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Thirty minutes into our first interview, offhand, he mentioned he’d hidden a cryptic message about COVID in one of his songs. Word., in the same way: Creed fucks with you. As I interviewed his friends and collaborators, several people cautioned me, unprompted, no joke, Word. He’s spry in conversation, with the energy of an adolescent and a maddening ability to veer imperceptibly into improvised bits. He’s a performer to his core and I often got the sense that, having been locked inside, he was grateful for the opportunity to entertain–both me and himself. But as we dug into his past, it became evident he was telling me a story much bigger than a pithy hidden-in-plain-sight piece. He was a month away from dropping his ninth solo album, Slightly Altered, and the idea was to pair a profile–Did you know Creed Bratton is a singer-songwriter?–with the release. COVID still felt as unpredictable as it did deadly and Creed, then 77, had confined himself to his townhouse. We started talking via FaceTime in June of 2020 (he’s in L.A. Those are just highlights of the highlights, and anyway, that's not the story, either.
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Like when he hitched his way, penniless, around the globe, formed a band in Germany, played gigs for oil camps in the Sahara, a brothel full of sheikhs in Beirut, smoked the most potent pot imaginable in Lebanon, chilled with Kirk Douglas in Israel, played some more music, came home, still penniless, formed another band, and then scored two certified gold singles and a gold album–all by the age of 26. He turned a non-speaking background role into a cult-favorite character on one of the most successful comedies of all time, but that’s not the story.
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He’s most well-known, of course, for playing the seedy, scheming octogenarian, with whom he shares a name, on the American version of the television show The Office. There’s so much of it, so much you need to know no matter where he begins. If you’ll listen, he’d like to tell you a story. Throw in Hugh Grant as a smarmy love-rat, Colin Firth as a bumbling gentleman and a script co-written by Richard Curtis, and you’ve got romcom royalty.Creed Bratton is a troubadour.
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Zellweger’s performance – British accent and all – is just highly believable her Bridget is one of us (although how an assistant at a publishing house can afford to live alone in a one-bedroom flat in London Bridge requires a little suspension of disbelief). That being said, it remains a charming and deeply relatable film, thanks mostly to double-Oscar-winner Renée Zellweger, who injects a lovable charm into her portrayal of the almost perennially unlucky-in-love Bridget. ‘Bridget Jones, wanton sex goddess, with a very bad man between her thighs…’īased on Helen Fielding’s newspaper-column-turned-bestselling-book about a loveable but perpetually single thirtysomething living in London, Bridget Jones’s Diary is very much a product of its time (hopefully today, we wouldn’t dare consider Bridget overweight or the fact that she’s single in her thirties a problem). ? The 100 best romantic films of all-time Written by Dave Calhoun, Cath Clarke, Tom Huddleston, Kate Lloyd, Andy Kryza, Phil de Semlyen, Alim Kheraj & Matthew Singer Love contains multitudes, and so do romantic comedies, and we considered it all when putting together this list of the best romcoms of all time. Others are light and airy, or borderline fantastical. Others are dark and cynical, because, well, love often sucks. Some are sophisticated, drilling deep into the complexities of interpersonal relationships. Who hasn’t been in love, in one form or another? And honestly, what’s funnier than the things humans do while under love’s spell?īut the best romantic comedies don’t have to be straight-ahead farces to qualify – although, to be fair, many of them are. Frequently derided and dismissed as ‘chick flicks’, romcoms are, in truth, more broadly relatable than any other category of film.
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No movie genre is more misunderstood than romantic comedy.