Almost as deadly for an actor as a face made for radio is a style made for theater. An actor who is thought of primarily as a stage presence will often be considered either too overblown and theatrical for film, from years of playing to the back row, or too subtle and mannered to have the kind of dynamic charisma one looks for in the image-intensive medium of motion pictures. Occasionally, though, a highly praised stage actor breaks through in film and establishes himself as the class of his field, and if Wales' Jonathan Pryce lacks the good looks and intensity of a Laurence Olivier, he has at least managed — largely due to his longtime association with the troubled, talented director Terry Gilliam — to become one of the most skillful and reliable character actors working today. A veteran of RADA (on an acting scholarship) and the former artistic director of the celebrated Liverpool Everyman Theater, Pryce's stage credentials are impeccable, but he's also a stalwart movie veteran who's appeared in everything from James Bond movies (he played the main villain in 1997's Tomorrow Never Dies, opposite Pierce Brosnan) to summer blockbusters (he's been the Don Knotts-esque governor of Jamaica, Weatherby Swann, in all three installments of the Pirates of the Caribbean franchise). But despite these occasional gestures at superstardom, he's most at home assaying highly distinctive and memorable character roles, even imbuing his occasional lead performance with a nervous energy and sublime competence that comes straight out of his theatrical training and perfectly feeds into his on-screen persona.
Pryce (the son of a Welsh shopkeeper, and originally named Price; the reason for the name change is murky and doubtless irrelevant) still keeps extremely busy with stagework, and even his big-screen roles maintain elements of the theatrical: one of the few times he broke away from his normal roles as precise and deliberate, almost timid, characters is when he played Argentine strongman Juan Peron opposite Madonna in the 1996 big-screen adaptation of Andrew Lloyd Webber's Evita. But despite the moneymaking blockbuster roles he takes, and the occasional foray into television work, he still wins his highest praise for independent or 'little movie' screen work, and in 1995, he received what he's described as one of the highest honors of his storied career, winning the Best Actor award at the Cannes film festival for his sensitive, powerful and emotional portrayal of British novelist Lytton Strachey in director Christopher Hampton's little-seen Carrington. Recently, Pryce got the chance to fulfill a lifelong dream and portray Sherlock Holmes on British television, but he's been taking less work recently to spend time with his family. He'll be appearing (as the president of the United States, no less!) in the upcoming G.I. Joe movie, although his devotees are much more excited about next year's My Zinc Bed, where he'll be playing the lead in a new David Hare adaptation. Pryce just recently turned sixty, and with a few more choice roles (and, well, a few less G.I. Joes, he's still got a good chance at following in Olivier's footsteps as a Grand Old Man of British cinema.
Where to see Jonathan Pryce at his best:
SOMETHING WICKED THIS WAY COMES (1983)
Though it wasn't the breakout role that would come his way two years later, Pryce's performance as the sinister Mr. Dark in this spotty but entertaining adaptation of a Ray Bradbury novel is incredibly compelling. As the proprietor and ringleader of a curious and somewhat menacing circus that comes to visit a small town, Pryce strikes a perfect balance of sophistication and terror; throughout his entire time on screen, it's hard to take your eyes off of him, and he swills Bradbury's ripe dialogue around in his mouth like a fine wine, making the moments when he loses control all the more effective. A stunning performance from a nearly forgotten film. 
BRAZIL (1985)
The movie that really thrust Jonathan Pryce into the public eye was his performance as the hapless and ultimately hopeless Sam Lowry, best described as Winston Smith with even more British repression. It would be the first of many collaborations between Pryce and Terry Gilliam, and while it made quite clear the reasons why he wasn't cut out to be a typical romantic lead, it was a brilliant piece of acting, aided and abetted by the clever and theatrical scripting of Tom Stoppard. Gilliam and Pryce would work together several more times, from The Adventures of Baron Munchausen to The Brothers Grimm, but it would never be this magical again.
GLENGARRY GLEN ROSS (1992)
As the terrified and uncertain would-be real estate investor James Lingk, Jonathan Pryce not only gets the chance to act in one of the most powerhouse ensemble casts in recent memory (including getting to play the majority of his scenes off of Al Pacino at the very last moment in his career when he did any actual acting, as opposed to just yelling at things), but he also played the unusual role of the film's moral center, getting to act like a normal human being among these amoral Type-A monsters. Curiously enough, Pryce went on to play Shelley "The Machine" Levene -- portrayed here by Jack Lemmon -- in a London revival of the David Mamet play.
