The classic German legend of Faust is transported to the British theatre scene of the 1930s in Anand Tucker’s stylish but dark film, The Critic. Tucker hasn’t directed a feature film since 2010’s Leap Year; but he has two very well-received films on his resume in Hilary & Jackie (1998) and Shopgirl (2005).
While its roots are firmly in the Faust legend, the source material for this film comes from Curtain Call, a 2015 novel by Anthony Quinn (no, not the actor). It’s a very loose adaptation by renowned stage and screen writer Patrick Marber (Notes on a Scandal), who ditches the novel’s serial-killer plot entirely. Instead, Marber opts for a deep dive into the fraught relationship between the critic of the title, and someone affected by his words.
Jimmy Erskine (Ian McKellen) is the chief drama critic at the Daily Chronicle. His position as one of the “old guard” at the newspaper seems secure, and he wields enormous sway within London’s theatre scene. But the death of the Chronicle’s owner sees his son, David Brooke (Mark Strong) take control. Brooke isn’t all that keen on the “old guard” and sets about making sweeping changes. Suddenly Jimmy’s cushy job is under threat, and he’s left scrambling for a way to save it. His position is becomes even more precarious when he’s arrested for homosexual activity.
Meanwhile, actress Nina Land (Gemma Arterton) is appearing in a West End play. She has often felt the sting of Jimmy’s reviews and is baffled as to just why he’s so cruel in his reviews. After another bad review, Nina, urged on by her mother (Lesley Manville), approaches Jimmy directly. She demands to know what she has to do to gain his favour. Jimmy goes to see another of her performances, and notices that Brooke is there. It soon becomes clear Brooke is besotted with Nina. Jimmy then approaches Nina with a proposition: he will give her good reviews from then on – and thus the fame she craves – if she will do him a “small” favour.
Unsurprisingly given its age, many variations on Faust exist. This version is close to the grim traditional telling. So don’t go into the film looking for a rosy redemption story. The script is a very clever piece of writing, as Marber initially melds the roles of Mephistopheles and Faust into Jimmy, then turns it around to blend Faust and Gertrude into Nina. What’s not so clever though is Tucker’s uneven pacing. The film drags in the first half, but then has to cram an awful lot into the second. Things become a bit muddled as a result.
The film tries to take on a lot of themes. Although power is central, it also digs into cruelty, ambition, wealth and historical injustices. But keeping all these elements afloat is a big ask, and the film doesn’t manage to coalesce them into a coherent narrative. Everything looks great thanks to some fine production design by Lucienne Suren (Killing Eve) and cinematography from David Higgs.
The performances though are excellent, led by a clearly ageing but nonetheless sharp Ian McKellen (The Good Liar). As is so often the case, he’s the best thing about the film. Gemma Arterton (The King’s Man) is also good as Nina, but the part felt a bit underwritten to me. Mark Strong (Cruella) gives an uncharacteristically restrained performance was Brooke, while sadly Lesley Manville (Mrs Harris Goes to Paris) and Romola Garai (Miss Marx) are mostly sidelined. Shout out though to Alfred Enoch (the Harry Potter films) who lends a touch of humanity to the dark doings as Tom Turner, Jimmy’s assistant.
The Critic is a film with a lot to say. You have to admire its ambition, even if it seems to trip over its own feet at times. The powerhouse performances were the biggest draw for me; but I’m sure there’s an audience for this dark style of storytelling.
David Edwards
Other reviews you might enjoy:
David Edwards is the editor of The Blurb and a contributor on film and television
