Given Fischer’s departure from his jew-communist background to become a rabid anti-Semite and communist hater, however, the emphasis on his political innocence in doubt. It is clear that we shall see him as the title pawn in superpower showdown for global dominance. A genius whose mental health is the price for a propaganda victory.
Really, it was not, in reality, even if the movie fails Fischer insist that världsmästarmatchen 1972 in Reykjavik against Boris Spassky (Liev Shreiber) only a match between two people. But it was not.
Already then it was he was in close contact with the apocalyptic sect The Worldwide Church of God, which just preaching conspiracy theories about Jewish Bolshevism and we see him, listen to tape recordings of their broadcasts. Still produces “Pawn Sacrifice” him as a sort of idiot savant.
Instead, his manager Paul Marshall (Michael Stuhlbarg) in the role of propagandatuggare: “First we lost China. Now we lose Vietnam. We need to win this. “Through his contacts in Washington’s corridors of power glimpsed the image of Marshall as a tool of the White House and the CIA. True or not, it was profit in Reykjavik some redress for America’s tarnished reputation in the world. At least momentarily.
The director Edward Zwick (“Blood Diamond”) allows not only the scenery and costumes follow the passage of time but also the film’s style grip, and he mixes cleverly documentary elements with new material. The music of James Newton Howard fits however badly pictures, and track selection as Creedence Clearwater Revivals “Travellin ‘Band” is directly interfering.
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