From a ballet dancer with AIDS in “Alive & Kicking,” to a violinist in “The Red Violin,” to a violent homophobe in “Hollow Reed” — that’s not a bad career stretch for an actor who’s only been getting sizable bigscreen roles in the past couple of years.
Londoner Jason Flemyng, 31, is one of the least hyped but busiest of the young Britpackers — neither male pinuppy in the Joseph Fiennes mold nor the glass-jawed public-school type that populate costumers and Edwardian dramas.
A true chameleon, he’s managed to look different in almost every pic he’s made and just needs a real B.O. success to draw attention to his character-actor skills.
After training at the London Academy of Music & Dramatic Arts, and a spell at the Royal Shakespeare Company, Flemyng worked his way through bit parts in “The Jungle Book,” “Rob Roy” and “Stealing Beauty” before nabbing his first lead in “Alive & Kicking” (1996). Though not a trained dancer, the 6-foot-tall Flemyng was convincing as the egotistical young star determined not to be brought low by his terminal illness.
“Most of the work I’ve done has been luck,” Flemyng says. “It (just) seems as though I’ve made really good choices.”
Following a supporting role in the monster movie “Deep Rising,” he’s next on-screen as a tough-talking Cockney scammer in Guy Ritchie’s gangster dramedy “Lock, Stock and 2 Smoking Barrels.”