"Munich"

Film Review

by Nicolas Leobold

"Munich" is Steven Spielberg's latest effort at serious moviemaking, tackling a 
subject (the Israeli-Palestinian conflict) which is a powder keg and intensely 
serious in itself.
Unfortunately, from the start a project which has the potential for greatness 
is tainted by Spielberg's choice of the avowed socialist playwright Tony 
Kushner.

Mr. Kushner is notorious among libertarians and other defenders of freedom for 
proclaiming his "love" for socialism and disdain for essential common human 
rights like gun ownership and freedom from government coercion. Mr. Kushner 
feels no hesitation writing in numerous violent scenes to his screenplays which 
condone the use of violence for "just ends", yet somehow he doesn't make the 
connection that ordinary human beings in the real world should also be free to 
exercise the same human right to defend themselves and their loved ones by 
owning and carrying guns (Mr. Kushner is a shrill supporter for total gun 
control) or be free from other coercion. Forgive me for delving into my brief 
political analysis, but this is the common disconnect of gun control supporters 
in Hollywood and in the theater on Broadway, and indicative of what is the weak 
link (Mr. Kushner as screenwriter) in an otherwise unqualified great film.

And Munich IS a quality film, in fact. Don't get me wrong. The story is 
involving, poignant, gripping, unfolding intricately as we meet a young 
expectant father and Israeli Mossad officer, Avner (Eric Bana), being called up 
by Prime Minister Golda Meir (Lynn Cohen) to head an elite, super-secret death 
squad to assassinate Arab and Palestinian terrorist operatives.

There are truly gripping moments in all of this, to say the least. As Bana's 
team blow up, shoot, and often end up dismembering evil terrorists populating 
their hit list, in a ho-hum, routine manner of assassination, there are also 
unforgettably horrifying scenes in the film, especially like the revenge 
take-out of a poisonous black widow-like female prostitute-assassin 
(responsible for killing one of Bana's team members by slitting his throat in 
bed after seducing him), who the surviving team members hunt down to a house 
boat in Holland. I won't go into the exact manner of the hit, but will simply 
say that Spielberg and his production designers and cinematographers in this 
film often use the fullest extent of their artistic abilities to display the 
grim beauty of all the destruction, killing and mayhem.

Where the weakness of employing Mr. Kushner to write the movie I think becomes 
clearly apparent is in some of the details and framework of the film, as well 
as a few embarrassing artistic "flourishes" which Mr. Kushner can't resist 
injecting in.

The footage of the Munich Olympics siege by Palestinian terrorists which is the 
instigation and origin of the story is one part of the film which is 
inconsistent in its quality and often made irritatingly melodramatic and 
sanctimonious. In particular, at the end of the film, where we see flashbacks 
of the Israeli Olympic team members about to be massacred while the terrorists 
desperately try to fight off the Munich police SWAT teams, Mr. Spielberg can 
not resist playing his usual schmaltzy Jewish choral funeral dirges to try and 
elicit our tears, faith, solidarity, and Jewish resoluteness. Of course, that's 
Mr. Spielberg's prerogative and privilege along with the perennial Spielberg 
musical collaborator John Williams, but Mr. Kushner leaves us no doubt that he 
is a co-conspirator in all this schmaltz by writing in what has to be 
considered one of the all-time greatest, over-the-top and corniest 
sadomasochistic love scenes in film history. 

Superimposing Bana's desperate attempt at lovemaking with his wife onto his 
imagination's simultaneous visual memories and flashbacks of the fateful 
violent shootout in Munich, Kushner makes it hard for us not to notice that 
Bana, his wife and the shootout massacre reach a simultaneous "climax" for us 
on screen. Somehow we are supposed to contrast the violence of Bana's tortured 
but creative lovemaking with the violent destruction of the terrorist attack, 
perhaps. Kushner's lame consolation to us all in this is for Bana's wife to 
declare with a murmur afterwards, "I love you", broadcasting Kushner's 
universal affirmation that by our collective procreation, our violent life has 
some sort of deeper meaning.

I think this is the sort of perversion, if you will, that Kushner can't help 
bringing to many of his projects, but it only serves to diminish Spielberg's 
skill and greatness, making what could have been nearly a flawless movie into 
what is merely an excellent movie with glaring flaws.

In fact, I would say that there are many movies in the past thirty years in 
recent memory, several by Spielberg himself, in which compromises to politics 
or to polite society or to social convention, such as the casting of a "Tony 
Kushner", end up finally reducing and discrediting the integrity of the 
finished product in the end. It's almost as if Spielberg, sensing his own 
potential for true greatness, either pulls back out of fear and self-sabotages, 
or is so caught up by adrenaline and overconfidence that he exercises poor 
judgment in his planning and organizing for the project. 

Because, truly, a film about an ultra-controversial and hyper-sensitive topic 
such as the Israeli-Palestinian conflict, by the most powerful American 
director of our day, leaves little room for bad hiring, bad decision making, or 
any compromises on quality, genuineness and realism. By choosing a screenwriter 
who has compromised his own human values and those of our society in supporting 
the violation of human rights and human lives through the advocacy of socialism 
and authoritarianism, Spielberg has correspondingly allowed himself and his 
integrity to be compromised, and has  compromised the quality of his work as a 
consequence.

Copyright 2005 by Nicolas Leobold, All Rights Reserved


*******************************************************
Nicolas Leobold
 
"..just another one of those American gun nuts..."
 
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"Suppose the Second Amendment said, 'A well-educated Electorate, being 
necessary for self-governance in a free State, the right of the people to keep 
and read Books, shall not be infringed.' Is there anyone who would suggest that 
means only registered voters have a right to read?"
--Georgetown University professor Robert Levy

Nic Leobold, a gun-nut, says:
"Buy a gun today and protect your family and loved ones from bad people. Avoid 
crime, terrorism, civil unrest or a tyrannical government with your [choose 
one] God-given/moral/ethical/civil/individual/human right to protect yourself 
and exercise self-defense. Don't worry, you already have a license, permit and 
registration for it, it's called your voter registration card or state I.D. 
Don't listen to politicians and bought-and-paid-for police chiefs who claim you 
don't." -Nic 
(Amendment II of the Bill of Rights, Constitution of the United States, 
guarantees that ".the right of the people to keep and bear Arms, shall not be 
infringed.") ("Self-defense and survival is the prime directive and right of 
every human. No government, organization, group, authority or entity supersedes 
or is greater than any man, woman or child. The individual, not the group or 
nation, is the basic building block and supreme unit of any civilized society, 
and the well-being of all individuals through their individual autonomy comes 
before any considerations of the group or nation. Therefore gun ownership and 
possession by the individual is a fundamental and basic natural right which 
absolutely must be preserved." -Nic Leobold)

"Gun nuts" are otherwise reasonable, respectful people who believe that all 
human beings have a human right to defend themselves and their loved ones by 
owning and carrying guns for self-protection; and that guns are the easiest and 
safest way for the vast majority of people, including elderly, women and the 
disabled and handicapped, to effectively practice self-defense; but these 
reasonable, respectful people have been pigeon-holed and stereotyped as 
"radicals", "loonies", "militia types", "country hicks", and "rednecks", 
because intellectuals think you have to be crazy or live in the South to want 
to have a gun. That's why some of us call ourselves "gun nuts". It's a 
sarcastic and ironic comment on the folly of our present-day political 
correctness and slavish worship of and acquiescence to authority and the 
government. But I can tell you, there's nothing sarcastic or ironic about being 
mugged, assaulted or threatened, as often happens here in the big city. So be 
prepared-buy a gun. -Nic the gun nut

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