Movies

Our 7 favorite Gene Hackman films

BBG News

Physically, he carried an unassuming aura that enabled him to convincingly portray cops, working-class men, and even the President of the United States. His voice could rumble and ascend, touching the darkest depths of villainy and reaching the highest pitches of a cunning manipulator. Gene Hackman was not just versatile; he was elusive. He leaped through his early successes like “Bonnie and Clyde” and “The French Connection”, and this was only the beginning. Despite his subtle performance in Francis Ford Coppola’s 1974 thriller “The Conversation,” all of Hackman’s roles were intricate, making them perpetually captivating. His murderers cracked jokes; his heroes leaned casually. Upon hearing of the actor’s death at age 95, we asked our team for their favorite performances, and their responses varied from the profound to the casual.

‘Young Frankenstein’ (1974)

Harold, portrayed by Hackman, struggles to find words as he leads the monstrous character into his humble abode,” he explains, “having personally experienced the pangs of hunger and cold.” And indeed, he had endured those hardships. When Hackman decided to pursue his career, he spent years in an East Village apartment without hot water, battling hunger. He even faced the risk of losing a promising opportunity when a young actress criticized his looks.

It’s clear that actors aren’t defined by their characters, but there are hints of their true selves in the roles they choose. For instance, examining Hackman’s career, I find myself particularly intrigued by 1974, a year when his fame seemed to skyrocket, yet he was uncertain about Hollywood’s acceptance of a leading man with a prominent chin.

Anticipating the burst of the bubble, Hackman accepted numerous roles involving violence. In the midst of his peak workload, with his family anxiously awaiting him at home, he persuaded Mel Brooks to grant him a cameo appearance in “Young Frankenstein.

Brooks declined giving a role in his black-and-white satire to the most trendy tough guy of the town. This was shared with him by Hackman’s tennis companion, Gene Wilder.

Did any element from that peculiar film offer something I could potentially take on?” Hackman inquired, having had enough of his stern expression. Wilder then explained about a minor role as a blind character, to which Hackman was informed by Brooks that it didn’t come with much remuneration.

“I just want to do it,” Hackman replied.

I can’t stop replaying this four-minute clip, captivated by the glassy gaze, the arched eyebrows reminiscent of curious caterpillars, his soft growl as he lights a cigar. A sense of longing seems to radiate from him, like an anxious person on a first date. Hackman ad-libbed Howard’s well-known final line, “I was going to make espresso.

One shouldn’t assume deeper meanings from a brief appearance by Hackman, but it’s hard not to notice the similarities between the kindness Howard shows the overwhelmed newcomer – spilled soup, broken wine glasses, clenched fists – and the favoritism Hollywood bestowed upon Hackman. He was fortunate to be given a chance. Yet, why did he feel so apprehensive?

The aim is to maintain the original meaning while using simpler, more conversational language that flows smoothly and is easier for readers to understand.

It’s uncertain when, or even if, Hackman truly felt accepted as a leading actor in the film industry. His career was often busy, making me ponder if he harbored doubts about his long-term success, his typecasting, and his appearance. Could it be that Hollywood saw him as an oddity rather than a star?

‘Night Moves’ (1975)

As a dedicated cinephile, I can’t help but marvel at Hackman’s incredible versatility during the 70s, whether it was his chilling portrayal in “Prime Cut,” the raw realism of “Scarecrow,” or countless other unforgettable roles. Yet, amidst all this diversity, he managed to stay true to himself, and perhaps the most poignant embodiment of Hackman’s signature wounded, melancholic masculinity can be found in the 1975 film “Night Moves.” Directed by Arthur Penn, who had previously collaborated with Hackman on the iconic “Bonnie and Clyde,” this movie showcases Hackman as Harry Moseby, a former pro football player turned L.A. private investigator.

Hired by a faded actress to find her missing daughter, Moseby’s journey takes him to the Florida Keys. Initially, he approaches the case with no illusions, but he is still shocked and disillusioned by the sleazy, depraved world he encounters. In one poignant scene, as Moseby tries to avoid confronting his wife about her infidelity, he sits alone watching a baseball game on TV. With just a few lines, Hackman conveys an entire worldview shaken to its core when his wife asks who’s winning. “Nobody,” he replies. “One side’s just losing slower than the other.”

What makes this performance even more impressive is the impeccable wardrobe of tweeds, suede, slacks, and turtlenecks that Hackman wears with effortless athletic grace. It’s safe to say that “Night Moves” not only offers a gripping mystery but also some seriously enviable movie fits.

‘Superman’ (1978)

In my youth, at just six years old, long before I encountered Hackman’s deeper, complex performances, his unforgettable portrayal of Lex Luthor in Richard Donner’s “Superman” left an indelible mark on me, much like a powerful superhero punch. With his comical, slightly pitiful wig and mischievous malevolence, Hackman’s Luthor was as ridiculous as he was terrifying – a villain you couldn’t help but cheer for, despite his plans to destroy California by setting off a missile detonation along the San Andreas Fault. Unlike the grim versions of Lex portrayed later by actors like Jesse Eisenberg with his twitchy, unstable demeanor or Kevin Spacey’s cold, corporate antagonist, Hackman’s Luthor was more akin to a flamboyant Bond villain, absurd, vain, and hilariously entertaining as he grandly orchestrated his schemes. Ned Beatty perfectly complemented him as the bumbling sidekick Otis, and Hackman’s playful take on the evil mastermind would pave the way for future comic-book adversaries, from Jack Nicholson’s Joker to Tom Hiddleston’s Loki. As Hackman himself once put it, “Playing Lex Luthor is like being given a license to steal. Almost anything I do will be accepted because he’s flamboyant and mad, exactly the kind of roles actors love to play. I wouldn’t trade playing Superman for that role.” – Josh Rottenberg

‘Mississippi Burning’ (1988)

For me, “Mississippi Burning” was Gene Hackman’s defining role in film. The story, based on the 1964 investigations into the murders of civil rights workers James Chaney, Andrew Goodman, and Michael Schwerner, is still painfully relevant today, but it’s Hackman’s portrayal that truly stands out. His character, Rupert Anderson, embodies what made Hackman one of the few leading men who could convincingly play a character actor. Director Alan Parker’s 1988 movie offers a chilling glimpse into the deeply entrenched racism of small southern towns during the KKK’s reign. When three civil rights workers disappear, two FBI agents are sent to investigate: the uptight and angry Northerner, Alan Ward (played by Willem Dafoe), and the former Mississippi sheriff, Anderson (Hackman). Anderson’s knack for using friendliness to gain access and trust mirrors Hackman’s own skill at creating human characters, regardless of their moral alignment. A particularly memorable scene showcases Anderson confronting both a corrupt deputy and the Klan’s most brutal enforcer. In just three minutes, this scene serves as a testament to Hackman’s versatility, reminding us that he was always more than just an actor; he was someone we recognized because of his uncanny ability to bring depth to any role. — Mary McNamara

‘Unforgiven’ (1992)

As Joshua Rothkopf put it, David Webb Peoples penned a timeless script in the late 1970s, an era where westerns could include witty banter, cynical insights, and unexpected plot twists. At its heart is a two-part masterpiece about the creation (and destruction) of reputations that only an actor as skillful as Hackman could execute. These scenes unfold in a jail setting; they mirror each other in their rapid-fire dialogue reminiscent of Howard Hawks’ “Rio Bravo.”

In the initial scene, Hackman’s character, Little Bill Daggett, a man already etched deeply into our minds as cruel, shows himself to be a sharp critic of literature too. He persistently refers to his prisoner, English Bob (Richard Harris), as “The Duck of Death,” and it takes only a few instances before we realize he’s not mispronouncing ‘duke.’ (Intriguingly, a biographer watches in horror as the book gets destroyed right before their eyes.)

By the next scene, Little Bill has taken center stage, inflating himself with self-importance. However, his eyes widen dramatically when a test of courage presents itself, revealing once again his ruthless nature. Hackman was the only one who could seamlessly transition from storyteller to harbinger of death in such a short span of screen time. He continues to reside rent-free in my thoughts during these captivating moments alone.

‘The Firm’ (1993)

In a captivating portrayal, Gene Hackman embodied the enigmatic character Avery Tolar, a man simultaneously virtuous and corrupt, deeply rooted in Memphis law firm’s criminal dealings with a Chicago mob family. While Tom Cruise’s youthful Mitch was the lead character in Sydney Pollack’s adaptation of John Grisham’s novel, it was Hackman’s Avery who captivated as the seasoned, morally ambiguous figure guiding Mitch on his corrupt path. His expression, a stretched smile that hinted at both charm and discomfort, concealed a conscience long buried but still within reach.

A poignant scene from the film that resonated upon hearing of Hackman’s passing was when Avery, grappling with the life lost to his criminal past, found himself alone with Mitch’s wife Abby (Jeanne Tripplehorn). In an attempt to divert attention and aid her in gathering evidence against the firm, she questioned him about his impending fate. “Whatever it is, they did it a long time ago,” he replied, a truth delivered by Hackman with quiet yet agonizing intensity. This moment underscored the intricate nature of humanity’s complexities, as depicted masterfully by Gene Hackman.

– Yvonne Villarreal

‘The Royal Tenenbaums’ (2001)

After repeatedly viewing Wes Anderson’s “The Royal Tenenbaums,” Gene Hackman’s portrayal of the flawed family patriarch, Royal, never fails to move me profoundly. As a father who abandoned his family and frequently acted like an unpleasant character, Hackman manages to transform this man into a lovable scoundrel that you find yourself rooting for as he strives to make amends for his past mistakes. In a poignant moment, Royal asks, “Can’t somebody be a sinner their whole life and try to fix the damage?” At first, it seems like an act, with Royal feigning illness from stomach cancer only to later be exposed as a liar (his frequent consumption of three-cheeseburgers being a clue). However, when he departs, Royal expresses genuine surprise that the previous six days have been the best of his life. This emotion is evident on Hackman’s face, which underscores Royal’s redemption and contributes to the heartwarming resolution of the film. Despite a reluctance to be involved, Hackman eventually agreed to participate in the production due to persuasion from his agent. One scene that remains etched in my memory is when Royal and his two grandchildren go-kart through New York City’s streets to the tune of Paul Simon’s “Me and Julio Down by the Schoolyard.” Just thinking about it brings a smile to my face. — Glenn Whipp

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2025-03-01 04:02

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