In the nuanced world of film criticism, few figures have cast as long a shadow as Derek Malcolm, whose recent passing has prompted a profound reflection on a career that transcended conventional review writing. Through the heartfelt testimonies of those who knew him intimately, a rich tapestry emerges of a critic who was simultaneously a passionate advocate, an irreverent storyteller, and a guardian of cinematic art.
Stephen Frears captures Malcolm’s essence with characteristic wit, describing him as perpetually wearing a “wickedly impish face” that suggested he was perpetually “up to mischief.” Asif Kapadia, among Malcolm’s many admirers, recalls how the critic’s Guardian reviews were transformative for generations of film enthusiasts, particularly in introducing international cinema.
Malcolm’s approach to criticism was anything but conventional. Stephen Woolley emphasizes his unwavering integrity, noting that he was “steely-eyed” and fundamentally unbribable. His reviews were not mere assessments but passionate arguments for cinema as a profound artistic medium. During an era before internet fragmentation, Malcolm’s erudite prose demanded careful, nuanced interpretation.
Jeremy Thomas remembers Malcolm as a multifaceted personality – a lover of films, cricket, and horse racing. Their friendship, forged in Bombay, involved long nights of conversation and numerous shared beers, revealing a critic whose passion extended far beyond the cinema screen. Mike Downey fondly recalls Malcolm’s legendary storytelling, their conversations effortlessly transitioning from industry gossip to discussions of cinematic masters.
Asif Kapadia speaks to Malcolm’s unique ability to champion international cinema. His “Film of the Week” consistently highlighted directors from beyond Hollywood, introducing audiences to global cinematic treasures. Kapadia remembers how Malcolm’s reviews were a gateway to discovering extraordinary international films, particularly those from France and Poland.
The tributes paint a portrait of a critic who balanced irreverence with profound commitment. Woolley describes Malcolm as a “giant among critics” who wielded considerable influence with “delicacy and sense of justice.” His support was not merely analytical but deeply nurturing, illuminating films that might otherwise have remained unnoticed.
Malcolm’s connection to cinema was deeply personal. His unexpected love for Indian cinema, noted by several colleagues, demonstrated his genuine, expansive appreciation of global filmmaking. He refused to be constrained by geographical or cultural boundaries in his critical approach.
The remembrances suggest Malcolm was more than a critic – he was a cultural guardian. During an era of dwindling cinema attendance and increasing commercial pressures, he remained steadfast in protecting cinema as an art form. His reviews were passionate defenses of cinematic expression.
Asif Kapadia and his contemporaries recognize that critics like Derek Malcolm are increasingly rare. In an age of instantaneous online reviews and fragmented media landscapes, Malcolm represented a more considered, deeply knowledgeable approach to film criticism.
The collective tributes paint Malcolm as a unique figure: irreverent yet serious, cutting yet supportive, global in perspective yet deeply personal in approach. He was a critic whose “twinkling eyes and words of constant support” illuminated the world of cinema, leaving an indelible mark on film culture that will resonate for generations to come.