By Rebecca Thomas BBC News Online entertainment staff

Noah Taylor takes on the unenviable role of Hitler

Max the movie has provoked a barrage of unfavourable criticism as many people see it as an insulting attempt to humanise Hitler.

The method behind such an apparent act of folly, from writer-director Menno Meyjes, is to create a partially fictional story around one of the world's most well-documented tyrants.

It charts the formation of Hitler from a young, impoverished but artistically talented soldier of post-World War I Germany into an early example of the personification of evil he was to become.

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Hitler, played by Noah Taylor, is befriended by Jewish art dealer Max Rothman, played by John Cusack. Max is sophisticated and rich but he is also a war veteran who lost an arm in combat.

He encourages Hitler's artistic aspirations but, though partially seduced by the art dealer's charm, the young Hitler is overtaken by his hunger and squalor-induced bitterness.

After breaking brushes and ripping canvas, Hitler abandons any aspiration to succeed as a painter.

John Cusack as Max presents Hitler with an alternative choice

Instead, he opts for politics, and, in particular, the emerging post-war German cultivation of rampaging propaganda.

Film-maker Menno Meyjes says his characterisation of the young Hitler is largely based on fact.

But he is equally happy to admit the fiction behind the character of Max and his semi-friendship with Hitler.

Max, Meyjes says, is a combination of different people who passed through the young Hitler's life, and perhaps influenced his future.

But though Meyjes bows to criticism over historical inaccuracy, he refutes claims that he has tried to make Hitler look sympathetic.

Rather, his intention was to illustrate the human calculation behind actively choosing the path of evil over good.

Ill-conceived

And, on the point of sympathy, it is hard to see how anyone with a grain of sensibility could disagree with Meyjes.

With sunken eyes, rotting teeth and filthy lank hair, his Hitler is totally repugnant. But on the surface is where the credibility of this character and film also ends.

Meyjes' portrayal of Hitler descends into hysterical caricature

As soon as Meyjes' Hitler speaks, he falls straight into the pit of literary caricature.

He shouts, spits and rampages his way through the film like some demented pantomime troll.

And, from this, we are meant to believe that this man had enough presence and strength to command the attention of millions.

In reality, such a character would only attract the attention of the men in white coats.

Other than that, he would be laughed out of town. And, sadly, that is really the only reaction this ill-conceived film deserves.

As if overtaken by the impossibility of his original objective - to look at Hitler with a dispassionate eye - Meyjes ultimately lets himself sink into an abyss of melodrama.

So much so, that if it was not so funny, such a meddling with history - and audience emotion - would be a crime.

Max goes on release across the UK on 20 June.

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