The subject is a fascinating one and part of me was intrigued in seeing what 'Munich: The Edge of War' would do with the much maligned Neville Chamberlain, here given a more sympathetic treatment than what is often said and written about him. Robert Harris' book is a hugely compelling read, George McKay impressed me hugely in '1917' (one of 2019's best films) and Jeremy Irons is one of my all time favourite actors and has been ever since his iconic voice work in 'The Lion King'.
Watching 'Munich: The Edge of War' earlier last year (am behind with reviewing so it's taken a while to get round to talking about films seen last year), it turned out to be very interesting and well done. It did have potential to be better than it was, as not all the storytelling is there and there is a major casting blunder. But it does well with maintaining the book's intrigue and tension and there is one performance in particular that one could spend all night raving about. 'Munich: The Edge of War' was good if not great, but is one of those films that should be taken on its own terms for anybody expecting historical truth will be disappointed.
'Munich: The Edge of War' has many good things. The best aspect being the phenomenal performance of Irons in one of his best ever performances as Chamberlain (who he bears an uncanny resemblance to here), he brings wit, nuance and gravitas to an interestingly sympathetically written interpretation of a maligned figure in history. In the film though, it and the book do make a good case for him not being as bad as reputed in my view (something that won't be shared by others). One of my favourite performances of the year actually and that it didn't get any awards attention is a crime. McKay carries the film very commandingly, loved his increasingly tense chemistry with Jannis Niewohner.
Also thought that the costumes and sets/scenery were handsome and atmospheric, with a good sense of period. The music is haunting and doesn't over emphasise the mood. The film is very intelligently scripted (apart from some anachronistic language), especially Chamberlain's dialogue and had no problem with the German or the subtitles. Everything with the agreement has intrigue and tension and all of Chamberlain's scenes are a delight, both when more eventful and in smaller moments.
It's not a perfect film though. The camera work is rather dizzying and had a very feeling sick on a ship feel to it in some of the second half. All the female roles are severely underwritten, as is the too brief and not that necessary family/romance subplot that could have been excised.
Do have to agree with everybody panning Ulrich Matthes, whose casting as Hitler is one big catastrophic miscast. Too old, too thin/gaunt and nowhere near sinister enough, perfect for Goebbels but completely wrong for Hitler.
Overall, interesting and well done, with Irons being reason alone to see it, but it could have been more. 7/10.
Watching 'Munich: The Edge of War' earlier last year (am behind with reviewing so it's taken a while to get round to talking about films seen last year), it turned out to be very interesting and well done. It did have potential to be better than it was, as not all the storytelling is there and there is a major casting blunder. But it does well with maintaining the book's intrigue and tension and there is one performance in particular that one could spend all night raving about. 'Munich: The Edge of War' was good if not great, but is one of those films that should be taken on its own terms for anybody expecting historical truth will be disappointed.
'Munich: The Edge of War' has many good things. The best aspect being the phenomenal performance of Irons in one of his best ever performances as Chamberlain (who he bears an uncanny resemblance to here), he brings wit, nuance and gravitas to an interestingly sympathetically written interpretation of a maligned figure in history. In the film though, it and the book do make a good case for him not being as bad as reputed in my view (something that won't be shared by others). One of my favourite performances of the year actually and that it didn't get any awards attention is a crime. McKay carries the film very commandingly, loved his increasingly tense chemistry with Jannis Niewohner.
Also thought that the costumes and sets/scenery were handsome and atmospheric, with a good sense of period. The music is haunting and doesn't over emphasise the mood. The film is very intelligently scripted (apart from some anachronistic language), especially Chamberlain's dialogue and had no problem with the German or the subtitles. Everything with the agreement has intrigue and tension and all of Chamberlain's scenes are a delight, both when more eventful and in smaller moments.
It's not a perfect film though. The camera work is rather dizzying and had a very feeling sick on a ship feel to it in some of the second half. All the female roles are severely underwritten, as is the too brief and not that necessary family/romance subplot that could have been excised.
Do have to agree with everybody panning Ulrich Matthes, whose casting as Hitler is one big catastrophic miscast. Too old, too thin/gaunt and nowhere near sinister enough, perfect for Goebbels but completely wrong for Hitler.
Overall, interesting and well done, with Irons being reason alone to see it, but it could have been more. 7/10.