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The Great Zohar: The five greatest films of the late actor and creator Uri Zohar | Israel Today

2022-06-02T19:21:08.717Z


The late Uri Zohar left behind masterpieces, which became the great classics of Israeli culture. • His cinematic works were bold and groundbreaking, and remain relevant and powerful to this day. 


The artistic endeavor of Uri Zohar, who passed away at the age of 86, spread over many areas: he was a member of the Nahal band and the "Green Onion" band, he presented radio and television programs, he took a major part in the mythological sketches of the "Lul" group, with Eric Einstein and Zvi Shissel, and he was also a charismatic and excellent actor who participated in dozens of films, sketches, TV shows and commercials.

Alongside all this, Uri Zohar was also a prolific and gifted screenwriter and film director, who managed to do quite a bit in the decade and a half in which he was active before repenting.

He has directed 11 full-length films, including major hits such as "Moishe Ventilator" (1966);

"Our Neighborhood" (1968), starring the Pale Tracker Trio;

And "The Rooster" (1971), starring Haim Topol.

From the movie "Big Eyes", Photo: PR Shapira Films

But in addition to these films, which were more commercial in nature, Zohar also issued a series of bold, innovative and groundbreaking cinematic works, which are cornerstones in the history of Israeli cinema and remain relevant and powerful even today.

They also do a good job of explaining why Zohar is still considered one of the most important Israeli filmmakers to have ever performed here.

Here are his five best films.

"A Hole in the Brick" (1965)

Zohar's first feature film (after a documentary called "Tree or Palestine", made from excerpts from "The Carmel Diary") is a wild and avant-garde surrealist delusion that was ahead of its time (and failed at the box office).

Based on a script by Amos Keinan, Zohar stars as a new immigrant who arrives in Israel on a raft and sets up a kiosk in the heart of the desert.

Things get complicated when another person arrives in the desert, who opens a kiosk right in front of him.

An absurd, disturbing and wondrous film, which despises conventions and makes fun of everything possible (including the Zionist enterprise and the cinematic medium itself).

From the movie "A Hole in the Brick", Photo: PR Shapira Films

"Three Days and a Child" (1967)

Based on the story of AB Yehoshua, Zohar tells a modernist tale in the scent of the French new wave, about a math teacher who is asked to take care of his ex-lover's child. Love, jealousy and resentment mix together to create a venomous and juicy cocktail that still works great. David Gurfinkel and the pristine landscapes of Jerusalem (the film was shot in the area of ​​the Nayot neighborhood and the Valley of the Cross), and you will receive a true local classic.

The film "Three Days and a Child", Photo: PR Shapira Films

"Every Bastard is King" (1968)

An exaggerated display of euphoria that well reflects the Israeli experience after the Six Day War.

Yehoram Gaon stars as a tour guide recruited by the State Department to accompany an American journalist who comes to the area with his wife to write about the war that is about to break out.

Then the war breaks out.

Zohar co-wrote the script with Eli Tavor (who will later also write "Charlie and a Half" and "Snooker Celebration"), and the film's generous budget allowed for the filming of relatively serious fight scenes and the bringing in of some well-known American actors (William Berger and Pierre Ang 'Li), an unprecedented thing at the time.

Not Zohar's best film, but without a doubt his greatest film.

From the movie "Every Bastard King", Photo: PR Shapira Films

"Peeking" (1972)

Against the background of the "Who To" revolution, Zohar's most famous film has been re-examined in recent years, and it is understandable why.

It is a vulgar chauvinistic film, accompanied by two typical and childish Tel Aviv men, played by Zohar and Arik Einstein, while living their hedonistic and empty lives.

They roam the beach, walk around town, look for flicks, make plans - but do not really do anything, and do not really get anywhere.

So on the one hand, this is an iconic, yet problematic cult film that is hard to watch today with uncritical eyes;

On the other hand, it is also a melancholy, brutal film - and yes, also quite funny, in its pathetic way - about a deep existential crisis, which provided a first hint of the way Zohar would choose to go a few years later.

Arik Einstein and Uri Zohar in the film "Peeking", Photo: PR Shapira Films

"Big Eyes" (1974)

Not only Zohar's best film - but also one of the best Israeli films ever.

Exactly so.

Zohar stars as Benny Furman, a married basketball coach who runs between his family, his team and his two mistresses.

Eric Einstein plays the star of the team and Furman's best friend, who looks at him from the side in astonishment and does not understand what he is doing.

Zohar co-wrote the script with the writer Yaakov Shabtai.

A stunning black-and-white photograph of David Gurfinkel.

Another Tel Aviv story about an existential crisis.

Another story about emptiness and meaninglessness.

Another step, this time clearer, towards repentance.

Uri Zohar in the filming of "Big Eyes", Photo: PR Shapira Films

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Source: israelhayom

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