The Attack


Sometimes what you don't know CAN hurt you.

Sometimes what you don’t know CAN hurt you.

(2012) Drama (Cohen Media Group) Ali Suliman, Uri Gavriel, Reymond Amsalem, Karim Saleh, Evgenia Dodena, Dvir Benedek, Abdallah El Akal, Ezra Dagan, Nathalie Rozanes, Ofri Fuchs, Michael Warshaviak, Eli Gorenstein, Vladimir Friedman, Esther Zewko, Ruba Salameh, Ramzi Makdessi, Ihab Salameh, Hassan Yassine, Nisrine Seksek. Directed by Ziad Doueiri

The person that we should know best is our spouse. In an ideal relationship, there are no secrets (at least no serious ones) and we can safely say that we know the person we are married to better than anyone else does – perhaps better than we know ourselves.

Dr. Amin Jaafari is a surgeon of Palestinian descent who has made a place for himself in Israeli society. He and his beautiful wife Siham (Amsalem) live in a lovely home and are accepted by their Jewish neighbors and colleagues. When he becomes the first Palestinian to win a major award for medicine in Israel, he figures he’s made it, although he’s a bit miffed that Siham isn’t there to share in his moment of glory after she goes to Nazareth to visit her family.

The next day, a bomb explodes in a nearby restaurant. 17 people die and dozens are injured. Dr. Jaafari is busy trying to save the dying and help the wounded. He sees firsthand the results of terrorism and doesn’t like what he sees. He goes home and falls into an exhausted sleep but is awakened early in the morning by a call from his friend Raveed (Benedek), an Israeli police officer, summoning him to the hospital. He figures there are more casualties but that is not why he is there. He is brought down to the morgue and is shocked to discover that one of the bodies from the bombing is that of his wife Siham. Half of her body has been blown away. The good doctor faints dead away.

His nightmare is just beginning however. It turns out that the authorities suspect that Siham was a suicide bomber. At first Dr. Jaafari is incredulous. Siham a terrorist? No….HELL No! Nobody knows his wife like he does after all. Dr. Jaafari is certain that when the terrorists release their video as they inevitably do that she will be exonerated. However Captain Moshe (Gavriel) is certain and puts the doctor through an intense interrogation until at last they are satisfied that he knew nothing of the attack. However his neighbors and friends aren’t so sure and distance themselves from him or worse, vandalize his home. His colleague Kim (Dodena) and Raveed stick up for him but Dr. Jaafari is being backed into a corner. Finally when he is given tangible evidence of his wife’s guilt, he journeys to Nablus to find out how she could do such a thing – and who was responsible for turning her into a monster.

As you can tell from the synopsis this is a very intense subject matter. Suliman, an Israeli actor of Arabic descent, has appeared in a couple of high-profile Hollywood projects (Kingdom of Lies, Body of Lies and the upcoming Lone Survivor) and has also appeared in some very good local productions (primarily Paradise Now, Lemon Tree and Zaytoun). This is his best performance to date. It is wrenching to watch his anguish but also his rage. How could he have missed it? Why did she do this awful thing?

To answer those questions he has to go to Nablus and he finds himself in the awkward position of being the husband to a martyr whose death has been glorified. The more he talks to those who may or may not have had anything to do with her choice to do this monstrous thing, the more it becomes obvious that these people are intractable; reason doesn’t enter into it. Dr. Jaafari isn’t trusted and while his wife’s sacrifice keeps him from getting a bullet through his brain, neither does it give him any clout whatsoever when exploring the chain of events that led to her fateful decision.

In the end it was her visit to a site of an Israeli aerial attack that led her on that terrible path. While the movie does get a little slow getting to Nablus, once it’s there we realize that part of the problem in the Middle East is that they are in this awful spiral which neither side will put a halt to by simply saying “We will not retaliate. We won’t escalate. We will just stop.” It is a kind of insanity, one born out of hatred and fear. One idiot reviewer chastised the film for not providing answers. Seriously dude? Some questions have no answers. Sometimes the truth is unpleasant and horrible. One sees a movie like this and understands that the hope for peace in the Middle East is like picking out the right grain of sand on a beach. It requires patience and  perhaps more time than a single life can survive. There are no answers here and maybe Dr. Jaafari isn’t asking the right questions. Either way this is the kind of movie that will generate a great deal of dialogue on its own – a movie that works equally well in the heart and in the head. Talk about a precious grain of sand on the beach…

REASONS TO GO: Strong performance by Suliman. Raises some intriguing questions.

REASONS TO STAY: Drags a bit in the middle.

FAMILY VALUES:  Some of the images are pretty disturbing, there’s some violence and a bit of sexuality and foul language.

TRIVIAL PURSUIT: The only Arabic or Muslim country to show the film has been Morocco. Many cited the reason for that was that it was filmed in Israel.

CRITICAL MASS: As of 11/20/13: Rotten Tomatoes: 90% positive reviews. Metacritic: 74/100.

COMPARISON SHOPPING: Day Night Day Night

FINAL RATING: 8.5/10

NEXT: Heartbeats

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Zaytoun


Stephen Dorff can't understand why he isn't a star and neither can Abdallah El Akal.

Stephen Dorff can’t understand why he isn’t a star and neither can Abdallah El Akal.

(2012) Drama (Strand) Stephen Dorff, Abdallah El Akal, Ali Suliman, Alice Taglioni, Loai Nofi, Tarik Kopty, Ashraf Barhom, Mira Awad, Joni Arbib, Ashraf Farah, Adham Abu Aqel, Nidal Badarneh, Hezi Gangina, Morad Hassan, Michel Khoury, Osamah Khoury, Doraid Liddawi. Directed by Eran Riklis

The conflict between the Palestinians and the Israeli is one of the world’s great tragedies. From the west, our perspective is that if only cooler heads could prevail on both sides perhaps they could live together in peace. Closer in however the perspective changes and things get a lot more complicated.

In 1982, Lebanon is in civil war and the Israelis are making noises about invading. Palestinian refugee camps house cells of the PLO who from time to time lob rockets into nearby Israel. Young Fahad (El Akal) lives in one such camp in Beirut but despite having a fairly laid back father and grandfather, he skips school regularly to sell gum and cigarettes on the streets of Beirut. The Lebanese themselves are not overly fond of the Palestinians who bring nothing but trouble. They chase Fahad and his friends and sometimes shoot at them. Fahad however s 12 years old and invincible. As for the camp, well, they’re more concerned that Fahad get his training by the PLO. Their homeland isn’t going to reclaim itself, after all.

That all changes with sudden ferocity when Fahad’s father is killed by a falling bomb. Fahad’s feelings for the Israelis moves from disdain and disrespect to downright hatred. Shortly afterwards, Yoni (Dorff), an Israeli fighter pilot, is shot down and captured by the PLO. Fahad is given the job of guarding the prisoner whose return to Israel might well bring about the exchange of many of their brothers-in-arms.

Fahad, still seething with hatred and sorrow, torments the prisoner and makes his feelings known to Yoni. When Yoni grabs one of Fahad’s friends to get some leverage to escape, he finds that he can’t harm the child even to secure his freedom. After he lets him go, Fahad shoots him in the leg.

While Yoni is recovering in the local clinic, an incident occurs that gives Fahad second thoughts about his current situation. He approaches Yoni who’s offered to take Fahad to Israel with him if he helps him escape. Yoni seizes the opportunity and agrees. The two steal out into the night.

At first they are antagonistic towards each other (Fahad swallows the key to Yoni’s shackles in order to make sure he can’t run off) but as time goes by, they are forced to rely on each other and they reach an understanding. For starters, Fahad lugs around with him a small bag, a soccer ball (he idolizes the Brazilian star Zico) and an olive tree which he means to plant at the family’s home in Palestine. Yoni thinks he’s nuts at first but slowly grows to realize what the olive tree means. For Fahad, his aha moment is that Yoni is not such a bad man and if one Israeli can be decent, perhaps they are not all as bad as his PLO trainers have made them out to be.

This is essentially a combination of a road film and a buddy film set in the Middle East. Naturally the politics of the region play a heavy role in the plot. Riklis, who previously directed Lemon Tree and  The Syrian Bride, both fine films as this one is as well. In many ways, this is a much more mainstream Hollywood-like film than the other two. Riklis seems to have a real empathy for the Palestinian cause; while he doesn’t come out and say in any of his films that he is in support of their determination to create a country for themselves, all three of these films are seen not from the Israeli viewpoint but from the Palestinian and in all three cases the Israelis are seen as bureaucratic and somewhat insensitive to say the least.

Dorff has been quietly putting together some really quality performances lately (see Brake) and in a just world would be well on his way to the A list. Unfortunately this isn’t a just world and so his work goes mainly unnoticed in small indie films. This is one of his stronger performances and one can only hope that someone is noticing.

El Akal has been in 12 movies in six years and at 15 years old looks to have a pretty strong career ahead of him. While I was a bit frustrated by his performance here – in some scenes he shows tremendous emotional range while in others he is as wooden as the tree he carries around with him – the moments when he is on his game he literally carries the movie. If he can be a little more consistent with his performance there’s no telling what he can achieve.

The movie is divided in three parts; the opening act which focuses on Fahad and his life in (and near) the camp; the second is his and Yoni’s dangerous trek through Lebanon to get across the border – with the help of a Bee Gees-loving taxi driver who provides some needed comedy relief – and the third Yoni and Fahad in Israel and their quest to get Fahad to a home whose location he only vaguely knows. They are all three different in tone; the first harsh and sometimes shocking (a woman is executed for infidelity while Yoni and Fahad negotiate with the cab driver to get them to the border), the second more of a thriller as the two are hunted by the Lebanese military but also by the Palestinian guerrillas. The last act is a bit more warm-hearted and sweet-natured. The three mesh surprisingly well together but that third act is a bit of a letdown after the tension of the second.

I liked the movie about equally with Riklis’ other works. I can’t say that it gives any more insight into the conflict than what we already know – that the two peoples, other than their religious differences, are essentially much more alike than they’d probably care to admit. At the very least they both share a love for a harsh and often unforgiving land which has a beauty all its own.

REASONS TO GO: Dorff delivers another strong performance. Some good suspense and drama.

REASONS TO STAY: El Akal is inconsistent. Some actions taken by the characters aren’t explained well.

FAMILY VALUES:  There’s violence and children in harm’s way; there’s smoking (some of it by children), some foul language and some adult themes and situations.

TRIVIAL PURSUIT: “Zaytoun” is Arabic for “olive” and refers to the olive tree Fahad carries around with him throughout the film.

CRITICAL MASS: As of 11/18/13: Rotten Tomatoes: 47% positive reviews. Metacritic: 39/100.

COMPARISON SHOPPING: The Defiant Ones

FINAL RATING: 7/10

NEXT: Aftermath