Alternate Best Actor 1973: Results

5. James Coburn in Pat Garrett and Billy The Kid- Coburn does an excellent job of mixing in the weightier elements of his performance along with just being the bad ass that Pat Garrett should be.

4. Edward Fox in The Day of the Jackal- Fox's performance is a true accomplishment in making such a unique reality driven characterization of the type of character that is often portrayed in the exact opposite fashion.

3. Steve McQueen in Papillon- This tremendous work by McQueen not only puts on display once again McQueen unique screen presence, but here he also is able to show how powerful of an actor he really could be.

2. Martin Sheen in Badlands-This is a great performance by Martin Sheen who goes out on a limb with his portrayal and never stops for a moment in this outstanding performance.

1. Gene Hackman in Scarecrow- This was certainly a difficult year to choose out of the top four, but as well as with the overall. This is just an incredible year for lead performances. Gene Hackman's is my second favorite of the year though through his powerful unique portrayal in his film.

Overall Rank:

1. Jack Lemmon in Save the Tiger
2. Gene Hackman in Scarecrow
3. Martin Sheen in Badlands
4. Jack Nicholson in The Last Detail
5. Jason Miller in The Exorcist
6. Steve McQueen in Papillon
7. Edward Fox in The Day of the Jackal
8. James Coburn in Pat Garrett and Billy The Kid
9. Paul Newman in The Sting
10. Al Pacino in Scarecrow
11. Carl Anderson in Jesus Christ Superstar
12. Harvey Keitel in Mean Streets
13. Ted Neeley Jesus Christ Superstar
14. Walter Matthau in Charley Varrick
15. Kris Kristofferson in Pat Garrett and Billy The Kid
16. Clint Eastwood in Magnum Force
17. Dustin Hoffman in Papillon
18. Al Pacino in Serpico
19. Michael Moriarty in Bang the Drum Slowly
20. Charlton Heston in Soylent Green
21. Robert Redford in The Sting
22. Timothy Bottoms in The Paper Chase
23. Roger Moore in Live and Let Die
24. Richard Benjamin in West World

Next Year: 1973 supporting

Alternate Best Actor 1973: Gene Hackman in Scarecrow

Gene Hackman did not receive an Oscar nomination for portraying Max Millan in Scarecrow.

Scarecrow is a film I quite liked. It is about two drifters who form a friendship and decide to make their way to Pittsburgh to open a car wash. I must say it is strange the way this film is as forgotten as it is, considering its two stars.

Scarecrow is a film very much a film made by the two performances as the two men who decide to go across country with each other. The two men are very different with one being very listless but easy going named Lionel played by Al Pacino, and the other being a man with seemingly more of a plan with a hard edged named Max played by Hackman. Hackman's Max is really a different performance by Hackman who commonly plays a man with some official authority. Here Max is a man without any authority other than that he feels he holds over himself, even if that only recently came back to him having been recently released from jail.

Hackman is an actor who knows how to create fascinating characterizations and this is most certainly true here in his creation of Max. He makes Max a rather unusual but very watchable type. Hackman is brilliant the way he makes Max a man with very specific quirks in his sometimes unusual manners, yet he never does make him at all quirky. Hackman knows how to do this so well in that he just infuses right into his character in a completely naturalistic fashion. There is never acting here by Hackman he just is Max from his first scene as he watches Pacino's Lionel with slight bemusement and he instantly establishes Max as a very particular sort as well as through just his slight smile the start of their relationship.

Max is a man who claims to have a plan and wants to take Lionel along on his venture to open a car wash, and tells him about his propensity for violence. One thing I love about Hackman how brash and blunt he is in portraying this aspect of Max. He claims he is cold blooded and Hackman gets that across marvelously through the quick incisive way he brings it across. It is not that Hackman shows that Max is some evil vicious killer in the least, but rather he portrays it really as his way just. The fashion in which he comes out in a violent manner, such as the first time when he yells at someone he thinks is eavesdropping. Hackman makes it quick to the point but something so natural coming from Max.

Max's sometimes brutal nature certainly could be taken as making the character unlikable and Hackman is never afraid to make him so if need be. Importantly though the anger within Max does not overwhelm he only makes it just part of the whole of Max. It is a part of him with a very strong history within him as Hackman makes it just his first reaction to adversity. Hackman though so easily eases in a certain likability in Max's no nonsense manner. Yes Max says things as he sees them, but he also says things as he sees them. There such a power in this approach that Hackman takes in the character. He is able to make such a commanding character who is equally unwieldy in the same breath. It is just astonishing to watch him maneuver this role that I never had a second thought about following him.

The crux of the film is the relationship between the two men as Max as the hard edged fellow who is almost kept under control by Lionel who softens him up with his comedy. I should quickly say Al Pacino is also really good here as Lionel. He is in a very different form, because of  extreme likability. He is very energetic here and really gets across how he could cheer up Max the way he does. Pacino never stops with his performance, and really gives a winning turn that balances some of the harsher moments from Hackman's performance perfectly. The two are just spectacular together in their interactions that play brilliantly throughout the film.

The way Hackman plays Lionel affect on Max is terrific. Hackman in moments sort of shows Lionel as a calming factor at first simply by making jokes constantly. Hackman makes it as almost just a distraction that takes Max's mind off of his current violence. At the same time though Hackman though does put in some genuine warmth that he downplays properly but he shows it as something that does keep Max going along with Lionel with ease. Importantly though the hard edge does not go away Hackman still shows Max as still having his harsh nature pushing forward against embracing him completely. Hackman is very realistic in portraying this very negative qualities in Max that just seems almost like reflex in Max.

Their relationship grows through the film but it does not take just a simple approach. Even as they seem to grow closer they break apart when they both end up briefly in jail which leads Max to give Lionel the silent treatment to Lionel. Hackman is excellent because, this does not feel something sudden or out of place. In fact it would seem odd for him not to do this because it is Max's way to do this. Hackman built this character so well it simply he makes it so it is obviously the only way Max would react. After Lionel though is savagely beaten by another inmate he befriended though Max snaps back into action for his friend. This is a very moving moment though because Hackman realizes it so beautifully as the best of Max comes out for his friend.

Their friendship only continues after leaving jail, and one of the best scenes for both actors is when Lionel finally is fed up with Max's anger, and shows his discontent with him first hand instead of just trying to make him laugh. Hackman is absolutely amazing in this scene as we see the old habits come out once again before Lionel presses him, than a whole new Max appears to try to make good on their friendship. The scene that has Max finally for once play for laughs, and it works wonderfully. The scene could have easily fell flat, but Hackman makes it extremely effective because he built to this point so well in his portrayal of the change Lionel created in him. As we see him avoid violence instead we see a break in the man, but Hackman makes this new Max just as real as the first.

The only scene stronger than this one though is after Lionel suffers a breakdown (an amazing scene by Pacino that easily shows this to be the far greater of his two performances of the year), and goes in to comatose. Their final scene together as Max tries to get Lionel to come back to him is stunning in the fashion in which it is played by Hackman. In this moment Hackman shows just how desperate Max really is, as well just how much Lionel really did mean to him. It is a heart wrenching scene as Max pleads Lionel to help him once again. Hackman gives this scene such an emotional weight, and the true poignancy their friendship deserves. What is amazing though is he still stays with the forceful character of Max as he seems almost partially angry over this breaking his plans so badly, but that only makes the impact even greater as Hackman allows us to see that is only there to shield how torn up inside Max is over what has happened. It is a flawless finish to the performance that perfectly realizes Max's journey as a character as well as the importance of the friendship as whole. All I can say to finish this review is I absolutely love this performance by Gene Hackman.

Alternate Best Actor 1973

And the Nominees Were Not:

Edward Fox in The Day of the Jackal

Steve McQueen in Papillon

Martin Sheen in Badlands

Gene Hackman in Scarecrow

James Coburn in Pat Garrett and Billy the Kid

I'll apologize in advance for leaving so many out as this year simply was packed.

Alternate Best Actor 1974: Results

5. Charles Bronson in Death Wish- Although the role probably could have been far more complex, Bronson still is consistently effective in his portrayal of one man's revenge even if it is in a relatively simple fashion.

4. Peter Falk in A Woman Under the Influence- Falk is good in his role always giving effective reactions throughout the film, that appropriately supports Gene Rowlands's great performance.

3. Gene Wilder in Young Frankenstein- Wilder is always very funny in his role, but really makes it work is his conviction in his portrayal of the insanity of his character. 

2. Walter Matthau in The Taking of Pelham One, Two, Three- Matthau is terrific here easily bringing a great deal of humor to his role without ever compromising any of his more dramatic moments.

1. Gene Hackman in The Conversation- Hackman stands easily as my choice in his incredible performance in this film. He is simply outstanding in his complex portrayal of this man's paranoia and guilt. There is not a single moment wasted in Hackman's unique and always fascinating characterization.

Overall Rank:

1. Gene Hackman in The Conversation
2. Art Carney in Harry and Tonto
3. Jack Nicholson in Chinatown
4. Al Pacino in The Godfather Part II
5. Walter Matthau in The Taking of Pelham One, Two, Three
6. Gene Wilder in Young Frankenstein
7. Jeff Bridges in Thunderbolt and Lightfoot
8. Clint Eastwood in Thunderbolt and Lightfoot
9. Peter Falk in A Woman Under The Influence
10. Dustin Hoffman in Lenny
11. Charles Bronson in Death Wish
12. Warren Beatty in The Parallax View
13. Peter Boyle in Young Frankenstein
14. Paul Newman in The Towering Inferno
15. Steve McQueen in The Towering Inferno
16. Cleavon Little in Blazing Saddles
17. Albert Finney in Murder on The Orient Express

Next Year: 1992

Alternate Best Actor 1974: Gene Hackman in The Conversation

Gene Hackman did not receive an Oscar nomination for portraying Harry Caul in The Conversation.

The Conversation is an excellent film about a surveillance expert who is paranoid over his most recent recording.

I must say Gene Hackman's lack of a nomination is a bit surprising in retrospect. As he was nominated in the other awards of the year as well as successfully won the National Board of Review. Also more importantly to the Oscars themselves was that the Conversation was nominated for Best Picture. Although Dustin Hoffman, Al Pacino, and Jack Nicholson all followed along with their pictures to nominations, but oddly enough Hackman was pushed to the side for Albert Finney in Murder on the Orient Express, which is especially strange since The Conversation depends so greatly on Gene Hackman's performance.

Gene Hackman shows a different side to his considerable talent than in his far more flamboyant Oscar winning turn as detective Popeye Doyle. In his performance as Harry Caul Hackman gives a very tightly wound performance. Aided by a clear rain coat, those glasses, and that mustache Hackman creates a very unique character in Harry Caul. His manner is very distinct here as he portrays the very withdrawn Caul. Hackman who succeeds so well in overpowering characters who constantly are seeking to make themselves known, is equally apt at being this man who wants to be invisible at times.

Hackman is outstanding in the opening scenes as we see Caul move through his task of tracing to people who are having the titular conversation. Here we see Caul very much in his world as he goes about being hidden and watches his plan unfold. Hackman shows that Caul proceeds in a very workmanlike fashion as he goes through the process of finding the information that is required for him. Hackman portrays distinctly here a certain lack of investment in what exactly he is dealing with at the moment. Caul does not care about what his task at hand really means, but is simply being a professional in going through what needs to be done.

After this initial scene though we see Harry Caul go home, and here we see that Caul's attempt at being unnoticed is not something he does for his work, but is in fact his way of life. Hackman's body language here is brilliantly used as he portrays Caul's every movement as one of caution. The way he walks, the way he even unlocks and opens a door, Hackman always shows a certain uncertainy within Caul that causes him to act in his unique and rather peculiar fashion. One big part Hackman always brings across is that Caul never seems to be able to relax. Even when he goes to visit his girlfriend Hackman shows the same distance, and lack of comfort.

Hackman is brilliant in his portrayal of the paranoia that constantly is pressing on Caul's mind. What is so effective about Hackman's performance is how quiet he is in conveying the paranoid Caul. There is not single scene where he burst out in emotions over his fears once. Instead Hackman is far more convincing in portraying this man's mindset by never making this as any sort of obvious insanity, but rather a constant underlying pressure upon Caul that forces him to act in his particular way. Hackman shows that it is not that Caul wants to be paranoid, but as a surveillance expert he can't really not be paranoid.

Hackman portrayal of Caul's behavior is something truly striking because he shows Caul effectively keeps his distance at all times. Whenever he talks to anyone even colleague or his girlfriend on casual terms Hackman's is terrific in bringing to life always a disconnect between Caul and the people around. The most interesting part of Hackman's performance in this regard is that there is a certain desperation behind his apparent coldness, the desperation being that he really does not want to be this way but he can't help it. Hackman shows that Caul does want warmer relationships, but this only comes out at pivotal moments.

Hackman does not make the moments where Caul lets his guard down as being worn down in the least, but rather as Caul is not nearly as cold as he seems to think he needs to be they are at times some of the natural moments for the Caul the person. In particular one scene where Caul is pushed to say how he did one very difficult assignment. Hackman perfectly downplays Caul's usual distance here as he shows Caul actively show a little more warmth as he boasts a little and smiles just slightly at his achievement. Caul quickly finds that his guard being down has left him open to an attack on his privacy, and Hackman's Caul's anger being both toward the man who pulled the prank on him, but as well at himself for not being protective enough.

Gene Hackman's performance as great as it is does not only focus on just the paranoia, but as well as a prevailing guilt in Harry after one of his jobs lead to murder, and he believes that this new one may lead to the same. Hackman in this performance knows how to make the slightest absolutely compelling as he repeatedly goes over the recording over and over again trying to figure out what exactly it means. Hackman brings us into Caul's mindset as he carefully listens over and over again to every facet of the recording. Although Caul claims that he only wants to make the recording clear for his client, Hackman conveys in his intense pondering over the conversation that Caul cannot separate himself from what might be the results of the recording.

Hackman is simple fascinating as he brings to life the guilt that Caul cannot shake and follows him through. Hackman shows that as cold and distant Caul wants to be he is fact a man who becomes far too deeply invested considering what his work entails. It is something truly outstanding as we follow Caul through finding out exactly what the conversation did mean after all. Hackman brings us right into the horror of knowing the truth as Caul sees the results of work. It is an astonishing scene as Hackman's portrays the sheer terror, and pain he goes through as all of his fears come true. An incredible scene to begin with but Hackman makes it as powerful as possible through his flawless portrayal of Caul's haunting reaction.

This is simply an amazing performance by Gene Hackman that may be his personal best, and considering his filmography that is really saying something. He never wastes a single moment in his performance utilizing every second of his performance to realize this very unique characterization. Hackman makes his Harry Caul into a truly fascinating man, very peculiar, yet there is not a hint of acting in this performance. This is an incredible achievement by Gene Hackman as he simply becomes Harry Caul, who he makes into a unforgettable and always fascinating character.

Alternate Best Actor 1974

And the Nominees Were Not:

Peter Falk in A Woman Under The Influence

Charles Bronson in Death Wish

Gene Hackman in The Conversation

Walter Matthau in The Taking of Pelham One, Two, Three

Gene Wilder in Young Frankenstein

134. Heartbreakers

134. (09 Jul) Heartbreakers (2001, David Mirkin) 37



Sigourney Weaver's earnest comedic turn here makes Heartbreakers more than worthwhile, but no one else is able to rise above the awful scripting. The most willing victims are Jennifer Love Hewitt and Jason Lee, whose romantic subplot is about the worst I've ever seen in a mainstream comedy. They have no discernible or comprehensible chemistry. Their relationship is impossibly one-dimensional. Gene Hackman, Anne Bancroft and Sarah Silverman are wasted in supporting roles.

Best Supporting Actor 1970: Results

5. Richard S. Catellano in Lovers and Other Strangers- Castellano is good even though his role is needlessly gimmicky at first, and rarely focused upon as a whole.

4. John Marley in Love Story- Marley has few scenes but he makes the most of everyone. It is a moving and warm performance that fulfills its purpose.

3. Chief Dan George in Little Big Man- Chief Dan George gives an appropriately wise, humorous, and dignified performance as the Chief who is all three of those things. He does not do much more than that though.

2. John Mills in Ryan's Daughter- John Mills creates a unique character that also has an emotional pull without seeming unnatural as he easily could have been.

1. Gene Hackman in I Never Sang For My Father- Good Prediction Dinasztie, and RatedRStar. Gene Hackman gives an incredible performance from beginning to end. He completely realizes the terrible struggle, and relationship his character has with his father. It is truly memorable and wonderful work from a great actor.

Deserving Performances:
Karl Malden in Patton
Alec Guinness in Scrooge
Trevor Howard in Ryan's Daughter

Best Supporting Actor 1970: Gene Hackman in I Never Sang for My Father

Gene Hackman received his second Oscar nomination for portraying Gene Garrison in I Never Sang for My Father.

Gene Hackman received three of his Oscar nomination for portraying a lawman of some sort, his first for portraying an outlaw, but this is the only time he received it for portraying a relatively average man. A Man who must deal with the relationship of his Father (Melvyn Douglas) after the death of his mother. Although Douglas was nominated in the lead category, Hackman is just as much the lead of the film, even more so in many ways. In fact one could argue that if they reversed categories than than would have been in more appropriate categories than the actual way they were both nominated, but in reality they both really belonged in the lead category.

Gene Hackman shows a very different side here, but shows that he can excel as well with a relatively meeker character than his rather domineering characters found in most of his other nominations. This is a very quiet performance by Hackman for much of the film. A great deal of his performance actually relies on short reactionary moments, which Hackman uses to their fullest potential from beginning to end. Much of his performance depends on these reactions as they establish Gene's relationship with his mother and especially his father.

Hackman is simply excellent early on as Gene interacts with both his parents. Through every early moment they are on screen their is already a clear family dynamic and history developed. Hackman is great every moment though as Gene listens to his father's various orders, and deals with his overall controlling nature Hackman always perfectly portrays an underlying pain, and hatred frankly that Gene is constantly hiding toward his father. Hackman makes though so this is something Gene has long had to do, even if it clear troubles him every time his father makes a rather discouraging or controlling remark to him.

Hackman always has an emotional impact in his performance, and his early scenes with Gene's mother and father really bring us into his difficult situation with his mother and father. Hackman almost shows a tiring situation with Gene's situation with his father, as he reacts with a knowing but expected difficultly when dealing with his father. Both Douglas and Hackman do very well in establishing this difficult relationship where both do not seem exactly cold to each other, or even overly distant but the two actors create just the right emotional disconnection through the father's stubbornness and possessiveness.

Hackman is also equally strong in the few early scenes Gene has with his mother. Their relationship together is the basically the polar opposite of Gene's relationship with his father. There is a clear warmth and love in their scenes together they look at each other talk to one another with ease, unlike the way it is between the son and the father. Hackman here shows a clear and obvious love toward his mother, and an openness, there is not that restraint as he shows in his scenes with Douglas. What is terrific about Hackman's performance though is he does not show that Gene simply hates his father but loves his mother rather, but rather the difference is in his ability to be open to both of them.

Soon in the film his mother dies, and both the son and father must deal with the grief involved with it. Hackman realizes Gene own grief showing a clear loss, but even more importantly he shows a transition within Gene 's relationship with his father. There is still the lack of connection, but Hackman shows that Gene first changes from hiding to hatred to instead begins hiding a bit of a disbelief by the way his father shows his grief only really by talking about himself and his own troubles rather than talking about his wife.

After the death of the mother the end of the film focuses almost entirely on Gene and his father's relationship together, and Gene decision to leave his father completely by moving away, or staying with him. Hackman in these later scenes loses that hidden sort of distaste for his father, as Hackman shows that really he has lost it after the death of his mother. Hackman with ease instead shows it as Gene actually searching instead for some way to finally connect with Father, something that the death of his mother has forced him to confront the issue.

Hackman is terrific as he shows the multitude of emotions that Gene must go threw when thinking of his decision to stay with his father or not. Hackman is great here because he never lets just one facet of the relationship stay as what is pressing Gene the most. Hackman realistically conveys all of what is pressing him at once. There is not a single emotion that overrides the rest in Hackman's portrayal. He is able to show that he clearly loves his father, but that still he never forgets the troubles he has with his father as well. Hackman realizes Gene's troubles perfectly, creating the difficult conflict within himself brilliantly.

Hackman is great throughout but what makes his performance is his final scene with Melvyn Douglas which is simply incredible. The first half of the scene they finally really come together as father and son, and both actors show a genuine warmth to one another. It is a poignant moment where the two come together not only around their pleasant memories, but even their regrets as well. Hackman has a great reaction where he shows a regreat in Gene that suggest that he does also feel partially responsible for his strained relationship with his father. The two actors though simply create a beautiful scene together.

The scene though quickly, but effectively changes tone when the conflict between them comes about. This scenes is especially strong because of their warmth together suddenly changes so harshly. Hackman again is absolutely amazing because he comes back at Douglas' with the same intensity and Gene finally completely breaks out and stands up to his father. Hackman makes the scene heartbreaking though because with the frustration and the intense fighting Hackman manages to show the sadness in the fact that through all of this Gene only merely wanted to be able to love his father. The film leaves a haunted quality at the end of the film because of this last scene, which was brought upon by Hackman truly great performance.

Best Supporting Actor 1970

And the Nominees Were:

Gene Hackman in I Never Sang For My Father

Chief Dan George in Little Big Man

John Mills in Ryan's Daughter

John Marley in Love Story

Richard S. Castellano in Lovers and Other Strangers

Best Supporting Actor 1967: Results

5. Cecil Kellaway in Guess Who's Coming to Dinner-  Kellaway is charming in the role, but it never requires more of him than just a little charm.

4. John Cassavetes in The Dirty Dozen- Cassavetes is appropriately rebellious in his early scenes, but later in the film it becomes quite hard to ever distinguish him from the rest of the dozen.

3. Michael J. Pollard in Bonnie and Clyde- Pollard gives the least memorable performance of the main cast, but this is a strong cast. He plays his past as a rather modest and impressionable boy just as he should, as well as does shine in a  few key moments.

2. George Kennedy in Cool Hand Luke- Although Kennedy does some unneeded overacting from time to time in his performance he still gives a good performance. He is entertaining and especially effective in showing Dragline's complete admiration for the titular Luke, which is an essential part of his film.

1. Gene Hackman in Bonnie and Clyde- Good prediction Dinasztie . Gene Hackman easily gets my vote as he gives such a great performance despite some clear challenges in the part. Although not a single scene focuses solely on his character Hackman fully realizes not only his character but also how he factors in with the rest of the gang. There is not a wasted moment in Hackman's entire performance and when any opportunity presents itself in the film Hackman makes the most of it creating some very powerful moments throughout his performance. 

Best Supporting Actor 1967: Gene Hackman in Bonnie and Clyde

Gene Hackman received his first Oscar nomination for portraying Buck Barrow in Bonnie and Clyde.

Gene Hackman plays Buck Barrow the brother of bank robber Clyde (Warren Beatty). This whole role is quite a challenge for Hackman to begin with. There is not a single scene in which Buck is the only character, or even a single scene where Buck is the main focus of the scene either. He is always part of the Barrow gang in every single scene he is in, but here is the perfect example of a performance where all the role is not big, and by far the least important in the film in can still have its own impact significant in its own way.

Hackman performance here frankly is the performance that makes it easy to criticize performances that do nothing that almsot seem to use the excuse that there role is too small to do anything substantial with it. Hackman takes what he has with Buck and makes more than anyone possibly could have in the role. From his first scene Hackman is able to establish a unique and effective characterization of Buck as a usually somewhat easy going fellow who certainly has a history that has not made him bitter. Hackman with a subtle accent and mannerisms he makes Buck a true man of the period.

Hackman is terrific with the absolute in which he establishes the various relationships he has with the gang, and he is really instrumental in making the whole dynamic of the gang work. With Warren Beatty they both manage to make they create a genuine brotherly dynamic with the way they interact and talk with one another. Also very importantly Hackman makes the fact that Buck is married to usually hysterical Blanche (Estelle Parsons) entirely believable. Although no one else he shows that Buk most certianly does see something in here, and does honestly love her despite her behavior. There is a quiet chemistry between the two that is just perfect for their unique relationship.

One of the biggest challenges in the role was really the idea that Buck played by a lesser actor could have been completely forgotten in the whole of the gang. Hackman makes himself standout without being an overwhelming presence. He finds just the right ways to stay noticed. Hackman makes Buck one of the warmer members of the group, who seems to always find the lighter sides of things making his same old joke over and over again. Hackman always stays absolutely realistic within in the group,a and his whole performance only ever succeeds in adding to the film. 

The most substantial parts of his performance come though in his key scenes, that although they really do not focus on Buck Hackman bring the attention to himself nonetheless. The first being his whole first scene where he must fight with the gang as he jumps into action, and later when they are running away. Hackman is amazing as he shows how his thoughts are going a mile a minute as well as showing that Buck clearly realizes that there is no going back after what he has done. His other big challenge comes in his final scene where Buck is dying, Hackman absolutely succeeds in making Buck death really hit even harder, because of just how naturally he portrays the whole event. Hackman simply gives a brilliant supporting performance that is the perfect example how an actor can really make the most out of just about any role.

Best Supporting Actor 1967

And the Nominees Were:

Gene Hackman in Bonnie and Clyde

Michael J. Pollard in Bonnie and Clyde

George Kennedy in Cool Hand Luke

Cecil Kellaway in Guess Who's Coming to Dinner

John Cassavetes in The Dirty Dozen

Gene Hackman Is The Man

Gene Hackman has always been one of my favorite actors, but I never knew he had such good taste until I read an interview with him in this week's (June 13, 2011) issue of Time.

Time: I read that you don't even know where your two Oscars are. Can this be true?

Hackman: It is true. I have a poster of Errol Flynn, but other than that, around the house we just kind of keep it civilian.

My estimation of Gene Hackman has always been huge, but now that estimation has increased a thousandfold. Well done, sir, well done.