The Screengrab : munich

Baader-Meinhof: A Komplex Issue

Leonard Pierce — Fri, 26 Sep 2008 14:30:00 GMT

Opening in Germany this weekend is Udi Edel's Der Baader Meinhof Komplex. A dramatization of the rise and fall of the West German Red Army Faction -- also known as the Baader-Meinhof Gang -- that its producers insist is meant to deglamorize the 'terrorist-chic' reputation of the radical outfit, the movie has already attracted huge amounts of criticism for doing just the opposite.

Of course, it's no surprise that it's a controversial film. The RAF were, after all, bombers, kidnappers and killers, and in today's terror-stricken environment, it's unlikely that any fictional treatment of the Baader-Meinhofs, no matter how critical, would be exempt from criticism for making heroes out of terrorists. Though Der Baader Meinhof Komplex is intended to be a prestige picture (it features an all-star cast, and has already been named as Germany's entrant into the Best Foreign Film category at the Academy Awards), it's encountering significantly more resistance than did Steven Spielberg's Munich, which covered some of the same psychic territory.

Still, surely it's possible to discuss the movie's aims and intentions without entirely glossing over the complex realities of the day. The Guardian article linked above takes as face value the notion that the RAF were little more than mad killers, saying nothing about the extremely repressive and dark political climate of Germany in the 1970s. While it gives admirable space to the families of the victims, other commentary comes from conservative newspaper editors and Ulrike Mienhof's daughter Bettina Roehl, who -- it goes unmentioned -- is a notoriously intemperate right-winger. The mass death of the RAF leaders in prison is given the consensus brush-off as suicide, a theory that has gained acceptance over the idea that they were murdered by the government for little more reason than no one is much interested anymore in defending them. And, most of all, the whole tone of reaction to the film seems predicated on the notion that it's de facto tasteless to even make a movie about historical figures that enough people think are bad.

Eventually, the movie will open in the U.S. It deserves to be subjected to the opinions of the people whose lives were affected by the RAF's crimes; it deserves, too, to be assessed as a work of art.

Related Posts:

Rose McGowan Takes Leave of Her Senses

Two Controversial Homecomings

"Babylon" Tanking: Director Kassovitz Blames His Studio for a Sci-Fi Debacle

Phil Nugent — Tue, 02 Sep 2008 16:00:00 GMT

If you're among the select group of people who've seen Babylon A.D. --the sci-fi action whatsit that opened last Friday without the benefit of press screenings--its director, Mathieu Kassovitz has a message for both of you: it's not his fault. Kassovitz, who made a splash as a director in 1995 with his international hit La Haine (and who is perhaps best known here for his acting roles, such as the male romantic lead in Amelie and the boyish explosives expert in Munich) feels that 20th Century Fox, the movie's American distributor--it was co-financed by them and the French-based StudioCanal--gutted and mangled his baby, and he's gone public with his complaints via an interview with the website Scifi Scanner. If you only noticed the faint signals of Babylon A.D.'s publicity campaign and were unfamiliar with Kassoviitz's reputation as a filmmaker, you might be startled to learn that the movie, which stars Vin Diesel, Michelle Yeoh, Charlotte Rampling, and Gerard Depardieu ("wearing," according to New York Times reviewer A. O. Scott, "the most superfluous prosthetic nose extension in film history"), and which was originally set to be released back in February, was something that a studio might be able to mishandle. But it turns out that this, once upon a time, was a labor of love. The script, which is credited to Eric Besnard, is based on a novel, Babylon Babies by the French writer Georges Datec, that Kassovitz had wanted to film for years. The director rhapsodizes that "The scope of the original book was quite amazing. The author was very much into geopolitics and how the world is going to evolve. He saw that as wars evolve, it won't be just about territories any more, but money-driven politics. As a director it's something that's very attractive to do." But his efforts to remain true to the material were undercut, he says, by Fox's meddling. "I never had a chance to do one scene the way it was written or the way I wanted it to be. The script wasn't respected. Bad producers, bad partners, it was a terrible experience."

" To whatever degree the movie that Kassovitz made resembled what he had in mind, the finished product was further altered when Fox got out the chop-chop scissors before throwing it into theaters over the Labor Day weekend. The official 93-minute release is said to have lost anywhere between fifteen minutes (Kassovitz's best guess) and seventy minutes of footage from the director's version. (Informed of the changes, Vin Diesel, who has spoken of the movie as a comment on "an age where borders are closing," could only ask sardonically, "Am I even in the movie any more?") What's left, Kassovits says, is "pure violence and stupidity...like a bad episode of 24", like the ones where Jack's wife had amnesia. The way he sees i, he wanted to make a movie where "All the action scenes had a goal: They were supposed to be driven by either a metaphysical point of view or experience for the characters," whereas Fox ""Fox was just trying to get a PG-13 movie." The end result for him has been a sad lesson in just how superfluous the director of a movie can be made to feel. "I'm ready to go to war against them," he says, "but I can't because they don't give a shit."

Hebrew Hammers: The Top 12 Tough Jews in Cinema (Part I)

Andrew Osborne — Thu, 15 May 2008 20:00:00 GMT

“If any of us get laid tonight, it’s because of Eric Bana in Munich.”

So says Seth Rogen’s full-time slacker Ben Stone at the start of 2007’s Knocked Up, heralding a recent shift in the pop culture persona of the Chosen People from neurotic schlimazels of the Woody Allen variety to bad-ass playas like Bana.

But, although the concept of “Jewish action star” is a relatively new phenomenon, film history is filled with tales of Hebrew heroes (and heavies), from ancient Egypt to modern Israel.

And thus, in tribute to the upcoming June 6th release of Adam Sandler’s meshuga Israeli commando/hair-stylist comedy You Don’t Mess With the Zohan, we here at the Screengrab are proud to present...THE TOP 12 TOUGH JEWS OF CINEMA!!!!!

ERIC BANA AS AVNER IN MUNICH (2005)

Well, of course we had to start with this one. Bana’s Avner, a Mossad agent tasked with tracking down and executing the terrorists responsible for the murder of Israeli athletes at the 1972 Munich Olympics, isn’t a stone-cold, tough-as-nails killer like his fellow assassin Steve (a dead-eyed Daniel Craig). Not that he isn’t formidable in his own right, surviving explosions, raiding PLO compounds, dodging other assassins and negotiating tense Middle Eastern Mexican stand-offs. But Avner is more than a rage-fueled killing machine, leavening his combat skills with love of family and the mental toughness to question the wisdom of fighting violence and hatred with ever more violence and hatred. Plus, if we’re to believe the ill-conceived, much-maligned “climax” of the film, Bana’s character is tough enough to maintain his mojo during volcanic sex with his wife even while suffering vivid flashbacks of terrible murders he didn’t actually witness. Me, I usually just think of baseball.

JEFF GOLDBLUM AS DAVID JASON IN DEEP COVER (1992)

This anti-Drug War crime thriller supposedly stars Laurence Fishburne (as a fast-rising drug dealer who's actually an undercover cop), but the movie belongs to Goldblum as the lawyer for the local head (Gregory Sierra) of the drug cartel. His character embodies his culture's traditional pursuit of success through education and hard work, but he's also at least half crazed from envy of the thugs he keeps out of jail with his motormouthed brilliance. Their hair-trigger willingness to give in to their violent urges makes him feel unmanly and overcivilized. (Sierra insults Goldblum by calling him "bar mitzvah boy"; Goldblum, in turn, naively thinks he's paying Fishburne a compliment when he likens him to "some beautiful panther or jungle storm...a dangerous, magnificent beast.") After Sierra beats a man to death in front of Goldblum, he asks him if it's the first time he's ever seen a person die, and Goldblum responds with a dreamy monologue about witnessing a fatal accident when he was a kid at summer camp. He sounds as if he 's remembering his first kiss. Goldblum finally snaps, joins Fishburne in toppling Sierra in a bloody coup, and winds up decked out in black leather and slicked-back hair, machine-gunning Clarence Williams III as if in retaliation for The Mod Squad.

JAMES WOODS AS MAX AND ROBERT DE NIRO AS NOODLES IN ONCE UPON A TIME IN AMERICA (1983)

Sergio Leone's final film is an opium dream of a gangster epic starring De Niro and Woods as lifelong frenemies, two products of the Brooklyn Jewish ghetto of the tenement era who grow up to become kings of New York during the Depression years. Part of the tension of their love-hate relationship comes from the fact that they represent clashing approaches to getting the most out of life. Max, the Bugsy Siegel figure, is an unstoppable bullet of wordly ambition, a volatile schemer who won't hesitate to shoot or bitch slap anyone who gets in his way, questions his plans, or looks at him cross-eyed. For most of the film he seems to roll right over the more careful, romantic-spirited Noodles. He ultimately fakes his own death, so that he can disappear into a new life as a respectable, rich businessman (and marry the woman--Elizabeth McGovern--who's the unattainable love of Noodles' life), leaving his old pal broke and stranded with survivor's guilt for thirty-five years. But after Max has played out his string and summons the now-aged Noodles to put him out of his misery, telling him that he's "the only one I can accept it from", we see that Noodles, the mother hen, is one of those people who was born to be sixty, and that everything up to now in his life has been preparation for the moment when Max comes begging, and he says no. It's all been worth it just to get to the end of their lives so that he can say, "I told you so."

CHARLES BRONSON AS BRIG. GEN. DAN SHOMRON IN RAID ON ENTEBBE (1977)

Though it may seem hard to believe now, there was a period of about ten years there where most of the Western world recognized the Israeli military as perhaps the last example of unfailing competence and dependable strength put at the service of a cause that was just--in a nutshell, the good guys. This glorious public relations phase began in the summer of 1967 with the Six-Day War and had its last great hurrah with the rescue mission to recover the hostages taken by Palestinian and German hijackers who sought refuge in Uganda. "Operation Entebbe", which happened to unfold in the early hours of July 4, 1976, as America was gearing up to celebrate its own Bicentennial, was such a movie-ready news event that it was dramatized in three separate movies that went into production practically overnight, including two films originally made for American TV and an Israeli feature that was directed by Menahem Golan, later of the notorious Golan-Globus Productions. The best of them, by miles, was Raid on Entebbe, directed by Irvin Kershner (The Empire Strikes Back) and released to theaters internationally after premiering on NBC TV six months after the actual events. The cast, which was very classy A-list by seventies TV-film standards, included Peter Finch (who died a week after the original broadcast, and who won an Oscar for his performance in Network shortly thereafter) as Yitzhak Rabin and Yaphet Kotto as Idi Amin, but it's Bronson who gives it that all-important shot of testosterone. He doesn't really have that much to do except fill out a uniform and bark orders into his walkie-talkie, but the important thing is that it's Charles fucking Bronson in his Death Wish-era prime who's in charge of this mission, bestowing upon it his macho gravitas and leathery glamor. By comparison, the 1986 Delta Force had to try to squeeze whatever juice it could out of the combination of a past-his-prime Lee Marvin and an not-yet-ironic Chuck Norris on a rocket cycle.

LENA OLIN AS MASHA IN ENEMIES: A LOVE STORY (1989)

In this adaptation of Isaac Bashevis Singer's novel, Olin is a house on fire as a ferociously sexy Holocaust survivor who's having an affair with Ron Silver as a Polish Jew who's been transplanted to New York after spending World War II hiding in a hayloft. (He's now married to the girl, once his servant, who loaned him the layloft.) Fear and guilt have made Silver so nervous that he's a spectral wreck, but her time in Hell has left Olin disinclined to care what anyone thinks of her and determined to take whatever she wants and apologize to nobody; when she finally kills herself, it's her final "fuck you" to a world that doesn't deserve to have somebody as hot as her livening it up. Honorable mention goes to Anjelica Huston as Silver's first wife, who he meets again in New York years after having assumed that she'd died in a concentration camp. His first words to her after they'be been reunited: "I... I didn't know you were alive!" Her smiling reply: "This you never knew."

WOODY ALLEN AS DAVID DOBEL IN ANYTHING ELSE (2003)

I was going to include Ben Kingsley’s portrayal of Meyer Lansky in Bugsy here, but Kosher Nostra mobsters are well-represented elsewhere on the list, and since the Woodman was disparaged in the introduction as the personification of non-threatening Jew-hood, I figured it was only fair to mention his uncharacteristically empowered portrayal of gun-toting, windshield smashing, paranoid conspiracy theorist David Dobel in the underrated, unfairly maligned romantic tragedy, Anything Else. Like his work in the far superior Stardust Memories (which critics also hated), Allen’s performance here (as an unreliable mentor to the likeable, lovelorn Jason Biggs) is cranky and misanthropic, but also darkly funny and refreshingly prickly, with the courage of its own piss and vinegar convictions. Dobel may be just as much of a hard luck case as some of Allen’s previous incarnations, but this character would rather fight than mope, choosing anger over depression in his confrontations with the injustices of the world. Like his cool, successful Bizzaro World alter ego Nick Fifer in Paul Mazursky’s 1991 curiosity Scenes From A Mall, Dobel is the rare Allen character that strays from the comedian’s typical comfort zone to hint at the Tough Jew lurking just beneath the tsuris.

Click here for more Tough Jews!

Contributors: Andrew Osborne, Phil Nugent

The Spy Who Glubbed Me: Production on Next 007 Thriller Floats Towards the Finish Line

Phil Nugent — Mon, 21 Apr 2008 14:30:00 GMT

Some dipshit drove James Bond's car into a lake in Italy while filming Quantum of Solace, the second picture starring Daniel Craig as Bond. A stuntman whose name does not appear in press reports, probably for the same reason that the Feds discourage releasing the names of the key witnesses against Tony Soprano, "was delivering the iconic Aston Martin DBS to the film scene in heavy rain when he lost control" and plowed 007's sweet, sweet ride into Lake Garda, a body of water that few reporters will be able to resist describing as "scenic." The stunt man was taken to the hospital "with a few bruises," most of them probably administered by the producers; the car, which was hauled out of the lake and is now the world's most expensive portable hot tub, was reportedly the only one of its make available for the production.

Quantum of Solace, the twenty-second "official" entry in the Bond franchise that began back in 1962 with Dr. No, has already experienced its share of setbacks. It went through a change of directors, requiring that both principal photography and the picture's release date be pushed back; Chilean politician Carlos Lopez crashed the location shoot (after the filmmakers had used the village of Antofagasta to double for Bolivia) to criticize the filmmakers' geographic sense and compare them to the Pinochet dictatorship; weather caused the cancellation of a planned shoot at Macu Picchu last month; and on top of all that, the thing's called Quantum of Solace. Is that supposed to be a rebus puzzle, or what? In addition to the sturdy, studly Craig, the cast includes new Bond girls Olga Kurylenko and Gemma Arterton, and Mathieu Amalric (Munich, The Diving Bell and the Butterfly), popularly known as "that little Roman-Polanski-looking sumbitch", as the requisite supervillain. Quantum of Solace is supposed to open in the U.K. in late October and in the U.S. the first week of November, if there are enough survivors to finish it.

Take Five: Assassination!

Leonard Pierce — Fri, 22 Feb 2008 22:00:00 GMT

Ever since a November afternoon in 1963, a man in a high place with a rifle and a head full of malice directed at the President of the United States has arguably been our most persistent national nightmare. And from Abraham Lincoln's assassination by one of the nation's best-known actors to the appropriately ham-handed attempt on the life of the ineffectual Gerald Ford by a Manson Family hanger-on, the murder of famous politicians has absorbed our national attention in the news, so why shouldn't it equally influence the kind of movies we watch? Pete Travis' Vantage Point opens across the country this weekend; early buzz has it that the movie, about the assassination of someone pretending to be the president, is all style and little substance, wasting its interesting cast on a movie filled with jump-cuts and car chases. The assassination of a political leader, more often than not (especially in recent big-budget actioners like Shooter), is just a McGuffin to carry us to the punch-outs and crashes. Still, there have been a number of movies in which the killing of a high-profile politician has driven the plot with highly engaging results; today in Take Five, we'll look at a few of the best.

THE MANCHURIAN CANDIDATE (1962)

One of the first post-Kennedy assassination films, John Frankenheimer's best film was actually released before that fatal day in Dallas; but its theatrical run was unluckily ill-timed with the events of November 22nd, 1963. It was pulled from release and remained unavailable for decades until Frank Sinatra, who played the movie's protagonist, personally intervened to help get it back into production in the VHS era. It was a generous decision: the original Manchurian Candidate remains a masterwork of suspense and intrigue, with a towering performance by Laurence Harvey as the doomed assassin of a presidential candidate. The movie's stunning fantasy sequences, bittersweet moments of drama and romance, constant air of paranoid menace, and final bloody ending make it an assassination classic.

NASHVILLE (1975)

It's easy to forget that Robert Altman's sprawling, brilliant evocation of the Great American Movie revolves not around the country music industry, but the assassination of a political aspirant. Hal Phillip Walker is the unnerving, straight-talking and possibly deranged populist running for president as a political caucus convenes in Tennessee, and if we can see the assassin (played as an enigmatic cipher by David Hayward) coming a mile away, we are at least allowed the final shock in his choice of targets. In the end, as Walker's ominous black limos swarm around and speed him to safety and away from the body of beloved country star Barbara Jean, the schmaltz-peddling Haven Hamilton shows a surprising degree of grace under fire, intoning the charged lines "This isn't Dallas, it's Nashville! They can't do this to us here in Nashville! Let's show them what we're made of."

TAXI DRIVER (1976)

Widely condemned upon its release for allegedly glorifying vigilante justice, Martin Scorsese's masterpiece in fact does something entirely more subtle. Travis Bickle is the perfect psychological profile of a crazed assassin: alone, isolated, alienated, a military veteran with a gun fetish and a desire to be something -- anything -- to someone. The scenes where he stalks the presidential candidate Charles Palatine (like Hal Phillip Walker, a somewhat mysterious populist) are highly influenced by the life of Arthur Bremer, are a terrible portent -- but our expectations are short-circuited when Bickle misses his chance, and a potential monster becomes a local hero simply by changing his choice of targets. Bizarrely, the performance eventually helped inspire John Hinckley when he shot Ronald Reagan four years later.

MALCOLM X (1992)

Spike Lee's epic biopic nicely answers a tricky question: how do you make the story of an important historical figure suspenseful and compelling when you already know what's going to happen to him in the end? It helps that Malcolm X -- played perfectly here by Denzel Washington in perhaps his finest hour as an actor -- had an endlessly compelling life story even before the hail of gunshots that ended his life. Lee likewise makes a difference by letting his opinions about the circumstances of Malcolm's death be clearly known and telegraphing the final moments with a deluge of high-pitched emotional moments, but never letting the entire thing slide into self-parody or triteness. Not only a terrific story about a squalid and unnecessary political killing, but also one of Hollywood's finest biopics.

MUNICH (2005)

Stephen Spielberg still doesn't seem to know how to make a movie without screwing it up somehow, and the sad truth is that Munich's ridiculously over-the-top sex scene just about sinks it; filmgoers and critics seem to be able to talk about little else. It's too bad, because you take that monstrous aberration away, and what you've got is a compelling and effective little psychological thriller. Spielberg has never been the most subtle filmmaker in the world, and there's no way he's not going to let you leave the theatre without being beaten over the head with the movie's central thesis that there's not much moral or psychological difference between the men who assassinate innocent people in the name of a cause and the men who assassinate the assassins, but the movie is still expertly done and well worth seeing as long as you close your eyes when Eric Bana takes his clothes off.

Trailer Review: Defiance

Paul Clark — Fri, 25 Jan 2008 17:00:00 GMT

Oh baby, that Ed Zwick reeeeeeeeeeally wants an Oscar, doesn't he? Haven't failed to bring home the gold despite taking on the Civil War, Gulf War I, terrorism, the samurai lifestyle, and African conflict diamonds, now he's taking the tried-and-true route: a WW2 epic. More to the point, a drama about three brothers protecting a community of Jews from the Nazis. But Zwick being Zwick, there's much more action here than in such films as The Pianist and Schindler's List, with the brothers hiding their Jewish charges in the forest and arming them to fight back. When star Daniel Craig says, "we may be hunted like animals, but we will not become animals," it's hard not to be reminded of his character in Munich, who bluntly declared, "don't fuck with the Jews." After Blood Diamond and The Last Samurai, Zwick's got a lot of explaining to do, and unless I hear that he's somehow turned over a new leaf, I think I'll pass on this one.

Schnabel Speaks

Peter Smith — Wed, 28 Nov 2007 19:00:00 GMT

After Julian Schnabel made his directorial debut with the 1996 biopic Basquiat, the art critic Robert Hughes called it a movie about the worst painter of the 1980s, made by the second worst. (Because Schnabel cast it from the ranks of all his fashionable New York character actor friends, he also made it possible for The New Yorker's Anthony Lane to describe it as the kind of movie in which "Christopher Walken passes for normal.") Rather surprisingly, Schnabel has kept at it, and now, seven years after his remarkable second film Before Night Falls, he's back with The Diving Bell and the Butterfly, based on the acclaimed memoir by Jean-Dominique Bauby.

The movie, like the book, recounts Bauby's struggle with near-total physical paralysis after he had suffered a massive stroke. Bauby wrote the book by "dictating" it, one letter at a time, by blinking his left eye. He died, at forty-five, days after the book was published. In the movie, he is played by Mathieu Amalric, of Munich and Kings and Queen, widely known among U.S. audiences as "that guy who looks like Roman Polanski's nicer brother."

This Times article tells the story: the producer Kathleen Kennedy had originally bought the rights to the book and was set to make it with Johnny Depp in the lead, and Depp, another celebrity friend of Schnabel's, brought him in to direct it before being forced to abandon it himself, due to his commitment to what Schabel calls "that pirate thing." Kennedy stuck with Schnabel, though, even after he insisted on making the film with a mostly French cast, and in French, which the studio probably thought was a hell of a consolation prize for not getting to make it with Johnny Depp. It all seems to have turned out all right; Schnabel won the best director prize at Cannes, and the movie's glittery trailer looks beautiful and even, in a strange way, kind of joyful. The only problem is that Schnabel, who is stubbornly atached to his identity a painter, is now becoming known to some, much to his dismay, as a movie maker. The good news is that he tries not to hold it against them. "I don’t think that people know too much about painting. I don’t think that they really understand what it is. I mean, I don’t want to put anybody down. I just think more people understand the language of movies than of paintings." Sadly, the question of whether he thinks Robert Hughes might be one of those people either never comes up in his interviews or has yet to yield a printable response. — Phil Nugent