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Pacino's late comedic turn also a homecoming

Published on NewsOK Modified: January 29, 2013 at 9:47 am •  Published: January 29, 2013

Pacino and Walken hadn't worked together before (except for separate scenes in — get ready for it — the Ben Affleck, Jennifer Lopez film "Gigli"), but they've been friends for decades, going back to the Actors Studio, where the long-involved Pacino is currently co-president. Reading through the parts, the two decided to switch roles in "Stand Up Guys."

While Pacino's "Godfather, Part II" co-star and cinematic counterpart Robert De Niro has focused on comedy late in his career, Pacino has been more scattershot. His most notable work in recent years was playing Shylock in an acclaimed 2010 production of "The Merchant of Venice" and an Emmy-winning turn as Dr. Jack Kevorkian in the HBO film "You Don't Know Jack." (In March, Pacino will return to HBO in another high-profile biopic, this time on Phil Spector.)

His fondness for broad comedy, though, helps explain the most inscrutable credit in Pacino's filmography: the 2011 Adam Sandler film "Jack and Jill," in which he, among other things, rapped a pseudo Dunkin' Donuts ad as "Dunkaccino."

"What happened to me is in life, I started to get used to other things besides myself doing something funny or coming up with jokes, and I started to get into what is the playwright and what the playwrights say and that the play is the thing, like Hamlet says," says Pacino. "That's the reason I stayed in the profession because I fell in love with drama, whether it's comedy or tragedy. ... I became more or less sort of serious about things."

It's ironic that the greatest accomplishment of an actor so well known for his bigness (despite his 5 foot-7 inch height) was a performance of utter control: Michael Corleone. The strain of that titanic performance — the maturation of an armchair despot through the "Godfather" films — left a mark on Pacino, who though nearly 32 at the time, had only two previous movies under his belt.

"That character was so consuming," says Pacino. "Part of the reason why was because of its restraint, because of what is demanded of it in that style. The innards of that character, what his psyche was going through. To portray that probably affected me in some way."

Since then, the knock on Pacino has always been that he sometimes chews scenery, or rather, swallows it whole. That's somewhat unfair, says Stevens, who notes that Pacino tries many degrees of a character, leaving it to the director to calibrate.

But if Pacino sometimes veers into cartoon, it makes him all the more suited to comedy. In conversation, he's every bit as lively, erratic and funny as you'd expect. "I'm throwing images at you!" he bursts between reflections. He grins mischievously when he brags that he got Stevens to open up his collar. And when the question of whether he'll take up that Shakespearean mountain that signifies the autumn of an actor's career, he says, yes, perhaps in a movie, but not on stage.

"King Lear? Why don't you ask me if I'm going to climb the Empire State Building with a wire?" Pacino exclaims. "King Lear? What have I got to do with King Lear? Isn't that for other kind of people? It's somebody else playing it. It's George C. Scott or Ian McKellen. I don't do that. I'm in 'Stand Up Guys.'"


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