Philip Seymour Hoffman: A (Cinematic) Journey That Risks the Dark

Today is Philip Seymour Hoffman’s birthday; he would have been 47 years old. In the past five months I have only been able to bring myself to see two Hoffman films that I had never seen before, the Steve Martin-starring comedy Leap of Faith (1992) and the relatively recent drama¬†A Late Quartet (2012). In any case I would like to take a look back at some of the other performances by Philip Seymour Hoffman that I really love. I only wish I could have found a good clip from Nobody’s Fool (1994), in which the young Hoffman plays a small-town police deputy, since that was the first film performance of his that made me sit up and take notice.

“Law & Order” episode “The Violence of Summer” (1991, episode directed by Don Scardino) – Making his television debut in this February 1991 (season one) episode of the long-running series, Hoffman looks very much like the 23-year-old that he was, fresh out of college and his hair still strawberry blonde (it would eventually fade into a paler, whiter shade). “Law & Order” is a show that was famous for featuring up-and-coming actors before they hit it big and this episode is no exception; besides Hoffman, Samuel L. Jackson is also featured.

Twister (1996, dir. Jan de Bont) – I recently saw this disaster flick again and it was even better than I had remembered. In this scene, the gang of tornado-hunters gathers around the dinner table and Hoffman regales the group with a wild tale about one of the film’s main characters (Bill Paxton). Hoffman’s grinning countenance and unkempt red hair make his “Dusty” a loveable character.

Flawless (1999, dir. Joel Schumacher) – There are problems (well, flaws) with this uneven dramedy. Hoffman’s performance, however, is wonderful. Rusty is not a run-of-the-mill straight-actor-in-drag routine. True, the part is campy, but there are some interesting depths to Hoffman’s portrayal. Statistically speaking, I don’t know how much of what is seen onscreen comes from Joel Schumacher’s script, but anyway it feels like Hoffman added that extra special something to make the role his own.

The Ides of March (2011, dir. George Clooney) – Based on this film alone, I have to say that I don’t think that highly of Clooney as a director or as a screenwriter, nor do I think too well of his decision to cast the markedly bland Ryan Gosling in the lead role, but it is obvious in this scene that Hoffman was operating on a much greater level, acting-wise. Gosling looks totally lost, but Hoffman adds some oomph to the proceedings. The pretty-boy star can’t deliver, but the character actor can.

A Late Quartet (2012, dir. Yaron Zilberman) – Cliched screenwriting and relationship-based melodrama threaten to overwhelm the classical music elements of the plot here, but Hoffman delivers yet another detailed characterization of another flawed man in his repertoire of flawed people. The character’s unhappiness with his string quartet partners is connected to the unhappiness in his marriage, a complicated set of issues made watchable due to the actor’s conviction in his scenes.

The Master (2012, dir. Paul Thomas Anderson) – (SPOILERS: this scene is from the end of the film.) A little over a year after seeing The Master on the big screen, I still say that it is not a particularly good movie, but I can’t really deny how great Hoffman was in the title role. To quote his Lancaster Dodd character from another scene, “We are not helpless. And we are on a journey that risks the dark.” That second line could be used to sum up Hoffman’s career.

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