Why do Irish actors always seem to play Batman villains? Remember when Cillian Murphy gave a powerhouse performance as the Scarecrow in Christopher Nolan’s Batman Begins, long before Oppenheimer was but a twinkle in Nolan’s eye? Or when Barry Keoghan was hinted at possibly playing the Joker in Matt Reeves’ recent reboot of The Batman? If Saoirse Ronan isn’t announced as the new Poison Ivy in the coming half-year, I swear I’ll cast aside my Batarang out of pure exasperation.
Comic book villain aficionados and those who appreciate Irish actors behind rubber masks have a lot to look forward to as Colin Farrell steps into the role of The Penguin (Sky Atlantic, Friday, 9pm). This Batman spin-off might be uneven and frequently slow in pace, but Farrell’s portrayal of the up-and-coming criminal Oswald Cobblepot is absolutely riveting.
Farrell first appeared as The Penguin in The Batman, but that film couldn’t quite figure out how to utilise his character, relegating him to a hapless diversion in the Dark Knight’s battle with The Riddler. However, he truly comes into his own in this series, buried under a significant amount of prosthetics that make him nearly unrecognizable – it’s impressive he can have cheeks in places you never thought possible.
Despite the transformative look, Farrell didn’t find the process particularly enjoyable. He confessed to feeling worn out by the prosthetics, stating “It got a little under my skin”, and admitting that he couldn’t wait for it to be over. In any case, his performance as the tormented, criminal mastermind with deep-seated maternal issues is a testament to his acting prowess.
In performance, Farrell finds a worthy adversary in Cristin Milioti, cast as Sofia Falcone, the progeny of the deceased mafia kingpin Carmine Falcone. After her father’s demise during The Batman, the fight for dominance in the criminal landscape of Gotham City intensifies, and Sofia is resolute on carving her slice of the crime pie. She’s relentless yet volatile, as well as being a casualty of Gotham’s male-dominated society which previously institutionalised her when she attempted to be involved in the family’s illegal activities.
Farrell and Milioti ooze the charm required to command the spotlight in a lacklustre drama that strangles itself while attempting to emulate the mafia sophistication of DC Comics’ interpretation of the Sopranos. Except for some minor Easter eggs woven into the finale, it rejects all connections to Batman mythology, with the Dark Knight, portrayed by Robert Pattinson, noticeably absent. Rather than having eccentric characters in skin-tight suits duelling on the city’s roofs, it flounders in unoriginal mobster stereotypes – it’s akin to an underwhelming version of Goodfellas donning a cape, devoid of the sparkle you’d expect from a superhero movie or the engaging pace of a good mafia flick.
However, the responsibility for this pitfall can’t be placed on Farrell, who diligently creates a captivating backstory for Oz – a menacing figure whose desire for supremacy in Gotham’s underworld only comes second to the maternal issues that have tainted his psyche.
He stars alongside Rhenzy Feliz of Encanto fame, seemingly transplanted from a coming-of-age Batman spin-off, where he plays an orphan that Oz takes under his wing. The ensemble further consists of Clancy Brown as Salvatore Maroni, another gangland godfather in Gotham, and Michael Kelly as the once loyal servant of Carmine who pose a potential hindrance to the determined Sofia.
Despite their commendable efforts, an insipid screenplay repeatedly presents a barrier. It serves as a competent platform for Farrell’s talents, but when considered as an intriguing supplement to The Batman universe, The Penguin unfortunately takes a lukewarm stance.