Review: 'Munich' presents haunting political study

While his movies have always been state-of-the-art (even his thoroughly awful remake of “War of the Worlds” looked good) they have always seemed to value style over substance.

Still, Spielberg’s talent can’t be denied.

He’s also the most powerful Jewish voice in the entertainment industry and, up until now, his best film was “Schindler’s List.”

With “Munich,” Spielberg has outdone himself and taken quite a bold stance.

People on both sides of the Israeli/Palestinian conflict have criticized this film, saying it is slanted in one direction or the other. This speaks highly of the power of the movie and Spielberg’s ability to so succinctly make the point that, in many grave circumstances, all involved share some blame.

As the director of “Schindler’s List” – and as the founder of the Shoah Foundation, which he established in 1994 – Spielberg’s sentiments obviously line up with his heritage. But in “Munich,” he takes no sides. He gives an unflinching view of how violence – even when perceived as justified – merely fosters more of the same.

Since Sept. 11, we have all become well-acquainted with terrorism. A brief study of modern terrorism may turn a head or two. It’s not in the scope of this column to discuss politics outside of how they relate to film, but Spielberg gives credit (albeit negative credit) where credit is due.

“Munich” begins with the tragic events surrounding the 1972 Olympic Games in Munich. Palestinians – under the auspices of an organization that became known as “Black September” – infiltrated the Olympic Village and took a number of Israeli athletes and trainers hostage, demanding the release of Palestinian political prisoners.

Some of the hostages were killed on the scene, but the tragedy came to fruition at the Munich airport when the perpetrators and their hostages were awaiting a flight to Libya. The nine remaining Israelis were shot, and all hell broke loose. These are the historic facts.

Spielberg picks up the film after the fact – although his re-enactment of those events is chilling and powerful – with a fictionalized version of the Israeli government’s response to the insanity of the moment.

Eric Bana stars as Avner, an Israeli operative who is selected to head a covert operation aimed at the group said to be involved in planning the Olympic massacre.

His team is well-staffed and the setup is in the style of the classic “Mission: Impossible” television show and films: Should the operation ever come to light, the people in charge will entirely disavow any knowledge that the operation exists.

Bana is nervous and paranoid – as he should be – but calculated and effective.

The team takes its time tracking down its targets and employs an organization that is willing to sell any name for a price. The group is a “family” operation.

Their credo is that they will not work for governments. They have no loyalties. They merely realize that things are going to be done, and if they can get rich, why not? You can imagine how this kind of business arrangement might backfire.

The family has an opulent estate and the family dinners include dozens of kids, grandkids, wives and friends. These are the most fascinating family scenes since “The Godfather,” and that is high praise.

Spielberg’s presentation is bolder than it may seem on the surface. The Munich events were horrific, but the director is presenting a parable that is as pertinent in today’s political climate as it was when these events took place.

“Munich” is a chilling, haunting film and one of the most serious political studies to be presented in a long while.

Jim Wunderle owns Wunderle Sound Services and is a Springfield free-lance writer and musician.