ALILA (2003)
 

Upon hearing about the new Amos Gitai film, one’s initial thought might be, “RUN!”  In his last film, Kadosh, very dark and disturbing images of the Chasidic world were brought to the big screen in a way never before exposed.  It left almost all religious Jews with such a bad taste in their mouths that they are still asking for someone to pass the water.  But his newest project has a different spin: an Israeli apartment complex …or could it be: an Israeli Melrose Place?  Not quite.  Although it carries the caliber of racy love scenes that would have had Aaron Spelling wishing for syndication, the newest Gitai film, Alila, loosely weaves together a host of “everyday Israel” vignettes, subtly highlighting the undertones of the culture through the on-goings of a Tel Aviv apartment building.  The key word here is subtle.

The complex is unquestionably Israeli. There are the illegal immigrants, the building contractor, the jealous spouses, and the generally angry tenants.  Wait, that sure does sound a lot like every other apartment complex in the world, does it not?  This may be exactly Gitai’s intention.  Perhaps Billy, Allison, and Sydney could have been in this film after all!

But as the stories unfold, we realize that this building is, in fact, completely Israel.  For anyone who has been in Israel, watching each scene brings up feelings of intense reminiscence.  Gitai does a phenomenal job in bringing the scenes of every-day Israel to life.  One glimpse of those familiar flags hanging over falafel stands, and all you can think about is how long it will be until the next time you will be eating your shawarma with chips (extra pickles, please).  In fact, the film’s cinematography and imagery are so vivid that they create and describe the Israeli characters better then does the actual story line.

The movie opens with a conversation between a self-aggrandizing contractor named Ezra and his son, Eyal, who is hesitant to begin his mandatory military service.  Ezra tries to encourage his son by describing the beauty and uniqueness of Israel and by reminding him that no matter where he ever decides to go in life, he will always be indebted to his Homeland.  It is unquestionable that Gitai is invoking the viewer to consider one of the most possibly important questions in Israel, and really in any society today.  Gitai’s politically left views begin to seep in subtly.  Eyal decides to abandon the army and forgo his service, leaving his parents, and the viewer, to question their seemingly conflicting emotions of their love for their Land versus that for their son.   

As the film progresses, it blossoms into several vignettes, including one of a Holocaust survivor and his relationship with his Filipina maid (we are still confused as to why this woman speaks English).  We are also introduced to a character named Schwartz who lives hopelessly with his dog and who finds himself mesmerized by a beautiful mistress living next door.

The characters are uniquely realistic, quirky, and entertaining, but the choppy editing leaves the viewer with many questions unanswered and storylines unresolved. While Gitai’s Alila does bring up a variety of Israel-centric issues through the random stories of Israeli apartment tenants, the What drove them to be the way they are? is never answered, leaving the viewer intrigued, yet empty-handed.

Anyone know when the Melrose Place reruns are airing?

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Send your comments to bangitout Film Editor, Jordan Hiller at jtrick1@aol.com 

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