a moore-esque film about a serious issue

‘Hashmatsa’ (‘Defamation’) by Israeli director Yoav Shamir broadcast last night by Channel 2 of the Israeli TV dares to attack one of the sacred cows of Israel and of the Jewish people – how it reacts to antisemitism around the world, how it looks at the evil of the Holocaust, and how young generations are being educated in Israel with respect to these painful and fundamental issues.

The result is mixed I must say. Without emulating completely the Moore style (he appears seldom on screen for example) Shamir uses the same approach – picks a number of characters and interviews them longly until they lower guard and reveal their weaknesses, which then are used as part of the demonstration of the thesis.

There are actually two slightly different themes in the film, although they are related and interleaved in the presentation. The first deals with the definition of antisemitism and the question whether real antisemitism exists in the world today at the scale claimed by the Anti-Defamation League (ADL) and some of the Israeli and Jewish press. Here the director presents two leading characters, one on each side of the dispute – Abraham Foxman, one of the leaders of the ADL and Norman Finkelstein, Jewish thinker, author of a book that argues against the exaggerated usage of the Holocaust on political purposes by Israel and Jewish people, None of the two get a very clean image in the film, both have arguments that sound valid at some point, but show weaknesses and ideological bias in other moments. The weakest part of the argumentation is however the one that tries to argue that antisemitism does not exist, and the method used by the film is flawn, as the issue of antisemitism is not acute at all in the US where the director investigated most of the time, but has deep and specific aspects in many countries in Europe for example.

I did like more the approach being taken by the film relative to the education in Israel of the young generations about the Holocaust, about antisemitism and how to cope with this phenomena. Here the film does succeed to raise valid questions and the success of this part is dues mainly to the fact that he lets the images and situations on screen speak more for themselves. The questions asked in the final sequence of the film – ‘does this type of auto-victimization, of fear and lack of trust for anything that is foreign educate well the younger generations, or even give them the right approach to address real antisemitism and to cope with the horror of the Holocaust?’ ‘is this type of education better fit for the past or for the present and future?’- these are indeed valid questions which I would love to see being addressed in a public debate at prime time, not at late hours this documentary was broadcast by Israeli Channel 2 yesterday.

An interview with Yoav Shamir can be read at http://theeveningclass.blogspot.com/2009/11/hashmatsa-defamation-2009-evening-class.html . More information about the film is available at http://www.imdb.com/title/tt1377278/

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Why Ireland Is Running Out of Priests

Brian Coll sends in one of the last issues of TIME Magazine a Postcard from Belfast dealing with the lowering number of priests being ordinate in Ireland –  http://www.time.com/time/world/article/0,8599,1942665,00.html . It is interesting to see how different religions in the Western world deal with the threat of secularism in the light of economic progress and a more materialistic world which they perceive – right or wrong – as deprived of spirituality.

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Norton’s Illusionist

The Illusionist’ is a film that was often compared with Christopher Nolan‘s ‘The Prestige’ which had a similar theme inspired from the life of the turn of the 20th century magicians and was released about the same time. It fails the comparison I am afraid.
The story takes place in the last decades of the Austro-Hungarian empire, where a magician of modest origins is using his skills to fight the system and win back his lost love who is to become the wife of the crown prince. The intrigue is quite simplistic and the characters around the main hero are all schematic, with the exception maybe of the chief police inspector played by Paul Giamatti who oscillates between fear and allegiance to the system on one side and curiosity and search for truth on the other side. So it falls upon Edward Norton to save the film, and he does it brightly. It’s his best role until now in my opinion – he is dark and subtle, sensible and articulate. While ‘The Prestige’ will probably remain the better film about magicians of that year, Norton will stay as the better magician in the two films.

An interview with Norton about this role can be seen at http://www.youtube.com/watch?v=QslgkMt-ih4 and the oficial Web site is available at http://www.theillusionist.com/

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Anish Kapoor

I think that I have first met a work of Anish Kapoor in Chicago two years ago – the huge ‘Bean’ is part of the Chicago landscape in a public park that was not far from our hotel.

Kapoor's 'Bean' in Chicago

The BBC broadcast (or maybe broadcast again because it’s holidays and year in retrospective season) an interview with the artist, occasioned by his show at the Royal Academy of Art in London. He is a very interesting character and had smart things to say about how as an artist he rapports himself to success, about biography (his father is Indian, his mother Jewish), about perennial and ephemeral art, about involvment in big memorial projects in the UK, and last but not least about critics.

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dimineata de Shabat in Neve Tzedek

Shabatul cu vreme frumoasa, primul dupa cateva saptamani ne-a scos si pe noi din casa. Am mers in Neve Tzedek, cartierul de sud al Tel Avivului vechi, in care casele construite in primele decenii ale secolului trecut au fost in mare parte renovate si sunt astazi in parte populate de studiouri ale artistilor, institutii culturale sau restaurante si cafenele su farmec si fason.

shabat in Neve Tzedek

Peisajul nu i s-ar parea probabil complet strain pictorului Nachum Gutman, nascut in 1898 in Basarabia si ajuns in Eretz Israel in 1905, care a locuit o vreme in Neve Tzedek si a ramas legat de acest loc pe care l-a redat in repetate randuri si in epoci diferite in lucrarile sale.

Neve Tzedek vazut de Gutman in 1939

Neve Tzedek vazut de Gutman in 1960

Multe dintre case sunt renovate sau in curs de renovare. Pe strazi un amestec de omenire cum numai Tel Avivul poate oferi – tururi organizate si haredim venind dela sinagoga, parinti iesiti cu copiii la plimbare si cucoane conversand la o cafea la unul dintre multele restaurante si cafenele. Multe dintre cladiri sunt renovate cu gust si fantezie, combinand elementele de arthitectura traditionala a Tel Avivului vechi cu lucrari plastice originale, pline de umoe si nonsalanta.

alb-albastru-verde

mode

poarta cu cele 12 triburi

strada Shabazi

Muzeul Nachum Gutman si-a inaugurat recent o noua aripa si cu aceasta ocazie a deschis o expozitie dedicata perioadei ‘africane’ a creatiei pictorului si dialogului intre artele plastice si culturile israeliana si africana. Despre muzeu si expozitie voi scrie cu alta ocazie, deocamdata am pus aici fotografiile celor doua cladiri de pe strada Shimon Rokah.

muzeul Gutman - aripa veche

muzeul Gutman - aripa noua

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‘Vedere de pe pod’ la teatrul Beit Lessin

Ultimele doua gauri de pe abonamentul anual la Beit Lessin le-am consumat in seara aceasta cu Vedere de pe pod a lui Arthur Miller. Desi este vorba despre o premiera recenta piesa pare deja bine rodata, jocul actoricesc si regia atenta a lui Hilel Mittelpunkt facand din aceasta drama din viata imigrantilor New York-ului la jumatatea secolului trecut o realizare solida care cred ca va rezista destul de multa vreme si se va bucura de succes. Mittelpunkt a citit foarte atent textul, i-a descifrat nuantele si momementele de gradatie dramatica, reusind sa-si ghideze actorii spre un joc natural si eficace. Scenaografia lui Eran Atzmon mi s-a parut superioara celei din celelalte doua spectacole de la Cameri pe care le-am vazut in aceasta stagiune. Echipa de actori se achita bine de datorie, dialogurile curg natural, si desi niciunul dintre actori nu face o performanta dintre acelea pe care le-as numi memorabile spectacolul are cursivitate si dialogurile suna extrem de natural, ajutate de scrierea exceptionala a lui Miller, dramaturg care intelege psihologia personajelor si stapaneste perfect structura dramatica. Spre deosebira de majoritatea celorlalte piese ale lui Beit Lesin nici un ‘monstru sacru’ nu apare in aceasta reprezentatie, In rolul principal Igal Naor care nu este dintre actorii de prima mana reuseste o performanta buna, dar nu dintre cele pe care le-as numi memorabile, la fel ii dau replica cu profesionalism si in ton Rivka Neuman, Hadas Moreno si altii, intr-un spectacol pe care regia si calitatea textului il fac demn de vazut.

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in trecere prin kibutz

Am revenit astazi la muzeul din Ein Harod pentru a revedea expozitia cu colectia de arta plastica israeliana Gabi si Ami Brown. Sper sa gasesc timp sa scriu despre expozitie in saptamana care vine. La iesirea din Ein Harod ne-am oprit in kibutzul vecin Tel Yosef unde am facut cateva fotografii pe care le impartasesc.

Inainte de a ajunge in kibutz insa la iesirea din Ein Harod se afla o casa ciudata, o structura parasita pe care este imprimat un mesaj. Cineva a transformat structura in obiect de arta. Daca cineva stie mai multe despre el as fi interesat sa aflu.

Traducerea inscriptiei: ‘Trebuie interzis artistilor mediocri si de nimic sa paraseasca frontierele tarii, ei ar putea dauna prestigiului artei israeliene in Diaspora si ar putea lovi in numele tarii. De nimic este tara care pentru binele ei si al nostru supravegheaza toate aspectele vietii. Ar putea sa aiba grija ca arta sa nu fie un camp parasit, in care oricine poate sa-si croiasca brazda. ‘

La intrarea in kibutzul Tel Yosef ni se aminteste ca kibutzul a fost intemeiat in 1921 si isi datoreaza numele eroului sionst Joseph Trumpledor cazut in 1920 la Tel Hai impreuna cu cei sapte tovarasi ai sai (de unde numele orasului Kiriat Shmone).

Tel Yosef pare a fi unul dintre acele kibutzuri care isi mai bazeaza o parte din economie pe ocupatiile agricole traditionale. Grajdurile de vaci arata spectaculos si vacile par multumite 🙂

O parte din productia de lapte probabil ajunga la fabrica Tnuva situata in afara kibutzului, la sosea.

In kibutz peisajul este linistit si pastoral, de parca nu ar fi auzit de crize economice, politice si alte necazuri nationale si internationale. La humusiaua Tel Yosef anuntata de altfel de panouri inca de pe sosea se poate manca humus in diferite combinatii – nu chiar ca la Abu Gosh, dar nici rau deloc.

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a dancing class on Balanchine’s work

‘Violette and Mr. B.’ tries to break the usual method of doing biographical films about great dancers and choreographers. These are usually based upon archive materials intermingled with interviews of other artists, and students, and critics of the artist who worked with him or commented his work. In this case director Dominique Delouche chose a different method, by bringing to screen Violette Verdy who was the student and dancer of Balanchine. After shortly telling the story of her meeting with the genial choreographer the film moves in the dancing studio where Verdy teaches her students different works of Balanchine, explaining them his art by the very practical means of having them dance his very work.

All looks like a master class in dancing, certainly a high level one. It’s not really great documentary. Viewers who are into dancing or who are are passionate ballet fans you will probably love this film. Otherwise this film is probably not going to impress more than any other professional film in a profession that is not ours.

More information about the documentary by Dominique Delouche, transmitted a few days ago by Mezzo can be found at http://www.imdb.com/title/tt0303195/

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A ballet film – ‘Serge Lifar Musagete’

This biography film is one of the two that the French music and culture channel Mezzo screened lately by director Dominique Delouche. It traces the life and career of Ukranian-born French choreographer Serge Lifar who directed for several decades the ballet of the Paris opera and for a few years the Monte Carlo ballet. An influential figure of the 20th century dance history, Lifar was part of the Parisian artistic circles, worked with the most famous dancers, musicians, artists who created the decors of his works. He was a great dancer himself, and as a choreographer created reference versions of many key ballets. The film is quite scarce in biographical details although these are not completely missing and focuses mostly in his principal works which are presented through film clips of the original works, as well as of modern versions, and valuable comments about the artist and his work. It’s a valuable documentary for people interested in the history of ballet and in the life and work of Lifar.

More about the film at http://www.imdb.com/title/tt0486473/maindetails

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Film: Alexander Nevsky (Eisenstein – 1938)

Aveam filmul lui Eisenstein Alexander Nevsky inregistrat de cateva luni si tot amanam vizionarea. Pot spune ca am avut intuitiv bune motive sa o fac, este unul dintre filmele mai putin reusite ale lui Eisenstein. In ciuda colaborarii cu Prokofiev care este autorul benzii sonore si a catorva momente vizuale de geniu filmul nu reuseste sa depaseasca cumplitele limite ale unui scenariu de propaganda anti-germana din cele mai prost scrise posibil. Am gasit un comentariu pe un blog care este foarte bine scris, detaliat si la obiect si in plus ilustrat cu imagini, asa incat ma abtin de la a scrie mai mult si va dau doar adresa – http://criterioncollection.blogspot.com/2008/09/87-alexander-nevsky.html .

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