Alec Guinness in Kind Hearts and Coronets
Edmond O'Brien in White Heat
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Showing posts with label 1949 Best Supporting Actor. Show all posts
Showing posts with label 1949 Best Supporting Actor. Show all posts
Best Supporting Actor 1949: Results
Alec Guinness in Kind Hearts and Coronets
Edmond O'Brien in White Heat
Best Supporting Actor 1949: Ralph Richardson in The Heiress
Ralph Richardson received his first Oscar nomination for portraying Dr. Austin Sloper in The Heiress.
The Heiress tells the story of a plain but wealthy woman, whose life is changed by a conflict between her possibly less than honest suitor, and domineering father.
Austin Sloper is a rich man off his hard work as a surgeon. He has a large house, his wife has died and he is left with only his grown up daughter Catherine (Olivia de Havilland). Sloper is a highly intelligent man, and one of exquisite tastes. He expects people to fit his ideas of excellence and looks at those who do not very lowly, which includes his own daughter, who he views a plain unintelligent girl with not a hint of what her mother had.
Richardson simply could not be better in this role. His entire manner in this performance, simple amplifies the nature of the character. Richardson has the perfect style and grace that suits Sloper as well as possible really. Richardson perfectly displays the acidic tongue of the character especially well. I think is incredibly well shown in an early scene where Catherine wears one of her Mother's dresses. His quiet but incredibly cruel way of telling her she could not ever be her mother, is subtle but all the more coldly effective. Early he always shows a quiet distaste for his daughter which Richardson excels with because quiet but completely acerbic method.
Richardson displays Sloper's method of dissecting Catherine's suitor Morris Townsend (Montgomery Clift) equally well. I think he is especially apt at this when he is only watching Morris talk, and he listens, such as the scene where they all have dinner together. Richardson most of the time is just watching him, but he always shows that Sloper is breaking down, and piercing through Townsend's facade of sorts, just when he is listening. Richardson immediately always shows that Sloper never really needs to be told anything about this mean, but he can see through him instantly.
Richardson builds up well Sloper's hate and dislike for Townsend and his general distaste for his Daughter's lack of anything special in his eyes. Richardson builds to each of the two confrontation scenes the one with Townsend and the one with Catherine, to make them especially powerful. Richardson in both scenes dominates the scenes with his incredibly powerful performance. Richardson is incredible as he tears down both of them, and telling them truly as he sees them. I think especially the scene with Catherine because Richardson makes Sloper's cruelty completely real, so much so that I never questioned that it would have such a changing effect on Catherine.
I think one other noted aspect of his performance that Richardson carefully handles is Sloper's relationship with Catherine. Richardson makes it clear he dislikes her lack of intelligence, and her overall painless, but I believe he manages to show that although he dislikes his daughter he does not completely hate her. Richardson does incredibly subtlety suggest I think that he does not entirely hate his daughter, he in fact does have the slightest hint of fatherly love, but not nearly enough for it to effect his overall treatment of her. It would have been easiest for Sloper just to simply hate her but Richardson does brilliantly show this, making it so the scene where he cannot bring himself to disown Catherine is entirely authentic.
The Heiress is simply a delight to watch for many reasons but most of all perhaps because of the incredible entertaining acting. The acting can be in a very dark and dramatic scene, but it remains a delight to watch because these actors light up the screen. These performers work outstanding together making truly outstanding scenes of performance with one another. Richardson for me stands out as well as de Havilland in creating a fascinating character, and a performance that I would watch the film alone for, it is that good.
Austin Sloper is a rich man off his hard work as a surgeon. He has a large house, his wife has died and he is left with only his grown up daughter Catherine (Olivia de Havilland). Sloper is a highly intelligent man, and one of exquisite tastes. He expects people to fit his ideas of excellence and looks at those who do not very lowly, which includes his own daughter, who he views a plain unintelligent girl with not a hint of what her mother had.
Richardson simply could not be better in this role. His entire manner in this performance, simple amplifies the nature of the character. Richardson has the perfect style and grace that suits Sloper as well as possible really. Richardson perfectly displays the acidic tongue of the character especially well. I think is incredibly well shown in an early scene where Catherine wears one of her Mother's dresses. His quiet but incredibly cruel way of telling her she could not ever be her mother, is subtle but all the more coldly effective. Early he always shows a quiet distaste for his daughter which Richardson excels with because quiet but completely acerbic method.
Richardson displays Sloper's method of dissecting Catherine's suitor Morris Townsend (Montgomery Clift) equally well. I think he is especially apt at this when he is only watching Morris talk, and he listens, such as the scene where they all have dinner together. Richardson most of the time is just watching him, but he always shows that Sloper is breaking down, and piercing through Townsend's facade of sorts, just when he is listening. Richardson immediately always shows that Sloper never really needs to be told anything about this mean, but he can see through him instantly.
Richardson builds up well Sloper's hate and dislike for Townsend and his general distaste for his Daughter's lack of anything special in his eyes. Richardson builds to each of the two confrontation scenes the one with Townsend and the one with Catherine, to make them especially powerful. Richardson in both scenes dominates the scenes with his incredibly powerful performance. Richardson is incredible as he tears down both of them, and telling them truly as he sees them. I think especially the scene with Catherine because Richardson makes Sloper's cruelty completely real, so much so that I never questioned that it would have such a changing effect on Catherine.
I think one other noted aspect of his performance that Richardson carefully handles is Sloper's relationship with Catherine. Richardson makes it clear he dislikes her lack of intelligence, and her overall painless, but I believe he manages to show that although he dislikes his daughter he does not completely hate her. Richardson does incredibly subtlety suggest I think that he does not entirely hate his daughter, he in fact does have the slightest hint of fatherly love, but not nearly enough for it to effect his overall treatment of her. It would have been easiest for Sloper just to simply hate her but Richardson does brilliantly show this, making it so the scene where he cannot bring himself to disown Catherine is entirely authentic.
The Heiress is simply a delight to watch for many reasons but most of all perhaps because of the incredible entertaining acting. The acting can be in a very dark and dramatic scene, but it remains a delight to watch because these actors light up the screen. These performers work outstanding together making truly outstanding scenes of performance with one another. Richardson for me stands out as well as de Havilland in creating a fascinating character, and a performance that I would watch the film alone for, it is that good.
Best Supporting Actor 1949: Arthur Kennedy in Champion
Arthur Kennedy received his first Oscar nomination for portraying Connie Kelly in Champion.
Arthur Kennedy portrays Connie, Midge's (Kirk Douglas) handicapped brother. Kennedy frankly is not given that much to do as Connie, he is always portrayed as following around Midge. Kennedy though still does what a supporting performance is described as and that is he supports Douglas as Midge well. He acts a quiet conscious to Midge.
Kennedy is always quietly trying to tell Midge not to do the wrong way, in careful fashion appropriately showing a care for his brother, and trying to help him as much as he can. Connie tries to caution Midge as he falls down his poor path. Connie is not given much time, but Kennedy always properly showing his honesty want for his brother to do the right thing, in a simple but honest fashion.
Connie finally stops being quiet as Midge becomes worse and worse. He finally challenges Midge completely and sadly reactions to the fallen Midge. Kennedy always stays honest, and as effective as he can be with his thankless role. When is given the chance he does well, especially in his final scene where he shows his honest love for his brother one last time. Not all that much, and not entirely memorable but well portrayed.
Kennedy is always quietly trying to tell Midge not to do the wrong way, in careful fashion appropriately showing a care for his brother, and trying to help him as much as he can. Connie tries to caution Midge as he falls down his poor path. Connie is not given much time, but Kennedy always properly showing his honesty want for his brother to do the right thing, in a simple but honest fashion.
Connie finally stops being quiet as Midge becomes worse and worse. He finally challenges Midge completely and sadly reactions to the fallen Midge. Kennedy always stays honest, and as effective as he can be with his thankless role. When is given the chance he does well, especially in his final scene where he shows his honest love for his brother one last time. Not all that much, and not entirely memorable but well portrayed.
Best Supporting Actor 1949: James Whitmore in Battleground
James Whitmore received his first Oscar nomination for portraying Sgt. Kinnie in Battleground.
Battleground tells of a group of low level infantry men who seem to be fighting almost aimlessly during the battle of the bulge. Battleground stands as one of the first World War II films to show the soldiers especially unenthusiastic about their position in the war.
James Whitmore's Sgt. Kinnie is the commanding of officer of these group of soldiers. Kinnie relays orders on occasion and fights with the men in the battle. He never joins in with the men in their direct comradeship though because he still is a superior officer even though a low level one. He is seen only briefly from time to time in the film. He at first calls out order and commands his troops, in proper military fashion.
He has the right command, and manages to be noticeable despite the shortness of his performance at times. Every reaction though Whitmore has is completely spot on, he is always completely realistic as Sgt. Kinnie which is exactly what he needs to be. Whitmore makes Kinnie, charming in his own way, but also aware of his duty, and performing. Whitmore shows Kinnie to be a real man, in a very real dangerous situation.
Now the most impressive part of Whitmore's performance is actual the physical aspect of his performance. Kinnie begins in the film with a pure proper military walk and manner, but slowly through the long time in the cold Kinnie slowly begins to physically degrade. Kinnie's degradation is slow, but incredibly realistically handled by Whitmore. Kinnie truly begins to weaken, and Whitmore shows Kinnie hide his pain, but still makes it abundantly clear, especially when he walks at the end of the film. Whitmore shows he has completely lost his military straight up step, and now a very weakened painful stumble, which he tries his best to still meet the demands of his uniform and position. Whitmore genuinely showed a weakened from simply being in the cold for too long. His performance overall a realistic and effective one. A short performance that is not amazing by any means, but Whitmore utilizes every moment it has.
James Whitmore's Sgt. Kinnie is the commanding of officer of these group of soldiers. Kinnie relays orders on occasion and fights with the men in the battle. He never joins in with the men in their direct comradeship though because he still is a superior officer even though a low level one. He is seen only briefly from time to time in the film. He at first calls out order and commands his troops, in proper military fashion.
He has the right command, and manages to be noticeable despite the shortness of his performance at times. Every reaction though Whitmore has is completely spot on, he is always completely realistic as Sgt. Kinnie which is exactly what he needs to be. Whitmore makes Kinnie, charming in his own way, but also aware of his duty, and performing. Whitmore shows Kinnie to be a real man, in a very real dangerous situation.
Now the most impressive part of Whitmore's performance is actual the physical aspect of his performance. Kinnie begins in the film with a pure proper military walk and manner, but slowly through the long time in the cold Kinnie slowly begins to physically degrade. Kinnie's degradation is slow, but incredibly realistically handled by Whitmore. Kinnie truly begins to weaken, and Whitmore shows Kinnie hide his pain, but still makes it abundantly clear, especially when he walks at the end of the film. Whitmore shows he has completely lost his military straight up step, and now a very weakened painful stumble, which he tries his best to still meet the demands of his uniform and position. Whitmore genuinely showed a weakened from simply being in the cold for too long. His performance overall a realistic and effective one. A short performance that is not amazing by any means, but Whitmore utilizes every moment it has.
Best Supporting Actor 1949: John Ireland in All the King's Men
John Ireland received his only Oscar nomination for portraying Jack Burden in All the King's Men.
Jack Burden actually is not at all a supporting part, and is equally lead with Willie Stark, he just happens to be the less showy of the two roles. Burden is a reporter at first who reports on Stark, and helps Stark find his path to power. Burden eventually begins to work as a reporter/hatchet man for Stark, and in the end no longer can work for Stark when his own conscious catches up with him.
Ireland never became a leading man and this performance here proves exactly why. Ireland fails to make the character of Jack Burden really come alive, as I think the film wants this to show both his and Stark's transformation over a course of time. Ireland never really gets under the skin of Burden to show very much of Burden. He never makes what his character does particularly understandable since he never really shows who his character really is and what he believes in. His character is indeed reactionary most of the time, but Burden is strange in that his reactions seem frankly to be too slow or at the wrong time. For example when he learns of Stark relationship with his old girlfriend Burden only reacts briefly to this and at the wrong time, and most of the reaction is done by slapping Mercedes Mccambridge.
I do not know what is wrong with the character of Burden precisely because it frankly could be either Ireland or how he is written in the film itself. The film does have his reactions at strange times, but Ireland does not contribute either with his charisma lacking performance, with some especially stilted line delivery at times. Burden's transformation should have been an important aspect of the film, but Ireland fails to realize the character at any phase of his transformation for his transformation really to mean anything. His character changes for sure, but Burden as a character always lacks an emotional pull of any kind, which I do think comes from both the weakness in the writing of the character, but also Ireland's lacking performance.
Ireland never became a leading man and this performance here proves exactly why. Ireland fails to make the character of Jack Burden really come alive, as I think the film wants this to show both his and Stark's transformation over a course of time. Ireland never really gets under the skin of Burden to show very much of Burden. He never makes what his character does particularly understandable since he never really shows who his character really is and what he believes in. His character is indeed reactionary most of the time, but Burden is strange in that his reactions seem frankly to be too slow or at the wrong time. For example when he learns of Stark relationship with his old girlfriend Burden only reacts briefly to this and at the wrong time, and most of the reaction is done by slapping Mercedes Mccambridge.
I do not know what is wrong with the character of Burden precisely because it frankly could be either Ireland or how he is written in the film itself. The film does have his reactions at strange times, but Ireland does not contribute either with his charisma lacking performance, with some especially stilted line delivery at times. Burden's transformation should have been an important aspect of the film, but Ireland fails to realize the character at any phase of his transformation for his transformation really to mean anything. His character changes for sure, but Burden as a character always lacks an emotional pull of any kind, which I do think comes from both the weakness in the writing of the character, but also Ireland's lacking performance.
Best Supporting Actor 1949: Dean Jagger in Twelve O'clock High
Dean Jagger won an Oscar from his only nomination for portraying Major Harvey Stovall in Twelve O'clock High.
Dean Jagger portrays an elder officer at the air force base who has the difficult job of writing casualty notice letters. The role of Harvey Stovall I think as written is suppose to be sort of the heart of the film. The reflective and likable older officer is what he is suppose to be I am quite sure. Unfortunately one of my least favorite character actors Dean Jagger portrays him. Jagger for my always comes off very dully as an actor and rarely adds anything to the films he is in.
Jagger simply has a distinct lack of screen presence, even though I was watching the film for him, at times I would barely even notice he is in a scene due to his lack of charisma as a performer. Jagger, even when a scene centers on him, never creates a memorable characterization of Stovall. Stovall becomes just almost a functional character, because Jagger fails to really realize him in his performance.
Jagger stays rather dull and uninteresting throughout his portrayal, but hey he is even given a drunk scene. Jagger in his drunk scene is pretty bad actually. He frankly just did not seem to be drunk, or even acting drunk, he just was incredibly poor in this scene. In fact this scene was suppose to be quite a poignant moment, but Jagger was unable to bring any really depth to his performance, or even competence causing the utter failure of this scene. Overall Jagger does have, I think, a good character, but Jagger fails to make anything out of what he is given. I do believe another better actor in this role could have made the character of Harvey Stovall really shine.
Jagger simply has a distinct lack of screen presence, even though I was watching the film for him, at times I would barely even notice he is in a scene due to his lack of charisma as a performer. Jagger, even when a scene centers on him, never creates a memorable characterization of Stovall. Stovall becomes just almost a functional character, because Jagger fails to really realize him in his performance.
Jagger stays rather dull and uninteresting throughout his portrayal, but hey he is even given a drunk scene. Jagger in his drunk scene is pretty bad actually. He frankly just did not seem to be drunk, or even acting drunk, he just was incredibly poor in this scene. In fact this scene was suppose to be quite a poignant moment, but Jagger was unable to bring any really depth to his performance, or even competence causing the utter failure of this scene. Overall Jagger does have, I think, a good character, but Jagger fails to make anything out of what he is given. I do believe another better actor in this role could have made the character of Harvey Stovall really shine.
Best Supporitng Actor 1949
Arthur Kennedy in Champion
James Whitmore in Battleground
Dean Jagger in Twelve O'clock High
John Ireland in All the King's Men
Ralph Richardson in The Heiress
I was originally not going to this year now, but since I just watched three of the nominees for Best Actor, I might as well do this now.
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