Jeff D
I have many ultra-Ortodox cousins in Jerusalem. As much as I love them, I will be forever uncomfortable with the status of women in the community. One of my cousins, who was in a way the younger sister I never had, is now stuck in what I view as a terrible marriage that would never last in most Western societies -- rightfully so, I think. Yet, there, it is accepted and she must live with it. (Just one example of many...)Having said that, this movie does not portray this world with any truth, actual or figurative. This is not a story as it might have happened. Sad in a way, as the truth could have been used to make some aspects of the point Amos Gitai seems to wish to make. He also neglects the warm, loving and spiritually nurturing environment that the haredi world can be.So, if you watch this cardboard movie, please remember it has nothing to do with the texture of reality.
noralee
My mother told me not to go to see "Kadosh" -- but who ever listens to one's mother? I was so turned off by it while I was watching I thought I must have lost my feminist credentials on the way into the theater, so I checked with card-carrying feminists the next day. No, they also thought it was much more an anti-Orthodox screed than a pro-feminist statement, painting the Orthodox as equal to the Taliban.While this Israeli movie is careful to show that the sect the story is about is the ultimate ultra-Orthodox Messianists, it is so nasty as to be unbelievable (plus that the non-fanatic Orthodox rock-'n'-roller(!) one of the sisters is in love with is incredibly sexy--even in Israel that must be fantasy).The theater was quite crowded, so there's a pent-up curiosity to see Israeli movies; too bad this vicious movie is the one getting wide distribution. This was almost enough to drive me back to insipid Hollywood romantic movies. (originally written 4/29/2000)
Dennis Littrell
There are some thoughtful and well-written reviews both at Amazon and the IMDb and elsewhere in which it is claimed that the type of Jewish Orthodoxy presented here is not accurate. There are quibbles about the unnatural way that Meir puts on his garments. There is criticism of the selection of prayers recited, especially Meir giving thanks that he was not born a woman.Moreover, there is the assertion that orthodox Judaism does NOT require that a man repudiate his wife after ten years of marriage even though she may be barren. Furthermore, the character of Yossef is said not to be typical of orthodox Jewish men since he takes his wife sexually without love or tenderness, that he hits her when angry, and goes about the streets of Israel with a loudspeaker hawking his religious point of view.First, it is a shame (if true) that the way Meir dressed and recited his morning prayers was inaccurate, because such details can easily be made accurate with some research. Certainly director Amos Gitai had access to many orthodox people who could have helped him. Putting that aside, the artistic point of the opening scene was to immerse the viewer into a world based on religious beliefs and practices that are strikingly different from the secular world of today. He also wanted to introduce his theme, which is that women in Orthodox Judaism, as in the other two great religions of the Middle East, in their fundamentalist interpretations--this bears repeating: in their fundamentalist interpretations--are not on an equal level with men.Certainly in a realistic sense, Meir, since he dearly loves his wife, would have chosen something else to recite. However, I think we can give Gitai some artistic license here. The fact that such a prayer exits in the Jewish canon is not to be denied.Second, the film does NOT claim that Orthodox Judaism requires that a man repudiate his wife after ten years of childless marriage. Instead it makes the very strong point that, from the point of view of Orthodox Judaism, such a woman is not fulfilling her role in society, and that there will be people outside the marriage who will try to persuade him to abandon her. Gitai's screenplay contains several textual pronouncements to that effect. The fact that Meir is torn between his love for his wife and his love for his religion is really the point. How he resolves that dilemma is an individual choice, and that is what the film shows.As for the unflattering character of Yossef, whom Rivka's sister Malka is persuaded to marry (not forced, mind you, but persuaded) he is a foil and a counterpoint for the loving and deeply religious Meir. The fact that he is not a poster boy for Orthodox Judaism is not a valid criticism of the film, since all religions have their black sheep.I think a fairer criticism of the film can be made by addressing the question of, was it entertaining and/or a work of art?Here I have mixed feelings. Certainly the acting was excellent, and the theme a worthy one. Gitai's desire to show the underlying similarities among the conservative expressions of all three Abrahamic religions, through their shared patriarchal attitudes toward women and their estrangement from the postmodern world, was very well taken and appropriate. Where I think Gitai failed as film maker is in his inability to be completely fair to the orthodox way of life--his failure to show the joys as well as the sorrows of its everyday life which would help outsiders to understand why people adhere to such a way of life.I also think that the film could have been better edited. In the documentary about how the film was made we see scenes that were cut that I think should have been retained, especially the scene in which the omelette was made and the scene in which the mother critiques the life choices her three daughters have made. Instead we have some scenes that ran too long. It is a fine technique that Gitai sometimes employs of letting the silence speak for the characters, of holding the camera on the scene to allow the audience to reflect and then to reflect again. However, I think this can be overdone and was overdone, and that judicious cutting of some of the scenes would have strengthened the movie.Bottom line: a slow polemic of a movie that nonetheless is worth seeing because of the importance and timeliness of its theme, the originality of some of the techniques, and the fine acting, especially by Yael Abecassis who played Rivka and Meital Barda who played Malka.One more point: yellow subtitles, please!(Note: Over 500 of my movie reviews are now available in my book "Cut to the Chaise Lounge or I Can't Believe I Swallowed the Remote!" Get it at Amazon!)
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This is a superb movie -- reminiscent of A Pearl Among Rubies in its depiction of a woman's plight in the Orthodox Jewish community. It may, however, be a more difficult film than a Pearl Among Rubies for a non-Jew to understand or credit. Kadosh focuses on the situation of two sisters in a religious culture that expects women to produce children and to devote all their energies to raising them and to caring for their husbands while the husbands spend full time studying Torah and Talmud. One of the sisters has been married for 10 years but has never conceived and is therefore considered a failure in her primary responsibility as a wife (though it's quite possible that the husband is the one who is sterile) Her younger sister is betrothed and soon married to a man she does not love and who is mainly interested in impregnating her, not in making love to her. I won't spoil the plot by spelling out what happens to them. I'm sure this will seem unbelievable to those who have never encountered the Ultra Orthodox communities [stress the plural; they are not identical] in Israel. Could this story happen? Among the more intransigent sects? I'm inclined to think so. Although the problem for the woman in A Pearl Among Rubies (Renee Zellweger -- the first time I ever saw her), the story is easier to comprehend, both because it is in English and because it is far more external and filled with incident than Kadosh. It is also more sensational and somewhat less believable. What makes Kadosh so effective is the silences, which often endure for minutes, leaving the viewer to imagine the thoughts of the characters on screen. The most serious defect of the film for those who don't speak Hebrew is the difficulty, especially on a small screen, of reading the subtitles (often set against a light background). That prevents it from being a 10. I give it a 9.
