The Couch Potato’s Guide to the New Hollywood: The Legacy of Anthony Hopkins

John Mathew Smith & www.celebrity-photos.com from Laurel Maryland, USA, CC BY-SA 2.0, via Wikimedia Commons

By Geoff Carter

Anthony Hopkins, one of the finest classical actors of his generation, is a master of depicting the contradictions and dualities of the human condition. Many of his roles demand a carefully refined and civilized exterior (at which he excels), but the persona beneath that calm and controlled façade can be unpredictable, varying from brutal to volatile, to cruel, to violent—even to the demonic. In short, his range as an actor is nothing short of phenomenal. Hopkins makes the crossing the boundary between the genteel and the abominable very nearly seamless. The psychopathic killer Hannibal Lecter in Silence of the Lambs is courteous, intelligent, articulate, and artistic, but when monster in him emerges—and not unexpectedly—the contrast between the inner and outer man is nothing less than shocking. 

As Charles “Corky” Withers, the disturbed young ventriloquist in the thriller Magic, Hopkins toes the fine line between two acrimonious personalities struggling within the same mind (or so it would seem). His performance as Corky (and the dummy Fats) again toes the fine line between monster and victim, although in this case, the conflict is balanced over two distinct personalities. 

Even when Hopkins plays characters who are exactly what they seem, like the genteel and devoted butler Stevens in Remains of the Day, hints of his inner life flash momentarily over his countenance. Portraying a man who prides himself on self-control, yet who feels—and inadvertently reveals—unrequited longings is masterfully done by Hopkins.

Hopkins is one of those actors whose personas are so natural that he never seems to be acting, but his spontaneous delivery is no accident. He reportedly studies the script to the point where he knows his lines so thoroughly it creates the illusion that the character is speaking completely naturally. Even characters like Lecter or Dr. Treves in The Elephant Man, educated men who choose their words carefully, seem unstilted and natural because of Hopkins’ carefully casual delivery. He is a conscientious craftsman whose meticulous preparations are, like the inner lives of his character, hidden so well beneath a veneer of refinement and dignity that the audience only become aware of them when he wants them to. 

From the arrogant general in Titus Andronicus to the soft-spoken Dr. Treves in The Elephant Man to the clownish Van Helsing in Bram Stoker’s Dracula to the earnest and fumbling Corky (and malignant Fats) in Magic, Hopkins’ formidable range is tempered only by the immediacy of his on-screen presence. He never seems to be acting. 

This was a tough task, but the Couch Potato did pick what he considers to be Anthony Hopkins’ top ten films.

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Anthony Hopkins’ Top Ten Films

Silence of the Lambs: In this classic crime thriller, Clarisse Starling (Jodie Foster), a young FBI agent, is sent to interview brilliant serial killer and psychiatrist Hannibal Lecter (Hopkins) in order to obtain a psychological profile of Buffalo Bill (Ted Levine), a serial killer currently on the loose. Lecter, intrigued by Starling, agrees to help her only if she tells him about herself. With his help, Starling and her boss, Jack Crawford (Scott Glenn) slowly close in on the sadistic Bill, an investigation that culminates in one of the thrilling ending scenes ever. Hopkins’ portrayal of Lecter, a cultivated, articulate, and educated esthete, is all the more chilling when his inner savagery is finally revealed. The civilized Lecter is still frightening; even his posture as he stands in his cell talking to Clarisse sends out warning signals. His stillness hints of a jungle cat waiting for its prey. The film is also notable for Foster’s outstanding portrayal of Starling. 

Starring: Jodie Foster, Anthony Hopkins, Scott Glenn, Ted Levine, Anthony Heald, Brooke Smith, and Dianne Baker. Special appearance by Roger Corman and Chris Isaak. Written by Ted Tally. Directed by Jonathan Demme.

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Remains of the Day: In this pre-World War II historical drama, Stevens (Hopkins) is the dedicated butler to Lord Darlington, a member of the gentry with fascist leanings. The proper Stevens has a series of disagreements with Miss Kenton (Emma Thompson), the outspoken housekeeper. The two eventually become friendly although Miss Kenton makes it obvious she harbors deeper feelings for Stevens, who—even though he does have feelings for her—will not reciprocate. Because of his politics, Lord Darlington has become an outcast and eventually dies alone and friendless. Stevens continues to work for the new owner of the estate, Jack Lewis, and drives out to meet the now-married Miss Kenton in hopes they might be reunited. This is a vintage Anthony Hopkins role; his Stevens is a paragon of the proper English butler whose dedication to his master cannot afford him a personal life. The scene in which Kenton attempts to look at the romance novel Stevens is reading is priceless. His body language exquisitely expresses fear, annoyance, and desire at the same time. Notable for the great supporting cast.

Starring: Anthony Hopkins, Emma Thompson, James Fox, Hugh Grant, Christopher Reeve, and Tom Pigott-Smith. Written by Ruth Prawer Jhabvala. Directed by James Ivory.

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The Lion in Winter: An historical drama about the prickly reunion between King Henry II (Peter O’Toole) and his estranged wife Eleanor of Aquitaine (Katherine Hepburn) in which the couple battles over which of their three sons will become Henry’s successor. Richard (Hopkins) the eldest of the three, and Eleanor’s favorite, is a veteran of the Crusades, and, when compared to the reptilian Geoffrey and the cowardly John, seems to be the pick of the litter. Games and power plays abound as the sons—and parents—jockey for control of the throne. Hopkins’ portrayal of Richard strikes a fine balance between hardened warrior, ambitious prince, and devoted son willing to do anything to please his power-hungry mother. Notable for the outstanding chemistry between Hepburn and Hopkins. 

Starring: Peter O’Toole, Katherine Hepburn, Anthony Hopkins, John Castle, Timothy Dalton, and Nigel Davenport. Written by James Goldman. Directed by Anthony Harvey.

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Nixon: This biopic maps the rise and fall of one of America’s most despises, and enigmatic, figures: Richard Nixon. Through the use of flashbacks triggered through his notorious tapes, Nixon’s professional and personal life are closely examined. His parents, siblings, and childhood and how they contributed to his isolation and ambition make up a significant part of the movie. Although the movie begins during the beginning of Nixon’s demise, significant attention is paid to his accomplishments. At the end, however, the president wanders through a dark and empty White House, consumed with regret and guilt he feels for bearing (in his mind) responsibility for Kennedy’s assassination. Hopkins’ performance as the ex-president was hailed by many as excellent, praising his beleaguered and isolated politician as a tragic figure. Notable for Hopkins’ soliloquies as he wanders the halls late at night.

Starring: Anthony Hopkins, Joan Allen, Paul Sorvino, James Woods, David Hyde Pierce, Powers Boothe, E.G. Marshall, and Madeleine Kahn. Written by Steven J. Rivele, Christopher Wilkinson, and Oliver Stone. Directed by Oliver Stone.

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The Elephant Man: In this gritty historical drama about John Merrick (John Hurt), the hideously deformed Elephant Man, Hopkins plays Dr. Frederick Treves, a Victorian-era surgeon who discovers Merrick at a freak show and then brings him to London Hospital for treatment. Initially thinking his patient mentally deficient, Treves and hospital administrator Carr Gomm (Sir John Gielgud) soon realize that not only is Merrick exceptionally intelligent, but that he is remarkably sensitive and compassionate, and so they allow him to stay at the hospital until he is kidnapped and delivered him to his cruel carnival manager Mr. Bytes. As Treves, even though he is transparently ambitious, Hopkins is the embodiment of Victorian gentility. His cold professional detachment eventually thaws as he becomes better acquainted with Merrick. Hopkins’ depiction of this transformation is so subtle that it seems completely organic. As Treves realizes how he has taken advantage of his friend, only his eyes betray his guilt and inner loathing. Notable for Hurt’s incredible performance in the titular role. 

Starring: John Hurt, Anthony Hopkins, Sir John Gielgud, Wendy Hiller, Anne Bancroft, Freddy Jones, and Michael Elphick. Written by Christopher De Vore, Eric Bergren, and David Lynch. Directed by David Lynch.

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Titus Andronicus: In this striking adaptation of the Shakespeare tragedy, Roman General Titus returns victorious with captives Tamora (Jessica Lange) and her two sons Chiron (Jonathan Rhys Meyers) and Demetrius (Matthew Rhys). Despite her pleas, Titus sacrifice Tamora’s eldest son to appease the gods. After the death of Caesar, Titus refuses the throne and gives it to Saturnalia (Alan Cumming) who takes Tamora as his bride. Through a series of grisly manipulations, Tamora wreaks on Titus, killing his sons and having his daughter Lavinia (Laura Fraser) raped and mutilated. Feigning madness in order to avenge his family, Titus engineers the ultimate revenge at a family feast. Hopkins’ performance as an arrogant and pompous general who masquerades as a madman is nothing short of remarkable. Notable for Julie Taymor’s imaginative and striking direction. 

Starring: Anthony Hopkins, Jessica Lange, Alan Cumming, Laura Fraser, James Frain, and Harry Lennix. Screenplay by Julie Taymor based on the play by William Shakespeare. Directed by Julie Taymor.

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The Father: In his latest film, Hopkins plays Anthony, a father suffering from dementia who refuses to have a caregiver in the house. His long-suffering daughter Anne (Olivia Colman) tells him that since she is moving, he must have a caregiver or move into a nursing home. Anthony, confused because he knows of no man in his daughter’s life, is suddenly confronted by a man, Paul (Rufus Sewell) he does not recognize in his flat. He meets another prospective caregiver whom he belittles and then rejects. It becomes apparent that Anthony has been living with his daughter and her husband for years but still believes he is in his own flat. As he, and the audience, sort through the jumbled delusions that are the jigsaw of his memories, it becomes apparent that the film is a representation of a mind loosened from the moors of reality and drifting helplessly. Hopkins plays the full range of a man lost. In turns, depending on his circumstances, Anthony is a bully, a child, a father, and—finally—alone. It is a superb Oscar-winning performance. Notable for a phenomenal supporting performance by Olivia Colman.

Starring: Anthony Hopkins, Olivia Colman, Rufus Sewell, Imogene Poots, Olivia Williams, and Mark Gatiss. Written by Florian Zeller and Christopher Hampton. Directed by Florian Zeller.

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Proof: An American family drama about a daughter, Catherine Llewellyn (Gwyneth Paltrow) who must deal with her father Robert (Anthony Hopkins) a brilliant mathematician who is battling mental illness. The film opens after Robert has died, and Catherine and Hal Dobbs (Jake Gyllenhaal), a former grad student are going through Robert’s notebooks. Catherine, a mathematician herself, who has spent the last few years of his life discussing complex mathematical problems with her father in an effort to preserve his sanity. After she makes a scene at her dad’s funeral, accusing the crowd of not caring about Robert when he was alive, Hal and Catherine’s sister suspect she may also be suffering from mental illness. After the funeral, Hal discovers a notebook with a complex proof he believes Robert wrote before his death. Catherine, however, insists the proof is her work. Hopkins’ work as a mentally ill man fervently trying to preserve his sanity—even sacrificing his daughter’s well-being to do so—is remarkable. Notable for its beautiful setting at the University of Chicago campus.

Starring: Anthony Hopkins, Gwyneth Paltrow, Jake Gylenhaal, Hope Davis, Chipo Chung, and Gary Houston. Written by David Auburn and Rebecca Miller. Directed by John Madden.

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Bram Stoker’s Dracula: In this innovative Francis Ford Coppola adaptation of the horror classic, the notorious vampire is stunningly portrayed by Gary Oldman. When Jonathan Harker (Keanu Reeves) arrives to consummate a land deal for the count in London, Dracula takes him prisoner before travelling to England where he plans to regain his lost love, Mina (Wynona Rider).  When Mina’s best friend Lucy is stricken by a mysterious disease, Professor Van Helsing (Hopkins) is called in. Realizing Lucy is the prey of Dracula, he sets out to first convince Lucy’s suitors of his existence, and then to hunt him down, a quest that ends in the Transylvania mountains. Hopkins portrays Professor Van Helsing as an absurdly blunt and eccentric old man whose method is his madness. Crazy like a fox, his confident manner and encyclopedic knowledge are hidden until the necessity for action arises. Notable for make-up, art direction, and a phenomenal supporting cast—particularly Tom Waits.

Starring: Gary Oldman, Keanu Reeves, Wynona Ryder, Anthony Hopkins, Cary Elwes, Richard E. Grant, Tom Waits, and Sadie Frost. Screenplay by James V. Hart based on the novel Dracula by Bram Stoker. Directed by Francis Ford Coppola.

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Magic: In this psychological thriller, magician Charles “Corky” Withers (Hopkins) is searching for a new gimmick to juice up his magic act and comes up with a ventriloquist dummy named “Fats”. When he becomes a success and his agent Ben Greene (Burgess Meredith) tells him of an offer for a TV show, Corky retreats to the Catskills where he runs into an old high-school crush, Peggy Anne Snow(Ann-Margaret). The two soon become lovers. Greene comes to persuade Corky to take the TV offer, but when he sees Corky having an “argument” with Fats , he realizes that Corky is mentally ill. At Fats’ urging, Corky kills Greene to protect the dummy, who is jealous of Peggy Anne, and then tells Corky he must choose between himself or his new girlfriend. Hopkins’ portrayal(s) of Corky (and Fats) is a bravura performance. Not only does he embody Fats’ aggression, but he is also able to simultaneously convey Corky’s vulnerability and loneliness. Notable for the fine supporting cast. 

Starring: Anthony Hopkins, Ann-Margaret, Burgess Meredith, Ed Lauter, David Ogden Stiers, and E.J. Andre. Written by William Goldman. Directed by Richard Attenborough.

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Honorable Mention

Howards End

84 Charing Cross Road

Amistad

The World’s Fastest Indian

The Bounty