La fiancée syrienne

The Syrian Bride (2004) was co-scripted and directed by Eran Riklis. The film is set in the occupied Golan Heights. (Note: I'm not an expert on the Israeli-Syrian conflict, nor on the Druze ethnic/religious community. I'll discuss the political situation shown on screen in general terms, and leave sophisticated analysis to other reviewers.)

The Druze are a minority within a minority. Most of them consider themselves Arab, but they are not truly Muslim--they have their own religion and their own rituals. Some Druze have more or less integrated themselves into Israeli society, but the family portrayed in the movie consider themselves Syrian. They demonstrate solidarity with the Syrians whom they can see and hear across the border. However, crossing the border into Syria is difficult, and returning is impossible.

While the Israelis and the Syrians soldiers eye each other with hostility across the barbed wire, Amal, a young woman--the very beautiful Hiam Abbass--is attempting to cross from the Golan Heights into Syria to marry a man she has never met. Because of the regulations, she will never see her family again. This sad and bizarre situation is played out against a backdrop of family antagonisms, bureaucratic incompetence, and petty malevolence. Amal's father Hammed--Makram Khoury--has to walk a fine line between saying goodbye to his daughter and resisting the Israeli military attempts to silence him. Hammed's other daughter, Mona--played by Khoury's real-life daughter Clara Khoury--is trapped in a loveless marriage, and is trying to simultaneously comfort her sister and achieve her own independence.

Nothing goes right, despite the efforts of a harassed U.N. official, who has seen her share of bizarre border incidents and by now has apparently accepted as commonplace the absolute madness taking place all around her.

There were a few comic elements in the movie, but I see it as a tragic film about a tragic situation. "When kings fall out, poor people tremble." The characters in this film are trapped in a toxic situation that they didn't create and can't control. As always, the wars of bullets and of words play themselves out in the lives of people who are simply trying to lead a reasonably normal and happy life.

THE SYRIAN BRIDE would probably best be appreciated by those who understand the intricacies of border rules and inter-country regulations that dominate the plot of this well made but a bit obtuse film.

The story takes place on the wedding day of a beautiful bride, a Druze woman in Majd Alshams, a pro-Syrian village located in the conflicted Golan heights (factions pro-Syrian and pro-Israeli live uncomfortably in Druze villages). Our bride is to marry (by arrangement - she has never met him) a Syrian TV soap opera celebrity. The problem arises in that this will be the last time that she sees her family as once she crosses the border into Syria accepting Syrian citizenship, she can never return to the Golan Heights to see her family. The wedding is further complicated by the return visit of her brother who has been away for 8 years having married a Russian by whom he has a son: the brother and the son are in conflict. And to make things worse, the paperwork at the border to allow the bride to join her husband to be in the wedding is held up by political paperwork. How all of these factors impact the bride's future is played out by the families on both sides.

The script tries to make the story seem credible but to those of us who still don't understand the intricacies of the territorial parceling of that area of the world or the traditions of Arab marriage etc, this plot seems ponderous and heavy. The actors are all excellent and there is something in each character with which we can identify. A little background on customs before the film begins would have helped immensely as the movie itself is very well done. Grady Harp

Of all the movies I ever saw, this one reminded me of the sixth sense.

In the sixth sense (which, let me state right now, has nothing to do with this film in any way, shape or form) one must ponder of serious holes in the plot. Holes that if considered, make the movie completely incoherent. I won't get into detail because I don't want to spoil the movie for the three remaining people who hadn't seen it yet.

The Syrian bride revolves around Amal, a Druze woman in Majd Alshams, a pro-Syrian village that is located in the Golan heights (I'll get into the pro-Syrian and pro-Israeli Druze villages later on). Amal is about to marry a local Syrian celebrity, whom she saw only in the soap-comedy he stars in. This wedding is more than just a plain wedding, it's the last time she will see her family because once she crosses the border and receives the Syrian citizenship, she will never see her family again (unless they meet on a neutral turf such as abroad- Hole No.1). It goes without saying that this fact makes the event a bittersweet one. To make matters worse, the family, already morose over parting with Amal for good (if you disregard the plot hole) has to deal with the feud between the father, a conservative man who brushed with the wrong side of the law (for ideological reasons I couldn't fathom) and his son who was banned by the village elderly for marrying a Russian foreigner.

The wedding brings together the family of the estranged son, his hot-shot, teeth-gapped (a crucial fact in the film) womanizing brother, Marwan and his sister, Mona (Klara khouri in a great performance) a strong willed woman that fights for her independence as well as the one of her teenage daughter. A fight amidst a conservative society that still attributes female independence with male incompetence.

The family's inner "demons" cease to be its major problem when upon escorting the bride to the border, the family faces the weenie Israeli bureaucrat and the ridiculously stubborn Syrian bureaucrat preventing the bride from crossing the border and uniting with her future husband.

The story is essentially a personal one when the political atmosphere plays as an intensifier. The Pro-Syrian Druze who are protesting against the Israeli occupation and for Bashar Elasad (who occupies Lebanon till today, Plot hole No. 2) are in a constant conflict between the country they feel they belong to and the country they currently reside in (as opposed to the Pro-Israeli Druze who serve in the Israeli army and show a remarkable awe-inspiring loyalty to Israel that I rarely witness).

Conflicted emotions, both political and personal, dictate the entire film and with a sometimes over simplified but altogether credible script and with a subtle direction that depicts very authentically (or at least seemingly authentic to the Jewish viewer such as yours truly), the movie creates the emotional effect that transcends the political agenda its based on.

As another reviewer pointed out, this film is the example of the drastic improvement that Israeli films went through the last couple of years when the personal movies became top priority and not the political ones. This movie is a completion of the process by combining the two ganres successfully (once you disregard the holes) to make a film that people can isolate themselves from its ideology and enjoy its overall undeniable,qualities which is, as you probably have guessed, what I did.

9 out of 10 in FilmOmeter.

This deceptively modest 2004 film lingers in the memory because of the bigger sociopolitical context that Israeli director Eran Riklis provides in setting his story in the Golan Heights, an area occupied by Israel since the Six-Day War in 1967. Over the course of one day, the story revolves around an extended Druze family in the northern village of Majdal Shams where they are preparing for the wedding of youngest daughter Mona. The catch is that she has never met the groom, a distant relative who happens to be a big Syrian TV personality in Damascus. It sounds like the source of comedy hijinks, but there is a sad undertone because once married, Mona officially becomes Syrian and cannot return home to her family.

The intended couple, however, is not the focus as much as the family dynamics that become ignited by the wedding. The patriarch is Hammed, a political activist on probation, and he has two sons - Hattem, who has been cast out by the conservative religious cabal for leaving the country and marrying a Russian woman, and Marwan, who provides the comedy relief as a womanizing salesman. The glue of the family, however, is provided by eldest sister Amal, who defiantly stands up to the men in her family and wants to get her bachelor's degree in Haifa. The first hour deals mainly with the standard pre-wedding confusion, though it happens to take place on the same day that Syrian President Bashar al-Assad succeeded his father, but the last half-hour takes place entirely at the Israel-Syria border crossing where the officials from both countries refuse to cooperate with a negotiating Red Cross worker in allowing Mona to enter Syria.

With its primarily somber tone, this is no Middle Eastern derivative of "My Big, Fat Greek Wedding", but Riklis and co-screenwriter Suha Arraf supply genuine warmth toward the characters and bring immediacy and credibility to the personal situation at hand. The acting is solid with Hiam Abbass the standout as Amal. There are nice turns by Makram Khoury as Hammed, his real-life daughter Clara as Mona, Eyad Sheety as Hattem and Ashraf Barhom who steals scenes as the gap-toothed Marwan. Special mention should be made for Michael Wiesweg's expert cinematography which perfectly captures the mostly sun-baked terrain. This is a case where the 2006 DVD package from Koch Lorber is invaluable for the context it provides to the movie's story. The making-of featurette, an extensive interview with Riklis and his accompanying commentary all help considerably in understanding the political situation that both drives and reflects the wedding preparation complications. Also included is the original trailer as well as the U.S. version.

In Majdal Shams, the largest Druze village in Golan Heights on the Israeli-Syrian border, the Druze bride Mona (Clara Khoury) is engaged to get married with Tallel (Dirar Suleiman), a television comedian that works in the Revolution Studios in Damascus, Syria. They have never met each other because of the occupation of the area by Israel since 1967; when Mona moves to Syria, she will lose her undefined nationality and will never be allowed to return home. Mona's father Hammed (Makram J. Khoury) is a political activist pro-Syria that is on probation by the Israeli government. His older son Hatten (Eyad Sheety) married a Russian woman eight years ago and was banished from Majdal Shams by the religious leaders and his father. His brother Marwan (Ashraf Barhoum) is a wolf trader that lives in Italy. His sister Amal (Hiyan Abbass) has two teenager daughters and has the intention to join the university, but her marriage with Amin (Adnan Trabshi) is in crisis. When the family gathers for Mona's wedding, an insane bureaucracy jeopardizes the ceremony.

"The Syrian Bride" is an impressive movie, especially considering the nationality of the Israeli director Eran Riklis. I had no idea that in the twenty-first century could exist a place where people has "undefined nationality". The metaphoric situation of the Druze people, represented by the bride and her family, trapped in the non-sense bureaucracy, lack of interest from the governments in resolving the problem and having to face arrogant heartless authorities represented by the despicable chief of the Israeli police is amazing. The acting is top-notch, the plot is original and unique and I really loved this great movie. My vote is eight.

Title (Brazil): "A Noiva Síria" ("The Syrian Bride")