Alternate Best Supporting Actor 1984: Jeffrey Jones in Amadeus

Jeffrey Jones did not receive an Oscar nomination, despite being nominated for a Golden Globe, for portraying Emperor Joseph II. 

One thing I have to say before I get on with my review is my annoyance in the way the director's cut of the film is used as the preferred cut by distributors. The film is a masterpiece as the theatrical cut, the director's cut adds nothing to the film, and at times very much hurts the perfect pace found in the Best Picture winning original cut.

Anyway with that out of the way onto Jeffrey Jones as the Emperor of Vienna Joseph II considered the musical King who wishes Mozart (Tom Hulce) to become part of his court, even though many of the other musical officials of Vienna dislike Mozart including the jealous Salieri (F. Murray Abraham) the official court composer for the Emperor. Amadeus is a film really with many enjoyable smaller roles filled well by various character actors, but Jones perhaps does the most with his part as the Emperor. His role is not a big one but important to the film.

Jones plays the Emperor as not a man of great power, or necessarily even a man of great substance. Jones finds a very particular way of portraying the Emperor as a bit of a doofus, well at least when it comes with the official musical dealings of the court. Jones is quite good though because he puts a great deal of wit into his portrayal that really could have been far more of an over the top idiot, but instead Jones finds just the right tone in which to play the part.The most important part of this is by taking this approach to the part he frankly is far funnier.

It is an entertaining performance particularly in his short little moments of showing the Emperor's ineptitude like when he struggles to think of a word to describe how he felt about Mozart's first opera for him, and merely takes to heart the suggestion of one of his underlings. Importantly though Jones does not overplay the stupidity of the Emperor, as there are other times where he believably shows himself to at least be a leader of some sort. In the way he carries himself, and addresses others he does suggest the right undercurrent of power in the man, but as well as a certain welcoming quality within in.

Jones finds a way to play the Emperor as he should be by supplying both laughs in displaying the Emperor's lack of musical knowledge, but as well that this man is an Emperor after all. He is particularly very good in the scene where Mozart pleads his case to be able to put on the Barber of Seville. He does well in conveying a genuine interest in the artists endeavor, but as well just the right power in his oppositions. As the Emperor states his own case Jones is convincing in that he is not opposed because he is stupid, but rather it does stem from a genuine concern as the leader of his people. This is not an especially complex part, but Jones handles it just right and as quite a bit of joy to his film.

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Alternate Best Supporting Actor 1984: Richard Burton in 1984

Richard Burton did not receive an Oscar nomination for portraying O'Brien in 1984.

1984 is about a totalitarian state ruled over by Big Brother, but one man Winston Smith (John Hurt) tries to rebel by falling in love with a woman. The film is effective although not always an easy film to watch.

Richard Burton who died soon after completing the film barely received any awards attention for his performance despite it being his last film performance. I suppose the academy was more interested in Ralph Richardson for a posthumous nod. Burton death soon after this is not surprising considering his very haggard look, in fact I would say Ralph Richardson looked much healthier than Burton despite being much older. Burton's physical state is most certainly noticeable here to the point it must be mentioned, but it really does not harm his performance.

In the early scenes Burton is mostly in the background of the film as just another man in their grey world. Burton eventually has a little more screen time as a man who suggests, and seems to encourage Winston to rebel. Burton keeps the mystery of the character intact as there is no reason to really suspect of anything, but at the same time he does suggest that maybe Winston should not go all out in revealing things to him. Burton does not get all that much to do until in the third act of the film after Winston finds himself as well as Julia the woman he was having an affair with caught by Big Brother, and brought in for re-education.

The man who re-educates Winston is Burton's O'Brien. Burton is the epitome of coldness here as O'Brien. Burton commanding voice works perfectly here as an inescapable voice of control. Burton shows no play in O'Brien he will not be fooled by Winston at any point, he will change Winston's mind simply as that. The torture scenes are extremely brutal and Burton only succeeds in amplifying this as he portrays O'Brien as having no hesitations whatsoever in creating as much pain for Winston as he wants to get Winston's mind the way he wants it. Burton's manner is perfect in these scenes creating personally the inescapable oppression that Winston cannot escape from.

This is not Burton's greatest performance by any means but it is a worthy performance to be his very last in a feature film. This is a performance here that does show his considerable talent he had though, and makes use of it well. Burton uses some of his greatest assets here in his creation of a man without any humanity, and only purpose in life seems to make others fit the view of the state. He brilliantly personifies the Big Brother with his performance that is properly overwhelming, as he makes O'Brien a force that not only cannot be reasoned with, but as well shows that the breaking of Winston is simply an inevitability.

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Alternate Best Supporting Actor 1984: James Woods in Once Upon a Time in America

James Woods did not receive an Oscar nomination for portraying Maximilian 'Max' Bercovicz in Once Upon a Time in America.

James Woods portrays one of the four friends who slowly become important crime figures during prohibition in New York City. He is the leader of the group along with Noodles (Robert De Niro) who come up with the strategies of the group to give them greater power in the underworld. One of the main focuses of the film is the friendship between Noodles and Max as they commit crimes through the years. What also is important is how their friendship slowly changes through the years, and particularly the type of man that Max becomes as well and how that differs from the type of man that Noodles becomes.

Woods is a very strong presence in the film and he creates an important dynamic with De Niro in the film. Woods casting here is necessary as Max really needs to stands on the same ground as Noodles, and Woods has the right command of the screen to easily stand toe to toe with De Niro. Max is the supporting character of course, and he really is not given the personal scenes that Noodles is given, but that does not matter in Woods's portrayal. Woods in all of scenes takes a strong grasp of the part never letting go in creating an especially compelling portrait of man seeking power no matter the cost.

Noodles in his crimes mostly just seems to want to commit the crimes for wealth, and only really power to the point that it gives him more freedom to do whatever he feels like. Woods portrays Max differently in that there is always a tremendous amount of ambition that seems to bubble below the surface within Max. Woods infuses it into his performance marvelously throughout the film. At first when he first welcomes Noodles back into the fold, Woods shows Max mostly as a gangster enjoy what he does, but in subtle moments portrays the incisive looks of a growing want for more than his current lot.

As the film progresses Woods does a wonderful job of slowly growing in this quality of Max that propels him further into a seeming insanity at times possibly. Woods is terrific in portraying the growing intensity in Max he seems less and less likely to give up on his attempts to gain more power, even as Noodles becomes far more content with his position. Woods is excellent because he not only shows the ambitious growing in Max from his outwardly intensity, but as well is how more internally his warmth towards Noodles as friend slowly seems to start to seize. 

Woods and De Niro are both very effective creating the friendship almost entirely through silent looks they give one another to indicate their common bond. Woods though succeeds in portraying the coldness of Max growing as he simply stops showing the same familiarity Max usually displays towards Noodles. This is a strong performance during most of the film, but what makes this performance is a great one is his last scene. It appears from the beginning of the film that Max is dead from the start do to Noodles warning the police of a heist planned by Max, and Max apparently was killed in a battle with the police.

In the end of the film (spoilers) it is revealed that Max is very much alive now called Secretary Bailey a very powerful rich man, married to Noodles's old girlfriend. He seems to be doing quite well other than the fact that he is wanted for a criminal investigation, and his fellow criminal wants him dead to keep him silent. Woods is outstanding in his depiction of Max at the end, not showing Max to be a man happy with all the power he has, but instead a haunted shell of a man.

His final conversation with Noodles as he tries to convince Noodles to kill him for money is possibly the best scene in the film. Woods is terrific as he creates the history of Max, even though we do not see it, simply through his performance in this one scene. Woods shows that his ambitious has brought him to a basic nothingness of himself, other than just a hatred for himself due to his actions. Again De Niro and Woods are just about perfect together in the unspoken relationship the two share, as they stare at one another after so many years after appearing to betray one another. Woods creates a compelling depiction of Max, and brilliantly creates the dark path of his ambition.

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Alternate Best Supporting Actor 1984

And the Nominees Were Not:

Richard Burton in 1984

Jeffrey Jones in Amadeus

James Woods in Once Upon a Time in America

Robert Preston in The Last Starfighter

Hector Elizondo in The Flamingo Kid

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Alternate Best Supporting Actor 2003: Results

5. Albert Finney in Big Fish- Finney gives a fairly simplistic performance, but appropriately so. He fills his role with the right charm and warmth necessary.

4. Peter Sarsgaard in Shattered Glass-Sarsgaard gives an understated and effective performance in his depiction of a editor who slowly sees his popular writer for the liar he is.

3. Paul Bettany in Master and Commander-Bettany another good understated performance this year as a quiet source of reason and warmth on a war ship.

2. Sean Astin- The Return of The King- Astin capitalizes on his work from the previous film fully realizes his character with a powerful passion.

1. Kevin Bacon in Mystic River- This was the battle of the subtle, and understated really. I must say that this is most certainly a toss up, really I hate to put Sargaard fourth but I don't really feel him as fourth. I really liked all four equally and I basically just had to pick one. Bacon is my choice at the moment giving a moving performance, that is again very understated, that finds a way to give the best performance of his film.

Overall Rank:

1. Kevin Bacon in Mystic River
2. Sean Astin in The Return of the King
3. Paul Bettany in Master and Commander
4. Peter Sarsgaard in Shattered Glass
5. Ian McKellen in The Return of the King
6. Viggo Mortensen in The Return of the King
7. Albert Finney in Big Fish
8. Elijah Wood in The Return of the King
9. James Caan in Dogville
10. Yoo Ji-Tae in Oldboy
11. Laurence Fishburne in Mystic River
12. Tim Robbins in Mystic River
13. Brian Cox in X2
14. Chris Cooper in Seabiscuit
15. Stellan Skarsgaard in Dogville
16. Geoffrey Rush in The Curse of the Black Pearl
17. Sonny Chiba in Kill Bill Vol 1
18. Bernard Hill in The Return of the King
19. Bobby Cannavale in The Station Agent
20. Jeff Daniels in Gods and Generals
21. Ben Gazzara in Dogville
22. Kevin Conway in Gods and Generals
23. Brendan Gleeson in Cold Mountain
24. Christopher Lee in The Return of the King
25. Andy Serkis in The Return of the King
26. Michael Parks in Kill Bill Vol. 1
27. Bill Nighy in Love Actually
28. Jeff Bridges in Seabiscuit
29. John Noble in The Return of the King
30. Cillian Murphy in Cold Mountain
31. Gene Hackman in Runaway Jury
32. Ken Watanabe in The Last Samurai
33. Liam Neeson in Love Actually
34. Ian McKellen in X2
35. William H. Macy in Seabiscuit
36. Dustin Hoffman in Runaway Jury
37. Billy Boyd in Return of the King
38. Tom Guiry in Mystic River
39. Michael Caine in Secondhand Lions
40. Hank Azaria in Shattered Glass
41. Judah Friedlander in American Splendor
42. David Wenham in The Return of the King 
43. Billy Crudup in Big Fish 
44. Robert Duvall in Gods and Generals
45. Philip Seymour Hoffman in Cold Mountain 
46. Alan Cumming in X2
47. Alan Rickman in Love Actually 
48. Steve Buscemi in Big Fish
49. James D'Arcy in Master and Commander
50. John Rhys Davies in The Return of the King 
51. Alec Baldwin in The Cooler
52. Hugh Grant in Love Actually
53. Patrick Stewart in X2
54. Colin Firth in Love Actually
55. Danny DeVito in Big Fish
56. Hugo Weaving in The Return of the King
57. Orlando Bloom in The Return of the King
58. Dominic Monaghan in The Return of the King
59. Djimon Honsou in In America
60. Ron Eldard in House of Sand and Fog

Next Year: 1984 Supporting 

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Alternate Best Supporting Actor 2003: Albert Finney in Big Fish

Albert Finney did not receive an Oscar nomination, despite being nominated for a Bafta and a golden globe, for portraying the older Edward Bloom in Big Fish.

Big Fish is an enjoyable, as Tim Burton seems to try much harder here than usual, about a dying man who tells tall tales about his life, while his son fails to comprehend his father as the son believes all the stories are made up.

Albert Finney portrays the older man telling his stories constantly to anyone who can, and trying to jump on the chance to tell a story if it seems like a good time to even if the people he is telling it to have already heard of the story. No matter what the situation Finney is very consistent in his depiction of Edward's attitude in regards to other people's reactions to his stories, which really is the point of indifference. It is not that he does not care exactly how people feel about him, but rather Finney shows that no matter what Edward enjoys telling his stories.

Finney is nicely charming in his role being just a nice old man, who gives off a great deal warmth to all around him. Even as his son consistently and somewhat angrily confronts him about his stories, Finney shows Edward to be resilient. Whatever anyone says about his stories or he himself Finney wonderfully conveys the genuine joy that always prevails in Edward. Finney properly reflects the joyous life of his character by simply portraying Edward as man whose happiness never ceases for a moment despite even when there is opposition against him.

One could try to argue I suppose that Finney should have put more mystery into his performance to fuel the son's doubts, but really that is not needed since the movie depicts the tales there is no reason Edward should not fully believe them himself. Finney takes the right approach with his performance by being just a constant source of constant merriment. There is properly no grey area with Finney's older Edward he is a man who has enjoyed his life, and does not mind telling people why he has enjoyed it the way he has.

This is not an excessively complex performance by Albert Finney by any means but he really does handle his role just as he should. He is just as the character should be which is a sweet old man. He is enjoyable to watch and listen to throughout the film. Finney really is an actor who frankly was not allowed enough of his Tom Jones like performances, as he does have a great deal of natural charm that usually is not something required of him in his roles. Here though Finney uses it wonderfully well in creating his character.

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Alternate Best Supporting Actor 2003: Paul Bettany in Master and Commander: The Far Side of the World

Paul Bettany did not receive an Oscar nomination, despite being nominated for Bafta, for portraying Dr. Stephen Maturin in Master and Commander: The Far Side of the World.

Master and Commander is quite an entertaining film about a British Captain Jack Aubrey (Russell Crowe) who pushes his ship and crew to take down a French vessel during the Napoleonic Wars.

Paul Bettany portrays the ship's hard working doctor who is also the loyal friend and confidant of the Captain. As the Captain is far more of a passionate and romantic sort who pushes everyone to get the task at done. Crowe does this all very well, but what makes his performance really work is from the support of Bettany who acts as almost someone there just to bring the Captain down a bit. Bettany rightly does not portray the doctor in any way cynical but rather just a very down to earth man who is always very aware of what his job requires him to do.

Bettany finds just the right tone for the doctor to create the right dynamic with Crowe's Captain. Both show just the right warmth and kinship with one another, but they are not overbearing of it. In fact the two have such great chemistry here by simply playing that their friendship is pretty much just a given, it is not something that they even need to discuss. The two are both excellent in portraying the two have an easy understanding of each other, and they do this incredibly well because of how effortlessly the two create the relationship together.

In the first half of the film Bettany is very reserved in the film mostly going about the duties required of him. Bettany does this very well though as he shows the doctor as quiet but warming man. Bettany is particularly good in his scene where must amputee the forearm of one of the very young crew members. Bettany conveys well the reassurance the doctor is able to give the young boy, as he portrays the doctor as a man who has a genuinely good heart. Bettany is very good because he succeeds in creating the stress the doctor does suffer from his job, but still has the same reassurance.

The doctor's role drifts from being supportive as their mission seem far less likely of success despite the Captain's views to the contrary. The doctor frankly does his best to slam the Captain's thought of getting the ship no matter what, while the doctor seems the crew being discontented as well as his own personal regrets by not being to do research on the Galapagos island. Bettany is very strong in these scenes because he does not portray the doctor's anger in any sort of hatred toward the Captain, but rather an earned frustrations he feels over the Captain's selfish behavior. Bettany is able to portray properly that it is of Maturin's very real concerns for the crew, and his friend that propels his passionate disagreement with the Captain. 

Bettany serves the needs of his part splendidly. It is one that is very supportive and he works the function brilliantly. When he needs to stand out on his own though he brings a power to the part very nicely as well. He particularly finds the inner strength of his character well. Bettany even succeeds in making the scene in which the doctor operates on himself after he has been accidentally shot. The scene very well could be one that would be hard to believe but Bettany stays absolutely convincing in the scene. This is a very strong performance by Paul Bettany as he just fulfills his role, again like the other three I have reviewed this year, with a subtle and very assured approach.

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