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Il suit une formation classique au Drama Centre de Londres et fait ses premiers pas professionnels sur scène dans la pièce de Julian Mitchell , Another Country, en remplaçant Rupert Everett dans le rôle de l'espion Guy Bennett, ce qui l'amène à faire ses débuts sur le grand écran en 1984, dans la version cinéma de la pièce, face à Rupert Everett.

Il joue ensuite dans Un mois à la campagne, de Pat O'Connor et tient le rôle-titre dans Valmont de Miloš Forman, sorti en 1989 et éclipsé par Les Liaisons dangereuses de Stephen Frears, sur les écrans l'année précédente.

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Identified in the late 1980s with the “Brit Pack” of rising, young British actors, it was not until Firth’s portrayal of Mr.

Darcy in the 1995 television adaptation of Jane Austen’s Pride and Prejudice that he received more widespread attention.7.

Bloom subsequently established himself as a leading man in Hollywood films such as Balian de Ibelin in Ridley Scott's Kingdom of Heaven (2005) and Elizabethtown (2005).

He made his professional stage debut in West End's In Celebration at the Duke of York's Theatre in London in 2007 and starred in a Broadway adaption of Romeo and Juliet in 2013.Ce dernier film a remporté de nombreuses récompenses, dont le Hitchcock d'Or et le Hitchcock d'Argent au Festival du film britannique de Dinard.He acted in Anthony Burgess' translation of Aleksandr Griboyedov's play, "Chatsky", at the Almeida Theatre in London, England with Dinsdale Landen, Jonathan Cullen, Jemma Redgrave, Minnie Driver, Bob Goody, Sarah Crowden, Murray Melvin, Rosalind Knight and John Tordoff in the cast. So if there was a haunted look in my eyes, it wasn't because I was contemplating the war in Asia. After having his breakthrough as Legolas in The Lord of the Rings trilogy, he rose to fame by further appearing in epic fantasy, historical epic, and fantasy adventure films.His other roles include Legolas in The Hobbit trilogy, Will Turner in the Pirates of the Caribbean series, and Paris in Troy.En 2001, Colin Firth devient Mark Darcy, le rival de Hugh Grant, dans Le Journal de Bridget Jones, une façon de « tuer » le personnage de Jane Austen qui continue de lui coller à la peau.

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