Te'alat Blaumilch

This is a harmless, somewhat funny bit of Israeli slapstick, with plenty of people screaming at each other, gesticulating and running around in circles. It is a takeoff on Israeli (and any other)bureaucracy, and, I suppose the hectic life in Tel-Aviv in the late 1960s. Amusing to watch (once) but hardly anything that is going to make Ingmar Bergman or Roman Polanski lose any sleep.

In a country where any halfway decent local movies can be counted on the fingers of one hand, this comedy is definitely one to watch; in my opinion, one of the funniest, most clever movies ever. Ephraim Kishon, one of Israel's (and Europe's) most popular writers, wrote this movie (originally as a sketch) when the noise from construction work in the street below got on his nerves. Ever the self-centered type, he asked himself whether the construction workers were really there for a reason, or just a bunch of freaks whose only perpose in life is to disturb his sleep.

This simple idea eventually led to a hilarious satire of administration gone berserk. Bomba Tzur plays Blaumilch, a madman who's obsessed with digging. He escapes from an asylum early one morning, steals a pneumatic drill and starts digging up one of Tel-Aviv's busiest streets! Within hours, downtown Tel Aviv is reduced to a gigantic traffic jam, the local residents go insane, and Mr. Blaumilch is having the time of his life. But when the officials of the Tel Aviv municipality get wind of this, no one (including the runty mayor) knows who to give credit for this unexpected project; nearsighted bureaucrats secretly blame each other for it. In the confusion, nobody thinks to check what started the whole thing, except our hero Ziegler, which obviously nobody believes, even when he eventually discovers the truth. Eventually, city hall sends in reinforcements (bulldozers and heavy machinery) and the dig becomes a monstrous excavation, which can only lead to disaster. Or perhaps not... This movie is terrific. Very well directed, shot, scored, cast and acted, by a who's who of Israel's best comic actors of the time. Director Kishon throws in some very clever set-pieces. Excellent 60's atmosphere, too. A winner. Not to be missed.

With a tiny budget, Kishon and his superb cast, manage to pull off a mammoth task.

A lunatic on the loose, obsessed with diggers, steals one and starts digging in the middle of a main Tel-Aviv road. The authorities, in the midst of an election campaign, ever suspicious of each other, need to explain the resulting chaos.

Although everything in this this film is great, from the acting to the set (a fantastic duplicate of central Tel-Aviv in the sixties), the real treasure of it is the storyline - without a shred of doubt, one of the best ever written! Complexed, and yet so easy to follow, Kishon had written a masterpiece of a satire! If this film is ever to be made in English, it would become a huge success, 'The Full Monty' style - guaranteed! And if you happen to be a film producer looking for a break, perhaps you should take note of that and get hold of a copy!

The idea for this film is great because it's so original. However, the execution could have been better, as sometimes the film is handled a bit too broadly--subtle, it wasn't.

A mental patient escapes and soon happens upon a jackhammer. With a weird compulsion to use it, he begins tearing apart a street in Tel Aviv at 5am. And, the man continues jackhammering and disrupting life there non-stop--day and night. It's a nightmare for the residents who appeal to the government to do something. But, because the government is made up of idiot bureaucrats (now that's a stretch), nothing is done. After all, the officials reason, someone must have ordered this work to be done. Much of the film consists of these officials trying desperately to cover their butts and pretty soon they start taking credit for the mess--saying it's all part of a wonderful beautification project. They even order MORE workers to expand the project! However, one lowly official realizes the worker is insane but no one will listen.

It's a clever idea of bureaucracy gone mad--an excellent parody for any developed nation. But, all too often, the film seemed to have acting, direction and music that all worked together to try too hard to make the film kooky. I think a more serious and less slapstick approach would have worked better, as this film has almost a Sherwood Schwartz quality about it (he's the guy responsible for "Gilligan's Island"). Not bad--but it should have been better.

You can't judge The Big Dig by 21st-century standards of comedy, and certainly not by 21st-century standards of political correctness. A fellow escapes from an insane asylum and merrily upsets the order of things in Tel Aviv. We don't even call them insane asylums any more, and we certainly don't laugh at the patients' behavior. Nor, for that matter, at the accents of minority groups, nor at overly friendly relationships between bosses and secretaries.

But those were different times. Kishon's point was to satirize the bureaucracy, always a timely target, and he recruited an impressive cast of Israeli comedians although his most impressive feat, spoken of with awe to this day, was to realistically recreate a large, well-known Tel Aviv intersection on a movie lot-- and flood it with water. In terms of scale, that makes The Big Dig the Ben Hur of Israeli comedies.

The movie isn't too well integrated-- for example, the reaction shots sometimes seem pasted in-- but the actors know what they're doing and they do it well, notably including Bomba Tzur in a lead role that requires him to be amusing without amusing lines.