The Program, StudioCanal’s incredible and incredulous story of Lance Armstrong’s fall from grace in spectacularly public fashion at the hands of a tenacious Sunday Times journalist is released digitally from February 8th and on Blu-ray and DVD from February 15th. At its heart, as well as a mesmerizing performance from Ben Foster as the deluded cyclist, lies Chris O’Dowd’s stoic turn as reporter David Walsh. A polished performance in its own right, the film marked the Irish comic actor’s largest ‘straight’ role to date, but he’s by no means the first funny man (or woman) to come over all serious:
Sure, The Program isn’t exactly O’Dowd’s only foray into serious drama – he crops up in abortion drama Vera Drake, plays it largely straight in The Sapphires and impressed in Calvary – but we defy anyone not to think first of his career-making performance as Roy in The IT Crowd, his Emmy Award- winning creation Moone Boy or his breakthrough in the brilliant Bridesmaids, all of which showcase his impressive comedic chops. A sharp juxtaposition, then, to see him as whistleblower David Walsh in The Program, a man who singlehandedly brought down one of the 21st century’s most undeserving heroes with blistering style.
The man best known and beloved for decades of comedy roles, both solo outings such as the perennial Nutty Professor and a long screen partnership with Dean Martin, made an attempt at a serious role with The Day The Clown Died, an experiment that went so badly wrong the film has still never seen a release. But Lewis redeemed himself nearly a decade later with his performance as the object of Robert De Niro’s obsession in the brilliant The King Of Comedy. Playing a Jonny Carson-esque chat show king, Lewis brought a tired bitterness to the role that saw him stand toe-to-toe with a top of his game de Niro.
With a long career of put-upon comedy characters such as The 40-Year Old Virgin, Anchorman and, er, Date Night, Steve Carrell carved out a lucrative comedy niche on the fringes of Judd Apatow and Will Ferrell’s respective ‘gangs’. A little thing called The Office kept Carrell front and centre in people’s minds as a comic performer while more wistful film roles in the likes of Seeking A Friend At The End Of The World opposite Keira Knightley acted as a forbear to a later assault on drama with the powerful Foxcatcher and, more recently, The Big Short.
Goldberg might just peddle opinions on oestrogen-fest The View these days but time was when her comedy performances in the likes of Ghost, Jumpin’ Jack Flash and Sister Act were packing in audiences around the globe. Hell, even a sperm donation comedy with Ted Danson scored bucks so it’s perhaps sometimes hard to remember that Goldberg has a hefty set of dramatic talents as well, as evidenced by memorable roles in The Colour Purple, Girl, Interrupted and How Stella Got Her Groove Back.
Known the world over for his rubber face, energetic performances and for single-handedly introducing the world to Cameron Diaz, Carrey is the consummate comedic performer who also manages to find his way back to broad laugh-riots but he too has rung the changes with a number of devastatingly effective dramatic roles. He might have started carefully with a role that blurred the line between drama and comedy in The Truman Show, but Eternal Sunshine of the Spotless Mind really proved his credentials. He’s not above the odd bit of dramatic horror, either, as The Number 23 shows.
The short, round star of a generation’s worth of stoner comedy – Superbad, This Is The End, The Sitter etc – Jonah Hill is built for laughs but that hasn’t stopped him making a fair amount of headway as a serious performer as well. An oft-forgotten cameo in Django Unchained and a barnstorming (albeit comedic) turn in The Wolf Of Wall Street prove the point but it’s his stone-cold serious effort in Moneyball that is the real proof of the pudding and a brilliant performance to boot.
AKA the girl loads of girls seem not to be able to stand, Aniston has had a bit of a tough run since graduating from Central Perk to the silver screen with a career peppered with largely forgettable rom-coms. But given the opportunity, Aniston can shine as brightly as she did for a generation as Rachel Green, as her performances in the criminally underrated The Good Girl and, er, Rock Star show. More recently, Cake has reminded a few people of that fact so perhaps people should give her (rather than be on a) break?
Arguably the high priest of mixing comedy and drama, the genius of Robin Williams at his best was at home in either camp. Sure, he made a name as one of the best stand-up comedians ever and will be forever adored for some of his family comedies (not to mention barnstorming ad-libbing in Good Morning Vietnam), but Dead Poets Society, Good Will Hunting, Awakenings and darker fare such as One Hour Photo and Insomnia prove that Williams at his best is hard to beat whatever the genre.
It’s clear that there’s a clever actor trying to get out of Seth Rogen. Less talented stars wouldn’t have been able to convince audiences they’re that stoned that often, but there’s been precious little by way of a dramatic demonstration until this year’s Steve Jobs. Sure, there’s an argument that he was cast as Steve Wozniak as much for the physical resemblance as anything else but it made such a pleasant change not seeing him permanently attached to a bong that arguably no-one cared about.
The Program is released to digital platforms, Blu-ray and DVD now.