The five most underrated Sam Elliott performances
Few actors in Hollywood possess such a distinct blend of gravitas and rugged charm as Sam Elliott. With his iconic moustache and a voice that can be best described as a fusion of honey and gravel, Elliott has carved an Americana niche for himself in the annals of film history.
Even by the 1990s, he had become a persona so iconic that screenplays would literally describe characters in his likeness. Why? It’s in the subtleties, the glint in his eyes, and the tone of his voice where the real magic lies. We all know Elliott – but do you know every role he’s done?
“I’ve spent my entire career on horseback or on a motorcycle,” the great actor once said. Well, challenge accepted, Elliott. In the spirit of independent taste (in other words: mine) and in honour of diversity, we think it’s worth exploring his acting endeavours that stray more off the beaten path. Let’s do the man justice by celebrating some of his deep cuts.
From Civil War battlegrounds to neon-lit bowling alleys, Elliott’s journey through film has given audiences many memorable moments – but some particularly excellent ones you may not know of. The man’s approaching 80, so whilst we’ve still got him, let’s raise our glasses to this legend, sit back, and enjoy…
Five underrated Sam Elliott performances:
5. The Legacy (Richard Marquand, 1978)
This horror classic saw Elliott step away from his conventional roles, plunging into the supernatural world alongside Katharine Ross. Set amidst the sprawling British countryside, Elliott’s character, Pete Danner, is an unsuspecting American drawn into a sinister inheritance game. While the film is replete with spine-chilling moments, it’s Elliott’s performance, filled with naturalism amidst the macabre, that genuinely stands out.
The audience witnesses Pete’s transition from scepticism to sheer terror, making The Legacy a must-watch for horror and Elliott enthusiasts. What’s more, beyond the outrageous melodrama that the trailer will give you a good feel for, the film is actually very tasteful. Perhaps borrowing from the (far superior) The Exorcist that came several years before it, when director Richard Marquand isn’t staging over-the-top death scenes, he allows the quieter scenes to play out in a beautiful, documentary-style way.
4. Fatal Beauty (Tom Holland, 1987)
Not to be confused with our current fresh-faced Spider-Man, this Tom Holland-directed yarn is one of the original action-comedy capers. With its focus on a larger-than-life, zesty female protagonist, pretty much any Melissa McCarthy project has Fatal Beauty to thank. Sadly, however, none of hers has Elliott – but this one does. The story focuses on Rita Rizzoli, a detective played by Whoopi Goldberg, who is tasked with stopping the distribution of a lethal narcotic known as “Fatal Beauty”.
Elliott, doing absolutely nothing whatsoever to change his appearance or voice, steps into the shoes of Mike Marshak. Nevertheless, it works wonders. As a bodyguard for a drug dealer, Elliott’s character finds himself intertwined with Rizzoli’s investigation, eventually becoming an unlikely ally. Through the film, we gradually see a different shade of Elliott’s acting as he gracefully manoeuvres the tightrope between antagonist and protagonist. He’s also very funny. “Rizzoli,” he says, looking Goldberg up and down. “That’s Italian, right?”
3. The Hi-Lo Country (Steven Frears, 1998)
Steven Frears’ 1998 film, The Hi-Lo Country, is a post-World War II western drama that delves into the lives of two cowboy friends, Pete Calder and Big Boy Matson (played by Billy Crudup and Woody Harrelson), as they navigate love, loyalty, and economic hardships. Set in the backdrop of New Mexico, the film sees Sam Elliott in the role of Jim Ed Love, a wealthy and dominating cattle rancher.
Now, I know that we promised Elliott we wouldn’t include anything involving him on a horse. Still, his portrayal of Love is a genuine testament to his ability to capture the essence of rugged, traditional western characters – even when he’s not the main one. His commanding presence serves as the perfect foil to the aspirations of the younger cowboys, allowing for a rich, surprisingly heartfelt exploration of generational clashes in a changing American West.
2. Shakedown (James Glickenhaus, 1988)
This lost 1980s action gem, cast out of mainstream memory and deemed irredeemable trash, is, in fact, a bloody good film. In James Glickenhaus’ action thriller, the gritty streets of New York City become the battleground between corrupt law enforcers and those seeking justice, with Elliott as Richie Marks, a seasoned yet unconventional detective who joins forces with a young public defender, played by Peter Weller (of Robocop fame).
If it all sounds a bit familiar, that’s because it is. However, it’s the absurd weight with which they lean into this trope that elevates the film, and Elliot’s performance, to cult-classic heights. Marks is a brilliant embodiment of a law officer who, despite the chaos around him, remains unwavering in his pursuit of justice. Through the film’s insane car chases, often illogical shootouts, and hamfisted confrontations, Elliott’s performance stands out and showcases his versatility beyond the traditional western roles he’s often associated with. What’s hilarious is that, despite being a seasoned NYPD pro, neither Elliott nor Glickenhaus bothers to even dilute Marks’ thick Southwestern accent.
1. Lifeguard (Daniel Petrie, 1976)
Venturing into more introspective territory, Lifeguard showcases a younger Elliott as Rick, a lifeguard grappling with societal expectations and personal aspirations. The sandy beaches and sunny California backdrop contrast the internal storm Rick undergoes, torn between his passion and the pressure to conform to a more ‘standard’ profession. Aged 32, Rick is a laid-back beach rat, content with how he wonders through life – until a high-school reunion causes him quiet yet crippling existential doubt.
It’s a contemplative look into the complexities of youth, with Elliott delivering a genuine career highlight that’s filled with sensitivity and depth. It’s one of those films where nothing solid happens – a slow, meandering and meditative character study that also acts as a universal cry of anxiety which many of us will be able to relate to still today. Also, how hot does Elliott look shirtless the whole time? Very, that’s what I say.
