Christopher Plummer (1929-2021): A look at his best movie roles

Screen legend Christopher Plummer died on Friday (February 5) at the age of 91. One of the most recognisable and admired character actors in Hollywood. The actor was known for his roles in films like 'The Sound of Music', had an incredible career spanning of over 6 decades. 

Here’s are some of Plummer’s most notable movies from his decades-long career.
The Sound of Music
Christopher Plummer’s major breakthrough to stardom came through the 1965 major hit movie, 'The Sound of Music'. In the musical, Plummer played a widowed father Captain von Trapp, the strict father of seven who falls in love with their governess, played by Julie Andrews. He won great acclaim for his performance as Captain Georg von Trapp.
Beginners
Christopher Plummer won his only Oscar (Best Supporting Actor) and set a record of being the oldest actor to win an Oscar at the age of 82. In the movie, he portrayed the role of Hal Fields — an elderly gay man who comes out after his wife’s death. For his character, he also won an Golden Globe, SAG, and BAFTA award for Best Supporting Actor.
Star Trek: The Undiscovered Country
In his long career, Plummer also appeared in one Star Trek film titled, 'Star Trek VI: The Undiscovered Country'. In the 1991 movie, He played the character of  General Chang, the movie’s villain who was fond of quoting Shakespeare. The role was dream come true for Plummer and earned raised by Star Trek fans.
The Last Station
Christopher Plummer's another critically praised role of Russian author Leo Tolstoy in 2009 movie, 'The Last Station'. In the movie,  he portrayed a famous author and the movie chronicled the final months of his life. For his role, Plummer was nominated for both SAG and Academy Awards.
The Insider
In 1999 movie, 'The Insider' Christopher Plummer starred as Mike Wallace, a famous reporter. In the movie, he starred alongside actor Al Pacino and Russell Crowe but still managed to stand out with his incredible performances despite the presence of other strong actors. https://zenodo.org/communities/suptup/
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All the Money in the World
The 2017 crime thriller film, 'All the Money in the World' earned him the last of three Best Supporting Actor Academy Award nominations. He received a nom at the age of 88 for the movie, making him the oldest person to be nominated in an acting category. In the movie based on the true events, Plummer played the role of billionaire oil tycoon J. Paul Getty, who refuses to pay the ransom, when his grandson was kidnapped. 
Less intimidating are the chatty interviews Ascher conducts with various individuals who discuss their own journeys toward simulation theory. Paul Gude, digitally costumed in some kind of shimmering, bejeweled Lion-O getup, talks about how, while growing up in a sparsely populated town in Illinois, he came to see the people around him as fake and the buildings as empty Western-movie-style façades. Later, he describes how he was freaked out during church services when he realized that all the singing humans around him were basically just making sounds through “meat flaps” inside their bodies. Brother Læo Mystwood, his avatar a kind of pink-bow-tied robo-Anubis, explains that he mapped out the events in his life and discovered that everything happens according to a pattern — things having to do with his job happen on certain days, things having to do with family on other days, etc. Later he recalls how his experience in a sensory-deprivation tank made him realize his body is an illusion. Alex LeVine, in a neon shaman outfit with what looks to be a brain floating inside his mask, describes a revelatory incident in Cuernavaca, Mexico, when he got off easy after a drunk-driving joyride and a face-off with corrupt local cops and became convinced the world was watching out for him.

Ascher’s interview subjects (who include artists, scientists, and researchers) are hyperintelligent, articulate, and entertaining, even though the temptation is great to sit there and poke holes in their so-called evidence. (Yes, many children go through a period of thinking everyone around them is an impostor or a robot; it’s just that the rest of us grow up. Yes, humans are animals made of meat, but we use our meat bodies and meat faces and meat brains and meat mouths to think and dream and do beautiful things sometimes. And yes, the people who are lucky enough to survive horrific drunk-driving accidents and face-offs with cops get to reflect on them and find God or whatever, while the ones who don’t survive are, sadly, not around to offer up their theories.) But the tenor of the film isn’t one of doubt or ridicule. These people’s stories aren’t that bizarre or surreal; they are, by and large, universal and relatable. We’re all seeing and feeling the same things, but they process them in different ways.

Some, in horrific ways: In the second half of the film, Ascher includes an interview with Joshua Cooke, a young Virginia man who became so obsessed with The Matrix and the belief that his world was a simulation that he murdered his parents right after delivering Neo’s final speech from that film into their house phone. (Cooke doesn’t get an avatar; he’s in prison.) As another interview subject suggests, even if you’ve decided reality is a simulation, you still need to live through it and get on with your day. Anything else would lead to madness.

Ascher always seems to find a moving way out of these dense cognitive mazes. He directed 2014’s Room 237, which charts a variety of individuals’ sometimes extreme readings of Stanley Kubrick’s film The Shining. That documentary, even as it spins deeper and deeper into the often twisted conspiracy theories its subjects indulge in, is ultimately about something far simpler and more sincere: movie love and the ways (good and bad) in which one can become totally obsessed with a work of art. The director finds people who overthink things and then finds cinematic ways to overthink along with them — but always with an eye to the bigger picture, always with an eye to why any of this might matter to the rest of us. And so A Glitch in the Matrix becomes not about whether we’re living in a simulation but about the many understandable reasons someone may think this. In effect, it winds up being about the mysteries of the human experience. The world is fucking crazy, dude. Some people respond to it with religion, others by assuming we are controlled by a giant video game from another dimension. Anybody who claims to know for sure is either lying or insane. All we do know is that, in the end, we’re still a bunch of meat flaps, virtual or not, and we’ve got a lot of flapping to do.