FYI: This film was released in 2018 in France, Israel, and parts of Europe. It is now in theaters here in the U.S. Have you ever been a fan of a soap opera? Would you like to see a (fresh/light) take on the Israeli-Palestinian conflict? Is a certain level of camp (incl. melodrama) OK w/ you? Then this comedy (co-written/directed by Sameh Zoabi- a professor at NYU’s Tisch School of Arts) is worth a watch. It’s light and fluffy at first glance, but there is the weight of history, occupation, and everyday struggles underneath.
Salam (Kais Nashif- Palestinian-German actor seen in AmericanEast) is suddenly promoted to scriptwriter on a historically-based soap opera developed by his uncle Bassam (Nadim Sawalha- veteran British Jordanian actor/father of actress Julia Sawalha)- Tel Aviv on Fire. During a time of war in 1967, Manal (AKA Rachel) is a Palestinian spy trying to get secrets from the Israeli army. She is in a love triangle w/ two very different men- Marwan (a poetic Muslim freedom fighter) and Yehuda (a straight-laced Jewish general). Tala (Lubna Azabal from Rock the Casbah) is the lead- egotistical, glamorous, and very successful (based in France). She gives her opinions on the script, explaining that at her level, she won’t act if the dialogue is bad.
Salam (very anxious about his job) tries to find inspiration for his character- Yehuda. He is a former bartender and not gifted at writing, as Salam’s ex-girlfriend Mariam (a doctor) reminds him when they run into each other. One morning, Salam is pulled over at a checkpoint between Jerusalem (where the TV studio is located) and Ramallah (where he lives w/ his elderly mother). He meets Assi, an arrogant captain of the guard whose wife (along w/ many Israeli Jewish women) loves the show. Assi’s wife is sure that Rachel will end up w/ Marwan (her favorite character), not the boring Yehuda.
Assi (who is both funny and potentially dangerous) has opinions, incl, on how the season should end- a wedding between Rachel and Yehuda (his favorite character). Assi objects to the way Yehuda has been characterized so far- he doesn’t speak like a real military man. At first, Salam is bemused by these suggestions, then relies on Assi for dialogue. Salam also analyzes his failed relationship w/ Mariam, putting some ofher words into scripts. Yehuda becomes a more authentic and sensitive character. Can a mere TV show unite two divided peoples (audiences)?
AFI Silver and Washington Monthly magazine presented a series of films that investigated the world of journalism recently (May-June 2019). Below are my thoughts.
All the President’s Men(1976)
“Follow the money.” Deep Throat’s (Hal Holbrook) words have guided reporters in the 40+ yrs since Robert Redford and Dustin Hoffman starred as “hungry” young Washington Post reporters Bob Woodward and Carl Bernstein, uncovering the Watergate scandal. The all-star cast also includes Jack Warden, Martin Balsam (12 Angry Men), Jason Robards (then in his waning yrs battling alcoholism), Jane Alexander, and Ned Beatty.
There was a post-screening Q&A with Bob Woodward (it was a full house, of course) moderated by Washington Monthly Editor-in-Chief Paul Glastris. There are a lot of phone calls, knocking on doors, as well as research depicted in this film. Though journalism has changed over the years (along w/ technology), Woodward pointed out that nothing beats in-person interviews where reporters can build trust w/ their subjects. Woodward is still going strong; in fact, he recently interviewed individuals who haven’t even spoken to Robert Mueller- WOW!
This is one of my favorite films, as I’ve written before. It’s set in a DC TV network news bureau where the lives of three individuals are intertwined: ambitious producer Jane (Holly Hunter), telegenic anchorman Tom (William Hurt), and brainy field reporter Aaron (Albert Brooks). All three are fully fledged out characters, no one is a typical bad guy, and there is sparkling chemistry between both pairs- Jane/Aaron and Jane/Tom. Jack Nicholson (not billed) has a cameo as a powerful anchorman based in NYC. It launched the career of Hunter and was nominated for seven Oscars, incl. Best Picture.
There was a panel discussion with Academy Award-winning filmmaker James L. Brooks (Terms of Endearment, As Good As It Gets, The Simpsons, etc.) and New Yorker Staff Writer Jane Mayer, moderated by Washington Monthly Digital Editor Eric Cortellessa. Though the work life/personality of Jane was based more on Susan Zirinski (who now heads CBS News), the love triangle was inspired by incidents in Mayer’s personal life; she had trouble choosing between a man who was “like a schlubby best friend type” (like Aaron) and another guy. Neither one was right, she admitted (LOL)! This film is more of a workplace comedy, not a rom com, as it puts career over romance. Albert Brooks (who plays Aaron and also worked on the screenplay) was the first one cast; they waited 6 mos to get Hurt; Hunter was cast a few days before filming started.
James L. Brooks considers this one of the best-written scenes:
There is also an alternate (happy) ending to the Jane/Tom romance:
“I’m as mad as hell, and I’m not going to take this anymore!” When Howard Beale (Peter Finch), a veteran news anchor w/ slipping ratings, is informed that he is being let go, he launches into a rant (on live TV) proclaiming his intention to commit suicide on his next broadcast. The network’s execs (incl. Robert Duvall) decide to keep Beale on and exploit the ratings boost. Beale’s closest/oldest friend, Max Schumacher (William Holden), thinks that he may truly be ill (going mad); he tries to care for Beale. Director Sidney Lumet’s examination of the news media depicts a cruel, ratings-obsessed world, in which populist sentiment is exploited for profit. One of the must-see films of the ’70s, Network earned 10 Oscar noms, incl. acting wins for Finch, Faye Dunaway and Beatrice Straight, and the screenplay by Paddy Chayefsky.
There was a panel discussion with Chicago Tribune columnist Clarence Page, Pulitzer Prize-winning Washington Post reporter Beth Reinhard, a local veteran film critic, and moderated by Glastris. I used to see Page on the PBS commentary show- The MacLaughlin Group– along w/ other TV journos; he appears on MSNBC these days. The rise of Trump (UGH) was compared to what happened w/ Beale. Dunaway’s character would also fit in w/ the people making policy around Trump. Page also recommended another film, A Face in the Crowd, for those who enjoyed this one.
Mr. Jensen (the scene-stealing Ned Beatty) explains to Beale how money makes the world go around in one of the iconic scenes from this movie:
The Front Page(1931)
Newspapermen-turned-playwrights Ben Hecht and Charles MacArthur made their names with the 1928 Broadway play The Front Page. Adapted for the screen in 1931, this is the story of star crime reporter Hildy Johnson (Pat O’Brien), fed up with his manipulative editor Walter Burns (Adolphe Menjou), and about to quit his job to marry his sweetheart Peggy (Mary Brian). But when a big story breaks, Hildy can’t resist covering it, even if it means putting his honeymoon on hold. The play was expertly re-arranged by director Howard Hawks and screenwriter Charles Lederer in 1940 with their adaptation- His Girl Friday (see below). I watched it last year, but will check it out again (see the link to YouTube below).
His Girl Friday (1940)
This Howard Hawks’ remake of The Front Page (see above) with reporter Hildy Johnson (Rosalind Russell) recast as a woman, her love-hate relationship with hard-driving editor Walter Burns (Cary Grant) now complicated by the fact that they were formerly married. These were career-defining roles for the actors in one of Hollywood’s greatest screwball comedies. There was a panel discussion with The Atlantic’s Film Critic Christopher Orr, New Yorker Staff Writer Margaret Talbot, and Washington Post Media Reporter Paul Farhi, moderated by Cortellessa. They touched on topics ranging from the rom com genre, portrayal of journos, Chicago history/politics, feminism (as it pertains to smart/clever/career woman Hildy), casual racism (at least in two scenes), and the enduring popularity on this film (the theater was nearly full, yet again).
Abe (Noah Schnapp who plays Will Byers on the popular Netflix show, Stranger Things) is a quiet, sensitive, 12-year-old half-Israeli and half- Palestinian kid living in Brooklyn who loves cooking. He has a food blog, IG account, and many (online) friends who follow his progress in the kitchen. One side of the family prefers to call him “Avraham” (in Hebrew), the other side “Ibrahim” (in Arabic), while his atheist parents call him “Abraham.” But he prefers Abe. A few boys in school are turning 13 y.o. and planning big bashes for their bar mitzvah; Abe admits that he’s curious about the Jewish religion. This is music to his (maternal) grandfather’s (Mark Margolis) ears. Abe also wants to know more re: Islam; he tries fasting for a day (like his paternal grandparents).
Abe’s parents, Rebecca (Dagmara Dominczyk, wife of Patrick Wilson and 1st gen Polish-American) and Amir (Arian Moayed, a Tony nominee of Palestinian heritage) want him to make more (real-life) friends, so suggest he go to a summer cooking camp. It’s too easy for Abe, so he decides to bail w/o consulting his parents. He seeks out an experienced Afro-Brazilian chef, Chico, who specializes in fusion food at local pop ups. At first, Chico is reluctant to let a kid work in his kitchen, but then he sees the passion and potential in Abe. He rides the subway on his own, starts working at Chico’s kitchen, and eventually creates some recipes of his own (combining the ingredients used by both sides of his conflicted family).
This is such a well-made, timely, and unique film; I hope it comes out on a streaming service soon (so can get a wider audience)! Abe is just one representative of the many kids in modern society w/ families from different races, cultures, religions, etc. He’s not sure if he wants to be atheist, like his parents, b/c the traditions of his grandparents appeal to him. His maternal grandmother left a box of family recipes; his mom gives these to Abe. He does some research and discovers that Jews and Palestinians, who have a contentious past, use many of the same ingredients in cooking.
The origin story behind one of Broadway’s most beloved musicals, Fiddler on The Roof, and its creative roots in early 1960s New York, when “tradition” was on the wane as gender roles, sexuality, race relations and religion were evolving.-IMDB synopsis
In the early 20th century, Jews and Orthodox Christians live in the little village of Anatevka in the pre-revolutionary Russia (when Czars ruled). The poor milkman Reb Tevye has been married for 25 yrs to Golde and they have five daughters . When the local matchmaker, Yente, arranges the match between his eldest daughter Tzeitel and the old widowed butcher Lazar Wolf, Tevye agrees to the wedding. However, Tzeitel is in love with the poor tailor Motel Kamzoil; they “gave each other a pledge” to someday get married. After seeing the couple so happy, Tevye begins to rethink some of the traditions he assumed would continue…
This was my favorite film (of the six that I saw) of this year’s festival; it’s a funny, educational, and touching doc (featuring Hamilton creator Lin Manuel Miranda, veteran actor Austin Pendelton, cultural critic Fran Lebowitz, and many others influenced by the beloved and timeless musical). The theater was full (or nearly full) during the two showings. Did you know that several of the team who came up with the lyrics, music, dances, etc. are still alive?
We get to hear from theater greats like Harold Prince (producer), Sheldon Harnick (songwriter), and Calvin Trillin (writer). Several discuss the innovation, as well as the emotional/verbal abuse, of Jerome Robbins (the very talented choreographer). Robbins was a “conflicted Jew” and controversial figure because he revealed names to the HUAC. It turns out that he was a closeted gay man seeking to protect his privacy.
A youthful Norman Jewison (who directed the very popular 1971 movie) is seen directing a scene featuring Tevye (Chaim Topol, an actor from Israel who worked mainly on the London stage). Did you know that Jewison (who worked on many socially-conscious films) isn’t Jewish? Though Tevye is the center of the story, dreaming of being a rich man, talking to God, and trying to be the breadwinner, his three (independent-minded) daughters propel the story forward.
Stage/film actresses from different generations talk re: portraying Tevye’s practical wife (Golda), eldest daughter (Tzeitel), witty middle daughter (Hodel), and the gentle/shy one (Chava). Each daughter has (what we call these days) a love marriage. It was shocking to the family when Chava ran off to marry a Russian (not Jewish) boy; this action had more serious consequences in that time period and community.
The (timeless) themes of Fiddler on the Roof have made the play popular worldwide; we get to see clips from a professional performance in Japan and one from school kids in Brooklyn and Thailand. Non-Jewish creative types, including Gurinder Chada (best known for the British indie hit Bend it Like Beckham), talk about how the tale has influenced their works. Miranda even used the song “To Life” in his wedding reception; he, his father-in-law, and members of the wedding party surprised his wife! The doc wraps up w/ how the plight of (modern) refugees is not unlike Tevye’s family.
Loosely following a traditional Passover Seder, events from the Book of Exodus are retold by Moses, Aharon, the Angel of Death, Jesus, and the director’s own father. But there’s another side to this story: that of the Goddesses, humanity’s earliest deities. “Seder-Masochism” resurrects the Great Mother in a tragic struggle against the forces of patriarchy.-IMDB synopsis
…filled with tap-dancing Moses, the ten plagues, the visage of God (speaking in the voice of her late father), and swaying, cartwheeling, singing and spiraling Goddesses. Set to popular blues, rock,soul and spirituals, this film is an emotional, searing indictment of violence…-Excerpt from IMDB review
Wow, the world (esp. of creative ppl, or those who follow their work) is SO small! I met this filmmaker, Nina Paley, in NYC at a small Meetup event for the (now archived) blog, Sepia Mutiny. I followed several of that blog’s contributors; she was friends w/ members of this group (consisting of South Asians from around the US and world). Paley’s first animated film was Sita Sings the Blues; it focused partly on her relationship w/ her former husband (who transferred to India for his job) and also on the trials faced by the goddess Sita in the Hindu religion. This film is more closer to home for Paley (a secular Jewish woman); it’s about the Seder meal story, as well as her relationship w/ her (recently deceased) father.
The animation here is much more sophisticated; I’m not sure how to describe this type of graphic art. In the dialogues, there are humorous moments, along w/ very touching ones (giving us a glimpse into the dynamics of the filmmaker’s family). Paley’s father plays the Voice of God; he had an ambivalent relationship to his religion, though was proud to be of Jewish heritage. This film also has a big musical component; I think 3 of the songs she chose were new to me. These songs include spirituals, which are most often attributed to African-Americans. Since Paley believes in “free use,” you can download and view it yourself! Follow this link: https://sedermasochism.com/