Including "Blair Witch," "The Magnificent Seven" and a young Barack Obama.
Most of Chagall-Malevich centers on the time Chagall was Commissariat of the Academy of Modern Art, 1917-18. While the story is set against historic events, it makes no claim of historic accuracy, which becomes obvious fairly quickly. There's a kitsch yet wonderful fantasy quality about the story.
As the film opens, we see the restless Adele Bloch-Bauer sitting for a portrait by Gustav Klimt. Who would have guessed that a family portrait would become the center of an Austrian identity crisis? Especially a portrait of a Jewish woman. In 1998, Maria Altmann's sister Louisa is laid to rest. A
n depicting the events of John and Effie's marriage, the movie is quite reserved and beautifully nuanced. Many of the filmmakers come from Merchant Ivory Productions, and Effie Gray is very much in that tradition. It's hard to know with certainty what went on in the marriage, but there are letters and written accounts that served as source material.
She was the first woman to include risqué material in her act. She wasn't "The Last of the Red Hot Mamas"... she was the first. She promoted and taught classes for young women who wanted to become Red Hot Mamas, too. Everything she did was original... she was one of the first jazz singers... certainly the first of the white jazz singers.
Amy Adams as Margaret is excellent. Christoph Waltz's over-the-top portrayal of Walter -- who, by many accounts was truly over-the-top -- can be a bit distracting. At any rate, it's an interesting exploration of how the "little hobo kids" became a household must-have.