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“Waltz with Bashir”
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A Fresh Kind of Documentary
Amos Lassen
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Israel’s entry in the Oscar hurry gives a current definition of the genre of documentary film. The understanding of an bright documentary may seem to be paradoxical to some but this may be a whole unusual blueprint to explain an view. Basically, the film rakes status in a bar, an broken-down friend tells “Bashir” director, Ari Folman, about a nightmare in which he is chased by 26 vicious dogs. The dream comes to him every night and the two men resolve that there is a connection between the dream and their connection to an army mission during the war on Lebanon in the early 80’s. Ari surprises his friend and himself when he realizes that he cannot remember anything about that period in his life. They settle to interview passe friends and comrades all over the world in order to bag out what really happened during that time and as Ari goes deeper into the matter and the mystery, his memory begins to return with surreal thoughts and images.
“Bashir” is a very disturbing glimpse at war and its consequences on people and nations. It compares the atrocities of the Lebanon war to other wars as it mixes dream sequences with surrealism and proper life events. The film thereby mixes reality with illusion. It is in your face and very grand.
The event that is the center of the film is the massacre at Sabra and Shatila un which Palestinians were murdered by Christian Phalangists as revenge for the assassination of their leader, Bashir Gemayel. Although the Israelis did not participate, or perpetrate the killings, they did nothing to terminate them. The animation in the film is seen over the recorded speech of right participants in the ‘82 war.
Folman’s dawdle of introspection begins with his lack of memory and it seems that all he and his fellow soldiers have left is their dreams. One of the ragged soldiers believes that the dream he has of the vicious dogs is subconscious punishment for his killing dogs on the mission. The film follows a stream of personal anecdotes and because remarkable of these stories are dreams, Folman chose to remark them through animation with the exception of the final scene and this is the scene that gives justification for the film. Therefore the film has a feeling that is both evocative and down-to-earth. We spy war as reprehensible and frightening and as the stuff that nightmares are made of. It is not about who won the war, who was moral or who made mistakes. It is about how we, as people, react to war and how it affects people who are enthusiastic in it.
Primarily “Bashir” is about the trauma of conflict, memory and its repression but it is also about the specifics of Israel’s role in the Lebanon war and about war in general as it is experienced by fighting men. It revels truth by taking the viewer help in time through the memories of people who witnessed it. It devastates as it reconstructs how and why innocent civilians were massacred because those with the power to end what was going on did nothing. We do witness that Israel is not without guilt in acts of passive genocide which goes against the Israeli response to what Hamas provokes.
From the very first frame of film the movie grabs the viewer and will not let him go even after the film is over. The movie cuts deeply by using images of youth and this brings what he says home. This is more than objective a movie, it is a total experience that will probably change the views of many.
I’m compelled to write this review after watching the Academy of Motion Describe Arts and Sciences’ Foreign Film selectors botch yet another award. David Ansen wrote in Newsweek last year about how the selection committee’s decision-making, umm, ‘process’ is the industry’s “long-standing joke.” The legal films don’t even regain nominated (Ansen’s article centered on the egregious omissions last year of 4 Months, 3 Weeks and 2 Days and The Band’s Visit) . And the ultimate winner is often the ultimate head-scratcher: faced this year with two sure-fire classics – this film and the equally expedient French offering The Class (Entre les murs) [Theatrical Release] – the committee chose instead the little-known (and almost completely unseen) Japanese nominee Departures [Theatrical Release]. With all due respect to those filmmakers, you could hear the sense of bewilderment in the hall as the dazed winners (I suspect even they were dumbfounded) made their intention to the stage. I’m clear that bewilderment was mixed with murmurs from an audience of insiders – something along the lines of “fantastic, they’ve blown it again.”
A shame because this film is among the best you’ll ever gaze – it’s writer/director Ari Folman’s attempts to deal with his repressed memories of his role in the Sabra and Shatila camp massacres during the 1982 Lebanon War. Folman’s innovative consume of animation allows him to re-stage the memories of his fellow soldiers. At the film’s slay, Folman’s role (or at least his proximity to the events) is revealed and animation segues into real-life footage of what transpired in the camps.
The Golden Globe committee – with a far more firmer bewitch on accepted sense than the Academy – handed ‘Waltz’ its award for the best foreign language film of 2008.
Ansen’s article from last year reveals the Academy’s “attempt to reform a misbegotten system,” and concludes that “Heed Johnson, chairman of the committee, has vowed further reforms. History suggests it’s going to be an uphill battle.”
Keep working at it, Mr. Johnson. This thing is calm broken.
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