Die syrische Braut

I saw this one today and it completely blew me away. It's one of many truly wonderful Israeli films that were made this year. The main story is very moving and easily connected to, and the secondary plot lines are great as well. Details that are featured in the film are very accurate, for the most part, as are the situations and the characters. Viewers can easily relate to the desperate attempts to cut through the red tape, and to the bride's feelings of hopelessness and fear. Notice that the bride speaks fairly little, and yet her vacant, hardly-ever-smiling face is expressive enough. The movie simply draws you in, because of its authenticity.

The acting is superb, especially that of Markam Khoury as the father of the bride, Hiyam Abbas as the independent older sister and, of course, Klara Khoury as the Syrian Bride herself. The movie is quadrolingual, and sorta has Hebrew take a back seat. It's mostly in Arabic, and also has some English, Russian and a few words of French. Most viewers will probably be doing quite a lot of reading (subtitles) in this movie, but it's worth it.

The year of 2004 was an amazingly productive one for Israeli cinema, and The Syrian Bride is no exception. You do not want to miss this one.

This deceptively modest 2004 film lingers in the memory because of the bigger sociopolitical context that Israeli director Eran Riklis provides in setting his story in the Golan Heights, an area occupied by Israel since the Six-Day War in 1967. Over the course of one day, the story revolves around an extended Druze family in the northern village of Majdal Shams where they are preparing for the wedding of youngest daughter Mona. The catch is that she has never met the groom, a distant relative who happens to be a big Syrian TV personality in Damascus. It sounds like the source of comedy hijinks, but there is a sad undertone because once married, Mona officially becomes Syrian and cannot return home to her family.

The intended couple, however, is not the focus as much as the family dynamics that become ignited by the wedding. The patriarch is Hammed, a political activist on probation, and he has two sons - Hattem, who has been cast out by the conservative religious cabal for leaving the country and marrying a Russian woman, and Marwan, who provides the comedy relief as a womanizing salesman. The glue of the family, however, is provided by eldest sister Amal, who defiantly stands up to the men in her family and wants to get her bachelor's degree in Haifa. The first hour deals mainly with the standard pre-wedding confusion, though it happens to take place on the same day that Syrian President Bashar al-Assad succeeded his father, but the last half-hour takes place entirely at the Israel-Syria border crossing where the officials from both countries refuse to cooperate with a negotiating Red Cross worker in allowing Mona to enter Syria.

With its primarily somber tone, this is no Middle Eastern derivative of "My Big, Fat Greek Wedding", but Riklis and co-screenwriter Suha Arraf supply genuine warmth toward the characters and bring immediacy and credibility to the personal situation at hand. The acting is solid with Hiam Abbass the standout as Amal. There are nice turns by Makram Khoury as Hammed, his real-life daughter Clara as Mona, Eyad Sheety as Hattem and Ashraf Barhom who steals scenes as the gap-toothed Marwan. Special mention should be made for Michael Wiesweg's expert cinematography which perfectly captures the mostly sun-baked terrain. This is a case where the 2006 DVD package from Koch Lorber is invaluable for the context it provides to the movie's story. The making-of featurette, an extensive interview with Riklis and his accompanying commentary all help considerably in understanding the political situation that both drives and reflects the wedding preparation complications. Also included is the original trailer as well as the U.S. version.

The Syrian Bride (2004) was co-scripted and directed by Eran Riklis. The film is set in the occupied Golan Heights. (Note: I'm not an expert on the Israeli-Syrian conflict, nor on the Druze ethnic/religious community. I'll discuss the political situation shown on screen in general terms, and leave sophisticated analysis to other reviewers.)

The Druze are a minority within a minority. Most of them consider themselves Arab, but they are not truly Muslim--they have their own religion and their own rituals. Some Druze have more or less integrated themselves into Israeli society, but the family portrayed in the movie consider themselves Syrian. They demonstrate solidarity with the Syrians whom they can see and hear across the border. However, crossing the border into Syria is difficult, and returning is impossible.

While the Israelis and the Syrians soldiers eye each other with hostility across the barbed wire, Amal, a young woman--the very beautiful Hiam Abbass--is attempting to cross from the Golan Heights into Syria to marry a man she has never met. Because of the regulations, she will never see her family again. This sad and bizarre situation is played out against a backdrop of family antagonisms, bureaucratic incompetence, and petty malevolence. Amal's father Hammed--Makram Khoury--has to walk a fine line between saying goodbye to his daughter and resisting the Israeli military attempts to silence him. Hammed's other daughter, Mona--played by Khoury's real-life daughter Clara Khoury--is trapped in a loveless marriage, and is trying to simultaneously comfort her sister and achieve her own independence.

Nothing goes right, despite the efforts of a harassed U.N. official, who has seen her share of bizarre border incidents and by now has apparently accepted as commonplace the absolute madness taking place all around her.

There were a few comic elements in the movie, but I see it as a tragic film about a tragic situation. "When kings fall out, poor people tremble." The characters in this film are trapped in a toxic situation that they didn't create and can't control. As always, the wars of bullets and of words play themselves out in the lives of people who are simply trying to lead a reasonably normal and happy life.

THE SYRIAN BRIDE would probably best be appreciated by those who understand the intricacies of border rules and inter-country regulations that dominate the plot of this well made but a bit obtuse film.

The story takes place on the wedding day of a beautiful bride, a Druze woman in Majd Alshams, a pro-Syrian village located in the conflicted Golan heights (factions pro-Syrian and pro-Israeli live uncomfortably in Druze villages). Our bride is to marry (by arrangement - she has never met him) a Syrian TV soap opera celebrity. The problem arises in that this will be the last time that she sees her family as once she crosses the border into Syria accepting Syrian citizenship, she can never return to the Golan Heights to see her family. The wedding is further complicated by the return visit of her brother who has been away for 8 years having married a Russian by whom he has a son: the brother and the son are in conflict. And to make things worse, the paperwork at the border to allow the bride to join her husband to be in the wedding is held up by political paperwork. How all of these factors impact the bride's future is played out by the families on both sides.

The script tries to make the story seem credible but to those of us who still don't understand the intricacies of the territorial parceling of that area of the world or the traditions of Arab marriage etc, this plot seems ponderous and heavy. The actors are all excellent and there is something in each character with which we can identify. A little background on customs before the film begins would have helped immensely as the movie itself is very well done. Grady Harp

A wedding in the family, usually a happy event for everyone involved, turns out to be a sad affair. This particular one will mark the destiny of Mona, a young Druze woman living in the Golan Heights, now under Israeli rule. Like her parents, Mona considers herself Syrian. She stands to lose the privilege of ever going back, even for a visit, when she crosses the border where her future husband, a Syrian actor, awaits for her with his own entourage.

"The Syrian Bride" was a surprise. Directed with honesty by Eran Riklis, who also co-wrote the screen play with Suha Arraf, the film takes no sides between one faction, or another. In many ways, the movie seems to be sympathetic toward the Druze family, but in no way it felt preachy, or frankness in its presentation of what goes on in that troubled part of the world.

The family at the center of the story is not a happy one. The father, Hammed, has been in prison for his pro-Syrian views. He has also estranged himself from his two sons, Hattem, who has married a Russian doctor and now lives abroad and Marwan, a businessman of sorts, based in Italy. The oldest daughter, Amal, a sensitive woman, has a troubled marriage herself to a man who can't understand her need to assert herself and go to college. It is a male dominated society where women don't seem to have much to contribute except have children and be housewives.

Most impressive in the film is Hiam Abbass, an actress we have admired from her previous work, notably, "Satin Rouge" and "Paradise Now". She has a quiet way of getting under the skin of the role she is playing; this woman shows such dignity in her work that it's hard to take ones eyes from her once she is on the screen. Makram Khoury is seen as the patriarch, Hammed. Clare Khoury is also effective as the bride who must leave family and friends to go to another world. Eyad Sheety and Ashraf Barhom play the two brothers.

"The Syrian Bride" is a satisfying film by Eran Riklis, a talented director who shows great sensibility toward the material.