Best Supporting Actor 1945: Results

5. John Dall in The Corn is Green- Dall gives a dull boring performance that fits his rather dull film.

4. J. Carrol Naish in A Medal for Benny- Naish is the best part of his film, and does give some emotional weight to his performance, but it is still is not anything that special.

3. Robert Mitchum in The Story of G.I. Joe- Mitchum gives a good performance that creates an effective realistic portrait of a soldier leading his troops.

2. Michael Chekhov in Spellbound-Michael Chekhov does not have too many scenes at his disposal but he makes the most of all of them giving an effective scene stealing performance.

1. James Dunn in A Tree Grows in Brooklyn- James Dunn easily gives the best supporting performance of the year. Dunn gives a wonderful emotionally powerful performance that perfectly finds both the charm and the tragedy of his character.

Best Supporting Actor 1945: Michael Chekhov in Spellbound

Michael Chekhov received his only Oscar nomination for portraying Dr. Alexander Brulov in Spellbound.

Spellbound is a lesser Alfred Hitchcock thriller about an amnesiac (Gregory Peck) who may or may not be a murderer who is being helped by a psychoanalyst Dr. Constance Peterson (Ingrid Bergman).

Michael Chekhov was best known as a theater actor, as well as his philosophies on acting, but he did have a few film roles one of them being this film which earned him an Oscar nomination. Spellbound is not a great Hitchcock film with a lacking lead, and a great deal of dialogue that probably should have been rewritten. Michael Chekhov's Dr. Brulov does not appear until the second half of the film after Bergman's character has gone on the run with Peck's while trying to decipher what has caused his amnesia.  She brings him to her former mentor Dr. Brulov's house to hide out, believing Brulov won't notice the troubled state of Peck.

Chekhov makes Dr. Brulov a big breath of fresh air for the film which was becoming stale on Bergman's and Peck's exchanges. Chekhov instantly brings some much needed life into the picture as the devoted, and opinionated psychoanalyst.Chekhov exudes a certain charm in the role, and flawlessly establishes Dr. Brulov's "credentials" seemingly without effort. Although it most certainly is true that he almost seems to be Freud in all but name Chekhov still manages to not just be some cheap imitation and is capable of portraying intelligence of Dr. Brulov quite well.

He brings a great deal of life in his part as the intelligent insightful Dr. Brulov who is both charming as well as brings a certain weight to his words that realizes the idea of psychoanalysis in a far more fulfilling fashion than the rest of the film was able to do. Chekhov gives an enjoyable turn that livens up the film when it is very much needed. In fact Chekhov effective depiction of Dr. Brulov actually made me far more interested in Brulov than the rest of the characters in the film. In fact what Chekhov does do in the role made me wish the film had actually been more about him.

This actually quite achievement in its own way by Chekhov since he really only has a few scenes, but every moment he does have are very well spent. Even though his character is limited just like his time his performance is always the best part of the scenes he is in as well as really the best part of the film. It is really a great example of a great actor being able to do something special with a role no matter how simple and limited might be as written. It is not completely unforgettable performance by any means like say Claude Rains in Notorious, but it is a true scene stealer.

Best Supporting Actor 1945: James Dunn in A Tree Grows in Brooklyn

James Dunn won his Oscar from his nomination for portraying Johnny Nolan in A Tree Grows in Brooklyn.

A Tree Grows in Brooklyn is a moving film that depicts the struggles of a poor family who lives in a Brooklyn tenement.

There are many types of Oscar winners particularly in the way their win seems to stand. There are those which it just stands as part of an already great career like Laurence Olivier, than there are those who only seem to go down from there like George Sanders, as well as those who it acted as just a nice near the end of their career tribute like Henry Fonda, as well as the sort like Haing S. Ngor who did not have great success as an actor afterward, but they weren't actors to begin with than there are those whose whole career highlight is summed up in their win like James Dunn.

James Dunn did not have too much of a career before or after his Oscar winning role here, and just like Johnny Nolan he suffered from alcoholism. Dunn though like Johnny clearly had some greatness in him even if it was muted by drink, and perhaps it is his similarity to his character that allowed Dunn to have this moment of greatness in his career suggests just who Dunn could have been just as Johnny Nolan's best moments suggest much of the same sort of greatness. It is perhaps this undeniable connection that allows Dunn to give as moving of a portrait of Johnny Nolan as James Dunn does.

Johnny Nolan is the father of the Brooklyn family who spends his time in small waiter jobs unable to support his family by himself even though he attempts to do so, as well has a sort of dream to become a singer as well.  Johnny Nolan only wishes the very best for his family, but is flawed in his troubles with alcoholism. Quite often during the film Johnny is talked about, in fact there is even a bit of a build up toward his eventually appearance, but James Dunn when he eventually appears makes Johnny well worth this.

James Dunn from his first scene makes Johnny one of the most genuinely heart warming fathers ever depicted on screen. Dunn has such an enthusiasm in the part that is absolutely endearing. He makes Nolan's kindness completely truthful there is not a moment where you doubt his love and affection for his family, Dunn simply could not be better. It is easy to turn a character such as this into just a falseness that feels faked, but Dunn makes it all made true to the heart with his endearing portrayal.

His chemistry with Peggy Ann Garner as Francie Johnny's daughter is perfect. There is an undeniable warmth toward one another that is only ever genuine. Their scenes together are an incredible combination of both being some of the most heartwarming moments in film as well as the most heartbreaking because of how honest their love is. Dunn makes Johnny's pride and affection for his daughter this way through the joy James Dunn in every second he is on screen with Garner.

Dunn is equally effective though in his sad moments as his happier. What works so well about Dunn's performance though is the way he never overplays an emotion as actors commonly do when portraying alcoholics. In all of his scenes, everyone Dunn infuses the same soft spirit into his performance even when Johnny faces his troubles directly, and is discouraged by his wife. Dunn even in these discouraging moments still always has that same glint of optimism of Johnny that is the heartbreaking tragedy of his character.

Dunn never wastes a moment in his performance always create a notable emotional impact in each scene he is in, and emotional impact so strong that you can't forget him even when he is off screen. Dunn creates such a beautiful portrait of Johnny that shows his history and his life struggle in his face. He establishes the whole history of Johnny in his portrayal of a potential great man unable to completely appear due to his place in society. Dunn always is able to realize both the strength and the weakness of Johnny flawlessly.

I would say what might be Dunn's best scene as Johnny, and I say might because Dunn only has great scenes is when he sings Annie Laurie on the piano. It never seems an achievement to simple be able to sing in a performance since it is acting not singing, but a musical moment can be something very special for an actor if they are capable of presenting more of the character's soul through song which Dunn most certainly does in this scene. Dunn in the single song shows the potential greatness in Johnny with how he is both wonderful and chilling in the moment showing exactly what Johnny is capable of but never able to forget the troubles in Johnny either.

This is just a amazing emotionally powerful performance from James Dunn which after he exits the film you really feel a genuine loss and heartbreak when he is gone. Dunn never tries to force us to feel for Johnny but brought it out naturally with his charming warmth, as well as with his realization of the tragedy of the character. Although Dunn career did not have a resurgence because of his Oscar win he most certainly proved with this exceedingly deserving performance that just like when Johnny Nolan's sing Annie Laurie the greatness was clearly there.

Best Supporting Actor 1945: Robert Mitchum in The Story of G.I. Joe

Robert Mitchum received his only Oscar nomination for portraying Lieutenant later Captain Bill Walker in The Story of G.I. Joe.

The Story of G.I. Joe follows war correspondent Ernie Pyle (Burgess Meredith) as he follows a group of U.S. soldiers during World War II.

 Robert Mitchum despite a long successful film career only ever received a single Oscar nomination very early in his career for his supporting role in this film. This role of Mitchum's reminded very much of James Whitmore's character in Battleground. Both are films about World War II which are directed in a more realistic fashion for the time by the underrated William Wellman, both portray sympathetic but duty bound superiors to the army units portrayed in the film. Mitchum though does have a great deal more screentime at his disposal than Whitmore who only could do so much with his very limited role.

Robert Mitchum role is an a particularly actory sort of performance in that we rarely see Walker doing anything other than moving along through the war, and encouraging is men to do the same. Mitchum though certainly does make the most of his character with his performance though. He never attempts anysort of gimmicks with his performance, but throughout the film just attempts to portray Walker as any hard working Captain who cares for his men, and knows he must do his duty. Mitchum stay true to the part the whole film, and gives a realistic performance.

Mitchum gives an effective portrait of the Captain throughout the film with his distinct screen presence which Mitchum uses perfectly in this film. This allows Mitchum to hold the viewers attention when he is on screen without ever really seeming to strive for it in any obvious fashion. Mitchum makes simple and easy for us to follow the Captain particularly in the war scenes where he conveys the emotions of the moments wonderfully. He never overplays these scenes but rather creates a rather honest and realistic depiction of a man in his difficult situation.

Through most of the film Mitchum is there being as he should, but Mitchum like Whitmore in Battleground shows the degradation of the Captain as the war's difficulties weigh more and more upon him. Again Mitchum effectively and realistically portrays the toll it has on the Captain. Mitchum late in the film also has one scene where Walker can relay what he truly feels about his situation. It is a brief scene but an effective one where Mitchum honestly shows the tremendous hardship the Captain has from his duty through his simply and entirely honest delivery.

This is a strong performance that achieves a great deal despite the technical limitations due to the type of film it is. Mitchum moves along with the film from moment to moment, and gives a portrait of his soldier in war effectively. It may not be the greatest performance ever gave, and it is a bit strange that the prolific Mitchum only ever received this nomination despite his long career this is a deserving performance by Mitchum. He delivers a moving and interesting performance that manages to be noticed well among the ensemble of soldiers who in some cases have flashier parts than Mitchum.

Best Supporting Actor 1945: John Dall in The Corn is Green

John Dall received his only Oscar nomination for portraying Morgan Evans in The Corn is Green.

The Corn is Green is another film that seemed quite popular during this period about a small mining town, this time the central story consists Miss Moffatt (Bette Davis) who seeks to educate the people of the town.

John Dall who is best known for portraying the controlling killer in Alfred Hitchcock's Rope portrays one of the miners who Davis' character takes special interest in. It is funny that she takes an interest in him, seeing some sort of intelligence in him, the problem is though there really is not anything to see in him as portrayed by Dall. He is suppose to be an intelligent man who shows a great deal of promise despite his profession, and his grammar. The problem is Dall does not really present the man, he makes Morgan seem basically as much of a dope as any other of the men in town.

John Dall fails to present any sort of really energetic spark in Morgan that would cause Davis' character to become so devoted to him so quickly. Dall remains rather dull in the part never achieving anything special with his character even if the film wants us to believe otherwise.  He does not even subtly show there is some hidden element to the man that goes beyond his exterior the problem is he just is not. Dall whole portrayal fails to ever feel original or inspiring for a moment.

Dall certainly has plenty of screentime to attempt to realize Morgan as a character, after all you could probably argue him as the male lead of the film. Dall though keeps the same annoyed looking face almost throughout his performance, showing his character always being slightly discontented. What is he discontented about? Well that is a little hard to tell with Dall think characterization, maybe it is because he is a miner, or the way Davis' character wants to change him perhaps, but really Dall never really makes this annoyance have too much of a purpose.

Dall never makes Morgan into an interesting character he remains quite boring throughout his performance. I never really cared for a second about his character's future, because Dall never showed any promise in him in fact he came off as well plainly dull. He really doesn't have any chemistry with Bette Davis to make their scenes together have the emotional impact the film was seeking. He also lacks the romantic, or a lustful spark with Joan Lorring, the fact they have a relationship at all never seems even that believable despite the fact that it is only suppose to be superficial to begin with.

Dall never makes any aspect of his character particularly convincing, and certainly not compelling. It feels like an entirely standard performance that any actor could have given from the period, and there probably where many young actors from the time who could have given a far better performance. Dall simply never achieves anything remotely interesting with Morgan, and actually makes the film rather boring itself because Dall is given such attention. Dall in the role never for a moment makes the viewer believe he is deserving of such attention.

Best Supporting Actor 1945: J. Carrol Naish in A Medal for Benny

J. Carrol Naish received his second and final Oscar nomination for portraying Charley Martin in A Medal For Benny.

A Medal for Benny details a  boring love story between two people that seems basically pointless when the film suddenly changes to a satire on the idea of war time heroism as a former rouge Benny becomes a war hero leaving the town wishing to profit from the fame of the young man.

J. Carrol Naish portrays Charley a man of Mexican descent who is the father of the rouge and hero Benny. I must say that as with his performance in Sahara Naish actually does disappear into the role fairly well in that I did not recognize him instantly. He did not just seem like an actor doing an accent like the two romantic leads of the film did. He does manage to be a character rather just a bad actor attempting to portray a part, something that commonly is not the case when doing an accent.

As with Sahara Naish's accent for his character does not really avoid the stereotype of accent for said particular nationality or ethic group, but as with Sahara Naish has the right sort of conviction with his accent, and his character to make it work. Naish does not lose his accent ever or his manner as the poor rather meek man. It does not falter or flee, and he makes Charley a believable character. Also his accent seems absolutely genuine compared to the strained accents of some of his co-stars.

Although he still given a rather limited character he does have a bit more to do then in Sahara which he was barely in. In the first half of the film he is just a kindly, but poor man in the neighborhood who keeps losing money to constantly borrowing Joe. Naish just makes Charley into a nice old man that is very easy to empathize with. Even though Charley is not given much screentime early on Naish does make Charley the most likable character, even all he does it get told about his money troubles for most of his early scenes.

Naish though never turns Charley into a depressing sort of character though, as he shows an enthusiastic optimism, Naish succeeds in making Charley a fairly endearing character. Later in the film he is given a little more to do when he finds out his son Benny has become a hero posthumously. Naash is good in showing the pride and grief in Charley over the news of his son, and does bring some genuine emotion to these moments which otherwise are rather lacking.

Near the end of the film Naish almost seems to become the  main character as the town tries to use Charley as a means to bring interest into the small town in rather shameless ways. Naish's is good in these final few scenes as he shows the continuing sadness and pride in Charley, that forces Charley to finally stand up to the town pitiful attempts to make money off his son. He has a nice moving moment at the end showing exactly what he felt for his son, even though that relationship was less than it could have been since we never see Benny, and the whole aspect of Charley's character almost comes out of nowhere in the script.

This is a good performance by Naish though despite his extremely limited material at his disposal. Although I won't say it is a great accomplishment, he does manage to make Charley the most interesting part of the film, and the only character you really care about. Naish really never has a great moment in his performance, but he is fine throughout the film, even though given the times his character could have been basically just an accent nothing more, but Naish instead finds some genuine emotion in the part.

Best Supporting Actor 1945

And the Nominees Were:

Michael Chekhov in Spellbound

J. Carrol Naish in A Medal for Benny

James Dunn in A Tree Grows in Brooklyn 

John Dall in The Corn is Green

Robert Mitchum in The Story of G.I. Joe