As a woman watcher, I feel that Eyal's in love with Alex. So I don't get the ending. Why does Eyal marry Pia while he loves her brother? The director makes me feel like "it should be it, it must be it, life goes on... blah..."
I felt that Eitan Fox, as an openly gay filmmaker, didn't want it to seem that he was giving in to his own fantasy, especially as he talked about being attracted to Lior Ashkenazy.
I also felt that after having so completely deconstructed the myth of the Israeli (alpha) male, he wanted to so a possible way out (or way in, depending how you view it).
"To tell sweet lies one last time and say goodnight"
Thanks so much for the kind comments that you made regarding my messages. I have just watched this movie again, with my father, who is as straight as an arrow -- and when I asked him who he thought fell in love with who, he, like me, observed that Eyal fell in love with Axel!
I think that you hit the nail on the head when you made the observation about movies intended for US audiences being utterly devoid of intellectual challenge (or -- even worse -- attempting to lend a veneer of deep thought to their plots, such as the move "Crash" (one of the most simplistic pieces of kitsch I have EVER seen, posing as a profound commentary about race relations in the US)).
One need only look to social developments in the US to understand why the movie was nearly ruined by the ending. At the time that the movie was released, the gay community was reeling from a string of defeats, in which state legislatures had amended numerous state constitutions, or passed numerous state statutes, prohibiting the recognition of gay marriages within their jurisdictions. Now, the social climate is improving. Despite the setback dealt to the gay community back in November 2008, when the voters of California passed a state constitutional amendment (Proposition 8) depriving gay Californians of the right to marry (articulated by the California Supreme Court on May 15, 2008 in the case of in re Marriage Cases, S147999 (2008)), the gay community is now making significant advances on this front. Massachusetts became the first state to legalize gay marriage (as the result of a state high court order) in late 2003; this development was followed by the handing down of in re Marriage Cases in 2008 in California (and its subsequent reversal by Proposition 8). Since then, the state supreme courts of Connecticut and Iowa have both ruled that their respective state constitutions mandate that gay couples be permitted to marry on the same terms as heterosexual couples. Even more significantly, the state legislatures, without any prompting by their state high courts, of the states of Vermont, Maine, and New Hampshire have all legalized gay marriage (bringing to six the total number of states in which gay marriages may now be performed). In addition, the State of New York and the District of Columbia have both agreed to recognize the validity of gay marriages entered into in other jurisdictions where such marriages may be solemnized. In addition to this, the states of California, Washington, Oregon, Nevada, and New Jersey all grant “domestic partnerships” or “civil unions” to those gay couples in their jurisdictions who wish to formalize their relationships (these are referred to as civil unions in New Jersey and as domestic partnerships in the other four states) – it is important to note that these unions grant to such gay couples ALL of the state rights, privileges, and benefits that flow from marriage at the state level, although they are not referred to as marriages. Even as I write this, New York and the District of Columbia are debating measures to legalize gay marriages in those two jurisdictions; activists predict that gay marriages will soon become legal in New Jersey, Rhode Island, and New Mexico within the next few years. The states of Hawaii, Maryland, and Colorado also grant to their gay couples a subset of the rights conferred upon married people at the state level (these domestic partnerships are not as generous as those mentioned above).
So the social climate is most definitely changing. President Obama has pledged to throw his full weight behind the repeal of (or constitutional challenge to) the obscene “Defense of Marriage Act” (DOMA), to sign the Employment Non-Discrimination Act (ENDA) into law as soon as it clears Congress, to repeal the monstrous “Don’t Ask, Don’t Tell” (DADT) policy that permits the military to discharge servicemembers who are open about being gay, and to sign the amended federal hate crimes act (which would punish acts of violence motivated by hatred of the victims’ sexual orientation) into law as soon as it clears Congress. Although he has been slower to act than I would like, he is moving on some of these issues – he just signed an Executive Order granting to the spouses of gay federal employees significant benefits, in line with those received by the spouses of heterosexual federal employees (causing the hard right to go berserk, claiming that this violates the spirit of DOMA).
All anti-gay sodomy statutes have been declared unconstitutional – the US Supreme Court finally held all such statutes to be unconstitutional as applied to gay sex acts performed by consenting adults acting in private settings, in the case of Lawrence v. Texas, 539 U.S. 558 (2003) (thereby explicitly and bluntly reversing an obscene earlier decision handed down just 17 years previously Bowers v. Hardwick, 478 U.S. 186 (1986)), in which the Court had upheld the constitutionality of such statutes, using gratuitous, homophobic, and coarse language, mocking the due process challenge to the Georgia sodomy statute (which provided for the mandatory imprisonment of any person found guilty of violating this statute for one year, and a maximum prison term of 20 years!) filed by a Georgia bartended who was arrested (but ultimately not prosecuted) when the police entered his bedroom and found him doing 69 with another man). The Lawrence decision was handed down only one year before Walk on Water was released – at the time that this decision was handed down, gay sex between consenting adults acting in private settings was still a crime in some 14 states! I know that this is difficult to believe, but in some of these 14 states, it was a felony for two gay men or women to have consensual sex in the privacy of the bedroom of one such man (most of these laws applied in the southern states).
My point is that, when this movie was handed down, gay Americans were widely condemned as being unworthy of recognition of their relationships in almost every state. George Bush – an outright homophone who insisted that he would veto the hate crimes act, veto the ENDA, uphold the DADT policy, and defend the DOMA – was President. The religious right had its hands on almost every single lever of political power in the country; that situation is now reversed, and groups such as the “Family Research Council” (FRC), the “American Family Association” (AFA), “Focus on the Family” (FOTF), etc. have been condemned to widespread irrelevancy. America is finally waking up to the fact that the Equal Protection Clause of the Fourteenth Amendment actually means something to gay people too (the federal judiciary treated Bowers as creating a general “gay exception” to the entire US Constitution, despite the fact that its holding was actually very narrow). Children can no longer be snatched from their mothers or fathers merely because these parents are gay (as happened to a young woman in Virginia named Sharon Bottoms several years ago, before Lawrence was handed down). Gay couples may adopt children in all but one or two states (and these restrictions are being challenged). Times are changing, to the benefit of the gay community.
Walk on Water was therefore released at a time when gay Americans were still widely mistreated, and when plenty of people thought it entirely proper to incarcerate or otherwise harm gay persons. I firmly believe that the ending was tacked on to prevent the yokels and hicks in the red states from boycotting this movie. Groups such as the FRC and FOTF would certainly have attempted to boycott this movie. The AFA actually boycotted Ford because this auto company granted health insurance and other benefits to the spouses of its gay employees on the same terms as it did for the spouses of its heterosexual employees (when this boycott failed miserably, the AFA simply announced victory and pulled out). Can you imagine the malice of any organization that tries to take health benefits away from people? Can you imagine the sheer, raw hatred endorsed by these swine, in the name of their religion?
Right-wing extremists such as Maggie Gallagher (chairman of the newly-formed “National Organization for Marriage” (NOM)) are desperate, and their cause was not helped by a commercial named “The Gathering Storm” on which the NOM lavished more than $1.5 million – only to produce what many people thought was a spoof (I was almost rolling around on the floor with laughter when I saw it, and when I heard the utterly ludicrous statements made by the “actors” paid to participate in this joke!). The NOM shot itself in the foot – this commercial became the target of countless spoofs, joking discussions, and mocking simulations.
The moviemakers had to consider all of these factors when they released “Walk on Water”. Sadly, they almost ruined the movie in the process by tacking on the ridiculous, out of nowhere ending. It is a credit to their sensitivity and intelligence that they still managed to release a wonderful movie…
Well,...I really didn't think that, having come upon this thread some six years after you began it, that you would still be writing here, and that I could offer a reply to your original comments. The internet......
While I do agree with your basic point that the sexual issue is a red herring in this film, I emphatically do not agree with many of your other subsidiary comments:
I do not believe at all that the ending was in any way altered to suit a supposedly conservative audience--in the US, or anywhere else. I think that other commenters have responded adequately enough to that issue, and I don't have to elaborate. Suffice it to say that the ending that you suggested would not at all, IMO, flow from the rest of the film. There is no hint in any part of the film that any sort of intimate relationship would be in the offing between Eyal and Axel. Sexual or not, even the final scene in the Himmelman villa seems strained. Eyal will not--at least, in this life--ever evolve into a suitable companion for Axel--whether sexually or even as an intimate friend. It is only their being brothers-in-law that keeps them in contact. Not saying that they hate each other; only that their personalities face each other across an emotional chasm: they are simply too different. Fox's tale requires this distance in order to create the fable he wants.
On the other hand, you can see the relationship between Eyal and Pia slowly developing: In the restaurant, he clearly expresses his surprise at how much more attractive Pia appears to him (because she has put on lipstick); anyway, that's how I saw the plot developing. Also--the romance and marriage with Pia gives Eyal the 'out' he needs, because the Mossad has decided that he's no longer suitable for the work he has excelled at.
Enough on that topic. What I really wanted to comment on was your views on the US and gay issues. I hope that, from the perspective of some years later, you might have reason to reconsider your ill-judged verdict on the United States. I think that I can summarize the flaw in your reasoning and observations as follows: The consideration that you give to other countries' laws/social verities you do not give to the US, and the criticisms you (correctly) make of aspects of US society you overlook in other countries. e.g.: Israel has admitted gays into its military for many years, but that does not ipso facto imply that life for gays is better or easier there. The fact that gays may still have a very hard time in many regions of the US does not imply that it is behind European countries. Recognizing relationships legally is but one aspect of gay rights, and America is a big country. So is the UK. And truthfully, I don't think that life is better for gays there than in the US. Would you prefer skinheads in Central London or Liverpool to rednecks in Mississippi or Des Moines? Not much difference, in my opinion.
As for your courageous sojourn into matters of American law, it's even more subtle and complex than you analyze (I must say that for a non-lawyer, you did manage to acquit yourself pretty well) but, having graduated from an American Law School (although I do not practice Law), I can say that you succumb to making inferences from certain legal facts that are, in many instances, unwarranted, and do not support the line of argument you offer.
I have travelled a great deal in Europe and Asia (even Africa), and I don't see the US as so far below societal standards in the rest of the West. While I can't criticize you for writing from the vantage point of 2006, I do think that, even for that time, while your comments on US society were in many respects accurate, you did not treat Europe's cultures equally; you looked at only the good there, and only the bad in the US. And that was not warranted. I am old enough to recall when walking with a boyfriend even in New York City would have gotten you into a fistfight, and what I particularly found objectionable in your reasoning was your prognosis. While it is one thing to correctly assess societal faults and problems, it is quite another to judge that, as you wrote, "it will only get worse." That misjudgment betrays a fatal flaw in attempting to understand Americans and their country; the repeated reinvention of national ideals in every age, from 1776 to the Second World War. Americans have continually risen to unexpectedly new challenges, and succeeded in shedding long-held ideas and behavior-patterns. And European countries have had to learn this lesson--for their own benefit--repeatedly.
In any case, I'm glad that I had the opportunity to respond to the original writer.
As I wrote before (and as the ending is open, we can only project our understanding of what happened OFF camera), I don't think that Fox wanted to overwhelm the important statements the film makes about Israeli manhood with his own possible fantasy, EVEN IF Eyal was BASED on a real person, and EVEN IF he DID have a crush on Lior Ashkenazy, something built up for the press.
Eyal certainly became aware of a side of him he'd hidden from himself, and he certainly felt a physical attraction to Axel. But any point about his being gay, or having an affair with Axel (even if he would have been willing for it, I'm not sure that Axel would have agreed), would have lessened the wider implications of the character, and what it says about Israeli society, and the creation myths that support it.
"To tell sweet lies one last time and say goodnight"
I'm aware of the back story of the film, as I live in Israel, and in fact, saw the set one day as they shot near the Kibbutz where I teach.
As I wrote before, I feel that the film is very subversive in its statement about the state of the Israeli male, and I don't think that Fuchs or Uchovsky wanted to lessen the impact by making the film seem to be a (gay) fantasy.
I'll add a fuller account of my ideas in a later post, as I should get to bed now.
"To tell sweet lies one last time and say goodnight"
Thanks for all the links and info you gave. They made me more understand the film :)
There's just one thing I can't get. After watching the movie, I just thought everybody would see Eyel being attracted to Alex, and then I's pretty surprised it's not that. I mean, "the car with love song" and the bar scenes, aren't they clear enough?
This is willful denial. I know many gay men who married for reasons of social pressure -- only to end up hurting both themselves and the women they married. It is quite possible for a man to be gay and yet to be able to function sexually with a woman -- the fact that a man can perform with a woman does not make that man heterosexual. Straight people so often reduce homosexuality to the sum of a number of sex acts, and assume that a man who has sex with a woman must be straight. That is so ignorant -- so pig-ignorant of reality -- as to disinvite comment.
I am openly gay, and I was struck by the love story between Axel and Eyal very early in the movie. I recognized EXACTLY what was really transpiring between these two characters. Yet many straight people simply refuse to see this!
There are indeed none so blind as those who do not wish to see....
I greatly enjoyed this movie, but the ending was so obviously tacked on so that the backward yokels in the red states would not have had "issues" with the ending.
It was clear to me, early in the movie, that Eyal was falling in love with Axel. The scene at the club where Eyal disappeared clinched it for me -- he saw Axel dancing with another man (Rafik, who was also a Palestinian at that) and the emotion that he felt (but covered up with macho anger) was so clearly jealously that I simply cannot understand how any sensible person -- gay or straight -- could possibly not see this!
Then there was the scene at the gay bar, in which Eyal asked questions about gay sex. Clearly, he knew that the relationship was headed in that direction. I could hardly believe what I was seeing -- Axel's comments about all straight guys being the same was blatant flirtation! How the hell can any straight viewer not see this? Are straight viewers deliberately and intentionally blind?
Then, of course, there was the end of the movie. Eyal -- unable to complete his mission -- went to Axel's room, sat down on Axel's bed, and broke down -- to be comforted, physically, by Axel. With a great stretch of the imagination, it may perhaps be possible to dismiss this purely as one man comforting another -- but the homoerotic overtones of this scene were so blatant and so obvious that it takes a form of genuine delusion not to see what was really happening.
The director confirmed that the story was based on a real life account, in which the Mossad agent fell in love with the brother. That is definitive.
The more I think of the ending of "Walk on Water", the angrier I become.
This ending was such a ham-fisted effort to prevent the hicks in the red states from having "issues" with the movie that it nearly ruined the movie. Had the movie remained true to the theme that shone throughout the plot, it would have ended with the scene in which Eyal climbed into Axel's arms for love and comfort -- I stress, LOVE and comfort! It would have ended with Eyal being loved and comforted by Axel -- had the director and screenwriter been particularly brave, it would perhaps have ended with them kissing and cuddling as a prelude to making love...
The number of straight people (particularly straight men) who have argued with me that my perception of the true love story (between Eyal and Axel) is merely "wishful thinking" on my part is absolutely amazing, and very depressing. It is depressing, because it reveals the full extent to which straight men will go to endless lengths to deny to themselves the possibility of love between two men. So many straight men are utterly blinkered and emotionally crippled.
That guy Christ was onto something when he made a comment about "none so blind as those who do not wish to see" -- he really knew what he was talking about!
tomtrueman -- you are only too right when you mention the fact that straight men will sometimes use (literally) gay men for sexual relief. I have seen this for myself. When I was in college (back from 1982 through 1986) in South Africa, there was a car park where straight men would wait, behind the wheels of their cars, and let gay men climb into the passenger seat and give them oral sex. I am amazed and baffled by the sleight of emotional hand that permits such men to believe that love between men is impossible, and that they are not "really" having gay sex. ("You can screw me and I will give you oral sex but don't kiss me because I am not queer!")
Where does this obscene denial of emotional reality come from? WHERE THE HELL DOES IT COME FROM?
The more I think of the ending of "Walk on Water", the angrier I become.
This ending was such a ham-fisted effort to prevent the hicks in the red states from having "issues" with the movie that it nearly ruined the movie. Had the movie remained true to the theme that shone throughout the plot, it would have ended with the scene in which Eyal climbed into Axel's arms for love and comfort -- I stress, LOVE and comfort! It would have ended with Eyal being loved and comforted by Axel -- had the director and screenwriter been particularly brave, it would perhaps have ended with them kissing and cuddling as a prelude to making love...
The number of straight people (particularly straight men) who have argued with me that my perception of the true love story (between Eyal and Axel) is merely "wishful thinking" on my part is absolutely amazing, and very depressing. It is depressing, because it reveals the full extent to which straight men will go to endless lengths to deny to themselves the possibility of love between two men. So many straight men are utterly blinkered and emotionally crippled.
That guy Christ was onto something when he made a comment about "none so blind as those who do not wish to see" -- he really knew what he was talking about!
tomtrueman -- you are only too right when you mention the fact that straight men will sometimes use (literally) gay men for sexual relief. I have seen this for myself. When I was in college (back from 1982 through 1986) in South Africa, there was a car park where straight men would wait, behind the wheels of their cars, and let gay men climb into the passenger seat and give them oral sex. I am amazed and baffled by the sleight of emotional hand that permits such men to believe that love between men is impossible, and that they are not "really" having gay sex. ("You can screw me and I will give you oral sex but don't kiss me because I am not queer!")
Where does this obscene denial of emotional reality come from? WHERE THE HELL DOES IT COME FROM?
The more I think of the ending of "Walk on Water", the angrier I become.
This ending was such a ham-fisted effort to prevent the hicks in the red states from having "issues" with the movie that it nearly ruined the movie. Had the movie remained true to the theme that shone throughout the plot, it would have ended with the scene in which Eyal climbed into Axel's arms for love and comfort -- I stress, LOVE and comfort! It would have ended with Eyal being loved and comforted by Axel -- had the director and screenwriter been particularly brave, it would perhaps have ended with them kissing and cuddling as a prelude to making love...
The number of straight people (particularly straight men) who have argued with me that my perception of the true love story (between Eyal and Axel) is merely "wishful thinking" on my part is absolutely amazing, and very depressing. It is depressing, because it reveals the full extent to which straight men will go to endless lengths to deny to themselves the possibility of love between two men. So many straight men are utterly blinkered and emotionally crippled.
That guy Christ was onto something when he made a comment about "none so blind as those who do not wish to see" -- he really knew what he was talking about!
tomtrueman -- you are only too right when you mention the fact that straight men will sometimes use (literally) gay men for sexual relief. I have seen this for myself. When I was in college (back from 1982 through 1986) in South Africa, there was a car park where straight men would wait, behind the wheels of their cars, and let gay men climb into the passenger seat and give them oral sex. I am amazed and baffled by the sleight of emotional hand that permits such men to believe that love between men is impossible, and that they are not "really" having gay sex. ("You can screw me and I will give you oral sex but don't kiss me because I am not queer!")
Where does this obscene denial of emotional reality come from? WHERE THE HELL DOES IT COME FROM?
tomtrueman writes: "And about the way horny straight guys will often let gay men have them, they even joke that if you want to get a REALLY good B.J., you have to pick up a gay man. (Some of us also have other specialties in our repertoire they just can't resist too.) And yes, it's really quite pathetic that they think it "doesn't mean anything" -- but frankly, he can do whatever he needs to do inside his head to help him deal with it -- as long as he gives it all up to me. :)"
Yes, I must admit that I agree with you! I don't much care about the psychological contortions that such straight men go through to rationalize their behavior provided we have a good time (unless they become violent afterwards, which sadly does happen from time to time after they have had sex with gay men). But what saddens me is the willful blindness on display by so many people on this thread, who insist that there was no gay relationship between Axel and Eyal, when in fact that relationship was STARING THEM IN THE FACE! What is it about the American psyche that is so quick to dismiss (or flat-out DENY) gay sexual reality when this reality makes people uncomfortable? The director stated, bluntly and unequivocally, that the true story on which this movie was based included EXACTLY the SEXUAL (SEXUAL) love affair between the two men implied in the movie -- yet so many straight men STILL persist in denying this!
American audiences seem to become dumber and dumber with each passing year (the low point in US moviemaking was, for me, the granting of Best Picture award for the movie "Crash", which was the most facile, shallow piece of artistic kitsch I have ever seen). "Walk on Water" was clearly targeted to an audience endowed with the ability to think rationally and to perceive subtleties that most Americans appear incapable of grasping (as well as an audience with emotional and psychological maturity, lacking in the US, which is moving BACKWARDS with respect to acceptance of gay persons).
I very nearly turned off the movie after Eyal climbed into Axel's arms and was loved and comforted by Axel, because this is where the movie ended for me. I watched the rest of the ending only because it was clear to me that the dream sequence was the director's way of salvaging this movie for (and from) the backward yokels in the US. For me, the love scene (with sexual implications) between Axel and Eyal is in fact where the movie ends.
I have watched this movie several times, and it grows better for me with each repetition, marred only by the tacked-on ending.
Thanks for confirming my observation, and for making the case that I have been trying to make on this thread!
tomtrueman writes: "And about the way horny straight guys will often let gay men have them, they even joke that if you want to get a REALLY good B.J., you have to pick up a gay man. (Some of us also have other specialties in our repertoire they just can't resist too.) And yes, it's really quite pathetic that they think it "doesn't mean anything" -- but frankly, he can do whatever he needs to do inside his head to help him deal with it -- as long as he gives it all up to me. :)"
Yes, I must admit that I agree with you! I don't much care about the psychological contortions that such straight men go through to rationalize their behavior provided we have a good time (unless they become violent afterwards, which sadly does happen from time to time after they have had sex with gay men). But what saddens me is the willful blindness on display by so many people on this thread, who insist that there was no gay relationship between Axel and Eyal, when in fact that relationship was STARING THEM IN THE FACE! What is it about the American psyche that is so quick to dismiss (or flat-out DENY) gay sexual reality when this reality makes people uncomfortable? The director stated, bluntly and unequivocally, that the true story on which this movie was based included EXACTLY the SEXUAL (SEXUAL) love affair between the two men implied in the movie -- yet so many straight men STILL persist in denying this!
American audiences seem to become dumber and dumber with each passing year (the low point in US moviemaking was, for me, the granting of Best Picture award for the movie "Crash", which was the most facile, shallow piece of artistic kitsch I have ever seen). "Walk on Water" was clearly targeted to an audience endowed with the ability to think rationally and to perceive subtleties that most Americans appear incapable of grasping (as well as an audience with emotional and psychological maturity, lacking in the US, which is moving BACKWARDS with respect to acceptance of gay persons).
I very nearly turned off the movie after Eyal climbed into Axel's arms and was loved and comforted by Axel, because this is where the movie ended for me. I watched the rest of the ending only because it was clear to me that the dream sequence was the director's way of salvaging this movie for (and from) the backward yokels in the US. For me, the love scene (with sexual implications) between Axel and Eyal is in fact where the movie ends.
I have watched this movie several times, and it grows better for me with each repetition, marred only by the tacked-on ending.
Thanks for confirming my observation, and for making the case that I have been trying to make on this thread!
As I've written before (please read my thread on the Israeli male theme in the film) I liked the ending, and didn't feel it was an attempt to "dumb down" an otherwise excellent film, or reach out to an American audience.
I just felt that the filmmakers wanted to end the film within a wider perspective, and make it more than a coming-out fantasy. Eyal might have had sex with Axel, it's irrelevant for me, as there is much more to their relationship than that.
The film is a deconstruction of the classic Zionist myth of the macho alpha male, and I see the ending as an attempt to give hope. However much one can ridicule heterosexual relationships as "bourgeois", the affirmation of another generation of Israelis and Jews (even though the baby might not be "Jewish" in a strict orthodox sense) is a sign of hope much missing in the current public discourse in Israel.
(By the way, I don't see the fact that it might have been based on a real character as a reason to read the film in any different way.)
"Do you know, we could go, We are free; Any place you could think of We could be"
Heterosexuals so often think of same-sex relationships as nothing but a set of sex acts, which is insulting, when there's much more to them than that. There can be a deep emotional bond, and mutual support and caring, which is what makes it love -- an emotion which is certainly not the exclusive domain of heterosexuals.
That's what I, a heterosexual, have been saying. And that's why I find it ironic that gay men seen to see whether or not they "had sex" as an important issue.
And again I say, one always should "trust the art, and not the artist". It's like analyzing the lead character in a bio-pic, and arguing about the source character. Whatever Gandhi, or Chaplin, or Patton might have been, it doesn't, or shouldn't affect any analysis of character motivations in the FILM. Not that it isn't interesting, but it's not the point of the film.
"Do you know, we could go, We are free; Any place you could think of We could be" reply share
Thanks so much for the kind comments that you made regarding my messages. I have just watched this movie again, with my father, who is as straight as an arrow -- and when I asked him who he thought fell in love with who, he, like me, observed that Eyal fell in love with Axel!
I think that you hit the nail on the head when you made the observation about movies intended for US audiences being utterly devoid of intellectual challenge (or -- even worse -- attempting to lend a veneer of deep thought to their plots, such as the move "Crash" (one of the most simplistic pieces of kitsch I have EVER seen, posing as a profound commentary about race relations in the US)).
One need only look to social developments in the US to understand why the movie was nearly ruined by the ending. At the time that the movie was released, the gay community was reeling from a string of defeats, in which state legislatures had amended numerous state constitutions, or passed numerous state statutes, prohibiting the recognition of gay marriages within their jurisdictions. Now, the social climate is improving. Despite the setback dealt to the gay community back in November 2008, when the voters of California passed a state constitutional amendment (Proposition 8) depriving gay Californians of the right to marry (articulated by the California Supreme Court on May 15, 2008 in the case of in re Marriage Cases, S147999 (2008)), the gay community is now making significant advances on this front. Massachusetts became the first state to legalize gay marriage (as the result of a state high court order) in late 2003; this development was followed by the handing down of in re Marriage Cases in 2008 in California (and its subsequent reversal by Proposition 8). Since then, the state supreme courts of Connecticut and Iowa have both ruled that their respective state constitutions mandate that gay couples be permitted to marry on the same terms as heterosexual couples. Even more significantly, the state legislatures, without any prompting by their state high courts, of the states of Vermont, Maine, and New Hampshire have all legalized gay marriage (bringing to six the total number of states in which gay marriages may now be performed). In addition, the State of New York and the District of Columbia have both agreed to recognize the validity of gay marriages entered into in other jurisdictions where such marriages may be solemnized. In addition to this, the states of California, Washington, Oregon, Nevada, and New Jersey all grant “domestic partnerships” or “civil unions” to those gay couples in their jurisdictions who wish to formalize their relationships (these are referred to as civil unions in New Jersey and as domestic partnerships in the other four states) – it is important to note that these unions grant to such gay couples ALL of the state rights, privileges, and benefits that flow from marriage at the state level, although they are not referred to as marriages. Even as I write this, New York and the District of Columbia are debating measures to legalize gay marriages in those two jurisdictions; activists predict that gay marriages will soon become legal in New Jersey, Rhode Island, and New Mexico within the next few years. The states of Hawaii, Maryland, and Colorado also grant to their gay couples a subset of the rights conferred upon married people at the state level (these domestic partnerships are not as generous as those mentioned above).
So the social climate is most definitely changing. President Obama has pledged to throw his full weight behind the repeal of (or constitutional challenge to) the obscene “Defense of Marriage Act” (DOMA), to sign the Employment Non-Discrimination Act (ENDA) into law as soon as it clears Congress, to repeal the monstrous “Don’t Ask, Don’t Tell” (DADT) policy that permits the military to discharge servicemembers who are open about being gay, and to sign the amended federal hate crimes act (which would punish acts of violence motivated by hatred of the victims’ sexual orientation) into law as soon as it clears Congress. Although he has been slower to act than I would like, he is moving on some of these issues – he just signed an Executive Order granting to the spouses of gay federal employees significant benefits, in line with those received by the spouses of heterosexual federal employees (causing the hard right to go berserk, claiming that this violates the spirit of DOMA).
All anti-gay sodomy statutes have been declared unconstitutional – the US Supreme Court finally held all such statutes to be unconstitutional as applied to gay sex acts performed by consenting adults acting in private settings, in the case of Lawrence v. Texas, 539 U.S. 558 (2003) (thereby explicitly and bluntly reversing an obscene earlier decision handed down just 17 years previously Bowers v. Hardwick, 478 U.S. 186 (1986)), in which the Court had upheld the constitutionality of such statutes, using gratuitous, homophobic, and coarse language, mocking the due process challenge to the Georgia sodomy statute (which provided for the mandatory imprisonment of any person found guilty of violating this statute for one year, and a maximum prison term of 20 years!) filed by a Georgia bartended who was arrested (but ultimately not prosecuted) when the police entered his bedroom and found him doing 69 with another man). The Lawrence decision was handed down only one year before Walk on Water was released – at the time that this decision was handed down, gay sex between consenting adults acting in private settings was still a crime in some 14 states! I know that this is difficult to believe, but in some of these 14 states, it was a felony for two gay men or women to have consensual sex in the privacy of the bedroom of one such man (most of these laws applied in the southern states).
My point is that, when this movie was handed down, gay Americans were widely condemned as being unworthy of recognition of their relationships in almost every state. George Bush – an outright homophone who insisted that he would veto the hate crimes act, veto the ENDA, uphold the DADT policy, and defend the DOMA – was President. The religious right had its hands on almost every single lever of political power in the country; that situation is now reversed, and groups such as the “Family Research Council” (FRC), the “American Family Association” (AFA), “Focus on the Family” (FOTF), etc. have been condemned to widespread irrelevancy. America is finally waking up to the fact that the Equal Protection Clause of the Fourteenth Amendment actually means something to gay people too (the federal judiciary treated Bowers as creating a general “gay exception” to the entire US Constitution, despite the fact that its holding was actually very narrow). Children can no longer be snatched from their mothers or fathers merely because these parents are gay (as happened to a young woman in Virginia named Sharon Bottoms several years ago, before Lawrence was handed down). Gay couples may adopt children in all but one or two states (and these restrictions are being challenged). Times are changing, to the benefit of the gay community.
Walk on Water was therefore released at a time when gay Americans were still widely mistreated, and when plenty of people thought it entirely proper to incarcerate or otherwise harm gay persons. I firmly believe that the ending was tacked on to prevent the yokels and hicks in the red states from boycotting this movie. Groups such as the FRC and FOTF would certainly have attempted to boycott this movie. The AFA actually boycotted Ford because this auto company granted health insurance and other benefits to the spouses of its gay employees on the same terms as it did for the spouses of its heterosexual employees (when this boycott failed miserably, the AFA simply announced victory and pulled out). Can you imagine the malice of any organization that tries to take health benefits away from people? Can you imagine the sheer, raw hatred endorsed by these swine, in the name of their religion?
Right-wing extremists such as Maggie Gallagher (chairman of the newly-formed “National Organization for Marriage” (NOM)) are desperate, and their cause was not helped by a commercial named “The Gathering Storm” on which the NOM lavished more than $1.5 million – only to produce what many people thought was a spoof (I was almost rolling around on the floor with laughter when I saw it, and when I heard the utterly ludicrous statements made by the “actors” paid to participate in this joke!). The NOM shot itself in the foot – this commercial became the target of countless spoofs, joking discussions, and mocking simulations.
The moviemakers had to consider all of these factors when they released “Walk on Water”. Sadly, they almost ruined the movie in the process by tacking on the ridiculous, out of nowhere ending. It is a credit to their sensitivity and intelligence that they still managed to release a wonderful movie…
I agree with most of what you are saying, Phillip, and your analysis of the American social and political reality is correct and well expressed. However, to assume that the ending is "tacked on" for American consumption is an insult to the filmmakers and their artistic integrity. There's nothing in their careers to suggest that they would compromise a film of theirs.
Looking at the Israeli film industry one can find little consideration of the American market. A release in the US is always far from certain, and usually unlikely. If anything Israeli filmmakers look to Europe, to the festival circuit, and "art house" cinemas, for whom the ending was not required, if not quite the opposite.
As I've written before, I see the ending as consistent with the themes of the film, and with its lead character Eyal. One can disagree whether it "worked", and one can dislike it, for artistic and/or ideological reasons. But that's a separate discussion.
(Let me add, in an aside, that I'm not one of those straights bothered by the thought of a relationship between Eyal and Axel. Yes, they DID have a relationship, and it DID change Eyal deeply. How it changed him is part of the film's dealing with the issues I presented on my thread. But it's not a coming out fantasy. Eyal can have a relationship, physical and - more importantly IMO, EMOTIONALLY - with a man. But that doesn't make him gay. I had, when I was younger, relationships with men, and even now, in my old age, can imagine forming an emotional bond with a man, which could include, or not include, sex, the latter not being the core of the matter. But, being "straight", I still would want my life relationship to be with a woman, as women are still the center of my attraction. The film, I feel, was able to see that complexity, and allowing Eyal to have the options, AND remain true to himself, is, in some ways, a more radical and subversive idea than a simple "he found himself" ending.)
But I feel, and I've expressed myself in length on a separate thread concerning the theme of deconstructing the Zionist creation myth of the Israeli alpha male (I'd be happy to read any response from you to that post), a case can be made for the ending, which I feel is, within the thematic reach of the film, correct. http://www.imdb.com/title/tt0352994/board/thread/140360386
To claim that the ending was motivated by something outside the film itself would require both an analysis of the marketing strategy of Israeli cinema in general, and of Eytan Fuchs - Gal Uchovsky films in particular, and a total rejection of the possibility of what I wrote in my analysis.
{If you respond, and I've seemed to disappear from the discussion, it's only because I'm leaving tomorrow morning for a camping trip, and don't expect to see a computer until July 21st.}
"Do you know, we could go, We are free; Any place you could think of We could be"
lubin-freddy -- I certainly respect your anaysis, and the obvious thought and care that went into its expresson.
My problem, however, still remains the end of this movie. Although Pia displayed clear attraction towards Eyal (she looked as though she was going to jump him at the restaurant, when they were waiting for Axel to return!), he was so clearly not interested in her that I simply cannot buy the marriage scenario depicted at the end of this movie. As I have stated elsewhere, this development came out of nowhere. One person who refused to recognize the relationship that unfolded between Eyal an Axel stated that "the seeds were sown" during Axel's visit, as Eyal drove them around and accompanied them. I nearly fell out of my chair with laughter when I read this, because it was abundantly clear that Eyal was not the least bit interested in Pia!
However, we do agree on a central point, and for that, I am genuinely grateful. We agree that Axel and Eyal had a sexual and emotional relationship prior to Eyal's marrying Pia. I simply believe that the ending was so incongruous with the material that came before, that it nearly ruined an excellent movie. Not only dd Eyal marry Pia -- he brought a child into this world, in open defiance of his stated position that he NEVER wished to become a father, because of his pessimistic world view. I simply cannot accept his sudden change of mind with respect to both issues, which is why I generally turn the movie off immediately following the scene in wich Eyal climbs into Axel's bed (and arms) for love and support...
This discussion, based on character and thematic analysis, is certainly part of the kind of discussion we should be having, and the difference of opinion is part of the fun we should have in talking about films we love (or don't).
I just hoped that you might accept that the scene came out of what can be seen as legitimate character development, even if you disagree, and not a consideration of the US market, something that just doesn't make sense.
Did you read my other post? As I mentioned there, I see Walk on Water, in ADDITION to all else that it is (auteur film, example of queer cinema, holocaust themes, etc.), as part of a cycle of Israeli films the past decade deconstruction the myth of the alpha male (I won't go into it again).
For that reason I can understand the need the filmmakers felt to give people a sense of hope, symbolized in the baby. Eyal, as the suicide letter stated, "kills everything he touches". That Axel was able to bring out another side of him, that he could commit to LIFE, only reinforces the power of the relationship with Axel, and how the love was able to transform him, even if he didn't "come out", which would have been untrue to himself.
I've run several discussion groups, here in Israel (where I've lived 36 out of my 57 years) and in the US, and people often object the the ending, for different reasons. I'm in a minority with my view, but I often am.
"Do you know, we could go, We are free; Any place you could think of We could be"
Again I mention that it's more common for Israeli filmmakers to eye the European festival circuit as a base for a film's success, and not the American market. A film's possible deal with Mirimax, or whatever, is always iffy, at best, and usually comes on the heals of a festival success.
"Do you know, we could go, We are free; Any place you could think of We could be"
First of all, the people in this thread need to look up the word "bisexual," cause yeah, they exist.
I thought the ending was the most interesting seemingly cheesy ending I've ever seen. It was completely unexpected. It's obvious Eyal had feelings for Axel. I really don't know how anyone couldn't see that. But the ending is completely imperfect in a way that's very real. Axel killed his grandfather. Eyal didn't get the guy. But life goes on.