Today probably the mother of Philip Seymour Hoffman is one of those Americans, who blames society the most that if society was able to update itself faster, her son would be alive. We have learned because of the death of Hiffman that for the last 10 years the use of drug had increased, although no serious impact of social science on the problem can be documented elsewhere.
Society needs faster to update itself, but the problem is that people update societal structure and norms of behavior.
How to treat the addiction to drugs? The drugs, in particular heroin, are illegal, but they are also extremely profitable business, then, the use increases, that is the crime increases. At once in our society may occur that live more criminals than non-criminals.
However, can be drug addiction described in different terms and explained in different concepts that legal-illegal. Can the drug addiction be considered as a disability, the addicted to be registered and to be treated through graduate drugs decrease?
We know in past homosexuality was a crime and deviation; marihuana was illegal… But heroin addiction is still considered as breaking the law, not as disability.
Hopefully Hoffmann left some money and his mother founds a foundation for law anthropologists and law makers to try to change the view on the drug addiction in our society and to make more mothers happy and more addicted to live longer.
Mr. Hoffman worked a lot over the past 15 years or so — in ambitious independent movies, Hollywood blockbusters and theater productions on and beyond Broadway — and nearly always did something memorable. (If you remember anything about the 2004 romantic comedy “Along Came Polly,” for instance, it is likely to be Mr. Hoffman’s terrible basketball skills and the equally dubious romantic advice he gives to Ben Stiller in that film.)
His dramatic roles in middle-sized movies (“Capote,” “25th Hour,” “Doubt,” “Before the Devil Knows You’re Dead,” “The Savages” and “Synecdoche, New York,” to keep the list at a manageable half-dozen for now) were distinguished by how far he was willing to go into the souls of flawed, even detestable characters. As the heavy, the weird friend or the volatile co-worker in a big commercial movie he could offer not only comic relief but also the specific pleasure that comes from encountering an actor who takes his art seriously no matter the project. He may have specialized in unhappiness, but you were always glad to see him.
Mr. Hoffman’s gifts were widely celebrated while he was alive. But the shock of his death on Sunday revealed, too soon and too late, the astonishing scale of his greatness and the solidity of his achievement. We did not lose just a very good actor. We may have lost the best one we had. He was only 46, and his death, apparently from a drug overdose, foreshortened a career that was already monumental.