Customer Reviews

Focus (Widescreen)

5 star:		(6)
4 star:		(4)
3 star:		(4)
2 star:		(0)
1 star:		(0)

 

 

William Macy is brilliant again! He portrays a role of a decent man caught up in big time trouble, trouble created by ignorance and misunderstanding. In this post World War Two time, Macy's character suffers through anti-Jew feelings in his neighborhood. It is interesting how he deals with such discrimmination and how he attempts to live his life in a meaningful way. "Meatloaf" plays a frightening but effective bigot..and supporting actress Laura Dern does a great job too. This is a "must see".

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.

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.

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.

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.

As an effeminite heterosexual man, I can totally relate to this movie. Just as the main character learns all there is to know about anti-Semitism because he "looks Jewish", many of us are learning a lot about homophobia today. Excellent film, with many helpful parrallels for understanding current day discrimination of all kinds.

...especially of people who purport to be intelligent and enlightened "humanitarians", yet are such vicious anti-semites who would love nothing more than to see another more complete Holocaust--or the next best thing: Israel pushed into the sea. Don't believe me? Take a few social science classes at any so-called respectable college and you will surely see them pop out of the woodwork--professors and students alike--with their Jewish conspiracy theories and anti-Israel crap.

dead on, story takes place on the street corner, right at home....right where evil is under your eyes. Real period piece, extremely clever, understated. A sleeper! Not the usual fare.

Lawrence Newman is a guy who doesn't take sides, doesn't take chances. Just sort of gets along fine. But when he is mistaken for a Jew and suffers discrimination, he finds himself outraged. He decides to take a side, the anti-Semitic side, to differentiate himself from Jews. To try to avoid being lumped in with them. When this doesn't work, he has to make a tougher decision. The last scene is a powerful testament to the importance of making hard choices and facing down ignorance.

...because that's news to me...i've never heard of such a thing, but apparantly, it's a basic concept in this movie. I enjoyed the movie, though it's not the kind of movie that maybe your average movie goer might get into. It's a movie for thinkers, a movie for people who like to peel back a few layers and find a redemptive message. Indeed, the message is a strong and powerful one, and William H. Macy and Laura Dern do justice to their roles (oh yeah, there's comedy in this movie, too --- just watch the way Laura Dern walks, if that's not comedy here, what is?). For the life of me, though, I can't figure how anyone would think a pair of glasses would make you look jewish; no, would cause you to be TREATED as a Jew --- even by the people who have known you for years and know that you are NOT a Jew! Also, I'm with the one reviewer who said that you'd think the guy would ditch the glasses since he wanted so much to stop being treated like a Jew. I just couldn't understand that. But the movie was an interesting one that examines racial prejudice and one couple's response to that prejudice...makes you think --- worth checking out.