R.I.P. Anton Yelchin (1989-2016)

Anton Yelchin

Throughout the 20th century, the idea of the 27 Club was created to symbolize the death of various artists such as Jimi Hendrix, Kurt Cobain, and Amy Winehouse - all of whom died at the age of 27. It's a haunting number, and one that is made more unfortunate by artists having their lives cut short. The potential to become something greater and have a legacy that expands well into old age is removed, leaving behind a body of work that is at best a reflection of someone with ambition and promise. The unfortunate passing of actor Anton Yelchin puts him on the list while also making him one of the most unfortunate losses to the acting world. While best known for playing Chekov in the recent Star Trek movies (as well as this summer's Star Trek Beyond), he also made an impressive career in independent cinema with films such as Only Loves Left Alive, Charlie Bartlett, and this year's sleeper hit Green Room. It is always tough to imagine a world without talented up and comers, especially Yelchin - who personally may have been one of the most deserving actors of his generation.

It is tough to reminisce on Yelchin's impressive career without the familiar round of people questioning who he was. Beyond Chekov, how can one summarize his career? There are those who may known him vicariously through the Jennifer Lawrence films Like Crazy or The Beaver. Some may know him through his stint in horror with Fright Night or Burying the Ex. The truth is that he was versatile and was always seeking compelling roles that reflected his gifts. He could do compelling drama as well as genre fare. In his short time as a noteworthy actor, he constantly churned out indie films that were more than worthy of attention. As it stands, IMDb lists five films of his in some form of production. He was prolific and did wonders to make a name for himself.

For me, the first noteworthy place that I saw him came in the 2007 film Charlie Bartlett. Playing the titular character who sold prescription medicine and held therapy sessions in bathroom stalls, he balanced comedy and a deeper dramatic emphasis in a performance that may seem like typical teenage coming-of-age fare, but was given all the more levity by his vulnerability and capability to play both sympathetic and comical. The film may better be remembered as being part of Robert Downey Jr.'s slow rise from pariah to Iron Man, but Yelchin managed to overshadow him by often just embodying the vulnerable child of an abusive parent. With a great costar in Kat Dennings, the film remains one of the outlier high school films of the decade, and one that definitely could've pigeonholed Yelchin as the awkward geek. Thankfully, he was capable of doing so much more.

Star Trek came two years later, as did a variety of other roles. The Beaver saw him play the son of Mel Gibson in a drama about mental illness. While the film received tepid reviews, the idea of playing Gibson's son amid controversy definitely helped to make him standout in a rather sympathetic role. Still, his work in the Star Trek franchise is rather impressive as he finally gets to play a Russian - of where he was born - character with an accent. His expertise made him a compelling character, even if he was secondary to the roles filled by Zachary Quinto and Chris Pine. From here on out, he would mix big budget work with indie dramas with varying degrees of success, but usually very interesting.

The truth is that it would be easy to go through his entire filmography and find various hidden gems. Only Lovers Left Alive may be among his most revered work, even if he is yet again only in it for a supporting role. In the film, he plays a stoner type who befriends a vampire that he plays guitar with. It's a Jim Jarmusch feature, so the tone is very laid back and unassuming. Still, he gives a great performance amid Mia Wasikowska and Tilda Swinton's excellent work. It is a solid starting place for what his films to follow would be, including this year's Green Room - which may be one of the most off the wall films that he has ever starred in. Its bizarre premise of a punk band playing for Neo-Nazis is itself an inspired plot, and one that gives Yelchin plenty to work with. Considering that he still has more this year, it will be hard to gradually say goodbye to him, knowing that the end is rapidly approaching.

Still, it's a bigger tragedy because Yelchin died young, and of a freak vehicle accident that saw his Jeep roll into him and block him between a gate. While all death is tragic, young death is particularly so because of the potential of what could've been. With many coming out acknowledging his niceness and how charismatic he was, it's hard to know that he'll never get that Oscar-worthy role or even get mainstream acclaim for his own work. He'll continue to live on in the minds and hearts of film enthusiasts thanks to his valuable work, but it's hard to imagine that we won't get to see him age and become something greater like most of his equally talented co-stars. It's impressive that he leaves behind a body of work so vast and impressive, but it's also sad in the same way that Heath Ledger's death was. There's a longing to see more of his work that'll never be fulfilled. Instead, it only makes what he did all the more enduring.

Yelchin is an actor of whom I had great faith in. He was someone who could play a role with varying degrees of charisma. He could do conventional roles as well as those that required a little something extra. Even if he never got that standout role that would cement his legacy, he does leave behind enough work that makes you appreciate what being a busy body can achieve. It's sad for a variety of reasons, including that I will be 27 next month and am now more than ever self-conscious of the strange joke of what fate can do. I believe that I'll live to see another year, but it's sad that Yelchin won't be there to entertain and keep raising his status each and every time out. He was great and could've been greater. Now we'll never know where the extent lies.