Here in Israel we're accustomed to nostalgic comic dramas about tight-knit, down-at-heel neighborhood communities. Often the drama originates in marital conflict, with the blame on the husband; in this case, for a change, it originates in religious conflict, fundamentalist versus liberal. The film takes the liberal side but without demonizing the opposition. Marriages are affected, but the film doesn't demonize the husbands either. Everyone's marriage is fundamentally stable, a remarkable thing in the movies, and we even see a rare portrayal of grandparents who are not only still in love but still physically affectionate. The whole large cast of characters is impelled by good intentions, and they make the movie a pleasant Saroyanesque experience. At one point the action emerges from the stone alleyways of Jerusalem to show us a view of the spiffed-up Old City and we realize there is no attempt to explicitly set the plot in the past, although there are few reminders of the present day and the community seems to live as if it were sort of a Brigadoon still living the 1950s. It's a better place than our own, and well worth a visit.
10 Reviews
Women rebel against arrogant young rabbi's rejection.
maurice_yacowar22 April 2017
Warning: Spoilers
The film opens on a bar mitzvah and ends on a wedding. In both the religious element is subordinated to the communal celebration.
In the first ceremony the boy becomes a man. In the second the older student betrays his rabbi master to serve his bride, again choosing community over the letter of religious law. In Jerusalem, of course, the daily life is suffused with the holy. It's tempting to take the collapsed balcony as a sign of God's wrath — if one assumes divine authority unto oneself, as the handsome young rabbi does. The film's primary thrust is to prefer communal harmony and trust over the harshness of a literalist faith.
The boy feels responsible for the synagogue's destruction because he'd prayed to be saved from embarrassment at being ill prepared for the ceremony. That's a comic version of the young rabbi's assumption of extraordinary power and authority, especially when he presumes to teach the old rabbi he plans to supplant.
The film takes a clearly feminist position on orthodox Jewish life. Specifically the film valorizes the women who refuse to be marginalized by the young rabbi. They raise the money and campaign to restore the women's balcony in the rebuilt synagogue.
It's not an easy fight, because the rabbi succeeds in shattering their friendships and cowing their men. Ironically, the women's campaign is not for the Conservative or Reform Jew's integration of women into the congregation but for the Orthodox insistence on their separate place. They are rebels for a conservative cause.
For all the Jewish reference the film can be read as the universal tension between any religion's orthodox fear of women and the modern liberalism. The film should play as pointedly to a Muslim or a Mormon audience as to a Jewish.
But the theme ranges even beyond religion. The central evil here is the young rabbi's sophistry. His domination of the community is due to his ability to hijack an essential truth and twist it to his subversive purposes. His opening sermon to the men is about the superiority of women over men, their embodiment of the scripture that a lifetime of study cannot match in men. But this ostensible respect serves only to diminish them.
This strategy got well beyond religion into politics and indeed any debate over values and truth. The devil can quote scripture. The tyrant can apparently espouse the argument for liberty, the most self-serving elitist populism. Though the film's plot specifically deals with religion, its overall theme is the danger of false pretences and the abuse of logic and authority for dogmatic advantage.
So too the fragmentation of the community — the disruption of friendships and marriages and neighbourhoods — is here specifically on a religious difference but can be read more widely as well, as a political drama or as a matter of philosophic dispute bringing more destruction than light. The power of the letter of any law — religious or otherwise — shrinks before the value of the love Zion and Etti exchange over his anonymous gift of a fruit salad and her return of his gleaming, empty bowl.
In the first ceremony the boy becomes a man. In the second the older student betrays his rabbi master to serve his bride, again choosing community over the letter of religious law. In Jerusalem, of course, the daily life is suffused with the holy. It's tempting to take the collapsed balcony as a sign of God's wrath — if one assumes divine authority unto oneself, as the handsome young rabbi does. The film's primary thrust is to prefer communal harmony and trust over the harshness of a literalist faith.
The boy feels responsible for the synagogue's destruction because he'd prayed to be saved from embarrassment at being ill prepared for the ceremony. That's a comic version of the young rabbi's assumption of extraordinary power and authority, especially when he presumes to teach the old rabbi he plans to supplant.
The film takes a clearly feminist position on orthodox Jewish life. Specifically the film valorizes the women who refuse to be marginalized by the young rabbi. They raise the money and campaign to restore the women's balcony in the rebuilt synagogue.
It's not an easy fight, because the rabbi succeeds in shattering their friendships and cowing their men. Ironically, the women's campaign is not for the Conservative or Reform Jew's integration of women into the congregation but for the Orthodox insistence on their separate place. They are rebels for a conservative cause.
For all the Jewish reference the film can be read as the universal tension between any religion's orthodox fear of women and the modern liberalism. The film should play as pointedly to a Muslim or a Mormon audience as to a Jewish.
But the theme ranges even beyond religion. The central evil here is the young rabbi's sophistry. His domination of the community is due to his ability to hijack an essential truth and twist it to his subversive purposes. His opening sermon to the men is about the superiority of women over men, their embodiment of the scripture that a lifetime of study cannot match in men. But this ostensible respect serves only to diminish them.
This strategy got well beyond religion into politics and indeed any debate over values and truth. The devil can quote scripture. The tyrant can apparently espouse the argument for liberty, the most self-serving elitist populism. Though the film's plot specifically deals with religion, its overall theme is the danger of false pretences and the abuse of logic and authority for dogmatic advantage.
So too the fragmentation of the community — the disruption of friendships and marriages and neighbourhoods — is here specifically on a religious difference but can be read more widely as well, as a political drama or as a matter of philosophic dispute bringing more destruction than light. The power of the letter of any law — religious or otherwise — shrinks before the value of the love Zion and Etti exchange over his anonymous gift of a fruit salad and her return of his gleaming, empty bowl.
Entertaining Film
aryehc28 November 2016
First off, the film had impressive cinematography, and it was notable that the filming was well thought out in this respect. I felt that the filming significantly contributed to the film being enjoyable. Even a casual view would take note of the angles and the wide screen shootings.
As for the plot, the film flowed well, and the dialogue was sincere and heartfelt. The conflict portrayed within religious life is one that can be related to. The clash of modern day values and keeping the tradition comes up in various scenes.
The acting of Avraham Aviv Alush was notable, he delivered a fine performance in a versatile role.
Overall, and entertaining film, which was well thought out, authentic dialogue, and of course... a wonderful theme song.
As for the plot, the film flowed well, and the dialogue was sincere and heartfelt. The conflict portrayed within religious life is one that can be related to. The clash of modern day values and keeping the tradition comes up in various scenes.
The acting of Avraham Aviv Alush was notable, he delivered a fine performance in a versatile role.
Overall, and entertaining film, which was well thought out, authentic dialogue, and of course... a wonderful theme song.
Examining tensions between the Orthodox and ultra-Orthodox
paul-allaer13 August 2017
As "The Women's Balcony" (2016 release from Israel; 96 min.) opens, we see a group of people gathering at an Orthodox synagogue, to celebrate a Bar Mitzvah. The women participate from the synagogue's balcony, and the unthinkable happens: the balcony crashes, causing a major injury to the Rabbi's wife and causing the Rabbi to hole up in his house. The congregation needs an interim house of prayer and Rabbi. By happenstance, Rabbi David, an ultra-Orthodox, offers his services and the congregation eagerly accepts. However, it's not long before major tensions arise between Rabbi David and the synagogue's women. At this point we're 15 min. into the movie, but to tell you more of the plot would spoil your viewing experience, you'll just have to see for yourself how it all plays out.
Couple of comments: there have been quite a few movies that have examined the ultra-Orthodox communities, both here in the US and in Israel. However, this movie takes a different approach and examines the tensions between an Orthodox congregation and an ultra-Orthodox rabbi. However, it is done in a respectful way, and with the necessary wink and a smile. That said, I would not categorize this movie as a "comedy" as IMDb is doing. Once the movie's premise is fully made clear, it's a fairly predictable road from there to how it all plays out, but that didn't stop me from enjoying these characters. Israeli actor Aviv Alush brings his role as Rabbi David with authority. The photography (entirely in Jerusalem) is very pleasing tot the eye.
"The Women's Balcony" opened recently at my local art-house theater here in Cincinnati. The Sunday matinée screening where I saw this at was attended okay but not great. If you are in the mood for a decent foreign movie that looks at tensions between the Orthodox and ultra-Orthodox, you could do worse than checking out "The Wedding Balcony", be it in the theater, on VOD or eventually on DVD/Blu-ray.
Couple of comments: there have been quite a few movies that have examined the ultra-Orthodox communities, both here in the US and in Israel. However, this movie takes a different approach and examines the tensions between an Orthodox congregation and an ultra-Orthodox rabbi. However, it is done in a respectful way, and with the necessary wink and a smile. That said, I would not categorize this movie as a "comedy" as IMDb is doing. Once the movie's premise is fully made clear, it's a fairly predictable road from there to how it all plays out, but that didn't stop me from enjoying these characters. Israeli actor Aviv Alush brings his role as Rabbi David with authority. The photography (entirely in Jerusalem) is very pleasing tot the eye.
"The Women's Balcony" opened recently at my local art-house theater here in Cincinnati. The Sunday matinée screening where I saw this at was attended okay but not great. If you are in the mood for a decent foreign movie that looks at tensions between the Orthodox and ultra-Orthodox, you could do worse than checking out "The Wedding Balcony", be it in the theater, on VOD or eventually on DVD/Blu-ray.
the core of religion
ferguson-622 June 2017
Greetings again from the darkness. Religious conflict is not often the source of cinematic comedy, but this Israeli film from director Emil Ben-Shimon and writer Shlomit Nehama provides many laughs to go along with its commentary on religious traditions and the power of women.
It's tempting to say the film kicks off with bar mitzvah and ends with a wedding, but it's more accurate to say the bookend community celebrations provide the foundation of meaning for everything else that occurs. The people in this village of Jerusalem are close-knit and mostly happy. They are also religious, though perhaps had become a bit complacent until a near tragic event rattles the core of the congregation.
A young, charismatic Rabbi brings his views that conflict with how the folks in this village have lived and worshiped. A division occurs between the men and women based on such things as scarves covering heads, and women not being allowed in the main area of the synagogue. The backlash has men unable to confront the new Rabbi based on their trust in holy authority, and women banding together for their cause. Understand that the cause is not equality – they aren't asking to sit with men in the synagogue, only to re-gain their own section. This is a percipient example of the crippling effects of religious beliefs and traditions that lack logical sense.
Is a collapsed balcony a sign from God (as the young Rabbi would have them believe) or an indication of a poorly maintained synagogue (like a long unrepaired broken window)? The Women for Women cause provides humor when they are tag-team negotiating with a contractor, and profundity when they are protesting or conducting an old-fashioned kickstarter – knocking on doors asking for donations.
What makes up religious beliefs? Is it the rituals and traditions, or is it the attitude that builds a close-knit community? The film reminds us to beware of false prophets – a concern that crosses all religions and political standards. The script is stellar and the performances are believable. We care about these people and want their happiness to return even if it's in the form of a fruit salad.
It's tempting to say the film kicks off with bar mitzvah and ends with a wedding, but it's more accurate to say the bookend community celebrations provide the foundation of meaning for everything else that occurs. The people in this village of Jerusalem are close-knit and mostly happy. They are also religious, though perhaps had become a bit complacent until a near tragic event rattles the core of the congregation.
A young, charismatic Rabbi brings his views that conflict with how the folks in this village have lived and worshiped. A division occurs between the men and women based on such things as scarves covering heads, and women not being allowed in the main area of the synagogue. The backlash has men unable to confront the new Rabbi based on their trust in holy authority, and women banding together for their cause. Understand that the cause is not equality – they aren't asking to sit with men in the synagogue, only to re-gain their own section. This is a percipient example of the crippling effects of religious beliefs and traditions that lack logical sense.
Is a collapsed balcony a sign from God (as the young Rabbi would have them believe) or an indication of a poorly maintained synagogue (like a long unrepaired broken window)? The Women for Women cause provides humor when they are tag-team negotiating with a contractor, and profundity when they are protesting or conducting an old-fashioned kickstarter – knocking on doors asking for donations.
What makes up religious beliefs? Is it the rituals and traditions, or is it the attitude that builds a close-knit community? The film reminds us to beware of false prophets – a concern that crosses all religions and political standards. The script is stellar and the performances are believable. We care about these people and want their happiness to return even if it's in the form of a fruit salad.
a mixed result
proud_luddite13 January 2018
In Jerusalem, an Orthodox congregation is in a quandary following an incident that leaves their synagogue in great need of repair: as the elderly rabbi is showing gradual signs of mental decline, a younger rabbi (Aviv Alush) helps the congregation in the mean time but his ultra-orthodox fundamentalism rubs the congregants the wrong way - especially the women.
This film has a delightful gathering of characters who show their humanity and quirkiness simultaneously although this might have been enhanced with maybe a little over-the-top characterizations and situations now and then. Among the performers, Evelin Hagoel stands out as a woman who easily refutes the younger rabbi's forced changes on her community.
"The Women's Balcony" deals well with that age-old inner conflict among the religious - whatever the religion or denomination: the apparent sense of duty and obedience vs. what people know deep in their hearts to be true. This theme works well up to a point but the film is less effective due to the young rabbi's harsh, one-dimensional approach.
He easily comes off as a villain. If the film had given a glimpse as to what drives him, the audience could have been left with the inner-debate of whether to sympathize with him despite his odious actions. Despite the film's good points, this flaw reduces the film to a mixed result.
This film has a delightful gathering of characters who show their humanity and quirkiness simultaneously although this might have been enhanced with maybe a little over-the-top characterizations and situations now and then. Among the performers, Evelin Hagoel stands out as a woman who easily refutes the younger rabbi's forced changes on her community.
"The Women's Balcony" deals well with that age-old inner conflict among the religious - whatever the religion or denomination: the apparent sense of duty and obedience vs. what people know deep in their hearts to be true. This theme works well up to a point but the film is less effective due to the young rabbi's harsh, one-dimensional approach.
He easily comes off as a villain. If the film had given a glimpse as to what drives him, the audience could have been left with the inner-debate of whether to sympathize with him despite his odious actions. Despite the film's good points, this flaw reduces the film to a mixed result.
You'll have to think like an Orthodox Jewish woman in Jerusalem
Red-12512 July 2017
The Israeli film Ismach Hatani was shown in the U.S. with the title The Women's Balcony (2016). The director was Emil Ben-Shimon. The movie begins with the collapse of the women's balcony in an Orthodox Jewish synagogue in Jerusalem. The rabbi's wife suffers head trauma and becomes comatose. The rabbi, although physically not injured, develops what is probably PTSD.
A new, young, charismatic rabbi appears to help the congregants rebuild their synagogue. Rabbi David, portrayed by Avraham Aviv Alush, is a natural leader. That, indeed, becomes the problem. Rabbi David convinces the men of the synagogue to rebuild the structure, but without a women's balcony.
A non-Orthodox Jew in the U.S. might think that this is a good thing. Why do the women need their own space? Why not just mix with the men? The reason is that--in this context--mixing with the men is unthinkable. So the women would be segregated in a small room, still away from the men, but unable to directly observe the rabbi and the male members of the congregation.
The plot really begins at this point. Do the women get their balcony, and, if so, how do they do it?
I enjoyed this film because it was well acted, well photographed, and well directed. It also gave me a glimpse into a culture that is very different from my own. This movie is one of many outstanding films shown at the remarkable Rochester International Jewish Film Festival. We watched it at the excellent Dryden Theatre, in the George Eastman Museum. It will also work well on the small screen.
Note that this film has an anemic IMDb rating of 6.8. It's better than that, and deserves your attention.
A new, young, charismatic rabbi appears to help the congregants rebuild their synagogue. Rabbi David, portrayed by Avraham Aviv Alush, is a natural leader. That, indeed, becomes the problem. Rabbi David convinces the men of the synagogue to rebuild the structure, but without a women's balcony.
A non-Orthodox Jew in the U.S. might think that this is a good thing. Why do the women need their own space? Why not just mix with the men? The reason is that--in this context--mixing with the men is unthinkable. So the women would be segregated in a small room, still away from the men, but unable to directly observe the rabbi and the male members of the congregation.
The plot really begins at this point. Do the women get their balcony, and, if so, how do they do it?
I enjoyed this film because it was well acted, well photographed, and well directed. It also gave me a glimpse into a culture that is very different from my own. This movie is one of many outstanding films shown at the remarkable Rochester International Jewish Film Festival. We watched it at the excellent Dryden Theatre, in the George Eastman Museum. It will also work well on the small screen.
Note that this film has an anemic IMDb rating of 6.8. It's better than that, and deserves your attention.
It's Really About Fundamentalist Tyrants--of EVERY Kind
marsanobill30 May 2017
Warning: Spoilers
The Women's Balcony is a comedy-drama set in Jerusalem about orthodox Jews but--mirabile dictu!—they're happy Jews, full of life and love and joy. Away dull care! Begone Rama Burshstein! But not for long. When the women's balcony of their synagogue collapses, the congregation's elderly and beloved rabbi is incapacitated, leaving them spiritually rudderless and only too glad to find a temporary substitute. This rabbi is young and handsome, with a commanding presence and more than his share of arrogance; soon it is clear that he doesn't think his adoptive congregants are Jewish enough. No, he begins persuading and eventually bullying the men into adopting ever more restrictive ways; his sophistry soon has them cowed and he expects to also cow the women, whom he relegates to voiceless submission. Some of the women do bend a little under his tyranny, but eventually he goes too far. The film is not about the clash of modern and traditional values (actually, it's more like 19th century vs. medieval values), and it's not at all solely about Jews. This is a tale about the creeping stranglehold of fundamentalist tyranny. Somehow the scriptwriter, Shlomit Nehama, has managed to leaven it with wry and loving humor. Two revealing scenes involve and electric samovar early on and a bowl of fruit salad much later. The finale is a delight.
Felt like I was walking the streets of Israel watching this movie
yaadpyar18 May 2019
Warning: Spoilers
I loved this movie because I enjoy religiously oriented movies and loved the Israeli authenticity. The movie raises the issues that all religious communities encounter when they face differing beliefs and practices. I really enjoyed the unapologetically strong female characters, the close community relationships, and the frank confrontation between the Orthodox and the Ultra Orthodox.
My big complaint is that the movie too easily demonized the Haredi rabbi, making him such a clear villain by the end that he loses credibility. I would have loved the approach to be less blunt and simplistic, so that viewers could wrestle with the real complexity of religious conflict that defines so much of life in Israel.
My big complaint is that the movie too easily demonized the Haredi rabbi, making him such a clear villain by the end that he loses credibility. I would have loved the approach to be less blunt and simplistic, so that viewers could wrestle with the real complexity of religious conflict that defines so much of life in Israel.
This film about the conflicts in an Orthodox Jewish community is funny and touching.
asimow16 July 2017
Warning: Spoilers
This film is outstanding in all respects. It travels inside the world of the Orthodox in Jerusalem and treats Orthodox Jews with respect and affection but it laughs at them too. The film is funny and very touching. The members of the synagogue look like regular hard-working poor people, with ordinary problems, not movie stars. The central conflict in the plot concerns the construction of the women's balcony--the space set aside for women in the synagogue. The question is whether to build a new women's balcony (the old one collapsed) or to purchase a new Torah scroll (the old one was destroyed). There's money enough for one but not both. You'd imagine the women would be trying to abolish gender segregation in the synagogue as outdated and demeaning. Quite the contrary--they take to the streets in a demonstration calling on the men to build the balcony against the commands of a power-tripping rabbi who despises them. You don't have to be Jewish to love this movie, but it doesn't hurt either.
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