When religion rejects pluralism and kowtows to predefined set of rules, allowing no space for discussion, then the ensuing orthodox establishment tends to weave rigorous control over its followers, and pits one against the other. Normally, the word religious extremism brings to mind ISIS soldiers, cloaked in black and carrying a black flag parading the streets of some long-forgotten, bombed-out Middle-East country. But religious extremism or stern orthodox beliefs are confronted at all levels of community, regardless of the country’s overt peaceful status. Israeli film-maker Emil Ben-Shimon’s The Women’s Balcony (Ismach Hatani, 2016) deals with onset of religious extremism within a serene Israeli, working-class community, where the moderate number of congregants go to their synagogue with an air of jubilation and festivity, rather out of fear. The film opens on a narrow street with a well-dressed young woman coming out of a house, carrying a dish container. Soon, we see group of men and women joining her, and they move rapidly through the narrow, stone-paved alleys, bearing infectious excitement before reaching their small synagogue.
The Women’s Balcony was written by
first-time screen-writer Shlomit Nehama who says she grew up in a similar
religious yet buoyant community. She effortlessly imbues an authenticity to the
characters and their conversations flow naturally. Particularly, the female
characters are written in an impassioned, believable manner that’s reminiscent
of Pedro Almodovar and Nadine Labaki’s films. The chief characters of the
narrative are: Ettie (Evelin Hagoel), a religious but independent
middle-aged woman; and her loving husband Zion (Igal Naor), an active member of
the small community. The joyous gathering at the synagogue is for Zion &
Ettie’s grandson’s bar mitzvah (Jewish coming of age ritual). The women in
their formal attires elatedly watch the ritual from their section, a balcony.
Elderly Rabbi, Menashe (Abraham Celektar) conducts the proceedings in an
easygoing manner. The turmoil then begins through visible structural damage. The
women’s beloved balcony caves-in and the accident puts Rabbi’s wife in a coma.
The old rabbi is in shock and the men of the congregation
move to a temporary place, although the new setting makes it difficult for them to
bring at least 10 men to fulfill their worship (a quorum of ten
Jewish adults are required for performing religious service, known as
‘minyan’). But one charismatic, smooth-talking young Rabbi, David (Aviv
Alush) brings his loyal students and takes charge of the prayers. The four men
of the tight-knit community, including Zion, confess their misfortune to Rabbi
David. They show him the collapsed temple, and David promises to help them
rebuild it. The men easily fall for the young Rabbi’s courteous sermons.
Although the Rabbi doesn’t deliver firebrand speech, he slowly and surely
injects his extreme orthodox beliefs. He ‘soulfully’ explains why it’s an honor
for women to keep them a little out of sight, covering their head with scarves.
When Zion buys a scarf as present for Ettie, she vehemently protests.
Furthermore, adding to the women’s growing frustration is that the rebuilt
synagogue doesn’t have a balcony. An adjoining, claustrophobic space in the
back is assigned for them. More alarming is how the new Rabbi’s cascading idea
wedges rift between the people’s unity. Hence, the women decide that it’s time
to rebel.
The Women’s Balcony was a biggest hit at Israeli box-office
which is understandable. It’s interesting to see how a country that thrives in
different areas of technological industries also has this dilemma over women’s
place in its religious lifestyle. Of course, this isn’t a political movie, but
only a light-hearted dramedy. Yet, the narrative offers brilliant insights on
the aforementioned dilemma without demeaning or angelicizing the characters.
Even though the specificity of the rituals may baffle those not familiar with
Judaism, gradually we could see universality in the character’s dynamics and
concerns. We could easily feel the agony of these once-happy congregants
reduced to wretched state and also their sharp anger on the annoying Rabbi, spouting
out-dated religious rhetoric. Moreover, thanks to Shlomit Nehama’s
well-attuned script, the narrative expertly focuses on each characters’ worries
and foibles, extracting humor and poignancy in equal measures. The story line
has all the ingredients to devolve into preachy drama, but each
narrative moment is well-grounded in genuine human emotions.
Ben-Shimon perfectly juggles between the tones, avoiding the
use of stereotypical behavior for the sake of few more laughs. He also uses the
real Jerusalem locations with ingenuity, setting the character relationships
and exploring the themes through carefully calibrated atmosphere (for example,
Zion and Ettie are early framed closely by doorway or window, but with young
Rabbi’s arrival this changes, but at the end we once again see the couple
snuggling at the doorway). The performances from the large ensemble cast were
nothing short of amazing. Although Evelin Hagoel’s turn as introspective &
determined Ettie wholly attracts our attention, Aviv Alush as hate-inducing
David was equally good. His minimalistic style of acting never transforms the
character into a cardboard villain. May be, we could find some fault with the
pat and very predictable ending. But it’s hard to be not overwhelmed by the
movie, which takes a very complex theme and produces an entertaining fare with
rich, memorable characterizations.
Altogether, The Women’s Balcony (96 minutes)
is a heartfelt & feel-good story of a vibrant community’s reawakening.
Trailer
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