M Emmet Walsh was the outstanding Hollywood character actor who emerged in the American new wave, a performer whose mesmerically watchable and powerful looks made him eminently castable; he was jowly and heavy set, but always looked tough, as if the idea of a fistfight would not be a novel or frightening thing for him. But he also had a woundedly sad expression in those poached-egg eyes.
Walsh added a sense of authenticity to any role he played, much like fellow actors Ned Beatty and George Kennedy. He had the ability to blend into the background and diminish the importance of the main male character, often portraying an antagonistic or authoritative figure. He could be compared to either a gargoyle or an ordinary citizen, but he was never foolish and commanded respect. In his later years, he frequently appeared alongside leading male actors, such as his memorable performance as the Apothecary opposite a young Leonardo DiCaprio in Baz Luhrmann’s Romeo+Juliet (1996).
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It was for the Coen brothers that Walsh discovered his enduring role, the character that solidified his status as a noir icon, the embodiment of debauchery and corruption in the 1984 crime movie Blood Simple. He portrayed the despicable private investigator Visser with a devilish intensity, giving a demonic and unforgettable performance. Walsh’s Visser is a reptilian representation of pure malice, leaving an impression not through his appearance, but with the cold drawl of his voice. His deadpan monologue, a cynical and violent aria, accompanies unsentimental shots of the harsh Texas landscape – the vocal equivalent of a somber Ry Cooder guitar riff. Diehard fans of this film can practically recite it verbatim.
Many people in the world tend to complain, however there are no guarantees in life. This applies to people in high positions such as the pope, president, or prestigious individuals as well. No matter who you are, something can always go wrong. So go ahead and complain, vent to others, and ask for help, but don’t be surprised if they don’t offer much assistance. In Russia, there is a sense of unity and support among everyone, but in Texas, it’s a different story. In Texas, you are more likely to be on your own.
Walsh’s character, Visser, is portrayed as a despicable individual, a leech, a deceiver, and a killer. He is often seen wearing a Stetson hat and a pale yellow suit, adding to his villainous demeanor. In his morally corrupt nature, Visser is undoubtedly one of the most depraved private detectives in film history. Walsh effectively depicts him as a being condemned to his own personal hell. In Graham Greene’s novel, The End of the Affair, the private detective is portrayed as someone who both witnesses and participates in sinful acts. I often wonder how Greene would have reviewed Walsh’s performance in Blood Simple.
Previously, he portrayed a similarly powerful character in Ulu Grosbard’s renowned crime film Straight Time (1978), which was adapted from Ed Bunker’s novel No Beast So Fierce. In the film, he played Earl, a parole officer with a malicious personality who makes it his mission to unfairly manipulate Dustin Hoffman’s character Max, a thief who is out on parole and ultimately driven back into a life of crime due to Earl’s relentless and almost psychopathic harassment. This role was more in the style of Walsh’s other classic roles, as he was pitted against the handsome protagonist. In Sidney Lumet’s Serpico (1973), he was part of a group of corrupt police officers who contribute to the issues that Al Pacino’s character, a rookie outsider, is trying to resolve. (In Blood Simple, there is no sympathetic main character for Walsh’s character to interact with.)
He also had a talent for comedy, showcased in his role as the eccentric shooter in Steve Martin’s first film The Jerk in 1982. However, his comedic style was to play the character in a serious manner, as he did throughout his entire career. In Ridley Scott’s Blade Runner (1982), he portrayed Bryant, the former commanding officer of Harrison Ford’s character Deckard. Bryant uses a mix of manipulation and intimidation to convince Deckard to come out of retirement and hunt down replicants. This role perfectly embodied Walsh’s typical cop character: disheveled, aggressive, cynical, and always making the most of his time on screen.
Walsh was an American classic.
Source: theguardian.com
