As a connoisseur of crime dramas, having binged my fair share of mafia sagas, I must admit that “The Penguin” has managed to carve out its unique niche amidst this saturated genre landscape. The performances by Milioti and Farrell are nothing short of mesmerizing, with their characters teetering on the edge of cartoonishness while maintaining a raw humanity that keeps viewers hooked.
In the series “The Penguin”, Batman is not present, but his absence won’t be felt once you embrace the show’s unique style. Cristin Milioti delivers a powerful performance as Sofia Falcone, reminiscent of O-Ren Ishii from Kill Bill, commanding a table of ruthless criminals with an iron fist. Furthermore, Colin Farrell, disguised under layers of prosthetics as Oz Cobb, offers an extraordinary portrayal of gabagool, expressing shock with raised eyebrows, displaying disgust with Kubrick-like intensity, and criticizing the upper classes like Frank Sobotka campaigning for another union term. With these captivating performances, “The Penguin” achieves a transformation that was initially thought to be impossible when it premieres on HBO and Max on September 19.
In “The Penguin,” creator Lauren LeFranc skillfully combines opposing elements, creating an intriguing balance. By omitting Batman and his influence over Gotham, the show focuses on the gritty realism of crime, drug deals, and power struggles, making it feel more authentic and life-like. Simultaneously, the series incorporates elements of grandeur, such as Frank Sinatra’s music, references to classic films like “Ginger Rogers” and “Gilda,” and dramatic performances by Milioti and Farrell that border on over-the-top acting, reminiscent of a Martin Scorsese film. Despite these contrasting styles, the series maintains a consistent suspension of disbelief. This unique blend of minimalism and maximalism propels “The Penguin” forward, building momentum towards an ending that showcases LeFranc’s insightful understanding of her title character and her courage to withhold a conventional, crowd-pleasing resolution.
The character of Bruce Wayne seems to be a constant presence in Hollywood’s Batman franchise, with relatively short intervals between reboots. For instance, Christian Bale concluded his portrayal of the character in 2012’s “The Dark Knight Rises”, only to be replaced by Ben Affleck for Zack Snyder’s “Man of Steel” sequel in 2013. In the same year that “Joker” depicted the Waynes as symbols of the corrupt one percent, Robert Pattinson was chosen to play a younger, gothic version of Batman in Matt Reeves’s “The Batman”. This was followed by three seasons of “Pennyworth: The Origin of Batman’s Butler”, and 100 episodes of “Gotham”. Most recently, “Batman: Caped Crusader” focused on the detective aspect of the character, investigating various crimes such as jewel theft, arson, energy vampires, and ghosts. Over time, Gotham City has been shaped by the Bruce Wayne–Batman duality, along with his family tragedies, wealth-related burdens, and unresolved traumas. While “The Penguin” shares some of these elements due to its setting in Gotham, it stands out as unique thanks to clever choices in casting, writing, and design.
In LeFranc’s portrayal, the removal of Batman creates an opportunity for The Penguin to flourish, revealing intricate aspects of Gotham that we thought were well-explored. Without him, the series is grounded in the everyday street crimes and the impact of loss on our perception of right and wrong. The season delves into a diverse range of moral themes in a captivating and watchable manner, reminiscent of HBO’s Game of Thrones. Characters like Oz Cobb and Sofia Falcone exhibit villainy independently, making for enjoyable viewing. Many character dynamics resonate with the “chaos is a ladder” ethos, echoing the intensity of Game of Thrones. The production design is striking when it draws inspiration from mid-century pop culture that influenced Oz and Sofia’s upbringing; though it’s reminiscent of Casino and Scarface, the purple pinstripe suits, plunging necklines, and fur coats are visually appealing. Despite the plot being unevenly paced and relying on familiar plot devices, particularly in conflicts between Sofia, Oz, and various ethnic gangs, the overall execution is more akin to Gangs of London than The Continental.
The story in “The Penguin” unfolds a week after the events of “The Batman.” A brief recap is given through nighttime news broadcasts. In the series, Mark Strong portrays Carmine Falcone, who was previously Gotham’s crime boss and Selina Kyle/Catwoman’s secret father (previously played by John Turturro in the film). It was revealed that he was a confidential informant, helping to bring down his rivals, the Maroni family, leading to his assassination. A plot devised by the Riddler resulted in flooding Gotham City, prompting Batman to take a more public stance, rescuing citizens and defeating the Riddler’s followers, who resemble incels. Despite FEMA aid and the mayor-elect’s plea for unity, there is a palpable feeling of Gotham spiraling downward. When Oz, Falcone’s right-hand man, breaks into his old apartment to gaze at the city through its large windows, he sees it as grungy and covered in soot and mold. Although it may not appear significant, Oz, also known as the Penguin due to his limp and teardrop shape, perceives an opportunity for seizing control.
The transition from a Falcone family fixer to the leader of Gotham’s drug empire, which he aims to achieve, will necessitate the removal of several opponents. Alberto Falcone (Michael Zegen), Falcone’s playboy son who leans more towards Fredo Corleone than Michael, is next in line for power, backed by allies like family underboss Johnny Vitti (Michael Kelly). The Maronis, whom Carmine betrayed, remain a threat, with Sal (Clancy Brown) in prison, his wife, Nadia (Shohreh Aghdashloo), capable of ruling in his place. An intriguing twist is that Nadia, like her actress portrayer, is Iranian; the couple often converse in Farsi as much as English. The city’s gangs also have ethnic divisions, each striving for a larger slice of the pie Carmine once controlled almost exclusively. However, the most ominous challenge comes from Falcone’s daughter and Alberto’s sister Sofia, recently released from Arkham Asylum after years of confinement and harboring significant grudges against Oz, her former driver. When they meet again, she says with a tense smile, “I’ve been rehabilitated,” and it is during these subtle moments that the acting talent of Milioti truly shines, offering glimpses into a mind torn apart.
In this TV show “The Penguin,” the character Sofia deviates significantly from her comic book counterparts, particularly in her power struggle with Oz to control Gotham’s underworld. This rivalry generates much of the drama, with both characters resorting to increasingly violent measures to gain an edge over each other. At times, the series can feel repetitive, following a pattern of scheme-betrayal-attack, and heavily referencing its sources such as “Gangs of New York” and “The Godfather.” However, shows like “Boardwalk Empire” preceded these references, and were more skillfully executed. Nevertheless, “The Penguin” manages to set itself apart through unique moments that showcase the complex emotions of its characters. For instance, Milioti subtly expresses Sofia’s anger towards her family by overflowing a glass with wine while her male relatives look on disapprovingly. Similarly, Farrell’s Oz takes his assistant Victor (Rhenzy Feliz), a fellow Gotham resident, out for a fancy French meal and shows genuine interest in Victor’s struggles with his parents’ financial problems, toasting them in honor. These instances feel exclusive to the show’s portrayal of these characters, helping to counterbalance its predictable narrative flow.
In the show “The Penguin“, Colin Farrell’s performance as Oz defies typical acting tropes, going beyond mere transformation. Although some semblance of his signature charm remains in his eyes, he skillfully employs them to convey the emotional journey of the character. The role of Oz is crafted to exploit viewers’ suspicions, and Farrell relishes portraying his scoundrel side with exaggerated smiles revealing his gold teeth, raising his already-affected “fuhgeddaboudit” voice when nervous, and never missing an opportunity to make a jibe about another man’s masculinity.
Milioti and Farrell portray characters that balance between exaggerated and realistic aspects, showcasing human traits such as jealousy, greed, grief, lust, self-hatred, and arrogance, which give The Penguin its unique blend of being both sensational and credible. Unlike the films directed by Christopher Nolan or Todd Phillips, The Penguin explores themes relevant to American society, questioning the rules one must break to succeed, the alliances and workforce one should protect in a ruthless world, and the price of opting out or challenging the status quo. Both actors deliver speeches addressing these issues, but The Penguin can be repetitive in its portrayal of them as mirror images of each other. However, this repetition is acceptable because The Penguin provides ample room for character development, resulting in a spin-off that stands on its own without relying too heavily on its cinematic predecessor.
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2024-09-12 20:54