{"id":136002,"date":"2024-07-16T14:46:58","date_gmt":"2024-07-16T13:46:58","guid":{"rendered":"http:\/\/gamefootballmobileanimeiphone.com\/?guid=47db17359132224bf76c942fc2579a2b"},"modified":"2024-07-16T14:46:58","modified_gmt":"2024-07-16T13:46:58","slug":"everybody-wants-him-the-persuasive-star-power-of-glen-powell","status":"publish","type":"post","link":"https:\/\/gamefootballmobileanimeiphone.com\/index.php\/2024\/07\/16\/everybody-wants-him-the-persuasive-star-power-of-glen-powell\/","title":{"rendered":"Everybody Wants Him: The persuasive star power of Glen Powell"},"content":{"rendered":"
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W<\/span>e hear Glen Powell before we see him in Richard Linklater\u2019s 2016 breezy, sun-soaked college hangout movie Everybody Wants Some!!, and over the years that cocky Texan inflection has become immediately recognisable to anyone familiar with the onscreen persona he’s cultivated since. In his first major role, Powell thrums with unrestrained energy as college upperclassman Walt Finnegan, talking a mile a minute, infusing otherwise mundane lines with the theatricality of a British accent at random, loose-limbed on the dancefloor. Assured and smooth-talking, he doesn\u2019t take himself too seriously, but he can sell you on anything, from a scoop of whipped cream (\u201cIt\u2019s about the way the ingredients make you feel,\u201d he coos) to a date (Walt\u2019s patented routine for picking up women at clubs involves talking about his \u201caverage dick\u201d so they aren\u2019t intimidated. It shouldn\u2019t work, but does). In Hit Man, Powell\u2019s fourth collaboration with Linklater, his character \u2013 mild-mannered professor Gary Johnson \u2013 parlays that same irrepressible confidence and charm into selling himself. Or at least a version of him that doesn\u2019t really exist at first.<\/p>\n

The actor employs charisma like a concealed weapon, flipping between milquetoast philosophy and psychology professor and persuasive fake contract killer with alarming ease. Undercover, his voice gains an authoritative edge, his body language is freer, and his demeanour is more assertive. Gary Johnson recognises that he can be anybody he wants and, as the various facets of his put-on personality bleed into his original one, the transformation takes on another layer: here is an actor becoming a full-fledged movie star.<\/p>\n

Powell\u2019s onscreen confidence is often inextricable from his All-American appearance \u2013 in several of his movies, characters draw attention to just how good-looking he is, with his character in 2012\u2019s Stuck in Love simply identified as \u2018Good Looking Frat Guy\u2019 \u2013 and often bolstered by the writing making him one of the smartest people in the room. Each of his characters has always possessed a degree of unflappability, which comes in handy given his penchant for portraying figures of American authority \u2013 sergeants, colonels, astronauts, pilots, and NASA officials.<\/p>\n

The actor first brought his good-natured amiability to the pressures of the space race in Hidden Figures (2016). \u201cWe don\u2019t have time to be scared,\u201d says his character \u2013 Marine Corps pilot John Glenn \u2013 at a press conference, mirroring Walt\u2019s zen \u201cPressure is a choice\u201d outlook from Everybody Wants Some!! Powell plays John as supremely easy-going, such that when we finally see him sweat upon his fraught re-entry to Earth, the sense of danger is immediately intensified. Though he would go on to play similarly wholesome all-American heroes, Sand Castle (2017) instead channels the actor\u2019s confidence into crude machismo and a streak of right-wing cruelty. Deployed to rural Iraq, the caged-animal energy of his Sergeant Chutsky is in stark contrast to Nicholas Hoult\u2019s withdrawn fright as an army reservist. With a cheeky insouciance that can only come from having seen it all before, his dimpled grin is as near-permanent a fixture in the desert landscape as gunfire and explosions \u2013 for him, war is fun.<\/p>\n

Powell\u2019s warm smile stays put even in the face of his co-pilot\u2019s (Jonathan Majors) initial stony reserve in Devotion (2022), based on the true story of Jesse Brown, the US Navy\u2019s first Black aviator. As Lieutenant Tom Hudner, the actor borrows the bomber jacket, sunglasses and cocky strut of his more well-known Top Gun: Maverick (2022) role, but \u2013 in contrast to the unabashed optimistic Americana of Joseph Kosinski’s film \u2013 the nature of war comes with some sobering, sad realisations, chipping at his poise. By the end, grief sits heavy on Hudner\u2019s shoulders. He still cracks a smile, but Powell doesn\u2019t let it reach his eyes.<\/p>\n<\/div>\n

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Contrast that with Top Gun: Maverick, in which Jake ‘Hangman’ Seresin’s confidence is dialled up to arrogant smugness; he\u2019s an outsized ego that stands out even in a sea of them. In his needling of Rooster (Miles Teller), Hangman employs the measured, grating tones of someone who knows exactly where to twist the knife. He punctuates his sentences with smirking nods for further obnoxiousness. In interviews, even Powell referred to Hangman as \u201cdick garnish\u201d and \u201cNavy Draco Malfoy\u201d. In the hands of a lesser actor, the lieutenant would be easy to hate, but exuding coolth and suaveness, alternating between good-natured ribbing and real malice, Powell makes him an onscreen presence compellingly easy to watch. When Maverick (Tom Cruise) proposes a particularly insane manoeuvre and the camera pans to looks of disbelief on the other students\u2019 faces, something novel flickers across Hangman\u2019s: pure relish. And when he glides in to save the day when all hope seems lost, his cockiness is entirely justified.<\/p>\n

Part of another franchise in which older characters ruminate on passing on the baton to a younger generation, Powell is the picture of confidence right from his Expendables 3 (2014) introductory scene \u2013 scaling a cliff Tom Cruise Mission Impossible-style, then one-upping him by paragliding off it. Of course his character Thorn is also an expert drone pilot. And a skilled hacker. His toothpick-chewing swagger elevates the otherwise clich\u00e9d characterisation and once again, it\u2019s his calm know-how that saves the team. By the time Powell reunites with Linklater on their third collaboration, Apollo 10 1\u20442: A Space Age Childhood (2022), he\u2019s exactly the assured, reliable voice you need in your ear on a solo mission to the moon. It\u2019s his NASA official who must sell the movie\u2019s ludicrous premise \u2013 that the organisation accidentally built the lunar module too small and must find a child to pilot it \u2013 but he does it with such unassailable sass, it\u2019s hard to argue.<\/p>\n

One of Powell\u2019s best roles subverts his unshakeable confidence by presenting it as straight-up delusion. In the slasher comedy series Scream Queens, his ridiculously named Chad Radwell is a riff on the entitled frat boy. This time, his smile captures a \u2018no thoughts head empty\u2019 bliss. He\u2019s a himbo, delivering lines that clearly convey his stupidity with an exaggerated conviction in his intelligence. Powell\u2019s comedic timing is impeccable, whether he\u2019s responding to an insulting question about where he got his mommy issues from with a straight-faced, earnest \u201cyou know\u2026probably my mom?\u201d to his big plan to tackle the serial killer on campus \u2013 get \u201croided up\u201d and roam around with a baseball bat.<\/p>\n

Powell\u2019s confident charisma is what makes him the ideal romantic lead \u2013 think of him swooping in like a knight in shining armour to rescue Sydney Sweeney’s damsel in distress at a coffee shop in Anyone But You (2023), pretending to be her husband without missing a beat. This film and Set It Up (2018), however, are Glen Powell romcoms that play with his confidence in smart ways, framing vulnerability as a far more interesting trait.
\nPowell\u2019s Ben is so self-assured in Anyone But You that the script has to write weaknesses into his character, like a fear of flying, or being unable to swim. The film, however, eventually reveals that all that cocky posturing is a front \u2013 Ben\u2019s snarky sniping at Bea (Sweeney) is a cover for his hurt at her leaving him. It\u2019s only at the end that his confidence finally gives way to raw vulnerability, a crucial rom-com hero bit of character development.<\/p>\n

As Charlie Young in Set It Up, the actor plays against type as a browbeaten assistant, shrunken inwards by his toxic workplace. There\u2019s a whiff of desperation in how he approaches his relationship with his model girlfriend (Joan Smalls) who already has one foot out the door. He\u2019s only confident when the power dynamic is in his favour, taking out his job frustrations by berating an intern or gleefully sniping at another assistant. As he meets Harper Moore (Zoey Deutch) and becomes more carefree, snark gradually becomes banter. And in the movie\u2019s best scene \u2013 in which the two share a pizza \u2013 he visibly gulps at the realisation that he might be falling in love, a reflexively unguarded reaction before he slowly regains his composure.<\/p>\n

\u201cIt\u2019s not that I need people to root for you, but I need them to love watching you,\u201d is what Cruise told Powell about approaching Hangman as they were prepping for Top Gun: Maverick. But it seems that the actor hardly needed the pep talk. Whether he\u2019s leaning into his innate confidence \u2013 as in his next role as the charismatic storm-chasing streamer Tyler Owens in Twisters \u2013 or gently subverting it onscreen, it\u2019s safe to say that Powell has long figured out how to have his cake and sell it to you too.<\/p>\n<\/div>\n<\/div>\n

The post Everybody Wants Him: The persuasive star power of Glen Powell<\/a> appeared first on Little White Lies<\/a>.<\/p>\n\n

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From an average anatomy baseball player to a sarcastic personal assistant, Hollywood’s newly anointed man of the moment appears to have figured out the formula for success.<\/p>\n

The post Everybody Wants Him: The persuasive star power of Glen Powell<\/a> appeared first on Little White 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