Ha-Shoter Azulai

Light-hearted and melancholic, the film explores the logic of career progression with veiled sarcasm, in stark contrast to the naiveté of its protagonist, a man as pure as a child yet concealing an unexpected depth of soul.

Despite many years of service, neighborhood cop Abraham Azulai (Shaike Ophir) has failed to advance. Too absent-minded and eccentric to be a good cop, he brings despair to his superior, Sergeant Bejerano (Itzko Rachamimov), and the barracks commander, Captain Lefkowitch (Avner Hizkiyahu). He tries everything he can to secure a promotion before retirement, to prove his worth to his wife Betty (Zaharira Harifai), who wants him to be more enterprising, but his friendship with notorious criminal Amar (Yosef Shiloach) could be the straw that breaks the camel's back.

Ephraim Kishon's direction fails to adequately balance the humorous nature of the protagonist's constant struggles with the dramatic nature of his story; the screenplay, written by the director himself, serves the story very well, with some jarring moments (due to dated comedy) and some decidedly well-chosen touches, such as the relationship with the prostitute Mimi or the final farewell scene; one actor in particular contributes to the film's success: Shaike Ophir does an excellent job, managing to balance pathos and humor with just the right balance. Nitza Shaul also deserves credit, as she delivers a tender yet never vulgar performance as the young prostitute.

Worth seeing for the protagonist's many fantasies, such as his reinterpretation of Hollywood noir.

Light hearted comedies are a rarity for Israelian cinema as most of the films are either too dramatic or gloomy.This is a good example of what a comedy film can be.All the credit for this film's success should go to Shaike Opir who plays the role of a kind hearted but clumsy policeman.He has a wife whom he loves a lot but as he has not been able to get a promotion there is less of love from her wife's side for him.This character is a man of all occasions and he has solutions for all kinds of problems such as doing interpretation in French language for a group of visiting French policemen or catching a famous criminal.This cop learns about friendship when he meets a young prostitute.Both of them come closer and learn a lot from each as they both have a lots to tell to each other. This film was directed by a great figure of Jewish culture Iprahim Keshon.This comedy is different from those by the likes of Marx brothers,Buster Keaton, Max Linder,Charlie Chaplin and Laurel & Hardy.

Nominated for Best Foreign Language Film about four decades ago, The Policeman is widely considered to be a classic of Israeli cinema. Directed by Ephraim Kishon, the film is a mix of comedy and drama, of which the former is most remembered for. Well-directed and somewhat well-written, the film however feels slightly dated when it comes to establishing some of the comic set-pieces and character interplay. There is no doubt that this film tickles the funny bone, with a couple of scenes bordering on "comical insanity", but sometimes it tries too hard to be funny, causing the accompanying drama to be less than worth its weight.

The Policeman follows a constable sergeant of the Israeli Police Force as he sweeps the streets of his town for petty criminals. His name is Azulai (Shaike Ophir) and he brings public service competence to a new low but somehow manages to remain employed for nearly two decades. His character is not so much firm as strong-willed; he knows he has the rare ability to handle tough social situations with his unorthodox methods (to the bewilderment of his direct superior), but his kind and sympathetic nature means that he almost (too) frequently lets would-be offenders of public law off the hook.

Very much a character study of Arzulai, The Policeman uses its main character not as a stepping stone, but rather a "soaking sponge" to explore sensitive issues such as Jews versus Arabs, religion and race, and social ills like prostitution and drug dealing. What I mean by "soaking sponge" is that Arzulai (as a character viewers can easily relate to because he is the subject of near-constant humorous ridicule) is someone who could be relied on to treat sensitivity without the burden of being sensitive.

A sequence shows Arzulai and a gang ringleader (whom the former mistook as a terrorist in an earlier scene) getting drunk and engaging in a crass conversation about cultural differences. As if hypnotized by each other, they both then go up a makeshift stage and dance sluggishly (and with a certain element of intimacy if I may add) before a small crowd. A contrasting scene shows Arzulai in his commander's office. His commander wishes to break the news to him that his contract would not be renewed. But a glance at Arzulai's seemingly pitiful, about-to-cry face, changes the commander's mind. And this happens not once, but twice in the film.

Arzulai is like a child in a man's body, and a man in a child's body, both at the same time. This gives the film an endearing character that we can root for. The downside is that the drama seems to be too mellowed to have a significant impact (due in part to the overwhelming comicality of the film). Thus, when the film ends on a not-so-happy note, some viewers would feel that it is a premature one, and that the emotional drama conveyed is less than satisfying.

SCORE: 7/10 (www.filmnomenon.blogspot.com) All rights reserved!