Look, America worships its actors, both the stars and the underdogs. The former shine brilliantly as proof of the American dream of fame and fortune. The latter we hold dear as guardians of secret brilliance the masses are too sheeplike to ever understand the genius of. Still, there are some who are just continually going to get the shaft no matter how gifted they are.
We're not even talking about people like Jim Carrey or Jennifer Jason Leigh who just get constantly screwed out of recognition for their acting work. What we're talking about are artists who aren't even eligible for an Academy Award because what they do isn't seen as worth a damn by the "real" actors. People like...
People look at Mark Hamill and shake their heads because they all feel sorry for Luke Skywalker not becoming the superstar that Harrison Ford did. His story is somehow seen as a tragedy where a mighty hero falls and is disgraced. We call those people, "brain damaged."
Why? Because Hamill is the Joker. Sure, Heath Ledger's performance in the Dark Knight was awe-inspiring, but let's face it, he was playing a character based on the Joker. Hamill has been turning in the most definitive and accurate interpretation of the Ace of Knaves for 20 years in voice work in various mediums. His performances have grown more deep and nuanced with every passing vehicle, and it was very sad to read that he was saying goodbye to the role with Batman: Arkham City.
Hamill has managed to snag some minor statues as a voice actor, but even if he did manage to land a starring role in a cinematically released animated film he still wouldn't be able to win an Oscar. If they aren't going to make room in the Academy for Tom Hanks, who has turned in three of the greatest voice acting roles of all time, then Hamill has no shot.
Wrestling is lowbrow entertainment. Then again, so is My Cousin Vinnie and they gave Marisa Tomei an Oscar for it so there you go. Still, most people would argue from pretty solid ground that the melodramas that occur in the squared circle don't belong in the same category as, say, Heat.
There are exceptions to this premise though, and the biggest one is Mick Foley. Anyone who has had a chance to read his autobiography knows the agonizing, almost method acting preparation that Foley put into his performances. Our particular favorite was his description of his pre-match planning for his famous Hell in the Cell match against the Undertaker. Foley sat backstage with nothing but Tori Amos's "Winter" to keep him company while he methodically walked out the way and why of every bloody moment. It was a ballet of violence, and an amazing feat of acting and athleticism unmatched in any other medium.
Plus, let's see Al Pacino get his ear ripped off in the middle of a scene and finish it.
