Spielberg at his most mature and unsentimental

Rating: 9/10 (16 October 2015)

Steven Spielberg's Munich questions the value of compromising your own ideals in the name of retaliation, whether 'doing what your enemies do' is a necessary stance or the beginning of a downwards spiral towards violence and bloodshed of which there is no end, and ultimately, no point. There are ancient political and religious rivalries in Ireland, South Africa and, especially, Israel; countries that have been torn apart by civil unrest. There seems no reasonable solution apart from forgiving and forgetting, but this doesn't seem to be an option. In the wake of the terrorist attack at the 1972 Munch Olympics, Israeli prime minister Golda Meir (Lynn Cohen) decides that lawful justice will not suffice for the murder of 11 Israeli athletes and team members.
A crack team is put together to carry out a series of carefully planned assassinations of alleged members of the Black September group. The group's leader is Avner (Eric Bana), a Mossad agent and soon-to-be father who is briefed of his task by the shadowy go- between Ephraim (Geoffrey Rush). The rest of the team is Carl (Ciaran Hinds), a clean-up man, Robert (Mathieu Kassovitz), an expert bomb-maker, Steve (Daniel Craig), a South African weapons handler, and Hans (Hanns Zischler), a professional document forger. Their first hit takes them to Rome, where they are sold information on the whereabouts of target Wael Zwaiter (Makram Khoury) by a Frenchman named Louis (Mathieu Amalric), who claims to work for an organisation unaffiliated with any government.
Highly controversial upon its release, some extreme views questioned director Spielberg's sympathies and ultimate goal. For most people not directly linked to the various religious groups and organisations seen in the film, it should be clear that Spielberg makes a point in showing both sides as equally sympathetic and morally ambiguous. Every attack and execution is a result of one action or another, bringing into question the whole idea of revenge (the movie is based on the book Vengeance by Yuval Aviv, who Bana's character is a fictional substitution for). Israel itself plays a key role. Although we spend little time there. Munich takes us to Italy, Greece, England, Spain, Lebanon and America, but Israel's disputed lands are never far from the characters minds.
Avner is an especially haunted soul, questioning the ethics of his operation and plagued by visions of the events at the Munich Olympics, the latter of which are portrayed with a chilling authenticity at various point throughout the film. He later meets Louis' 'Papa' (Michael Lonsdale), who argues that family, over any government or religious organisation, is the only unit worth fighting for, casting Avner's mind back to his recently-born child. The ensemble cast do a very good job at carrying the weighty tones of the film on their shoulders, but it is Spielberg himself who is the most deserving of acclaim here. It is the director at his most mature and unsentimental, and as the industry's most famous Jew he has taken a huge risk by tackling an extremely sensitive issue. It upset the people on both sides, but that is precisely the point. How can anyone come out of such a bloodied conflict, of which there is no clear end in sight, with a clear conscience?