Spielberg Crafts Thriller Of The Year, But It's Not Enough

REVIEW: Munich

Encountering more Oscar buzz than almost any other film this year, Steven Spielberg's "Munich" was heavily anticipated, to say the least. Most interesting, was the choice to not campaign this film for the Oscars, which of course only created more buzz and mystery to its existence. After it's release, the film, unlike others (Memoirs of a Geisha), holds up to its buzz. Though not Best Picture worthy, it is entirely worthy of a nomination.

Centering on the events that occurred after the attacks and assassinations of the Israeli Olympic team of 1972, Tony Kushner(Angels In America), pens one of the most sophisticated thrillers of our time. Including conversations that, though they took place in 1972, ring with a certain truth today. Reminding us that not much has changed. The screenplay has its breathtaking moments, and should be rewarded accordingly.

Onto the acting. Eric Bana, though not being recognized by any major precursor award has still been looked at as a major contender for the Best Actor category. Portraying Avner, the leader of the five men sent to kill eleven men that had a hand in planning the attacks at the Olympics, Bana will unfortunately be overlooked. Though his performance transcends the average movie's lead, his role will probably lead him to a second tier nomination. However, don't let this prediction deceive you. He could very likely have to get used to having "Academy Award Nominee" in front of his name due to the last thirty minutes of the film. Bana takes the dark twist in the film as an opportunity to bolster his character and performance, which tips me off to what was wrong with the first 2 and a half hours: a lack of substance. Though the character is supposed to have underlying father issues that ultimately lead him to take the job, Bana never seemed to add that layer. Perhaps because the script itself never drastically pointed out that character trait. However, near the climax of the film and Avner's return home, Bana slops on a whole new layer of subtext, continuously reminding us of how the past year has haunted him and affects his daily life. This is exemplified in a heart breaking scene where Avner rummages through his house looking, desperately, for anything that might literally blow up in his face. Though Bana portrays a beautiful post-assassination Avner, the character is not difficult enough or solidly performed to earn a nomination in this very difficult category.

The film, however, belongs to the ladies. Though their character's time on film are few and far between, they demand every minute they have on it, a la Judi Dench in Shakespeare In Love. Marie-Josee Croze portrays a powerful yet tender mother who simply wants her husband back. Reminding us of wives left at home during war time, her husband is at war, but she has no one to sympathize with. Stranded in New York with a new born and no husband, Croze does everything right. When Avner returns home, she does not break down in tears because she is a very strong-willed woman. Expressing concern for her haunted husband, we see her heart-break and her undying love for the man she used to know. The second female of the film award goes to the very surprising performance of Lynn Cohen and her portrayal of Golda Meir, the Israeli Prime Minister. Golda Meir, historically known as the mother of Israel, is strong and unique. We see her grief over the loss of her fellow citizens and also, in one particular scene, the conflict of her personal feelings for family (her sister) when confronted with the funeral of the athletes. Dressed, literally, in clothes fit for a grandmother, this small lady still commands the attention and respect of every man in a scene with her. Unfortunately, these two performances are extremely brief, but you never know. Perhaps the Academy will smile on these under-dog performances...They have before.

Steven Spielberg does a masterful job with this film. Reminding us of Clint Eastwood's work in Million Dollar Baby, he directs the film with an everchanging scope. Changing lighting and shots to become more dramatic and dark as the film leaves its light hearted side in the dusk of multiple explosions. Though the film drags a bit in the middle, the noteworthy directing is exemplified by his choices involving the exposition of the massacre and the films final thirty minutes. It is as if Spielberg just decided to make a brilliant film, rather than just a good one. Unfortunately, it is a little too little too late. Because the film drags on a bit in the middle, leaving many wondering why the film had to be three hours, Munich lacks some of the power of other contenders like Brokeback Mountain and Good Night and Good Luck, but it will certainly be in the running.

RATING: A-