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Reeves, playing an outsized version of himself, cuts an imposing figure in his introduction.
Time slows to a crawl.
All eyes gravitate toward the velvet-jacketed figure with striking beauty and prickly charisma.
I missed your thumbs, she breathily exhales.
I missed your soul is his reply.
(Another sly nod perhaps?
While born in Beirut, Reeves who is of Chinese-Hawaiian and British ancestry was raised in Toronto.)
As Ivecontended in the past, this is a gross misreading of a great actor.
[…] His career would have been limited, and thus short lived.
Throughout his career, Reeves has eschewed obvious transformation in favor of something trickier and more subtle.
Reeves and his late co-star imbue their characters with a particular mix of virility, vulnerability, and mystery.
)Humphrey Bogarts cool is consistently undercut by his own anger and self-loathing.
William Holden held something dark behind his megawatt smile and gleaming blond locks.
Paul Newman always felt a touch remote, like he was hiding bruised aspects of himself from the audience.
Marlon Brando, of course, epitomizes these qualities.
Reeves is brimming with similar contradictions.
InMy Own Private Idaho, Reeves is the object of desire not only for Mike but the camera itself.
Phoenix plays Mike as wild with energy he has no real outlet for, leading to an awkward physicality.
Reeves grants his character a languid brio.
Hes outstretched, willowy, and aware of Mikes gaze; he examines the weight of it.
The scene reveals one of Reevess greatest skills as an actor: being an active listener.
As he studies Mike, he invites and toys with his feelings.
Arms outstretched, he says, Lets go to sleep, and proceeds to cradle Mike.
The full-bodied listening Reeves exhibits inMy Own Private Idahois a hallmark of his work opposite women as well.
The man barely even needs to speak if he just knows how LOOK at a person.
During a dinner scene with Julian, Ericas face and neck are flush.
Shes skittish and nervous in the face of his undeniable but never disrespectful sexual and romantic interest.
Hes a man overcome and humbled by his own desire.
Is there anything sexier?
I knew youd smell good, he whispers.
Only Reeves could pull off a line like that.
That intimacy is key to Reevess longevity.Its what makes him such a greatcinematic sensualist.
The sensualists are bored with dramatic housekeeping.
Theyre interested in sensations and emotions, occurrences and memories of occurrences.
Id argue that being a cinematic sensualist is a distinction that can apply to acting as well.
When we watch films, the body keeps score as much as the mind does.
Reeves demonstrates an understanding of this.
The third film is a tactile feast.
This scene is, of course, a testament to the characters skill as an assassin.
Theres another part of Reevess star image I suspect has played into our abiding fascination with him.
UntilAlways Be My Maybe, the most under-discussed part of Reevess persona was his race.
Race is an illusion that depends on purity and singleness.
Even the people he works with have no idea who he is.
Like his persona, Reevess face itself is considered unplaceable.
But for much of themoviegoing audience, seeing his face has always been a point of connection.
Its the undercurrent of why his turn inAlways Be My Maybefelt like such a significant moment in his career.
That it was such a joyful, brazenly comedic role added yet another twist on his image.
There was a sense that, even after 30 years in the spotlight, Reeves can still surprise us.
