Ian McKellen’s London-set thriller The Critic depicts an overlooked chapter of gay history

As a long-time fan of Sir Ian McKellen’s extraordinary career and his unwavering commitment to the LGBTQ+ community, I must say that “The Critic” has been a delightful addition to my cinematic journey. McKellen, with his undeniable charm and charisma, breathes life into Jimmy Erskine, a character as complex as he is captivating.

The Critic spoilers follow.

Ian McKellen is tough to criticize. Beyond his portrayal of iconic film characters like Magneto from X-Men and Gandalf in Lord of the Rings, he’s a Tony Award winner on stage, who courageously came out in the ’80s when few stars dared to do so. He was also one of the pioneers of Stonewall.

85 years old and still vigorous after six decades in acting, Sir Ian McKellen shines in one of his most tantalizing roles to date – that of Jimmy Erskine, a highly esteemed theater critic whose knack lies in finding flaws in others. The narrative, crafted by Oscar-nominated screenwriter Patrick Marber, is set in the ’30s London, an era when critics were admired and financially secure, unlike today’s trolls who frequently harass them online.

Despite the fact that Erskine enjoys penning harsh criticisms, particularly about an actress named Nina Land (Gemma Arterton) whom he feels isn’t meeting Jimmy’s expectations, his biting remarks are also amusingly sarcastic (“swap damp squib with wet blanket!”). It appears that McKellen is relishing every moment of portraying this character.

For instance, when Leslie Manville, Nina’s mom, attempts to talk to Jimmy during her latest play, he quickly marches towards the manager and announces that he needs to be kept away from regular people.

In such public settings, the boldness of encountering an ordinary person can leave Erskine utterly flustered, yet at these times, he remains fascinatingly captivating.

Regardless of his character’s frequent egotism and questionable actions, McKellen uses his captivating charm to seduce the audience, making it hard not to be won over. This is evident even when events take a turn for the worse and Jimmy starts manipulating Nina to protect himself after significant shifts at his workplace.

If only The Critic itself remained as watchable as the cruel critic at the heart of it all.

Instead of building suspense with elements like blackmail and a hint of murder, the narrative strangely fails to maintain its momentum, despite Ian McKellen’s commendable performance. It’s important to note that this isn’t a reflection on his or any other actor’s abilities, as the talented cast members Mark Strong, Lesley Manville, Romola Garai, Ben Barnes, and Nikesh Patel all deliver strong performances without any damage to their reputations.

Previously, Marber’s plays skillfully delved into the raw emotions and complexities of their melancholic, embittered characters. However, The Critic seems to be missing the narrative unity found in plays like Closer or Notes on a Scandal, and it appears there is less eagerness to explore the profound themes presented.

In Erskine’s household, his long-term live-in assistant was not just any secretary but also his younger African American lover during an era when homosexual acts were illegal. This complicates the narrative with racial and age factors as well. However, the script seems to avoid exploring the intricate power dynamics between them or how Jimmy exploits women’s physicality as a tool against his adversaries, creating examples of their downfall.

The core essence of the script is its most significant aspect, but playwright Patrick Marber’s writing and competent direction by filmmaker Anand Tucker seem to overlook or underdevelop this, resulting in an interpretation that Erskine might find superficial and inadequate.

In addition to its sharp criticism, The Critic also stands out in a scene where Erskine is subjected to police interrogation about his sexuality after a public show of affection. This scene is heart-wrenching as it portrays the humiliation and cruel treatment of an individual, and it’s particularly poignant because up until that point, Erskine had taken great pride in his dignity.

It’s easy to forget now that homosexuality was illegal in the UK up until 1967, and the subsequent rights our community won took even longer to attain. That means there are plenty of queer people still alive today, including McKellen himself, who had to live in a world where their very existence was deemed illegal.

As a gaming enthusiast, I often find myself immersed in the digital world, yet there’s a darker period of queer history that rarely gets the screen time it deserves – a painful chapter often overlooked amidst the spotlight on modern narratives or the AIDS crisis of the ’80s and ’90s. While the series The Critic touches upon this, I believe Jimmy’s character could have been more deeply developed to truly reflect the harsh reality he lived in. The cruelty in his words, the constant need to attack others, stems from a time when simply existing as himself was met with potential violence and criticism.

While Erskine’s rude behavior may provide some amusement within this movie, it’s not meant to condone it. Instead, it serves to portray a character who derives pleasure from bullying, possibly because he too has been victimized. Additionally, it’s refreshing to see an older LGBTQ+ character represented as a sexual individual for the first time, even though we might have reservations about the nature of his relationships in the story.

Despite some less vibrant aspects in “The Critic,” the movie isn’t a letdown or a disappointment. Just as Nina’s performance holds promise, there are areas where the film could have shown more brilliance, leaving it somewhat disappointing to witness the unfulfilled potential.

The Critic is now available to watch in cinemas.

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2024-09-13 13:19