All About the Levkoviches Film Review

All About the Levkoviches

All About the Levkoviches Rating

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All About the Levkoviches is about love, inclusion, and the need to be accepted especially by your family.

It tells the story of a well-meaning but tenacious boxing coach, Tamás, who gets along well with everyone but his own son, Iván, who left the family and moved to Israel to join an orthodox community.

All goes well until Tamás‘ beloved wife, Zsuzsa dies unexpectedly, and Tamás tells his son that he can come and mourn in his house as long as he brings his grandson, Ariel with him. This, however, gives them a chance to settle their old grievances after years of not talking, and also helps Ariel deal with his own grief and his obsession that grandma’s spirit is still in the house.

It is an adroit combination of comedy and drama, and one of the few movies that offers something for everyone. The story, written by Bálint Csaba and director Adam Breier himself, is captivating and gives us a glimpse into the life of the Jewish community in Hungary, and the characters are definitely memorable.

Director Ádám Breier expressed his gratitude for the film’s reception, saying, “We are deeply touched by the number of people watching our film. It’s particularly gratifying that many have told us they’ve seen it multiple times or recommended it to family members,” as quoted in a press release by Mozinet, the film’s distributor.

The film provides a window into the lives of present-day Jews in Hungary, as well as the dilemma for a baal tshuvah (newly Orthodox) man who wants to keep the ties with his secular family.

 

While Tamás is grieving, the local Orthodox community supports Iván with traditional shiva practices, sensitively explored. There are some tender moments of humour among deeply emotional family scenes.

Zoltán Bezerédi’s Tamás is a wonderfully drawn character and the original grumpy old man, but his heart is in the right place with his care for his estranged son and his grandson. His scenes with Ariel, his grandson are touching, especially when he is teaching him to box.

Tamás Szabó Kimmel’s Iván is torn between orthodoxy, his love for his wife, mother and trying to do the best for his son. The scene when he slaps his son across the face is confronting, but almost understandable.

Leo Gagel’s Ariel is the ‘meat in the sandwich,’ divided between the love for his father and his love for his grandmother. The connection he builds with his grandfather is instrumental in reuniting his father with his grandfather.

All About the Levkoviches teaches us a particularly important lesson, which is that everyone grieves in their own way, whether they are old, young, or deeply religious. Learning to respect this is not always easy, but it has the power to mend broken relationships.

To book tickets to this or other films click https://www.jiff.com.au/

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

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Fuhrer and Seducer Film Review

Fuhrer and Seducer

Fuhrer and Seducer Rating

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‘Fake news’ is a term we are all too familiar with. However, it was not invented by one of the candidates in the current USA elections. Joseph Goebbels, the Minister of Propaganda in Adolph Hitler’s ministry of war was a master of fake news long before the immediate past president of the United States of America!

Führer and Seducer deconstructs Goebbels’ evil propaganda machine and reveals how he created the images, speeches and films that form the frame of reference when discussing the Third Reich. It is a powerful insight into historic events and how they parallel today’s ‘fake news’ landscape.

It’s 1938. Joseph Goebbels, the Minister of Propaganda, is at the peak of his power, while Hitler is celebrated by the people. But the dictator is marching resolutely towards war, and propaganda up to now has promised peace.

Joseph Goebbels, the Minister of Propaganda, accompanies Hitler during the seven years from the “Anschluss” of Austria in March 1938 to the murder and suicide in the Führerbunker in May 1945.

Goebbels is the creator of the pictures of loyal crowds and of the anti-Semitic films “Jud Süß” and “Der ewige Jude”, that ready the Germans for the mass murder of the Jews. After the defeat at Stalingrad and the situation worsening to the point of hopeless in late 1944, Goebbels plans the most radical propaganda act, his last hoorah – Hitler’s suicide, the murder of his family, and his own suicide.

Original propaganda footage is mixed with making-of scenes and juxtaposed with fictional private scenes. First-person Holocaust survivor testimony punctuates the drama while, in a final coup de grace, we are shown footage of actual shootings, hangings and other Nazi atrocities.

Director and writer Joachim Lang’s gives us remarkable attention to detail – make-up, lighting and clever editing. His film recreates and deconstructs the original Nazi propaganda – and its mastermind.

His Goebbels enjoys the challenge of maintaining poll ratings despite Hitler’s mind wandering and garbled speeches and policies. Repetitive messages of hate and fear, Goebbels could be talking about today’s small-screen social media when he likens propaganda to a painting: “It’s not the size that counts but the emotional impact.”

Robert Stadlober’s Goebbels is a mixture of manipulation for his own sake and a misguided vision of a Jewish free Germany. He is riveting to watch as he attempts to manipulate all around him, until there is no other remedy but death.

 

Fritz Karl’s Adolph Hitler is portrayed as a troubled soul, unable to think clearly as the war turns against him. He laments his inability to live like a normal person, to go to the movies, shop or even a walk for please. He admits “With the right advertising, any fool can take power.”. But even power is not enough.

Franziska Weisz’ Magda Goebbels is trapped in a loveless marriage. Her husband is having an affair and the country is self-destructing. All she can do is protect her children.

My only reservation viewing Führer and Seducer is the lack of viewpoint of the Jewish race during the holocaust. There are references and extremely confronting footage, but more interviews with the Jewish survivors could have added more gravitas to the film. But perhaps, lamentably there are not a lot of survivors left alive now.

With politics and democracy in the West facing its biggest challenge since WWII, Führer and Seducer is a reminder not to believe everything that we hear or see on the media.

As the film warns – “For if only we take a close-up look at the biggest villains of history can we strip the masks from their faces and thus disarm the demagogues of the present”!

“It happened… and it can therefore happen again. Therein lies the core of what we have to say.” (Primo Levi – Auschwitz survivor)

To book tickets to this or other films click https://www.jiff.com.au/

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

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Welcome to Yiddishland: Reviving A Dying Language

Welcome to Yiddishland

Welcome to Yiddishland Rating

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Ros Horin’s Welcome to Yiddishland is a charming and lighthearted exploration of modern art and the Yiddish language. We are introduced to a host of characters who are exploring the Yiddish language through forms of music, performance and art. The characters originate from all corners of the globe. And the film features performances from events held in Australia, Germany, the States and beyond.

As they recount their personal experience with the language, the audience is walked through the complicated history of Yiddish, from its inception to its current classification as a dying language. One thing is made clear. It is a language of a people, not of a land.

Documentaries are meant to introduce the audience to worlds previously unknown. As someone with no prior knowledge of the origins and history of the language, this documentary does a great job of educating the audience, while maintaining an upbeat musical tone. It’s a message of joy and perseverance in the face of multi-generational hardship.

The film wonderfully highlights the almost magical connection between music, art and culture. The joy and life that speaking Yiddish brings to the featured characters illustrate the crucial role a language plays in sustaining a culture.

Many characters echo the sentiment, “The culture is here to stay”.

It is tough to make a documentary these days. You have to strike the right balance between informational, entertainment and emotional beats. And today’s audience is well versed in the short-term attention-grabbing buzzy titles regularly featured on streamers.

 

Don’t expect sleek panning shots or game-changing twists in this film. It has a more personal feel, often the performances feel more like a home video than something that would dominate the top ten page of the streamers. This film would be at home on the traditional TV channels.

As the documentary follows a large cast of characters, the audience doesn’t spend a lot of time with a small group of key players. Instead, we meet featured characters for an introduction beat and sometimes revisit them sporadically throughout.

This leads the film at times to have a general lack of focus. We follow too many people to be genuinely connected to any of them. And those that we are introduced to, we don’t spend enough time with to fully connect with their personal arc.

Though not lacking in joy, the uneven structure and general broad scope of the story limit chances for deeper emotional beats to be experienced. Telling the whole story of the Yiddish language is hard to do in 93 minutes. It means that interesting sub-stories are skipped over in the pursuit of a more general story.

There is also a slightly obvious attempt to address the current complication that might arise from featuring stories told in Israel. While the documentary does its best to remain neutral and promote unity over hate, it’s a complicated line. One that can easily be interpreted as flippant by certain parties.

One thing is clear, the director wants you to know. Yiddish has not said its last word.

To book tickets to this or other films click https://www.jiff.com.au/

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

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Kiss Me Kate: Presented by The Gilbert and Sullivan Society

Kiss Me Kate

Kiss Me Kate Rating

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3

The Gilbert and Sullivan Society of WA returns for its second major production of 2024. Straying from the traditional G&S its name suggests, it presents Cole Porter’s musical comedy Kiss Me, Kate.

Based on the book by Sam and Bella Spewack, Kiss Me, Kate is a show within a show; passions run high as former spouses feud onstage and off during a musical staging of Shakespeare’s The Taming of the Shrew. The egotistical leading man, director, and producer Fred Graham (Ian Lawrance) are reunited with his ex-wife, Lilli Vanessi (Hayley Parker), when the two are brought together to star opposite each other as Petruchio and Katherine in a new adaptation of The Taming of the Shrew.

 

While their barbed and battling relationship puts the entire company on edge, the show’s supporting actress, Lois (Taylor Westland), finds out that her gambling actor boyfriend, Bill (Calen Simpson), has racked up an enormous debt and is hiding out at the theatre to evade the collection by local mobsters.

It’s great to see local groups stage musicals that are well known for their large overseas productions, including the recent West End stage show and, of course, Broadway. The millennials in attendance will be familiar with the themes and characters of The Taming of The Shrew, thanks to 1999’s 10 Things I Hate About You.

Opening night at The University of Western Australia’s Dolphin Theatre was well attended and felt like the show had started as soon as you entered the foyer with a news kid (Ashlee Graveson) handing out flyers for that evening’s performance of The Taming of the Shrew. Two menacing gangsters (Samuel Farr and Tracey Myhill) also paced the foyer on the hunt for those with outstanding IOUs to be paid, adding a bit of fun while we waited.

Upon entering the auditorium, it was hard not to be excited to see the Orchestra front and centre rather than tucked away in the pit. However, if you were sat in the first row or two, it did mean they were eye level, so it was easy to get caught up in watching the musicians and not the action on stage.

The simple set and the inventive use of several elements in different ways, including spinning doors around to create the inside of dressing rooms, made for quick set changes. Keeping the set simple also came in handy for times when the entire cast was on stage, which had the potential to feel cluttered. I would have loved to have seen all of the performers in some scenes; however, there was a bit of blocking from those front and centre.

 

The four leads, Hayley Parker, Ian Lawrance, Taylor Westland, and Calen Simpson, delivered strong vocal performances and were supported by a talented ensemble. At times in the first half, the microphones had either not yet been switched on or could have been turned up more as dialogue was drowned out by the wonderful music. The same can be said for supporting cast members who didn’t have the luxury of microphones.

Well done to the costume team, as dressing a cast of this size can be challenging. I loved the details, right down to the shoe buckles strapped on—very clever.

With Cole Porter’s music and lyrics, it was hard not to keep your toe tapping all the way home. Even the next afternoon, I can’t get “Brush Up Your Shakespeare” out of my head. The cast is clearly having a great time performing this show, which is contagious for the audience.

Kiss Me, Kate is performed at The Dolphin Theatre in Crawley for an 11-show season.
October 4, 5, 9, 10, 11 and 12 at 7.30 pm
October 5 & 12 at 2 pm
October 13 at 3 pm

Bookings at https://www.gilbertandsullivanwa.org.au/

This review also appears on It’s On The House. Check out more reviews at Whats The Show to see what else is on in your town.

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