Review of Ha-Gan

Ha-Gan (1977)
8/10
"Lost in the Garden of Eden, Said, we're lost in the Garden of Eden, And there's no one who's gonna believe this, But we're lost in the Garden of Eden, come on."
12 July 2023
Warning: Spoilers
Getting home, I decided to end a really good night,by attempting to find an obscure/overlooked film I could watch before bed.

Going through fellow IMDber lazarillo's reviews,I was pleased to find that a film which they had watched without subtitles, had now appeared online with English Subtitles, which led to me investigating what is at the bottom of the garden.

View on the film:

Walking round saying just a handful of lines, and completely naked for the majority of the film, Melanie Griffith gives a hypnotic performance as the unnamed girl, thanks to Griffith staying on the line of ambiguity, via angelic facial expressions, and a walking style that captures the girl being completely at peace in the garden, whilst at the same time, Griffith has the girl firmly kick back, against those who want to rape her and destroy the garden.

Refusing to remove his roots from the location, Shaike Ophir gives a great, crusty turn as Avram, with Ophir bringing out a comedic charm in Avram's stubborn refusal to not sell the garden, which grows to Ophir displaying in an abrasive fashion Avram's passion for keeping the garden, to be an area as innocent as Eden.

Exploring every corner of this secret garden for his lone directing credit, Victor Nord & cinematographer Valery Galprin play a Prog Rock atmosphere of hazy lens flare over extended fluid hand-held camera moves washed in a kaleidoscope of colours, which melt into lush green soft-focus wide-shots on the mysterious girl casting a heavenly light on the garden.

Joining Nord in this being his lone writing credit, the screenplay by Yosef Avisar lays on rather thickly that this location is the garden of Eden, where the purity of the area wipes away anyone who attempts to bring sin in, with Avram the lone figure to hold faith in fighting to keep the sanctity of the place.

Going on walkabout with the girl, Avisar strings tasty psychedelic riffs on the angelic figure, whose biting of Adam's apple conjures the girl as a mirage who vanishes/ re-appears each time Avram stares into the area, which wonderfully comes into focus, when the un-named girl resurrects, and sleeps with a skeptical member of Avram's family, who discovers the mythical power of the garden.
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