"Naturally, it is a terrible, despicable crime when, as in Munich, people are taken hostage, people are killed. But probing the motives of those responsible and showing that they are also individuals with families and have their own story does not excuse what they did"
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Spielberg is trying to hold two ideas in the same frame without letting either blur: moral clarity about violence and moral seriousness about understanding. The opening “Naturally” is doing strategic work, pre-empting the lazy accusation that empathy equals endorsement. He declares the act “terrible, despicable” in blunt, almost courtroom language, then pivots to a second claim that’s more culturally contentious: probing motives, giving backstory, granting the perpetrators the ordinary furniture of humanity (“families,” “their own story”) is not exoneration.
The context is inseparable from Munich and from Spielberg’s own place in American popular memory: he’s a filmmaker who traffics in big, emotionally legible narratives, and here he’s defending the ethics of narrative itself. After 9/11, Western media tended to treat terrorism as either pure monstrosity or, on the other extreme, as a symptom in a sociological case file. Spielberg’s line rejects both simplifications. He insists on condemnation while arguing against the comfort of dehumanization, because dehumanization is a shortcut that flatters the audience and stabilizes the myth that evil arrives from another species.
The subtext is also a quiet rebuke to revenge fantasies. If you allow that the “other side” has a story, then retaliation stops being a clean genre beat and becomes a messy human choice with consequences. Spielberg isn’t asking for pity. He’s asking for a more adult kind of attention: the kind that can stare at atrocity, name it, and still refuse the anesthetic of thinking it sprang from nowhere.
The context is inseparable from Munich and from Spielberg’s own place in American popular memory: he’s a filmmaker who traffics in big, emotionally legible narratives, and here he’s defending the ethics of narrative itself. After 9/11, Western media tended to treat terrorism as either pure monstrosity or, on the other extreme, as a symptom in a sociological case file. Spielberg’s line rejects both simplifications. He insists on condemnation while arguing against the comfort of dehumanization, because dehumanization is a shortcut that flatters the audience and stabilizes the myth that evil arrives from another species.
The subtext is also a quiet rebuke to revenge fantasies. If you allow that the “other side” has a story, then retaliation stops being a clean genre beat and becomes a messy human choice with consequences. Spielberg isn’t asking for pity. He’s asking for a more adult kind of attention: the kind that can stare at atrocity, name it, and still refuse the anesthetic of thinking it sprang from nowhere.
Quote Details
| Topic | Justice |
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