A critic’s job is to provide recommendations to the general public based on a presumed solid knowledge of art forms. These days, some assume that favorable reviews must have been paid for and that brutal critiques indicate a pre-existing vendetta against someone or something.
A story set nearly a century ago, long before the rise of TikTok influencers, it may have a period feel, but it covers many of the same themes. Anand Tucker’s The Critic presents a glamorous portrait of an old-fashioned theater critic and the lengths he’s willing to go to stay relevant.
Director: Anand TuckerWriters: Patrick Marber, Anthony QuinnStars: Gemma Arterton, Ian McKellen, Lesley Manville
Ian McKellen plays Jimmy Erskine, a revered employee of The Daily Chronicle who has been with the paper for four decades. The death of his editor puts his son, David Brooke (Mark Strong), in charge, and Jimmy is immediately put on notice. Jimmy doesn't like Brooke discrediting an actress he finds charming, and Jimmy, who never takes back or apologizes for what he's written, hatches a plan that will be mutually beneficial for him and the star in question, Nina Land (Gemma Arterton).
A lot happens in a movie that could easily have had a lot fewer subplots. Nina is devastated by the review Jimmy writes and confronts him, telling him that she was inspired to become an actress because of him. He's not someone who's grown grumpier and more vengeful as he's gotten older, but a writer who believes he's doing his readers a favor by entertaining them (he also suggests that readers can't read when they tell him to replace a big word that no one will understand). Jimmy is gay, something that's illegal but apparently an open secret, and there are multiple affairs going on that also seem to be less covert than they should be.
Reviewing this film about someone who writes reviews for a living is a particularly appealing challenge, as much of its content pokes a little too accurately at the nature of criticism. Jimmy enjoys eviscerating that which he finds unimpressive, and he finds it more important for him to warn audiences about a mediocre production than to completely destroy the egos of everyone involved. While that has some merit, Jimmy proves that he's not a terribly moral person, and lowers his high standards of quality when he stoops to blackmail to try to keep his position. This film manages to counter the negativity often found among disgruntled critics without accusing them all of illicit behavior.
McKellen, who was unable to attend screenings of the film at TIFF because he was performing on stage at home, remains a powerhouse at 84. First seen smoking in a bathtub, his performance is reminiscent of Peter O'Toole in Venus and the film gives him plenty of opportunities to chew the scenery. Opposite McKellen, Arterton delivers equally well, pouring his passion into Nina and incorporating a great deal of emotion into every scene. They are helped by a supporting cast that includes Strong, Ben Barnes, Romola Garai and Lesley Manville in memorable roles.
No stranger to period fare, Tucker directs an exquisite-looking film that finds beauty in the darkness, frequently showing his characters inside the house at night. Watching them attend a play and look around for this notorious critic evokes another era, and the costumes and sets greatly aid that aesthetic. Though its plot follows a course that could be dissected or, more likely, ridiculed in one of Jimmy’s infamous reviews, it remains mesmerizing and gripping throughout, offering an important reminder that those who make a living criticizing should never allow themselves to become part of history.
Comments
Post a Comment