Reviews and Comments by Ken Burke
I invite you to join me on a regular basis to see how my responses to current cinematic offerings compare to the critical establishment, which I’ll refer to as either the CCAL (Collective Critics at Large) if they agree with me or the OCCU (Often Cranky Critics Universe) if they choose to disagree.
Opening Chatter (no spoilers): Omicron continues to chase me away from movie theaters in my local San Francisco area (the damn virus seems to be on the wane, though), but streaming’s still actively available, even if I was only attracted to the available new options to pick just one for this week (but there are some big-ticket-items on the horizon for the coming weekend so I’ll be back with considerably more next time around), allowing us to wander through the events of Munich – The Edge of War based on a novel focused on a spy story but set in the historical events of heightened-tensions in 1938 as Britain and other allies attempt to prevent Hitler from engulfing all of Europe by agreeing to allow him to annex part of Czechoslovakia. Jeremy Irons stars as Prime Minister Neville Chamberlain; the film’s available for no extra charge to Netflix streaming subscribers. Also, in the Short Takes section I’ll offer suggestions for some choices on the Turner Classic Movies channel (but too much extra text for line-justified-layout like you see here [Related Links stuff at each posting’s end is similarly-ragged], at least to be done by this burned-out-BlogSpot-drone—oh, such tedious software!), along with my standard dose of industry-related-trivia.
Here’s the trailer:
(Use the full screen button in the image’s lower right to enlarge it; activate
that same button or use the “esc” keyboard key to return to normal size.)
If you can abide plot spoilers read on, but this blog’s intended for those who’ve seen the film—or want to save some $ (as well as recognizing those readers like me who aren’t that tech-savvy)—to help any of you who’d like to learn more details yet avoid these all-important plot-reveals I’ll identify any give-away sentences/sentence-clusters with colors plus arrows:
⇒The first and last words will be noted with arrows and red.⇐ OK, now continue on if you prefer.
What Happens: (While the essential facts of Chamberlain’s agreements with Hitler are part of the historical record which you can easily look up, some of this story is fiction so I’m still using a Spoiler alert below.) We begin in 1932 at Great Britain’s Oxford U. where friendships have grown strong among Englishman Hugh Legat (George MacKay), Germans Paul von Hartmann (Jannis Niewöhner) and girlfriend Lena (Liv Lisa Fries)—no surname given for her—yet we’ll see in a later flashback how their friendship angrily-ended when Paul supported Hitler’s rise as a needed return to prominence for Germany after its crushing defeat in WW I (then economic/sociopolitical chaos) while Hugh and Lena saw him as a dangerous madman. Most of the rest of this story takes place in late September 1938 when Hitler’s already occupied Austria, now intends to annex the Sudetenland region of Czechoslovakia which borders German because it has a large German-heritage-population (as the result of Allied-dictated-border-drawings after the previous “Great War”). By now, Hugh’s married to Pamela (Jessica Brown Findlay), has a young son, Arthur (Aidan Hennessey), but is constantly distracted from his home life due to obligations as a secretary to British Prime Minister Neville Chamberlain (Jeremy Irons), including the sudden interruption of a planned anniversary celebration at a hotel when Hugh’s called back to work with Pamela returning home in a huff (well, actually she's in a taxi, but you get the idea [even with my joke, roughly stolen from Groucho Marx]).
Hugh’s needed at the PM’s office due to a scheduled conference (Sept. 29-30) in Munich with Hitler in an attempt by Britain and France (represented by Prime Minister Edouard Daladier [Stéphane Boucher]) to call off the invasion (yet no Czech representatives are to be present at these negotiations, although Chamberlain comes up with the idea of inviting Italy’s dictator, Benito Mussolini [Domenico Fortunato] to join in, hoping he might be able to help persuade Hitler to agree to taking the Sudetenland but stop his aggression at that point). As a surprise to Hugh, Paul (now a German diplomat) requests his old friend accompany Chamberlain to the event, which Chamberlain reluctantly agrees to, given the young man’s multi-lingual-command. However, we learn through scenes in Germany Paul’s now involved with a clandestine group of anti-Hitler forces who seemingly have enough muscle to stage a coup against der Führer if no agreement with the other countries is reached in Munich; further, Paul has a purloined copy of the Hossbach Memorandum, cooked up by Hitler and some of his top honchos in late 1937 outlining his plans to wage war in Europe to solidify German superiority in the region, so the oncoming catastrophe isn’t paranoia on Paul’s part.
Unfortunately for Paul, he’s being watched carefully by former childhood friend/now suspicious, fierce Schutzstaffel (SS) officer, Franz Sauer (August Diehl); further unfortunate situations occur for Paul and Hugh once they meet (with Hugh receiving the prized document in a crowded café, using the old stash-it-in-a-newspaper-trick) because Chamberlain’s not about to be persuaded to abandon his “peace” project, still haunted by the graves of friends in WW I, determined to save Europe from further military-conflagration as he believes Hitler’s signature on these appeasement documents will prevent Germany's dictator from suffering humiliation of the world’s rejection should he continue further aggressions. This is the stance taken by Chamberlain when he hesitantly agrees to meet privately with Paul and Hugh, even giving the document to Hugh to destroy (which he doesn’t do). ⇒Paul then takes Hugh to a nursing home to see paralyzed Lena, thrown through a window in 1935 at an anti-Nazi rally; afterward, they argue as Paul’s ready to take action, including killing Hitler, but Hugh insists they need to put hope in further talks (Paul’s angry response is the title of this posting). Then, some frenzied final scenes: Sauer attacks Hugh (but doesn’t get the Memorandum because it was slipped out of Hugh’s room by typist Joan Menzies [Anjil Mohindra], a bit of a spy herself, who returns it to Hugh); Paul has an opportunity to smuggle a pistol into a private meeting with Hitler but can’t bring himself to use it because he ultimately doesn’t feel he has the right to take such drastic action against another person so he privately commits himself to continue the clandestine struggle against the Nazis; Chamberlain returns home to a hero’s welcome because Hitler not only signed the Munich Agreement of taking only the Sudetenland but also a direct promise between Germany and Great Britain not to go to war with each other. Hugh’s happy to be back with his family but knows war’s inevitable so he plans to quit government service, join the Royal Air Force, worrying Pamela.⇐
Pre-credits graphics inform us Hitler moved on the rest of Czechoslovakia, then Poland in 1939, leading to WW II, with Chamberlain resigning from his office a few months later (to be replaced by Winston Churchill—who gets the wartime victor’s treatment in Darkest Hour [Joe Wright, 2017; review in our December 14, 2017 posting]), dying in 1940, although it’s clear the intent of this film is to honor Chamberlain as best the filmmakers can by stating that extra year before the war allowed the Allies to build up their military forces, so needed to ultimately achieve a victory against the Nazis.
So What? For those of us not all that familiar with the full range of historical facts about this crucial conference in Munich—and the events preceding/following it—plus the second-guessing that’s gone on ever since regarding what Chamberlain either did or didn’t accomplish, you can get some very useful background at this site, which ultimately takes the position the P.M. was some combination of arrogant/a dupe/a naïve failure who didn’t lead Europe in standing up to Hitler when containment seemed to be still possible; within that link, though, there’s another one leading you to a counter-argument by Robert Harris, author of the novel, Munich (2017), on which this film’s based, who says Great Britain, the U.S., etc. weren’t militarily ready to meet the challenge of Hitler in 1938; consequently, Chamberlain was doing the best he could with “the cards he was dealt” (a line from the film used at Chamberlain's triumphant press conference), obviously the perspective ultimately presented in this account, ⇒although it does show Chamberlain as too full of his own goals to even consider the information contained in the Hossback Memorandum, just as it shows Paul’s inability to initiate his planned-decisive-action when he had that split-second-decision-opportunity available.⇐
Clearly, Hitler, Chamberlain, and the other 2 world leaders at the Munich conference are historical figures, but there’s a lot of fiction here as well, with Paul likely based on actual anti-Nazi diplomat Adam von Trott, but it seems Hugh and most of the supporting players are fictional additions to what transpired. (It’s not clear whether Hitler would have been ousted from power from within his own ranks if the Munich Agreement had failed, but if you’d like to see a generally-accurate-dramatization of an actual attempt [July 20, 1944] by conspiring German officers to kill their ruler you can watch Valkyrie [Bryan Singer, 2008]—unfortunately, not that critically-successful but in the process you’ll find solid performances by Tom Cruise, Kenneth Branagh, Bill Nighy, Tom Wilkinson, and Terence Stamp among others in a film which did very well financially yet was not-so-strongly-embraced by the CCAL [Rotten Tomatoes 62% positive reviews, Metacritic 56% average score].) I admit, I haven’t seen Valkyrie in years, but, as I recall, tension was consistently-well-built-up (even though there wasn’t the happy ending to be found in the brutally-revisionist Inglourious Basterds [Quentin Tarantino, 2009]—no, I don’t need a spell-check, that’s just how the director presents the title—where the Nazi high command is slaughtered [sorry if these comments amount to spoilers, but the films being referenced have been out for years now]). Just as some critics and historians (both in the U.S. and Germany) had some distain for Valkyrie, some contemporary viewers might resist the essentially-sympathetic portrayal of Chamberlain in Munich – The Edge of War, but as a drama it’s consistently well-structured, well-acted, and—like Valkyrie—calls useful attention to an aspect of WW II either not that well-known or not known for nuance, as the term “Munich Agreement” now generally is used as shorthand for any short-sighted/cowardly political decisions, an insult to such participants.
Bottom Line Final Comments: The CCAL’s somewhat more supportive of Munich … than they were of Valkyrie, with an RT cluster of 84% positive reviews, although the MC result remains in OCCU territory with a 53% average score* (if you can flow with the blatant-historical-inaccuracies intended for typical-Tarantino-assaults on our sensibilities, maybe you should just skip these more serious subjects noted above and watch … Basterds which got 89% positive responses from RT, a 69% average score from MC, with a worldwide gross of $321.6 million further topping Valkyrie’s global total of $201.5 million—oh, by the way, Inglourious … also got many prestigious awards nominations, including 8 from the Oscars with Christoph Waltz winning Best Supporting Actor). Munich – The Edge of War got only a limited (essentially, invisible) release in theaters but is now easily available for no extra charge to Netflix streaming subscribers. I think it works quite well in all aspects (even though it’s much more low-key than the others on these topics I’ve just referenced), shows how individual people with their lofty intentions often find themselves at odds with what actual circumstances and/or individual human abilities are able to accommodate, and at least provides an alternative interpretation of the goals and results of Chamberlain’s negotiations at this crucial time in world history even if the majority-negative-opinion will likely never swing much in his direction, so I recommend it although you might find the espionage aspects a bit muted in comparison to the actual political posturings, all of which brings us closer to known history despite the larger presence of fictionalization in this story (as well as speaking to a relevant situation in our time, noted just below).
*As with anything I review, you can look in the Related Links section much farther below for more details on these critics-accumulation-sites, where you can access the various evaluators' entire texts.
To bring this to closure, I’ll use my usual tactic of a Musical Metaphor intended as commentary on the previous commentary (how meta of me), which in this case will be referring to a famous English politician by using a song from a famous English band, The Beatles, with “We Can Work It Out” (on the 1966 U.S. album Yesterday and Today, the 1973 U.K. compilation The Beatles/1962-1966 [the “Red Album]) at https://www.youtube.com/watch?v=Qyclqo_AV2M because that lyrical-concept presents the essential crux of this story: from Chamberlain’s perspective to everyone, “Try to see it my way / Do I have to keep on talking ‘till I can’t go on?” while his assumption about everyone—specifically Hugh, Paul, and even Hitler—is “While you see it your way / Run the risk of knowing that our [world] may soon be gone.” The P.M,’s determined “Life is very short, and there’s no time / For fussing and fighting, my friend […] We can work it out.” Obviously, his optimism (grounded in harsh-pragmatism or fear depending on how you interpret him) doesn’t lead to "peace for our time," but it certainly was his hope cooler heads would prevail, even though the Axis hotheads had no real interest in that, just as we, in our time, have to wonder (with caution/preparation) what Mr. Putin wants regarding his version of acquiring a “Sudetenland” of Russian-heritage realms in Ukraine. Time will tell how well the current West and semi-East (given Russia’s sprawl across 2 continents, rather than just the initial-intra-West of decades long ago) are able to work it out because whatever we collectively do “Only time will tell if [we are] right or [we are] wrong.” On the edge of war, indeed!
SHORT TAKES
Suggestions for TCM cablecasts
At least until the pandemic subsides Two Guys also want to encourage you to consider movies you might be interested in that don’t require subscriptions to Netflix, Amazon Prime, similar Internet platforms (we may well be stuck inside for longer than those 30-day-free-initial-offers), or premium-tier-cable-TV-fees. While there are a good number of video networks offering movies of various sorts (mostly broken up by commercials), one dependable source of fine cinematic programming is Turner Classic Movies (available in lots of basic-cable-packages) so I’ll be offering suggestions of possible choices for you running from Thursday afternoon of the current week (I usually get this blog posted by early Thursday mornings) on through Thursday morning of the following week. All times are for U.S. Pacific zone so if you see something of interest please verify actual show time in your area for the day listed. These recommendations are my particular favorites (no matter when they’re on, although some of those early-day-ones might need to be recorded, watched later), but there’s considerably more to pick from you might like even better; feel free to explore their entire schedule here. You can also click the down arrow at the right of each listing for additional, useful info.
I’ll bet if you checked that entire schedule link just above you’d find other options of interest, but these are the only ones grabbing my attention at present. Please dig in further for other possibilities.
Thursday January 27, 2022
5:00 PM A Place in the Sun (George Stevens, 1951) Based on Theodore Dreiser’s 1925 novel An American Tragedy, a poor guy (Montgomery Clift) working for his uncle, secretly dating a co-worker (Shelly Winters) gets her pregnant, then falls in love with a socialite (Elizabeth Taylor); he needs to break off from Alice but she refuses so he contemplates killing her, making it look like an accident. Won Oscars for Best Director, Adapted Screenplay, Cinematography, Costume Design (last 2 for B&W films), Film Editing, Music Scoring (+ noms for Best Picture, Actor [Clift], Actress [Winters]).
7:15 PM Double Indemnity (Billy Wilder, 1944) Most marvelous film noir co-written by Wilder and Raymond Chandler about a scheming housewife (Barbara Stanwyck) working with a clearly shady insurance salesman (Fred McMurray) to kill her husband, collect a big payout, but a claims adjuster (Edward G. Robinson) smells a rat so the deadly plot begins to unravel, betrayals increase (inspired Body Heat [Lawrence Kasdan, 1981] as a sort of glorious remake several unsettled decades later).
Friday January 28. 2022
11:00 PM Putney Swope (Robert Downey, 1969) A vicious satire of American consumerism where the Chairman of the Board of a big ad agency suddenly dies, the remaining Board members are forbidden to vote for themselves, so unlikely Swope (Arnold Johnson)—only Black on the Board—is accidently voted in, renames the agency Truth and Soul, Inc., brings in a full crew of Blacks, makes outrageous ads that resonate with audiences so the agency is suddenly rolling in cash even as Whites in the government are fearful. The director is the father of Iron Man actor Robert Downey Jr.
Saturday January 29, 2022
2:30 PM Red River (Howard Hawks, 1948) Fiction about Chisholm Trail cattle drives from Texas to Midwest railroad centers; John Wayne as Thomas Dunson, a grizzled tyrant in charge of a large herd who feuds with adopted son Matt (Montgomery Clift) leading to Matt overthrowing Tom’s leadership, leaving a lady love (Joanne Dru) behind in a rush to beat Tom to Abilene, KS to sell the herd but inevitable confrontation between the 2 men occurs. Often considered one of the best westerns.
5:00 PM Gandhi (Richard Attenborough, 1982) Biography of famous nonviolent-activist Mahatma Gandhi whose protests for rights for Asian Indians led to legal victories against the British Empire in South Africa and India, later contributes to his home-country’s freedom from the Empire; marvelous lead by Ben Kingsley. Won Oscars for Best Picture, Director, Actor (Kingsley), Original Screenplay (John Briley), Art Direction, Cinematography, Costume Design, and Editing (nominated for 3 more).
Sunday January 30, 2022
3:15 PM His Girl Friday (Howard Hawks, 1940) Adapted from Ben Hecht-Charles MacArthur play, The Front Page, this turns a sensationalistic-journalism-story into something with those aspects but also becomes a screwball comedy where now-divorced newspaper editor Walter Burns (Gary Grant) conspires to get ex-wife Hildy Johnson (Rosalind Russell) back (and on the payroll to cover a big story) despite her upcoming marriage to mild-mannered Ralph Bellamy. Famous rapid-fire dialogue.
5:00 PM The Verdict (Sidney Lumet, 1982) One of Paul Newman’s finest performances as alcoholic, near-washed-up lawyer Frank Galvin given a chance for a fat payout from a medical malpractice case but rejects the settlement, takes the Catholic hospital to trial shocking everyone involved. Things start going against Frank in the courtroom, though, while he finds out his new lover (Charlotte Rampling) is secretly working for the defense lawyer (James Mason). Oscar nominations for Best Picture, Director, Actor (Newman), Supporting Actor (Mason), Adapted Screenplay (David Mamet).
Tuesday February 1, 2022
1:15 PM Giant (George Stevens, 1956) An epic story of the West (3 hrs. 21 min.) but presented in a contemporary plot where the owner of a huge west Texas ranch (Rock Hudson) goes East to buy a horse, ends up also with a wife (Elizabeth Taylor) who has more supportive attitudes toward their Mexican workers. His older sister Luz (Mercedes McCambridge) dies, leaves a small plot to a local rounder (James Dean) who finds oil on his land, gets quickly rich, continues over the years to bedevil the main family. Oscar for Best Director (plus 9 more nominations), Dean’s last role before his car-crash death. For the time and location, a surprising ongoing theme of emerging social tolerance.
If you’d like your own PDF of the rating/summary of this week's review, suggestions for TCM cablecasts, links to Two Guys info click this link to access then save, print, or whatever you need.
Other Cinema-Related Stuff: In quick fashion, here are some Oscars-focused/Marilyn Monroe items you might like: (1) Only 276 features from 2021 are available to vote on for this year's Oscars (includes full eligibility list); (2) NY Times critics' Oscar noms recommendations; (3) Entertainment Weekly's tracking of the top Oscar contenders; (4) Variety's advice to Oscar voters and extensive predictions on who's likely to get nominated. Now, here's a little-side-diversion with a note about how my marvelous wife, Nina, and I finished watching last weekend the new, wonderful CNN 4-episode miniseries, Reframed: Marilyn Monroe (already available to stream via free trial on Sling TV), which then led us back to My Week with Marilyn (Simon Curtis, 2011), another England-set, fictionalized-based-in-fact drama with Michelle Williams, Sir Kenneth Branagh (Oscar noms for both), Eddie Redmayne, Emma Watson, and Dame Judi Dench about Ms. Monroe’s actual trip to England in 1956 to work with Sir Laurence Olivier on The Prince and the Showgirl (Olivier, 1957 [on Amazon Prime Video streaming and other platforms for $2.99 rental; we’ll watch it soon])—because My Week … had been on our local PBS station (also free on Amazon streaming, $3.99-$4.99 on several other platforms; see JustWatch just below for options)—with particular interest for me because it was the subject of my 2nd-ever-review on this blog (December 15, 2011), with the usual poor layout of those days (many more photos would have been useful) but a surprising amount of text given I’d seen it prior to the decision to launch the blog so I had no notes, wasn’t yet aware of Wikipedia plot summaries, had to squeeze out the whole ramble from hoped-for-accurate-memory, but you know I’m rarely at a loss for words. (I gave it 3½ stars, trying to not be too generous early on without a larger-ratings-context; seeing it again I’d say 4 stars, but I’m not about to rethink the 995 reviews I’ve done thus far, so I’ll just have to live with my earlier decision. If I were to attempt such total revisionism, though, I’d also want to add missing Musical Metaphors, which with My Week … would have to be Elton John’s "Candle in the Wind" [from his 1973 Goodbye Yellow Brick Road album].) As usual for now I’ll close out this section with Joni Mitchell’s "Big Yellow Taxi" (from her 1970 Ladies of the Canyon album)—because “You don’t know what you’ve got ‘till it’s gone”—and a reminder that you can search streaming/rental/purchase movie options at JustWatch.
Related Links Which You Might Find Interesting:
We encourage you to visit the Summary of Two Guys Reviews for our past posts.* Overall notations for this blog—including Internet formatting craziness beyond our control—may be found at our Two Guys in the Dark homepage. If you’d like to Like us on Facebook please visit our Facebook page. We appreciate your support whenever and however you can offer it!
*Please ignore previous warnings about a “dead link” to our Summary page because the problems’ been manually fixed so that all postings since July 11, 2013 now have the proper functioning link.
AND … at least until the Oscars for 2020’s releases have been awarded on Sunday, March 27, 2022 we’re also going to include reminders in each posting of very informative links where you can get updated tallies of which films have been nominated for and/or received various awards and which ones made various individual critic’s Top 10 lists. You may find the diversity among the various awards competitions and the various critics hard to reconcile at times—not to mention the often-significant-gap between critics’ choices and competitive-award-winners (which pales when they’re compared to the even-more-noticeable-gap between specific award winners and big box-office-grosses you might want to monitor here)—but as that less-than-enthusiastic-patron-of-the-arts, Plato, noted in The Symposium (385-380 BC)—roughly translated, depending on how accurate you wish the actual quote to be—“Beauty lies in the eyes of the beholder,” so your choices for success are as valid as any of these others, especially if you offer some rationale for your decisions (unlike any awards voters who blindly fill out ballots, sometimes—damn it!—for films they’ve never seen).
Here’s more information about Munich – The Edge of War:
https://www.netflix.com/title/81144852
https://www.youtube.com/watch?v=o_BwDGBS-yc (5:19 historical context of this
fictionalized film)
https://www.rottentomatoes.com/m/munich_the_edge_of_war
https://www.metacritic.com/movie/munich-the-edge-of-war
Please note that to Post a Comment below about our reviews you need to have either a Google account (which you can easily get at https://accounts.google.com/NewAccount if you need to sign up) or other sign-in identification from the pull-down menu below before you preview or post. You can also leave comments at our Facebook page, although you may have to somehow connect
with us at that site in order to do it (most FB procedures are still a bit of a mystery to us old farts).
If you’d rather contact Ken directly rather than leaving a comment here please use my email address of kenburke409@gmail.com—type it directly if the link doesn’t work. (But if you truly have too much time on your hands you might want to explore some even-longer-and-more-obtuse-than-my-film-reviews-academic-articles about various cinematic topics at my website, https://kenburke.academia.edu, which could really give you something to talk to me about.)
If we did talk, though, you’d easily see how my early-70s-age informs my references, Musical Metaphors, etc. in these reviews because I’m clearly a guy of the later 20th century, not so much the contemporary world. I’ve come to accept my ongoing situation, though, realizing we all (if fate allows) keep getting older, we just have to embrace it, as Joni Mitchell did so well in "The Circle Game," offering sage advice even when she was quite young herself.
By the way, if you’re ever at The Hotel California knock on my door—but you know what the check-out policy is so be prepared to stay for awhile (quite an eternal while, in fact, but maybe while there you’ll get a chance to meet Eagles co-founder Glenn Frey, RIP). Ken
P.S. Just to show that I haven’t fully flushed Texas out of my system here’s an alternative destination for you, Home in a Texas Bar, with Gary P. Nunn and Jerry Jeff Walker. But wherever the rest of my body may be my heart’s always with my longtime-companion, lover, and wife, Nina Kindblad, so here’s our favorite shared song—Neil Young’s "Harvest Moon"
—from the performance we saw at the Desert Trip concerts in Indio, CA on October 15, 2016 (as a full moon was rising over the stadium) because “I’m still in love with you,” my dearest,
a never-changing-reality even as the moon waxes and wanes over the months/years to come. But, just as we can raunchy at times (in private of course) Neil and his backing band, Promise of the Real, on that same night also did a lengthy, fantastic version of "Cowgirl in the Sand"
(19:06) which I’d also like to commit to this blog’s always-ending-tunes; I never get tired of listening to it, then and now (one of my idle dreams is to play guitar even half this good).
But, while I’m at it, I should also include another of my top favorites, from the night before
at Desert Trip, the Rolling Stones’ "Gimme Shelter" (Wow!), a song always “just a shot
away” in my memory (along with my memory of the great drummer, Charlie Watts; RIP).
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