[How Malcolm began a film critic] I was on the Gloucestershire Echo and wrote to Brian Redhead, who was the Manchester Guardians arts editor, asking if I could write about the Cheltenham literary festival. He said I might send my piece in and it was published, and he told me to come and see him. I knew Redhead was a socialist and if he knew I was at Eton and Oxford I would never get a job. So he asked me where I went to school and I said: "Somewhere near Slough". I ended up as a designer, and then called down to London where I was the late-night sub and the only one who could read the reviews by Neville Cardus [the renowned music critic and cricket correspondent] who submitted his copy in longhand. I became the letters editor, and – because I had been an amateur jockey in the 1960s — the racing correspondent.
I was also the deputy drama critic to Philip Hope-Wallace, who took great delight in sending me to review Little Malcolm and His Struggle Against the Eunuchs. I became the film critic because the editor fired the existing critic, Richard Roud, for writing a one-word review of The Sound of Music — he just wrote "No". Just that.

What It Means

This is a placeholder explanation generated by the low-overhead model. It interprets "[How Malcolm began a film critic] I was on the Gloucestershire Echo and wrote to Brian Redhead, who was the Manchester Guardians arts editor, asking if I could write about the Cheltenham literary festival. He said I might send my piece in and it was published, and he told me to come and see him. I knew Redhead was a socialist and if he knew I was at Eton and Oxford I would never get a job. So he asked me where I went to school and I said: "Somewhere near Slough". I ended up as a designer, and then called down to London where I was the late-night sub and the only one who could read the reviews by Neville Cardus [the renowned music critic and cricket correspondent] who submitted his copy in longhand. I became the letters editor, and – because I had been an amateur jockey in the 1960s — the racing correspondent.
I was also the deputy drama critic to Philip Hope-Wallace, who took great delight in sending me to review Little Malcolm and His Struggle Against the Eunuchs. I became the film critic because the editor fired the existing critic, Richard Roud, for writing a one-word review of The Sound of Music — he just wrote "No". Just that." in the context of "Interview with Peter Bradshaw, as cited in "Boozy lunches and sober sandwiches: how the Guardian film critic's job has changed", The Guardian (27 June 2021, modified 26 August 2021)
• The anecdote about Richard Roud's review of The Sound of Music may not be entirely correct as his entirely straightforward review was published in The Guardian on 26 March 1965 (and republished on the website exactly fifty-five years later in 2020). Roud continued as the newspaper's "London film critic" until December 1969 when he was succeeded by Malcolm. Brian Redhead was himself a graduate of Cambridge University." to mean that wisdom is timeless.