Blogger Xymphora wrote:
Tuesday, December 27, 2005
Munich and Spielberg
The Angry Arab reviews Steven Spielberg's latest bit of Zionist propaganda called 'Munich'. Guess what? He really doesn't like it. An enthusiastic two thumbs down! Of course, any movie on this subject is supposed to remind people of murdering Palestinians, and serve as the usual Israeli distraction from the real issue, which is what provokes the Palestinians to react. The fact that Spielberg apparently depicted the targeted assassination squad as sympathetic characters just adds to the propaganda load. The worst thing about it is that the Zionist PR machine has managed to build this movie up by describing how 'courageous' Spielberg was to make it. Spielberg would have been courageous if he had made a movie about the murder of Rachel Corrie. 'Munich' is more of the same bad faith by North American Jews that makes them morally responsible for the ethnic cleansing being conducted by Israel under the fog of anti-Palestinian and anti-Arab hatred.
By the way, has there ever been a more overrated film director in the history of movies than Spielberg? If you look at the list (scroll down a bit) of movies he's directed, it's the sorriest pile of sappy, maudlin crap you'll ever see. 'Duel' and 'Jaws' are the only projects that aren't embarrassing, and they are hardly in the group of greatest movies of all time. His movies in this decade are a particular travesty. People write about him as if he was in the same league as Renoir or Kurosawa or Hitchcock. Are they on crack?
Blogger Angry Arab, aka by As'ad AbuKhalil, writes:
Monday, December 26, 2005
Spielberg on Munich: the humanization of Israeli killers, and the dehumanization of Palestinian civilians. Or the Celebration of the Israeli Killing Machine.
And who is retaliating against whom in the Arab-Israeli conflict? THIS is the question.
It reminds me of a line that George Carlin—yes, that Carlin—used to use in his comedy routine and went roughly like this: “why do “we” call Israeli terrorists commandos, and we call Palestinian commandos terrorists?” That line never got a laugh the two times I saw him use it with a live audience. The thrust of the Spielberg movie is simple, fanfare notwithstanding: Israeli killers are conscientious and humane people, while Palestinians are always--no matter what--killers. But a Spielberg movie about current affairs is like a Thomas Friedman’s column about…Emanuel Kant.
What do you expect. But you know? Did you notice how one lone critical opinion of the movie by one Israeli diplomat, which only mildly criticized the movie, got so much press in the US? It was needed; and it even helped to promote the movie to give a “balanced” cast to the narrative, that it of course does not deserve. This one critical opinion reminded me of O’Reilly; how he every night finds one email from somebody in Montana who tells him that he is too liberal. He needs to that to maintain an image that does not exist, just as Spielberg needs to maintain an image that he does not deserve.
This movie could easily have been a paid Israeli advertisement for its killing machine. In fact, it could be a recruitment movie for Israeli killing squads. I mean that. In fact, it is a celebratory movie of Israeli murder of Palestinians. Israel killing is always moral, and always careful, and always on target.
Today, yet another New York Times reviewer who also thinks that Spielberg was not sympathetic enough to the Israeli killers, even had the audacity to describe Israeli killings at the time as "targeted assassinations" when even Israel had not invented that propaganda term back then. He must have forgotten to remember.
That's all. Where do I begin. I mean yes, I was quite angry watching it; and I got more angry as I watched the Berkeley liberal audience react sympathetically to the movie, rooting for the Israel head killer, as he went about his "civilized" killing. I watched the audience root for an Israeli killing team, and this WAS a true story, and Palestinian victims were real people, with real blood.
The most emotional moment for Spielberg, and presumably for American audiences was when the head killer talked with his baby daughter in New York, that he missed very much. Oh, ya. That was the point at which you were expected to shed a tear or two; the music got particularly sentimental at that point. It had to be.
But where to begin; the movie was based on a book that took the Israeli account as it was delivered. But the book was honest and more accurate at least on one count: in the book by George Jonas titled Vengeance (only Israelis are entitled to vengeance as you know, the more violent the better as far as some US movie audiences are concerned), the killers did not express regret or second-thoughts. None. In the book but not in the movie, the killers, according to Jonas, had "absolutely no qualms about anything they did." How could Spielberg miss that. Well, he just managed. Hell, that was the whole movie, and the whole political project behind it.
Of course, it was not easy for me to watch this movie, I mean not only at the political and intellectual levels, but also at the personal level. I can connect to the story, in its details and personalities. The first victim of the movie was Wa’il Zu`aytir, and I knew his niece; I went to school with Abu Hasan Salamah’s son--he was younger; and I knew the street and building where the three PLO leaders were massacred in Beirut. And let me tell you that NONE of the five people mentioned here had anything to do with Munich--but more on that later. NONE.
But why should this movie, a Spielberg’s movie for potato’s sake, bother with facts, especially if they come in the way of a smooth pro-Israeli narrative? But this movie is intended for mass audiences who know nothing about the facts of the conflict. That is exactly why it will work, and why it will deliver the (propaganda) goods.
Let me start by saying this: this, Munich that is, was not as planned an operation as has often been maintained. This was not planned months in advance, as Abu Iyad maintained in his account with Eric Rouleau (translated into English as My Home, My Land by dear Linda Butler). Abu Iyad for years exaggerated the claims about the “carefully planned” operation, and PLO media at the time lied about how the PLO gunmen threw grenades into the helicopters, so as to make the last shootout more of a fight that it actually was.
Angry Palestinians who were being hit by Israeli fighter jets in their refugee camps demanded heroes and heroism, and the PLO had to give them some, even if they were not legitimate heroes. The German troops were going to take them out, no matter what, and no matter how much they, the Germans in this case, endangered the lives of the hostages, and they presumably had Israeli consent.
The Arab League diplomat talked about this recently when he broke his silence in an interview on Ziyarah Khassah on Al-Jazeera. He should know: he was the negotiator with the Palestinian team in Munich. Yes, I know. It can be argued that the Palestinian attackers risked the lives of the hostages by taking them hostages, even if they did not intend to kill them. That is true. This is like hijacking: the hijackers, any hijackers, are responsible, and should be held responsible for whatever endangerment to the lives and health of victims. That is true. But it is also true that the State of Israel has taken a nation as a hostage, and has been endangering the lives of Palestinians since the inception of the state of Israel. This is why it is all a question of who is retaliating against whom?
One of the many false premises of the movie is that Israel only went on a killing rampage—and only against Palestinian “killers”--after Munich. That Munich was a watershed. Watershed it was not, except in Israeli propaganda brochures. Israel has been going on killing rampages against Palestinians, civilians mostly, since before the creation of the state of Israel.
And how could you even talk about Golda Meir and forget to mention her most memorable quote: that “there is no such thing as the Palestinian people.” Spielberg must have missed that, just as he needed to show her as grandma goodness who was pushed into vengeance by Palestinian cruelty. More humanization. That is why we had to see the head Israeli killer with his child: you need to see him as a human being. Do you know that not a single Palestinian in the movie appeared unarmed? They all were terrorists, and their murder had to be justified, and Spielberg did a great service for the state of Israel in that regard. They should name some stolen Palestinian property in Israel in his honor, I argue. A street, a destroyed Arab village, or a stolen olive tree. Anything. He deserves it.
And let us see what Israel was doing before Munich. Before Munich, NOT AFTER—did you get that, Israel placed a bomb under the car seat of Palestinian writer/artist, Ghassan Kanafani and killed him and killed his niece (14). The niece was not plotting the Munich operation when she was murdered by the Israelis; nor was her uncle. That was BEFORE Munich. Kanafani was best friends with my uncle; they both used to write in Al-Hurriyyah magazine during their days at the Movement of Arab Nationalists.
Israel also—BEFORE Munich—sent a letter bomb to Bassam Abu Sharif (a writer and journalist with the PFLP), and left him with life-long scars and bodily damage, and they also sent a letter bomb to Anis Sayigh, a scholar and researcher, who was not a member of any group. But he was a really diligent researcher, and Israel did not appreciate it--I am assuming.
This is not easy for me; I have shaken the hands--or what was left of their hands--of both of those men, and Abu Sharif never had a military role—I say this although I never liked Abu Sharif or respected him (read my review of his memoir in Journal of Palestine Studies a few years ago). But those were innocent victims of Israeli killing. They never held guns those two, or those three, or four. This story is personal for me, of course. I see them as human beings, and not as armed and vengeful characters that they appear in Spielberg’s movie.
And typical of US movies where Arabs appear, Arabs when they speak Arabic never need subtitles. We need them when people speak in French and German, but Arabic is not important. It is not important to know what cheap natives say; we only need to know what expensive people say: Europeans and Israelis. And do you notice that Hollywood still portrays Israelis as Europeans: they still don’t want to accept that some half of all Israelis come from Asian and African countries. This makes it easier for the White Man to identify with them.
And there is this element that is never mentioned about Palestinian attacks: and this is true of the present and of the past. It is not that some Palestinian leaders recruit or compel Palestinians to attack Israelis. It is the other way round. Palestinians, regular rank-and-file and sometimes civilians, pressure Palestinian leaders and commanders to send them on military or suicidal missions against Israeli targets.
Munich occurred exactly like that. Palestinians in the camps in Lebanon, those who were trained by Fath and by other groups, were lobbying for “action.” Why?, you may ask? Well, not only for the loss of Palestine but also because Israel was KILLING Palestinians. In February of the same year PRIOR to Munich, Israeli jets bombed Palestinian refugee camps, and killed tens of innocent people. This is what is missing in the movie, among many other things. Most Palestinians who are killed by Israelis are unarmed and are killed not by assassins who are conscientious and sensitive—as they are outrageously portrayed in this movie—but by pilots who bomb refugee camps filled with unarmed civilians. Palestinians who are bombed from the air, long before Munich, are elderly and people and children in their beds. These are the victims that you will never see in a Spielberg movie. So Israel was killing Palestinians, and this was the context of pre-Munich.
So a small group decided to do something, but they were not sure what, and this was only 3 months before Munich. And one of the handful of people who knew about this, and this will never make it into the press was Abu Mazin--yes, that Abu Mazen the head of the puppet Palestinian Authority.
But do you notice that US/Israel always forgive the past of those who submit to Israeli dictates? Look at how US and Israel forgave Anwar Sadat for his anti-Semitic Nazi past. Abu Mazin was the money guy, and he dispersed the funds for Abu Dawud, who engineered the operation. And the American public in US media and popular culture is so enamored with the Mossad, that the image of the Mossad does not match its actual reality.
The best evidence is this movie: look at this obsession with Abu Hasan Salamah as the “mastermind” of Munich when he had nothing, absolutely nothing, to do with Munich. To be sure, Abu Hasan was a braggart, and had a big mouth, and would take credit for things he did not do, and would distance himself from failed “operations” that he planned, like the Sabena failed hijacking in 1972. That was Abu Hasan: he lived the life of a playboy, and enjoyed a unique indulgent pampering from Abu `Ammar [Arafat] who treated him like a son. Abu `Ammar would never say no to Abu Hasan, on anything. But Abu Hasan had nothing to do with Munich, and this ostensibly all-knowing Mossad, did not know it, and probably still does not know it.
Former CIA director, Stansfield Turner, once said that the Mossad is a mediocre organization, but that it is outstanding in PR--only in PR. Former CIA man in Beirut Robert Baer said this about the Mossad--I am translating this from an interview he gave to Al-Jazeera: “Let me tell you something, what people most err in in the Middle East, and I am responsible for my words to the end, is related to Israeli intelligence. To be sure, they can kill somebody in Paris or Rome or killing the wrong person in Finland or wherever else they did that in [he meant Norway]. To be sure they know Europe and Palestinians, and they know many things about Palestinians, but when it comes to the rest of the Middle East, I have not seen anything from their part that indicated their knowledge of those countries.”
But this can never be maintained in a country that wants to exaggerate the prowess and knowledge of an intelligence agency not only to help feed the Israeli propaganda myth, but to also prepare the American public for more ruthless times and ways. So a very small number of people knew about it, and of course Abu Iyad was one of them. And Abu Iyad is the most important person on the list, and yet his name was NOT on the list, just to show you about how much--or how little-- Israel knew.
Abu Iyad spoke more than he needed not only because he wanted to send a message to the enemy, but also because the wars of factions and "Abu"s within Fath necessitated a game of one-up-manships, and of wild exaggerations at times. And while Black September was a paper name, and did not have a separate organizational existence or structure, several factions used the name for their own ends. Nobody consulted with Abu Iyad about Abu Hasan’s use of the name for the Sabena’s failed hijacking mentioned above.
Abu Dawud is a key person here. And while his name was mentioned in passing, it was added after the fact in Israeli propaganda accounts. Abu Dawud was arrested in France for another reason in 1977, and he was released because there were no German or Israeli warrants about his involvement in Munich. That shows you. Now, I will not give a blow-by-blow account of Munich. But I personally believe the account of Abu Dawud more than I believe Spielberg, i.e. Israeli propaganda claims, or even German police. (Abu Dawud's account is found in Abu Dawud, Filastin: Mina-l-Quds Ila-Muikh (Beirut: Dar An-Nahar, 1999)).
German police lied quite a bit about the case; they leaked to the press fanciful accounts of Palestinian infiltration of the workforce at the Olympic city, when none of that actually took place. They were too embarrassed to tell the truth. Similarly, the Israelis wanted to back the German account, especially as the violence at Munich was a propaganda bonanza for the Israelis in the West, just as Munich—this is not known in the West—was a propaganda bonanza for Fath in the Middle East, as horrific as the outcome was for all. And in that sense, the Germans, the Israelis, and Abu Iyad (and certainly Abu Hasan) lied about Munich, but not Abu Dawud, in my opinion.
Abu Dawud is one of those 2nd tier PLO leaders who did not get corrupted in the messy Lebanese scene, and who did now allow the Gulf money that corrupted many PLO leaders to affect him. This was a man who was in charge of Beirut during the Lebanese civil war, and yet his name does not appear in any chronicle of the war because he was too low key, and because he never bragged. (Hell, he never talked even when the brutal mukhabarat in Jordan held him from his feet for days, while torturing him. People who saw him in jail at the time did not recognize him. But you know this: your reliable "moderate" friends in Jordan are quite "good" in torture. They are probably the best; they are helping you in that regard as we speak.)
Most Lebanese did not even know his name. But this also explains why he survived, unlike say Abu Hasan Salamah, who married a Lebanese former Miss Universe, who introduced him to Lebanese bourgeois society, and he could not get enough of that life. He developed a routine, and lived in a fancy apartment on Madame Curie Street in Beirut, and the routine he developed (going to the GYM at the same time every day), made him an easy target. Abu Hasan could get all the money he wanted for his own group from `Arafat, and was doing a good job of maintaining not only good relations with the CIA but also with Lebanese right-wing groups. He became good friends with some right-wing militia leaders. Read the novel by David Ignatius, Agents of Innocence: it is about Abu Hasan, although the author does not admit it.
It is interesting that in the movie, the Israeli head killer (who was in the movie Troy), was cast to be most appealing to the audience: a good looking and charismatic figure. But say what you want about Abu Hasan (and many people in Palestinian struggle, like Abu Dawud, did not like him) but he was a good looking and charismatic figure in real life, but not the actor who played him in Spielberg’s movie. But Spielberg did not want the viewer to identify with any Palestinian in the movie: that was contrary to him and to his political goal. He just wanted to identify with the expensive human beings: the Israelis.
The Arabs are worse than they were in Renoir’s painting, the Mosque, as an unidentifiable blob. They were just armed, with no humanity. They were not supposed to evoke emotions, and you were not supposed to see them bleed, and if you did, you had to cheer for their killers. The only ones that you had to feel sorry for: were the Israelis who get killed, including the killers when they kill. The music that played when Israelis die, was different from the music that played when Palestinians died.
And no speaking roles for Palestinians were necessary. Why bother. Give one a line, and you have done your "objective" duty. And the list of prisoners that attackers submitted to German authorities did not have “200 Arab prisoners” on it, as the movie said. It had some 234 Arab and NON-Arab names on them, including Japanese and German prisoners, but that was not in the movie. And the statement that was issued by the attackers gave a name to the “operation”: Bir`im and Ikrit, names of two (predominantly Christian) villages in northern Palestine, the people of which were expelled by Israeli occupation forces in 1948 for “security reasons.”
In 1972, the people of those villages petitioned the courts to return to their villages, and the courts of course turned them down. But if you were to use the name of the “operation” you would have to tell the audience those burdensome details that would have distracted from the celebration of the Israeli killing machine. But this begs the question: why is Munich more famous than the savage bombardment of Palestinian refugee camps back in February prior to Munich? And why did the letter bombs to three Palestinian writers not get any world attention? Why did American liberals and PEN not notice it back then?
Could you imagine what would happen if a Palestinian threw even a rose at an Israeli writer? Could you imagine what would happen among American leftists if a Palestinian were to say even a bad word to Amos Oz for example? That was the stature of Ghassan Kanafani among Palestinians and Arabs.
Now, I will not get into the military/intelligence background of the Israeli hostages as Abu Dawud does in his memoirs because the attackers did not know that information prior to the “operation.” Abu Dawud gives many details about the military backgrounds of some of the hostages, but I do not think that this is appropriate because even Abu Dawud did not know that before hand. I will not get into what actually happened at the site at the airport when the hostages were being transferred by their captors not only because the captors were responsible by virtue of the hostage "operation", but you can raise questions regarding the actual responsibility of the killing of the hostages.
Abu Dawud cites Israeli newspapers from the 1990s in which writers raised questions about German responsibility, and on how the German government never published autopsy reports of the hostages, etc. The Israeli government also did not want to examine the bullets that killed the Israeli hostages. That would have settled the question, of course. Abu Dawud stressed that the attackers were under strict instructions to not shoot at the hostages, and you noticed in the scene, even in the movie, that when they were storming the compound, they clearly struggled with the door and avoided shooting, while that could have shortened the time of entry, and Abu Dawud says that they were under strict instructions to avoid using the grenades. And Abu Dawud raises the possibility that the helicopter may have exploded from a bullet that hit it gas tank, but I don’t know, and I have never relied on Spielberg, or on the silly book on which he based his account, for historical accuracy.
And another thing comes to mind: Palestinians also have managed to assassinate Israeli military and intelligence leaders but that never gets attention because the trend in US media and popular culture is that you should only show Palestinians when they are killing civilians. And it is not true that the Israeli response was confined to the assassination of the 11 Palestinians as was shown in the movie: Israel was also killing other Palestinians. Israeli “response” or initiative we should call it, was more massive and brutal that the operation of the secret team.
Three days after Munich, Israel ordered an air strike which required the use of some 75 Israeli aircrafts (the largest attack since 1967) and the attacks on Palestinian refugee camps in Syria and Lebanon resulted in the killing of more than 200 mostly civilians. And this is not because the Israelis knew that there was a camp north of Sidon that was used for training the Munich attackers. That camp was not even hit (another sign that Israelis had no information about the real culprits of Munich) and other camps with civilians were hit. And then while the assassinations were taking place, Israeli bombing of camps continued uninterruptedly.
And the most glaring omission in the film, which shows you that the Israeli team was not only savage but also ignorant of their targets, was what happened on July 21st 1973, when `Ali Bushiki, a Moroccan waiter resting with his pregnant wife around a swimming pool in Norway, was murdered by that assassination team merely because `Ali resembled what the hit team thought Abu Hasan Salamah looked like. (The Norwegian police tracked and arrested the killers, but they were all released in a secret deal with the Israeli government--is that not nice?) Should that not have made it to the movie? But that would have made them look more brutally clumsy than Spielberg wanted them to look like.
And even Wa’il Zu`yatir, the PLO representative in Rome. He knew nothing about Munich, and was an academic with close ties to socialist circles in Italy. Zu`ytir was shot 14 times. He never held a gun in his life. These Israeli team members were killers who really relished killing, and did not seem susceptible to moral second-thinking as was stressed over and over again in the movie. Zu`ytir was more interested in literature than he was in military affairs, on which he knew nothing. And PLO representative in France Mahmud Hamshari also had nothing to do with Munich; Israeli propaganda later had to contend with that, and claimed after killing him that the attackers passed through France on their way to Munich. In reality, the attackers never stepped on French soil when they went to Germany.
And the movie, it seems really enjoyed covering the 1973 massacre in Beirut. Spielberg I could tell really enjoyed learning and covering that massacre by Israeli terrorist squads. But who were the three PLO personalities killed in that "operation"? And who cares about the details? Kamal `Udwan was the Fath/PLO leader responsible for the West Bank and Gaza. He not only had no responsibilities in Europe, but he opposed “operations” in Europe, and even those by Black September. More than that, `Udwan was one of the most moderate Fath leaders having accepted the two-state solution back in 1970, before any of his colleagues in Fath.
Abu Yusuf An-Najjar was in charge of intelligence in Lebanon—Lebanon, not Europe. While `Udwan had no knowledge of Munich, Abu Yusuf may have heard about it but had no role whatever in it. The third person was a poet: and you know how much Israelis like to murder Palestinian poets, artists, and writers. Kamal Nasir was a poet, and was killed in his bed. The movie did not tell you that by the time the Israeli terrorists finished with their “mission,” some 100 Palestinians and Lebanese were murdered on that day in April 1973.
I also was amused--not really--how Spielberg portrayed the neighborhood where the PLO leaders AND others were killed: it had all the features of Orientalist imagination. It was traditional and the houses were old styles with arches, and the place was protected like a military base. In reality, the PLO leaders lived in a residential building in the most modern and upper class neighborhood of Verdun in Beirut. But why bother with that detail too.
And the Fath representative in Cyprus also had nothing to do with Munich; he was the intelligence envoy of Abu Yusuf An-Najjar. And some people on the list of the Israeli murder team were not only not involved with Black September, but some were not even members of the Fath organization. Basil Al-Kubaysi was a Palestinian scholar who had just completed his PhD in political science; I recently had dinner with Basil’s best friend in college in Canada. Kubaysi was in the PFLP and not in the Fath organization.
The same for Muhammad Budia: he was with Wadi` Haddad, and not with Black September. But then again: I read that Spielberg offered the script to Dennis Ross and to Bill Clinton to verify the “accuracy” of Middle East political and historical references. The two are experts on the Middle East, in case you have not heard. More than that, the movie did not tell you that on September 16th, and 17th, Israel launched a savage invasion of South Lebanon, erasing the refugee camp of Nabatiyyah, and the Lebanese newspapers at the time (I even remember that as a 12 years old) had on the first page that famous picture of a smashed civilian car with seven Lebanese civilians smashed inside when an Israeli tank ran over the car near Jwayya in South Lebanon.
That must have been too messy for Spielberg to cover. Why bother? And the car had stopped at the Israeli checkpoint that was set up at the entrance to the village. Were those civilians in the car also involved in Munich? Later, as the movie ended, it was written on the screen that Abu Hasan Salamah was later “assassinated.” Spielberg forgot to add that he was “assassinated” by a massive car bomb in a crowded street in Beirut, which killed and injured tens of people—oh, and those people also were not involved with Munich.
The reviews of the movie in US media almost expressed frustration that Spielberg did not express enough sympathy for the Israeli killers. Only Michelle Goldberg of Salon to her credit (great review Michelle) pointed out that contrary to that lousy review by Leon Wieseltier in the New Republic “many of those [Israelis] in Munich are, if anything, slightly unbelievable in their constant self-interrogation and closely guarded humanism.”
I was thinking after the movie that public ignorance of the Middle East greatly helps Israeli propaganda; this explains why Zionist organizations express contempt and wrath at Middle East expertise and specialty (as in MESA) because those who get to know and learn about the Middle East overwhelming find it difficult if not impossible to consume the unbelievable dosages of Israeli propaganda delivered via US media and popular and political cultures.
*Three of the Munich Palestinian attackers survived. One died from a heart attack; the remaining two are...somewhere in the Middle East.
posted by As'ad @ 2:32 PM link