20th Century Studios
Writer/director David O. Russell is not a good person.
He has mistreated the cast and crew of just about every film he’s ever made — like when George Clooney had to step in on the set of Three Kings or Christian Bale had to step in on the set of American Hustle after seeing the way he was treating the people around him, particularly the women on set, particularly the women in front of the camera. Verbal abuse. Psychological abuse.
He also sexually abused his own niece – something that he admitted to doing when confronted by police.
He is not a good person.
So it is very odd to see his latest outing, Amsterdam, which hits theaters this week, be all about the importance of being kind to each other. Treating people with respect. And how love can make the world a better place.
That place is New York City in the 1930s, a decade-plus removed from the ‘War to End All Wars’ – and it doesn’t look like that moniker is accurate as international tensions are as fraught as ever. WWI veterans Burt Berendsen (Christian Bale), a doctor, and Harold Woodsman (John David Washington), an attorney, are hired by Elizabeth Meekins (Taylor Swift) to investigate her father’s mysterious death. When they are blamed for his murder after a series of wacky and messy situations, they must enlist the help of the all-star cast to get to the bottom of America’s least-known conspiracy plot.
Their trio is complete with Valerie (Margot Robbie), a nurse who helped both men when they returned from the war. Physically, yes. But also spiritually — the three of them formed a bond in life post-war that involved a relaxed bohemian lifestyle in Amsterdam, a place that now only exists in memory as the paradise of an easier time. The three of them must use that connection, one of eternal friendship, and their access to powerful people (both friends and family) to uncover this mystery.
‘This relationship,’ Christian Bale’s character laments about the trio, ‘is probably the most important thing in my life.’ He adds, ‘We formed a pact and swore to protect each other, no matter what.’
So it’s all about good people helping good people while trying to take down bad people.
A weird movie for David O. Russell to make.
It is, by all other accounts, a typical D.O.R. film. It’s got a star-studded cast, clearly, many of which only have the screen time available to make cameo appearances. His script is witty enough, earning a few clever laughs. It’s fashionable. It’s easy on the eyes. It’s kooky. It’s all of the things his movie usually are.
Unfortunately that all means that it’s messy. That it’s rambling. That it’s overlong. And that Russell’s screenwriting ability is not up to par with his probably-earnest attempt at thematic accomplishments.
That is probably best exampled in the cast. Bale, Washington, and Robbie are accompanied by Swift, Chris Rock, Anya Taylor-Joy, Zoe Saldaña, Mike Myers, Michael Shannon, Timothy Olyphant, Rami Malek, and Robert De Niro.
When Russell’s script needs a little life injected in it, Bale can find his usual eccentricities, Robbie can light anything up, Rock and Myers can find the humor, Shannon can give it his trademark peculiarities. Rami Malek makes a character interesting because he’s Rami Malek.
But when he needs John David Washington or Anya Taylor-Joy to give it some spice and they are simply unable to do so in their mannequin-rivaling performances, it highlights the fact that Russell needs a certain type of actor to make his material work. He shouldn’t need that, but he does.
It’s another one of his movies.
But unlike American Hustle or Silver Linings Playbook, it’s about likable people doing likable things. Being quirky. Having charm (whether they have that or not is dependent on the actor).
And we can’t forget that is also about good people being good. Learning the value of being kind to a stranger. Leading with love. Literally trying to accomplish world peace.
These are not values one associates with Russell. They are not values one associates with a known (and self-admitted) abuser with decades of allegations.
A redemption tour? A plea for recognition? The deep-down truth behind a hard shell exterior?
That’s for you to decide for yourself. Do the movie’s themes come across as authentic? Or do they play hollow in the context of his controversies? Can Russel talk the talk? These are questions you have to ask yourself. When a movie is good, not bad, not great, but good, how willing are you to deep dive into its themes? Did it even earn that deep dive?
There’s no crime in making a movie with flaws. But if Russell is going to preach kindness and love and peace, he has to practice it as well. He has to literally put his money where his mouth is.
Will you when it comes to buying a ticket?
Amsterdam has a run time of 2 hours 14 minutes, and is rated R for brief violence and bloody images.
20th Century Studios
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