Best Supporting Actor 1951

[Sabin]

Only seen Malden.

[ksrymy]

Youtube.

How much of it is there? If it's a significant enough percentage, I might watch, but if it just adds up to 30 random minutes, it seems pointless.

I'm not at a point in my life where I can throw away money on marginally-interesting films. But thanks for the source, Magilla. Thanks all, in fact.

There are twelve "chunks" if you check the uploader's profile so I assume it'd be the whole movie.

[Mister Tee]

Youtube.

How much of it is there? If it's a significant enough percentage, I might watch, but if it just adds up to 30 random minutes, it seems pointless.

I'm not at a point in my life where I can throw away money on marginally-interesting films. But thanks for the source, Magilla. Thanks all, in fact.

[Reza]

Still haven't watched Death of a Salesman although I have a copy on video. Unfortunately the tape broke and I have yet to repair it.

Voted for Malden here.

My picks for 1951:

1. Robert Walker, Strangers on a Train
2. John Williams, Kind Lady
3. Maurice Evans, Kind Lady
4. Karl Malden, A Streetcar Named Desire
5. Leo Genn, Quo Vadis?

The 6th Spot: Peter Ustinov, Quo Vadis?

[ITALIANO]

Can I ask everyone to tell where/how they saw this version of Death of a Salesman, a film I've been unable to track down in almost 50 years of search?

Italian tv.

[bizarre]

Yet, Arthur Miller comes nowhere near Tennessee Williams my all-time favorite playwright. Where Karl Malden is successful in Streetcar is in that he is the most subtle of all the cast members. Brando is brooding and yelling. Leigh is longing and frenzied. Hunter is crying and screaming. On a different note, I usually hate performances like this yet these ones work so perfectly. But when Malden gets upset he gets distressed and tries to keep his cool. Just watch the way he exhales. It's perfect accompanied by the subtle eye movements and facial expressions. He gets my vote this year.

This! I'm not a huge fan of the film, Williams, or the other performances (I'll make concessions for Hunter), but I think Malden was incredibly intense, simmering throughout and making that betrayal brutally shocking. He was excellent and one of my favourite winners in this category.

I also find him perversely sexy.

[Big Magilla]

It's still available from Amazon, but might possibly be found elsewhere for less than $30.

http://www.amazon.com/Death-Salesman-Fr ... 528&sr=1-4

[Sonic Youth]

Youtube.

[Mister Tee]

Can I ask everyone to tell where/how they saw this version of Death of a Salesman, a film I've been unable to track down in almost 50 years of search?

[ITALIANO]

In theory, nobody connected with the trashy Quo Vadis should have been considered for an Oscar, but it's true that both Peter Ustinov and Leo Genn seemed to have realized that they were acting in a terrible mess, and their performances, seen from this point of view, are quite enjoyable and maybe even nomination-worthy. They were many actors like Gig Young during that period: good but not exactly impressive, perfect for playing second leads, "victims", and best friends (of the hero); they were sometimes nominated but never won, and the same would have happened to Gig Young if many years later he hadn't been given a completely different role.

This is between Karl Malden and Kevin McCarthy, obviously, and while Malden is well cast as Mitch, it's true that the role is probably the least interesting of the four in Streetcar; McCarthy gives an absolutely electrifying performance as Biff - maybe the best Biff I have ever seen, a complex portrayal of a young but already bitter American man, effective even today and, I guess, devastating back then. My pick, definitely.

[Big Magilla]

There were some very good non-nominated performances this year. Among them, Richard Basehart or Paul Douglas in Fourteen Hours depending on which you consider lead and which you consider supporting; William Bendix and Joseph Wiseman in Detective Story and, of course, Robert Walker in Strangers on a Train although he was likely submitted as lead in a year when stuidos make the determination.

Of the actual nominees, I was not all that impressed with Gig Young in Come Fill the Cup. I was much more impressed by the marvelous James Gleason in one of his best roles.

Of the four major characters in A Streetcar Named Desire I've always found the sketchily written Mitch to be the least impressive and although I think Karl Malden marginally deserves his nomination, the win was a bit much, especially considering that Brando lost his category.

I actually like the Fredric March version of Death of a Salesman better than the Lee J. Cobb and Dustin Hoffman versions. March is splendid in the elad, as is Mildred Dunnock as his wife Linda, but I agree actignhonors go to Kevin Mccarthy as Biff. Again, though, the nomination was enough.

Leo Genn was a marvelous actor who rarely got the recognition he deserved so I'm delighted he got this one nomination, but between him and Peter Ustinov as Nero, I have to go with Ustinov who is even more marvelous than Charles Laughton was in DeMille's The Sign of the Cross. He gets my vote.

[ksrymy]

Only one I haven't seen is Young.

I think Leo Genn has the much harder role than Peter Ustinov does. Everything leading to his ultimate demise is well-acted and very well-deserved. Ustinov has little to work with ("I'm an emperor. I am loud and screaming or quiet and threatening. Hear me roar. Look at my glare.") yet gets more acclaim. I'm not sure why.

I, unlike someone here , really like Death of a Salesman whether it be the play or the film (minus the Dustin Hoffman shitstorm) and, every time, Biff is my favorite character and I think Kevin McCarthy does a very nice job with the part. His hatred for his father, which ultimately leads him to confess his love for him, seethes nicely beneath the surface. He is the standout of the film (holding his weight against heavyweight leads like Fredric March and supporting dynamite like Mildred Dunnock) without a doubt in my mind.

Yet, Arthur Miller comes nowhere near Tennessee Williams my all-time favorite playwright. Where Karl Malden is successful in Streetcar is in that he is the most subtle of all the cast members. Brando is brooding and yelling. Leigh is longing and frenzied. Hunter is crying and screaming. On a different note, I usually hate performances like this yet these ones work so perfectly. But when Malden gets upset he gets distressed and tries to keep his cool. Just watch the way he exhales. It's perfect accompanied by the subtle eye movements and facial expressions. He gets my vote this year.

But, Jesus Christ, how could the Academy not nominate Robert Walker!

1. Robert Walker - Strangers on a Train
2. Karl Malden - A Streetcar Named Desire
3. Leo Genn - Quo Vadis
4. Horace MacMahon - Detective Story
5. Kevin McCarthy - Death of a Salesman