In The Band’s Visit, the dashingly handsome Haled has a rather unusual pick-up line. The young Arab man repeatedly approaches attractive, unassuming Israeli women and says: “Do you like Chet Baker?” Smiling and looking seductive, Haled usually responds to the women’s confused expressions by introducing himself. “I play violin in orchestra,” he says. “But I play trumpet also.”
Haled’s shameless flirtations with Israeli women suggest that political and religious differences don’t prevent all Arabs and Jews from interacting with one another. In fact, The Band’s Visit reveals just how much Jews and Arabs – and all people, for that matter – have in common. Eran Kolirin’s 2007 Israeli film follows an Egyptian police band as it heads to Israel to play at the opening of an Arab cultural center. A mishap involving the spelling of their destination leads the Egyptian musicians to a tiny, remote town far from where they’ll be performing. The band’s interactions with the Israelis who take them in reveal how both sides of the Arab/Israeli conflict experience love and loss (and music).
While the film’s plot sounds simple enough, The Band’s Visit offers sharp and thoughtful dialogue, refreshing comedic touches and authentic performances that make the movie anything but hokey. And as if those weren’t enough reasons for me to like the film, the character Tawfiq (Sasson Gabei) has the most righteous, take-no-prisoners nose I have ever seen in my life. It frankly deserves a movie of its own.
That said, the use of music and aspects of mise en scene are what make this movie an especially noteworthy study of Jewish/Arab relations. The melodramatic piano theme that plays as the Egyptian band arrives at the airport at the start of the film is a very smart, ironic touch. These men look so serious and put-together in their matching, powder blue, highly-decorated police uniforms. The sappy, simplistic piano melody in the background makes the band members seem over-dressed and out of place.
The next instance when sound becomes particularly important is when the musicians get off the bus at Beit Hatikva (not Petah Tikva). The wheels of their luggage roll loudly (and obnoxiously) against the sand and dirt as they approach the small town. The extreme long shot of the men walking on sand adds insult to injury – they’re in the middle of nowhere and the camera is rubbing it in. The way the men fill the frame in this scene is also significant. They walk in a straight line in the center of the frame, an ironic touch since the no-man’s-land of Beit Hatikva is a far cry from the rules and regulations that dominate their police force in Alexandria.
Music is used for the first time as a unifying device – and not for mocking purposes – when Egyptian musician Simon plays his clarinet outside of the Beit Hativka café. Simon’s haunting melody plays out over a shot/reverse/shot pattern of the Egyptian man producing music as a Jewish man, Itzik, watches in awe. The medium shot of the two men after the impromptu performance reveals that music is a shared passion for these lonely souls. Music becomes an especially strong unifying force during an awkward dinner table scene in which a few of the Egyptian musicians dine with Itzik’s family on his wife’s birthday. Silence and scattered conversations in Arabic and Hebrew fill the scene until one of the men starts humming and the other men slowly join in him song. Medium close-ups ensue as each man gains the courage to belt out the tune. The close proximity between the camera and the men’s faces reflects how the men are becoming closer with one another.
Costuming plays an important role throughout The Band’s Visit. The way Dina (Ronit Elkabetz) is dressed reveals a lot about her level of interest in the Egyptian men. At the start of the film, Dina’s loose, blue sweater, cut-off jeans and tennis shoes suggest the spinster is more concerned with comfort than style. Dina wears this outfit as she cuts open a huge watermelon in front of Haled and Tawfiq. As the Israeli woman skillfully uses an enormous knife, a reaction shot of the two men prove they are impressed and possibly a bit scared. These aspects of mise en scene emphasize Dina’s courage and determination. However, the red evening dress Dina wears to show Tawfiq the town reveals her sexy side. The form-fitting dress clearly catches Tawfiq’s eye, stressing that Arabs and Jews can be attracted to each other despite the many issues that may separate them. That the uptight, conservative Tawfiq admits Dina looks “very fine indeed” is evidence that Arabs and Jews may not be so divided after all.
A significant use of music happens while Dina and Tawfiq are eating out. After they discuss how other patrons have been staring at them, Dina decides to play an Arabic love song on the jukebox. Because Dina and Tawfiq have been speaking English to each other throughout the film, the woman’s choice of an Arabic song showcases her willingness to understand his culture. As the female singer clearly calls out to a lover, Dina dances in front of Tawfiq. Without his hat – which Dina forced him to leave behind – Tawfiq looks much more at ease and receptive to her advances.
A final powerful musical moment occurs when Haled plays a trumpet solo for Tawfiq and Dina. The close-ups on their faces as Haled plays his sultry trumpet solo emphasize the feelings of sexual desire that consume Dina and Tawfiq. However, Haled’s position at the table – sitting directly between Dina and Tawfiq – suggests that Dina may not be spending the night with Tawfiq after all. Even without his stiff hat, Tawfiq is no match for Haled’s charm.
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