Best Supporting Actor in the 80s: An Alternative Oscar History

by Cláudio Alves

As in real life, Jack Nicholson takes a Best Supporting Actor prize during the 1980s. But not for TERMS OF ENDEARMENT, however.

November is coming to an end and so is our 80s throwback celebration. That means I have to wrap-up these alternative Oscars posts. After sharing personal ballots for Best Actress and Best Supporting Actress, it’s time for the other acting categories, starting with the thespians who enrich their films from the sidelines. As ever, the ballots presented follow Oscar eligibility rules, all its quirks and oddities. There are also honorable mentions, some ineligible gems who weren’t up for the Oscar due to release date shenanigans or a lack of submission on their distributors’ part. Finally, I also added a number of titles on my watchlist and would appreciate all your recommendations to enrich these dream Oscars of mine…

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Showbiz History: Liz Taylor's Gigantic Film and Marriage

6 random things that happened on this day, October 10th, in showbiz history

1956 Giant with its gargantuan running time and trifecta of iconic stars -- Taylor, Dean, Hudson (plus Mineo & McCambridge!) --gets its world premiere in NYC. It will open for Thanksgiving in movie theaters and lead Oscar nomination morning with 10 citations. Sadly it will lose Best Picture to a much lesser movie, Around the World in 80 Days. But these things happen in Oscar annals.

1963 From Russia With Love, the second Bond film, has its world premiere in London and goes on to become an even bigger hit than the franchise launch Dr No.

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Almost There: Oskar Werner in "The Spy Who Came In from the Cold"

by Cláudio Alves

To be nominated in both Leading and Supporting categories at the same Oscar ceremony is a rare feat some actors have been lucky enough to achieve. Most often, though, AMPAS will pick a role to celebrate and only bless the performer with one nomination. Actors that came close to the elusive double nomination include people like Meryl Streep in 2002, Al Pacino in 1990, Jane Fonda in 1978, and today's Almost There case study, Oskar Werner in 1965.

This Austrian performer, famous for films like Truffaut's Jules and Jim, was nominated in the Best Actor category for his work in Ship of Fools. That same year, he was probably close to a Supporting Actor nod for The Spy Who Came in from the Cold…

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Almost There: Olivia de Havilland in "My Cousin Rachel"

by Cláudio Alves

As you know, Olivia de Havilland passed away on Saturday. She leaves behind a filmography full of immortal classics as well as a legacy that still shapes the American film industry. At first glance, de Havilland might seem like an odd choice for this series. Her most acclaimed roles did nab Oscar nominations and she won twice. Still, there was, at least, one occasion when the great Olivia could have considered herself snubbed by AMPAS. It happened in 1952 when the actress returned to the screen after a short period dedicated to the stage. Surely a wise move since The Heiress (1949) was undoubtedly a tough act to follow.

Her next feature after the break was a Daphne du Maurier adaptation that's noteworthy for at least two reasons: one, it  launched the career of Richard Burton in Hollywood and two, it went on to score four Oscar nominations. We're talking about My Cousin Rachel…

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50th Anniversary: "Anne of the Thousand Days"

Anne of a Thousand Days (1969) was released 50 years ago today.

by Cláudio Alves

Even before her famous death, Anne Boleyn had become a legend. I don't say this to aggrandize the historical figure, but to explain that the second wife of Henry VIII had transformed into something not quite human. Legends aren't people so much as abstractions of them, told and retold, morphed by cultural shifts and the interest of those who tell them. 

With the birth of cinema, Anne Boleyn would come to be one of the stalwarts of the historical drama on the big screen. Unfortunately, the cycles of empty mythologizing wouldn't end with the advent of new technology. As a character, Anne Boleyn is more often than not a symbol. She's a monstrous harpy or she's a martyred victim, she's a seductress who brought disgrace upon herself or she's an icon who died at the hands of a perfidious tyrant. Even on the rare instance when she gets to be protagonist, rather than a supporting player in another's tale, she's not allowed to be a person with a full characterization. For what it's worth, 1969's Anne of the Thousand Days, at least, tries to do right by Anne Boleyn.

I'm unsure if this is the filmmaker's doing or the singular feat of Geneviève Bujold...

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