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Zaza is a 31 year mature Ph.D. student in Philosophy. His parents want him to acquire married soon. To this extinguish, they’ve arrange meetings for their son to glean acquainted with girls of Georgian descent. A successful match to them would be a substantially younger virgin Georgian girl. However, Zaza has his sights state on someone else. He is in worship with a 34 year archaic divorcee named Judith (she also has a daughter) . To Zaza’s parents, Judith is damaged goods and a relationship between their son and her is a disgrace. They then acquire shameful measures to earn obvious this relationship ends. One night, the entire extended family pays a visit to her. Zaza’s uncle threatens to ruin her if she doesn’t salvage out of Zaza’s life. His father revokes Zaza’s credit card and threatens to terminate providing financial relieve for him to complete his education. Judith understands that it will be impossible for her and Zaza to be together (although she repeatedly prays for his worship to burn only for her) . So she takes the more ancient arrive (which later brings Zaza’s mother to tears) and calls it off with Zaza. In a very poignant scene the day after the accostal, Zaza’s mother comes assist to talk to Judith (and also brings a mammoth stuffed animal for the daughter as a conciliatory gesture) . They talk and Judith accepts her judgment putting Zaza’s mother to shame. “She’s a top-notch girl” according to the mother. Now Zaza has no choice but to determine a wife (he picked a splendid one I might add) and marry her. During the reception, he tries to cause a scene. In a very clever stroke of scripting, the tables are turned on him and we are left to choose that life goes on and another generation of fixed-marriage remains intact.
To me this film is very noteworthy and raw in what it’s trying to enact. The director wants us to sight, in all its gory/gratuitous details, what Israeli life is like. There are no smoke and mirrors, no time lapses. What you gape is what you gain, and it really makes a statement to the audience. When I was watching the film, particularly during the sex scene, I was thinking “What an impartial, realistic, raw diagram to describe actual life!” And that’s what this film is all made with – honesty.
So before you go on expecting this film to be a Hollywood care for chronicle, I suggest you ask yourself whether you are ready to handle a two-hour cultural immersion into the Israeli life. If so, notice it. If not, go peruse something more lighthearted like My Gigantic Paunchy Greek Wedding.
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LEAP rating (each out of 5) :
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L (Language) – 3.5 (bare-bones dialogue but appropriate for the tone being dwelling)
E (Erotica) – 5 (includes a very realistic/raw sex scene)
A (Action) – 0 (n/a)
P (Space) – 4 (31 yr. used Israeli male in like with an older divorcee, but parents force him to scrutinize for a younger, unmarried wife)
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The thrill of watching international movies is to catch a first-rate recent release at your local first-run ‘art house’ cinema, lock on to a mountainous star, then work backwards through that person’s previous work. “Gradual Marriage” is the perfect example of how that movie-watching technique can unearth a hidden gem.
In this case, you can open with the oustanding Israeli film (in theaters now), “Slither on Water.” You’ll never notice a better film. Its star, Lior Ashkenazi, is the hottest thing in Israel at the moment. His breakout, it turns out, was 2001’s “Unhurried Marriage.” Shockingly, my local rental place (with its 150 – 200 international titles) had it in stock.
There’s an unexpected treat in here: ‘Marriage’ also features (albeit too briefly) the charms of Aya Koren (billed here as Aya Steinovitz) . This is the most lovely woman in film today. Study ‘Bonjour Monsieur Shlomi’ if you doubt that.
The film itself is very enlightening and, ultimately, heartbreaking. It centers on the struggles of a 31-year-old man looking for independence in life and worship, yet hampered by the expectations and, subsequently, outright threats of his family when it comes to the matters of marriage. The ending of the film is a jawdropper. You’d never bag this type of dispiriting – but hyper-realistic – conclusion in the “near select us up where we belong” world of Hollywood.
Speaking of which, there are some annoying things to comment on about the marketing of this movie. A prominent blurb on the DVD mask box compares “Marriage” to “Colossal, Chunky Greek Wedding.”
Not on your life. Writer/Director Dover Koshashvili must have spit out his breakfast when he read that. These two films couldn’t be more dissimilar in the map their respective culture conflicts accept resolved.
Next, we had assist of the DVD, which features solely a narrate of Ashkenazi and Ms. Koren. You can’t fault a marketer for featuring her front and center, but, alas, she’s not center to the film in any fashion.
Last, and most egregiously, when have the hide shot of Ashkenazi flashing his newly be-ringed finger into the mirror. He appears to be showing it to co-star Ronit Elkabetz (his beloved Judith) . This photo is faked. It’s a montage. It egregiously misrepresents the resolution of the movie. At this point, Ashkenazi’s Lior is alone, lost in deep introspection (we leer why in the dramatic, concluding 10 minutes that follow) .
Who is responsible for this trickery? Why resort to it? Will it sell a single extra copy of the movie? I’ll bet this arrive greatly upset Mr. Koshashvili. No method a director would condone this misrepresentation of his baby.
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