Her subtle performance in “Mare of Easttown” illustrates the gulf between superb actors and excellent ones
THE MOST ordinary human activities—waking up, crying, sighing—can be the hardest for actors to depict convincingly. Or eating. In “Mare of Easttown”, a crime drama set in small-town Pennsylvania currently airing on HBO and Sky Atlantic, Kate Winslet gives a masterclass in how to eat in character. Playing Mare Sheehan, a bereaved, divorced detective, she stretches her mouth to cram in a cheesesteak hoagie. She swills beer like a pro.
Even in this distinguished company, Ms Winslet’s gestures and expressions stand out. Lips curled, pursed and bitten, ground and grimacing teeth, eyes rolled and averted, the occasional, fleeting, hard-won smile—all are entirely naturalistic yet perfectly calibrated for the camera. When an interloping cop tries to be conciliatory to Mare, a grudging, stifled flick of the wrist embodies, in a flash, the vulnerability beneath her bravado.
Ms Winslet’s turn on the box has two lessons. First, it reflects the evolution of entertainment in the era of streaming—and in the age of covid. Marquee names have been moving from big screen to box-sets since Martin Sheen and Kevin Spacey turned up in “The West Wing” and “House of Cards”. The migration has continued as cable channels and, especially, ambitious streaming services such as Netflix have sprayed money at drama, meaning better scripts and subtler parts as well as higher fees.
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