In Richard Curtis’s and Bridget Jones’s romcoms, Hugh Grant was everyone’s favorite charming Englishman. Now, the actor showcases a new side as a formidable villain in the horror film “Heretic,” marking his 45th feature film.
Andrew Anthony’s article highlights how few could have predicted the longevity of Grant’s career, especially after his debut in the 1982 film “Privileged,” which involved a group of his fellow Oxford students. For the following decade, Grant was known for his floppy hair and roles as a posh, slightly foppish man, often seen brushing his luxurious locks back while displaying his chiseled visage.
Everything took a turn 12 years later with the release of “Four Weddings and a Funeral.” While the floppy hair remained, it transformed into a comedic facade for a uniquely shy romantic lead. Overnight, Grant found himself propelled into international stardom, frequently co-starring in a string of similar romantic comedies.
“Heretic” marks a significant departure from that image. Now 64, Grant has shed the boyish charm, donning a more dangerously charismatic presence as he takes on the role of Mr. Reed, a character defined by a coldly rational yet menacing logic and a hint of malevolence. This isn’t Grant’s first foray into villainy; he’s previously explored darker roles in projects like “Paddington 2,” “Dungeons & Dragons,” and his portrayal of the ruthlessly suave Jeremy Thorpe in “A Very English Scandal.” However, Mr. Reed delves into much grimmer terrain.
Grant mentioned that this role reflects what he calls “the freak-show era” of his career, a shift that seems to suit him, especially since, as he noted, playing a rogue isn’t too far from his own character. His earlier role as a stammering upper-class man, straight out of a vintage Evelyn Waugh novel, was put to clever use in Roman Polanski’s “Bitter Moon.” However, it was Richard Curtis who perfected that persona, turning it into Grant’s signature public image. As he shared with The New York Times, “If that’s what people love so much, I’ll be that person in real life, too.”
But his public persona faced significant challenges after his 1995 arrest following an encounter with sex worker Divine Brown in a BMW on Sunset Boulevard. Initially, it seemed his charming romantic image might suffer irreparable damage. Yet, Grant navigated the fallout deftly, leaning into his character as he appeared on “The Tonight Show.”
The nervous young man who fumbled for words when Jay Leno bluntly asked, “What the hell were you thinking?” managed to salvage his image with some skillful maneuvering, assisted by then-girlfriend Elizabeth Hurley, who had become a media darling herself.
As he rose to fame following that scandal, Grant starred in a trilogy of Curtis-written films: “Notting Hill,” “Bridget Jones’s Diary,” and “Love Actually.” In “Bridget Jones’s Diary,” where he portrayed the cad Daniel Cleaver, Grant began to grow as a comedic actor, even ad-libbing some of the film’s most memorable lines. He’ll reprise Cleaver in the upcoming “Mad About the Boy,” the fourth film in the Bridget Jones series.
Reflecting on his career, director Sharon Maguire noted, “I think he did feel apprehension about stepping out of that floppy, tongue-tied English character.” Maguire recalls his surprise and relief during the New York premiere of the film when he saw the audience’s reaction, only feeling a bit envious that Colin Firth also received plenty of laughs.
The making of “Bridget Jones’s Diary” coincided with Grant’s breakup with Hurley, leading to a tumultuous period marked by sporadic dating and escalating tensions with the tabloids. This era is encapsulated in “About a Boy,” in which he portrayed a man resistant to romantic commitments—a role that mirrored his own life at the time.
However, in his 50s, Grant surprised everyone by becoming a father. He shares children now 13 and 11 with actress Tinglan Hong and has two additional kids with Swedish TV producer Anna Eberstein, to whom he has been married for six years.
Despite a childhood ambition of becoming a writer, Grant stumbled into acting and has always been an entertainer. His old schoolmates still reminisce about his captivating recitation of Eliot’s “The Waste Land.” Lacking formal drama training and a theater background, Grant has grappled with a persistent insecurity about his craft, even revealing moments of panic during filming.
According to Maguire, “I got the strong impression that Hugh was filled with loathing at his own acting,” even while being a meticulous perfectionist contributing memorable moments to films. This intense approach hasn’t always endeared him to co-stars. Robert Downey Jr. once called him a “jerk” following their collaboration on “Restoration,” and Jerry Seinfeld jokingly described him as “a pain in the ass to work with.”
Yet, amid self-criticism—particularly about how his bumbling Englishman persona was “rightly repelling”—Grant acknowledges his worth in the industry. These days, he appears on talk shows with well-rehearsed anecdotes and a sharp self-deprecating wit, embodying a confident veteran of showbiz.
There’s an added resilience to his character, shaped by his legal battles stemming from the phone-hacking scandal involving the now-defunct “News of the World.” As a prominent member of the campaign group Hacked Off, which advocates for press reform, Grant recently settled a lawsuit against the Sun, accusing the publication of employing a private investigator to invade his privacy.
He expressed on social media that he would have preferred a court battle but weighed the potential costs, stating, “I’m afraid I am shying at the fence.” While tackling Rupert Murdoch is one challenge, he’s also shown a readiness to confront the media on smaller scales. His awkward interview with Ashley Graham on the Oscars red carpet drew significant criticism, drawing comparisons to his infamous incident with Divine Brown.
In discussing his experience at the Oscars, Grant described the event as reminiscent of “Vanity Fair.” He intended to reference the Thackeray novel, but Graham took it to mean the magazine, causing the conversation to spiral downward from there. Some considered his demeanor snobbish and self-important, though part of the humor may have been lost in translation.
Ultimately, with Grant, it’s often challenging to discern true intentions, as layers of irony and a well-crafted celebrity persona complicate the narrative. He could likely pen an incisive exposé about the film industry and his own experiences, akin to works by David Niven or Rupert Everett. However, it seems more probable that he will continue to focus on his performance, gradually solidifying his status as a national treasure.
