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Munich

  • 2005
  • R
  • 2h 44m
IMDb RATING
7.5/10
247K
YOUR RATING
POPULARITY
2,349
477
Eric Bana in Munich (2005)
After the Black September capture and massacre of Israeli athletes at the 1972 Olympics, five men are chosen to eliminate the people responsible for that fateful day.
Play trailer2:29
1 Video
99+ Photos
EpicPeriod DramaPolitical ThrillerPsychological DramaPsychological ThrillerSpyTragedyDramaHistoryThriller

After the Black September capture and massacre of Israeli athletes at the 1972 Olympics, five men are chosen to eliminate the people responsible for that fateful day.After the Black September capture and massacre of Israeli athletes at the 1972 Olympics, five men are chosen to eliminate the people responsible for that fateful day.After the Black September capture and massacre of Israeli athletes at the 1972 Olympics, five men are chosen to eliminate the people responsible for that fateful day.

  • Director
    • Steven Spielberg
  • Writers
    • Tony Kushner
    • Eric Roth
    • George Jonas
  • Stars
    • Eric Bana
    • Daniel Craig
    • Marie-Josée Croze
  • See production info at IMDbPro
  • IMDb RATING
    7.5/10
    247K
    YOUR RATING
    POPULARITY
    2,349
    477
    • Director
      • Steven Spielberg
    • Writers
      • Tony Kushner
      • Eric Roth
      • George Jonas
    • Stars
      • Eric Bana
      • Daniel Craig
      • Marie-Josée Croze
    • 907User reviews
    • 214Critic reviews
    • 74Metascore
  • See production info at IMDbPro
    • Nominated for 5 Oscars
      • 14 wins & 75 nominations total

    Videos1

    Official Trailer
    Trailer 2:29
    Official Trailer

    Photos100

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    + 94
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    Top cast99+

    Edit
    Eric Bana
    Eric Bana
    • Avner
    Daniel Craig
    Daniel Craig
    • Steve
    Marie-Josée Croze
    Marie-Josée Croze
    • Jeanette the Dutch Assassin
    • (as Marie-Josee Croze)
    Ciarán Hinds
    Ciarán Hinds
    • Carl
    Mathieu Kassovitz
    Mathieu Kassovitz
    • Robert
    Hanns Zischler
    Hanns Zischler
    • Hans
    Ayelet Zurer
    Ayelet Zurer
    • Daphna
    Geoffrey Rush
    Geoffrey Rush
    • Ephraim
    Gila Almagor
    Gila Almagor
    • Avner's Mother
    Michael Lonsdale
    Michael Lonsdale
    • Papa
    Mathieu Amalric
    Mathieu Amalric
    • Louis
    Moritz Bleibtreu
    Moritz Bleibtreu
    • Andreas
    Valeria Bruni Tedeschi
    Valeria Bruni Tedeschi
    • Sylvie
    • (as Valéria Bruni Tedeschi)
    Meret Becker
    Meret Becker
    • Yvonne
    Yvan Attal
    Yvan Attal
    • Tony - Andreas' Friend
    Ami Weinberg
    Ami Weinberg
    • General Zamir
    Lynn Cohen
    Lynn Cohen
    • Golda Meir
    Amos Lavi
    Amos Lavi
    • General Yariv
    • (as Amos Lavie)
    • Director
      • Steven Spielberg
    • Writers
      • Tony Kushner
      • Eric Roth
      • George Jonas
    • All cast & crew
    • Production, box office & more at IMDbPro

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    Storyline

    Edit

    Did you know

    Edit
    • Trivia
      Guri Weinberg played his own father. He is the son of Moshe Weinberg, the Israeli wrestling referee and former champion, who died in the massacre when Guri was just one month old.
    • Goofs
      Though they took the time to digitally add the World Trade Center to the final shot, they didn't edit out the Citigroup Center, Trump World Tower, and the Bloomberg building, which were built after the time of the movie.
    • Quotes

      Robert: We are supposed to be righteous. That's a beautiful thing. And we're losing it. If I lose that, that's everything. That's my soul.

    • Alternate versions
      The film was heavily censored in Malaysia for a 'U' rating. The uncut version is rated '18PL'.
    • Connections
      Featured in Today: Episode dated 27 July 2005 (2005)
    • Soundtracks
      Ain't No Sunshine
      Written & Performed by Bill Withers

      Courtesy of Columbia Reecords

      By Arrangement with Sony BMG Music Entertainment

    User reviews907

    Featured review
    10/10

    An extraordinary film—riveting, involving, challenging

    I am not a big Spielberg fan, and find he often goes for cheap emotional manipulation in his films, especially his endings. I was there fore amazed at the unflinching control he exercised in Munich, his utter unwillingness to flinch at complexities, his ability to dissect the ideological and moral sureties of all sides within the natural rhythms of the thriller genre. There is so much to praise in this film, because it is utterly seamless film-making with a keen eye for every little detail that never reveals the intense precision behind its construction.

    While some have found the film "disengaged," I found that it pulled at the viewer's conscience through the central characters, not only Bana's Israeli agent Avner and his cohorts, most of who slowly find themselves gnawed by doubts of their mission's morality and effectiveness, but also smaller characters as well, drawn with indelible deftness—the weary ex-French Resistance fighter now a trader in deadly information to stateless agents because of his cynicism about recurrent corrupt regimes replacing each other, or the PLO operative who debates Palestinian strategy and justification with Avner, who he wrongly believes to be a German left-wing terrorist who is "soft" on Jews because of the Holocaust. The economy of Spielberg's film-making is breathtaking in hindsight, so that what at first seems a relatively flat and emotionless exercise in historical recreation slowly seeps into one's subconscious and then moves upward, in quick bursts of sudden bursts of emotional and intellectual recognition by the viewer. These are real human beings, these are fighters in a war they believe in desperately and whose people have suffered terribly yet can find no real peace.

    For this Kushner and Roth's screenplay must get much credit, the crisp narrative development intertwined with intellectually rigorous set pieces and flat-out armrest-clutching actions sequences. John Williams, who has managed to be understated in the past, is equally adept at building (or feinting) tension and subtly commenting on character development. Check out the slightly dissonant piano in the last scene to see what I mean. Longtime Spielberg collaborator Janusz Kaminski creates some amazing framing devices, especially as the action sequences are about to unfold and during moments of intimate conversations imbued with tension. Michael Kahn's editing is crisp and occasionally startling, as in the way the conclusion of the horrifically bungled Munich "rescue" is related. The retelling of the entire event from break-in to conclusion is doled out in bits and pieces in what seems at first an attempt to soften its impact but in the end, entwined as it is with all of the complicated issues, is finally revealed as a masterful means of achieving the fully deserved emotional impact within a complexly rendered ideological, moral and strategic matrix. There is not a false note in any of the acting, and the casting is uniformly spot-on.

    About the politics. The radicals on either side will reject the film out of hand because it dares to render both sides as human and worthy of understanding. But attempting to understand choices of violence and vengeance as strategies does not in any way mean condoning them. Certainly, anyone who feels that the film somehow allows a viewer to walk away thinking that Black September was justified in its attack is probably projecting his or her fears about how some imagined uninformed viewer might react. Instead, the film demonstrates that whether one feels either or both sides justified it doesn't manner—neither side can win through violence at this point. This was Yitzhak Rabin's great insight—you don't make peace with your friends, you make peace with your enemies. His Israeli Jewish murderers wanted violence to continue, believing that only a continued state of war would keep Israel from giving back land they saw as bound up with their faith but which international law, historical study and the basic "facts on the ground" reveal to be bound to be returned to the Palestinians. Ariel Sharon, of all people, came to understand this, though without the larger vision and magnanimity of spirit that his fellow warrior Rabin discovered. Spielberg's message is clear—the extremists will choose war over peace, but must so many of us side with the extremists because of our fear of appearing weak or "giving in"? A last note on politics—there is clear relevance to the United States' current predicament post-9/11. One can almost here Cheney or Bush making the speech made by Israeli premier Golda Meir in the film (an extraordinary piece of recreation that transcends mere imitation), only probably with more moral surety and less sense of resignation. Anyone paying attention to world reaction to Guantanimo, Abu Gharib, the bombing of Afghan and Iraqi villages and the spiriting away of suspected terrorists through "rendition" for torture in "friendly" nations must be aware that whether one leans hard or soft on such matters, there is going to be a price to be paid. The hardliners believe we will just keep punching and slugging and eventually the bad guys will go down; that they will not reproduce themselves like the many-headed Hydra or germinate and reproduce by the thousands in the fetid waters of our perceived hypocrisy—whether you think it justified or not it doesn't matter. As Spielberg makes clear in this film, all that matters in the end is peace or violence, and whoever ultimately desires the former had better be damn sure that their use of the latter is measured by the awareness that it use will create debts that will need to be repaid in the end, and the debtors will most likely be the generations to come on all sides.
    • mlg-2
    • Jan 22, 2006
    • Permalink

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    FAQ27

    • How long is Munich?Powered by Alexa
    • Did Hans kill himself?
    • Why does Avner go into his closet to sleep?
    • Why would the CIA protect Salameh, a notorious terrorist?

    Details

    Edit
    • Release date
      • January 6, 2006 (United States)
    • Countries of origin
      • France
      • Canada
      • United States
    • Languages
      • English
      • German
      • French
      • Hebrew
      • Arabic
      • Italian
      • Greek
      • Russian
      • Dutch
    • Also known as
      • Untitled 1972 Munich Olympics Project
    • Filming locations
      • Bugibba, Malta(Olympic Hotel in Cyprus)
    • Production companies
      • Dreamworks Pictures
      • Universal Pictures
      • Amblin Entertainment
    • See more company credits at IMDbPro

    Box office

    Edit
    • Budget
      • $70,000,000 (estimated)
    • Gross US & Canada
      • $47,403,685
    • Opening weekend US & Canada
      • $4,152,260
      • Dec 25, 2005
    • Gross worldwide
      • $130,982,407
    See detailed box office info on IMDbPro

    Tech specs

    Edit
    • Runtime
      2 hours 44 minutes
    • Color
      • Color
    • Sound mix
      • DTS-ES
      • Dolby Digital EX
      • SDDS
      • Dolby SR
    • Aspect ratio
      • 2.35 : 1

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