.jcljules profiles Giancarlo Esposito, a veteran of stage and screen who achieves a new level of campy malevolence in his role on “The Mandolorian.”
,” shouting a question as contentious in contemporary-art museums as it was in Spike Lee’s Bed-Stuy pizzeria: “How come you ain’t got no brothers up on the wall?” But Esposito, a tenacious veteran of stage and screen who has become one of the most familiar faces in television, has played so many dastardly bosses and charismatic troublemakers that it almost didn’t matter which one.
It’s become a cliché to observe that Esposito is actually a very nice guy. The actor who strikes fear into the hearts of strangers—once, a “Breaking Bad” fan tried to yield him her place in the bathroom line—would seem to have little in common with the exuberant, demonstrative man who approaches his profession with such joy and humility. What he does share with his characters is an old-fashioned sense of masculine responsibility.
Another demanding apprenticeship was growing up Black and Italian in a largely segregated New York City suburb, especially once his parents’ marriage dissolved. Elizabeth responded by enrolling Giancarlo in Catholic parochial schools and then in a military academy; surprisingly, he loved both, confessing that the routines of cadet life had nourished his “fastidious” personality.
Over the next twenty years, Esposito’s career glided but never quite soared. He played bit parts in Lee’s later films, appearing briefly as an assassin in “Malcolm X.” There was a standout performance in Jim Jarmusch’s “Night on Earth,” and a promising stint as a detective on NBC’s “Homicide,” followed by years of small roles in soap operas and gangster dramas, which soured him on playing street toughs.
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