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The perils of the role of a lifetime

There is a preconception that the role of ‘actor’ is a transformative one. Adaption, disguise and variety should be second-nature to a person whose job it is to act, however personal and self-centric that process might be (I’m looking at you, Daniel Day Lewis plus disciples). However, there are those that prove time and time again that success is not correlative with difference.

At his most box-office friendly, the close resemblance between the incarnations of Will Smith – wise-cracking, action hero extraordinaire – is spine-tinglingly uniform. Running from explosions, close encounters with the supernatural and a partiality for the phrase “oh HELL no” became a checklist for Smith’s agent in selecting scripts, as well as other prerequisites. Location: THE United States of America, where the world’s fate WILL hang in the balance. Julia Roberts also has a mantra to determine her choices – her typical role as self-help guru and heroine of empowered women who turn out to need a man after all (and less hero of the universe). Type-casting is not a phenomena peculiar to Adonis-like vessels, where performances play second fiddle to bodily perfection. The low, soothing resonance of Morgan Freeman’s dulcet tones has become the cinematic equivalent to auto-tune, lending wisdom and sincerity to any speech. He is like a one man epic-making machine, pulling off ridiculous explanatory material in his narration of War of the Worlds, and as God in Bruce Almighty. Samuel L Jackson, of ‘bad-ass’ fame, Cameron Diaz the goofy bombshell, Oxford alumni Hugh Grant’s stuttering Toff, and Prince Charming himself, Cary Grant, all seem fixed in the proto-type of their first, successful role.

It is then perhaps inevitable that a backlash of actors attempting to confound expectations (and usually to reinvigorate careers), seek to sample new waters. One can only sympathise. For them, filling in that ‘job description’ box on legal papers (for reasons including divorce, rehab and a dangerously over flowing bank statement) must provoke extreme existential crisis. Or at least a Hollywood-style midlife crisis. His CV stacked with explosion-dodging, Will Smith joined the swelling ranks of action heroes applying their strength and determination to their craft. Smith’s efforts in ALI and the Pursuit of Happyness were met with some praise, but more interestingly showcased another characteristic of gear-shifting roles. Rippling muscles are covered, hair greyed and dark circles allowed to show, with such drastic attempts at gritty ‘ugliness’ an oft used pointing device that shoves the gravitas of the role down the audiences’ throats. The proof is in the pudding, or rather, the Oscar, with actresses Charlize Théron and Nicole Kidman recent performers who exchanged their looks for the roles that would shift the emphasis onto their talent.

It seems slightly unfair that comedians be similarly judged for role-regurgitation, and on the whole, they seem altogether less bothered. Take the ‘frat-pack’ of Judd Apatow’s crew who frequent LA set comedies. Here the central story arch and situational distinctions are secondary to the semi-improvised frolicking that carries and characterises these films. Cynically put, there is a brand at work, but there is also a natural dimension to this trend. Actors such as Rogen and Ferrell, so closely involved with the writing process, are creating comedy in a similar vein to stand-up comics; the jokes may change but the temper and delivery is consistent with their own individual style. There is a sense that, given the intelligence and charisma of some of these performers, a wider range could be both possible and plausible. James Franco has successfully navigated a trans-genre career, acting his way from Pineapple Express to 127 hours, and the same might be proved by Rogen. His groove has so far been rooted in affability and a generous chuckle, though shades of sensitivity suggest a propensity for ‘serious’ drama. However, the necessity or desire for such a change is as yet, undetected, with Rogen currently attached to three comedies in conjunction with previous collaborators.

In terms of the ‘right decision’ as an actor, there is no route which necessitates greater popularity, or even growth as a performer. Robert De Niro’s semi-surreal comic exploits in the Meet the Parents franchise, and even more bafflingly in the dire Analyze That are living proof that groundless genre hopping does not a good idea make. In escaping the shackles of the eternally troubled criminal (of which his most brilliant, and individual performances range from Taxi Driver to The King of Comedy) De Niro has found himself in the altogether more dangerous grasp of pointless rom-coms. Apparently an upcoming film New Year’s Eve promises to deliver as few laughs as its celebrity-ridden Valentine’s Day counterpart.

So actors, beware, by all means extend your range, push your craft, just make sure to have an authorised adult with you at all times. 

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