Max

What's the Plot?

1918. The world is still coming to terms with the consequences of World War One. In Munich, the confusion of the future is evident everywhere as the lines between politics, personal beliefs, art, anger and oppression begin to blur worryingly. Max Rothman (John Cusack) is one of those people. A soldier in The Great War, he has returned unable to fulfill his promising career as an artist due to losing his right arm. This however has not stopped Max from finding his place in the new world facing an uncertain future as he opens up what becomes a highly acclaimed art gallery. With his new-found fame comes all the trappings - a mistress in the shape of aspiring artist Liselore (Leelee Sobieski) and the pressure of keeping the gallery afloat while keeping the customers awash in champagne. Whilst Max juggles these, his wife, Nina (Molly Parker) becomes an emotional casualty as he has his attention drawn elsewhere yet again. This time it's a fellow war veteran and aspiring painter who has no family, friends or home due to the fighting. His name is Adolf Hitler (Noah Taylor) and Max can see a truly good artist in him if only he can set his anger and emotions free upon the canvas. However, Adolf's anger and emotions are also being channeled into the realm of politics... which will he choose to follow?

The Review

Costner had his Dances With Wolves, Gibson his Braveheart and Spielberg his Schindler's List. Max is a long way off from these epic moments of movie-making, but is still a film of note and is by far the most able to flirt with controversy. Without Cusack's presence, it's safe to say that this exercise in "what if.." never would have made it this far into the public's consciousness, and lucky for us that it has. Firstly, it gets to show that the man who gave the world the likes of Say Anything, High Fidelity and The Sure Thing can build on his The Grifters and Being John Malkovich turns and bring in a performance worthy of the phrase "serious actor." Cusack, as the slick, stylish Jewish art dealer is perfectly at odds with Taylor's portrayal of the twitchy, angry wannbe artist, Hitler.

Indeed, it's Taylor's delivery of a confused man in search of an anchor that could cause some problems audience-wise. Max's line of " you're a hard man to like Hitler, but I'm gonna try," is funny and uncomfortable at the same time since the emotion of sympathy begins to grow for someone who is considered to be one of the most villainous characters of the 20th century. The struggle for Hitler's soul becomes all the more engaging as the film unfolds despite the fact that we all know where the angry artist will eventually put all his talents. Like the imaginary angel and devil on a person's shoulders, Max is unwittingly battling against Captain Mayr, played by Ulrich Thomsen, who believes that the young Adolf could be the way forward for the army of Germany.

It's this battle for the soul that showcases one of the films' more disturbing moments with Hitler watching a propaganda play acted out with puppets about non-mixed blood lines totally enthralled. "Max" albeit a good film, is a very strange one with an interesting look at how everyone, no matter who they are, are human afterall with fears and hopes like the rest of us. A little bit too strange for mainstream, it is nonetheless a credit to John Cusack for sticking his Hollywood-neck out to help get it made.Open your mind and give it a try.

STEVE'S SCORE