‘Footnote’ Deserves Prominence With Great Storytelling

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HollywoodChicago.com Oscarman rating: 4.5/5.0
Rating: 4.5/5.0

CHICAGO – Answering the question, “Where are all the great film thrillers about Talumdic Studies?,” the awesome film “Footnote” considers that very subject, pitting the always complicated relationship between a father and son against an treasured academic prize. Even though it sounds starchy, it actually had more verve than most spy movies.

Nominated for Best Foreign Language Film at the recent Oscars (losing to “A Separation”), this Israeli work defines the country and its atmospheric landscape through the plot, which is another remarkable achievement. There is more cultural acumen to be gained from viewing this film than a hundred showings of “Fiddler on the Roof” (which also gets a sharp and funny poke in the story). The pacing and the style of director Joseph Cedar uplifts the whole narrative, he touches upon the humanity of the situation in a way that maintains the dignity in all of his marvelous characters.

Eliezer Shkolnik (Shiomo Bar Aba) is a scholar who has spent his life researching the different versions and phrasings of the Jerusalem Talmud. His son Uriel (Lior Ashdenazi) is also an academic, much more modern and popular than his stubborn father, who is doggedly attached to his old-school research methods. Eliezer had made a tremendous discovery in association with the holy texts, only to have years of fact-finding undercut by a colleague named Grossman (Micah Lewensohn), who by chance had similar findings through a lucky discovery. Eliezer clings to a single footnote, his personal best achievement, in one of the most prestigious books ever written regarding the Talmud.

Paper Lion: Shiomo Bar Aba (Eliezer) in ‘Footnote’
Paper Lion: Shiomo Bar Aba (Eliezer) in ‘Footnote’”
Photo credit: Ren Mendelson for Sony Pictures Classic

His life changes when he receives a call from the Minister of Education, informing him that he has won the monumental Israel Prize, the highest honor in the field of his study. Thinking himself finally exonerated, Eliezer’s ego goes on high level overdrive, effecting his estranged wife Yehudit, his son Uriel and the media that is covering the event. When a mistake is revealed in the awarding of the prize, the challenges ahead will test everyone who is even remotely involved with the scholar – especially his son – and finally the man himself.

This is brilliant stuff, exciting if you can believe it. What becomes apparent is how competition effects all levels of endeavor, large or small. The competition in brain power is even more fascinating, imagine spending your life pouring over the minute details of a single text? This is about the tradition of “thinking about thoughts” that the Jewish culture has forged for thousands of years. It is beautiful in it’s pursuit, and of course gets ugly in its competition. That simple morality is a plague in this film and is inherent in virtually all aspects of life.

What always amazes when a great foreign language film comes along is the wealth of talent there is all over the world. The right actor or actress can be found for virtually any role, and there is not one miscasting in “Footnote,” and that’s assuming is an all-Israeli cast. Shiomo Bar Aba has such a perfected comprehension for his character that any false note is undetectable. He is particularly good in an exchange with an unctuous security guard – a very telling scene regarding the state of security in Israel – his exhaustion and indignation is felt right through his weary load. Lior Ashdenazi as the son brings a wisdom to the role that is enriching. He wrestles mightily with a moral dilemma, but never lets it engulf him.

Another clever element is the way director Joseph Cedar presents such lofty material. Using devices such as an explanatory cutaway, almost in the seriocomic mold of “30 Rock,” brings a Cliffs Notes satisfaction to the basic knowledge necessary for understanding the story. There is an edge of absurdity to the proceedings as well – the aforementioned security, the so-called power of the academic committee and the awards show itself, as glitzy and inappropriate as any televised self-congratulation. The structure of the narrative was spot on, there are several reveals that have the gasp-worthy exultation of a whodunit.

Son Also Rises: Lior Ashenazi (Uriel) and Shiomo Bar Aba (Eliezer) in ‘Footnote’
Son Also Rises: Lior Ashenazi (Uriel) and Shiomo Bar Aba in ‘Footnote’
Photo credit: Ren Mendelson for Sony Pictures Classic

The film does get a little frustrating, only because it presents the material so well. There is something so fascinating and repulsive about an inflexible nature. The truth that lies in Eliezer is his own, but that doesn’t mean it’s right for everyone. He was so willing to go to the mat in representing his academic methodology, that he has obviously disengaged every relationship he has. Even the congratulatory drink with colleagues had an air of detachment to it. And if he is truly and absolutely right, so what? The world evolves and collapses around such thinking, and whatever evolutionary or destructive side a familiar relationship sinks into is very important, as the astute film points out.

The conclusion is intentionally vague, and that was satisfying as well. Really, the only winners in these type of struggles are the persons distant from the fray, absorbing the knowledge that was produced in the first place, searching for their own clues.

“Footnote” continues its limited release in Chicago on March 16th. See local listings for theaters and show times. Featuring Shiomo Bar Aba, Lior Ashenazi, Micah Lewnsohn, Aliza Rosen and Alma Zack. Written and directed by Joseph Cedar. Rated “PG

HollywoodChicago.com senior staff writer Patrick McDonald

By PATRICK McDONALD
Senior Staff Writer
HollywoodChicago.com
pat@hollywoodchicago.com

© 2012 Patrick McDonald, HollywoodChicago.com

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