Customer Reviews

Ushpizin (Original Hebrew Version With English Subtitles)

5 star:		(62)
4 star:		(12)
3 star:		(5)
2 star:		(1)
1 star:		(1)

 

 

Few films have touched me as deeply as "Ushpizin," the story of Moshe and Mali Bellanga, their trusting in miracles, and their recognition of the tests God has placed in their path. They sometimes fail the tests, but they are always aware that God is in their midst, and they listen for His voice. The fervor of Moshe and Mali's prayers bring about a miracle, and also a great challenge, in the form of a friend of Moshe's "from the old days," and his companion, both escaped convicts. The plot takes place during the 7 day Harvest Festival of Succoth, and some of it is quite humorous, but every scene is imbued with an insight into humanity, and man's connection to his Creator.

Writer Shuli Rand stars as Moshe, with his real-life wife, Michal Bat-Sheva Rand as Mali; both are superb, with an intensity and truth in their characters that makes them totally believable, and an inner and outer beauty that captivates. Shot on location in the Mea Sherim quarter in Jerusalem, director Giddi Dar gives us marvelous details and performances from the actors in every scene. Shaul Mizrahi and Ilan Ganani are terrific as the 2 convicts, and so is Avraham Abutboul as Ben Baruch, the man who means well, but causes trouble, and won't leave until he is forgiven with a hug. The theme of forgiveness and repentance runs through the film, as well as God's great mercy.

Though this film will perhaps have a limited audience, those who will love it are anyone with familiarity and respect for Orthodox Judaism, and anyone who has a very personal relationship with his God. There are those who think the Orthodox Jew who speaks to God as though He is their most precious friend is a little "odd," and then there are those who speed down the freeway like a lemming with a cellphone stuck in their ear, and think they are "normal." Well, it takes all kinds to populate this crazy planet, and may the Moshes and Malis of the world prosper and bear much fruit.

Ushpizin is a warm and touching film about a childless, kind and poor Chasidic couple who live in Me'ah Shearim, the most ultra-Orthodox Jewish neighborhood in the world on the outskirts of the Old City in Jerusalem, and their enormous faith in and love for God. Moshe studies in yeshiva all day, and Mali tries to make ends meet as an at-home businesswoman. It's just before the Jewish festival of Sukkot, and Moshe and Mali are down on their luck. Their prayers are answered when an unexpected gift of money arrives on their doorstep from the communal fund; they are overjoyed that they can now have guests for the festival. They pray again for guests, and when two prison escapees and friends from Moshe's criminal past arrive, their prayers for much more than guests are unexpectedly answered.

There are many films portraying ultra-Orthodox Jewish life, but to those familiar with that life from an insider's perspective, many of them are inauthentic. This film stands out as a wonderful exception in that small genre. It is such an authentic portrayal of Chasidic life and values that I believe many Chasidim, who normally would never watch films, might eventually watch it and be happy to consciously gain from its beautifully and often humorously delivered messages of the power of love, acceptance, trust in God and sincerity.

This story focuses on an Orthodox couple who are so poor that they can't even afford a succah for the Succoth festival. Luckily, a donation helps them through that immediate crisis. Unfortunately, an even larger problem looms on the horizon. According to tradition, they aren't supposed to turn away guests who have no other place to turn. But what if the "guests" are willing to abuse the hospitality offered them? What if they are annoying and possibly even dangerous?

I was entranced by this situation, watching a couple's faith being testing, as well as getting a glimpse into the Orthodox Jewish world. This is a film that anyone (of whatever religious belief or tradition) can watch. It is heartwarming, uplifting and inspiring.

'Ushpizin' has received much well-deserved praise. Attention - however - has tended to concentrate on its 'folkishness' - you know, insights into the previously 'hidden' world of the ultra-orthodox Jews of Jerusalem, kinship to Singer-esque fables etc. Yet, there are a couple of aspects that seem to have been overlooked:

1. The performance of the main charcacter - SHULI RAND - is utterly rivetting. I mean, look at the guy's EYES (they certainly compelled my attention throughout).

2. The film's underlying POINT OF VIEW: a person is obliged to acknowledge G-d for EVERYTHING that comes their way, good or bad, REGARDLESS. And that such acknowledgement is not some sort of distant IDEA but is effectively an ongoing DIALOG with G-d - a dialog in which the individual is neither too proud, nor too embarassed, nor too sophisticated to address G-d in the most personal way. You may think that this has a resemblance to Tevye's outpourings in "Fiddler On The Roof" (think: "If I were a rich man" etc). This resemblance is but superficial. Shuli Rand (the lead actor and scriptwriter of 'Ushpizin') here manages to convey the very essence of his mindset with power, conviction and dignity. He successfully opposes both the demons of his past and his proclivity to ANGER (seen in the Jewish tradition as tantamount to idol-worship) - both potential obstacles to a dialog with G-d.

It is also interesting to contrast this film with another 'expose' of orthodox Jewish life - 'KADDOSH', by noted director Amos Gitai. Gitai's film, while impressive, seems to go in search of the flaws and contradictions of the orthodox Jewish life-style. His is essentially a sceptical and - I feel - politicised view. Gitai puts the viewer into a position where they are forced to EVALUATE or JUDGE this life-style. 'Ushpizin' on the other hand avoids this by concentrating on the underlying motivation that drives a certain kind of Jewish orthodoxy: acknowledgment of the Hand of G-d in all things.

'Ushpizin' is not without it's flaws (what film isn't?). For instance, the way events unfold sometimes makes the script seem a little clunky or theatrical. Also, mixing fable with hard reality is sometimes a little hard to take. But, the power of the film's main theme elevates it and enables it to transcend such considerations. Bravo.

A very strong cast and an excellent production crew brings USHPIZIN into the realm of classics that will endure. The story may be simple but to non-orthodox Jews it is one at times confusing but always fascinating in introducing cultural traditions that are unknown to many of us.

In the case of USHPIZIN that tradition is Succoth, a seven-day holiday honoring the time when the wandering Israelites were surviving in the desert on the way to the Holy Land. Each family must make a succah (a meager temporary shelter) and celebrate with Palm frond dates, myrtle, citron, etc. We are introduced to Rabbi Moshe (Shuli Rand) and his wife Malli (Michal Bat Sheva Rand) who are so poor they cannot afford a succah much less the accoutrements to celebrate Succoth. The both pray for miracles and one comes in the form of cash allowing them a succah etc. But also along come two escaped convicts (Shaul Mizrahi and Ilan Ganani) - one of whom is Moshe's ex-friend from the past, and ask for shelter: the tradition of Succoth includes never turning away guests ('ushzipin'). Naturally Moshe and Malli must take them in and the problems slowly arise, problems that challenge tradition, religion, and personal welfare.

The marriage of music, fine camera work, superb acting, beautiful costume design, and the magic of learning about ethnic traditions make this little film irresistible. Its story may be small but the metaphors are enormous! Highly recommended. In Hebrew with English subtitles. Grady Harp, August 06

This wonderful DVD gives a look into the heart and soul of the usually closed world of the ultra-Orthodox Jew. It is a poignant story on many levels, depicting the honest love between an husband and wife, the sometime burden of "ahavas Yisrael" and the struggle of a man to find his path to his G-d. The authenticity of time and place ( the celebration of Succos in Mea Shearim - an ultra-Orthodox section of the Holy City of Jerusalem ) is profound and the characters' portrayals of faithfulness, joy, sorrow, confusion, belief and disbelief are so true and to-the-mark that the viewer soon forgets that these are actors in a film. The entire spectrum of a man's struggle to find his true relationship to G-d is given depth and heart in this excellent film.

Ushpizin is a remarkable film about a truly religious, childless couple who are barely eking out a living in Jerusalem. On the Eve of Succot, two escaped prisoners arrive, and the couple's patience -- and faith -- are sorely tried. Each day, each event, appears to be another test given by G-d. Ultimately, we learn that it is important to bless G-d for all that comes to us, whether it seems on the surface to be good or bad.

Shuli Rand's performance is riveting. Michal Rand, who is not a professional actress, turns in an amazingly fine performance. Becuase these two really are husband and wife, the love between them comes through as genuine. There are other things to like about this movie: Orthodox Jewish life is portrayed fairly and accurately (for once!) The English subtitles are well-done and accurate.

This film is important, not just for Jews, but for all humanity. Whether or not you are in your own crisis right now, the story is riveting and the themes are universal. This film is outstanding.

This film is wonderful, I recommend it to anyone interested in traditional Judaism, but it is important to keep in mind that the film portrays a particular family and environment that is not necessarily typical of what is called "Haredi" or "Ultra-Orthodox" Judaism. The couple who are the center of focus are what are referred to in Israel
as "Hozrim b'teshuva", i.e. people who came from a non-religiously observant life and who have adopted a haredi religious life, in the style of the Breslov Hasidim. This group, unlike others, attracts a large number of people from non-religious backgrounds, and this is reflected in the manner of speech we hear in the film. Their conversations are filled with modern Israeli expressions and slang (I have lived in Israel for over 20 years, but I needed to have my children explain to me what a lot of the slang expressions meant!). We would not hear this from other Haredi Jews who were born and raised in this environment where effort is made to prevent the intrusion of the culture and mannerisms of the outside, "secular" world which the newly religious still have. Also, we see a lot of emphasis on the value of "simple faith", prayer and intense analysis of the day's events in the light of one's own personal performance of mitzvot or commission of sins, as opposed to viewing one's life as being being buffeted largely by outside pressures and events. Other streams of Haredi and non-Haredi Orthodox Judaism, such as the non-Hasidic "Lithuanian" yeshiva world, take a more intellectual approach to life in which great emphasis is laid on the study of the classic sources of Judaism, i.e. Bible, Talmud, Midrashim and Jewish philosophy. Similarly, the people involved in this film take a passive approach to life, whereas other religious, Orthodox Jews (i.e. the "Torani" Religious Zionist stream) have
taken a much more activist approach towards fulfilling the mitzvah of settling and developing the Land of Israel while maintaining just as intense a religious lifestyle as the people portrayed in the film.

Having said all this, the film is a masterpiece, both from the technical point of view (directing, camera work, lighting, acting) which shows that Israeli filmmakers can take their place with the best in the world, and also because the film refuses to make traditional Jews a caricature or stereotyped, which so many films do (I also recommend those who enjoyed this film to see the film "The Chosen" for a realisitic view of
Orthodox Judaism in New York around the time of the Second World War).

This is one of the few films that portray Haredi Jews (Hasidic, actually -- there is a difference, and I'll get to that in a minute) in a sensitive, positive way. Perhaps that is because it was filmed on location in the Mea Shearim district of Jerusalem, and was made by real Orthodox Jews, in collaboration with secular filmmakers, giving it a level of authenticity that Hollywood "outsiders" have never achieved in their films about religious Jews. It won several awards in Israel, and they are well-deserved. But because it is an Israeli film (Hebrew with subtitles), it assumes a certain level of cultural knowledge that, judging from some of the reviews here, the average non-Jew does not have. (This is NOT a put-down. I imagine that if I were to watch a similar film about Christians, there would be plenty of cues I would fail to pick up. We all need a tour guide sometimes.)

Plenty of reviewers here have already summarized the plot, analyzed the acting, directing, etc., so I'm going to add something different to the discussion, namely, some cultural background for the uninitiated. Although all Orthodox Jews may look alike to outsiders, there are, in fact, major differences among the various groups. The first major division is between Hasidim -- the mystical branch -- and Haredim, the non-mystical branch. Although some people use the word "Haredi" as a generic for "Ultra-Orthodox" (a media buzzword I hate), the Hasidim do not generally call themselves Haredim. The word "Haredi" doesn't even appear in the film, but the name of Moshe and Mali's specific Hasidic group -- Breslov -- does. Several times. This is an important cultural detail. The kind of simple praying to God from the heart that you see in the film is a specificially Breslov practice, called in Hebrew "hisboddidus," from the verb "hisbaded" which mean "to make yourself be alone," that is, in solitude. Rebbe Nachman of Breslov, founder of the Breslov branch of Hasidic Judaism in the late 1700s, encouraged his followers to spend at least an hour per day alone with God, praying in one's own language (In addition to the liturgical synagogue prayers.)

So when Malli tells Moshe to "go pray" in the film, it is not just generic prayer, it is this specific practice of talking out loud to God -- even screaming out one's needs and frustration at the top of one's lungs -- as Moshe does. Knowing this helps the scene make more sense. We should also note here that the part of this scene where he sees a truckload of Jews dancing through the streets is also Breslov, although from a specific subgroup. They would be followers of the late Rabbi Yisroel Ber Odesser, who taught his followers to chant a certain Hebrew mantra, the "Na Nach Nachma," in the streets -- a familiar sight in Israel. (You don't hear the mantra in the film, but it is written all over the truck.) So when Moshe looks and sees them joyfully dancing but then turns away, we know the depths of his sorrow.

Similarly, the scene where Moshe runs off into the woods and begs God to help him not to be angry is also very Breslov. Rebbe Nachman taught that hisboddidus should ideally be done in a field or forest, because, he said, God's creation will join in the prayers. (He was very fond of Perek Shirah, a classical text about how each thing in creation sings a special song to God.] The vast majority of Orthodox Jews do not pray alone in the woods like that, and historically Breslovers have been considered odd -- if not crazy -- to do so. In fact, Breslovers in general are considered somewhat strange, even by other Orthodox - and you get a hint of this in the scene where the philanthropist randomly chooses a number on a list to give away the money -- and sort of rolls his eyes when he sees the luck has fallen to a Breslover.

About the fur hat: The streimel (as it is called) is a traditional hat, specifically Hasidic (non-Hasidic Orthodox do not wear it)worn on Sabbaths and holidays. One is not (as some negative reviewers here have wrongly assumed) REQUIRED to wear it -- but having a nice streimel is a status symbol, rather like having a new Ferrari -- only Moshe's is a rather beat-up second hand one, like, I suppose, a used VW Bug. The purpose of that scene is to A) reinforce that Moshe is poor and B) emphasize the materialistic outlook of the two secular guests, who see only dollar signs. We also understand, in the later scene where the guests make a ruckus outside the sukkah booth, that by wearing Moshe's streimel in such a way, they are mocking him and his religion.

Now for the sukkah booth and the esrog (lemon-like fruit, translated "citron" in the subtitles.) There is a general principle in Judaism that you cannot fulfill a mitzvah (commandment) with stolen money or property. This is why, when Moshe discovers that the owner of the sukkah had not really abandoned it, Moshe feels he must track the owner down, get his forgiveness, and be absolved of any wrongdoing. Otherwise, the stolen sukkah will pollute his efforts to celebrate the holiday of Sukkot (The "Feast of Booths" - see Leviticus 23:42). As for the esrog, this is the "fruit of goodly trees" that, along with a palm spike, willows and myrtles, make up the "Four Species" mentioned in Leviticus 23:40, that are waved in the six directions on the Festival of Sukkot.

Moshe buys the very best esrog he can find (and there is a certain humor in seeing the etrog-sellers examine each fruit with a jeweler's loup!) because of an ancient belief that a beautiful esrog is a segulah (charm, amulet, blessing) for having a son (which he and his wife Malli very much want, they are childless.) Now, you might consider this superstitious, and maybe it is -- but I would ask you to look at all the non-Jewish customs that are also "superstitious" and put this in the same cultural context - as two people of simple faith hoping for a miracle. For the purpose of the plot, the esrog is very important. It becomes the ultimate test for Moshe when his two secular guests mistakenly cut it up for a salad, thinking it is an ordinary lemon (I literally gasped at that scene.)

It's not just about the money for the esrog, that was already spent in any case. It's about them possibly destroying the blessing for a child. And this is the moment where Moshe runs off into the woods, begging God that "I don't want to be angry." Because by now we know that Moshe was not always religious, and in his former secular life he had been a very violent man. Throughout the film there are references to controlling anger. So this is about Moshe seeing his greatest hope dashed to the ground -- the last straw in a series of difficult tests, a test that almost causes him to lose his temper and backslide into old behaviors. (There is also a reference in this film to the biblical Abraham and Sarah, which evokes the Jewish teaching that Abraham had to pass ten tests before Sarah conceived a child -- that's not in the Bible, but it's a well-known story among religious Jews.)

As for the guests themselves, there is much symbolism there, too.
Traditionally, "Ushpizin" refers to the "Seven Shepherds" -- Abraham, Isaac, Jacob, Moses, Aaron, Joseph and David -- who symbolically come to the sukkah (one each night) on the seven nights of the festival. But there is also a teaching that the Prophet Elijah comes down in disguise and can be anyone -- even an escaped convict -- to test one's faith. And of course, people invite ordinary guests to the sukkah as well. But underlying it all is the idea that every guest should be treated as if he or she might be a saint in disguise (which, my Christian friends, is the Jewish origin of your own teaching about entertaining angels unawares: "Do not neglect to show hospitality to strangers, for by this some have entertained angels without knowing it." -- Hebrews 13:2) Remember, too, that it was two angels who came to Abraham and Sarah to announce the coming birth of Isaac -- so who are those two annoying convicts REALLY? At the end of the film, when they peek around the door at the circumcision ceremony, you get the feeling -- just for a moment -- that they are more than just visitors from Moshe's past.

Of course, one can watch the film without knowing all of this. I just thought you might like to have a little more depth to it, because peeking into someone else's culture often requires more translation than just the subtitles. A lot of Hasidic culture is what anthropologists call "context-sensitive," which means it's not always explained in words, you have to get it from the non-verbal cues. So I thought you might like to know what some of those cues are. Shalom - peace.

And Oh -- one more thing: The men hugging and dancing together is NOT homosexuality. In Haredi culture, same-sex dancing and hugging, even kissing each other on the cheek, is normal behavior everyone does, it has no sexual connotations. Body language varies from culture to culture - think in terms of Russians or Frenchmen embracing. Same for the two convicts, there is nothing sexual between them, either.

Ushpizin is already famous as the first general release ultra-orthodox Jewish movie. During the intermediate days of Passover I finally had a chance to see it with my family.

Most would tell you it's about a chassidic Jewish couple living in a religious Jerusalem neighborhood who are visited by some unsavory characters from the husband's past, during the religious holiday of Succot. And it is that.

But for those who are looking, what this movie really is, is a chassidic lesson from Breslov chassidus, from the teachings of the grand rabbi, Rabbi Nachman of Breslov. The lesson is hidden in the opening music, the lesson presented during the yeshiva scene, the climactic event, the result and the closing music.

It's a beautiful and touching movie, in Hebrew with English subtitles, displaying a rich religious life, and some challenges and conflicts of the life, as well as some of the conflict between 'religious' Israel and 'secular' Israel.

I highly recommend it.