Philip Seymour Hoffman
Philip Seymour Hoffman | |
---|---|
Born | Philip Hoffman July 23, 1967 Fairport, New York, U.S. |
Died | February 2, 2014 New York City, U.S. | (aged 46)
Alma mater | New York University |
Occupations |
|
Years active | 1991–2014 |
Works | Full list |
Partner | Mimi O'Donnell (1999–2014) |
Children | 3, including Cooper |
Relatives | Gordy Hoffman (brother) |
Awards | Full list |
Philip Seymour Hoffman (July 23, 1967 – February 2, 2014) was an American actor. Known for his distinctive supporting and character roles—eccentrics, underdogs, and misfits—he acted in many films and theatrical productions, including leading roles, from the early 1990s until his death in 2014. He was voted one of the 50 greatest actors of all time in a 2022 readers' poll by Empire magazine.
Hoffman studied acting at
While he mainly worked in
Hoffman struggled with
Early life and education
Philip Hoffman was born on July 23, 1967, in the
Hoffman was baptized a
Acting gradually became a passion for Hoffman: "I loved the camaraderie of it, the people, and that's when I decided it was what I wanted to do."
Career
1991–1995: Early career
After graduating, Hoffman worked in
Hoffman continued playing small roles throughout the early 1990s. After appearing in
Still considering stage work to be fundamental to his career,
1996–1999: Rising star
Between April and May 1996, Hoffman appeared at the
That wasn't easy. It's hard to sit in your boxers and jerk off in front of people for three hours. I was pretty heavy, and I was afraid that people would laugh at me. Todd said they might laugh, but they won't laugh at you. He saw what we were working for, which was the pathos of the moment. Sometimes, acting is a really private thing that you do for the world.
Continuing with this momentum, Hoffman appeared in five films in 1998. He had supporting roles in the crime thriller
Hoffman took an unflattering role in Todd Solondz's Happiness (1998),[36] a misanthropic black comedy about the lives of three sisters and those around them. He played Allen, a strange loner who makes crude phone calls to women; the character furiously masturbates during one conversation, producing what film scholar Jerry Mosher calls an "embarrassingly raw performance".[36] Jake Coyle of the Associated Press rated Allen as one of the creepiest characters in American cinema,[37] but critic Xan Brooks highlighted the pathos that Hoffman brought to the role.[38] Happiness was controversial but widely praised,[39] and Hoffman's role has been cited by critics as one of his best.[37][40] His final 1998 release was more mainstream, as he appeared as a medical graduate in the Robin Williams comedy Patch Adams. The film was critically panned, but one of the highest-grossing of Hoffman's career.[41][42]
In 1999, Hoffman starred opposite
One of the most critically and commercially successful films of Hoffman's career was The Talented Mr. Ripley (1999),[42][49] which he considered "as edgy as you can get for a Hollywood movie".[50] He played a "preppy bully" who taunts Matt Damon's Ripley in the thriller, a character which Jeff Simon of The Buffalo News called "the truest upper class twit in all of American movies".[9] Hoffman's performance caught the attention of Meryl Streep, another of his cinematic idols: "I sat up straight in my seat and said, 'Who is that?' I thought to myself: My God, this actor is fearless. He's done what we all strive for—he's given this awful character the respect he deserves, and he's made him fascinating."[18] In recognition of his work in Magnolia and The Talented Mr. Ripley, Hoffman was named the year's Best Supporting Actor by the National Board of Review.[51]
2000–2004: Established star
Following a string of roles in successful films in the late 1990s, Hoffman had established a reputation as a top supporting player who could be relied on to make an impression with each performance.[52] His film appearances were likened by David Kamp of GQ to "discovering a prize in a box of cereal, receiving a bonus, or bumping unexpectedly into an old friend".[18] According to Jerry Mosher, as the year 2000 began, "it seemed Hoffman was everywhere, poised on the cusp of stardom".[53]
Hoffman had begun to be recognized as a theater actor in 1999, when he received a
In 2002, Hoffman was given his first leading role (despite joking at the time "Even if I was hired into a leading-man part, I'd probably turn it into the non-leading-man part")[65] in Todd Louiso's tragicomedy Love Liza (2002). His brother Gordy wrote the script, which Hoffman had seen at their mother's house five years earlier, about a widower who starts sniffing gasoline to cope with his wife's suicide. He considered it the finest piece of writing he had ever read, "incredibly humble in its exploration of grief",[13] but critics were less enthusiastic about the production. A review for the BBC wrote that Hoffman had finally been given a part that showed "what he's truly capable of",[66] but few witnessed this as the film had a limited release and earned only US$210,000.[67]
Later in 2002, Hoffman starred opposite Adam Sandler and Emily Watson in Anderson's critically acclaimed fourth picture, the surrealist romantic comedy-drama Punch-Drunk Love (2002), where he played an illegal phone-sex "supervisor".[68] Drew Hunt of the Chicago Reader saw the performance as a fine example of Hoffman's "knack for turning small roles into seminal performances" and praised the actor's comedic ability.[69] In a very different film, Hoffman was next seen with Anthony Hopkins in the high-budget thriller Red Dragon, a prequel to The Silence of the Lambs, portraying the meddlesome tabloid journalist Freddy Lounds.[70] His fourth appearance of 2002 came in Spike Lee's drama 25th Hour, playing an English teacher who makes a devastating drunken mistake.[71] Both Lee and the film's lead Edward Norton were thrilled to work with Hoffman, and Lee confessed that he had long wanted to do a picture with the actor, but had waited until he found the right role.[72] Hoffman considered his character, Jakob, to be one of the most reticent characters he had ever played, a straight-laced "corduroy-pants-wearing kind of guy."[13] Roger Ebert promoted 25th Hour to one of his "Great Movies" in 2009,[73] and along with A. O. Scott,[74] considered it to be one of the best films of the 2000s.[75]
The drama
Hoffman's second 2003 appearance was a small role in Anthony Minghella's successful Civil War epic Cold Mountain.[79] He played an immoral preacher, a complex character that Hoffman described as a "mass of contradictions".[80] The same year, from April to August, he appeared with Vanessa Redgrave, Brian Dennehy, and Robert Sean Leonard in a Broadway revival of Eugene O'Neill's Long Day's Journey into Night.[81] Director Robert Falls later commented on the dedication and experience that Hoffman brought to his role of alcoholic Jamie Tyrone: "Every night he ripped it up to an extent that he couldn't leave [the role]. Phil carried it with him."[82] Hoffman received his second Tony Award nomination, this time for Best Featured Actor in a Play.[54] In 2004, he appeared as the crude, has-been actor friend of Ben Stiller's character in the box-office hit Along Came Polly.[83] Reflecting on the role, People said it proved that "Hoffman could deliver comedic performances with the best of them".[28]
2005–2009: Critical acclaim
A turning point in Hoffman's career came with the biographical film
Hoffman received his only
Returning to independent films in 2007, Hoffman began with a starring role in
The year 2008 contained two significant Hoffman roles. In Charlie Kaufman's enigmatic drama Synecdoche, New York, he starred as Caden Cotard, a frustrated dramatist who attempts to build a scale replica of New York inside a warehouse for a play.[100] Hoffman again showed his willingness to reveal unattractive traits, as the character ages and deteriorates, and committed to a deeply psychological role.[101] Critics were divided in their response to the "ambitious and baffling" film.[102] Sonny Bunch of The Washington Times found it "impressionistic, inaccessible, and endlessly frustrating", likening Hoffman's character to "God, if God lacked imagination".[103] Conversely, Roger Ebert named it the best film of the decade and considered it one of the greatest of all time,[104] and Robbie Collin, film critic for The Daily Telegraph, believes Hoffman gave one of cinema's best performances.[105]
Hoffman's second role of the year came opposite Meryl Streep and
On stage in 2009, Hoffman played
Reflecting on Hoffman's work in the late 2000s, Mosher writes that the actor remained impressive, but had not delivered a testing performance on the level of his work in Capote. The film critic David Thomson believed that Hoffman showed indecisiveness at this time, unsure whether to play spectacular supporting roles or become a lead actor who is capable of controlling the emotional dynamic and outcome of a film.[114]
2010–2014: Final years
Hoffman's profile continued to grow with the new decade, and he became an increasingly recognizable figure.[23] Despite earlier reservations about directing for the screen,[9] his first release of the 2010s was also his first as a film director. The independent drama Jack Goes Boating was adapted from Robert Glaudini's play of the same name, which Hoffman had starred in and directed for the LAByrinth Theater Company in 2007. He originally intended to only direct the film, but decided to reprise the main role of Jack—a lonely limousine driver looking for love—after the actor he wanted for it was unavailable.[115] The low-key film had a limited release, and was not a high earner,[116] though it received many positive reviews.[117][118] However, Dave Edwards of the Daily Mirror remarked that "Hoffman's directing debut delivers a film so weak I could barely remember what it was about as I left",[119] while critic Mark Kermode appreciated the cinematic qualities that Hoffman brought to the film, and stated that he showed potential as a director.[120] In addition to Jack Goes Boating, in 2010 Hoffman also directed Brett C. Leonard's tragic drama The Long Red Road for the Goodman Theatre in Chicago. Steven Oxman of Variety described the production as "heavy handed" and "predictable", but "intriguing and at least partially successful".[121]
Hoffman next had significant supporting roles in two films, both released in the last third of 2011. In Bennett Miller's Moneyball, a sports drama about the 2002 season of the Oakland Athletics baseball team, he played the manager Art Howe. The film was a critical and commercial success, and Hoffman was described as "perfectly cast" by Ann Hornaday of The Washington Post, but the real-life Art Howe accused the filmmakers of giving an "unfair and untrue" portrayal of him.[122] Hoffman's second film of the year was George Clooney's political drama The Ides of March, in which he played the earnest campaign manager to the Democratic presidential candidate Mike Morris (Clooney). The film was well-received and Hoffman's performance, especially in the scenes opposite Paul Giamatti—who played the rival campaign manager—was positively noted.[123] Hoffman's work on the film earned him his fourth BAFTA Award nomination.[91]
In the spring of 2012, Hoffman made his final stage appearance, starring as Willy Loman in a Broadway revival of Death of a Salesman opposite Andrew Garfield. Directed by Mike Nichols, the production ran for 78 performances and was the highest-grossing show in the Ethel Barrymore Theatre's history.[124] Many critics felt that Hoffman, at 44, was too young for the role of 62-year-old Loman,[1] and Chris Jones of the Chicago Tribune felt that the character had been interpreted poorly.[125] Hoffman admitted that he found the role difficult,[31] but he nevertheless earned his third Tony Award nomination.[54]
Hoffman collaborated with Paul Thomas Anderson for the fifth time in
At the time of his death, Hoffman was filming
Personal life
Hoffman rarely mentioned his personal life in interviews, stating in 2012 that he would "rather not because my family doesn't have any choice. If I talk about them in the press, I'm giving them no choice. So I choose not to."[141] For 14 years, he was in a relationship with costume designer Mimi O'Donnell, whom he had met in 1999 when they were both working on the Hoffman-directed play In Arabia We'd All Be Kings.[142] They lived in New York City and had a son, Cooper, and two daughters.[143] While some reports stated Hoffman and O'Donnell separated in late 2013,[144] O'Donnell later said she and Hoffman were both committed to their relationship, but he had moved out of their longtime residence to a nearby apartment to protect their children from the effects of his relapse into substance abuse.[145]
He felt that keeping his personal life private was beneficial to his career: "The less you know about me the more interesting it will be to watch me do what I do".[19] Hoffman was also discreet about his religious and political beliefs, but it is known that he voted for the Green Party candidate Ralph Nader in the 2000 presidential election.[6][141] He also donated to Al Franken's senate campaign and the Democratic National Committee.[146]
In a 2006 interview with
Death
On February 2, 2014, Hoffman was found dead in the bathroom of his Manhattan apartment by his friend, the playwright and screenwriter David Bar Katz.[148] He was 46 years old.[149] Although friends stated that Hoffman's drug use was under control at the time,[144] detectives searching the apartment found heroin and prescription medication at the scene and revealed that he had a syringe in his arm.[150] Hoffman's death was officially ruled an accident caused by "acute mixed drug intoxication, including heroin, cocaine, benzodiazepines, and amphetamine".[151] Michael Schwirtz of The New York Times said, "whether Hoffman had taken all of the substances on the same day, or whether any of the substances had remained in his system from earlier use, was not reported."[152]
A funeral Mass was held at St. Ignatius Loyola Church in Manhattan on February 7, 2014, and was attended by many of his close friends and former co-stars including Amy Adams, Cate Blanchett, Ellen Burstyn, Louis C.K., Ethan Hawke, Laura Linney, Julianne Moore, Paul Thomas Anderson, Mike Nichols, Joaquin Phoenix, John C. Reilly, Jake Gyllenhaal, Diane Sawyer, Ben Stiller, Meryl Streep, Diane Keaton, Marisa Tomei, Brian Dennehy, Sam Rockwell, Josh Hamilton, Justin Theroux, Chris Rock and Michelle Williams. After the Mass, Hoffman's body was taken to be cremated, with his ashes given to his partner and children.[153][154] He left his fortune of around $35 million to Mimi O'Donnell in his October 2004 will, trusting her to distribute money to their children.[155]
Hoffman's death was lamented by fans and the film industry and was described by several commentators as a considerable loss to the profession.
Reception and acting style
Hoffman was held in high regard within both the film and theater industries, and he was often cited in the media as one of the finest actors of his generation.[1][141][164] In a 2022 readers' poll by Empire magazine, he was voted one of the 50 greatest actors of all time.[165] With his being overweight, one writer considered Hoffman to be "too pudgy to look romantic or heroic";[38][166] however, the actor said he was grateful for his appearance, as it made him believable in a wide range of roles.[70] Joel Schumacher once said of him in 2000, "The bad news is that Philip won't be a $25-million star. The good news is that he'll work for the rest of his life".[114] The Aiken Standard of South Carolina referred to him as an "anti-star", whose real identity remained "amorphous and unmoored".[167] Hoffman was acutely aware that he was often too unorthodox for the Academy voters. He remarked, "I'm sure that people in the big corporations that run Hollywood don't know quite what to do with someone like me, but that's OK. I think there are other people who are interested in what I do."[13]
Most of Hoffman's notable roles came in independent films, including particularly original ones, but he also featured in several Hollywood blockbusters.[1][16] He generally played supporting roles, appearing in both dramas and comedies,[168] but was noted for his ability to make small parts memorable.[11][16] Peter Bradshaw, film critic for The Guardian, felt that "Almost every single one of his credits had something special about it".[126] David Fear of Rolling Stone wrote that Hoffman "added heft to low-budget art films, and nuance and unpredictability to blockbuster franchises. He was a transformative performer who worked from the inside out, blessed with an emotional transparency that could be overwhelming, invigorating, compelling, devastating."[21]
Hoffman was praised for his versatility and ability to fully inhabit any role,[12][38] but specialized in playing creeps and misfits: "his CV was populated almost exclusively by snivelling wretches, insufferable prigs, braggarts and outright bullies" writes the journalist Ryan Gilbey.[16] Hoffman was appreciated for making these roles real, complex and even sympathetic;[1][16][21] while Todd Louiso, director of Love Liza, believed that Hoffman connected to people on screen because he looked like an ordinary man and revealed his vulnerability.[169] Xan Brooks of The Guardian remarked that the actor's particular talent was to "take thwarted, twisted humanity and ennoble it".[38] "The more pathetic or deluded the character," writes Gilbey, "the greater Hoffman's relish seemed in rescuing them from the realms of the merely monstrous."[16] When asked in 2006 why he undertook such roles, Hoffman responded, "I didn't go out looking for negative characters; I went out looking for people who have a struggle and a fight to tackle. That's what interests me."[170]
Work ethic
The journalist Jeff Simon described Hoffman as "probably the most in-demand character actor of his generation",[9] but Hoffman said he never took it for granted that he would be offered roles.[72] Although he worked hard and regularly,[13] he was humble about his acting success: an anecdote went that when asked by a friend in the early 2000s if he was having any luck in his career, he quietly replied, "I'm in a film, Cold Mountain, that has just come out."[8] Patrick Fugit, who worked with Hoffman on Almost Famous, recalled the actor was intimidating but an exceptional mentor and influence in "a school-of-hard-knocks way", remarking that "there was a certain weight that came with him".[171] Hoffman admitted that he sometimes appeared in big-budget studio films for the money, but said, "ultimately my main goal is to do good work. If it doesn't pay well, so be it."[172] He kept himself grounded and invigorated as an actor by attempting to appear on stage once a year.[172]
Hoffman occasionally changed his hair and lost or gained weight for parts,[11] and he went to great lengths to reveal the worst in his characters.[53] But in a 2012 interview, he confessed that performing to a high standard was a challenge: "The job isn't difficult. Doing it well is difficult."[16] In an earlier interview with The New York Times, he explained how deeply he loved acting but added, "that deep kind of love comes at a price: for me, acting is torturous, and it's torturous because you know it's a beautiful thing ... Wanting it is easy, but trying to be great—well, that's absolutely torturous."[7] This struggle was confirmed by the author John le Carré, who met Hoffman during the adaptation of his novel A Most Wanted Man. While praising the actor's intelligence and intuition, le Carré acknowledged the burden that Hoffman felt: "It was painful and exhausting work, and probably in the end his undoing. The world was too bright for him to handle."[173]
Acting credits and accolades
Hoffman appeared in 55 films and one miniseries during his screen career spanning 22 years. He won the
In 2022, a statue of Hoffman was unveiled in his hometown of Fairport, New York. The statue was sculpted by David A. Annand and commissioned by James Declan Tobin, a film producer who befriended Hoffman's mother at the 2015 Sundance Film Festival.[174] Originally on loan from a gallery in New York City,[175] the statue was permanently installed outside the George Eastman Museum in 2023. Hoffman’s mother, Marilyn O'Connor, called the sculpture "a loving memorial" to her son.[176]
References
Notes
- ^ Hoffman continued to collaborate with Anderson, appearing in all but one of the director's first six films. The others were Boogie Nights, Magnolia, Punch-Drunk Love, and The Master.[16]
- ^ John C. Reilly co-starred with Hoffman in Anderson's films Hard Eight, Boogie Nights, and Magnolia, and the pair were already well-acquainted with each other as actors.
Citations
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- ^ Syracuse Post Standard. p. 78. Archivedfrom the original on June 28, 2013. Retrieved February 2, 2014.
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- ^ a b c Mosher 2011, p. 111.
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External links
- Philip Seymour Hoffman at IMDb
- Philip Seymour Hoffman at the Internet Broadway Database
- Philip Seymour Hoffman at the Internet Off-Broadway Database
- Philip Seymour Hoffman collected news and commentary at The New York Times