... the roles of Colin Firth

Best known perhaps for his performance as Mr. Darcy in the British TV series of Jane Austen’s Pride and Prejudice (1995), Colin Firth finally won the 2010 Best Actor Oscar (as well as Golden Globes and the SAG award) for his role as stuttering suffering man-who-rather-not-be King, George IV in 2010’s best picture winner, The King’s Speech. His ability to bring deep humanity to such cardboard characters as Austen’s Darcy is perhaps his greatest gift. I particularly admire his uncanny ability to remain straight-faced, when all the character’s emotions, thoughts and angst are slipping from Firth’s expressive eyes. (He often brings to mind the emoting of silent-screen icons like Keaton and Chaplin.) His career has built gradually, including ensemble roles in such great films as Love Actually and Bridget Jones (1&2), to his striking lead in Tom Ford’s A Single Man (2009). Here are four movies to whet your appetite for his acting.

Valmont (1989, Dr: Milos Forman)
The first time I noticed Colin Firth was in this European production, based on the Dangerous Liaisons novel. The film stars Firth, Annette Benning and Meg Tilly in the tragedy of one bitter French widow, one dissipated Count and the ever-increasing ripples of destruction they cause as they contrive a cynical bet to bring down one virtuous woman. You can also watch director Stephen Frears’ better-known Dangerous Liaisons (1998), starring Glenn Close, John Malkovich, Michelle Pfeiffer and compare performances, just for fun.

The Importance of being Earnest (2002, Dir: Oliver Parker)
Firth takes on the sparking genuis of Oscar Wilde, and holds his own with crème of British actors (Anna Massey, Judy Dench Edward Fox, Tom Wikinson) as well as playing Jack to the ever scene-strealing Rupert Everett, as his cousin Algy. Two gentlemen living in 1890's England assume the same pseudonym (Ernest), until they fall in love with two women (Reese Witherspoon, Frances O’Connor) using that same name, leading to a witty comedy of ever-increasing mistaken identities.


A Single Man (2009, Dir: Tom Ford)
In L.A. in 1962, a English College Professor George is still overcome with grief a year after the death of his partner Jim in a car accident. Given the repression of the times, the only outlet for his pain is old friend, Charley (Julianne Moore) who has been in (unrequited) love with him for years. Contemplating suicide, what George believes to be his last day is taken up by encounters with his faithful housekeeper, Charley, and one of his students, Kenny (Nicholas Hoult), who is concerned about his teacher’s recent subdued behaviour.

Mamma Mia! (2008, Dir: Phyllida Lloyd)
Contriving to string together Abba’s hits into some form of narrative was not an inspired idea, but this movie is just plain fun! Donna (Meryl Streep), the mother of a bride-to-be is dismayed when three former boyfriends turn up for the wedding, any of whom may be her daughter’s father. Harry (Colin Firth), Sam (Pierce Bronson) and Bill (Stellan Skarsgard) on a Greek island together is three fathers too many! All the cast sing and dance their way through the film, and the ending credits a la Abba spandex suits is well worth the wait. (I know this movie had mixed reviews, mostly due to the vocal performances of actors who clearly were not trained singers, but I believe that just made their performances genuine.)