Why You Should Pay Attention to Sarah Paulson

Sarah Paulson in American Crime Story

This past week, American Crime Story finished off its first season with phenomenal results. While the O.J. Simpson trial may be well worn territory, the approach to emphasizing the voices behind the verdict was an impressive touch that helped to make it the first great show of 2016. This is owed in some small part to Sarah Paulson, who has been consistently enjoyable in most of her work over the past few years. However, I think that it's time that we give her some more credit than merely being a great sidekick. She is one of the best supporting actresses currently working, and you may want to check out her other work if you haven't to understand why that is.

The career of a supporting actor is lucky if it can acquire an iconic role. Classic cinema is strewn with these types who are in your favorite movies, but likely don't register as household names. It is a thankless job, but one that is important. Be honest. How different would a film like The Lady Eve be without the supporting roles? There would be less comedy and the central romance would be less impressive. Every small character has a purpose, which is to compliment the leads. The one downside is that their brevity ends up leaving them in the "That person" camp with only die hards ever caring to learn a name.

To some extent, it is easy to place Paulson in this list. Before American Crime Story, she would be lucky to be known as more than one of Ryan Murphy's stable of actors. It's with good cause, as American Horror Story has seen her place everything from a lesbian to a two-headed woman to a deranged drug addict. The show in general is known for its insanity, but there's something to the cast's commitment that elevates the work beyond sheer schlock. As dumb as the stories can get, the average season has a few standout performances in which the unbelievable straddles the line between brilliance and befuddlement. It is partially why Paulson is an MVP of the group, notably in season 2 (or Asylum) when she played a character so rich with subtext that the plot, which is too complicated to explain here, somehow became bittersweet and emotional despite featuring aliens, Anne Frank, and a homicidal Santa Claus. 

The next four seasons would see her in varying roles of importance. However, her commitment to absurdity likely overshadows the talent it takes to not just make it seem disposable. Her role as Hypodermic Sally was met with the same earnestness as the far more overshadowing cast - which included Golden Globe-winning Lady GaGa in a role that was designed to steal shows. Of course, it would be difficult for any of the cast - largely based on their previous credentials - to not forever be considered campy and somewhat limited in range. Yet Paulson I feel has done phenomenal work both on the show, but even more largely in other works along with American Crime Story.

While her noticeable filmography may be small, there is something to her work in the two Oscar-nominated films 12 Years a Slave and Carol. The former ended up being a critically acclaimed darling thanks to Steve McQueen's slow yet effecting direction and the performances of the cast, including Chiwetel Ejiofor, Michael Fassbender, and Lupita Nyong'o. It was an overwhelming and emotional experience that has caused certain activists to push for it to be added to the high school curriculum, along with Solomon Northup's original memoir. Of course, Nyong'o's role would be the most memorable piece of the puzzle and what inevitably lead her to a Best Supporting Actress Oscar win. However, there was someone else who probably deserved some more credit.

It may be in part due to the size of the role, but Paulson rarely received acclaim for her role as Mistress Epps. It could be that Fassbender's charismatic turn took away most of the thunder and in some ways made her racist character less impacting. It is in some part because she was a supporting player, quietly adding judgment in the background. However, there's still the haunting revelations that in some ways impact Fassbender's frustration. Paulson doesn't give into his personal gratifications, resulting in Fassbender's need to take it out on Nyong'o. It is a slight thing, and one that is only reacted upon a few times in the final film. There's a certain testament to the role that she can be so haunting while also remaining overshadowed by her peers. 

In a meatier role, she stars as Abby in Carol: Cate Blanchett's best friend. Much like her other work, she is comparatively on screen for only minutes total. However, she is a looming force for the lesbian drama serving as an intimidating force for Blanchett's lover Therese (Rooney Mara). Paulson once again relies on silence and poise to express her character on a deeper level, and it isn't until the third act that she really becomes something integral. She is a woman who seems wise beyond her years, servicing as a barrier between Blanchett and Mara. Her wisdom fuels some of the more emotional and powerful moments in the film, such as in a third act scene in which Paulson and Mara speak at a diner about the misinterpretation of Paulson's character. She is secretly supportive and more endearing than the petty jealousy that the tone lets off. By the end, Abby doesn't have that strong of a point to the finale, but her endearment as the best friend role feels subversive by failing to give into petty arguments.

It may be difficult to call someone a great performer based solely on five years of work (though she's been in the game for way longer), but all of these roles serve as signs of her charisma and ability to do a lot with very little. They're nuanced and often effecting on an internal level. It's her lack of showiness that inevitably causes her to at times seem understated. However, she can rarely be accused of being the worst part of her projects. She constantly strives for something more human in even her most abstract characters, which is why she is often endearing. You may not notice her, but it is likely because she's acting well enough to not be seen as problematic.

Of course, anyone who has seen her work on American Crime Story will argue that she's actually worthy of acclaim. The episode "Marcia Marcia Marica" focuses on the sexual politics that surround her in the media. It's arguably the first time that Paulson has been given what is essentially her own hour-long episode of TV. She meets the challenge with the familiar nuance as she becomes more and more self conscious of her appearance. She cuts her hair, cries about a problematic child custody battle, and the overall notion of being despised by her peers for seeming uptight. It's a story rich with deeper meaning. However, it is Paulson who makes it far more empathetic than one could imagine. 

With a large ensemble, it's hard to call too many actors as the best of American Crime Story. However, there's a certain vulnerability and eagerness to Paulson's Marcia Clark character that makes her one of the standouts. There's the desperation in her eyes when things go wrong. There's the weariness that kicks in as the trial becomes more absurd. She embodies everything that makes Paulson great, even when she's relegated to the background. While it could just be that she has great writing, she also is giving a role that is so powerful that reports immediately came out suggesting that history should reconsider their negative thoughts on Clark on the trial. While it's speculative thanks to the series being a reenactment and not the real thing, it still says something about how performances can impact perception.

It could just be that Paulson is at the height of her career, but I felt like it was important to shine a light on her due to recent works. Speaking as Carol, American Horror Story: Hotel, and American Crime Story all came out within a four month period, she has practically been inescapable. Hopefully she only continues to be that way, especially if she is going to churn out work that further reflects her talents and ability to play weird characters along with endearing and often quiet figures. If you get nothing else from this piece, I'd suggest maybe paying some more respect to the character actors who make film and TV a far richer experience. Without them, maybe things would be a little dull.