is a terrific supporting turn that more than fulfills his duties as King Henry.

Saturday, April 21, 2012

Best Supporting Actor 1966

And the Nominees Were:

Robert Shaw in A Man For All Seasons

James Mason in Georgy Girl

Walter Matthau in The Fortune Cookie

George Segal in Who's Afraid of Virginia Woolf?

Mako in The Sand Pebbles

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