Mary Elizabeth Mastrantonio
Mary Elizabeth Mastrantonio is an actor, born 1958.
Mary Elizabeth Mastrantonio (born 1958) is a singer as well as an actress and came to film from the stage, making her Broadway debut in the 1980 revival of West Side Story. Her earliest film credit is Gina in Scarface (1983), a breakout that could easily have fixed her as somebody's sister for good. Instead she was nominated for the Academy Award for Best Supporting Actress three years later as Carmen in The Color of Money.
She has a specific gift the roles kept finding: she plays the most competent person in the room, and the impatience that goes with it. Lindsey Brigman in The Abyss spends the film arguing with a rig full of men who are wrong and never softens it for likeability. Marian in Robin Hood: Prince of Thieves is written as an ornament and played as an obstacle. Even Carmen, the part that brought the Oscar nomination, is played as somebody quietly keeping score. The stage training shows in the voice, which does not need volume to close a scene.
Film work thinned out in the 2000s and television took over, which suited her: Kelly Burkhardt on Grimm, Naz Pouran on Limitless, Madeline Burke on Blindspot, Marion James on Marvel's The Punisher, plus arcs on Law and Order: Criminal Intent and Without a Trace. In 2003 she went back to Broadway and was nominated for the Tony Award for Best Actress in a Musical for the revival of Man of La Mancha.
Movies (15)
- Scarface (1983)
- Robin Hood: Prince of Thieves (1991)
- The Abyss (1989)
- The Perfect Storm (2000)
- The Color of Money (1986)
- White Sands (1992)
- Consenting Adults (1992)
- Three Wishes (1995)
- Limbo (1999)
- Witness Protection (1999)
- My Life So Far (1999)
- Class Action (1991)
- Two Bits (1995)
- Slam Dance (1987)
- The Russell Girl (2008)
TV (8)
Where to start with Mary Elizabeth Mastrantonio
The Color of Money is the place to start, because that Academy nomination was not a courtesy: she is the only person in the film who is not performing for somebody else, and it sharpens whenever she is on. From there, The Abyss hands her a lead and a crew of men to overrule, which is her register at full strength.
Scarface is the breakout and worth seeing for context more than for the part, which is thinner than its reputation. Robin Hood: Prince of Thieves is the big studio one, The Perfect Storm the sober one, and Class Action the legal drama nobody brings up. For the television chapter, Blindspot uses her better than Grimm does, because it lets her play power rather than backstory.