Showtime’s A Gentleman in Moscow Is a Winning Vehicle for Ewan McGregor

There are few things worse than being stuck in a place for any amount of time, not to mention the rest of your life. An even worse fate is receiving a death sentence for a family background that you did not choose. Unfortunately for him, these are the options available to Count Alexander Rostov (Ewan McGregor), the titular “gentleman in Moscow” in early twentieth century Russia—a man unable to see the city, visit family or, indeed, go outside at all without fear of death.

As the politics of the country were shifting during that time, so too were the positions of prominent Russian families and their place in society. Following the Bolshevik revolution, no longer were “gentlemen” celebrated. Instead, they were pushed to the sidelines as the new ways of Stalin and his government took over. In the case of Count Alexander Rostov, his Royal family name served as an indictment, forcing him to serve a lifelong house arrest. The location of his imprisonment? The historic Hotel Metropol in Moscow. 

Based on the novel by Amor Towles, A Gentleman in Moscow follows the decades-long story of Rostov as he navigates the cruel reality of living in this beautifully glamorous prison. A man of impeccable taste, he is forced to acclimate to his new attic “suite” and the bland routine that comes with it. Bland, that is, until he befriends a young girl, Nina (Alexa Goodall), who provides a much-needed distraction from the mundanities of his everyday living. Before long, this distraction becomes his whole life, as he becomes something of a surrogate father to the girl. 

An adaptation of the book was initially announced in 2018, with Shakespearan actor and director Kenneth Branagh producing and starring in the series as Rostov. By 2022, in a change that still hasn’t been fully explained, Ewan McGregor replaced Branagh both as producer and lead actor. I expect that Branagh’s performance would have been a variation on his recurring role of famed detective Hercule Poirot, with that character’s wild mustache and suitably dry humor. Indeed, Poirot and Rostov have a resemblance in disposition and appearance. But, as versatile an actor as Branagh is, it’s arguable that even he could not have brought the grace and sincerity that McGregor so naturally exudes in this role. 

In his first television role since 2022’s Obi-Wan Kenobi, McGregor offers a masterclass in acting; he is consistently charming, warm, and eye-catching at all times. Some might find McGregor’s Rostov to be too twee or his cheerfulness false, but his charisma and hopefulness read authentic, which even the harshest of cynics would be forced to admit. The often bleak energy of the show is buoyed by McGregor’s winsome and earnest nature, providing a much-needed balance to the negativity surrounding him. (On another note, if viewers had a nickel for every time there’s a show where Ewan McGregor unexpectedly takes a young girl under his wing, they would only have two nickels—which isn’t a lot, but it’s weird that it’s happened twice.)

A few key points in the story are told through flashbacks, though one could hardly even call them that. Rather, they are short, dream-like glimpses into Rostov’s past. Free of dialogue, they are mere flashes of images and sound, mostly revolving around Rostov’s sister Helena. Unfortunately, the specifics of these are not fully explored, at least not right away. The important details are revealed in dialogue in the present day setting to help fill in the gaps. Still, it might have been more effective (or at least helpful) to include entire flashback scenes, with dialogue to boot, in an effort to provide a clearer picture as to some of the trauma felt by Rostov and his good friend Mishka (Fehinti Balogun), who also shares a past with Helena. With the exposition as is, the audience is forced to do a lot of the heavy lifting, slowly making connections between characters. Though this may have worked well in the novel form, it becomes somewhat tedious here. 

There are not enough positive things to say about the Hotel Metropol itself. It is a character—a living, breathing entity full of secret passageways, suspicious waiters, and glamorous actors. It is all tragically, wonderfully atmospheric and mysterious. Those fond of the Dark Academia aesthetic will no doubt find much to enjoy here. Indeed, the bookish nature of Rostov and the idea of participating in highly intellectual conversations with other learned folk is something that appeals to many in that crowd, and it’s a delight to see McGregor engage in such discussions about novels, films, and wine. In terms of the rest of the locale as a whole, nothing feels distinctly Russian, despite the Moscow setting. And there are few authentic accents to be found, instead replaced by British dialects.

Mary Elizabeth Winstead plays Anna Urbanova, a high-profile actress that captures Rostov’s attention after becoming a regular visitor of the hotel. Anna represents the glamor of the outside world; a world that Rostov cannot partake in. Therefore, she becomes a vessel to everything worldly, a tantalizing reality that he finds, naturally, appealing. Winstead plays the role well, leaning heavily into that standard (yet overdone) old-school, seductive actress trope. This marks the third time she has played opposite McGregor, her husband since 2022. They do indeed have sparkling chemistry (a relief because, fascinatingly, that’s not always the case when real-life romantic partners act together).

Other supporting cast includes the quietly maniacal John Heffernan as “The Bishop,” the waiter-turned-hotel manager who is always out to get Rostov. Real-life sisters Billie and Beau Gadsdon play young and older Sophia, respectively. Sophia is Nina’s daughter, and Rostov takes her under his wing just as he did her mother. Though the series spans decades, the appearance of the adult characters doesn’t always reflect that. For example, when it’s revealed that Anna has been replaced by a younger actress in her film, it doesn’t exactly have a tangible impact. Not because it is out of the bounds of possibility, but because she looks exactly the same as she did when we were introduced to her 10 years ago (or, rather, four episodes ago).

Despite the seriousness of the subject matter, the series manages to remain light-hearted in ways that are commendable. Little moments between the kitchen staff, silly antics with Rostov and his daughter, his insistence on correcting the incompetence of a waiter who doesn’t understand wine pairings. At the center and heart of nearly all of these interactions is McGregor. He carries the series, and without him, it would be a lesser venture. There is indeed much value to be found in the story A Gentleman in Moscow. It is a story of resilience, of attempting to maintain a joyful disposition even in times of trouble, and making a found family with those around you. In a bleak and isolating world, this is not something to sniff at.

A Gentleman in Moscow premieres Friday, March 29th on Paramount+. 

Josh Sharpe is the current TV intern at Paste. His other bylines include TheaterMania and Collider. To hear about his thoughts about film, TV, and musical theatre, follow him @josh_sharpe22 on all socials.

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