'Paradise Now’ and ‘Walk on Water’
Primarily, in ‘Paradise Now’ two Palestinian terrorists, brothers Said and Khaled went to Tel-Aviv, and this geographical and historical context determined a plot of the whole story because they needed to behave themselves like standard Jewish people. Nevertheless, in ‘Walk on Water’ Mossad agent, Eyal, needed to behave himself normally as for killing aged Nazi officer, therefore, his memory must have been active in terms of Holocaust and the Second World War, that is why his activity as a secret agent was determined by not geographical and social, but historical and cultural context.
History is inextricable from the present and from current conflicts in the Middle East. In the sub-chapter that goes below we will study how the historical past affects the present in two works, ‘Paradise Now’ and ‘Walk on Water.’ From the very beginning it would go Israeli/Palestinian historical trauma, broadly – Jewish/Muslim; then, we will be focused on Holocaust trauma in perception of nowadays people, aged Nazi and young Mossad agent.
Initially, in ‘Paradise Now’ two persons, Muslims and Palestinian Said and Khaled decided to commit suicide terrorism at Tel-Aviv. Obviously, these guys were so cruel because of permanent war between Israeli/Jewish and Palestinian/Muslim in the Middle East.However, they realized in a culmination of film that love, personal attitudes, fear, and personal death are much more important for Said and Khaled than all ideological implications of dogmatic religions, for example, Muslim fundamentalism and Judaist determinism. Furthermore, in ‘Walk on Water’ there was also a big trauma of Holocaust, and that is why young agent of Mossad decided to kill aged Nazi officer; from the other perspective, he felt in love with his grandsons, and failed to kill everybody. Analogically, human factor stopped the hostility and ideological determinism concerning truly troubled relations that could occur between Nazi officer and Mossad agent, but the film proves that when people obtain their human faces with dignity it is so hard to give up being individual person – instead of being blocked by ideological masks. The films ‘Walk on Water’ and ‘Paradise Now’ centrally ‘stage’ the Israeli and the Palestinian, respectively, as soldiers. In this sub-chapter we will discuss the ways in which the films present what can be a stereotype of the Israeli Mossad agent and the Palestinian ‘terrorist’ in order to critique these images we frequently see repeated in cultural media. Accordingly, we firstly will give an analysis to ‘Paradise Now’ and then ‘Walk on Water;’ ultimately, it will be a contrast and compare implications from these two films in order to answer on proposed question about two big stereotypes of the Middle East in worldwide cinema – Israeli Mossad agent and Palestinian ‘terrorist.’ Firstly, ‘Paradise Now’ by Hanu Abu-Assad, 2005, represented a stereotype on Palestinian terrorists, brothers Said and Khaled, in a deconstructive manner, full of irony, criticism, absurd, and skepticism. We do not want to retell the whole story’s plot now, but we will be concentrated on the most vital suggestions and key-points. There were some of them, the most crucial ones. Initially, there was a woman called Suha, Said’s love. Then, it appeared that Said’s father was ‘ameel,’ a collaborator working with Israeli. Also, Said cancelled his suicide attack while he saw a child on board. Therefore, some key-points are relevant in