Max (1/10)

 Copyright © 2002 by Tony Medley


 I was looking forward to this.  Itís an intriguing idea, examine Adolf Hitler (Noah Taylor) as he was in the year 1918, right after World War I ended and he was still a struggling artist, through the eyes of a fictional art patron, Max Rothman (John Cusack).  Unfortunately, Director/Writer Menno Meyjes butchers the idea and the result is a boring, uninvolving speculation that makes tedium an attractive alternative.

 To understand the mindset that ruined this interesting idea, Meyjes doesnít have even one car in the movie ďbecause I didnít want that sort of markerÖ  I wanted a film that looks like it could play in either 1918 or 2002.Ē  Well, excuse me.  World War I ended in 1918.  Hitler was a struggling artist in 1918.  Whatís wrong with it looking like 1918?  Thatís the world in which Hitler lived. This is like saying ďI donít want any bows and arrows shown when I make Robin Hood because I donít want it to look like the 13th Century.Ē

 Noah Taylor contributes an interesting interpretation of Hitler at this stage in his life.  Unfortunately, this seems like a star vehicle for Cusack because heís the guy whoís on the screen most of the time.  Who cares about the fictional Max Rothman?

 This could have been a fascinating tale.  Instead, itís a wearisome, lost opportunity.  What a shame.

 December 13, 2002

 The End