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Ben Stiller’s Top 10 Performances

It’s just a shame he’s such a bad eugoogoolizer

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    Top Performances is a recurring feature in which we definitively handpick the very best performances from an iconic actor or actress.

    Ben Stiller may be really, really ridiculously good looking, but there’s something even more impressive hiding beneath those chiseled abs and stunning features. The actor’s versatility isn’t the kind of thing that shows up on a magazine cover, but it’s a huge reason why he’s been able to carve out a 30-year career that encompasses indie dramas (Permanent Midnight), satirical black comedies (The Cable Guy, Mystery Men), and parodies that walk the line between subversive and mainstream (Zoolander, Tropic Thunder). Stiller has even cornered the market on children’s entertainment, voicing Alex the Lion in the computer-animated Madagascar franchise and starring in an interminable series of Nights at the Museum. You don’t get this way by being one-dimensional, despite what the blank look on Derek Zoolander’s face might suggest.

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    With Zoolander 2 set to hit theaters this week, we thought it’d be a good time to reflect on Stiller’s career and celebrate the roles that stand out from the rest. Stiller has embodied quite a few archetypes on screen — the schlemiel, the everyman, the antihero, the luckless lover — but all of his best roles reflect the same dedication to craft and character. Whether your favorite version of Stiller is Roger Greenberg or Gaylord Focker, it’s easy to appreciate the unique cocktail of humor and pathos that shows up in different potencies across all of his films. It’s just a shame he’s such a bad eugoogoolizer.

    –Collin Brennan
    Associate Editor

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    10. Hal L.

    Happy Gilmore (1996)

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    “Check out the name tag. You’re in my world now, Grandma.” And so we’re introduced to Stiller’s Jekyll-Hydian Hal L., the nefarious orderly who turns the nursing home of Happy Gilmore’s sweet grandma into a godless sweatshop. What separates Hal from Stiller’s litany of abusive weirdos is both physical AND performative: the horseshoe ‘stasche, for one, deftly conveys unhinged masculinity, while his threatening demands resonate more as a twisted middle-management tactic than anything genuinely dangerous. Perhaps most importantly, Hal L. is probably one of the brightest examples of what made early Adam Sandler movies so great: the nonsensical, yet vividly drawn, supporting character. They serve no true purpose and are allotted more screen time than they deserve, but these characters are what ultimately gave the movies so much texture. Happy Gilmore’s chock-full of good lines, but they all fall behind every single one of Hal’s lines in terms of quotability. –Randall Colburn

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    09. Jerry Stahl

    Permanent Midnight (1998)

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    The forgotten 1998 addiction indie Permanent Midnight stars Stiller as a successful television writer whose devotion to heroin, crack cocaine, and just about everything else costs him his career and family. It was based on Jerry Stahl’s autobiography of the same name, so the film’s unfiltered look at addiction feels honest and heartfelt, but the film itself never quite transcends the traditional junkie’s redemption story. What does stand out, however, is Stiller’s performance as Stahl, which has been unfortunately forgotten along with the film itself. Credit that to the film’s poor box office performance, or that his star-making turn in the Farrelly brothers’ There’s Something About Mary came out that same year. Either way, it’s a shame.

    Stiller’s sweaty, confident performance bears few traces of the schlemiels, schlubs, and shits he would go on to play in mainstream cinema. As Stahl, the actor adopts a slick, peripatetic wit that carries him through scenes of inspiration and sick depravity, the most memorable of which find him suicidally leaping against the interior windows of a skyscraper with perennial heavy Peter Greene and shooting up junk alongside a toddler. His commitment to the film’s sun-baked filth is both astounding and unlike anything else in his oeuvre, be it comedic or dramatic or somewhere in between; I mean, where else will you see Stiller desperately flex a neck vein so he can plunge a needle into it as a baby cries next to him? Permanent Midnight isn’t perfect, but it does offer a glimpse at the risky, Oscar-chasing dramatic actor Stiller could very well have become had the film taken off. –Randall Colburn

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    08. Gaylord “Greg” Focker

    Meet the Parents (2000)

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    The most hapless iteration in a long line of Stiller everymen, Gaylord Focker spends most of Meet the Parents in a war of attrition with his girlfriend’s father, Jack (a gleefully hammy Robert De Niro). Jay Roach’s film exaggerates the anxieties that come with meeting the parents, but it also takes pains to create characters that are realistic and sympathetic. Stiller’s Focker suffers a laundry list of indignities during his weeklong foray into boyfriend hell, from jokes about his profession as a male nurse to a polygraph test in which he’s asked if he’s ever watched pornography. But something interesting happens along the way: Focker slowly transitions from fool to hero, persisting until he finds his place in a family that does everything it can to exclude him.

    Despite all the outlandishly embarrassing situations he finds himself in, Stiller seems more comfortably himself in Meet the Parents than in any of his other major roles. One of the film’s many strokes of genius is to use Stiller’s own Jewishness as the springboard for a culture clash, with implications that extend far beyond their comic effect. More relatable than the typical Woody Allen protagonist but just as neurotic, Focker is the ultimate example of Stiller’s ability to generate humor and pathos all at once. –Collin Brennan

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    07. Mel Coplin

    Flirting with Disaster (1996)

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    In this underseen and oft-forgotten satire from director David O. Russell (now riding high with his Jennifer Lawrence trilogy of Silver Linings Playbook, American Hustle, and Joy, so don’t feel too bad for him), Stiller is the maladjusted protagonist, Mel, whose natural edginess makes a good proxy for Russell’s. Mel is the adopted son of overanxious Jewish New Yorkers (Mary Tyler Moore and George Segal), who despite his life of privilege feels that he cannot have sex with his wife (Patricia Arquette) nor name their infant son until they embark on a cross-country road trip to find his biological parents. Along the way, Mel and Nancy navigate attractions to others — Mel to the sexy adoption counselor (Téa Leoni) and Nancy to her bisexual friend from high school (Josh Brolin) — and cases of mistaken identity with several would-be parents ensue.

    Mel should be more annoying than he comes across, but Stiller anchors him in the endearing style for which he has become known: neurotic, inescapably Jewish, and so easily befuddled that one hopes he will succeed just so he will feel a bit better about himself. Any actor who earns empathy while playing a lying, cheating asshole has talent; that Stiller has played versions of this character multiple times and is still so beloved makes him a master of his craft. –Leah Pickett

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