Film review of Foxtrot

June 22, 2018

(This film review of “Foxtrot” appeared in the Australian Jewish News paper on 21 June 2018, and online on 27 June 2018.)

Written and directed by Samuel Maoz; starring Lior Ashkenazi, Sarah Adler, Yonathan Shiray, Shira Haas, Yehuda Almagor and Karin Ugowski.

The new film Foxtrot belongs to the long list of eminent Israeli films that attempt to respond the country’s continuing cycle of war and conflict. The name foxtrot provides writer/director Samuel Maoz (Lebanon) with both a recurring theme as well as a metaphor for Israeli security and life. As a formal dance, the foxtrot’s four steps continue to rotate around a simple square, always returning to the same place.

The action in Foxtrot fits neatly into a variation of the classic three act film structure. The first third opens with the arrival of soldiers to the trendy, geometric grey-accented flat of architect Michael Feldmann (Lior Ashkenazi, from Footnote and Norman) and Dafna Feldmann (Sarah Adler, from Jellyfish). They come bearing news of every Israeli parent’s nightmare: their son Jonathan has been killed serving at a checkpoint in the north. What follows is a painful filmic study of extreme grief and anguish. Dafna faints, but the soldiers have come prepared with drugs they administer and put her to bed. Michael is struck dumb, wordless and barely moving. He and his brother Avigdor (Yehuda Almagor) are both irritated by the presence of an army rabbi – they are atheists – who tells Michael not to carry the coffin at the funeral because he will need to support his wife. As men must. But Michael, the son of a German Holocaust survivor who has dementia, is pursued by his own demons from his own army service, and is anything but the strong silent type he at first appears.

The second act moves to an isolated mud-bound army checkpoint, where four soldiers – including son Jonathan (Yonathan Shiray, who played the teenage Amos Oz in A Tale of Love and Darkness) – listlessly pass the time, checking the papers of the occasional passing car, working out of a leaking water tower and sleeping in a sinking shipping container. This chapter presents as a classic absurdist and surreal black comedy tinged with both melancholy and tragedy, typified by the periodic arrival of a lone camel galloping along the road – the most frequent promotional image for the film (see image below).

The final third of the film returns to the Feldman apartment, where Michael and Dafna’s marriage appears to be breaking down. Virginia Wolff style, we watch them slowly reveal their relationship’s anger, stresses and blame – a true tour de force of two-handed acting.

There is a devastating revelation (no spoilers here) towards the end of the first act that re-sets the film’s tone but does nothing to erase its pervading unease. Foxtrot is uncomfortable to watch, and many – particularly those who have lost loved ones in security conflicts – are likely to find the scenes of anguish and grief to be extremely painful. Foxtrot is not a film to love, but one to admire, for its filmic artistry, its formalism, its strong performances and the control that writer/director Maoz exerts over every frame. The production design is simple but effective, and inclusions such as animations are evocative and powerful. Foxtrot won the Grand Jury Prize at the Venice Film Festival and eight “Ophir” Israeli film awards, including best picture, director, actor and cinematography. While well-received by international critics (almost 100% positive on Rotten Tomatoes review aggregator), the film has been the subject of trenchant criticism by Israeli Culture Minister Miri Regev and others for its unrealistic portrayal of IDF actions.

Foxtrot premiered in Sydney at the Sydney Film Festival earlier this month and opened in Australian cinemas on 21 June 2018.

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Film review of Menashe

March 11, 2018

(This film review of Menashe appeared in the Australian Jewish News on 8 February 2018.)

Directed by Joshua Z. Weinstein; written by Alex Lipschultz, Musa Syeed and Joshua Z. Weinstein; starring Menashe Lustig, Ruben Niborski, Yoel Weisshaus and Meyer Schwartz

In these days of mass entertainment, what a pleasure to discover in the film “Menashe” such a heart-felt authenticity. Set and shot in New York City’s Hasidic Brooklyn neighbourhood Borough Park, “Menashe” sets a modern record: it’s the first American film since “Hester Street” in 1975 in which the characters all speak Yiddish. Although “A Serious Man” (2009) and “The Frisco Kid” (1979) each had a Yiddish scene, contemporary popular film – even from Israel – has avoided the language.

“Menashe” tells the story of its title character, also Menashe, played by Menashe Lustig (a Hasidic actor and YouTube star), upon whose life the film is loosely based. He is a hapless and struggling single father of Rieven (Ruben Niborski) and whose wife Lea has passed away. Instructed by the local rebbe (Meyer Schwartz) to place Rieven in the care of the boy’s uncle (Yoel Weisshaus) and aunt until he re-marries, Menashe struggles to maintain dignity and connection with his son, with whom he has a tender and loving relationship. Every man needs “a good wife, a good home, nice dishes”.

Menashe chafes under the criticisms of his boss at the Hasidic-run supermarket (which sells un-washed lettuce), and painstakingly avoids attempts by well-meaning community members to match-make him with suitable women. The film hints strongly that Menashe’s marriage was less than happy (he admits being relieved but guilty when Lea died), and he appears to be in no rush to remarry, frustrating his potential partners.

Menashe lives a dreary, claustrophobic life, and steadfastly refuses to wear full Hasidic gear, preferring simple shirtsleeves without a top jacket. Menashe needs to prove he’s capable of looking after his son – to his brother-in-law, to the rabbi, to his neighbours, but most of all to himself. Can he overcome the klutziness that has him losing thousands of dollars worth of gefilte fish and burning the kugel he tries to bake? Will he rebel? Does he have the capability and capacity to re-set his life?

To its credit, “Menashe” the film avoids an easy melodramatic approach, one personified in the Netflix documentary “One of Us”, which follows three Hasidic people who leave their communities. The result is something much more subtle; the characters in “Menashe” are all flawed, yet each is sympathetic, three-dimensional and very real. Although director Joshua Z. Weinstein does not speak Yiddish (he worked through a translator), his experience as a documentarian means that he gets “up close and personal” with his actors, and they – although basically all amateurs – get to shine.

“Menashe” is an “insider” film, capturing a verisimilitude that audiences have warmed to. These actors didn’t need Yiddish lessons, but they did need a script and a director to bring their lives to the screen. Although set on a “small” stage, the film’s stories – and its truths – are just large enough to make it a feature film experience, a dramatised slice of modern Jewish life rarely shown so well.

“Menashe” was a great hit at last year’s Jewish Film Festival, and opens in selected cinemas this week.


Jewish themes and directors abound at Melbourne International Film Festival

July 30, 2017

(This article appeared in the Melbourne edition of the Australian Jewish News on 27 July 2017.)

Because there is no minimum “Jewish quota” at the Melbourne International Film Festival (MIFF, 3-20 August), the selection of films reflecting Jewish subjects and characters provides an unusual insight into how the “current moment” of Jewish life is reflected in contemporary film.  This year there are lots of Jewish stories, with Jews both behind and in front of the camera in the USA, Russia, Poland, Israel – and Australia.

In a festival full of Jewish film riches, the “must see” is the opening night world premiere of “Jungle”, a fictional re-telling by Greg McLean (Australian director of “Wolf Creek”) of the real-life story of adventurer and entrepreneur Yossi Ghinsberg, played by Jewish actor Daniel Radcliffe. The 22-year-old Ghinsberg travelled with two friends into the uncharted Amazon, but the dream trip turned into a nightmare from which not all returned. The film has been described as a “stunningly shot, edge-of-your seat story of survival and self-discovery …. entertaining, terrifying and deeply moving.” The Festival also features an “In Conversation” session with the real Yossi Ghinsberg and director Greg McLean, moderated by journalist Sandy George.

A different Israeli story features in the documentary “Death in the Terminal” by co-directors Asaf Sudry and Tali Shemesh, providing a tense, minute-by-minute account of mistaken identity and mob justice by recreating the events of a 2015 terrorist attack in Beersheva. Using CCTV footage, mobile phone videos and witness testimonies, real events unfold from multiple angles. (Caution: contains archival footage of real killings.)

Three fascinating films come from Russia – a contemporary thriller, a meditative documentary on the Holocaust and an early classic sci fi. “Closeness”, the feature debut from Kantemir Balagov, based on a true story is set in a Jewish enclave within a mostly-Muslim region of the Caucasus. The story follows Ilana (Jewish actress Darya Zhovner), whose family is rocked when her younger brother David and his fiancée are abducted, with the kidnappers demanding a large ransom. The program cautions that the film “contains archival footage of real killings”.

“Austerlitz”, by Russian-born Ukrainian filmmaker Sergei Loznitsa, draws on the “observational cinema” technique of Jewish film-maker Frederick Wiseman. Berlin-based Loznitsa frequently engages in Jewish topics and consciously named his film after the WG Sebald novel, “Austerlitz”, as it explores similar themes of memory and history. The film watches how tourists behave at two Nazi concentration camps: Dachau and Sachsenhausen. The black and white camera captures how sometimes intense, often distracted tourists act in these places. A true cultural commentary for our times. Loznitsa’s film “A Gentle Creature” – about the decay of modern Russia – also screens.

Many of the photographers and cinematographers in the Soviet Union until 1932 were Jews, including Jakov (Yakov) Protazanov, director of the ground-breaking 1924 silent “Aelita, Queen of Mars”. It was the first Soviet science fiction film ever made.

The rarely seen “The Man Who Cried” (2000) constitutes part of MIFF’s Sally Potter retrospective. Growing up in England, Russian Jewish refugee Suzie (Christina Ricci) befriends Russian dancer Lola (Cate Blanchett), gypsy horse-handler Cesar (Johnny Depp) and opera star Dante (John Turturro). The emotionally rich film follows Suzie through the Second World War to finding her father in America.

Two documentaries examine the experiences of Arab life on the West Bank. “Waiting for Giraffes”, looks at the only operating zoo on the West Bank. It’s a quixotic quest by zoo vet Dr Sami to build up the zoo and bring in new giraffes. In reaching out to his Israeli colleagues, the film posits hope for future friendly coexistence. Georgian-born Israeli film-maker Helen Yanovsky directs “The Boy from H2”, a 21 minute short about a 12-year-old Arab boy who lives in Hebron’s Area H2, a section of the city controlled by Israeli military; co-produced by the Israeli human rights organisation B’Tselem.

Agnieszka Holland (“Europa, Europa” and “Angry Harvest”), born in Warsaw in 1948 as the daughter of a Jewish father and a Catholic mother who received a Yad Vashem Righteous Persons medal, won the Berlinale’s Silver Bear with the feminist ecological thriller “Spoor”. Also from Poland comes “Afterimage”, the final film from the late master Andrzej Wajda (“Katyń”, “Land of Promise”), which dramatises the final years of Polish avant-garde artist Władysław Strzemiński, who observed the Holocaust unfolding first-hand living in Łódź in war-time Poland. Strzemiński’s 1947 piece, a 10 collage work entitled “To My Friends the Jews”, combined drawings and photographs from both the ghetto and death camps, to become one of the most significant “pro” Jewish works at a time of great antisemitism in that country.

Other Jewish directors abound. British-born Jewish comedian Ben Elton premieres his first Australian film, “Three Summers”, set in a fictional West Australian rural folk festival. New York Jewish indie directors and brothers Josh and Benny Safdie (the “new Coen brothers”) return with “Good Time”, nominated for the Palme d’Or at the latest Cannes Film Festival. Azazel Jacobs’ “The Lovers” stars Debra Winger and Tracey Letts; “The Lost City of Z” from James Gray’s (“The Immigrant”) tells an Amazon story not unlike Yossi Ghinsberg’s; and Marc Meyers’ “My Friend Dahmer” stars Ross Lynch as the notorious American serial killer Jeffrey Dahmer.

American Jewish documentarians represented in the Festival include John Scheinfeld “Chasing Trane”, about musician John Coltrane; Jeff Orlowski’s “Chasing Coral: The VR Experience”; Matthew Heineman “City of Ghosts”, about journalists and ISIS in Iraq; and Amir Bar-Lev’s “Long Strange Trip” about The Grateful Dead. Broadway producer Amanda Lipitz’s (“Legally Blonde”) “Step” charts stories of African-American dancers, and New York-based Israeli-born Shaul Schwarz’s “Trophy” explores the world of big-game hunters and animal rights activists.

Closer to home, MIFF includes a preview of ABC TV season 2 of “Glitch”, directed by Australian Jewish director Tony Krawitz. And Melbourne Jewish director Gregory Erdstein again collaborates with his wife, writer/actress Alice Foulcher, in Australian comedy “That’s Not Me”.

Also worth catching: a reprise of the 1956 classic American frightener “Invasion of the Body Snatchers” directed by Don Siegel; Chilean-Jewish director Alicia Scherson’s “Family Life”, a  “delightfully strange, heartfelt look at mid-30s ennui”; “Porto”, with the final performance by the late Jewish actor Anton Yelchin (“Star Trek”); and “Manifesto” a 90-minute version of the German-Australian multi-screen co-production in which Cate Blanchett plays 13 roles, loosely based on the Karl Marx tract.


Film review of Churchill

June 25, 2017

This film review of “Churchill” appeared in the Australian Jewish News on 15 June 2017.

Directed by Jonathan Teplitzky; written by Alex von Tunzelmann; starring Brian Cox, Miranda Richardson, John Slattery, Ella Purnell and James Purefoy

*****

As one of the towering political leaders of the 20th century, Winston Churchill holds a special place in British history, with a political career spanning five decades. His impassioned speeches as Prime Minister during World War II are often credited for having kept much of Britain’s heart and soul together, particularly during the darkest years early in the war.

The new film “Churchill” – by Australian Jewish director Jonathan Teplitzky (“The Railway Man”), working from a script by British historian Alex von Tunzelmann – may surprise some, because it does not focus on Churchill’s finest hours – of which there were so many. Instead, “Churchill” takes place over a few days in June 1944 leading up to the Normandy “D-Day” Allied landing. According to this film, Winston Churchill actively opposed the landing, promoting instead a southern European action by the Allies. The reason for his opposition? He feared tremendous casualties associated with a direct beach invasion, being haunted by the images of tens of thousands of young British soldiers dying during the first World War, at Gallipoli and elsewhere – when Churchill was First Lord of the Admiralty, the political head of the British Navy.

Although set at a crucial time during the war, the film feels like it could have been adapted from a play (it wasn’t), with most scenes set inside offices and residences. What the viewer most remembers from “Churchill” is Churchill the Prime Minister (played by iconic Scottish actor Brian Cox) arguing, primarily with Allied generals including Dwight Eisenhower (John Slattery, from “Mad Men”), but also with his wife, Clementine (Miranda Richardson).

Churchill’s staff fear that the stress of leadership means he is losing his grip on reality (Churchill was 69 years old at the time, and still had more than ten years of political life ahead). He abuses underlings and rants and raves, insisting that he must then go in on one of the first boats to the beach.

Given Winston Churchill’s extraordinary political career and his enormous accomplishments as a writer (he won the Nobel Prize for Literature in 1953), public speaker, war strategist and protector of British national character, it seems curious – and overly grandiose – to name this small film in a way that implies that it’s a full biography. It certainly is not.

What “Churchill” the film does, however, is to give a platform for two of the greatest acting performances of the year: Brian Cox as Winston and Miranda Richardson as Clementine. The two of them are captivating, in the way that “Who’s Afraid of Virginia Woolf?” showed us that an arguing couple could still be interesting. While John Slattery as Eisenhower is not nearly as well-cast, other characters provide great foils for Brian Cox’s screen power, including Julian Wadham as Field Marshall Montgomery, Richard Durden as South African statesman Jan Smuts, James Purefoy as King George VI (an understated but touching small role) and Ella Purnell as a war room secretary.

(image below: Brian Cox as Winston Churchill)


Film review of Wonder Woman

June 12, 2017

This film review of “Wonder Woman” appeared in the Australian Jewish News on 8 June 2017

Directed by Patty Jenkins; written by Allan Heinberg; starring Gal Gadot, Chris Pine, Robin Wright, Danny Huston, David Thewlis, Connie Nielsen and Elena Anaya

*****

The world has a new Jewish female star, and her name is Gal Gadot. This former Israel Defense Force combat instructor is also the grand-daughter of Holocaust survivors, a former “Miss Israel” and professional model.

But none of this background prepares you for the fact that Gal Gadot can act. In “Wonder Woman”, which opened world-wide last week, Gadot plays “Diana Prince”, a daughter of the Amazons who grows up surrounded by warrior women on the remote island of Themyscira. This fictional island-state is, as with most things in this film, a creation of DC Comics. As a young girl, Diana is fed stories of Greek mythology by her mother, Queen Hippolyta (Danish actress Connie Nielsen) and taught combat skills by her aunt, General Antiope (Robin Wright, Claire Underwood from “House of Cards”).

“Wonder Woman” follows in the super-hero tradition of “Batman v Superman: Dawn of Justice”, Gadot’s previous big film. But director Patty Jenkins and Jewish screenwriter Allan Heinberg bring a difference: while most super-hero films are bloated special effects extravaganzas, “Wonder Woman” drives its story through characters.  And there are loads of them, all well-drawn and frequently very funny.

After Diana Prince, the most important character is Steve Trevor (Chris Pine, who played James T. Kirk in the most recent “Star Trek” films). Steve is an undercover American agent who has stolen German weapon secrets: oh yeah, the year is 1918, and World War I is coming to a fitful close. He escapes by stealing a plane and crash-lands near Themyscira. Diana saves his life, after which the Amazons battle pursuing German soldiers.

Diana and Steve make their way to England (eerily, we know it’s London because the first image we see is the London Bridge), and then on to Belgium to track down and destroy the German secret weapon. They are accompanied by a cast of oddball characters with special skills, who mostly fulfil the “humorous sidekick” requirements of the super-hero movie genre.

There’s nothing unusual about the plot – Wonder Woman saves the day (whoops, I gave it away) – but the fun is in the telling, in the characters themselves and the occasional great dialogue. Gadot plays a delightful Wonder Woman, wide-eyed, naïve, idealistic and a true warrior. Gadot’s on-screen chemistry with Chris Pine is funny, believable (well, for a super-hero fantasy), nicely nuanced and romantic. They combine to create one of the best “buddy” movies of the year.

For Jewish audiences two fabulous lines – both said by Gadot – stand out, both (we hope) purposefully ironic: “Once the Germans are freed from his [the bad guy’s] influence, they will be good men again.” Spoken in 1918; we all know how that one worked out. And in London, Diana upbraids the British army brass saying, “Where I come from, generals don’t hide in their offices. They fight alongside their soldiers.”

At almost 2 hours and 20 minutes, “Wonder Woman” is over-long. It starts slowly and ends with a ritualised super-hero battle seen too often in these films. But it’s funny, highly entertaining and will be a real audience pleaser. Gal Gadot will soon be – if she is not already – one of the most sought-after actors in the world. And one of the world’s most famous Israelis. The power of the big screen.


Sydney Film Festival 2017 preview

June 4, 2017

(This article about the Sydney Film Festival appeared in the Australian Jewish News on 1 June 2017.)

With no “Jewish theme” requirement at the Sydney Film Festival, program selectors use artistic license to choose films that appeal. Yet each year, the selection of Jewish themes and personalities is eclectic, diverse and fascinating. The year 2017 is no exception, most notably with Jewish documentaries set in Australia, Germany, the USA, the West Bank and – strangely – North Korea; as well as a delightful Palestinian-Israeli comedy and biographical sketch of Karl Marx, one of the most famous Jews of the modern era.

The Australian-Jewish highlight this year is Sydney-based Su Goldfish’s feature-length documentary, entitled “The Last Goldfish”. Born to German-Jewish refugees in Trinidad after World War II, young Su moves to Australia. Only at age 14 does she begin to understand that her family is Jewish: like many survivors, her father doesn’t want to talk about it, telling her she is “the last Goldfish”. Surely there must be other relatives, Su thought. This is the story of her 40-year search for family, ranging back over more than a century of family memories and photos. The film-maker makes sense of her family history, sorting out what happened when and why.

“Austerlitz”, by Russian-born Ukrainian filmmaker Sergei Loznitsa, brings a totally different documentary sensibility to the screen. Belin-based Loznitsa has become one of the most accomplished Russian-speaking documentarians, frequently engaging Jewish topics. Consciously named the WG Sebald novel, “Austerlitz” explores similar themes of memory and history by using “observational cinema” technique perfected by Jewish film-maker Frederick Wiseman. Loznitsa watches how tourists behave at two Nazi concentration camps: Dachau and Sachsenhausen. The camera captures – in black and white – how sometimes intense, often distracted tourists behave in these places. A cultural commentary for our times.

By contrast, “Citizen Jane: Battle for the City” is a straight documentary in the best of the American tradition about New York urban planning activist Jane Jacobs. Her book “The Death and Life of Great American Cities” became a passionate appeal for neighbourhood scale in American city building. “Citizen Jane” tells the story of her battles with New York City master builder Robert Moses, the most powerful planning “power broker” of his time. True to New York style, both the late Jacobs and late Moses were Jewish, as well as many interviewees, including architecture critic Paul Goldberger.

Numerous critics describe the German-French co-production drama “The Young Karl Marx” as a film “full of talk” that should be dull. Yet it’s any but. Credit goes to Haitian director Raoul Peck (“I Am Not Your Negro”), who brings the main characters to life – founder of Communism Karl Marx, his wife Jenny and co-founder Frederick Engels – in engaging, even gripping ways. Stay for the dynamic closing credits. In French, German and English.

One of the Festival’s best comedies, “Holy Air”, comes from Israel. Writer/director Shady Srour stars as Adam, an Israeli Christian Arab living in Nazareth who is struggling. His beautiful liberated wife is pregnant, his father is in poor health, and he needs to find a new way to make a living, battling local hoodlums. The idea of selling “holy air” to tourists is born. Sly, seductive, satiric and a delightful snapshot of life in Nazareth today. The opening and closing traffic jam scenes are gems. In Arabic, Hebrew, English and French.

Iconic French-Jewish film-maker Claude Lanzmann (“Shoah“) – now aged over 90 – returns to the screen with “Napalm”, a personal documentary about an incident that happened to him in North Korea in the late 1950s. As part of a delegation of leftist intellectuals, he has an intimate encounter with a North Korean nurse, a story he has told many times. In “Napalm”, Lanzmann returns to North Korea to re-examine his youthful self in the context of modern Pyongyang. Highly self-indulgent but always fascinating, in “Napalm” Lanzmann asks many questions about his own past and the truly odd North Korean state.

A different type of documentary, “Waiting for Giraffes”, looks at the only operating zoo on the West Bank. It’s a quixotic quest by zoo vet Dr Sami to build up the zoo and bring in new giraffes. In reaching out to his Israeli colleagues, the film posits hope for future friendly coexistence.

Closer to home, Melbourne Jewish director Gregory Erdstein again collaborates with his wife, writer/actress Alice Foulcher, in Australian comedy “That’s Not Me”. A previous Erdstein-Foulcher comic collaboration, the short film “Picking Up at Auschwitz”, equally offended and impressed audiences.

Also worth catching: “Porto”, with one the final  performances by the late Jewish actor Anton Yelchin (“Star Trek”); “Insyriated”, a drama set in civil war-torn Syria starring Israeli-Palestinian actress Hiam Abbass (“Lemon Tree”); and “Manifesto” is a 90-minute version of the German-Australian multi-screen co-production in which Cate Blanchett plays 13 roles, and loosely based on the Karl Marx tract.

(image below: Jane Jacobs in “Citizen Jane”)


Film review of Norman: The Moderate Rise and Tragic Fall of a New York Fixer

May 27, 2017

This review of “Norman: The Moderate Rise and Tragic Fall of a New York Fixer” appeared in a different form in the Australian Jewish News on 25 May 2017.

Written and directed by Joseph Cedar; starring Richard Gere, Lior Ashkenazi, Hank Azaria, Steve Buscemi, Charlotte Gainsbourg and Michael Sheen

When American-born Israeli film-maker Joseph Cedar releases a new movie, the film world pays attention. Prior to his latest film, “Norman: The Moderate Rise and Tragic Fall of a New York Fixer” (hereafter, “Norman”, opening this week in Australia), two of his four films received best foreign film Oscar nominations (“Beaufort” and “Footnote”). His other two – “Time of Favor” and “Campfire” – won best picture at the “Ophir” awards, the Israel “Oscars”.

“Norman” stars Richard Gere as Norman Oppenheimer, a sixty-ish New York business consultant (“Oppenheimer Strategies”) who is always on the make. People avoid him on the street because he is always asking them for something. Even his nephew – corporate lawyer Philip Cohen (British actor Michael Sheen, from “The Queen”) – tries to stay away. He pushes into social situations unannounced: when he “crashes” a fancy townhouse dinner party hosted by Jewish philanthropist Taub (Josh Charles), the effect is excruciating – humiliation writ large.

The Washington Post film critic accurately describes Norman as a macher, schnorrer and mensch all rolled together. He’s as complex a Jewish character as we have ever seen on screen, all the more fascinating because the audience knows almost nothing about him. He says he has a daughter, but nobody knows her. Does Norman have an office? Not clear. He appears to be on the Board of his synagogue, where he listens to choir practice for relaxation. He assists the Board with fundraising, and is friends with the rabbi, gleefully played by character actor Steve Buscemi. Richard Gere’s driven and hyperactive performance is breathtaking, avoiding the self-pity of many Woody Allen characters, to which there is some affinity; think “Broadway Danny Rose” and “The Front”. This Norman is both natty (he wears a cool camel hair coat) and desperately seeking approval.

Norman’s life changes when he discovers Micha Eshel (Israeli actor Lior Ashkenazi), a junior Israeli trade minister, at a New York conference. Norman follows Eshel to a fancy shoe stop, and inveigles to buy the Israeli an expensive pair of shoes. They become friends, of a sort, and develop a transactional relationship assists both of them: through connections, Norman assists Micha’s son to get into Harvard. We don’t quite know what Norman gets from Micha, but it’s enough to repay his shoe investment many times over.

Some years later, Micha becomes Prime Minister, and warmly and publicly greets Norman at an AIPAC conference in Washington DC. Norman kvells with pride, later detailing his relationship with Micha to New York lawyer Alex Green (Charlotte Gainsbourg, daughter of Serge) on the train back to New York – the beginning of his “tragic fall”. This is writer/director Cedar in his best blackly comic mode. Some people do hilarious – and very stupid – things, and their actions return to bite them.

My favourite parts of the film were the ones in Hebrew with Prime Minister Eshel. So many American Presidents appear in dramatic films, so it’s fascinating to see a contemporary (albeit fictional) Israeli Prime Minister on screen.

A constant sense of unease underlies “Norman”, which may make some viewers uncomfortable. In Norman Oppenheimer, writer/director Cedar does not go for easy laughs, presenting us with a complicated and flawed character, in relationship to many other flawed characters – all of them Jewish. Recommended for those who are willing to pay attention to words that matter.

(above: Richard Gere and Lior Ashkenazi in “Norman”)