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: George Kennedy in Cool Hand Luke

George Kennedy won his Oscar from his only nomination so far for portraying Dragline in Cool Hand Luke.

George Kennedy plays Dragline who is the sorta defacto leader of the prisoners when the nonconforming Luke (Paul Newman) comes into their chain gang camp. In his early scenes he is fairly hostile toward Luke. In these early scenes Kennedy does not make Dragline seem to be the boss of the men or anything like that, but rather he just is the most overwhelming presence in the place who clearly has been there for awhile. Kennedy has a strong presence int the film, and always makes it clear why Dragline is the most prominent member of the chain gang.

Kennedy is pretty good in establishing the illiterate Dragline as a fairly likable fellow who does just about anything to help pass the time in the prison. He makes his rather transition to liking Like rather natural actually even though it is a very fast one. He shows that Dragline basically has a certainly hostility to any new prisoner, but Kennedy fairly quietly shows that Dragline quickly sees something special in Luke that he can easily attach himself to, frankly just to again help himself in the prison life.

Kennedy best moments come in just his simple admiration he has for Luke later in the film. He shows such a genuine joy in everything that Luke does. Kennedy realizes the whole idea that Dragline seems to love Luke very well, by showing it as basically that he seems to worship the whole idea of Luke who refuses to conform to what the prison wants him. Kennedy honest enthusiasm in all of these scenes show how much Luke means not only to Dragline but all the prisoners, which is part of the reason why this film works.

I really do enjoy this work every time I watch the film as he is a warm presence throughout and succeeds in bringing an important facet to the film very much to life. My complaints would be that Kennedy from time to time does go a bit too far in his whole Dragline mannerisms that he becomes over the top. He does not do this all of the time that it becomes overly distracting, but  he does do it enough that it does become noticeable. Even with the overacting Kennedy gives good performance that properly fulfills Dragline's important role in the story.

Best Supporting Actor 1967: Michael J. Pollard in Bonnie and Clyde

Michael J. Pollard received his only Oscar nomination so far for portraying C.W. Moss in Bonnie and Clyde.

Michael J. Pollard plays C.W. Moss a gas station attendant who Bonnie and Clyde come across and due to his skills as a mechanic invite him to join their gang. C.W. is rather impressionable as well as not exactly a deep thinker. He basically does what he is told as an eager fan would, and becomes quite sad when he fails to meet their expectations. He is not the brains or the life of the gang, but really just basically an extra gun when it comes to where he stands in the group.

Pollard is very good in just being this impressionable boy of sorts. There is always a certain naivety as well as an unremarkable quality to his performance that absolutely is right for C.W. There is not a single scene where he takes command of the scene, nor should there be since all C.W. really does do is follow orders that are given to him. Pollard most certianly does make C.W. just as he should be a not too notable fellow.

I will say that because of this I really did not notice Pollard during a great of the film. He really is just there in a non too special way. Pollard really does not do anything to make you pay attention to him in scenes with the gang, something that co-nominee Gene Hackman was able to do marvelously. It is not that Pollard is bad he just really does not stand out most of the time.

Pollard though does have some very brief moments that focus on C.W. They are most certainly not substantial in the least, and in fact they really are just silent reaction shots that happen to only show Pollard. In these short moments though Pollard is good such as when being chewed out by Clyde for messing up a robbery as well as when he realizes the situation he is for a brief moment after a very violent shoot out. Pollard in these moments shows just how little C.W. realizes what he is doing.

Besides these small moments there is not much to C.W. besides just being part of the gang other than his spinelessness which certianly becomes important when at the end of the film he becomes pushed around even more by his father, and reacts in just the one he should. Pollard really is just as he should be in the role although he is most certianly the least memorable of the main cast it is most certainly a performance that is as it should be.

Best Supporting Actor 1967: John Cassavetes in The Dirty Dozen

John Cassavetes received his only acting nomination for portraying Victor P. Franko in The Dirty Dozen.

The Dirty Dozen tells of a group of condemned soldiers who are put into a unit to undergo a dangerous mission.

John Cassavetes is best known today for being an experimental director, and not for his acting, although he certainly has a quite a few acting credits to his name. He also does not quite join the ranks of directors being nominated for acting like Vittorio De Sica, and Erich Von Stroheim because John Cassavetes actually did received a directing nomination eventually down the line where the other two where never recognized for the fields they were considered best in.

John Cassavetes does fit into those ranks somewhat though as the most notable thing about this nomination is that it is an acting nomination for Cassavetes who is still best known as a director. He plays one of the condemned soldiers who is quite the rebellious wise guy at the beginning of the film who purposefully questions the whole idea, and just thinks of ways that he can possibly escape, as well as complain about the various conditions that must deal with.

Cassavetes is just fine at being rebellious for the purpose of being so, and correctly conveys the idea that Franko was a career criminal before being in the army. He has the right reactions early on to suggest the way he is always looking for something to try exploit to his advantage, or something just to simply complain about. He most certainly is the character Franko should be, because I never once questioned his motives or the background of the character.

The only problem though is once the dozen becomes united into a military unit I must say I stopped really even noticing Cassavetes. Yes he was there with rest of the group, but just within nothing that he did made him standout in the least.  He makes the occasional wise crack still, but his presence overall becomes quite muted. In the end this performance really is absolutely fine, but there is nothing particularly remarkable or special either.

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: Cecil Kellaway in Guess Who's Coming to Dinner

Cecil Kellaway received his second Oscar nomination for portraying Monsignor Ryan in Guess Who's Coming to Dinner.

Monsignor Ryan is a kindly priest who is a family friend of the Draytons who are dealing with their daughter marrying a black man. Monsignor Ryan really is not in the film very much. He shows his nice face and acts very well to the interracial couple, than questions Matt Drayton (Spencer Tracy) about his hesitations around the relationship of his daughter. There really is not much to the character of Monsignor Ryan and in turn there really is not much to Cecil Kellaway's performance.

Cecil Kellaway is charming and nice enough in his performance. He is exactly the kindly priest that he should be. When he later questions Tracy's character he again is believable in his somewhat sarcastic way he confronts him is done in an appropriately playful fashion by Kellaway. After this though there really is nothing special about his work, but at the same time there is nothing wrong with his work either. In fact it is just as it should be possibly just a little more, but certainly no less.

Kellaway does not really standout in any substantial fashion in the film, but nor is he excessively forgettable either. He is just a nice little presence in the film because of Kellaway's natural charm, I suppose Monsignor could have been less by not having the charm Kellaway has but still the performance never becomes anything that needed to be rewarded or even noted.

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