Alila

this is a film that tries to criticize Israel's public morality.It addresses several issues such as: fornication, racism, immigration,national pride and allegiance to state ideals.both female protagonists have sexual encounters that are outside the norm.The one ends up in grief and the other one is dismissed as insignificant.The Arabs receive pejorative characterizations many times through out the film.the Chinese immigrants sleep in a van they are entities that the state refuse to recognize but they serve as cheap labor for the Israeli civilians, they wonder around freely in the streets of tel-aviv and they don't get deported because of corruption of the police.The boy wants to flee from the army and seems to express a form of indignation towards it's country.Sporadically we are informed about various conflicts between Israeli-Palestinians, suicide attacks, political controversy, etc.Apparently for Gitai Israel is in a state of turmoil, THE OLD GODS ARE DEAD and the new ones are not yet present, in other words Israel is in a transitional state. Cinematically speaking some of the vignettes are interesting and some extremely clichéd and boring, some they last too much time especially some sex scenes.the acting overall is good.It is a pity because Gitai tried to achieve a social commentary towards his country and also to portray some dramatic tension and i think he was lame in both of them.But i recognize his noble intentions so i will give his next film a try if can get hold of it here in Greece.

"Alila" is a snail-paced series of vignettes about life in one Tel Aviv neighborhood. The film features roughly a half dozen stories playing out simultaneously, most of them focused on a single apartment building and the people who live and work there. Gabi is a young woman who's having an affair with an older married man named Hezi, who has set her up in her own little unit in the complex where he comes to visit her periodically for passionate sexual encounters. The second major plot strand involves Ezra, a building contractor, who is helping to add what may be a possibly illegal wing onto the building. Ezra, who lives in the van he uses for work, has an ex-wife whom he still loves and can't seem to leave alone, as well as a teenaged son who has gone AWOL from the Israeli army because he doesn't believe in the cause for which the military - and, by extension, the nation - is fighting. There are several other plot strands running throughout the film, but these two are the most prominent and, in the second case at least, the most compelling.

If writer/director Amos Gitai had managed to pick up the pace a bit and brought a little more cohesiveness to the narrative, "Alila" might have been an interesting little movie. The tale involving the young boy and his divorced parents is, by far, the most intriguing, and one wishes that Gitai had simply made the film about that storyline and jettisoned the rest. The part dealing with Gabi and Hezi is not only hackneyed and dull, but involves a change of heart on the part of Gabi that is so arbitrary and poorly prepared for that it seems as if large chunks of the film had inadvertently tumbled onto the cutting room floor and been swept out with the trash. One character in the film even has the incisiveness to analogize Gabi's life to the infamously bad soap opera "Back Street" - and how right she is! Apparently the filmmakers were incapable of perceiving and acting upon the astute self-criticism inherent in the comment. The other stories are even more dull and uninteresting - although, mercifully, they take up far less running time than this one. The film touches ever so lightly on such topics as the tensions between Arab and Jew, and the problems of illegal immigrants in the country, but neither issue gets much in-depth analysis from the filmmakers.

The acting is good, especially in the one episode that really counts, but even that isn't enough to pump some badly needed life into the film. "Alila" meanders down its long and monotonous path, only to wind up pretty much where it started at the beginning.

Inevitably perhaps for a contemporary Israeli film, the ongoing conflict between Israelis and Palestinians looms over the lives of Alila's protagonists: in the film's opening scene, one of the main characters - a man of 18 or 19 - is on his way to an army barracks; several times during the film we overhear reports of suicide attacks on a radio in the background. But for most of the film, we're more occupied with the personal lives of the protagonists, whose problems (why do I keep seeing this person? why doesn't my ex-spouse just leave me alone?) are more universal.

And, on the whole, these people's lives keep us reasonably well entertained for 2 hours. They're an interesting enough bunch and the cast is consistently strong. But for me, the film is ultimately let down by its script: the dialogues are flat at times, the protagonists rarely get the chance to show more than one side of their character, and - despite showing us all manner of human folly - the tone is a bit heavy side. A film worth seeing, but no masterpiece.

OK, not all the acting was top-notch. Or maybe not understanding much Hebrew deprived me of some of the subtext (especially the policewoman). But a plot with little motion is very hard pull off successfully. And I think Gitai succeeds wonderfully. The plot in our lives usually moves no faster than this. Does that mean our lives are without meaning? I was five years old when I was in Tel-Aviv, and I remember it being beautiful and modern. This was a bit of a shock for me. But this is actually life almost everywhere, even in the US. Politics is mentioned only peripherally, leaving us to ponder on the actual lives of individuals. The people are real, and politics is still there and does affect people, no matter how much you want to ignore it. But the movie is still about people. And this is a beautiful portrayal of their lives. Every character has some sort of frustrated passion. I recommend this movie.

I'd like see someone from Israel comment on the policewoman. She has an unusual way of talking, a strange hairdo, and some important story significance. Does she represent a stereotype of an anti-Arab? Or is there some other comment the author wants to make?

An interesting innovation is the introduction of the cast by announcing the names as they appear on the screen. It heightens our interest in what is to follow and acquaints us with the sound of a different language.

The film gives us a glimpse of numerous facets of Israeli life-styles of a group of tenants occupying a run down apartment block. Broken marriages, kept women, illegal employment of immigrants, corruption and avoidance of army duties set the scene for a rather unhappy collection of people. Life is hard and unkind and the future is unpredictable.

The numerous characters in the film give convincing performances although the police investigator at headquarters, a woman with a raucous laugh, seemed to me a bit unreal. The hot sweaty atmosphere in stuffy rooms is well developed and the much prayed-for rain falls down in buckets.

Ezra and Mali have a son Eyali due for military service, but the lad rebels against the system. "The army stinks" he says. "This whole country stinks". Frustrated he wanders the streets in desperation. Ezra and Mali already divorced have a problem son on their hands.

Mali has a long time girl friend called Gabi. Gabi is not married. Gabi meets a stranger for sex in a rented room on a regular basis. He is much older and a bit of a mystery character. He insists that their meetings be kept an absolute secret. Of course, this gives the movie maker a great opportunity to throw in a few sex scenes both on the bed and under the shower.

Ezra contracts building jobs using Chinese immigrants. This flouts the law, but there are ways of circumventing the law when you have the appropriate neighbours. Leaky dwellings and corroded power boards add to the every day problems and simply provide some background to a not very strong story line.

On the whole well done, but not very exciting and one hopes that the excellent actors will be given better material to work with in the future. There is no direct terrorism in the film as we might expect but it is alluded to from time to time in conversation and we hear mention of it in radio broadcasts.