Amsterdam (2022) Review

rating: *****

the story: Three friends make a pact during WWI, and unexpectedly find themselves having to fulfill it during WWII.

the review: The movies one considers a classic are sometimes confused with personal favorites, especially when critics have decided to ignore, overlook, or downplay their worth for whatever reason.  I suspect this occurred with Amsterdam since director David O. Russell has had bad publicity in recent years stemming to his treatment of Amy Adams on the set of American Hustle, and he hasn't produced a wide success on the order of Silver Linings Playbook, despite high expectations for both Hustle and Joy after it.  I've been a fan of Russell since Three Kings, which remained my favorite of his efforts despite his critical reputation blowing up with Playbook, and while I loved what he did with Christian Bale in The Fighter (a showy supporting role, but one that took pressure off an actor who can sometimes get lost in his performances, and thus became a career highlight), I hadn't been wowed by one of his films again.  Russell is an idea guy in the vein of Orson Welles, and the way he achieves his results can lead to complicated productions, but the results speak for themselves.  George Clooney found his first great film in Kings, when he was often typecast as a rogue (Out of Sight being the exception that proved the rule) without a way forward.  Russell used the film to make a bigger point about the chaos of war, and how even the worst of intentions (stealing Iraqi gold) can lead to altruistic results (saving the innocent lives being ground up by the war).  That Russell shows up in Amsterdam, plus a cast I couldn't resist (and certainly Russell has developed a reputation for great casts, regardless of what he does with them) in Bale, John David Washington, and Margot Robbie.  So when I saw the results for myself, I found myself with an instant personal favorite, which for me turned out to be a classic waiting to be discovered.

The leading factor in my evaluation is Bale's performance.  I haven't seen all of his films (much less some of his more famous, or infamous, ones in American Psycho and The Machinist), but he's long been a favorite, so I have a decent idea of his range, and certainly his willingness to transform himself for a role.  One of the great joys of following a career is seeing an actor age, and what they do with that.  Amsterdam is the first time I've seen him lean into his aging as part of the performance, not merely because the film covers more than a decade of time, but that instead of gaining or losing weight to inform a character, he gets to showcase how his face has changed over the years.  This time it's very much the hair that helps shape the look, a period style that accentuates the effect of seeing Bale look older.  Besides that, he gives an atypically lively performance, a comedic one that gives the film its voice.  I've read critics suggest there's no memorable dialogue in Amsterdam, and even if that were the case (which it is not), the pleasure of Bale's phrasing keeps things moving along nicely.  Too often we take for granted the mere acting, unless it's filling out a greater message, which Bale's does not.  All he does is set the tone.  This film, as a result, is very easy to watch.  It's unlike anything Russell has done before.  Even Clooney didn't get into his Golden Age act until well after Kings.

Washington, who was a breakout star in both BlacKkKlansman and Tenet, has his first real chance to shine on his own merits.  Putting aside my reservations of his physical appearance (how Spike Lee designed the distracting afro) in the former, and Christopher Nolan's patented ambition in the latter, in Amsterdam Washington has a part that rises or falls on its own, how he plays against other actors.  He couldn't ask for better partners than Bale and Robbie, both of whom could very easily swallow him whole if he couldn't keep up with them, but he can.  He's not his father, who commands effortlessly any scene he's in, sometimes with very little dialogue at all.  He doesn't even particularly look like Denzel Washington.  Clean-faced, he almost looks anonymous, but Amsterdam soon gives him a look to match Bale's, and the result is more proof that the man pulls off a beard as well as anyone ever has.  The undercurrent of race relations that never plays out in conflict with Bale or Robbie, or any other character who carries weight in the movie, is instead moved to subtext, a complementary commentary to the reasons for the conspiracy the characters unite against as they attempt to solve a murder mystery.

Probably the critics poopooed the movie since they feared it went against their chosen narrative of the present, a conspiracy plotted against FDR and therefore the country itself that perhaps suggests too closely the Trump debacle.  Whether you choose to interpret it that way isn't mandatary; like any good story it's merely a cautionary tale, and that becomes its second key selling point, a story with an actual point, and one that doesn't lose its compelling lead characters in the process, but rather one that gives them their weight.

There is of course Robbie rounding out the leads, and Hollywood has found another way to explain her volatile charm, like I, Tonya a movie asking you to sympathize with her despite the insane circumstances around her, which her other big 2022 movie, Babylon, didn't quite pull off, leaving the viewer to be lost mesmerized by the spectacle she inevitably creates, in very much the Harley Quinn way.  This girl was determined not to be just a pretty face.  She's the Brad Pitt of actresses, and Amsterdam is ultimate proof.

Rounding out the cast are Robert De Niro, Anya Taylor-Joy, Zoe Saldana, Rami Malek, and of all people Mike Myers (who previously appeared with Robbie in Terminal), a small but crucial role deftly walking the tightrope between comedic and dramatic, evoking his appearance in Inglourious Basterds.

If The Batman hadn't pulled off a miracle by once again redefining its title character and thus further developing one of the modern era's defining fictional creations, I wouldn't hesitate to call Amsterdam the best film of 2022.  It is a masterpiece, and by all rights should have swept all the awards ceremonies.  Hopefully it'll be rediscovered in time.