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His parts in US films were intermittent thereafter, and included playing J Edgar Hoover in Oliver Stone's Nixon (1995). The chief catalyst of his disillusionment with Hollywood was his work on the disastrous 1993 videogame spin-off Super Mario Bros.
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In the wake of the film's success, he worked widely in Hollywood: with Denzel Washington in the comic thriller Heart Condition, and Cher in Mermaids (both 1990) and playing Smee (a role he reprised on TV in the 2011 Neverland) in Spielberg's Hook (1991). A year later, he took on his greatest technical challenge in Who Framed Roger Rabbit (1988), Robert Zemeckis's fusion of live action and animation, in which Hoskins was one of the film's few flesh-and-blood participants. Playing the belligerent but kind-hearted ex-con in Mona Lisa, Neil Jordan's London film noir, won him many awards (including a Golden Globe and the best actor prize at Cannes), as well as his only Oscar nomination. Hoskins's pivotal roles in that period could not have been more different. He was amusing in a cameo as a heating engineer in Terry Gilliam's Brazil (1985) and as a coarse screenwriter in the comedy Sweet Liberty (1986), one of four films he made with his friend Michael Caine. Highlights included his playful odd-couple double act with Fred Gwynne in Francis Ford Coppola's The Cotton Club (1984), and his portrayal of a down-at-heel businessman wooing an alcoholic piano teacher (Maggie Smith) in The Lonely Passion of Judith Hearne (1987). He concentrated predominantly on his film career. He wrote a play, The Bystander, inspired by the nervous breakdown he suffered after his first marriage ended.įor more than a decade, he did little television there were only a handful of exceptions, including some ubiquitous television commercials for British Telecom in which he delivered the catchphrase "It's good to talk". The following year she became his second wife, and the person he would credit with helping him survive periods of depression. In 1981, he played Iago opposite Anthony Hopkins in Jonathan Miller's BBC adaptation of Othello and also met Linda Banwell. In The Long Good Friday, he showed the charismatic swagger necessary to fill a cinema screen, though it was the picture's final shot – a protracted close-up of Hoskins's defiant face – that sticks most indelibly in the memory.
No other actor has a more legitimate claim on the title of the British Cagney.īob Hoskins in Pennies From Heaven.
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Hoskins could be poodle or pitbull as a reluctant driver for a prostitute in Mona Lisa (1986) and a patiently calculating murderer in Felicia's Journey (1999), he was a cross-breed of the two. Playing an ambitious East End gangster in The Long Good Friday (1980), he added an intimidating quality to the vulnerability already established.
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But he was defined from the outset by a mix of the tough and the tender that served him well throughout his career.Īs the beleaguered, optimistic sheet-music salesman in the BBC series Pennies from Heaven (1978), written by Dennis Potter, he was sweetly galumphing and sincere. In his moments of on-screen rage, he resembled a pink grenade. Short, bullet-headed, lacking any noticeable neck, but with a mutable face that could switch from snarling to sparkling in the time it took him to drop an aitch, Hoskins was far from conventional leading-man material. Plenty of better-looking performers than Bob Hoskins, who has died aged 71 of pneumonia, have found themselves consigned to a life of bit parts.
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