Four soldiers in the center Samuel Maoz Lebanon, which is open on the first day of the 1982 Israeli invasion of Lebanon, limited to the interior heat from a small fry ramshackle named Rhino. And so did we. With the exception of two books-end glass waving sunflowers field, the story will remain in the tank, four others will tank to carry at one point or another, but simply a view from outside to come in sight of the bomb sight. Indeed, we must wonder if they are not permanent cross engraved on each eye of the Israeli army during the war.
The view from inside the tank is not enough: the details of the most shocking moment of this film of horror and humiliation of a woman as she watched her husband’s death and the loss of his daughter before her dress was burned off, making it helplessly wandering in the ruins of a piece of cloth to to cover themselves with, all within a few minutes. There are also sidewalks filled with dead bodies, blood gushing from the army and secret affairs between Israel and the Christian Phalangist command, all filtered through the tank gunner and Maoz proxies, Shmulik (Yoav Donat).
At first, Shmulik unable to shoot, allowing the military victims, the first successful battle for a chicken truck shoot was not dangerous and left bleeding, wailing paralyzed. It actually amounts to mapping the existential fear of the inevitable to Lebanese immerses the viewer, an experience par excellence drama, no other film this year has left me as emotionally and mentally Maoz’s dried. The preparations of the commander is impossible (Itay Tiran), and rough terrain dedicated leaders (Zohar Shtrauss), Shmulik and two other soldiers captured in a personal hell, both in war and against. Not for nothing is not part of Rhino drops, moisture and oil and dirt on the walls and puddles collect on the floor.
Casualties caused by Shmulik, coded as “interest” in military speak, is the first of four organs to descend into chaos Rhino on the outside. A much more interesting is a Syrian prisoner of war, who waited for his own testing of unimaginable when he came out of the tank. This promise was made by a soldier who speaks Arabic Falangist, disguises his promise to the eyes of the prisoner cut so he can see her genitals cut. But those things that many Maoz, first director and screenwriter at the age of 48, not brilliant here the greatest impact is the fact that no one side of the war is seen as a particularly heartless, war, presented himself as a condition of loss of resources, such as stamp good and evil.
Even at 94 minutes, the density of purely political, religious and philosophical allegory that the Lebanese make repeat viewings mandatory present. However, as already indicated, Maoz film is also just a great war movie and a rare example where the name of the captain, Sam Fuller, can be freely expressed in terms of the equation. Lebanon has also “following” Waltz with Bashir, innovative phantasmagoria Ari Folman’s – an unfair comparison considering Bashir dealing with grief and memory and Lebanon, although based on personal recollections Maoz who served in the war, associated with urgency and sharp details of the struggle. Memory only spoken in the Rhino is a long tirade Shmulik in sexual encounters with one of his teachers after the sudden death of his father.
Cut off from their commanders and the Syrians left in a nest unseen, people in Rhino finally broken in the final moments of the film, a soldier shouted for her mother and her home. This example shows the first thing Shmulik see the Rhino at the top of this movie: A small inscription, “The man reads the Baja, the only iron tank.” Tossed into the psychological abyss, the soldiers deserted and desperate, having the strongest weapon on the ground, they also seized by the government proxy hysteria. Israel remains in the grip of hysteria these days is proof of one of the unimpeachable truth in Lebanon: There is a way out.
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