We were all shocked this week to learn of the death of actor Gene Hackman. The story is incredibly tragic - although a great deal of questions remain unanswered at this time. Hackman was one of those great 70’s screen stars, an actor that always ended up among our ‘most treasured’ when compiling a list of iconic stars. I never had any problem placing Hackman right up there with Clint, Newman, Redford, Bronson, McQueen, Caan, Pacino et al - he starred in some of the most iconic films of the Seventies and was a two time Oscar winner.
(Bonnie and Clyde 1967)
I thought I’d use Variety’s post here (by Carmel Dagan and Jackson Kim Murphy) who have written a nicely summarised overview of his impressive career:
Gene Hackman, a two-time Oscar winner for “The French Connection” and “Unforgiven,” and his wife, classical pianist Betsy Arakawa, were found dead Wednesday afternoon in their Santa Fe, N.M. home. The office of Santa Fe County Sheriff Adan Mendoza confirmed their deaths to Variety after midnight Thursday. There is no immediate indication of foul play, per authorities, though the Sheriff’s office did not immediately provide a cause of death. Hackman was 95. Arakawa was 65.
On Wednesday, Sheriff’s deputies visited the home of Hackman and Arakawa, who married in 1991. The couple was found dead, alongside their dog.
“All I can say is that we’re in the middle of a preliminary death investigation, waiting on approval of a search warrant,” the sheriff told the Santa Fe New Mexican. The statement came before authorities had positively identified the pair, per the publication. “I want to assure the community and neighbourhood that there’s no immediate danger to anyone.”
Considered one of the great screen performers of the latter part of the 20th century, the tall, likable Hackman had an amiable grace, easy humour and a surprisingly wide range that made him equally believable in roles as lower-class losers and high-powered executives. Indeed, he played the president of the United States, albeit a homicidal one, in 1997’s “Absolute Power” and a former president in his final feature, “Welcome to Mooseport.”
(Marooned 1969)
Like the great character movie stars of an earlier era, James Cagney and Humphrey Bogart, Hackman transcended any limitations by the sheer force of his presence, becoming as identifiable and admired as some of his higher-paid contemporaries such as Robert De Niro, Al Pacino and Dustin Hoffman.
(Riot 1969)After years in stage and television, Hackman broke out with his role as Clyde Barrow’s explosive older brother in the 1967 film “Bonnie and Clyde,” which brought him his first Oscar nomination in supporting actor. Pauline Kael dubbed his performance the best in the film. He soon after did an about-face as Melvyn Douglas’ timid son in “I Never Sang for My Father” and drew a second Oscar nom.
(The French Connection 1971)But his role as Jimmy “Popeye” Doyle, the rogue cop in the Oscar best picture winner “The French Connection,” defined him and cast his trajectory as one of the American cinema’s great actors. His performance in the 1971 thriller nabbed him an Academy Award for best actor. The following years saw Hackman end up in enough poorly regarded films to doom most actors (from “March or Die” to “Banning” and “Bat 21”); he also reportedly turned down assignments in “Ordinary People,” “Apocalypse Now” (the Robert Duvall role), “Network” and “One Flew Over the Cuckoo’s Nest.”
(The Conversation 1974)Hackman always had a surprise hit up his sleeve, as in films like “The French Connection II,” “The Firm” and even “The Poseidon Adventure.”
Hackman delivered an impressive array of performances that have only grown in stature over time. His Harry Caul in Francis Ford Coppola’s “The Conversation” is every bit as strong and well delineated now, as when the film debuted in 1974. The same is true of his stoic promoter in the Michael Ritchie ski film “Downhill Racer.”
Hackman was memorable as a journalist caught in the intrigue of Central American revolution in Roger Spottiswoode’s “Under Fire”; he shone in Arthur Penn’s suspenseful “Night Moves”; and he was cracklingly funny as the canny Lex Luthor in the “Superman” films. The actor brought strength to the role of a basketball coach in “Hoosiers” and wry humor to the FBI agent in “Mississippi Burning” (which brought him his fourth Oscar nomination and his second for a lead role).
Into his early 70s, even after he was burdened with heart trouble, he scored with impressive characterizations in roles both big and small. His onscreen confidence seemed to grow, not diminish with age — the true sign of a great performer. He often stole scenes from bigger stars of the day, as he demonstrated opposite Meryl Streep in “Postcards From the Edge” and Tom Cruise in “The Firm.” And when he was pitted against formidable opponents, such as Denzel Washington in “Crimson Tide” and Nick Nolte in “Under Fire,” there were fireworks. When he got even half a chance, he was never less than memorable.
In 1993, he won a second Oscar for his supporting performance as a vicious sheriff in Clint Eastwood’s “Unforgiven,” another best picture Oscar winner. The year before, Hackman starred on Broadway, after an absence of decades, in Ariel Dorfman’s “Death and the Maiden.”
He was very busy on the big screen in 1995: In the submarine thriller “Crimson Tide,” he turned in a first-rate toplining performance; he was just as good as the scathingly comic scalawag producer in “Get Shorty”; and he was an enjoyable villain in the Sharon Stone Western “The Quick and the Dead.” He scored a comic bulls-eye in “The Birdcage” the following year, as an uptight right-wing U.S. senator.
(Talking meat with Lee Marvin, Prime Cut 1972)In 1998, Hackman returned to the surveillance thriller for Tony Scott’s “Enemy of the State,” a spiritual albeit more explosive sequel to Coppola’s “The Conversation” in which the veteran teamed with then-rising star Will Smith. He later played the shifty dad to Ben Stiller, Gwyneth Paltrow and Luke Wilson in Wes Anderson’s “The Royal Tenenbaums,” giving the auteur a memorable, old guard lead turn for his third feature.
(with Sean Connery, A Bridge too far 1977) After starring in the 2003 feature “Runaway Jury” (his third John Grisham adaptation), Hackman retired with his final credit being “Welcome to Mooseport” in 2004.
Eugene Alden Hackman was born in San Bernardino, Calif., though he grew up in Danville, Ill. At age 16, he lied about his age and joined the Marine Corps. He was stationed in Shanghai, Hawaii and Japan. In the military Hackman served as a DJ and newscaster for his unit’s radio station, despite a phobia about microphones.
(Superman 1978)After the military, he studied journalism briefly at the University of Illinois and then moved to New York to study radio techniques under the G.I. Bill. After working at several radio stations, he went to California, where he studied acting at the Pasadena Playhouse. His first production was “The Curious Miss Caraway,” starring Zasu Pitts. But neither he, nor classmate Dustin Hoffman, was given much chance of success.
(Mississippi Burning 1988)He returned to New York in 1956 and took a variety of odd jobs while working in summer theater and studying with George Morrison. That year, he married his first wife, Faye Maltese. The two would have three children before divorcing in 1986.
On Broadway he starred in Irwin Shaw’s “Children From Their Games” in 1963; the play closed after four performances but won him the Clarence Derwent Award as most promising new actor.
(No Way Out 1987)After almost a decade pounding the boards, Hackman scored in Muriel Resnik’s “Any Wednesday” alongside Sandy Dennis and Jason Robards Jr. He stayed with the hit comedy for six months before getting above-the-title billing in Jean Kerr’s “Poor Richard,” which was not a hit but brought him good notices nonetheless.
(Unforgiven 1992)Director Robert Rossen had seen his stage work and rewarded Hackman with his film debut in a small role in 1964’s “Lilith,” which led to parts in “Hawaii,” “A Covenant With Death,” “Banning” and “First to Flight.” Throughout the ’60s Hackman honed his craft on television, appearing on “The U.S. Steel Hour,” “The Defenders,” “Naked City,” “The F.B.I.” and “The Invaders.” He excelled in CBS Playhouse’s 1968 production of “My Father and My Mother.” By then he already had an Oscar nomination under his belt for “Bonnie and Clyde.”
(Absolute Power 1997)
