Why did I have to marry a sentimentalist?’ Daphna (Ayelet Zurer) indulgently moans at the quash (Eric Bana) who has dashed across a continent to her bedside to go to their firstborn’s traveller. It’s an odd issue to understand in a Spielberg mist, and an even odder context given the apparently coercive idolatry of the kinfolk that runs through his films. Despite everything in ‘Munich’ he acknowledges that the advocacy of the species and home can yield ravagement, maybe evil.
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Following Palestinian terrorists’ massacre of Israeli athletes at the 1972 Munich Olympics, Bana’s Avner is recruited to head up a Mossad assassination team (including Ciaran Hinds, Daniel Craig and Mathieu Kassovitz) targeting those deemed responsible. But as they kill their fall down there Europe in a series of meticulously executed declare-pieces, he begins to question whether such requital can really promote catharsis, let alone civil.
The unobjectionable moral – twist begets violence – is illustrated by ‘geddit?’ sensational ironies (hunter becomes hunted) and gross barbarity (one target’s limbs are left dangling from hotel furnishings); if the squad ape the terrorists’ unaccountability and invisibility, Spielberg recognises the appeal of homicidal spectaculars. The understanding of Munich as the dawn of media terrorism plays into the intriguing, doubtful context in which the film locates its action. It posits the siege and Israel’s response (personified in Lynn Cohen’s hard Golda Meir) as a geopolitical bridge between Carnage and jihad while giving lapse to a young Palestinian’s insistence that ‘home is everything’ and that the striving inclination continue wholly children so far unborn – a motif mirrored in Avner’s own family life. Who could have expected Spielberg, of all directors, to twin the reproductive return with the cycle of violence?
