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HBO's film about the Oslo Accords is embarrassing - but could have been much more embarrassing

The HBO film behind the scenes of the Oslo Accords is a kind of crash course, superficial and unreliable in the history of the conflict.

But thanks to the quality of the game's displays, including an entertaining and entertaining performance by Debbie Glickman, watching it is less embarrassing than it might have been.

Tags

• Oslo - Movie

• The Oslo Accords

• Debbie Glickman

• Itzik Cohen

Avner Shavit

Sunday, 30 May 2021, 00:42 Updated: 06:31

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Trailer for the movie "Oslo" (HBO)

In the early stages of "Oslo," the new feature film from the creator of HBO about the peace process, Israeli and Palestinian representatives arrive in the Norwegian capital for the first time. The weather, of course, is different from the Middle East, and the Israeli says something about the cold. "Less cold than the heart of the Israeli soldiers who murder Palestinian children," his interlocutor replies, and this dialogue sums up well the level of the entire product: bordering on parody, shallow, simplistic and laden with cheap symbols. Why feed with a spoon when you can hit with a hammer?

"Oslo" airs today on HBO, and here on HOT, Cellcom and yes. This is an adaptation of a play by JT Rogers, which also took the stage in Israel. Like the theatrical version, the film also depicts the secret channel that eventually led to the controversial agreements, called the city in which they were formed. Yitzhak Rabin and Yasser Arafat, who eventually signed them, do not appear here but are only mentioned by name. Shimon Peres, played by Sasson Gabay, also remains a secondary character.

Instead, "Oslo" focuses on the more anonymous figures who stirred behind the scenes and managed to change history even though they were not necessarily familiar to the general public.

From the Norwegian side - Terry Larsen and Mona Jule, personal and professional partners presented here as the white messiahs sacrificing their lives (and the leisure they have to have sex) to save the natives from themselves;

On the Palestinian side - Abu Ala and Hassan Asfur;

And from the Israeli side - Uri Savir, Yoel Singer, Yair Hirschfeld and Yossi Beilin.

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To the full article

Why feed with a spoon when you can hit with a hammer.

From "Oslo" (Photo: HBO)

Beilin, once an architect of the peace process and today a presenter of "Israel Today," has established a nerdy prototype in the Israeli public. Here, on the other hand, Itzik Cohen plays him, and presents him as a man-man. Uri is likely, forgivably, he is a lot of things, but an artillery model he is not and was not. Here, he is played by Jeff Wilbush from "The Rebel," and portrays him as a cute guy with extraordinarily impressive physical figures. Like the dialogues, the casting is not moved by wishes of credibility.

Behind the camera was Bartlett Sher, a veteran theater man who also directed the theatrical version, and this is his first film. As you probably already understood, the result is embarrassing, but to her credit it could have been much more embarrassing.

The film is saved by some of the game's displays.

"Oslo" does not deserve this, but it has some of the best craftsmen around.

Andrew Scott, who played Moriarty in "Sherlock" and could not have fallen in love with him as the pastor in "Playbag," plays Terria Larsen;

Ruth Wilson, winner of the Golden Globe for "The Novel," plays Mona Yule.

Both manage to pretend that the poor script is pure gold, and execute it in their typical style.

Salim Dao, a veteran of the Palestinian actors, is excellent as Abu Ala.

Zoiter, an American of Palestinian descent and recently seen in the Baghdad Central series, is also good.

Saves the movie by itself.

Ruth Wilson on "Oslo" (Photo: HBO)

And from the Israeli side: we have already mentioned the surprising castings of Itzik Cohen as Beilin and Jeff Willush as Uri, and also the inevitable presence of Sasson Gabay, who only three years ago played Sadat in "The Angel" and here adds Peres to his resume.

Beside him, there are a few other ordinary suspects here. The excellent Yigal Naor, a regular guest in such films, plays Joel Singer. Rotem Keinan, who usually gets the role of the pervert, as in "Who's Afraid of the Bad Wolf," returned to this slot this time as well, playing Ron Pundak, the greatest nerd in the bunch of Yoramites. The show, as usual, is stolen by Debbie Glickman. The veteran actor enters the academic skin of Yair Hirschfeld here, and plays him as a kind of confused, amused and amusing professor. Thanks to him, one can sometimes laugh with the film, and not just about the film.

The case is wanted and together with "Oslo" another work will be released this week, documentary in this case, which deals with the behind the scenes of the peace process - "the human factor"Dror Moreh's documentary series on HOT 8.

It is not certain that the various creators aimed for this, but regardless of the political position before watching, both the documentary series and the feature film illustrate that the Oslo Accords were a perforated quilt, for both parties.

Wouldn't it be better to try and get hurt than not to try at all?

This is of course the really big question, which will probably continue to be asked.

There is an opening here for an interesting discussion.

But there is not much tolerance and attention nowadays.

It is likely that many will form an opinion on "Oslo" without bothering to watch it, nor will they hesitate to express it.

Let's calm them down: this is not a story of Doa Lipa.

Overall, the film is quite positive for the Israeli side.

"At a young age I was old for my age": our interview with Debbie Glickman

Thanks to Debbie Glickman, you can laugh with the film and not at it.

From "Oslo" (Photo: HBO)

First of all, while the Israeli representatives are presented here as pleasant-mannered intellectuals, their Palestinian interlocutors are portrayed as savages, sometimes even violent.

In addition, the film claims that the IDF commits war crimes, but it certainly allows the Israeli side to get closer in this regard as well.

Most of the film takes place between the four walls of peace talks, but occasionally it cuts to the scene of the conflict. A beautiful-eyed Israeli directs a weapon at a Palestinian child and is tormented by it - just in the best tradition of the "shoot and cry" films made in Israel, which HBO's drama aligns with.

Either way, the Israeli audience is not the target audience of this film. He has some interest in the peace process, but has never heard, studied or knew anything about the Oslo Accords, and is seeking a crash course on the subject.

Diplomats and presenters.

From "Oslo" (Photo: HBO)

But for the young Americans, who may really need such a lesson, the film will be considered too sympathetic to Israel - at least in relation to the mood that is accepted by them today.

Their parents and grandparents usually have a more sympathetic attitude towards us, but they probably know more, if only because they lived at the time of the Oslo incident, so they do not particularly need such a superficial course.

So who is left as a potential target audience?

To whom can he give something?

Maybe to the Norwegians.

The film glorifies their work, depicts them as immaculate people and stands as a service broadcast to the Scandinavian country.

And here is the tragedy of the Oslo Accords in one sentence: half a century later, and what is left of them is mostly Norwegian pride.

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