Supporting Actress Ranking: 1950

The Field:
- FOUR HEARTS - A very underrated year for Supporting Actressness. Why? Mostly because we have the towering but unknown Emerson in a hidden film, the ladies from All about Eve are usually dismissed because of the almighty Margo Channing, Olson has the least showy part in a flamboyant exercise in theatricality, and Hull's (even though she won) has got to be one of the most forgotten performances to have won. How many lists does she top, now? Not many.

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My Pick:
Celeste Holm, All about Eve - FOUR HEARTS -

Confession: It has been a while since I have seen the film. However, since first viewing I have admired the work of the whole cast led by the grand Bette Davis (who was robbed of the Oscar) and the support lended by Celeste Holm. Holm provides the film with a grounded anchor in which the grand theatrics are controlled by. Celeste's delicate Karen is perfectly contrasted with Davis' rough Margo, to the point where new layers and points of view open up between the story and the character's. The craziness of the proceedings are balanced out by her effective underplaying, and she is able to illuminate the goodness, warmth, and wit of the complex creation Karen is. This choice of not being in charge and taking the reins alongside Davis and Baxter works wonders for the film. This is what supporting acting is all about; lending support and layers to those around, while picking just the right actorly choice for the way the character should be played.

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From There:

Nancy Olson, Sunset Blvd. - FOUR HEARTS -

At this point, I can only assume that Sage is becoming enraged that I have yet to rank Emerson. But there is still time, my readers...When watching Sunset Blvd., I was mainly looking out for the ledgendary performance given by Gloria Swanson (at this point I was one of the few cinephiles who had not seen the film). But when Ms. Olson appears on screen she does so with energy, confidence, and genuine gusto. I found her character/story to be more intersting than Norma's, and this is because she really gives some feeling and humanity to a part that is written as a plot device. Olson pulls the same effective move as Celeste Holm; stepping back from the chaos and layering subtlety and nuance into a role that wouldn't require it. Olson is one of the two main female characters in the film, and unlike the frightening Norma Desmond, she succeeds in showing a humane, non-terrifying counterpart in Joe's life and someone who is their self and doesn't have to hide behind shadows to escape their demise. It's fantastic, and truly unexpected work.

Hope Emerson, Caged - FOUR HEARTS -

Sage, this one's for you! A very unconventional performance for Oscar to nominate. Mostly because Emerson's Harper isn't the kind of calculated actorly performance that would be given by Oscar's favorite go-to-gal, Meryl Streep. No, Emerson's performance as the twisted embodiment of evil is actually very simply done. She's just scary. It's in her strut. Her words. Her sick chuckle of Satan deep within. StinkyLulu gives the best description of this performance in saying that Emerson doesn't try to give her character a "light" side; a reason to why she is so evil (you know the types), and instead making her even more ominous by leaving this wide open. In fact, her approach to the role feels so natural that her cruel and sadistic ways almost feel real and humane without tapping into any lighter territory. The irony in all of this is that people have said that Hope Emerson was in fact a sweet and friendly person, which could just make you applaud her work in Caged even more.

Thelma Ritter, All about Eve - TWO HEARTS -
All about Eve is a long film. It may even feel longer than it actually is, and in this time Thelma Ritter has a mere nine minutes to show her stuff. But the sad part is that her character is dropped off early and is never heard of again. It's this that is prompting me to call Ritter's a tag-along nomination. It's the film's fault, really; she just is not given enough to do (even though she of course has the attention whenever she is on). Ritter makes Birdie an interesting creation - too bad the script puts and end too it too early.

Josephine Hull, Harvey - TWO HEARTS -
Like I said before; probably of the most forgettable performances/wins to get Oscar's attention. Although Hull does have her supporters, I am not one of them. He low ranking is a result of the rich, juicy (and more deserving) competition that year and because of her stagey, shrill performance that feels stiff by today's standard's. I am shocked at Oscar for favoring this piffle over her fantastic rivals. But, I must remember -"to each his own" - I can still be pissed though, right??

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My Favorites From 1950:

My Pick: *Celeste Holm or Nancy Olson
                  Hope Emerson, Caged

*I know that above Holm got the higher ranking, but I favor Holm a pinch more than Olson. So in actuality my vote is between Holm and Olson.