(Written by Intern, Miranda Zampogna)
Director Peter Cattaneo’s The Penguin Lessons adapts Tom Michell’s memoir of penguin hijinks, set against Argentina’s impending military coup in 1976. With understated charm, Steve Coogan stars apathetic expat Michell, navigating his new role teaching English for the fascist regime’s wealthy children inside their gated academy. After reluctantly crossing paths with a persistent penguin, he finds an unconventional mentor. Embedded is a potentially apropos history lesson on fascism that, debatably, risks or enhances its long-term memorability by sugarcoating it in a fluffy, buddy love premise. Nevertheless, The Penguin Lessons spreads a touching metaphor on the wings of a witty human-animal rapport.
Denotating bombs, radical graffiti, and warnings from the headmaster (Jonathan Pryce) mark Michell’s tense arrival at his new private school. A military coup grants Michell a week off, leading to a fateful trip along a Uruguayan beach. There, he initially rescues an oil-soaked penguin, Juan Salvador, to impress a woman. This act sparks a series of droll and farcical situations, as he hides this new tuxedoed friend in his apartment on campus. Michell’s growing bond with him inspires an unconventional teaching style that captures the attention of his rebellious students. Meanwhile, his interactions with the school maids, particularly Maria (Vivian El Jaber) and her granddaughter, Sophia (Alfonsina Carrocio), expose him to the regime’s injustices. Soon, Michell deepens his resolve and confronts his apathy when forced to reflect upon a personal tragedy in his past.
A sun-kissed, saccharine color palette and ‘70s aesthetic, akin to faded photographs, lend an authentic, nostalgic sentiment. Natural, flat lighting, and a deep depth of field evoke a sense of grandeur. Viewers are immersed in the beautiful and political landscape. The flat color profile, over a quirky soundtrack, also effectively establishes the deadpan humor and offbeat tone. Its academic mise-en-scène reminisces the classics, such as The Holdovers and Dead Poets Society, quickly lending itself to a feeling of comfort.
Michell’s frustration with a creature of pure, unadulterated waddle, provides most of the comedic relief. From smuggling the feathered fugitive across borders to teaching him the finer points of sardine consumption, their journey mirthfully preens a heartwarming connection. Particularly, the absurdity of a growing hostage negotiation between a sardonic Michell and the confused zoo staff’s phone calls becomes a laugh-out-loud gag. Interactions between students and teachers also add hilarity. The boy’s unconventional lessons, which include topics on sarcasm and keen satirizations of fascism, are piquant. Moreover, a penguin scuttling down an aisle of school desks, confusing whose lesson plan it is, diverts.
Perfectly cast, Steve Coogan employs his talent for dry wit and pulls off a daring decision to initially cast an unfavorable light on the real-life figure portrayed. He not only brilliantly balances bittersweet, tender moments with biting sarcasm, but also manages to hold his own against a scene-stealing fowl. Jonathan Price, whose scenes are few and far between, still makes himself integral, and his gradual awakening from an even-tempered, conformist headmaster memorably explores the threat of inactivity. In a stand-out supporting role, Björn Gustafsson, who plays a literal, heartbroken colleague of Michell’s, provides a great many laughs by taking the chance to turn any situation into an amusing therapy session. After Juan is adopted by his peers and engages in conversations, the simple tilts of his head, as if he understands, turn him into an instant star. In showcasing the unique talents of animal actors, it is a pity an Oscar for Best Waddle does not exist.
The interwoven political backdrop, as a brewing revolution permeates every conversation and arrests escalate tension, remains as such—due to a limited expat’s point of view. Explorations of idealism and inaction are particularly resonant in Michell’s struggle to reconcile his desire to help with his fear of getting involved. With nuance and empathy, this universal dilemma conveys an important message to embrace a sense of responsibility. Although overt at times, vulnerable moments of loss add emotional depth. Towards the end, an offered sense of hope seems contrived, deterring from a satisfying resolution. Despite real-life inspiration, a final metaphor of the penguin swimming in the dormitory’s pool is oddly vague, lacking emotional resonance separate from the otherwise compelling usage of symbolism throughout.
Despite a minor squabble with the end, The Penguin Lessons is a delightful, thought-provoking comedy. A unique visual style, strong performances, and compelling themes create a memorable experience to be shared in theatres. Becoming a testament to the power of an unlikely friendship, facing adversity, and the enduring charm of a sea bird, Juan Salvador reminds us that even amid chaos, a little bit of benevolent whimsy can go a long way.
A flippin’ delight, The Penguin Lessons belly slides into theaters Friday, March 28.
