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Performer of the Week: Peter Sarsgaard
Photo Credit: TV Line

Performer of the Week: Peter Sarsgaard

Jul 6 2013, 10:24am CDT | by

A weekly feature in which we spotlight shining stars THE PERFORMER | Peter Sarsgaard THE SHOW | The Killing THE EPISODE | “Eminent Domain” THE AIRDATE | June 30, 2013 Through the duration of...

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1 year ago

Performer of the Week: Peter Sarsgaard

Jul 6 2013, 10:24am CDT | by


Peter Sarsgaard The Killing
A weekly feature in which we spotlight shining stars

THE PERFORMER | Peter Sarsgaard

THE SHOW | The Killing

THE EPISODE | “Eminent Domain

THE AIRDATE | June 30, 2013

Through the duration of its third season, The Killing‘s death-row inmate Ray Seward has been an enigmatic presence — capable of shocking violence (we still haven’t recovered from the visual of him bashing the chaplain’s head into the metal cell bars in Episode 1), quiet cunning and even the kind of deep despair that found him using a razor blade to cut away a chest tattoo of his young son’s name. And all along, Peter Sarsgaard has kept us guessing if Seward’s a good guy who got a bum rap for slaughtering his wife (then found his inner monster in the clink), a sinister man who happens to be serving time for the one crime he didn’t commit, or perhaps a little bit of both.

In “Eminent Domain,” Sarsgaard added subtle shading to his portrait of this dead man walking in a trio of brilliantly realized scenes. At the top of the episode, in an unlit and quiet cell block, Seward discovered his fellow inmate Alton was fashioning a noose from torn bedsheets and planning to commit suicide. After ascertaining that his pal really didn’t have much to live for, Seward took on the role of comforting witness, guiding Alton out of this miserable world with dulcet encouragements: “You did good. The hard part’s over. Now just let it go, kid. Nothin’ worth holding on to.” It was the unlikeliest of places and scenarios for Seward’s softer side to shine through, and yet Sarsgaard captured the odd mix of sadness, relief and brotherly affection that made the scene so harrowing (and, yes, eerily beautiful).

Later, as Seward arranged a visit with his inmate father, we got a glimpse of how he grew into a weary adult who was perhaps always destined for a life on the edges of the law. Sarsgaard began the scene with the faintest glimmer of hope — maybe, with only two weeks till his execution, he and his father could connect in some small way — but that quickly gave way to exasperation and regret, as dear old dad refused to take responsibility for abandoning Ray as a child. In fact, the only kindness extended by Seward Senior was a twisted expression of pride that Ray had done his time and kept his mouth shut. (Was that a clue to who killed Ray’s wife?) “Dying in a jumpsuit doesn’t make you a man,” Ray hissed as he walked away, his psyche absorbing one last blow from a father incapable of offering anything better than disappointment.

Finally, Sarsgaard was able to open the valve and release some of Seward’s pent-up rage in a scene where Det. Linden — who’d helped put him away for his wife’s murder — dropped by with the bombshell of all bombshell discoveries: “I know you didn’t kill your wife.” Seward, long past the point of hope, couldn’t begin to see it as a ticket to possible freedom, but rather as the final punch line in some cosmic joke. “You came to this realization, what, three years after the fact? Just 12 days before I hang?” Seward bellowed, his voice dripping with incredulity.

None of Seward’s scenes in “Eminent Domain” solved the mystery of the kind of man he is, but they certainly proved compelling evidence that Sarsgaard is doing some of the best work of his career. And for that, he’s earned his title as Performer of the Week.

HONORABLE MENTION | Continuum‘s Rachel Nichols pulled off the always formidable feat of making the surreal feel all too real, as Kiera’s distress over missing the birthday of a son who wouldn’t even be born for another 56 years triggers her emotional breakdown. Her CRM then activates on on-board therapist who affords her the opportunity to speak to a visualized amalgamated memory of young Sam, whom she reassures, through so many tears, that she did not abandon. “I know that you must think I’m dead. And I want to tell you so badly I’m not,” she said to the cypher. “I would never ever leave you. [My absence] is not your fault.” Then, in the name of moving forward with her 2013 life — and hopefully one day getting back to the future — she “accepts” her loss, telling Sam, “I miss you every day. But I will always be with you. And now I’m going to let you go.

What performance knocked your socks off this week? Sound off below!


Source: TV Line

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5 days ago

The Major Problem With Zach Braff's ‘Wish I Was Here'

Jul 24 2014 9:49am CDT | Source: Huffington Post

There is a beauty to Zach Braff’s “Garden State” that still resonates today. It’s a film within the recent indie canon that captured something many would later attempt: the mid-20s ennui, the disappointing reality of a failed dream job, the desire to escape from home, the lost sense of a home. "Garden State" tackled those moments and handled them well. Anyone in their 20s, or even teens, cou ...
Source: Huffington Post   Full article at: Huffington Post
 

 

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<a href="/latest_stories/all/all/8" rel="author">Luigi Lugmayr</a>
Luigi is the founding Chief Editor of I4U News and brings over 15 years experience in the technology field to the ever evolving and exciting world of gadgets. He started I4U News back in 2000 and evolved it into vibrant technology magazine.
Luigi can be contacted directly at ml@i4u.com. Luigi posts regularly on LuigiMe.com about his experience running I4U.

 

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