Shoshana

So anyone who knows how to use the internet beyond the carefully curated Wikipedia pages of groups like Haganah (now called Mossad), Irgun and Lehi know this film lives in an alternate universe. Most people do not know how these terror (not freedom fighter) groups, even got their German mausers. Which can easily be researched to find out, it was because of Adolf Eichmann, who was well acquainted with the commander of Haganah, Feivel Polkes, who facilitated the sale and transfer of the weapons to Haganah who then sold them to Irgun and Lehi. Fun fact: One of Hitlers favorite commandos, SS Officer Otto Skorzeny became a hit-man for Mossad, in 1962!

I heard a lot of things about the Israel creation; but never suspected that in the previous years; where the Jewish who put bombs and kill lots of people in the name of freedom. This a British movie from a very well know director and it does not seems be produced by Arabs; so I assume the information is mostly real but I am pretty Jewish people will feel offended being they shown as the real terrorists. In any case; it is worth seeing it. Very violent sometimes but mostly Shoshana story. A freedom idealist that ends up fighting to get read of the British. The story is never boring and the acting is reallly good.

Watched this during the Red Lorry Film Festival in Mumbai. The movie depicts a certain part of the independence struggle that led to the downfall of the British Empire in West Asia, leading to the formation of independent states of Israel and Palestine. One of the most genius things the makers have achieved is that they haven't taken any sides, be it the British, the Jews or the Arabs. Each faction is depicted in contrasting ways, and none can be seen as a hero or a villain. Considering the super-sensitivity of this topic right now, not taking sides could be considered as an advantage for this movie. The weakness of the movie lies in the character development. None of the characters get well-defined enough to have a substantial effect on the viewers, and by the end of it, you don't really feel much for any of the characters, dead or alive. Overall : 7/10.

I have no idea why this is getting anything higher than a 6 star rating from some of these reviews. I watched this movie based on those reviews and I was so upset I had to log in right after watching just to warn people, this movie is endless talking which minimum plot. It was like you follow the main character as they travel around and bump into minor characters and have a emotional conversation that means nothing for the next scene. I enjoy movies with zero action as much as the next movie snob but it has to have a good plot and feel like an actual film and not time wasting scenes. The only reason I even gave it 4 stars was for some of the settings but I am honestly debating on giving just 1 star.

This is a curiously undercooked iteration of a story that well exemplifies that expression about one man's terrorist being another's freedom fighter. It's the underwhelming Douglas Booth who is Wilkin, a police detective based in British-administered Palestine and a man who has a semblance of decency to him. His boss "Chambers" (Ian Hart) is a bit more of a player, though - and he drafts in the much more "hands-on" Morton (the unremarkable Harry Melling) to get results more quickly - not least the apprehension of Stern (Aury Alby) who is determined to establish a Jewish homeland and doesn't much care which tactics he uses to accomplish that. The personal story is largely historical fact, so there's no real jeopardy here, but it's an interesting postulation on just how the British tried to administer a region and a population that had no interest in being administered, and that was being logistically manipulated with the shortest of term vision for anyone's future. Palestinian and Jew could agree on just one thing - get the UK out, but thereafter there was little consensus as the bombs and the bullets continued to fly. To be honest, I found the contribution of the eponymous woman (Irina Starshenbaum) to be almost incidental to what is essentially a rather dryly brutal story of a territory that always has been and will be fought over. It looks fine, but somehow it's all just a little too bitty - episodic, even, and it needed a bigger hitter to deliver the narrative more engagingly and convincingly. Pity.

source: Shoshana

Giving this an 7/10 rating Grim true story drama from good old Micheal Winterbottom, so it's rather good and very bloody, this one. Set in the late 1940's in Palestine, The conflict and four characters- Shoshana Borochov, played by Irina Starshenbaum, who is simply brilliant in her very complex role. Douglas Booth as Thomas Wilkin, Harry Melling as Geoffrey Morton and Aury Alby as he very unlikeable Avraham Stern, all are the foils to each other and the tale bounces around these four. The action is extreme and bloody and very real, bombings assasinations, shootings all over the place, in fact there are so many it's common place, which is the horror and the beauty of it, the life blood of the narrative, but very, very necessary. It can be very cold and also beautiful, as the film looks and acts for the people are surrounded by nothing but death. This film is right now, very topical so it will give you a sense of the sheer madness of what is going on in that region of the world and any where else for that matter. Expect plenty of death and shocks as Micheal Winterbottom turns it up way up, this is a limited release so the choice is yours, if you can stomach it. It's good, but just how good is going to be up to you, because of the subject matter is just so raw right now, and that it self is the message.

In 1930s' Tel Aviv, Tom Wilkin is a British police officer. He considers himself well-integrated with the local Jewish population, with plenty of Jewish friends and even a Jewish lover - fiery, politically-active Shoshana Borochov. His opposite number in Jerusalem is Geoffrey Morton, a blinkered officer who coolly stages mock executions in order to discover Arab arms caches. When Wilkin's boss is assassinated, Morton is brought in to replace him, but the methods which worked for him with the Arabs of Jerusalem are not so successful with the Jews of Tel Aviv. Given the extreme political nature of the Israeli/Palestinian conflict (I watched this film in October 2023, just a few days after Hamas militants staged an incursion into Israel ultimately resulting in the deaths of thousands on both sides), I found this relatively even-handed. Both the Jewish and Arab communities are shown as producing victim and villain alike. We see Jewish militants being prepared to sacrifice innocent women and children, and other Jews trying to convince them otherwise. The film's heroine, Borochov, is herself portrayed as morally ambiguous, prepared to report on an informer when she may well have known that by so doing she was sentencing him to death. The British do not come off well, with even Wilkin, portrayed by Douglas Booth as being quite likeable, falling back on the "it's my job" defence when challenged by Borochov. Harry Melling's Morton is little more than a pantomime villain, all monotone delivery and extreme attitudes. And it is noticeable that the film contains no featured Arab character, just several one-line extras. How accurate the portrayals are of these real people I do not know (and I always feel it disrespectful to show sex scenes of people who have not long been dead - when this film was made Borochov had been dead not even twenty years). As a work of entertainment it is a success, though, and perhaps challenges the viewer to ponder what he would do if caught up in similar circumstances.

Given the lead time for any film, one assumes that this was planned, shot and mostly edited before the recent wave of atrocities (on both sides) broke out in Israel/Gaza/Palestine (choose which name you will). Nevertheless, the timing of its release is poignant. The film is set in British-controlled Palestine in the thirties and forties as Jewish settlers clash with the indigenous Arabs, sparking off a wave of atrocities and counter-atrocities with the British finding themselves taking increasingly rigorous measures to suppress the violent factions on both sides, to the extent that they pretty much become a third terrorist force. The Arab point of view fades from the film fairly early on (which is a shame) and the drama centres around two British policemen (Douglas Booth and Harry Melling - who's done some very interesting work since his Harry Potter days) and their attempts to track down and arrest a Jewish terrorist leader played by Aury Alby. Matters are complicated by the fact that one of the officers (Booth) is in a relationship with the titular Shoshana (Irina Starshenbaum) whose sympathies lie with those who wish to create a Jewish state, if not necessarily with those who employ indiscriminate violence to this end. Things spiral out of the control of all parties as violence begets violence and the body count rises exponentially. It's difficult to sympathise with either side, nor does the film attempt to do so (one well-known incident is depicted in a deliberately ambiguous manner). Are there any good guys? Maybe there are some well-meaning individuals caught up in events they can neither control nor comprehend, but the viewer is left shaking their head at the barbaric futility of it all. Who's to blame? Everyone who's set foot in the region over the last three thousand years, probably. It's impossible to watch this film and not think about the events there today. The British may have gone, but the violence still remains - and is only getting worse. The cast all do a terrific job, and the film's not short of tension. I just wish that a more positive message could be drawn from it.

"Sometimes you don't know who the spider is and who is the fly." In the shadows of city streets as well as the human heart, deep and conflicting emotions simmer beneath the surface of Palestine under British authority in the 1930s. Predators become prey for the crime of loving too little, loving too much, or just being in the wrong place at the wrong time. A Zionist girl (Shoshana) and British boy (Timothy), equally well-connected, navigate these dark spaces together and apart. Alliances and relationships form and crumble like shifting winds. You think you know someone until their knife is in your back. Based on real events and people, Shoshana is a thrilling look at how idealism breaks people and nations apart and brings them together. Shot along the seacoast of rural Italy which in certain ways resembles Tel Aviv of the 1930s, Shoshana tells the story of two lovers that parallels the simultaneous dissolution and formation of Israel. The director and main actors were present at the second showing of the film the day after the world premiere. Irina Starshenbaum (Shoshana) said it was hard to stay in great shape when there was such good Italian food available all the time. While I wish the chemistry was better between the actors and that the main theme was clearer, the film highlighted an important truth in relationships between people as well as countries; it matters what sort of thing is being built.