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In Reply to: The Pawnbroker posted by warrenh@optonline.net on October 30, 2005 at 03:43:29:
I always have a problem with him - way too hammy.
Follow Ups:
...a first rate performance in a landmark film. No disagreement about the nature of his acting style from me-I think he was overly mannered, rather stagey, in fact. But he had moments that were shattering. He could express a lot with his eyes. The other posters who accuse him of being hammy are not wrong. The look he gives Brando in the taxi, when he lets his brother off the hook, and seals his own fate, is memorable. He did a silent scream in Pawnbroker that was unforgetable. Comparisons are difficult. He's an "anglo" Anthony Quinn, a charming Harvey Keitel, a scenery eating blowhard, who had unexpected moments of sublety. I liked him.
Second sequel: Three the Brothel.
...and I agree with you - I saw him in a relatively recent (1999) cameo role as a judge (Crazy in Alabama)and I thought he was just this side of embarassing but there's no doubt he was a giant, for sure.
..
He always strived to make his characters memorable and believeable; in so doing sometimes he was less effective than others, but he was never dull, much less "hammy," IMO. His detractors are ummm, ...how do I put this politely, ...let's just say say full of baloney.Among Steiger's most memorable roles were as W.C. Fields in W.C. Fields and Me, Sol Nazerman in The Pawnbroker, Bill Gillespie in In the Heat of The Night and the sadistic Pinky in Jubal, but there are so many other great performances.
One of my guilty pleasure faves is January Man, a relatively benign cops & robbers comedy/drama with Steiger cast as Mayor Eamon Flynn. There is one scene where Steiger decides to raise the level of his performance several notches above the material. Unexpectedly he becomes so intense that Harvey Keitel and Danny Aiello who are in the scene with him become visibly shaken by the dressing down he gives them, and they're literally awed into silence! While this was not out of character for the Mayor as the part was written it was such a jarring performance that it stood out in an otherwise "fluff" movie where the actors were picking up a paycheck and letting the dialogue carry the film. Thankfully this startling scene was left in the final edit of the movie.
AuPh
No Way To Treat A Lady (nt)
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and also quite a lonely person; that role is a superb characterization
Wouldn't Steiger have been great as the police chief in Mississippi Burning?Grins
The thing that I find fascincating is the scene in 'In the Heat of the Night' when Virgil and Gillespie have had dinner and are relaxing in his living room. Gillespie announces that Virgil is the first human being that has been to his home, socially. Virgil thinks that he can't be serious and continues listen to Steiger's character talk about his personal life and they are starting to connect.Gillespie: 'Now look. I got no wife. I got no kids. Boy, I got a town that... don't want me. And I got an air conditioner that I have to oil myself, and a desk with a busted leg. And on top of that, I got... this, uh..place.
Now, don't you think that'd drive a man to takin' a few drinks?
I'll tell you a secret. Nobody comes here. Never.'They talk a little more and then Gillespie asks Virgil asks him:
'Don't you get just... a little lonely?'
Virgil:'No lonelier than you, man.'
Gillespie: 'Oh, now, don't get smart, black boy.
I don't need it. No pity, thank you. No, thank you!'Virgil is immediately taken aback and the brief moment of bonding between these polarized characters is shattered by this outburst.
The awkward moment is interupted by a knock at the door, and Tibbs leaves with Packy to question Mama Caleba.
Gillespie is left standing alone in his living room.
This scene saddens me every time I see it, and never fails to break my heart for Steiger's character. A brilliant scene by two superb actors in their prime.
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Al Capone?
his wife.
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