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Chris O'Dowd

Chris O'Dowd is an actor, born 1979.

O'Dowd came out of Roscommon and into four series of The IT Crowd as Roy, a support technician whose entire personality is contempt for the people he is paid to help, and that is still the performance most of the internet knows him for. Moone Boy, which he created and starred in for Sky between 2012 and 2015, is the better piece of writing: a semi-autobiographical comedy about a boy in the west of Ireland and his imaginary friend, and it brought him Irish Film and Television Award nominations for acting, writing and directing at once.

The film career turned on Bridesmaids in 2011. Rhodes is a rare thing in American comedy, a romantic interest written as kind and played as slightly bored of himself, who never once presses his case, and it made O'Dowd bankable. He won an AACTA Award for The Sapphires the following year.

The more interesting discovery is that the same easy charm makes an excellent threat. Jack Brennan in Calvary and Miles Daly in Get Shorty take the register that makes him likeable and turn it sideways, so the friendliness becomes the frightening part. Between those poles he has been a Marvel comic-relief date, a postman in a hand-painted Van Gogh film, the journalist pursuing a cyclist in The Program, and an American small-town husband in The Big Door Prize. He made his Broadway debut in Of Mice and Men in 2014 with a Tony nomination, and won a Primetime Emmy for State of the Union.

Movies (34)

TV (15)

Where to start with Chris O'Dowd

Bridesmaids is the easiest way in. Rhodes could have been a nothing part, and O'Dowd turns him into the most relaxed man in the film, which is the only reason the romance works.

Then flip it with Calvary, where the same warmth is used to make you uneasy, and Get Shorty, a series about a mob enforcer trying to become a producer that nobody watched and everybody should. State of the Union is the Emmy one, a marriage negotiated in ten-minute instalments outside a pub.

The IT Crowd is the sitcom to binge, broader and sillier than his film work suggests. The Sapphires is the crowd-pleaser, The Boat That Rocked the messy ensemble, and The Big Door Prize the current one and the most melancholy thing he has done.

The comedies that made his name

Broad, warm and character-led rather than joke-led, which is why they hold up. The IT Crowd built the persona over four seasons and Bridesmaids exported it, and in both cases he is playing decency rather than stupidity, which is a much harder note to sustain.

When the comedian plays it straight

The serious work, where the likeability becomes a weapon. Calvary is the best film he has been in and his scene with the priest is genuinely nasty. The Program and Molly's Game both use the same trick: you trust him because of everything else you have seen him in.

Big studio swings and strange projects

The blockbusters and the experiments, which in his case are often the same thing. Loving Vincent is painted frame by frame in oils, Cloverfield Paradox is a space station going wrong, and Mary Poppins Returns is a full musical. None of them look like the sitcom.

Genres Chris O'Dowd works in