a large amount of talk
Kushner: We talked a great deal about the politics of making a movie like this.Spielberg · 2017 — 第 10 / 10 章 · 2'43" · C1
Munich's Prayer for Peace, Explained：peace the hard way
The surface argument is how to make a film that understands why the men who murdered the athletes did it, "Not in any way to excuse it, but to try and comprehend it." Underneath, the talk asks whether that is moral equivalence, whether each man killed was replaced by worse, and why peace has to be the hard way.
あらすじ
Several people talk through Munich. One asks how a film allows understanding why the men who murdered the athletes did it, "Not in any way to excuse it, but to try and comprehend it." Another treats the charge of moral equivalence as the brave part, because the movie looks for humanity on both sides. The ending calls it a prayer for peace, but peace the hard way.
注目の表現
not in any way to excusemade us into animalssuffering from a sense of moral equivalencegrow back
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いま
このシーンの表現
peace the hard way
peace without the easy route
After admitting no rug can hide the problems, he calls the film a prayer and immediately limits peace to the hard version.
We can end the fight, but only peace the hard way: nobody pretends it never happened.
このシーンの他の表現
- not in any way to excuse
understand without excusing it
- made us into animals
they forced us into this shape
- suffering from a sense of moral equivalence
seen as suffering from moral equivalence
- grow back
regrow after being cut
- for the sake of
for the benefit of that country
このシーンのメモ一覧
30 行のセリフに 27 件のメモ
leave room for something to be possible
How do you make a film that allows for the possibility of understanding why these men who murdered the athletes did what they did?nested clause: A who-clause sits inside the why-clause, and did carries the act.
How do you make a film that allows for the possibility of understanding why these men who murdered the athletes did what they did?make an effort to grasp it
Not in any way to excuse it, but to try and comprehend it.feel sorry for someone
You kill Jews, and the world feels bad for them and thinks you're animals.turn someone into a result animals means dehumanized, not wildlife
Yes, but then the world will see how they've made us into animals.Slide made us together, then open into.
Yes, but then the world will see how they've made us into animals.what life is like inside the trap cages means the conditions that trap them
They'll start to ask questions about the conditions in our cages.treating both sides as morally equal a charge that both sides are equally justified
Hoberman: The movie was perceived to be suffering from a sense of moral equivalence, which is really the bravest thing about the movie.usually link one thing with another
Ambiguity is something that you don't normally associate with Spielberg's films,pushed this subject harder than before not distance; how far he pushed the subject
and "Munich" is the film where he went the furthest in the bluntness and the ferocity with which he approached that subject.with-which clause: With which ties bluntness and ferocity to how he approached it.
and "Munich" is the film where he went the furthest in the bluntness and the ferocity with which he approached that subject.a worse person takes the place
Every man we killed has been replaced by worse!Press worse and keep the earlier words lighter.
Every man we killed has been replaced by worse!regrow after being cut
After hearing that the dead are replaced by worse men, someone compares the killing to nails that return.
Why cut my fingernails? They'll grow back.for the benefit of that country
Asked what the killing achieved, someone answers by naming the country as the reason and then pointing at the choice to leave it.
You killed them for the sake of a country you now choose to abandon.only noticed when watching again
It is incredibly quiet, and only on the second viewing did I realize the Twin Towers are revealed at the end.only inversion: Only pulls did before the subject and marks a delayed realization.
It is incredibly quiet, and only on the second viewing did I realize the Twin Towers are revealed at the end.Do not stop between did and I; let them join.
It is incredibly quiet, and only on the second viewing did I realize the Twin Towers are revealed at the end.another try of the same shot — Crew talk for another try; skip it in formal prose.
Kaminski: We did several takes of that scene without having that space in the frame, and then we did one take with having that space in the frame, knowing that he would put the Towers in.press past the safe limit
After Steven is said to know the film is controversial, someone describes a brake: he would not push the risk any further.
He just didn't want to push the boundaries.The last t in didn't can drop; do not add a beat.
He just didn't want to push the boundaries.the setting used to read a problem
Spielberg: I made the choice because I wanted people to say "Munich" is the context for problems that exist in today's world and basically are threatening to all of us.how severe the situation may become
You know, history is its own reminder of how bad things can get.too large to hide
He breaks off at you can't, then says no rug is large enough to hide the problems. The tone is urgent, not domestic.
And you can't-- there's no rug big enough to sweep these problems under.peace without the easy route
After admitting no rug can hide the problems, he calls the film a prayer and immediately limits peace to the hard version.
And so, "Munich" is a prayer for peace, but peace the hard way.the stance you can defend not a hill; where you can morally stand
You know, peace by discovering within yourself your moral high ground.「Munich's Prayer for Peace」を読み解く
What's really going on
The argument is not whether the murders were wrong. The first answer already shuts that door: "Not in any way to excuse it, but to try and comprehend it." A quoted voice says you kill Jews and the world thinks you're animals, and the next line says they will ask about the conditions in our cages. That is the moral equivalence people complained about, and one speaker calls it the bravest thing here, because the movie looks for humanity on both sides. "Every man we killed has been replaced by worse" sits beside "Why cut my fingernails? They'll grow back." "You killed them for the sake of a country you now choose to abandon." The ending is not a celebration of the enemy's death. Towers appear in the quiet last frame, and the speech says there is "no rug big enough to sweep these problems under." Peace, in the last lines, is "peace the hard way": "peace by discovering within yourself your moral high ground."
Theme
PhilosophyThe talk splits understanding from excuse, then calls peace a moral high ground you find in yourself.
RevengeQuoted lines say every man killed was replaced by worse, then ask if that killing was for a country now abandoned.
発音のポイント
- made us into — Slide made us together, then open into.
- replaced by worse — Press worse and keep the earlier words lighter.
- did I realize — Do not stop between did and I; let them join.
- didn't want to — The last t in didn't can drop; do not add a beat.
Not in any way to excuse it, but to try and comprehend it.Understanding why the athletes' killers acted is allowed only after every excuse has been ruled out.
Every man we killed has been replaced by worse!A verdict on the killings: each dead man was followed by someone more dangerous, so the deaths bought nothing.
Why cut my fingernails? They'll grow back.Fingernails are the comparison: cut them and they return, just as removing those men does not stop them coming back.
You killed them for the sake of a country you now choose to abandon.A charge, not a dictionary gloss: you said the killing was for that country, and now you choose to leave it.
And you can't-- there's no rug big enough to sweep these problems under.These problems cannot be hidden. No rug is large enough to push them out of sight, so they stay until something happens.
And so, "Munich" is a prayer for peace, but peace the hard way.Munich is framed as a prayer for peace that refuses the easy version. The hard way is a moral high ground you find in yourself, not a long road.
このシーンについての質問
Why refuse any excuse before trying to understand the killers?
The opening question is how you make a film that allows some understanding of why the men who murdered the athletes did what they did. The next line answers the risk in that question: "Not in any way to excuse it, but to try and comprehend it." Excuse is closed first. Only then is comprehension allowed.
How do the fingernail line and "replaced by worse" fit together?
"Every man we killed has been replaced by worse" says each person killed was swapped for someone more dangerous. "Why cut my fingernails? They'll grow back" does not repeat that sentence. Fingernails are the subject: cut them and they return. The image is a comparison. Removal does not stop them coming back.
Why are the Twin Towers in such a quiet ending?
A speaker says the ending is not celebratory and is not rejoicing in the enemy's death. It is "incredibly quiet," and the Towers show only on a second viewing. The person who shot it says one take left space in the frame because the Towers would be put there. Beside that image, the speech says there is no rug big enough to sweep these problems under.
Why call it peace the hard way instead of just peace?
The line is "Munich is a prayer for peace, but peace the hard way." The following line says what that hard way is: "peace by discovering within yourself your moral high ground." The difficulty is finding a moral stand you can occupy. It is not a remark about a long road.
Does anyone here defend the charge of moral equivalence?
One speaker says the movie was seen as suffering from a sense of moral equivalence, "which is really the bravest thing about the movie," because it looks for humanity on both sides. The following lines add that ambiguity is not usually tied to Spielberg's films, and that Munich goes furthest in bluntness and ferocity.
スピルバーグ! · 全 10 章
すべて見る →
第 1 章on the edge of your seatSpielberg Hides the Shark
第 2 章pie-in-the-skySpielberg Takes the Camera
第 3 章hear a pin dropSpielberg Gets His Universal Contract
第 4 章fraternity of directorsJoining the Movie Brats
第 5 章estrangementFifteen Years of Estrangement
第 6 章work yourself upSpielberg Directs the E.T. Kids
第 7 章the full montySpielberg Admits He Was Timid
第 8 章pariahSpielberg Denies the Name Shmuel
第 9 章top billingLincoln Shares Billing with the House
再生中 · 第 10 章peace the hard wayMunich's Prayer for Peaceこの作品の 10 章はここまでです