Laços Sagrados

Some have called this movie anti-religious, other argue that it shows Israel is a real democracy, financing movies which criticize all the aspects of its society, probably in a more abstruse way than European cinema today. More than the controversies and even the story, I remember the actors' talent. Especially Meital Berdah. In the movie, she plays the role of Yaël Abecassis' sister. I would think that in real life, she's Jennifer Connelly's sister. She has the same worrying strength on screen, the same charisma. When Connelly leaves her nightmares in Requeim For A Dream, we're both afraid and attracted by her eyes. The feeling is shared when Berdah leaves her neighborhood for a better life, trying to let a bitter marital experience slide, washed down the drinks of lowlifes who hang around the bar where her lover works.

I would agree that this film progresses at a very slow pace but the story about the secretive world of orthodox Judaism is interesting. In spite of being traditionalist Hassidism is relatively modern to the long history of the Jewish religion being formed amongst Eastern European Jewry in the 18th century, partly as a reaction to anti-semitism and secularism.

The director Amos Gitai has taken on a very difficult task in portraying this sect of Judaism. What is put across well is the incompatibility of conservative traditionalism with a secular society and how suffocating and repressive religious strictures can be. A good story but one that could have shown in more detail the contrasts between the reality of secular Israeli society and the closed world of mysticism.

Gritty, realistic indictment of religious fanaticism among the ultra-orthodox Chasidic Jews of the Mea Shearim section of Jerusalem, a place so extreme that women are stoned for daring to go sleeveless, cars stoned if driven on the sabbath. The film's exceptionally deliberate, slow pacing and ascetic economy steadily build an unbroken, smoldering, muted intensity, which, along with the fact that it offers a rare, highly detailed glimpse into an insular world, is probably why this modest production was the first from Israel to be accepted for screening at Cannes in 25 years.

The dramatic structure is simple, symmetric: two sisters, one forced out of, the other into marriage, dramatize the severe oppression of this fundamentalist sect. Woman's only function is to procreate, to furnish the legions who will overrun the sect's enemies. In his morning devotions the husband thanks god for not making him a woman. Kadosh, which means sacred or holy, is here used scathingly, bitterly ironically.

The personal needs of the individual--love, privacy, self-determination--are pitted against the demands of society, an old theme. Though this particular sect is unusual, downright medieval, in its absolute adherence to the letter of the law, it is not unlike in kind, if not degree, fundamentalism everywhere else. All fundamentalists view sex with suspicion and dread, all strive to restrict it. Femininity is uniformly degraded, regarded as inherently unclean, the devil's work.

The film's only misstep, the death, occurs at the very end, but it weakens the credibility of everything that preceded it. Though its justice is poetic, its unlikelihood and obvious appeal to emotion belie the restrained realism of the rest of the film, jumping out like an editorial intrusion in a factual documentary, striking as false a note as magic realism would have in this context. It made wonder about the politics and intent of writer-director Gitai.

The majority of Israeli's do not cast a dispassionate eye on their Chasidic brethren. The ultra-orthodox wield a disproportionate power over the life of Israel by virtue of their crucial swing vote in a fragmented multiparty system. Just as no Republican can hope to secure a presidential nomination without the backing of the Christian Right, even though it accounts for only 15% of the GOP, so to no Prime Minister can be elected in Israel without the support of the fundamentalists of Mea Shearim. Because of this they are able to inflict on the nonsectarian majority their sectarian laws concerning the observance of the sabbath, dietary restrictions, divorce, etc., in addition to refusing to participate in the universal military draft. The divisions are deep and rancorous. The purposes of Kadosh may be overly specific, vengeful, political. Though opposite, it may be as drastic as what it condemns. The Chasids, particularly the Rabbi and groom-to-be, are portrayed as authoritarian ogres.

Whatever its faults, however, at least it deals with fundamentalism on a more level playing field than two fundamentalist films released recently, The Straight Story and Color of Paradise, which by no small coincidence were shown in the very same theater. Unlike the latter two, a least it doesn't hold out false promises, hide a sinister heart behind a smiling face. Not surprisingly, the theater was practically empty, as opposed to being nearly full for the other two, escapist, vehicles. (If I were a fundamentalist, mightn't it be too easy to deride film as corrupt, the enjoyment of Philistines?)

I was very moved by Kadosh, which I think is a very fine movie. Some scenes are a bit sketchy, and I was puzzled by the ending. But the acting is superb and the story is deeply moving.

I walked away angry at the way women are treated in this ultra orthodox religious sect of Judaism, but it could have been an ultra religious Christian sect or some other religion - the point is that too many traditional religions treat women as seond class, oppressed persons.

Remember what Marx said: Religion is the opiate of the people. perhaps he was correct!

Judging from the number of comments, KADOSH seems to have received more international exposure than many better Israeli films have. I would hate to think that the reason is that KADOSH encourages the audience to feel superior to the Orthodox Jews, because as other comments have pointed out, the film misrepresents the lifestyle of Orthodox Jews in both big ways and small. I understand there is a tiny industry of ultra-Orthodox Jewish video dramas in Israel, and it would be interesting to see in contrast how these people portray themselves; but few outsiders are likely ever to see those productions because of their commercial appeal is nil. The portrayal of the ultra-Orthodox is left to well-intentioned distortions like THE SECRETS (a more recent Israeli film) and to viciously intended distortions like this one, in which the camera moves from a dead body to a shelf of Jewish books and a Jewish candelabrum as if to say "The blame lies here."