I wanted to know: How did they cast D’Onofrio, who at the time had yet to appear in either The Cell or Law & Order: Criminal Intent? How did they make Edgar’s face, and his entire being, so perfectly disgusting? Who came up with his walk and that voice? And, most important, do they believe in aliens, as our friends at the Times do? The actor and director graciously agreed to speak, so here is an abridged oral history of “sugar water.” On the eve of the franchise’s latest entry - Men in Black: International - I finally had a good enough excuse to reach out to both D’Onofrio and Men in Black’s director, Barry Sonnenfeld, to get the story behind the scene. D’Onofrio is absolutely repulsive in every sense. Inside the kitchen, he grunts furiously as he pounds an entire glass of sugar water, his wife (Siobhan Fallon Hogan) looking on in disbelief. He yanks at his hairline, stretching his mug into an unnatural mask of wrinkles and teeth.
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He lurches stiffly out of a flaming crater, bursting out of his overalls, his face stretched at unnatural angles, skin bunching beneath his chin, tongue lolling in his mouth. Not for a minute do you forget that D’Onofrio is playing a gigantic intergalactic bug stuffed into the skin of a farmer.
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He immediately gets his comeuppance when an alien cockroach crashes into his yard, yanks him into a hole, sucks out his entrails, pulls on his skin like a suit, and wears him around New York City.ĭ’Onofrio’s performance throughout the film is a work of unsound comedic genius, but what immediately follows Edgar’s death scene is particularly hilarious and haunting. Early in the film, we’re introduced to Vincent D’Onofrio as Edgar, an upstate New York farmer living in an Upside-Down version of the American Gothic house, who berates his long-suffering wife for screwing up dinner. Approximately once a week, I think about a single scene from 1997’s Men in Black.