The Problem of Playing Oneself

Abstract Oscar Levant claimed that Hollywood miscast him as himself. The joke speaks to how closely intertwined failure, achievement, and identity were interwoven for Levant, whose many occupations (pianist, composer, actor, and comic writer) reflected both the opportunities and liabilities of such multifaceted talent. But unlike other secondary characters, Levant brought with him a crossover star persona that served as foil and ballast for the marquee stars he supported. This chapter argues that while Levant’s performances of himself changed only slightly, the shifting emphasis he received across these films through musical performances presented competing solutions to the problem that Levant’s characters posed. How does a cynical, marginalized pianist “play” in the earnest, optimistic genre of the Hollywood film musical, where singing and dancing drive the entertainment? This chapter addresses this question by setting analysis of his onscreen roles within the context of his broader celebrity. Levant’s work as a concert artist and writer, his close relationship with the Gershwins, and his struggles with mental health informed his onscreen roles and characterized the peculiar authenticity that Levant’s characters embodied within the film musical.