Max

Sight unseen, the Jewish Defense League has urged Lions Gate Films to shelve this movie, due to its radical notion that Adolf Hitler was shaped by the world around him rather than being born the Antichrist. Specifically, the JDL protests that there is nothing "human about the most vicious, vile murderer in world history." As a person of Jewish extraction who has seen the movie (at the 2002 Toronto Film Festival), I would take exception to this stance and urge Lions Gate to proceed as planned. This film is a brilliant, engrossing, thought-provoking work that does Hitler no favors and sheds light on the real-world forces afoot in post WWI Munich that only could have nurtured his worst beliefs and talents.

Dutch-born Director Menno Meyjes has shown an affinity for tough ethnic and cultural clash themes in his career as a screenwriter (THE COLOR PURPLE, EMPIRE OF THE SUN and THE SIEGE are among his credits). But here, in his first chance to direct his own writing, he's come up with what's certainly his most fully realized work to-date. Eschewing simplistic notions, he weaves a fascinating story that deals at length with the career as a painter that Hitler is known to have unsuccessfully pursued at one time.

The title character of the film is a fictional (but based on a composite of real-life characters) Jewish German WWI vet named Max Rothman. He's lost one of his arms in battle, but is able to return to a much better situation than the average German vet: a loving wife and family, a gorgeous mistress, and family wealth that enables him to start an art gallery that prospers dealing in modern expressionist works. Hitler, by contrast, returns to pretty much nothing, and at age 30 is desperate to finally make the grade as a commercial artist.

Sensing that Hitler has a passion that there could be a market for if only he could find some way to get it out onto canvas, Max encourages him to experiment with schools of painting that seem a better fit for his temperament than the traditional ones he's decided to limit himself to. Unfortunately, Hitler's real artistic gift seems to be for a then-new form of performance art known as `propaganda,' and his Aryan war pals provide him with support for pursuing this field while simultaneously fanning his smoldering anti-Semitic sentiments.

Noah Taylor - who many feel got robbed of an Oscar nomination for his role as the young David Helfgott in SHINE - is mesmerizing in the Hitler role. Even made up to look gaunt, pallid, and thoroughly unappealing (although not freakish), you still can't take your eyes off of him. With body language, countenance, and tone of voice, he's able to suggest a raging intensity lurking just below the surface of his character's socially awkward loner exterior. Taylor still won't come up with any awards recognition for this role (it's WAY too hot a potato), but that doesn't change the fact that he's brilliantly conquered a daunting acting challenge.

John Cusack, in a welcome change from the light roles he's been playing lately, is also excellent as the title character, skillfully portraying a worldly businessman who's too focused on artistic images to ever notice the big picture. The subject matter allows near-zero latitude for levity, but SOME mirth is needed to keep the proceedings from becoming unrelentingly grim. Meyjes ingenious solution to this quandary is wry comments on art and (especially) the business of art by Max - a perfect fit for Cusack's deadpan delivery.

Even though you KNOW which career path Hitler is ultimately going down, the equilibrium between the forces pulling him in both directions and the incredible `what might have been' fascination factor keep you thoroughly transfixed throughout the film's near-2-hour running time. NOBODY in the huge auditorium where I saw the film got up or stirred from the opening scene through to the supremely ironic ending - not even to answer the call of nature. MAX is sure not `the feel-good film of the year,' but if you've been longing for a powerful, all-encompassing drama that doesn't require you to check your brain at the door, this is the film you've been waiting for.

These are stellar performances by John Cusack and Noah Taylor. The story draws you in such that when the movie abruptly ends, you want to see and hear more. What were Hitler's influences? Was he a product of his environment? Without a doubt, Hitler was an angry man when returning from WWI to nothing. Many were in the same boat. Anti-semitism was alive and well long before Adolf took it and carried it to the extent that he did. And Hitler, like many others, found solice in nationalism.

One criticism of this movie was its depiction that Hitler had developed his emotional oratory skills at a young age. The historical accounts (Shirer's Rise and Fall of the Third Reich) seemed to indicate that he didn't really find his speaking voice until later. This was 1918 and Hitler is only 29 or 30 years old.

Also, the scene where Taylor riles up an auditorium full of Germans with an anti-semitic speach didn't fit with the rest of his portrayal of a timid, weak-minded, lost-soul, young Hitler. This scene seems to defy the rest of the image of Hitler we are given.

This is not to criticize Noah's portrayal. It is absolutely stunning. He had to have spent hours watching footage of Hitler in action.

This movie leaves you wanting more information. What else made him become the monster presented in the textbooks?

It is unfortunate that the Academy could not pay more attention to the performances in this movie, as both Taylor and Cusack both deliver. I believe that Hollywood has a fear of treading anywhere close to this subject matter except to deliver stereotypical portrayals of the historical people and events.

I thought this movie was quite profound, and heartbreaking. I thought the filmmaker was obviously trying to make the point that if only Hitler had achieved some success as an artist, and had at least one true friend who he could bond with (esp. if that friend was a Jew)then the events of the 20th century would have been far different. The scene where Max tries to get Hitler laid was incredibly funny and sad at the same time. One can't help but think, this pathetic loser is destined to rule Europe in 20 years?

The film also proposes that perhaps the whole thing (siezing power, the war, the holocaust, ...) was just an elaborate art project for Hitler and nothing else. This may be preposterous, but I give the director credit for at least trying to say something so potentially controversial. Clearly the events of post WW1 Germany were far more complicated than are expressed in this film, and clearly Hitler as a young man was far more twisted and ambitious than the character portrayed here, but nevertheless I think this film was brilliant.

This movie was fantastic if you are open minded enough to view it with a "what if" attitude. Of course there are plenty of people out there complaining because they cannot separate fiction from reality and entertain the idea of Hitler having taken a different path. However, this movie is worth seeing. Great performances by Cusack(Max Rothman) and Noah Taylor(Adolph Hitler).

Also people always wonder how Hitler could be so influential if he was so whacko and the movie gives a great insight as to how it might have happened.

If for no other reason, the movie is worth seeing just to hear the line "Come on Hitler, I'll buy you a lemonade..."

I never would have guessed I'd hear that line in a million years.

Overall, I would say the film wasn't bad. Full marks for embracing the radical concept that Hitler was a human being.

Reading many of the comments posted here, I would say that the film has been somewhat misunderstood. Understandably, the viewers focus on the portrayal of Hitler. But the film is titled "Max", not "Adolf." Max, the art dealer, is the focal character of the story, not Hitler. I think that the film shows the blindness of so many Germans in the interwar years, people who saw what they wanted to see in Hitler and ignored the rest. Max saw Hitler as an amusing ex-soldier artist and futurist, and brushed off the ideology underlying his futurist visions. Max is emblematic of an army that saw his desire to rearm and ignored the ideology that would strip the army of its historic identity, of business owners who saw his committment to controling labor but ignored the ideology which would also put a stranglehold on business, of ordinary Germans who saw a strong leader to deal with their country's problems but ignored his desire for war and conquest. As recently pointed out in Woody Allen's "Anything Else", there were German Jews who supported Hitler, because they saw a strong leader. To me, "Max" is the story of the blindness that overcame so many Germans, blindness that paved the way for Hitler's rise to power.

I've read in a few comments that Hitler claims, in the film, to have not been anti-Semitic. That is not correct. Rather, as he says in the barracks, he opposes "emotional" anti-Semitism. In his mind, anti-Semitism should be based on "scientific" fact rather than raw emotions. To him, it is a self-evident truth arrived at logically by observing the Jews and their ways. This is historically correct. His big anti-Semitic speech at the end of the film is taken straight out of Mein Kampf, and shows this approach.