The Ladykillers and the glory days of Tom Hanks
Will we ever see another character as brilliant as Goldthwaite Higginson Dorr, PhD?
In recent years, Tom Hanks has taken a well-deserved rest from demanding roles that showcase his acting range. With a few exceptions sprinkled in (A Beautiful Day in the Neighborhood, Captain Phillips) he has largely become one of those actors who appears to play himself rather than disappearing into his roles, though we can be thankful he is still suitably picky about his roles. By no means has he sunken to the depths of the “I Give Up” club, currently populated by the likes of Robert DeNiro, Al Pacino and Bruce Willis.
But look back a decade or two, and it can be shocking to recall just how vibrant and masterful Hanks’ performances once were. Today, I want to focus on one performance in particular: his turn as a criminal mastermind in the 2004 Coen brothers film The Ladykillers.
Bewilderingly, this hilarious black comedy received a lukewarm reception from critics and audiences alike upon its release, despite being far more memorable than the brothers’ prior effort, Intolerable Cruelty. But even the critics who denounced the film for not being a carbon copy of the 1955 original had to admit that Hanks had delivered a special performance. He had taken a role that, on the page, was essentially a more refined, cynical version of Ulysses Everett McGill from O Brother, Where Art Thou? and transformed it into a delightfully surreal depiction of a man who is at once learned, stupid, and more than a little insane.
The film’s plot revolves around Goldthwaite Higginson Dorr, PhD (Hanks) and his bizarre crew as they endeavor to rob the underground vault of a nearby riverboat casino, which they intend to accomplish by tunneling through a root cellar in the home of Marva Munson, a devout and feisty old widow. They gain access to the widow’s home by pretending to be a troupe of classical musicians in need of a practice space, and as is usually the case in a Coen brothers film, it’s all downhill from there.
Hanks does not carry the film by himself, of course. J.K. Simmons has never been more perfectly cast as an explosives “expert” whose authoritative demeanor and disarming self-confidence mask his utter ineptitude, and Irma Hall’s incredible range of facial expressions in her role as the god-fearing widow makes for a comedy gold mine. But Hanks is the glue that makes them stick. His performance flaunts a syrupy deep-south accent, which is paired with the linguistic acrobatics of William Faulkner and Edgar Allen Poe—if the two had a love child who grew up to be a circus freak performing spoken word poetry at Mississippi renaissance fairs.
Hanks’ performance has been described as over the top, but Hanks does not receive enough credit for his expertly controlled execution. Whereas “over the top” implies a degree of randomness or unrestrained goofiness, the consistency and internal logic of the character’s behavior elevates the performance into the realm of genius. Goldthwaite — or “the professor,” as he is also known — is an accomplished liar, but we believe him when he says he is a student of classical literature and philosophy. He quotes Poe at will and speaks like a funhouse reflection of a character from a Faulkner novel, all the while spouting references that no one around him understands.
In fact, we come to suspect that he prefers to surround himself with people who are a few rungs short of a ladder. As we learn around the midpoint of the film, Goldthwaite’s father spent much of his life in the “state nervous hospital,” and it seems likely that the professor has taken to projecting his intelligence in order to mask the streak of derangement that runs in his family. The result is a man who wields his expansive vocabulary with all the precision of a sledgehammer, resulting in unforgettable lines such as, “Madam, we must have waffles. We must all have waffles forthwith!”
But to his team of prospective vault robbers — which consists of Simmons’ Garth Pancake (and his partner, Mountain Girl), “inside man” Gawain (Marlon Wayans), a former Vietcong general (Tzi Ma), and the brainless but strong Lump (Ryan Hurst) — he is a genius who will make them rich.
Only the widow Munson is wise to the absurdity that is Goldthwaite, and the scenes in which the two characters interact (Goldthwaite trying to thump her into submission with a barrage of classical references and Poe poetry, while she hits back with the naiveté and brutal honesty of a woman who has nothing to prove to anyone but her god) are some of the funniest in the film.
Some will disagree, but for me, The Ladykillers is a highlight of Hanks’ career. Though it lacks the narrative weight of Forrest Gump or the poignancy of Apollo 13, the film is a showcase for what he is capable of when given the right role.
Don’t get me wrong; I’ll readily admit that if anyone deserves to rest on autopilot at this stage in their career, it’s Tom Hanks. Nevertheless, whenever I watch yet another film in which Hanks plays Hanks, I can’t help but wish I was back in a theater in 2004, watching The Ladykillers for the first time. You’re a national treasure, Tom. Do what you like. But in these strange and difficult times, would it hurt to give us a Goldthwaite Higginson Dorr, PhD now and again?