The story told during the internationally-produced film "Live and Become," is, beyond any doubt, touching; nay, it is heart-wrenching. To witness even a fictionalized version of the poverty suffered by the starving Ethiopeans in the opening scenes of the film; of the fears and challenges of a child coming of age in a strange country; and of the social and religious complexities faced by Ethiopean Jews living in Israel is at once horrifying, confounding, and inspiring. If one has the chance to see this film, do so without hesitation, for the story it tells is one to which all should pay great attention.
Despite its important story that promotes diversity, "Live and Become" falls short cinematically. From the first establishing crane shot, through the shot-counter-shot narrative, to the extremely disappointing final scene in which the director employs both slow-motion and a frustratingly melodramatic overhead shot, the direction, cinematography, and editing feel very slick, even Hollywood-esquire at times. While such technique is merely bland and predictable in most films, in this case it is particularly disappointing, given the very urgent and very real content of the film: the final cut would have benefited greatly from the directors pursuing a realist aesthetic, which would have impressed the audience more with the gravity of narrative.
The acting, however, is quite impressive, especially that of the non-professionals: Yitzhak Edgar and Moshe Agazai. Equally impressive is the performance of Yaël Abecassis.
Finally, the score, which I generally find to be the most overrated (and usually unnecessary) element in contemporary cinema, is subtle at times, but, at others, throbs operatically, detracting greatly from the poignancy of many of the more touching and inspiring moments in the narrative.
In short, "Live and Become" is clearly not aimed at spurring audiences to social activism through cinematic means; it accomplishes this end through the narrative, which, while effective, would have been enhanced greatly had the filmmakers chosen a more realistic style throughout the work.
Despite its important story that promotes diversity, "Live and Become" falls short cinematically. From the first establishing crane shot, through the shot-counter-shot narrative, to the extremely disappointing final scene in which the director employs both slow-motion and a frustratingly melodramatic overhead shot, the direction, cinematography, and editing feel very slick, even Hollywood-esquire at times. While such technique is merely bland and predictable in most films, in this case it is particularly disappointing, given the very urgent and very real content of the film: the final cut would have benefited greatly from the directors pursuing a realist aesthetic, which would have impressed the audience more with the gravity of narrative.
The acting, however, is quite impressive, especially that of the non-professionals: Yitzhak Edgar and Moshe Agazai. Equally impressive is the performance of Yaël Abecassis.
Finally, the score, which I generally find to be the most overrated (and usually unnecessary) element in contemporary cinema, is subtle at times, but, at others, throbs operatically, detracting greatly from the poignancy of many of the more touching and inspiring moments in the narrative.
In short, "Live and Become" is clearly not aimed at spurring audiences to social activism through cinematic means; it accomplishes this end through the narrative, which, while effective, would have been enhanced greatly had the filmmakers chosen a more realistic style throughout the work.