Paradise Now

I thought this was a very powerful and well-made film. The acting was excellent, as are the script, direction, and cinematography. Perhaps the biggest challenge with a film on such a controversial topic is what position it takes, but as a moderate American Jew, I felt it took as objective a position as possible. It does not push one side or another, but merely tells one story about two men chosen for a suicide bombing mission. I was concerned there might be an attempt to get the viewer to sympathize with the would-be bombers, but did not find that to be the case. Ultimately, the story leads you to sympathize with the families and friends of these men, demonizes those who have led them down this path, and simply humanizes the men themselves. There have been some criticisms of the film for focusing too much on Palestinians and essentially reducing the Israelis in the film to background and setting, but I think this was necessary. This is not a documentary about suicide bombings; it is the story of two of the suicide bombers themselves.

If I were to tell you that Hany Abu-Assad's Paradise Now is about two suicide bombers, you'd probably wince a little. However, if I told you that the film was a humanization of two Palestinian men planning to conduct a suicide attack on Israel and that the film paints a respectable portrait of the moral and human complexities involved in such an extreme plan, I'd hope you'd think twice. The film concerns Said and Khaled (Kais Nashef and Ali Suliman), two lifelong friends living in Nablus, working rote jobs as mechanics and passing their time by discussing Israeli-Palestinian conflicts over hookah. The two are recruited for a suicide bombing in Tel Aviv, and go about their daily lives, maintaining as much normalcy as they can in public until they comfortable hide away in a secret hideout with numerous other Palestinian extremists, carrying out their plans of action. These involve complex, down-to-the-minute plans being orchestrated along with the creation and promotion of videos glorifying and praising Allah in the midst of orchestrating these attacks.

A key humanization comes during the filming of the video glorifying Allah. Said stands tall, hoisting a rifle and talking about his loyalty to Allah and the message he brings. After one take, the director discovers the video didn't record properly, so they're forced to set up and do it again. Another technical-difficulty occurs during the second taping before the third taping gets it right on the money. Following the director's demand to "cut," Said yells upstairs to his mother that he found water filters cheaper at a place they normally don't go to.

Such dialog seems trite and padded, but writers Abu-Assad, Bero Beyer, and Pierre Hodgson include these kind of things as a reminder that these suicide bombers are, one, indeed human, two, have families, and three, don't always operate with the kind of breakneck sophistication that we see dramatized on Television shows and Hollywood movies. Mainstream American cinema has had us quietly conditioned to think that everyone in the Middle East is an enemy that possesses enough power and wit to take down America and all its people, almost encouraging us to sleep with one eye open. Abu-Assad, in an act of deviance, shows us the kind of amateur setups these operations often are and the humanity of the characters that are involved with these sort of incidents.

In all the glorification, the frenzied reports, and the fear-mongering in America that concerns the Middle East, America's war efforts in Iraq and Afghanistan, and the proclaimed War on Terror, Paradise Now is a refreshing and necessary watch to at least give us a more realistic view on how these operations can be conducted. It's rare we see characters like terrorists and suicide bombers drawn in multiple layers, if even presented as characters at all, so the fact that Nashef and Suliman's characters are given names and personalities is a huge step in a progressive direction. The bravery to make a film like this and rise above all the nonsense was a bold feat on part of Abu-Assad and his crew, who had to jump through several hoops to get this film made.

From attacks on the set, to interference from actual protest, to threats of censorship from the Israeli government, Paradise Now was in production in the 1990's, but repeated incidents of drama and danger prevented its completion until 2005. Following its release, it became the first Palestinian film to be nominated for the Best Foreign Language Film at the Academy Awards, deservingly so. In response, Abu-Assad made probably one of the best comments that could've been made about the film's recognition, saying, "the politicians want to see it as black and white, good and evil, and art wants to see it as a human thing," reminding people that, at the end of the day, these are human lives we're talking about on both ends of the spectrum and that fact should never be lost despite being amidst a wealth of oversimplifications.

Starring: Kais Nashef, Ali Suliman, Lubna Azabal, and Hiam Abbass. Directed by: Hany Abu-Assad.

Paradise now is a very realistic film about the Israel-Palestine conflict. Therefore it's a very contemporary film concerning a topic that still receives a lot of media attention.

The film follows Said and Khaled, two friends who are recruited for a suicide bombing in Tel-Aviv. However, something goes wrong and the attack is postponed. Said and Khaled now have the time to think about what they are going to do.

The feelings of the two leading characters are carefully explained and brought to you very realistically by an outstanding performance of Ali Suliman and Kais Nashef. Though it's a little long-winded in the end the story is excellently written. The film explains a difficult situation without taking a stand or forcing you to do so. People who've seen this film will hopefully better understand the Israel-Palestine situation.

Conclusion: Paradise Now is a brilliantly made movie and a must see for everyone.

PARADISE NOW, like THE WAR WITHIN, educates an American audience on the tragedy of the complex battle of "Arab vs. Jew" and does so in a film that brings this struggle home to the West Bank and gives us a picture of two friends selected to carry out revenge for the death of fellow Palestinians. Well constructed, realistic, informative and yes, even humanistic in presenting us with characters that we would immediately disregard with hatred and contempt.

The journey taken by the friends is painful, personal and disturbing, in that the killing of Jews will only extend the bombings and killings of more Palestinians within the West Bank. PARADISE NOW shows us that the historical roots of hatred between Arab and Jew is one that will never go away, and the film points out this factor visually in building to the final scene on the bus in Tel Aviv. When the camera narrows down to the eyes of the bomber, surrounded by healthy, happy Israeli soldiers, the intense moment of self destruction is inevitable.

The shots of Tel Aviv, the West Bank, the excellent cast, direction and writing and development of the characters makes PARADISE NOW a very important film to see in 2005.

As interesting as it was, as undeniably striving for objectiveness, original in its approach and well-made both visually and in terms of production values, I found Paradise Now a little weak narratively, especially in the central part. But when a filmmaker decides to tackle a theme of this calibre, a subject as thorny and well... explosive, not to mention one involving such daunting amounts of moral responsibility towards humankind, you cannot help but feel in awe of their courage a priori.

The attempt to shed light on the unfathomable – how a healthy, "average" young person could ever wish to become a suicide bomber – is quite successfully carried out, and is probably one of the movie's strength. It was the main reason I watched it and possibly Paradise Now's main purpose successfully nailed – and that really is no mean feat. On the other hand, I was confused by the shifts in focus between personal drama (Said's resentment against his father and desire to be different from him) and socio-religious-historical content at the beginning of the movie's second half. I wasn't sure what the director was trying to do... It's impossible to deny, though, that the tension never lets up during the whole time that Khaled and Said have the explosives strapped to their abdomens, much to the filmmakers' credit.

Even more shocking, though, are the accusations levelled against the movie by ordinary viewers – that it's allegedly an apology of suicide bombers, and pro-kamikaze propaganda. Not all these accusations come from Israeli viewers - though most are (while at the same time, many Jewish reviewers loved the movie). One Israeli mother I read from who lost her son in an exploding bus in Tel Aviv claims that humanising the suicide bombers is the equivalent of a direct insult to the memory of her murdered child. Though you cannot argue with the grief of a mother who loses her child in such a horrendous way, you cannot help asking yourself what such people expect: that suicide bombers be portrayed as two-dimensional monsters complete with horns, forked tongues and slitty snake pupils in their eyes? This doesn't bode well for the future of the peace process in the Middle East. Meanwhile, Hany Abu-Assad has tried to give his own personal, brave, heartfelt contribution, and this viewer looks forward to more cinematic efforts from this talent.