As a seasoned critic with a soft spot for dark and gritty TV shows, I must admit that “The Penguin” left me feeling a bit underwhelmed. It seems to be a repetitive cycle of power plays, betrayals, and violence, all too familiar in this genre. However, there were some bright spots that stood out – particularly the performances by Colin Farrell and Sofia Milioti.
In a roundabout way, I’m not implying that “The Penguin” on HBO is a copycat, but it shares similarities with another TV series released in recent months where Colin Farrell portrays a character captivated by the glitz of classic black-and-white Hollywood films. Remarkably, both shows incorporate clips from “Gilda” to stir nostalgia for an era that the main character wasn’t alive to witness personally. This longing for a mysterious and moral time that has vanished is palpable in the narrative.
Many modern retellings of iconic TV and film villains, such as Norman Bates, the Joker, or even some Disney characters, contain a critique of audiences who lack empathy.
These modern interpretations of well-known stories often overlook the fact that by encouraging viewers to sympathize with characters usually depicted as heroes, they neglect recognizing that even those portrayed as villains may have their malevolence stemming from deeply human experiences such as isolation, trauma, untreated mental health issues, and a dislike for Dalmatians.
This subgenre offers a twist: “Beyond the tale you’re familiar with lies another unimagined narrative.” Essentially, it presents an unexpected turn that avoids endless retellings of Bruce Wayne’s parent’s demise.
In simpler terms, “The Penguin” is a spin-off from Matt Reeves’ “The Batman,” offering a fresh take on DC Comics mythology. Colin Farrell, hidden under heavy prosthetics, portrays this character as a nightclub owner and minor criminal. If you present the Penguin as a stunted, fish-eating oddity in an ill-fitting tuxedo with almost translucent skin, I’d be intrigued to learn more. However, if you depict the Penguin as a powerful yet underestimated mobster struggling with insecurities due to his overly protective and emasculating mother, then it would remind me of characters from “The Sopranos.
Screenwriter Lauren LeFranc (known for “Chuck”) has revised Oswald Cobb – possibly a nickname lost at Ellis Island – from being portrayed as a flamboyant and exaggerated character requiring intricate backstory, to instead embody an antihero of the 2000s prestige TV genre. This character isn’t relatable due to shared traits with every viewer, but rather because we’ve been identifying with similar characters on TV for a quarter of a century.
It’s not surprising that the current Batman-less storytelling, such as Joker, Gotham, several CW series, and Pennyworth: The Origin of Batman’s Butler, loses its charm when it centers around its main character. Instead, it becomes much more captivating by exploring Sofia Falcone, brilliantly portrayed by Cristin Milioti in the show.
The narrative continues post-events from “The Batman”, focusing on the repercussions such as the collapse of the Gotham seawall and subsequent city flooding. Carmine Falcone (portrayed by Mark Strong in flashbacks) has met his end, while Salvatore Maroni (Clancy Brown) is now behind bars. This leaves a power void within Gotham’s criminal network.
Alberto (played by Michael Zegen), son of Carmine, seems poised for advancement yet struggles with addiction to “drops,” the latest street drug in Gotham. In our narrative, Alberto lacks regard for Oswald, who has made grand promises to both his stern mother (Deirdre O’Connell) and Eve (Carmen Ejogo), a woman of the night whom he adores. Despite being often disregarded and jokingly referred to as “The Penguin” due to a limp caused by a mismanaged clubfoot, Oswald finds a new follower in Victor (Rhenzy Feliz), a teenager from a disadvantaged neighborhood of Gotham, left desolate after the floods.
The sole individual perceiving Oswald’s potential abilities is Sofia, infamously known as ‘The Hangman’, a serial killer who has recently been discharged from the congested Arkham Asylum following a ten-year stay. Sofia and Oz, once her chauffeur, share a troubled history, and their current circumstances appear to be growing increasingly ominous, as they seem to be embroiled in a power struggle reminiscent of a game of thrones – with no sign of Robert Pattinson’s Batman, either present or mentioned.
Despite having a unique, grimy ambiance that sets it apart from New York City, yet resembling it closely, Gotham reflects a dismal image of 21st-century America teetering on the brink of class upheaval. The town’s working-class residents are tired of being ignored and living in chaotic powerlessness. Its criminal ethnic enclaves are fed up with operating under the control of the Falcone/Maroni gangs. All of Gotham’s institutions are corrupt and controlled by their affluent elite, a group that typically includes Bruce Wayne, but there is an exception to this rule.
Despite drawing clear influences from gangster classics such as The Godfather and White Heat, and at times evoking the feel of several HBO series in the vein of The Sopranos, The Penguin often feels more like imitators in the prestige genre, such as Ozark or Low Winter Sun. What you’re unlikely to associate it with is The Batman. This is intentional. There are brief nods to the franchise that aren’t substantial enough to be considered Easter eggs, and a strong philosophy that maintains its grip… until it doesn’t any longer.
The series moves rapidly, covering multiple seasons’ worth of action in only eight episodes. However, what we’re left with is essentially the same villains engaging in recurring power struggles, their alliances formed and shattered so quickly that there’s little enjoyment to be found from even the most intriguing character dynamics. Unfortunately, much like many shows of its kind, it offers repetitive scenes of vivid threats, brutal torture, foreseeable betrayals followed by disposal of bodies, all executed with a high degree of professionalism but lacking originality.
As a gamer diving into the world of ‘The Penguin’, one thing that might cross your mind is if Farrell’s prosthetics could serve as a full meal after the ‘amuse-beak’ scene in ‘The Batman’. Well, let me tell you, this transformation truly hits the mark. Mike Marino’s makeup effects stand strong even during close-ups and under most lighting conditions. While glimpses of Colin Farrell’s face are rare, it doesn’t hinder the character from expressing a wide range of emotions – awkwardness, anger, a hint of humor, and even a touch of eccentricity. So, strap on your gaming headset and get ready to embrace this convincing portrayal of ‘The Penguin’.
Farrell’s eyes are constantly expressive, showing glimpses of the hurt spirit within a seemingly clumsy and cruel character. In contrast to Tony award-winning O’Connell, who portrays Ma Penguin in a way reminiscent of Eugene O’Neill’s characters, and Feliz, who introduces shades of kindness in a world where it’s scarce, Farrell subtly softens the character of Penguin.
The “condition” of the success is that a significant amount of work and even creativity was invested in transforming a well-known movie star into a character actor. I’ve always felt that this could have been a breakout role for actors like Eric Lange, Pruitt Taylor Vince, or John Carroll Lynch. Instead, it seems to be an opportunity for Farrell to perform an effective, if somewhat over-the-top, imitation of James Gandolfini, even mimicking his accent at certain points to a striking degree.
Oz delivers the story effectively, yet lacks originality. Consequently, focus might lean towards Sofia, portrayed by Milioti, who brings less preconceived notions from the comics. Sofia is developed with a twist similar to Cruella and Maleficent, characters whose destructive paths stem from societal expectations and patriarchal constraints. Milioti’s Sofia appears more convincing than Oz as a sympathetic tragic figure and a representation of Gotham’s flaws, evoking feelings of both pity and fear. The confrontation between the two leads, showcased by Milioti and Farrell, results in their finest performances, although the intriguing interactions that viewers anticipate reach their climax prematurely.
The fast-paced plot development seems to have left some of its key secondary characters, such as Ejogo, Brown, Michael Kelly, Shohreh Aghdashloo, and Theo Rossi, with limited depth and development. This issue is similar in the series Gotham, where the stunning locations and production design stand out in certain episodes, only to blend into the whirlwind of storylines in others. The gritty and dark visual aesthetic set in the first three installments, directed by Craig Zobel and filmed by Darran Tiernan, tends to lose its impact as the season progresses.
In the realm of a particular subgenre, The Penguin often occupies an area that I can’t completely disregard, as it occasionally delivers a gem like Bates Motel or a modern take on Perry Mason, despite having too many productions that fail to justify their existence. However, if the response to “Why is Character X the way they are?” is something along the lines of “Have you watched…”, then it suggests that you haven’t ventured far enough beyond conventional thinking.
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2024-09-12 19:25