Camina sin mi

I saw this at the Shanghai film festival,it was called there -Live and become- I knew nothing about it. It is one of the few film that gave me a history lesson as well as complete entertainment. I really didn't notice the Cinematography or even the music. the story was encapsulating,and albeit fiction,had that real aura that made you think that something identical or very close ,has actually happened. The young Schlomo was excellent as was the mother-in fact I really couldn't find a weak performance. If you liked The Last Emperor or Dances with Wolves this movie should have a similar effect. I know quite a lot about both the countries involved in this story and I thought the director was flawless in portraying each culture. He was also flawless in taking you down one path, and just when you thought it was safe and predictable-he would rush you to another, surprising, even better place. It taught me things I didn't know and brought out emotions that have been dormant a while. A stimulating,informative masterpiece.

Twenty-four hours after seeing this extraordinary, multi-layered film about a boy who is airlifted out of Ethiopia and brought to Israel, I am still reviewing images in my mind and wondering at the courage and audacity that must have been necessary to bring this story to the screen.

Salomon was nine years old, living in a desperate refugee camp in Sudan. In late 1984, there was a covert Israeli-American operation to save Ethiopian Jews, known as Falashas, by airlifting them to Israel. The Falashas, are a small branch of the Diaspora. But as they lined up for their exodus, Salomon's mother tells him firmly to "go, live and become", the title of the movie. She saw in the exodus an opportunity for her son to escape the death, disease, famine and civil war that were ravaging Ethiopia. Salomon's mother would stay behind.

The trauma of being told by his mother to leave was already strong stuff. But there is more; Salomon is not even a Falasha. So the arrival in modern Israel is a double shock for him. However, Salomon becomes Schlomo, and we see that he is a quick learner. He learns Hebrew and, when he is adopted by a bi-lingual French-Hebrew family, he learns French, too.

However, Schlomo has a persistent and profound desire to see his mother again. He is wounded. On top of that injury, he has to deal with racism and bigotry in Israel, while hiding the fact that he is not a Falasha. Schlomo carries a lot of emotional baggage, but he has some good people rooting for him. Like the Yarom and Yael, the couple who adopt Schlomo, and Sara, the girl who has him firmly in her sights. The story of Schlomo's trials and tribulations is moving on several levels.

What makes this film audacious is that it confronts the question "who is a Jew". The answer is not self-evident. Indeed, the question has been the subject of impassioned debate in Israel for years. The Falashas are just one case study. It is simply remarkable that someone would make a film that touches on this issue. Bravo!

Just returned from the first screening of this movie. An amazing start to the Berlinale Film Festival. It was long (2 and 1/2 hours), absorbing, well-scripted/acted, and very moving. The director and the lead actor were there afterwards and we applauded them heartily. This is what a film festival is about.

The basic plot follows the life of a young Ethiopian boy, Shlomo, whose mother realizes that he can be saved if he poses as one of the Falashas, the Ethiopian Jews. They were clandestinely airlifted to Israel from Sudan in the mid 1980s. This is a story of migration,assimilation and identity through the eyes of an individual. It shows how Israel deals with these 'different' Jews, how he deals with not really being one of them, how he is adopted by an idealistic left-wing family, falls in love with a young Israeli girl whose father is a racist, and his ongoing inner-dialogue with his mother still somewhere in a Sudanese refugee camp. Very multi-layered, critical without being moralistic and preachy. Unlike Mr. Mihaileanu's other big movie "The Train of Life" this is not a comedy, but it contains plenty of warmth and humor, and also stars a Shlomo.

I can only talk in superlatives about this movie. It's so powerful that it takes a second viewing to realize that in fact it's even more powerful... Yes, there is a history lesson in it (Falashas, Middle East, Cold War, Gulf War etc.), and yes, it's an interesting tale about a person whom you just have to think to be real, but more than that, it's so universal in its way of talking about our search for a secure identity... searching for it in a process at the end of which we hope to end up in some nice future at the same time not having forgotten that what was precious in our past. To arrive at that, so much help is needed from good people you can trust, or so much luck, if you want to say it that way... This film will make you realize that and in the process it will awaken in you an overwhelming feeling of respect for human dignity as well.

To Radu Mihaileanu I can only say, continue to give us this good films, please. If it takes years of research as it did in this case, so be it. Oh, and I hope to see all of the actors, too, again some day. How stupid of me, I will, of course, at the third viewing of 'Va, vis et deviens'.

The closing night of last year's San Francisco Jewish Film Festival turned out to be more than just the screening of a movie. There was drama in the Castro Theater, many in a mostly Jewish audience sobbing audibly in response to the story of an Ethopian child escaping to Israel by pretending to be Jewish. In June 2007, "Live and Become" is being released commercially in the U.S.

Forty-seven-year-old Radu Mihaileanu - Romanian-born, raised in Israel, now a French filmmaker, director of the much-honored "Train of Life" - created a complex, honest, deeply affecting work in "Live and Become" ("Va, vis et deviens"). In the post-Holocaust world of many Jews trying to pass for gentile, Mihaileanu's true and truthful story shows the opposite: a mother's denial of a child as her own, forcing him to adopt a new identity and religion in order to survive - as a Jew, in Israel, escaping the deadly Ethopian famine and war.

Yet another meaningful reference is Imre Gyöngyössy's 1983 "The Revolt of Job" ("Jób lázadása"), about a Hungarian Jewish peasant couple adopting a Christian child, raising him as a Christian, and refuse to recognize him as their own when they are being taken away, again to assure the child's survival. (The child lived, and grew up to be the writer and director of the film about his own story.) Mihaileanu's film is based on true events. In 1985, the Mossad supervised an amazing drive, "Operation Moses," the airlift of thousands of Falasha, Ethiopian Jews, believed to be descendants of Menilek I, the son of the Queen of Sheba (Makeda) and King Solomon. Thousands died on the march to Sudan where the Israeli airlift operated, but even more escaped, arrived in Israel, were accepted by the country - if not without religious and political controversy.

History and politics are just the background to "Live and Become," the title stemming from the heartbreaking command of the boy's mother: go, don't tell anyone who you really are, become a Jew, do not come back.

Three actors play Schlomo (the name given to the boy at the Ellis-Island-like refugee center) at various times of his life. The film's greatest impact is from the child Schlomo (Moshe Agazai), who must learn new customs, a new religion, Hebrew, Yiddish, and French (of his adoptive parents) at the same, forgetting his Amharic. His initial transition from the refugee camp to modern Israel is astonishing, at one unforgettable moment, while taking his first shower, he is trying to stop the water from going down the drain, panicking at the sinful waste.

Mihaileanu is a skilled, powerful moviemaker: he is sticking to the central message, staying with his characters, keeps telling what is the truth for them, but the direction, acting, cinematography are glossy-professional. What makes the film extraordinary - what creates all the crying in the audience - is its honest and effective portrayal of the young refugee's isolation and loneliness, made worse by his belief that his escape is at the cost of his mother's life, in exchange for a lie he feels he must live, even as he becomes an authentic member of Israeli society.

The cast is uniformly outstanding, but Schlomo's adoptive parents are especially memorable. Moroccan-Israeli actress Yael Abecassis' warmth and strength, Moroccan-French actor Roschdy Zem's rough integrity create a true and enviable family environment - but there is nothing easy or false about the young refugee's difficult journey and internal tribulations.