There's plenty to be appalled by: the killing of the athletes interlocked with scenes of assassination leader "Avner" copulating with his wife in a New York apartment; the Israeli murder of a Dutch call girl who has set up a Mossad killer for assassination - she walks naked and bleeding across the floor of her canal barge, trying to breathe through the bullet wound in her breast; and the Middle East cliché of the year. It comes when "Avner" - in an entirely fictional scene - talks to an armed Palestinian refugee whom he will later kill. "Tell me something, Ali," he asks. "Do you really miss your father's olive trees?""Middle East cliché of the year? There's a bold statement; it's only January. Perhaps he meant last year.
And there's a lot else wrong. The same Mossad team's real-life murder of a perfectly innocent Moroccan waiter in Norway is deleted from the narrative of the film - thus avoiding, I suppose, the embarrassment of showing one of the murderers later hiding in the Oslo apartment of the Israeli defence attachÃ© to Norway, a revelation that did not do a lot for Scandinavian-Israeli relations.Fisk clearly does not think the film is all bad:
And the film's ending - when Avner's Mossad minder comes to New York to persuade him to return to Israel, only to be rebuffed when he fails to supply evidence of the murdered Palestinians' guilt, and to walk away in disgust from Avner's offer to break bread at his home - suggests for the first time on the big screen that Israel's policy of militarism and occupation is immoral. That the camera then moves to the left of the two men and picks up a digitalised re-created image of the twin towers through the haze was what I call a "groaner". Yes, Steve, I said to myself, thank you - but we've got the message.But?
Yet that's the point. This film deconstructs the whole myth of Israeli invincibility and moral superiority, its false alliances - one of the most sympathetic characters is an elderly French mafia boss who helps Avner - and its arrogant assumption that it has the right to engage in state murder while others do not.
So now I ask: will we get a Spielberg epic on the Palestinian catastrophe of 1948 and after? Or will we - like those refugees desperate for visas in the wartime movie Casablanca wait, and wait - and wait?