Tsahal

 (Docu -- Israeli)

By EMANUEL LEVY

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Les Productions Dussart/Les Films Aleph/France 2 Cinema/Bavaria Films production (International sales, President Films, Paris). Produced by Bertrand Dussart. Directed by Claude Lanzmann.
 
With: Arik Sharon, Ehud Barak, Avihu Bin-Nun, Amos Oz, David Grossman, Avigdor Feldman, others.
 

A microscopic look at the Israel Defense Force is offered in "Tsahal," Claude Lanzmann's unabashedly epic documentary, a logical follow-up to his landmark 1985 "Shoah." Though not as emotionally gripping and awesome as that Holocaust docu, "Tsahal" is equally remarkable in its unrelenting attempt to understand the ideological foundations of the Israeli Army as one of the most celebrated in the world. The five-hour docu deserves a major theatrical release, as it raises relevant issues that go beyond Israel and its army, such as conduct during combat, the fear of death, militarism as a value and the cost of living in a society dominated by wars.

Lanzmann has devoted his career to the painstaking documentation of modern Jewish and Israeli history. His cumulative efforts have resulted in a trilogy ("Pourquoi Israel?" in 1973, "Shoah" and now "Tsahal") that has contributed not only to the understanding of the Jewish experience, but also changed the conventions of the docu genre in terms of scope, method and style.

The centrality of the army as a sacred institution in Israel's political culture derives from the fact that in 46 years of independence, the country has engaged in five major wars. This makes "Tsahal" a much more ambitious and encompassing work than if it were strictly about combat and warfare. Indeed, despite diversity of opinion, the most consistent theme here is the crucial link between the Holocaust and the very existence of Israel as a Zionist state.

Using his famed challenging mode, Lanzmann begins by plunging right into the fascinating question of feelings during combat, specifically the fear of death and the guilt of survivors. In the first hour, helmer scrutinizes the 1973 Yom Kippur War and its meaning for the men who fought its battles as well as for the county at large. This war marked a turning point in Israel's history, as one witness says:"It was like a big fire burning society, a massive execution of a whole generation."

Docu's chief strategy is similar to that used in "Shoah"-- complete reliance on direct interviews and reconstructed memories, and avoidance of historical footage. As Lanzmann conducts his interviews, his camera tracks Israel's borders , offering a good sense of the country's tiny size and its alarming proximity to neighboring Lebanon, Syria, Jordan and Egypt.

Among the many priceless scenes are interviews with would-be pilots, Israel's elite force, before and after their test flights. Lanzmann's cameras are fortuitously present when the weeding-out process takes place, evidencing the immediate, spontaneous reaction to success -- and failure.

"Tsahal" focuses its attention on the younger generation ("Israel's jewel in the crown"), teenagers who are obliged to serve a term in the armed forces before going into the reserves. While deeply committed to and proud of their service, the youngsters are also aware of the price -- no fun, no dating, the entireenergy of adolescence spent on preparation for the army.

At times, docu is morbid and depressing, as in a cemetery scene, where Lanzmann shockingly realizes that the buried soldiers lost their lives at the age of 18 or 19.

In its first part, "Tsahal" seems like a tribute to the indefatigable spirit of the Israeli soldier. But then Lanzmann switches to the dissenting voices of writers David Grossman and Amos Oz and civil rights lawyer Avigdor Feldman, who criticize Israel's militarism and its treatment of Arabs in the occupied territories. Docu's last hour is particularly strong in juxtaposing the irreconcilable left-wing and right-wing views on the issue of Israeli settlements in the West Bank.

"Tsahal" is by no means flawless. Some viewers will find it exceedingly long. And not all the information is equally absorbing: The sequences dealing with Israeli tanks and other machinery may be too technical for the lay public. Out of respect for his witnesses, many of whom are members of the military elite, Lanzmann neither interrupts nor forces cuts, letting them conclude their stories well beyond making the crucial point.

There's also one glaring omission: Lanzmann didn't interview any women in the military, which is peculiar considering Israel's pride in initiating compulsory service for women and their representation in almost every branch.

Helmer gathered his info in 1992, and recent developments in the Middle East have contextualized "Tsahal" in ways that couldn't have been anticipated by Lanzmann -- or Israel's power elite.

Nonetheless, as in "Shoah," Lanzmann's persistent, tireless probing hammers away at details that initially appear isolated but later have an enormously cumulative power. After five hours of lengthy interviews with officers and rank-and-file, military and civilians, one gets a good grasp of what makes the Israeli army tick.

Camera (color), Dominique Chapuis, Pierre-Laurent Chenieux, Jean-Michel Humeau; art direction, Sabine Mamou; sound, Bernard Aubouy. Reviewed at Toronto Film Festival, Sept. 12, 1994. Running time: 300 MIN.