Tu marcheras sur l'eau

"Walk on Water" is courageous film, confidently directed by Eytan Fox based on the screenplay written by his partner Gal Uchovsky and well acted. Its subject is a Mossad's agent whose new mission is to hunt the former Nazi criminal who lives nowadays somewhere in South America. In order to trace him, Eyal (Lior Ashkenazi) takes a job as a tourist guide for the grandson of war criminal - sociable, open, friendly young German, Axel. Axel arrives to Israel to visit his sister Pia who chose to live in Israel and work in a kibbutz and to talk her into reconciling with their parents. Eyal drives Alex in his SUV, shows him the country. They sit on the coast of Dead Sea, both smeared by celebrated therapeutic mud from neck to toes. In another scene, Alex tries to walk on the water of Kinarteth (the Sea of Galilee); three of them visit the gay- bar in Tel Aviv - Alex does not hide his sexual orientation.

The characters are interesting and compelling. The story is engaging and I feel connected to the movie the way very few movies make me. I recognize the places I've been to and I've come to love and to dream of seeing them again and again. The film starts in Istanbul, Turkey on the boat over the Bosphor and the guide talks about the bridge between Europe and Asia. I've been on the boat like that and I saw the bridge. Then the action takes place in Israel and I was happy to recognize Tel Aviv, Jerusalem, The Sea of Galilee (Kinereth), The Dead Sea where one just floats without swimming, the desert.

The plot moves from Israel to Berlin where Eyal is visiting with his new friend's family. Alex's and Pia's father celebrates his anniversary and for the first time, a helpless dying old man arrives to Berlin, the Nazi criminal, Axel's and Pia's grandfather, Eyal's target. The film explores the moral dead ends of the modern society full of hostility and old unpaid debts. Eyal remembers the history of his country and its people, he knows not from the books about Holocaust. He is a soldier and must be merciless but he has to learn something about understanding from his young German friend. Film attracts by the non-standard approach to the familiar themes of religious prejudices, homophobia, neo-fascism, newest terror and other sources of the hatred, which destroys the world. It would not surprise me to find out that the film has many detractors in Germany, Palestine, and in Israel. The final is a little too neat and belongs to the modern fairy tale genre. I see it as the director's dream that he wanted to come true - the people with different backgrounds, mentalities, history, and preferences would understand one another and would come toward one another with the open hearts and clean thoughts. Dreams, dreams...

I thoroughly enjoyed this film. It was entertaining, educational, and thought provoking... enough so for me to register with IMDb and write about it here.

This film takes on a multitude of social issues, some of them very superficially. However, because it has a solid plot, excellent character development, and top-notch acting, I found myself engrossed in the film.

The only downside of the film is that it asks many many questions, but only really examines one or two of them. It might have been better to not confuse the theme of the film by introducing so many issues. But, for whatever reason, it works.

This film touches on Israeli-German relations, Israeli-Arab relations, homosexual relationships, heterosexual relationships, marriage and family life, terrorism-counterterrorism, and generational conflict. Of these, it really examines Israeli-German relations and homosexual relationships in most detail and leaves a lot of open questions on the other issues.

If you're thinking at this point that the film sounds like it might be a bit too heavy, think again. It does a good job of providing you with an entertaining experience while masterfully weaving in each of these issues. I would highly recommend it.

"Walk on Water" piles layers of personal, family, religious, cultural, historical, employment, geopolitical, sexual, geographical, guilt and responsibility issues on two men -- and still makes it work as the gripping story of two individuals whose lives affect each other.

I saw an interview with director Eytan Fox where he said he wanted to imagine the two most opposite men possible and make them deal with each other. With writer Gal Uchovsky, he focuses on two men who are almost philosophical constructs of dissimilarity yet they come across as real people whose actions and reactions are unpredictable.

The central character Eyal is the quintessential sabra (Israeli-born native), a craggy, macho Mossad agent unable to discuss his feelings about his ravaged marriage, a child of a Holocaust survivor, fatigued with terrorist attacks and revenge, but in the opening moments efficiently murders a Hamas leader.

He is sent by his mentor/father figure on a rogue mission that annoys him in every possible way -- going undercover to gain the confidence of a young German fully integrated into the EU whose every opinion, action, lifestyle and family background he despises, a continental take on "Donnie Brasco." They personify Faulkner's dictum that "The past is never dead. It's never even past." as each man learns that the measure of a man is not just what he does today and did yesterday, but the genetics and heritage that make up his identity and does influence his choices -- choices that we hold our breaths to see played out.

Lior Ashkenazi captures the screen projecting the relaxed casualness of male camaraderie comfortable from years in the military and then his reactions as he gradually realizes he's been thrust into more complex situations.

Though the situations get a bit too artfully complicated when their somewhat picaresque adventures range from the German's kibbutznik sister to Palestinians to skinheads and a somewhat unnecessary though emotionally satisfying coda, the dialog does refrain from a couple of the most obvious ironies as each man gradually reveals their true nature to each other.

Hearing "Achtung!" amidst Israeli folk dancing is among the unusual juxtapositions in a movie where the characters can only communicate across the divides in English, amidst the three languages they speak among themselves.

While the original music by Ivri Lider is particularly good at emphasizing the underlying emotional content and the diverse cultural environs they find themselves in, the selection of popular music they are listening to adds an additional level of knowing commentary, from the agent's preference for Bruce Springsteen, the avatar of rock 'n' masculinity (particularly the symbolism of him favoring "Tunnel of Love"), to European pop and oldies novelty songs to Israeli folk and popular songs, including the agent's great discomfort at having to translate a poignant romantic song from the Hebrew.

Sometimes the opening credits predict a great deal about the film itself. Sometimes it's a deliberate decision of the director and sometimes it's a plain business decision. James bond's movies always began with silhouettes of highly attractive women holding guns in a "I'm having a seizure" postures (a long and annoying tradition that stopped only on "Die another day") , Ed Wood films opening credits were presented as epitaffs on graves (indicating that people would see the films over their dead bodies) etc.

This film's credits are pretty conventional, only they are in English. This is more than slightly perplexing since this film is not only shot, mainly, in Israel but also because it deals with a topic that is highly charged and controversial among Israelis, namely, the collaboration with modern day Germany, in light of the not so distant past of the Holocaust.

Eyal (Lior Ashkenazi in a terrific performance) is a Mossad agent, returning from Turkey after an efficient and clean assassination of a Terrorist only to find that during his absence his wife, Iris, committed suicide. Eyal, an obtuse individual who only benefited from it in his work, seems unaffected emotionally by such a tragic loss and the worried powers that be demote him (to his dismay) to gather information about a Nazi criminal that lives a clandestine life in an undisclosed location. Eyal poses as a tour guide for Axel, the Nazi's grandson, visiting his sister in a Kibbutz (a once glorified and now decaying socialist community) after she disengaged herself from her parents.

The "Spying" mission turns soon enough to be a "Roman a clef", a self discovery voyage where Eyal deals with his upbringing in a house of Holocaust survivors and the flaws of his character that made him a first rate assassin but a third rate human being. Axel, the German tourists who starts as Eyal's nemesis (not only because of his origin but also due to his gay tendencies and his merry and merciful personality), ends up as the one who turns Eyal's life around.

The relationship with modern day Germany is still a touchy subject in Israel and will probably remain so for many decades to come. Till this day, many families don't travel to Germany or even buy German products and although I believe that no generation is born with a debt, I never judge those who boycott Germany considering the demons they have to face as a result of the never too distant to be forgotten Holocaust. This movie deals with the dealing of both Israelis and Germans with their past and with each other by the impossible friendship between Eyal and Axel.

The Latin credits, as I said before, are the prophecy for the filmmakers' intention for foreign viewing. It begins with the almost apologetic mentioning that Eyal's assassination "victim" is a terrorist , continues with the too PC and not very plot-essential coexistence with the Israeli-Arab population and the atmosphere of the gay night life.

Moreover, the film conveniently deals with another controversial subject, Palestinian Terror, in a manner that is easier for the European "creative stomach" to digest. At a certain point, its over flown with excessive self-righteousness that is rarely identified in a terror ridden country.

That reservation is the film's only major flaw and, altogether, the collaboration between the writer, Gal Uchovski, and director, Eitan Fuchs, spawns one of the best written and directed Israeli films I came across. Aided with wonderful acting and well constructed plot, this film encounters its major controversial issue bravely and authentically which I assume, atones the writer and driector's failure to do so in its minor one.

8.5 out of 10 in my FilmOmeter.

Eyal is a Mossad agent who specializes in terminating those that his agency deems enemies. Upon returning from a mission in Istanbul, he finds that his wife has committed suicide. Until he has been evaluated by a therapist Eyal cannot return to his regular field assignments and is given the task of getting close to the grandchildren of one of the last surviving Nazi war criminals in hopes of finding out where the old man is. The old man has recently disappeared, the man's son is nearing his 70th birthday and his grandson is coming to Israel to visit his kibbutznik sister.

Eyan poses as a tour guide and is quickly accepted by Axel, the grandson and Pia his sister. Eyan spends most of his time with the charming, spontaneous and open Axel but starts forming a friendship with both grandchildren.

Between his emotions over the death of his wife and his growing feelings for the two grandchildren Eyan has a crisis of conscience. Can he violate the trust the two have placed in him? Can he kill again?

Overall this is a well written; many faceted story, remarkably well told. I personally didn't care for the ending but I can't explain too much without giving away what happens.