The 2005/2006 Oscar race was indeed an odd one, especially when you consider the fact that the winner for Best Documentary made more money than any of the Best Picture Contenders. Combined. Munich, directed by Steven Spielberg, was one of those contenders, though I think it was the least hyped of the 5 films, and no one really expected it to win, and it didn't. But I'm very glad it was nominated, and I'm glad to have seen in while it was playing in theatres, even though it turned out to be a very, very unpleasant experience for me. It's a long movie, and if you take the previews into account, it probably runs for about 3 hours. I never really appreciated how long 3 hours actually is until I went in to see Munich feeling perfectly fine, then halfway through I started to feel cold and shivery, and by the time the film was over, I walked out with a terrible fever and could barely make it home.
Now, I could probably make a great endorsement for the movie in my little IMDb comment here and say that Munich is such a wrenching, powerful film that it actually effected me physically, but I know that's not the case. It was winter, there was a flu going around. You know how it is. Anyway, I recently bought the movie and watched it over again, this time with a clear head, and enjoyed it thoroughly. It is one of 2005's best (a great year for movies, by the way), and even though movies about penguins or gay cowboys seemed to capture all the interest and hype, it's still gratifying to see that Munich got its nomination over some other very worthy films. I think that within the next few years, more and more people will discover Munich and wonder why they didn't see it before; it is a movie that will linger for decades and decades to come.
It's a very involving film, it is not afraid to give all of the necessary crucial details, from the actual Munich massacre (spread out and shown in segments throughout the entire film) to a scene in a dark conference room where the Prime Minister of Isreal makes the decision to retaliate against those who planned the murders. Most of the story is told through the eyes of Avner (Eric Bana), who takes on the mission out of devotion to Isreal, but slowly numbs with each murder until he doesn't even care about taking the lives anymore; he just wants to get to his home, and see his wife and child, but even when that finally happens the mission has taken such a toll on him that he is constantly paranoid and distraught. He is hailed as a hero for his mission-a hero that never existed- but he feels no sense of accomplishment as the cycles of violence and vengeance continue and escalate while he is helpless, and spiritually broken.
Munich is a great film and I'd compare it to something like The Godfather. It's a violent film, but it doesn't just throw senseless and brutal violence at the screen. Much like Coppola, Spielberg gives us little details in the violent scenes to keep them in our minds more vividly. We remember that the first person is assassinated while holding his groceries, and we remember the tense hesitation between the two assassins. We remember that that young girl answers a phone bomb that is meant for her father, and the moment of panic before he is actually murdered. We remember Avner's signal to ignite the bed bomb in the hotel room next to him- the lamp being turned off- and seeing the same lamp moments after the explosion on the floor among all the debris. It's those little compositions that make a film like this so memorable.
It's also like The Godfather because of the fact that it holds very familial values. Family is an important theme. Avner comes to dinner with the family of one of his "business associates" and is treated very much like a son to the character Poppy. He offers him advice and anecdotes, and while he helps him prepare the dinner he notes his big hands and offers a similarity between the two: "We are tragic men. We have butcher's hands, but gentle hearts." Avner shows devotion to Isreal, but his most sincere devotion is to his family. That is what makes Avner so likable, but also so tragic. The movie itself is not a tragedy, though it deals with tragedies, but the true tragedy can be found internally- in Avner's moral and spiritual dilemmas.
Steven Spielberg is a director who seems to have unlimited talent. I'm always impressed and delighted with each new project he takes on. Munich is another masterpiece that you can add to the list of an almost uncountable selection of masterpieces from one of the best directors of this, or any other time. As the years go by, I'm sure more and more people will look at Munich and think it deserved the Oscar. It's a timeless and brilliant film.
My rating: 10/10
Now, I could probably make a great endorsement for the movie in my little IMDb comment here and say that Munich is such a wrenching, powerful film that it actually effected me physically, but I know that's not the case. It was winter, there was a flu going around. You know how it is. Anyway, I recently bought the movie and watched it over again, this time with a clear head, and enjoyed it thoroughly. It is one of 2005's best (a great year for movies, by the way), and even though movies about penguins or gay cowboys seemed to capture all the interest and hype, it's still gratifying to see that Munich got its nomination over some other very worthy films. I think that within the next few years, more and more people will discover Munich and wonder why they didn't see it before; it is a movie that will linger for decades and decades to come.
It's a very involving film, it is not afraid to give all of the necessary crucial details, from the actual Munich massacre (spread out and shown in segments throughout the entire film) to a scene in a dark conference room where the Prime Minister of Isreal makes the decision to retaliate against those who planned the murders. Most of the story is told through the eyes of Avner (Eric Bana), who takes on the mission out of devotion to Isreal, but slowly numbs with each murder until he doesn't even care about taking the lives anymore; he just wants to get to his home, and see his wife and child, but even when that finally happens the mission has taken such a toll on him that he is constantly paranoid and distraught. He is hailed as a hero for his mission-a hero that never existed- but he feels no sense of accomplishment as the cycles of violence and vengeance continue and escalate while he is helpless, and spiritually broken.
Munich is a great film and I'd compare it to something like The Godfather. It's a violent film, but it doesn't just throw senseless and brutal violence at the screen. Much like Coppola, Spielberg gives us little details in the violent scenes to keep them in our minds more vividly. We remember that the first person is assassinated while holding his groceries, and we remember the tense hesitation between the two assassins. We remember that that young girl answers a phone bomb that is meant for her father, and the moment of panic before he is actually murdered. We remember Avner's signal to ignite the bed bomb in the hotel room next to him- the lamp being turned off- and seeing the same lamp moments after the explosion on the floor among all the debris. It's those little compositions that make a film like this so memorable.
It's also like The Godfather because of the fact that it holds very familial values. Family is an important theme. Avner comes to dinner with the family of one of his "business associates" and is treated very much like a son to the character Poppy. He offers him advice and anecdotes, and while he helps him prepare the dinner he notes his big hands and offers a similarity between the two: "We are tragic men. We have butcher's hands, but gentle hearts." Avner shows devotion to Isreal, but his most sincere devotion is to his family. That is what makes Avner so likable, but also so tragic. The movie itself is not a tragedy, though it deals with tragedies, but the true tragedy can be found internally- in Avner's moral and spiritual dilemmas.
Steven Spielberg is a director who seems to have unlimited talent. I'm always impressed and delighted with each new project he takes on. Munich is another masterpiece that you can add to the list of an almost uncountable selection of masterpieces from one of the best directors of this, or any other time. As the years go by, I'm sure more and more people will look at Munich and think it deserved the Oscar. It's a timeless and brilliant film.
My rating: 10/10