Munich
Steven Spielberg's Munich is a tough film to get a handle on, even more so than his ode to Stanley Kubrick, Artificial Intelligence: AI. But where that film (one I think will be looked back upon as a masterpiece) forms an emotional connection to artificial life forms, Munich has almost the opposite effect—detachment from its human dilemma of revenge versus turning the other cheek. The craftsmanship from the world's greatest technical filmmaker is, as usual, exceptional; but as one of the best storytellers, Munich's very premise seems to have trapped Spielberg between a rock and a hard place from the get-go. The film's message that violence begets violence is hardly revolutionary, and that seems to hinder character development if for no other reason than we already know the lesson learned.
The story is rightly unapologetic to both sides of the conflict, and the decision to show the actual Olympic kidnapping and botched rescue attempt in stages, interspersed throughout the film as the Israeli assassins conduct their mission of vengeance, makes their cause less sympathetic when juxtaposed with their own violent reprisals. On the other hand, by not presenting the full visual motive for retribution in all its horrific detail at once, the characters seem hollow in their pursuit of justice. Maybe that's the point, but because of it Munich's main achievement is a feeling of hopelessness and despair about a peaceful resolution to the Israeli/Palestinian conflict. If violence isn't the answer (and it isn't), then what is?
- July 14, 2006
DVD Extras
Disc 1: As usual with a Spielberg film, not much in the way of commentary, only an opening statement from the director apologizing without apologizing for the film's muddled presentation of an historical event. Disc 2 of the collector's edition, which I didn't rent, has a slew of featurettes about the main characters and the actors who play them, their reflections on the actual 1972 attack, and the usual "making of" documentaries that fill up an entire second disc.