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Jerry Maguire
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Jerry Maguire
Jerry Maguire movie poster.jpg
Theatrical release poster

Directed by
Cameron Crowe
Produced by
Cameron Crowe
James L. Brooks
Laurence Mark
Richard Sakai
Written by
Cameron Crowe
Starring
Tom Cruise
Cuba Gooding, Jr.
Renée Zellweger
Kelly Preston
Jerry O'Connell
Jay Mohr
Regina King
Bonnie Hunt
Music by
Nancy Wilson
Cinematography
Janusz Kamiński
Editing by
Joe Hutshing
Studio
Gracie Films
Vinyl Films
Distributed by
TriStar Pictures
Release dates
December 13, 1996

Running time
139 minutes
Country
United States
Language
English
Budget
$50 million
Box office
$273,552,592[1]
Jerry Maguire is a 1996 American comedy-drama sports film starring Tom Cruise, Cuba Gooding, Jr., and Renée Zellweger. It was written, co-produced, and directed by Cameron Crowe. The film was inspired by sports agent Leigh Steinberg, who acted as Technical Consultant on the crew.[2][3][4][5] It was released in North American theaters on December 13, 1996, distributed by Gracie Films and TriStar Pictures.
The film received very positive reviews, praising the performances of Tom Cruise, Cuba Gooding, Jr. and Renee Zellweger and the screenplay. The film was a financial success, bringing in more than $270 million worldwide, against its $50 million budget.[1] It was the ninth top-grossing film of 1996.
The film was nominated for five Academy Awards, including Best Picture. For his portrayal as Rod Tidwell, Cuba Gooding, Jr. won the Academy Award for Best Supporting Actor and a Screen Actors Guild Award. Tom Cruise won a Golden Globe Award for Best Actor – Motion Picture Musical or Comedy for his performance as Jerry Maguire, while being nominated for Best Actor in a Leading Role at the Academy Awards.
The film also received nominations for Golden Globe Award for Best Supporting Actor – Motion Picture for Gooding, Jr. and the film itself was nominated for the Golden Globe Award for Best Motion Picture – Musical or Comedy.


Contents  [hide]
1 Plot
2 Cast 2.1 Cameos
3 Product placement
4 Release 4.1 Box office
4.2 Critical response
4.3 Accolades
4.4 Home media
5 Legacy
6 Soundtrack
7 References
8 External links

Plot[edit]


 This article's plot summary may be too long or excessively detailed. Please help improve it by removing unnecessary details and making it more concise. (November 2012)
Jerry Maguire (Tom Cruise) is a glossy 35-year-old sports agent working for Sports Management International (SMI). After suffering a nervous breakdown as a result of stress and a guilty conscience, he writes a mission statement about perceived dishonesty in the sports management business and how he believes that the business should be operated. He distributes copies of it, entitled "The Things We Think and Do Not Say: The Future of Our Business". His honesty touches his co-workers, and they greet him with applause, but the management sends Bob Sugar (Jay Mohr), Jerry's protégé, to fire him. Jerry and Sugar call all of Jerry's clients to try convincing them not to hire the services of the other. Jerry speaks to Arizona Cardinals wide receiver Rod Tidwell (Cuba Gooding, Jr.), one of his clients who is disgruntled with his contract. Rod tests Jerry's resolve through a very long telephone conversation, culminating in the famed "Show me the money!" scene. Meanwhile, Sugar secures most of Jerry's previous clients. Frank "Cush" Cushman (Jerry O'Connell), a superstar quarterback prospect from Southern Methodist University expected to be number one in the NFL Draft, also stays with Jerry after he makes a visit to the Cushman home. Leaving the office, Jerry announces that he will start his own agency and asks if anyone is willing to join him, to which only 26-year-old single mother Dorothy Boyd (Renée Zellweger) agrees. The two had previously bumped into each other in the airport, and Dorothy had told Jerry personally how inspiring she found his "memo."
Jerry travels to the NFL Draft with Cush and convinces Rod to come, too, to meet representatives of other NFL teams. Though Rod at first feels neglected compared to the superstar Cush, Sugar contacts Matt Cushman (Beau Bridges), Cush's dad, while Jerry is in the lobby with Rod, and re-signs Cush to SMI. A devastated Jerry turns to his fiancée Avery (Kelly Preston) for support, but she rebukes him, and he breaks up with her. He then turns to Dorothy, becoming closer to her young son, Ray (Jonathan Lipnicki), and eventually starts a relationship with her. However, Dorothy contemplates moving to San Diego as she has a secure job offer there. Jerry concentrates all his efforts on Rod, now his only client, who turns out to be very difficult to satisfy. Over the next several months, the two direct harsh criticism towards each other with Rod claiming that Jerry is not trying hard enough to get him a contract while Jerry claims that Rod is not proving himself worthy of the money for which he asks. Jerry marries Dorothy to help them both stay afloat financially and to keep her from moving away. He is emotionally and physically distant during the marriage but is clearly invested in becoming a father to Ray. Although Dorothy loves Jerry, she breaks up with him because she believes that he does not love her.
Before the start of a Monday Night Football game between the Cardinals and the Dallas Cowboys, Sugar tries stealing Rod, but Rod and Jerry rebuke him. The two reconcile soon after. Rod plays well but appears to receive a serious injury when catching a touchdown. He recovers, however, and dances for the wildly cheering crowd. Afterwards, Jerry and Rod embrace in front of other athletes and sports agents and show how their relationship has progressed from a strictly business one to a close personal one, which was one of the points Jerry made in his mission statement. Jerry then flies back home to meet Dorothy. He walks in and, in front of her friends, says "Hello." He then speaks for several minutes, telling her that he loves her and wants her in his life, ending with the statement, "You complete me." Dorothy's reply to Jerry is, "You had me at 'hello.'" Rod later appears on Roy Firestone's sports show. Unbeknownst to him, Jerry has secured him an $11.2 million contract with the Cardinals allowing him to finish his pro football career in Arizona. The visibly emotional Rod proceeds to thank everyone and extends warm gratitude to Jerry. Jerry speaks with several other pro athletes, some of whom have read his earlier mission statement and respect his work with Rod. The film ends with Jerry, Dorothy, and Ray walking in the park and stumbling across a Little League Baseball game. When the ball lands near them, Ray throws it back. A surprised Jerry then comments on his natural throwing ability (and possible future in sports), much to Dorothy's dismay.
Cast[edit]
Tom Cruise as Jerry Maguire
Cuba Gooding, Jr. as Rod Tidwell
Renée Zellweger as Dorothy Boyd
Kelly Preston as Avery Bishop
Jerry O'Connell as Frank "Cush" Cushman
Jay Mohr as Bob Sugar
Regina King as Marcee Tidwell
Bonnie Hunt as Laurel Boyd
Jonathan Lipnicki as Ray Boyd
Todd Louiso as Chad the Nanny
Jeremy Suarez as Tyson Tidwell
Aries Spears as Teepee Tidwell
Mark Pellington as Bill Dooler
Jared Jussim as Dicky Fox
Glenn Frey as Dennis Wilburn
Drake Bell as Jesse Remo
Christina Cavanaugh as Mrs. Remo
Toby Huss as Steve Remo
Eric Stoltz as Ethan Valhere
Beau Bridges as Matt Cushman
Ingrid Beer as Anne-Louise
Roy Firestone as Himself
Janet Jackson auditioned and was initially accepted for the role of Marcee Tidwell, though it later went to Regina King, who previously co-starred in Jackson's debut film Poetic Justice.[6][7] Jackson is referenced twice in the film, with a Janet poster seen hanging in Teepee's room and Cuba Gooding Jr.'s character Rod Tidwell asking "What Have You Done for Me Lately?", paying homage to Jackson's hit of the same name.[8][9]
Cameos[edit]

Question book-new.svg
 This section does not cite any references or sources. Please help improve this section by adding citations to reliable sources. Unsourced material may be challenged and removed. (November 2012)
Philadelphia Eagles owner Jeffrey Lurie, ESPN draft guru Mel Kiper Jr., former NFL quarterbacks Drew Bledsoe, Troy Aikman, and Warren Moon, German ice skater Katarina Witt, then-current Dallas Cowboys head coach Barry Switzer, and former Detroit Lions coach Wayne Fontes play themselves in the film.
Other NFL players that make cameos as themselves are Tim McDonald, Johnnie Morton, Rick Mirer, Rob Moore, Ki-Jana Carter, Herman Moore, Art Monk, Kerry Collins, and Dean Biasucci.
Sportscasters Al Michaels, Frank Gifford, Roy Firestone, Mike Tirico, and Dan Dierdorf also make cameos.
Former NBA basketball player Brent Barry is featured in the film as an athlete who refuses to sign an autograph for a young boy.
Actresses portraying ex-girlfriends of Maguire include Lucy Liu, Ivana Miličević, Alison Armitage, Emily Procter and Stacey Williams. Reagan Gomez-Preston also had a minor role in the film as part of the Tidwell family.
Alice in Chains guitarist Jerry Cantrell makes a brief appearance in the film as a copier store clerk.
Indianapolis Colts owner Jim Irsay makes a cameo as Jerry Maguire's boss.
Rolling Stone publisher Jann Wenner is seen briefly as an SMI CEO as Maguire departs the company.
Product placement[edit]
Tristar received merchandise and marketing services of over $1.5 million from Reebok in exchange for incorporating a commercial into the film and depicting the Reebok brand within certain agreed-upon standards; when the film was theatrically released, the commercial had been left out and a tirade including "broadsides against Reebok" was included.[10] When the film aired on television, the Reebok commercial had been embedded into the film as originally agreed upon.[10]
Release[edit]
Box office[edit]
The film debuted at number one.[11] It earned $17,084,296 its opening weekend, and eventually grossed $153,952,592 in North American box office and approximately $119.6 million overseas for a $273,552,592 worldwide total, on a budget of $50 million.[1] It is the ninth top grossing film of 1996 and the fourth highest-grossing romantic drama film of all time.[12]
Critical response[edit]
The film received critical acclaim, with an 85% positive reviews on the film-critics aggregate Rotten Tomatoes. Its critical consensus states: "Anchored by dazzling performances from Tom Cruise, Cuba Gooding Jr., and Renée Zellweger, as well as Cameron Crowe's tender direction, Jerry Maguire meshes romance and sports with panache."[13] Cuba Gooding, Jr. won an Academy Award for Best Supporting Actor for his portrayal of Rod Tidwell, the Arizona Cardinals football player who sticks with Maguire. Cruise was also nominated for Best Actor in a Leading Role and the movie marked Renée Zellweger's breakout role. The film itself was nominated for an Academy Award for Best Picture, and crew members on the film were nominated for Best Screenplay and Best Film Editing awards.
Roger Ebert of the Chicago Sun-Times gave the film 3/4 stars, writing that there "are so many subplots that Jerry Maguire seems too full" and also commented that the film "starts out looking cynical and quickly becomes a heartwarmer." He concluded that the film "is often a delight" and "is about transformation: About two men who learn how to value something more important than money, and about two women who always knew."[14] Todd McCarthy of Variety wrote "An exceptionally tasty contempo comedic romance, Jerry Maguire runs an unusual pattern on its way to scoring an unexpected number of emotional, social and entertaining points. Smartly written and boasting a sensational cast, Cameron Crowe's shrewdly observed third feature also gives Tom Cruise one of his very best roles..."[15] In June 2010, Entertainment Weekly named Jerry Maguire one of the 100 Greatest Characters of the Last 20 Years.[16]
Accolades[edit]



Academy Awards
Best Actor (Cruise, nominated)
Best Editing (Hutshing, nominated)
Best Picture (nominated)
Best Screenplay – Original (Crowe, nominated)
Best Supporting Actor (Gooding Jr., won)
Chicago Film Critics Association
Best Supporting Actor (Gooding Jr., won)
Directors Guild of America
Outstanding Directing – Motion Pictures (Crowe, nominated)
Golden Globe Awards
Best Actor – Motion Picture Musical or Comedy (Cruise, won)
Best Film – Musical or Comedy (nominated)
Best Supporting Actor – Motion Picture (Gooding Jr., nominated)

Image Awards
Outstanding Actor – Motion Picture (Gooding Jr., nominated)
Satellite Awards
Best Actor – Motion Picture Musical or Comedy (Cruise, won)
Best Supporting Actor – Motion Picture Musical or Comedy (Gooding Jr., won)
Best Supporting Actress – Motion Picture Musical or Comedy (Zellweger, nominated)
Screen Actors Guild
Outstanding Actor – Motion Picture (Cruise, nominated)
Outstanding Supporting Actor (Gooding Jr., won)
Outstanding Supporting Actress (Zellweger, nominated)
Writers Guild of America
Best Screenplay – Original (Crowe, nominated)

Home media[edit]
The film was first released onto DVD on December 13, 1996 in both a standard edition and a two-disc "Special Edition." While the standard edition contains no special features, the two-disc edition primarily includes deleted scenes, commentary tracks, featurettes, and a music video for Bruce Springsteen's "Secret Garden." The film was later released onto Blu-ray on September 9, 2008, with the same special features found on the second disc of the DVD "Special Edition."[17]
Legacy[edit]
Jerry Maguire spawned several popular quotations, including "Show me the money!" (shouted repeatedly in a phone exchange between Rod Tidwell and Jerry Maguire), "You complete me," "Help me help you," "The key to this business is personal relationships" and "You had me at 'hello'" (said by Renée Zellweger's Dorothy Boyd after a lengthy romantic plea by Jerry Maguire), and "Kwan," a word used by Cuba Gooding, Jr.'s Tidwell meaning love, respect, community, and money (also spelled "quan" and "quawn") to illustrate the difference between himself and other football players: "Other football players may have the coin, but they won't have the 'Kwan'." These lines are largely attributed to Cameron Crowe, director and screenwriter of the film. Zellweger said of filming the famous "hello" line, "Cameron had me say it a few different ways. It's so funny, because when I read it, I didn't get it — I thought it was a typo somehow. I kept looking at it. It was the one thing in the script that I was looking at going, 'Is that right? Can that be right? How is that right?' I thought, 'Is there a better way to say that? Am I not getting it? I just don't know how to do it.'"[18]
A video blog "Everything is Terrible!" is running a campaign to salvage remaining VHS copies of the movie.[19]
In June 2008, AFI revealed its "Ten Top Ten"—the best ten films in ten "classic" American film genres—after polling over 1,500 people from the creative community. Jerry Maguire was acknowledged as the tenth best film in the sports genre.[20][21] It was also voted by AFI as #100 on its list of 100 Passions.[22] The quotes "Show me the money!" and "You had me at 'hello'" were also ranked by AFI on its list of 100 Movie Quotes, ranked #25 and #52 respectively.[23]
American Film Institute Lists
AFI's 100 Years...100 Movies – Nominated
AFI's 100 Years...100 Laughs – Nominated
AFI's 100 Years...100 Passions – #100
AFI's 100 Years...100 Songs: Secret Garden – Nominated
AFI's 100 Years...100 Movie Quotes: "Show me the money!" – #25
"You had me at "hello."" – #52
"You complete me." – Nominated
AFI's 100 Years...100 Cheers – Nominated
AFI's 100 Years...100 Movies (10th Anniversary Edition) – Nominated
AFI's 10 Top 10 – #10 Sports Film (also nominated Romantic Comedy)
Soundtrack[edit]
The movie soundtrack includes:[24]
The Durutti Column – "Requiem Again"
Rickie Lee Jones – "The Horses"
The Replacements – "I'll Be You"
Paul McCartney – "Momma Miss America"
Paul McCartney – "Singalong Junk"
Elvis Presley – "Pocket Full of Rainbows"
Herb Alpert & The Tijuana Brass – "The Lonely Bull"
Merrilee Rush – "Angel of the Morning"
The Who – "Magic Bus" and "Getting in Tune"
Nirvana – "Something in the Way"
AC/DC – "For Those About to Rock (We Salute You)"
Tom Petty – "Free Fallin'"
Neil Young – "World on a String"
Bob Dylan – "Shelter from the Storm"
Bruce Springsteen – "Secret Garden"
The Rolling Stones - "Bitch"
Aimee Mann – "Wise Up"
a clip of John Coltrane, Miles Davis, and Charles Mingus performing (Mingus' piece is "Haitian Fight Song")
"Secret Garden", originally a Springsteen track from 1995, was re-released in 1997 after its exposure in the film and on the soundtrack, and peaked at No. 19 on the Billboard Hot 100.[citation needed]
The film was scored by director Crowe's then-wife, Nancy Wilson,[25] who was a member of the rock band Heart.
References[edit]
1.^ Jump up to: a b c "Jerry Maguire (1996)". Box Office Mojo. Retrieved January 6, 2010.
2.Jump up ^ "10 Questions with Leigh Steinberg". Sports Hollywood. Retrieved 2011-12-29.
3.Jump up ^ "Leigh Steinberg (Miscellaneous Crew)". Internet Movie DataBase. Retrieved 2011-12-29.
4.Jump up ^ Whiting, Sam (January 11, 1997). "Meet the Real Jerry Maguire / Leigh Steinberg was the model". The San Francisco Chronicle.
5.Jump up ^ Epstein, Benjamin (December 28, 1996). "Representing the Interests of 'Jerry Maguire'". Los Angeles Times.
6.Jump up ^ "See the Cast of ‘Jerry Maguire’ Then and Now". September 3, 2013. Retrieved September 20, 2013.
7.Jump up ^ "Hunt Stages Jerry Maguire Reunion". April 10, 2009. Retrieved September 20, 2013.
8.Jump up ^ "Jerry Maguire (1996) - Trivia - IMDB". 2010. Retrieved September 20, 2013.
9.Jump up ^ "Jerry Maguire - www.kathryneann.com". December 26, 2012. Retrieved September 20, 2013.
10.^ Jump up to: a b "Is That A Budweiser In Your Hand?: Product Placement, Booze, And Denzel Washington". Monkee See (blog). NPR. November 27, 2012. Retrieved 2012-11-27. "Reebok provided TriStar with more than $1.5 million worth of merchandise, marketing, and other goodies to basically be one of the stars of the 1996 sports film Jerry Maguire. According to Reebok, there was a specific agreement for how the brand would be portrayed, and a full commercial for Reebok was supposed to be embedded in the film. That commercial, which showcases the company in a positive light, ended up on the cutting room floor, while an angry tirade that included broadsides against Reebok was kept in. Reebok took the case to court and got an undisclosed amount of money in an out-of-court settlement. When the film aired on TV, the commercial was back in."
11.Jump up ^ "Jerry' Ties With Slowing 'Michael' at Box Office". Los Angeles Times. January 6, 1997. Retrieved November 23, 2010.
12.Jump up ^ "Romantic Drama Movies at the Box Office". Box Office Mojo. IMDb. Retrieved January 5, 2013.
13.Jump up ^ Jerry Maguire at Rotten Tomatoes
14.Jump up ^ "Jerry Maguire". Chicago Sun-Times.
15.Jump up ^ McCarthy, Todd (December 8, 1996). "Jerry Maguire". Variety.
16.Jump up ^ Adam B. Vary (June 1, 2010). "The 100 Greatest Characters of the Last 20 Years: Here's our full list!". Entertainment Weekly. Time Inc. Retrieved July 7, 2012.
17.Jump up ^ Williams, Ben (September 9, 2012). "Jerry Maguire Blu-ray Review". Blu-ray.com. Retrieved September 18, 2012.
18.Jump up ^ Lovece, Frank. "Renee Zellweger talks about 'My One and Only'", Newsday, August 26, 2009. WebCitation archive.
19.Jump up ^ "Maguire Watch!".
20.Jump up ^ American Film Institute (June 17, 2008). "AFI Crowns Top 10 Films in 10 Classic Genres". ComingSoon.net. Retrieved June 18, 2008.
21.Jump up ^ "Top 10 Sports". American Film Institute. Retrieved June 18, 2008.
22.Jump up ^ "Jerry Maguire (1996)". Retrieved April 29, 2010.
23.Jump up ^ "Jerry Maguire (1996)". Retrieved April 29, 2010.
24.Jump up ^ "Jerry Maguire (1996) - Soundtrack". Internet Movie DataBase. Retrieved 2011-12-29. "Verified by viewing of end titles."
25.Jump up ^ "Jerry Maguire (1996) - Full cast and crew". Internet Movie DataBase. Retrieved 2011-12-29. "Verified by viewing of end titles."
External links[edit]
 Wikiquote has a collection of quotations related to: Jerry Maguire
 Wikiquote has a collection of quotations related to: Rod Tidwell
Jerry Maguire at the Internet Movie Database
Jerry Maguire at Metacritic
The Jerry Maguire Journal, a log kept by Crowe during the film's production and published in Rolling Stone in December 1996.
"Things we think and do not say", the memo that led Maguire to establish his own agency
Jerry Maguire, film script (text document)
Leigh Steinberg (the agent based on Jerry Maguire) talks about Cameron Crowe and the film


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Categories: 1996 films
English-language films
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1990s comedy-drama films
American football films
American sports comedy films
Films directed by Cameron Crowe
Films featuring a Best Supporting Actor Academy Award winning performance
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Shakespeare in Love
From Wikipedia, the free encyclopedia
Jump to: navigation, search


Shakespeare in Love
Shakespeare in Love 1998 Poster.jpg
Theatrical release poster

Directed by
John Madden
Produced by
David Parfitt
Donna Gigliotti
Harvey Weinstein
Edward Zwick
Marc Norman
Written by
Marc Norman
Tom Stoppard
Starring
Joseph Fiennes
Gwyneth Paltrow
Geoffrey Rush
Colin Firth
Ben Affleck
Judi Dench
Music by
Stephen Warbeck
Cinematography
Richard Greatrex
Editing by
David Gamble
Distributed by
Miramax Films (US)
Alliance Atlantis (CAN)
Universal Studios (Worldwide)
Release dates
3 December 1998 (US)
29 January 1999 (UK)

Running time
123 minutes
Country
United Kingdom
 United States
Language
English
Budget
$25 million[1]
Box office
$289,317,794[1]
Shakespeare in Love is a 1998 British romantic comedy-drama film directed by John Madden, written by Marc Norman and playwright Tom Stoppard. The film depicts a love affair involving playwright William Shakespeare (Joseph Fiennes) while he was writing the play Romeo and Juliet. The story is fiction, though several of the characters are based on real people. In addition, many of the characters, lines, and plot devices are references to Shakespeare's plays.
Shakespeare in Love won seven Oscars, including Best Picture, Best Actress (Gwyneth Paltrow), and Best Supporting Actress (Judi Dench).


Contents  [hide]
1 Plot
2 Cast
3 Production
4 References to Elizabethan literature
5 Plot precedents and similarities
6 Inaccuracies
7 Reception 7.1 Accolades
8 Cultural influence
9 Stage adaptation
10 References
11 External links

Plot[edit]
In 1593 London, William Shakespeare is a sometime player in the Lord Chamberlain's Men and poor playwright for Philip Henslowe, owner of The Rose Theatre. Shakespeare is working on a new comedy, Romeo and Ethel, the Pirate's Daughter. Suffering from writer's block, he has barely begun the play, but starts auditioning players. Viola de Lesseps, the daughter of a wealthy merchant who has seen Shakespeare's plays at court, disguises herself as "Thomas Kent" to audition, then runs away. Shakespeare pursues Kent to Viola's house and leaves a note with the nurse, asking Thomas Kent to begin rehearsals at the Rose. He sneaks into the house with the minstrels playing that night at the ball, where her parents are arranging her betrothal to Lord Wessex, an impoverished aristocrat. While dancing with Viola, Shakespeare is struck speechless, and after being forcibly ejected by Wessex, uses Thomas Kent as a go-between to woo her.
When he discovers her true identity, they begin a secret affair. Inspired by her, Shakespeare writes quickly, with help from his friend and rival playwright Christopher 'Kit' Marlowe, completely transforming the play into what will become Romeo and Juliet. Viola is appalled when she learns he is married, albeit long separated from his wife, and she knows she cannot escape her duty to marry Wessex when she is summoned to court to receive approval for the match. Shakespeare dons a woman's disguise to accompany her as her cousin. There, he persuades Wessex to wager £50 that a play can capture the true nature of love, the exact amount Shakespeare requires to buy a share in the Chamberlain's Men. Queen Elizabeth I declares that she will judge the matter, as occasion arises.
When Edmund Tilney, the Master of the Revels, is informed there is a woman player at The Rose, he closes the theatre for breaking the ban on women. Viola's identity is exposed before the company, leaving them without a stage or lead actor, until Richard Burbage, owner of the Curtain, offers them his theatre. Shakespeare takes the role of Romeo, with a boy actor as Juliet. Following her wedding, Viola learns that the play will be performed that day, and runs away to the Curtain. Planning to watch with the crowd, Viola overhears that the boy playing Juliet cannot perform, and offers to replace him. While she plays Juliet to Shakespeare's Romeo, the audience is enthralled, despite the tragic ending, until Master Tilney arrives to arrest everyone for indecency due to Viola's presence.
But the Queen is in attendance and restrains Tilney, instead asserting that Kent's resemblance to a woman is, indeed, remarkable. However, even a queen is powerless to end a lawful marriage, and she orders Kent to fetch Viola because she must sail with Wessex to the Colony of Virginia. The Queen also tells Wessex, who followed Viola to the theatre, that Romeo and Juliet has won the bet for Shakespeare, and has Kent deliver his £50 with instructions to write something "a little more cheerful next time, for Twelfth Night".
Viola and Shakespeare say their goodbyes, and he vows to immortalize her, as they improvise the beginnings of his Twelfth Night, Or What You Will, imagining her as a castaway disguised as a man after a voyage to a strange land. "For she will be my heroine for all time, and her name will be...Viola".
Cast[edit]
Joseph Fiennes as William Shakespeare
Gwyneth Paltrow as Viola de Lesseps
Geoffrey Rush as Philip Henslowe
Colin Firth as Lord Wessex
Ben Affleck as Ned Alleyn
Judi Dench as Elizabeth I of England
Simon Callow as Edmund Tilney
Jim Carter as Ralph Bashford
Martin Clunes as Richard Burbage
Antony Sher as Dr. Moth
Imelda Staunton as Nurse
Tom Wilkinson as Hugh Fennyman
Mark Williams as Wabash
Daniel Brocklebank as Sam Gosse|Juliet
Jill Baker as Lady de Lesseps
Patrick Barlow as Will Kempe
Joe Roberts as John Webster
Simon Day as First Boatsman
Rupert Everett as Christopher 'Kit' Marlowe
Production[edit]
The original idea for Shakespeare in Love came to screenwriter Marc Norman in the late 1980s. He pitched a draft screenplay to director Edward Zwick. The screenplay attracted Julia Roberts who agreed to play Viola. However, Zwick disliked Norman's screenplay and hired the playwright Tom Stoppard to improve it (Stoppard's first major success had been with the Shakespeare-themed play Rosencrantz & Guildenstern Are Dead).[2]
The film went into production in 1991 at Universal Pictures, with Zwick as director, but although sets and costumes were in construction, Shakespeare had not yet been cast, because Julia Roberts insisted that only Daniel Day-Lewis could play the role.[citation needed] Day-Lewis was uninterested, and when Roberts failed to persuade him, she withdrew from the film, six weeks before shooting was due to begin. The production went into turnaround, and Zwick was unable to persuade other studios to take up the screenplay.[2]
Eventually, Zwick got Miramax interested in the screenplay, but Miramax chose John Madden as director. Miramax boss Harvey Weinstein acted as producer, and successfully persuaded Ben Affleck to take a small role as Ned Alleyn.[3]
The film was considerably reworked after the first test screenings. The scene with Shakespeare and Viola in the punt was re-shot, to make it more emotional, and some lines were re-recorded to clarify the reasons why Viola had to marry Wessex. The ending was re-shot several times, until Stoppard eventually came up with the idea of Viola suggesting to Shakespeare that their parting could inspire his next play.[4]
References to Elizabethan literature[edit]
The main source for much of the action in the film is Romeo and Juliet. Will and Viola play out the famous balcony and bedroom scenes; like Juliet, Viola has a witty nurse, and is separated from Will by a gulf of duty (although not the family enmity of the play: the "two households" of Romeo and Juliet are supposedly inspired by the two rival playhouses). In addition, the two lovers are equally "star-crossed" — they are not ultimately destined to be together (since Viola is of rich and socially ambitious merchant stock and is promised to marry Lord Wessex, while Shakespeare himself is poor and already married). There is also a Rosaline, with whom Will is in love at the beginning of the film. These sometimes reference earlier cinematic versions of Shakespeare. The balcony scene pastiches the Zeffirelli version of Romeo and Juliet.[5]
Many other plot devices used in the film are common in various Shakespearean comedies and in the works of the other playwrights of the Elizabethan era: the Queen disguised as a commoner, the cross-dressing disguises, mistaken identities, the sword fight, the suspicion of adultery (or, at least, cheating), the appearance of a "ghost" (cf. Macbeth), and the "play within a play". According to Douglas Brode, the film deftly portrays many of the these devices as though the events depicted were the inspiration for Shakespeare's own use of them in his plays.[6]
The film also has sequences in which Shakespeare and the other characters utter words that will later appear in his plays:
On the street, Shakespeare hears a Puritan preaching against the two London stages: "The Rose smells thusly rank, by any name! I say, a plague on both their houses!" Two references in one, both to Romeo and Juliet; first, "A rose by any other name would smell as sweet" (Act II, scene ii, lines 1 and 2); second, "a plague on both your houses" (Act III, scene I, line 94).
Backstage of a performance of The Two Gentlemen of Verona, Shakespeare sees William Kempe in full make-up, silently contemplating a skull, a reference to Hamlet.
Shakespeare utters the lines "Doubt thou the stars are fire, / Doubt that the sun doth move" (from Hamlet) to Philip Henslowe.
As Shakespeare's writer's block is introduced, he is seen crumpling balls of paper and throwing them around his room. They land near props which represent scenes in his several plays: a skull (Hamlet), and an open chest (The Merchant of Venice).
Viola, as well as being Paltrow's character in the film, is the lead character in Twelfth Night who dresses as a man after the supposed death of her brother.
At the end of the film, Shakespeare imagines a shipwreck overtaking Viola on her way to America, inspiring the second scene of his next play, Twelfth Night, and perhaps also The Tempest.
Shakespeare writes a sonnet to Viola which begins: "Shall I compare thee to a summer's day?" (from Sonnet 18).
Shakespeare tells Henslowe that he still owes him for "one gentleman of Verona", a reference to Two Gentlemen of Verona, part of which we also see being acted before the Queen later in the film.
In the boat, when Shakespeare tells Viola, disguised as Thomas Kent, of his lady’s beauty and charms, she dismisses his praise, as no real woman could live up to the ideal. This is a set up for Sonnet 130, “My mistress’ eyes are nothing like the sun”.
Christopher Marlowe appears in the film as the master playwright whom the characters within the film consider the greatest English dramatist of that time — this is accurate, yet also humorous, since everyone in the film's audience knows what will eventually happen to Shakespeare. Marlowe gives Shakespeare a plot for his next play, "Romeo and Ethel the Pirate's Daughter" ("Romeo is Italian...always in and out of love...until he meets...Ethel. The daughter of his enemy! His best friend is killed in a duel by Ethel's brother or something. His name is Mercutio.")[7] Marlowe's Doctor Faustus is quoted repeatedly: "Was this the face that launched a thousand ships/ And burned the topless towers of Ilium?" A reference is also made to Marlowe's final, unfinished play The Massacre at Paris in a scene wherein Marlowe (Rupert Everett) seeks payment for the final act of the play from Richard Burbage (Martin Clunes). Burbage promises the payment the next day, so Marlowe refuses to part with the pages and departs for Deptford, where he is killed.[8] The only surviving text of The Massacre at Paris is an undated octavo that is probably too short to represent the complete original play. It has been suggested to be a memorial reconstruction by the actors who performed the work.[9]
The child John Webster who plays with mice is a reference to the leading figure in the Jacobean generation of playwrights. His plays (The Duchess of Malfi, The White Devil) are known for their blood and gore, which is why he says that he enjoys Titus Andronicus, and why he says of Romeo and Juliet when asked by the Queen "I liked it when she stabbed herself."[10]
When the clown Will Kempe (Patrick Barlow) says to Shakespeare that he would like to play in a drama, he is told that "they would laugh at Seneca if you played it," a reference to the Roman tragedian renowned for his sombre and bloody plot lines which were a major influence on the development of English tragedy.
Will is shown signing a paper repeatedly, with many relatively illegible signatures visible. This is a reference to the fact that several versions of Shakespeare's signature exist, and in each one he spelled his name differently.
Plot precedents and similarities[edit]
After the film's release, certain publications, including Private Eye, noted strong similarities between the film and the 1941 novel No Bed for Bacon, by Caryl Brahms and S. J. Simon, which also features Shakespeare falling in love and finding inspiration for his later plays. In a foreword to a subsequent edition of No Bed for Bacon (which traded on the association by declaring itself "A Story of Shakespeare and Lady Viola in Love") Ned Sherrin, Private Eye insider and former writing partner of Brahms', confirmed that he had lent a copy of the novel to Stoppard after he joined the writing team,[11] but that the basic plot of the film had been independently developed by Marc Norman, who was unaware of the earlier work.
The film's plot can claim a tradition in fiction reaching back to Alexandre Duval's "Shakespeare amoureux ou la Piece a l'Etude" (1804), in which Shakespeare falls in love with an actress who is playing Richard III.[12]
The writers of Shakespeare in Love were sued in 1999 by bestselling author Faye Kellerman. She claimed that the plotline was stolen from her 1989 novel The Quality of Mercy, in which Shakespeare romances a Jewish woman who dresses as a man, and attempts to solve a murder. Miramax Films spokesman Andrew Stengel derided the claim, filed in the US District Court six days before the 1999 Academy Awards, as "absurd", and argued that the timing "suggests a publicity stunt".[13][14]
Inaccuracies[edit]
The film is "not constrained by worries about literary or historical accuracy" and includes anachronisms such as a reference to Virginia tobacco plantations, when there was no Virginia.[15] The most apparent deviation from the actual literary history is the made-up play title "Romeo and Ethel" allegedly preceding the present version. In fact, the story of Romeo and Juliet had been invented before Shakespeare. It was well-known from Arthur Brooke's 1562 narrative poem The Tragical History of Romeus and Juliet, which itself was rooted in an Italian original.[16]
Reception[edit]
Janet Maslin made the film an "NYT Critics' Pick", calling it "pure enchantment"; according to Maslin, the film is "far richer and more deft than the other Elizabethan film in town (Elizabeth); she notes "Gwyneth Paltrow, in her first great, fully realized starring performance, makes a heroine so breathtaking that she seems utterly plausible as the playwright's guiding light."[15] According to Roger Ebert, who gave the film four stars out of four:[7]

"The contemporary feel of the humor (like Shakespeare's coffee mug, inscribed "Souvenir of Stratford-Upon-Avon") makes the movie play like a contest between "Masterpiece Theatre" and Mel Brooks. Then the movie stirs in a sweet love story, juicy court intrigue, backstage politics and some lovely moments from "Romeo and Juliet"... Is this a movie or an anthology? I didn't care. I was carried along by the wit, the energy and a surprising sweetness."
Shakespeare in Love was among 1999's box office number-one films in the United Kingdom. The U.S. box office reached over $100 million; including the box office from the rest of the world, the film took in over $289 million.[1]
It has been reported by The Sunday Telegraph that the film had an impact on the British Royal Family in prompting the revival of the title of Earl of Wessex, which had been extinct since the 11th century. Prince Edward was originally to have been titled Duke of Cambridge following his marriage to Sophie Rhys-Jones in 1999, the year after the film's release. However, after watching Shakespeare in Love, he reportedly became attracted to the title of the character played by Colin Firth, and asked Queen Elizabeth II to be given the title of Earl of Wessex instead.[17]
Accolades[edit]


 This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (April 2012)
American Film Institute recognition:
AFI's 100 Years...100 Passions – #50 [18]
AFI's 100 Years...100 Laughs – Nominated[19]
AFI's 100 Years...100 Movies (10th Anniversary Edition) - Nominated[20]

Award
Category
Recipient(s)
Outcome
71st Academy Awards[21] Best Picture David Parfitt, Donna Gigliotti, Marc Norman, Harvey Weinstein and Edward Zwick Won
Best Actress Gwyneth Paltrow Won
Best Supporting Actress Judi Dench Won
Best Art Direction Martin Childs and Jill Quertier Won
Best Costume Design Sandy Powell Won
Best Original Musical or Comedy Score Stephen Warbeck Won
Best Original Screenplay Marc Norman and Tom Stoppard Won
Best Director John Madden Nominated
Best Supporting Actor Geoffrey Rush Nominated
Best Cinematography Richard Greatrex Nominated
Best Film Editing David Gamble Nominated
Best Makeup Lisa Westcott and Veronica Brebner Nominated
Best Sound Robin O'Donoghue, Dominic Lester and Peter Glossop Nominated
52nd British Academy Film Awards BAFTA Award for Best Film
Won
BAFTA Award for Best Actress in a Supporting Role Judi Dench Won
BAFTA Award for Best Editing David Gamble Won
BAFTA Award for Best Direction John Madden Nominated
BAFTA Award for Best Actor in a Leading Role Joseph Fiennes Nominated
BAFTA Award for Best Actress in a Leading Role Gwyneth Paltrow Nominated
BAFTA Award for Best Actor in a Supporting Role Geoffrey Rush Nominated
BAFTA Award for Best Actor in a Supporting Role Tom Wilkinson Nominated
BAFTA Award for Best Cinematography Richard Greatrex Nominated
BAFTA Award for Best Original Screenplay Marc Norman and Tom Stoppard Nominated
BAFTA Award for Best Makeup and Hair Lisa Westcott Nominated
BAFTA Award for Best Sound Robin O'Donoghue, Dominic Lester, Peter Glossop, and John Downer Nominated
Anthony Asquith Award for Film Music Stephen Warbeck Nominated
BAFTA Award for Best Costume Design Sandy Powell Nominated
BAFTA Award for Best Production Design Martin Childs Nominated
49th Berlin International Film Festival[22] Golden Bear
Nominated
Silver Bear Marc Norman and Tom Stoppard Won
Directors Guild of America Awards 1998 Outstanding Directorial Achievement in Motion Pictures John Madden Nominated
56th Golden Globe Awards Golden Globe Award for Best Motion Picture – Musical or Comedy
Won
Golden Globe Award for Best Actress – Motion Picture Musical or Comedy Gwyneth Paltrow Won
Golden Globe Award for Best Screenplay Marc Norman and Tom Stoppard Won
Golden Globe Award for Best Director John Madden Nominated
Golden Globe Award for Best Supporting Actor – Motion Picture Geoffrey Rush Nominated
Golden Globe Award for Best Supporting Actress – Motion Picture Judi Dench Nominated
5th Screen Actors Guild Awards Outstanding Performance by a Cast in a Motion Picture
Won
Outstanding Performance by a Male Actor in a Leading Role Joseph Fiennes Nominated
Outstanding Performance by a Female Actor in a Leading Role Gwyneth Paltrow Won
Outstanding Performance by a Male Actor in a Supporting Role Geoffrey Rush Nominated
Outstanding Performance by a Female Actor in a Supporting Role Judi Dench Nominated
Writers Guild of America Awards 1998 Best Original Screenplay Marc Norman and Tom Stoppard Won
1998 New York Film Critics Circle Awards Best Screenplay Marc Norman and Tom Stoppard Won
Cultural influence[edit]
The film was spoofed and homaged, along with Star Wars, in the 1999 short film George Lucas in Love.
The film was seen and frequently interrupted by Brenda Meeks in Scary Movie.
Stage adaptation[edit]
In October 2011 the show-business paper Variety reported that Disney Theatrical Productions, linked to Miramax through former owners Disney Corporation, intend to mount a stage version of the movie in London. Co-producer will be Sonia Friedmann Productions. The writer will again be Stoppard and he will be joined by director Jack O'Brien and designer Bob Crowley, who worked with Stoppard on his Coast of Utopia trilogy and The Invention of Love.[23]
References[edit]
1.^ Jump up to: a b c "Shakespeare in Love (1998)". Box Office Mojo. IMDb. Retrieved 2012-02-19.
2.^ Jump up to: a b Peter Biskind, "Down and Dirty Pictures: Miramax, Sundance and the Rise of Independent Film" (New York: Simon & Schuster, 2004), p. 327.
3.Jump up ^ Peter Biskind, "Down and Dirty Pictures: Miramax, Sundance and the Rise of Independent Film" (New York: Simon & Schuster, 2004), p. 328-30.
4.Jump up ^ Peter Biskind, "Down and Dirty Pictures: Miramax, Sundance and the Rise of Independent Film" (New York: Simon & Schuster, 2004), p. 330-1.
5.Jump up ^ French, Emma, Selling Shakespeare to Hollywood: Marketing of Filmed Shakespeare Adaptations from 1989 Into the New Millennium, University of Hertfordshire Press, 2006, p.153.
6.Jump up ^ Douglas Brode, Shakespeare in the movies: from the silent era to today, Berkley Boulevard Books, 2001, p.240.
7.^ Jump up to: a b Ebert, Roger (25 December 1998). "Shakespeare in Love". Chicago Sun-Times. Retrieved 2012-02-16.
8.Jump up ^ Greenwich 2000 (2010-01-05). "Greenwich England: Deptford". Wwp.greenwich2000.com. Retrieved 2010-07-05.
9.Jump up ^ Probes, Christine McCall (2008). "Senses, signs, symbols and theological allusion in Marlowe's The Massacre at Paris". In Deats, Sara Munson; Logan, Robert A. Placing the plays of Christopher Marlowe: Fresh Cultural Contexts. Aldershot, England: Ashgate. p. 149. ISBN 0754662047.
10.Jump up ^ Burt, Richard (2002). Shakespeare After Mass Media. London: Macmillan. p. 306. ISBN 978-0-3122-9454-0.
11.Jump up ^ "Closed government". The Spectator. 6 February 1999. Retrieved 2009-04-13.
12.Jump up ^ Portillo, Rafael; Salvador, Mercedes (2003). Pujante, Ángel-Luis; Hoenselaars, Ton, ed. Four Hundred Years of Shakespeare in Europe. Newark, DE: University of Delaware Press. p. 182. ISBN 0-87413-812-4.
13.Jump up ^ "Novelist sues Shakespeare makers". BBC News. 1999-03-23. Retrieved 2008-06-30.
14.Jump up ^ "Writer sues makers of 'Shakespeare in Love'". CNN. 1999-03-23. Archived from the original on 2008-04-04. Retrieved 2008-06-30.
15.^ Jump up to: a b Maslin, Janet (11 December 1998). "Shakespeare Saw a Therapist?". The New York Times. Retrieved 2012-02-16.
16.Jump up ^ A.R.T. – American Repertory Theater
17.Jump up ^ Richard Eden (12 December 2010). "Royal wedding: Prince William asks the Queen not to make him a duke". The Telegraph. Retrieved 12 December 2010.
18.Jump up ^ "AFI's 100 Years... 100 Passions" (web). Retrieved 2012-03-30.
19.Jump up ^ "AFI's 100 Years...100 Laughs Nominees" (PDF). Retrieved 2012-02-16.
20.Jump up ^ AFI's 100 Years...100 Movies (10th Anniversary Edition) Ballot
21.Jump up ^ "The 71st Academy Awards (1999) Nominees and Winners". Oscars.org. Retrieved 2011-11-19.
22.Jump up ^ "Berlinale: 1999 Prize Winners". Berlinale.de. Retrieved 2012-02-04.
23.Jump up ^ Gordon Cox (21 October 2011). "'Shakespeare' to take stage". Variety (London). Retrieved 25 October 2011.
External links[edit]
 Wikiquote has a collection of quotations related to: Shakespeare in Love
Official website
Shakespeare in Love at the Internet Movie Database
Shakespeare in Love at allmovie
Shakespeare in Love at Box Office Mojo
Shakespeare in Love at Rotten Tomatoes

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Munich(film)
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Munich
Munich 1 Poster.jpg
Theatrical release poster

Directed by
Steven Spielberg
Produced by
Steven Spielberg
Kathleen Kennedy
Barry Mendel
Colin Wilson
Screenplay by
Tony Kushner
Eric Roth
Based on
Vengeance: The True Story of an Israeli Counter-Terrorist Team
by George Jonas
Starring
Eric Bana
Daniel Craig
Ciarán Hinds
Mathieu Kassovitz
Hanns Zischler
Geoffrey Rush
Music by
John Williams
Cinematography
Janusz Kamiński
Editing by
Michael Kahn
Studio
Amblin Entertainment
The Kennedy/Marshall Company
Alliance Atlantis
Distributed by
Universal Studios(United States)
DreamWorks(International)
Release dates
December 23, 2005

Running time
163 minutes
Language
English
Hebrew
German
Italian
French
Budget
$77 million
Box office
$130,358,911
Munich(2005) is a drama film based on Operation Wrath of God, the Israeli government's secret retaliation against the Palestine Liberation Organizationafter the Munich massacreat the 1972 Summer Olympics. The film was produced and directed by Steven Spielbergand written by Tony Kushnerand Eric Roth.
Based on the book Vengeance: The True Story of an Israeli Counter-Terrorist Teamabout Yuval Aviv, who claims to have been a Mossadagent, Munichfollows a squad of assassins as they track down and kill alleged members of the group Black September, which kidnapped and murdered eleven Israeli athletes.
Shot in Malta,[1]Budapest,[2][3]Fürstenfeldbruck Air Base,[4]Paris, and New York, Munichwas a critical and commercial success. It garnered positive reviews and five Academy Awardsnominations: Best Picture, Best Director (Spielberg), Best Adapted Screenplay (Kushner and Roth), Best Film Editing (Michael Kahn) and Best Original Score (John Williams). Its worldwide box office gross was $130,358,911.[5]


Contents [hide]
1Plot
2Cast
3Critical reaction
4Controversies
5Historical authenticity
6Awards and nominations6.1Won
6.2Nominated
7See also
8References
9Further reading
10External links

Plot[edit]


 This article's plot summary may be too longor excessively detailed.Please help improve itby removing unnecessary details and making it more concise.(July 2012)




A scene from the film representing the Mossad team from 1972. From left to right: Avner Kaufman, Robert, Carl, Hans and Steve.
Munichbegins with a depiction of the events of the 1972 Munich Olympicsand then cuts to the home of Prime Minister of IsraelGolda Meir, where Avner Kaufman (Eric Bana), an Israeli-bornMossadagent of German-Jewish descent, is chosen to lead an assassinationmission against 11 Palestinians allegedly involved in the massacre. To give the Israeli government plausible deniabilityand at the direction of his handlerEphraim (Geoffrey Rush), Avner resigns from Mossad and operates with no official ties to Israel. His team includes four Jewish volunteers from around the world: South Africandriver Steve (Daniel Craig), Belgiantoy-maker and explosives expert Robert (Mathieu Kassovitz), former Israeli soldier and "cleaner" Carl (Ciarán Hinds), and a document forger named Hans (Hanns Zischler). They are given information by a shadowy French informant, Louis (Mathieu Amalric).
In Rome, the team shoots and kills Abdel Wael Zwaiter, who is broke and living as a poet. In Paris, they detonate a bomb in the home of Mahmoud Hamshari; in Cyprus, they bomb the hotel room of Hussein Al Bashir (Hussein Abd Al Chir). With Israel Defense Forces(IDF) commandos, they pursue three Palestiniansto Beirut--Muhammad Youssef al-Najjar(Abu Youssef); Kamal Adwan; and Kamal Nasser, a Palestine Liberation Organization(PLO) spokesman--penetrating the Palestinians' guarded compound and killing all three.
Between hits, the often-reluctant assassins argue about the morality and logistics of their mission (who supplies them? who employs them?), expressing fear about their individual lack of experience, as well as ambivalence about implicating innocent bystanders. Avner makes a brief visit to his wife, who has given birth to their first baby. In Athens, he has a heartfelt conversation with a PLO member who is sharing the same safe house; he later sees this man killed during a hit on a target named Zaiad Muchasi.
The squad moves to Londonto track down Ali Hassan Salameh, who orchestrated the Munich Massacre, but their assassination attempt is interrupted by several drunken Americans. It is implied that these are agents of the CIA, which, according to Louis, protects and funds Salameh in exchange for his promise not to attack US diplomats. Meanwhile, attempts are made on the assassins themselves. Carl is killed by "Jeanette," an independent Dutch contract killer, whom the team pursues to the Netherlands, shooting her in revenge. Hans is found stabbed to death on a park bench, while Robert is killed by an explosion in his workshop. Avner and Steve finally locate Salameh in Spain, but again their assassination attempt is thwarted, this time by Salameh's armed guards.
A disillusioned Avner flies to Israel, where he is unhappy to be hailed as a hero by two young soldiers, and then to his new home in Brooklyn, where he suffers post-traumatic stress. He is thrown out of the Israeli consulate after storming in to demand that Mossad leave his wife and child alone. In the final scene, Ephraim comes to ask Avner to return to Israel and Mossad. Ephraim admits that there was no evidence directly linking any of the targets to the Munich massacre, and Avner decries the entire operation. A final intertitlenotes that 9 of the 11 original targets were eventually assassinated, including Salameh in 1979.
Cast[edit]
Eric Banaas Avner Kaufman based on Yuval Aviv
Daniel Craigas Steve
Ciarán Hindsas Carl
Omar Metwallyas Ali
Mathieu Kassovitzas Robert
Hanns Zischleras Hans
Ayelet Zureras Daphna Kaufman
Geoffrey Rushas Ephraim
Gila Almagoras Avner's Mother
Karim Saleh as Issa – Luttif Afif
Michael Lonsdaleas Papa
Mathieu Amalricas Louis
Ziad Adwan as Kamal Adwan
Moritz Bleibtreuas Andreas
Yvan Attalas Tony
Valeria Bruni Tedeschias Sylvie
Meret Beckeras Yvonne
Jonathan Avigdori as Gad Tsabari(credit as Roy Avigdori)[6]
Marie-Josée Crozeas Jeanette (a Dutch assassin)
Lynn Cohenas Golda Meir
Michael Giannatosas Hotel receptionist
Critical reaction[edit]
The film garnered a 78% favorable rating from critics (per Rotten Tomatoes). Roger Ebertpraised the film, saying that "With this film [Spielberg] has dramatically opened a wider dialogue, helping to make the inarguable into the debatable."[7][8]and placed it at #3 on his top ten list of 2005.[9]James Berardinelliwrote that "Munichis an eye-opener – a motion picture that asks difficult questions, presents well-developed characters, and keeps us white-knuckled throughout." He named it the best film of the year;[10]it was the only film in 2005 which he gave four stars, and he also put it on his Top 100 Films of All Time list. Entertainment Weeklyfilm critic Owen Gleiberman said that Munichwas the #1 film of 2005. Rex Reed from New York Observerbelongs to the group of critics who didn't like the film: "With no heart, no ideology and not much intellectual debate, Munichis a big disappointment, and something of a bore."[11]
Varietyreviewer Todd McCarthy called Municha "beautifully made" film. However, he criticized the film for failing to include "compelling" characters, and for its use of laborious plotting and a "flabby script." McCarthy says that the film turns into "...a lumpy and overlong morality play on a failed thriller template." To succeed, McCarthy states that Spielberg would have needed to implicate the viewer in the assassin squad leader's growing crisis of conscience and create a more "sustain(ed) intellectual interest" for the viewer.[12]
Chicago Tribunereviewer Allison Benedikt calls Municha "competent thriller", but laments that as an "intellectual pursuit, it is little more than a pretty prism through which superficial Jewish guilt and generalized Palestinian nationalism" are made to "... look like the product of serious soul-searching." Benedikt states that Spielberg's treatment of the film's "dense and complicated" subject matter can be summed up as "Palestinians want a homeland, Israelis have to protect theirs." She rhetorically asks: "Do we need another handsome, well-assembled, entertaining movie to prove that we all bleed red?"[13]
Another critique was Gabriel Schoenfeld's "Spielberg's 'Munich'" in the February 2006 issue of Commentary, who called it "pernicious". He compared the fictional film to history, asserted that Spielberg and especially Kushner felt that the Palestinian terrorists and the Mossad agents are morally equivalent and concluded: "The movie deserves an Oscar in one category only: most hypocritical film of the year."[14]
Writing in Empire, Ian Nathan wrote "Munichis Steven Spielberg’s most difficult film. It arrives already inflamed by controversy... This is Spielberg operating at his peak — an exceptionally made, provocative and vital film for our times."[15]
In defense of the climactic sex scene, critics Jim Emerson of the Chicago Sun-Timesand Matt Zoller Seitz of Saloncompared it to Lady Macbeth's suicide in Shakespeare's Macbeth, interpreting the sequence as representing the corruption of Avner's personal life as a result of his being conditioned to kill others in order to avenge Munich.[16]
Controversies[edit]
Some reviewers have criticized Munichfor what they call the film's equating the Israeli assassins with "terrorists".[17]Leon Wieseltierwrote in The New Republic, "... Worse, 'Munich' prefers a discussion of counter-terrorism to a discussion of terrorism; or it thinks that they are the same discussion".[18]
Melman and other critics of the book and the film have said that the story's premise—that Israeli agents had second thoughts about their work—is not supported by interviews or public statements. A retired head of Israel's Shin Betintelligence service, Avi Dichter, formerly the Internal Security Minister, likened Munichto a children's adventure story: "There is no comparison between what you see in the movie and how it works in reality," he said in an interview with Reuters.[19]In a Timemagazine cover story about the film on December 4, 2005, Spielberg said that the source of the film had second thoughts about his actions. "There is something about killing people at close range that is excruciating," Spielberg said. "It's bound to try a man's soul." Of the real Avner, Spielberg says, "I don’t think he will ever find peace."[20]
The Zionist Organization of America(ZOA), describing itself as "the oldest, and one of the largest, pro-Israel and Zionist organizations in the United States", called for a boycottof the film on December 27, 2005.[21]The ZOA criticized the factual basis of the film, and leveled criticism at one of the screenwriters, Tony Kushner, who the ZOA has described as an "Israel-hater".[22]Criticism was also directed at the Anti-Defamation League's (ADL) National Director, Abraham Foxmanfor his support of the film.[21]
David Edelsteinof Slateargued that "The Israeli government and many conservative and pro-Israeli commentators have lambasted the film for naiveté, for implying that governments should never retaliate. But an expression of uncertainty and disgust is not the same as one of outright denunciation. What Munichdoes say is that this shortsighted tit-for-tat can produce a kind of insanity, both individual and collective."[23]
Illano Romano, wife of an Israeli weightlifter slain in the Munich massacre, pointed out that Spielberg overlooked the Lillehammer affair,[24][25][26]although Spielberg seems to have been conscious of the omission; the film's opening title frame shows Lillehammerin a montage of city names, with Munichstanding out from the rest. The Jewish Journalsaid that "the revenge squad obsess about making sure only their targets are hit -- and meticulous care is taken to avoid collateral damage. Yet in one shootout an innocent man is also slain ... The intense moral contortions the agents experience as the corpses pile up makes up the substance of the movie."[27]
Christopher Hitchensdismissed the film as "laughable" and criticized Daniel Craig's portrayal of Steve, a character which Hitchens perceived to be "a hopelessly sinister and useless South African Jew."[28]
Historical authenticity[edit]
Although Munichis a work of fiction, it describes many actual events and figures from the early 1970s. On the Israeli side, Prime Minister Golda Meiris depicted in the film, and other military and political leaders such as Attorney General Meir Shamgar, Mossad chief Zvi Zamirand Aman chief Aharon Yarivare also depicted. Spielberg tried to make the depiction of the hostage-taking and killing of the Israeli athletes historically authentic.[29]Unlike an earlier film, 21 Hours at Munich, Spielberg's film depicts the shooting of allthe Israeli athletes, which according to the autopsies was accurate. In addition, the film uses actual news clips shot during the hostage situation.
The named members of Black September, and their deaths, are also mostly factual. Abdel Wael Zwaiter, a translator at the Libyan embassy in Rome, was shot 11 times, one bullet for each of the victims of the Munich Massacre, in the lobby of his apartment 41 days after Munich. On December 8 of that year Mahmoud Hamshiri, a senior PLO figure, was killed in Paris by a bomb concealed in the table below his telephone. Although the film depicts the bomb being concealed in the telephone itself, other details of the assassination (such as confirmation of the target via telephone call) are accurate. Others killed during this period include Mohammed Boudia, Basil al-Kubasi, Abad al-Chir, Zaid Muchassi, some of whose deaths are depicted in the film. Ali Hassan Salamehwas also a real person, and a prominent member of Black September. In 1979 he was killed in Beirutby car bomb[30]that also killed four innocent bystanders and injured 18 others.[31]
The commando raid in Beirut, known as Operation Spring of Youth, also occurred. This attack included future Israeli Prime Minister Ehud Barakand Yom Kippur Warand Operation Entebbehero Yonatan Netanyahu, who are both portrayed by name in the film. The methods used to track down and assassinate the Black September members were much more complicated than the methods portrayed in the film; for example, the tracking of the Black September cell members was achieved by a network of Mossad agents, not an informant as depicted in the film.[32]
Atlantic Productions, producers of BAFTA-nominated documentary Munich: Mossad's Revenge, listed several discrepancies between Spielberg's film and the information it obtained from interviews with Mossad agents involved in the operation. It noted that the film suggests one group carried out almost all the assassinations, whereas in reality it was a much larger team. Mossad did not work with a mysterious French underworld figure as portrayed in the book and the film. The assassination campaign did not end because agents lost their nerve but because of the Lillehammer affairin which an innocent Moroccan waiter was killed. This is not mentioned in the film. The targets were not all directly involved in Munich, which Spielberg only acknowledges in the last 5 minutes.[33]
As mentioned above, the film notably ignored the Lillehammer affair, where Israeli assassins killed a Moroccan waiter, Ahmed Bouchiki, mistaking him for Ali Hassan Salameh. As Bristol University History professor Stephen Howe says: "one major puzzle has gone almost unremarked. If... the key (and in itself laudable) impetus for the film's making was the moral questioning prompted by Israeli 'counter-terrorist' actions, why focus on these particular episodes? The film doesn't even include the most glaring and notorious failure, which was also perhaps the most indefensible act... This was the killing in Norway of a hapless and harmless Moroccan waiter, mistaken for alleged Black September boss Ali Hassan Salameh."[34]The agents who were responsible for the killing were tried and convicted in Norway of murder.[35][36]Israel compensated the victim's family although never took responsibility for the assassination.[37][38]
Awards and nominations[edit]
Won[edit]
4th Central Ohio Film Critics Association Awards: Best Ensemble Cast
40th Kansas City Films Critics Circle Awards: Best Director (Steven Spielberg)
Best Picture
Best Screenplay – Adapted (Tony Kushner and Eric Roth)
4th Washington D.C. Area Film Critics Association Awards: Best Director (Steven Spielberg)
Best Picture

Nominated[edit]
78th Academy Awards:Best Director (Steven Spielberg)
Best Editing (Michael Kahn)
Best Original Score (John Williams)
Best Picture (Kathleen Kennedy, Steven Spielberg, Barry Mandel and Colin Wilson)
Best Screenplay – Adapted (Tony Kushner and Eric Roth)
56th American Cinema Editors Eddie Awards: Best Edited Feature Film – Dramatic (Michael Kahn)
Australian Film Institute: Best Actor (Eric Bana)
11th BFCA Critics' Choice Awards: Best Director (Steven Spielberg)
58th Directors Guild of America Awards: Best Director (Steven Spielberg)
Empire Awards: Best Thriller
63rd Golden Globe Awards:Best Director (Steven Spielberg)
Best Screenplay (Tony Kushner and Eric Roth)
7th Golden Trailer Awards: Best Drama
48th Grammy Awards: Best Score Soundtrack Album for Motion Picture, Television or Other Visual Media (John Williams)
2006 MPSE Golden Reel Awards: Sound Editing in Feature Film – Dialogue and Automated Dialogue Replacement
9th Online Film Critics Society Awards: Best Director (Steven Spielberg)
Best Editing (Michael Kahn)
Best Screenplay – Adapted (Tony Kushner and Eric Roth)
Best Picture
Best Original Score (John Williams)
4th Washington D.C. Area Film Critics Association Awards: Best Screenplay (Tony Kushner and Eric Roth)
Best Supporting Actor (Geoffrey Rush)
6th World Soundtrack Awards: Best Original Soundtrack (John Williams)

See also[edit]
Palestinian political violence
Sword of Gideon
Munich (soundtrack)
References[edit]
1.Jump up ^"The Malta Connection". An Encyclopedia of Film and Cinema. Retrieved June 1, 2007.
2.Jump up ^"From the Mailbag (I): Apologize to Steven Spielberg, or Else!". Pestiside. All Hungary Media Group. September 2, 2005. Retrieved June 1, 2007.
3.Jump up ^"The Pictures Steven Spielberg Doesn't Want You to See". Pestiside. All Hungary Media Group. August 12, 2005. Retrieved June 1, 2007.
4.Jump up ^"Mid-Day Reality Check: Spielberg Helicopter in Death Fireball!". Pestiside. All Hungary Media Group. September 14, 2005. Retrieved June 1, 2007.
5.Jump up ^"Munich (2005)". Box Office Mojo. Retrieved January 13, 2008.
6.Jump up ^Munich (2005)IMDb
7.Jump up ^Roger Ebert (December 25, 2005). "A telephone call with Spielberg". Chicago Sun-Times.
8.Jump up ^Roger Ebert (December 22, 2005). "Reviews: Munich". Chicago Sun-Times.
9.Jump up ^Roger Ebert (December 18, 2005). "Ebert's Best 10 Movies of 2005". Chicago Sun-Times.
10.Jump up ^James Berardinelli (2005). "Munich review". reelviews. Retrieved January 13, 2008.
11.Jump up ^Rex Reed (December 26, 2005). "Pierce My Heart! 007 is The Matador". The New York Observer.
12.Jump up ^Todd McCarthy (December 9, 2005). "Munich Review". Variety.
13.Jump up ^Allison Benedikt (August 31, 2007). "Movie review: Munich". Chicago Tribune.
14.Jump up ^Cohen, Ben (September 11, 2001). "Spielberg’s “Munich” Commentary Magazine". Commentary Magazine. Retrieved July 8, 2012.
15.Jump up ^"Empire's Munich Movie Review". Empire online. December 5, 2006. Retrieved July 8, 2012.
16.Jump up ^"The year's most audacious sex scene". Chicago Sun-Times.
17.Jump up ^Ain, Stewart (December 16, 2005). "'Munich' Refuels Debate Over Moral Equivalency". The Jewish Week. Retrieved January 6, 2007.
18.Jump up ^Wieseltier, Leon (December 19, 2005). "Hits". The New Republic233(4,744): 38.
19.Jump up ^Urquhart, Conal (December 19, 2005). "Sharon's aide helps Spielberg promote controversial film". The Guardian(London). Retrieved May 13, 2010.
20.Jump up ^Richard Schickel (December 4, 2005). "Spielberg Takes on Terror". TIME.
21.^ Jump up to: ab"ZOA: Don't See Spielberg's 'Munich' Unless You Like Humanizing Terrorists & Dehumanizing Israelis"(Press release). Zionist Organization of America. December 27, 2005.
22.Jump up ^"Playwright Tony Kushner Supports Boycotting And Divesting From Israel – Yet Brandeis U. Is Honoring Him"(Press release). Zionist Organization of America. May 5, 2006.
23.Jump up ^David Edelstein (December 22, 2005). "Death of a Hit Man". Slate.
24.Jump up ^"Sharon aide promotes Munich film". BBC. December 9, 2005.
25.Jump up ^Spielberg's Munich, Ethics and Israel, (Journal of) Israel Studies- 11(2), Summer 2006, pp. 168-171 [1]
26.Jump up ^The Morality of Revenge, Der Speigel, Erich Follath and Gerhard Spörl, January 23, 2006
27.Jump up ^Munich — A Risky Move for SpielbergIgor Davis, Jewish Journal, December 1, 2005
28.Jump up ^"Magazine - Bottoms Up". The Atlantic. April 1, 2006. Retrieved July 8, 2012.
29.Jump up ^Note: Israeli actor Gur Weinberg, one month old in September 1972 was used to portray his father Moshe, the wrestling coach and first hostage killed.
30.Jump up ^Harari EvidenceCopi
31.Jump up ^Time Magazine, February 5, 1979
32.Jump up ^Klein, Aaron J. (December 22, 2005). "'Striking Back' Look at Munich Killings, Aftermath". NPR. Retrieved July 8, 2012.
33.Jump up ^MacAskill, Ewen (January 26, 2006). "Munich: Mossad breaks cover". The Guardian(London). Retrieved May 13, 2010.
34.Jump up ^"Munich: Spielberg's Failure". Open Democracy. January 26, 2006.
35.Jump up ^"An Eye For An Eye". CBS. November 20, 2001.
36.Jump up ^Calahan, Alexander B (March 1, 1995). "Countering Terrorism: The Israeli Response to The 1972 Munich Olympic Massacre and The Development Of Independent Covert Action Teams". fas.org. Retrieved November 19, 2012.
37.Jump up ^World News Briefs;Israelis to Compensate Family of Slain Waiter - New York Times(January 28, 1996)
38.Jump up ^Mellgren, Doug (March 2, 2000). "Norway solves riddle of Mossad killing". The Guardian(London).
Further reading[edit]
Girling, Richard (January 15, 2006). "A Thirst for Vengeance: The Real Story behind Munich". The Sunday Times(London). Archivedfrom the original on January 15, 2006. Retrieved December 26, 2012.(subscription required)
External links[edit]
 Wikiquote has a collection of quotations related to: Munich (film)
Official website
Munichat the Internet Movie Database
Munichat allmovie
Munichat Box Office Mojo
Munichat Metacritic
Munichat Rotten Tomatoes


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Munich (film)
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Munich
Munich 1 Poster.jpg
Theatrical release poster

Directed by
Steven Spielberg
Produced by
Steven Spielberg
Kathleen Kennedy
Barry Mendel
Colin Wilson
Screenplay by
Tony Kushner
Eric Roth
Based on
Vengeance: The True Story of an Israeli Counter-Terrorist Team
 by George Jonas
Starring
Eric Bana
Daniel Craig
Ciarán Hinds
Mathieu Kassovitz
Hanns Zischler
Geoffrey Rush
Music by
John Williams
Cinematography
Janusz Kamiński
Editing by
Michael Kahn
Studio
Amblin Entertainment
The Kennedy/Marshall Company
Alliance Atlantis
Distributed by
Universal Studios (United States)
DreamWorks (International)
Release dates
December 23, 2005

Running time
163 minutes
Language
English
 Hebrew
 German
 Italian
 French
Budget
$77 million
Box office
$130,358,911
Munich (2005) is a drama film based on Operation Wrath of God, the Israeli government's secret retaliation against the Palestine Liberation Organization after the Munich massacre at the 1972 Summer Olympics. The film was produced and directed by Steven Spielberg and written by Tony Kushner and Eric Roth.
Based on the book Vengeance: The True Story of an Israeli Counter-Terrorist Team about Yuval Aviv, who claims to have been a Mossad agent, Munich follows a squad of assassins as they track down and kill alleged members of the group Black September, which kidnapped and murdered eleven Israeli athletes.
Shot in Malta,[1] Budapest,[2][3] Fürstenfeldbruck Air Base,[4] Paris, and New York, Munich was a critical and commercial success. It garnered positive reviews and five Academy Awards nominations: Best Picture, Best Director (Spielberg), Best Adapted Screenplay (Kushner and Roth), Best Film Editing (Michael Kahn) and Best Original Score (John Williams). Its worldwide box office gross was $130,358,911.[5]


Contents  [hide]
1 Plot
2 Cast
3 Critical reaction
4 Controversies
5 Historical authenticity
6 Awards and nominations 6.1 Won
6.2 Nominated
7 See also
8 References
9 Further reading
10 External links

Plot[edit]


 This article's plot summary may be too long or excessively detailed. Please help improve it by removing unnecessary details and making it more concise. (July 2012)



 A scene from the film representing the Mossad team from 1972. From left to right: Avner Kaufman, Robert, Carl, Hans and Steve.
Munich begins with a depiction of the events of the 1972 Munich Olympics and then cuts to the home of Prime Minister of Israel Golda Meir, where Avner Kaufman (Eric Bana), an Israeli-born Mossad agent of German-Jewish descent, is chosen to lead an assassination mission against 11 Palestinians allegedly involved in the massacre. To give the Israeli government plausible deniability and at the direction of his handler Ephraim (Geoffrey Rush), Avner resigns from Mossad and operates with no official ties to Israel. His team includes four Jewish volunteers from around the world: South African driver Steve (Daniel Craig), Belgian toy-maker and explosives expert Robert (Mathieu Kassovitz), former Israeli soldier and "cleaner" Carl (Ciarán Hinds), and a document forger named Hans (Hanns Zischler). They are given information by a shadowy French informant, Louis (Mathieu Amalric).
In Rome, the team shoots and kills Abdel Wael Zwaiter, who is broke and living as a poet. In Paris, they detonate a bomb in the home of Mahmoud Hamshari; in Cyprus, they bomb the hotel room of Hussein Al Bashir (Hussein Abd Al Chir). With Israel Defense Forces (IDF) commandos, they pursue three Palestinians to Beirut--Muhammad Youssef al-Najjar (Abu Youssef); Kamal Adwan; and Kamal Nasser, a Palestine Liberation Organization (PLO) spokesman--penetrating the Palestinians' guarded compound and killing all three.
Between hits, the often-reluctant assassins argue about the morality and logistics of their mission (who supplies them? who employs them?), expressing fear about their individual lack of experience, as well as ambivalence about implicating innocent bystanders. Avner makes a brief visit to his wife, who has given birth to their first baby. In Athens, he has a heartfelt conversation with a PLO member who is sharing the same safe house; he later sees this man killed during a hit on a target named Zaiad Muchasi.
The squad moves to London to track down Ali Hassan Salameh, who orchestrated the Munich Massacre, but their assassination attempt is interrupted by several drunken Americans. It is implied that these are agents of the CIA, which, according to Louis, protects and funds Salameh in exchange for his promise not to attack US diplomats. Meanwhile, attempts are made on the assassins themselves. Carl is killed by "Jeanette," an independent Dutch contract killer, whom the team pursues to the Netherlands, shooting her in revenge. Hans is found stabbed to death on a park bench, while Robert is killed by an explosion in his workshop. Avner and Steve finally locate Salameh in Spain, but again their assassination attempt is thwarted, this time by Salameh's armed guards.
A disillusioned Avner flies to Israel, where he is unhappy to be hailed as a hero by two young soldiers, and then to his new home in Brooklyn, where he suffers post-traumatic stress. He is thrown out of the Israeli consulate after storming in to demand that Mossad leave his wife and child alone. In the final scene, Ephraim comes to ask Avner to return to Israel and Mossad. Ephraim admits that there was no evidence directly linking any of the targets to the Munich massacre, and Avner decries the entire operation. A final intertitle notes that 9 of the 11 original targets were eventually assassinated, including Salameh in 1979.
Cast[edit]
Eric Bana as Avner Kaufman based on Yuval Aviv
Daniel Craig as Steve
Ciarán Hinds as Carl
Omar Metwally as Ali
Mathieu Kassovitz as Robert
Hanns Zischler as Hans
Ayelet Zurer as Daphna Kaufman
Geoffrey Rush as Ephraim
Gila Almagor as Avner's Mother
Karim Saleh as Issa – Luttif Afif
Michael Lonsdale as Papa
Mathieu Amalric as Louis
Ziad Adwan as Kamal Adwan
Moritz Bleibtreu as Andreas
Yvan Attal as Tony
Valeria Bruni Tedeschi as Sylvie
Meret Becker as Yvonne
Jonathan Avigdori as Gad Tsabari (credit as Roy Avigdori)[6]
Marie-Josée Croze as Jeanette (a Dutch assassin)
Lynn Cohen as Golda Meir
Michael Giannatos as Hotel receptionist
Critical reaction[edit]
The film garnered a 78% favorable rating from critics (per Rotten Tomatoes). Roger Ebert praised the film, saying that "With this film [Spielberg] has dramatically opened a wider dialogue, helping to make the inarguable into the debatable."[7][8] and placed it at #3 on his top ten list of 2005.[9] James Berardinelli wrote that "Munich is an eye-opener – a motion picture that asks difficult questions, presents well-developed characters, and keeps us white-knuckled throughout." He named it the best film of the year;[10] it was the only film in 2005 which he gave four stars, and he also put it on his Top 100 Films of All Time list. Entertainment Weekly film critic Owen Gleiberman said that Munich was the #1 film of 2005. Rex Reed from New York Observer belongs to the group of critics who didn't like the film: "With no heart, no ideology and not much intellectual debate, Munich is a big disappointment, and something of a bore."[11]
Variety reviewer Todd McCarthy called Munich a "beautifully made" film. However, he criticized the film for failing to include "compelling" characters, and for its use of laborious plotting and a "flabby script." McCarthy says that the film turns into "...a lumpy and overlong morality play on a failed thriller template." To succeed, McCarthy states that Spielberg would have needed to implicate the viewer in the assassin squad leader's growing crisis of conscience and create a more "sustain(ed) intellectual interest" for the viewer.[12]
Chicago Tribune reviewer Allison Benedikt calls Munich a "competent thriller", but laments that as an "intellectual pursuit, it is little more than a pretty prism through which superficial Jewish guilt and generalized Palestinian nationalism" are made to "... look like the product of serious soul-searching." Benedikt states that Spielberg's treatment of the film's "dense and complicated" subject matter can be summed up as "Palestinians want a homeland, Israelis have to protect theirs." She rhetorically asks: "Do we need another handsome, well-assembled, entertaining movie to prove that we all bleed red?"[13]
Another critique was Gabriel Schoenfeld's "Spielberg's 'Munich'" in the February 2006 issue of Commentary, who called it "pernicious". He compared the fictional film to history, asserted that Spielberg and especially Kushner felt that the Palestinian terrorists and the Mossad agents are morally equivalent and concluded: "The movie deserves an Oscar in one category only: most hypocritical film of the year."[14]
Writing in Empire, Ian Nathan wrote "Munich is Steven Spielberg’s most difficult film. It arrives already inflamed by controversy... This is Spielberg operating at his peak — an exceptionally made, provocative and vital film for our times."[15]
In defense of the climactic sex scene, critics Jim Emerson of the Chicago Sun-Times and Matt Zoller Seitz of Salon compared it to Lady Macbeth's suicide in Shakespeare's Macbeth, interpreting the sequence as representing the corruption of Avner's personal life as a result of his being conditioned to kill others in order to avenge Munich.[16]
Controversies[edit]
Some reviewers have criticized Munich for what they call the film's equating the Israeli assassins with "terrorists".[17] Leon Wieseltier wrote in The New Republic, "... Worse, 'Munich' prefers a discussion of counter-terrorism to a discussion of terrorism; or it thinks that they are the same discussion".[18]
Melman and other critics of the book and the film have said that the story's premise—that Israeli agents had second thoughts about their work—is not supported by interviews or public statements. A retired head of Israel's Shin Bet intelligence service, Avi Dichter, formerly the Internal Security Minister, likened Munich to a children's adventure story: "There is no comparison between what you see in the movie and how it works in reality," he said in an interview with Reuters.[19] In a Time magazine cover story about the film on December 4, 2005, Spielberg said that the source of the film had second thoughts about his actions. "There is something about killing people at close range that is excruciating," Spielberg said. "It's bound to try a man's soul." Of the real Avner, Spielberg says, "I don’t think he will ever find peace."[20]
The Zionist Organization of America (ZOA), describing itself as "the oldest, and one of the largest, pro-Israel and Zionist organizations in the United States", called for a boycott of the film on December 27, 2005.[21] The ZOA criticized the factual basis of the film, and leveled criticism at one of the screenwriters, Tony Kushner, who the ZOA has described as an "Israel-hater".[22] Criticism was also directed at the Anti-Defamation League's (ADL) National Director, Abraham Foxman for his support of the film.[21]
David Edelstein of Slate argued that "The Israeli government and many conservative and pro-Israeli commentators have lambasted the film for naiveté, for implying that governments should never retaliate. But an expression of uncertainty and disgust is not the same as one of outright denunciation. What Munich does say is that this shortsighted tit-for-tat can produce a kind of insanity, both individual and collective."[23]
Illano Romano, wife of an Israeli weightlifter slain in the Munich massacre, pointed out that Spielberg overlooked the Lillehammer affair,[24][25][26] although Spielberg seems to have been conscious of the omission; the film's opening title frame shows Lillehammer in a montage of city names, with Munich standing out from the rest. The Jewish Journal said that "the revenge squad obsess about making sure only their targets are hit -- and meticulous care is taken to avoid collateral damage. Yet in one shootout an innocent man is also slain ... The intense moral contortions the agents experience as the corpses pile up makes up the substance of the movie."[27]
Christopher Hitchens dismissed the film as "laughable" and criticized Daniel Craig's portrayal of Steve, a character which Hitchens perceived to be "a hopelessly sinister and useless South African Jew."[28]
Historical authenticity[edit]
Although Munich is a work of fiction, it describes many actual events and figures from the early 1970s. On the Israeli side, Prime Minister Golda Meir is depicted in the film, and other military and political leaders such as Attorney General Meir Shamgar, Mossad chief Zvi Zamir and Aman chief Aharon Yariv are also depicted. Spielberg tried to make the depiction of the hostage-taking and killing of the Israeli athletes historically authentic.[29] Unlike an earlier film, 21 Hours at Munich, Spielberg's film depicts the shooting of all the Israeli athletes, which according to the autopsies was accurate. In addition, the film uses actual news clips shot during the hostage situation.
The named members of Black September, and their deaths, are also mostly factual. Abdel Wael Zwaiter, a translator at the Libyan embassy in Rome, was shot 11 times, one bullet for each of the victims of the Munich Massacre, in the lobby of his apartment 41 days after Munich. On December 8 of that year Mahmoud Hamshiri, a senior PLO figure, was killed in Paris by a bomb concealed in the table below his telephone. Although the film depicts the bomb being concealed in the telephone itself, other details of the assassination (such as confirmation of the target via telephone call) are accurate. Others killed during this period include Mohammed Boudia, Basil al-Kubasi, Abad al-Chir, Zaid Muchassi, some of whose deaths are depicted in the film. Ali Hassan Salameh was also a real person, and a prominent member of Black September. In 1979 he was killed in Beirut by car bomb[30] that also killed four innocent bystanders and injured 18 others.[31]
The commando raid in Beirut, known as Operation Spring of Youth, also occurred. This attack included future Israeli Prime Minister Ehud Barak and Yom Kippur War and Operation Entebbe hero Yonatan Netanyahu, who are both portrayed by name in the film. The methods used to track down and assassinate the Black September members were much more complicated than the methods portrayed in the film; for example, the tracking of the Black September cell members was achieved by a network of Mossad agents, not an informant as depicted in the film.[32]
Atlantic Productions, producers of BAFTA-nominated documentary Munich: Mossad's Revenge, listed several discrepancies between Spielberg's film and the information it obtained from interviews with Mossad agents involved in the operation. It noted that the film suggests one group carried out almost all the assassinations, whereas in reality it was a much larger team. Mossad did not work with a mysterious French underworld figure as portrayed in the book and the film. The assassination campaign did not end because agents lost their nerve but because of the Lillehammer affair in which an innocent Moroccan waiter was killed. This is not mentioned in the film. The targets were not all directly involved in Munich, which Spielberg only acknowledges in the last 5 minutes.[33]
As mentioned above, the film notably ignored the Lillehammer affair, where Israeli assassins killed a Moroccan waiter, Ahmed Bouchiki, mistaking him for Ali Hassan Salameh. As Bristol University History professor Stephen Howe says: "one major puzzle has gone almost unremarked. If... the key (and in itself laudable) impetus for the film's making was the moral questioning prompted by Israeli 'counter-terrorist' actions, why focus on these particular episodes? The film doesn't even include the most glaring and notorious failure, which was also perhaps the most indefensible act... This was the killing in Norway of a hapless and harmless Moroccan waiter, mistaken for alleged Black September boss Ali Hassan Salameh."[34] The agents who were responsible for the killing were tried and convicted in Norway of murder.[35][36] Israel compensated the victim's family although never took responsibility for the assassination.[37][38]
Awards and nominations[edit]
Won[edit]
4th Central Ohio Film Critics Association Awards: Best Ensemble Cast
40th Kansas City Films Critics Circle Awards: Best Director (Steven Spielberg)
Best Picture
Best Screenplay – Adapted (Tony Kushner and Eric Roth)
4th Washington D.C. Area Film Critics Association Awards: Best Director (Steven Spielberg)
Best Picture

Nominated[edit]
78th Academy Awards: Best Director (Steven Spielberg)
Best Editing (Michael Kahn)
Best Original Score (John Williams)
Best Picture (Kathleen Kennedy, Steven Spielberg, Barry Mandel and Colin Wilson)
Best Screenplay – Adapted (Tony Kushner and Eric Roth)
56th American Cinema Editors Eddie Awards: Best Edited Feature Film – Dramatic (Michael Kahn)
Australian Film Institute: Best Actor (Eric Bana)
11th BFCA Critics' Choice Awards: Best Director (Steven Spielberg)
58th Directors Guild of America Awards: Best Director (Steven Spielberg)
Empire Awards: Best Thriller
63rd Golden Globe Awards: Best Director (Steven Spielberg)
Best Screenplay (Tony Kushner and Eric Roth)
7th Golden Trailer Awards: Best Drama
48th Grammy Awards: Best Score Soundtrack Album for Motion Picture, Television or Other Visual Media (John Williams)
2006 MPSE Golden Reel Awards: Sound Editing in Feature Film – Dialogue and Automated Dialogue Replacement
9th Online Film Critics Society Awards: Best Director (Steven Spielberg)
Best Editing (Michael Kahn)
Best Screenplay – Adapted (Tony Kushner and Eric Roth)
Best Picture
Best Original Score (John Williams)
4th Washington D.C. Area Film Critics Association Awards: Best Screenplay (Tony Kushner and Eric Roth)
Best Supporting Actor (Geoffrey Rush)
6th World Soundtrack Awards: Best Original Soundtrack (John Williams)

See also[edit]
Palestinian political violence
Sword of Gideon
Munich (soundtrack)
References[edit]
1.Jump up ^ "The Malta Connection". An Encyclopedia of Film and Cinema. Retrieved June 1, 2007.
2.Jump up ^ "From the Mailbag (I): Apologize to Steven Spielberg, or Else!". Pestiside. All Hungary Media Group. September 2, 2005. Retrieved June 1, 2007.
3.Jump up ^ "The Pictures Steven Spielberg Doesn't Want You to See". Pestiside. All Hungary Media Group. August 12, 2005. Retrieved June 1, 2007.
4.Jump up ^ "Mid-Day Reality Check: Spielberg Helicopter in Death Fireball!". Pestiside. All Hungary Media Group. September 14, 2005. Retrieved June 1, 2007.
5.Jump up ^ "Munich (2005)". Box Office Mojo. Retrieved January 13, 2008.
6.Jump up ^ Munich (2005) IMDb
7.Jump up ^ Roger Ebert (December 25, 2005). "A telephone call with Spielberg". Chicago Sun-Times.
8.Jump up ^ Roger Ebert (December 22, 2005). "Reviews: Munich". Chicago Sun-Times.
9.Jump up ^ Roger Ebert (December 18, 2005). "Ebert's Best 10 Movies of 2005". Chicago Sun-Times.
10.Jump up ^ James Berardinelli (2005). "Munich review". reelviews. Retrieved January 13, 2008.
11.Jump up ^ Rex Reed (December 26, 2005). "Pierce My Heart! 007 is The Matador". The New York Observer.
12.Jump up ^ Todd McCarthy (December 9, 2005). "Munich Review". Variety.
13.Jump up ^ Allison Benedikt (August 31, 2007). "Movie review: Munich". Chicago Tribune.
14.Jump up ^ Cohen, Ben (September 11, 2001). "Spielberg’s “Munich” Commentary Magazine". Commentary Magazine. Retrieved July 8, 2012.
15.Jump up ^ "Empire's Munich Movie Review". Empire online. December 5, 2006. Retrieved July 8, 2012.
16.Jump up ^ "The year's most audacious sex scene". Chicago Sun-Times.
17.Jump up ^ Ain, Stewart (December 16, 2005). "'Munich' Refuels Debate Over Moral Equivalency". The Jewish Week. Retrieved January 6, 2007.
18.Jump up ^ Wieseltier, Leon (December 19, 2005). "Hits". The New Republic 233 (4,744): 38.
19.Jump up ^ Urquhart, Conal (December 19, 2005). "Sharon's aide helps Spielberg promote controversial film". The Guardian (London). Retrieved May 13, 2010.
20.Jump up ^ Richard Schickel (December 4, 2005). "Spielberg Takes on Terror". TIME.
21.^ Jump up to: a b "ZOA: Don't See Spielberg's 'Munich' Unless You Like Humanizing Terrorists & Dehumanizing Israelis" (Press release). Zionist Organization of America. December 27, 2005.
22.Jump up ^ "Playwright Tony Kushner Supports Boycotting And Divesting From Israel – Yet Brandeis U. Is Honoring Him" (Press release). Zionist Organization of America. May 5, 2006.
23.Jump up ^ David Edelstein (December 22, 2005). "Death of a Hit Man". Slate.
24.Jump up ^ "Sharon aide promotes Munich film". BBC. December 9, 2005.
25.Jump up ^ Spielberg's Munich, Ethics and Israel, (Journal of) Israel Studies - 11 (2), Summer 2006, pp. 168-171 [1]
26.Jump up ^ The Morality of Revenge, Der Speigel, Erich Follath and Gerhard Spörl, January 23, 2006
27.Jump up ^ Munich — A Risky Move for Spielberg Igor Davis, Jewish Journal, December 1, 2005
28.Jump up ^ "Magazine - Bottoms Up". The Atlantic. April 1, 2006. Retrieved July 8, 2012.
29.Jump up ^ Note: Israeli actor Gur Weinberg, one month old in September 1972 was used to portray his father Moshe, the wrestling coach and first hostage killed.
30.Jump up ^ Harari Evidence Copi
31.Jump up ^ Time Magazine, February 5, 1979
32.Jump up ^ Klein, Aaron J. (December 22, 2005). "'Striking Back' Look at Munich Killings, Aftermath". NPR. Retrieved July 8, 2012.
33.Jump up ^ MacAskill, Ewen (January 26, 2006). "Munich: Mossad breaks cover". The Guardian (London). Retrieved May 13, 2010.
34.Jump up ^ "Munich: Spielberg's Failure". Open Democracy. January 26, 2006.
35.Jump up ^ "An Eye For An Eye". CBS. November 20, 2001.
36.Jump up ^ Calahan, Alexander B (March 1, 1995). "Countering Terrorism: The Israeli Response to The 1972 Munich Olympic Massacre and The Development Of Independent Covert Action Teams". fas.org. Retrieved November 19, 2012.
37.Jump up ^ World News Briefs;Israelis to Compensate Family of Slain Waiter - New York Times (January 28, 1996)
38.Jump up ^ Mellgren, Doug (March 2, 2000). "Norway solves riddle of Mossad killing". The Guardian (London).
Further reading[edit]
Girling, Richard (January 15, 2006). "A Thirst for Vengeance: The Real Story behind Munich". The Sunday Times (London). Archived from the original on January 15, 2006. Retrieved December 26, 2012. (subscription required)
External links[edit]
 Wikiquote has a collection of quotations related to: Munich (film)
Official website
Munich at the Internet Movie Database
Munich at allmovie
Munich at Box Office Mojo
Munich at Metacritic
Munich at Rotten Tomatoes


[hide]
v ·
 t ·
 e
 
Steven Spielberg


Filmography ·
 Awards and nominations
 

Directorial
 works
Firelight (1964) ·
 Slipstream (1967) ·
 Amblin' (1968) ·
 "L.A. 2017" (1971) ·
 Duel (1971) ·
 Something Evil (1972) ·
 The Sugarland Express (1974, also wrote) ·
 Jaws (1975) ·
 Close Encounters of the Third Kind (1977, also wrote) ·
 1941 (1979) ·
 Raiders of the Lost Ark (1981) ·
 E.T. the Extra-Terrestrial (1982) ·
 Twilight Zone: The Movie ("Kick the Can" segment, 1983) ·
 Indiana Jones and the Temple of Doom (1984) ·
 The Color Purple (1985) ·
 Empire of the Sun (1987) ·
 Indiana Jones and the Last Crusade (1989) ·
 Always (1989) ·
 Hook (1991) ·
 Jurassic Park (1993) ·
 Schindler's List (1993) ·
 The Lost World: Jurassic Park (1997) ·
 Amistad (1997) ·
 Saving Private Ryan (1998) ·
 A.I. Artificial Intelligence (2001, also wrote) ·
 Minority Report (2002) ·
 Catch Me If You Can (2002) ·
 The Terminal (2004) ·
 War of the Worlds (2005) ·
 Munich (2005) ·
 Indiana Jones and the Kingdom of the Crystal Skull (2008) ·
 The Adventures of Tintin (2011) ·
 War Horse (2011) ·
 Lincoln (2012)
 

Written only
Ace Eli and Rodger of the Skies (1973) ·
 Poltergeist (1982, also produced) ·
 The Goonies (1985)
 

Produced only
An American Tail: Fievel Goes West (1991) ·
 Memoirs of a Geisha (2005) ·
 Flags of Our Fathers (2006) ·
 Letters from Iwo Jima (2006) ·
 Super 8 (2011)
 

Created for TV
Amazing Stories (1985–1987) ·
 High Incident (1996–1997) ·
 Invasion America (1998)
 

See also
Amblin Entertainment  (Amblimation)
   ·
 DreamWorks ·
 USC Shoah Foundation Institute for Visual History and Education
 

 


Categories: 2005 films
American films
English-language films
2000s drama films
Amblin Entertainment films
American political drama films
American spy films
DreamWorks films
Films about Jews and Judaism
Films about terrorism
Films based on actual events
Films directed by Steven Spielberg
Films produced by Steven Spielberg
Films set in 1972
Films set in Germany
Films set in Greece
Films set in London
Films set in New York City
Films set in Paris
Films set in Rome
Films set in the Netherlands
Films shot in Budapest
Films shot in Hungary
Israeli–Palestinian conflict films
Films about the Mossad
Munich massacre
Films about the Olympic Games
Operation Wrath of God
American political thriller films
The Kennedy/Marshall Company films
Universal Pictures films
Film scores by John Williams






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