“This week, our community lost a giant,” Morgan Freeman said at the 97th Academy Awards, speaking to the ing of his former co-star and “dear friend” Gene Hackman. “Like everyone who has ever shared a scene with him,” the actor continued, “I learned he was a generous performer, and a man whose gifts elevated everyone’s work. He received two Oscars, but more importantly, he won the hearts of film lovers all over the world.”

Those hearts have been full of mourning and deep appreciation in the days since news broke of the tragic death of Hackman, his wife Betsy Arakawa, and one of their dogs. Letterboxd have done what we always do: go to the movies, with folks like Shelby reflecting that, “Gene Hackman really was one of the best to ever do it. Every acting choice he ever made was calibrated to the exact frequency of whatever film he was in. I could watch his films forever.”

Getting his first movie credit at the age of 34, Hackman started later than most in cinema, but immediately was recognized as a special talent, earning his first Oscar nomination three years later. He might not have been as flashy as some of his contemporaries, but that understated quality is precisely what made him stand out as a unique pleasure. David Fincher described Hackman as “the greatest motion picture actor of all time,” citing his “effortlessness” and “well-traveled humanness.” You always felt as though you were watching a real, genuine person anytime the actor was on screen. He shed all artifice, and he made it look easy.

At the end of Morgan Freeman’s touching tribute at the Oscars, he recalled that his friend always said, “I don’t think about legacy. I just hope people me as someone who tried to do good work.” It would be impossible to capture the magnitude of Hackman’s gifts to the film-loving community in words, and beyond the following titles there are numerous other beloved performances and iconic roles from pictures including his first two Oscar nominations in Bonnie and Clyde and I Never Sang for My Father, his unconventional capturing of Lex Luthor in the Superman franchise, and under-appreciated gems like Heartbreakers and Narrow Margin.

We’ll continue to benefit from the wealth of phenomenal performances Gene Hackman delivered across his career. For now, here are what some Letterboxd have been saying in their recent reviews of a selection of his most memorable roles:

The Royal Tenenbaums (2001)

Written and directed by Wes Anderson

“It’s easy to see now, through teary eyes, that Hackman’s performance here is my favorite in any Wes Anderson film. All the fully realized characters, unforgettable lines, perfect needle drops, and the milieu of Anderson’s New York City can’t wrestle this movie away from Hackman’s titanic presence and grace, much the same way that all of Anderson’s best work is a beating heart that shines through all of the beautifully ornate artifice. The way Hackman deftly navigates his way through the “jig is up” scene is simply breathtaking. His smug defiance, quiet reflection, all of his beats with Ethel that go from increasing truthfulness to comedic deal making, and finally the heartbreakingly hilarious realization with Richie all make for one [of] the most complex yet effortless acting showcases I can and watching it all over again it’s no wonder why Hackman was on Anderson’s mind as he wrote this scene. We should all count ourselves lucky we get to be rescued from ‘The Remains Of A Destroyed Sinking Battleship’ every time we watch Hackman ‘Scrapping and yelling and mixing it up.’” —eubankswc

The French Connection (1971)

Directed by William Friedkin
Written by Friedkin and Ernest Tidyman, from a book by Robin Moore

“Hackman will always seem timeless to me, forever preserved in his grizzly middle age, part of a generation of actors who emerged fully formed out of nowhere, already veterans—or at least seeming that way. He has the kind of presence you can’t teach at acting school—authority etched into his frown lines, experience woven in his wispy hair. When he stands on a street corner, freezing his nuts off, eating a cheap doughnut, he looks like he belongs there; your suspension of disbelief is hardly required—you see men like him every day. This same cragginess sells Doyle’s character: a stubbly, windburnt workaholic, always hunting, forever navigating some metropolitan obstacle course. He’s pared everything else away: no wife, no kids, just a trashed apartment, some one-night stands and a professional life without boundaries. Hackman makes him look both tired and tireless—as if the career that’s killing him is the only thing sustaining him.” —Owen

The Conversation (1974)

Written and directed by Francis Ford Coppola

“Even better than I ? Everything from the sound design to the score to the urban landscapes are hyper-focused on providing a tone of isolation and distrust. Like everyone, I’ve been reflecting on Hackman’s career this past week, so it’s funny to realize how much he’s against type here. He’s quiet. He’s a bit of an outcast and a schlub. I don’t think he smiles once. Bringing Hackman’s usual amiable authority as context makes his impotence in the face of a dangerous conspiracy, even if he is the best in the world at what he does, compelling to see.” —Wade Garrett

Night Moves (1975)

Directed by Arthur Penn
Written by Alan Sharp

“Fixing other people’s problems as a means to fix your own, and just creating more. Then, trying to fix those. A despondent spiraling. Confusion, uncertainty, reflection on a life we thought we knew before as we drift along with time. The now tragically late Hackman in total command of a more reserved, distant presence here. Not a face, body movement, or line out of step. He could really do it all, and the world is lucky to have had him entertain us. This thing is a slow burn to be sure, and its hard-cut scene transitions make the pacing a bit fast and loose, jarring even, but it’s deliberate. A reflective sucker punch.” —JohnPALB

Mississippi Burning (1988)

Directed by Alan Parker
Written by Chris Gerolmo

“Mississippi Burning is a challenging film to evaluate, given how race relations and understanding have changed since the film’s release in 1988. With characters both familiar and nuanced, the intense story remains powerful and (sadly) relevant despite being more cliched now. An updated version would likely balance white and Black stories better, though the film’s good intentions seem genuine. Gene Hackman’s performance is a microcosm of his appeal. His sheriff-turned-FBI-agent has a mystery that never settles, living uncertainly in the gray area spanning right and wrong.” —Paul Carr

The Birdcage (1996)

Directed by Mike Nichols
Written by Elaine May, from a play by Jean Poiret

“Deliciously flamboyant. Are you going to fly away from fear or let it endlessly follow you around like Nixon? Sister Sledge’s “We Are Family,” a composition by Bernard Edwards and Nile Rodgers, appropriately bookends the picture, redefining the meaning of familial values in America. Between Robin Williams’ gay cabaret owner, Nathan Lane’s drag queen who can bounce between uncle, wife or mother on any given notice, and Hank Azaria’s Manuel from Fawlty Towers-esque maid, these are colorful, lovable characters that I can’t wait to visit again. Gene Hackman explored his comedic gifts in the ’90s and ’2000s with strength and class, his sheer presence giving the film a necessary depth.” —Kunga Sagar

Prime Cut (1972)

Directed by Michael Ritchie
Written by Robert Dillon

“Gene Hackman ed away earlier today, and I still can’t believe it. He’s one of those actors that always brought an incredible sense of gravitas for all of his performances. He was the quintessential example of an actor’s actor, someone of incredible talent and skill that everyone respected. He was one of the best there ever was, and I will always mourn this loss. In remembrance of his ing, I wanted to watch a performance of his that I haven’t seen yet. I chose Prime Cut because it starred him alongside Lee Marvin, another fantastic actor whose screen presence is simply formidable. And, was I disappointed? Absolutely not!” —The_Moonlighter

The Quick and the Dead (1995)

Directed by Sam Raimi
Written by Simon Moore

“It’s a masterpiece. Incredible cast who all understand exactly the flavor of movie they are making. Hackman is one of the greatest villains of all-time because he doesn’t add any extra layers to make sure the audience knows how evil he is. No creepy smiles or hard-ass posturing. He just does terrible things with all the pageantry of a grand-dad picking up his mail. True psychopath stuff.” —Dan Shea

Heist (2001)

Written and directed by David Mamet

“Part of what makes Gene Hackman such a good unscrupulous villain or measured hero is he always comes off intelligent. His villains seem challenging to defeat, his heroes seem like they have a deep understanding of humanity that excuses their violence and self-interest.” — Brodehouse

Eureka (1983)

Directed by Nicolas Roeg
Written by Paul Mayersberg, from a novel by Marshall Houts

“RIP Gene Hackman. Another powerhouse performance from one of the absolute greats, watched today in tribute. Stanislavsky said we don’t watch actors for their skill, but for their substance. Well, you won’t find many actors more substantial than Gene (he was plenty skilled, too). A one off. Could play anything, inhabit it and surprise. Never gave a bad performance, and many were transcendent. Made every movie he was in greater by his presence. He leaves an unfillable hole in American Cinema.” —jimmythek

Hoosiers (1986)

Directed by David Anspaugh
Written by Angelo Pizzo

“Hackman’s character doesn’t grow or change much during the movie. I liked that his growth is suggested as already happening off-screen, and that his redemption is earned by just doing his work. Maybe the arc is that Hackman needs to prove something to himself. And that he learns to accept input from the team at the end? This sort of almost-invisible arc only works because of Hackman’s subtle and charming performance.” —Tony

“Crimson Tide is a masterclass in tension. The dynamic between Gene Hackman and Denzel Washington is phenomenal. Their ideological clash, fueled by strong performances and sharp dialogue, keeps you on the edge of your seat. Tony Scott’s direction really heightens the claustrophobic intensity of the submarine setting, making every confrontation feel even more gripping. One of my favorite films of all time.” —Kenneth W. Palmer