THE OTHER STORY – movie review

THE OTHER STORY
Strand Releasing
Reviewed for Shockya.com & BigAppleReviews.net linked from Rotten Tomatoes by: Harvey Karten
Director: Avi Nesher
Screenwriter: Avi Nesher, Noam Shpancer
Cast: Maayan Blum, Maya Dagan, Sasson Gabai, Nathan Goshen, Avigail Harari, Sean Mongoza
Screened at: Critics’ link, NYC, 5/3/19
Opens: June 28, 2019

The Other Story (2018)

When Israel was born in 1948, there was much joy outside the Arab world. Jews both in Israel and around the world rejoiced, but in addition so did most governments and people in the industrialized world. “They made the desert bloom” was the watchword when Jews cultivated what was then a barren land. The kibbutz was a popular kind of work on collective farms, and democratic socialism was the norm in a society that surprisingly enough was mostly secular. Problems arose later after wars that were forced on the tiny state, and the country expanded its borders into territories formerly inhabited only by Palestinians. Let’s not forget, though, that Israelis are today not a unified people where everyone thinks alike, any more than are Americans nowadays. The ultra-religious including the Hasidic sects have grown in population and influence. As a result there is conflict between the religious Jews and the secular majority, the former imposing its will by its voting bloc in the Knesset, or parliament.

Two camps exist to this day: the ultra-religious have been able to ban public buses on the Sabbath and to run Mea Shearim, a neighborhood in Jerusalem, as though it were an independent state. Their influence is considered undemocratic by the secular society. You could barely imagine that a secular Jewish woman would get together with an ultra-orthodox man in marriage, and for the most part the two groups are almost never romantically involved. In the rare cases when they are, however, the sparks fly within the families, which is good, because without sparks, there is no drama.

Now Avi Nesher, who has an impressive résumé as producer, writer, actor and director including his direction of such movies as “The Matchmaker” (teenager’s relationship with a matchmaker who survived the Holocaust) and “Turn Left at the End of the World” (a family from India moves into a desert neighborhood in southern Israel). His “The Other Story” is an involving and often riveting story featuring two plots that merge seamlessly, the principal one being the more absorbing tale while the other is more melodramatic, even off-the-wall. Both plots center on women who are rebelling against their upbringings. Anat Abadi (Joy Rieger) is your typical product of dysfunction having seen his father, Yonatan (Yuval Segal), a psychologist, all too rarely since her parents divorced and he moved to the U.S. Nor is love lost between Yonatan and his successful real estate agent wife Tali (Maya Dagan). He returns to Tali after getting an urgent message: their daughter, who has thrown off her secular upbringing and is now Orthodox, is set to marry Shachar (Nathan Goshen), also a drug-addicted secular musician who introduced his fiancé to drugs and now denies that he is an addict.

At the same time, Shlomo (Sasson Gabai) is playing host to his son Yonatan. Both are psychologists. Shlomo is treating a couple on the verge of breaking up. Rami (Maayan Blum) accuses his wife Sari (Avigail Harari) of threatening the safety of their young son Izi, as a member of a feminist cult given over to worshiping idols and having occult ceremonies that recall Stanley Kubrick’s “Eyes Wide Shut.” She ultimately will rely on the testimony of both Yonatan and Anat regarding both a kidnapping charge and their opinion that the occult ceremonies are not endangering her son’s safety.

“The Other Story” is the name of a song, but it refers as well to the other story of both Yonatan, who has been involved in criminal dealings in the U.S., and the situations of the two young women rebelling against the conformity their families represent and, on a greater level, the impositions of the patriarchal society. The principal conflict, though, pits young Anat against the horror that her parents feel at the idea that their daughter has voluntarily upended her free life to become an Orthodox Jew. This conflict mirrors that troubles that all of Israel goes through nowadays, the religious Jews generally siding with their current prime minister in favor of expanding the country into the West Bank, while the secular Jews generally favor a peace with the Palestinians based on two societies living side by side.

The film is welcome both as a primer to people of all religions who are open to educating themselves to the schisms within such a small country, and an indictment of those who side with one point of view to such an extent that they cannot understand the rationality of the other. As such, it mirrors the split in our own country between Republican and Democrats, right and left, and splits within the parties as well.

In Hebrew with English subtitles.

 

112 minutes. © 2019 by Harvey Karten, Member, New York Film Critics Online

Story – B+
Acting – A-
Technical –B+
Overall – B+

EVERYBODY KNOWS – movie review

EVERYBODY KNOWS (Todos lo saben)
Focus Features
Reviewed for Shockya.com & BigAppleReviews.net by: Harvey Karten
Director: Asghar Farhadi
Screenwriter: Asghar Farhadi
Cast: Penelope Cruz, Javier Bardem, Ricardo Darín, Eduard Fernandez, Barbara Lennie, Inma Cuesta
Screened at: Park Ave., NYC, 1/23/19
Opens: February 8, 2019

Todos lo saben Movie Poster

The long-running TV series “Cheers” features the bar as a character in its own right, the bar where everybody knows your name. Many of us would be overjoyed to meet almost daily in a place so friendly, but there is a limit. If everybody knows your name, that’s fine. But would you like everybody to know everything about you? This is the situation in Torrelaguna, an autonomous region of Spain’s Madrid community where Asghar Farhadi’s latest film was photographed. It has the small-town ambiance despite its proximity to the nation’s capital, a fair-sized segment of land given over to a vineyard which is co-owned by Paco (Javier Bardem), a gentleman who will figure greatly in the plot.

“Everybody Knows” is the first movie in Spanish from the Iranian director. Farhadi, whose principal work in my opinion is “A Separation”—about whether a couple will provide a better life for their child by moving out of Iran or whether they should stay in their home country to treat a father with dementia—this time focuses on a large community involving an extended family, groups of neighbors, and an assortment of grade pickers working in a vineyard. At first, the film could be taken as a lively documentary about how people celebrate a wedding, the family members drinking as they would in just about any event of its kind. This looks like a group that seem as close and friendly as you would hope to have in your neighborhood. But when a kidnapping occurs, fissions become active, leading to fights involving Antonio (Ramón Barea), the elderly father of Laura (Penélope Cruz), who is said to have gambled away his share of the vineyard.

Imagine yourself at a large wedding, a friend of the bride who has only a faint idea of the guests invited by the groom. This is the situation you’ll find yourself in while watching the celebration. Allow some time to figure out who is married to whom, who may have fathered someone outside of marriage, who is the young man flirting with the young woman, and then some. After a half hour or so, you’ll get an idea of how everyone fits in, especially the situations of Laura and her husband Alejandro (Ricardo Darín), who spend most of their time in Buenos Aires and travel up to Madrid only for special occasions and brief visits. Some of the principals are afflicted with problems of their own making. Old man Antonio—Laura’s father, remember?—is a drunk who lost his land. Alejandro is a friend of the bottle as well and is unemployed, having gone to Germany to look for a job without success. Paco has a secret life that everyone in the small community knows about.

The kidnapping of high-spirited Irene (Carla Campra), a teen who is drugged at the celebration and kidnapped by what looks like an inside job, is employed by writer-director Farhadi to turn the movie a psychological thriller while at the same time the crime is a catalyst to expose the family secrets. Some of the action borders on soap opera, but a more refined soap than you get on the afternoon TV shows here. When you think about the crime, you try to guess who from the wedding is involved. When you think about the families, you’re in the sphere, of course, of family drama. Dysfunction abounds. The crime aspects are gripping, enough so that you’ll barely notice that two and one-quarter hours have passed since you watched the opening credits amid the background of a church bell tower. Penélope Cruz and Javier Bardem have the chemistry you’d expect from two first-grade actors who in real life are married to each other since 2010 (two children), while the entire ensemble portray their qualities in a flawless fashion. The two principals aside, there’s little doubt that “Everybody Knows” is an ensemble piece, eminently watchable, allowing us to project our own lives into the bittersweet muddle that comprise this fine drama.

133 minutes. © 2019 by Harvey Karten, Member, New York Film Critics Online

Story – B+
Acting – A-
Technical – B+
Overall – B+