100 Essential Male Film Performances

Part 1: Life Support

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[27 July 2009]

By PopMatters Staff

These are the supporting turns that are ineradicable. Without these scene-stealers holding it all together on the sidelines, the leads of their respective films would be totally lost. It is a testament to their craft that these men were able perfect the art of true character acting, in many cases they did this with few words and even less screen time.

Eddie Axberg The Emigrants (Jan Troell, 1972)

Troell’s epic, beautiful The Emigrants, based on Vilhelm Moberg’s classic novels, represents Scandinavian simplicity at its finest. Following a group of working class Swedes from the withering Smaland countryside to a supposed land of opportunity in turn-of-the-century Minnesota, the movie brutally recounts the hardships faced by immigrants in a way that is rarely captured on screen. Following his sister Kristina and her husband Karl-Oskar (Liv Ullmann and Max Von Sydow) to the States, Robert is a bit of a dreamer. He is too old to be living with his parents, and sees the treacherous ship ride across the Atlantic to be a rite of passage, a tool that will help him transition from a boy to a man who can support a family and take care of his sister as she has for him. He is an honest, non-flashy guy, one that is rarely seen anymore, actually: he values familial relationships, responsibility, staying together, being friends, and being helpful.

There is a genuine old-world charm to the actor’s sweet take on the character, and his purity and traditionalism never feel affected or false. Despite the film’s being nominated for several major Academy Awards (including Best Picture, Actress and Director), The Emigrants and it’s sequel, The New Land, are currently not available to DVD, and are even hard to find on VHS anymore (this classic cinema begs for the Criterion treatment—they had previously released the two films on Laserdisc). Troell’s films are intrinsic to understanding the experience of the Swedish immigrant, and Axberg’s performance is a rare glimpse into a type of character that we not only don’t see much anymore in modern film, but also into one that was infrequently there in the first place. Matt Mazur

 
Helmut Berger The Damned (Luchino Visconti, 1969)

The performance of Helmut Berger in The Damned is frequently dismissed by cineasts as the overindulgence of his real-life lover, director Luchino Visconti. When your sugar daddy casts you in your first major film role as a cross-dressing, Nazi-collaborating pedophile who rapes his own mother (among other depravities), is he really being that generous? Perhaps, in a twisted and attention-getting manner.

Berger provides the most iconic image of Visconti’s long career with his entrance: dressed as Marlene Dietrich, he entertains his industrialist family at their estate as the Reichstag burns in Berlin (much to everyone’s shock and horror). If Berger did not follow these first moments of The Damned with a performance of some depth, however, it is doubtful his introductory Lola Lola would endure.

From The Blue Angel to the SS, Berger commits to his degenerate character without irony. That he can portray Martin as snippy, selfish and horribly immoral sans humor is but one strength of the performance within Visconti’s purposefully overwrought, grand soap opera. And Berger’s use of both feminine and masculine touchstones provides a complex look at gender identity, in an already-provocative film. If Visconti wishes to trace the downfall of a family from Weimer Republic into Nazi Germany, then Berger presents the perfect vessel in which to encapsulate this slide with his twisted, cranky Martin. Doug Johnson

 
Paul Bettany Dogville (Lars von Trier, 2004)

In von Trier’s Dogville, Bettany has an unenviable task, to play an “every man” who espouses morals and high-minded principals, but at the core is a sniveling, sheep-like coward. He gradually changes from a stumbling but right-headed, lovable town fixture (that you could just as easily see huggable Tom Hanks portraying) into the sort of cold, unfeeling monster that Rutger Hauer and Malcolm McDowell have made tidy livings from. And he does it without changing a thing about his character’s motivations or sense of self-righteousness, he does it naturally. Adrift on von Trier’s bare-bones sound stage, the actor does it without the benefits of sets, locations, or any props to speak of opposite a cast of heavies: legends Nicole Kidman, Lauren Bacall, Harriet Andersson, and Ben Gazzara are but a few of his co-stars. Clearly not a task for the faint of heart or for an amateur. Bettany delivers an assured performance, carefully modulating Tom’s descent from Thornton Wilderesque, plain-speaking authority to whimpering fool. It is a harrowing emotional journey that is as heartbreaking as it is reprehensible, in a movie that could easily devolve into a pedantic jeremiad against American society, but is instead stirring, deeply disturbing and provocative. Chris Chafin

 
Steve Buscemi Ghost World (Terry Zwigoff, 2002)

Seymour is an obsessive collector out of touch with the modern world. When Buscemi’s Seymour utters the line “I can’t relate to 99% of humanity”, his role as the loveable loser type that he plays so well is instantly clear. He is defeated, resigned, and seething with bitterness, yet Buscemi plays him with a sincerity that makes the viewer wholly sympathetic and on his side. Seymour’s self-awareness mixed with a crippling fear/hatred of all those around him make him the ultimate Buscemi character role. Zwigoff’s Ghost World taps into the lives of people on the fringes of society. Their compulsions and affectations are at the root of who they are—when asked to list his top five interests, his first three are old-fashioned music genres (“traditional jazz, blues, and ragtime”)—and Seymour typifies a certain kind of outcast. It’s easy to imagine that in other hands this character could be reduced to a one-dimensional caricature, yet Buscemi makes him real. It’s in his small embarrassments and his small victories that Seymour becomes someone to root for. Buscemi brings it all to life and makes his biting sarcasm and misanthropic tendencies endearing with his understated charm. J.M. Suarez

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100 Essential Male Film Performances

Comments

I don’t understand the point of separating performances by sex when discussing film. But, hey, the Oscars do it, why shouldn’t Popmatters.

I really enjoyed the female list, which captured a wide range of performances and had some really fascinating selections.  I also learned of a few actresses from that list whose work I didn’t really know much about.  So far, this one seems limited.  Classics are underrepresented—2 films from before 1960?  And sci-fi and horror are completely avoided.  I would say that some of the most interesting and memorable supporting male roles are villains from these types of genre films.

Comment by stever — July 27, 2009 @ 9:15 am

@ stever

This is just the first part of the section. “Classics” come on Wednesday. Tomorrow is “The Dark Side”. Thursday is “From Page to Screen” and Friday is “Under the Radar”.

This first part focuses on supporting roles.

Comment by SysAdmin — July 27, 2009 @ 9:21 am

The introduction to this Life Support section is completely overwrought. Do you really believe, for example, that Sean Penn “would be totally lost” in Milk without Emile Hirsch “holding it all together on the sidelines?” Sorry, but that’s one of the most ridiculous things I’ve ever heard.

Comment by Ben from Chicago — July 27, 2009 @ 9:58 am

@ Ben from Chicago:

Yes, in fact, I do believe that Hirsch’s portrayal of Cleve Jones, one of the most important figures in the history of the contemporary gay rights movement, was integral to the success of Penn’s characterization.

Comment by Matt Mazur — July 27, 2009 @ 11:04 am

But it’s one thing to say that Hirsch’s performance is “integral” and quite another to say that Penn “would be totally lost” without it.

Comment by Ben from Chicago — July 27, 2009 @ 1:59 pm

On the one hand, I can see what Ben means—Penn’s performance is a powerhouse that stands on its own legs.  But what I took from that comment, and what I think is an extremely important point that’s hard to bear in mind in light of Penn’s singular performance, is that Milk succeeds as more than traditional, biopic-tastic hagiography.  It represents the diverse and thriving community of gay politics of the time, of which surely Milk was a major figure.  But Cleve Jones is without a doubt one of the most important gay activists to this day.  Including Hirsch was a thoughtful choice.

Comment by Sofia from Boston — July 27, 2009 @ 5:30 pm

These are all white guys!! What’s up with that?

Comment by laprofe63 from Chicago — July 28, 2009 @ 10:53 am

oops, sorry. My mistake, there’s one brotha in the mix. Still… pretty monocultural selection if you ask me.

Comment by laprofe63 from Chicago — July 28, 2009 @ 10:55 am

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Sorry - Hirsch wasn’t that great.  James Franco gave the best performance in Milk.

Comment by Tyler from DC — July 31, 2009 @ 12:10 pm

ha ha… James Franco basically played “the long-suffering wife”. The role was paper-thin, but he was sure pretty!

Comment by Matt Mazur — July 31, 2009 @ 1:40 pm

please someone tell me that I missed it. How could you make an essential performances list and not mention either of the brilliant performances in Amadeus?

Comment by joe — August 3, 2009 @ 1:49 am

Casey Affleck nowhere to be seen? It’s on the same level as Walken for god’s sake.

Comment by Walrus — August 11, 2009 @ 2:51 am

Great list although it really is too “white”, and where is Gene Hackman? Harrison Ford definitely deserves a spot on the list as well. If you don’t think the pop idols he has created in Star Wars and Raiders of the Lost Ark then his performances in Mosquito Coast, Witness, or Blade Runner would have been deserving of inclusion.

I never understand why even highly eloquent writers seem to be unable to spell German words correctly. It’s all just a matter of double-checking your spelling in a German dictionary or on Google, right? This article is the first one I’ve read on the Internet which gets every single word right, even the capitalizations. Kudos to you!

Comment by Theo from Potsdam, Germany — August 21, 2009 @ 12:06 pm

I was disappointed that Jackie Earle Haley didn’t make the list for his performance in Little Children.  Certainly was a phenomenol, if overlooked performance.  But glad to see you gave Todd Fields some credit with Tom Wilkinson in In the Bedroom.

Comment by Chelsea — August 21, 2009 @ 12:32 pm

Really good list.  Personal favorites of mine that would make it are Robin Williams in Good Will Hunting, Samuel L. Jackson in Pulp Fiction, Humphrey Bogart in Casablanca, Leonardo DiCaprio in the Departed, and Karl Malden in On the Waterfront.  Oh and that guy from Milk was not that great but Sean Penn really was.

Comment by sam — August 21, 2009 @ 3:13 pm

Kudos for including Alan Rickman’s performance in Die Hard. However, I personally feel your list is incomplete without Gary Oldman. He’s only just the greatest character actor alive. I’m a disappointed by the lack of Johnny Depp’s Edward Scissorhands, Val Kilmer’s Jim Morrison, Christopher Lee’s Dracula, and Micky Rourke’s Marv, but without Gary Oldman, your list just isn’t complete. (Also wish you could have put Heath Ledger’s Joker on there too.)

Comment by Apathygrrl from Halifax — August 21, 2009 @ 6:17 pm

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I completely agree, the nuances that Gary Oldman gives his characters are what make them real. From a facial tick to a stile of walk, he creates a complete persona that is unique to each role, he should definitely be on the list. I would exclude Divine in Pink Flamingos as Waters all but said that was not acting that was just him/her? Also there are much better performances from Dunstin Hoffman as well, so he played a woman half the movie, (and from the list I can see that is why it was chosen.) One that should be on the list as holding the movie together is Val Kilmer. Lets face it, with out his semi over-the-top Doc Holiday, tombstone would have been just another movie. His lines have become a singular part of the “Man Lexicon”. His portrayal alone made that movie as beloved by so many as it is, is it great acting? No. Is it an actor that made the movie? Yes.

Comment by Barry from Hertford — August 21, 2009 @ 10:55 pm

The omissions of Gregory Peck in To Kill a Mockingbird and Peter Greene in Clean, Shaven are inexcusible.  But, then, the former was committed quite consciously, in order to stir the poop a bit, no?

Matthew

Comment by Matthewwave from Seattle, WA — August 22, 2009 @ 1:57 pm

Humphrey Bogart in Casablanca or The African Queen? Tim Curry in The Rocky Horror Picture Show? Cary Grant in Notorious or North By Northwest?

Comment by ww — August 22, 2009 @ 4:51 pm

Brad Pitt gets a nod for Seven but is completely ignored for some of the most memorable characters of the last decade, from his roles in Fight Club, 12 Monkeys, Snatch, and his criminally underrated performance in The Assassination of Jesse James.

Also, where is Johnny Depp?

Comment by RandomStranger from UT — August 23, 2009 @ 8:20 pm

John Wayne in ‘The Searchers’?
Kevin Spacey in ‘American Beauty’ or ‘The Usual Suspects’?
Ryan O’Neal in ‘Barry Lyndon’?
Bruce Willis in ‘Twelve Monkeys’?
Richard Gere in ‘Days of Heaven’?
Jake Gyllenhaal in ‘Donnie Darko’?
Vincent D’Onofrio in ‘Full Metal Jacket’?
David Strathairn in ‘Good Night, and Good Luck.’?
Clive Owens in ‘Inside Man’ or ‘Children of Men’?
Harrison Ford in ‘Blade Runner’?
Peter O’ Toole in ‘Lawrence of Arabia’?
Nicolas Cage in ‘Leaving Las Vegas’?
Mickey Rourke in ‘The Wrestler’?
Eric Bana in ‘Munich’?
Tom Hanks in ‘Cast Away’?
Christian Bale in ‘Empire of the Sun’?
Liam Neeson in ‘Schindler’s List’?
Tim Robbins in ‘The Shawshank Redemption’?
Leonardo DiCaprio in ‘Gangs of New York,’ ‘The Departed’, ‘Blood Diamond’, or ‘What’s Eating Gilbert Grape’?
Don Cheadle in ‘Hotel Rwanda’?
Steve McQueen in ‘The Sand Pebbles’ or ‘Bullit’?
George C. Scott in ‘Dr. Strangelove’ or ‘Patton’?
Clint Eastwood in ‘Unforgiven’, ‘The Good, the Bad, and the Ugly’, or ‘Gran Torino’?
John Belushi in ‘Blues Brothers’?
Tom Cruise in ‘Born on the Fourth of July’?
Kirk Douglas in ‘Paths of Glory’?

Comment by Bernard from St. Louis — August 23, 2009 @ 10:39 pm

Joseph Gordon-Levitt and Don Cheadle in Manic?
And almost anything Jamie Bell’s done has been awesome.

Comment by randomStranger — August 23, 2009 @ 11:10 pm

Also wanted to let you in on a fantastic, eerie, performance by Danish actor Preben Lerdorff Rye as Johannes in Ordet. 

Absolutely stunning film.  All of the performances are quite good, although what else would you expect from Dreyer?

Comment by Chelsea — August 29, 2009 @ 4:42 pm

Matt
You have neglected to mention the following performances:

George C. Scott     The Hustler/Patton
Tom Cruise         Magnolia
David Thewlis       Naked
Peter Finch         Network
Aaron Eckhart     In the Company of Men
Jack Nicholson     The Lat Detail/Five Easy Pieces (not Shining)
Martin Sheen         Badlands (not Apocalypse Now)
John Goodman       Barton Fink
M. Emmit Walsh       Blood Simple
Tom Waits         Down by Law
John Marley         Faces
Allen Baron         Blast of Silence
David Hemmings       Blow Up
Gene Hackman       French Connection/Royal Tenenbaums
John Cusak         High Fidelity
Denis Lavant         Mauvis Sang
Richard Burton       Look Back in Anger
Donald Sutherland   Ordinary People
Kirk Douglas         Paths of Glory
Richard Gere         Days of Heaven
Micky Rourke       Body Heat
Rade Serbedzija       Before the Rain
Vincent Gallo         Buffalo ‘66
Warren Beatty       Bulworth/Bonny and Clyde/Reds
Jean-Marc Barr       Europa
Sidney Lumet       Eyes Wide Shut
Jean-Pierre Leaud   Masculin Feminin
Jeremy Irons         Reversal of Fortune
Ben Kingsley         Sexy Beast
Fernando Rey       That Obscure Object of Desire
Gary Oldman         The Professional

and for your queer/German consideration: 
Klaus Kinski             Fitzcarraldo
Kurt Raab (bonus points for being German and gay)                  Why Does Herr R. Run Amok?
Joe Dallesandro         Trash
Joseph Gordon Levitt   Mysterious Skin
Leslie Cheung           Happy Together

Comment by Scott from Nashville — September 3, 2009 @ 10:55 pm

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