There is no shocking movement of the camera, no elegant lighting, no superb acting, no sensational soundtrack, no ups and downs of dramatic conflict, or even an outstanding script. Spielberg takes a film from the palm of his hand with just the atmosphere and the rhythm. Under the creative principle of fully respecting the audience's IQ, every scene is neither perfunctory nor pretentious. Among them, in the scenes of "Telephone Murder", "Bomb under Bed" and "Beautiful Booby", the director's control of the film's rhythm and the audience's psychological speculation are sublime.
A single-line narrative of 2 hours and 45 minutes will inevitably make the audience distracted in the middle. However, while abandoning the narrative technique, the director uses a small change in rhythm to bring the plot to a climax while drawing the audience's attention back to the big screen. Spielberg's unabashed yet eloquent presentation of Hollywood's benchmark level of guidance.
The film has no political stance on the surface, but it can be seen that Steiner used a method that Jews would be more comfortable watching. "It's expensive, but it's always been home" This is clearly not just the plight of Palestinians. The assassination was to "let people know that killing the Israeli people is expensive, but now that killing the Palestinians is too" Spielberg has no position, but Jewish sympathy is clearly visible. "It's like a fingernail will always grow, but we still have to cut it." Spielberg did not give a way out of the repeated assassination and assassination, and is this a relief in itself?
With a slight flaw, "Munich" encountered the same problem as his global counterpart "King Kong" - the procrastination of the plot caused by the excessive length of the film can be understood as the return of literature and art after "Airport Horror" and "World War", you can see Cheng's artistic attempt to approach "Schindler's List" can also be regarded as Si's last indulgence as the owner of DreamWorks. At the same time, it also shows that Universal is not necessary when facing two hall-level directors. the binding force. Sometimes freedom is the foundation of creation, and sometimes restraint is the source of inspiration for art.
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