Hatuna Meuheret

I thought this was an interesting film, though it didn't cover as much of the relationship between the guy and his family. As an ethnic Korean male, I can understand family pressure on marriage and to marry someone who will fit in. The good thing about the film was the end, as unlike most Hollywood fare, the ending was very realistic in that it didn't fall into cliche and the like. It presented the probable ending as opposed to the sentimental ending.

Three stars.

Late Marriage is one of the best Israeli films in many years. It is to the credit of director Dover Kashashivili to translate it to the screen into one of the frankest depiction of a love affair seen in recent memory. The director avoids the clichés of other films that pretend to show a sexual relationship between two lovers in a a film. He doesn't leave anything to our imagination as the characters of this story clearly show us.

The two main actors, Lior Ashkenazi, Zaza, and Ronit Elkabetz, the Judith of the story, are mature individuals who obviously feel a passionate love for one another. They're powerless against the wishes of Zaza's family who are hell bent into separating them. Never mind that is very obvious how both feel about each other. She's an older divorcée who obviously will be the ruin of the scholarly Zaza.

Both Mr. Ashkenazy and Ms. Elkabetz could give acting lessons to our repressed so-called movie stars. Their passion is on the surface for us to see and feel. What we really enjoyed was the way these two actors act against each other in what could have been very embarrassing scenes. They pulled it off with panache.

The ensemble cast is very good, but of course, they don't come close to the stars who take the film and run away with it. Let's hope we can see more of them in other Israeli films.

Mazel tov!

While I absolutely loved the movie and found it to be both funny and bittersweet, I write here to differ with other displayed comments. The part of the conservative Georgian community shown in this Israeli movie is most certainly NOT matriarchal. The problems that the male protagonist experiences are NOT due to women controlling the society. The reason his family doesn't want to allow him to be with the woman he loves is because it is a *patriarchal* society, where an older, divorced woman with a child -- no matter how loving, intelligent and beautiful -- is viewed through a sexist lens as damaged goods.

Anyone who watches the early scenes where a 17-year-old girl is trotted out as goods for matchmaking purposes and the two male heads of the family control the proceedings, should realize that this is a patriarchal society. Don't be misled by the fact that the professional matchmaker is a woman and that the hero's mother is a firm believer in sexist customs; if some women didn't hold sexist beliefs, sexism wouldn't exist. Note that the 17 year-old's mother is a widow, but her uncle controls the matchmaking decisions instead of her mother. The male protagonist is harmed by *patriarchal* customs, make no mistake. These customs harm both women and men.

Absolutely superb film, concise and to the point.

One of the things that I liked the most is how the writer/director, takes an obviously ethnic film and presents it in a way where people around the world can empathize even if they know nothing about the jewish culture or customs.

The emotional themes presented in this film are mostly universal, when it comes to marriage, in my opinion a lot of factors come into play no matter what culture you come from, and this film portrays in some ways how silly it all is.

If you don't mind the subtitles, is a great film, has great characters and a very interesting story line, although is very graphic at times (Steamy love scenes) be forewarned if you don't like to see nudity, is not your conventional hollywood soft porn b movie.

Enjoy the film with friends, it's one of those that makes you ask all the right questions.

"Late Marriage (Hatuna Meuheret)" makes "Monsoon Wedding" seem like a commercial Hollywood flick in comparison in dealing with a similar theme -- families imposing traditional marriage on an adult son in today's world.

This film is an intense and heartbreaking examination of a Georgian Russian immigrant family pushing tradition on an older son in very modern Israel. Through a very gradual unveiling as we learn more and more about each member of the family and relationships, every character is strongly individually wrought, flaws and all, complex sympathies and all.

The blunt scenes demonstrating traditional relationships are paralleled with extremely frank contemporary ones.

I thought at first that the lack of a soundtrack virtually up until the closing scene was due to writer/director Dover Koshashvili's obvious minuscule budget. Instead the closing band music punctuates a bittersweet, ironic tension-builder as the audience waits anxiously to see how the central figure of Zaza/Dooby resolved his unresolvable philosophical, familial and romantic dilemmas amidst very competitive, strong-willed women.

The sub-titles are sub-par; it's awkward, for example, to translate "Shalom" as peace be with you as it's really more just colloquial hello.

(originally written 5/24/2002)