Henry Travers in It's a Wonderful Life
Lionel Barrymore in It's a Wonderful Life
Showing posts with label 1946 Best Supporting Actor. Show all posts
Showing posts with label 1946 Best Supporting Actor. Show all posts
Best Supporting Actor 1946: Results
Tuesday, January 3, 2012
Henry Travers in It's a Wonderful Life
Lionel Barrymore in It's a Wonderful Life
Best Supporting Actor 1946: Harold Russell in The Best Years of Our Lives
Monday, January 2, 2012
Harold Russell won his only Oscar from his only nomination for portraying Homer Parish in The Best Years of Our Lives.
Harold Russell stands as one of two actors who won the Oscar for Best Supporting Actor despite not being an actor before being in his Oscar winning film the other actor being Haing S. Ngor in The Killing Fields. As with Ngor the character that they portray is closely intertwined with their own personal experiences. Ngor as with his character experienced the Cambodian Killing Fields, and Russell just as his character lost both of his hands while serving his country during World War II.
As with Haing S. Ngor's terrific performance Russell's own personal connection does seem to give emotional truth to his performance. The part of Homer Parish is most certainly a sad one having lost his hands, and having to deal with people, and particularly his family's own difficulty with coping with what has happened to him. Russell realistically underplays his role, and at first basically tries to avoid the idea that he really has any real problems with his prosthetic hands, and Russell even shows Homer attempts to ignore it almost through some small bits of humor.
In his early moments before going home Russell is terrific in just his small subtle indications of his dread, and pain he is trying to hide over his his hands. What is great about Russell though is the fact that he never does let a single emotion override the rest. It actually would have been easy to just have Homer constantly sulking over what happened to him in the war, bur Russell feels far more genuine showing a gambit of emotions that come to him from returning home.
It is the combination of feelings that Russell brings to life so well, which is so exceedingly moving. In his scene where he returns home, Russell does not convey just one emotion of sadness or fear over his family's reaction, but rather he has a more honest showing of happiness, to earnestness, to uneasiness, and even some pride actually since an undercurrent in Russell's performance seems to be is that he is proud to have served his country, but it is all of the emotions together that feels the way Homer's homecoming should be.
Russell after the opening scenes comes in and out of the story where it shows his coping with his families own coping with his problem. Russell underplays these scenes to great effect. Russell is terrific in these moments because he actually shows most of Homer's troubles do actually come from within. Russell authentically portrays feelings of doubt over that anyone his family, or his girlfriend Wilma could get over the hooks, and truly accept him as he use to be.
Russell pivotal scene is his final moment where Homer almost tries to convince Wilma that he is not worth the trouble as he shows her his arms without the hooks on. It is an absolute heartbreaking scene which Russell only infuses with a completely genuine sadness in Homer, and shows just brings out the vulnerability of Homer in this scene absolutely to life.
His final scenes though where Homer has finally overcome his fear is just as well realized by Russell, since he does not show the fear to be absolutely forgotten or Homer to be a changed man, but Russell presents Homer finding the strength that was in him all along. This is a terrific performance that is almost perfect if I were to have any complaints is that in a few moments you can perhaps see a slight inexperience in his performance, but never in a fashion that it becomes distracting and certainly never in which it takes away any of the impact of his great performance.
As with Haing S. Ngor's terrific performance Russell's own personal connection does seem to give emotional truth to his performance. The part of Homer Parish is most certainly a sad one having lost his hands, and having to deal with people, and particularly his family's own difficulty with coping with what has happened to him. Russell realistically underplays his role, and at first basically tries to avoid the idea that he really has any real problems with his prosthetic hands, and Russell even shows Homer attempts to ignore it almost through some small bits of humor.
In his early moments before going home Russell is terrific in just his small subtle indications of his dread, and pain he is trying to hide over his his hands. What is great about Russell though is the fact that he never does let a single emotion override the rest. It actually would have been easy to just have Homer constantly sulking over what happened to him in the war, bur Russell feels far more genuine showing a gambit of emotions that come to him from returning home.
It is the combination of feelings that Russell brings to life so well, which is so exceedingly moving. In his scene where he returns home, Russell does not convey just one emotion of sadness or fear over his family's reaction, but rather he has a more honest showing of happiness, to earnestness, to uneasiness, and even some pride actually since an undercurrent in Russell's performance seems to be is that he is proud to have served his country, but it is all of the emotions together that feels the way Homer's homecoming should be.
Russell after the opening scenes comes in and out of the story where it shows his coping with his families own coping with his problem. Russell underplays these scenes to great effect. Russell is terrific in these moments because he actually shows most of Homer's troubles do actually come from within. Russell authentically portrays feelings of doubt over that anyone his family, or his girlfriend Wilma could get over the hooks, and truly accept him as he use to be.
Russell pivotal scene is his final moment where Homer almost tries to convince Wilma that he is not worth the trouble as he shows her his arms without the hooks on. It is an absolute heartbreaking scene which Russell only infuses with a completely genuine sadness in Homer, and shows just brings out the vulnerability of Homer in this scene absolutely to life.
His final scenes though where Homer has finally overcome his fear is just as well realized by Russell, since he does not show the fear to be absolutely forgotten or Homer to be a changed man, but Russell presents Homer finding the strength that was in him all along. This is a terrific performance that is almost perfect if I were to have any complaints is that in a few moments you can perhaps see a slight inexperience in his performance, but never in a fashion that it becomes distracting and certainly never in which it takes away any of the impact of his great performance.
Best Supporting Actor 1946: Charles Coburn in The Green Years
Sunday, January 1, 2012
Charles Coburn received his third and final Oscar nomination for portraying Alexander Gow in The Green Years.
The Green Years portrays the growth of a young Irish orphan Robert Shannon who goes to live with his sometimes distant relatives in Scotland.
Charles Coburn portrays one of Robert's relatives his Great Grandfather specifically. Alexander Gow is the ends up being the warmest of his relatives who is a bit of a rouge among the family. Coburn despite a rather odd hairstyle, and a fake nose as well still once again proves himself to be one of the best character actors of the period. Although interestingly enough this is his only nominations that is a completely supporting role, unlike his previous two nominations that can both be easily argued as leading roles.
Charles Coburn gives a performance that is an interesting contrast to his bitter millionaire in The Devil and Miss Jones, and the fun loving millionaire in The More the Merrier. This time he portrays a not too rich Scotsman who although has a handsome life insurance policy he is not that wealthy of a man. Coburn handles his Scottish accent in a restrained but effective fashion, and also has certain mannerisms that only add to the character. From the way he walks, to the way he sits all really adds to showing the age and history of his character.
Alexander Gow does not have a great deal of time to himself, but Coburn always makes the most of every time he is on screen. Alexander Gow is an interesting character because he tells some tales about his past that may or may not be complete tall tales or something that might have actually happened to him. Coburn handles these story scenes perfectly telling the story as if it is something that happened to him, but in in a certain fantastical fashion that suggests maybe it did not.
The most important moments in Coburn's performance come from his scenes with his Great Grandson Robert. Coburn is genuinely warm in these scenes. He never overplays the part, and he has the right chemistry with both actors who play Robert. What makes his scenes work well is that Coburn never shows Alexander be overbearing with love, but there is always an honest joy in all of his reactions as he sees his great grandson achieve.
Coburn gives an appropriately fun loving performance here, that is perfect for the almost too fun loving nature of Alexander. There is not a moment where Coburn does not find a way to bring something more to the film through his performance. It is a consistently enjoyable performance of the aged Alexander Gow it is easy to make a role like this frankly too colorful and one can overact. Coburn never does this always finding the right tone, and giving a wonderful supporting performance.
Charles Coburn portrays one of Robert's relatives his Great Grandfather specifically. Alexander Gow is the ends up being the warmest of his relatives who is a bit of a rouge among the family. Coburn despite a rather odd hairstyle, and a fake nose as well still once again proves himself to be one of the best character actors of the period. Although interestingly enough this is his only nominations that is a completely supporting role, unlike his previous two nominations that can both be easily argued as leading roles.
Charles Coburn gives a performance that is an interesting contrast to his bitter millionaire in The Devil and Miss Jones, and the fun loving millionaire in The More the Merrier. This time he portrays a not too rich Scotsman who although has a handsome life insurance policy he is not that wealthy of a man. Coburn handles his Scottish accent in a restrained but effective fashion, and also has certain mannerisms that only add to the character. From the way he walks, to the way he sits all really adds to showing the age and history of his character.
Alexander Gow does not have a great deal of time to himself, but Coburn always makes the most of every time he is on screen. Alexander Gow is an interesting character because he tells some tales about his past that may or may not be complete tall tales or something that might have actually happened to him. Coburn handles these story scenes perfectly telling the story as if it is something that happened to him, but in in a certain fantastical fashion that suggests maybe it did not.
The most important moments in Coburn's performance come from his scenes with his Great Grandson Robert. Coburn is genuinely warm in these scenes. He never overplays the part, and he has the right chemistry with both actors who play Robert. What makes his scenes work well is that Coburn never shows Alexander be overbearing with love, but there is always an honest joy in all of his reactions as he sees his great grandson achieve.
Coburn gives an appropriately fun loving performance here, that is perfect for the almost too fun loving nature of Alexander. There is not a moment where Coburn does not find a way to bring something more to the film through his performance. It is a consistently enjoyable performance of the aged Alexander Gow it is easy to make a role like this frankly too colorful and one can overact. Coburn never does this always finding the right tone, and giving a wonderful supporting performance.
Best Supporting Actor 1946: Claude Rains in Notorious
Thursday, December 29, 2011
Claude Rains received his fourth and final Oscar nomination for portraying Alexander Sebastian in Notorious.
Notorious is a thriller about the daughter of a Nazi spy Alicia Huberman (Ingrid Bergman) who in an attempt to prove her loyalty to America agrees to infiltration her father's organization, even though she is torn through her duty and her love for her spy liaison Devlin (Cary Grant).
Claude Rains lost every time he was nominated but I have the feeling that he probably received the second most votes every time except for perhaps 1944. Although he lost each other time to another well liked character actor this time he lost to the non actor Harold Russell, who most certainly had other factors in his favor to win. Rains though lost once again in a role that shares similarities with his other two performances I have nominated so far which is that he portrays sort of a villain, but a not at all standard villain who has a lot more to them than one would really expect.
Here he portrays Alexander Sebastian who is an important part of a secret Nazi group, that Bergman's character infiltrates through Sebastian's infatuation with her. What is fascinating about this performance by Rains is the fact that he never for a moment portrays Sebastian as any sort of standard villain who is just simply evil. He instead always presents Sebastian as a man first and a villain second. His business with the Nazis never seems to be the most pressing factor Rains suggests in the way he performs each of his scenes.
One of the best parts of his performance is his chemistry with Bergman in the film. With the part of Sebastian's romance with Alicia it would have been easy for Sebastian to come off as only a fool, or just a man who simply lusts after her. What makes Rains take on this so special though is the idea that he conveys a genuine love in these scenes. Rains never makes it out to be anything less. Rains makes it almost a tragic portrait of a man who is seeking for something that is not there.
What I love about his scenes with Bergman, is that Rains almost shows that Alexander is almost ready to be let down at any moment. In every scene where he sees Alicia with Devlin, Rains is terrific because he does not show any sort of angry or jealous outburst. Rains though subtly shows a fairly sensitive man who honestly does not want to be wounded, and even suggests that he may have been before in the way he quietly pressures her to admit she does not love him, almost as to say that Alexander could never truly believe someone like her could possibly love someone like him.
It is almost surprising how sympathetic Rains manages to make Alexander without ever going to far and making him not longer a villain. Rains honestly makes you sorry for Alexander when he finally does find out about the truth of why Alicia married him. Rains is actually quite moving in that he shows Alexander feels genuinely betrayed on a deeply emotional level. Rains never shows him as simply angry over her betrayal but as actually hurt by her betrayal and false affection when all his affections where truthful.
I suppose I should note as well how Rains acts as a villain, even though I feel I almost do not need to as he makes Alexander such a layered man to begin something that usually does not go hand in hand with a villain. As a villain though Rains again is brilliant in his refusal to ever portray Alexander as any sort of simple evil doer. There are several shades to his characterization from how he appears outwardly as well to the way he appears in more confined quarters.
Outwardly even Rains never takes one approach and still only shows complexity within his characterization. Alexander never lets on to the evil he really is able to do, but rather Rains makes him quietly imposing. There is never visible malice in face, but rather a more businessman sort approach to the proceedings. He is especially chilling in a single scene where he and his Nazi cohorts decide a man must die for a slight mistake. Rains and the others show such a casual approach to their decision that it is absolutely chilling.
Also Rains portrays Alexander quite intelligently throughout. Although he is indeed being tricked the for most of the film, Rains still makes Alexander an astute adversary. I particularly love his single scene where he figures out the betrayal of his wife. The scene is just about silent but Rains is brilliant in his reactions as Alexander breaks down the plot against him clearly in his mind.
In his more enclosed scenes with his mother Rains though shows a very different side to Alexander as a villain. There again is always a man there first, and his actions to deal with his wife's betrayal are made not out to be a vile decision but an unavoidable act of self defense. It seems almost impossible to make a scene where you might have sympathy for a man who is intent on killing his wife, but Rains makes Alexander's fear for his own life such a reality that he almost makes Alexander's actions seem understandable.
This is just an outstanding turn the whole way through for Rains, and for me turned Alexander oddly enough in the character I became most interested in. This is all despite the fact that Alexander could have been one dimensional and a simple evil figure. Rains though creates a compelling portrait of a man, that I must say I was surprised how much I felt sorry for him, particularly in his final scene where Alexander can do nothing but accept his fate. This is a perfect supporting performance, that just may be Rains' best work.
Claude Rains lost every time he was nominated but I have the feeling that he probably received the second most votes every time except for perhaps 1944. Although he lost each other time to another well liked character actor this time he lost to the non actor Harold Russell, who most certainly had other factors in his favor to win. Rains though lost once again in a role that shares similarities with his other two performances I have nominated so far which is that he portrays sort of a villain, but a not at all standard villain who has a lot more to them than one would really expect.
Here he portrays Alexander Sebastian who is an important part of a secret Nazi group, that Bergman's character infiltrates through Sebastian's infatuation with her. What is fascinating about this performance by Rains is the fact that he never for a moment portrays Sebastian as any sort of standard villain who is just simply evil. He instead always presents Sebastian as a man first and a villain second. His business with the Nazis never seems to be the most pressing factor Rains suggests in the way he performs each of his scenes.
One of the best parts of his performance is his chemistry with Bergman in the film. With the part of Sebastian's romance with Alicia it would have been easy for Sebastian to come off as only a fool, or just a man who simply lusts after her. What makes Rains take on this so special though is the idea that he conveys a genuine love in these scenes. Rains never makes it out to be anything less. Rains makes it almost a tragic portrait of a man who is seeking for something that is not there.
What I love about his scenes with Bergman, is that Rains almost shows that Alexander is almost ready to be let down at any moment. In every scene where he sees Alicia with Devlin, Rains is terrific because he does not show any sort of angry or jealous outburst. Rains though subtly shows a fairly sensitive man who honestly does not want to be wounded, and even suggests that he may have been before in the way he quietly pressures her to admit she does not love him, almost as to say that Alexander could never truly believe someone like her could possibly love someone like him.
It is almost surprising how sympathetic Rains manages to make Alexander without ever going to far and making him not longer a villain. Rains honestly makes you sorry for Alexander when he finally does find out about the truth of why Alicia married him. Rains is actually quite moving in that he shows Alexander feels genuinely betrayed on a deeply emotional level. Rains never shows him as simply angry over her betrayal but as actually hurt by her betrayal and false affection when all his affections where truthful.
I suppose I should note as well how Rains acts as a villain, even though I feel I almost do not need to as he makes Alexander such a layered man to begin something that usually does not go hand in hand with a villain. As a villain though Rains again is brilliant in his refusal to ever portray Alexander as any sort of simple evil doer. There are several shades to his characterization from how he appears outwardly as well to the way he appears in more confined quarters.
Outwardly even Rains never takes one approach and still only shows complexity within his characterization. Alexander never lets on to the evil he really is able to do, but rather Rains makes him quietly imposing. There is never visible malice in face, but rather a more businessman sort approach to the proceedings. He is especially chilling in a single scene where he and his Nazi cohorts decide a man must die for a slight mistake. Rains and the others show such a casual approach to their decision that it is absolutely chilling.
Also Rains portrays Alexander quite intelligently throughout. Although he is indeed being tricked the for most of the film, Rains still makes Alexander an astute adversary. I particularly love his single scene where he figures out the betrayal of his wife. The scene is just about silent but Rains is brilliant in his reactions as Alexander breaks down the plot against him clearly in his mind.
In his more enclosed scenes with his mother Rains though shows a very different side to Alexander as a villain. There again is always a man there first, and his actions to deal with his wife's betrayal are made not out to be a vile decision but an unavoidable act of self defense. It seems almost impossible to make a scene where you might have sympathy for a man who is intent on killing his wife, but Rains makes Alexander's fear for his own life such a reality that he almost makes Alexander's actions seem understandable.
This is just an outstanding turn the whole way through for Rains, and for me turned Alexander oddly enough in the character I became most interested in. This is all despite the fact that Alexander could have been one dimensional and a simple evil figure. Rains though creates a compelling portrait of a man, that I must say I was surprised how much I felt sorry for him, particularly in his final scene where Alexander can do nothing but accept his fate. This is a perfect supporting performance, that just may be Rains' best work.
Best Supporting Actor 1946: Clifton Webb in The Razor's Edge
Clifton Webb received his second Oscar nomination for portraying Elliott Templeton in The Razor's Edge.
The Razor's Edge is a very bad film that tells the story of a troubled War vet ran who takes a personal journey to find the meaning of life.
Clifton Webb was apparently the go to snobbish society type before John Gielgud took over that perpetual role. The character of Elliott Templeton is strictly within Webb's type, a snobbish fellow who looks down upon basically everyone else in someway. As one would except Webb is of course a pro at being the snobbish Templeton, and always has the right demeanor as well as superior attitude in each of his scenes.
Elliot Templeton as a role in the film is quite limited though to mostly making snide remarks about others going through the plot. Webb though always does indeed make the most of each of his moments. Webb is just the perfect snob, which is exactly what Templeton is suppose to be. Templeton though is not the greatest role still and does not do more than act as a snob until his death/ Oscar scene.
The placement of the scene actually is quite bizarre considering how he was just treated as a snob most of the time, yet the film suddenly wants you to have sympathy for him, either way though Webb does have a chance to show a weaker side to Templeton. Webb's final scene is a mix though. He overacts in one moment of it as he cries out that no one is coming to see him, but his last moments are well handled as Templeton regains his dignity.
As with so many performances nominated in this category there is not anything special in Webb's performance, and aside from a moment during his final scenes there is nothing wrong with his performance either. It is really standard work from Webb that suits the role, and is an entirely functional performance, but not one that ever stands out as something all that substantial.
Clifton Webb was apparently the go to snobbish society type before John Gielgud took over that perpetual role. The character of Elliott Templeton is strictly within Webb's type, a snobbish fellow who looks down upon basically everyone else in someway. As one would except Webb is of course a pro at being the snobbish Templeton, and always has the right demeanor as well as superior attitude in each of his scenes.
Elliot Templeton as a role in the film is quite limited though to mostly making snide remarks about others going through the plot. Webb though always does indeed make the most of each of his moments. Webb is just the perfect snob, which is exactly what Templeton is suppose to be. Templeton though is not the greatest role still and does not do more than act as a snob until his death/ Oscar scene.
The placement of the scene actually is quite bizarre considering how he was just treated as a snob most of the time, yet the film suddenly wants you to have sympathy for him, either way though Webb does have a chance to show a weaker side to Templeton. Webb's final scene is a mix though. He overacts in one moment of it as he cries out that no one is coming to see him, but his last moments are well handled as Templeton regains his dignity.
As with so many performances nominated in this category there is not anything special in Webb's performance, and aside from a moment during his final scenes there is nothing wrong with his performance either. It is really standard work from Webb that suits the role, and is an entirely functional performance, but not one that ever stands out as something all that substantial.
Best Supporting Actor 1946: William Demarest in The Jolson Story
Tuesday, December 27, 2011
William Demarest received his only Oscar nomination for portraying Steve Martin in The Jolson Story.
William Demarest portrays Steve Martin a vaudevillian cellist who discovers Al Jolson. They eventually work together for awhile until Jolson becomes far more successful leading Jolson to go on his own, but he eventually brings Martin back as his manager. The part of Martin is thin, just as the whole film is that is far more interested in reenacting various Jolson musical numbers more than really developing any of its characters to a fuller extent.
William Demarest has a nice warm presence on screen as Steve Martin who acts a mentor to Jolson. There really is not much to his part though other than either giving Jolson supportive talks, or trying to convince that he should probably try to take it easier. Demarest does all of this well enough. He is supportive as he should be, and as mentory as he should be, but none of what he does is amazing.
Demarest really though does gives my favorite performance in the film although that is not saying much. He does his best with his character with the limited amount he is given which only lessens as the film continues on. It is not a great performance just one that is as it should be. There are no special moments, but Demarest is consistently competent throughout.
William Demarest has a nice warm presence on screen as Steve Martin who acts a mentor to Jolson. There really is not much to his part though other than either giving Jolson supportive talks, or trying to convince that he should probably try to take it easier. Demarest does all of this well enough. He is supportive as he should be, and as mentory as he should be, but none of what he does is amazing.
Demarest really though does gives my favorite performance in the film although that is not saying much. He does his best with his character with the limited amount he is given which only lessens as the film continues on. It is not a great performance just one that is as it should be. There are no special moments, but Demarest is consistently competent throughout.
Best Supporting Actor 1946
Thursday, December 22, 2011
Claude Rains in Notorious
Charles Coburn in The Green Years
Harold Russell in The Best Years of Our Lives
Clifton Webb in The Razor's Edge
William Demarest in The Jolson Story
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