Wednesday, May 25, 2011

More reviews of "Footnote"


In The Forward: More Than a 'Footnote' From Cannes. Excerpt:
“Footnote” was well received by critics at Cannes, who acknowledged Cedar’s shift of focus from the tense war terrain of the 2000 South Lebanon conflict in “Beaufort” to the academic skirmishes of the Hebrew University of Jerusalem. “This film does not deal with conflict at the national level, but rather within the context of a personal story,” the director said at Cannes. “It reflects the desire to live peacefully in Israel. In the Talmud, it says that you should not do unto others as you would not like them to do unto you. In a word, compassion.” Talmudic texts were edited and conveyed orally, written down and copied in manuscripts over hundreds of years, and finally printed in the 15th and 16th centuries. Today the study of traditional sacred texts is controversial because the analytical approach questions the reliability of the manuscript. Uriel is a proponent of this “big picture” approach, while traditionalist Eliezer calls himself a philologist.
From the Village Voice:
7. Footnote, Joseph Cedar’s Talmudic tale of Talmud scholars, father and son, competing for the Israel Prize, is another sort of parable—a Kafka story that could have been played out in 18th-century Vilna or 1930s Hollywood. If immersing oneself in the history of the Jews is the essence of Jewish religion, this profoundly ironic, dryly absurdist burlesque is the most Jewish movie I’ve ever seen in Cannes. Fittingly, it won the prize for best screenplay.
More reviews here (first part of post) and follow the links.