Tag Archives: Leon The Professional

Actor’s Spotlight: Nate’s Top Ten Gary Oldman Performances

Gary Oldman is both one of my personal favourite actors and an absolute champion of the craft, an adaptable master of any role thrown at him who can take words on a page and lift them to magnificent heights in his work. Intense, implosive, focused, hard working and super dynamic in front of a camera, he’s always an actor to watch and an undisputed master of his craft. I love each and every performance this man has given us so far in a brilliantly diverse career, but here are the ten characters that stand out the most for me:

10. Charlie Strom in Sin

Bear with me on this one. Like any actor, Gary has appeared in a few duds, and overall this happens to be one of them *but* his performance in it is fantastic. Ving Rhames plays a tough ex cop whose sister (Kerry Washington) is raped and brutalized on Oldman’s orders as some kind of underworld porn king. A deadly game of cat and mouse ensues in which Rhames seeks revenge for the atrocity but discovers that Oldman targeted him for reasons of his own going back into both their pasts. It’s a decent script given the scrappy low budget treatment but Oldman’s tormented villain is worth sitting through for. He has a conversation with Rhames midway through the film that gets philosophical in nature and overall he just nails the haunted persona of this role.

9. O.W. Grant in Bob Gale’s Interstate 60

This is a playful role in one heinously overlooked hidden gem. Essentially an existential road trip movie with supernatural elements and enough cameos to launch a pilot, Gary plays a mysterious genie like deity who grants everyone he sees one wish by blowing green smoke from his monkey shaped pipe. He also has no reproductive organs, as a hitchhiking nymphomaniac chick hilariously discovers. It’s light, easygoing work from the actor who isn’t doing any heavy lifting with the performance yet still makes a terrific comedic impact and seems like he’s having a lot of fun.

8. George Smiley in Tomas Alfredson’s Tinker Tailor Soldier Spy

John Le Carré’s chilly Cold War thriller sees Oldman take on the role of an MI6 lieutenant embroiled in the treacherous search for a soviet spy amongst his own ranks. Restrained and opaque, one begins to see the keen scrutiny hiding behind the character’s initially withdrawn nature. When an event causes him to almost lose that composure, he expertly shows the emotions bursting forth and the efforts to keep them within, reaching a pitch perfect note of performance that gets better and more detailed every time you revisit the film.

7. Jackie Flannery in Phil Joanou’s State Of Grace

One of the great crime dramas he has taken on, this one sees him play a volatile, unstable Irish gangster in NYC’s brutal Hell’s Kitchen, stick between his mob boss older brother (Ed Harris) and childhood friend (Sean Penn) who is now an undercover cop infiltrating their ranks. With a mop of greasy hair and the mannerisms of an untrained dog let off the leash, this is a ballistic tornado of a characterization with childlike notes, a good dose of rambunctious restlessness and primal violent nature uncaged.

6. Sirius Black in Alfonso Cuaron’s Harry Potter & The Prisoner Of Azkaban

From the moment we see gaunt, haunted eyed convict Black onscreen Gary makes him a magnetic, spooky presence to be reckoned with. Even before that we see him howling out of moving wanted posters in Diagon Alley and off the front page of the Daily Prophet. Oldman makes juxtaposed genius out of his work here and the shift from scary fugitive to compassionate friend and mentor to Harry is handled beautifully. It’s also nice to see him and fellow British thespian David Thewlis collectively chewing scenery, they have palpable chemistry and I’d love to see a buddy cop thing with them one day, or something like that.

5. Jack Grimaldi in Peter Medak’s Romeo Is Bleeding

The ultimate corrupt cop, Oldman’s Jack is a loose cannon dirtbag who discovers that his ways have consequences when his life is made into a living hell by terrifying femme fatale Mona Demarkhov (Lena Olin) and ruthless mafia don Falcone (Roy Schneider). He inhabits the sweaty, desperate neo-noir palette of this great film very well, especially in sly, mournful voiceover as he literally narrates his own story as if it didn’t happen to him.

4. Dracula In Bram Stoker’s Dracula

Francis Ford Coppola outdoes himself with this lavish, baroque piece of eye candy that for me is the best film version of Dracula ever made, likewise for Gary’s knockout performance as the titular vampire king. He has several incarnations here from armoured Transylvanian knight to skeletal senior citizen to dashing foreign prince to full on nine foot gorilla werewolf hell-beast thing and he rocks each one with full blooded embodiment and spectacular verve. Surrounded by solid players like Anthony Hopkins, Winona Ryder, Sadie Frost, Keanu Reeves, Cary Elwes, Richard E. Grant and Tom Waits in an encore as the lunatic Renfield, this is a magnificent dark jewel of a film and a horror masterpiece.

3. James Gordon in Christopher Nolan’s Batman Begins, The Dark Knight and The Dark Knight Rises

The actor goes inward here for a fierce, gritty turn as the legendary police commissioner, giving the character all the salt of the earth integrity and brooding charisma we could hope to get. In a career full of extravagant portrayals and amidst a trilogy riddled with flamboyant villains and people who dress up in costumes, ironically he gets to play the most down to earth and level headed guy, comparatively. His Gordon is a straight arrow cop who is fallible, tactical and compassionate.

2. Drexl Spivey in Tony Scott’s True Romance

A white pimp who thinks he’s black, this has to be the single most impactful performance ever filmed that only takes up one five minute scene and another brief thirty second one. Dreadlocks, gnarly scars, a dead eye, leopard print housecoat, this guy couldn’t be more visually ridiculous but for all the flourish and swagger, it’s Gary’s mannerisms that shine through and win the day. The goal of his scene is essentially to circle and intimidate Christian Slater before pouncing on him like a pissed off coyote, and he succeeds in freaking him out plus the rest of the world watching on their screens. This film is filled with memorable moments scene after scene but his mad dog portrayal of this reprehensibly hilarious Detroit gutter-rat piece of shit stands out.

1. Norman Stansfield in Luc Besson’s Leon The Professional

I’m not sure what Besson’s direction to Oldman was in playing this spectacularly corrupt DEA agent but he kind of just runs off and does his own thing to the point where other actors in the scene look scared of him for real. Casually homicidal, easily distracted, highly unstable and so intense he frequently goes red in the face, this is a villain that would frighten most others into submission. Contrasted with Jean Reno’s and Natalie Portman’s more contemplative performances he’s the wild card of this tale and fills it to the brim with madness, firepower, dark humour and that trademark white suit that you better not get blood on or he’ll shoot you after he’s already killed you in a crazed tantrum of scenery chewing that only Gary Oldman is capable of.

Thanks for reading ! Please share you favourite Gary Oldman performances as well!

-Nate Hill

Leon The Professional: A Review by Nate Hill

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Leon The Professional is purely and simply one of the best films ever made. From Natalie Portman’s stunning debut performance, to Gary Oldman’s absolutely nightmarish baddie, to Jean Reno’s lovable and eccentric protagonist, it’s a classic, a piece of achingly beautiful cinema that I could watch on the daily and never get tired of. The three actors are the bricks which make the film so special, and Luc Besson’s fluid, sensitive direction is the mortar which holds them together. Portman is simply miraculous in her first film role as Matilda, a young girl whose entire family is murdered by psychotic DEA agent Norman Stansfield (Oldman). Highly introverted assassin Leon (Reno), takes pity and allows the orphaned girl into his home and his life. Matilda is a strange girl whose specific idiosyncrasies both clash and amusinly interact with Leon’s. He is an exile of sorts as well, with a tragic past and not a whole lot going on in his life besides the contracts he carries out for kindly, paternal mobster Tony (a phenomenal Danny Aiello). Leon and Matilda makes an interesting team; she is brash, unfiltered and lively, he is reserved, awkward and deafeningly quiet, resulting in unique character building and bonding that Besson handles wonderfully. Now, there’s two versions of this film, because apparantly American people can’t handle slightly taboo undertones, even when they’re handled in a caring and tasteful manner. You definitely want to see the longer, European cut which has some interesting scenes that crackle with sexual tension on Portman’s part. Yes, she’s twelve years old, at a very confusing crossroads of her life, the stark black and white mindset of a child dissolving into the very ambiguous and complex psyche of a woman. She believes she loves Leon, and he handles her advances in a way that requires maturity and intuition that he never had to begin with, but rises to the occasion. Call these scenes what you will, but there’s no denying their esential place in the film’s complete story, and to censor them for the sake of prudeness is a straight up crime. Matilda wants revenge against Stansfield and his team, which means going up against his wrath, and also means Portman sharing some incredible scenes with a voracious Oldman. Oh, Gary. This is his final form, the most terrifying villain in his stable, a flamboyant, deranged lunatic that one can scarce believe ever was allowed to be a cop. There’s a fairy tale esque feel to the film, where the bad guys do what they want in the urban forest, never in uniform and free to roam, kill and terrorize with the full might of the NYPD at their dastardly disposal. Oldman is the Joker on mescaline, and in fact Stansfield pops mysterious pills from a little casket, when he’s not murdering people while listening to Beethoven. He’s loud, scary, stylish and animalistic, so intense one feels like his very presence will melt the tv screen. Portman is so superb it’s hard to believe this was so early on in her career. In my mind she did her best work right out of the gate, in this film. Matilda is wise for her years, which she uses to mask the gulf of vulnerability residing in her, a hallmark trait found in children from abusive households. The family and friendship she finds with Leon strengthens her as as human being, and we start to see the emerging person she will continue to grow up to be. Natalie displays all of this uncannily well, and is the bruised, beating heart at the centre oft the film. Reno sells the eccentricities (Leon loves golden age Hollywood musicals) and sorrowful resolve of Leon so well, taking a character that is all action and very little talk, and speaking volumes with both body language and silence which, take it from me, is tough stuff. Besson, whether directing a quiet, introspective scene or a balletic action sequence, gives everything a stylized, earthy quality that makes the film stand out amongst other action ventures. You could spend a billion dollars on production design, but it all comes down to the human element behind the wheel, and if you don’t have a director, cast and team that has the current running through them to create something special, all those dollars go out the window. This one has all of that, and is a solid gold classic.