Ushpizin

Directed by Giddi Dar

Picturehouse Entertainment

3 1/2 stars



As Thanksgiving approaches, so too does the invasion of undesirable houseguests in homes all across America. Likewise, in “Ushpizin” (Aramaic for “holy guests”), unholy houseguests stir up holiday trouble—only in this film, the celebration is of the biblical Exodus rather than a settler/American-Indian dinner.

“Ushpizin” is the first film made with collaboration between the ultra-Orthodox community and secular filmmakers and is aimed squarely at general audiences as an comedy anyone can enjoy. Set in modern-day Jerusalem, it follows the lives of poor, kindly Moshe Bellanga (Shuli Rand—also the movie’s screenwriter) and his wife Malli (Rand’s real-life wife, Michal Bat Sheva Rand), as they pray for God’s help to find money and a Succah (a temporary, wooden dwelling) to celebrate the Succoth holiday.

Miraculously—or so the Bellangas believe—God provides them with a Succah, $1,000, and two guests to share their celebration. These guests are actually escaped convicts and their rude behavior quickly begins to wear out the Bellangas’ Job-like patience. Believing the guests are God’s test, the Bellangas continue to house the guests to the point of their marriage’s dissolution.

The Orthodox religious maxims that fill each frame (i.e. “there’s God; there’s only God”) are incessant enough to become distracting; however, the movie blends faith and narratively integrated struggle so seamlessly that the audience is absorbed into the personal fight rather than distanced by the specific faith.

The plot of “Ushpizin” flows smoothly, and while the extended stay of the offensive guests does grow tedious, this plot technique causes the audience to truly empathize with the Ballangas houseguest frustration. One need not be familiar with Orthodox Judaism, as the movie gracefully explains the religious traditions and terminology.

Secular and religious audiences alike will be impressed by the movie’s warm authenticity—the sandy streets of Jerusalem and the fire-like lighting convey an intimate, ancient feel, while the Rands’ real life marriage translates into a genuine, modern relationship on screen.

Shuli Rand’s performance is exceptional. After Malli leaves Moshe, he runs down the street and falls to his knees. Without swearing or physical violence, the actor expresses, with understated poignancy, his turmoil, angst, and overwhelmed loneliness. Likewise, Michal Bat Sheva Rand’s depiction of Malli seems an easy embodiment of hearty womanhood.

In this fable-esque movie, however, the characters do naturally tend towards archetypes. While this effectively spreads the film’s overarching religious themes—forgiveness and faith—it prevents the audience from wholly identifying with the two-dimensional Orthodox characters. The director’s blatant stereotyping of the “bad” non-Orthodox guests and the “good” Jewish Basangas seems over moralizing and detracts from the characters’ believability. When one exits the theatre, the religious maxims continue to echo, but the characters’ emotions remain as distant as at the opening credits.

The film informs a Western audience on the teachings of Orthodox Judaism and is generally entertaining, but it fails as the comedy it is trying to be. “Ushpizin” leaves the viewer only temporarily fulfilled by its moral premise; those looking for a deeper religious experience or explanation of tradition should head to shul.