George C. Scott in Dr. Strangelove
Frank Overton in Fail-Safe
Fredric March in Seven Days in May
Showing posts with label 1964 Best Supporting Actor. Show all posts
Showing posts with label 1964 Best Supporting Actor. Show all posts
Best Supporting Actor 1964: Results
Wednesday, January 11, 2012
George C. Scott in Dr. Strangelove
Frank Overton in Fail-Safe
Fredric March in Seven Days in May
Best Supporting Actor 1964: Edmond O'Brien in Seven Days in May
Edmond O'Brien received his second and final Oscar nomination for portraying Senator Raymond Clark in Seven Days in May.
Seven Days in May is a political thriller about an attempt to overthrow the U.S. government.
Edmond O'Brien portrays one of the loyal men to the president Jordan Lyman (Fredric March who gives the best performance in the film, but probably suffered from category confusion). O'Brien role is rather simple in that he acts as an operative for the president in trying to find out the truth behind a secret army base. Edmond O'Brien although has a descent amount of screen time he spends most of the time listening to others as he attempts to either help the president or decipher the mystery of the possible coup. O'Brien is required to develop his whole character as he moves through the plot.
O'Brien actually handles this quite well and does develop Raymond Clark into an actual person despite limitations caused by the type of film it is. In all of his scenes he makes an enjoyable characterization of a real old timey southern Senator, who drinks to much, but does believe in the president and plans do to his best to help him. O'Brien has some very good mannerisms here, that although he ensures they are very distinct he also never overplays them to the point that they become caricature.
He realizes Clark with these mannerisms very well showing exactly where he comes from and as well as his clear history in politics. O'Brien creates the history of the man simply in his face. O'Brien is good as he proceeds to show Clark as a flawed man being an aged alcoholic, but still a man with pride, as O'Brien shows in his scenes of supporting the president. O'Brien has the passion of Clark just right as it certainly is reduced by age and drink, but it still is clearly apparent. This is not an amazing performance by O'Brien, but most certainly an interesting one and from what he did do with Clark, I actually wish he had been given more to do in the script than he was allowed.
Edmond O'Brien portrays one of the loyal men to the president Jordan Lyman (Fredric March who gives the best performance in the film, but probably suffered from category confusion). O'Brien role is rather simple in that he acts as an operative for the president in trying to find out the truth behind a secret army base. Edmond O'Brien although has a descent amount of screen time he spends most of the time listening to others as he attempts to either help the president or decipher the mystery of the possible coup. O'Brien is required to develop his whole character as he moves through the plot.
O'Brien actually handles this quite well and does develop Raymond Clark into an actual person despite limitations caused by the type of film it is. In all of his scenes he makes an enjoyable characterization of a real old timey southern Senator, who drinks to much, but does believe in the president and plans do to his best to help him. O'Brien has some very good mannerisms here, that although he ensures they are very distinct he also never overplays them to the point that they become caricature.
He realizes Clark with these mannerisms very well showing exactly where he comes from and as well as his clear history in politics. O'Brien creates the history of the man simply in his face. O'Brien is good as he proceeds to show Clark as a flawed man being an aged alcoholic, but still a man with pride, as O'Brien shows in his scenes of supporting the president. O'Brien has the passion of Clark just right as it certainly is reduced by age and drink, but it still is clearly apparent. This is not an amazing performance by O'Brien, but most certainly an interesting one and from what he did do with Clark, I actually wish he had been given more to do in the script than he was allowed.
Best Supporting Actor 1964: John Gielgud in Becket
John Gielgud received his first Oscar nomination for portraying King Louis VII of France in Becket.
John Gielgud portrays King Louis of France who actually is only in two scenes during the film. This is not a forgettable two scene performance though, and does give the most memorable supporting performance in the film. In his first scene he stands as an ally of sorts for Thomas Becket (Richard Burton) who is at odds with King Henry II (Peter O'Toole). He really makes himself an ally because anyone who makes a problem for Henry helps him since France and England stand at constant odds with one another.
Gielgud is always absolutely at ease with these sort of authority roles, which is quite necessary for the part since the film requires that Louis establishes himself as a King all in a single scene. Gielgud must have the Kingly presence right from the first moment because he is gone in the next. Gielgud though is a master of these sorts of character and has all of the qualities realized from his first scene. From the moment you see him you not only know he is the king, but also a strong willed King, just from the the way Gielgud looks and stands.
When he talks Gielgud only furthers his characterization of a jovial, quick witted King, who also always seems to be in charge of his affairs. Gielgud has the right command of his single scene, and does take over the scene as needed. In his one scene he is charming, he is funny, and he shows the experience of Louis when it comes to manners involving Henry, through his fairly casual manner he helps Becket undermine Henry as well as he is able to.
It is a great single scene performance that is perfectly placed within the film. His other scene really does not have much to it he just quickly brings Becket to meet Henry, although again Gielgud shows the strength and the intelligence of Louis. Gielgud certainly is not on screen for long, but he still leaves a nice impression after he has left the screen. Louis could easily have been a forgettable character, with a forgettable performance behind him, but Gielgud does his best to make the most of his relatively minor character.
Gielgud is always absolutely at ease with these sort of authority roles, which is quite necessary for the part since the film requires that Louis establishes himself as a King all in a single scene. Gielgud must have the Kingly presence right from the first moment because he is gone in the next. Gielgud though is a master of these sorts of character and has all of the qualities realized from his first scene. From the moment you see him you not only know he is the king, but also a strong willed King, just from the the way Gielgud looks and stands.
When he talks Gielgud only furthers his characterization of a jovial, quick witted King, who also always seems to be in charge of his affairs. Gielgud has the right command of his single scene, and does take over the scene as needed. In his one scene he is charming, he is funny, and he shows the experience of Louis when it comes to manners involving Henry, through his fairly casual manner he helps Becket undermine Henry as well as he is able to.
It is a great single scene performance that is perfectly placed within the film. His other scene really does not have much to it he just quickly brings Becket to meet Henry, although again Gielgud shows the strength and the intelligence of Louis. Gielgud certainly is not on screen for long, but he still leaves a nice impression after he has left the screen. Louis could easily have been a forgettable character, with a forgettable performance behind him, but Gielgud does his best to make the most of his relatively minor character.
Best Supporting Actor 1964: Peter Ustinov in Topkapi
Tuesday, January 10, 2012
Peter Ustinov won his second Oscar from his third and final acting nomination for portraying Arthur Simpson in Topkapi.
Topkapi is an entertaining heist film about a group of thieves who attempt to steal a jewel encrusted dagger from a museum in Turkey.
Peter Ustinov joins two ranks of the winners in the supporting actor category. The first being he is another almost entirely comedic performance, that once again shows that this category never was afraid to award performers for being funny. The other rank he joins are winners that are not at all supporting in the film. Although one can argue the Maximilian Schell is a lead as well as the mastermind of the heist, but it is clear Ustinov as Simpson is the true lead as the film follows him through almost the whole film.
Topkapi is a heist film that works certainly because of the heist, and locale, but more importantly do to the characters of the robbers from the sultry Elizabeth Lipp (Melina Mercouri) who comes up with the original idea, to the mastermind of the plan Harper (Maximilian Schell), to the mechanical master Cedric Page (Robert Morley), as well as a strong man, and mute human fly. All of the original robbers have a certain quality that works for the film, but who makes the film is Ustinov who actually is only a "schmoe" at first to the robbers, but eventually becomes needed.
Ustinov is simply hilarious as Arthur Simpson who is a small time hustler in Greece who attempts to make money by selling fake antiques, and offer tours of the nightlife. Ustinov has the perfect sort of an attempt at a charm. Ustinov makes it clear that Simpson is always trying to be a suave con man, but he cannot help it that he is not one. It actually would have been very easy to make Simpson too pathetic, that would not have been funny, but Ustinov has always such a pride within Simpson that his incompetence actually comes off as quite endearing.
Peter Ustinov becomes the viewers guide actually into the heist plot as he forced to become an agent for the Turkish police under the threat of being charged with terrorism. Ustinov is again hilarious in every one of his scenes as maneuvers through the plot. I particularly love his scene where he is being interrogated by the Turkish police, as he constantly attempts to defend himself, and naturally manages even to share some of his own personal history in his defense. It is a great act Ustinov to pull off all of Simpsons various defenses, his attempts at pride, as well as his fear, and even his past while still making it funny, and Ustinov absolutely pulls it off.
Ustinov really is the perfect guide to follow through, as he manages to make Simpson a very likable schmoe, and a very funny one as he spies on the robbers while having absolutely no idea what their up to. Ustinov's various reactions to overhearing them talk about their plot are perfectly times gold. I absolutely love his reactions to when he Elizabeth Lipp complementing his looks particularly his eye lashes that is absolutely hilarious, the only thing funnier is when he reports it to the Turkish security officer, Ustinov just could not be any better.
Eventually do to unforeseen circumstances Arthur Simpson joins in the heist itself, and again Ustinov is terrific in the heist scenes. Simpson suffers from a fear of heights, and again Ustinov is just great realizing Simpson's fear genuinely but still manages to make it quite amusing as well. Ustinov just makes the whole heist fun becomes he brings to life the fears of getting caught, as well as the troubles in the requirements of it marvelously well still with a good deal of humor.
I just simply love this performance, and I think Ustinov's hilarious performance as Simpson was essential to the film. The gang of thieves could have seemed perhaps too distant or pompous to relate to, but Ustinov manages to wipe away any issues of that sort by making Simpson into such an honestly human sap that we can strangely enough relate to. It is simple wonderful work that shows exactly how to make an endearing and very entertaining character.
Peter Ustinov joins two ranks of the winners in the supporting actor category. The first being he is another almost entirely comedic performance, that once again shows that this category never was afraid to award performers for being funny. The other rank he joins are winners that are not at all supporting in the film. Although one can argue the Maximilian Schell is a lead as well as the mastermind of the heist, but it is clear Ustinov as Simpson is the true lead as the film follows him through almost the whole film.
Topkapi is a heist film that works certainly because of the heist, and locale, but more importantly do to the characters of the robbers from the sultry Elizabeth Lipp (Melina Mercouri) who comes up with the original idea, to the mastermind of the plan Harper (Maximilian Schell), to the mechanical master Cedric Page (Robert Morley), as well as a strong man, and mute human fly. All of the original robbers have a certain quality that works for the film, but who makes the film is Ustinov who actually is only a "schmoe" at first to the robbers, but eventually becomes needed.
Ustinov is simply hilarious as Arthur Simpson who is a small time hustler in Greece who attempts to make money by selling fake antiques, and offer tours of the nightlife. Ustinov has the perfect sort of an attempt at a charm. Ustinov makes it clear that Simpson is always trying to be a suave con man, but he cannot help it that he is not one. It actually would have been very easy to make Simpson too pathetic, that would not have been funny, but Ustinov has always such a pride within Simpson that his incompetence actually comes off as quite endearing.
Peter Ustinov becomes the viewers guide actually into the heist plot as he forced to become an agent for the Turkish police under the threat of being charged with terrorism. Ustinov is again hilarious in every one of his scenes as maneuvers through the plot. I particularly love his scene where he is being interrogated by the Turkish police, as he constantly attempts to defend himself, and naturally manages even to share some of his own personal history in his defense. It is a great act Ustinov to pull off all of Simpsons various defenses, his attempts at pride, as well as his fear, and even his past while still making it funny, and Ustinov absolutely pulls it off.
Ustinov really is the perfect guide to follow through, as he manages to make Simpson a very likable schmoe, and a very funny one as he spies on the robbers while having absolutely no idea what their up to. Ustinov's various reactions to overhearing them talk about their plot are perfectly times gold. I absolutely love his reactions to when he Elizabeth Lipp complementing his looks particularly his eye lashes that is absolutely hilarious, the only thing funnier is when he reports it to the Turkish security officer, Ustinov just could not be any better.
Eventually do to unforeseen circumstances Arthur Simpson joins in the heist itself, and again Ustinov is terrific in the heist scenes. Simpson suffers from a fear of heights, and again Ustinov is just great realizing Simpson's fear genuinely but still manages to make it quite amusing as well. Ustinov just makes the whole heist fun becomes he brings to life the fears of getting caught, as well as the troubles in the requirements of it marvelously well still with a good deal of humor.
I just simply love this performance, and I think Ustinov's hilarious performance as Simpson was essential to the film. The gang of thieves could have seemed perhaps too distant or pompous to relate to, but Ustinov manages to wipe away any issues of that sort by making Simpson into such an honestly human sap that we can strangely enough relate to. It is simple wonderful work that shows exactly how to make an endearing and very entertaining character.
Best Supporting Actor 1964: Lee Tracy in The Best Man
Monday, January 9, 2012
Lee Tracy received his only Oscar nomination for portraying former president Art Hockstader in The Best Man.
The Best Man details a rivalry between the two leading candidates in a presidential primary the never afraid of a dirty tactic Joe Cantwell (Cliff Robertson), and the more idealistic although still troubled William Russell (Henry Fonda).
Lee Tracy portrays the former president of the United States from the same party as the two front runners, and seems to be almost the unofficial head of the party. Both men seek his endorsement but Hockstader does not really like either man. Tracy has actually a rather difficult part to portray, since Art Hockstader was suppose to be some sort of great president who seems to be almost legendary whom almost everyone looks up to. Hockstader's presence has to to be undeniable.
Tracy is very good though actually is very good in showing the many sides of Hockstader but not all of his sides are that of a great man, but when he needs to be Tracy shows that side with great ability. In every scene where he meets someone or in his scene where he makes his speech before the primary begins, Tracy has the right politician sort of passion, and pride in this scene that is perfectly fitting. In his smaller greetings scene he again has a warmth of a respected elder statement that fits Hockstader's reputation.
Tracy perfectly positions these scenes in a broad contrast to the way Tracy portrays Hockstader in his behind closed door scenes. Tracy no longer shows a warm, prideful politician, but a cynical man of experience as he rips into both candidates for their faults. Tracy brings out all of Hockstader's the negative qualities out showing that the great man with his speeches is really just a facade. Tracy though shows an efficient inside politician, he shows a clear experience in these manners, and always has a firm control of his situation.
Tracy realizes the questionable politician very well as he sometimes viciously pressures the two men to test them, but in his old country style. Tracy mixes all of his down home, and dirty qualities into one man, who pretends to be a perfect idealist outwardly. It could have been easy to make Hockstader seem like an unrelated character, but Tracy does pull off the strange dynamic of a politician. It is a fascinating portrait of a cynical career politician, but not quite a perfect one only really for one reason.
The one reason is that even the characters who know him personally still think he is this tremendously great man for some reason despite his rather obvious flaws, but that really has far more to do with the script than with Tracy's performance. Although I will say it would have been an amazing performance if Tracy could have still seemed like a great man after showing the worst side of the man. Aside from that though this is a strong performance that works in harmony with the film.
Lee Tracy portrays the former president of the United States from the same party as the two front runners, and seems to be almost the unofficial head of the party. Both men seek his endorsement but Hockstader does not really like either man. Tracy has actually a rather difficult part to portray, since Art Hockstader was suppose to be some sort of great president who seems to be almost legendary whom almost everyone looks up to. Hockstader's presence has to to be undeniable.
Tracy is very good though actually is very good in showing the many sides of Hockstader but not all of his sides are that of a great man, but when he needs to be Tracy shows that side with great ability. In every scene where he meets someone or in his scene where he makes his speech before the primary begins, Tracy has the right politician sort of passion, and pride in this scene that is perfectly fitting. In his smaller greetings scene he again has a warmth of a respected elder statement that fits Hockstader's reputation.
Tracy perfectly positions these scenes in a broad contrast to the way Tracy portrays Hockstader in his behind closed door scenes. Tracy no longer shows a warm, prideful politician, but a cynical man of experience as he rips into both candidates for their faults. Tracy brings out all of Hockstader's the negative qualities out showing that the great man with his speeches is really just a facade. Tracy though shows an efficient inside politician, he shows a clear experience in these manners, and always has a firm control of his situation.
Tracy realizes the questionable politician very well as he sometimes viciously pressures the two men to test them, but in his old country style. Tracy mixes all of his down home, and dirty qualities into one man, who pretends to be a perfect idealist outwardly. It could have been easy to make Hockstader seem like an unrelated character, but Tracy does pull off the strange dynamic of a politician. It is a fascinating portrait of a cynical career politician, but not quite a perfect one only really for one reason.
The one reason is that even the characters who know him personally still think he is this tremendously great man for some reason despite his rather obvious flaws, but that really has far more to do with the script than with Tracy's performance. Although I will say it would have been an amazing performance if Tracy could have still seemed like a great man after showing the worst side of the man. Aside from that though this is a strong performance that works in harmony with the film.
Best Supporting Actor 1964: Stanley Holloway in My Fair Lady
Sunday, January 8, 2012
Stanley Holloway received his only Oscar nomination for portraying Alfie Doolittle in My Fair Lady.
Stanley Holloway portrays Alfie the father of Eliza Doolittle (Audrey Hepburn) the cockney flower seller who through Professor Henry Higgins (Rex Harrison) attempts to gain proper diction, and upper class manners. Alfie really is a completely superfluousness character to the film, since all his scenes are entirely there just to add some more color or comedy to the film, and none of his scenes move along the main story in anyway, but this is a long musical and such character certainly are not unusual by any means.
Alfie is purely there to be there, and really because of that Holloway did have a challenge of sorts to really ensure that his scenes did not feel like a waste of time. Holloway though manages this by giving quite an enjoyable performance as Alfie. Stanely Holloway has a the perfect type of grungy sort of charm. Holloway proves Alfie is not any sort of gentlemen, in any sort of way, but he is quite an enjoyable fellow to watch since Holloway has such a jovial presence in all of his moments.
This really is a relatively simple part though, he just needs to be entertaining and humorous. Holloway is just that in his few scenes that he has whether Alfie is asking everyone he comes across for some money, or in his scene where he goes to get money from Higgins for Eliza. Holloway makes Alfie perfectly endearing through just how much pride there is in Alfie despite his morality, or lack thereof. Holloway's little smiles, and dirty mannerisms, and his whole delivery do just add a nice bit of comedy to the film.
Alfie undergoes no changes, except for the fact that he gets money, yet that does not change him as a man in the least he still acts just the same. So after just being funny in his talking scenes his biggest requirement are his two songs. Holloway again succeeds with these as well being comedic, and sings the songs just like Alfie should sing them, and he helps in making his two songs two of the more memorable songs in the film.
This is not completely outstanding work by Holloway as it is not even the funniest or most entertaining I have ever seen him, that would be in the Lavender Hill Mob, but really this film could not have asked for a better person to play Alfie. Alfie could have been just a poorly thought out distraction, but he gives a colorful joyful supporting performance that succeeds in a way that all supporting performance should succeed in, which is making the film better simply by being there, even if his role is not the largest or the most complex.
Stanley Holloway portrays Alfie the father of Eliza Doolittle (Audrey Hepburn) the cockney flower seller who through Professor Henry Higgins (Rex Harrison) attempts to gain proper diction, and upper class manners. Alfie really is a completely superfluousness character to the film, since all his scenes are entirely there just to add some more color or comedy to the film, and none of his scenes move along the main story in anyway, but this is a long musical and such character certainly are not unusual by any means.
Alfie is purely there to be there, and really because of that Holloway did have a challenge of sorts to really ensure that his scenes did not feel like a waste of time. Holloway though manages this by giving quite an enjoyable performance as Alfie. Stanely Holloway has a the perfect type of grungy sort of charm. Holloway proves Alfie is not any sort of gentlemen, in any sort of way, but he is quite an enjoyable fellow to watch since Holloway has such a jovial presence in all of his moments.
This really is a relatively simple part though, he just needs to be entertaining and humorous. Holloway is just that in his few scenes that he has whether Alfie is asking everyone he comes across for some money, or in his scene where he goes to get money from Higgins for Eliza. Holloway makes Alfie perfectly endearing through just how much pride there is in Alfie despite his morality, or lack thereof. Holloway's little smiles, and dirty mannerisms, and his whole delivery do just add a nice bit of comedy to the film.
Alfie undergoes no changes, except for the fact that he gets money, yet that does not change him as a man in the least he still acts just the same. So after just being funny in his talking scenes his biggest requirement are his two songs. Holloway again succeeds with these as well being comedic, and sings the songs just like Alfie should sing them, and he helps in making his two songs two of the more memorable songs in the film.
This is not completely outstanding work by Holloway as it is not even the funniest or most entertaining I have ever seen him, that would be in the Lavender Hill Mob, but really this film could not have asked for a better person to play Alfie. Alfie could have been just a poorly thought out distraction, but he gives a colorful joyful supporting performance that succeeds in a way that all supporting performance should succeed in, which is making the film better simply by being there, even if his role is not the largest or the most complex.
Best Supporting Actor 1964
Friday, January 6, 2012
John Gielgud in Becket
Lee Tracy in The Best Man
Peter Ustinov in Topkapi
Stanley Holloway in My Fair Lady
Edmond O'Brien in Seven Days in May
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