THE CRITIC

UK, 2023, 101 minutes, Colour.

Ian McKellen, Gemma Arteton, Mark Strong,Ben Barnes, Lesley Manville, Romoloa Garai, Alfred Enoch, Claire Skinner.

Directed by Anand Tucker.

An uneasy and uncomfortable cinema experience in the company of this particular theatre critic, a compelling performance by Ian McKellen as a 1934 London theatre critic, Jimmy Erskine.

Watching The Critic, a reviewer can take comfort in the role of mediator between a film or a play and its audience, open to the possibilities, appreciating the experience likes and dislikes, offering an opinion to the reader. As we see here, the critic, even though working for a media outlet, can be a self-appointed arbiter of taste, of what they consider good or bad, assuming an arrogant role, pronouncing judgement, pronouncing sentence. If ever there was a supreme example of this kind of critic, Ian McKellen brings him to life. (Which is not to say that this is how Jimmy Erskine, the critic, lives his alcoholic, promiscuous, aesthetic, actual life.)

And, the period is 1934. Oswald Moseley’s fascists, black shirts and badges are patrolling the streets, ready for violence, especially hounding homosexuals. In his role of critic, and in his manner, and in his sometimes malevolently crafted statements (as if fact) indicate that he has a fascist mentality.

There is no character really to like in this film. The other protagonist is an ambitious young actress, Nina Land (Gemma Arteton) urged on by her sympathetic mother (Lesley Manville), the target of Erskine’s hostility for 10 years. When she decides to confront the critic, there is an unholy alliance temptation, honesty and pacts, and malicious destruction.

The story has a central core of characters and a gradual revelation on the interconnections, the proprietor of a popular newspaper, played with serious intensity by Mark Strong. There is an artist, Ben Barnes, infatuated with the actress. There is his wife, daughter of the newspaper proprietor. Also in the picture is Tom (Alfred Enoch), the critic’s secretary and live-in companion.

Erskine, disliked by the proprietor who is urging restraint in the reviews, is on the verge of being sacked after 40 years. What happens when arrogance is threatened? And arrogant assumptions that victory is inevitable?

The film shows the repercussions of malevolence under polite veneer. Ian McKellen, in his mid-80s, relishes this opportunity to dramatise evil (although, we remember he had been Richard III as well as in the X-Men as Magneto). In many ways, we, the audience, are being drawn into the evil plot despite ourselves and our disgust. The supporting cast is strong, generally playing upper-class types who presume on their class. Ultimately, the issue is conscience leading to some kind of truth and exposure – but really no conscience for the arrogant critic.

1. The title, expectations? The original novel, the work of playwright Patrick mother? The British cast?
2. The 1930s, the prewar atmosphere, the UK, the presence of Oswald Moseley and the fascists? (The film critic and his fascist behaviour?)
3. The period, homes, flats, theatre, proscenium, audience, backstage? The press? The London streets, pubs, restaurants? Atmosphere? The musical score?
4. The portrait of Jim Erskine, Ian McKellen’s presence and performance, the theatre critic, theatrical in his presence and behaviour? Arrogant, opinions, judgements, sentences? His freedom to express himself, no matter the hurt? His friends and contrary, at the club? Their careers, older, on the downturn? His aesthetic, his indulgent life, sexuality, violence and vengeful, no scruple?
5. The situation, the press Baron, his death, his son taking over, the meeting, the advice to turn down the the reviews, Erskine’s reaction? His decision to bring the press Baron down?
6. Nina, performance, nervousness, 10 years, her mother and influence, coaxing Erskine and his discussed? Discussions with her, the mother’s pressures, Nina visiting Erskine, their discussions, bonding, using each other? His praising her in reviews? The planning of the seduction, her previous relationship with Nick, the portrait painter, his wife, the separation? Reuniting with Nina? Nina and the experience with the press Baron, the seduction and her manner, performance? The effect, his going out and shooting himself? Her reaction? Confronting Erskine, his anger, upset, her death?
7. The press Baron, aristocratic, generally decent man, his wife, infatuated with Nina? His daughter, married to Nick, the effect of the experience with Nina, the aftermath, killing himself?
8. Nick, his situation, the marriage, separation, the children and their interventions, his affair with Nina, resuming it? With Erskine, painting the portrait? Painting the club members, the exclusion of Erskine? His hopes, – with Nina’s death?
9. His wife, the attitude, her father, the taking over of the company, her determination to destroy Erskine?
10. Erskine, his orientation, his behaviour, prowling and partners, the police, the Moseley fascists? The ridicule, the fights? His arrest, interrogation, his condemnation?
11. Tom, living in with Erskine, helping with the reviews, the writing? His conscience, going to action against Erskine?
12. Erskine, in jail, the letter, any remorse?