Sep
The Penguin: A Crime Saga That Could Use Less Family Drama
HBO’s new limited series, The Penguin, offers a fresh take on the Batman universe, focusing on Colin Farrell’s portrayal of the iconic villain, now rebranded as Oz Cobb. While it’s challenging to craft a compelling Batman narrative without the Dark Knight himself, The Penguin manages to tell an engaging crime story on its own terms. However, it does grapple with some of the typical pitfalls of Batman adaptations.
Colin Farrell returns to his role from the 2022 film The Batman, where his transformation into the Penguin was initially an impressive piece of casting. In this series, Farrell’s portrayal has evolved from a memorable gimmick into a fully developed character. The series prompts a reflection on why such a significant transformation was necessary when less visually striking actors could have filled the role from the start. The show, set against the backdrop of HBO’s crime drama legacy, inevitably invites comparisons to The Sopranos, a series celebrated for its authentic, grounded performances.
The Sopranos remains a benchmark for high-quality crime dramas, in part due to its cast of actors who felt like real people. Farrell’s Oz Cobb, however, feels more like a cartoon character—albeit a captivating one—thanks to both his performance and the remarkable makeup by Michael Marino. This portrayal might remind some of Al Pacino’s exaggerated role in Dick Tracy, played straight with a sense of earnestness.
Farrell’s makeup adds a touch of comic-book whimsy to an otherwise serious crime narrative. This contrast occasionally makes the rest of the show’s tone seem more conventional in comparison. While Farrell’s performance brings a unique energy, only one of his co-stars, Cristin Milioti, comes close to matching his intensity. Milioti’s portrayal of emotional turmoil is a notable highlight, though Carmen Ejogo’s role as Oz’s confidante remains relatively underdeveloped.
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