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An affair to
dismember
Rufus Sears, Time Out New York #238, April 13-20, 2000
American Psycho's Patrick Bateman is a brutally vile character
fueled by narcissism and greed. For most actors, it would be a
career-killing role. But for Christian Bale, it may be a ticket
to the big time.
CHRISTIAN
BALE IS NOT an actor with an insecure need to be adored. And that's
fortunate. As American Psycho's Patrick Bateman—an arrogant, misogynistic,
ax-murdering Wall Street executive who dons a slicker before he
strikes in order to avoid splattering blood on his Cerruti suit—he
registers as utterly loathsome. Bale knows full well that this
role won't win him the hearts of teenyboppers, the praise or Hollywood
pundits or the prizes of the Academy. The character is despicable
and—for an actor—a dangerous undertaking. But Bale plays the serial
killer with impressive disregard for his own professional life.
"I have
a fascination with people who laugh in the face of risk,"
he says. "When people said to me, 'It's career suicide,'
it made me all the more enthusiastic." Bale, 26, sits in
the courtyard of an inn near the beach in Los Angeles, speaking
with an unplummy English accent. He explains that he's always
ignored pressure to take roles just for the purpose of increasing
his popularity. This clearly is an understatement, since American
Psycho—based on the critically sliced-and-diced 1991 Bret Easton
Ellis novel of the same name—may prove to be the most-maligned
film of the year.
But Bale has too much
going on to be thinking about failure. At the end of January,
he married Sibi Blazic (the details of the relationships he prefers
to keep private). He recently wrapped a role—as a snobby rich
kid with a craving for illicit kicks—opposite Samuel L. Jackson,
in the John Singleton remake of Shaft, set to hit theaters this
summer. (Bale says he enjoyed working with Jackson: "We had
coffee together and bullshitted—a working relationship that essentially
consisted of him eyeballing me and calling me 'motherfucker.'
It was an honor to be called motherfucker by Sam Jackson, you
know? Nobody says it quite like him.")
In between the two
bad-boy roles, Bale took a break—to play Christ. He slipped into
the part of the Son of God for an NBC television movie called
Mary, Mother of Jesus, which aired in November. When the faxed
offer spilled out before him, he was still living the life of
Patrick Bateman. "I thought, No, I can't do that," Bale
recalls. "But a lot of people had been saying to me, 'Listen,
Christian, you've played Bateman—you should think about a romantic
comedy or something—play somebody good.' It almost seemed like
a joke. Here I was, getting offered Jesus."
Which leads us back
to the Antichrist. American Psycho's Bateman is an '80s-style
Wall Street stud who wears a self-amused rictus of a smile as
he lines up his victims for death. By all accounts, Bale seems
an odd selection to play a serial killer—the innocent-faced Englishman
who emerged at age 13 in Steven Spielberg's Empire of the Sun
(1987), and who has been a fixture on teenage girls' celebrity
crush lists ever since 1992's Newsies and the following year's
Swing Kids. The urban monster role was presented to him by indie
director Mary Harron (1996's I Shot Andy Warhol) as she and cowriter
Guin Turner worked to adapt the controversial book into a satirically
chilling screenplay. "People in Hollywood thought I was nuts,"
recalls Harron, who says she chose Bale as her star early on because
she "felt he understood" just what she wanted to do
in the film's most horrific scenes. Harron briefly lost her pet
project after she refused to dump Bale in favor of Leonardo DiCaprio
in the lead role. (Lions Gate Films had offered it to the sure-thing
actor as a $20 million hedge against the story's grimness; the
distributor didn't want to risk disaster by settling for the lesser-known
Bale.) When DiCaprio ultimately turned down the job, Harron returned
to the scene—and did it her way. Along with Bale, the starkly
kitschy Psycho also stars Jared Leto as Bateman's rival (and doomed)
business associate, Reese Witherspoon as the whining fiancee,
Samantha Mathis as her prescription-drug-addicted friend and Chloe
Sevigny as Bateman's lovestruck assistant.
BALE CROSSES A NIKE
sneaker over his knee and considers the fastidious Bateman: "He's
a trust-fund, Wall Street guy," he says. "Intellectually,
he is very complex. But emotionally, he is utterly vacant. He's
a vast exaggeration of wealthy young men at their worst."
The character is the kind of slick-haired, buffed-up guy you'd
see in a tony restaurant in Soho or on the Upper West Side; the
only difference is, if you went home with Bateman, you'd be more
likely to spill a little blood. The role required Bale to achieve
the look of a man who worries about bloat from the soy sauce after
eating sushi for supper. To do so, he followed a strict diet and
worked out with a trainer twice daily, beginning six months prior
to shooting. "I had to make myself addicted to it,"
he says. "Going into a gym is not something that I love any
more than anybody else. But you can't pretend that physique—I
had to get as obsessively vain as he is." Manicures, skin
treatments and tanning sessions also became part of Bale's regular
routine as he transformed himself into the perfection-obsessed
murderer.
This Bale is a world
away from the lad we met as Empire of the Sun's young Jim. As
the airplane-crazy child of evaporating British colonial privilege
in this portrait of Asia during WWII, the actor turned out a portrait
of feverish yearning, seamlessly changing from a child in a cap
and kneepants to the sharp little grifter he needed to be in order
to survive.
But maybe
that role wasn't such a stretch: Bale was born in Wales, in 1974,
to a father who had struck out on his own at 13 (and found shelter
in a Wimpy's hamburger joint) and a mother who performed in both
theater and the circus. When he was just two, the family set out
on a nomadic jaunt throughout England; Bale fondly remembers his
father's environmental radicalism during this time ("Going
with my dad and shouting at politicians as they came out of the
hotel—I really got a kick out of doing that"). At age ten
he attended an actors workshop and casually began auditioning.
"I never felt in any way pressured. I would just go and have
these funny meetings and act a little bit," he says. A couple
of TV dramas later, Bale was cast—over 2,000 others—by Spielberg.
He took the good news with precocious sangfroid: "I actually
said, 'Oh, that's great, thanks very much. So I don't have to
audition anymore? Excellent.' I walked out, and Steven came running
after me. He said, 'Don't you want to sit and talk about this?'"
Bale recalls that Spielberg treated him like a seasoned actor
during the making of the film, "I can't once remember him
talking to me like I was a kid who wouldn't understand."
"It
seemed he didn't care about just being a star," Harron says.
"He could have a career as a serious, transformational actor."
The sharp-eyed
wonder Bale exhibited in Empire also shone in his performance
as Falstaff's Boy in Kenneth Branagh's 1989 Henry V. A few years
later, he managed to make personal successes out of two box-office
slackers—as the point man of a gaggle of paperboys in Newsies
and as the leader of the pack in Swing Kids—and he was officially
on his way. With his obvious intelligence and ruddy, boyish appeal,
the teenage actor began to attract an online cult of "Baleheads"
(on recent count, there were at least 40 websites devoted to the
babeness of Bale); his constituency of enthusiastic teens had
more to cheer following his performance as the earnest, blushing
Laurie, the boy who charmed the March sisters in 1994's Little
Women.
But Bale's days of
naivete would soon be over. By 1997 he was playing a restless
husband to Emily Watson in Metroland, and the next year he appeared
as a reporter lured by Ewan McGregor's Iggy Pop–style glam-rocker
in Todd Haynes's homoerotic Velvet Goldmine. His courage in this
performance is the reason Harron hired him. "Many actors
are afraid to play gay, but he embraced it," she says. "It
seemed he didn't care about just being a star—that he could have
a career as a serious, transformational actor."
Transformation seems
to be a specialty of Bale's. While he won't claim to be a Method
actor, he says he typically maintains character, accent and all,
for the duration of a role. Over the 35 days it took to shoot
the $6 million American Psycho, he was Bateman. "It was enjoyable,"
he says, "because whilst he's dangerous and intelligent,
I see him as a complete dork. I found it quite hilarious, walking
around, [being] a prick 24 hours a day." Harron found the
metamorphosis alarming: "It did seem you were talking to
Patrick Bateman."
Still, reports are
that the star prick on the set was Leto. Bale hides a smile in
response to an inquiry about his costar's well-publicized bad
attitude: "Well, in fact, I used that," he says. "And
it quite appropriately ended up onscreen." The plot requires
Bateman to get so stirred with envy over his associate Paul Allen
(played by Leto) and a set of slick, engraved business cards that
he decides he must dispose of his nemesis. The undercurrents of
their relationship lead to the film's most bizarre sequence, with
Bateman prattling rock-crit encomiums on Huey Lewis and the News
as he wields an ax behind his unsuspecting victim.
FROM BEGINNING TO END,
American Psycho has ignited more than its share of controversy.
But it is one of those films that age well in viewers' minds;
sit through the explicit violence and you will leave with more
than a few humorous memories. (Note: One pain-free scene involving
Sevigny and an industrial-size staple gun makes the bloodier ones
worth enduring.) You'll also be reminded of the dumb appeal of
'80s power pop (remember "Sussudio" by Phil Collins?)
and have the chance to indulge in some unforgettable peeks at
Bale's arduously perfected musculature.
Close to a
year after breaking character, Bale has successfully extricated
himself from loveless Bateman. But the question remains: What
will be the upshot of this sickening yet superlative performance?
He says he's seeing more scripts and getting more calls—though
he won't reveal what's next. As for the fear of going down in
cinematic history as a crazy man cavorting with an ax, Bale smiles
wryly and says: "The actors I admire tread that fine line
of doing something well—or really having it be a disaster."
Source - www.timeoutny.com