Showing posts with label acting. Show all posts
Showing posts with label acting. Show all posts

Monday, February 03, 2014

When the Good Die Young



"There will be another film, there will be another relationship, or I'll die and then I'll be dead. But if I'm alive, I know life is going to keep throwing things at me."

Philip Seymour Hoffman (1967–2014)

In every generation, I suppose, there is at least one prominent person who dies tragically — and far too young. As Philip Seymour Hoffman told The Guardian a few years ago, life keeps throwing things at you.

Life threw something at us yesterday, something with which we should be all too familiar — yet it always comes as a shock. See, what Hoffman didn't say was that it's frequently the same thing over and over, just in a different form.

Yesterday, Hoffman became this generation's John Belushi or Lenny Bruce, a brilliantly talented entertainer dead from abuse of a substance. What was new was the quantity of drugs that apparently was found in Hoffman's New York apartment. I've been hearing that 50 bags of what was believed to have been heroin were found in his apartment, an astonishing number. Hoffman is said to have been found with a syringe in his arm.

If you'll permit a little speculation here, that could be what it appears to be, a sudden death brought on after (and, perhaps, by) his own injection. Hoffman was known to have struggled with addiction during his life. Or it could have been a staged scene. If someone wanted to kill him and make him look like an overdose victim, leaving a syringe in his arm could give that appearance.

I don't know. The mind wants not to believe it could be what it looks like and seeks alternative answers.

Hoffman's autopsy, which reportedly is taking place as I write, may answer many questions — and it may raise new ones. That remains to be seen. One thing I can say for certain is this: The facts of the case that are known are sad enough without those whom I have seen using this as an opportunity to argue about whether marijuana, of all things, should be legal.

Illegal drugs are not interchangeable. Hoffman's death is a tragedy, but the drug that apparently snuffed out his life is not legal anywhere in the United States. Those who have seized this event as an opportunity to argue against legalizing marijuana truly are guilty of equating apples to oranges.

Marijuana is legal today in the states of Washington and Colorado; no one has died from it there or in any of the other 48 states. Heroin is a much more potent substance. The two should not be treated as if they are the same thing, and I acknowledge that most rational people do not, but a handful have. That must stop. End of rant.

Putting all of that aside ...

I am saddened by Hoffman's premature death. He was a phenomenally talented actor, and I have thought a lot about the roles in which he entertained me over the years. He was always top notch in everything I saw him in. The movies themselves were not always top notch — but his performances were.

I guess the first time I saw him was when he appeared in "Scent of a Woman." Around that same time, I was impressed with his work in "Leap of Faith." The next time I remember seeing him was in "Twister," then, in rapid succession, "Boogie Nights" and "The Big Lebowski."

He won an Oscar for his performance in 2005's "Capote," and it was truly an amazing performance. He was nominated for Oscars three more times, but he never won another one.

I guess the thing I appreciated the most about him was that you never really knew what kind of role he was going to play. He defied pigeonholing. He was Everyman, believable in every part he played. He could do it all. And, even in the relatively short time he was here, Hoffman seems to have done it all.

The word prolific should have his picture next to its definition in the dictionary.

And that is the greatest tragedy — that the world will be deprived of the great performances he was sure to deliver in the next two or three decades.

Other questions about Hoffman's death can wait for another day to be addressed — and they, no doubt, will be. For now, it is enough to realize that this loss of Everyman is everyone's.

Saturday, February 01, 2014

Maximilian Schell Dies



Maximillian Schell died overnight at the age of 83.

I have admired his Oscar–winning work in 1961's "Judgment at Nuremberg" ever since I saw it for the first time. I've never seen it on the big screen, only on TV screens, but I don't think that matters.

It is the acting, not the cinematography, that tells the story in that movie, and Schell's performance, as brilliant as it was, was only one part of it. Other parts were co–star (and co–Best Actor nominee) Spencer Tracy and many other stars in lesser — but no less important — roles, some of whom believed in the project so deeply that they accepted no pay for their work.

Still, Schell's performance was, as I say, brilliant. I wish to take nothing away from it. I've never seen anything like it — and I consider myself to be fairly knowledgeable about movies. I've seen many admirable performances, but Schell's may have been was the best.

(Well, upon further review, I might have to put it second behind Gregory Peck in "To Kill a Mockingbird.")

Unfortunately, I think it led to the Austrian–born Schell being pigeonholed in Nazi–related roles — ironic, really, since Schell's family fled Austria after it was annexed by Nazi Germany. That may have been a mixed blessing; he received additional Oscar nominations for his work in two World War II–themed movies in the 1970s.

But he never won another statuette.

He did take steps to avoid being typecast, appearing in a variety of roles through the remainder of his career. I've seen many of them, and I always come away with a renewed respect for Schell's work.

Schell was a remarkably talented man. His family relocated to Zurich, Switzerland, where the young Schell read the classics — and wrote a play at the age of 10. His mother was an actress, and his father was a writer; as a result, Schell said he grew up in a "theater atmosphere," and his artistic talents initially gravitated more to writing, painting and music than acting.

He did a lot of writing in his college years, including part–time work for newspapers to supplement his income. Ultimately, though, he settled on a career in acting, which he launched at the age of 24.

I suspect he still felt torn, even after he had settled on a career in acting. "I don't actually have a profession," he once said. "I wander through life and through all areas of art."

I guess you could say he was something of a pioneer. When he won his Oscar, it was the first awarded to a German–speaking actor since World War II — a real breakthrough for that time in history.

Maximilian Schell certainly left his mark.

Tuesday, November 05, 2013

Vivien Leigh's 100th Birthday



Anyone who has ever seen Vivien Leigh in a movie — and that must mean just about everyone — would agree.

She was stunningly beautiful.

And, to these Southern ears, she sounded legitimately Southern in "Gone With the Wind" and "A Streetcar Named Desire," but, in fact, she was the daughter of an English military officer stationed in India at the time of her birth.

Leigh was born 100 years ago today, and she looked upon her beauty as more of a curse than a blessing. She felt it kept her from being taken seriously.

That may have been true with some filmmakers, but the American Film Institute certainly takes her seriously. AFI rated her 16th on its list of the 25 greatest actresses of all time.

And the Academy Awards took her seriously. She was named Best Actress twice — for her performances in "Gone With the Wind" and "A Streetcar Named Desire."

Of all the movies she made, those are almost certainly the two for which she is most remembered.

My guess is that was the kind of attention she craved — recognition for her ability to act, not for her beautiful features. She was a lot like Elizabeth Taylor, I guess. Taylor gained weight and did everything she could think of to make her portrayal of Martha in "Who's Afraid of Virginia Woolf?" as realistic as possible — and was rewarded with an Oscar.

Leigh, who was nearly 20 years older than Taylor, didn't go to such physical extremes, but, as I say, it was her acting ability that she wanted people to remember.

(Taylor, in fact, was an admirer of Leigh's. I have heard that Taylor, who regarded Leigh as a "tragic heroine," saw her role in "Virginia Woolf" as an opportunity "to really act.")

Largely known for her stage roles before being cast as Scarlett O'Hara, Leigh gained virtually instant fame when she emerged from a well–publicized quest that included many better–known performers. But she insisted that she was an actress, not a film star.

"I'm not a film star — I'm an actress. Being a film star — just a film star — is such a false life, lived for fake values and for publicity. Actresses go on for a long time, and there are always marvelous parts to play."

Even if you don't consider the two roles for which she was rewarded with Oscars, it would be hard to dismiss Leigh as merely a "film star."

Sure, she was beautiful, and that is about the only requirement these days for a woman to be a movie star, but Leigh had talent that she brought to every project, be it on stage or the big screen.

I suppose you can't separate Leigh's career from that of her second husband, Laurence Olivier. They often worked together during their 20–year marriage.

Leigh and Olivier met before Leigh was cast in "Gone With the Wind." They were co–stars in "Fire Over England," young lovers on screen — and off, as it turned out. Both were married to other people, but they would be married to each other three years later.

And Leigh's relationship with Olivier played its own role in the two most noteworthy parts she ever had.

It was during their affair that Leigh read "Gone With the Wind" and decided she would play Scarlett.

And it was during their marriage that Leigh played the role of Blanche DuBois, first in a London stage production of "A Streetcar Named Desire" in 1949, then as Marlon Brando's co–star in the big–screen version two years later.

"Streetcar" director Elia Kazan was unimpressed with Leigh initially, but she proved her "determination to excel" to him during the production of the film.

"She'd have crawled over broken glass if she thought it would help her performance," he said.

Following her marriage to Olivier, Leigh had a tendency to drop out of public sight for months, even years, and the stage was always her preference to the silver screen. What fans saw in public was a woman who seemed to be in control of herself and her career, but privately, Leigh battled emotional and health issues that eventually took their toll on both her marriage and her career.

She died in July 1967 of the tuberculosis with which she had struggled for years.

(By the way, Turner Classic Movies will be showing 11 of Leigh's movies today, including the two for which she won Oscars.)