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Even when the resulting effort was less than successful (as in his directorial debut, Jack Goes Boating), there was no denying the talent involved. As comfortable on the stage or the small screen as he was before the standard cinematic lens, Hoffman’s name on a cast list meant that said film instantly became more interesting.
Even when he stepped outside his comfort zone to make commercial fodder (as with his important turn as Plutarch Heavensbee in The Hunger Games franchise), he remained a riveting movie presence. Over the course of 22 years and dozens of performances, Hoffman rarely disappointed. So when we read of the tragic details of his death, it seems to suggest someone else, not this luminary we came to love onscreen. Even when it looked like he was playing the heavy, he found the lightness and the lift in each and every turn. Instead, Hoffman stands as an example of excellence marred by a maddening vice, a habit that cost him his life and his legions of admirers’ future appreciation.įrom his earliest moments onscreen (for example, the boarding school student ratting out his classmates only to confront a blind and batshit Al Pacino in Scent of a Woman), he was an actor of enormous depth. He’d been called the greatest actor of his generation, yet few outside true film fans would be hard-pressed to list his major mainstream accomplishment. He got clean and sober early in his career but relapsed just recently. He had battled significant personal demons his whole life.