He made absolutely no impression on me whatsoever when I watched the movie before, I didn't even remember him (much)
I actually remembered Zemo from Civil War long after most of the rest of that film had failed to stick in any meaningful way with me, even though it wasn't until his next-to-last scene that he interested me as a character rather than a performance (he had an interesting face, it was impossible not to notice that): the thwarted suicide and the fact that for the first time we are seeing the real person rather than any of his momentary, necessary masks; he puts on that barbed triumph for Ross afterward, but to T'Challa he doesn't even sound like he's won. That riveted me. I am retrospectively glad that that shape-changing, that ambiguity—especially how far the audience can learn to tell what's true with him—was an element that TFATWS chose to lean into in a major way.
But I agree that he's less colorful: grief and vengeance, not bathrobes or Turkish delight. It's just impressive to me how much in emotional continuity he feels with himself when half the time these movies can't be bothered to carry over minimal character beats, or plot sense.
Also, I need to go watch everything Daniel Brühl has ever been in.
He is as wonderful as advertised in Good Bye, Lenin! (2003), which if encountered after his work in the MCU gives further resonance to the importance of countries which no longer exist.
no subject
I actually remembered Zemo from Civil War long after most of the rest of that film had failed to stick in any meaningful way with me, even though it wasn't until his next-to-last scene that he interested me as a character rather than a performance (he had an interesting face, it was impossible not to notice that): the thwarted suicide and the fact that for the first time we are seeing the real person rather than any of his momentary, necessary masks; he puts on that barbed triumph for Ross afterward, but to T'Challa he doesn't even sound like he's won. That riveted me. I am retrospectively glad that that shape-changing, that ambiguity—especially how far the audience can learn to tell what's true with him—was an element that TFATWS chose to lean into in a major way.
But I agree that he's less colorful: grief and vengeance, not bathrobes or Turkish delight. It's just impressive to me how much in emotional continuity he feels with himself when half the time these movies can't be bothered to carry over minimal character beats, or plot sense.
Also, I need to go watch everything Daniel Brühl has ever been in.
He is as wonderful as advertised in Good Bye, Lenin! (2003), which if encountered after his work in the MCU gives further resonance to the importance of countries which no longer exist.