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January 13, 2012

Israel’s entry to Oscars does not plan to become a ‘Footnote’

http://www.jewishjournal.com/oscars/article/israels_entry_to_oscars_does_not_plan_to_become_a_footnote_20120113

'Footnote' Photo courtesy Sony Pictures Classics

'Footnote' Photo courtesy Sony Pictures Classics

Joseph Cedar has made four movies during his 11-year career, and the first three have represented Israel in the Oscar races for Best Foreign-Language film.

One made the five finalists cut, but none has been awarded the golden statuette, nor has any other Israeli film. Cedar and his countrymen fervently hope that this year, his fourth entry, “Footnote,” will prove the charm. More about this film later.

This year 63 countries, from Albania to Vietnam, are vying in the foreign-language film category, and the only certainty is that there will be some surprises.

Last year was the first in memory that no domestic or foreign film dealing with the Holocaust or the Nazi era was entered in any Academy Award category. On that basis, this reporter predicted that the “Schindler’s List” and “Inglourious Basterds” era had passed and that from now on this historical genre would deal with more recent conflicts and genocides.

It took only one year to prove that prophecy wrong with the Polish film “In Darkness.” The movie’s settings and emotions are as lightless as the underground sewers of Lvov, where a dozen Jewish men, women and children actually hid for 14 months during the German occupation of Poland.

Their unlikely protector was a rough-hewn Polish sewage worker and part-time thief, who knew all the hiding places in the underground system, because that’s where he worked and stashed his loot.

At the helm of “In Darkness” is the superb Polish director Agnieszka Holland (“Europa, Europa”), whose forte is to delineate the shades of the human character. In this, as in her other works, victims, heroes, villains and bystanders each have their strengths and weaknesses, varying with time and circumstance.

“I have always been intrigued by the contradictions and extremes in human nature,” she said in a phone interview. “I wonder at how fragile and how strong we are, how evil and irrational under some conditions, and how brave and compassionate at other times.”

The Netherlands’ entry, “Sonny Boy,” tells the actual story of two unlikely rescuers, a middle-aged Dutch housewife, and the black Surinamese student more than 20 years her junior she runs off and marries.

Under the German occupation, they hide several Jews in their home. Similar to Anne Frank’s fate, the couple was betrayed, arrested, and died in captivity.

One trend among foreign film producers, first noted last year, is the growing emphasis on such themes as internal conflicts, problems of immigrants, and life under the former Soviet occupation of East European countries.

Examples are films from Bosnia and Ireland (ethnic cleansing), Colombia (guerrillas vs. military), Czech Republic (expulsion of ethnic Germans after World War II), Estonia (Soviet army deserter returns), Kazakhstan (Soviets invade Afghanistan), Italy and Romania (illegal immigrants) and Lebanon (Christian-Muslim conflict).

Although many colonials on this side of the Atlantic consider the King’s English as a foreign language, this year the United Kingdom has actually submitted a film in the foreign-language category, titled “Patagonia.” It is set in a Welsh settlement in southern Argentina and the characters speak Welsh or Spanish.

New York-born Cedar, 43, is a rarity among Tel Aviv filmmakers, an Orthodox Jew, and he explored the gulf between observant and secular Israelis in his first two films, “In Time of Favor” and “Campfire.”

His next picture was “Beaufort,” a war, or better said, anti-war, film. In sharp contrast, his current movie, “Footnote,” centers on the rivalry between two Talmudic scholars who are also father and son.

“OMG, what could be more boring,” I can hear the second and third generations of my family moan, but in Cedar’s hands the movie has more tension per frame than a gun-toting action picture or apocalyptic sci-fi epic.

Eliezer and Uriel Shkolnik, father and son, are both shining lights in the department of Talmudic studies of the Hebrew University in Jerusalem, where rivalries are fierce.

As former Harvard professor Henry Kissinger allegedly observed, academic politics are so vicious, because the stakes are so low.

Maybe so, but to the two Shkolnik philologists, the stakes in their lifelong studies of the authenticity and meaning of each word in different Talmudic versions and editions are far higher than the struggles of warring nations or the rise and fall of national economies.

The director, himself the son of renowned Hebrew University biochemist Howard Cedar, firmly rejects the assumption that the protagonists in the film resemble in any way the persons or relationships in his own family.

“The film’s Talmudists in no way represent my father and myself,” the younger Cedar said. “Actually, their relationship is my nightmare, not my reality.”

Yet “Footnote” explores the balance between uncompromising honesty and family relationships. Says Cedar, “what if my son becomes a more successful director than I am, but makes movies that I hate? Will I tell him how I really feel or preserve family harmony?”

On a national scale, the insistence on one’s absolute truth contributes to civic violence in Israel, Cedar believes. “We now have a generation that considers ‘compromise’ a bad word and social harmony has been taken hostage by people who claim to know the absolute truth.”

Although “Footnote” has not yet been released in American theaters, it has received favorable reviews. At the Cannes Film Festival, Cedar was awarded the top prize for best screenplay, and in the United States, the National Board of Reviews of Motion Pictures placed the film among the five top foreign-language features.

On the down side, the Oscar competition in this category is rough and the Academy selection committee is widely considered unpredictable, if not erratic.

In both the United States and Europe, the critical favorite at this point is the Iranian entry “A Separation,” which has won a string of awards at international film festivals.

The film by Asghar Farhadi masterfully combines an easily recognizable situation – an impending divorce in an upper middle class family – with the strange atmosphere, pieties and judicial proceedings of an unfamiliar society.

Nominations for the 84th Academy Awards will be announced Jan. 24 and the Oscars presented on Feb. 26.

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