nytimes – Nine Ned Beatty Movies and Shows to Stream

Ned Beatty, who died Sunday at the age of 83, was the actor par excellence. He looked like an ordinary guy, not a movie star, so he didn’t play lead roles – he played supporting characters, best friends, background characters, and bureaucrats. He did so in 165 movies and TV shows before quietly retiring in 2013, and he always understood the mission; some projects were great, some not so, but Beatty always shone. Here are some of his highlights and where you can watch them.


Rent or buy from Amazon, Apple, YouTube, Vudu, and Google Play.

Beatty, who cut his teeth on stage, made his film debut in John Boorman’s adaptation of James Dickey’s novel of the same name. As one of four Atlanta businessmen on a camping trip to the Georgia woods, Beatty skillfully expresses the unease of a man deeply out of his element with his outdoor buddies. He is then singled out for the most excruciating humiliation on the part of the inhabitants, who do not care to harass and assault the inhabitants of the exterior: he is raped at gunpoint and forced to “scream. like a pig ”, in one of the most disturbing scenes in its history. time. It was a difficult and demanding role, but Beatty was up to the task, playing out the character’s considerable trauma and regret with heartbreaking depth.

Robert Altman’s critically acclaimed Mosaic of America just before the bicentennial featured a stacked group of characters – 24 of them, including several country music artists who demand everyone’s attention and focus. those around them. Rather than trying to compete, Beatty leans back. His character, Del Reese, is a power broker – a lawyer for a Nashville star and an organizer for an enigmatic presidential candidate – and Beatty, as in many of his best performances, isn’t afraid to downplay, speaking softly and waving sound (minimum) only feeds when needed. But he makes every moment count: A brief scene of tense interaction with his wife and children tells us all we need to know about how he prioritizes his work over his family.


Rent or buy from Amazon, Apple, YouTube, Vudu, and Google Play.

Dramatizing how Bob Woodward and Carl Bernstein shattered the story of the Watergate heist and cover-up, director Alan J. Pakula and screenwriter William Goldman had to juggle a dizzying array of names, faces, and relationships. Wisely, they filled many of those roles with distinctive actors who could make an impression even in the briefest of appearances, and Beatty certainly fit that bill. As Martin Dardis, an investigator for a Florida state prosecutor, he helps Bernstein connect the committee to re-elect the president to one of the Watergate burglars. But Beatty doesn’t play the scene like a whistleblower; it focuses on the character’s busy schedule, memorably treating Bernstein less as a seeker of truth and more as an intruder and inconvenience.

Beatty’s teddy bear physique and palpable affability have made him a man of choice for great characters throughout his long career – and so, some of his most compelling performances turn that perception upside down. This is the case with his work in the Elaine May combination of detective film and character study, most of whom play the role of a duet between the stars Peter Falk and John Cassavetes, both in great shape. But Beatty is quite their equal as a hitman on the trail of Cassavetes, a role that could easily have been written and played as a goofy buffoon. Yet Beatty imbues the character with a low-key sense of professionalism and threat, dramatically raising the stakes in her pursuit (much to the image’s benefit).

Join Times theater reporter Michael Paulson in a conversation with Lin-Manuel Miranda, see a performance of Shakespeare in the Park, and more as we explore the signs of hope in a transformed city. For a year, the “Offstage” series followed the theater until it closed. We now take a look at its rebound.


Rent or buy from Amazon, Apple, YouTube, Vudu, and Google Play.

Beatty had a big year in 1976, which not only saw the release of “All the President’s Men” and “Mikey and Nicky” (as well as “Silver Streak”, “Gator” and “The Big Bus”), but also of this scathing media satire by Sidney Lumet and Paddy Chayefsky. Beatty received her one and only Oscar nomination for this role. He appears in a single scene, as Arthur Jensen, chairman of the media conglomerate that owns the television network at the center of the story. But he makes a meal of that scene, with an electrifying monologue of corporate loyalty and capitalism as evangelism that looks less and less like satire from year to year.


Stream on the Criterion Channel. Rent or buy from Amazon and Apple.

Beatty didn’t play too many full-fledged villains, but when he did, he didn’t fire any punches. As GP Myerson, the director of the CIA, Beatty displays inventive profanity and crooked authoritarianism, and even worse, he makes himself an enemy of Walter Matthau’s Miles Kendig – who then spends the rest of the film using his espionage to humiliate his former boss. To Beatty’s credit, none of her residual goodwill hinders the image or our deep interest in her hero, Kendig; his Myerson is a louse through and through, and there is real satisfaction in seeing him perform.


Stream on Amazon Prime Video and Peacock.

Like many of his peers, Beatty embraced television in his later years, with a memorable two-season shoot on “Homicide: Life on the Street” and an Emmy-nominated role in the TV movie “Last Train Home”. But his most widely viewed television work has come via a handful of appearances on the sitcom “Roseanne” – in which he played Ed Conner, father of John Goodman’s Dan. It was a particularly inspired cast, almost a handover, as Goodman would spend the following years perfecting a similar style of touching (but often underrated) character play.


Stream on Amazon Prime Video.

In the hands of a lesser actor, the character of Daniel Ruettiger (Beatty), father of soccer-obsessed Rudy (Sean Astin), could prove obstructive, even mean. But Beatty plays the part with such grace and sensitivity, his intentions are always clear: he loves his son and believes in him, but just doesn’t want him to be hurt (emotionally or physically). Yet when Rudy’s moment of little triumph arrives, no one cheers louder than dear old daddy. “Rudy” is aptly described as the ultimate sports mourner, and it’s Beatty who helps give the emotional boost to his conclusion.


Stream on Disney +.

One of Beatty’s last roles was also one of his trickiest, even though it was a vocal-only performance in a Pixar sequel. As Lotso, the cuddly teddy bear who hosts the movie’s toy gang at Sunnyside Daycare, Beatty first projects welcoming and wholesome warmth – qualities later revealed as a false front for bitter and mean retribution. in the center of the character. It is pleasantly reminiscent, even at the end of his career and within a family franchise, of the kind of complexity and nuance that Beatty brought to every role.

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