xml:space="preserve">
xml:space="preserve">
Advertisement
Advertisement

There was no mistaking Pete Postlethwaite for anyone else. He was the kind of character actor who immediately impressed audiences with his distinctive features. Because of his broken-nosed profile and the way his bony cheeks protruded at comic-book angles, he appeared, one British writer noted, "chiseled as if by a cubist sculptor."

But he held audiences because of his art, craft and primal powers of empathy. He was at the vital center of one of the most profound father-son tales in all of movies: Jim Sheridan's bristling 1993 drama, "In the Name of the Father," starring Daniel Day-Lewis as a man wrongly accused of IRA terrorism and Postlethwaite as the dad he bonds with after both wind up in a prison cell. (That's Day-Lewis, left, and Postlethwaite, in a scene from the movie, above.) No actor has better caught the way the emotional commitment and honesty of a conventional parent can disarm a would-be rebellious son.

Advertisement

Postlethewaite won a best supporting actor Oscar nomination for it. (When Governor Robert Ehrlich appeared as a guest host at the 2003 Maryland Film Festival, the film he chose to introduce and discuss was "In the Name of the Father." )

Postlethwaite could be the most harrowing and realistic of actors -- he hit the bull's-eye of callous urban villainy last year as the Irish mobster operating behind the front of a Charlestown flower shop in Ben Affleck's "The Town." But he could also be otherworldly. In Henry Selick's 1996 "James and the Giant Peach," released on Blu-ray and DVD just a few months ago, he is instantly haunting as a mystery man with a clouded eye who shows up in a phantasmagoric '30s setting, hands a British orphan a bag of iridescent green squiggly things and tells him they're crocodile tongues.

Advertisement
Advertisement

In Bryan Singer's suspense masterpiece "The Usual Suspects" (1995) he created mystery with his detached presence, his formal speech, and the cryptic way he bore the name of his character, Kobayashi.

Postlethwaite was in some other good-to-great movies, including Steven Spielberg's 1997 "Amistad" (I prefer it to Spielberg's "The Lost World: Jurassic Park," also from '97, which also featured Postlethwaite) and Michael Mann's 1992 "The Last of the Mohicans." (And, of course, the hottest blockbuster director of recent years, Christopher Nolan, gave him a brief but key part as the dying tycoon in "Inception" -- and Postlethwaite managed to make an impression even in an environment antithetical to acting.)

I was always glad to see him no matter the circumstances. In the disappointing movie version of "The Shipping News" (2001), he instantly struck to the core of a certain type of newspaper managing editor -- he was alternately dictatorial and cowardly.

Postlethwaite could bring the vivid immediacy of a Dickensian caricature to any kind of comedy or drama. In fact, in his memory, I hope to rent or buy a copy of the 1994 BBC miniseries of Dickens' "Martin Chuzzlewit," in which Postlethwaite plays Montague Tigg/Tigg Montague, one of the ultimate two-faced characters (he runs a pyramid scheme). Baltimore's own reigning Dickens expert, Loyola's Brian Murray, in his "Bedside, Bathtub and Armchair Companion to Dickens," calls it "a thoroughly successful production."

Advertisement
Advertisement
Advertisement
Advertisement
Advertisement
Advertisement
Advertisement