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by Blender Dumbass

Aka: J.Y. Amihud. A Jewish by blood, multifaceted artist with experience in film-making, visual effects, programming, game development, music and more. A philosopher at heart. An activist for freedom and privacy. Anti-Paternalist. A user of Libre Software. Speaking at least 3 human languages. The writer and director of the 2023 film "Moria's Race" and the lead developer of it's game sequel "Dani's Race".

Footnote originally הערת שוליים is an Israeli film written and directed by Joseph Cedar. The film is about a very strange dramatic bureaucratic situation, where two professors, a father and a son, are in the same field, and one of them gets a honorary award for his achievements. But the bureaucrats made a mistake and told about the award to the wrong one of them.

This is kind of a dual character study. We have two professors obsessed with historic ancient Hebrew texts. The son Uriel ( Lior Ashkenazi ) finds in the ancient texts a sort of confirmation, to the contemporary orthodox teachings. While his father Eliezer ( Shlomo Bar-Aba ) sees the same texts as a sort confirmation that something along the way went wrong. And that the contemporary teachings are false as a result.

It is not clearly stated, but there is a theme to Eliezer's character, suggesting that he might be autistic to some degree. He is annoyingly pedantic about every single word everywhere. He can't stand people that disregard certain words, or phrase themselves not precisely. This is, by the way, why he thinks the contemporary teachings are false. He was researching the field for many years with an incredible obsessive attention to every single word. And he just simply cannot hold the same opinions as religious Jews anymore.

There is a sort of villain character ( if you want to call it that ) Yehuda Grossman ( Micah Lewensohn ) who is a kind of religious person in charge of the academia. Who due to, what seems like, ideological disagreements with Eliezer, denied Eliezer an ability to be recognized in any way. And on one occasion, personally, sabotaged Eliezer's own work.

It seems like the film's thesis is something along the lines of: Religious Jews follow a broken telephone version of the real Jewish tradition. And therefor to be a proper Jew you have to be a different, better, person. As in, in a clever way, the film suggests a sort of denouncing of the orthodox way. But in another clever way, disguising itself as preaching the proper orthodox way. Which it doesn't actually seem to preach at all. Eliezer says that he thinks things are wrong. He says why thinks that way. But never tells the audience what is wrong specifically. So maybe the message is simply: Orthodox = wrong?

The movie ends strangely, as if to say, it fails to end properly. It could be said that whether Eliezer gets his price is not important as long as he knows the truth. Because the movie cuts before we know for sure. But then I think the real reason the movie ended this way is that Cedar, trying to make the film more realistic, wrote into the script the real names of the current Israeli politicians ( at the time ), which he teases, will be the ones handing the awards. But then he cuts. Because apparently he knew from the very beginning that he will not get the real politicians to participate in the movie. I was kind of waiting for Eliezer to get onto to the stage and do something stupid. There was a tension about it present in the whole ending. But then the movie just ends. What?

I do think Cedar tried to inject in that ending some profound ( or pretentious ) meaning. And it does feel like it is at the very least pretentious, teasing you, the audience, as being not smart enough to find it profound. It is not a kind of punch-line joke ending that I have in all of my films so far. It is not trying to entertain the audience. It is trying to make the audience stop and realize that they didn't get it. And then pretend to get it, out of fear of being found out as stupid.

The film has very good cinematography by Yaron Scharf and a kick-ass musical score by Amit Poznansky that goes for a very Spielberg like John Williams like feel. And to top that off Cedar's direction is actually rather cool. There are shots in that film that I have never seen anywhere else, yet the shots work really well. For example the first time Eliezer tells his wife ( Alisa Rosen ) that he got the award, he leaves the room and the camera is on his headphones that he left. But then the camera flies on its own to that other room, where he talks to his wife, in a majestic camera move. Good stuff! And then toward the end as Eliezer comes into the ceremony building, everything just becomes so dreamy and surreal for a bit. Also good stuff!

Writing-wise it feels like there are some loose threads that are never explored beyond the superficial initial encounter. At one point in the movie, somebody steals a bag with stuff ( including documents ) of Uriel. Yet, all the movie does with it is, it uses it as an excuse for the filmmakers to push Uriel though a comedic sequence leading to something he sees. Which is then promptly forgotten about.

The movie has a kick ass tight script with very much attention put to words people say and write. And it has a lot of good payoffs based on those kinds of things. Yet some things feel like setups to something, while they are never payed off. Which is weird. It doesn't break the film. It is still rather good despite some of the things feeling random. But I couldn't help myself and think of various things that could be done with those setups.

I will review more films from Israel. I'm trying to learn what I'm dealing with, as an Israeli film-maker myself. This was a good film. I hope the others will be good too.

Happy Hacking!!!




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