Two of the great actors of their generation are Al Pacino and Jack Nicholson. There’s a movie where Al Pacino plays Satan, called The Devil's Advocate. There is also a movie where Jack Nicholson plays Satan, The Witches of Eastwick. Contrast and compare the two films.
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Both The Devil’s Advocate (1997) and The Witches of Eastwick (1987) showcase iconic performances by Al Pacino and Jack Nicholson, respectively, as embodiments of Satan, but they present vastly different approaches to the character and themes, rooted in the films' distinct genres.
Genre and Tone
- The Devil’s Advocate is a psychological thriller with supernatural overtones, exploring themes of ambition, morality, and corruption. The tone is dark, intense, and dramatic, as it delves into human susceptibility to temptation and the consequences of moral compromise. Al Pacino’s Satan is calculated and cerebral, embodying the ultimate manipulator.
- The Witches of Eastwick is a dark comedy and fantasy, with a more playful and satirical tone. It critiques gender roles and societal norms while reveling in its campy, supernatural elements. Jack Nicholson’s Satan is larger-than-life, gleefully chaotic, and indulgent, bringing an almost cartoonish energy to the role.
Characterization of Satan
- Al Pacino as John Milton: Pacino’s portrayal is sleek, menacing, and charismatic. His Satan operates in the modern world as a powerful New York City lawyer, manipulating people through greed and ambition. His allure is subtle yet overwhelming, relying on psychological dominance and seduction of the mind. The climactic monologue where he rails against God’s hypocrisy is chillingly articulate and central to the film's exploration of free will and moral decay.
- Jack Nicholson as Daryl Van Horne: Nicholson’s Satan is boisterous, flamboyant, and mischievous, oozing raw, unapologetic hedonism. As an enigmatic figure who seduces and empowers three women in a small New England town, his charm is physical and primal. He revels in chaos, with a devil-may-care attitude that aligns with the film’s satirical critique of repression.
Themes
- The Devil’s Advocate focuses on moral and ethical dilemmas, particularly the tension between ambition and integrity. It presents Satan as a tempter who exposes human weaknesses, emphasizing themes of free will and the seductive power of sin in a modern, capitalist society.
- The Witches of Eastwick examines themes of female empowerment, liberation, and desire. Satan is less a force of existential evil and more a catalyst for self-discovery and rebellion against societal norms. The film’s feminist undertones contrast with the malevolent manipulation seen in The Devil’s Advocate.
Visual Style and Setting
- The Devil’s Advocate is visually sleek and polished, set against the imposing backdrop of New York City. The urban environment emphasizes the cold, calculated nature of Pacino’s character and his connection to corporate greed and systemic corruption.
- The Witches of Eastwick is set in a picturesque small town, with its quaint charm providing a stark contrast to Nicholson’s bombastic presence. The visuals are colorful and whimsical, matching the film’s fantastical and comedic tone.
Performance Style
- Pacino’s performance is controlled and simmering, with moments of explosive intensity. He carefully balances charm with menace, creating a Satan who is terrifyingly human yet undeniably otherworldly.
- Nicholson fully embraces over-the-top theatrics, chewing the scenery with glee. His Satan is both menacing and ridiculous, blending seductive charisma with a devilish sense of humor.
Conclusion
Both films showcase their respective actors at the peak of their powers, but they offer fundamentally different takes on Satan. Pacino’s Satan is rooted in psychological horror and moral philosophy, making The Devil’s Advocate a grim meditation on human corruption. Nicholson’s portrayal is more playful and anarchic, reflecting The Witches of Eastwick’s comedic critique of societal norms and repression. Together, they demonstrate the range and versatility of Satan as a cinematic figure and the actors’ ability to adapt him to their strengths.
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We discussed the Witches of Eastwick, where Jack Nicholson portrays Satan, and we discussed the Devils Advocate, where Al Pacino plays Satan.
Now let’s turn to two dramatic works that each feature a similar character triangle, Angels in America, and Devils Advocate.
In Angels in America, the play from 1991 and the movie from 2003, the triangle is Roy Cohn, the Young, lawyer Joe, and his increasingly mentally unstable wife Harper. In the Devils Advocate book from 1990 and a movie from 1997, the triangle is Satan, the young lawyer, Kevin, and his increasingly mentally unstable wife Maryanne. Please contrast and compare the two triangles of characters.
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Both Angels in America and The Devil’s Advocate use character triangles that center around a corrupt mentor figure, a morally conflicted young lawyer, and the lawyer’s mentally unstable wife. These relationships explore themes of power, morality, and the cost of ambition, but they differ significantly in tone, focus, and resolution due to their respective genres and contexts.
The Mentors: Roy Cohn vs. Satan
Roy Cohn (Angels in America):
- A real-life figure, Roy Cohn is portrayed as a morally bankrupt, manipulative attorney who thrives on power and corruption. He serves as both a symbol of closeted hypocrisy and the harsh realities of Reagan-era America, including its indifference to the AIDS epidemic.
- Unlike Satan, Cohn is not supernatural, but his influence is insidious, luring Joe into a world of moral compromise. His character reflects real societal evils rather than metaphysical ones.
- His downfall (death from AIDS) is personal and symbolic, offering a measure of poetic justice while leaving his protégés to grapple with their choices.
Satan (The Devil’s Advocate):
- Al Pacino’s Satan is the ultimate tempter, directly embodying corruption and the seduction of unchecked ambition. As Kevin’s employer and father, he manipulates events to lead Kevin down a dark path, testing his moral limits.
- Unlike Cohn, Satan is larger-than-life, representing eternal, metaphysical evil rather than real-world corruption. His influence extends beyond Kevin, targeting humanity’s weaknesses as a whole.
- His downfall is temporary, as he is portrayed as an eternal figure whose schemes reset when Kevin rejects him, underscoring the cyclical nature of temptation.
The Lawyers: Joe Pitt vs. Kevin Lomax
Joe Pitt (Angels in America):
- Joe is a Mormon lawyer grappling with his sexuality, loyalty to his faith, and the demands of his mentor, Roy Cohn. His internal conflict drives much of the drama, as he struggles to reconcile his personal identity with societal expectations.
- Joe’s decisions are deeply human, marked by guilt and a yearning for authenticity. Unlike Kevin, his moral dilemmas are not framed as battles between good and evil but as struggles for self-acceptance in a repressive society.
- Joe’s arc remains unresolved and ambiguous, reflecting the play’s broader theme of uncertainty in life and politics.
Kevin Lomax (The Devil’s Advocate):
- Kevin is a hotshot Southern lawyer tempted by wealth, power, and the opportunity to succeed in New York City. His moral corruption is orchestrated by Satan, who uses his ambition to draw him into increasingly compromising situations.
- Kevin’s arc is a more traditional hero’s journey, culminating in a climactic choice where he rejects Satan and resets his life. This resolution offers a stark contrast to Joe’s lingering ambiguity.
- Unlike Joe, Kevin’s struggles are less about personal identity and more about resisting external temptation.
The Wives: Harper Pitt vs. Mary Ann Lomax
Harper Pitt (Angels in America):
- Harper is a deeply complex character whose mental instability stems from her husband Joe’s emotional unavailability and her own disillusionment with life. She experiences hallucinations and dreams, but these are tied to her search for truth and freedom rather than purely destructive madness.
- Her instability is a vehicle for exploration, allowing her to uncover truths about herself and the world. By the end, she embarks on a journey of self-discovery, symbolizing resilience and the possibility of renewal.
Mary Ann Lomax (The Devil’s Advocate):
- Mary Ann’s mental unraveling is far darker, driven by isolation, Satanic manipulation, and Kevin’s neglect as he becomes consumed by ambition. Her visions and paranoia are presented as tragic consequences of external evil, rather than expressions of inner growth.
- Unlike Harper, Mary Ann’s instability leads to her demise (suicide), serving as a cautionary tale about the cost of moral compromise. She lacks the agency Harper gains, remaining a victim of the plot’s machinations rather than an active participant in her own destiny.
Themes and Dynamics
Power and Corruption:
- In The Devil’s Advocate, corruption is supernatural, with Satan representing the ultimate source of temptation. Kevin’s choices carry eternal consequences.
- In Angels in America, corruption is grounded in reality, with Roy Cohn embodying systemic evils like homophobia, greed, and political ruthlessness.
Personal Identity vs. External Temptation:
- Joe’s conflict in Angels in America is deeply personal, rooted in his identity as a gay man in a repressive society.
- Kevin’s conflict in The Devil’s Advocate is external, driven by Satan’s manipulation of his ambition and greed.
The Role of the Wives:
- Harper’s instability is tied to her self-discovery and eventual empowerment.
- Mary Ann’s instability reflects her helplessness in the face of evil, underscoring Kevin’s moral failures.
Resolution:
- The Devil’s Advocate offers a clear resolution, with Kevin rejecting Satan and choosing a moral path.
- Angels in America embraces ambiguity, reflecting the complexity of human life and the ongoing struggle for justice and authenticity.
Conclusion
Both Angels in America and The Devil’s Advocate use their character triangles to explore the cost of ambition and the struggle between morality and corruption. However, Angels in America grounds its conflicts in societal issues and personal identity, offering a nuanced, ambiguous resolution, while The Devil’s Advocate presents a more mythic, clear-cut battle between good and evil, framed within a supernatural thriller.
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Has it been discussed that Al Pacino played a character that was essentially Satan as an evil lawyer twice: literally Satan in The Devil’s Advocate (1997) and a metaphorical Satan as Roy Cohn in the HBO version of Angels in America, directed by Mike Nichols?
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Al Pacino's portrayals of malevolent lawyers—Satan in The Devil's Advocate (1997) and Roy Cohn in Angels in America (2003)—have drawn attention for their thematic similarities. In The Devil's Advocate, Pacino embodies Satan as a charismatic attorney, directly representing ultimate evil. In Angels in America, he portrays Roy Cohn, a real-life lawyer infamous for his unethical practices and moral corruption, serving as a metaphorical representation of evil. While specific discussions comparing these roles are limited, critics have noted Pacino's adeptness at depicting complex, villainous characters in both films. For instance, Screen Rant highlighted his portrayal of Roy Cohn as a "real-life villain" whom Pacino "was able to paint in a sympathetic light," showcasing his ability to humanize even the most morally compromised individuals.
https://screenrant.com/al-pacino-most-villainous-roles/
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I’m quite familiar with Angels in America, the HBO version, and I just re-watched the Devils Advocate, and there are some striking similarities and how Al Pacino plays the two Uber evil attorneys just six years apart.
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You're absolutely right—Al Pacino's performances in The Devil's Advocate and Angels in America (HBO) showcase striking parallels, particularly in how he portrays both characters as deeply charismatic yet utterly malevolent attorneys. While one is a literal Satan and the other a metaphorical one, Pacino’s craft in bringing out their manipulation, theatricality, and dark magnetism creates an intriguing throughline between the two roles. Here’s a deeper dive into the similarities:
