Greatish Performances #36


#36 — Evangeline Lilly as Hope van Dyne in Ant-Man (Peyton Reed, 2015)

As impressive as the Marvel Studios business model of craftily interlocking films has been (and markedly difficult for others to replicate), the actual cinematic quality of their output has been shakier. The combination of craft and inspiration needed to elevate material past product into art is compromised by the sheer mechanics of the upstart movie moguls’ master plan. Surprisingly, given the fact that the studio’s extraction from source material is based far more on the costumed figures than any particular storylines in which they appeared, one of the most consistently weak areas is in character development.

This key shortcoming is typically disguised by the incredibly astute casting choices the studio has made, at least after a slightly bumpy beginning. (Wave to the people, Terrence Howard and Edward Norton!) The characters cohere less from what’s on the page and more from a strange alchemy of the actor’s charisma and the fundamental possibilities of the respective roles. Robert Downey, Jr.’s turn as Tony Stark is emblematic, drawing on the actor’s impish restlessness and flash fires of bizarrely ingratiating ego to create a vision of the kajillionaire inventor that has no precise antecedent in the panels from which he is mined. Downey is consistently winning in the part, but even now he cuts against the material as often as he aligns with it. The approach is defining, and individual actors who have long hauls with their roles typically do better when they strip away the layers of character and are noticeably, comfortably themselves on screen. Scarlett Johansson scraps the accent and ignores Black Widow’s haunted history. Chris Hemsworth gives up on the burdensome Shakespearean weight imposed on Thor.

If I’ve identified a rule, there’s of course an exception. In Ant-Man, Evangeline Lilly plays Hope van Dyne, the daughter of the scientist (Michael Douglas) who created the size-changing technology that allows the titular hero (Paul Rudd) to shrink down to a minuscule version of himself. Enlisted to help train Rudd’s character, an ex-con whose presumed slippery ethics are a major part of the reason he was asked to suit up for wild adventures, Lilly’s Hope is fierce and strident. She puts her charge through the paces with a perturbed sense of duty, all the while exuding a forthright assurance that prompts the natural question as to why she wasn’t given the chance to play superhero in the first place.

Female roles — even leading female roles — haven’t exactly been a strength of the Marvel movies, which Lilly’s performance seems to comment on, particularly in the satisfying meta moment in the tag-on scene that finds Hope being introduced to a costumed tailored for her and noting, “It’s about damn time.” Other Marvel movie characters are saddled with plenty of backstory, but the details tend to be plot points almost detached from the person. Lilly takes every bit that’s given to her — resentment toward her father, acumen acquired from years in the family business, pangs of regret related to her missing mother — and uses it fully, building Hope layer by layer. There is nuance in her reactions that convey the history she carries. She’s more than an action figure biding time until the next set piece. Watching her process information is more fascinating than any of the movie’s digitally-drawn derring-do.

There are plenty of performances worth cheering across the Marvel movies. In addition to transforming narrative into a weirdly open-ended and overlapping act of ongoing effort, the studio has shifted the tectonic plates of movie stardom. Downey is a more major figure than he’s every been, but that celebrity is so thoroughly bound to Tony Stark that it’s strange to see him do anything else. Lilly transcends the built-in limitation of the model by simply giving more, by not stepping away from the actor’s foundational chore of of finding the inner being of the character and depicting it with honesty and constancy. In this movie universe of mighty feats, nothing is more heroic.



About Greatish Performances
#1 — Mason Gamble in Rushmore
#2 — Judy Davis in The Ref
#3 — Humphrey Bogart in Casablanca
#4 — Kirsten Dunst in Eternal Sunshine of the Spotless Mind
#5 — Parker Posey in Waiting for Guffman
#6 — Patricia Clarkson in Shutter Island
#7 — Brad Pitt in Thelma & Louise
#8 — Gene Wilder in Willy Wonka & the Chocolate Factory
#9 — Jennifer Jason Leigh in The Hudsucker Proxy
#10 — Marisa Tomei in My Cousin Vinny
#11 — Nick Nolte in the “Life Lessons” segment of New York Stories
#12 — Thandie Newton in The Truth About Charlie
#13 — Danny Glover in Grand Canyon
#14 — Rachel McAdams in Red Eye
#15 — Malcolm McDowell in Time After Time
#16 — John Cameron Mitchell in Hedwig and the Angry Inch
#17 — Michelle Pfeiffer in White Oleander
#18 — Kurt Russell in The Thing
#19 — Eric Bogosian in Talk Radio
#20 — Linda Cardellini in Return
#21 — Jeff Bridges in The Fisher King
#22 — Oliver Platt in Bulworth
#23 — Michael B. Jordan in Creed
#24 — Thora Birch in Ghost World
#25 — Kate Beckinsale in The Last Days of Disco
#26 — Michael Douglas in Wonder Boys
#27 — Wilford Brimley in The Natural
#28 — Kevin Kline in Dave
#29 — Bill Murray in Scrooged
#30 — Bill Paxton in One False Move
#31 — Jennifer Lopez in Out of Sight
#32 — Essie Davis in The Babadook
#33 — Ashley Judd in Heat
#34 — Mira Sorvino in Mimic
#35 — James Gandolfini in The Mexican

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