Cameos - Colin Firth

"I like playing strange characters," says Colin Firth, who got his wish playing a fastidious, twisted film fanatic in the haunting APARTMENT ZERO. "Some people might say it has something to do with a hidden part of myself, but I think it's a lot simpler than that: normal people are just not very interesting." Free of all preoccupation with image that binds many young actors to safe, familiar types, Firth has lent himself to a succession of disparate, challenging roles: a sullen Marxist boarding school student on ANOTHER COUNTRY; a shell-shocked World War I veteran in A MONTH IN THE COUNTRY; and after his loveless loner in APARTMENT ZERO, the lead role as the 18th-century lounge lizard in Milos Foreman's VALMONT, the latest adaptation of the Choderlos de Lalos epistolary novel, LES LIAISONS DANGEREUSES.

The son of two British academics, the 28-year old Firth has a scholarly aspect to that belies his hatred of school as a child and his successful evasion of university. After a futile effort to break into theater by "making tea in the wardrobe department in the National Theater," he enrolled in the rigorous three year program at the Drama Centre London, leaving after two years for his first job: the lead in the successful London stage pro duction of Julian Mitchell's play ANOTHER COUNTRY. Eight weeks later, director Marek Kanievska cast him in the co-starring role for the film version. "I wasn't nearly as concerned about the change of roles as the change in medium, " he recalls. "It was not knowing if there was anything specific I should be doing that was so frightening." As it happens, he had nothing to fear. He won accolades for both performances, as well as interest from other filmmakers, including writer-director Martin Donovan, who was looking to cast his macabre psychological political thriller APARTMENT ZERO. "After I read it once, I didn't want to do it," Firth remembers. "I mis read it as a B-movie thriller." 

The film, a favorite at several international film festivals, is, in fact, a political allegory, centering on the story of the relationship between the self-deluding Argentinean Adrian LeDuc (Firth) and a shadowy, seductive American chillingly played by Hart Bochner. What finally drew firth to the part was the chance to play a charac ter "as full of need as he is unequipped to address it. He was also intrigued by the location, Buenos Aires, having recently starred in TUMBLEDOWN, a BBC drama about the Falklands War. "Everyone said Colin was too good looking to play the lead," says Donovan. Adrian could not be overtly attractive, the filmmaker asserts, "because beautiful people have an advantage over the rest of humanity, an advantage Adrian does not have." But Donovan had observed Firth's ability to inhabit a role, and Firth allayed all skeptics' fears by layering his performance with unscripted quirks. For example, "Colin thought that smiling would be painful for Adrian," says Donovan. "Every time he smiles in the film, it's almost a wince." 

While APARTMENT ZERO, a small, complex film, will likely draw an selective following, VALMONT promises to introduce Firth to a wider audience. Or does it? Have the film and his role in it been upstaged by Stephen Frears' DANGEROUS LIAISONS and John Malkovich's vicomte? "The part I play is no more the John Malkovich role than HAMLET is the Lawrence Olivier role," Firth replies. "Besides, When one is doing Hamlet, one is always using the same script." VALMONT, he says is altogether different from Frears' film. "The characters are motivated differently, the plot concentrates on different story lines, it has a different ending." During the six-month shoot, nobody mentioned or even thought of the other film. If Firth was at first judged too handsome to play Adrian, this time the fears were that his wholesome schoolboy looks might not emit sufficient pheromones for a devious seducer. But Firth won Foreman over with something he hadn't been called upon to use much on screen, levity. "I knew I wasn't going to be taken seriously if I went in there trying to act the part of a Latin Lover. And Milos was asking why everyone was so serious--why make seduction such a heavy business? It was a trap everyone had fallen into, that to play the philandered, they should smoulder." 

With a resume that ranges from losers to Lotharios, what sort of career would Firth like to carve from here? "I've never thought of having a 'career,'" says Firth, all pro forma British effacement. "For me it is just one job then another job." As it is , he expects, "In ten years' time I'll get over this nonsense" and leave acting. An idle threat, one hopes.
 

by Julia Szabo

He’s one of eighteenth-century literature’s most notorious Don Juans: dashing, debonair and dangerous to know. He’s the Vicomte de Valmont from the classic book Les Liaisons Dangereuses, and everyone from members of The Royal Shakespeare Company to the great Gerard Philip (in Roger Vadim’s 1959 film) to John Malkovich in last year’s 
Academy-Award-nominate Dangerous Liaisons has played him. But that didn’t stop director Milos Forman (Hair, 
Amadeus) from tackling the story once again—or from casting unknowns in Valmont, his version of the classic, due out this month.

When two films based on the same story are released within a year of each other, moviegoers—and critics—are bound to make comparisons. The most talked-about will be between Malkovich and Forman’s surprising choice for Valmont, Colin Firth—a familiar face only in his native England, where the 29-year-old has acted in films, plays and a TV series.

Firth admits he didn’t see himself in the role of the lady-killer at first. It certainly doesn’t jibe with the callow types he 
played in Another Country, A Month in the Country and Apartment Zero. But Forman wanted to excite speculation as to Valmont’s motives, and Firth’s boyish innocence brings complexity to a character traditionally interpreted—most recently in Dangerous Liaisons—as a more worldly lover. In fact, aside from the inevitable surface similarities, Firth maintains the two films have little in common, citing Valmont’s “entirely different” plot direction, “more poignant” ending and “less moralistic” tone.

If Valmont is as successful as its most recent predecessor, Firth’s career could take off. He brushes aside such 
suggestions: “I don’t see this film changing things radically for me.” But the last time Forman cast as unknown in a 
leading role, the gamble paid off. If F. Murray Abraham’s success with Amadeus is any indication, those could be famous last words, indeed.