What-ifs are inevitable, and painful, when an actor dies suddenly. Treat Williams might’ve done so much more, given the chances and the material, writes phillipstribune.
On screen I first saw Williams in “The Ritz” , outlandishly broad but he’s very funny in it. Williams cut his teeth in Broadway musicals, first with the Andrews Sisters World War II nostalgia trip “Over Here!” In that one he worked alongside fellow soon-to-be-knowns John Travolta, Marilu Henner and Ann Reinking.
Williams also did Danny Zuko on Broadway in “Grease,” a few years into its long, long run. I saw his Pirate King after Kevin Kline left “The Pirates of Penzance” in the early ‘80s — a vocally challenging, physically demanding role Williams handled with aplomb. By then, he’d proven to the movie world he could sing, dance and act, thanks to Forman’s 1979 film version of the musical “Hair.
surely provided Aaron Tviet his primary reference point in Apple TV’s second season of “Schmigadoon!” aka “Schmicago!”I haven’t seen it in far too long, but in director Joyce Chopra’s unnerving “Smooth Talk” , Williams and Laura Dern enact a remarkable duet of adult sexual predator and teenage victim. Its welter of dramatic ambiguities are striking, perhaps more so today than ever.
What-ifs are inevitable, and painful, when an actor dies suddenly. He might’ve done so much more, given the chances and the material. With Williams, it’s equally tantalizing to imagine the career he might’ve had as a young, vital presence a decade earlier — a James Caan sort of ‘70s stardom. But we live in our own time. For Williams, that meant a steady stream of portrayals that improved, humbly, just about everything he did for our benefit. And our reward.
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