Opening this year’s Venice Film Festival, Ink is a rip-roaring race through recent history. Set in 1969, it begins at Rules, London’s oldest restaurant, as Lamb (Jack O’Connell) is lured by Murdoch (Guy Pearce) to head up his new purchase from the Mirror Group. Reluctant at first, Lamb is soon hitting his stride, assembling a team to redefine newspaper culture and launch “the people’s paper”, a tossed aside phrase they willingly steal from the Daily Mirror.
Among them is Jules (Claire Foy), an amalgam character of various women who worked in Fleet Street at the time. It’s she who suggests sex as a regular topic for the paper, when Lamb quizzes his staff what they like to do. “Women masturbate,” she shrugs, before later urging the paper to feature banned book The Sensuous Woman, which delved into female sexuality. Is it pornography or education? Some may argue the super soaraway Sun niftily skated better the two.
View oEmbed on the source websiteIn some ways, this is familiar terrain for Boyle, who previously explored the titular tech titan in 2015’s Steve Jobs. Here, the Australian-born Murdoch – played with zest by Pearce – is the pioneering tycoon with ink in his blood. With a chip on his shoulder about his place in British society (“the Aussie sheep farmer,” he jokes), he’s desperate to upset the establishment. Blatantly, his mission is twofold: business and revenge.
Intriguingly, the future media mogul is not the villain of the piece; rather, it’s Lamb, who becomes increasingly obsessed with the fledgling paper’s sales and sticking it to his former Mirror bosses. Of course, the film touches on the paper’s evolution, from its red-top logo to the advent of Page 3 and the development of tabloid-lingo (“Be cheeky... confident,” says Lamb, as a voiceover actor recording a commercial announces: “It’s p***y week in The Sun.”)
Whether Ink has much to say about the depressing tabloid culture it fostered is debatable. And certainly there are some who will argue a paper like The Sun, with all the controversies it’s caused, and a character like Murdoch don’t deserve any screen time. But with Boyle conjuring the same sort of fizz he generated for his landmark Trainspotting here, it’s an unapologetic, unfiltered ride. That’s the headline.
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