Mark Kermode: The next generation of film critics will come from the internet

We sent Bim to Cuddle her Favourite Critic.

Do you know what fancy rich people like? Deep in the heart of discreet wealth, aka the lobby of The Savoy, I discovered the answer. You ready? It’s mirrors. Rich people love them - can’t get enough of ‘em. I suppose it makes all that opulence gleam a little brighter, all that reflection... But I digress. Because thrilling as drying my hands on an actual cotton hand towel was, I was not at the hotel to report from the frontline of Broken Britain. No, I was there because of an internet miracle, in which I got to meet and interview Mark Kermode, based on a single paragraph I wrote in last week’s column. Following the introduction of a new enterprise, Cuddle-A-Critic, I mentioned my long-time admiration for Mr Kermode (here’s a sample tweet from last December, so you know it’s real), his reviews and his hair.

Mere hours later, my phone pinged, informing me of a new reply on Twitter. It was Mark, and it read: “Glad the hair won through in the end. Nice article.

Days later, I was placing a Dictaphone on a table for a chat. The internet wins again. 

We spoke for half an hour and he was, as expected, so insightful and interesting and generous that I forgot to take any shorthand. Below is a mere slice of our conversation. And before you ask, the answer is yes: the quiff is even more magnificent in 3-D. 

On U-turns and ‘getting it wrong’

One of the questions you get asked as a critic is ‘do you get things wrong?” Of course you do. You change. As I’ve always said, criticism is in the end to do with an opinion. Factual stuff is factual and you do need to get that right. Contextualisation is contextualisation. Knowledge is knowledge. But opinion is your opinion.

And it is really strange going back and looking at something about which you were convinced. I mean, I walked out of Blue Velvet when I saw it. I stormed out and wrote a really angry review of it. Three years later I went back and saw it again and realised it was one of the greatest movies ever made. Part of getting it wrong was part of the learning process. What I discovered from Blue Velvet was, if a movie really gets under your skin, you can go either way with it. And whereas it’s possible to love great movies, and hate really bad movies, it’s the movies you love and hate at the same time that are really exceptional. 

When AI first came out, I didn’t like it at all. I remember I was really cruel about it. Years later, we did a Culture Show interview with Spielberg for his 60th birthday and I apologised to him. And he said: “Well, it’s interesting. You’re only the second critic to apologise to me. The first one was Vince Canby” - who apparently shitcanned Close Encounters. So it was a slightly different scale, but you know. 

 

On his process

I don’t make notes during the film. I do that afterwards, at the end of the day. One of the things we do on the blog are these immediate responses. But that’s not a review; it needs time to settle down. I mean my response to Killer Joe was very different after a few days of letting it settle. Firstly, you have to figure out what you think. Your opinion is your opinion.

One of the things I did in The Good, The Bad and the Multiplex was attempt to do a definition of what a good review is. And there were a number of different categories but the basic things were: to describe the film adequately. You have to know where the film comes from and contextualise it properly. You have to assess it on its own terms – if it’s a comedy, did you laugh? And then beyond that, there is your reaction to it, that which you cannot change or be anything other than honest about. The worst thing you can do is attempt to second guess the audience because: a) you’ll always get it wrong; and b) you’ll regret it. It’s much better to be honestly, completely wrong than to be dishonestly closer to being ‘right’. 

On bias

I get accused of being soft on Friedkin. I don’t think I have gone soft on him; there are times when I think he’s made very disappointing films. But it is undoubtedly the case that I will go into any Friedkin film with a sense of expectation. The same is true of Paul Thomas Anderson. Because like anybody else, they’re making a body of work and it’s mad to suggest that that doesn’t affect you. You can’t write yourself out of it. What you have to do is be upfront about it. 

And people can surprise you – Guy Ritchie, who I think has made some of the worst movies ever, then made the Sherlock Holmes films, where he’s referring to Hammer, and getting the characters right... You have to be open-minded.

On his favourite critics and the art of criticism

Absolutely Nigel Floyd. He’s my kind of mentor. He writes for Time Out and when I used to work in Manchester at City Life magazine, I used to edit Nigel’s copy, when it came to the regionals. You’d read it, and there’d just be nothing to cut. I tell you, it’s not until you’ve subbed somebody’s copy that you know what good copy looks like. And I met him when I came to London and he was really kind to me at Time Out and sort of took me under his wing. He’s now one of my closest friends but in terms of writing, I still just regularly read his stuff and go ‘bugger’, because I’d give my right arm to write like that. We disagree about loads of films but it doesn’t matter. The opinion is not the point. He’s pithy, too. That’s a real craft. 

Philip French writes with grace and wit and humour, and even when I don’t agree with what he says, it’s the way it’s expressed. He was recently recognised in the New Year's Honours list and I tweeted that he was recognised for consistently elevating the profession. I feel very passionate about film criticism as a craft, a profession. 

I think we live in a time in which criticism is not taken seriously, as an art form. I’m not saying for one minute I consider what I do to be art – it’s not. But there are people who are up there at the top of the tree: Roger Ebert, Dilys Powell, Pauline Kael, Anne Billson... They know what they’re doing. And they write in a way that is elegant and funny and witty. It’s a craft. 

On a new generation of critics

The next generation of critics will come from the internet. There’s a misconception about the internet, which is that blogging is changing and devaluing criticism. It hasn’t. At the beginning of any new way of dispersing information, there’s a kind of sense of anarchic freedom: you suddenly have a gaggle of voices. When Roger Ebert started doing his TV show with Siskel, people wrote essays about how it was the end of film criticism. What they didn’t realise is that it’s just another way of doing it. 

I still think of myself as a writer, but I’m primarily known for the radio show. I love radio, and I know there are people out there who look at me and say “This is what we have? THIS? Some guy blathering in a studio?” But it’s just all different ways of doing it. And blogging is clearly the future. It will settle down and the good will emerge and it will come down to the same basic rules: are you doing the job properly? Do you know what you’re talking about? Are contextualising? Are you writing wittily and entertainingly and engagingly? I have no doubt that right now out there, there is some smart 16-year-old woman or man, who’s writing powerful stuff that in ten years’ time will be held up.

Mark Kermode. Photo: Getty

Bim Adewunmi writes about race, feminism and popular culture. Her blog is  yorubagirldancing.com and you can find her on Twitter as @bimadew.

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Inside the progressive alliance that beat Zac Goldsmith in Richmond

Frantic phone calls, hundreds of volunteers, and Labour MPs constrained by their party. 

Politics for a progressive has been gloomy for a long time. On Thursday, in Richmond Park of all places, there was a ray of light. Progressive parties (at least some of them) and ordinary voters combined to beat Ukip, the Tories and their "hard Brexit, soft racist" candidate.

It didn’t happen by accident. Let's be clear, the Liberal Democrats do by-elections really well. Their activists flood in, and good luck to them. But Richmond Park was too big a mountain for even their focused efforts. No, the narrow win was also down to the fast growing idea of a progressive alliance. 

The progressive alliance is both a defensive and offensive move. It recognises the tactical weakness of progressives under first past the post – a system the Tories and their press know how to game. With progressive forces spilt between Labour, Liberal Democrats, Greens, the SNP, Plaid Cymru, the Women’s Equality Party and more – there is no choice but to co-operate, bring in proportional representation and then a whole new political world begins.

This move opens up the wider strategy – to end the domination of the City, and right-wing newspapers like the Mail, so Britain can have a real debate and make real choices about what sort of economy and society it wants. A pipedream? Well, maybe. But last night the fuse was lit in Richmond Park. The progressive alliance can work.

Months before the by-election, the pressure group for a progressive alliance that I chair, Compass, the Greens, and some Labour, Liberal Democrat and SNP MPs and activists, began considering this. The alternative after Brexit was staring into the void.

Then the Tory MP Zac Goldsmith stepped down over Heathrow. To be fair, he had pledged to do this, and we should have been better prepared. In the event, urgent behind-the-scenes calls were made between the Greens and the Liberal Democrats. Compass acted as the safe house. The Greens, wonderfully, clung onto democracy – the local party had to decide. And they decided to stand up for a new politics. Andree Frieze would have been the Green candidate, and enjoyed her moment in the autumn sun. She and her party turned it down for a greater good. So did the Women’s Equality Party.

Meanwhile, what about Labour? Last time, they came a distant third. Again the phones were hit and meetings held. There was growing support not to stand. But what would they get back from the Liberal Democrats, and what did the rules say about not standing? It was getting close to the wire. I spent an hour after midnight, in the freezing cold of Aberdeen, on the phone to a sympathetic Labour MP trying to work out what the party rule book said before the selection meeting.

At the meeting, I am told, a move was made from the floor not to select. The London regional official ruled it out of order and said a candidate would be imposed if they didn’t select. Some members walked out at this point. Where was the new kinder, gentler politics? Where was membership democracy? Fast forward to last night, and the Labour candidate got less votes than the party has members.

The idea of a progressive alliance in Richmond was then cemented in a draughty church hall on the first Tuesday of the campaign – the Unitarian Church of course. Within 48 hours notice, 200 local activist of all parties and none had come together to hear the case for a progressive alliance. Both the Greens and Compass produced literature to make the case for voting for the best-placed progressive candidate. The Liberal Democrats wove their by-election magic. And together we won.

It’s a small victory – but it shows what is possible. Labour is going to have to think very hard whether it wants to stay outside of this, when so many MPs and members see it as common sense. The lurch to the right has to be stopped – a progressive alliance, in which Labour is the biggest tent in the campsite, is the only hope.

In the New Year, the Progressive Alliance will be officially launched with a steering committee, website and activists tool-kit. There will also be a trained by-election hit squad, manifestos of ideas and alliances build locally and across civil society.

There are lots of problems that lie ahead - Labour tribalism, the 52 per cent versus the 48 per cent, Scottish independence and the rest. But there were lots of problems in Richmond Park, and we overcame them. And you know, working together felt good – it felt like the future. The Tories, Ukip and Arron Banks want a different future – a regressive alliance. We have to do better than them. On Thursday, we showed we could.

Could the progressive alliance be the start of the new politics we have all hoped for?

Neal Lawson is the Chair of Compass, the pressure group for the progressive alliance.

Neal Lawson is chair of the pressure group Compass, which brings together progressives from all parties and none. His views on internal Labour matters are personal ones.