Tuesday, January 6, 2009

Regrowing Borneo's Rain forest--Tree by Tree

Regrowing Borneo's Rain forest--Tree by Tree

To save orangutans, scientist Willie Smits is restoring a rain forest—and creating new livelihoods for the Indonesian families who help him

By Jane Braxton Little








Just below the equator, on the island of Borneo, a tropical rain forest is rising out of a logged, charred wasteland. Dawn mists cling to the leaves of ginger and mango trees erupting out of a tangle of ferns, rattan and yam vines. A sparse canopy of white-barked acacias shelters them in filtered shade as the sun burns through the haze. From deep in the distance a tuneless chorus of gibbons booms over the clamor of cicadas, while a white-bellied sea eagle soars silently above.

For Willie Smits, this is a miracle in a moonscape. Emerging from what was a biological desert, it contradicts everything most forestry experts have long believed about rain forests. Smits has named it Samboja Lestari, “Everlasting Forest.” It gives hope to this ravaged landscape and the thousands of species that depend on it. Most important for Smits, the forest growing before his very eyes is the promise of a future for the world’s few surviving orangutans.

“Orangutans are ambassadors of the remaining biodiversity of the Bornean rain forests. If I could re-create habitat for them here, you could do it anywhere,” he says.

Smits, 51, is a forester, a microbiologist and the most passionate advocate for that endangered primate. Charismatic and outspoken, for two decades he battled deforestation, fire and conversion of orangutan habitat to oil palm plantations in a desperate attempt to save these animals on the brink of extinction. His efforts won him countless death threats but not the safe haven he sought for orangutans. Today, out of sheer frustration, Smits is re-creating new orangutan habitat one square meter at a time. His partners are the 600 families of the local Dayak tribe in the Indonesian province of East Kalimantan. The welfare of their village is so integrally linked to the success of Samboja Lestari that Smits refers to it as “the people’s forest.”

The partnership Smits has forged with the local community is key to his success, says Amory Lovins, a renewable energy advocate and chief scientist at Colorado’s Rocky Mountain Institute who recently visited Samboja Lestari. “This may be the finest example of ecological and economic restoration in the Tropics.”

It is a gutsy experiment that has drawn criticism from both scientists and conservationists. Smits has not presented Samboja Lestari for scientific review, leaving rain forest experts to wonder what he has actually accomplished on the ground. Many of his peers in the conservation community believe his money would be better spent protecting habitat than reconstructing it from scratch. For Smits, a veteran of political controversy who has often been at odds with other orangutan rescue projects, the controversy is familiar. He ignores it.

A native of the Netherlands, Smits traveled to Borneo in 1981 as a tropical forester and microbiologist in quest of a place few others had seen. The world’s third-largest island is bigger than Texas and is largely divided into the territories of Indonesia and Malaysia and also the small nation of Brunei. Bisected by the equator, Borneo is a treasure of biodiversity with 15,000 plant species, 222 mammal species, and hundreds of species of birds, amphibians and freshwater fish. When the last ice age ended and glaciers receded, sea levels rose around the island, cutting it off from the Asian continent and leaving its flora and fauna to evolve in isolation. Borneo hosts more than 6,000 species found nowhere else on earth.

It was here in 1858 that Alfred Russel Wallace pondered life across time and space as he wandered alone among dipterocarp trees that towered 60 meters above him. He encountered orangutans and wondered why they were found only in these forests and in neighboring Sumatra. Surrounded by wild nature—drinking the insect-laden liquid of pitcher plants, rhapsodizing over the taste of the durian fruit—Wallace worked through the logic of how every species has come into existence with a preexisting closely allied species. The paper he wrote and sent by slow boat to London spurred Charles Darwin to publish at last his own thoughts on the origin of species. Later Wallace would draw the line east of Borneo that separates the biological realms of Southeast Asia and Australia, a distinction verified a century later as scientists understood the mechanics of plate tectonics.

Borneo’s biological bounty began to collapse in the 1970s. Loggers entered the rain forests that stretched unbroken across the island, cutting roads and felling the dipterocarps for their valuable hardwood lumber. The dense stands where Wallace reveled in the cacophony of raucous hornbills and screeching monkeys were filled with the deafening din of chain saws. Habitat that had sheltered so many species for so long was reduced to vast stretches of stumps baking under the equatorial sun. The forests of Borneo have been leveled at a rate so fast “it resembles the end of the world,” Smits says. Between 1985 and 2005, the island lost a swath of rain forest the size of Florida.

The Eyes in the Cage

The timber operators did not just empty the land of trees. Once the logs were hauled off for export, they cleared the slopes for agricultural plantations, mostly for growing profitable oil palms used in products ranging from margarine to lipstick. The fastest and cheapest way to be rid of what remained was to burn it, a traditional tribal technique. In 1997 this practice turned disastrous. Aided by two dry years and a late monsoon, even Borneo’s productive land began to catch fire. The flames spread, burning for weeks and months, scorching hundreds of thousands of hectares. The choking smoke drifted east across Wallace’s line and on to Timor. It billowed west: satellite images showed 30 cities in Indonesia shrouded in smoke and more than 1,000 hotspots of roaring flames racing up rural hillsides. The fires released up to 40 percent of the total carbon dioxide emissions worldwide that year, according to research published in Nature.

Year after year Smits witnessed the destruction of Borneo’s rain forests while working as an adviser on conservation issues to the Indonesian government. Much as it distressed him, however, it was a chance encounter with an orangutan that finally transformed the Dutchman-turned-Indonesian citizen. While he was passing through a market in 1989, a caged animal caught his attention. “She had the saddest eyes I’ve ever seen,” Smits says. Those nearly human eyes haunted him. Later that night Smits returned to the market to find the orangutan discarded in a garbage heap. He took her home and nursed her back to health. That rescue changed his life.

Orangutans were already facing a precarious future. Once boasting populations throughout Southeast Asia, today fewer than 77,000 remain in the wild and only in Borneo and Sumatra. Although they had been the object of poachers for decades, the demand for orangutans as pets increased in the 1980s, about the same time logging began destroying their habitat. The losses accelerated with the increasing expansion of oil palm plantations, which forced orangutans out of their remote forest homes. Many were captured and sold. Others were simply killed.

Last year the United Nations Environment Program declared orangutans a conservation emergency. If illegal logging and conversion of rain forest to oil palm plantations are not halted, within two decades few orangutans will be left in the wild, the February 2007 report states. Smits’s calculations are even more ominous: without drastic changes, he predicts wild orangutans will be extinct by 2012.

Smits formed the Borneo Orangutan Survival Foundation (BOS) in 1991 to prevent that catastrophe. A nonprofit organization dedicated to the conservation of orangutans and their habitat, BOS has taken in nearly 2,000 animals for rehabilitation and reintroduced around 700 back into the wild. The goal was to serve as a way station for orangutans until the deforestation stopped and they could be returned to the remote woods where they had prospered for millennia. “I thought I could save orangutans—put them back in the forest and everybody would be happy. It was a beautiful dream,” Smits reflects. But Indonesian forest destruction has been unrelenting, leveling nearly two million hectares a year and taking some 3,000 orangutans with it. Smits finally faced the fact that efforts to protect orangutans in Borneo’s existing rain forest were failing. The only way to save them was to re-create a rain forest with the help of the local community, he says: “I just did it.”

A Formula for Reforestation

The forest at Samboja Lestari started quite modestly. In 2001 Smits began buying land around the Dayak village, once surrounded by forests but now devastated by oil palm plantations. He paid villagers what he considers a generous price using money raised through a private foundation. Determined to protect the land from government interference, Smits made sure each individual purchase complied with all regulations and that BOS would be guaranteed ownership “forever.”

The soils were terrible—infertile, extremely low in nutrients and interspersed with dirt clods hard as steel. Drawing on his background in microbiology and his doctoral dissertation on mycorrhiza, Smits began making enormous quantities of compost. Along with organic wastes, he mixed in sawdust, fruit remnants from the orangutan cages, and manure from cattle and chickens scavenged from his other projects in Kalimantan. His special ingredient was a microbiological agent made from sugar and cow urine. Combined with the humid local climate, each batch of brew was ready in three weeks. Then Smits began planting trees—thousands of them. Each sapling and seed went into the ground with a generous dose of compost. Many of the seedlings came from a nursery he started on the site using seeds he had collected from more than 1,300 species, some from orangutan feces.

The first challenge was killing the alang-alang, a cyanide-­secreting grass that had created a desolation Smits calls “a green shroud.” He is planting Acacia mangium and other fast-growing trees to produce the shade that eventually kills the alang-alang. Once these pioneers have done their job, Smits and the villagers will harvest them and use the lumber in construction.

The entire 2,000-hectare forest is divided into three zones. In the outer zone, a ring 100 meters wide, villagers are planting sugar palms. Families are already enjoying income from the thatch, medicines and edible fruits that sugar palms produce, Smits says. The sap will eventually be processed into sugar at a refinery he plans to build near the village. This 300-hectare outer ring also serves as fire protection. Unlike many local conifers, sugar palms do not burn easily. As an additional defense against fire, each family tending a plot is required to clear the ground around it of alang-alang, undergrowth or anything else flammable.

Inside this fireproof ring is the heart of Samboja Lestari. Smits is planting a wide variety of local trees selected for their benefits to wildlife. Sugarcane, papaya and lemon trees—all will feed the orangutans, birds and other wildlife that are already moving into these woods. Today a half million trees belonging to 1,300 species grow on more than 1,000 hectares. Another 163,000 saplings are in the nursery awaiting transplant. Smits credits the early success of Samboja Lestari to this immense diversity. “What people normally do is plant a million trees and hope for the best. We are re-creating the natural diverse system.”

The third and innermost zone, around 300 hectares, has been set aside for a variety of activities that contribute to the emerging rain forest. Along with an arboretum and forest research facility, it includes sanctuaries for captive animals that cannot be returned to the wild. Smits has also built an education center where visiting schools and other groups can learn about conservation, as well as an eco-lodge to generate income from guests.

He originally designed Samboja Lestari as a sanctuary for orangutans too injured to return to the wild. But as suitable wild habitat in Borneo continues to decline, he may turn it into a last refuge—a “Noah’s ark” where orangutans can live freely. For now, while the rain forest is still immature, he is using it as a school for young animals, with a few adults released on their own.

From the start, Smits has incorporated the community into Samboja Lestari. After buying land from them, he hired local men and women to work in the tree nursery and compost facility. He pays them to plant trees, survey and build roads and further encourages them to cultivate fruits and vegetables between the trees. Once the understory creates a canopy too dense for their pineapples and melons, Smits will offer the villagers 3,000-square-meter plots in the outer ring to grow sugar palms. The families who participate can also become shareholders in a fund that pays a small monthly dividend while financing schools and community buildings.

It is an ingenious strategy with benefits beyond income. The gardens within the forest promote the growth of the saplings. The watermelon, beans and other goods they produce generate a food supply, which Smits buys for the orangutans at his center. The sugar palm plots provide a built-in security system; the villagers tending them watch for both poachers and fire. To reinforce this human surveillance system, Samboja Lestari includes state-of-the-art technology using infrared cameras and satellite monitors. Agreements with international space agencies also allow newly trained local electronics specialists to identify the growth of individual trees—as well as their disappearance.

Smits’s aim is to engage the villagers in the economic future of the forest project so they will care for it out of enlightened self-interest. Their involvement comes with a tough-love hammer. Should there be what Smits calls “outrage in the sanctum”—should orangutans be stolen or killed—he will cancel the monthly dividend for all tenant families. “This way one can be sure the guilty party will be very quickly found thanks to the great social pressure,” he says.

Danger Even in Triumph

The success of this social experiment is not yet confirmed. Neither is the ambitious attempt to reconstruct a tropical rain forest, but Smits is not the first to try. Projects have been in place around the world for decades with varying outcomes. Working with mixed dipterocarp ecosystems is challenging because these forest species are extremely sensitive to disturbance, says Mark Ashton, a Yale University professor of forest studies and silviculture. Most dipterocarps have very poor dispersal systems and do not sprout easily. When they use acacias as pioneer species to create the shade that allows other plants to take root, managers find them hard to remove because they adapt easily and reproduce vigorously. Still, foresters using acacias in Southeast Asian dipterocarp forests have successfully converted plantations, producing closed thickets within 10 to 15 years. Using compost, as Smits is, would speed the process considerably, Ashton says.

Smits has not presented his “miracle forest” for scientific peer review, so how well it is doing is anyone’s guess. Widely considered a loner, Smits is renowned for not publishing his research, including his doctoral dissertation from Wageningen University in the Netherlands. Skeptics of his forest reconstruction project cite his close association with Indonesian officials and timber tycoons and speculate about his motives. Orangutan conservationists say the project is too small to offer anything but temporary habitat. Most would rather see the money go into conserving the existing but fast-­vanishing habitat.

Among scientists, rain forest reconstruction itself raises even more fundamental questions. What if Smits and others successfully demonstrate that they can turn devastated lands into multilayered stands supporting a mixture of plant and animal species? In the eyes of developers and policymakers, will that then justify destroying existing rain forests? That’s what worries Francis E. Putz, a botany professor at the University of Florida. Even the most successful rain forest reconstruction will not come close to equaling a natural rain forest—not for at least 600 years, he says. Reintroducing multiple species, removing invasives and using compost can accelerate the process of forest succession. But it will take centuries for complex ecological interrelationships to reestablish, and they will not necessarily mirror the original ones.

“If you can restore something, you can destroy it and get it back. That becomes a smoke screen behind which the evil of deforestation continues,” Putz says.

Deforestation in Indonesia continues so dramatically that, at the current rate, all but 2 percent of its lowland forests will be gone by 2022, according to the U.N. report. This unprecedented pace has made Indonesia the world’s third-largest emitter of greenhouse gases, according to Erik Meijaard, an ecologist with the Nature Conservancy. Recognizing the impact of forest loss on orangutans, in December 2007 the Indonesian government launched an initiative to protect the endangered apes’ habitat. Among the programs it establishes are partnerships with timber concessions that allow some logging but prevent the conversion of one million forested hectares to oil palm plantations.

The plan, endorsed by international conservation groups, can prevent the total release of 700 million tons of carbon. Scientists and Indonesian officials hope the emerging international carbon-credit market among governments and industries will help fund it. If payments for avoiding deforestation become an official mechanism in global climate agreements, carbon buyers can compensate Indonesia for protecting its forests and orangutans. Combined with sustainable economic development for Indonesia, this arrangement has triple-win potential, Meijaard says: “With some political will, it can soon be reality.”

After spending decades working with government programs, Smits is skeptical. He calls this plan and its predecessors “NATO: no action, talk only.” He is pouring his energy into Samboja Lestari, traveling the world to raise awareness and funds to finance his rain forest reconstruction. Smits is convinced that the local community’s commitment to the forest will restore and protect its biodiversity in a way no government plan can. “Make villagers your partners, and nature will come back,” he says.

Reasons to Hope

The birds are already back: kingfishers, blue-throated bee eaters and 130 other species have found their way into these woods. Turtles, snakes and anteaters are showing up along with crab-eating macaques. Even the climate is changing. Smits reports increased cloud cover over the forested area has improved the rainfall by 20 percent and lowered the temperature by an average of five degrees Celsius. In the village, crime is down, and employment is up. Lovins, the renewable energy advocate, calls it confirmation of Mahatma Gandhi’s philosophy that if you look after the poorest, everything else will look after itself.

Leading a visiting group through young trees now two stories high, Smits radiates infectious enthusiasm. Swallows are swooping around a magnolia tree buzzing with bees. A barking deer has discovered the forage and grazes quietly underneath a flowering gamhar tree. In the distance a long-dead dipterocarp stands sentinel over this new green oasis. And when the lonesome long call of an orangutan punctuates the quiet conversation, Smits just smiles. It’s all the motivation he needs to keep on planting seeds.

Note: This article was originally printed with the title, "Regrowing Borneo, Tree by Tree".




Saturday, January 3, 2009

Mission Imperative: Assassinate the Führer -Valkyrie

Valkyrie (2008)

Valkyrie
Frank Connor/United Artists

Tom Cruise as Col. Claus von Stauffenberg in “Valkyrie.”

December 25, 2008

Mission Imperative: Assassinate the Führer

Published: December 25, 2008

There are no discernibly nasty Nazis in “Valkyrie,” though Hitler and Goebbels skulk about in a few scenes, shooting dark, ominous looks at the heroic German Army officer played by Tom Cruise. Perhaps they’re wondering what this Hollywood megastar is doing in their midst, a sentiment that you may come to share while watching Mr. Cruise — who gives a fine, typically energetic performance in a film that requires nothing more of him than a profile and vigor — strut about as one of history’s more enigmatic players.

Frank Connor/United Artists

Kenneth Branagh, right, and Tom Hollander, center, as German Army officers plotting against Hitler in “Valkyrie.”

That enigma was Claus von Stauffenberg, a count and a colonel who, though he lost one eye, an entire hand and several fingers while fighting on behalf of the Reich, made several attempts to assassinate Hitler and seize control of the government. At the core of Stauffenberg’s spectacularly ambitious plot was Valkyrie, Hitler’s plan for the mobilization of the home army that Stauffenberg hoped to hijack in order to quash the SS and its leaders. It didn’t work, of course, for complicated reasons, though also because by 1944, as William L. Shirer bluntly puts it in “The Rise and Fall of the Third Reich,” the conspirators were “terribly late.”

You don’t learn how belated the coup d’état was in “Valkyrie,” which might matter if this big-ticket production with Mr. Cruise in an eye patch and shiny, shiny boots had something to do with reality. But the director, Bryan Singer (of the “X-Men” franchise), and the writers, Christopher McQuarrie and Nathan Alexander, aren’t interested in delivering a history lesson: that’s why Ken Burns was born. Slick, facile entertainment is the name of the game here, as it is in all Mr. Singer’s films, including “Apt Pupil” (about a Nazi war criminal and the American boy next door who outs him) and “The Usual Suspects,” an intricately plotted story with men and guns, secrets and shadows that Mr. McQuarrie wrote. The secrets have already begun swirling by the time “Valkyrie” opens with Stauffenberg, stationed in North Africa, bitterly recording his opposition to Hitler in a diary right before losing various body parts to the war. After his convalescence he meets Maj. Gen. Henning von Tresckow (Kenneth Branagh), who, sometime earlier, tries to blow up Hitler with a bomb hidden in bottles of French liqueur. (Russian vodka might have been more effective.) Stauffenberg soon joins the conspiratorial party that includes other British class acts brandishing high military rank and speaking in lightly accented or unaccented English: Bill Nighy as Gen. Friedrich Olbricht, Tom Wilkinson as Gen. Friedrich Fromm, Terence Stamp as Gen. Ludwig Beck and Eddie Izzard as Gen. Erich Fellgiebel.

Most of the crucial rebellious officers are played by British actors, while some of the Nazi diehards are played by Germans, which wouldn’t be worth mentioning if this cacophony of accents weren’t so distracting. But, as with the casting of Mr. Cruise, whose German voice-over quickly eases into English, this international acting community invokes an earlier studio age, when Peter Lorre and Claude Rains delivered their lines in exotically flavored English and everyone pretended that Rick’s Cafe really was located in Casablanca and not on a back lot. If Mr. Cruise doesn’t work in “Valkyrie,” it’s partly because he’s too modern, too American and way too Tom Cruise to make sense in the role, but also because what passes for movie realism keeps changing, sometimes faster than even a star can change his brand.

Though Mr. Singer’s old-fashioned movie habits, his attention to the gloss, gleam and glamour of the image, can be agreeably pleasurable, he tends to gild every lily. Hitler (David Bamber) doesn’t need spooky music or low camera angles to be villainous: he just has to show up. Mr. Singer’s fondness for exaggeration can even undercut his strongest scenes, as when Stauffenberg visits Hitler to secure approval for the rewritten Valkyrie plan. If implemented, the plan will bring down the Führer who, for his part, seems intent on bringing down the house with leers and popping eyeballs. Mr. Singer appears to have taken cues here from “Black Book,” Paul Verhoeven’s World War II romp, but he’s too serious to make such vaudeville work.

Stauffenberg, who hated Hitler but worshipped the Reich, sacrificed himself on the dual altar of nationalism and militarism, which makes him a more ambiguous figure than the one drawn in “Valkyrie.” He’s a complex character, too complex for this film, which like many stories of this type, transforms World War II into a boy’s adventure with dashing heroes, miles of black leather and crane shots of German troops in lockstep formation that would make Leni Riefenstahl flutter. It’s a war that offers moral absolutes (Nazis are evil) and narratives (Nazis are evil and should die) that seem easier to grasp than any current conflict. Truly, World War II has become the moviemaker’s gift that keeps on giving, whether you want it to or not.


The Simple Job That Morphed Into ‘Valkyrie’

Frank Connor

Tom Cruise in the World War II thriller “Valkyrie.”

Published: December 12, 2008

TWO Christmases ago the director Bryan Singer was looking for a modestly scaled movie to make, something he could slide in quickly between behemoths.

Richard Perry/The New York Times

Bryan Singer, director of “Valkyrie,” which opens Christmas Day after several delays and much speculation and gossip.

He had just come off three consecutive comic-book adaptations (“X-Men” in 2000, its sequel in 2003 and “Superman Returns” in 2006), he had helped to create the hit Fox series “House,” and he was now in the market for something different. When he read “Valkyrie,” a script co-written by Christopher McQuarrie, who had been a friend since high school and won an Academy Award for writing Mr. Singer’s most acclaimed movie, “The Usual Suspects” (1995), he knew he had found that change of pace.

Two years, a reported $90 million, half a dozen Internet-fueled controversies and the arrival of one big movie star-turned-mini-mogul later, “Valkyrie,” with an eye-patched and jackbooted Tom Cruise as Col. Claus von Stauffenberg, the leader of a failed attempt within the German military to kill Hitler in 1944, arrives in theaters on Dec. 25.

“This was my shot at a small movie, and I blew it,” Mr. Singer said with a laugh during a Thanksgiving week visit to New York. “Maybe I just discovered I’m a big-movie guy. Even when I was making ‘Usual Suspects,’ which I shot in 35 days for $6 million, I had to have this giant boat, this police car, explosions, all that stuff. No matter what the circumstances are I tend to amplify.”

The film’s subject matter alone promised that “Valkyrie” would receive plenty of attention, given the danger of its being used to create the countermyth of a widespread German resistance. But the oppressive scrutiny of every aspect of the movie’s making probably became inevitable the moment Mr. Singer and Mr. McQuarrie, who are also two of the film’s producers, took the script to United Artists, which MGM had revived for Mr. Cruise as a boutique label.

Once Mr. Singer found himself making a Tom Cruise movie, it became hard for anything to happen quietly.

In June 2007, shortly before several months of production in Germany were to commence, German officials, distressed by Mr. Cruise’s connection to the Church of Scientology, banned the filmmakers from using certain essential locations, including the Defense Ministry. (The officials eventually relented.) A lawsuit filed by 11 extras playing German soldiers who were injured when they spilled out of the back of a truck made headlines too.

Release dates — June 2008, October 2008, February 2009 — were changed more often and more publicly than any filmmaker would like. And more recent speculation about “Valkyrie” has centered on things like a change in the advertising campaign that appears to de-emphasize Mr. Cruise and rumors of nonexistent reshoots. (The film did return to production months after shooting wrapped in Germany, but only to film a long-postponed opening set in the Tunisian desert.)

The movie’s stock has seemed to crest and crash with every fluctuation in the much-discussed fortunes of United Artists and Mr. Cruise. Intended to produce four films a year, the studio to date has released only one, “Lions for Lambs,” which opened in late 2007 to a chilly critical and commercial reception. And Paula Wagner, Mr. Cruise’s longtime producing partner, is no longer running the studio.

The nonstop chatter is enough to make Mr. Singer, who is a slightly built and boyish-looking 43, amiably guarded in the presence of a reporter.

“It’s a terrible problem, and I’m not saying that selfishly,” Mr. Singer said about the advance scrutiny. “I understand that there is an excitement about knowing something about the making of a movie, even something dramatic or scandalous. But it’s very hard to have the experience of being transported when your mind is full of what you read, very often from a not-credible source.”

That willingness to enter the film’s world on its own terms will be particularly crucial for “Valkyrie.” Although the history it recounts is well known in Germany, it’s less familiar to audiences in the United States.

Mr. McQuarrie, who composited characters and collapsed timelines to streamline his historical narrative, said that when he first became interested in the Stauffenberg story, he was told, “You can’t make a World War II movie with no American soldiers in it,” let alone one about a conspiracy whose outcome is a foregone conclusion. (Spoiler alert: Hitler lives.) He said he took it as a challenge.

It wasn’t the only one the movie would present. “Valkyrie” asks its viewers not only to buy Mr. Cruise as a German officer but also to accept that he and his co-stars — among them the British actors Tom Wilkinson and Kenneth Branagh and Carice van Houten, who is Dutch — speak in their own accents. The accent question is one that continues to bedevil directors of World War II movies. The Nazis in the current release “The Boy in the Striped Pajamas” deploy clipped British accents straight out of “Brideshead Revisited,” and the Polish and Byelorussian freedom fighters in Edward Zwick’s forthcoming “Defiance” use Lithuanian inflections. “If everyone was trying to do German accents, the risk of it feeling false was really high,” Mr. Singer said of his film. “It would make no sense. Why would they be speaking in German accents? They’re German.”

Nazis are something of a leitmotif in the work of Mr. Singer (who, like Mr. McQuarrie and the film’s publicists, takes pains to point out that Stauffenberg was not one). His 1998 suspense film “Apt Pupil,” based on a novella by Stephen King, depicts the creepily sadistic relationship between a former SS officer and an American teenager who discovers him living alone in a small town. And it was Mr. Singer’s decision to identify Magneto, the villain of the first X-Men movie, explicitly as a Jewish survivor of the Holocaust.

For Mr. Singer, who is Jewish and who grew up in Princeton Junction, N.J., knowing that his adoptive parents “had lost a lot of their family history to the Holocaust,” the fascination with the subject is lifelong and fueled by influences as varied as his elementary-school friendship with two German children and regular early doses of “Hogan’s Heroes.”

As a young child he first learned about the Holocaust when his shocked mother saw him wearing a crayoned swastika armband he had made without knowing its meaning. And he first heard of Stauffenberg’s July 20 plot in the early 1980s when his mother, an environmental activist, visited Bonn and stayed in the home of Freya von Moltke, the widow of a leader of the wartime resistance movement in Germany.

Frank Connor

Tom Cruise, left, and Kenneth Branagh in a scene from “Valkyrie,” the story of a real-life plot to kill Hitler.

By then the teenage Bryan was shooting eight-millimeter World War II movies in his yard as Mr. McQuarrie watched. “What’s remarkable is how little has changed,” Mr. McQuarrie said. “There has always been what I would call a reactive certainty about the way Bryan directs. It’s a process not just about what he wants, but about what he doesn’t want. He’ll know when he sees something if it’s right or wrong. He tends to let people do what comes naturally and then provide guidance based on what he sees.”

After nearly a decade of comic-book movies, “Valkyrie” might seem to represent Mr. Singer commanding himself to do something different. But he said: “I think my work has a real continuity, not in style but in theme. Themes of identity, principal characters who aren’t what they seem: that’s the X-Men, the boy in ‘Apt Pupil,’ Superman of course.”

Mr. Singer’s next move is uncertain. A plan to direct an adaptation of Randy Shilts’s Harvey Milk biography, “The Mayor of Castro Street,” fell apart when Gus Van Sant’s “Milk” beat the project to the finish line. And Mr. Singer tenses visibly when asked about his potential involvement in a “Superman” sequel. “I really don’t know,” he said. Last summer Jeff Robinov, the president of Warner Brothers, told The Wall Street Journal that “Superman Returns” “didn’t quite work as a film in the way we wanted it to” and failed to “position the character the way he needed to be positioned.”

Mr. Singer says his own love of Superman lore may have given the movie the weight of too much nostalgia — “I’m learning to introduce characters a lot quicker and more aggressively,” he added — but he is otherwise disinclined to second-guess his decisions or even revisit his past work.

After promoting “Valkyrie” internationally, he plans to take a short vacation, then look for “something big, fantasy or sci-fi.”

“I really like the buildup to a movie like that: the prep, working with the art department, the planning. I’ve always wanted to make big movies, and I still do. Unless another really interesting plot to kill someone comes along.”



Valkyrie” is rated PG-13. (Parents strongly cautioned.) Bombs, guns and executions, though little blood.

VALKYRIE

Opens on Thursday nationwide.

Directed by Bryan Singer; written by Christopher McQuarrie and Nathan Alexander; director of photography, Newton Thomas Sigel; edited by John Ottman; music by Mr. Ottman; production designers, Lilly Kilvert and Patrick Lumb; produced by Mr. Singer, Mr. McQuarrie and Gilbert Adler; released by Metro-Goldwyn-Mayer Pictures and United Artists. Running time: 2 hours.

WITH: Tom Cruise (Col. Claus von Stauffenberg), Kenneth Branagh (Maj. Gen. Henning von Tresckow), Bill Nighy (Gen. Friedrich Olbricht), Tom Wilkinson (Gen. Friedrich Fromm), Carice van Houten (Nina von Stauffenberg), Thomas Kretschmann (Maj. Otto Ernst Remer), Terence Stamp (Gen. Ludwig Beck), Eddie Izzard (Gen. Erich Fellgiebel), Kevin R. McNally (Dr. Carl Goerdeler), Jamie Parker (Lieut. Werner von Haeften), Christian Berkel (Col. Mertz von Quirnheim), David Bamber (Adolf Hitler), Tom Hollander (Col. Heinz Brandt), David Schofield (Erwin von Witzleben), Kenneth Cranham (Field Marshal Wilhelm Keitel) and Halina Reijn (Margarethe von Oven).


Tom Cruise
Avik Gilboa/WireImage.com
Actor, Producer
Gender: Male
Born: July 3, 1962
Birthplace: Syracuse, New York
Nationality: American

Full Biography

From All Movie Guide: An actor whose name has become synonymous with all-American testosterone-driven entertainment, Tom Cruise spent the 1980s as one of Hollywood's brightest-shining golden boys. With black hair, blue eyes, and unabashed cockiness, Cruise rode high on such hits as Top Gun and Rain Man. Although his popularity dimmed slightly in the early '90s, he was able to bounce back with a string of hits that re-established him as both an action hero and, in the case of Jerry Maguire and Magnolia, a talented actor.

Born Thomas Cruise Mapother IV on July 3, 1962, in Syracuse, NY, Cruise led a peripatetic existence as a child, moving from town to town with his rootless family. A high-school wrestler, Cruise went into acting after being sidelined by a knee injury. This new activity served a dual purpose: performing satiated Cruise's need for attention, while the memorization aspect of acting helped him come to grips with his dyslexia.

Moving to New York in 1980, Cruise held down odd jobs until getting his first movie break in Endless Love (1981). His first big hit was Risky Business (1982), in which he entered movie-trivia infamy with the scene wherein he celebrates his parents' absence by dancing around the living room in his underwear. The Hollywood press corps began touting Cruise as one of the "Brat Pack," a group of twentysomething actors who seemed on the verge of taking over the movie industry in the early '80s. But Cruise chose not to play the sort of teen-angst roles that the other Brat Packers specialized in -- a wise decision, in that he has sustained his stardom while many of his contemporaries have fallen by the wayside or retreated into direct-to-video cheapies.

Top Gun (1985) established Cruise as an action star, but again he refused to be pigeonholed, and followed up Top Gun with a solid characterization of a fledgling pool shark in The Color of Money (1986), the film that earned co-star Paul Newman an Academy Award. In 1988, Cruise took on one of his most challenging assignments, as the brother of an autistic savant played by Dustin Hoffman in Rain Man. "Old" Hollywood chose to give all the credit for that film's success to Hoffman, but a closer look at Rain Man reveals that Cruise is the true central character in the film, the one who "grows" in humanity and maturity while Hoffman's character, though brilliantly portrayed, remains the same.

In 1989, Cruise was finally given an opportunity to carry a major dramatic film without an older established star in tow. As paraplegic Vietnam vet Ron Kovic in Born on the Fourth of July (1989), Cruise delivered perhaps his most outstanding performance. Cruise's bankability faltered a bit with the expensive disappointment Far and Away in 1990 (though it did give him a chance to co-star with his-then wife Nicole Kidman), but with A Few Good Men (1992), Cruise was back in form. In 1994, Cruise appeared as the vampire Lestat in the long-delayed film adaptation of the Anne Rice novel Interview with the Vampire. Although she was vehemently opposed to Cruise's casting, Rice reversed her decision upon seeing the actor's performance.

In 1996, Cruise scored financial success with the big-budget actioner Mission: Impossible, but it was with his multilayered, Oscar-nominated performance in Jerry Maguire (also 1996) that Cruise proved once again why he is considered a major Hollywood player. 1999 saw Cruise reunited onscreen with Kidman in a project of a very different sort, Stanley Kubrick's Eyes Wide Shut. The film, which was the director's last, had been the subject of controversy, rumor, and speculation since it began filming. It opened to curious critics and audiences alike across the nation, and was met with a violently mixed response. However, it allowed Cruise to once again take part in film history, further solidifying his position as one of Hollywood's most well-placed movers and shakers.

Cruise's enviable position was again solidified later in 1999, when he earned a Best Supporting Actor nomination for his role as a loathsome "sexual prowess" guru in Paul Thomas Anderson's Magnolia. In 2000, he scored again when he reprised his role as international agent Ethan Hunt in John Woo's Mission: Impossible II, which proved to be one of the summer's first big moneymakers. His status as a full-blown star of impressive dramatic range now cemented in the eyes of both longtime fans and detractors, the popular actor next set his sights on reteaming with Jerry Maguire director Cameron Crowe for a remake of Spanish director Alejandro Amenábar's (The Others) Abre los Ojos titled Vanilla Sky. Though Vanilla Sky's sometimes surreal trappings found the film recieving a mixed reception at the box office, the same could not be said for the following year's massively successful sci-fi chase film Minority Report. Based on a short story by science fiction writer Philip K. Dick and directed by none other than Steven Spielberg, Minority Report scored a direct hit at the box office, and Cruise could next be seen gearing up for his role in Edward Zwick's The Last Samurai alongside Ken Watanabe, who was nominated for an Oscar for his performance.

For his next film, Cruise picked a role unlike any he'd ever played; starring as a sociopathic hitman in the Michael Mann psychological thriller Collateral. He received major praise for his departure from the good-guy characters he'd built his career on, and for doing so convincingly. By 2005, he teamed up with Steven Spielberg again for the second time in three years with an epic adaptation of the H.G. Wells alien invasion story War of the Worlds.

The summer blockbuster was regarded as a good popcorn film, but was in some ways overshadowed by the negative publicity that Cruise had been gathering. It began in 2005, when Cruise became suddenly vocal about his beliefs in the principles of Scientology, the religion created by science fiction author L. Ron Hubbard. Cruise publicly denounced actress Brooke Shields for taking medication in order to combat her postpartum depression, citing antidepressants and the psychological sciences as immoral and unnecessary, going so far as to call it a "Nazi science" in an Entertainment Weekly interview. On June 24, 2005, he was interviewed by Matt Lauer for The Today Show during which time he appeared to be distractingly excitable and argumentative in his insistence that psychiatry is a "pseudoscience," and in a Der Spiegel interview, he was quoted as saying that Scientology has the only successful drug rehabilitation program in the world.

This behavior caused a stirring of public opinion about Cruise, as did his relationship with 27-year-old actress Katie Holmes. The two announced their engagement in the spring of 2005, and Cruise's enthusiasm for his new romantic interest created more curiosity about his mental stability. He appeared on The Oprah Winfrey Show on May 23, where he jumped up and down on the couch during his interview, professing his love for Holmes. He also ecstatically shook Winfrey's hands and at one point fell dramatically to one knee. The actor's newly outspoken attitude about Scientology linked intimately to the buzz surrounding his new relationship, as Holmes converted to the faith despite a lifelong adherence to Catholicism. The media was flooded with a rumor that the young actress had a "lost" period around this time, when for two weeks she was unreachable to her parents, friends, and extended family. Many suspected that Cruise's strange public behavior was nothing more than a failed publicity stunt to raise interest in War of the Worlds, a general attitude that continued through October 2005, when he and Holmes announced that she was pregnant.

Some audiences found Cruise's ultra-enthusiastic behavior refreshing, but for the most part, the actor's new public image hurt his fan base, as he alienated many of his viewers. As he geared up for the spring 2006 release of Mission: Impossible III, his ability to sell a film based almost purely on his own likability was in question for the first time in 20 years. Despite a cast that boasted such names as Philip Seymour Hoffman and Jonathan Rhys-Meyers, curiosity about the film's success seemed to hinge solely on Cruise's controversial personal life. The movie ended up performing essentially as expected, despite lining up almost conspicuously with the birth of he and Holmes' daughter Suri in spring of 2006.

The media frenzy that followed the pregnancy and birth were no less involved. There were whispers of dangerous or inadvisable methods of childcare and feeding, rumors that the Scientology endorsed method for birthing demands complete silence from everyone -- including the mother -- and questions about what kind of access to medical care and pain medicine Holmes would have in accordance with the practices of Scientology. Holmes said little publicly of her new relationship, religion, or role as a mother, but Cruise insisted in interviews that the process of the "silent birth" demands others in the room be quiet, but not the mother.

Even after the child was born, controversy surrounded the name that the couple chose for her, as Cruise's public statement claimed the name Suri was chosen because it means "princess" in Hebrew and "red rose" in Persian, while experts on both languages insisted that this was not accurate. Scholars and speakers of the languages in question said that in Persian (conventionally known as Farsi) the word denotes the color red but has no connection whatsoever to roses, while in Hebrew, the closest connection it bears to its claimed origin is that the Jews of Eastern Europe use it as a nickname for the name Sarah, and that in ancient Hebrew Sarah is the feminine form of the word Lord. After the birth, the couple finally set their wedding date and held the event in July of that year.

Cruise next made headlines on a business front, when -- in November 2006 -- he and corporate partner Paula Wagner (the twin forces behind the lucrative Cruise-Wagner Productions, est. 1993) officially "took over" the defunct United Artists studio. Originally founded by such giants as Douglas Fairbanks and Charles Chaplin in 1921, UA was run into extinction after the Heaven's Gate fiasco in the early '80s and its purchase by Transamerica's Kirk Kerkorian. The press announced that Cruise and Wagner would "revive" the studio, with Wagner serving as Chief Executive Officer and Cruise starring in and producing projects. MGM (UA's parent company) handed the team the rights to almost single-handedly develop United's production slate, and gave them an allotment of four films per year, a number expected to dramatically increase. Harry Sloan, the chairman of MGM, remarked in a press release, "Partnering with Tom Cruise and Paula Wagner, we have the ideal creative foundation from which to reintroduce the United Artists brand. United Artists is once again the haven for independent filmmakers and a vital resource in developing quality filmed entertainment consistent with MGM's modern studio model."

One of the fist films to be produced by the new United Artists was the tense political thriller Lions for Lambs, which took an earnest and unflinching look at the politics behind the Iraq war. Cruise both starred in and produced the film, and though it performed unevenly with critics and at the box office, he soon green-lit another UA production, Valkyrie. Both producing and starring again, Cruise would play Col. Claus von Stauffenberg, a Nazi officer who infamously attempted to assassinate Adolf Hitler during the Thrid Reich in Germany. ~ Hal Erickson, All Movie Guide

Education

Institution - Glen Ridge High School
Location - Glen Ridge, NJ
Year range - 1980