In
"Arthur Newman," a dark indie comedy, Colin Firth plays a depressed
divorcee who fakes his own death and adopts a new identity to forge a new and
better life. The role marks Firth's first lead one since his Academy
Award-winning turn as King George VI in "The King's Speech," yet
despite their obvious differences (the titular Arthur Newman is a modern day
Yank), the film finds Firth once again getting inside the mind of a guy at odds
with himself.
Photo courtesy of Solar Entertainment Corp. |
Directed by first-time feature filmmaker Dante Ariola, "Arthur Newman" also stars fellow Brit Emily Blunt as a troubled woman who meets Firth's character on his journey and decides to follow suit. Together the pair embark on a cross-country spree of life-swapping and bed-hopping.
Watching "Arthur Newman," Colin Firth
could never fake his own death and switch identities.
I suppose that’s true. Although I’m
an actor so, in a way, perhaps we’re doing something equivalent in hiding in
plain sight. I’m not claiming that theory as my own, necessarily; that’s a spur
of the moment reflection. I think a lot of people have that fantasy of a clean
start, reinventing themselves completely -- running away. Most people don’t
follow through with that.
I was very struck when, a few years
ago, I was reading Nick Hornby’s book, "A Long Way Down." It’s about
a bunch of people who meet up and try to commit suicide on the same night on
the top of a building. One of the characters realizes that he doesn’t really
want to -- that he can’t. But it was always a comfort to him to think that
suicide was an option, and the fact that that option’s gone makes him feel
suffocated. This idea that there’s some kind of way out, whether it’s an
extreme one or just running away from your life – I think some people have this
private and secret notion that lurks somewhere. And if you become very familiar
to people, that option is gone. In fact, it’s very hard to disappear, just for
minutes. I think something’s lost, an awful lot of good stuff comes your way,
but something’s lost.
Have you ever felt the urge to run away?
No, actually, I think I’ve spent too
much of my life moving around, traveling. I’ve personally never had any of the
above fantasies.
We’re always fascinated by people
like Lord Lucan; a famous scandal of a murder case, and the suspect
disappeared. People still speculate on him being alive -- there are routine
sightings of the guy. I think part of it is this idea: could you successfully
pull that off? Could you fake your identity? Go and lead a new life? No, I
don’t want to run away from my life; I take little excursions on a very regular
basis. If I have any of that in me, it’s taken care of.
Arthur is quite the ambiguous figure. What
appealed to you about the character?
I liked the ambiguity. I’ve seen
quite a lot of material, and, whatever the quality of it, it observes certain
conventions; not that that’s a problem, necessarily, but this one didn’t. It
brushed with certain conventions but it doesn’t really follow any of the
trajectories that you expect. It jumped out because it was so different and so
enigmatic, in a way.
I’m interested in the notion of an
awful lot of things that come up in it. The notion of feeling you haven’t made
your mark, of missing your moment. Trying to have a control over your identity,
trying to manipulate that. And the idea of being invisible and not wanting to
be invisible -- wanting to force a dream to come true. I didn’t sit down and
think them through the way I’m trying to think through them now, but these are
the things that swam around my mind when I was looking at it. I just thought it
would be a very interesting leap into the unknown.
I liked the fact that it was kind of
a risk; it was small, no notion in anybody’s mind of what it was going to do
out in the market place. It was just a story with characters that got under my
skin. And I found that scenes often revealed themselves as we played them; they
could throw up unexpected tones and qualities -- that I’ve found fascinating.
I very much believed in the existence
of this man. We never quite know, until we try them on for size, what bit of
yourself you’re gonna find in a character, but there was something there that
chimed with me.
What specifically?
I don’t know. There’s an awful lot of
stories to be told, and the stories being told at the moment have much to do
with memory and regret. Some of the books I’ve been reading over the summer --
Dave Egger’s book, "Hologram for the King," is about a man my age, a
little bit older than me, and the sense of dislocation and regretful
reflection, and the failure to have made an impact, and lost opportunity. I
just finished Richard Ford’s book, "Canada," which I think has
similar themes as well.
“Arthur Newman” is released and distributed by
Solar Entertainment Corporation.
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