Ismach Hatani

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.

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.

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.

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.

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.