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Top Gun: Maverick (2022)
Full of sound and fury, signifying nothing
I have rarely been so depressed by a movie as this one, not least that it finds 97% critical favour on Rotten Tomatoes.
Clearly I'm in the miniscule minority, but for me the film - and its rave response - sums up all that's wrong with the human race: macho jingoism laced with toe-curling sentimentality. The only bright note was that my 13 y/o daughter found it equally cringeworthy.
Shakespeare had it in one: "It is a tale told by an idiot, full of sound and fury, signifying nothing."
Speer Goes to Hollywood (2020)
Rewriting (film) history
Although I commend Vanessa Lapa's reasons for making "Speer Goes to Hollywood", her film contains a number of historical errors in its references to my 1972 attempt to dramatise Speer's self-serving autobiography, "Inside the Third Reich". It was never my intention (nor that of my two producers, David Puttnam and Sandy Lieberson) to trivialise let alone whitewash Speer's crimes, as several reviewers have concluded. On the contrary, my screenplay contained several damning scenes not to be found in his book, including his visit to the infamous Mauthausen concentration camp, as well as his presence at Himmler's terrifying speech to the Gauleiters on October 6, 1943, when Himmler spelled out the Final Solution to the "problem" of Europe's Jewish population, in other words extermination.
Ms. Lapa's film is a dramatization based on the 44 hours I recorded with Speer back in 1971/72 when I was 24/25 years old. She has used actors to voice both Speer and myself, but has necessarily paraphrased various topics into a few sentences that in fact lasted many minutes if not hours, with the consequence of over-simplifying complex topics. Additionally, she has imported quotes from Speer that he apparently said elsewhere, but not to me, and has therefore had to invent questions and responses from me that I naturally did not make. Many of these quotes do not matter to me, but when Speer is heard to spout anti-Semitic remarks, it reflects badly on me that I don't take him to task. One reviewer writes: "Speer was an anti-Semite himself. He makes this absolutely clear in his response to one of Birkin's questions: he did not like Jews. According to Speer, eastern Jews in particular were nouveau riche money-grubbers who wanted to take advantage of Germans - a standard argument of every anti-Semite." Speer may well have said such things elsewhere, but never to me. He was far too clever, knowing as he did that virtually everyone involved with the project was Jewish. Had he made such offensive remarks to me, I would have undoubtedly challenged him - which, in Ms Lapa's film, her cinematically constructed 'I' self-evidently does not.
Many who saw "Speer Goes to Hollywood" at the Berlinale did not understand that the "Andrew Birkin" they heard is not me, although - confusingly - contemporary photographs shown are in fact of me. It is a persona somewhat loosely constructed by Ms. Lapa to serve the film's narrative structure and plot line. Thus, the film has given several reviewers the impression that "I" - i.e., the real Andrew Birkin - was Speer's "overly impressed" dupe. Of course it's true that Speer did his best to ingratiate himself to me, but that does not mean that I fell for his self-whitewashing. Indeed, my screenplay proves the contrary to be true.
At the end of the film, Speer is heard to say to the Birkin persona: "May I tell you that I consider this script strictly confidential. It would be disastrous if somebody would see the first draft of the script and then argue about the changes made." Speer in fact never said any such thing to me, which gives the erroneous impression that he was trying to censor something in my first draft. The "script" to which Speer was referring (in an audio-letter to producer David Puttnam) was his draft 'Response to Erich Goldhagen' which he had sent David, and had absolutely nothing to do with my script. Besides, Speer had no script approval, which in any event would have made no sense as by then it had been read by many at Paramount and elsewhere for at least six months.
Ms. Lapa's film implies that the reason our film was never made was because Paramount saw through Speer's attempt to whitewash himself. In fact the then President of Paramount, Frank Yablans, was extremely eager to make the movie, and although some at the studio felt there should be more about the Final Solution, Paramount only began to cool when Costa Gavras dropped out as the director. Incidentally, Carol Reed was never considered as director. He was my much-loved cousin and mentor, and I gave him the script for his opinion and advice.
Ten years later, Speer did finally make it to Hollywood, although he himself had died some years earlier, in 1981. Starring Rutger Hauer as Speer, and with an all-star cast including Trevor Howard, Sir John Gielgud, and Sir Derek Jacobi as Hitler, ABC TV produced their two-part, five-hour dramatisation of "Inside the Third Reich" with barely a mention of the Holocaust. Compared to our effort, this indeed was a whitewash, of which Speer would have been unjustly proud. Vanessa Lapa's film has much to commend it, and is driven by laudable motives; it's just a pity that it unnecessarily distorts the historical facts with respect to our attempted movie in order to underpin her agenda.
Watership Down (1978)
Greatest animation film of all time
I've given Watership Down one star as there's no sense in preaching to the converted. I took my 7 year old son to see it when it first appeared and we both wept our eyes out. Seeing it just now, 21 years later, I was so choked with emotion that I could barely breathe - and I'm male and don't often cry in films. Yes, it has moments of truthful violence, but they are never gratuitous, and none of my 3 children - who all saw the film around the age of 6 or 7 - suffered nightmares from it. I cannot think of another "mainstream" animation film that is even close - Disney and Pixar are light years behind when it comes complex story, characters, and - frankly - brilliant animation. As for the music.... So do yourselves and your children an immense, unforgettable favour and get this film on DVD!
Gamlet (1964)
Finest Shakespeare ever filmed
Utterly brilliant - I saw this film 17 times in the cinema when it first came out in 1964 - and I was all of 18. I'd never read Hamlet, never heard of Shostakovitch, couldn't speak a word of Russian - and yet this film changed my life! Now it's finally arrived on DVD in all its original splendour, complete with Shostakovitch's sensational score in stereo... The editing of Shakespeare's original by Pasternak is masterly, the direction faultless - but it's Innokenty Smoktunovsky's interpretation of Hamelt that lingers a lifetime in the mind. I've seen every other film adaptation of Hamlet, and none of them come anywhere close to this incredible cinematic masterpiece, which remains my #1 film of all time!