Amongst his many leading-man roles, it’s telling that the first performance that always jumps to mind when I’m asked about Matt Damon is a small cameo. Amongst the drawn out visions of the life of the radical Cuban militant Che Guevara in Steven Soderbergh’s astonishing four-hour-long "Che," Damon appears in the second movement of the film, for a moment, as a German priest attempting to strike piece between Benicio Del Toro’s Che and the Bolivians. Considering that Del Toro is the biggest name in the film otherwise, Damon’s appearance comes to signal something unexpected in a film that is, in its way, a consideration of the fight to get a personal film made and distributed in the modern marketplace. In the story, Damon was the comely, reasonable voice of peace, a symbol of compromise in a film about resisting compromise in the hopes of making something that is truly yours.
And as an actor, Damon has come to represent a career about compromise. Big-budget, left-leaning blockbusters figure into Damon’s oeuvre equally as much as smaller, more intimate projects that touch on personal political issues for the vocal movie star. Before "Jason Bourne," his last two films were "The Martian" and "Interstellar," two science fiction epics with humongous budgets and plenty of star power alongside him, but before that, he lent his talents to both Terry Gilliam’s bizarre "The Zero Theorem" and Gus Van Sant’s quite excellent "Promised Land" while also playing a whippersnapper in George Clooney’s deeply dull "The Monuments Men" and an unlikely action hero in "Elysium."
Few major actors feel such a pressing need to work with artists both big and small, flush with cash and scraping by; his friend and writing partner Ben Affleck certainly hasn’t felt that need for awhile. There are plenty of benefits to this work philosophy for Damon, who has only indulged in auteur-led franchises like "Bourne" and "Ocean’s Eleven" thus far, but one is that he’s played a myriad of character types in a vast array of films that range from genre workouts to eyes-on-the-Oscar-prize dramas to grippingly personal true-life biopics.
On the eve of "Jason Bourne’s" release, I thought I’d gather up his best work thus far that hasn’t been under director Paul Greengrass (or Doug Liman) in the Bourne films.
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"The Informant!"
One thing that has become glaringly clear over the years since "Good Will Hunting" came out is that Matt Damon is one hilarious motherf----- when he wants to be. His work with Jimmy Kimmel on "Jimmy Kimmel Live!"has often been uproarious, and his sarcasm in "The Martian" made for a handful of memorable deliveries, but these are largely done without emotional stakes, which great comedy requires. To see him truly throw himself into the world of a fool, one need look no further than this inexplicably ignored gem from Steven Soderbergh, in which Damon plays a dimwitted, overtly willing corporate spy tied to the corn industry. It’s difficult to summarize just how staggeringly funny this movie is, but its even harder to convey just how devastating Damon’s portrayal of Mark Whitacre is at the end of Soderbergh’s film. There’s a rueful undercurrent to the film that carries a venomous view of corporate criminals, but Damon’s performance strikes at a painful kind of ambition – the wanting to do some good in the world while also benefitting from the very worst of society at large.
"Invictus"
Full disclosure: I love Clint Eastwood as a director. As a performer, he’s hit and miss but as a director, he calls upon a recollection of old Hollywood that informs his aesthetic and pacing but has a long history of disrupting that classicism in his choice of story and his visible attention to personal details. Invictus is a perfect example of how he makes run-of-the-mill real-life material into something far more distinct and intimate, turning the story of the South-African rugby champions into a master class in political maneuvering and intellectual showmanship. Here, Damon plays rugby team leader Francois Pienaar, who is asked to win the Rugby World Championship by South Africa’s newly appointed president, Nelson Mandela, played with surpassing gravitas and unexpected humor by the inimitable Morgan Freeman.
Freeman’s Mandela, like Eastwood, knows that the world understands wins in entertainment and athletic talent over political urgency, and sees the Rugby game as a way to signal that he is a good leader and that South Africa is worthy of worldwide consideration after the scarring horrors of Apartheid. So, Pienaar becomes the vision of national pride and white hope for Mandela, and it’s to Damon’s credit that he both nails the accent and gives the character notes in delivery and gesticulation that suggest a pensive, active inner life. Damon’s interactions with Freeman are wonderfully wandering in trajectory, evoking a sense of two resourceful, well-known men getting to know one another, and of a political leader crafting his still-malleable image.
"Contagion"
I had to limit my Soderbergh-Damon pairings to two – "Behind the Candelabra" and "Ocean’s Eleven" lost out here. "Contagion" should have been the movie that put Soderbergh back up at "Ocean’s Eleven" level but, alas, it was not. The director’s vision of a fast-killing, flu-like disease spreading in America in the days of social media and camera phones doesn’t necessarily center on Damon but he remains the anomaly: The Man Who Can’t Get Sick. He keeps his life and a sizable portion of his sanity while people at the CDC can’t say the same. Damon’s performance could be dismissed as an everyman caricature but he gives such feeling to the character, with small, smart moments: the way his face cheers up when he sees his daughter at the hospital, that devastating “What happened to her?” line, the way he looks at the photos of his late wife (Gwyneth Paltrow). The film is a fair, unsparing take on what the next extinction event would likely look like, if not by bomb or comet, and in Damon we see the practical man left to wonder about what happened, and how everyone else reacted when things got truly dire.
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