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TV review
We came to banish darkness: the actors are good, the story is strong, and yet Bnei Or is disappointing
The anonymous young cast in Yes' new series does a good job, led by Maor Levy as the protagonist, but the direction, editing and especially writing are disappointing.
Instead of focusing on the characters' souls, the series focuses on the technical advancement of the plot from point A to point B, and by the way makes some outrageous mistakes
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Sons of Light
TV review
Maor Levy - actor
Yishai Lalosh
Ido Yeshayahu
Sunday, 25 April 2021, 14:11 Updated: Monday, 26 April 2021, 10:42
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Trailer for the series "Bnei Or" (yes)
There is something so beautiful in the name of "Bnei Or", the new series of Yes.
It is named after the real street in the Be'er Shevait neighborhood where the plot takes place, but the choice of it is of course greater than that, full of humanity.
A work about delinquent teenagers that nevertheless emphasizes their light, at least on paper.
The plot of the series, the first episode of which airs today (Sunday) Bite and Audi and Biss TV Action, takes place in 2001 in Be'er Sheva and follows a group of boys who open a drug station in the city.
The main protagonist of the series is Eli (Maor Levy), a smart, hard-working and potential boy whose life in the neighborhood has pretty much decided his fate.
His father (successful Amir Benyon in the first acting role) is a drug addict who is not in touch with the family, and Eli's attempt to help him wean requires a lot of money from him that he does not have.
On his way, an opportunity arises to make quick money with the help of a kilo of grass that another young man from the neighborhood, Johnny (Yishai Lalosh), "just got" released from an institution for young offenders.
The urgent need for cash leads Eli to come up with a venture that is becoming a huge success thanks to the niche of customers that the group focuses on: students from Ben Gurion University.
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Strength.
Maor Levy as Eli, "Bnei Or" (Photo: Neti Levy)
As befits her name, "Bnei Or" sympathizes with her characters.
The third chapter (out of eight) opens with a scene in which some of the boys sit one by one in front of the school counselor, talking to them about the next stage in their studies: hairdressers, car mechanics, electricians - classics of paving.
"I have a friend in Comprehensive H, they generally study computers, it's much more interesting," says one of the boys to the counselor, aware of the future he has avoided.
All the while the editing weaves in these conversations the boys making a force in selling grass, emphasizing their omission from the mainstream.
The humanity of the series is most evident in Maor Levy in the lead role, probably the great strength of "Bnei Or".
It has everything needed for this role of a good boy in a bad environment, a combination of charisma, charm and a great soul.
He is convincing even when the protagonist does terrible things with his friends on the one hand, and also when on the other hand he approaches a Nava student (Dana Fried) and she to him.
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First and successful acting role.
Amir Benyon, "Bnei Or" (Photo: Neti Levy)
In general, the series boasts of its anonymous young cast, and rightly so, they do a good job.
But it is precisely the directing and editing that disappoint them, highlighting their immaturity.
In all three episodes submitted for review there is a severe problem of pace.
Scenes with pauses that are too large in dialogues, as opposed to those without pauses at all even though such is required, so it is clear that the texts are pre-written.
Plus there are scenes that linger far too long instead of cutting to the next thing (in one episode there is a conversation at the bar between Johnny and Herzl, a veteran local criminal, that ends in a long line, on the ridiculous border, of an exchange of glances between them).
Scenes where we see only one side of the story but not the other (one character shoots another character, but we only get to see the shooter) and so on.
The writing in "Bnei Or" is not good enough either.
Most of the superficial plot choices come outrageous.
The worst of them is the one where the boys invite a stripper to their room in the second episode.
There is no creative impediment to describing such a case, of course, these are things that still happen and happen.
But instead of sharpening the sleaze and exploitation of the situation, "Bnei Or" does the opposite - framing the scene as truly romantic.
One by one, the stripper organizes the boys while the soft song "At Last" plays in the background, and finally enlarges and takes one of them to the bedroom, at the expense of the house.
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Deep moral failure.
The strip scene in episode 2 of "Bnei Or" (Photo: screenshot, yes)
It is inconceivable to think that this scene was not stopped at any stage of the production, while the new editions report on the horrific gang rape in Eilat and while the shocking memory of the case in Ayia Napa is still fresh in my head. Two cases that perpetuate the casualness in which young Israeli vacationers treat a woman as a lump of flesh, and then comes "Bnei Or" and beautifies a situation like this.
The thing is that even if we ignore for a moment the deep moral failure, the scene is a male youth fantasy in the style of "Lemon Popsicle". Not something a rough and realistic drama series can afford. This is a choice that indicates the poor priorities of "Bnei Or", and thus also the disappointing miss of what its name promised.
One would have expected that as in that scene of professions - which while not particularly refined but at least conveys the essence - the whole series would sketch the way reality closes in on the boys, pushing them into the dead end road they are on.
One might have hoped to describe the feeling of suffocation, despair and irony of a boy forced to turn to drug trafficking to fund rehab for his father.
But it seems that "Bnei Or" mainly focuses on promoting the plot from point A to point B, and by the way neglects the souls of the heroes.
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A character is left without a background.
Yishai Lalosh as Johnny, "Bnei Or" (Photo: Neti Levy)
Johnny's character, one of the most central in the series, remains completely obscure even after three episodes. We just know he's always fighting for me, he doesn't really care about the consequences, he has tough codes he has outlined for himself and those around him, and that's about it. Who he is, what family he grew up in, what made him so, some detail that will make us connect with him - it is not. Even with Eli, a much more developed character, Bnei Or is inconsistent. He could be expected to show a little more cleverness and caution when the gang completely reveals its plans to the stripper - that is, an outsider who can easily bring them down - or when the members more or less disclose their criminal acts to an occasional taxi driver. This frivolity contrasts with the rest of its features, according to the series.
These are particularly unfortunate failures, because there is a spark in "sons of light."
The raw materials and the young actors hold so much promise in them, everything is there and all that is left is to knead them into a great work.
Still, the series fails to rise to what it could have been - it has no touching description of potential spilled into the sewers, nor a social indictment of anyone who paved the dismal path.
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Disappointing the boys.
"Bnei Or" (Photo: Neti Levy)
"Bnei Or" airs on Sundays at 10:00 PM Bite Tiwi Action and Bite Viodi.
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