Munich

Munich is easily the best film Spielberg has made since Schindler’s List, and probably just as powerful. He tackles a controversial subject masterfully – with a highly articulate tale that understands that there are two sides to the Palestinian/Israeli conflict, but also makes it clear that the acts of murder perpetrated by both sides were atrocious and reprehensible crimes. Tony Kushner, writer of the brilliant ‘Angels In America’ (possibly the best thing ever to grace the small screen) and Eric Roth adapted the script from George Jonas’ book, and together with Spielberg have created a wonderfully gripping film that is oh so serious at the same time. The issues and arguments are laid out succinctly and with very little Hollywood-type grandstanding or clumsy moralising.

Since his move to Hollywood, Eric Bana has done little to impress me, performing in such turkeys as Troy, Black Hawk Down and The Hulk. Here he is brilliant as the leader of the group – at the same time dedicated and conflicted, murderous and benevolent. Daniel Craig (the next James Bond) is fantastic as the ‘most ruthless’ of the killers and the multitalented Mathieu Kassovitz (director of La Haine) great as the more quietly spoken bomb expert. These aren’t a crack team of elite assassins, however. They make mistakes and are clearly in over their head, but this is what makes the story so effective. They are ordinary people doing extraordinary things. Geoffrey Rush performs well as their superior, but is (surprisingly) nothing to write home about.

The more sombre moments of Munich are punctuated by several outstanding set pieces that are almost Hitchcockian in their effectiveness. These are as exciting as they are harrowing, and had me on the edge of my seat. Munich doesn’t shy away from violence or (more significantly) its consequences, and is in fact at times quite harrowing. Such moments are important considering narrative’s ties to the real events – this isn’t an issue to beautify or tiptoe around.

John William’s score is surprisingly subtle. After being pummelled about the face by his work in Star Wars: Episode III – Revenge of the Sith, I am now reminded that he is quite an adaptable master composer. The most effective and memorable scenes in Munich play out with no music whatsoever, reinforcing my opinion that such a story should never be glamorised.

The only criticism I have is with the film’s length. Audiences are now most likely familiar with the director’s tendency to go on and on, and while there are a couple of gratuitous scenes in Munich, there is thankfully only one ending (as opposed to Artificial Intelligence: AI). Even at 163 minutes, this is the least bloated film he’s done in recent years.

Hats off to Mr Spielberg and his creation, which is as thrilling as it is powerful and pertinent. This master filmmaker still has the ability to make us sit up and listen, even 35 years after a monster truck tried to mow down an innocent man.