Private

Private

Description

Winner!! - Best Film, 2004 Locarno Film Festival
Winner!! - Best Actor, Mohammad Bakri, 2004 Locarno Film Festival
Winner!! - Fipresci Jury Award, 2005 Intl. Federation of Film Critics

Mohammad (Mohammad Bakri), his wife (Areen Omari) and their five children live in a large, isolated house located mid-way between a Palestinian village and an Israeli settlement. Viewed as a strategic lookout point, the house is forcefully taken over by Israeli soldiers, who confine Mohammad and his family to a few downstairs rooms in daytime and a single room at night. Against his wifes wishes, Mohammad decides to keep the family together in the house until the soldiers move on, creating division among his kin and a precarious relationship with the soldiers. Italys pick for the 2005 Foreign Film Oscar competition (before being disqualified by the Academy because the primary languages were not Itlaian), Saverio Costanzos first feature is a powerful and haunting psychological thriller.

DVD EXTRAS:

Directors Bio

Production Information

Trailers

Rate Points :3.5
Binding :DVD
Label :Typecast Releasing
Manufacturer :Typecast Releasing
ProductGroup :DVD
Studio :Typecast Releasing
Publisher :Typecast Releasing
UPC :643519120595
EAN :0643519117397
Price :$29.99USD
Lowest Price :$14.00USD
Customer ReviewsBrutal, honest, sincere
Rating Point :5 Helpful Point :14
Easily the best film I have seen on the Israeli-Palestinian conflict, Private expresses the intense antagonisms of the political conflict through an extremely particular interaction between a Palestinian family and an Israeli military unit. Though the political and the personal are woven into each and every struggle of the film, characters are accorded their humanity in personal terms, avoiding the common descent into generalization of many films on this conflict.

The greatest strength of this film is that, though the conflict is central to every piece of the story, it is expressed primarily in its pervasive influence on the individual: the brutality of power, racism, the struggle to maintain purpose amidst uncertainty and fear. In doing this, the film refuses to draw clear lines. There are few heroes, and their moments of redemeption are not grand but small, reluctant, even accidental.

This film has not received the publicity of other recent films and documentaries on the conflict. I fear this is partly because it does not provide that warm, fuzzy feeling U.S. audiences seek. But, probably more important, the film is geared for an audience that is already familiar with the conflict. There is little explanation of who the characters are or the circumstances in which the plot occurs. These are immediately obvious to those familiar with the conflict, but may lead to confusion on the part of many viewers.

Still, if it is a window into the intimate struggles of the conflict you seek, I can not recommend any better film. While one can not help but draw broader implications, it is very clear that the characters are not meant to be merely lowest-common-denominator representatives of their respective societies. Each tells their own tale, and the parts do not add up to the whole story of the conflict, but the pieces that are presented are thoroughly and sincerely told.

Intense and Difficult
Rating Point :3 Helpful Point :4
Not many American audiences will be familiar with Saverio Costanzos Golden Leopard Award winning Private. This is because Hollywood would not dare to approach the Palestine-Israeli issue from a decidely Arab prospective. The second reason is that this is intense filmmaking that challenges our ideas on the Middle Eastern situation.

Mohammad(Mohammad Bakri) is a middle aged father of five living with his wife Samiah (Areen Omari) in a lage house midway between a Palestinian village and an Israeli settlement. Sice the home can be viewed as a strategic lookout point it is forceably occupied by Israeli soldiers led by Commander Ofer (Lior Miller). The family is given the choice either to leave the house or to occupy a few downstairs rooms in the daytime and be locked in the living room at night. The family, under pain of punishment, is told that they must not venture into the upstairs bedrooms where the soldiers are staying.

What follows the occupation can be seen as a metaphor for the entire Palestinian-Israeli conflict. Mohammad is faced with the choice to leave and thus give up his principles to to maintain his nonviolent protest come what may. His oldest daughter,Mariam (Hend Ayoub), wants to stay and fight but at great danger to herself tries desperately to humanize her captors. The familys oldeat son, Jamal (Marco Alsaving)chooses a far more violent approach. He sides with Palestinian freedom fighters and imagines himself to be one. What we have here is more than the story of a people. Rather it is the very real story of a family falling apart in the face of adversity.

The film was shot in DV by Luigi Martinucci and the picture has a murky verite feel especially in the nighttime scenes. The viewer becomes almost a voyeur to the action and as the movie moves along we feel claustrophobic and trapped like the family.

This is a difficult film to watch because of the subject matter but it should be seen by a wider audience than it has. The all region disc by Typecast features none of the special features that are available on the Region 2 disc that has been widely reviewed in the media. The Dolby 2.0 sountrack is servicable and the disc contains a trailer and simple production notes.

Well worth the effort if you can find it.

Liberal Sentimental Mush
Rating Point :1 Helpful Point :7
What would one say about a film portraying a concentration camp during the holocaust where the key questions are those posed to the inmates how are they going to resist, will they collaborate, and so on. What if the SS guard in the watchtower during the day is portrayed as "human", and playing around with his mates after work? And a film where no hard questions are put to the _oppressor_. Well, Costanzos film is just that in the Palestinian context. It is film that delves primarily on trite clichs, sentimental mush about the victims, and also about portraying the soldiers as "human" and also victims.

The film was shot in Italy with a cast of Palestinian and Israeli actors. All the Israelis are active members of the Israeli armed forces, and the lead Israeli character is a member of the infamous Golani brigade -- known for its violent actions in the occupied territories. During the initial stages of the filming, a competition arose between the Palestinians and Israelis to outbid one another in portraying their "humanity". Of course, following this formula it is not possible to depict the Palestinian condition, and the portrayal of Israeli actions is inherently biased -- the soldiers are on their best behavior, and dont show the brutal face seen by most Palestinians.

The film finds the silliest means imaginable to show the Israeli "human face". The teenage daughter seeks to steal a weapon and possibly use it against the soldiers, but is thwarted at the last moment by an intervention of another soldier. She manages to hide in a closet and gets a glimpse of her tormentors. After this close brush, she repeatedly hides in the closet to get further insights into the soldiers lives, and determines that there is a "human side" to them -- humanity viewed through a peephole. From this insight, she also changes her attitude towards the occupier and adopts her fathers steadfast resistance. Costanzo uses the glimpses of "humanity" seen covertly through the closets doors to demonstrate that the Israeli soldiers are "human". This framework is patently absurd because the issue is not the warm relationship among the soldiers or the fact that they get excited about football the issue is their behavior towards the Palestinians and here there isnt much "humane" behavior in evidence. Similarly, the many actual cases of dispossession are not marked by "humane" behavior in reality, brutality is the norm. The transformation of the daughters assessment of the soldiers doesnt come about because of a change in their behavior towards the family, but only because she finds that between each other the soldiers are actually quite ordinary! Nothing in the reaction of the Israeli soldiers could explain the change of the two teenage children from willingness to countenance violence to one where they decide to pursue a non-violent steadfast resistance.

One must also wonder why the director seeks to "humanize" the oppressor. It would be difficult to imagine the need to "humanize", say, the armed settlers who make Palestinian lives miserable. Those perpetrating brutal and sordid acts dont deserve to be "humanized" -- what is important is to highlight the oppression, not the nature of the oppressors.
Neither does the father have much to show for his steadfastness. His small acts of resistance bear no fruit, nor do they change the Israeli behavior. On the contrary, for the flimsiest of reasons the Israeli commander threatens to execute him in front of his family -- oh yes, one of the soldiers briefly raises an objection that is quickly dismissed by the officer. There is no reason in this film to think that the Israelis have changed their attitude, let alone decide to exit the house and observe common decency.

Some days after the threatened execution, Bakri and the officer sit at the kitchen table, and maybe this was meant to show a glimpse of mutual appreciation. The officer asks Bakri why he stays in his house -- which yields the profound reply "because this is my house"! The fact that the Israeli soldier asks the question at all is already problematic because in reality it is a common question asked by soldiers of those whom they seek to dispossess. The dialogue with this soldier isnt one where the oppressor tries to understand the oppressed. Bakris means of resistance hasnt penetrated through to the human core of his tormentors.

The portrayal of the steadfast resistance, or sumud, is also flawed. In one scene, the youngest daughter desperately seeks to go to the bathroom and acceding to her plight would mean her father banging on the door, demanding that the soldiers allow his daughter to go to the bathroom. Instead of banging on the door and eliciting a likely confrontation, Bakri urges his daughter to resist her need to go! NB: steadfast non-violent resistance doesnt mean that one should improve ones bladder control. Non-violent resistance is more than just clinging on to a patch of land in Gandhis approach, it entails confronting the oppressor. In this film, non-violent resistance is represented as clinging on to the house, and the father seeks to keep confrontations with the soldiers to a minimum. Again, this is absurd.

Missing the key point

The film dwells on the intra-family tensions in dealing with the occupation of their house and focuses on the friction arising from the characters differing views on how to confront the soldiers. The films focus is how to resist, with a strong suggestion that the resistance should be non-violent. However, the director fails to ask the key question and never really explains _why_ the soldiers invaded this house or why there are any tensions between Israelis and Palestinians. The means whereby Palestinians resist is an issue that has to be debated in their society and by the people affected by the occupation and dispossession. Whatever the outcome of that debate, i.e., a non-violent or violent way to resist, should not affect an outsiders solidarity with a people who have been subjected to mass injustice. Now, if one were to query why this dreadful situation persists, then this would raise questions for the oppressor and those outside the region concerned with the injustices being perpetrated. Unfortunately, the film stresses the issues centering on the Palestinian society, and not those that impinge on Israelis or outsiders. In essence, the film fails on many levels.

Illegitimate questions

Many soldiers and settlers in the occupied territories are making the life of the Palestinians miserable, and the questions that come to mind are those one would want to pose to the soldiers -- the oppressors. How do they justify the manifest barbarity against the Palestinians? When they invade houses, why do they opt for this drawn out torture and misery? Why do they feel that they are justified in stealing Palestinian homes? And why does the Israeli government connive with the settlers? These are the key questions. Ultimately, these questions need to be addressed by anyone concerned with confronting injustice.


It would have been rather tactless for anyone to have asked the Palestinian family portrayed in the film how they planned to resist the soldiers attempt to steal their home. If they chose to resist by violent means this would have given the Israelis the ultimate pretext to dispossess and banish the family. If they chose steadfast resistance, they would have to endure the brutality, humiliation and intimidation. It is facile for liberals to pontificate about non-violent resistance, but ultimately any option has stark consequences. It is also a sign of illegitimate solidarity for one to put the onus on the Palestinians and the way they confront the armed settlers or the soldiers. The key moral questions need to be posed to the oppressors, not the oppressed. Alas, this film deals exclusively with questions posed to the oppressed, and this comes after decades of oppression and dispossession.

Compelling
Rating Point :4 Helpful Point :1
This film shows an unusual "other side" of the Middle East problem. The media is kind of controlled and we never get to see the palestinian casualties and drama. Some unaware people even think they dont have hearts,families, children and pain. The film also suggests that when you live a desperate life and have no choices sometimes you look for desperate actions.

Increasing Understanding
Rating Point :4 Helpful Point :1
"Private"

Increasing Understanding

Amos Lassen

Understanding the Israeli/Palestinian conflict is not easy even for those of us that once lived there. "Private", an Italian film, looks at the conflict and tries to make it more understandable. "Private" shows the horror and pain that a Palestinian family goes through. Under occupation one loses his freedom.
The plot is simple--a Palestinian family with five children lives near Israeli settlements. The wife, Samia, wants to leave as does one of her teen sons. However, Mohammed, the father/husband, not only does not want to go and is adamant about staying. Two of the children want to fight but Mohammed favors passive aggression as a non-violent witness. Suddenly Israeli soldiers burst into their home and take over the second floor. The family is locked in the living room at night allowing them almost no mobility. We see how the occupation affects the children and their parents marriage. It is through daughter, Miriam that we see the Israeli forces and how they behave. The eldest son, Jamal, is so angered that he sets a trap with a grenade. Realizing that chaos and death are not far away, the family calls to Allah for help.
What makes this film so special is that it shows the weaknesses and dignities of both sides without favoritism for either. Mohammeds family is one of privilege that has been reduced by the occupation. I actually felt badly when the Israelis invade the home. The film is rich with excellent acting by the cast which is both Jewish and Muslim. Mohammed Bakri is absolutely brilliant as the father who subtlely conveys a commanding presence as well as man who has been humiliated in front of his family and does not know how to recover his authority. He struggles to keep his family from harm while at the same time attempting to maintain a sense of dignity in the face of insult.
We get a peek at the reality of the Israeli occupation and we see what we probably did not know before. Political realities are powerful and this film is powerful. It will not "entertain" you in the way other films do but it will certainly give you something to think about,

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