‘Ambition seduces, power corrupts,’ states the promotional flyer for this film, and it certainly lives up to this view of human frailties.
Set in the London of 1934, The Critic concerns three main characters: a powerful newspaper magnate, David Brooke (Mark Strong), an aspiring actress, Nina Land (Gemma Arterton), and the newspaper’s caustic drama critic, Jimmy Erskine (Ian McKellen).
The story begins when these three protagonists are drawn into conflict with each other. As a result, the media mogul, drama critic, and actress are thrown into a complex web of deception, the ripples of which extend beyond them and also affect their spouses and various illicit liaisons.
Erskine is a self-destructive old cynic who drinks and smokes to excess and is very indiscreet about his private life. Not only does he live openly with his much younger gay lover, but he also solicits intimate encounters in public parks. Due to his professional position as the theatre critic of the ‘Daily Chronicle,’ he takes risks seemingly unconcerned about the consequences.
The Critic, 2024. Directed by Anand Tucker
McKellen is well supported by the other main characters, who do their roles justice. They are all credible as people trying to carve out careers or maintain their social positions as they pay lip service to the social conventions of the time. All the performances are enhanced by the authentic feel of the film: everything from the fashions to the decor recreates the London of the 1930s.
Apart from the personal lives of the rich, powerful, and would-be famous, there is a glimpse of the broader political climate of the time. The spectre of Mosley’s British fascists lingers in the background as a sinister menace. Although peripheral to the story, they make their presence felt. Their racism, homophobia, and anti-semitism are painfully evident and signal the coming world war. This unsavoury aspect enhances the realism of this film.
Ian McKellen shines as the intimidating drama critic. He is often vicious, condescending, and manipulative—keen to do anything to keep his privileged position. We see him lounging in his bath, puffing on a cigarette and sipping his favourite alcohol, and get the feeling McKellen is really enjoying playing a cynical old bastard. He is so credible as the ruthless, sarcastic, self-indulgent old blighter that we can’t help feeling he’s having fun.
The Critic, 2024. Directed by Anand Tucker
Given all the negative elements of deception, marital infidelity, manipulation, blackmail, and criminality, it is clear there will not be a ‘happy ending’ to this movie. Nevertheless, there are a few surprises which hint that humanity is not as grim or as ruthless as this film suggests. Even a cynical old drama critic can have a few redeeming qualities.
While the main characters appear weak, ruthless, or self-indulgent, we can still empathise with them. They are caught within the demands of their public personas, career aspirations, and the social mores of the period. As public figures, they are subject to the demands of reputation and respectability in their contemporary society.
The Critic illustrates that at 85, Ian McKellen is not resting on his laurels. This elegant period piece is a fitting vehicle for the veteran actor.