Londons Falling

See this film!

Rating: 5/5
Comments:
When I first saw this film on HBO, I tuned in about halfway through it. I was completely unaware that James Miller was killed during production and, for me, his death was all the more shocking as it was sudden.
For the longest time I thought this might have been fictitious, but it just goes to show you: you can't write this stuff.
This is as real as it gets short of being there yourself.

My review of the most striking moments/images in the film

Rating: 5/5
Comments:
Context: The film and thus these comments are a snapshot of the situation "on the ground" in the West Bank and Gaza in 2003.

The film opens in Nablus (West Bank), where the Israelis are known to conduct many targeted assassinations. The rationale? Since the second Palestinian intifada (uprising) began in 2000, 80% of all suicide bombings are planned here. In addition to the assassinations of leaders, there has been a general military crackdown, as we experience firsthand by observing Israeli tanks rolling down Palestinian streets. As we observe the tanks' threatening manuevers (including a chase after stone-throwing children), co-director Saira Shah tells us that 800 Israelis and 2000 Palestinians have been killed in the three years since the second intifada began.

The directors then move to the Gaza strip, where most of the film is shot (in Rafah). We meet three Palestinian youth who are central to the narrative: Ahmed (12), his loyal friend Mohammed (12), and Najla (16).

At the beginning of the film, Saira asks: "How do children learn to hate? To die in order to kill?" We are meant to understand this documentary as an investigation into these issues. Almost right away we begin to learn to learn what these children believe, and what has led them to see things as they do. Mohammad says that his Mom has told him that the Israelis "shoot... They don't know Islam. They're criminals." Perhaps worried that he's creating the wrong impression, Mohammed adds: "I want to be nice to everyone, apart from the Jews."

We see that the Israelis are creating a "security zone" between Rafah and Egypt by bulldozing Palestinian houses.

On the stone walls, we see many posters of suicide bombers and innocent victims--all celebrated as martyrs in the struggle. Saira tells us that this is an effort to use the dead as propaganda to recruit more militants.

Then we meet Abdul Sattar (11). Abdul shows the filmmakers his "in case" letter to his family. The letter that they will receive if he is killed in the struggle. Abdul helps Saira decipher the string of colorful symbols, which say (in part): "I intend to continue jihad until I'm martyred."

We see Palestinian children playing "Jews and Arabs." In order to win this game, you have to die as a martyr.

Some of the things we hear the children say:

"The Israelis are cowards. They're afraid, but they pretend to be strong with those weapons."

"The Israelis are pigs. They don't know God. They don't know how to pray."

Najla leads a young female relative in chanting the names of the six family members who have died at the hands of the Israelis.

Another little girl says that the Jews are "sons of dogs." When Saira asks the little girl if she's ever met a Jew, the girl explains that she's seen them on TV. They wear helmets, they carry Kalishnikovs, they come in tanks, and they shoot.

Saira comments on Palestinian martyrdom: "They're outgunned by the Israelis. So they've turned death into victory."

Ahmed shows us the grave of his friend Hosni Al-Najjar, who was shot in the head by an Israeli sniper. He explains that the death of his friend moved him to start helping the resistance.

In a particularly chilling scene, we seen Ahmed (age 12) being indoctrinated by a group of masked Palestinian militants. After building rapport by playing a child's game with him, they show Ahmed how to hold a rocket launcher. He declares: "I'd like to blow up Sharon's house." The militant leader asks him: "After that?" Ahmed: "Martyrdom."

When Saira asks if it is right to deprive Ahmed of his childhood, the leader tells her that "We were deprived of a childhood." Some of the militants lost their little brothers in the struggle, he explains. Now Ahmed is their little brother.

When Saira persists in questioning the morality of putting Ahmed on the front lines ("Is it responsible?"), the leader becomes impatient. "Don't worry about responsibility, sister. When we say goodbye to Ahmed, there a thousand more kids like him."

We next see Ahmed in school, where the students are standing and reciting the poem "Identity Card" by Mahmoud Darwish (1964):

...I do not hate people Nor do I encroach But if I become hungry The usurper's flesh will become my food Beware... Beware... Of my hunger And my anger!

In another scene we see Ahmed with a friend, making quwas (handmade grenades).

Saira asks a Palestinian youth if he has any hopes for peace. Palestinian: "Peace is not possible." Saira: "Why?" Palestinian: "They've killed too many of us."

But aren't these Palestinian children too young?

One of them replies: "Martyrdom's not just for grown-ups."

In a quiet moment alone with Ahmed, Saira asks him if he's ever thought about what it might feel like to be shot. He seems genuinely puzzled. Stumped. It's clear that he's never thought about this before. After a long pause, he replies: "No--why would they shoot me? I'm a little boy."

We see Salem, a 14-year-old boy wounded by Israeli fire, rushed to the hospital where emergency surgery is performed. He dies six hours later. At the funeral, his sisters are told it's a disgrace to weep. It's time to rejoice. The mourners chant: "To Jerusalem we go... martyrs by the millions."

On their last day in Rafah, the filmmakers visit Mohammed, who is at home with his mother. Mohammed is worrying that his good friend Ahmed will be martyred without him. Mohammed wants to them to be martyred together. His mother objects: "Even if that makes your mother sad?" Yes. Mohammed is adamant. His mother calls for an end to this kind of talk, and asks him to think about going to university, about raising his own family, about peace. Mohammed reminds her that she has several children. "Let every house have one martyr."

When co-director James Miller is shot and killed by Israeli gunfire (the shooters are actually mercenary soldiers--Bedouin Arbas working for Israel), Palestinian militants put his face on a poster and celebrate him as another martyr for the cause. Saira objects to this, and notes that James would have as well.

In the epilogue, we learn that Ahmed has stopped working for the paramilitaries, and now he wants to be a cameraman. So does Mohammed.

Najaf's home was destroyed by Israeli soldiers... now she is homeless.

Co-director James Miller had planned to complete this film by interviewing Israeli children. Now he will never have the chance. Shouldn't Saira Shah, or someone, take up the mantle and complete this project? Without that next step, "Death in Gaza," however valuable as a historical document, is incomplete.

Depressing but Effective

Rating: 5/5
Comments:
"Death in Gaza"

Depressing but Effective

Amos Lassen

"Death in Gaza" is an eye opening look at one of the most troubled areas in the world--the Gaza Strip. It is a documentary by James Miller, a British filmmaker, who was killed by Israeli forces while making the film which was shown on HBO. Miller shows us here the nihilism of war and while making the film he became a martyr for this. Miller thought that he was making a movie about the indoctrination of Arab children into the belief of martyrdom; he did not know that he was making a film about his own death. It is his Miller's death that gives this film its context.
I am sure that many of us have wondered what causes some kids to grow up to be suicide bombers and this film shows us why. The film emphasizes the gritty horror and desperation of what has become the Palestinian world. It is hard to see what this film shows and we see man's inhumanity to man (and I write this after having served in the Israeli army). "Death in Gaza" shows that evil brings about more evil and that it comes in cycles and will continue to take innocent lives on both sides if compassion and truth do not come to the fore and finally win over evil.
We can agree that there is nothing that can justify the actions of suicide bombers on Israeli citizens but we do forget that the bombers themselves gave their lives for what they believed. In many cases they grew up in poverty and were taught nothing but propaganda in their schools and villages. They have seen their friends and family members killed in front of them by the IDF and they have been forced to attend celebrations of martyrdom which take place around filled coffins of dead people. It is no surprise that there are so many human bombs available.
The film is one-sided however. If Miller had lived, we would have had the Israeli view as well but he was shot in the neck and died almost instantly during an Israeli raid.
It makes no difference which side you support--this is a thought provoking and very sad documentary as it looks at the daily reality of the Israel/Palestine conflict. The endless cycle of hatred and violence on both sides is a horrible tragedy and with this movie we go right into it. It is difficult to watch but it must be seen. It is NOT propaganda but a fair look at something that we have a hard time comprehending. Miller paid the highest price for this film and like the title "Death in Gaza" is about death--the death of innocence, the death of truth, the death of hope but unfortunately not the death of evil.