A Courtroom drama
- Written and directed by Ronit Elkabetz, Shlomi Elkabetz
Viviane Amsalem moved out of her husband’s home years ago. But her remote and stubborn husband won’t give her a divorce. The resulting court case spans years in this chamber drama from Israel.
The filmmakers chose a simple, direct, inexpensive, and very effective way to tell their story. Although the film covers many years in the lives of the main characters, it’s entirely set in a small, plain judicial chamber, with a few scenes in an adjoining waiting room. As in a stage play, the characters’ lives outside of that room are only alluded to in dialog. Although the protagonist, Viviane, has a life and runs her own successful business, the limited settings emphasize that in a very real way, she’s trapped.
Let me explain: Despite the fact that most Israelis are secular, Orthodox rabbis own a monopoly on Jewish matrimony. You can’t get married or divorced without their approval. And by their rules, only the husband can grant a divorce (gett in Hebrew). If the husband has been particularly cruel, the rabbis can put pressure on him, and even jail him. But only he can set his wife free.
And so the hearings continue. Viviane (Ronit Elkabetz) explains the nightmare of her marriage. Her husband Elisha (Simon Abkarian) proclaims to be a good man and good husband. Witnesses speak on both sides. And little by little, we learn about their lives.
He’s deeply religious and keeps kosher. She grew up that way, and was Orthodox when they married, but now wants to leave religion behind her. And here she is, trying to win the sympathies of three Orthodox rabbis who may hopefully force Elisha’s hands.
Elisha is not a violent man, but he’s cold, self-centered, and horrifically stubborn. You can easily see what a nightmare it would be to be married to such a man. Even the rabbis–who one would assume are pre-disposed to favor an Orthodox man over a secular woman–hate him. But they can’t grant a divorce without him.
Over the years (scenes are separately by intertitles that tell us how many months have gone by), Viviane’s look and demeanor show her growing secular leanings. Her clothes get less modest and more modern over the course of the film.
The picture doesn’t tell us everything about Viviane’s life. For instance, we don’t know if she’s sexually active–quite possibly because she doesn’t want the rabbis to see her as an adulteress. But there are fleeting moments that suggest she has something to hide. And a few glances between her and her very handsome counsel (Menashe Noy) suggest a mutual, although probably not acted on, attraction.
There’s no question that Gett is a didactic film. It’s clearly meant as an indictment of the Israeli system of marriage and divorce. But it’s also an intimate tale of a very bad marriage, told in an atmosphere so claustrophobic that we only see the outside world twice–and both times through a window. And only twice, outside of the opening and closing credits, do we hear music.
Daring in its stripped-down style, Gett never makes you wish for a more expansive canvas. It may make you thankful for the first amendment.