Treat Williams broke out in “Prince of the City,” a classic righteous officer in a sea of corrupt cops picture, shone bright in “Hair,” in dramas on screen and TV.
But when I heard this active, lovely, always working spirit died in a Vermont motorcycle wreck today, my first thought was his stretch as a comically bullying soldier in Spielberg’s “1941.”
Waaaaaay over the top, and fun.
His Twitter presence was a grace note on his profession, kind and tolerant and always about the work when he got it. He loved flying, motorcycling and traveling for work.
And he was working all the time. He had series and Hallmark movies and a few great film credits, some 120 appearances on the screen in all. From young idealists or hotheads to authority figures, fathers and grandfathers, he lent a bit of class and stature to every project he signed onto.
His friend Mark Hamill reminded everybody on Twitter that Williams even passed muster in the “Star Wars” universe.
But dang it, it’s him all crazed and lecherous in “1941” that sticks in my mind. He could be a hoot when the situation demanded it.
Rest in Peace.
I first saw Treat Williams in the 1979 film version of Hair, and I kept expecting a breakout that would make him an iconic star. Instead, he continued to impress as a constantly working actor. TV producer Dick Wolf recruited him for frequent guest starring shots on his procedurals in recent years — with particularly strong performances on Law & Order: SVU and Chicago Fire. In the latter, he had a recurring role as a retired ace arson investigator who had a troubled relationship with his adult son, himself a CFD captain. I always found TW a treat [ahem] to watch.
“Prince of the City” was supposed to do it (1981). But it didn’t. That he managed to find decent roles and do good work is its own kind of tribute.