Munich
Starring: Eric Bana, Daniel Craig, Geoffrey Rush, Mathieu Kassovitz, Hanns Zischler, Ciaran Hinds, Brian Goodman
Directed by: Steven Spielberg

Released in the US: January 6th, 2006
Released in the UK: January, 2006

Reviewed by: Adam Mast, ZBoneman.com

Munich is something of a cold cinematic experience. Not the type of film you might expect from Steven Spielberg who, just six short months ago, delivered the summer blockbuster War of the Worlds. Munich is a much different kind of picture and easily the most non Spielbergian film of Spielberg’s extraordinary career. Having said that, as Munich ended, I really didn’t know how I felt about it. It’s not the type of movie that immediately wins you over. Not for me anyway. This is the kind of picture - like the recent Syriana - that takes it’s time on you. So much so in fact, that I waited a couple of days before reviewing it. I really wanted the entire film to soak in. Now that it has, I can say that with Munich, Spielberg - along with writers Tony Kushner, George Jonas, and Eric Roth - have crafted a brave, thought provoking film - rife with ideas that will, no doubt, stir up controversy, and he’s done so in record breaking time (this picture didn’t even begin shooting until June – the very same month War of the Worlds was released).

As Munich opens, Spielberg recreates – with unflinching verve – the Palestinian terrorist attack on eleven athletes from the Israeli team during the 1972 Munich Olympic games. Shortly thereafter, the Israeli leaders and intelligence community make the decision to pursue swift retribution – peace will have to wait. Having committed to unblinking “eye for an eye” justice, the Israelis dispatch a hit squad comprised of five strangers with distinct individual traits. The hastily assembled gang of five commissioned to assassinate those responsible for the travesty in Munich, would ultimately come to be known as “Operation Wrath of God.” What follows is an intricate, uncompromising morality tale in which five men (without an ounce of prior bloodshed on their hands) must work together and carry out unthinkable acts of violence all in the name of vengeance.

I call Munich a cold experience because of the fashion in which this sometimes uncomfortable film unfolds. When squad leader Avner (a sensational Eric Bana) carries out the task of assassinating the first mark (a scene that reminded me of a pivotal moment in The Godfather, in which a terrified Michael Corleone commits his first act of violence), there is a callousness that follows. Something I wasn’t prepared for and something that Spielberg isn’t particularly known for, even in his edgier films (i.e. Schindler’s List and Saving Private Ryan). It shook me up and left me disheartened and somewhat empty inside. As the film progressed however, Munich acknowledges these feelings suggesting that these men have no choice but to carry out this mission. Whether or not they feel justified is virtually relevant. In the end however, it is clear that these men will be haunted by their individual actions, and Spielberg makes an extra conscious effort to drive this point home.

Beyond the brutal, moral themes at the center of Munich is a plot structure that reminds one of an espionage thriller. Spielberg remains, above all, a masterful storyteller, and as his characters set out on these violent attacks, the film becomes a political thriller of undeniable (and nail biting) tension. Each assassination attempt plays out with a kind of uneasiness that had me covering my eyes and squirming in my seat.

Spielberg does not shy away from brutality here either, but the violence is presented in a much different way in Munich. As certain acts are committed throughout the film, Spielberg refuses to look away. He presents these acts in a brutal, uncompromising fashion. Yes, Munich tends to be in your face, and for some, it might be a little too much to stomach. There’s nothing gratuitous about it however. It’s violence with a purpose, and for me it’s used to much stronger effect here than it was in David Cronenberg’s solid but slightly disappointing History of Violence.

Munich isn’t a perfect picture. It is heavy handed at times, and Spielberg can’t help but take a Jewish stance on more than one occasion, but then film is a form of expression, so it’s unfair to fault him for his allegiances. Some might also argue that the end of the picture, a chilling two character dialogue set to the backdrop of New York City, goes a little too far. Upon reflection, the scene is an important one and more or less sums up what we’ve just witnessed throughout the movie, but what it implies might lead some to think that Spielberg is reaching in a big way. In the end though, Munich is perhaps Spielberg’s most mature work - particularly in terms of its complexity.

The performances here are exceptional, and while Munich is an ensemble, it is Eric Bana who anchors the picture with his portrayal of the morally conflicted Avner, an everyman and new father who agrees (without a whole lot of reluctance) to become a killing machine for his government. Bana has dazzled with his acting chops in lesser known films (check out his mesmerizing work in the underrated Australian import Chopper), and he’s been quite effective in other movies as well (check out his stoic turn in Wolfgang Petersen’s Troy), but this is his strongest work to date. His performance here is both restrained and extremely internal. Look no further than a powerful scene in which Avner hears his infant daughter speak to him for the first time over the phone. Bana’s reaction breaks the heart, and represents an emotional release made all the more powerful, because up until this point, Munich is starkly devoid of humanity.

The rest of the cast is stellar. Daniel Craig (soon to be seen as the new James Bond) continues to amaze with his turn as getaway driver Steve. Watch him in Munich, Road to Perdition, and Layer Cake, and you’ll see an impressive amount of diversity . Rounding out the outstanding cast are Ciaran Hinds, Mathieu Kassovitz, Hanns Zischler, Michael Lonsdale and Geoffrey Rush.

Spielberg is one of our great directors (and I’ve never hidden the fact that I’m a huge admirer), and while I suppose that’s a given, I sometimes think audiences really forget what an amazing storyteller he truly is. What’s more, I’m simply in awe with the quality of his work, particularly given how quickly he shoots his projects. His instincts as a film maker are quite simply masterful. With Munich, he truly has moved in to uncharted territory. There is much more to this film than the Palestinian/Israeli conflict. In deft fashion, Spielberg attempts to show us the moral repercussions of killing - no matter what the reason. He’s also wise enough to let the audience decide whether or not revenge is right or wrong. For the first time in many years, one of the all time great directors does not hold our hand. He allows us to form our own opinions, and Munich is all the more powerful for it.

Grade: B+