Top 10 Ryan Gosling Performances

The only real blemish on Ryan Gosling’s impressive resume is that, like Tom Cruise, he has never worked with a female director. That changed with his blockbuster role Barbie, film directed by Greta Gerwig “Trojan Horse” about the poisonous masculinity and destructive impact of patriarchy. The 42-year-old Canadian actor has gained recognition for his dancing, singing, dashing Ken, Barbie’s (Margot Robbie) unassuming “boyfriend” who transforms overnight from Himbo friendzone who only knows the word “beachTo incel the evil one is determined to rule Barbieland.

Gosling, with his platinum hair, six-pack abs, and ridiculous style, is the ultimate protagonist accessory, and his hilarious performance not only nudges him towards an upcoming Oscar nomination, but also inspires many to wonder if this is his “best.” performance ever.” It also got us thinking: what are the top 10 Ryan Gosling performances?

Without further ado, here they are.

Gosling showed his comedic muscle for the first time — just weeks before he did it in real life when he broke up a fight on the streets of New York — in this ensemble comedy by Glenn Ficarra and John Requa. Gosling is as funny as Jacob Palmer, the pickup wizard who goes to the same club every night in a tailored suit to seduce single women, and hires Cal (Steve Carell), a pathetic family man suffering from middle age crisis and only that he found out his wife (Julianne Moore) was cheating on him for a makeover project, which we regret when he’s not in the picture. If his scenes with Emma Stone are cute, including a “drunk” prom break Dirty Dancing, his four-handed comedy with Carell is top notch. The look he gives Cal/Carell as he opens his Velcro wallet has become a meme in its own right. For those who have never seen his teenage rehearsals in Breaker High or Young Hercules, it was Gosling’s first major comedy. What hit the spot.

I still think about how Gosling almost got shot with his colleague from Mickey Mouse ClubBritney Spears, n.v. Pages of our life. And also how Gosling and his future co-star Rachel McAdams hated each other so much during the filming of this film that they fought furiously before turning it all into a start. romance and start dating during a promotional tour. That anger is on screen in her boy Noah Calhoun. working class in 1940s South Carolina who falls in love with arrogant heiress Ellie (McAdams), much to the disdain of her parents. There is a vintage charm to the scenes depicting Gosling and McAdams meeting, and Gosling does a very good job of conveying the tormenting desire. But the scene in the rain – “I wrote to you every day for a year … this is not over … this is not over yet” – is one that will remain forever.

Anyone who is familiar with his appearance in night show (or from YouTube) knows that Gosling trained as a dancer, first with a local dance company, then with ballet, and finally with Mickey Mouse Club, along with names you may have heard of: Justin Timberlake, Britney Spears, and Christina Aguilera. But we never saw him really “exploit” his formative years until La La Land, a musical by Damien Chazelle about two aspiring artists from Los Angeles. Of course, there are bad moments (Gosling talks about jazz with Emma Stone in a club; the only black character played by John Legend mocks jazz), but here he does everything: sings, dances in the moonlight and gives his beloved the look of an abandoned puppy. . His voice isn’t as good as Stone’s, nor is his performance, but still nice.

Legend has it that Gosling and co-star Michelle Williams worked hard to Blue Valentine, even going so far as to rent a house and live together, feigning arguments and fights to take the place of this young couple who fall in love, only to be lost in a sea of ​​resentment and insecurity just five years later. Although the “grudge” sequences are a bit weak at times, and Gosling’s clean-shaven haircut is unintentionally funny and surprisingly sad, the opening sequences of Gosling, who is on the streets of New York doing everything to win over Williams (almost entirely improvised by two actors), including a ukulele serenade, – his best moments.

This is the wound Gosling inflicts on many (or all) of his characters. I already mentioned that he looks like a puppy, but this loving look, along with one of his eyes, a little more closed than the other, has the power to pierce you. Like Lars Lindstrom, a broken soul whose mother died in childbirth, leaving him with great guilt and aloofness; whose father has recently died; and who lives in the family’s converted garage, Gosling has given us his most eccentric character: a broken young man who feigns a relationship with Bianca, a blow-up doll he ordered online because he’s too afraid to make real connections and be important. A wonderful and at the same time restrained interpretation of Gosling, who, despite the “strangeness” of the role, always makes Lars root for him. And it seems that Gosling perfectly understood the task: “Ryan seemed 20-30 kg overweight, with a mustache, a week and a half before filming,” said director Craig Gillespie. Entertainment Weekly. “I didn’t expect this. We didn’t talk about it, but I appreciated it and understood why he does it.”

As in the case Crazy, Stupid, Love with Steve Carell or a promotional tour with Harrison Ford for Blade Runner 2049Gosling pairs well with a more mature and experienced actor. The result is comedies of different generations, with all the admiration and difference between the two subsequent ones. Another fundamental name in this “sub-genre” is: Good guys, comedy thriller Shane Black, set in the seventies, in which Gosling is in full mode. madness as Holland March, an incompetent private investigator on the trail of a missing porn star who finds himself at the center of a conspiracy. The juxtaposition of the bumbling Gosling and the tough and massive Russell Crowe is gold for comedy, and never like in the scene where Crowe confronts him while reading a newspaper in the closet. Gosling was born for comedy and he should do so much more.

If Gosling bets on gray man Netflix as an action movie, we’d love to see a trilogy about The Driver, an unnamed Hollywood stuntman and bodybuilder obsessed with speed (and super-violence). Gosling and director Nicolas Winding Refn wanted to make what the star calls a “violent John Hughes-style film,” and they succeeded with elegant, pulsing neo-noir. This is by far Gosling’s sexiest performance on screen, with the actor making full use of his seriousness, stunning smile and killer wardrobe (that satin bomber jacket, those leather gloves…). He’s so charming and easy to play (for him). He’s so adorable and a pleasure to look at (for us), even when he smashes someone’s face in, that we almost forget that same Brit Carey Mulligan plays a waitress at Denny’s in Los Angeles with an ex-convict boyfriend. This is his Steve McQueen performance and it’s amazing.

It took the first collaboration with a female director (and a genius as well as Greta Gerwig) for Gosling to unleash his “Kenergy”, that is, to awaken the most venomous macho traits hidden in him to satirize them. Barbie is the liveliest comedy you’ll see this year (or any year) as Gosling brings this male jester to life in an engaging and hilarious way. He sings, dances and, even if he plays the role of a troglodyte Himbo fondness for furs, headdresses and the submissiveness of women, somehow, he never manages to be unsympathetic. Because you can see that he has so much fun playing Ken. He will probably get his first Oscar for this film, and it will be well deserved. More Ken, Please.

I’ve already seen Gosling in some headlines – Breaker High AND young Hercules, that episode Are you afraid of the dark?AND Taste of victoryin which he plays a role cornerbacks a racist who can’t handle a human identification mark – but has only seen it in Believer what I realized was an exceptional talent. In this film, he played Danny Balint, a New York Jew whose scriptural rejection and self-hatred turned him into a violent neo-Nazi. Together with a gang of fascist skinheads, he plans to plant a bomb in a synagogue in order to carry out his plan to exterminate the Jews. Playing a neo-Nazi has for some time been a strange rite of passage for fearless young actors, from Gary Oldman and Russell Crowe to Edward Norton and Stephen Graham, but Gosling’s role is the most subtle, filled with inner conflict and undeniable charisma. The scene where he is being interviewed by a reporter from The newspaper “New York Times in a diner, spewing anti-Semitic bile now and threatening to kill himself if exposed the next moment, is one of the finest plays of Gosling’s career. A star is born.

Myself Pages of our life made him a star was his performance in Half Nelson 2006 to solidify Gosling’s status as arguably the most talented actor of his generation. Gosling plays Dan Dunn, a young Brooklyn high school history teacher who teaches a class of predominantly black students. Instead of sticking to the curriculum, he prefers to teach through dialectics, encouraging his students to express their opinions. Although he is a much-loved teacher and coach of the women’s basketball team, he also suffers from a crack addiction that is starting to take its toll on his job. When one of his students, 13-year-old Dray (Sharika Epps), catches him in the bathroom after a game, the startled look he gives her is unnerving, but they soon develop an unlikely friendship. This is one of the typical roles of a rising star, like Robert De Niro in evil streets or Denzel Washington in Cry of freedom, which loudly announces the arrival of an actor who is destined to become great. And this is just one more example of what a generous on-screen partner Gosling can be. He has no problem relying on women, be it Michelle Williams in Blue ValentineEmma Stone in La La Land or Margot Robbie Barbie, and here he leaves a lot of room for newcomer Epps. A scene in the film that demonstrates the complexity of Gosling’s job is one in which he tries to stand up to Frank (Anthony Mackie), a local drug dealer who has taken Dray under his wing. This is such a stunningly realistic interpretation that it just makes your jaw drop.

From Rolling Stone USA