Focus (2001)

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General		Extras
Category	Drama	Featurette
Rating
Year Of Production	2001
Running Time	102:30
RSDL / Flipper	No/No	Cast & Crew
Start Up	Programme
Region Coding	2,4	Directed By	Neal Slavin
Studio Distributor	Paramount Home Entertainment	Starring	William H. Macy Meat Loaf Aday David Paymer Laura Dern
Case	Amaray-Transparent-Secure Clip
RPI	$35.95	Music	Mark Adler

Video		Audio
Pan & Scan/Full Frame	None	English Dolby Digital 5.1 (448Kb/s)
Widescreen Aspect Ratio	1.78:1
16x9 Enhancement
Video Format	576i (PAL)
Original Aspect Ratio	1.85:1	Miscellaneous
Jacket Pictures	No
Subtitles	English	Smoking	Yes
		Annoying Product Placement	No
		Action In or After Credits	No

    What makes someone different? Their hair, their eyes, the shape of their nose, their ears perhaps? Possibly it's in their mannerisms, maybe their religion, or their sexual orientation, but whatever it is, it is true to say that we are all different to each other. The movie Focus is about these perceived differences and how they become pervasive in a time of upheaval and set people apart without any thought given to morality or the sense of right and wrong.

   Set in the early to mid 1940's, this is ostensibly a movie about the anti-Semitism that occurred in New York during World War II. A group known as the Union Crusaders set about identifying, and then persecuting, those people it claimed to be 'different' and therefore 'unworthy' of being a part of 'good, decent Christian society'. Naturally, this persecution was based on whatever criteria the members decided was appropriate at the time without recourse to any established facts. It is well-known that even the Nazis had problems creating a valid stereotype for the Jews that they persecuted throughout the war. They simply made up whatever they needed to justify their deportation of people and to continue their pogrom of murder. It is a sad fact of human existence that anything that doesn't conform to our own norms is considered expendable, regardless of the consequences.

    This then is the story of Lawrence Newman (William H. Macy), a clerk in a firm where he oversees the typing pool. He wakes up one night to hear the sounds of violence outside his window where a woman is being accosted and raped. Rather than do anything, he simply goes back to bed and ignores the incident. The next morning on the train, he is confronted by his next door neighbour, Fred (Meat Loaf Aday), who insists he comes to a meeting that Thursday to "get rid of the niggers and Jews" in their neighbourhood. Lawrence attempts to stammer his way out of it, but Fred's forceful attitude cowers him into agreeing. At work, his boss insists he gets some glasses because he is as blind as a bat and also complains to Lawrence that he must fire Ms Kapp because "she's that kind". Agreeing to both requests, Lawrence goes after work to buy some glasses and returns home.

    His mother is the first to note that "there is something different" about him when he wears his glasses. At work the next day, he begins the process of hiring a new typist, and when interviewing a new girl, Gertrude Hart (Laura Dern), he rejects her because he doesn't feel right hiring her, believing she might be "one of those". The problem for Lawrence is that now he is being perceived as something he isn't due to his new glasses, which have changed his appearance. Some time later that day his boss, Mr Gargan (Joseph Zeigler), insists he changes offices with another employee, Hogan because "he doesn't look right". At home, things aren't all that good, either. That night, he is mowing his lawn as usual when the local storekeeper and newsagent, Mr Finkelstein (David Paymer) is seen hugging an obviously Jewish man, much to the chagrin of Fred. Fred is not amused and the next day as Lawrence goes off to buy his usual morning paper, Fred, along with his nephew, a paperboy, bully Lawrence into buying off them over the 'Jew'.

    At work, things aren't much better, and finally Lawrence quits his job after he realises he has been downgraded and passed over for promotion, even though he is eminently capable. Attempting to gain employment elsewhere, he finds out that he is now being ostracised by almost everyone within the city because of his looks. Finally, in desperation, he applies for a job with Meyer/Peterson, a half Jewish company, and once again meets up with Gertrude. From this chance encounter, they begin an affair which leads to marriage, but all the while his looks are becoming more and more of an issue for Fred, who is firmly ensconced with the Union Crusaders and begins a campaign against both him and Finkelstein.

    This is truly a great period movie, wonderfully acted and so believable that it was a real joy to watch. Meat Loaf is great as Fred who is the archetypal bigot; small brain, large brawn and easily manipulated. Macy is the perfect Lawrence, easily cowed until he finally realises that he should be standing up to them and not backing off. David Paymer is excellent as Finkelstein, a small Jewish shop owner who fights back rather than allowing them to oppress him, even though his chances of success are small. Laura Dern as Lawrence's long-suffering wife who fears the Union Crusaders and their power also plays a pivotal role. I suppose the truth that comes from this movie is that we are all bigots in some way, but it's when that bigotry becomes ingrained and has official backing that real problems arise. The Nazis were proof of that, and without official power they would have been seen at best as comical, and at worst as a festering sore on the underbelly of humanity. As it is, history speaks for itself. Racial intolerance is ever-present in our society and as we grow as human beings it must be hoped that we can learn to grow beyond petty prejudices and achieve a better mindset. In the meantime, movies like Focus are an excellent way to remind us 'that the price of freedom is eternal vigilance'.

Video

    This is a beautiful and stylish presentation by Director of Photography Juan Ruiz-Anchia. The era of the early 1940's is lovingly reproduced with great emphasis on lighting, design and composition.

    The transfer is presented in 1.78:1 and 16x9 enhanced, which is very close to its original theatrical release of 1.85:1.

    This is a sharply delineated movie with excellent shadow detail topping off a crisp sharpness with oodles of fine detail on show. From the opening scene of William H Macy's face, on which you can see the individual pores, to the sheer depth of the interior shots, this is a movie that looks simply magnificent in all regards. There is no noise, minimal grain and no distracting edge enhancement for a truly pristine look and feel.

    The colours are bright or drab depending on the need. Saturation levels are spot-on with skin tones perfect. The palette used is exceptionally wide, often making things appear a little too rosy, but all within the design of the movie.

    Minimal if any artefacts plague this transfer. No pixelization or MPEG artefacts were noticed. A slight moiré on a car grille at 5:54 and some aliasing on another one at 19:18 were about the worst things seen. The usual flecks and spots were totally absent or invisible, attesting to the quality of the original print this was mastered from.

    The usual subtitle presentation is offered, with the subtitles displayed in a white font surrounded by a black border. They are very accurate to the spoken word. They are placed at the bottom 1/8th of the screen for minimal interference.

    There was no layer change on this single layered disc.

Video Ratings Summary

Sharpness
Shadow Detail
Colour
Grain/Pixelization
Film-To-Video Artefacts
Film Artefacts
Overall

Audio

    There is only one soundtrack on this disc, a Dolby Digital 5.1 track at a bit rate of 448 kilobits per second. Fortunately, it does the job rather nicely so I doubt there will be any major complaints about the audio. Good separation across the fronts combined with some very juicy surround and subwoofer activity make for a nicely immersive soundtrack. Much of the movie is taken up with the dialogue, but judicious use of both the music and some special effects add nicely to the mix.

    The dialogue and audio sync were fine with no noticeable errors or drop-outs to report.

    The music is very much in keeping with the setting of the movie and serves up a real potpourri of sounds of the swinging 1940's. Mark Adler provides the soundtrack and does a wonderful job of matching the visual fabric being created by director Neil Slavin.

    The surround channel usage was excellent given the type of movie on offer. Intermixed with the music from the movie are special effects and there is some noticeable separation from the rears as well as the usual immersive layer. A typical example of what to expect can be heard at 6:31 when they really come into their own.

    Although not as noticeable as the surrounds, the .1 channel does get some work during the course of the movie. For the most part, it supports the music with some deep, throaty rumbling and even though it won't have you jumping out of your chair, judicious use keeps the LFE channel in constant use throughout.

Audio Ratings Summary

Dialogue
Audio Sync
Clicks/Pops/Dropouts
Surround Channel Use
Subwoofer
Overall

Featurette

    The Region 1 release appears to be the same in all respects as the Region 4. Therefore, it comes down to buyer's choice.

    Focus offers and excellent video and audio presentation of a subject that is timeless - that of prejudice and racism within society. It doesn't matter what period in time it is set, there are always those who will seek to strike out at those who are different or less able to defend themselves; those who will cover their true agendas by scapegoating someone else. The truth of the matter is that for everyone who stands tall there is always hope. It's true what they say - rats do do their best work in the dark where no one can see them!

Video
Audio
Extras
Plot
Overall