Munich
ミュンヘン・オリンピックの最中、イスラエル選手団が何者かに襲われた。イスラエル側はテロリストの犯行とみなし、復讐を計画する。暗殺チームのリーダーに任命されたアヴナーは、11人の標的を次々に消していくが……。＜スティーヴン・スピルバーグ監督が、1972年のミュンヘン・オリンピックで実際に起きた事件の真相を、事件に関わった人々のコメントや、史実に基づいて映画化した衝撃の問題作。主演にエリック・バナやダニエル・クレイグら実力派俳優が名を連ねるほか、製作陣にはピューリツァー賞やオスカー受賞者などが顔を揃え、作品の質を高めている。国家への忠誠心や家族への愛を描きつつ、世界平和の真意を問うストーリー展開が見事。＞
By conventional wisdom, Munich is a film that never should have been made. Its subject matter is hotly contested and fiercely political. It is a three-hour, morally complex film of considerable scale, made on a very crunched schedule, and distributed by two major Hollywood studios.
How many lives must be taken to avenge the ones you lost? In our responses to violence, should we accept any compromises on the values of our nation? If so, where do we draw the line? And how do we hold it?
When the film was released, all sides found fault with the depictions of various groups and its factual basis. While he maintains that he has told this story truthfully, Steven Spielberg is not making a documentary, embedded in the exact methods of spy-craft; other films serve that purpose. Spielberg’s highest goal is to immerse the audience in the story’s emotional truth.
The most famous Jewish director in the world has made a challenging film that ends by pointing the camera back at us. For all the moral qualms we have experienced in Munich, he asks us to delve into our own souls to find the answers that we can live with.
By conventional wisdom, Munich is a film that never should have been made. Its subject matter is hotly contested and fiercely political. It is a three-hour, morally complex film of considerable scale, made on a very crunched schedule, and distributed by two major Hollywood studios.
How many lives must be taken to avenge the ones you lost? In our responses to violence, should we accept any compromises on the values of our nation? If so, where do we draw the line? And how do we hold it?
When the film was released, all sides found fault with the depictions of various groups and its factual basis. While he maintains that he has told this story truthfully, Steven Spielberg is not making a documentary, embedded in the exact methods of spy-craft; other films serve that purpose. Spielberg’s highest goal is to immerse the audience in the story’s emotional truth.
The most famous Jewish director in the world has made a challenging film that ends by pointing the camera back at us. For all the moral qualms we have experienced in Munich, he asks us to delve into our own souls to find the answers that we can live with.
