The Film Experience™ was created by Nathaniel R. All material herein is written by our team. (This site is not for profit but for an expression of love for cinema & adjacent artforms.)
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Wednesday, November 18, 2015 at 3:24PM Kieran, here. "It has recently come to our attention" that today is the birthday of one of the cinema's most peculiar, fascinating and gifted actresses.
Isn't it time for Chloë to get another great film role? Especially since that 1999 Best Supporting Actress Oscar should be hers by rights?
Sunday, July 31, 2011 at 5:00PM Craig here with Take Three. This week: Peter Sarsgaard
Take One: Garden State (2004)
Including Garden State as a Take Three take meant two things: watching one of Sarsgaard’s very best supporting performances again and watching the actual film again. The charm of the former outweighed the task of the latter. Despite essentially disliking the film, Sarsgaard makes it worth seeing. You get no sad, woe-is-me moping from him, nor do you get “original” moments of screechy-unique arm waving. His character, Mark, a grave digger, comes from the ‘insta-best friend’ vault of movie characters, but it’s what Sarsgaard does with it that makes all the difference. He’s essentially present to take a face full of Braff’s woefulness. During an abysmal rainy shout-a-thon into a large pit, he's on gooseberry duty, forced to awkwardly stand around whilst Braff and Portman snog each other’s faces off. But Sarsgaard lingers with style.
Mark still lives at home with his mother, parties hard with booze and pot and steals jewelry from dead people. Like everyone else in the film he has additional personality traits that, per Braff’s MO, make each and every character come across as utterly original. But Sarsgaard’s the only actor who doesn’t make a self-examining show of them. Instead he absorbs the quirks of character into performance and makes Mark both likeable and grounded.
Take Two: Boys Don’t Cry (1999)
Boys Don’t Cry is the first taste many of us got of Sarsgaard’s acting prowess. He’d been in a few independent movies beforehand (including Another Day in Paradise and Desert Blue for example) and he had played a murdered teen in 1995’s Dead Man Walking but Kimberly Pierce’s film was his first real flag planted firmly in the movie map. He was rightly lauded for his part in the story of murdered transman Brandon Teena (Hilary Swank in Oscar-winning form). As John Lotter, the central hateful antagonist, he couldn’t have been more charismatically devious.
