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Ever wonder what life is like for up and coming dictators and military sorts? Where, and under what circumstances do they begin their dream of conquest? Max, by writer/director Menno Meyjes, takes us into that period Adolph Hitler’s life. Hitler, in the 1920's, was a painter as well as a soldier. Why did he choose to create fascism over creating art?

Noah Taylor plays Hitler in a startling performance that makes one wonder just how Hitler ever swayed people. There was a slight speech impediment, ordinary looks, and an abrasive personality---yet when he spoke, millions listened. The Max of this story is Max Rothman (John Cusack) a Jew who as a soldier in the same battle of Ypres as Hitler lost his right arm. Max had been a modern painter, but now is an art dealer. There isn't much that interests him anymore---his beautiful ballerina wife (Molly Parker) and their two children are fading into the background of Max's affair with artist Leelee Sobieski and the avant-garde exhibits he puts on at his studio in a converted factory. Max becomes interested in Hitler and tries to give him advice on manners, dress, and painting. Hitler, who is friendless, and speaks negatively of Jews, takes to Max. The anti-Semitism doesn't seem to bother Max, who even takes Adolph for a ride on his bicycle. It's when Hitler's army superiors begin to take notice of his "…new world order…." political views that things begin to change.

Many will find the discussions between Max and Hitler about art and politics to be insightful but as a film of philosophy, I found Max to be stagy and thought at times I was in a classroom. When the film came alive was when Hitler tries to take the advice Max offers. Here is a repressed man who is frustrated with his inability to relate. Too bad he didn't meet Freud instead of Max Rothman. Taylor joins in a long line of actors who have played Adolph Hitler, perhaps the skinniest of the group, but the characteristic errant lock of hair, spraying saliva and straight-backed walk are ever-present. Cusack at times is a Max we sympathize with. Oh, if he could only paint again, but alas, this is denied him. At times, Cusack is too brash and forward in his characterization. His flippant remark, "I gave at the office," is too far ahead of the time period to ring true. The ideas for his exhibits arise from many things, including a meat grinder, which leads to a "happening" like those forty-five years later in Greenwich Village.

Cusack's best moments are with his wife and children. Sobieski is window-dressing, unfortunately. We don't know about Max's history with her except she burns fuel on a concrete floor to warm the room. Molly Parker is the wife who looks away and understands Max better than he thinks. The sets are beautiful and the scenes are framed like portraits. The lighting is particularly dark, especially in Max's studio where one should be able to see the art and not squint at the screen while Max's home is exquisite, especially the library with a wall of glass blocks to let in light.

Max explores the "what if" of Hitler's life. What if he continued painting instead of propaganda? What if he turned down an opportunity to go to a propaganda seminar? What if there was religion in his life? Eventually, though, destiny intervenes, politics becomes the new religion and Adolph Hitler embraces it like a thirsty man in the desert.

Copyright 2002 Marie Asner
Submitted 12/23/02