He should have been easy to pigeon-hole. Short, round, close-cropped bullet head, general air of perpetual unease which more than occasionally oozed the menace a thousand other movie tough guys would spend every penny they had to acquire if, by chance, it was something you could buy.
That sums up the look–the presence if you will.
Then, without anything like formal training, and carrying a casually dismissive attitude towards the whole idea of “studying” to be an actor, he took that presence to an awful lot of places: Mob boss, down-at-heels private eye playing footsie with Jessica Rabbit, Iago, Nikita Khrushchev, Mussolini, Churchill, J. Edgar Hoover, Conradian anti-hero.
I mean, I haven’t even seen all of it myself–a failing I will certainly try to redress in the very near future–but, at some level, I almost don’t have to see it with my four eyes to see him with my mind’s eye. Just stick his name next to pretty much anything and I’m ready to take the journey with him. Now as ever. Now, maybe more than ever. Because whenever I do get around to catching up, I know he’ll have been up to the task.
Any task he set himself.
From what I have caught up with, some time or other, I can say that he was–just for starters–truly great in Mona Lisa and The Dunera Boys and Othello and Who Framed Roger Rabbit? And when Brian DePalma used his name (and a $20,000 retainer) as bait to hook Robert DeNiro (the director’s preference all along) for Al Capone in The Untouchables, he cashed the check, had a good laugh about it and never once let on that DePalma came a long way second by settling for an actor’s actor to play Big Al when he could have had a force of nature who was born for that sort of thing.
It’s possible, of course, that Hoskins didn’t even know himself what DePalma was throwing away–though it’s a whole lot more possible that he did.
Either way, it’s hard to imagine him ever letting on.
In that respect, he was a bit out of his element in the modern world, where taking such real and perceived slights personally is the fashionable sign of your high seriousness. Needing none of that, he instead projected purely old-fashioned charisma, not to mention genuine bon homie. As a result (and no matter how convincing a regular good guy he was away from his roles) he often seemed a little too big for even his best roles–as if Jimmy Cagney had been transported to modern Hollywood and found that, yes, it was indeed the movies that had gotten smaller.
Once, though, an entire movie got all the way up to the best of him.
What he and Helen Mirren achieved in The Long Good Friday took them on the rarest journey–to the partly exhilarating, partly frightening place where John Wayne’s Ethan Edwards and Vivien Leigh’s Blanche Dubois and Anne Bancroft’s Annie Sullivan reside. Long past the point of worrying about awards in other words. So it was fun and gratifying, while surfing for tributes, to discover a documentary on YouTube where various parties spoke at length about the work both actors put into improving their already strong roles. My guess is that they were just old enough to know such parts in such a movie might very well come along only once in a lifetime–even a lifetime as full of great and good work as each of theirs would turn out to be.
And Mirren eventually got her Oscar (for a very fine performance in The Queen), in much the same way (and for many of the same reasons) that John Wayne eventually got the one he deserved for The Searchers (for a very fine performance in True Grit).
Hoskins never got his.
And, wherever that unquenchable spirit currently resides, I’ll bet he’s having a good laugh about it.
Heck, the top gangster in London called him over to his table in a restaurant not long after the TLGF’s release and congratulated him.
“Good to see one of us make it,” the guy said, confidentially.
Hoskins always loved telling that story–the story about the London mobster who actually thought the guy who played Harold Shand so eerily close to the bone must surely have been a reformed gangster himself.
Hey, what’s an Oscar next to that?
Anyway, here’s the story of an entire relationship in three scenes and seven minutes (with bodies stacking up like cord wood around them the while)….capped off by history’s greatest smoking-in-bed scene (greatest because it’s all about the smoking…the bed is incidental)!