michael fassbender
Over the past fifteen years or so, Michael Fassbender has built up quite an eclectic and impressive filmography. Equally comfortable in big budget blockbuster fare and independent, auteur-driven films, he throws himself into every role with a level of intensity and commitment that most actors can only dream of. Perhaps his most widely known role is that of Erik Lehnsherr (or Magneto) in the rebooted X-Men films. His first film in the franchise – the Matthew Vaughn-directed X-Men: First Class (2011) – is easily the best. Filling the shoes of Ian McKellen – a bona fide screen legend himself – would be a daunting task for any actor but Fassbender manages it, and then some. Far from being a cheap imitation, he pays respect to the McKellen iteration while also putting his own spin on the character. Fassbender brings a great balance to the performance as a sympathetic villain, and his relationship and superb chemistry with James McAvoy’s Xavier are fundamental to the film’s success. Even when the quality of the films he appears in wanes significantly (Apocalypse (Bryan Singer, 2016) and Dark Phoenix (Simon Kinberg, 2019) are both particularly bad), he still brings the same level of gravitas every single time. Indeed, it speaks a lot to the level of his performance that some fans were hoping to see him reprise the role in Marvel’s WandaVision (Matt Shakman, 2021). Iconic, to say the least. It is his work with numerous acclaimed directors that has gained him most recognition within the world of film, though. A prime example is his role
as the titular Apple founder in Danny Boyle’s Steve Jobs (2015). Although Fassbender does not look or sound particularly like Jobs, he is extremely credible as the character, imbuing him with just enough humanity beneath a cold exterior. Furthermore, there is his stellar work in fellow Irishman Lenny Abrahamson’s bizarre – yet brilliant – Frank (2014). Playing the eccentric frontman of experimental band Soronprfbs, Fassbender spends almost the entire film wearing a giant papier-mâché head. For many actors, this would be a major hindrance yet Fassbender thrives, using every other part of himself – physicality, tone of voice, etc. – to make up for the fact we cannot see his face. The result is a wonderfully deadpan, but oftentimes tragic, portrayal of a truly unique character. Of course, his successful collaborations with director Steve McQueen cannot be overlooked. The two men have made three films together, all very challenging – but, equally, rewarding – films. Hunger (2008) marks their first time working together, with Fassbender taking on the role of real-life hunger strike leader Bobby Sands. The film smartly strays away from giving the story the Hollywood treatment, which was commonplace in 90s Irish cinema (In the Name of the Father (Jim Sheridan, 1993) and Michael Collins (Neil Jordan, 1996), for example), instead giving a candid and harrowing depiction of Sands’ physical deterioration. The second half of the film makes for very tough viewing but Fassbender and McQueen make sure never to glamourise Sands – choosing instead to humanise him and his struggle. Fassbender also appears in McQueen’s Best Picture-winning 12 Years a Slave (2013), as the despicable, sadistic plantation owner, Edwin Epps. Epps is a monstrous character, devoid of any sort of redeeming qualities, with many
of his scenes – especially those with Lupita Nyong’o – difficult to stomach. Finally, what I think is Fassbender’s best performance (so far), comes in his second collaboration with McQueen in Shame (2011). An unflinching study of sexual addiction, Shame sees Fassbender’s character, Brandon, so crippled by his illness that he is unable to form any kind of emotional connection with anyone. It is a stunning character piece about the destructive effects that addiction can have on a person, with Brandon a mere husk by the end, and Fassbender grounds it with an exceptionally measured performance. However, what really marks Fassbender out as not only a screen icon but an Irish icon is his role in the classic 2005 Guinness ad, “Quarrel.” Fassbender walks across Ireland, before swimming the Atlantic Ocean so that he can apologise to an old friend he had fallen out with. Though there is a tense moment when he says sorry initially, the two quickly hug it out and settle their differences over a pint of the ‘Black Stuff.’ Michael Fassbender and Guinness. Two indubitable Irish icons.
joey fanthom
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