Ian McKellen Film Exposes the True Cost of Inheriting a Legacy

Steven Soderbergh's upcoming film, "The Christophers," starring Ian McKellen and Michaela Coel, is poised to dissect the often-messy realities of legacy and inheritance, particularly for older artists

"The film centers on Michaela Coel as an art restorer and former forger who's hired by the children of a formerly famous artist (Ian McKellan), who want her to infiltrate their father's life and illicitly finish several of his abandoned canvases, so that they can “discover” and sell them upon his death."

. The conventional wisdom might suggest inheritance is a straightforward transfer of assets. However, this dark comedy flips that notion by focusing on the estranged children of a once-celebrated artist

"Deadline reports that Steven Soderbergh is setting up the cast for his next project, with Ian McKellen (The Lord of the Rings), Michaela Coel (I May Destroy You), and James Corden (Cats) signing on. Titled The Christophers, the dark comedy is “about the estranged children of a once-famous artist who hire a forger to complete his unfinished works so they can be discovered and sold after his death.”"

. These children, desperate for a financial windfall, hire a former art forger, played by Coel, to illicitly complete their father's unfinished canvases [c1, c2]. The plan is to then "discover" and sell these works after his death, effectively capitalizing on a legacy they had no hand in creating

"Deadline reports that Steven Soderbergh is setting up the cast for his next project, with Ian McKellen (The Lord of the Rings), Michaela Coel (I May Destroy You), and James Corden (Cats) signing on. Titled The Christophers, the dark comedy is “about the estranged children of a once-famous artist who hire a forger to complete his unfinished works so they can be discovered and sold after his death.”"

. This premise directly challenges the simplistic idea of what it means to inherit, highlighting the lengths some will go to for financial gain, even if it means manufacturing a posthumous legacy. McKellen embodies the artist whose life and work become the pawn in his children's scheme

"The film centers on Michaela Coel as an art restorer and former forger who's hired by the children of a formerly famous artist (Ian McKellan), who want her to infiltrate their father's life and illicitly finish several of his abandoned canvases, so that they can “discover” and sell them upon his death."

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The core of "The Christophers" revolves around the ethically dubious act of art forgery, not for personal gain by the forger, but to facilitate an inheritance for others

"The film centers on Michaela Coel as an art restorer and former forger who's hired by the children of a formerly famous artist (Ian McKellan), who want her to infiltrate their father's life and illicitly finish several of his abandoned canvases, so that they can “discover” and sell them upon his death."

. This shifts the narrative from a typical crime drama to a commentary on familial obligation and desperation. The film's premise, as outlined by Screen Daily, is that "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"

"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."

. This isn't about preserving an artist's true vision, but about manufacturing value. The forger, played by Michaela Coel, becomes an unwitting accomplice in this grand deception, tasked with not just replicating an artist's style but completing unfinished works – a task that requires an intimate, albeit artificial, understanding of the artist's process. This raises questions about authenticity and the very definition of an artwork when its creation is posthumously manipulated.

Beyond the immediate plot of forgery and inheritance, "The Christophers" delves into the complex nature of legacy itself, especially for artists who may have fallen out of public favor. Ian McKellen portrays an artist whose fame has waned, making his unfinished works potentially more valuable as a "discovery" than as part of a recognized, ongoing body of work

"Deadline reports that Steven Soderbergh is setting up the cast for his next project, with Ian McKellen (The Lord of the Rings), Michaela Coel (I May Destroy You), and James Corden (Cats) signing on. Titled The Christophers, the dark comedy is “about the estranged children of a once-famous artist who hire a forger to complete his unfinished works so they can be discovered and sold after his death.”"

. Alison Willmore of Vulture highlights this, suggesting the film is "a more plaintive lament about what it feels like to love something that doesn't love you back"

"Alison Willmore, New York Magazine/Vulture - For all the undercurrents about fame, commodification, and reputation that flow through The Christophers, at its core is a more plaintive lament about what it feels like to love something that doesn't love you back."

. This perspective implies a deeper emotional current, touching on the artist's potential feelings of abandonment by the art world, and the tragic irony of his children seeking to exploit this very situation. The film challenges the idea that legacy is solely about financial inheritance; it also encompasses reputation, artistic intent, and the artist's relationship with their own creations.

Steven Soderbergh's involvement as director lends "The Christophers" a certain gravitas, even as it operates within the realm of dark comedy. While some critics, like David Rooney for The Hollywood Reporter, suggest it might not be "top-tier Soderbergh," they also acknowledge its "dexterous aplomb" in tackling themes of art, commerce, and legacy

"David Rooney, The Hollywood Reporter - Few are going to rate The Christophers as top-tier Soderbergh, but it bats about ideas pertaining to art, commerce, ownership and legacy with dexterous aplomb and boasts two equally superb leads who make the material crackle."

. This indicates a film that, while perhaps not groundbreaking in Soderbergh's filmography, is nonetheless intelligently crafted and thematically rich. The film's ability to weave together the narrative of familial greed with sophisticated commentary on the art market and the commodification of culture is a hallmark of Soderbergh's more cerebral projects. It’s a testament to his skill that such a premise, involving forgery and inheritance schemes, can be elevated into a compelling examination of artistic value and familial dysfunction.