Munich (2005)

Director:

Steven Spielberg

Writers (WGA):

Tony Kushner (screenplay) and
Eric Roth (screenplay) ...

Release Date:

6 January 2006 (USA)

Genre:

Drama | History | Thriller

Tagline:

The world was watching in 1972 as 11 Israeli athletes were murdered at the Munich Olympics. This is the story of what happened next.

Plot:

Based on the true story of the Black September aftermath, about the five men chosen to eliminate the ones responsible for that fateful day.

Plot Keywords:

Mossad | Olympics | Terrorist | Palestinian | Munich Olympics

Awards:

Nominated for 5 Oscars. Another 7 wins & 21 nominations

Cast

Eric Bana	...	Avner
Daniel Craig	...	Steve
Ciarán Hinds	...	Carl
Mathieu Kassovitz	...	Robert
Hanns Zischler	...	Hans
Ayelet Zurer	...	Daphna
Geoffrey Rush	...	Ephraim
Gila Almagor	...	Avner's Mother
Michael Lonsdale	...	Papa
Mathieu Amalric	...	Louis
Moritz Bleibtreu	...	Andreas
Valeria Bruni Tedeschi	...	Sylvie
Meret Becker	...	Yvonne
Marie-Josée Croze	...	Jeanette the Dutch Assassin
Yvan Attal	...	Tony - Andreas' Friend

Also Known As:

Munich (Canada: French title) (France)
Steven Spielberg's Munich (Australia)
Untitled 1972 Munich Olympics Project (USA) (working title)
Munich (Argentina) (Peru) (Spain) [es]
München (Finland: Swedish title) (Sweden) [sv]
München (Germany) [de]
München (Finland) [fi]
München (Denmark) [da]
München (Norway) [no]
Münih (Turkey: Turkish title) [tr]
Minchen (Israel: Hebrew title) [iw]
Minhen (Serbia) [sr]
Monaho (Greece) [el]
Munique (Brazil) [pt]

MPAA:

Rated R for strong graphic violence, some sexual content, nudity and language.

Runtime:

164 min | Philippines:163 min (cut)

Country:

USA | Canada | France

Language:

English | German | French | Hebrew | Arabic

Color:

Color

Aspect Ratio:

2.35 : 1

Sound Mix:

DTS-ES | Dolby Digital EX | SDDS

Certification:

Ireland:15A | Australia:MA | Czech Republic:12 | UK:15 | Singapore:M18 | Switzerland:14 (canton of Vaud) | Switzerland:14 (canton of Geneva) | Finland:K-15 | Netherlands:16 | Norway:15 | Argentina:16 | Portugal:M/16 | Germany:16 | Hong Kong:IIB | Spain:18 | Philippines:R-13 | Sweden:15 | Iceland:16 | Malaysia:18PL | Malaysia:U (heavily cut) | Hungary:16 | New Zealand:R16 | South Korea:15 | Japan:PG-12 | Brazil:16 | Peru:14 | Canada:13+ (Quebec) | Canada:14A (Ontario) | Denmark:15 | South Africa:16 | Canada:18A (Alberta/British Columbia/Manitoba) | USA:R (certificate #42321) | France:U (with warning) | Australia:M (TV rating) | India:A (cinema release)

Filming Locations:

Bir-Hakeim Bridge, Paris, France

Company:

DreamWorks SKG

Trivia:

The painting on the wall, behind Avner, in the "safe-house" scene is 'Children Eating Grapes and a Melon' by Bartolomé Esteban Murillo. The painting currently resides in Alte Pinakothek, Munich.

Goofs:

Continuity: Just before the terrorist with the cowboy hat (Tony), shoots one of the athletes through the cheek, we see a terrorist in a denim jacket and beige ski mask looking on in the background. As the shot goes to a different angle we see a different terrorist in a yellow shirt threatening an athlete (out of shot).

Quotes:

[first lines]
American Athlete: Hey! Oh! Shame, shame! Closing down the beer garden. 100 meter dash powered by knackwurst and lager.
American Athlete: Where are you guys from?
American Athlete: What is your event?

Movie Connections:

References American Graffiti (1973)

Soundtrack:

Neo Koritsi

Depth and detail - with no sides taken

This movie relates more than just a story of "Vengeance". Besides proving that killing begets killing - it consists of numerous fine details that reveal the hard work done at getting to the depth of things:

For instance, only characters that get shot in the head slump to the ground. The rest take time to die - they walk a few steps, spurt blood and express a look of helplessness and inevitability before going out. Yes its horrifying to look at, which is the point, but it is also real.

Every character is different, and though common in their desire for vengeance, their temperaments are clearly distinguishable in the way the hit men approach their task. Even the terrorists are not stereotyped into hysterical, screaming lunatics. They range from the visibly nervous to the cool Abu Salameh with the movie star style. They are poets, intellectuals and guerrillas each with his story of the conflict. They speak passionately about home - a recurring theme, along with "family". Moreover, Spielberg does not attempt to mitigate the grotesque manner of their deaths, for the blood of the targeted men flows as freely as that of their victims - and when they are blown up, their body parts dangle from ceiling fans. You are not here to feel satisfaction over anyone's death, Spielberg says to the audience. Or as Caine would say in Kung Fu: "The taking of a life does no one honour."

There are no easy "shoot-em-dead" eliminations. There are neighbors, bystanders and obstacles that must be avoided and protected - with variable success. Innocent people may be harmed - and one has to live with that.

There are no mathematical certainties about the potential damage a bomb will cause.

Perspectives and convictions can change, sometimes regrettably. "Don't think about it - just do it" says Avner at one stage when a member of the team expresses doubts about a target's guilt. But at the end he wants evidence that the men he despatched were justifiably killed. Implausible? No; it is only when he has been reunited with his family and experiences the affection of wife and child that he allows himself to reflect from a different perspective - their targets had families too - what if he had killed the wrong men?

The paranoia that permeates the world of spies and assassins is built up gradually - to the point where every survivor mistrusts everybody else. One is doomed all one's life to walk with ears strained for following footsteps. The length of the movie creates the right atmosphere for this idea.

The end dissatisfies many because they would like a reassurance, a note of optimistic finality - but Spielberg rightly offers none. It would be dishonest of him to offer a false but comforting illusion.

It is interesting to contrast this movie with "Paradise Now" that has no violence, a modest budget, and views the conflict from the Palestinian camp. Both narrate completely different stories - yet, in their respective ways, both humanize their subjects, defuse myths about glory, and arrive at the same conclusion: "There's no peace at the end of this."