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Menashe (2017)

PG | | Drama | 28 July 2017 (USA)
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Within Brooklyn's ultra-orthodox Jewish community, a widower battles for custody of his son. A tender drama performed entirely in Yiddish, the film intimately explores the nature of faith and the price of parenthood.

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3 wins & 13 nominations. See more awards »

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Cast

Credited cast:
...
Menashe
Rest of cast listed alphabetically:
Yoel Falkowitz ...
Fischel
Ruben Niborski ...
Rieven - Menashe's son (as Ruben Niborsk)
Meyer Schwartz ...
The rabbi
Ariel Vaysman ...
Levi
Yoel Weisshaus ...
Eizik
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Storyline

Menashe, a widower, lives and works within the Hasidic community of Borough Park, Brooklyn. Since his wife passed away a year before, he has been trying hard to regain custody of his nine-year-old son, Rieven. But the rabbi (and all the community behind him) will not hear of it unless he re-marries, which Menashe does not want, his first marriage having been very unhappy. Father and son get on well together, but can Menashe take care of Rieven properly? Not really for all his goodwill as he holds down a low-paid job as a grocery clerk that consumes too much of his efforts and energy. Always late, always in a hurry, he endeavors to improve himself though. But will his efforts be enough to convince the rabbi that he can be a good father without a wife at home? Written by Guy Bellinger

Plot Summary | Add Synopsis

Taglines:

There's Nothing Orthodox About Him

Genres:

Drama

Motion Picture Rating (MPAA)

Rated PG for thematic elements | See all certifications »
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Details

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Release Date:

28 July 2017 (USA)  »

Also Known As:

Brooklyn Yiddish  »

Box Office

Opening Weekend:

$62,078 (USA) (30 July 2017)

Gross:

$722,918 (USA) (21 August 2017)
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Company Credits

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Did You Know?

Trivia

Shot over the course of two years. See more »

Soundtracks

Ivdu Es Hashem Mit Simcha
Written, performed and copyright by Michoel Schnitzler
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User Reviews

 
just a guy
31 August 2017 | by (Dallas, Texas) – See all my reviews

Greetings again from the darkness. If the synopsis were phrased, "Based on the real life story of a figure within a secret society", we would likely be prepared for either a spy movie or yet another undercover look at a cult. Instead director Joshua Z Weinstein provides a rare glimpse into a community we outsiders rarely see: the ultra-Orthodox Hasidic Jews of Brooklyn. He does so with a deft touch and due respect, while bringing to light traditions that have existed for generations.

Supposedly shot in secret and featuring non-actors, the dialogue is almost entirely Yiddish (with subtitles), and the sets are mostly small apartments, back rooms, and the streets and stores of the community. There is no sound stage in sight. The story centers on Menashe, a sweaty schlub of a man. Menashe is neither matinée idol nor hero of the silver screen. He's a regular guy whose wife passed away, and who wants little more from life than to raise his son Rieven (Ruben Niborski). Unfortunately, tradition calls for every child to be raised in a home with a mother, so Menashe's former brother-in-law Eizik (Yoel Weisshaus) has taken on the parenting role.

As the memorial for the one year anniversary of his wife's death approaches, we initially believe Menashe's actions may be related to his mourning. But we soon discover, he didn't really have things together when she was alive either, and his borderline incompetence at work, and failings as a father, simply define who he is. Menashe Lustwig plays the lead in the movie based on his life events, and his approach leaves us wondering if we are witnessing his worst days or merely his every day.

Menashe is hard-headed, but not ambitious. He is anxious to show his Rabbi The Ruv (Meyer Schwartz) that he is independent enough to organize the memorial and raise his son. The Rabbi is understanding and reminds him The Torah states what makes a good life: a nice wife, a nice house, and nice dishes. Menashe falls short on all three, and his actions on dates set by The Matchmaker prove that he has little interest in a new wife, despite that being one of the conditions to his regaining his son.

The tight camera shots throughout play up the closeness of the community and the claustrophobic feel of Menashe's life. The writers Alex Lipschultz, Musa Syeed, and Joshua Z Weinstein (director) detail the traditions that seem foreign to us in a way that evokes authenticity and realism, rather than compromise for a wide audience. There is an odd intensity to the film, and it's more naturalistic than sentimental. The violin pieces written by Aaron Martin and Dag Rosenqvist complement the perspective that even in a close-knit community, every one of us goes through "stuff" in life that deserves a touch of empathy and understanding. Is it a happy ending? It's certainly not a Hollywood ending, but it does stay true to the vaguely hopeful tone.


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