Best Actor 1970: Results

5. James Earl Jones in The Great White Hope- Jones is hampered down by a rather lackluster film, and a rather lackluster co-star, but he still is effective nonetheless.

4. Ryan O'Neal in Love Story- It is easy perhaps to mock this film, and perhaps this performance, but there really is no reason to because O'Neal certainly is effective in his part, giving a realistic honest performance, that finds the perfect chemistry with his co-star to make the film work.

3. Melvyn Douglas in I Never Sang for My Father- Douglas despite not always being given that much screen time is still able to create an interesting portrait of a father who despite loving his son, he refuses to give into anything that goes against his personal beliefs.

2. Jack Nicholson in Five Easy Pieces- Nicholson is simply amazing here, and it is shame that both he and Scott were nominated in the same year. It really is hard to compare the performances in anyway other than that they are both brilliant. Nicholson portrait of his character is intense, and incredibly effective. He never seems to seek sympathy from the audience, but it is exceedingly hard to not to become invested in his incredible performance.

1. George C. Scott in Patton- Good prediction Dinasztie. Now this a rather difficult decision, although I felt perhaps with going with Nicholson, but that was before I re-watched Patton. It is not that this is a performance that stands far above Nicholson's performance, both their performances simply stand beyond other performances that it is hard to compare performances this good. They are both incredible in their depictions. I pick Scott's performance not because of any difference in quality, but I just love Scott's amazing characterization of Patton, that is flawless. I really can't say anything why he beats Nicholson, but I simply have to choose just one, I suppose if I was an actual voter I would have voted for Nicholson though, since Nicholson wanted win, Scott supposedly did not care. 

Best Actor 1970: George C. Scott in Patton

George C. Scott won his Oscar from his third nomination for portraying George S. Patton in Patton.

Patton of course tells the story of General George S. Patton's victories, and problems during the second World War.

George C. Scott's performance is quite the legendary performance in this film, not only because of the quality of the performance, but also the effect the performance had on public perception. George C. Scott's portrayal of Patton has many times been almost juxtaposed over how the real Patton was frankly, so much so that many times when one mentions Patton it is the George C. Scott's portrayal of Patton that is thought of, not the actual Patton, it is simply a fascinating side effect of this performance.

There really is no question really why Scott's portrayal has had such an influence, from the very first moment of the film in the iconic American flag scene Scott instantly dominates the part. There simply is never one question in who Scott is in this film, he just is Patton, not for a moment do I feel that there is any apparent acting going in the part, Scott simply becomes the part.

Scott commands every moment with his awesome presence in this film. Patton was a larger than life figure, and Scott made him so just the same. He holds command over every moment, he just is fascinating to watch, because he simply pulls one in with the power for his performance.  The most fascinating part is how easy Scott makes this command of Patton look, and that is why his performance is so incredibly effective.

What is amazing about Scott though is the way he combines the various of facets of Patton in such a compelling fashion. He is of course commanding in the part, but he does not ever treat Patton in a way of only the General, but always shows there is more to him than a single aspect of the man. He infuses a multitude of emotions and layers into Patton that never comprises another aspect of Patton, nor the overall towering strength of the performance.

Scott certainly is good as the commanding Patton, and quite entertaining as well, without ever making him anywhere near a parody, instead showing that Patton simply was entertaining. It is interesting to see when he is not as commanding as well, and when he faces disappointment or defeat in some way. Scott brilliantly uses these moments to add layers to Patton.

Scott shows that Patton does certianly feel personal defeats deeply inside himself, in scene which are almost completely silent in reaction. He particularly strong when he hears that he has been overlooked for a commanding position, and instead it has been given to his former second in command Omar Bradley (Karl Malden) instead. Scott reaction is subtle, but extremely effective showing that Patton can still be hurt despite his tough exterior. 

Scott also insures that although Patton is a soldier, he shows more deeply into Patton's sense of a soldier. He does not show him as just a man who gives orders, or takes them, but Scott instead shows a deep philosophy behind Patton's view of being a soldier is something profound for him. Scott believes in a pride, and a strong will of a soldier, and his view of the shell shocked soldier is shown by Scott as almost just something he could not understand as a soldier, a soldier not willing to fight for anything from cowardice Scott shows is something simply against Patton's point of view.

Patton though has a deep respect for a wounded, or killed soldier, and it interesting to see the tenderness which Scott brings in his scenes of respect for his soldiers. Scott shows that Patton really does have a heart for his soldiers, and that there is nothing more to him than a true soldier in his view. Scott again never forces this aspect of Patton, but it comes as naturally as his scenes of command.

Perhaps one of the most challenging aspects of the part though might be the presentation of Patton's belief that he was a reincarnated several times as several groups of soldiers. Scott again never makes this seem unnatural which is frankly amazing. Scott once more presents this as part of the whole person who was Patton, as most certianly his belief, a belief he believed in strongly, even if it would seem it would conflict with the rest of the man such as his deep Christian beliefs, Scott though is able to make this contradiction entirely believable though.

George C. Scott performance as Patton is simply an outstanding performance. He takes a large than life figure, and fully realizes that figure. He never seems to be acting, in a performance that could have been filled with that, he never makes him a simple character, but a complex, complicated man. This is just simply one of the best winners in this category, and one of the performances period.

Best Actor 1970

And the Nominees Were:

Melvyn Douglas in I Never Sang for My Father

Ryan O'Neal in Love Story

George C. Scott in Patton

Jack Nicholson in Five Easy Pieces

James Earl Jones in The Great White Hope

Best Actor 1971: Results

5. Walter Matthau in Kotch- This performance really is nothing but smiles, and sunshine.  There is nothing to really note here except that he really is not particularly believable as an old man.

4. George C. Scott in The Hospital- A lacking character, but Scott does show the emotions he has to quite well, even if it does not form a compelling character.

3. Topol in The Fiddler on The Roof- Topol gives a very good joyous performance, and puts his full heart into a delightful role.

2. Peter Finch in Sunday Bloody Sunday- Finch's performance is an effective subtle performance, that shows a interesting portrait of a repressed man who years for love.

1. Gene Hackman in The French Connection- Hackman gives a commanding interesting memorable performance. I thoroughly enjoy every moment of Hackman's performance and I especially found his portrait of the obsession of the narcotics detective particularly powerful and effective.

Deserving Performances:
Clint Eastwood in Dirty Harry
Michael Caine in Get Carter
Gene Wilder in Willy Wonka and the Chocolate Factory

Best Actor 1971: George C. Scott in The Hospital

George C. Scott received his fourth and final Oscar nomination for portraying Dr. Herbert Bock in The Hospital.

The Hospital is a dark satire on hospitals by Paddy Chayefsky who later did the dark satire on television Network, both film have a very similar feeling.

George C. Scott's performance here is quite interesting in that it is his only nominated performance where he was not portraying a domineering commanding character. Dr. Herbert Bock is just a stressed out surgeon, who is very tired of his work and his life. I have to say I was a little surprised but how little of Scott is in the film. He is the lead certainly, but he really is only partially the focus, which I think is a bit of a problem with his character. The film only gives a little bit of time to the actual of development of his character, and the time that is given is quite rushed feeling.

Frankly this film seemed to me Paddy Chayefsky's picture more than anyone else's, since every facet of the characters and the performances seemed mostly there just to orchestrate his satire. This leaves Bock fairly underdeveloped in my opinion, otherwise than to show him a doctor who is almost a little mad do to stress, and can't take it anymore. Now this worked marvelously in Chayefsky's later film with Peter Finch's Howard Beale, but here Herbert Bock is still made to still seem human, so it does not work as well.

George C. Scott is good in the role, he shows the emotions of the character well. He is great at being stressed out, and his big yelling scene about impudence is well done, but I frankly wanted more out of his character. I understood exactly who he was in basically the first scene he was in, which was not Scott's fault, but rather the script's. Bock as a character just really leaves Scott to do all the work for the performance.

Scott's unique presence does work interestingly with this stressed character. His reaction to the craziness around him is well timed, and his sort of sanity is a good grounding for the film brought on by Scott, but still he could not make everything about his performance believable. I think mostly is his character's relationship with Diana Rigg's character. Well I certainly believed he jump on her the first chance he got, but the love relationship seemed rather phony to tell you the truth. Again I do not blame Scott so much but rather the script, it gives them little more than a dramatic monologue each to develop their relationship.

Overall this is a hard performance for me to rate. On the surface it is a finely acted performance. Scott does know what he is doing, and is good technically in the role. He was not perfect though, and the role itself left a whole lot to be desired for me. I don't know really this is a tough one for me, am I being too hard on Scott because of the weakness of the role, or am I giving Scott too much credit. I am not sure, he definitely hit the right emotional notes, and was realistic, but his character never became compelling or in many ways convincing.

Best Actor 1971

And the Nominees Were:

Peter Finch in Sunday Bloody Sunday

Walter Matthau in Kotch

Gene Hackman in The French Connection

George C. Scott in The Hospital

Topol in Fiddler on the Roof

Best Supporting Actor 1961: Results

5. George Chakiris in West Side Story- He dances well, and sings okay, but he certainly acts very poorly.

4. Peter Falk in A Pocketful of Miracles- Falk is the only good thing about the movie, and he tries his best to be funny but his performance just is pushed too much in the background to over come the terrible film he is in.

3. George C. Scott in The Hustler- Scott is brilliant as Burt showing his manipulations in a brilliantly, realistically, and as cruelly effective as possible. He never ever false as Burt and that is what makes his performance all the more effective.

2. Montgomery Clift in Judgment At Nuremberg- Clift has one scene and makes more than the most of it. He creates a true victim in his characterization of this man who was severely mistreated by the Nazis. His powerful performance, is emotionally true and the strongest scene in the film.

1. Jackie Gleason in The Hustler- This one was actually rather difficultly for me. It really could have gone to any of the top three brilliant actor, anyone of them would have been incredibly deserving, and it is a real shame that they decided to give the award to a dancer rather than one of these three brilliant actors. Gleason though took the prize for me because how much he did with Minnesota Fats despite Fats not really being that complicated of a character by what is only said, but Gleason makes Fats legendary though and a fascinating character. Every movement he makes is perfect, he controls the screen with his presence, but also shows more to Fats, so much more in short shots of only his face in the end of the film. Now for me, both Ralph Kramden and Ed Norton (Art Carney) are my winners, showing that comedians can also be truly great dramatic actors. (Good prediction again Dinasztie)

Best Supporting Actor 1961: George C. Scott in The Hustler

George C. Scott received his second Oscar nomination for portraying Bert Gordon in The Hustler.

George C. Scott is the second nomination from this film, and has more screen time than Gleason, although I would say his character technically is of equal importance. Bert is a fascinating character, he is a man who seems to love thrills, and manipulation. He is a man who is already rich but loves to play with Hustlers and gamblers because he merely loves the action. It is not only that but he also manipulates anyone he so chooses even when money is not involved. Scott initially comes into the film very mysteriously as the money man for Minnesota Fats (Jackie Gleason). Like his co-nominee in the film Scott's presence is incredibly strong.

Scott again like Gleason leaves for a time while the film more heavily focuses on Eddie Felson's (Newman) relationship with Sarah Packard (Piper Laurie). Bert returns when Eddie happens upon him in a bar. Their first scene together both actors are brilliant. Bert dissection of Felson is brilliantly and brutally handled by Scott. He shows that Bert basically knows just about everything about a man quickly. Scott brilliant shows how Bert is always dissecting with his eyes, he does not just look at someone he looks through them. His description of a natural character and character is played without fault, this description is a completely needed for the film entire, and Scott allowed me to understand it perfectly. Scott handles Burt manipulation with a magnificent effectiveness and efficiency just as a businessman would. He shows no remorse rather just a strict control, who refuses to lose his control.

His strongest scenes which are also Bert's most despicable, and manipulative is when he goes on the road with Eddie and Sarah. His slow manipulations of Sarah and Eddie are shown to be as cruelly effective as possible by Scott. Every remark Bert says or every little single he gives is made as terrible and chilling by Scott's brilliant delivery, and determined demeanor. Scott's most starkly effective scene is when he whispers something to Sarah. You do not hear what it is, but Scott's face tells is all, since you do not hear but you can see exactly what Bert is thinking. His specific manipulation of Sarah is almost too well played by Scott, his pushing her to her fate, is made believable, which is rather frightening, due to Scott's performance.

An especially strong scene of Scott's is his final scene with Newman. In this scene everyone is in the top of their form, Newman, Scott, somehow Gleason despite being pushed to the side. Bert tries is standard manipulations once again, but he fails reducing to threatening Eddie with physical violence. Scott backing down is handled again with his perfect realism. When Bert describes what he will do to Eddie, Scott shows Bert's evil to be just part of everyday business for him, through his casual delivery of the most despicable words. Scott never utters a false word and makes all of Bert's manipulations powerful, in a rather nasty way, and adds only to the greatness of The Hustler.

Best Supporting Actor 1961

And the Nominees Were:

Montgomery Clift in Judgment At Nuremberg

Peter Falk in Pocketful of Miracles 

George Chakiris in West Side Story

Jackie Gleason in The Hustler

George C. Scott in The Hustler

Who do you pick? What do predict my ranking will be?