As 12 melhores performances de Philip Seymour Hoffman

Esta sexta-feira deveria ter sido motivo de comemoração: o lançamento de “Um homem mais procurado, ”Uma adaptação de John Le CarreO romance de um dos nossos cineastas favoritos, Anton Corbijn ('Controlar, ''O americano'), E estrelando um dos nossos melhores atores, Philip Seymour Hoffman. Em vez disso, é uma ocasião agridoce: como todos sabemos, Hoffman faleceu em fevereiro, apenas algumas semanas depois que o filme estreou em Sundance (além de 'Bolso de Deus,”, Lançado há alguns meses). Foi o último filme que Hoffman viu finalizar: ele estava produzindo o que viria a ser suas fotos finais, o final de duas partes de 'Jogos Vorazes”, Quando ele passou.

É muito fácil se emocionar com uma de nossas oportunidades finais de ver Hoffman fazer o que ele fez de melhor - Deus sabe, toda vez que pegamos um trailer ou algo semelhante, sentimos o pontapé de sua morte novamente. Mas pensamos que preferiríamos celebrar o trabalho de um dos maiores artistas da nossa vida a lamentar a ausência de mais e, para marcar o lançamento de 'Um homem mais procurado', reunimos uma dúzia de As melhores jogadas de Hoffman.

Uma resposta mais fácil à idéia das 'Melhores Performances de Philip Seymour Hoffman' teria lido simplesmente 'todas', de modo que isso não diminui a qualidade das performances que não serão encontradas abaixo, como o ator era incapaz de dar um mau. Mas estes são os doze que garantem seu lugar na história. Qualquer ator poderia se aposentar depois de dar um deles e sentir que havia deixado uma marca. Hoffman deu doze deles.



Então, dê uma olhada abaixo, deixe-nos saber seus próprios favoritos nos comentários.

Tudo em 'Felicidade”(1998)
'Boogie Nights'Finalmente chamou Hoffman à atenção das pessoas que importavam, e o ano seguinte foi bom, com cinco empregos, de tudo, desde Brad AndersonIndie 'Next Stop Wonderland'Para uma mudança pequena mas memorável como advogado Brandt em'The Big Lebowski'(Que ele nunca trabalhou com os Coens em uma parte mais substancial parece uma supervisão titânica) para uma comédia doentia'Patch Adams. ”Mas o destaque definitivo foi Todd SolondzÉ uma comédia de relacionamento profundamente fodida e louca de compaixão “Felicidade. ”A rejeição do filme a Sundance (que estreou em Cannes) foi apenas o primeiro estágio de uma onda de controvérsia que se seguiu a um filme que envolveu suicídio, masturbação adolescente e, principalmente, Dylan BakerO personagem, um estuprador pedófilo. Hoffman, em seu maior e mais notável papel até agora, ficou preso com um simples sexo telefônico antigo: seu personagem Allen (descrito como 'uma pessoa chata ... as pessoas pensam 'eu nunca conheci alguém tão chato'') tem uma queda por um vizinho bonito, mas acreditando que (corretamente, do ponto de vista dela) é indigno dela, recorre a telefonemas obscenos (“vou te foder tanto que você vai sair de seus ouvidos) ”). Particularmente nos estágios iniciais de sua carreira, Hoffman nunca teve medo de diminuir seu carisma natural e de ser patético, e esse pode ser o ideal platônico disso. E, como todo mundo no notável conjunto de Solondz, ele encontra a humanidade por trás do valor do choque. O diretor fez uma semi-sequela, uma década depois, com um elenco totalmente diferente, e apesar do grande Michael K. Williams assumindo o papel, não era o mesmo sem Hoffman.

trailer do filme de ted bundy zac efron

Scotty J em “;Boogie Nights”; (1997)
Hoffman se formou em Tisch em 1989 e logo acumulou créditos na tela, virando a cabeça em filmes como 'Perfume de uma mulher'E de 1994'Ninguém é tolo”Ao lado de seus papéis no teatro. Mas foi em 'Boogie Nights”Que ele realmente começou a se tornar alguém para assistir. O ator apareceu brevemente em Paul Thomas Anderson 's estréia 'Oito Duros'/ 'Sydney, 'E claramente impressionado, ao se tornar uma parte importante do conjunto de destaque para o acompanhamento de Anderson, o épico pornô dos anos 70' Boogie Nights ', a primeira obra-prima do diretor. Hoffman interpreta Scotty J, o operador de som da feliz família de filmes presidida pelo diretor Jack Horner (Burt Reynolds) Não é uma parte massiva, certamente em comparação com futuras colaborações com a PTA (com quem ele trabalharia mais três vezes), mas o ator faz uma enorme quantidade com ela, principalmente em termos da paixão não correspondida de Scotty por causa do coração Mark WahlbergDirk Diggler, inconsciente. Anderson dá a ele uma grande vitrine que, essencialmente, sozinha, lançou sua carreira: a cena em que ele faz um passe em Dirk, com a desculpa de mostrar seu novo carro. A maneira como ele mostra sua fisicalidade de jogador de futebol, invadindo o espaço pessoal de Wahlberg, beira o assustador, ou pelo menos o bêbado demais, mas mesmo quando Dirk gentilmente o derruba, você pode vê-lo ser esmagado , levando-o a soluçar em seu carro, repetindo 'Eu sou um idiota'. Mas o idiota seria quem assistisse a cena e não reconhecesse o imenso talento em exibição lá.

Padre Brendan Flynn em “;Dúvida”; (2008) “; Doubt ”; mostra Hoffman no auge de seus poderes e prestígio, lutando contra Meryl Streep, ela mesma no auge de suas habilidades e, embora ajude os papéis a figurarem entre os melhores escritos de suas carreiras, o compromisso com os personagens eleva o filme e o livra de qualquer vestígio de suas origens no palco (diretor John Patrick Shanley adaptou-o de sua própria peça). E Hoffman é extraordinário, realizando a tarefa quase impossível de tornar o Padre Flynn humano, real e completo, preservando uma ambivalência afiada sobre a questão central do filme: ele fez isso 'allowfullscreen =' true '>

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Hoffman, em seu maior e mais notável papel até agora, ficou preso com o velho sexo telefônico: seu personagem Allen (descrito como & amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; uma pessoa chata ... as pessoas pensam 'eu nunca conheci alguém tão chato' & amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; quot;) tem uma queda por um vizinho bonito, mas acreditando g próprio (corretamente, do ponto de vista dela) para não ser digno dela, recorre a telefonemas obscenos (& amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; ; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; ; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; ; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; ; amp; quot; eu vou te foder tanto que você vai sair de seus ouvidos & amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp). Particularmente nos estágios iniciais de sua carreira, Hoffman nunca teve medo de diminuir seu carisma natural e de ser patético, e esse pode ser o ideal platônico disso: como todo mundo no notável conjunto de Solondz, ele encontra a humanidade por trás do choque. O diretor fez uma semi-sequela, uma década depois, com um elenco totalmente diferente, e apesar dos grandes filmes de ficção científica. amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; É uma empresa que tem como principal objetivo a satisfação de seus clientes, oferecendo produtos de alta qualidade e preços justos. amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; amp; gt; Michael K. 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Lester Bangs em Quase Famosa”; (2000)

Uma coisa que estamos percebendo durante o processo de escrever esse recurso: Philip Seymour Hoffman foi um dos grandes atores de todos os tempos. Mesmo o melhor pode ser desfeito ao fazer uma cena solo em um telefone, mas muitas das cenas mais memoráveis ​​do ator são feitas por telefone, e isso é resumido lindamente por 'ldquo;Quase famoso. ”; No papel do lendário crítico de rock Lester Bangs, Hoffman realmente compartilha apenas uma cena com Cameron Crowe ’;o protagonista substituto de s William Miller (Patrick Fugit), sentando para tomar um café com o garoto para quem ele se tornará uma espécie de mentor. O resto do tempo, ele está dando conselhos por telefone, e ainda assim sua presença no filme é totalmente indelével. Como sempre, Hoffman teve a coragem de não interpretar Bangs como exatamente agradável: ele é presunçoso, abrasivo e totalmente apaixonado pelo som de sua própria voz e pela adulação que vem do jovem William. Ele é o melhor nerd de música na tela, em outras palavras (sem assentos Jack Black no “;Alta fidelidade,”; que estreou apenas alguns meses antes). Mas ele também é um orador da verdade, e um amigo genuíno, e em seu famoso monólogo 'não-legal' entregue por telefone perto do final do filme, ele deixa essa máscara confiante, ou arrogante, escapar um pouco, mostrando Lester e Lester. ; a solidão e sua genuína gratidão pela conexão que chega ao encontrar alguém como ele. Ele pode ser apenas uma presença passageira no filme, mas é uma prova de que tudo foi significativamente melhorado com Hoffman.

Caden Cotard em 'Synecdoche, Nova Iorque”(2008)
É claro que um grande ator deve ser capaz de ser um 'ator'. e um 'reator', e Hoffman foi sem dúvida um desses intérpretes - aparentemente igualmente à vontade no coro mais passivo de um grande grupo, enquanto estava na frente e no centro de um filme que girava em torno de seu personagem. Por mais rara que seja essa qualidade, ainda é mais raro encontrar um papel escrito que exija que o ator alterne perfeitamente entre esses registros, mas Caden, o personagem principal em Charlie KaufmanO desenho metatextual e impossível de Escher da vida, da morte e da psicologia do esforço criativo deve fazer exatamente isso. Na metade do tempo, como dramaturgo que lança um projeto cada vez mais ambicioso de arte e vida, ele é a inteligência distorcida, febril e paranóica que causa a insanidade em torno dele; na metade do tempo, ele está respondendo a essa loucura da mesma maneira que qualquer homem comum é, com a mesma perplexidade e incompreensão que o público sente. Como tantas outras vezes nesta lista, é realmente difícil imaginar que possa haver alguém na lista de Kaufman para desempenhar o papel - Hoffman é o oceano turbulento que nos abala e a âncora que nos atraca. neste filme incrivelmente imaginativo e vertiginosamente complexo. E, mais surpreendente ainda, dentro desse gigantesco experimento mental, ele encontra momentos emocionalmente satisfatórios como tudo o que já fez. Caden pode estar embarcando em uma grande loucura - a expressão máxima do esforço criativo como um meio de enganar a morte - mas Hoffman toma a arrogância dessa intenção e nos mostra toda a humanidade, mesquinharia e medo que estão por baixo dela. Quando nada mais faz sentido, direto e lógico, o estado emocional de Caden, interpretado por Hoffman, sempre pode ser entendido e sempre, apesar das camadas de artifício, astúcia e astúcia expostas aqui, parece verdadeiro.

Joel Wilson em “;Love Liza”; (2002)
Após a trágica morte precoce de Hoffman, há certas performances dele que adquirem ressonância adicional, quer queiramos ou não, e talvez exibam A nesse sentido. Todd Louiso'persevera, mas profundamente sincero';Love Liza. ”; Filmado a partir de um roteiro do irmão mais velho de Hoffman, Gordy, o ator interpreta Joel, que desenvolve um vício em gasolina na esteira da morte inexplicável de sua esposa por suicídio. É um filme pequeno, com momentos de humor excêntrico em filmes indie, especialmente no relacionamento de casal estranho entre Hoffman e Denny (Jack Kehler) aliviando um pouco o clima sombrio. Mas se o conceito central de Joel de não conseguir abrir a nota de suicídio de Liza parece um pouco dramaticamente manipulado, as performances de Hoffman e também as subvalorizadas terminalmente Kathy Bates como a mãe da mulher morta não é nada senão genuína e comovente. Hoffman, esteja avisado, partirá seu coração neste papel, seja ele compreensivo, melancólico e depressivo ou beligerante e com muita fumaça, este é um retrato de pesar e culpa ('eu amei bem! ”; ele grita para a sogra) sem hesitar em seu foco estreito. Isso vem com uma desvantagem, pois o filme sacrifica o impulso e o dinamismo para parar e encarar profundamente esse momento miserável da vida de Joel, mas o desempenho de Hoffman é tão assustadoramente triste e parece vir de tão profundo interior que aquele momento, tão honestamente atraído e minado sem piedade, é quase o suficiente. Hoffman costumava trazer sua empatia particular para formar papéis, e podia enfrentar o desafio de interpretar personagens imponentes e carismáticos, mas em 'Love Liza'. ele traz a sensibilidade de um ator de caráter para desempenhar um grande papel em um pequeno filme e oferece um retrato lindamente cru de um homem comum tentando entender o impensável.

Phil Parma em “;Magnólia”; (1999)
Hoffman foi o melhor jogador de utilidade, pois Paul Thomas Anderson estava plenamente consciente: os cinco papéis que o ator interpretou para o cineasta eram muito diferentes entre si, e nada resume isso melhor do que sua vez em “;Magnólia. ”; Até esse momento, Hoffman era conhecido por interpretar criaturas assustadoras, idiotas, esnobes e perdedores, e ainda assim, entre o elenco de personagens profundamente estragados de 'Magnolia'. ele interpreta a figura doce e altruísta que simboliza bondade e esperança. Anderson o escalou como Phil Parma, o enfermeiro que cuida de Jason Robards’; produtor de TV moribundo Earl Partridge. Dada sua reputação anterior, e os personagens que encontramos em outras partes do filme, alguém poderia ser perdoado por esperar algum tipo de desvio ou artimanha de Phil, mas não há nenhum: ele é simplesmente um homem que quer fazer o bem, e nisso caso um ato particular de bem, reunindo Earl com seu filho afastado, o guru de auto-ajuda Frank TJ Mackey (Tom Cruise) Ele tem um tempo mínimo de tela, dificilmente interage com alguém, exceto seu paciente e sua esposa muito mais nova (Julianne Moore) e não é realmente parte da tapeçaria criada no filme como um todo. Mas Hoffman é capaz de pintar tanto calor, combinado com uma solidão tão devastadora, que é quase tão chocante quanto Cruise dando um monólogo sexualmente explícito ou qualquer outra coisa na tela. Foi a primeira indicação de que, apesar de sua fisicalidade parecida com um urso, Hoffman era capaz de fazer praticamente qualquer coisa.

Sandy Lyle 'Along Came Polly”(2004)
Então, sim, Philip Seymour Hoffman poderia surpreender a todos nós Paul Thomas Anderson filmes e Bennet Miller biópicos e escaldante Todd Solondz dramas, mas esses são filmes impressionantes de diretores impressionantes, e um detrator muito severo e imprudente poderia apontar que não é grande coisa ser ótimo em um ótimo filme. Para o qual nós responderíamos com o BAM! “;Along Came Polly”; uma comédia de estúdio completamente fórmula e rotineira da dificil lista A John Hamburg em que a vez de apoio de Hoffman é tão engraçada que faz o filme valer a pena assistir por si só. Sandy Lyle, a melhor amiga carinhosa e idiota e inconsciente do personagem principal Ruben (Ben Stiller) é uma criação cômica incrível, tanto que, embora inicialmente o papel simbólico do companheiro possa ter parecido um retrocesso na carreira de Hoffman, de volta ao seu “;Twister”; dias quase, ele mergulha nisso de todo o coração e com um senso de diversão tão libertador que faz um tipo brilhante de sentido. Justo quando Hoffman estava estabelecendo sua credibilidade como um ator sério que talvez pudesse liderar (isso foi apenas alguns anos antes “;Cape”;) ele também nos lembrou que poderia praticar com os melhores deles. Caso contrário, é um filme totalmente esquecível (algo sobre o avaliador de risco avesso a riscos Stiller tentando namorar uma pessoa de espírito livre Jennifer Aniston yada yada), mas quase todo momento com o ex-ídolo adolescente de Hoffman é um deleite, seja ele de cara em pistas de dança polidas, dando conselhos sexuais terríveis ou jogando basquete entusiasmado e completamente inepto. E em meio a todos os papéis dramáticos pesados ​​que preenchem essa lista e pelos quais Hoffman será lembrado por muito tempo, com Sandy Lyle em 'Polly' é edificante apenas vê-lo se divertindo tanto.

Truman Capote em “;Cape”; (2005)
Dissemos anteriormente que Philip Seymour Hoffman poderia fazer qualquer coisa. A prova (como se fosse necessária uma prova) 'allowfullscreen =' true '>

Gust Avrakotos em “;A guerra de Charlie Wilson”; (2007)
“;A guerra de Charlie Wilson”; deveria ter sido algo notável. Tinha uma história verdadeira incrível e oportuna no centro, seguindo o colorido representante dos EUA do título (Tom Hanks) que se uniram a uma socialite (Júlia Roberts) e um agente da CIA (Hoffman) para ajudar a financiar a resistência afegã contra a invasão soviética, que por sua vez, inadvertida e indiretamente, causou um efeito cascata que levou ao 11 de setembro. Tinha um roteiro da grande Aaron Sorkin, foi dirigido pelo ainda maior Mike Nichols, e contou com um elenco de apoio estelar, incluindo Amy Adams, Emily Blunt, Om Puri, John Slattery e Denis O ’; Hare. O resultado final, apesar de assistível o suficiente, não poderia deixar de se sentir decepcionante como resultado: desdentado e com a intenção de encantar você onde deveria ter desafiado você. Mas o filme ganha vida toda vez que Hoffman aparece na tela. Seu descontente, asocial, Gust Avrakotos de boca suja é a melhor coisa do filme a uma milha do campo. O ator recebeu todo o melhor material de Sorkin (principalmente o confronto matador de vidro com o chefe da CIA de Slattery), e Hoffman aprecia todas as sílabas, com o humor astuto que às vezes era esquecido em seu repertório. Talvez não seja a performance mais texturizada em seu cânone (mas, apesar disso, recebeu uma indicação ao Oscar, em um ano em que o ator também poderia ter acenado com a cabeça para 'ldquo;Os selvagens”; e “;Antes que o diabo saiba que você está morto'), mas não precisa ser: é uma explosão essencial de energia vulcânica em um filme que falta muito nele e, mais uma vez, um lembrete de que sua presença era motivo suficiente para comprar um ingresso para um filme.

Freddie Miles em “;O talentoso Sr. Ripley”; (1999)
Um papel-chave que mostrou a imensidão do alcance de Hoffman no início da subida de sua carreira foi essa virada de apoio Anthony Minghellaversão de Patricia HighsmithA história dourada, imersa em sol, de imitação e assassinato no Mediterrâneo. Hoffman já havia provado uma e outra vez uma facilidade para imbuir personagens altamente desagradáveis ​​com um traço de genuíno pathos, que nos permitiu vislumbrar e até simpatizar com o humano triste e covarde por dentro. Mas Freddie Miles está em um registro totalmente diferente - um esnobe arrogante e classista que pode estar absolutamente correto em suas suspeitas sobre Ripley (Matt Damon), mas com quem é muito importante que façamos não simpatizar, para que o filme funcione tão bem quanto ele. E Hoffman se encaixa nesse papel aparentemente atípico como uma luva, trazendo uma ponta de malícia arrogante e arrogante a todas as relações de Freddie com Ripley que nos colocam no canto de Ripley, até o ponto do assassinato. O ar de direito e riqueza nascido de Freddie, a crueldade casual que informa sua avaliação aguda do apartamento em que Ripley está fingindo ser Dickie Greenleaf como 'tão burguês'. da maneira preguiçosa e reptiliana em que comanda a sala com seu ar de privilégio despreocupado - ele é uma criatura detestável, mas assustadoramente crível. E sua arrogância também é sua própria falha fatal: ele pode ter descoberto o segredo sombrio de Ripley, mas seu ego de alguma forma não o deixa acreditar que ele poderia estar em perigo real de uma criatura tão patética e indigna. Tudo isso Hoffman nos dá em apenas algumas cenas, mas elas são cruciais para a melhor manobra do filme: manobrar o público na posição de torcer por um assassino.

Lancaster Dodd em “;O mestre”; (2012)
Paul Thomas Andersonevolução de quase um Kubricko domínio da arte do cinema continua a cada novo filme, e o mais recente não foi exceção. Hoffman, que foi escalado em todos os bares de longa-metragem da PTAHaverá sangue”; conseguiu seu papel mais crucial ainda para o diretor com este magnífico retrato de arrogância, auto-engano e manipulação. E como Lancaster Dodd, um L. Ron Hubbard-esque fundador de um sistema de fé conhecido como 'A Causa' Hoffman deu uma performance tão titânica que, em retrospecto, parece que, de suas performances finais, a nota de graça mais adequada para uma carreira notável. Mas Anderson usa Hoffman com restrição, concentrando-se em Joaquin PhoenixO volátil e nervoso Freddie Quell durante a maior parte do filme e apenas olhando diretamente para Dodd em raras ocasiões, e isso dá a essas cenas uma qualidade ainda mais fascinante como resultado. Hoffman é tudo nesse papel: bombástico e enorme, covarde e pequeno. E, cercado por acólitos e almas perdidas desesperadas por qualquer sinal de redenção, parece que ele nem sabe mais quando está fabricando e quando não está. Esse traço de dúvida e medo, sugerido tão sutilmente por Hoffman, separa seu Dodd do último homem mais importante de Anderson, Daniel Plainview (Daniel Day-Lewis) no “;Haverá sangue. ”; Em contraste com a grandiosidade desse personagem no estilo de Herman Melville, o Dodd de Hoffman está quase completo, e ainda assim o efeito que ele pode ter sobre os que o rodeiam não é menos corrosivo, nem menos perigoso. Dodd é um monstro 'allowfullscreen =' true '>

Menções Honrosas
Não surpreende ninguém ouvir que nossa primeira versão desta lista tem 20 filmes, com mais ou menos esse número de menções honrosas; na grande maioria de sua produção, parece que Hoffman entregou algo especial, mesmo quando os filmes não eram tão memoráveis. Os papéis dele que foram os mais difíceis de excluir foram: Andy em Sidney Lumetfinal do filme, peça policial, suspense e moral - ldquo;Antes que o diabo saiba que você está morto” ;; Dan Mahowny no drama do vício em jogos de azar “;Possuir Mahowny” ;; Dean Trumbull em “;Punch Drunk Love”; (apesar de sentirmos que 3 PTA entradas foi provavelmente suficiente); Jacob Elinsky em Spike Leeé excelente “;25ª Hora” ;; roteirista americano Joseph Turner White em David Mameté divertido e engraçado “;Estado e Principal” ;; Jon Savage no indie sólido “;Os selvagens” ;; Rusty, a mulher transexual pré-operada encarregada de cuidar de um homofóbico afetado por um derrame Robert de Niro dentro Joel schumacher’; s “;Sem falhas” ;; e, apesar do tempo de tela insignificante que não poderíamos considerar na lista principal, ele é absolutamente hilário e estranhamente pungente como o assistente subsequente Brandt no filme. CoensO ’; O “;O Grande Lebowski.”;

Mais recentemente, ele injetou um pouco de vida no túrgido, pessimista “;O bolso de Deus”; como capuz de baixo nível, Mickey Scarpato, era confiável e comovente como Robert Gelbart no caso contrário, ensaboado e pouco convincente “;Quarteto tardio,”; e sua vez como Gunter Bachman em Anton Corbijn’; s “;Um homem mais procurado”; foi um dos que merecemos elogios em um filme um pouco decepcionante.

E mesmo além disso, há muito que vale a pena dar uma olhada: ele fez um excelente trabalho de narração na grande e pouco vista animação 'ldquo;Mary e Max” ;; ele foi ótimo como Charlie Mayne em dois filmes na TV 'Empire Falls'; ele apareceu em memoráveis ​​turnos de apoio em tudo, desde “;O barco que balançou, ”; “;Dragão Vermelho, ”; “;Montanha fria,”; e “;Os Ides da partida, ”; para um grande papel como Art Howe em “;Moneyball. ”; Sua atuação em seu próprio passeio diretorial “;Jack vai andar de barco”; também é um deleite gentilmente observado, enquanto suas incursões em grandes estandes de estúdios também devem ser mencionadas: ele fez o possível para criar um vilão subscrito e enviado anticlimacticamente em “;Missão: Impossível 3”; em algo que vale a pena assistir; era amigavelmente um trapo como um dos caçadores de tornados no “;Twister”; e mais recentemente, é claro, assumiu o papel de Plutarch Heavensbee no “;Jogos Vorazes”; franquia. Está nesse papel, no “;Jogos Vorazes: Mockingjay Parte 2”; que veremos o último filme de Hoffman em nossas telas, e se isso parece uma maneira um pouco ignóbil de encerrar uma carreira deslumbrante, ainda não pode tirar um legado extraordinário.

De fato, compilar esta lista e explorar sua taxa de acerto quase sem precedentes trouxe-a para casa novamente com força total, o quanto perdemos quando perdemos Philip Seymour Hoffman em fevereiro. Mas também, é claro, exatamente a riqueza de ótimos filmes e ótimas performances que ele deixou para trás. Descanse em paz e obrigado.

- Jessica Kiang e Was Lyttelton

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