When Ian McKellen and Gemma Arterton forge a murder plea

When Anand Tucker took over the direction for the drama “The Critic”, he probably did not expect that the material of his film could be released again in reality. In the London of the 1930s, this thriller tells of a powerful theater critic, whose words can inspire or end careers. The fact that since the invention of the Internet and the emergence of comment functions, which can loudly express its opinion of every layperson, a specialist judgment with elegant word games is no longer generally binding can be shown in an example of “The Critic”. In 2023, the work celebrated its premiere at the Film Festival. The audience was not enthusiastic about why the rental in Nachrehs, the cutting and a new, less dark end ordered. The reviews of the version shown in Toronto were by no means devastating. But they explain some twists, which can no longer be found in the final version. “Less darker” than any predecessor version or anything else is not the film, after all, British theater director and author Patrick Marber wrote the script, the greatest success of which was the play “Closer” (2004 with Jude Law, Julia Roberts, Natalie Portman and Clive Owen), in which four people are lying and struggles. “The Critic” also tells of betrayal, power and desire. External content activate We see Ian McKellen as critic Jimmy Erskine with showered hair, hanging and flawless suit by the premiere audience in a gently lit theater foyer. “I have a deadline,” he mumbles, as if this sentence should share the crowd in front of him like Moses the Red Sea. Erskine is not here for pleasure, the theater is his job. He has been writing about it for the most important London newspaper for decades – and is used to being treated with respect. At home, his assistant types the notes while the critic corrected words over his shoulder, and spreads parts of the sentence, traces improvements. His observations are precisely, his formulations are sharp. Anyone who does not meet their standards, the meetings of their words like a degree. But that should change now. The old publisher has died, his son -in -law David Brooke (Mark Strong) takes over and wants to align the newspaper more profitable for a wider audience, “more family -friendly”, as he does the old criticism around Erskine at the white table ceiling. London clubs, only to hold the termination in the hands shortly afterwards. Erskine gets a grace period from the chief audience – and the edition of writing less complicated. “I doubt that our readers know this Greek foreign word,” says Strong, who plays his Brooke with the stiff cold of an accountant. “I doubt that you can read,” says Erskine. Until the first third of the film, a cultural discourse is becoming a cultural discourse that could not be more current: newspapers are fighting for their edition, specialist knowledge and expertise for their status, and art has to defend itself against level and meaning. All of the Second World War, British fascists even occupy the pubs and mobs in Bloomsbury when he comes drunk from a party at night and with “his assistant” (quite quickly it becomes clear that the two have a relationship and do not share an apartment for professional convenience). In one moment complete self -overestimation, he congratulates one of the fascists on his uniform. The subsequent beating of the critics and his partner briefly, the police arrest them at the next corner, and that recordings against morality do not coincide with the family -friendly reputation that the new publisher for newspaper and workforce wants, Erskine immediately approaches the termination. To take revenge, he is looking for a plan that relies on the actress Nina’s seduction skills. For this he is ready to throw his integrity overboard and in return to promise her in return that you would make the new star of the London stages. Who may stay? The critics fear for their position. Universal Pictures -Natural cannot do that – from here “The Critic” becomes a crime thriller, in the basic features of which the literary template still shimmers through. For the film, screenwriter Marber adapted the novel “Curtain Call” by Anthony Quinn, a Liverpool film critic and author. The book also plays in the London of the 1930s, only a serial killer in the theater scene is changing there; The critic is a marginal figure. To declare him to be the center is one of the better ideas of this film, because Ian McKellen works with all its contradictions down to the last detail. Even in a moderate script, it is possible to develop charism even in a scene that shows the critic naked in the bathtub. He does not casually lounge in the water between Malachitian tiles; Because the bathroom is by no means to relax, but to revive its creativity. Full of zest for action, he pushes a sailing boat through the foam. The scene will repeat itself after it is released from the police custody; Then he whips and swears revenge. Again, the camera McKellen’s face in close -up, a pleasure for the audience. As meticulously as he once worked on his texts, he now forged the murder plot. McKellen demonstrates that one, like it, does not allow themselves to be inhibited by a moderate script (whose indecisiveness is perhaps to be owed to the renovation work). The same setting would have been desired at Gemma Arterton. At the beginning, she shows her willingness to make the figure well thought out if you compare the quality differences between the game of the medium -gifted mimin on stage with the attitude after the performance ended in the wardrobe. In the further course, however, the script pushes this central female figure from one catastrophe to the next to drive the action blind. Then Arterton go out the ideas. Only McKellen keeps the tension until the end and always draws the audience delightfully evil on his side, although his actions speak against him for a long time – an extremely elitist populist.

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