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ABSTRACT
In the last decade, Hugh Grant has been going through something resembling a career revival. After retreating from his roles as an English gentleman and romantic lead during the mid-2000s, Grant has recently re-emerged to garner critical acclaim in productions, such as Paddington 2 (2017), The Gentlemen (2019), and The Undoing (2020). What these roles have in common is that Grant has abandoned his days as prince charming in favour of a series of unlikeable characters and morally complex villains. This article analyses how this turn to villain signifies a renegotiation of Hugh Grant’s star image and how this career revival stands into contact with his previous persona. Combining a close reading of some of Grant’s recent films, together with a discussion of press discourse and interviews, I account for how Grant’s villain performances are shaped and mediated by different artistic, commercial, and discursive forces. As such, I elucidate how Grant’s renegotiation of his image helps distances himself from his previous career phase, is utilised by filmmakers to subvert audience expectations, and invites us to question the patriarchal and English imperialist attitudes that lay embedded in his previous performances.
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Lennart Soberon
Lennart Soberon is a post-doctoral researcher at the Vrije Universiteit Brussels (VUB) and artistic coordinator of non-profit film theatre KASKcinema (Ghent, Belgium). His prior research project focused on enemy image construction in the American action film. He is currently part of the ERC-funded project ‘Reel Borders’ that studies the cinematic representation of Europe’s border regions. Apart from working on forms of cinematic othering and bordering, he has also published on themes of emotion, masculinity, trauma and spectacle.