Amos Gitai - Kippur (2000)-Cinema of the World

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Amos Gitai - Kippur (2000)

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Synopsis:
The film takes place in 1973 during the Yom Kippur War in which Egypt and Syria launched attacks in Sinai and the Golan Heights. The story is told from the perspective of Israeli soldiers. We are led by Weinraub and his friend Ruso on a day that begins with quiet city streets, but ends with death, destruction and devastation of both body and mind. Various scenes are awash in the surreal, as Weinraub's head hangs out over a rescue helicopter's open door, watching with tranquil desperation as the earth passes beneath, the overpowering whir of the blades creating a hypnotic state. It is not a traditional blood, guts and glory film. There are no men in battle, only the rescue crew trying to pick up the broken pieces.

Review:

Quote:

A haunting depiction of war in all of its grotesqueness, horror, and chaos.

If we are accustomed enough to the classic Hollywood war movies, we normally expect a fearless and seemingly invincible hero soldiers on the winning side fighting against the evil enemy force. There is a lot of noise, a lot of smoke and mirrors, perfect organization, and we are rocked in our seats with the sheer force of the adrenalin rush. The good guys win the battle and the war, and all is well. Amos Gitai’s Kippur, however, tells a different tale of war. Based on the director’s personal experience of the Yom Kippur War launched on Israel by Egypt and Syria in 1973, Kippur dares to explore the emotional and practical realities of combat seen through the eyes of reservist soldiers.

After the surprise attack on Israel is announced on the quiet Yom Kippur day, Weinraub (Liron Levo) and Ruso (Tomer Ruso) drive in Weinraub’s beat up old Fiat to the Golan Heights in search of their unit. The rate at which they are going and numerous obstacles on the road make us wonder if the war might end before they get there. Sure enough, their unit is already gone when they reach their destination. They are then found sleeping in their car by Dr. Klauzner, whose car broke down on his way to his air-force base. They join Klauzner’s unit and become a part of the helicopter rescue team picking up wounded soldiers and shot down pilots from the battlefields.

In an obvious anti-war sentiment, Gitai’s camera shies from nothing. We see severed limbs, misshaped bodies, and men struggling with feeble breaths in knee-high mud swamps. We see fear and chaos and moments of bonding that come as silent screams over witnessed horror. The realistic feel is enhanced by long, static camera shots, which make the scenes inescapable and multi-dimensional in terms of their emotional impact. This, after all, is a war movie about a unit of non-professional soldiers. They are disorganized, afraid, and for the most part unfit for the pure physical challenges of their situation. They are just average men, with regular jobs, girlfriends, and family histories. Their vulnerability paints a haunting picture of the destructiveness of war. The fact that we never actually see the invading army nor hear any political or patriotic rhetoric makes the exploits of the characters heartbreaking and deeply personal. They could be anybody, anywhere, at any war, and regardless of the outcome of the war, they will be forever scarred.

Although shot in a slow rhythm with a few unbearably and unnecessarily long sequences, Kippur offers a boldly authentic and thought provoking experience.