David Marchese in The New York Times:
There’s a scene in that modern classic of screwball existentialism, “Being John Malkovich,” from 1999, in which John Malkovich, playing a version of himself, enters a portal that others have been using to climb inside his mind. Suddenly, Malkovich is in a world populated solely by variations on himself: Malkovich as a flirtatious sexpot, a genteel waiter, a jazz chanteuse, a bemused child, everyone speaking only the word “Malkovich.” In a way, that scene is a microcosm of the actor’s decades-long, always-interesting career. He has played a million different parts, but somehow they’re all defined by the unmistakable, enigmatic, magnetic presence of Malkovich. Same goes for his work in the Apple TV+ series “The New Look,” premiering Feb. 14, which is based on the experiences of the fashion icons Christian Dior, Coco Chanel, Cristóbal Balenciaga and others who helped build the French fashion industry while enduring the impossible complexities of World War II. Malkovich, playing the couturier and Dior mentor Lucien Lelong, delivers a softer, warmer performance than the ones for which he is probably best known. But even so, with his off-kilter line readings, his louche manner, his oddly wavering yet commanding voice and his general air of playing a game to which only he knows the rules, the role is, as always, pure Malkovich.
If we take style to mean a manner of doing something, could you articulate the John Malkovich style? Not really, because it’s not something I think about much — what I am or what I do. But I’ve always felt style is the only constant in life. By style I mean, simply, the way you move through life. If you get sad news, how do you respond? What do you do if you’re angry, if you’re amused, if you’re moved? That’s what style is. It’s not really up to me to say what mine is.
More here.