The Christophers – Movie Review
There is always something fascinating about films that use their own creativity to examine how art affects us, and how we affect art. The same way someone is moved by a painting, they can be affected by a movie, song, book, whatever it may be. And in filmmaker Steven Soderbergh’s latest film starring Ian McKellen and Michaela Cole, that two-way relationship between art and people is explored within the confines of a heist-lite narrative.
McKellen plays Jules Sklar, a well-known painter who in the 1990s completed a series of intimate paintings based on his lover at the time called ‘The Christophers’. For decades, it was rumoured that there were more paintings in this series that Julian was hiding from the public, but he is adamant that they are not, and will never be, completed. Enter Lori (Cole), a young artist who is hired by Julian’s middle aged children (played by James Corden and Jessica Gunning) to befriend their aging father, steal the incomplete paintings, and forge them herself so they can sell them once he dies. However, despite being built on fraudulent foundations, the bond between Julian and Lori grows, and the relationship between art and artist deepens for them both.
Usually known for his slick and experimental films, both narratively and visually, Steven Soderbergh takes a far more restrained approach to The Christophers, focusing on the intimacy between the characters and their love of art rather than trying to impress the audience with some interesting technical tricks. In fact, if you went into this film unaware of Soderbergh’s involvement, his name appearing at the end credits would probably come as a surprise. And that is not a slight at the film, it’s just an interesting change of pace for the filmmaker who takes a far more traditional approach to telling this story.
It’s within the traditional approach where the pros and cons of the film becomes more apparent. What works in The Christophers is the dynamic and relationship between both the lead characters and the performers – which do feel like two different elements working in tandem with each other. McKellen brings a cheeky camp to Sklar, who to make money in the 2020s creates Cameos for loving fans, while spending most of the rest of his day drinking and being resentful. Lori doesn’t immediately bring a spark into Sklar’s life, but he sees something in her that reminds him of his youthful spirit and approach to art. While these aren’t entirely unique or new creative beats for these characters to embark on, it’s the dynamic between McKellen and Coel that really allows this relationship to feel special and engaging.
Corden and Gunning bring an appropriate amount of frustration (intentionally) to the film as the bratty, entitled children of Julian who have no appreciation for his art. There are definitely underlying elements of a fractured relationship between a father and his children that are teased through the conversations between Lori, Barnaby and Sallie, but it’s obvious that this story and Soderbergh does not want you to like them at all.
The Christophers is a far more restrained film from a traditionally dynamic and experimental filmmaker like Steven Soderbergh, but the intimate story that explores the relationship between art and the soul, plus great chemistry between a wonderfully camp Ian McKellen and emotionally nuances Michaela Coel makes for an engaging and entertaining time at the movies.
The Christophers is in Australian cinemas June 4
