Installment #23 in Monolisticle's Ongoing Campaign Against the "Internet of Endless Listicles."
Elizabeth Debicki steals every scene in every film she’s in.
And she steals it not at gunpoint, but as a sly pickpocket. And sometimes her mere presence in a scene is enough to run away with it.
Yet, despite that, there’s still something oddly inconspicuous about her.
Perhaps the greatest thing about Elizabeth Debicki’s acting is that every time you see her in a film, you think that it’s the first time you’ve ever seen her in a film. I was certain that when I saw her in The Night Manager it was the first time I had ever seen her perform, in film or TV.
And then I learned that she had played Jordan Baker in The Great Gatsby film. Wait, that was her? And then I learned that she had played Lady Macduff in Macbeth. Wait, that was her? And then there’s her performance in The Man from U.N.C.L.E., and her role in Guardians of the Galaxy (fortunately, I had a good excuse to not recognize her in that last instance, as she was covered entirely in gold makeup).
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Debicki’s conspicuous inconspicuousness is especially ironic given that she is 6’3” tall. Which is rarely captured on film. These days, of course, it’s impossible not to recognize her, thanks to the full barrage of publicity (bordering on over-exposure) surrounding her role in the film Tenet, and the very welcome announcement that she will play Princess Diana in seasons five and six of The Crown.
Which brings me back to The Night Manager, a series based on a John le Carré novel which aired in Britain in 2016, but has only recently gained an enthusiastic audience in America.
The Night Manager’s emergence on American viewers’ radars was only a matter of time, given its masterful ensemble cast: Hugh Laurie as an arms dealer, Tom Hiddleston as an ex-soldier-turned spy, Olivia Colman as Hiddleston’s handler, and Tom Hollander doing what he does best—playing the world’s most captivating a--hole (and I say that with profound respect and admiration for his considerable skills).
Add to that the directing talents of Susanne Bier and the cinematography of Michael Snyman—in breathtaking locations in Switzerland, Mallorca, and Marrakesh—and this series has all the makings of a binge-watch (clear your weekend, you're about to be hooked).
The fact that Debicki can hold her own with some of our generation’s most gifted actors is impressive, but not surprising. Her talent, intelligence, and chameleon-ish versatility have no doubt caught the eye of Hollywood. And I look forward to not recognizing her in many more performances to come.
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