La visite de la fanfare

This little police orchestra from Egypt arrives in Israel and gets lost. They end up in the most boring village you've ever seen. On the surface. Soon different kinds of relations starts, between different kinds of people. We are all individuals.

This is not just a small-talk tale about the fruitful meeting between two cultures and two powers. It's also about loneliness and how people cope with it. There's the loneliness from being old, the loneliness from being sexually outspoken, the loneliness from being retarded when it comes to passion. It's both a very sad and hopeful movie.

Perhaps the main theme is music and the consolation which is possible from it.

The band, an group of eight Egyptians looking slightly stilted and uncomfortable but always professional, are dropped off at the Israeli airport, but there is no bus to drive them. They eventually get one, but it drops them off in the middle of nowhere. They walk to a local restaurant/dive that's about as empty as the rest of the small town - it's the wrong town, of course, as one letter was off in the name of the town of the band-mates inquired about. So it's time to stay overnight in this sleepy little desert town before things get straightened out to their destination.

With that simple premise, Eran Kolirin creates an atmosphere that seems like the awkward, piercingly funny but "low-key" (in other words not overly dramatic) characters in a Jarmusch film, and despite the 'small' nature of the story, that there isn't very much to go in its 80 minute running time, a lot can be explored through interaction. This is probably not a 'great' film, but it is a great example for those skeptical that an Israeli film has to have some political context or subtext or whatever. The only scene that has the hint of unease between Israel and Arab is an already warm, strange scene at a dinner table where an Israeli man recollects singing "Summertime" as everyone at the table joins in. There are looks exchanged here and there, but nothing to suggest unrest of the expected sort. This story could take place in just about anywhere.

By aiming things towards the little details of people relating on terms of friendly interaction, of the light dances of affection like between the boy who "hears the sea" and the "gloomy girl" at the skating rink (probably the single funniest scene without a word spoken, all movement), the first-time director creates a little play on people who live and/or work in a marginalized part of the world. That doesn't mean they're poor or ignorant, far from it. But it's a sweet view into people we otherwise wouldn't know much about (after all, who makes light, wise comedies on the misadventures of a police band from Egypt?) The performances are endearing, the music has the ring of not taking much too seriously, and melodrama is kept at a low (if not, in the underlying sense, melancholy). Only a few scenes (like the running story strand of the officer and the other guy waiting at the pay phone) fall sort of flat based on the tone already sent.

I liked this movie. As a viewer, I was subjected to a wide range of emotions during this film: joy, frustration, embarrassment, delight and so on.

One must understand that Israel and Egypt had been long time enemies (until the peace agreement in 1979) and that Israeli Jews and Arabs have very different views on so many matters. Within this context the humanity of the film really shines. People of such different backgrounds are basically the same; Same hopes and aspirations, same fears and frustrations etc. The same things make all of us tick.

This film is also about strangers and others. And how we can help one another. The scene with Haled and the Israeli boy and girl in the skating rink is, my opinion, classic.

enjoy

A movie that should be getting lot more press.

Enjoyable and bit quirky to see the kinds of situations people get into, that are much like we may experience anywhere else in the world.

Others have laid out the plot well and nothing more needs to be said about how the story develops.

I found two scene in this movie the kind that one must remember, rather like the many one may recall from Bogart in Casablanca.

The exchange at the phone and the scenes at the skating rink are precious and very well acted.

This is a movie I recommend seeing and then putting into memory to come back and see again and again just for the pure pleasure of a well developed comedy.

In an ocean of predictable movies, "The Band's Visit" is an island of bliss. When you see the advertising about the story of an Egyptian police band getting lost in Israel, you're likely to roll the film instantly in your mind - conflict, hatred, perhaps some awkward humor, and a forced bit or two of vague optimism about the future.

Forget all that, it's some other movie. This one is free and clear of anything set, routine, obvious, predictable. "The Band's Visit" is about people - mostly awkward, all real, well- and ill-behaved in turn - and not about agenda, ideology, politics. It's an unsentimental "people movie" (remember when Hollywood used to churn those out?), enormously likable, a treasurehouse of humanism.

"Visit" is also a film you have to work with. It's not dumped on the audience in its fullness by its writer and (first-time) director, Eran Kolirin. Action is slow or nonexistent, dialogue is halting, silences are rampant. And yet it all works so well: even if you have never heard Egyptian music, when the band finally plays (as the end-credits roll), you're guaranteed to groove on it.

Kolirin is a writer and director of great economy. The characters of and relationships between the eight band members - in their powder blue, Sgt. Pepper-wannabe, uniforms are revealed through a word here, an expression there, and pretty soon, you really know them... except that later you realize you didn't.

The head of the band, Tewfig, is an officious, prissy, downcast, silent figure, and yet as the camera stays on him a great deal of the time, slowly you are getting used to him, and when he finally puts together a couple of full sentences, you may feel acceptance and even appreciation.

It is at this point, far into the movie, that you understand why Dina is pursuing him. Dina is the attractive - if blowsy - owner of a small cafe in the Israeli desert town where the band is stranded. There is much, much more to "Visit," but just watching the Tewfig-Dina story, and reveling in the performances of the two actors, is well worth the price of admission.

The band leader is Sasson Gabal, and I must admit being incredulous finding out after seeing the movie that he is a famous Israeli actor. Not only does he appear authentically Egyptian, but when starts singing an Arabic song - oy! Dina is Ronit Elkabetz, an actor so fine that you'd never suspect her of being one; what you see on the screen is the character, totally believable.

"Visit" is a rare film, one that keeps running in your mind long after the band strikes up.