Customer Reviews

Focus

5 star:		(10)
4 star:		(7)
3 star:		(5)
2 star:		(1)
1 star:		(0)

 

 

William H. Macy is at his best, as always, in `Focus' a well rendered screen adaptation of Arthur Millers book of the same title. Macy plays Lawrence, a rather meek man, living in a WASPy neighborhood during the early years of W.W.II America. At work he is pressed to wear glasses when he has "mistakenly" hired a Jewish woman, only to find that by donning the eye wear he himself appears to be Jewish. The next day at work after passing over a new applicant who also looks (but is not) Jewish, he is demoted to a less "visible" job and in protest quits his job.

Back at home his bigoted neighbors notice his new appearance, and he begins to invite the same vandalism that has been plaguing the the new owner of the neighborhood corner store, a Jew. He also is unable to find work (on account of his appearance), until he meets the same woman he passed over, Gertrude (Laura Dern), who hires him to work for her Jewish employer.

The story continues portraying a selectively forgotten era of American history, and manages to weave a fable of significant importance without ever feeling preachy. I would suggest this film to anyone, as it portrays its subject as well as any movie I have seen to date.

Arthur Miller wrote the novel which is the basis for this movie during WW2. He is using his experience and observation of antisemitism in New York to build a vision of neighborhood Nazism, with a movement called Union Crusaders fighting against non-Christians. The story uses the clever device of a hero who is a non-Jew, who happens to look a bit like the Jewish stereotype and who happens to be a bit of an outsider who dislikes meetings and groups and handclapping and cheering, and who marries a woman with a German name, which supports the suspicions.
The story is scary and easily transports from 1945 to any time you want to look at.
The film skillfully supports this feeling of not being in a specific historical time by non-realistic settings for the suburban neighborhood. You never make the mistake to think that you are in a real place, it is always like a stage. You might just be in Brave New World.
The film is strictly didactic with its obvious lessons for viewers, but rather than resenting that, I developed an admiration for the script. I have not read the novel, but I would assume, that the adaptation is very much in the right spirit.
Actors are right on as well, not only Macy and Dern, but also Meat Loaf as neigborhood leader of the nazis.
Frankly speaking, I expected not to like the film very much, but I was wrong.

Without question, film is a powerful medium, more so now than ever before, due to the accessibility of DVD/video, which gives the filmmaker the added assurance that his story or message is going to be seen by possibly millions of people. Use of this medium, therefore, attaches an innate responsibility to the artist, inasmuch as film can be educational, as well as entertaining, which dictates that certain subjects should be approached accordingly and with a corresponding sensitivity and sensibility. A film like Spielberg's "Schindler's List," for example, is important, in that it keeps alive the memory of that which must not be forgotten, and as history tends to repeat itself, Spielberg's film can be viewed as a valuable tool in preventing a recurrence of that tragedy. In that same vein, this film, "Focus," directed by Neal Slavin, is important, in it illuminates the problematic reality of anti-Semitism, which for years beyond number has affected millions of people, is still unimaginably prevalent today, and like any manifestation of bigotry, will perpetuate itself if left unchecked or ignored. Born of a xenophobic strain, it's a disease infecting society which, unabated, could be terminal; and with it's penetrating insights into the condition, this film is an effective vaccine that just may at the very least help stem the proliferation of it, and hopefully may act as a step toward eradicating it altogether.

Lawrence Newman (William H. Macy) served his country in the Great War, and has since lived a quiet, conventional life in New York. He's had the same job as a personnel director for some twenty years, and owns the house, located in an average, middle-class neighborhood, in which he lives with his mother (Kay Hawtrey). Lawrence is the kind of guy who gets by just fine by minding his own business and refusing to involve himself with matters that are not (he feels) his concern.

All of that is about to change, however, as with the advent of World War 2, Lawrence, along with the owner of the corner market, Mr. Finkelstein (David Paymer), inexplicably finds himself a target of the neighborhood xenophobes, who have aligned themselves with the "Union Crusaders," a national organization currently taken to channeling their fears and hatred upon Jews, or anyone who even "looks" like a Jew. And suddenly Lawrence finds that he can no longer just stand on the sidelines and watch the game being played; because now, he IS the game, whether he wants to be or not.

Working from an intelligent, well written screenplay by Kendrew Lascelles, which he adapted from Arthur Miller's novel, Slavin presents a chilling scenario that incisively examines the effects of bigotry upon those against whom it is leveled; and when one considers the fact that this is not merely a hypothetical situation, but a depiction of reality, it becomes all the more disquieting, even unnerving. And what makes the film so effective is Slavin's obvious grasp of his subject, and his studied presentation, which is thought-provoking in it's subtlety. In the opening scene, Slavin establishes Lawrence's "character," and very soon afterward reaffirms it in another scene, which affords the audience the opportunity to observe and assimilate how Lawrence's mind actually works; the thought processes that direct his life. With that in place, then, Slavin is able to take his audience along with Lawrence as his problems gradually begin to unfold. By so doing, he effectively illustrates how the problem evolves, rather than merely stating the problem and addressing it head on, which heightens the viewers emotional involvement, and ultimately enhances the impact of the film.

Slavin makes an important statement with this film, which is not only an indictment of bigotry, but carries a cautionary message about apathy, as well. And to his credit, he never hits you over the head with it or engages in subjective finger-pointing to make his case; instead, he proceeds carefully, taking great pains to be as objective as possible with all that he is submitting for your consideration. His approach is that of a cinematic diplomat; and it's an approach that serves Slavin-- and his film-- quite well.

As Lawrence, William H. Macy-- one of the best character actors in the business-- gives an amazing performance, establishing the credibility and believability of his character with a sensitive, honest and introspective portrayal. He never attempts to circumvent the personal flaws of Lawrence's nature, but uses them, instead, to create a character that is decidedly three-dimensional, which not only makes him convincing, but serves to reaffirm the integrity of the portrayal. What makes it so compelling is Macy's ability to convey the process by which he examines his own conscience, which successfully enables the viewer to share in the experience of his personal epiphany. In the final analysis, it's the strength of Macy's performance, more than anything else, that makes this film so significantly distinct.

Another of the film's strengths is the performance turned in by Laura Dern, as Gertrude Hart, a portrayal that effectively complements Macy's work, as well as that of Slavin. Dern lends tremendous substance to her character, capturing her physically as well as emotionally, and her colorful zeal crates a striking contrast to Lawrence's reserve that works extremely well, for her character as well as the film itself.

And just as Sean Combs recently (in "Monster's Ball") made a good case against dismissing out-of-hand the acting endeavors of an established "rock star," Meat Loaf Aday gives a powerful performance here, as Fred, Lawrence's next-door neighbor. It demonstrates, too, that a true artist will produce, regardless of the kind of canvas he's given to work with.

The supporting cast includes Michael Copeman (Carlson), Kenneth Welsh (Father Crighton), Joseph Ziegler (Gargan) and Arlene Meadows (Mrs. Dewitt). The kind of film that makes a filmmaker proud of his craft, "Focus," offers a memorable experience that hopefully will prove to be enlightening, as well, to those unaware that such conditions have existed, and still do-- even in this, the land of the free.

Near the end of World War II a middle aged Brooklyn man wakes from a nightmare, looks out his window and sees a neighbor beating and raping a young woman who we learn dies of her injuries while her attacker goes unidentified and unpunished. So begins FOCUS a film with a great message that is not as subtle as it could be in delivering it. The man at the window is Lawrence Newman a respectable middle aged bachelor who lives in a tidy home with his invalid mother. Newman (William H Macy) works as a personnel manager for a firm and his bosses feel he needs glasses. The premise of the movie is once he begins wearing these glasses (in quite an unsubtle touch the glasses make him see the prejudice around him that he had been blind to before) this Anglo Saxon Protestant suddenly is mistaken as Jewish and a series of persecutions begin for him including his demotion at work that leads to his resignation, his difficulty finding a new position and garbage being strewn around his yard.

Lawrence eventually finds work at a "Jewish" firm and is ironically recommended for the position by Gertrude a young woman he had denied employment to because he thought she was Jewish. Gertrude is played by Laura Dern and like Macy has no physical characteristics usually associated with Jewish ancestry. Though Gertrude denies it the film seems to hint that she may in fact be hiding her heritage though that is left ambiguous by the script. Gert and Lawrence fall in love and marry and have a brief period of happiness. Yet prejudice is alive and well in their neighborhood and led by their next door neighbor Fred, very well played by 70's rock icon Meat Loaf.

Macy, Dern and Meat Loaf are all excellent in their parts as are the supporting actors. The message of the movie is undeniably important but the execution is a bit heavy handed and I wish the filmmakers had respected the intelligence of their audience and their ability to "connect the dots" about what is being conveyed in this film.

Larry Newman, played by William Macy, lives a quiet and well-ordered life in New York towards the end of WWII. He works as a personnel man, lives with his mother, and has not gotten married because he's "too busy working and paying for (his) house". Suddenly his world falls apart when he witnesses the beating of a young Puerto Rican girl by a neighbor, and is demoted in his job because he has new glasses which make him "look Jewish". He meets and marries a young woman who is often mistaken for being Jewish and thus opens himself up for attack by the Union Crusaders, one of whom is his next-door neighbor, Fred. From a quiet beginning, the movie moves quickly to violence and hatred, and a man caught in the middle of it all. William Macy does a convincing job of showing the transformation of a shy man who doesn't want to become involved to one who is not afraid to stand up for his beliefs.

This movie gives a good message about anti-semitism in American then and now, and its actors are well picked and do their job well. This is especially true for William H. Macy, who I agree whole-heartedly is a wonderful but underrated actor. In this role he gives the character depth and feeling. Surprisingly, Meatloaf turns in a good role as well as Macy's racist and conniving neighbor.

However, I have to say this movie did tend to drag. This is especially true when they introduced the romance with Laura Dern's character. Things really slow down and it almost feels like they're never going to develop or conclude themselves. It seemed like the same things were happening over and over again, and at some points in the movie I wondered just how long it was before the conclusion was going to finally come.

The ending of the movie, while satisfactory and happy, almost feels rather rushed. So the police are involved - who's to say the police aren't anti-semitic as well? And isn't it a possibility that the corrupt officials sway the cops to their side?

Overall, I'd call it a worthy rental, but if you want to see a film about anti-semitism in America I'd suggest you try "A Gentlemen's Agreement" with Gregory Peck. It was made around the time period "Focus" is set, and it stas Gregory Peck who intentionally pretends to be Jewish to see what anti-semitism is like. It has almost all the events this movie had, including the restricted hotel scene.

Based on an Arthur Miller book of the same name, this brilliant period place set in New York while much of the country is at war centers around a Presbyterian who, when he puts on glasses, both looks Jewish and sees the startling horror of a racist America beset with job discrimination, virulent anti-black and anti-Semitic sentiment, and all around negative energy. Wonderful performance from William Macy and an ever-enchanting Laura Dern as the leads. Both think each other are Jewish. Miller, ex-husband of Marilyn Monroe, who is still alive as of 2004, was considered the dean of American naturalism before drama went off in another direction. Here he exploits his beautiful story sense to focus our horror on the historical tragedy of political factions who think they can fix the world by broadly identifying the particular group of others who are threatening it, thus giving themselves a sense of identity organized by murderous hatred no less than would-be righteous indignation. The leads mistake each other for Jewish even as they know they are not but the world, throwing a noose of love around their attempts to escape this case of mistaken identity, tightening it as they try to wriggle free. The depiction of the Union Crusaders, a Rear Window-like opening scene of the protagonist watching a rape of Puerto Rican woman, and the distasteful factions of American nationalists and globally gathering totalitarianism as it existed over sixty years ago are convincingly portrayed in this touching and revelatory love story.

FOCUS (2001) is one of those rare early 2000's films that I got to see new. Though my figure says it grossed less than $800,000 in America, it is well worth watching. Maybe not a big feather in William H. Macy's Meteoric-Rise-Cap, but good, solid drama.

Macy is Larry Newman, a plain newspaper personnel fellow in the 1940s. Late one night he witnesses a rape, and soon is forced to get glasses for his reading problems. My wife thinks this happened due to his witnessing the crime and doing nothing about it. The instant he puts the glasses on, everyone in the world thinks he's Jewish (his character is of English descent and Presbyterian).

His bigoted neighbor Fred (spectacular performance by Meatloaf, here credited as "Meat Loaf Aday") is a foot soldier for the "union crusaders" hot on Larry's heels. Once Fred has had his fill staring at Larry's new glasses, he decides Larry must be 'funny'. He knows Larry is not Jewish - but it doesn't stop everyone from assuming Larry is a leftie, pinkie, you name it.

Larry loses his job and teams up with Gorgeous Gertrude (a great turn by Laura Dern), whom he soon marries. The tide of hatred, especially in the face of the ongoing World War II, is only one of Larry's trials. He must also face union intimidation and his own prejudices against Jews. (Starting with Gert, who may or may not be Jewish.)

I saw little redeeming storyline as this thing progressed. It causes the viewer to anticipate fireworks, but it fizzles to an end. If it had a powerful message (stop hatred), it seems to have smothered itself by the end.

The Toronto neighborhood where this was filmed might look familiar: the Jewish-themed SNOW IN AUGUST (see my review) was filmed here, right down to the Jewish corner-store. Apparently it makes a good stand-in for almost-Jewish New York. Yet the Jews in the film (a nice role by the ever wonderful David Paymer, the only significant Jewish role here) are cardboard-dartboard characters. I tried to find significance in that treatment; all I can conclude is the director had no real idea how to present the Jewish community fairly here.

If you are at all a film connoisseur, I recommend this in any case, even though I'm compelled to give it a C+

Mr. Newman needs a new pair of glasses to focus his faltering vision. However, this also brings into focus the ugliness of what's really going on around him in his neighborhood. The title of the movie is perfect. With the new glasses, Newman looks more 'Jewish' and soon experiences all the bigotry first hand in this WWII setting. Now that he has a bitter taste of what it's like to be turned away from jobs, harassed at home and beaten up on the street, will he continue to ignore the truth, or are his eyes and mind fully opened? Great performances by Laura Dern, William H. Macy and singer/actor 'Meat Loaf Aday'.

Chrissy K. McVay - Author

This is a great film in that it takes on a never-ending issue of racism -
done wonderfully by Wm Macy, Laura Dern and others. Arthur Miller's ideas were presented beautifully; bringing out self-searching feelings in all of us. Another example that a film can be great without car-chases, bombs, and the typical needless krap of Hollywood. It is what a film should be: plot, good acting, and the effect of deep thought both inside yourself and of the "bigger picture" in life.