Emmy Review: Supporting Actor in a Comedy

Please welcome new contributor Christopher James to continue our Emmy analysis/review...

The new eight-wide field Supporting Actor in a Comedy field brought in some old and new faces. The incumbent Tony Shalhoub hopes to win his fifth Emmy (he won three times for Monk and once previously for The Marvelous Mrs. Maisel). However, there are plenty of people standing in his way. Both Harper and Levy contend for their show’s series finales. Oscar winners Ali and Arkin hope to add an Emmy to their respective trophy cases. Meanwhile, Emmy regulars Brown, Braugher and Thompson are hoping to be the David to Shalhoub’s Goliath.

Without further ado, let’s dive into a look at each of the nominee’s submissions (mild spoilers to come)...

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Emmy Review: Supporting Actor in a Drama

By Abe Friedtanzer

There were a staggering 455 men on this particular ballot, the most in any category this year (and ever). It’s a wonder that five shows are still represented by eight nominees. The question is whether actors whose costars are nominated – like the boys from Succession or Critics Choice winner Billy Crudup – can distinguish themselves like Peter Dinklage managed to do last year with his fourth trophy for Game of Thrones. Or will having no internal competition propel someone else to the win?

I’ll try to avoid major plot details in my analysis – but if you’d like more spoiler-filled descriptions, click on the episode titles. Let’s consider each nominee…

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The New Classics: Lincoln

By Michael Cusumano 

Abraham Lincoln abilities as a writer probably would have earned him a place in history even without his accomplishments as a statesman. He is surely the best writer that has ever occupied the Oval Office. Capable of expressing complex ideas with remarkable economy, he had a deft hand with allusions and was responsible for many evocative turns of phrase that resonate far outside the political context of their time, “The better angels of our nature” or “The dogmas of the quiet past”.  Hell, simply opting for “Four score and seven” over “eighty-seven” reveals a writer’s ear for the musical potential of language.

It's a fitting tribute then, that the most prominent film about the sixteenth president, Steven Spielberg’s Lincoln, with a screenplay by Pulitzer prize winning playwright Tony Kushner, exudes that same love of language. There’s scarcely a scene without some memorable linguistic spin. There's much to admire in Spielberg’s film from the beautifully worn production design to the momentous performances, but the real reason I’ve returned to it repeatedly since 2012 is simply because the characters are such fun to listen to. All of the film’s dramatic peaks involve the spectacle of verbal fireworks, particularly my favorite scene, where Tommy Lee Jones blasts his way out of a political trap firing off ornately worded insults like cannonballs... 

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Almost There: Burl Ives in "Cat on a Hot Tin Roof"

by Cláudio Alves

In 1958, Burl Ives won the Academy Award for Best Supporting Actor. Some cinephiles would, understandably, assume that the great honor came to him as a reward for his legendary turn as Big Daddy in the silver screen adaptation of Tennessee Williams' Cat on a Hot Tin Roof. It wasn't so, however. Burl Ives did indeed win his Oscar for playing the impassioned patriarch of some portentous American clan, but it was for a story set in the arid landscapes of the Far West rather than the humid heat of Mississippi. The winning movie was William Wyler's The Big Country, a sublime epic of its genre whose taste for cruelty is only matched by the lushness of its score. It's not a well-remembered flick despite its quality, and, while great, Ives' supporting turn pales in comparison to what he did as Big Daddy in Cat on a Hot Tin Roof that same cinematic year...

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Sessue Hayakawa: From sex symbol to Oscar nominee

We've been celebrating 1957 for a couple of weeks. Here's one more from Cláudio Alves

In 1957, Miyoshi Umeki became the first and only Asian woman to win an acting Oscar. However, the Best Supporting Actress champion wasn't the only Japanese performer to score an Academy Award nomination that year. Sessue Hayakawa, who played the ruthless Colonel Saito in the Best Picture winner The Bridge on the River Kwai, became the first male actor of Japanese descent to be nominated by the Academy. Unlike Umeki, who had less than a decade of experience in show business by the time she achieved Oscar glory, Hayakawa had a long history with Tinsel Town. Many decades before his nomination, when the American film industry was creating itself and Silent Cinema was entertainment for the masses, Sessue Hayakawa had been one of the first sex symbols… 

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