Alternate Best Supporting Actor 1960: Eli Wallach in The Magnificent Seven

Eli Wallach did not receive an Oscar nomination for portraying Calvera in The Magnificent Seven.

The Magnificent Seven although holds a certain entertainment value certianly is flawed, and inferior to the Seven Samurai.

I actually considered doing all of the supporting six of the Magnificent seven as one group of reviews, but I thought I could just handle them at the the beginning of this review. Steve McQueen shows conviction with every line whether they deserve them or not, and is quite good in his usual way. James Coburn probably is my favorite of the seven even though, or perhaps because he has the simplest role, but he is great at being the stoic bad ass of the group. Aside from McQueen and Coburn the other four all of their little human stories to go with them for better or worse.

Charles Bronson and Brad Dexter are descent even if they are saddled down by dealing far too much with terrible actors supporting their stories. Robert Vaughn has perhaps the most baity role actually, in that he most certainly has the traditional "Oscar scene". Vaughn actually is fine at being quietly uneasy throughout, but his big break down scene doesn't really work even though again he has to deal with terrible supporting actors for the scene. Vaughn does not really earn the scene enough, but I suppose it probably would have been better if he was not supported in such an awful fashion.

Horst Buchholz technically speaking is almost lead as he is sort of playing the Toshiro Mifune role, although Vaughn sort of elements of his role as well, but the role is truncated and heavily changed from the original. Buchholz certainly gives it a try, he is no Mifune, but he is also no Steve McQueen when it comes to conviction and likability. Buchholz just does not make his character of Chico very endearing. He unfortuantely becomes actually rather annoying. In fact his performance is the least effective of the six supporting heroes, even though he might actually get the most time individually.

The Magnificent Seven certainly has many reasons why it is inferior to The Seven Samurai. Kurosawa's film is very much a director's film and through his direction he avoid many of the flaws in this version. For example there is far too much on the villagers who are the awful supporting actors I referred to. This version also suffers through clunky philosophical dialogue, and even though there is greater emphasis on the performances in this version for the most part most of the actors do not capitalize on this fact. The Magnificent Seven must be given its due in two points though it has a great score, and a far more memorable villain than the original film.

Apparently Wallach originally wanted the role which was going to be the Toshiro Mifune equivalent character, but ended up being wanted for the role of the leader of the bandits Calvera. Wallach apparently only would take the role if he was allowed to have Calvera look like a man who actually spent his money from his thievery, and this request of Wallach is a great indication to the fact that he refuses to ever allow Calvera to be just a throw away villain. Wallach takes the role that could have been absolutely forgettable, and seeks to make the most of him even with the little time he is actually given.

Wallach in his opening scene brings a great deal of fun and style into the role. In the scene Calvera goes on about telling the village about how he will steal their crops, and their is not anything they can do about it. Wallach is very entertaining in this scene having a certain charm even while carrying the underlying threat perfectly. Wallach takes on the role with such naturalism actually, he does not play Calvera with anger until Calvera would actually get angry. Wallach has a joy here as Calvera tells the people about how he sees the world. Wallach with ease honestly turns Calvera into an actual person first as there is no reason he should be constantly evil.

When Calvera does kill one of the villagers Wallach plays it out brilliantly he does not laugh or enjoy killing in any way. Instead Wallach more realistically portrays Calvera being frustrated with indignation to the villagers for forcing him to kill him. Wallach makes a great first impression and really there could not be more that one would want from a character like this that Wallach gives. To be absolutely truthful Wallach does not make one dread the return of the bandits as one might thing, but the only thing the return of the bandits means more of Wallach's performance as Calvera.

Wallach in all of his appearances manages to liven the screen with his presence, stealing every scene that he is in completely through the great style he brings to part. Every moment and every line delivery he never leaves simple, and makes Calvera a truly entertaining villain. Due to the fact that he never focuses on the menace, Wallach actually creates a far greater impact when the more intense side to Calvera does come out. This is simply just an expert depiction of villain where Wallach does far more than the part required, which perhaps is best shown in his death scene.

Throughout his performance Wallach brilliantly added touches of a certain underlying philosophy in Calvera, that brought about his actions in the film. He lightly portrays the quiet sense of superiority Calvera feels over the villagers that leaves him flabbergasted over the Seven's repeated attempts at helping them. Wallach is simply marvelously as he honestly portray the lack of understanding Calvera has for their heroic actions, particularly in his death scene. Wallach almost allows us to sympathize with Calvera for a moment because he truthfully portrays the moment of disbelief than realization without fault. An incredible performance by Wallach only held back by the limitations of the part, but Wallach shows exactly how a great actor can make the most out of any part.

Read More

Alternate Best Supporting Actor 1960

And the Nominees Were Not:

Fred MacMurray in The Apartment 

Eli Wallach in The Magnificent Seven

Charles Laughton in Spartacus

Laurence Olivier in Spartacus

Gene Kelly in Inherit The Wind

Read More

Alternate Best Supporting Actor 1985: Results

5. Danny Glover in The Color Purple- Glover is properly intense in his brutality in his role as an abusive husband, but he is unable to get parts the restrictions of the part.

4. Wilford Brimley in Cocoon- Brimley gives the best performance of the cast being the quietly commanding presence of the group, as well as creating the greatest emotional impact of the various stories. 

3. M. Emmet Walsh in Blood Simple- Walsh creates a deliriously evil and memorable villain by beautifully playing up the sleaze and menace of his slimy private detective.

2. Crispin Glover in Back to The Future- Glover gives my second favorite supporting turn of the year in his absolutely hilarious, but when it needs to be moving turn as the spineless George McFly.

1. Christopher Lloyd in Back to the Future-Well Good predictions to Paoloduncan, and Lezlie please throw out a year and a performance. Lloyd wins this year as it came to the two Back to the Future performances which I love both. I have to choose one so I will choose Lloyd manic and funny turn creating Doc Brown into a truly memorable character.

Overall Rank:

1. Christopher Lloyd in Back To The Future
2. Crispin Glover in Back To The Future
3. M. Emmet Walsh in Blood Simple
4. Dan Hedaya in Blood Simple 
5. Michael Palin in Brazil
6. Michael Mckean in Clue
7. Martin Mull in Clue
8. Christopher Lloyd in Clue
9. Robert De Niro in Brazil
10. Wilford Brimley in Cocoon
11. Willem Dafoe in To Live and Die in LA
12. Klaus Maria Brandauer in Out of Africa
13. Jan Rubes in Witness
14. Peter Vaughan in Brazil
15. Lucas Haas in Witness
16. Brian Dennehy in Cocoon
17. Bob Hoskins in Brazil  
18. Ian Holm in Brazil
19. John Pankow in To Live and Die in LA
20. Danny Glover in The Color Purple
21. Paul Gleason in The Breakfast Club 
22. Hume Cronyn in Cocoon
23. John Turturro in To Live and Die in LA  
24. Thomas F. Wilson in Back to the Future 
25. Dean Stockwell in To Live and Die in LA
26. Jack Gilford in Cocoon
27. Josef Summer in Witness
28. Robert Loggia in Jagged Edge
29. Christopher Walken in A View To Kill
30. Adolph Caesar in The Color Purple
31. Jim Broadbent in Brazil
32. John Kapelos in The Breakfast Club
33. Charles Napier in Rambo First Blood Part II
34. Peter Coyote in Jagged Edge
35. Richard Crenna in Rambo First Blood Part II
36. Danny Glover in Witness
37. William Hickey in Prizzi's Honor
38. Don Ameche in Cocoon
39. Dolph Lundgren in Rocky IV 
40. Burt Young in Rocky IV
41. Steve Guttenberg in Cocoon
42. Eric Roberts in Runaway Train

Next Year: 1960 Supporting

Read More

Alternate Best Supporting Actor 1985: Wilford Brimley in Cocoon

Wilford Brimley did not receive an Oscar nomination for portraying Ben Luckett in Cocoon.

Wilford Brimley portrays one of the retirees in Florida Community who finds new life through a pool used by Extraterrestrials that caused it to have a rejuvenating power. Interestingly about Brimley is that he is actually by far the youngest of the group, as Brimley wasn't that old when the film was made, which is quite something since Brimley actually creates the most moving story out of the four stories of the elderly men that inter cut through the film about how the pool is effecting them.

There is of course Don Ameche's Oscar winning but not particularly interesting story about getting married that really does not go anywhere special. Hume Cronyn somewhat interesting story about his character going back into old bad habits after regaining his youth. There is the rather short, but moving in the pivotal moment story involving Jack Gilford whose character refuses to use the pool even for his dying wife believing that that it is entirely unnatural. Then there is Brimley's story involving leaving his grandson to go with the aliens to live forever.

Brimley actually only has a few scenes where Ben spends time with his grandson, and really the importance of the scenes does not come until one near the end of the film as they fish together. There scenes before this one are nice as they show warmth together, but the power really comes in the fishing scenes where Brimley shows Ben trying to tell his grandson that he is going away. Brimley is very moving in this scene but really because he does not push the emotion. Brimley allows to come naturally in the scene as he calmly explains why he has to go even well still showing some regret since he must leave his grandson.

Aside from that scene though Brimley does an excellent job of standing out the most out of everyone within the cast as Ben, who although enjoys the rejuvenation stays calm and collected about the whole affair. Brimley as usually to his roles has a certain command even in this role as the elderly Ben, and he quietly carries on as really the moral center well. Even as the others fight Ben stands firm in his place caring about what is the important, and Brimley conveys the conviction within Ben as a strong quietly demanding internal strength. 

This is a good performance by Wilford Brimley and he stands as the best part of the film, as he not only has the greatest emotional impact with his performance, but as well usually has the greatest presence in the group scenes. I do have to say though watching Cocoon again is that Cocoon is not the greatest of films, and all of the stories seem at least a little undercut in some way. Brimley though does his best to make the most of his parts of the film, giving the strongest performance in the film.

Read More

Alternate Best Supporting Actor 1985: Danny Glover in The Color Purple

Danny Glover did not receive an Oscar nomination for portraying Mister Albert Johnson in The Color Purple. 

The Color Purple is a fairly effective film about the trials of a young African American woman Celie (Whoopi Goldberg).

To say the men depicted in The Color Purple are cruel would probably be a bit of an understatement. Most of the men depicted are easily angered individuals not opposed to severely beating women or raping them without hesitation. They are creeps, and Glover gets the biggest role of the creeps as the man who basically buys Celie for a wife that he wants to merely take care of his house, and keep his kids in line. Mister, as he is referred to, is not a nice man and that is the way Glover portrays him without really trying to make any silver lining to the character.

Almost all of his scenes with Goldberg Glover portrays Mister in really one of two ways. One is the more explosively violent abusive side of Mister as he constantly yells at her, hits her if  he so chooses, and does not take a second thought about the whole affair. Glover certainly is blunt and unapologetic as Mister who brings the brutality of Mister to life fairly well. I would say his other way though is perhaps just as brutal which is when he not being as openly hostile.

When he is not being hostile though Glover plays it as though Mister barely recognizes her as a person. Glover has Mister barely look at her or acknowledge her in anyway even during sex, which he does well in showing that Mister does not really see Celie as anything to him. In these moments when Mister notices her at all he only acts in a quick violent manner to get her to do something for her. Glover is actually quite good in portraying that no matter what if Mister is not directly abusing her, he is always ready to.

There is another side to Mister also seen that is not really much better than his violently abusive side which instead is a constantly lustful side. Here really is where one would maybe expect a little more depth from Glover's performance as he lusts after women, but really it is pretty much on the surface again. There is not anything special about him here he just wants the women he wants and tries to smile into his way to get them where he wants them. The fact that his charm is really a joke is actually a fine enough way to portray Mister, but never makes him particularly interesting.

One of the underlying ideas in this film is the way the abused can easily become abusers themselves. Mister himself his abused by his father verbally in one scene, and Glover is rather effective in this scene showing Mister as the one without the power for once. Glover handles it well by losing all of his intensity of before in this scene and almost seeming to become a child in this scene as Mister becomes shy and filled with hesitations to say anything to his father's angry attacks against him.

Mister though is a fairly repetitive character as he stays abusive until near the end of the film after Celie leaves him, and he becomes a pathetic mess of a man. Again Glover could have the chance for to really make a great impression with his performance, but really he stays fine in the part. His final scenes Glover portrays it as less of a transformation for Mister, but more him becoming that shy child again without power, who know might as well do something right since he no longer has the power to do something wrong.

To be perfectly fair to Danny Glover as written Mister Albert Johnson is a pretty thin character, and he mostly is there to be the terrible force that Celie wants to get away from. Glover actually is fine in being brutal, and intense in a believable fashion as it would have been really easy to go way too over the top with this character. This never becomes a particularly fascinating sort of characterization and as the story wants it Mister is always overshadowed by the female characters, and Glover is overshadowed by the female performances.

Read More

Alternate Best Supporting Actor 1985: Christopher Lloyd in Back to the Future

Christopher Lloyd did not receive an Oscar nomination for portraying Doctor Emmett "Doc" Brown in Back to the Future.

Christopher Lloyd portrays Doctor Emmet Brown who is the actual inventor of the time machine that Marty McFly uses to go back to 1955. Lloyd creates a very unique performance as the scientist. Lloyd certainly takes risk with his portrayal. He takes a very manic approach to portraying the just slightly off his rocker Doc. He creates an undeniable impression from his very first scene where he finally tries the time travel device, and shows it off to Marty. It is an interesting take that Lloyd takes on Brown as he almost plays him as more down to earth average sort of man scientist.

Lloyd in his first scenes shows off a manic approach to Doc Brown, that is a very enjoyable and endearing method to his performance. Every line he says has an incredible energy behind it, as does the physical aspect of his performance. There is something very special to Lloyd take on Brown's style that never seems forced, and effectively helps to amplify the idea that his character is the eccentric scientist. He never overplays the mannerisms, but rather he works all of them within his performance wonderfully to help make Doc Brown as memorable of a character as he is.

Lloyd just makes an endearing character in the wacky but goodhearted Doc, and he makes Doc very likable from the instant we see him. There is just a charm he brings out to his performance that like Crispin Glover, and Michael J. Fox in this film he does this by adding a great deal of humor in his performance as well. A great example of how this works is when he forces Marty to video tape the time travel experiment directly in front of the car which will run them over if his experiment does not work. His reaction as he looks at Marty to stand properly in line, although technically devious never feels so due to just how amusing Lloyd's look is.

One of the best aspects of Lloyd's performance is the pride in his character, but just as well as the way he shows that really Brown is not much of a scientist, and just happened to be able to invent the time machine. There is though a profound wonderment when he first sees his machine work, as well as when the past version of himself finds out that he has actually discovered something has work that Lloyd brings to life with a great deal of joy, but always wonderment that he actually could invent something in the end. After all one of my favorite moments in his performance is when he tries a clearly shoddy machine, and his hilarious frustration at it shows a long standing history of such frustrations.
 
One of the most important parts of his performance though is his relationship with Marty played by Michael J. Fox. As I said in Fox's review the two absolutely make this friendship work together as well as it could. Although again there is no explanation between Marty and Doc, the two just have a natural chemistry together that absolutely makes the most of it. Although the idea of the friendship might of seemed unbelievable in the hands of any other pair of actors, the two absolutely do not leave the viewer questioning the friendship between the two. They succeed together both in a comedic fashion, as well as even in a more serious fashion.

Together the two play off each other wonderfully with Lloyd playing it up and Fox playing it down, as well as in the past Lloyd playing up the 50's sentiments, and Fox playing up the 80's. Both actors just match each other perfectly every reaction and line that work off each other just hits the mark. For example the exchange between the two as Marty says their situation is heavy, and Doc question the statement believing there something to be wrong with the earth's gravitational pull, to Marty ending it with a huh. The two just have excellent timing and they just are an excellent duo, it is no wonder they continued for two more films after this.

Lloyd and Fox just as easily create an honestly moving relationship between the two which is largely based on that Marty knows that Doc was killed just before he went back in time. Although at first somewhat hostile due to a humorous disbelief as portrayed by Lloyd, the past Doc and Marty quickly becomes friends as well. The two genuinely create a believable caring the two have for each other that absolutely works with each other. Both actors actually make their arguments over Marty wanting to tell Doc, but Doc wanting to avoid messing with time honestly poignant particularly their final goodbye to one another.

Christopher Lloyd gives a terrific performance creating Doc Brown into a memorable entertaining character. He just lights up every scene he is in with his great vigor that never lets up. He successfully never stops being both consistently funny in the role, but as well creating an honestly moving portrait of this rather strange character. Lloyd just effortlessly creates this manic and incredibly fun performance that realizes the character marvelously. Doc Brown could easily have not been nearly as remembered as he is, but every mannerisms every reaction that Lloyd gives in this performance works and only succeeds in making this one of the great characters of the 80's.

Read More

Alternate Best Supporting Actor 1985: Crispin Glover in Back to the Future

Crispin Glover did not receive an Oscar nomination for portraying George McFly in Back to the Future.

Crispin Glover portray George the father of Marty McFly (Michael J. Fox) who we first see in the present time as a spineless man who does his supervisor and former bully Biff's (Thomas F. Wilson) work, as well even letting Biff destroy his family's car. Glover is quite a sight to be seen early on here with his cheap looking business attire, that far too greasy hair cut, and something that can be given entirely to Glover's credit is that horrible posture that carries as the older George. Glover makes these earliest scenes of George some of the funniest in the film through his portrayal of George's lack of confidence.

Glover does not give off even a hint of strength in George's character here as he shows George taking the same abuse from Biff he always has been. Glover is very good here becuase although George is being entirely exploited by Biff his entire, he still portrays George reaction to it as basically a discomfort that he still tries to be pleasant about. He does not suggest in any way at this point that George could possibly do anything about Biff's constant harassment of him. Glover very importantly really does show really the end of the wrong path for George, as a man who never once stood up for himself ever, which factors in well later on into the film.

Now of course this film is never a downer despite George's predicament at the beginning of the film, and Glover adds a great deal of humor well into his performance. His laugh as the older George is just downright hilarious in just how ludicrous it is, yet Glover makes the laugh entirely into the character of George here, and although odd it does come off as natural to him. It is also important to mention that Glover is effective at being the father here, honestly portraying a certain warmth, as well as amusingly showing George is weak willed attempts at fatherly advice. I particularly like Glover's strained emphasis as George just attempts to apologize to his son for not standing up to Biff.

After Marty goes back in time and by chance meets his father in the past, and Glover brings about the younger George well loosening up on the posture, and shows not nearly as excessively pathetic of George. This is not to say he is not pathetic but rather he is on his way to becoming the George at the beginning. Although technically speaking it is more of being George being himself, Glover finds more way to make the character enjoyable in his lacking qualities. Again although pathetic Glover wears such a bright smile while still being bullied that he makes it all rather entertaining.

Glover gives just a brilliant comedic performance in every scene he is in realizing the nerdy George. Glover is a master of physical comedy here expression so well in every one of scenes the meekness of George, he only adds to it with his always reluctant voice and expression. He really truly makes a meek man here, although he makes him an absolutely hilarious man of such meekness. One moment I particularly love that is comedic gold but also with just the right amount of sadness is when Marty tries to introduce George to his future wife Lorraine (Lea Thompson), but she completely ignores him. Glover is absolutely perfect in how awkwardly he  attempts to greet her, than after his failure he so quietly slinks away.

What is so special about this performance though is although consistently funny Glover always puts it entirely within his character. There is nothing forced about the humor, it all works in wonderfully with George, and amplifies his qualities marvelously. He just like Fox did in his performance finds just the right tone bringing in the right amount of comedy in the role well not losing the dramatic weight required for the role. He finds just the right harmony between the two that this performance really works, and even becomes rather moving at times because of this.

Some of the best moments of his performance are when Marty tries to push George to stand up for himself, and actually asks Lorraine out. Glover is amazing when he tries to ask her out in the diner as he prepares so awkwardly, but again hilariously finding courage through a milk...chocolate. Although he still does not have much strength in him, Glover does indicate well that there is at least a hint of it as he shakily tries to ask her out. His smile when he says his name and finally pronounces destiny instead of density it just terrific, and actually honestly quite heartwarming for the moment as actually the two indicate to each other the connection the two would eventually have.

The pivotal moment of his character comes when he is finally is forced to stand up to Biff, and that little of bit of strength is capitalized on. Glover shows that what really does force George to finally break his shell is the seriousness of the situation and his slow turn from fear to determination is handled with a fierce power. Absolutely important though is Glover's reaction after finally punching Biff out. It is a moving combination of pride, with astonishment of what he has been capable of, and moving toward sympathy and love when asking if Lorraine is okay. He does not lose his manner completely here, as he should not, but Glover flawlessly brings out the best of George here showing that he will never go back to his meekness of before.

Glover again is appropriate in his final scene. This is actually the least notable of all of his scenes as the flawed George is clearly more interesting of a character, but nevertheless Glover handles it well. In the new present he portrays George with a proper posture, life, and confidence in himself. From his absolutely great moments from the end of the past part of the film, Glover manged to make it entirely believable that George would become this man in the end. This is just a great performance in every regard, being both a laugh out loud depiction of nerdy incompetence and lack of confidence, but as well a genuinely moving portrayal of a man overcoming his fears and weaknesses for the better. 

Read More