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Exodus... or how Zionism was romanticized for an American audience to get a broader acceptance in times when good and reliable information was scarce and people still trusted cinema as their source of news as in the times of news reels.
This film is pure Zionist propaganda, with terrible stilted acting, triumphalist unreal dialogue and an inane fictional scenario, like all propaganda films tend to be.
In short: it's chuck full of romantic bullshit, ergo gratia, a group of Jewish immigrants pull a Masada on a ship off the coast of Cyprus and so on and so forth with an ending that will make any self-respecting viewer's stomach turn or even vomit.
How unfortunate that many, if not most, of the places here depicted have been destroyed by the very same people this film tries to sanitize and exult.
This film could easily be placed up there (or more appropriately "down there") with the Nazi film Jud Süß ("Süss the Jew")
3:30 hours LOOOONG... no wonder comedian Mort Sahl, so they say, when attending the premiere, apparently bored by the lengthy film, stood up after three hours and exclaimed, "Otto, let my people go!" Can't deny that both cinematography and locations were amazing, therefore I'm giving it a very generous high mark of 2 stars out of 5.
Tried way too hard to be "cool" and "hip" and "worldly"... This is a true example of how to twist an original story in order to feed the masses.
Anyways... it's still entertaining, but just that, and no more. It relies poorly on electronic background music. The funny thing is that it sort of translates to "the world belongs to the beautiful well toned people of the world", because the movie had absolutely no one but attractive trash types.
WOOOOOOOOOOOOOW! One of the most misunderstood films by a controversial artist about a that guy known as Hitler. Set your mind controls for almost seven hours of no less than a fantasy!
"One of Europe's boldest and most controversial film and theatre directors, Syberberg has devoted much of his career to exploring the roots of his native Germany's tragic destiny in the 20th century. His earlier films, Ludwig, Requiem for a Virgin King, and Karl May, developed the form of "montrous monologue", which culminated in a unique co-production by Europe's three leading broadcasters in 1977.
Syberberg believes Hitler is the subject of our century, and one that needs to be explored at many levels, so that we can discover "the little bit of Hitler in all of us". Here we meet Hitler in many guises: as a ventriloquist dummy, Mr Punch (with Eva Braun as Judy), Napoleon, Chaplin's "Great Dictator", in a film which tries to combine the epic theatre of Brecht with the musical aesthetic of Wagner, and is also a film about the power of cinema itself." (www.subcin.com)