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MAX Send This Review to a Friend
There has been a trend lately to examine the life of Adolf Hitler, as revealed for example, in museum exhibitions dealing with Hitler's early efforts as an artist. That period in Munich is the core of "Max," which I saw at the Toronto International Film Festival 2002. John Cusack plays Max Rothman, a successful Jewish art dealer who after World War I befriends the young Hitler (Noah Taylor) and examines his art. Hitler is very frustrated at his lack of recognition and opportunity and is shown gravitating toward his political fanaticism.
The art that finally impresses Rothman is Hitler's design of the visual elements of the new society he wants to create--essentially his visual blueprint for what would become the Nazi era. Just as they are to have a crucial meeting at which Rothman would tell Hitler he would give him a show, Rothman becomes a victim of anti-Semitism and the rendezvous that would have provided Hitler with the breakthrough he has sought doesn't occur. It is interesting, but glib, implying that perhaps the meeting would have changed the course of history. Still "Max" works up a special aura as it tries to see what made Hitler tick.
Writer director Menno Meyjes, abetted by the atmospheric cinematography of veteran Lajos Koltai, establishes the period well. But it remains for the performances to make the film work. Cusack, in what may be his finest accomplishment to date, is superbly convincing as Rothman. He projects confidence in his professional status, astuteness and openness toward new talent, but disdain for what Hitler has produced thus far. He also shows kindness in his efforts to set Hitler on a constructive course.
As Hitler, Taylor has the most difficult task. He must show the man's fanaticism, yet make him believable. He must reveal his passion for art demanded by the characterization, real or exaggerated, and convey the frustration he encounters at his constant rejection. Taylor is too frenetic at times, and is never likable, yet he does succeed in humanizing Hitler to an extent, while also leaving with us an impression of the political opportunism and anti-Semitism in the disgruntled man that would flower into his ultimate manipulation of Germany into the aggressor and repressor that it became.
But the film also leaves us with that glib what if. A Lions Gate Films release.
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