There is no peace at the end of this...
I cannot sit down and have a truly
well-informed, intelligent conversation with you
on Mideast politics. In all honesty, I couldn't
begin to discuss the beginning, middle or
potential end of the Palestinian/Israeli
conflict and I would likely appear a bumbling
idiot in a discussion on Mossad, CIA, PLO, KGB
or any other of the various covert groups from
around the world. I can, with complete
conviction, share my belief in pacifism and my
absolute and utter faith in peace as an
eventuality. I am an idealist...many would say a
blind, ignorant idealist.
So, you will have to pardon my ignorance as I
approach Steven Spielberg's latest film,
"Munich," not from the perspective of truth or
politics but from the perspective of a
reasonably well-informed, socially responsible,
peace loving child advocate who also considers
himself a connoisseur of film.
Damn, what a fine film.
In creating "Munich," Spielberg finds himself
accused of bashing Palestinians while also of
being "no friend of Israel." Indeed, both of
these accusations may very well be true as
"Munich", which is labeled as "Inspired By A
True Story," is a film that carefully examines
the world following the tragic events in the
1972 Olympics in Munich and the Israeli policy
of retaliation that developed following the
tragic death of 11 Israeli athletes during the
Olympics at the hands of Palestinian kidnappers
during a massively botched rescue attempt by the
Germans.
"Munich" opens with a re-enactment of the
Olympic tragedy followed by a cabinet meeting
with Golda Meir (played stunningly by Lynn
Cohen) in which she takes responsibility for the
new Israeli decision to "forego peace for now"
so that the nation may appear strong and willing
to defend its sovereignty. She forms a revenge
squad to be headed by a former bodyguard, Avner
(Eric Bana), and including four other men
including the trigger happy Steve (Daniel
Craig), toymaker turned bombmaker Robert (Matthieu
Kassovitz), expert forger Hans (Hanns Zischler),
and "cleaner" Carl (Ciaran Hinds).
All of them "resign" as Mossad agents, losing
their identities, government connections and
essentially their paper trail in accepting their
new roles as agents of revenge. This is
particularly challenging for Avner, who leaves
behind a wife who is seven-months pregnant.
What could be most offensive about "Munich" is
also what makes it so admirable. Spielberg
refuses to take sides on the unfolding events,
and instead appears to question both sides and
their politics of retaliation. In many ways,
"Munich" is a call to peace...yet, it also
appears to be resigned to the fact that peace
may never occur as Avner so eloquently states at
one point in discussing the assignment after his
return with his liaison (played by the
understated, yet once again brilliant Geoffrey
Rush). When Avner states "There is no peace at
the end of this," it becomes clear that his
patriotism has turned into both paranoia and
resignation that, sadly, no good has actually
come from his assignment and the killing of
several of those responsible for the events in
Munich. They are, in fact, simply replaced by
others who are often more ruthless, more
intentional and more willing to kill.
Spielberg achieves a remarkable, delicate
balance with "Munich" in his ability to both
politicize and humanize both sides of the events
in question, and all who side with them. Instead
of coming away feeling that either side was
"right" or "wrong" in their actions, I instead
felt like I better understood their misguided
motivations for their actions and yet it also
felt as if neither side, in the forty years
since the Munich Olympics, had even come close
to accomplishing their stated goals. Thus,
Spielberg's cinematic ambiguity makes
sense...after 40 years of killing one another,
peace may not be reasonable or logical but
clearly if we keep doing what we've been doing
we're going to keep getting what we've always
gotten. Many "scholars" have called it a
sugar-coated approach to a centuries old,
complex problem, but perhaps it's enough to
start the dialogue which could, in fact, lead to
a solution. Oops, there I go being an idealistic
pacifist again.
"Munich" features the best ensemble cast of the
year, though largely centered upon the role of
Avner. As Avner, Eric Bana is simply mesmerizing
as a man who is initially led by patriotism,
then loyalty to family, then as the fatalities
unfold and multiply he begins living a life of
tragic paranoia, questioned loyalties, and moral
disconnection. One scene, in particular, drives
home his conflicted inner soul occurs when he
returns home to New York (where he has moved his
family) and makes love to his wife and
simultaneously deals with horrific flashbacks.
To many it may seem over-the-top, yet to
survivors of tragic events it may, in fact, be a
challenging scene to view in its graphic,
intense presentation.
The rest of the revenge squad is equally as
mesmerizing, particularly Daniel Craig as the
thirsty for killing trigger man and Matthieu
Kassovitz as the conflicted, faithful Jew who
started out disarming bombs but now makes them.
Yet, there's not a weak performance among the
bunch and Rush shines as the team's liaison
along with Ayelet Zurer as Avner's wife and
Mathieu Almaric and Michael Lonsdale as an
apolitical father/son team who provide the
revenge squad with most of their information for
very large fees.
Spielberg paces the action beautifully and
includes several of the most suspenseful scenes
on film this year, including one particular
scene involving a bomb intended for one of their
targets that may end up killing his young
daughter instead. Spielberg reins in his
tendency towards "Hallmark" moments and instead
creates this year's strongest action thriller
with devastating, suspenseful and graphic scenes
of assassinations, killings, betrayals and
revenge. Spielberg's tendency toward a light
touch comes in handy, as he masterfully offers
moments of levity, simple and easy moments of
light laughter, which serve to allow the
audience the chance to breathe deeply before the
next suspenseful scenario. Spielberg also
incorporates the masterful use of silence in
"Munich," trusting his characters to say what
needs to be said without intrusion, without
dialogue and even at times without a score. For
those remaining moments, the score by John
Williams is mood-setting, appropriate and
perfectly follows the film's atmosphere.
"Munich" is a risky film for Steven Spielberg,
arguably one of the world's most recognizable
and honored Jews. Yet, it is a wondrously
created film that encapsulates the work that
Spielberg has committed to since early in his
film career. Spielberg has long used film to
express ideas, challenge thoughts, and to create
dialogue on issues and events that continue to
challenge the world. "Munich" is a giant leap
forward and, should we as a society be
courageous enough, may initiate the dialogue
that could potentially create the world most
still see as impossible...a peaceful world.
"Munich" is more than a "must see" film...it is
a "must talk about" film.
©
Written by Richard
Propes
TC Candler's Comment
The circle of
violence and revenge never ends. All you
are left with is emptiness, hatred, paranoia &
more violence. Steven Spielberg's film is
a condemnation of that vicious circle. He
lays the blame at the feet of everyone involved.
This film does not really take sides... unless
reason and peace have their own side.
The film
meanders a little too often, sometimes to the
detriment of a focused plot. But it is a
finely crafted, superbly acted and emotionally
powerful film that should leave you steeped in
deep thought about the nature of war and revenge
and the utter pointlessness of it all.
Unlike
"Schindler's List", this film also leaves us on
a note of sadness, hopelessness and lament that
this circle will likely never stop. The
final image in the film is a link to our current
time and the reference should not go unnoticed.
Spielberg's
film reminds us that this is an ongoing circle,
with flaws on both sides of the fence. It
will not end until reason and understanding and
empathy reigns in the powerful or until we have
erased each other from the face of the earth.
Jacob
Hall's Comment
n/a
