"No openly gay man has ever won the Oscar; I wonder if that is prejudice or chance," So said Sir Ian McKellen earlier in 2016, querying the political inclusiveness of the Academy Awards. "My speech has been in two jackets... 'I'm proud to be the first openly gay man to win the Oscar.' I've had to put it back in my pocket twice." Both of these performances, the first in 'Gods and Monsters' (1998) and 'The Lord of The Rings: The Fellowship of The Ring' (2002) were certainly Oscar worthy, and both proved to be finer performances than either of the winners of the respective years. Though McKellen may have been bereft of an Oscar, his filmography would be enough to please any actor.
Though he has amassed an impressive amount of credits, he had made few film appearances prior to his turn as John Profumo in 1989, which he made aged fifty. Previously, his attention was held in the theatre, for services of which he was knighted for in 1991. Selected credits included Salieri in 'Amadeus', the titular doctor in ' Dr.Faustus' and his extraordinary Max in 'Bent'. Years spent working for the Royal Shakespeare Company during the seventies would serve him well as an actor, working well in his stead later in his life as a film actor. Click over here
With a beautiful baritone voice and verbosity few Oxford professors possess, McKellen has proven to be to a worthy character actor, the apple of directors Peter Jackson and Bryan Singer's eyes. It was, however, his work with Bill Condon that would prove his worthiest collaborator film, the two films they made two of the strongest performances McKellen has given in any medium, his first McKellen's breakthrough role in Hollywood, the second one of the finest performances any performer has given in their late seventies. Other film parts McKellen has played are magical savants, clerical bigots, tormented convicts and persecuted addicts.
10: Six Degrees Of Separation (1993,Fred Schepisi): "I'm going to buy a copy of 'Catcher In The Rhye', at the airport, and read it" echoes Geoffrey Miller in his light South African accent. Talking to Will Smith's Paul, McKellen throws the line away, both flippant and assured, hints of racial insecurity and pride there in his voice. Pirouetting the room as Smith delivers a monologue echoing the voice of Holden Caulfield, Miller acts vaguely suspiciously of the guest both Ouisa Kittredge (Stockard Channing) and Flan Kittredge (Donald Sutherland) welcome with open arms.
As befitting a White stereotype from South Africa in the mid-nineties (Nelson Mandela's release had only been three years prior), Miller paints himself as a liberal, though is privy to mild racist remarks. Asked why he stays in South Africa, Miller responds" One has to stay there. To educate the black workers. And we'll know we've been successful when they kill us. " McKellen leaves it up to the audience to decide whether this remark is meant seriously or with tongue firmly placed in cheek. Perennially smirking as Paul Poitier (the self-proclaimed son of Sidney Poitier) attempts to con his hosts. Whether knowing or not, McKellen plays Miller as a parvenu, uncomfortable around the sound of blood, more concerned with wine than a person's ailments.
McKellen cleverly allows Sutherland and Channing take most of the thunder, adding small gestures to the side of their performances, allowing audiences to interpret as they choose the thoughts and motivations of his character. A strong supporting role.
9: X-Men (2000, Bryan Singer): There was a time when comic book movies weren´t the hot property they are now. Nowadays golden treasures Martin Sheen, Jeremy Irons, Helen Hunt, Amy Adams and Glenn Close pop in and out of the comic book world and nobody blinks an eye-lid. And Ian McKellen is largely to thank for that. Even more so than Patrick Stewart (Stewart already had a foot in the mainstream, thanks to Star Trek), a Shakespearian actor of his calibre brought credence to the world of comic book movies, a mere three years after George Clooney visibly embarrassed himself with his Bat credit-card.
