By Bob Thum, Special To The Dayton Jewish Observer

Bob Thum

From its earliest films to the present day, Israeli cinema has been a reflection of that nation’s quick-paced cultural and societal evolution.
If one were viewing Israel’s history only through its cinema, one might be shocked to learn that the nation is barely 60 years old.

Prior to and during the early years of Israel’s statehood, filmmakers focused on connecting Jews to the land: the relationship to working the land and building a nation committed to the ideals of Zionism.

Central to those early films were productions that presented themes of pioneer determination and national survival.

One of the first Israeli films with worldwide distribution and critical recognition was Hill 24 Doesn’t Answer. This 1955 feature is an example of how individual heroism played a central role in Israel’s 1948 War of Independence, a story of Israel’s determination to survive.

By the 1960s, with the wave of Middle Eastern immigrants coming to Israel, Sephardi culture began to weave its way into the young nation’s life.

How the government handled these new immigrants was seen by many Israelis as scandalous.  The critically acclaimed Sallah Shabbati mocked the government for how it dealt with these new immigrants.

Chaim Topol starred in the 1964 Israeli Oscar-nominated film, Sallah Shabtai, which mocked the government’s dealings with new Sephardi immigrants

This 1964 Academy Award nominated comedy, staring Chaim Topol, pits the government bureaucracy against the manipulative Sallah, who cleverly works the system.

The film was an example of a filmmaker’s willingness to be openly critical of the government without fear of censorship. Such open criticism has been an ongoing Israeli tradition.

With waves of immigrants continuing to arrive in Israel during the 70s, a number of films following the success of Sallah showed the difficulty of assimilation and the conflict between classes. Popular films in this genre included Charlie Ve’hetzi and Hagiga Basnooker.

By the 80s and 90s, films were dramatically examining the personal lives of Israeli families who lost loved ones due to war or acts of terrorism.

Such notable films as Summer of Aviya (1988), The Vulture (1981), and All Hell Broke Lose, a 1995 documentary capturing the voices of those who survived a terrorist attack, were released to wide audience acceptance.

While national survival was dramatized in early films, personal survival and coping with loss were portrayed in these newer films.

In recent years, filmmakers have been boldly depicting Israel’s place in contemporary history in ways that are unsettling for many Israelis.

A number of critically acclaimed films which have been shown outside of Israel seriously question the actions and decisions of the government, particularly regarding military matters.

The Academy Award nominated 2007 Beaufort and the 2008 nominated Waltz with Bashir are films that portray the military unfavorably.

Beaufort (shown with the 2007 Dayton Jewish International Film Festival), is a dark production set in 2000 in Lebanon just prior to the Israeli pullout. Unlike past films which highlighted military heroism, director Joseph Cedar centered on a group of frightened soldiers who have orders to guard an isolated mountain outpost.

Throughout the film, missiles are launched and explosions are heard. Soldiers, who cannot see an enemy, question what they recognize as a futile mission and face the reality that there is a political disconnect from their military orders.

Waltz with Bashir has become Israel’s most notable and controversial anti-war film. Ari Folman, the filmmaker, presents his point of view with this animated film and concludes that the IDF was complicit in the 1982 Sabra and Shatila Palestinian camps massacre.

Folman, who served in Lebanon at the time of the massacre, uses graphic imagery to show what happens when those who are in a position to prevent an atrocity from occurring fail to do so.

Waltz with Bashir blatantly points the finger of guilt at Israel even as Folman blames himself for being a bystander.

An emerging theme of Israeli cinema in recent years has dealt with the domestic Israeli-Palestinian conflict.

Lemon Tree, which will be shown at this year’s festival, dramatically covers the issue of Palestinian rights versus Israeli security.

When a Palestinian woman is faced with the loss of her livelihood because her lemon grove will be cut down for Israeli security reasons, she takes her case to the High Court.
The central conflict of the film is symbolic of how deeply divided Israelis and Palestinians remain.

While the majority of Israeli films continue to focus on the country’s political, cultural, and societal landscape, more and more films deal with universal themes that transcend issues specific to Israel.

One such film, the critically acclaimed Eli and Ben, will be shown at this year’s festival. This coming of age movie poignantly presents the universal theme of a father and son relationship.

It is difficult to know the direction Israeli cinema will take. Perhaps as Israel keeps maturing, filmmakers will produce more universal themes. Even with its 60 years of miraculous growth, Israel is still a country in turmoil in many ways. No doubt a vast number of its films will continue to mirror the conflict and turmoil she faces.

Bob Thum is chair of this year’s Dayton Jewish International Film Festival.