OPERATION THUNDERBOLT

Israel, 1977, 120 minutes, Colour.
Yehoram Gaon, Assaf Dayan, Klaus Kinski.
Directed by Menahem Golan.

Operation Thunderbolt was the third of the telemovies made about the Israeli raid on Entebbe in mid-1976.

Two American telemovies were made within the next few months: Marvin Chomsky’s Victory at Entebbe with a star cast including Burt Lancaster, Kirk Douglas, Elizabeth Taylor; Raid on Entebbe, directed by Irwin Kershner, with Charles Bronson and Peter Finch. The latter was the better written, acted and dramatic film. This present film was the Israeli version, made with the backing of the Israeli government and directed by international Israeli director Menahem Golan (Kasablan, Lepke, The Magician of Lublin) and Yoram Globus, the heads of the Cannon Film Group. The film spends much time in building up the atmosphere on the hijacked plane, the arrival at Entebbe and the passengers' treatment at the hands of the hijackers. It then focuses especially on the Israeli commandos, the political situations and decisions in Jerusalem and then has quite some tension with the flight, the raid and its success. The ending is a triumphant return to Jerusalem. The film makes for action-packed drama as well as emotional material. German actor Klaus Kinski (star of so many of Werner Herzog's films including Aguirre and Nosferatu and Fitzcaraldo) is a sinister leader of the hijackers. He is supported by a fierce Sybil Danning. Yehoram Gaon, star of many Israeli films including Kasablan, is the genial Johnny. An interesting piece of entertainment - and an interesting commentary on events of the mid-'70s, especially international relations and international terrorism.

1. The success of the film as an action movie? Human drama? The comparisons with the popular disaster films of the time? A recreation of historical events and characters? How did the film work as film?

2. Comparisons with the American versions? World interest in the events, admiration for the Israelis? A stance against international terrorism? The American versions being tributes to Israel - with star American casts?

3. The value of this film as an Israeli re-creation of characters and events? The strengths of the screenplay in delineating the characters, creating a sense of authenticity, the puzzle of the hijacking and the incidents at Entebbe, the Jewish parliamentary questions, public opinion and the media, the readiness of the commandos, the raid itself and the final triumph? The strong Israeli nationalism in the film? The special pleading for the cause of the Jews? The use of Jerusalem, politicians? The actors - the international stars and the Israeli cast?

4. The authenticity of the film - use of locations, reconstruction of events? The building up of airport business, ordinary flights leading to the hijack? The reactions to the hijacking? The control of the hijackers? The stopover at Benghazi, the landing at Entebbe, Idi Amin and his attitude towards the victims? The atmosphere of Entebbe airport, the separation of Jews and non-Jews, the non-Israelis flying out? The intercutting of Jerusalem and the politicians, the media, the pressure of the relatives, the life of the commandos and their training, the rehearsals, the decisions to be made and the delays, the decision made during the flight, the speed of action and the return?

5. The importance of editing and pace for a sense of authenticity and action? The musical score?

6. The reality of international terrorism? Memories of the massacre at Munich? The hijacks? Israel and its attitude towards the Arabs, the rest of the world? The possibility for Arab terror? The involvement of German terrorists? The roles of Libya and Uganda in aiding international terrorists? World opinion and decisions? Anti- Jewish stances, anti-Zionist stances? The background of the characters: Israelis and non-Israelis? What decisions would the world powers have made had the raid on Entebbe failed?

7. The film establishing a sense of ordinariness in the flights: Athens airport, planes coming and going, the airport details, the range of characters boarding the plane, the hijackers and their passing through Customs and airport guards, the crew?

8. The early stages of the flight, the ordinary routines, the preparation for the takeover, the swift action, passengers' reaction, fears, irrational and rational behaviour, the forcing of people to raise their hands, the collection of passports, forbidding talking, the toilet arrangements, the reactions to the Jews on the plane?

9. The various strategies used to divert attention. the information for the media, the airport personnel trying to attract the hijacked plane, making predictions? The diversion to Benghazi and the difficulties for refuelling? The pregnant woman and her bleeding, her being allowed off the plane?

10. The portrait of the hijackers - strong yet anonymous? The leader and his ruthlessness. yet his getting the ambulance. his curtailing Gabriella? Gabriella and her severity. the Jews likening her to the Commandants at the concentration camps? The various revolutionaries amongst the group - Germans. Arabs? The credibility of their motivation? Their principles? Freedom? The use of violence for freedom? The wanting of the release of the Prisoners? Arab connections. Libyan, P.L.O. connections? The screenplay emphasising the role of Yasser Arafat and the P.L.O.

11. The arrival at Entebbe - the reaction of the authorities? The removal of the passengers from the plane, arranging the chairs, the beds,. the food? The Ugandan staff at the airport and their feeding the passengers? The Ugandan military and their role? The emotional sequence of the separation of Israelis from non-Israelis? The overtones of the concentration camp again? The decision of the captain and crew to stay with the Israelis - and the applause all round? The reactions of the various characters? The nuns and their passing on messages to the outside world? The flight out of Entebbe with the non-Israelis? The terrorists and their coping with the situation in the airport, working with the Ugandans? The tension. nerves. the passing of time. the inconvenient situations? Heat? Fraying tempers?

12. The sketch of Idi Amin and his self-image, attitude towards the rest of the world. ludicrous authority - yet deadly? His visits and his performance for the passengers? The dependence of the hijackers on his hospitality?

13. The range of characters - echoes of disaster films? How well did the cast portray their characters and sketch characteristics quickly? The doctor, the actress, the mother. the old lady and her choking, her son, the man with the knife, the old man in the concentration camp? The religious people and their prayers? The fostering of hope?

14. The Israelis upset in Israel, the media sequences, the press man and his information for the press conferences, the assembling of the politicians at the Knesset? The politics of the situation, bargains? Israel being held to ransom? The release of the 43 prisoners or not?

15. The commandos? Their training and readiness and skill? Joni and co., his friends, their youthfulness, home life, the waiting, the plan, the training, the rehearsals and the ever-sharpening of their routines, their flying off waiting for the decision in the air?

16. The tension of the flight, the commandos and their talk before bailing out? The execution of the plot in darkness, with speed? The lights? The deaths - of some of the passengers, of the Ugandan guards? The death of each of the hijackers and its suddenness and melodrama? Joni wounded - and the reaction, his being put back on board, the escape?

17. The long sequence of the return and the rejoicing in Jerusalem? Persuasively emotional sequences?

18. The film's contribution to public awareness of the realities of terrorism in the '70s, causes, freedom, principles and violence? The reality of international terrorism? People as victims? The Jews as victims?