The children of a once-famous artist hire a forger to complete some unfinished, long-ago-abandoned canvases so they’ll have an inheritance when he dies.
A review of “The Christophers” must necessarily begin with a discussion of the director Steven Soderbergh, who’s filmography is impressive, to say the least and includes a Best Directing Oscar for “Traffic.” From the “Oceans 11, 12, 13” blockbusters to the critically acclaimed “Erin Brockovich,” to the underrated “Logan Lucky,” Soderbergh has effortlessly moved from genre to genre in similar fashion to journeyman masters such as William Wyler (“The Best Years of Our Lives,” “Roman Holiday,” “Ben-Hur,” “Funny Girl”), Billy Wilder (“Double Indemnity,” “Sunset Boulevard,” “Stalag 17,” “The Seven Year Itch”) and Franklin J. Schaffner (“Patton,” “Planet of the Apes,” “The Boys From Brazil”). As such, whenever Soderbergh decides to take on a project, it’s worth paying attention.
Starring the legendary Ian McKellen and up-and-coming Michaela Coel, who more than held her own across from Anne Hathaway in “Mother Mary,” “The Christophers” presents a fine character study embedded within an engaging plotline. McKellen takes center stage in the production as Julian Sklar, a well-known London artist who has seen better days since losing his inspiration. He is now relegated to paying the bills by conferring with fans on Zoom calls in various, somewhat demeaning capacities, given his former stature.
Coel plays Lori Butler, an art restoration expert of modest means who receives a proposition from Sklar’s adult, profligate children to complete the final leg in a series of paintings known as the Christophers. Of all the many famous pieces that Sklar committed to canvas over his storied career, the Christophers seem to hold the greatest public appeal – and hence, market value. Lori meets with the presumptive heirs, Sallie (Jessica Gunning) and Barnaby (James Corden), in a pub to discuss their illicit scheme.
The kids arrange for Lori to serve as Julian’s assistant, but first she must be interviewed by the master. Lori meets with Julian at his spacious flat on the second floor, where he spends most of his time. In addition to voicing his opinion on a great many timely issues – giving the film relevance in today’s world – Julian also asks a plethora of questions but allows Lori little airtime to respond. Julian seems to like Lori’s ability to listen without comment and hires her on the spot – hence, her undercover work begins to locate and complete the unfinished Christophers.
Beginning at the crack of noon the next day, Lori is given keys to the third floor of the flat that has not been accessed by Julian in years, and which houses several renditions of outlines of the subject – the mysterious Christopher. Along the way, Julian pokes and prods in politically incorrect ways to find out more about Lori’s life. He asks about betrayals she might have experienced and whether she has a significant other. Although Lori is mostly circumspect, Julian gleefully reveals his bisexuality, which he announced to the world many years previously, as he says, before it was fashionable to do so.
As Julian allows Lori to inspect the third-floor paintings, he does so with the admonition that she is to rip up the canvases beyond recognition, thus depriving the art world of the cache he apparently despises. In the process, Lori first photographs the works and then appears to shred them as instructed. As Julian becomes increasingly suspicious, he confronts Lori, who is, at that point, more or less forced to reveal the scheme hatched in cahoots with Sallie and Barnaby.
As is often the case with Soderbergh’s films, twists and turns abound, likely to leave audiences guessing until the final credits roll. Of particular note, however, is the way the origin of the Christophers is revealed to Lori and, in turn, how Julian has impacted her over the course of her life. She describes, in vivid, accurate detail, what the progression of the three sets of paintings – both finished and unfinished – says about Julian’s travails over the long decades of his life. As Lori essentially brings Julian back from the nearly dead, it’s a revelation to see the glinting blue sparkle in McKellen’s eyes return, as if he were suddenly twenty years younger.
Written insightfully by Ed Solomon, “The Christophers” offers a moving portrait of a tortured artist and his underestimated assistant. Their relationship starts in a decidedly bristly manner and is regularly peppered with testy exchanges throughout, as mentor and apprentice establish and then push past boundaries. The interconnection between life and art brilliantly shines through the exquisite narrative structure. McKellen and Coel deliver fine performances in a vehicle that serves up yet another triumph for director Soderbergh.
Available on Blu-ray™ July 14th
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