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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“I felt very lonely”: addressing the untold story of isolation among young mothers

With one in five young mothers lonely “all the time”, it’s time for employers and services to step up.

“Despite having my child with me all the time, I felt very lonely,” says Laura Davies. A member of an advisory panel for the Young Women’s Trust, she had her son age 20. Now, with a new report suggesting that one in five young mums “feels lonely all the time”, she’s sharing her story.

Polling commissioned by the Young Women’s Trust has highlighted the isolation that young motherhood can bring. Of course, getting out and about the same as you did before is never easy once there’s a young child in the picture. For young mothers, however, the situation can be particularly difficult.

According to the report, over a quarter of young mothers leave the house just once a week or less, with some leaving just once a month.

Aside from all the usual challenges – like wrestling a colicky infant into their jacket, or pumping milk for the trip with one hand while making sure no-one is crawling into anything dangerous with the other – young mothers are more likely to suffer from a lack of support network, or to lack the confidence to approach mother-baby groups and other organisations designed to help. In fact, some 68 per cent of young mothers said they had felt unwelcome in a parent and toddler group.

Davies paints what research suggests is a common picture.

“Motherhood had alienated me from my past. While all my friends were off forging a future for themselves, I was under a mountain of baby clothes trying to navigate my new life. Our schedules were different and it became hard to find the time.”

“No one ever tells you that when you have a child you will feel an overwhelming sense of love that you cannot describe, but also an overwhelming sense of loneliness when you realise that your life won’t be the same again.

More than half of 16 to 24-year-olds surveyed said that they felt lonelier since becoming a mother, with more than two-thirds saying they had fewer friends than before. Yet making new friends can be hard, too, especially given the judgement young mothers can face. In fact, 73 per cent of young mothers polled said they’d experienced rudeness or unpleasant behaviour when out with their children in public.

As Davies puts it, “Trying to find mum friends when your self-confidence is at rock bottom is daunting. I found it easier to reach out for support online than meet people face to face. Knowing they couldn’t judge me on my age gave me comfort.”

While online support can help, however, loneliness can still become a problem without friends to visit or a workplace to go to. Many young mothers said they would be pleased to go back to work – and would prefer to earn money rather than rely on benefits. After all, typing some invoices, or getting back on the tills, doesn’t just mean a paycheck – it’s also a change to speak to someone old enough to understand the words “type”, “invoice” and “till”.

As Young Women’s Trust chief executive Dr Carole Easton explains, “More support is needed for young mothers who want to work. This could include mentoring to help ease women’s move back into education or employment.”

But mothers going back to work don’t only have to grapple with childcare arrangements, time management and their own self-confidence – they also have to negotiate with employers. Although the 2003 Employment Act introduced the right for parents of young children to apply to work flexibly, there is no obligation for their employer to agree. (Even though 83 per cent of women surveyed by the Young Women’s Trust said flexible hours would help them find secure work, 26 per cent said they had had a request turned down.)

Dr Easton concludes: “The report recommends access to affordable childcare, better support for young women at job centres and advertising jobs on a flexible, part-time or job share basis by default.”

Stephanie Boland is digital assistant at the New Statesman. She tweets at @stephanieboland