Gene Hackmann

“He was the ideal actor for that role because of his vulgar, everyday look.” With these words, Francis Ford Coppola justified in an interview the choice of Gene Hackman as the protagonist of The Conversation(1974). A vision adjusted to this “monster” of the big screen who has known how to rise above an unconventional physique and adhere extraordinarily to the mature skin of his characters. The gallery of types is extensive: egotistical vagabonds, soldiers of all kinds, hired guns, forceful policemen, immoral lawyers, journalists in trouble, romantic gangsters, heroic priests, comic book villains… All billed with the solvency of a complete interpreter. . Because few like him cause such a sensation of authority on a plane; that conferred on a personality that transpires the episodes of life.

Hackman’s career started late. At the age of 34, he made his debut in Lilith (1964), after playing small-time roles on television and theater. It doesn’t take long for him to demonstrate his qualities, in a series of films with mixed success, until he shoots Bonnie and Clyde (1967). In the role of the older brother of the mythical delinquent, he attracts the attention of the Academy and they nominate him for best supporting actor. A warning of what would come shortly after. With My father is a stranger (1970) he once again touched the Oscar in the same category. He definitely gets it a year later, and as best lead performer, in French Connection (Against the drug empire)(1971). Here he plays “Popeye” Doyle, a quick-witted cop who, determined to make life miserable for a drug gang, gives us one of the most memorable car chases in movie history. Hackman ruled out specialists in his scenes and wanted to experience the sensations of the hard profession of a cop.

It is customary for Gene to completely immerse himself in his role: “I just live with him.” Sometimes even chapters of his biography have served to illustrate his characters. In the stupendous thriller Night Moves On (1975), many personal elements, such as being abandoned by his father as a child and enlisting in the Marines, are present in the characterization of Detective Harry Moseby, a perfectly embroidered role under the supervision of his favorite director, Arthur Penn .

Despite the fact that he already enjoyed the status of a superstar at that time, he felt failure with films that are now considered to be the best of his filmography. In The Conversation , his way of showing us the emotional and spiritual crisis of a man dedicated to telephone spying impresses, but the film did not meet expectations at the box office. From then on, her concept of the film business is adapted to alternate commercial films with others that give her the pleasure of entering the set “to assume the responsibilities and actions of another identity.” The truth is that his professionalism is beyond question and in films for the general public such as Superman (1978) and sequels; Beyond the value (1983) or Quick and deadly(1995), their presence has helped to counteract the shortcomings of some mediocre products.

In the last 20 years, his name has continually jumped from topping the credits with Accidental Witness , Mississippi Burns (magnificent FBI agent investigating the disappearance of three people in the racist South of the United States); to a place of honor among supporting actors. Never paying attention to the decline in his popularity, he has played unpleasant roles of unscrupulous powerful, as in There is no way out (1988), Absolute power (1996), The cover (1993), leaving corpses on the way and demonstrating how to enter into the black guts of the worst villains. The cruelest gave him his second Oscar (this secondary) with Unforgiven(1992), Clint Eastwood ‘s wonderful twilight western , where he is the fearsome county sheriff.

In the end, in all genres, Hackman has always shown his versatility. Even in those where he has more conditioning, as in comedy ( A cage of crickets –1996), he knows how to make us laugh until we squirm in our seats. At 70 years old, he is still in the gap and in shape. There’s no stopping this performance Miura made for action, but dedicated to doing it all. His style, his school has the absolute respect of the union and no one argues with him, if he wants to when he denies the sensationalism of current cinema. His last two lessons are Forced Team (2000) and Under Suspicion (2000), but don’t worry, still, sure, there will be more.