The Winsome Personality And Acting Talent Of Michael Everest DeMarco

Most people would agree that it would be difficult to think of a more competitive career to try to break into than being a Hollywood film star. And if you were not born into a performing arts family, and are young and inexperienced, your chances of making an impression would be slim indeed. Unless that is, you have the striking looks, winsome personality, and astonishing talent of rising star Michael Everest DeMarco of New Orleans.

Early Auditioning Experiences as a Teen Model

As a 13-year-old boy, DeMarco’s olive complexion and almost exotic appearance gave him enough photogenic appeal to land him extensive modeling work. This was his first exposure to an outer fringe of the theatrical industry, and Michael decided he enjoyed it and determined to excel. But good looks and poise alone would have seen him stuck in modeling, and DeMarco had aspirations for advancement, with an outgoing personality to match. DeMarco, however, was not the usual ambitious youngster, obsessing over dreams of future fame. His keen interest was, and remains, other people. With his open and frank manner and a surprisingly mature set of values and work ethic, DeMarco quickly came under the notice of talent scouts. His break into theatre began with the lead role as Joe Bonaparte in Clifford Odets play “Golden Boy.” DeMarco’s portrayal of Bonaparte’s emotionally intense character, an Italian American musician, was a triumph, and invitations to auditions soon increased.

After an impressive performance as Buckingham in the Shakespearean tragedy “King Richard III,” Michael Everest DeMarco, the boy from New Orleans, gained remarkable traction. What began to set DeMarco apart, however, was not just his undeniable abilities, but his passion for the Arts and his consistent desire to be mentored and to hone his craft still further. His willingness to be mentored, deferring to others, and taking time out to add to his acting skill set indicates DeMarco’s sense of humility. Engaging with people of all walks of life, being a student of human frailties and personalities, has helped him develop robust performances for many character types.

Training For Future Great Roles

The moment of Demarco’s pivot from theatre into film came as a result of a landmark performance as Bartolomeo Romagna in Maxwell Anderson’s famously dramatized poem “Winterset.” Although a challenging role, the audience and critics alike pronounced his rendition of Romagna as superb. From this point, DeMarco sought to strengthen his acting flexibility and prowess by training in both Classical and the Stanislavski methods, and by being instructed under such greats as Sal Dano, renowned principal of the Actors Studio workshops in Los Angeles. His first film roles came soon after, and DeMarco set his sights on Hollywood.

Michael Everest DeMarco’s attention has not been exclusively on personal advancement, however. His likable personality and growing fame have lately made an opening for him in philanthropic pursuits. It is becoming apparent to those who know him that DeMarco’s passion for acting is rivaled only by his enjoyment of making a difference to the lives of the underprivileged, championing worthy causes whenever possible.

DeMarco’s latest film appearances have included roles in “Over the Line” and “The Fine Stallion” as he continues to distinguish himself and turn admiring heads. As an up and coming talent, it would seem cliché to romanticize DeMarco’s potential legendary stardom, but that would be to overlook the incessant hard work and tenacity he has invested in this challenging career pathway. There is no doubt that DeMarco is deserving of Hollywood’s current attention, and as the mountain of his namesake, it is reasonable to expect that Michael Everest DeMarco’s pinnacle will peak above all peers.

Film Review “Everest”

Starring: Jason Clarke, Ang Phula Sherpa and Thomas M. Wright
Directed By: Baltasar Kormakur
Rated: PG-13
Running Time: 121 minutes
Universal Pictures

Our Score: 3.5 out of 5 stars

Often times in disaster movies, the power of nature is mocked or built up like some supernatural phenomenon. “San Andreas”, “Volcano” and any Roland Emmerich movie are prime examples of nature needing to be deadlier than it already is to captivate an audience, but the director and writers of “Everest” have realized something very few know. Nature is already a disturbing mystery that doesn’t need to create 100 foot high tidal waves or to spawn volcanoes in the middle of a sprawling suburb to have a profound impact.

“Everest” follows along the events of a deadly 1996 Everest expedition, that’s been the subject of many documentaries and books, and it was most likely a news firestorm when it happened. I was only eight at the time so my memory banks were being dedicated to learning fractions and the plot line to rudimentary cartoons. So if you remember this incident, you know there’s not going to be a happy ending and in all fairness, that’s what makes a disaster a disaster.

Competing expedition groups are traversing the world’s tallest mountain. Each group is made up of individuals with their own personal accomplishment to achieve. Rob Hall (Clarke) heads up Adventure Consultants while Scott Fischer (Jake Gyllenhaal) heads a team called Mountain Madness. The groups are armed to the teeth with oxygen tanks and supplies. The journey, as expected, is a difficult one, but the real problems arise once they reach the summit.

The cinematography of “Everest” is nothing short of breathtaking. While most disaster movies rely heavily on CGI to make the unbelievable more believable; “Everest” uses CGI to make the believable even more bone chilling. Tension is so sparsely used that when it bubbles up, it’s acute. Knowing that the icy hands of death are ready adds to the suspense, especially for someone like me who had no previous knowledge of the events unfolding in this movie.

As for the true story aspect, my research reveals that “Everest” is fairly faithful. The most unbelievable moment of the movie for me was actually the most truthful to the actual events. So maybe that says something about film creators before who’ve abused the title of “based on a true story.” “Everest” has the emotional heft, but not the narrative weight to really convey a powerful message.

Its basic attempt is to have you shed a tear, but a better planned attack would have you leaving the theater pondering the existential meaning behind the deaths of these people. The articles I’ve looked up on the matter have raised questions that “Everest” never asks. In some regards, “Everest” is an expensive and star studded TV movie, but that’s not entirely a bad thing. In that light, “Everest” is sentimental storytelling at its finest. But I wouldn’t mind a message about the common man thinking he can trump nature with plastic oxygen tanks or how we just shouldn’t mess with things we’ll never understand. But as far as biographical disaster movies go, “Everest” has set a remarkably high bar.