Adam Boult 

Gary Oldman: five best moments

Our pick of the star's greatest performances to date. Which others would you add to the list?
  
  

Gary Oldman at the London premiere of Robocop, 2014
Gary Oldman at the London premiere of Robocop, 2014 Photograph: Suzanne Plunkett/Reuters Photograph: SUZANNE PLUNKETT/REUTERS

To mark Gary Oldman's appearance in Rise of the Planet of the Apes, here's our selection of some of the actor's finest screen roles to date – but what are we missing?

Let us know your favourite Oldman performances in the thread below.

Sid and Nancy

Director Alex Cox gave Oldman his first major film role in this 1986 biopic of Sex Pistol bassist Sid Vicious and Nancy Spungen, the girlfriend he was accused of murdering. Oldman initially turned down the role in favour of theatre work, but was convinced to change his mind and put in an intense, memorable performance.

Bram Stoker's Dracula

Francis Ford Coppola's 1992 film aimed for a respectful adaptation of the source novel, with Oldman playing a more complex and sympathetic Count Dracula than audiences were used to. Critics weren't unanimously won over, but most agreed that Oldman was excellent.

Léon: The Professional

Throughout the 90s Oldman was cast in a number of villanous roles – as the pimp Drexl in True Romance, as Russian terrorist Egor Korshunov in Air Force One – and as Norman Stansfield in Léon, a pill-popping, drug-dealing, murderous cop, and an all-round nasty piece of work.

The Fifth Element

Director Luc Besson followed up Léon with this very different sci-fi extravaganza, but kept Oldman on as his preferred antagonist. He plays Jean-Baptiste Emanuel Zorg, a gleefully OTT villain with a broad Texan accent and one of the worst hair-dos ever committed to film.

Tinker Tailor Soldier Spy

And finally, this 2011 adaptation of John Le Carré's novel, for which Oldman picked up best actor nominations in the the Oscars and Baftas. Peter Bradshaw, reviewing the film, said: "I found it more gripping and involving than any crash-bang action picture, and it is anchored by Gary Oldman's tragic mandarin, a variation on Alec Guinness which transfers the emphasis away from George Smiley's wounded feelings to his cool capacity for unconcern in the face of violence, a hint of a daredevil past, and a schoolmasterly scorn for his victim's weakness and disloyalty. What a treat this film is."

 

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