Given how huge theHarry Potterfranchise is, it might well be an inevitability thatthe lateMichael Gambon’s best-known rolewill always be that of Albus Dumbledore.Richard Harrisplayed the wise old headmaster of Hogwarts for the first two movies in the series, but passed away the year the second entry —Harry Potter and the Chamber of Secrets— came out. Gambon ended up replacing Harris come 2004’sHarry Potter and the Prisoner of Azkaban(a film many would call a series high point), and continued to play Dumbledore for the rest of the film series. Six big blockbusters spent playing an iconic role will make Michael Gambon Dumbledore in the eyes of many, but the acclaimed Irish-English actor was far more than just this character. He also excelled in some very un-Dumbledore roles, includingplaying a cunning crime lord inLayer Cake(released the same year asPrisoner of Azkaban), as well as playing a brutal and tyrannical gangster in 1989’sThe Cook, the Thief, His Wife & Her Lover.
Those who are familiar with Gambon’s (admittedly sometimes tough but fair) depiction of Albus Dumbledore are in for a shock if they choose to sit down and watch this particular film. It is undeniably amazing, unique, and thought-provoking,but it’s a particularly nasty crime moviewith some confronting imagery and incredibly dark satirical elements. As the titular thief, Michael Gambon’s magnetic performance is a big reason why the film is as visceral and hard to forget as it is. Of course, Gambon’s complemented by other great actors, the distinct visual style ofPeter Greenaway, a daring screenplay, and bold music courtesy ofMichael Nyman. It might not be a film for everyone, but it is completely singular as a piece of cinema, and few individual movies within Michael Gambon’s body of work showcase his acting talents quite as directly as this one does.
What Is ‘The Cook, the Thief, His Wife & Her Lover’ About?
There’s no need to mince words:The Cook, the Thief, His Wife & Her Loveris aviolent, downbeat, disturbing, and oftentimes gross film, and it’s overall not one for the faint of heart. Most of the story takes place at a restaurant, which seems to be a fairly nice establishment run by the titular cook (Richard Bohringer). It can only be presumed to be nice because the thief — more accurately, a gangster played by Michael Gambon — has all but taken over the place. He’s shown to go there on a nightly basis and behaves abhorrently to everyone, be it his lackeys, the restaurant’s staff, the other patrons, or (particularly) his wife (Helen Mirren). She’s shown to one day grow tired of his physical and psychological abuse and lashes out at him by having an affair with another man who frequents the restaurant - her lover (Alan Howard).
The thief, Albert Spica, doesn’t take the eventual news of this well, which sets him off on a rampage that’s ferocious even by his standards, leading to further mayhem, violence, and stomach-churning moments. It feels like a particularly artistic crime movie, something of a twisted melodrama, a borderline horror film at times, and also a work of satire. It’s easy to read a certain amount ofpolitical and social commentary out of the film, particularly regarding the political climate in the UK during the 1980s. But more directly, it’s also the story of one downtrodden woman stepping up against endless abuse, and seeking retribution against a terrible villain of a man. And it’s that emotional, gut-level aspect of the film where acting becomes particularly vital.
How Michael Gambon Makes Albert Spica So Terrifying
Everyone loves a good scenery-chewing performance, and it’s a style of acting that can work well when someone portrays a villain. Certain villains benefit from keeping things low-key, given that can imply a level of intelligence and cunning that might suggest they’re a threat. But on the other end of things, a bombastic performance befits another type of villain; perhaps one who’s thuggish, ignorant, physically imposing, and even self-conscious about their lack of sophistication or cleverness. Those qualities all apply to Gambon’s character, Albert Spica. He has aspirations of being suave and intelligent, often trying to speak eloquently and being shown continually attempting to force himself into the world of a classy restaurant.
A non-villainous character being out of their comfort zone like this could inspire sympathy, but right from the start ofThe Cook, the Thief, His Wife & Her Lover, there’s no chance of Spica being anything but evil and petty. The film’s opening scene is him degrading a man who owes him money in a genuinely ghastly way, and that’s before he even enters the restaurant, at which point he continues to hurt and demean all around him, shattering any chance of peace inside the establishment’s walls in the process. And Michael Gambon does go over-the-top with his acting here, giving a loud and very physical performance that befits a terrible man who doesn’t want anyone to realize he’s out of his depths.Albert Spica is a vicious bully, but Gambon never pushes him into being a cartoonish figure or a caricature. Within the film’s stylized, slightly heightened world, Gambon is bombastic and excessive, but all the same, somehow believable, and all the more terrifying for it.
Albert Spica Is One of the Best Movie Villains of All Time, and His Comeuppance Is So Satisfying
ThoughThe Cook, the Thief, His Wife & Her Lovermight not be the kind of movie that’s for everyone, it’s still worthy of being considered an all-timer when it comes toassessing the best-ever movie villains. Albert Spica is iconic. He is a character who insists on always being the center of attention, and always in charge. In the role, Gambon does command the screen and makes Spica an overbearing presence. Yet the performance, for all its volume and showiness, has a certain subtlety, because the titular thief’s insecurities still shine through. There is a hint of awkwardness to his mannerisms, even though you may see him doing all he can to distract from them. A gangster of his standing - and especially of his character - does not belong in the otherwise serene, visually stunning restaurant that he continually disturbs. It’s by no means a way to make him tragic or sympathetic, but it does make him feel more human.
And as mentioned before, it’s that odd, twisted humanity that makes Albert Spica feel, in a way, genuine. Without that wrinkle to the character, there is a chance that the film’s principal antagonist would feel silly, and perhaps less like a genuine threat. It’s his credible evilness and capacity to continue doing harm that makes him so easy to root against, allowing the eventual revenge of his wife (the details of which are probably too disturbing to detail here… but also, it would be doing the film a disservice to discuss) to feel all the more satisfying. And, at the risk of sounding like a broken record, it’s Michael Gambon who was essential in making this character work. Albert Spica would’ve been an immensely difficult character to play, and getting into the headspace of such a man (even a fictional man) would’ve likely been upsetting. It’s a testament to Gambon’s acting skills that he pulled it all off, and portrayed a film villain for the ages.
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There’s More to ‘The Cook, the Thief, His Wife & Her Lover’ Than Just Gambon
IfThe Cook, the Thief, His Wife & Her Loverwas nothing but a showcase for Michael Gambon, it might overall still be worth watching, but it manages to be much more than just that. Helen Mirren does feel like she has the most screen time of all four title characters, and her role was likely just as challenging as Gambon’s; perhaps more so. Both actors are accomplished and hugely talented, butthis remarkable 1989 moviemight well house their respective best-ever performances. Richard Bohringer as the cook and Alan Howard as the lover don’t have quite as much to do, but still turn in great performances, and a very youngTim Rothshines here as one of Albert’s lackeys, too. The film is also stunning to look at, owing to the creative, theater-like direction by Peter Greenaway, the boldly colorful visuals courtesy of French cinematographerSacha Vierny, and the continually creative costumes designed by famed fashion designerJean Paul Gaultier.
Michael Nyman’s score is also incredible; maybe one of the most underrated of all time. All these ingredients (plus a sharp and uncompromising screenplay, of course, also written by Peter Greenaway) combine to make something remarkable, bold, and unlike any other film out there. Still, if there’s one element that jumps out immediately, it’s the explosive terror of Albert Spica. Given the boorish and insecure nature of his character, it’s fitting that Gambon’s contribution to the film leaps out first and foremost, and it’s a performance that excels alongside the rest of the acting, the film’s look and style, and its music.The Cook, the Thief, His Wife & Her Loveris unpleasant, likely to be in too bad taste for most viewers, and sadistic in its violence. Yet it’s paradoxically beautiful and unforgettable, and the talent behind and in front of the camera is undeniable. It’s incredible that Gambon could go from this to playing an old and wise mentor in six movies, starting only 15 years later, and be just as convincing there as he was in this film. He was certainly a talent, and with his passing, his presence in the world of cinema will undoubtedly be missed.
