There’s sometimes a misconception that the great “character actors” require overt idiosyncrasies that define them, or have a defining role that's emblematic of the roles they typically play. Even if he has over 100 credited roles to his name, Stephen Tobolowsky will always be known as Bill Murray’s obnoxious friend Ned from Groundhog Day. Although a few select roles have challenged his typical persona, Toby Jones is generally a reliable choice when there's a need for a scheming antagonist. There’s nothing wrong with character actors who’ve narrowed the market for specific character archetypes, but it’s just as impressive for those that can’t be pinned down

Peter Sarsgaard is one of those guys. He’s a chameleon. Sarsgaard has been working in Hollywood for the past 25 years alongside some of the industry’s leading filmmakers and appeared in awards-contending projects, taking on a diverse set of roles across genres. There’s no preconceived notions as to what Sarsgaard will bring to each role, and that he isn’t instantly recognizable makes him even more fascinating.

Although Sarsgaard’s debut role as one of Sean Penn’s victims in Dead Man Walking was a relatively small part (but nonetheless an effective scene), his ascension to bigger roles was quick. Whether it was the campy costume fare of The Man in the Iron Mask or a controversial indie like Another Day in Paradise, Sarsgaard wasn’t holding himself to budgetary targets. However, it wasn’t until 1999 that he got a substantial role that solidified his bravery as a performer. He was cast as the vicious killer John Lotter in Boys Don’t Cry, which won Hilary Swank an Academy Award.

experimenter-peter-sarsgaard

To get in the mindset of a character so ruthless is challenging enough, but it also risked pinning Sarsgaard to antagonist roles. While he would play villains throughout his career, he doesn’t have an inherently threatening aura that instantly suggests danger. His first collaboration with Antoine Fuqua for the remake of The Magnificent Seven saw him emulating a classic western greedy prospector, allowing him to do some delicious scenery-chewing. It’s also worth mentioning that a great character actor can add some dignity to an otherwise terrible film; of the entire cast of Green Lantern, Sarsgaard is the only one who seems to know what movie he’s in.

RELATED: Peter Sarsgaard on Veena Sud’s ‘The Lie’ and Making ‘The Batman’ with Matt Reeves

Sarsgaard’s best performance to date has been honored more in retrospect than it was at the time of release. The journalism biopic Shattered Glass cast him as New Republic editor Chuck Lane, who unravels years of fabrication from his top writer Stephen Glass (Hayden Christensen). A box office disappointment at the time, Shattered Glass’s precient commentary on the changing media landscape and the shielding of toxic masculinity feels even more relevant today. Lane is caught in the crossfire, an analytical traditionalist of the print era who can’t match Glass’s showmanship. Sarsgaard approaches Lane as rigid in his practices even as Glass conspires to turn his staff against him, as journalism becomes populism; seeing The New Republic staff applaud the austere character for his unflinching ethics is a touching moment that wouldn’t have been as effective if Sarsgaard had been constantly warm.

Although he was frequently cited by critics’ circles for the role, Sarsgaard failed to receive any major awards nominations. While perhaps Shattered Glass wasn’t destined to be a major awards player, Sarsgaard often appears in prospective contenders where he’s a standout. Unfortunately a few of these projects just didn’t perform: Bill Condon’s sensitive sexual drama Kinsey and Sam Mendes’s outrageous war satire Jarhead were unfortunately denied major recognition, even if Sarsgaard’s supporting performances were singled out. More successful contenders benefited from his involvement even if he wasn’t initially seen as a standout; Carey Mulligan’s coming-of-age performance in An Education wouldn’t be nearly as effective without the charismatic, scheming older man opposite her, and Sarsgaard’s shell-shocked take on Robert Kennedy in Jackie supports Natalie Portman’s titular performance as both icons wrestle with their grief.

the-lie-peter-sarsgaard-welcome-to-the-blumhouse
Image via Amazon

Sarsgaard can generate empathy for characters who may appear to be closed off. Take Wormwood, Errol Morris’s docudrama mystery that utilizes Sarsgaard to reenact the controversial death of CIA scientist Frank Olson; it’s certainly a challenge for an actor to bring their own interpretation to a historical role when they’re framed alongside interviews with their actual family, yet Sarsgaard was able to make Olson’s steadfast professionalism tragic as his fate unravels. He has a talent for sparking empathy for somber characters; Kelly Reichardt aptly cast him as the untrustworthy architect behind a hydroelectric dam explosion in Night Moves, and Sarsgaard even made an actual robot sympathetic when playing Frank Langella’s caretaker droid in Robot & Frank.

Sarsgaard’s leading roles have been few and far between; indie dramas Experimenter and The Sound of Silence more or less disappeared. Yet, he doesn’t need a whole lot of screen time to stand out, and does a great job at boosting his co-stars. His scene-stealing performance as a grave-digging stoner in Garden State easily upstages Zack Braff’s charisma. He’s also been able to hold his own against brilliant performances, such as Blue Jasmine. As a suitor to Cate Blanchette’s aggravating socialite, he’s integral in showing her downward spiral.

There isn’t a definitive “Peter Sarsgaard character,” but his involvement always benefits a project. Amassing an impressive filmography and refusing to stick in just one lane, the only predictable thing about Sarsgaard is the quality of work he consistently delivers. It’s about time that he’s recognized as one of the very best character actors working today.

KEEP READING: Peter Sarsgaard on 'Mr. Jones,' 'The Batman,' and His Real Life Passion for Real Life Bats