'A Gentleman in Moscow' Review: Ewan McGregor Effortlessly Charms From a Gilded Cage

The Showtime series, adapted from the novel by Amor Towles, delivers a sprawling historical epic while confined to a single location.

Based on Amor Towles’ critically acclaimed novel by the same name, A Gentleman in Moscow is Showtime’s next great historical drama. While the mention of “Moscow” in the title might make the mind’s eye wander down snowy streets in the shadow of Saint Basil's Cathedral, A Gentleman in Moscow is far removed from the sprawl of a struggling society and is instead a far more quaint tale, set within the confines of a grandiose hotel-turned-prison cell.

Like the gilt Fabergé egg that adorns the poster for the series, Count Alexander Rostov’s (Ewan McGregor) existence is a reminder of the opulence of bygone days—an ostentatious relic. He serves no real purpose in the grand scheme of things, except to be watched within his gilded cage, and kept account of by authorities, much like the dwindling few eggs that sit in collections around the world. And much like the Fabergé egg, Alexander’s life is inextricably linked to the tragic downfall of the Romanov family and the Bolshevik revolution of 1917 that followed.

The series starts swiftly, with the Bolshevik tribunal sentencing the Count to a lifetime of confinement within the walls of the Metropol Hotel. He is spared a far worse sentencing (death) due to the poem that he allegedly penned, which critiqued the upper class and questioned the purpose of the royal family. These are, of course, ideals that the Bolsheviks agree with, even if they are being echoed by a Count who benefited from the institutions he criticized.As with Towles’ novel, much of the Count’s life before the revolution is shown through fragmented flashbacks dotted throughout the series, as well as through illuminating conversations with his compatriots — or, rather, comrades, Mishka (Fehinti Balogun) and Prince Nikolai Petrov (Paul Ready).

With Ben Vanstone as the guiding hand for the series, A Gentleman in Moscow was smartly adapted from page to screen. Rather than embracing the novel's insular storytelling, with the Count as the sole protagonist, Vanstone has widened the narrative to bring more life to the surrounding characters — particularly the women who come in and out of his life, and the gilded doors of the Metropol. It would have been very easy to frameAnna Urbanova (Mary Elizabeth Winstead) as little more than the Count’s on-again-off-again girlfriend.

Her life outside of Alexander doesn’t matter on the page; she only exists when she is with him or on his mind. Perhaps with a different creative team, that would have been exactly how she was portrayed, but Vanstone veered far away from playing straight into that trope. Instead, Anna’s life outside of Alexander is given depth. Her career as an actress is a vital subplot that weaves through each episode, headed towards a larger plot point. While she and the Count do fall into bed on numerous occasions, it’s always handled tastefully and shown as a relationship that she holds the reins to. Courting a criminal comes at great personal risk to her budding career, which makes the shifted narrative all the more vital.

A Gentleman in Moscow marks the third time that McGregor and Winstead have shared the screen following their performances in Fargo and Birds of Prey, and their real-life chemistry beautifully carries through into the relationship between Alexander and Anna. They play off each other naturally, and their performances are just as electric, regardless of whether Anna is keeping his delusions of grandeur in check or he’s sprawled out naked on the ground with nothing more than a towel to hide the… Fabergé eggs. McGregor and Winstead's dynamic is half the fun of A Gentleman in Moscow. It’s refreshing to have even more historical romances to talk about around the watercooler — and audiences will be raving about this series given its weekly release schedule.

While Alexander’s relationship with Anna is at the heart of A Gentleman in Moscow, the soul of the series is his unlikely friendships with two little girls who call the Metropol home during different periods of his imprisonment. First is Nina Kulikova (Alexa Goodall), a curly-haired spitfire who has everyone in the hotel wrapped around her finger. It’s through Nina that Alexander starts to make genuine connections with the host of characters around him, which changes him for the better. Years after Nina has been set free from Alexander’s gilded cage, a second young girl comes into Alexander’s life: Sofia (Billie Gadsdon). Through both girls, Alexander gets to experience what fatherhood might have looked like for him had he not been ensnared by the Bolsheviks.

Another notable and equally unlikely friendship that Alexander makes at the Metropol is the one that he forges with Osip Glebnikov (Johnny Harris), the man tasked with ensuring he never leaves the hotel. Glebnikov enlists Alexander in training him to be more of a gentleman. Given his upbringing, he was never afforded the same access to scholarly works or classic literature as Alexander, and this academic pursuit becomes their evening conversations over supper.

One such conversation centers on Victor Hugo’s seminal work, Les Misérables, which is a cause of confusion for Glebnikov, who withers at the notion of Javert (spoilers for a 162-year-old book) committing suicide. While the conversation about Les Misérables may be brief, the comparison between the two works is undeniable. Alexander, much like Jean Valjean, is a prisoner of circumstances, though on wildly different sides of the scale. While Valjean escapes from his jailor, Javert, for large swaths of time, Alexander is always right where Glebnikov left him within the halls of the Metropol. The true comparison, however, arises when Alexander is tasked with the care of young Sofia by her mother, much in the same way Fantine entrusts Cosette’s future with Valjean. Further comparisons could be made with the setting of both tales, as they are both set against uprisings, revolutions, class disparity, and the sort of socialist discourse that would make Karl Marxsit up in his grave. And, much like the stage musical, A Gentleman in Moscow is all about the turning of the years.

'A Gentleman in Moscow’ Starts Slow, But Builds to a Pulse-Pounding Conclusion

Spread out across eight episodes, A Gentleman in Moscow spans approximately forty years of Alexander’s life in captivity. With each new episode, a running total of how many days he has spent in his lavish prison is tallied up. Occasionally, the episodes will work backward from each shocking total, which cleverly hooks the audience right from the onset of the episode. Except for his visible aging and waning agility, the Count remains largely stagnant as the world changes around him. He has very little control over his circumstances, which means a lot happens to him, not with him. People come and go around him, relationships are formed, babies are born, those babies grow up and go to war, people die, and Russia evolves—for better and for worse.

The first handful of episodes start slowly, particularly where Alexander’s passivity is concerned, but as he begins to come to terms with his situation and connect with the vibrant world around him, however small it may be, the pace finally picks up. Without revealing too many details about the final episodes of the series, one might be able to imagine what sort of turmoil might visit his gilded cage once Stalin’s regime falls and America starts poking around the ruins of the government. The passage of time is cleverly shown through more than just a running total and graying hair. While Alexander’s wardrobe rarely receives an upgrade, the people around him represent the ever-evolving world beyond the Metropol. Anna is the best bellwether for societal changes as her appearance transforms from a picture-perfect blonde bombshell with rising hemlines to her natural brunette curls and sophisticated elegance. As time continues to pass, she even dons cozy sweaters that mirror Alexander’s own comfortable existence.

While it is unlikely that A Gentleman in Moscow intended for Ewan McGregor to look like a dark academia fever dream, every bit of the Count’s character design screams the aesthetic. From the unkempt coif of permed curls to his longjohns-clad calisthenics in a dusty attic, Alexander looks more like an eccentric history professor than a count whose wings have been clipped. McGregor brings a charming congenitally to the role that makes the Count ever so beguiling, particularly when he gets to act opposite the younger members of the cast. When he’s not going toe-to-toe with Winstead, he’s at his best keeping up with the spry wit of Goodall and Gadsdon's characters.

A Gentleman in Moscow lives up to the expectations set by Towles’ novel and delivers a sprawling historical epic contained within the walls of a single location. The Count’s world might be as small as the Metropol, but he lives vicariously through the relationships he makes — and, by extension, so do we. With mystery, danger, and intrigue threaded throughout, A Gentleman in Moscow has the potential to dominate cultural conversation in the same way that Shōgun and The Gilded Age have nourished audiences who are starved for well-told, compelling tales.

A Gentleman in Moscow premieres March 29 on streaming and on-demand on Paramount+ with Showtime before its on-air debut on March 31.