Directed by Danny Boyle, “Ink” is a bold and intense film characterized by its dramatic camera angles, exaggerated visuals, and striking close-ups. Adapted by James Graham from his stage play of the same name, the movie explores a pivotal moment in the evolution of modern media, focusing on the infamous Sun newspaper. Set in the late 1960s, it chronicles how Rupert Murdoch, portrayed by Guy Pearce, acquired the struggling publication and enlisted the brash Yorkshire journalist Larry Lamb to transform it into a sensationalist tabloid powerhouse.
The film captures the chaotic energy and vibrant atmosphere of the tabloid press during this era, while also revealing a more somber aspect of its impact. Viewers familiar with the wealth and detachment of the Roy family from the television series “Succession” may find this portrayal less glamorous. The narrative contrasts the posh lives of Fleet Street executives, who dine at upscale restaurants in tailored suits, with the gritty reality of journalists and print workers laboring in less glamorous conditions.
Both Murdoch and Lamb are depicted as ambitious figures eager to challenge the elite media establishment that had previously marginalized them. Jack O’Connell delivers a strong performance as Lamb, embodying the toughness and determination of a working-class journalist achieving success. Pearce’s portrayal of Murdoch is less villainous than anticipated; he is depicted as increasingly uneasy with Lamb’s provocative ideas for the publication, even as certain controversial elements, such as the infamous Page 3 models, are initially withheld. His performance is restrained, though the film does not delve deeply into the complexities of Murdoch’s motivations, a missed opportunity when compared to Brian Cox’s portrayal of Logan Roy in “Succession.” Claire Foy plays a fictionalized character named Jules, a young women’s-page editor who struggles against the rising tide of sexism in the industry.
Additionally, the film weaves in a harrowing true-crime subplot reminiscent of Akira Kurosawa’s “High and Low.” It recounts the 1969 kidnapping of Muriel McKay, the wife of a Murdoch executive, who was mistakenly abducted by individuals believing she was Murdoch’s wife, Anna. This tragic event unfolded chaotically, culminating in the disappearance of Muriel, whose body was never recovered.
The film grapples with how prominently to feature this disturbing incident amidst the overarching satirical tone. It raises questions about whether the kidnapping serves as a form of karmic retribution against Murdoch and the sensationalist culture propagated by the Sun. Although the kidnappers were reportedly influenced by Murdoch’s media presence, the film depicts Lamb’s unrepentant approach to covering the story, emphasizing sensationalism over ethical considerations, especially once the grim reality of the situation becomes apparent.
Ultimately, the film poses provocative questions about the relationship between media sensationalism and societal degradation, suggesting that the McKay kidnapping may have been a critical moment in the decline of journalistic integrity. Regardless of its thematic ambiguities, O’Connell’s performance remains a compelling highlight of the film.
“Ink” premiered at the Venice Film Festival and is set to be released in U.S. theaters on December 11, followed by releases in Australia on January 7 and the UK on January 8.
