"The Picture of Victory" is the name of a dramatic film that I was waiting, albeit impatiently, to watch.
The film's interest, directed by Avi Nesher: the lost battle of the members of Kibbutz Nitzanim in the south against the Egyptian military force during the War of Independence.
I learned a lot about the history of the battle.
I came to the screening while equipped with knowledge of the Nitzanim affair, knowledge that is not the domain of most viewers.
And to me, at least, the director surprised me: while watching, I waited until it was time to present it in a film of the alleged war crime, committed by a handful of bud defenders, their home.
And such a cinematic status - is gone!
My hopes were dashed.
It is to be hoped that this omission of any Israeli moral crime, imaginary, during the battle, will not harm the film's chances of gaining recognition at Venice or Berlin festivals.
The director Nesher did include in the plot some hints of the unfortunate affair of the warriors' heroism.
But only a few of us are aware of the fact that Brigadier General Givati, Shimon Avidan, published a combat page that humiliated the Nitzanim fighters because they chose, were forced to go into captivity.
Another factual hint: the preaching of the poet Abba Kovner, Givati's education officer, that it is not possible to go into captivity, whatever it may be.
The film also hints at information that Nitzanim fighters did not use reinforcements because they were discriminated against.
The reason: being members of the Zionist Workers' Movement and not members of Hashomer Hatzair, like other kibbutzim in the area.
During the deliberations in which the director may have struggled, his decision was made to sacrifice the chain of facts and instead use the time for a human, captivating depiction of a handful of warriors.
The heroism in the film deserves more than a hint: Mira, a mother and warrior among male warriors, refuses to evacuate before the kibbutz falls in the face of the Egyptian armor, the surplus.
She hands over Danny, her baby, to the evacuees from the kibbutz, before their house becomes a heap of ruins.
And even before it becomes the "picture of victory," the wish of the Egyptian generals who acted inspired by the ridiculous King Farouk.
Well, one might get the impression that Nesher has distanced himself from the fad of political correctness, and even when he chose the subject of the warriors' protection of their home, he avoided a dramatic, imaginary description of an imaginary war crime, which was not committed!
And the thought also passes: after all, the lives of Israelis are laden with dramas, tragedies, victories or defeats.
This is in contrast to an artistic, dramatic tendency, which is intended to highlight in the films the so-called immorality of the Jewish population fighting for its physical existence.
And this is not, God forbid, a call for censorship, but a mention of the existence of a factual platform that can serve as a fertile cushion for directing films, such as the spirit of the "victory picture."
This, too, may contribute to the enrichment of thought, knowledge and even enjoyment of some Israeli films that may be produced in the future.
And Danny?
The orphaned baby from his mother who fell in battle?
He grew up and is with us, Danny Ben Ari by name.