Kingsleys

What is the angriest acting performance you’ve ever seen?

Maybe it’s Joe Pesci in “Goodfellas.” (“Funny how? Do I amuse you?”) Perhaps it’s James Caan kicking the stuffing out of his ne’er-do-well brother-in-law Carlo in “The Godfather.” John Goodman enforcing the rules of bowling in “The Big Lebowski”? It’s in the conversation.

Did Ben Kingsley in “Gandhi” cross your mind? Probably not.

The 82-year-old Oscar winner thinks it should.

I’m Glenn Whipp, columnist for the Los Angeles Times and host of The Envelope newsletter. Don Logan or Mahatma Gandhi? The answer isn’t as plain as you might think.

Not long ago, I spoke with Kingsley just before an Emmy FYC event for “Wonder Man,” the enjoyable new Marvel TV series that finds him revisiting Trevor Slattery, the washed-up, drug-addled actor he first played in 2013’s “Iron Man 3.”

“Wonder Man” follows struggling actor Simon Williams (Yahya Abdul-Mateen II), trying to land a big break in Hollywood while keeping his superpowers hidden. Trevor befriends Simon. Initially he has ulterior motives, but soon becomes Simon’s mentor, turning the series into a look at the indignities that actors face while pursuing their profession.

Taking notes while watching the show’s eight episodes, I wrote, “Ben Kingsley’s seething anger is everything.”

You may remember Kingsley’s bullying and badgering and swaggering menace playing the underworld sociopath in Jonathan Glazer’s 2000 crime-thriller “Sexy Beast,” still my favorite Kingsley performance, one that earned him a supporting actor Oscar nomination. (He lost to Jim Broadbent in “Iris.”)

Is that kind of boiling rage as fun to play as it is to watch?

“If the expression of rage or indignation is completely dramatically justified and that expression of indignation is of enormous benefit to the tribe, yes,” Kingsley answers.

(Larsen&Talbert / For The Times)

Kingsley says Itzhak Stern, Oskar Schindler’s loyal aide and factory manager in “Schindler’s List,” was, “bless him,” all about “contained rage.”

“And a colleague of mine who saw ‘Gandhi’ said, ‘That’s the angriest performance I’ve ever seen on screen,’” Kingsley continues. “That righteous indignation propelled him, and it can be expressed in many ways. Sometimes the safety valve is efficient enough to allow it to come through language and gesture, and sometimes the safety valve can’t hold it.

“That was Don Logan in ‘Sexy Beast.’ No safety valve.”

Let’s circle back to that thought of how rage can help the “tribe.” In “Wonder Man,” Trevor proclaims that “acting is not a job. It’s a calling, the single most consequential thing anyone could ever do with their life.”

“I would broaden the definition and refine it back to its origins,” Kingsley says when I ask if he shares Trevor’s view on acting. “There are images, thoughts and threads that I find nourishing and sustaining, and I treasure them. The tribal storyteller is a very consequential figure in the tribe, and if the mantle of the tribal storyteller falls upon that person’s shoulders, that is the single most consequential thing that person can do in their lives.”

“Trevor expresses it quite differently, and that’s fine,” Kingsley says. “That’s in the script. I honor the lines. But for me personally, as a rather convoluted answer, the tribal storyteller is the hand I hold and the baton I want passed on to me. Maybe it has. I hope I’m worthy, but it’s …” Kingsley widens his eyes and whispers, “Wow.”

“It is the single most consequential thing I can do with my life.”