Perlman is 6 feet 2, which hardly conveys the berth he has occupied on-screen over the years, in movies like 1982's "Quest for Fire," where he played a Neanderthal, and 1995's surrealist French film "City of Lost Children," where he was a tender circus strong man.
FOR THE RECORD:
Ron Perlman: An article in Monday's Calendar section about actor Ron Perlman, star of the film "Hellboy II: The Golden Army," indicated that Guillermo del Toro directed the 1997 film "Alien: Resurrection." That film was directed by Jean-Pierre Jeunet. —
The movies, though, have exaggerated his features, so much so that you half-expect to be be lunching with a giant. While physically imposing, the actor who walked into a West Hollywood eatery the other day was not, technically, huge. Wearing jeans and an untucked shirt, Perlman made his way to the table with a slight limp, the result of a broken toe he suffered on the Budapest, Hungary, set of "Hellboy II: The Golden Army," which opened Friday and earned $35,885,000, ranking No. 1 at the box office.
It has been Perlman's semi-obscure fate to exist, on camera, under layers of carefully applied grotesquerie. This includes the TV series "Beauty and the Beast," which gave him a kind of folk fame some 20 years ago.
"Hellboy II: The Golden Army" -- in which our hero battles a vengeful prince of darkness, a mammoth troll, flesh-eating tooth fairies and that hellacious army of the subtitle -- required three hours in the makeup chair on a good day, Perlman said, six hours on other days.
But one senses that Perlman has finally found all the artifice to be liberating. No other role has gotten to the core of his personality -- or done nearly so much for his career -- as Hellboy, the benevolent but churlish demon with a blue-collar ethos and freak-show brawn, first shepherded from the pages of Mike Mignola's graphic novels to the big screen in 2004 by Mexican director Guillermo del Toro.
It was Perlman's physical resemblance to the comic book Hellboy -- the heavy brow, angular head and imposing presence -- that made him an ideal muse for the director. And with "Hellboy II: The Golden Army," del Toro, riding the wave of his Oscar-winning "Pan's Labyrinth," seems even freer to mine the dichotomy of his main character.
The "Hellboy" legend is a nurture-over-nature paradigm. Hellboy, after all, should have been all evil -- brought to earth by Nazi occultists to be an agent of doom, only to end up working for the good guys at a top-secret government hideout (it's in New Jersey) in the battle against paranormal malevolence.
Down in his messy room of an antechamber, the beast becomes, via the love of his adoptive, government scientist father (John Hurt), both a physically indestructible weapon and peckishly human.
Yes, Hellboy is red, massive and has a tail, but he shaves his horns to fit in. He has a fondness for house cats. He talks like a hard-boiled detective. He watches too much TV and eats a great many pancakes. And his mood is entirely dictated by how things are going with his enduring love Liz Sherman (Selma Blair), the life partner who can morph into a fireball.
As Perlman said of the character: "He's basically just a flailing mass of sentiment and emotion."
Which is why, in "Hellboy II," amid all of del Toro's signature monsters (the "troll market" sequence is dizzying with them), there is a rather remarkable scene in which Hellboy, having had a row with Liz, stands mournfully in the shower, beer in hand, as the Eels song "Beautiful Freak" scores the scene.
"I get chills up my spine thinking about my first reaction to the emotional world that Guillermo explores," Perlman said. ". . . I have trouble capturing his true genius. Because it's so unique and so much unlike what anybody else is grappling with, in any form of culture. You see Guillermo continuing to use kind of the same set pieces and grapple with what is truly monstrous, and it always has this juxtaposition of the conventional human versus the conventional creature/monster -- and what is truly monstrous."
At 58, Perlman is, to be sure, the summer's most unusual comic-book action star, amid a season in which Robert Downey Jr. is Iron Man, and the combo platter of Christian Bale and the late Heath Ledger are the stars of "The Dark Knight," due later this month.
He is, by contrast, a child of New York in the 1950s who at age 14 had already reached 6-foot-2 and weighed 290 pounds, he said. "A big, fat, gawky kid," he recalled, who would later flunk the physical required to get into the city university Lehman College.
That feeling of outsider-ness no doubt contributed to his fast friendship with del Toro, a comic-book aficionado who waited out some seven years of studio skepticism about the idea of Perlman as the "Hellboy" lead, taking development meetings with a clay sculpture of Perlman as the character.