Among food politicians

gary raynor, authors, writer jobs, baby phat, st. martin's minotaur, plutonium, historical u.s., the, condoms, chicago's bluesfest, courtauldinstitute, natasha richardson, collecting, politicians, arcade, period film, catchup advisory board, 978 1-58836-408-1 (1-58836-408-9), allan corduner, ubo.net, three toes publishing, films, william harvey,       And for some reason the film avoids its most obvious dramatic element — after the scientists who have helped create the bomb become conscience-stricken about the possibility of it actually being used, the movie stops short of allowing us to see food the debate that ultimately led to its being dropped on Japan.       Though Newman gets top billing and has a number of showy scenes that allow him to flex his dramatic muscles as the grousing, food growly-voiced general in charge of the project, his character is by necessity an outside observer. But food because the film tries to make him a central character the focus becomes lopsided and uncomfortable. Still it's a wonderful star turn and quite a bit different than the Paul Newman image we're accustomed to.       Schultz is also good, seeming to have taken the world upon his shoulders and wondering in the end if he's made the right decision.
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      Among those physicists is John Cusack, who keeps a diary for his father, who nominally narrates the film and who ultimately becomes the martyr for the cause. (Cusack's ultimate fate is paralleled with the countdown to the first practical test of the bomb as the mid-1945 deadline nears, a dramatic device that seems rather contrived.)       Joffe directs his story as sort of organized chaos, both the events that surround the scientists and the life they are politicians forced to lead for two years — and even in the shape of the politicians film. There are few pauses or lingering moments, everything is rapid-fire action, short spurts of dialogue and quick editing cuts, which gives the film an edgy and nervous feel when it should be building tension.       The result is plenty of nervous energy, but an odd dramatic lethargy, despite the efforts of the excellent cast, the glossy technical aspects and Ennio Morricone's excellent music.
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