Munich (film)

See also: Munich (homonymy)

Munich is a film American of Steven Spielberg, left to France in 2006 and written by Tony Kushner and Eric Roth.

The film takes as a starting point the drama of OJ of Munich of 1972, where Palestinian members of the group black September took as hostages athletes of the Israeli delegation . The film occurs after the catch from hostages, and described what was the Opération Anger of God, through the history of an agent resulting from the Mossad, incarnated by Eric Bana, asked to track the persons in charge and to eliminate them.

Synopsis

Following the taking of hostages of Munich, the government Israélien decides to carry out several Palestinian persons in charge related to this attack.

Avner, old bodyguard of Golda Meir and agent of the Mossad, is charged to constitute a team functioning in an autonomous way (Avner will be thus obliged to resign officially of Mossad, not to imply this last). Thus, it will be charged with the four men who compose his team to assassinate several Palestinian persons in charge through the Europe (with Rome, Paris, Cyprus or London), but also with the Lebanon.

Hunters, they fear to be themselves tracked and mistrust is transformed into psychosis. Gradually, Avner and certain members of its team wonder whether a democratic State such as Israel has the right to carry out men whereas it prohibits the Capital punishment and over all, apart from any legal framework.

Data sheet

Distribution

Around film

  • the film takes as a starting point the book discussed Vengeance: The True Story off year Israeli Counter-Terrorist TEAM ( Revenge: True story of Israeli a anti-terrorist team ) of the Canadian journalist George Jonas, according to the history of Juval Aviv, the protagonist Avner in the book and the film.

  • the film was criticized by the two parts. Abou Daoud, the chief of the commando, and Zvi Zamir, the chief of Mossad, complained not to be consulted. Always Israeli side, Ehud Danoch, the General consul with Los Angeles, reproached after having seen film that the killers of Mossad and the terrorists Palestinian were put on an equal footing. “This production is surface, pretentious and problematic, because it places on the same plan the Palestinian Mossad and terrorists, which is morally incorrect. From the point of view of the Hollywood cinema, this film will be probably classified like a good film, but with regard to the message which it conveys, it poses problem. ” he declared during a radiophonic maintenance on a radio Israeli. These remarks were supported by Gideon Meir, an high ranking official at the Ministry for Foreign Affairs.
  • Because of the lack of reliable information, being given the secrecy which surrounds the operation, the film takes as a starting point the events having really taken place, by romançant certain parts. One of the scenario writers, Tony Kushner, regards Munich as a historical fiction.
  • Steven Spielberg received several death threats during the preparation of film. He and some of his/her collaborators were even protected by several bodyguards. That can explain the environment of secrecy which surrounded turning and prohibition with the press to assist to with it.
  • the book of George Jonas was first once adapted in 1986, in the film the Sword of Gédéon , of Michael Anderson with Michael York.
  • Spielberg was highly criticized by the choice to make Co-write the scenario by Tony Kushner, Jew American which declared that “the foundation of Israel was a historical calamity, moral, policy for the Jewish People”.

Comments

Family metaphor and culinary metaphor

The vision given to the spectator is by concentric circles: that of a recall of the facts such as the media of the time have it retransmis with the Western populations and the the Middle East, that of the circles of the Israeli capacity, and finally the personal point of view of the principal protagonist, who saw in manner traumatisante the various stages of the taking of hostages throughout film. On several occasions, he to him is pointed out the importance of the family core for the stability of any individual. This metaphor of the family is spun throughout projection. By the Prime Minister initially, Golda Meir arguing that it assisted with the burial of her sister instead of that of the athletes of Munich, placing its consideration for the family before her prerogatives at the top of the State.

Avner being fine cook, it accommodates the members of his team with a copious meal. These men will become his family of substitution within the framework of its secret operations. It only turns over to Israel to attend the family events (birth of his/her daughter), except which it is cut of her. The culinary metaphor continues at the time of its meeting with “Dad”, patriarch surviving of the Second world war and with the head of a very many family, acting a such Mercenaire in the turbid medium of the information during the Cold war. Avner and Papa approach while being common points as well on the culinary level as in connection with the family: when it invites it to call it Papa like everyone, Avner answers him: " Not. I have already a Dad ". One needs a total confidence to agree to eat the cooked dishes which they exchange in this context machinal assassinations by all average licenses. When violence reaches a paroxysm, it is still a feast which gathers the team, whose points of view let sting a disunion.

With the liking of the missions, it on the occasion, under cover of an assumed identity, to confront its points of view with an activist of the opposing party. He notes whereas its motivations are not so distant as of his. One wishes to protect its ground, to keep the independence of its people and the other seeks to have one of them and thus émanciper of any supervision. Avner starts to realize what its engagement endangers for itself.

The protagonists on mission reach the other side of the mirror when they realize that are driven out to them-even with the same methods and that their advisers deliver them without any form of ideological fastening: only the survival of the family account. Whereas the first members of the team are assassinated, Avner in prey with the Paranoïa realizes that its only safety remains in its own family, since it went at the end of its engagement for its fatherland. The latter reserves to him a cold reception taking into account the produced sacrifice. It then develops an ethics on its engagement, and decides to be insulated by leaving Israel and share for New York to join his wife and her daughter whom it had already sent over there.

Suspectant a monitoring of Mossad, it must then be released from the intrigues of its compatriots, obviously attentive with a possible reversal. Its obsessive vision of the events of the taking of hostages releases it, in an ultimate reminiscence which is completed whereas it is in the arms of his wife: exiled, the only remaining redemption comes from its close friends.

The last image

As in many conclusions, the last image gives place to a Mise in abyss. Spielberg then establishes a link between the response of the US government to the September 11th and that of the Israeli government after the taking of hostages of Munich. The film reveals that fatal logic leading to the Hyperterrorisme takes its sources in a cycle of violence which proceeded thirty years before. Spielberg suggests it in an image, the last, that of the appropriations of end of film, in the center of which the twin towers were replaced numerically on Manhattan.

The scene of end has been just completed on the divergence from point of view between Avner and its liaison officer, one having developed an ethics and a retreat vis-a-vis the horror which the intrigues involved in which he was implied. He objects that violence can only involve more violence, and that the assassinations of persons in charge of black September radicalized even more the opinions, placing more violent people still at these stations.

Its interlocutor points out to him the means of exception against terrorism, as defined in the beginning of film by the representatives of the political power, silent partners of the revenge (which is the position of the character appearing Golda Meir), and does not compromise while being diverted of Avner.

On this separation between the protagonists in a park on the banks of the Hudson in the Years 1970, the realizer uses the psychological effect which on the American spectator the vision of the turns maintains today ploughed up, this image being worth much more than one beautiful speech. Catching on the wrong foot the generally accepted idea that the event of September 11th started a rupture and the advent to a new era on the international diplomatic level. This image thus induced the perception of a continuité, extreme polarization that the Law of Retaliation and the Maelstrom of violence unrelentingly brought.

See too

; Context:

; Documentary:

  • .

External bonds

  • Official site
  • Card IMDb
  • Card Cbo
  • Card Allociné
  • Munich on CineMovies

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