Director: Thorold Dickinson
Interesting challenge this month at the ICM Forum, “smaller” Asian cinema, i.e. from Asian countries other than China, Japan and India. I’m not really sure how “smaller” is defined here, cos Hong Kong is OK for this challenge but I’d have thought its industry was pretty sizeable… same for South Korea, which is also eligible.Whatever. This means that, this month, I’m going to be looking at some areas of the world I don’t often (or ever) look at, including Israel, which is counted as part of “Asia” along with a few other places I’d consider mor “Middle East” than otherwise, but, again, whatever. It gave me a reason to finally scrub this, the first ever Israeli feature film, off the watchlist. (Tricky bastard to find a decent copy of, by the way; only today I found an actually fairly watchable version rather than the kind of shit one I’d had for a while.)
It almost feels like a cheat, though, calling it “Israeli”. I mean, it is, but the director was English, two of the main performers were Irish and American, and almost the entire film is in English. I somehow suspect it wasn’t aimed primarily at local audiences, though. The film acknowledges the controversial nature of the formation of the state of Israel in 1948, but I can only remember one point where the possibility that the Arabs might have their own opinions about all these survivors of that other war that had recently finished suddenly getting their own country after Britain washed its hands of the lot of them. And that encounters ends with the Arab man pushing the American character (who’s rediscovered his Judaism while touring the area) into a swimming pool. Basically, Hill 24 is propaganda without much subtlety, and I have a feeling it was aimed more at international audiences than Israeli ones, trying to justify Israel’s battles for its own existence against those shifty Arabs who’ll push you into a swimming pool as soon as look at you. Told in the form of three flashbacks by three soldiers for the Israeli forces sent to capture a particular hill before the Arabs can claim it, two of them about how they came to be involved, and the third which, in its way, is the most interesting, cos it describes how the soldier had recently encountered an escaped Nazi now fighting for the Egyptians who begs for his life by asking him not to do what the Nazis did to the Jews. I know some people who are less friendly towards Israel than myself who would find that statement bitterly ironic. On the whole, it’s wartime melodrama whose interest is, I suspect, mainly historical (in 1955 I imagine it must’ve struck foreign audiences as somewhat exotic), and your enjoyment may depend on just how much propaganda you can handle.