Francis Ford Coppola’s The Godfather trilogy, along with Quentin Tarantino’s Reservoir Dogs and Pulp Fiction, are some of the most intriguing films I’ve ever seen, if only because they never question whether their criminal characters are good or evil. Instead, their stories plunge viewers deep into a world where doing evil is such a given, it’s the norm. Even in these evil worlds, however, criminals have some moral standards by which to judge the behavior of their fellow thieves, gangsters, and murderers. It is this exploration of good and evil within an already evil world that makes these films so fascinating.
The 1995 neo-noir crime film, Things to Do in Denver When You’re Dead, featuring an ensemble cast of Hollywood heavy-hitters, examines morality, honor, and justice among people who would scare most of us to death if we simply saw them on the street. The film’s unexpected story-delivery and darkly comedic scenes don’t hide its tragic moments, but , instead, lift it beyond the ordinary story of crime-from-the-criminal-perspective to that of a classic. Things to Do in Denver When You’re Dead is a film you’ll want to watch multiple times so you can decide which of its quirky criminal characters you like best.
The film’s premise is a familiar one in crime stories: seriously bad-ass gangster wants to abandon the criminal life, go straight, and earn some good karma in the remaining time he has left, but somehow gets coerced, by someone much more dangerously bad-ass and way more powerful, into doing “one last job,” which, of course, goes terribly wrong. In Things to Do in Denver When You’re Dead, Jimmy the Saint (Andy Garcia) is a former hitman attempting to be a legitimate businessman with his Afterlife Advice services, where the terminally ill record reminiscences, advice, or other final messages for their loved ones. Unfortunately, Jimmy’s non-criminal life isn’t paying well enough to keep him solvent, and his former boss has paid off Jimmy’s debts and now wants him to do one last job.
Narrated by Joe (Jack Warden), to anyone who’ll listen, in a malt shop, the film’s quirky start gives you a hint of the film’s compelling and unique slang while letting you know that virtually everyone involved in the story, but especially Jimmy the Saint, is already a legend.
In those days, you wanted a piece of quim, you knew where to go. You’d go with a big noise guy, you know, a cake-eater. Before you could say “beef bayonets,” you’ve got a bangtail on your arm, sweet as Dutch cheese.
This is not a good thing, even in their criminal world. The Man with the Plan believes that if his son Bernard were reunited with his former girlfriend, Meg, things would be like the good ol’ days, when everyone was happy, and Bernard would be “cured.”
Unfortunately, Meg has a new boyfriend, and something has to be done. The Man with the Plan wants “an action,” not a “piece of work,” i.e., Jimmy is to scare the current boyfriend away from Meg and no one is to be physically hurt, let alone killed.
Because The Man with the Plan, confined to a wheelchair after an assassination attempt, repeatedly emphasizes that this is only an “action” and not a “piece of work,” the viewers immediately know that something is bound to go terribly wrong and that it’s going to effect all the characters in the film, not just Bernard or his former girlfriend Meg.
Despite having met Dagney (Gabrielle Anwar), with whom he’s falling in love, and despite trying to help a friend Lucinda (Fairuza Balk) get out of the street-walking life and go straight so she doesn’t die from drugs or disease, Jimmy goes back to work for The Man with the Plan.
Jimmy gathers together his old gang (below, L-R): Critical Bill (Treat Williams, in his career-best performance), Easy Wind (Bill Nunn), Franchise (William Forsythe), and Pieces (Christopher Lloyd). Then, on a symbollically dark and rainy night, they wait on the side of the highway to scare away Meg’s new boyfriend.
As you may have already guessed, things do not go well.
Things go so horribly wrong, in fact, that The Man with the Plan feels obligated to “buckwheats” the entire crew. For this, he hires an outside man, Mr. Shush (Steve Buscemi), who has never failed to complete a job for which he’s been hired.
But in this world, as you might have already guessed, nothing ever seems to go right, not even for the criminals who are punishing criminals who (intentionally or inadvertently) disobeyed other criminals’ orders. In almost any world, it seems, disappointment breeds betrayal, and treachery breeds vengeance, no matter who’s involved.
Though Things to Do in Denver When You’re Dead earned only about $529K (USD, $1M adjusted) of its $8M budget at the box-office, it has since developed a cult-following, earning more through DVD sales and streaming services.
There are lots of different types of comedies in film these days, from slapstick, to teen-flicks, to culture-clash explorations. Most of those don’t appeal to me very much, and even if I see one of them, I rarely watch it more than once. I prefer the “comedies” that are dark and twisted. These dark comedies usually have very big name stars, terrific writing, and very unusual stories. They’re usually more sophisticated and intellectually complex. Sometimes they win big awards; sometimes they don’t. But what they virtually always have in common are mistakes, loyalty, crime, passion, ambition, romance, and a healthy dose of stupidity on many of the characters’ parts. (Presented in no particular order: I love them all, and have seen each multiple times.)
Suicide Kings (1997)
Avery (Henry Thomas), Max (Sean Patrick Flanery) and two friends (Jay Mohr, Jeremy Sisto) — all spoiled, über-wealthy boys — concoct a desperate & convoluted plan to save Avery’s kidnapped sister. They kidnap former Mafia boss Carlo “Charlie” Bartolucci (Christopher Walken), planning to use the ransom they get for Charlie to pay the $2M ransom being demanded for Avery’s sister.
Though they think they’ve planned for every contingency, their plan bungles grotesquely, even before fellow pal Ira (Johnny Galecki) comes to his father’s vacation house for a “game of poker,” and discovers, instead, his childhood friends and the kidnapped mobster.
Toss in a healthy dose of Charlie’s “street-smart” psychological manipulation, and the boys soon begin to jump at their own shadows as they suspect that one or more of them was “an inside player” in the kidnapping of Avery’s sister.
Many of the scenes between Ira (Galecki) and Charlie (Walken) in Suicide Kings were ad-libbed, and the film has a surprise twist that will stun you. Available for rent ($3.99) from Amazon,YouTube, and GooglePlay.
Pulp Fiction (1994)
A montage of ultimately connected — though seemingly disparate — stories, Pulp Fiction was a critical and box-office success, due in part to the stunning performances of its mega-star cast. Vincent Vega (John Travolta) and Jules Winfield (Samuel L. Jackson) are hit-men whose philosophical discussions involve even their victims.
Their boss, Marcellus Wallace (Ving Rhames) and his wife, Mia (Uma Thurman) get tangled up with the hit-men, as does a struggling boxer Butch (Bruce Willis), mob-crime “cleaner” Winston “The Wolfe” (Harvey Keitel), drug-dealer Lance (Eric Stoltz) and his wife Jody (Rosanna Arquette).
In one of the most bizarre premises for a film ever, the extremely shy & painfully introverted Lars (Ryan Gosling) finds it impossible to make friends, socialize, or even get himself a girlfriend. When he tells his brother Gus (Paul Schneider) and hugely-pregnant sister-in-law Karin (Emily Mortimer) that he is bringing home a girl he met on the Internet, they are overjoyed.
Until they meet Bianca — a life-size plastic sex-doll. On the advice of the town doctor Dagmar (Patricia Clarkson), however, his family and the rest of the community agree to go along with Lars’ delusion that Bianca is a real girl, rather than to oppose him, in an attempt to understand why Lars needs a plastic fiancée.
An exploration of an emotionally abandoned young man’s lonely life as well as of the love of his family and community that begins to envelop him, Lars and the Real Girl will bring tears to your eyes — and not just from laughter — especially in the ultimate scene between Lars and Bianca.
Another entry from Quentin Tarantino, True Romance has big-name stars, a quirky story, and bang-up dialogue. When comic-book nerd and Elvis fanatic Clarence (Christian Slater) meets the “love of his life” — a call-girl of three days — Alabama (Patricia Arquette), and attempts to save her from her pimp Drexl (Gary Oldman), a mistakenly grabbed suitcase leads to a wild plan for a “happily ever after life” for the two lovers.
Unfortunately, the suitcase belongs to the mob, and they send very bad men to recover their property. From the brilliantly and hysterically savage (improv) “Sicilian” scene between Clarence’s dad (Dennis Hopper) and mafioso attorney Don Vincenzo Coccotti (Christopher Walken), to the violently “affectionate” encounter between Alabama and one of the hit-men (James Gandolfini), to the final Mexican stand-off (one of Tarantino’s signature set-pieces) in the luxury hotel suite, True Romance rocks everyone’s world as each tries to maintain loyalty in the face of treachery and violence.
An extremely dark and comedic retelling of Shakespeare’s tragedy Macbeth, this story is set in the early ’70s in rural Scotland, PA. Here, fast food “King” Duncan (James Rebhorn) — formerly of Doughnut restaurant fame — employs the McBeths, “Mac” (James LeGros) and Pat (Maura Tierney), who feel under-appreciated and resentful in their dead-end jobs at Duncan’s not-so-successful burger joint.
When Duncan reveals his plan for an innovation that will revolutionize the restaurant world — a plan which three stoned “hippie” witches (Andy Dick, Amy Smart, and Timothy Levitch) have previously foretold in cryptic fashion to Mac — and when Duncan reveals as well his intention to leave the restaurant to his son Malcolm (Tom Guiry), the murder plot is hatched.
Lieutenant McDuff (Christopher Walken) is on the case as early as Duncan’s funeral, and the McBeths must elude discovery while attaining success with their newly acquired restaurant.
A rare comedic take on one of the most famous tragedies every written, the dark violence and brilliant characterizations in Scotland PA are a tribute to and an innovation on the original source material. Available for viewing via Netflix and Yidio.
In Bruges (2008)
After neophyte hit-man Ray (Colin Farrell) makes a dreadful mistake on his first job, he and partner Ken (Brendan Gleeson) are forced by their boss Harry (Ralph Fiennes), to head to the medieval city of Bruges, Belgium to hide out until the situation gets straightened out.
Ray hates the city and is a whiny “tourist,” but Ken finds it enchanting and fascinating. At least, until Ken discovers why he and Ray have been sent to Bruges in the first place, and what Harry now wants to happen. Both Gleeson and Farrell were nominated for awards for their brilliant performances — simultaneously comic and tragic — but Fiennes also shows his rare ability to be similarly comedic and threatening.
Before Kyle (Jon Favreau) marries his beautiful but extremely emotionally needy fiancée (Cameron Diaz), leaving his single life behind forever, Kyle and four of his friends (Jeremy Piven, Christian Slater, Daniel Stern, and Leland Orser) head to Las Vegas for a supreme bachelor party.
There, after drugs, alcohol, and philosophical discussions among long-time friends, things go terribly wrong. Innocent fun quickly deteriorates into accidental violence, and then into intentional, escalating crime to cover the initial accident. This film’s characters become ultimately so very “bad” that you find yourself feeling rather guilty for laughing out loud at their circumstances, which are certainly no laughing matter. Then, just when you think you’ve reached the end of your ability to laugh, Very Bad Things hits you with its very stunning and morally appropriate ending.
There are so many ways to look at crime in films, from the perspectives of the victims, of the law enforcement officials, to that of the criminals themselves. Early films tended to concentrate on the perspective of the crime-fighters, saving the stories of the criminals for short, factual documentaries. With one of the most famous crime films ever, Francis Ford Coppola’s The Godfather, based on the novel by Mario Puzo, that focus changed, virtually creating a genre where criminals and those who were involved with evil doings, either voluntarily or against their will, were presented in a more empathetic and sympathetic light. In any event, whether you feel any emotional connection with the criminals in this genre of crime film, it’s created some of the most interesting and complex characters, played by some of the greatest actors in their best roles, and made some ground-breaking films.
The Godfather Part One
Virtually ignored by Hollywood during production, The Godfather was one of the earliest films that examined crime entirely from the perspective of the criminals. Based on the bestselling novel by Mario Puzo — and the Oscar-winning screenplay by Puzo and director Francis Ford Coppola — the story centers on a fictional New York Mafia family, the Corleones, led by its patriarch Don Vito Corleone (Marlon Brando, in an Oscar-winning role), who’s attempting to groom his eldest son, Santino [Sonny] (James Caan) to take over the “family business,” while providing for his weaker middle son, Fredo (John Cazale), and his adopted son, Tom (Robert Duvall), and trying to keep his youngest son, Michael (Al Pacino) who’s graduated from college and served his country during the War, out of the “family business” altogether.
As you can imagine, that’s a formula for disaster when everyone in the family and everyone with whom it does business is a criminal — and violent ones, at that. Filled with big name stars, peppered with memorable lines (“Luca Brasi sleeps with the fishes”), awarded with Oscars and multiple nominations, The Godfather set the standard for crime films from the criminals’ perspective.
The Godfather Part Two
One of the first sequels that was actually as good as, if not better than, the original film, Part Two of The Godfather Trilogy — also written by Mario Puzo and director Francis Ford Coppola — reunited most of the characters from the first film while interweaving their continuing story with the “flashback” story of Don Vito Corelone, this time played by Robert DeNiro (Oscar winner for Best Supporting Actor), who had the monumental task of imitating the magnificently original, complex, and tortured criminal played by Marlon Brando — only at a younger age. Showing the development of both Vito’s and Michael’s forays into the criminal world, both men are as sympathetic as they are vicious, as family-oriented as they are ruthless, as interesting as they are complex.
Many viewers who’ve seen all three of The Godfather films can’t decide if they like Part One or Part Two better, and it was a toss-up for me which is best since they’re so different yet both so excellent. The Godfather, Part Two couldn’t exist without Part One, but they’re equally good. Sometimes, channels show The Godfather Trilogy in “chronological” order according to the storyline within the movies, so excerpts of Part Two are shown before Part One, but I don’t recommend watching the films like that, as you lose all the nuances of Part Two, including those in the storyline, the irony, and the actors’ performances.
King of New York
Directed by Abel Ferrara, whose work often explores the human side of criminals and organized crime, King of New York stars Ferrara’s “perfect gangster actor” Christopher Walken as Frank White. Coming out of prison after seven years, White is trying to get back in the game, and it involves drugs. Aided by loyal underlings like Jimmy Jump (Laurence Fishburne), Test Tube (Steve Buscemi), and Lance (Giancarlo Esposito), Frank White delves into the drug scene as it’s developed while he was “paying for his crimes,” and tries to do something good that he’ll be remembered for. Most specifically, he wants to fund a hospital for the poorer section of New York where he operates. The fact that he’s out of jail, still alive and operating, galls the New York detectives who hound him: Bishop (Victor Argo), Dennis (David Caruso), and Flanigan (Wesley Snipes), trying desperately to either indict or kill White.
At the premiere, some viewers — including director Ferrara’s wife — were outraged at the multi-layered, sympathetic portrayal of the criminals, especially that of Frank White (Walken), who tells the lead detective Bishop, “I’m not your problem: I’m just a businessman.” With most viewers, King of New York has become a cult classic and is consistently highly praised critically.
Also directed by Abel Ferrara and starring many of his favorite actors, this film, set in New York in 1939, concentrates on one family, but a small one, consisting of three brothers and their wives (or fianceés), as well as their co-horts and colleagues. Led by the eldest brother Raimundo [Ray] Tempio (Christopher Walken), who’s aided mostly by his brother Cesarino [Chez] (Chris Penn, Best Supporting Actor, Venice Film Festival), the story begins with the death of their youngest brother Giovanni [Johnny] (Vincent Gallo) and their attempts to find his killer.
The eldest brothers’ wives, played by Annabella Sciorra and Isabella Rossellini, respectively, serve as the moral counterweights to these men, and attempt to be guiding lights to the the youngest brother’s grieving fianceé (Gretchen Mol). While Ray (Walken) says things like, “If I do something wrong, it’s ’cause God didn’t give me the grace to do what’s right,” his wife (Sciorra) tells the murdered brother’s fianceé, “They’re criminals: there’s nothing romantic about it.” It may not be “romantic,” but it’s intense and fierce, and has memorable performances by everyone involved, including the one by rival gangster Gaspare Spoglia (Benicio Del Toro) as one of the “suspects” in the brother’s death. With its disturbingly unexpected ending, The Funeral is one of the classics in this genre.
Quentin Tarantino’s writing & directorial debut, Reservoir Dogs shows the tentative, sometimes humorous, “before” and the intense “after” of a diamond heist by a group of professional thieves who do not know each other, but suspect, during the crime itself, that one of them is a “snitch” since the police arrived during the commission of the crime. Assembled by Joe (Lawrence Tierney) and his son Nice Guy Eddie (Chris Penn), the criminals are given pseudonyms and firmly instructed not to share any personal details with each other, including any crimes previously committed or places of incarceration.
Quentin Tarantino has a cameo role as Mr. Brown, but the film pivots on Mr. White (Harvey Keitel), Mr. Orange (Tim Roth), Mr. Pink (Steve Buscemi, who objects to his name in a hilarious scene), Mr. Blonde (Michael Madsen). The nonlinear storyline, a hallmark of Tarantino’s films, puts the viewer in the same position as the other criminals: unaware if there even is a snitch, let alone who it might be. Brilliant performances by the top-billed actors, including one of the scariest “dance scenes” ever by Mr. Blonde (Madsen) just before “interrogating” a hostage policeman, Reservoir Dogs was an instant critical success and has attained cult status.
Things to Do in Denver When You’re Dead
The title of this neo-noir crime film alone gets most people’s attention. Things to Do in Denver When You’re Dead actually came from a song by Warren Zevon, and he allowed the filmmakers to use it on the condition that his original song be played during the end-credits. In the film, the protagonist, Jimmy the Saint (Andy Garcia) is a former hitman attempting to go straight. Unfortunately, his non-criminal life doesn’t pay as well, and his former boss, The Man with the Plan (Christopher Walken), has paid off his debts and now wants Jimmy, along with any crew he wishes to hire, to do “an action” not a “piece of work,” the latter of which apparently includes murder.
Gathering a rag-tag group of criminal associates — Pieces (Christopher Lloyd), Franchise (William Forsythe), Easy Wind (Bill Nunn), and Critical Bill (Treat Williams, in his career-best performance) — Jimmy is supposed to scare away a boyfriend of the ex-girlfriend of The Man with the Plan’s pedophile son Bernard (Michael Nicolosi): The Man with the Plan blames Bernard’s attempt to kidnap a 7-year-old girl from a playground in broad daylight on his despair over losing the former girlfriend.
Because Walken’s character, confined to a wheelchair after an assassination attempt, repeatedly emphasizes that this is only an “action” — wherein the new boyfriend is to be scared away so the girlfriend will ostensibly come back to Bernard — and not a “piece of work — where the new boyfriend would be killed — the viewer knows that something is bound to go very wrong. This film achieves much of its power from its creative vocabulary: the criminals are to do “an action,” not a “piece of work.” They all long to retire to a life of “boat-drinks,” but are threatened with “Buckwheats” instead. Even their nicknames — Pieces and Critical Bill, for example — come from their characters or former behavior. Rounded out by Dagney (Gabrielle Anwar) as Jimmy’s love interest, Lucinda (Fairuza Balk) as the prostitute he tries to protect and reform, Joe the Diner-Narrator (Jack Warden) attempting to pass on the story of Jimmy the Saint’s “rep” to the next generation, and the involvement of the outside hitman Mr. Shush (Steve Buscemi), this neo-noir classic has been called, by one critic, a “clone” of Tarantino’s Pulp Fiction. That critic needs to watch the film again, and much more attentively, because Things to Do in Denver When You’re Dead is unique and far too powerful to be any other film’s clone.
The Usual Suspects
After all its Oscar nominations and wins — for Christopher McQuarrie’s original screenplay and for Kevin Spacey’s role as Verbal Kint — it’s difficult to believe that, initially, no major studios wanted to finance The Usual Suspects. Executives believed it was too complex for audiences (always an insult to sophisticated audiences), had too much dialogue, and too many characters. Boy, were they ever wrong. This neo-noir crime film begins with “five known felons” in a line-up after a truck of guns goes missing. While in lock-up, McManus (Stephen Baldwin, in the best, and perhaps only dramatic, role of his mostly stoner-comedy career) and his partner Fenster (Benicio Del Toro) tell the others — Hockney (Kevin Pollack), Keaton (Gabriel Byrne), and “the gimp” Roger “Verbal” Kint (Kevin Spacey) — about another high-scoring job. Keaton agrees to “one job,” though he has ostensibly “gone straight.”
Complications arise, however, and things spiral out of control for these career criminals, especially when the mysterious “Keyser Söze” becomes involved, represented by his lawyer, Mr. Kobayashi (Pete Postlethwaite). The interrogation scenes between Special Agent Kujan (Chazz Palminteri) and Verbal (Spacey) make up some of the best scenes, with the greatest dialogue ever. Brilliant, intense, humorous, violent, sophisticated, and with one of the most “definitive and popular plot twists” in the history of the genre, The Usual Suspects is worth watching dozens of times. Just to see all the clues you missed the first time.
In the past, villains were bad guys, without any redeeming features, and heroes were good guys, with no bad qualities, except maybe a bad wardrobe or hairdo. Then came the era of anti-heroes: heroes who had some less than stellar qualities or who’d made some seriously bad decisions or life choices that prevented them from being perfect, like Lord Jim in Joseph Conrad’s novel of the same name (played to great effect by the late Peter O’Toole in the film, which is what made me read the novel in the first place, trying to understand Jim’s motivation).
Over the last couple decades, however, the villains have become sort of anti-villains, as books, movies, and television series show the villains as real human beings. No matter how bad, evil, or wicked the best villains are, they have some redeeming or interesting characteristics, whether it’s caring about women and children (limiting their violence to men, for example) or great senses of humor, or simply being absolutely faithful to their own moral codes, even if they’re criminal ones.
Here are my favorite film and television series villains, in no particular order. And it’s understood that, without the specific actors playing them in these roles, these fascinating and charismatic villains would simply not have been the same.
Hannibal Lecter Silence of the Lambs
Boy, did Sir Anthony Hopkins deserve the Oscar he won for his chilling performance of serial killer Hannibal Lecter in the first film version featuring the character, Silence of the Lambs, from the Thomas Harris novels. Beginning with Lecter’s look — hairstyle and tightly fitted prison garb, which were Anthony Hopkins’ idea — to his voice, his facial expressions, and his threatening demeanor even when standing perfectly still, Hopkins’ Hannibal sent insomniac movie viewers into therapy because, though they were terrified by him, they were also fascinated. Ain’t that what makes a great villain these days? His very first scene, in the underground FBI prison cell, when Hannibal “The Cannibal” meets rookie agent Clarisse Starling (played by Jodi Foster) shows just a hint of how scary and charming Hopkins’ serial killer can be.
Boyd Crowder Justified
Walton Goggins, previously known for his role in “The Shield,” plays bad guy Boyd Crowder, the foil to and bane of US Marshal Raylan Givens’ (Timothy Olyphant) life. But the two grew up together, and their shared past, with divergent careers which are mutually exclusive, combined with the actors’ improvised lines in many of their scenes together, make Boyd a criminal whom audiences root for. In fact, Boyd was supposed to be killed at the end of the pilot for the show, but the initial screening audience chastised the studio so much for “killing” Boyd, that the pilot was rewritten. Despite “guest star” criminals each season, none has the fascinating personality or the chemistry with Olyphant’s Raylan Givens that Goggins’ Boyd Crowder has. This sequence shows his initial “Fire in the Hole” activity from the pilot (characters based on an initial story by that name and characters in subsequent stories by the late, great Elmore Leonard, who was an executive producer of the show till his death this year) as well as some other clips (interspersed by music that does not, unfortunately, come from the show, i.e., it’s not as good as the music in Justified). Still, the montage shows you some good examples of Boyd’s violent interactions as well as his humor and intelligence. Though nominated several times for an Emmy for this role, Goggins has never won: I hope they remedy that in 2015’s final season of the series.
Detective Norman Stansfield The Professional
My first introduction to Gary Oldman’s formidable acting was in Francis Ford Coppola’s Bram Stoker’s Dracula, where Oldman played the title character. But when I began to seek out his other films, I found this one, which is one of Oldman’s best. His corrupt Detective Norman Stansfield “directs” Beethoven before confronting a drug-dealer who has stolen from him. Stansfield displays a wicked sense of humor, both in what he says and does. “We said noon” is a great introduction to Oldman’s villainous Stansfield in a gripping film that also stars Natalie Portman, in her film debut, as the abused daughter of the man who stole from Detective Stansfield and whom Stansfield is seeking, and French actor Jean Reno as the professional hitman, Léon, “hired” by Portman’s Mathilda to protect her from Stansfield while teaching her to defend herself from him as well.
The Archangel Gabriel The Prophecy
It’s no secret to anyone who knows me that I think Christopher Walken is one of the greatest actors ever. Comedy, Drama, Films, Theatre, Singing, Dancing, Hero, Villain — the man can do it all, and he does it all with consummate skill and amazing range. One of my favorite roles (and Walken’s, as he’s stated in interviews) is as the villainous yet deadpan-funny Archangel Gabriel in The Prophecy (Trilogy), where, in the Second Angel War, Gabriel is trying to steal the blackest human soul ever — which angel Simon has taken from the corpse and hidden in someone else’s body — to use that evil human soul in Gabriel’s fight to keep humans out of heaven. Gabriel uses some of the human characters, whom he calls “talking monkeys,” to get things he can’t obtain himself or to travel (he can’t drive). He uses humans who were either suicides or criticially ill & dying patients, “reviving them” (or as Walken’s Gabriel describes it to Adam Goldberg’s character in the first film, “letting them die slower”). This montage, showing clips from the first two films in the trilogy, show his menace and his deadpan-humor. His scenes with Adam Goldberg (not included here), Amanda Plummer, and the late Brittany Murphy are among some of the best moments in the films. Walken’s Gabriel combines his fearsome portrayal of villains with his comedic talent, to great effect.
Tony Soprano The Sopranos
Though marred by some uneven writing in a few of its seasons, the ground-breaking HBO series The Sopranos introduced us to New Jersey mob-boss Tony Soprano, played by the late James Gandolfini. And, boy, did Gandolfini play him to perfection. Totally loyal to his own criminal code, Tony Soprano was nevertheless a lying, philandering (unfaithful to both wife and mistresses), murderous criminal. The very premise of the show — a mob boss entering therapy because he’s having panic attacks — was part of its charm. Tony Soprano’s crush on his therapist, played by Lorraine Bracco, as well as his anger at her refusal to be anything but his psychologist and her insistence that he examine his “feelings” were among the show’s highlights. Gandolfini’s Emmy win(s) as Tony Soprano were well deserved for his consummate acting in this role. This “If you lie” scene, when Tony is attempting to uncover the identity of an FBI informant, show’s Gandolfini’s Soprano as his most fierce and most vulnerable.
Sheriff Little Bill Daggett Unforgiven
Sheriff Little Bill doesn’t like guns or violence in his town of Big Whiskey, despite or because of his own past as a gunslinger and killer. Played to Oscar-winning perfection by Gene Hackman, Little Bill is cruel and ruthless, but is building his own house (though he ain’t no carpenter) — Hackman’s idea — and a born storyteller, especially if he’s discrediting an old arch-enemy like English Bob (one of Richard Harris’ best roles) in front of his biographer W. W. Beauchamp (Saul Rubinek). Repeatedly calling English Bob’s biography, titled The Duke of Death, the “Duck” of Death, and referring to English Bob as “The Duck” — another of Hackman’s improvizations, which, according to director and co-star Clint Eastwood, caused the entire cast and crew to break out in uncontrollable laughter when Hackman first said it — Hackman’s Little Bill is wickedly funny without ever cracking a smile. At the same time, he’s deadly serious about the fact that he will be the only one doing any killing in his town. After he’s viciously beaten and kicked English Bob for carrying firearms within the town limits, then lying about it, Little Bill dares the biographer Beauchamp to try to shoot the sheriff (but not no deputy), then offers the gun to the imprisoned English Bob. The “First, You Got to Cock It” scene reveals Hackman’s Little Bill at his fiercest, bravest, psychologically cruelest, and most complex, and, ultimately, honest.
Al Swearengen Deadwood
If you’ve never seen HBO’s Deadwood — with its multi-star cast, superb writing, outstanding storytelling, fascinating characters, and historical accuracy — then you don’t, as they say, know what you’re missing. Ian McShane’s portrayal of Al Swearengen, owner of the Gem Saloon/Brothel and one of the “founding fathers” of Deadwood SD while it was still a territory illegally on Native American land, makes him the classic villain for all time. Foul-mouthed, violent, sarcastic, murderous, and otherwise cruel to the point of sadism, McShane’s Swearengen is nevertheless also empathetic, a survivor of childhood sexual abuse and abandonment, and frequently hurt by those whom he believes he can trust (though he usually reacts in anger to betrayal). Creator David Milch apparently created the role with Ian McShane in mind, and McShane’s performance as the vicious yet vulnerable Al make him one of the most memorable and oft-quoted villains in history. For the 10th anniversary marathon weekend showing of Deadwood, which is also playing serially weeknights on HBO Signature, numerous blogs imitated Al Swearengen’s voice — not that of any other character. No one scene could possibly show you McShane’s range as Al. Ian’s subtle facial expressions, voice intonations, and glances alone demonstrate more ability and talent in this role than some actors display in their entire careers. The fan-made montage “Al Talks the Talk & Walks the Walk” displays just some of Al’s villainy and McShane’s talent (one of the “murders” shown is actually a mercy-killing of a severely afflicted and dying character, which Al had to be persuaded to assist in, since no one else — not even the camp’s doctor — was willing to help end the character’s intense, progressive, and incurable suffering).
(Don’t Say I Didn’t Warn You)
If you’ve missed any of these brilliant actor’s performances as one of these top villains, you can rent them (or, even better, often view them for free, on HBO GO or with Amazon Prime), you’ll want to catch them when you’re in the mood for some fine acting, fantastic characters, and even some occasional dark, villainous humor.
And if your comments aren’t too villainous themselves, you can nominate your own top villains. If I’m not familiar with them, I’ll put them on my “To Be Watched” list.
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Copyright 2012-2022 by Alexandria Constantinova Szeman, Ph.D. All rights reserved. No content may be copied, excerpted, or distributed without express written consent of the author and publisher, with full copyright credit to the author. Please, don’t support the piracy of Intellectual Property.
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