When he returned to the stages, a few years ago, the musical "Casablanca", an unexpectedly unplanned comedic moment took place in it.
In one of the highlights of the play, which takes place in 1953, Casa's former commander tries to reconcile his mind.
He admits the existence of ethnic discrimination in the State of Israel, but states emphatically that "this is still the way it is, we are a young state. In 30 years this roof will probably pass."
The audience in the halls of the 2000s responded to the distinction with great laughter.
Innocent hope became a bitter irony.
It is clear to all of us that Israeli society has remained heterogeneous, and that the news of the death of inter-ethnic tension was too early.
This is why the protagonists of the borax films are not dead, they are just being replaced, and the TV series "Coupe Main", similar to the movie "Release My Edge", is currently enjoying extraordinary success.
Nearly 900,000 viewers have so far watched "Release My Edge," a film dedicated to the plots of three members of Yemeni descent who fly to Colombia for the rescue of one of their descendants, equipped with cunning and cutting only Oriental speech.
Apparently they meet an agent of an anemic Ashkenazi institution, and manage to free her from her multiple fixations as well.
At the same time, in its third season, "Kupa Main" also receives high ratings. The Israeli microcosm, as revealed in the Yavnei supermarket's Yavnei supermarket chain, still includes, without self-awareness, an Ashkenazi manager, demanding Ashkenazi customers and a complex proletariat, mostly of the second generation of Israel: Mizrahis, new immigrants, workers of Ethiopian descent and Arabs. Cultural wars are waged on the land of the writer in every episode and the people of the periphery, like "Release My Edge," come out with their hands on the top, as is customary in Borax films.
Even those who have heartburn, must take a look at the cinematic look. The success of Israeli comedies at the center of which is an intra-social conflict is a testament to our continuing inability to become a "brother and sister tribe." From "Saleh Shabtai" to "Sabri Rabbanan", the comedies present Israel as a society with many identities. Even in the third generation of immigrants, we are first and foremost Mizrahis or Ashkenazis and only then, perhaps, Israelis. The identification of many viewers with the worldview that the comedies market is a sign of disgrace to our inability to choose the components of identity that connect us, over those that separate. If after 74 years the Israeli water, lemon juice and sesame seeds have not become smooth, it seems that the problem is in the stirrer.
The insistence of contemporary creators to equip their protagonists with the same caricature of ethnic features is indicative of lazy and courageous writing. In contemporary Borax, the Ashkenazi remains stingy, the Mizrahi Tahmani and the Arab submissive. In film and television, Mizrahis are portrayed as devoted to their families, while the Ashkenazi house is designed as a torture cellar. Seeing the ethnic origin as a trait from which the characteristics of the tribe's character are derived evokes (in the language of one of the characters in "Kupa Rashit") "disgust". One day we may be able to see social diversity as a source of cultural wealth and avoid stereotypical thinking, which depends entirely on ethnic origin. Miri Regev, for your attention.