In praise of Sterling Hayden – cinema’s nicest… | Little White Lies

In Praise Of

In praise of Ster­ling Hay­den – cinema’s nicest tough guy

26 Apr 2016

A man in a cowboy hat and brown coat standing in a desert landscape with rocky formations and cloudy sky.
A man in a cowboy hat and brown coat standing in a desert landscape with rocky formations and cloudy sky.
With John­ny Gui­tar return­ing to cin­e­mas, we tip our hat to one of the most tow­er­ing act­ing tal­ents of his generation.

There’s some­thing about a tall man that makes peo­ple sit up and take notice.” So says a bystander short­ly after Ster­ling Hayden’s intro­duc­tion in the clas­sic alt-west­ern John­ny Gui­tar. He’s not wrong – the first thing you notice about Hay­den is his remark­able height. Mea­sur­ing 65”, he lit­er­al­ly tow­ers over his co-stars, car­ry­ing him­self with an effort­less authority.

There is, how­ev­er, much more to Hay­den than just his impos­ing stature. That open­ing scene in John­ny Gui­tar show­cas­es his tough guy grav­i­tas, as he mea­sures up the building’s clien­tele with all the swag­ger of the great west­ern heroes from John Wayne to Clint East­wood, with a deep, boom­ing drawl to round off his hard man status.

But it’s lat­er on in the film, when the focus shifts to his rela­tion­ship with Joan Crawford’s sub­ver­sive saloon own­er, that his mul­ti­fac­eted act­ing abil­i­ty shines through. With the sub­tlest change in facial expres­sion he trans­forms his hard­ened, men­ac­ing look of a wild west gun­slinger into the soft, hand­some fea­tures of a sen­si­tive roman­tic lead. He was, after all, once billed by Para­mount as The most beau­ti­ful man in movies.’

It’s this win­ning com­bi­na­tion that made him such a great choice for the moral­ly nuanced char­ac­ters he played in a pair of noir heist films: John Huston’s The Asphalt Jun­gle and Stan­ley Kubrick’s The Killing. In each he plays crim­i­nals flu­ent in wise-guy slang who car­ry out rob­beries on a jew­ellery store and a book­ies at a horse rac­ing track respec­tive­ly – with all the self-assured com­pe­tence of a hard­ened crim­i­nal. But a more vul­ner­a­ble, unhinged side comes to the fore in The Asphalt Jungle’s final scene, when, flee­ing the police and bleed­ing to death, Hayden’s char­ac­ter dri­ves towards the idyl­lic farm of his child­hood while inco­her­ent­ly ram­bling about mak­ing every­thing okay again. He reach­es it only to col­lapse and die.

Despite mas­ter­ing an act­ing style that was very much of its time, as he grew old­er and the film indus­try moved on from the Clas­si­cal era to New Hol­ly­wood, Hay­den man­aged to estab­lish him­self as a suc­cess­ful char­ac­ter actor, fur­ther entrench­ing his place in film his­to­ry by appear­ing in yet more clas­sics. (You may well recog­nise him as the cop who becomes Al Pacino’s first vic­tim in The God­fa­ther).

Fur­ther evi­dence of his ver­sa­til­i­ty came in Dr Strangelove, for which he teamed up with Kubrick again to play the cig­ar-smok­ing, war­mon­ger­ing gen­er­al who car­ries out the order for his men to nuke Rus­sia. Jack D Rip­per (the name is a give away) is clear­ly deranged, preach­ing about the need to pro­tect US cit­i­zens’ pre­cious bod­i­ly flu­ids” from com­mu­nist sab­o­tage, but it’s the way Hay­den savours every line with­out ever ham­ming it up that makes the char­ac­ter tru­ly men­ac­ing. All while he dis­plays a hilar­i­ous­ly dead­pan apti­tude for com­e­dy – hold­ing his own oppo­site Peter Sell­ers, no less.

Hayden’s career came full cir­cle in Robert Altman’s The Long Good­bye, where he returned to murky world of crime and dou­ble-cross­ing that char­ac­terised his ear­ly film noirs. Hol­ly­wood had changed – the old gener­ic tropes decon­struct­ed and revised. But Hay­den had changed with it. Play­ing an alco­holic author sus­pect­ed of mur­der, he deliv­ers his lines in the nat­u­ral­is­tic, improv style Alt­man demand­ed, and departs from his ret­i­cent, steely take on the macho crim­i­nal to por­tray a flail­ing mess of a char­ac­ter who winds up drown­ing him­self in the sea. Hayden’s good looks fad­ed with age and he became more hunched in pos­ture, but this great actor still brought depth and pathos to his roles late into his career.

John­ny Gui­tar is get­ting a lim­it­ed the­atri­cal re-release on 6 May cour­tesy of Park Circus.

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