The Kind Words

The Kind Words (2015) is an Israeli Canadian film written and directed by Shemi Zarhin.

This is a quest film. Three Israeli siblings--each very different from the other two--have just suffered the loss of their mother. Their father had previously divorced their mother, and is now living with his new wife, a beautiful singer. At that point, their father gives them a shocking revelation.

This revelation sends the thee siblings on a quest journey to Paris and then Marseilles. As I noted before, each sibling is different. One brother is married to a highly observant woman from Brooklyn. He's not really a believer, but he loves his wife, and he acts the role of an observant Jew to please her. The other brother is non-observant. He's gay and less intense than the others. The natural leader--and star of the film--is Rotem Zissman-Cohen as Dorona. Dorona is a sharp-tongued misanthrope.

Dorona is married to a man she apparently loves, although, true to her negative behavior, she is driving him away. However, he joins the three on their quest.

The quest itself is fascinating, and many things are learned, or, at least, suspected. Writer Zarhin doesn't force director Zahrin to tie up every loose end when the quest is over. However, all the characters have moved forward from where they were when they left Israel. I think things will be better for them when they return home.

We saw this movie at the Dryden Theatre in The George Eastman Museum in Rochester, NY. It was screened as part of the excellent Rochester International Jewish Film Festival. It will work well on the small screen. It will be available on DVD on November 1, 2016.

P.S. The Rochester International Jewish Film Festival always has interesting movies. I'd also like to mention that it's the best managed film festival I've ever attended. Because of the hard work and expertise of the staff and volunteers, programs start on time, stay on time, and end on time. From ticket purchase to the end-of-festival party, everything works. My compliments to director Lori Harter and everyone else involved.

We rarely see a composition so eloquently and delicately compiled from all the most warn-out clichés made into a beautiful and touching film. I loved everything about it, from the wonderful collection of actors, the shots, the transitions, the plot and the editing. The story of a person looking for a parent has been told before in other formats, but this time the obvious is taken out and the unexpected outcome leave the viewer wondering what each side of the story has gone through. Not obvious.

Rather bold is the sociopolitical dimension of the film, in which the inner structure of a family having three very diversely positioned siblings (a bitter young woman, a religious orthodox and a bisexual) is mounted on the outer layer of national diversity (Muslim-Jewish).

Best time spent in the theater I had for a long time.

In Shemi Zarhin's previous movie, "The World is Funny," the characters are more instantly likable. "The Kind Words" begins (after a short prologue) by concentrating on a childless woman whose plight is unfortunate but who doesn't do or say anything in particular to win our sympathy. She's not valiant, she's not particularly considerate, she talks to God and perhaps that's supposed to seem winningly whimsical but her monologue comes off like forced exposition. She is estranged from her husband, she is estranged from her father, and by the time we've met the two brothers who will accompany her on her adventure, we're beginning to ask the question, which can be fatal to any movie, why we should care what happens to these people. Our sense of involvement isn't not helped by the uninnovative views of Jerusalem scenery or by the musical score. The question the siblings themselves are asking in the meantime is exactly what skeleton occupies their mother's closet, and the ever-magnetic Levana Finkelstein helps add interest to the movie by entering to dodge their questions. Around the same time, the movie displays the capability of taking a lighter tone. In fact, it eventually becomes fun to watch, which is a surprise because movies that combine drama and comedy usually go the other way-- luring us in with comedy and then, once we're on board, springing drama on us. As the story develops and we learn more about the family relationships, we see love and abandonment from various angles that throw light on one another. Each of the brothers has his own fatherhood portrayed, and we're thrown a strong hint that there may be some relevance to the metaphor of God the Father as well. It's a relatively lengthy movie, and by the time the kaleidoscope has stopped turning, showing us the movie's theme from shifting comic and serious angles, the audience has certainly got its money's worth.