Picture a character born with a sharp tongue, reminiscent of Addison DeWitt from “All About Eve” and Waldo Lydecker from “Laura,” but with the help of John Simon in bringing him into existence. This character is none other than Jimmy Erskine, the bitingly witty and mercilessly demanding title role, brilliantly played by Ian McKellen in “The Critic.” Directed by Anand Tucker (“Shopgirl”) and penned by Patrick Marber (“Notes on a Scandal”), this film is an intriguing blend of period suspense, captivating melodrama, and pitch-black humor. Remarkably, these varied elements harmoniously intertwine, making it the second most striking aspect of the movie.
What’s even more striking is Sir Ian McKellen’s versatile performance as the character famously called “The Monster,” showing different aspects of him to both his back and his front, within the 1930s London stage environment depicted in the movie.
Erskine finds great pleasure in harshly criticizing productions and performances he considers subpar, as well as the looks of actors he finds unappealing. He claims these harsh criticisms are merely a part of his quest to maintain high standards. However, it’s clear that he genuinely enjoys using sharp remarks and cutting comments as means of attack.
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Erskine revels in tearing apart productions and performances he finds inferior, and the looks of actors he deems unattractive. He states these severe critiques are merely a part of his mission to preserve his high standards. Yet, it’s evident that he enjoys using biting remarks and brutal insults as weapons.
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Erskine takes great delight in mercilessly criticizing productions and performances he finds lacking, as well as the appearances of actors he deems unattractive. He argues these harsh critiques are simply part of his crusade to uphold his lofty standards. However, it’s obvious that he enjoys using sharp comments and cutting remarks as tools for offense.
Readers of his newspaper have enjoyed his biting reviews for over 40 years – that is, those readers who haven’t found themselves on the receiving end of his sharp wit.
An actor less skilled might have played Erskine as a caricature, aiming to provoke the harshest critic’s comments, but instead of settling for a performance that could be dismissed as plain and predictable like a pre-sliced Oscar Mayer product, McKellen delivers so much more. His portrayal of Erskine is not just unrestrained misanthropy, but a complex blend of elements: at times, he’s imperiously hilarious, cunningly devious, deeply melancholic, and desperately pitiful. Remarkably, he even elicits sympathy for The Monster, not only because he openly identifies as gay during a time when homosexuality was illegal in London, but also through the depth and nuance of his acting.
Erskine is presented with an impressive arrival at the revival of a Jacobean play, showing obvious displeasure towards the performance’s noticeable mistakes. Upon returning home, he dictates to Tom, his young assistant and longtime companion, a scathing review focusing on the leading actress, Nina Land (played by Gemma Arterton in a challenging role). He describes her acting as graceful as a surprised mule, which is one of the milder criticisms. In truth, while his words are harsh, they aren’t entirely unjustified.
Unfortunately, Erskine finds himself in a delicate situation with Viscount David Brooke (a subtly expressive Mark Strong), who has recently taken over as editor of The London Chronicle following his father’s death and doesn’t share Erskine’s admiration for his fiery writing style. To make matters worse, it is later revealed that Brooke, a traditional family man, harbors a long-standing affection for Land.
However, Erskine’s termination wasn’t immediate despite the incident. It wasn’t until an evening walk with Tom on a London side street was disrupted by hostile Blackshirts, followed by an arrest by police who were particularly unaccepting of openly gay men, and especially black ones like Tom, that Erskine received his dismissal notice. Predictably, he didn’t accept his termination without protest, instead looking for a means to persuade Brooke to reinstate him.
In Erskine’s words, “Every man harbors a secret.” He uncovers one such secret when he learns about Brooke’s affection for Nina. Using his cunning, he persuades her to join his plan to extort their former employer by manipulating Brooke with flattering reviews from a critic. Unwilling to resist the allure of Erskine’s praise and the potential career advancement, Nina reluctantly agrees to share a bed with Brooke. However, this situation ultimately leads to nothing but trouble.
Drawing inspiration from the novel “Curtain Call” penned by Anthony Quinn (the film critic for The Independent from 1998 to 2013), “The Critic” masterfully weaves a complex plot featuring reversals, deceptions, shocking disclosures, and unforeseen demises. It’s as skillfully conceived as a bedroom comedy, culminating in an ending predictable as a Greek tragedy, with a thought-provoking closing statement to close the act.
David Higgs’ cinematography, with its dark, moody feel, and Lucien Surren’s production design effectively capture the era’s ambiance in “The Critic”. The ensemble cast, such as Lesley Manville portraying Nina’s supportive yet critical mother, deliver convincing performances. In truth, there isn’t much to find fault with in this film. Ian McKellen’s exceptional lead performance is nothing short of remarkable, eliciting both admiration and awe. Well done.
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2025-01-13 14:16