Spielberg's facts and fiction
By Efraim Halevy
The Times (London)
January 21, 2006
The new film Munich purports to be the truth about the aftermath of the 1972 Olympic massacre. But it is based on a deeply flawed book and the real story is to be found elsewhere, a former head of Mossad argues
AS A WORK OF ART, THE FILM Munich must be judged by the public and by professional critics. However, its director, Steven Spielberg, has said that its message relates to the root cause of the conflict between the Israelis and Palestinians.
Thus, he has added a political dimension. This is perfectly legitimate and Munich is not the first work of its kind to pursue such a path. Yet once this direction has been chosen, it becomes legitimate to assess the film in terms of its relationship with reality. The less authentic the work, the less credible its message.
The average cinemagoer has no way of separating fact from fiction in Munich. They are told that it is based on events that took place but — beyond the bare facts that 11 sportsmen were murdered at the 1972 Munich Olympics by the Black September organisation and that subsequently, several Palestinians were killed by Mossad officers — cannot know if any of the episodes or dialogue are authentic.
The source for Spielberg’s film appears to be a book entitled Vengeance: The True Story of an Israeli Counter-Terrorist Team, by George Jonas. But to the best of my knowledge, Spielberg made a point of not seeking any contact with Mossad to try to verify the policies or motives of the organisation and its officers.
I do not know if Mossad would have co-operated if he had, but that is immaterial — Spielberg did not wish to gather information from those to whom he ascribes responsibility for the activities that the film describes, preferring to rely on the testimonies of people who have long been discredited as having had nothing to do with the roles that they pretended to fill. Inevitably, the events, modus operandi and the words spoken by the actors are totally divorced from reality.
This goes for the senior Mossad commander, named (I hope by chance) Efraim and for Avner, the squad commander, who is based on a man who has been masquerading for years as a Mossad officer but never served with the organisation. The conversations between Mossad officers do not resemble the way that they speak or think. No remotely successful operation could have been based on the “professional standards” exhibited in the film.
During the years covered by the film, I was serving in Washington and met the Israeli Prime Minister, Golda Meir, regularly during her frequent visits to the White House; I remember well her style of conversation; she never spoke in the way shown here.
Artistic licence allows a film to be overwhelmingly fictitious, with only a rudimentary basis in fact. A producer can certainly promote a message even if it is based on a fiction. This is what has been done in Munich.
But anyone wishing to delve into the activities and minds of the Black September organisation would do well to read Assassination in Khartoum, a highly informative book by David A. Korn, a former US State Department official. It tells the story of the Black September raid on the Saudi Embassy in Khartoum in March, 1973, a few months after Munich, and the kidnap of several diplomats attending a reception. No one there was even remotely connected to the Palestinian-Israeli dispute.
The kidnappers demanded the release of Sirhan Sirhan, who had been jailed in the US for the assassination of the US Attorney-General, Robert Kennedy, in 1968. They also demanded the release of Palestinians in Israeli jails. Washington rejected the demands and three of the diplomats, the Amercians Cleo Noel Jr and George Curtis Moore and a Belgian, Guy Eid, were brutally murdered. One moral yardstick for judging parties to a conflict can be found in their treatment of individuals who have nothing to do with it. An informative insight into the Israeli approach to the events is found in Striking Back, a recent book by Aaron J. Klein.
Nothing illustrates the pitfalls awaiting anyone who wants to make a valid contribution to understanding the roots of the Israeli-Palestinian conflict more than the final scene of Munich, which shows the twin towers in New York with the face of the Mossad commander superimposed on them. What does this telling shot convey? That Mossad bears responsibility for the 9/11 al-Qaeda attack? Outlandish? I was Mossad chief in 2001 and had to contend with a wave of emotional reporting that spread like wildfire in the Arab world — that the attack was a Mossad provocation designed to incense American sentiment against Islam and the Arabs.
Reputable senior Arab personalities believed this and the word spread. It was reported that Mossad had an early warning and deliberately withheld it. None of this was true, but in a region that has thrived for centuries on legends and conspiracies, any fantasy can gain credence. The Middle East has witnessed many a tragedy born out of a belief in fantasy.
But I do not think that this is what Spielberg intended to convey. Then what “message” was supposed to be left with the viewer? Certainly, the parting message hardly supports the plea for peace that is alleged to be a centerpiece of the whole endeavour.
Might I recall a saying of the sages: “Wise men, be careful with your words” and add “gifted movie directors — be careful with your shots”.
Efraim Halevy’s Man in the Shadows: Inside the Middle East Crisis with a Man who Led the Mossad will be published by Weidenfeld & Nicolson
http://www.timesonline.co.uk/article...000576,00.html


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