Director-cowriter
Mihaileanu has crafted a remarkable epic, keeping the perspective
intensely intimate while telling a big story and documenting
a hidden aspect of world history. It's so good that it could
have been even stronger if the final third wasn't so rushed.
In 1984
Sudan, refugees await their fate. Israel is secretly airlifting
the Ethiopian Jews (descended from Solomon and the Queen
of Sheeba), and a desperate Christian mother encourages
her young son (Agazai) to feign Jewishness to escape, telling
him to "go, see and become". His odyssey in Israel
is astonishing--renamed Schlomo, adopted by a liberal French-Israeli
couple (Abecassis and Zem) and tutored by an African rabbi
(Edgar), he grows into a complex teen (Abebe) and then a
man (Sagahat) who understands the weight of his opportunities
and secrets.
This
is an astonishing story, set against a little-reported exodus.
But Mihaileanu recounts the events vividly and clearly,
spinning his fictional narrative to examine the issues--deeply
probing concepts of identity, religion and family, as well
as responsibility and fate. It's a powerful bundle of themes,
but these weighty issues never overwhelm us because we're
simply watching one boy's story. And it's so compelling
that it engulfs us completely.
In fact,
when the film's final act hurries through Schlomo's young
adult life, we want it to return to the previous unhurried
pace--getting deep into the characters and letting us feel
what's happening. We wouldn't mind sitting there for another
hour! Not only is Mihaileanu's storytelling strongly engaging,
but the film is technically beautiful, with both epic African
landscapes and realistic Israeli settings that avoid every
cliché while making sure to ground the period in
historical events.
The
cast create complicated, shaded characters we can readily
identify with. The three actors who play Schlomo are all
superb; Zem and especially Abecassis speak volumes even
when not saying a thing. The surge of varied emotions they
all experience is incredibly powerful, even though the film
completely avoids sentimentality. This is complex, lively,
raw, gripping filmmaking. And utterly essential.