Crazy Beautiful Startup: A Review of The Wedding Plan

 

In the Summer 2017 issue of the Jewish Review of Books, I review The Wedding Plan, the latest from Israeli filmmaker Rama Burshtein.

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Excerpt:

Born in New York and raised in Israel, Burshtein currently lives with her family among a small cluster of Hasidic families in the predominantly secular Tel Aviv. Early in her career, she worked in the ultra-Orthodox cottage industry of films made by and for women, but when Fill the Void came out she crossed over to the international film festival and art house cinema scene, without losing touch with her initial audience. It was possible to enjoy Fill the Void as the tale of an unexpected love story amid tragic circumstances in an exotic setting, but it also spoke to her original audience. That film’s soundtrack was punctuated by a modern Israeli rendition of the song  “Im Eshkacheikh” (If I Forget Thee O Jerusalem), which is often sung under the wedding canopy. For those conversant with Jewish tradition, the song powerfully expressed the connection between the film’s plot and the tension between joy and tragedy already evoked in the Jewish wedding ceremony itself.

A similarly poignant countertext in The Wedding Plan is the hymn “Eshet Chayil” (Proverbs 31), which is traditionally sung each Friday night before Shabbat dinner. Like the film itself, it sings the praises of a faithful “woman of valor.” Early in the film, Michal confesses her desire for a husband to sing “Eshet Chayil” to her, and the film closes with a rendition of the song. While the traditional performance of the song presupposes a husband to sing it, the woman of valor’s husband is not really described in the hymn. It is she who takes care of all of her family’s needs, engages in complex business ventures, cares for the poor, elevates her husband’s standing, and is, consequently, cloaked in strength and majesty, as well as wisdom and kindness. In incorporating this song, Burshtein places her idiosyncratic heroine in the tradition of great Jewish women, but not without some gentle irony. How far, after all, is Michal from that desperate bachelor who proposed to her, and every other woman, on the first date?

Click here to read the article in full

Moana and the Call of Jewish Destiny

This article originally appeared on TheLehrhaus.Com

Animated Disney films, with all of their fantasy and froth, often contain some deep ideas or archetypes. Moana, the latest offering from Disney studios, is no exception. Moana, the protagonist whose name means “ocean” in several Polynesian languages, is a girl who is destined to assume leadership of the fictional South Pacific island of Motunui. Yet she feels drawn to the sea. She undertakes a series of adventures along with a demi-god “trickster” named Maui in order to restore equilibrium to their increasingly imperiled natural environment. All of this is set against a mash-up of pre-modern Polynesian traditions and myths that, according to scholars and critics, is accurately and respectfully depicted. The film’s animation is gorgeous—like Moana, the viewer also feels the call of the shimmering Pacific ocean and expansive sky. All in all, it is an enjoyable film, setting aside some of the pagan elements which go with the territory.

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More interestingly, the film also breaks from, or improves upon, the typical Disney formula whereby a princess is stuck in some sort of repressive environment but yearns to break free. The central expression of this trope in Moana is the song “How Far I’ll Go,” composed by Lin-Manuel Miranda of Hamilton fame:

Continue reading “Moana and the Call of Jewish Destiny”