Six Character Actresses in Search of an Offer

LAURIE METCALF

One cannot argue that Laurie Metcalf isn't appreciated, since she is adored by "Roseanne" fans, all trillion of them, countrywide. These TV watchers may underrate the technical difficulty involved in Metcalf's holding her own with powerhouses like Roseanne Arnold and John Goodman, but at least they have the sense to like her for the flaky sibling she brings to life. Truth is, in addition to her recent Emmy for Best Supporting Actress in a comedy series, Metcalf has won a scarcely believable creative and financial gold mine in "Roseanne" (the future residuals are something her fellow Steppenwolf theater-buds must contemplate), but she's still underemployed. Just take a look at 1990's piece of L.A. noir, Internal Affairs.

During the last couple of years' grousing by gay and lesbian media-watchers that the movies present no positive images of gay people, nobody brought up Metcalf's performance in Internal Affairs. Now, although gay media-watchers themselves seem to think about nothing except being gay, they are quite right in arguing that people who just happen to be gay and live their lives--without, say, doing nightclub acts or killing people-- never get portrayed onscreen. Well, almost never. The fact that Metcalf's Internal Affairs detective, partner of Andy Garcia and pursuer of Richard Gere, is gay is only one of many facts that Metcalf builds into what may have been both the most believable and admirable woman put on-screen that year. Believable and admirable is a rare combo. Moreover, Metcalf didn't occupy some corner of Internal Affairs--she was central to the action and, as the only character with unqualified moral weight, crucial to the emotional structure and the sub text (yes, this movie had both).

Before Internal Affairs, Metcalf's work on-screen was limited to roles that were largely uninteresting versions of what Mercedes Ruehl rode her way to an Oscar with. She was Rosanna Arquette's man-thirsty, gaga New Jersey sister-in-law in Desperately Seeking Susan, she was an overtanned underling after John Malkovich's cold scientist in another Susan Seidelman film, Making Mr. Right; she was one of several terrific actors (Daniel Day-Lewis, Martha Plimpton, Glenne Headly, Joan Cusack) abused by the good-idea-horribly-executed Stars and Bars, and she was the friendly stripper who tends to Richard Gere in Miles From Home. In other words, she's been a hugely talented stage actress (she won an Obie for Steppenwolf's Balm in Gilead) whom casting directors picked up on but then mostly wasted in teensy or so-what ish roles in, uh-oh, "quirky" movies.

Metcalf has an attractive everywoman look to her that is--what a relief--neither beautiful nor cute. It's an appearance that permits a lot of range. Internal Affairs is the signal that this actress should be brought in when the script calls for a female character who looks and reads real. Okay, not many scripts call for that. But surely we can see more of Metcalf on the big screen than we have up to now.

E.B.

ROSIE PEREZ

It's no coincidence that Spike Lee decided to introduce moviegoers to Rosie Perez in the opening frames of Do the Right Thing dancing a hip-hop shadow-dance on the streets of New York while sporting now-you-see-'em, now-you-don't boxing gloves. Even when she's at her calmest, Perez is always in the viewer's face with her furious, funny one-two punch: that shrill, near-nagging whine mixed together with an inimitable gift for listen-up-or-you'll-miss-'em wisecracks puts a '90s spin on the razor-tongued city gals from '40s Hollywood movies, the smart tarts--Eve Arden, Ruth Hussey, Ann Sheridan, Joan Blondell--who really had a way with an aside. Perez already belongs in such exalted company because, without so much as a glance back over her shoulder, her crackling fresh talent has taken her from dancing on "Soul Train" to being the best thing in the movies she's been in.

In her too few scenes as Tina, the unwed mother in Do the Right Thing--despite having the indignity of lover Lee run an ice cube all over her, oh, never mind--Perez nevertheless displayed a distinctive "take no prisoners" appeal. Her characters won't settle for less, because they don't have to, which is the very quality that attracted the attention of Ron Shelton, who cast her instead of several better-known "names" in White Men Can't Jump. And Perez very nearly stole the film from stars Wesley Snipes and Woody Harrelson. Playing a "former disco queen" who works at--not dreams of--obtaining fame and fortune as a "Jeopardy" contestant, she, not the fancy footwork by Shelton and the boys, slam-dunked the movie home. Her character Gloria was smarter and faster than all the other characters rolled up together, giving the film a surprisingly--refreshingly--real finale, when she leaves Harrelson behind because she's going places.

And so, we hope, is Perez in the movie game. There's nothing wrong with a steady gig as choreographer of The Fly Girls for the TV hit "In Living Color," but we'd much rather see Perez--whose next movie is Tony Bill's The Baboon Heart--on the silver screen, showing us her fly stuff.

B.H.

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