THE CRITIC Reviewed by GREG KING
Director: Anand Tucker
Stars: Ian McKellen, Gemma Arterton, Mark Strong, Alfred Enoch, Ben Barnes, Lesley Manville, Romola Garai, Claire Skinner, Ron Cook.
In today’s world the role of the traditional critic seems less important as influencers seem to wield more power in persuading audiences what to see or buy. But a century ago the critic wielded enormous power and their carefully considered words of either praise or scorn could often make or break a production.
This drama is set in London during the 1930’s, a time when critics were still largely revered for their insight, knowledge and erudite observations. The Critic stars Ian McKellen (X-Men, etc) as Jimmy Erskine, the longtime theatre critic for the Daily Chronicle, a position he has held for forty years. He is known for his vitriolic and acerbic critiques, and he wields his poison pen with glee, and his often-scathing reviews have the power to make or break a theatrical production. Most of his vitriol seems directed at aspiring but highly-strung young actress Nina Long (Gemma Arterton, from Summerland, etc) who is appearing in a West End production. She feels uncomfortable and feels the hurt of his stinging criticisms and grows more nervous during rehearsals of her latest play.
But Jimmy is also homosexual in a time when being gay was illegal. His dangerous nocturnal activities in seeking out anonymous sex in parks at night is fraught with the threat of arrest and disgrace. Jimmy shares his apartment with his handsome young assistant and aspiring critic Tommy Tucker (Alfred Enoch, from tv series How To Get Away With Murder, etc), who faithfully types up his words for publication.
But Jimmy’s position at the Chronicle comes under threat when the publisher dies and his son, the more conservative David Brooke (Mark Strong, from Cruella, etc), takes over the reins. He lays down the law regarding appropriate behaviour as the Chronicle has a reputation as a family friendly newspaper. He has a different vision for the future direction of the paper and regards the old guard of journalists with suspicion. He also asks Jimmy to tone down his scathing reviews especially as he seems to have a soft spot for Nina. But after Jimmy and Tom are arrested one night he finds his position at the paper under threat.
To try and save his job Jimmy enters into a Faustian pact with Nina and promises to write positive reviews and promote her career if she will help him compromise Brooke. Thus he becomes embroiled in a noir-like tale of deceit, blackmail and murder. Another major subplot follows Brooke’s artist son-in-law Stephen Wyley (Ben Barnes, from tv series The Punisher, etc, in his first feature film role in nearly a decade) who is involved in a romantic relationship with Nina, which further complicates the intrigue.
The Critic is based on the 2015 novel Curtain Call, which was written by Anthony Quinn (a critic, not the late actor). The novel has been adapted to the screen by acclaimed stage and screen writer Patrick Marber (Notes On A Scandal, etc), who has excised one subplot featuring a serial killer. Nonetheless, there are still several subplots running throughout the film, some of which remain underdeveloped. The film taps into the political and social climate of the time and explores darker themes of power, ambition, sexuality, fame. But apparently, after the film’s premier at the Toronto International Film Festival, the ending was changed because it was considered too dark and something of a turn-off for the audience, and much of the material was reedited by John Gilbert.
The film is directed by Anand Tucker (Hilary And Jackie, etc), but his direction is uneven as he juggles the many subplots. The film has been shot by cinematographer David Higgs (tv series His Dark Materials, etc), who steeps the material in a warm golden glow that gives it an appropriate 30s ambience. He also works in close up quite often and his camera closes in on Jimmy’s face and this effectively heightens his emotions and his thoughts and internal conflict. The film boasts some superb production values, and the production design from Lucienne Suren (Killing Eve, etc) is also authentic.
The Critic is driven by a typically strong performance by a perfectly cast McKellen who sinks his teeth into the role of the dastardly, unpleasant and jaundiced character of Jimmy. He relishes the rich and acerbic dialogue, and his witty performance carries the film, although his performance is sometimes more theatrical in nature. Arterton is good as Nina and captures both her vulnerability and her strong desire to succeed in the cutthroat theatre world. As the long suffering Tommy Enoch is solid, and sympathetic and his character becomes something of a moral compass as he begins to question some of Jimmy’s ethical choices. Strong delivers a more restrained performance here as Brooke, while Lesley Manville (Mrs Harris Goes To Paris, etc) is wasted and underused as Annabel, Nina’s supportive but interfering mother, who confronts Jimmy about his negative reviews.
One wonders what McKellen’s Erskine would have to say about this interesting but flawed production.
★★★
