The Critic review: It’s Agatha Christie on steroids (and McKellen’s magnificent)

As a die-hard theater enthusiast with a soft spot for the silver screen, I must say that The Critic and Speak No Evil have left me utterly captivated.

Like all great actors, Sir Ian McKellen has been on the receiving end of some waspish theatre reviews down the years, but as a poacher-turns-gamekeeper exercise and for quite a few reasons besides, The Critic is a joy.

McKellen plays Jimmy Erskine, formidably influential drama critic for The Daily Chronicle. 

In the 1930s, people would don dinner attire when heading to the West End theater, but things were different in the East End. There, a distinct dress code was followed as Sir Oswald Mosley’s Blackshirts were active.

Erskine could be someone they’re keeping an eye on. He’s a man who is open to casual romantic liaisons in the park with individuals from questionable backgrounds, often referred to as ‘rough trade’. Additionally, he frequently walks down the street holding hands with his multi-racial assistant, Tom (Alfred Enoch).

In the story, Erskine’s habits are a source of discomfort to his superior, Viscount Brooke (Mark Strong), who has recently inherited the Chronicle as its owner and is keen on challenging the overwhelming influence of the Daily Mail in the market.

That is the background. In the foreground, a new production of the Jacobean play The White Devil has opened, starring Nina Land (Gemma Arterton), whose sensual beauty does not remotely move Erskine. 

He believes she overacts, so he writes a harsh review for her. One evening, they encounter each other on the street, leading to a budding connection where he admits his brief stint as an actor – “My peak was playing Laertes in Dundee.” They discover potential synergies in their careers and discuss possibilities.

Erskine typically hasn’t faced many career-related issues. However, he’s been careless with his personal life, particularly in managing his romantic affairs. This oversight, combined with Brooke’s intention to replace the established leaders, led to Erskine receiving a termination notice.

Subsequently, the narrative intensifies with elements such as snobbishness, infidelity, unreturned affection, extortion, self-harm, and homicide, transforming into a somewhat overly dramatic tale that might appeal to the taste of a gentleman like Erskine, dressed for a formal occasion, attending it on stage.

Except that we know full well ‘whodunnit’ and how, it’s Agatha Christie on steroids.

Actually, the play titled “The Critic” was loosely based on the superb 2015 novel “Curtain Call,” written by Anthony Quinn, by playwright Patrick Marber.

Marber excels in creating bitter exchanges, as demonstrated by his acclaimed 2006 movie “Notes on a Scandal.” Some of the dialogues are delightfully sharp. However, what stands out most is McKellen’s captivating leading role.

In every sigh, grunt, twitch, or frown, he meticulously captures the essence of this ruthless elderly figure, determined to maintain his societal and career standing, disregarding any casualties along the way.

In this rephrased version, Anand Tucker skillfully directs the film, with precise attention to historical detail. A remarkable ensemble cast features Lesley Manville portraying a meddlesome mother and Romola Garai as a domineering daughter. However, it is McKellen who truly shines in this movie.

Instead, it’s worth noting that every actor in the ensemble cast of Speak No Evil, the polished reinterpretation of the 2022 Danish thriller bearing the same name, is equally deserving of praise alongside writer-director James Watkins.

The story unfolds in Tuscany, where a refined American family – Ben (Scoot McNairy), Louise (Mackenzie Davis), and their 11-year-old daughter Agnes (Alix West Lefler) – encounter an outgoing, energetic Englishman named Paddy (James McAvoy), along with his wife Ciara (Aisling Franciosi), and their son Ant (Dan Hough), in a luxurious hotel.

In a twist of events, the ant in this movie seems to have difficulties communicating, a trait often attributed to its short tongue. However, as audiences soon discover, this film is full of surprises; we know from the beginning that things are not always as they appear. Despite this, the plot propels us on an increasingly thrilling journey.

The American residents often return to their homeland, England, and on these trips, they frequently reconnect with newly made friends in the Western regions. Over time, the hosts of these gatherings can appear somewhat peculiar or even strange, bordering on quirky, if not entirely bizarre.

There’s a faint hiss of comedy throughout, like gas escaping from somewhere although you’re not quite sure where, as well as some unmistakeably wry lines – ‘our normal is not their normal!’ – about the perceived differences between Americans and Brits. 

Additionally, there’s a subtle lesson hidden within this rather eccentric narrative: just as the delicious green liqueur may not sit well after a sunbath, friendships made during vacations aren’t always meant to last beyond those moments of shared fun.

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2024-09-13 22:05