Displaying items by tag: Alfred Enoch

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?

TIGRAR/ TIGER

Sweden, 2020, 116 minutes, Colour.

Erik Enge, Alfred Enoch, Mauritzio Lombardi, Frida Gustavsson.

Directed by Ronnie Sandahl.

A sports film, based on an actual character and his experiences.

Matt Bengtsson is a young Swedish football player, age 16 going on 17. He is acclaimed locally, is chosen to play for Inter Milano.

He is a young man, rather morose in temperament, devoted to his mother, his father absent.

While there are football sequences and many training sequences, the film actually offers a criticism of players’ spirit within top teams, their not accepting newcomers, taunting and touches of bullying, the repercussions for the player, support from officials. Erik Enge is quite persuasive as the young footballer. British actor, Alfred Enoch (all the Harry Potter films), plays his supportive friend. There is also a relationship with a model, leading to the challenge of what the player really wants, complete dedication to his sport or a full of life.

This is a film particularly for European audiences who follow the major football teams and competitions, interested in an expose of life behind the matches. Once the player has made a decision, he acts on the diary that he has been keeping and becomes a writer, publishing his expose.

At much the same time, a similar film was released from France, Marinette, about the difficulties for women football players, their not being treated professionally, and the central character being brought to the United States and being successful there.

1. A film based on actual characters and events? But dramatised?
2. A Swedish production, Swedish story, the initial Swedish settings, home life, football, celebrations, transition to Italy, Inter Milano, the team, accommodation, training, matches, spirit? And the experience and crises for Matt?
3. The story of Matt Bengtsson: his ambition from childhood to be an international football player, encouragement by his parents, his skills, 16 turning 17, slight build, his happiness in being chosen, writing his journal, farewell to his mother, travelling to Italy, the reception, the manager and the interview, the silence, the affirmation, supervised by Luca?
4. The promise of the room, his having to share, sitting at a table, the player walking off, the snide remarks, the bets that he would leave, no team spirit amongst the men? The practices, his steady discipline of exercise and training? The language issues? Travelling in the bus, his being ignored? On the field, the games, the injuries?
5. On the bus, sitting next to Ryan, Ryan as friendly, talking, listening to the music, giving advice, becoming a confidant? The buying of the car, Matt unable to drive, underage, the choice of the car, Ryan driving? An experience of friendliness?
6. Matt and his achievement, the year, playing, criticisms, a chance to play in the main match, the lower teams? Waiting on the bench, warming up, playing, the clashes?
7. Going to the club, the encounter with the model, talking, going out, friendly, the sexual relationship? The strictness of the club, curfew, his going out, in the car, caught, the warning? The encounter at the club, his explanation about his ambitions? Her not being able to understand his commitment? The breakup?
8. The background of his father, not coming to the celebration, his mother’s attitude, the message from his father, the phone call, the half sister, emotion?
9. The depression, writing in the diary, the cumulative effect of the team, Ryan and his being sold off? The dismissal of the player and his depression, climbing onto the building, urging him down? The interviews with the manager, his affirmation, wanting him to commit? Matt and his refusal?
10. The depression, walking on the road, hit by the truck, in hospital, the lesser injuries, his mother coming, the story of epilepsy? Her being prepared to go along with it, changing her mind? His determination?
11. Ultimate plea, his decision not to continue? His driving in his car?
12. The information, the aftermath, his diary, his writing the book, the expose of life behind the facade of the matches and victories, management, hostilities, lack of team spirit, exploitation?