Amsterdam an Amazing Film: Ignore the Critics

 

 

 

AMSTERDAM (2022)

Directed by David O. Russell

20^th Century Studios, 134 minutes, R (language, mild violence)

★★★★★

 

Amsterdam was one of the biggest bombs of 2022. Critics called it inconsistent, overly ambitious, and confusing. My response is that those critics were lazy, overly simplistic, and historically ignorant. I guess director David O. Russell is on the outs and Wes Anderson is in, though his films are often everything levelled against Russell’s.

To be certain, Amsterdam has a sprawling cast, that includes cameos from Mike Myers, Chris Rock, Michael Shannon, and Matthias Schoenaerts.  Actually, there are just three major characters: Burt Berendson (Christian Bale), Valerie Vozel (Margaret Robbie), and Harold Woodman (John David Washington). Amsterdam begins in World War One, when a black regiment seeks redress for unfair treatment. It helps that Burt and white unit commander Bill Meekin (Ed Begley, Jr.) back them. Burt and Harold become best buddies, are wounded in battle—Burt loses an eye—and are nursed by the unorthodox Valerie.

After the war, Burt and Harold join Valerie in Amsterdam, hence the movie's title. That city was one of the few where black people, white people, disillusioned young people, and socialists associates freely. There, our trio live as lefty1920s-style bohemians.. Valerie is an avantgarde artist whose work is perplexing, but they get by on very little money and love one another. Alas, Burt feels the need to return to New York City to see if he can salvage his marriage to Beatrice Vandenheuvel. Harold soon follows and becomes a lawyer.  

Racial situations were more difficult in America, though New York City was more relaxed. Burt is a doctor despite his glass eye and his prolific drug use, and is called upon to sign the death certificate for Meekins. Burt, however, doubts Meekins died a natural death and over howling protests has the body taken to medical examiner Irma Sinclair (Zoe Saldana). Sure enough, Meekins was poisoned a fate that Burt and Harold deliver to his daughter Elizabeth (Taylor Swift). When Elizabeth is killed, Burt and Harold become prime suspects.

Woodman pulls out the legal stops, but two interracial lefties know investigators will nail them unless they enlist the help of powerful help. When they visit Tom Vose (Rami Malek) and Libby (Anna Taylor-Joy), his parrot of a wife, they are stunned to find Valerie living in their mansion. Tom is her brother, but an overly protective one who believes she needs to be purified of her bohemianism. Tom makes vague promises, but he and Valerie occupy different worlds. Soon, she, Burt, and Harold are immersed in a wacky caper.

Up to now, Russell's film looks a lot like something Anderson would do. If anything, Russell's comedic and surrealistic touches are sharper because he avoids juvenile humor. What Russell has that Anderson does not is a script that eventually wends its way onto historical turf. You will find newsreel footage threaded into the action and it serves a purpose. Burt and Harold turn their trust to veterans like themselves. With the help of Valerie, who drops her prestigious family name, they gain an audience with war hero General Smedley Butler (Robert DeNiro). Suddenly, Tom and Libby are very interested; they can't wait to meet the general!

They also want the general to meet the Committee of Five before he gives the keynote speech at a veterans reunion. They ask him to denounce President Franklin Roosevelt and his “unsound” financial policies and hint of the possibility of deposing Roosevelt. Perhaps someone like Butler could head a reorganized American government. Butler is non-committal, but he’s a patriot. Widespread mayhem ensues, as will an unexpected romance. 

Russell tells us something that not many Americans know. The so-called “Wall Street Putsch” tried to recruit the real General Butler, who testified before Congress that he was indeed approached by wealthy investors. It was dismissed as an elaborate hoax, but many historians disagree.

Now consider of the attempt to overthrow the 2020 election. Perhaps Donald Trump had historical precedent! Are there parallels in that no rich people were charged in 1934, and that mostly only disgruntled rednecks have been jailed for the Capitol riot? Is it conspiratorial to wonder why such a fine film as Amsterdam made only a fraction of its budget back at the box office? You decide. But whatever you do, ignore those who slammed Amsterdam. Its humor is offbeat, it raises thought-provoking scenarios, and it’s one of the few in which African Americans, whites, and women have equal roles on the screen.

 

Rob Weir