Shadows on the Wall | The Critic

The Critic

dir Anand Tucker
scr Patrick Marber
prd Bill Kenwright, Jolyon Symonds, David Gilbery
with Ian McKellen, Gemma Arterton, Mark Strong, Ben Barnes, Alfred Enoch, Romola Garai, Lesley Manville, Claire Skinner, Pearce Quigley, Beau Gadsdon, Rebecca Gethings, Nikesh Patel
release UK/US 13.Sep.24
23/UK 1h35

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Striking period detail, fizzy topicality and wonderful performances make this British drama thoroughly watchable, even as the narrative that takes arch turns that strain credibility. Anand Tucker's direction and Patrick Marber's script (based on Anthony Quinn's novel Curtain Call) get under the skin, offering meaty roles to a talented cast. So even as the plot's gyrations become melodramatic and soapy, there are textured thematic ideas that hold the interest.

In 1934 London, imperious drama critic Jimmy (McKellen) cultivates his fearsome reputation, but new newspaper owner David (Strong) asks Jimmy to tone down "the unpleasantness" before pushing him to retire. After actress Nina (Arterton) receives another nasty review from Jimmy, her mother Annabel (Manville) urges her to talk to him, and their confrontation takes a turn. Jimmy helps her improve her acting, and in return he asks for a shocking favour that spirals in ways that have unexpected repercussions for everyone. This also causes Jimmy's loyal assistant Tom (Enoch) to waver in his loyalty.

It's very frustrating that the plot feels so simplistic when the dialog and underlying ideas are so engaging. For example, David's scowly disdain is a result of Jimmy's barely concealed homosexuality, which of course was illegal in Britain at this time. But the upright David has moral failings of his own. And the unusual connection between Jimmy and Nina hinges on her own transgressive secret relationship with the married painter Stephen (Barnes). Yet these well-played interactions never reach the depth of the themes.

McKellen adds a wonderful sparkle to his performance, layering a literary sense of humour into his diva-like rants. He also has a steely defiance when facing the police or the rising tide of racist thugs, who are sometimes one and the same. It's a gleefully beefy performance that's a lot of fun to watch. Arterton is also terrific in a complex role that takes some rather intense turns, while Strong gives David a soulful kick. And Garai, Manville and Skinner find vivid moments in oddly sidelined roles.

Clever observations pepper the script, touching on things like the way people love reading Jimmy's reviews due to his extreme writing style rather than his astute criticism. And even if he's narcissistic, he does have a gift for seeing through surfaces, so he makes knowing observations about acting, journalism and various social issues. But these nuanced performances are somewhat trapped in a corny story that derves some of Jimmy's harsher criticism.

themes, language, violence 8.Sep.24

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