Countdown: 10 Oscar-Nominated Actors Who Have Appeared In Doctor Who

Few television shows are as iconic or as culturally dominant as Doctor Who. Even if you're not a fan, you know about the TARDIS, the Daleks, K9. Its influence is felt all over the world and- much like the Harry Potter franchise- it's seen as a bit of a mark of street cred to appear in it. This goes for actors just starting in their careers as well as established stars.

So, here are ten Oscar-nominated actors that have appeared in Doctor Who. They are listed in the order in which they appeared on the show.

1. Pauline Collins

Pauline Collins is not only one of a small group of Oscar nominees who have appeared in Doctor Who, but she's also one of a small group of actors who have appeared in both the classic and revived series too. She played Samantha Briggs in the Patrick Troughton story The Faceless Ones and then appeared as Queen Victoria opposite David Tennant in Tooth And Claw. She was nominated for the Best Actress Oscar for her performance in Shirley Valentine.

2. Richard Todd

Todd's Oscar nomination came in 1950 for his lead role in The Hasty Heart. It would be more than 30 years later before he would appear in Doctor Who, appearing as Sanders in the rather trippy and philosophical Peter Davison story Kinda.

3. Eric Roberts

Few roles in Doctor Who are as iconic as the Doctor's nemesis, The Master. Roberts (nominated for Best Supporting Actor for Runaway Train) took the role in the 1996 TV Movie opposite Paul McGann. He doesn't quite fit the role but seems to be having an absolute ball, especially with lines as camp as 'I always dress for the occasion'.

4. Andrew Garfield

One of this year's Best Actor nominees for his stunning turn in Hacksaw Ridge, Garfield appeared as Frank in the 2007 two-part story Daleks In Manhattan/Evolution Of The Daleks.

5. Carey Mulligan

The 2007 episode Blink (which introduces the Weeping Angels) is widely thought of as one of the best episodes of the revived series. That's in no short measure to the brilliant performance by Carey Mulligan as substitute companion Sally Sparrow. Mulligan would go on to be nominated for Best Actress for her role in An Education.

6. Felicity Jones

Eight years before her Best Actress nomination for playing Jane Hawking in The Theory Of Everything, Felicity appeared as socialite-with-a-secret Robina Redmond in the very fun Agatha Christie inspired episode The Unicorn And The Wasp.

7. Sophie Okonedo

Sophie Okonedo was nominated for the Best Supporting Actress Oscar for her role in Hotel Rwanda. She played kick-ass future monarch Liz Ten in The Beast Below (Matt Smith's second story as the Doctor). Whilst it's not very good, Okonedo is excellent. She reprises her role in a later episode, The Pandorica Opens.

8. Imelda Staunton

Imelda Staunton was nominated for Best Actress for her role in Vera Drake in 2005 (the same year as Sophie Okonedo). In 2011, she appeared as the Voice of the Interface in the Matt Smith story The Girl Who Waited. Her soothing tones help companion Amy Pond survive alone on an alien planet.

9. Ian McKellen

Acting legend Sir Ian McKellen has been nominated for two Oscars: Best Actor for playing film director James Whale in Gods And Monsters and Best Supporting Actor for playing Gandalf in The Lord Of The Rings: The Fellowship Of The Ring. In 2012, he provided the Voice of the Great Intelligence in the Christmas special The Snowmen.

10. John Hurt

The late, great John Hurt was nominated for two Oscars- for Best Supporting Actor for his role in Midnight Express and Best Actor for The Elephant Man. In 2013, he appeared as The War Doctor, a previously hidden incarnation of the Time Lord, for the 50th anniversary story The Day Of The Doctor and went on to reprise his role for audio dramas for Big Finish.


BONUS: Peter Capaldi

The incumbent Time Lord- who will sadly be leaving the series at the end of this year- is not only an Oscar nominee but an Oscar winner! In 1995, Peter won the Best Live Action Short Film Oscar for writing and directing Franz Kafka's It's A Wonderful Life. Here he is, with his award:

Sir John Hurt (1940-2017)

We at the Watchers are very sad to report the death of acting legend Sir John Hurt, who has passed away at the age of 77. 

In a career spanning six decades, Hurt had an amazingly diverse filmography, taking in sci-fi, horror, fantasy, drama and comedy, all done with style. His deep rich voice was distinctive and instantly recognisable.  

Born in 1940 in Chesterfield, Hurt was originally encouraged by his parents to become an art teacher, so he enrolled at Grimsby Art School and later won a scholarship to study at St Martin's School of Art in London. In 1960, he won a scholarship to RADA and studied there for two years, making his film debut in 1962 as Phil Corbett in The Wild And The Willing. In 1966, he had his first major film role, playing Richard Rich in A Man For All Seasons opposite Paul Scofield and Wendy Hiller. In 1971, he played the ill-fated Timothy Evans in 10 Rillington Place to great acclaim and was nominated for his first BAFTA film award for the role.

In 1975, Hurt took the role of the flamboyant writer Quentin Crisp in The Naked Civil Servant, a television adaptation of Crisp's autobiography. In a career as vast as Hurt's, this is one role he is best known for although was initially warned against taking such a controversial role saying it might end his career. In fact, nothing could have been further from the truth. He won the BAFTA Television Award for Best Actor for his role and reprised his role in 2009 for An Englishman In New York, chronicling Crisp's later years.

After a spectacular turn as the Roman emperor Caligula in the TV mini-series I, Claudius, Hurt then went on to star in Alan Parker's 1978 film Midnight Express as an English heroin addict incarcerated in a Turkish jail. He won a BAFTA Film Award and a Golden Globe for his supporting turn and also gained his first Oscar nomination (for Best Supporting Actor), although he lost to Christopher Walken (for The Deer Hunter). Also in 1978, he provided the voice of Aragorn for an animated version of The Lord Of The Rings and the voice of Hazel for the animated version of Watership Down. 

In 1979, he was part of one of the most iconic and shocking moments in cinema history: the chest-burster scene in Alien.There appears to be some truth in the urban legend that only he and the crew knew what was going to happen- apparently the cast were informed that the alien would appear but not how much blood there would be or where it would go (Veronica Cartwright's reaction is for real). Hurt parodied the scene several years later in Spaceballs.

In 1980, he was nominated for his second Oscar (this time for Best Actor) for his lead role in The Elephant Man, playing the deformed John Merrick. He won his second BAFTA Film Award and was also nominated for the Golden Globe for this role (although lost out on the Oscar to Robert De Niro for Raging Bull). The detailed make-up took between seven to eight hours to apply and two to remove, meaning Hurt would often arrive on set at 5am and not leave until midnight. After his first day in the make-up, he allegedly called his wife at the time, saying, "I think they finally managed to make me hate acting."

He also played The Fool to Laurence Olivier's King Lear and played a brilliant Winston Smith in Michael Radford's adaptation of 1984. He provided the voice of the Horned King in The Black Cauldron, played The Storyteller in Jim Henson's series of the same name and finished off the Eighties by playing Stephen Ward in Scandal, the film about the Profumo Affair. Throughout the 1990s, he appeared in films as diverse as The Field, Rob Roy, King Ralph, Love And Death On Long Island, Even Cowgirls Get The Blues and Contact.

In 2001, Hurt appeared as wand-maker Mr Ollivander in Harry Potter And The Philosopher's Stone (and would go on to reprise his role in both Harry Potter And The Deathly Hallows films). He also appeared as Professor Bruttenholm in both Hellboy films. He appeared in thrillers The Skeleton Key and The Oxford Murders, narrated Lars Von Trier's Dogville and Manderlay and put in a towering performance as Chancellor Adam Sutler in the rather brilliant V For Vendetta.

In 2008, Hurt provided the voice of The Great Dragon for the television series Merlin which ran for five series and then put in a ferocious turn as the foul-mouthed Old Man Peanut in crime thriller 44 Inch Chest, a film which truly has to be seen to be believed. He was also the lead in the chilling Whistle And I'll Come To You (based on the M.R. James short story) then appeared in Melancholia and as Control in the 2011 version of Tinker Tailor Soldier Spy. He also appeared as Christopher Marlowe in Jim Jarmusch's vampire drama Only Lovers Left Alive.

In 2013, Hurt surprised a lot of people by taking a role in Doctor Who. The surprise was made even more by the reveal that he would be playing... The Doctor! To cover Christopher Eccleston's refusal to appear in the fiftieth anniversary special, a new character was created- a regeneration of the Doctor which he doesn't speak about, known only as The War Doctor- which was played by Hurt. As a grizzled veteran of the Time War, determined to say 'no more', he is superb as a world-weary old soldier. Hurt has reprised his role as the War Doctor for several audio stories by Big Finish. 

One of his last film roles was in Jackie, as the Priest who counsels the former First Lady through her grief. At the time of his passing, he has several projects still in production, including playing Neville Chamberlain opposite Gary Oldman as Winston Churchill in Darkest Hour.

In 2012, Hurt was awarded a BAFTA for Outstanding British Contribution to Cinema and was knighted in 2015 for his services to drama. 

A brilliant actor who will be much missed. Our thoughts are with his family and friends at this time.

Rhys, Matt & Tez
The Watchers

Review: Jackie (UK Cert 15)

The assassination of John F. Kennedy is one of the defining moments of American history. Pablo Larrain's latest film Jackie is a character study of his wife, First Lady Jacqueline Kennedy, in the week after her husband's death. Whilst still in mourning, Jackie (Natalie Portman) invites a journalist (Billy Crudup) to interview her where she recounts the events of that fateful week.

At first I found Portman's performance a little mannered, the way she spoke a little discordant. It sounded wrong. However, having found footage of the real Jackie Kennedy (the 1961 White House tour is available to view online), it's a remarkable facsimile. The real First Lady had a very distinct way of talking which Portman successfully captures. But the performance goes beyond impersonation to embodiment as Jackie's tumultuous emotions- ranging from anger and sorrow to steely determination- play across her face. There are a lot of scenes with very little dialogue but you know exactly how she's feeling at any given time. One scene- when Jackie returns to the White House after the assassination, still wearing the blood-stained clothes- is particularly powerful.

Such is the power of Portman's performance, that other performances don't quite reach the same level. Crudup's reporter is really only there to ask questions and to prompt the story forwards (I do wonder whether this framing device was strictly necessary). Peter Sarsgaard is strong as Bobby Kennedy, attempting to support Jackie in her grief whilst managing his own and trying to ensure the Kennedy legacy. Greta Gerwig is good as Jackie's friend and confidante Nancy, whilst there's a surprising turn by John Hurt as an Irish priest who counsels Jackie in her darkest hours. 

Larrain mixes in real-life cinefootage with recreation to mostly good effect, although there are a couple of instances where this really jars (part of the funeral cortege, for example). The recreations, not only of the funeral procession but the assassination itself, are handled very well although the level of detail in the shooting may be too graphic for some people. The score- by Mica Levi- is also particularly strong.

Anchored by a very strong central performance, this is an absorbing study of a woman in crisis. It doesn't quite reach its full potential but is a strong drama nonetheless.

Rating: 3.5 out of 5

Tez

Review: Only Lovers Left Alive (Cert: 15)

For almost as long as film has been around, vampires have appeared onscreen in all sorts of guises, and treated with varying levels of respect. There have been evil bloodsucking bastard vampires (TV movie Salem’s Lot, Near Dark), pitied, misunderstood vampires (Let The Right One In, Interview With The Vampire), comedy vampires (Fright Night, From Dusk Till Dawn), vampires that aren’t really vampires (Martin), sexy, erotic vampires (all of Hammer’s Dracula films), and glossy haired, just walked out of a L’Oreal advert, vampires (every single Twilight film). It feels like you can’t go more than a couple of years without another undead bloodsucker gracing the big screen and in 2014 you have Jim Jarmusch’s latest offering, Only Lovers Left Alive.

Jarmusch is one of a small number of directors who only produces a film every three-or-four years, each one vastly different from the last. Whatever you think of Jarmusch and his films (Broken Flowers and Ghost Dog being his most well-known), you have to admire the man for having total creative control over his films. Pace be damned, Jarmusch has an A-list actor and he’s not afraid to keep the camera rolling and get every last drop of acting gold out of them!

Only Lovers Left Alive, as you might expect from Jarmusch, is no straightforward buckets of blood vampire film. You could barely place it in the horror genre. At no point are any necks chomped on and there is very little blood to be seen. If you’re expecting 30 Days of Night, you might want to go see that nice person at the till and get your money back. The best way to describe Only Lovers Left Alive is that it’s a romance where its two leads just happen to be dead.

Tom Hiddleston (of Loki in Thor and Avengers fame) is Adam, a centuries old vampire who is tired of his immortal life. He calls humans “zombies,” disheartened by their short-sightedness and determination to ruin the world around them. Hiddleston gives a first-rate performance, much of the film’s humour down to his droll one-liners. Another actor could have made Adam come across as petulant, but Hiddleston makes his protagonist a likeable misery.

Tilda Swinton, as Adam’s wife, Eve, is the opposite of Adam. She is a motherly figure who sees the beauty of even the smallest, most trivial things. She views people as flawed, that along with their mistakes they are also capable of doing good. Over the course of the film’s two hours, Eve tries to restore Adam back to life, to help him become the man he used to be. Swinton, despite her Oscar win for Michael Clayton, is an underrated actress, rarely mentioned in the same breath as her peers. She is one of the very best actresses working today (see her in We Need To Talk About Kevin, for one of her standout performances) and once again gives everything and more to her role.

One of the many reasons to see Only Lovers Left Alive is for Hiddleston and Swinton’s husband and wife duo, both beautiful to look at in an ageless, undead sort-of-way, they hold your attention throughout.

Mia Wasikowska deserves a mention as Eve’s “sister”, Ava. If Adam and Eve are world weary souls, then Ava is a babyish teenager trapped in a woman’s body. She takes her powers for granted, doing whatever she wants and never thinking of the consequences; Adam and Eve’s peaceful lives thrown into upheaval when she visits them. Wasikowska is genuinely unnerving, portraying Ava as this sweet princess who could snap at any moment and do something senseless and cruel.

John Hurt turns up in only a couple of scenes, yet he is wonderful and heart-breaking to watch as none other than an undead Christopher Marlowe. Marlowe is an old man, his body not as everlasting as he thought, yet he is still the infamous scoundrel who courted so much controversy, occasionally giving Swinton a mischievous smile.

All of the best vampire films take the well-known rules and bend them. In Only Lovers Left Alive, not only do vampires need to worry about sunlight or a stake through the heart, they can be killed by infected blood. Here, if a vampire drinks the blood of a drug addict or someone with a terminal illness, this will also kill them. Hiddleston and Swinton can walk into someone’s home uninvited; however they see this as bad luck, in much the same way as breaking a mirror or the number thirteen.

While Only Lovers Left Alive is no horror film, it has an eerie atmosphere thanks to Yorick Le Saux’s cinematography. Le Saux takes Detroit’s run down streets, that would look ugly during the daytime, and makes them look strangely beautiful at night. Even Adam’s house (the closest the film has to a Castle Dracula location) with its crumbling walls, filled with wires and machinery from decades back, manages to look like something from one of Grimm’s fairy tales. Tangier, Eve’s home, is a fine-looking setting, with boats lining the riverside and a labyrinth of passage ways and cobbled streets.

The only criticism you could have with Only Lovers Left Alive is the pace. I did occasionally find myself thinking that a couple of scenes could have been trimmed down, possibly even cut altogether. The film could easily lose ten minutes from its running time without being ruined.

Jarmusch’s latest won’t be for everyone; there are those out there that will loathe it, that it’s a waste of two hours. This is not your typical vampire film. If you’re looking for something at a breakneck speed with gallons of blood, you’re better off dusting off your copy of Blade. Though if you like a vampire film that plays around with convention, is intelligent, and dotted with wry, black humour, then Only Lovers Left Alive could end up being one of your favourite films of 2014. It isn’t flawless like Tomas Alfredson’s Let The Right One In (very few films are!), but is easily up there with the best of the sub-genre.

4 out of 5

Matt

V For Vendetta (2006)

'Remember, remember, the fifth of November,

Gunpowder, treason and plot...'

In 1605, Guy Fawkes and several others- including Robert Catesby and Thomas Winter- plotted to kill King James I by blowing up the Houses of Parliament. They failed. Fawkes was captured and tortured but jumped from the scaffold before he was hung.  So every November 5 here in the UK, we commemorate the failure of Fawkes' attempt at regicide by burning his effigy on a bonfire and setting off fireworks. It's an odd kind of celebration; we commemorate something that didn't happen, rather than something that did. Now, Fawkes is representative of a revolutionary anti-establishment movement.

Fitting then, that Alan Moore decided to use a Guy Fawkes mask for his hero V to wear in his comic-book series V For Vendetta (first published 1982-1985). In the comic book, V is a lone anarchist who seeks to bring down the totalitarian government of Britain using theatrical acts of destruction. Unsurprisingly, a film adaptation of the comic book was released in 2006, directed by James McTeigue.

Britain is ruled by the fascist Norsefire party, under the tyrannical High Chancellor Adam Sutler (John Hurt). One night, a young woman named Evey Hammond (Natalie Portman) is saved from an attack by the secret police by a masked vigilante named V (Hugo Weaving). V has an agenda: to topple the government. He destroys the Old Bailey and then, in an exhilarating speech, hacks into the emergency system to deliver a stark message to the people:




Performance-wise, the film is top-notch. Portman, gaining top billing, is great as Evey: her British accent very seldom slips and she captures the conflict within the character very well. It's difficult to gauge Weaving's performance as he is almost always masked but he imbues the character with a vocal intensity which is superb. The role should have been played by James Purefoy who dropped out of the project after finding it difficult performing behind the mask. Hurt gives a steely performance as High Chancellor Sutler, who- even when the character rants- steers clear of an easy performance as a tinpot dictator. 

Stephen Rea and Rupert Graves make for an excellent pairing as police officers Eric Finch and Dominic Stone who investigate V's acts of terrorism (as Sutler calls them) but find their loyalties stretched when Norsefire's previous actions come to haunt them. Stephen Fry gives a lovely turn as Gordon Deitrich, a talk-show host whose interest in Evey is merely a front to hide his true desires; homosexuality is not tolerated in Norsefire's world. Which leads me on to a powerful performance by Natasha Wightman as Valerie, a relatively minor but important role as a young woman imprisoned by Norsefire for being a lesbian. 

The action set-pieces are directed with breathless skill by McTeigue (who cut his teeth on The Matrix trilogy); the early destruction of the Old Bailey is a pyrotechnical feast, especially, and- whilst the metaphor is slightly overplayed- the sequence with the dominos also looks fantastic. There's a pervading sense of dread that hangs over the film which is impressive; this futuristic dystopia seems all too easy to imagine coming to pass. 

The film is an excellent thriller and a damn fine adaptation of a seminal comic book, but it also has a more lasting legacy; the Guy Fawkes mask as portrayed in the film is now used as a symbol by hacker group Anonymous and has also been used by protesters during the Occupy protests and other political protests in the UK. Quite apt as one of V's bon mots is: 'People should not be afraid of their governments. Governments should be afraid of their people'.

So, this Fifth of November, take a seat and watch this film. One thing's for sure, it's one you'll remember.

Tez