Beaufort (2007) User Reviews

One of the most beautiful israeli films ever

[nir661 · 8/10 · 4 May 2007]

Beaufort is an impressive israeli movie with fantastic photography and With excellent cast but some of the scenes are stuck and prolonged too Much. Beaufort is a movie that make you look on the other side of the war,of the mental and the physical side of the soldiers.it makes you understand the difficulties,dilemmas and the unbearable fear with some excellent And Impressive action scenes that makes us feel the soldier's situation in the war. This is a movie that can show the world the condition and the position of the Israelis soldiers that know the Israeli-Palestine conflict and can show the human side in the war and not only the wild and savage side.

There aren't any real winners at war but there are real injured and dead soldiers and people.This movie show you.

"...so it doesn't escape"

[circusanimals · 8/10 · 17 June 2007]

I just saw this last night at the Sydney Film Festival and want to let you know what I thought about it. It is a movie about boredom, fear and leadership, set - as I understand it - in the last days of the Israeli occupation of the buffer zone in Southern Lebanon.

The Beaufort of the title is a hilltop fortress used a forward position by the Israeli Defense Forces, and, as the name suggests, was built by the Crusaders in the 12th Century. Because of its history, the site is respected or sacred to both Israel and the Arabs, and has become a symbol of bravery. For that reason, both sides try to ensure the ruins of the original fortress are not damaged, and it becomes a character in the movie as the leader of the small group soldiers left to defend it describes how he feels almost physically prevented from leaving. The scene of the soldiers finally departing has the feeling of a captain wanting to go down with his ship.

To get to that point though, the soldiers must survive in their cramped conditions against the increasing attacks by the unseen Hezbollah - who want to make the Israeli withdrawal look like a Hezbollah victory, the indecision and delays from their superiors - who may be waiting for a political solution as they face pressure from the Four Mothers Movement to remove troops from the Security Zone, and their own isolation - especially as any attempt at character development results in that character being the next one to die.

And there is humour to illustrate the futility of their mission, as two Shakespearean characters explain that they are "guarding the mountain...so it doesn't escape."

It is a political movie: made clear with the intervention of the father of one of the dead soldiers. In fact, I understand that a representative of the Israeli government was booed during his introduction of the movie (which I missed) at the Sydney Film Festival. Was anyone there? What did he say?

I'll leave it others in this forum to discuss the politics and reality of the events, but, judging it as a piece of movie making, it is well-written, well-acted, and well-directed, and deserves to do well at the box office. Seek it out.

Das Boot in a mountain

[rooprect · 7/10 · 17 March 2014]

Right-wing audiences have criticized "Beaufort" for being left-winged, while left-wing audiences have criticized the movie for being right-winged. Immediately that should tell you this is a movie worth watching.

Like all great war films, "Beaufort" avoids situational politics and instead focuses on the broader, universal issue of war which all sides can agree upon: war is hell. Or specifically in this case, war is pointless hell. Here we have an excellent illustration; "Beaufort" is the story of a handful of soldiers who fight admirably to defend a fort, simply so that they can abandon it as planned a few days later. Folks, it don't get any more pointless than that. I would tip my hat to the genius who came up with such a great metaphor, but the funny thing is that the story came straight out of history.

(Note: although this film depicts the Israeli withdrawal from Castle Beaufort which was returned to Lebanon in 2000, it was actually filmed at a different fortress at the Golan Heights in Syrian territory currently held by Israel.)

Joseph Cedar directs this film in a tense, claustrophobic way with narrow, labyrinthine corridors that burrow deep into the mountain. I was instantly reminded of the classic submarine film "Das Boot" and wasn't surprised one bit when I read that Cedar was highly influenced by that film. "Beaufort" shares several qualities with "Das Boot" such as the facelessness of the enemy (all we see are the incoming mortars & missiles), the youth & inexperience of the soldiers (Beaufort's commander is 22 and most of the soldiers are 18- 20 years old), and of course the constricting, suffocating feeling of being stuck in a steel tube while, outside, the powers that be are deciding your fate.

One notable difference between "Beaufort" and "Das Boot" are the infrequent but powerful shots of the gorgeous landscape, the humbling presence of the 12th century ruins, and other scenes of nature which lend a positive breath of fresh air to an otherwise dismal setting. This, I'm sure, was very deliberate on the part of the director, and at one point there's a nice speech where one soldier says to another, "This will all be a tourist attraction, and you can bring your girlfriend here and tell her this is where Outpost Green once was."

And that, to me, is what separates "Beaufort" from the standard "war is hell" stories. Regardless of how the story ends up, you get a feeling that eventually the majesty of nature will prevail--or should I say the stupidity of humans will fail. Same thing, I guess.

Peculiar highlights of this film include a powerful, sad song sung by one of the soldiers in the barracks, and one of the cutest war dogs ever. (And if, like me, you always cringe at animals being used in films that aren't regulated by the AHA or RSPCA, don't worry I don't believe there was any animal cruelty here.)

Other great (anti-)war films that focus on the psychology of the soldier rather than the action of battle include: the aforementioned "Das Boot" set entirely in a German submarine, "None But the Brave" about an American & a Japanese platoon each stranded on a remote island together, and an excellent war-drama-comedy from Korea called "Welcome to Dongmakgol" about N & S Korean enemies meeting in a remote village where none of the villagers are aware that a war is going on.

All of these great films can be viewed free of politics if you just ignore the uniforms. Both right-wingers & left wingers alike can find common ground with the universal thought (to quote ex-Marine talk radio host Kim Peterson), "the only point of war is to kill people and break things!"

Interesting piece looking at the difficulties of warfare from a stagnant perspective.

[johnnyboyz · 7/10 · 15 May 2009]

'A more mature version of Buffalo Soldiers' would be the easy, one sentence summary for 2007 Isreali film Beaufort; a film looking at the smaller, less exciting situations and scenarios behind the larger, more significant situations and scenarios that shape certain people's lives. The film is slow, but deliberately so, pointing out the insanities of war by having the primary soldier characters sit around and eventually loose interest at the sound of shelling and warning of incoming explosive shells; thus leading to a potentially damaging mental attitude when something dangerous isn't initially treated as such. If people are to find the film slow, then the film has done its job because it avoids following a nice, neatly plotted route that instigates familiarity and a sense of accomplishment. What the characters do is a slow process, and Beaufort studies it.

Joseph Cedar's film sees a number of Isreali troops inhabit a reasonably large bunker in southern Lebanon at Beaufort Castle stronghold. The year is 2000, and the troops are a part of Isreal's army holding the area from Lebanon forces located several miles away and mostly limited to the odd rocket or shell landing on or around the area of the stronghold. The film builds to the historic IDF withdrawal, in which the Isreali troops abandoned the fort and the conflict fizzled out with a political handover. Cedar uses the time leading up to this event as a chance to deconstruct the troops; to have them indulge in any necessary acts of questioning one's role in life and in the conflict as well as document what it took for the men involved to get by; to live; to survive and, ultimately, to get by the monotony.

No, don't worry – there are no tank drivers ploughing into other vehicles whilst under the influence of drugs in this film like there are in Buffalo Soldiers. Rather than take guidance from a Cheech and Chong movie, Beaufort draws on 1981's 'Das Boot' for inspiration, at least according to Cedar himself. The inspired ideas are clear: a study of what happens in-between conflict with the enemy and how conflict with friends as well as foes can lead to everyone's downfall. Beaufort's approach to the material, that could so easily have been delivered hollowly and without much intrigue, isn't an airy and sweeping approach that relies on long, long takes of external shots of the fort. Instead, it is constructed in an uncanny sense; that this space we are inhabiting should be something to be feared, and that while conflict is sparse with gunfire and man-on-man conflict almost non-existent - that doesn't mean we are not in a war-zone of some kind in the first place.

Beaufort carries a low and pulsating noise on its musical track almost entirely throughout. It's a very obvious noise, obvious more at certain times than others, creating an eerie and uneasy sense for a lot of the close, claustrophobic shots of inside the bunker itself. This early series of exchanges, which is meant to get across the bunker as a place of fear, is actually told through the eyes of a certain soldier named Ziv (Knoller), a bomb expert specifically called in to look at a suspicious object not too far away. Since it is our first taste of the bunker at Beaufort, we get to see the dwelling through the eyes of this new recruit as fear and uncertainty washes over us as it does with Ziv. There is no doubt Cedar applies this tactic and removes Ziv from the text at the point he feels we are embedded within the locale and no longer need a rookie's viewpoint to break us in.

Some of the more uncanny items that crop up during this opening segment might include Ziv's encounter with a dummy dressed as an Isreali soldier; the manner in which the approach is constructed with the positioning of the doll and the finding out of what it is with the sudden appearance of a friendly soldier, with the rest of the film playing out under grey skies or the black of night, is unexpectedly unsettling and works really well. But this is all introduction, and the bulk of the film will revolve around several other Isreali soldiers, Koris (Tiran); Shpitzer (Perzev) and Liraz (Cohen) to name but a few. Beaufort sees fit to plunge us head first into explosive combat as many of the guys try to avoid incoming artillery shells although later on, the direct hitting of the base, drolly announced by a tannoy with the words 'impact, impact', doesn't seem to have an affect on anyone anymore.

Following the continuous so-called monotony of the shells hitting the area, there is one such incidence during which a missile of some description hits the base and everybody suddenly takes notice.The impact is a lot larger and a lot louder than the usual shells, causing panic; causing a sense of urgency. What follows is further use of sound effects as a means of the uncanny what with a bizarre diegetic/non-diegetic siren sound effect clogging up the sound tracks and disorientating the audience just as much as the characters. Beaufort is a film that documents the absurdities of war but through a relatively peaceful and mundane setting and one of its more seductive accomplishments is how it delivers a tale about essentially bored people, in a manner in which we actually find them interesting. Credit where credit's due, Beaufort works.

Beaufort

[Enchorde · 6/10 · 14 January 2009]

Recap: The story of the last few weeks of Israel occupation of the castle Beaufort, a strategic stronghold highly contested by rivaling armies at least since the crusades. Now the last Israeli soldiers find themselves trapped by the enemy fire and the inability of their superiors to protect or withdraw them.

Comments: Quite a strong statement, without really taking any sides, except the side of the soldiers. It has a very realistic feel about it, and one get a glimpse of what life in a surrounded fort could be like.

Mostly good acting, and not surprisingly a few sympathetic characters to care about. There were some odd behavior though from a few, but that is not really surprising either.

I had a little trouble to really care for or get an interest in the move though. It might have been that the story doesn't seem to have any real direction, no end or purpose. It's mostly a chain of events outside the control of any of the characters. Therefore there is little suspense in seeing what happens next as it doesn't really connect to what happened before.

Still a sober and honest depiction of what might war might really look like. A different kind of war movie. Well worth a watch, Oscar-nomination and all.

6/10

Among the best of war films

[paulmartin-2 · 9/10 · 29 July 2007]

I'm not a fan of the war genre, but Beaufort plays out more as a psychological thriller, and I find it hard to fault. There was an amazing blend of naturalism, stylistic devices, humour, touching human drama and suspense - at one time I jumped in my seat like I never have before.

The camera movements and cinematography are excellent and reinforce a sense of claustrophobia as a group of Israeli soldiers keep guard at an historic fort within southern Lebanon, but are virtually under siege by Hezbollah forces. Character development is also excellent with much authenticity. The film focuses on the idiosyncrasies of various characters and how they interact with each other under the circumstances. Respect for the commanding officer is sometimes lacking, resulting in a lack of discipline and friction at a difficult time.

I count this film as one of my favourite films in the genre, kind of a cross between Stanley Kubrick's Full Metal Jacket and Sam Mendes' Jarhead, and as good as either of these. Like these two films, there is an understated political critique in how young men are pawns in the games played by those who live comfortably away from the field of battle and death. Whether you like war films or not, this is must-see cinema.

I saw the film's screening at the Melbourne International Film Festival.

War without politics

[paul2001sw-1 · 7/10 · 18 March 2012]

'Beaufort' is set during the Israeli occupation of south Lebanon, but it isn't a film about the rights and wrongs of that conflict; instead, it focuses (without external judgement) on the reality, both mundane and terrifying, of Israeli soldiers, trying to do their jobs and stay alive at the same time. Indeed, the sense of being cut off from any sense of political or military strategy is palpable, and disheartening, even within the world of the film. Its low budget means that in places it has a (probably unintentionally) stylised feel, and perhaps not quite enough happens to drive two hours of plot. But the conversations between the men are awful yet feel utterly true, while the grey and misty environment feels more like the Scottish highlands than a stereotype of Middle Eastern desert. 'Beaufort' offers no easy answers; one can even suggest it asks no easy questions; but although you'll see slicker films, its merit lies in exactly these points.

a remarkable war movie with a cinematic style that actually says something original about war

[rob68 · 10/10 · 6 June 2007]

Beaufort is a remarkable war movie, with a cinematic style that really says something about the war and the situation in which the troops are in. the story is told through the eyes of the main character, Liraz, who's awareness of himself and the nature of the battle he's in gradually deepens into a sharp and original view on war and fear of death. the tension that is created throughout the film is a result not of fast paced action events, but through a series of scenes that takes the viewer into the world of this outpost, with all its claustrophobia, and mixed emotions that include the thrill of danger and numbness toward tragedy, but also simple fear that cannot be overcome. I recommend this movie to everyone.

Well Fort

[FilmFlaneur · 7/10 · 29 November 2009]

Beaufort is that rarity among war films – one with the subject matter of retreat and a (at least implied) defeat of sorts. As such it falls in with such earlier and illustrious company as Ford's They Were Expendable (1945) - a generation and continent away perhaps, but which also showed the camaraderie that can develop at the anti-climactic close of a military campaign. Unlike Ford's work, with its unspoken certainty of eventual victory, director Joseph Cedar's Beaufort is a portrait of military inertia and inevitable pointlessness, at least as experienced by its small band of combatants. Conversely it's a million miles away from such films as Black Hawk Down where it's suggested gung ho bravery can some way appease for operational ineptitude and loss. If it's true that most history is written by the victors, then Cedar's film and its ilk ought to be treasured as offering a truer and more convincing alternative - even if, as in Beaufort's case, the results are criticised by local critics for being 'left wing' and 'defeatist'.

Co-adapted for the screen by its author Ron Lesham, the film concerns a group of soldiers guarding a mountaintop in Lebanon shortly before the Israeli withdrawal in 2000. Beaufort Mountain is a place with particular historical significance, both as twelfth century crusader castle and a more recent, hard-won Israeli military capture - although it's quickly apparent that the value is more symbolic than strategic. Frequently shelled by the Hezbollah, guessing perhaps that the IDF is about to pull out, the outpost is isolated, the garrison depressed, with an unclear purpose.

As the film starts, Beaufort's soldiers are joined by Ziv (Ohad Knoller), sent to investigate a new-style explosive device found on the road. During the opening scenes of the film there's some anticipation in subject matter of the recent Hurt Locker, but matters shortly take a different course after the first traumatic event. It turns out that the central character of Cedar's film is not the bomb expert but the introspective and honourable Commander Liraz (Oshri Cohen). A man who "can't believe someone gave him the job", whose increasing guilt and disillusionment at his responsibilities make up the core of the narrative.

It has to be said that Beaufort is rather a glum film, shot in claustrophobic interiors, often at night. This may be an accurate representation of warfare under such circumstances but although Cedar, like Ford, admirably avoids sentimentality he fails to fill the space left with any real pathos and poetry, although showing successful empathy with his characters. Neither is there much, if any, black humour to provide contrast. When not on guard duty, or dodging incoming rockets, the soldiers are normally in their bunker-like environment – the corridors of which at times remind one of a spaceship without an alien - gloomily interacting with each other. The military installation on Mount Beaufort, largely empty and of questionable purpose, becomes a symbol of their whole mission, perhaps even more so than the plaque hanging there celebrating recent war dead. The camp stands in contrast to the remains of the original castle, visited at one point by several of the soldiers while in contemplative mood: the earlier construction had a far more distinguished point and still seems to be a source of strength.

Where Beaufort scores is through its representation of a soldier's life when trapped between duty and political inertia, even though it's implied withdrawal from political engagement can be seen both as a strength and weakness. Instead of confrontation, it relies upon the unspoken rage of the morally dispossessed. In one telling scene, we see Ziv watching on TV an interview with the parent of one of his fallen comrades. The commander's slow tapping with a lighter on the table, an insistent accompaniment to the points being made on the small screen (that a parent's duty is to ensure his offspring are better aware of the value of life), is like a military tattoo for a friend's funeral cortege and though him, honour itself. Ziv, the loyal soldier, cannot overtly question his predicament, but the ironic beat over coverage of events inevitably offers commentary.

Writer-director Cedar's previous two films Ha-Hesador (aka: Time of Favor, 2000) and Madurat Hashevet (aka: Campfire, 2004) both engaged with social and political aspects of the modern Jewish state, sometimes with controversial elements. In this latest one he provides another well-wrought and thoughtful piece, worth seeking out, even if it does not pretend to offer any answers. But perhaps that is the point: answers are always hard to find, let alone agree on, in such circumstances.

War is absurd. Great, thanks for mentioning it.

[vostf · 3/10 · 31 March 2008]

Beaufort doesn't pretend to cater for all audiences, right. It only aims to be a rendition of how the soldiers lived (and occasionally died) in the Beaufort outpost during the final days of the 18-year Israeli presence there. I reckon this rendition is really good: dialog, characters, actors, settings, photography.

Yet the movie is totally uninteresting: doesn't provide insight on the conflict, on human nature... on anything with a larger scope than Israeli soldiers on duty there and then. You know, soldiers have to be very special characters or to do something really special, else they are only public servants working their shift until it's time to come home. Maybe people in Israel will like Beaufort because it speaks of themselves and for themselves but universally speaking it is a very anecdotal movie, thus almost entirely uninteresting.

A fantastic work of art from the ever growing Israeli cinema

[eyal-aradi · 9/10 · 28 August 2007]

This movie is simply amazing - but as mentioned else where - might be extremely problematic for the non Israeli, non IDF serving audience. Despite that - the movie has a universal notion that shines through: occupation wars that last for years on end with no clear objective except to stay in the occupied land cannot be won. This is hardly even war - its the use of naive young men, using their sense of patriotism and love for their country and willingness to serve it for a twisted, outdated political machination that ends up killing them and putting them in impossible situations. The movie was criticized for being far too left winged, but I view it as mostly right winged - it shows the camaraderie of soldiers, the bonds that can only be created, or so it seems, in a close knit military unit. Also - there are no women in the movie, not even by voice - which further serves to show a society built on macho-ism and the devotion for young men and their sacrifices to the country. There are no talks of peace here, no talk about negotiations or even viewing the enemy as human. There is only running away or fighting. Despite all that - the movie captures a sense of reality, filled with all variants of humor and pain and longing to get home that captured me completely. I served 4 years in the IDF and this movie manages to get to the core, to the essence of the unbelievable situation of serving, fighting and dieing without knowing why, without seeing any goal or reason in the madness - only following orders.

This is one of the best Israely movies created - if you have any interest in Israely cinema, regardless of your political or other views, don't miss it.

The Left Elbow Index

[eldino33 · 6/10 · 21 November 2009]

This film is not technically a war movie, it is about soldiers at war and the effects of war on soldiers. In a way, it is the same type of movie as A WALK IN THE SUN, THE BEST YEARS OF OUR LIVES, and FULL METAL JACKET. It is not a movie about great wars, great battles or massive invasions, but one where there are long periods of inactivity punctuated with short periods of incomprehensible frenzy. The Left Elbow Index considers seven elements of film--acting, production sets, plot, character, character development, continuity, artistry, and dialogue--on a scale from a high of 10 to a low of 1, with an average movie rating a 5. It attempts to avoid emotional judgment based on the political elements of films such BEAUFORT, which like almost all Mideast films related to longstanding tensions tend to affect one's judgment of a film depending on which side of the conflict one finds oneself. The acting in this film looks reasonably good,it is measured, it is controlled, and the characters seem "real." The acting rates a 7. The production sets seem carefully constructed and authentic looking, there rating another 7. The plot seems average, a 5, with the main emphasis being on what will happen to the fort, and when. Another 5 for character development. The are some high points, but soldier's development can only go so far due to the implicit restraints of military service. Film continuity appears good, a 7, since the dramatic tone is constant. The use of high-tech equipment, the futility of war, and the eternal questions of war never leave the film. The artistry rate highest of all, an 8, due to the quality imagery and good cinematography. Also, Joseph Cedar's direction tends to focus directly on the main idea of each scene. In fact, in places, it causes the viewer to be as restless as the characters since one is unable to escape the tone of the moment. Dialogue is clever in spots, yet average overall--a 5. In a film where characters are ruled by a sense of duty, there is not much to say. The Left Elbow Index rating results in a 6.28, somewhat better than average. There are three concepts is this film which may drive you mad: duty has its price, our's not to question why, and military life amid changing orders. The film is well worth seeing, and I recommend it.

Pointless and Boring

[MikeyB1793 · 3/10 · 8 August 2009]

This movie is about a group of Israeli soldiers during the end of the occupation in Lebanon. They are on mountaintop where there is a castle called 'Beaufort'. There is a lot of soldier talk, missiles are launched by Hezbollah and a few soldiers are killed. That's about it. Character development is limited and the soldiers are pretty interchangeable. Very little empathy is felt for these soldiers. In the end they blow up this historical fort – a 'shock and awe' – it's all morally pointless.

The movie is lengthy and suffers from the worst of movie sins it's simply boring - not a whole lot happens. There is little in the way of story and I fail to see the point of this movie. This is no 'Saving Private Ryan'.

A beautiful and difficult movie 7/10

[saadanathan · 7/10 · 5 November 2020]

"Beaufort" is based on the novel by Ron Leshem and follows the story of a group of soldiers stationed on an outpost prior to the withdrawal of Israeli forces from Lebanon in 2000. The story in the film is not based on true characters or a true story, but rather examines and gives a point of view on the soldiers perspective on the war, the outpost, their fallen brothers and more. The movie shows the soldiers reaction to their dead friends in the most realistic way possible. There are fantastic actors in "Beaufort" and every one of them gives a compelling and great performance. The final scene where the soldiers come back home after they blew up the fortress and left Lebanon is a truly beautiful sequence, the moment where Liraz the protagonist (Oshri Cohen) tears up on the ground is emotional and gives the film a peaceful ending, a nice closure upon the hero's view.

Disappointing adaptation of an amazing novel

[Kaleidoscope · 6/10 · 13 August 2010]

I wanted to love this movie, because I was blown away by the book. Obviously, I came away disappointed. Beaufort isn't a bad movie by any means--it's well-acted, has some excellent cinematography, and builds a great deal of tension in many of its tightly executed scenes. However, the film's two hours do not seem to have been enough to fully develop its myriad of characters, which was the novel's greatest strength. The relationships between characters are unclear; when characters are killed, their fellows in the film mourn them, but the audience has not had enough time to grow attached in the same way.

Part of the problem may be that the film lacks the unique narration of the main character, Erez, that helped to make the novel so engaging. Perhaps another is that the film tries to follow the novel too closely-- it may be heresy to suggest, but perhaps an adaptation that strayed more from the source material might have succeeded more in establishing character and an emotional resonance with the audience.

Beaufort is still an interesting film--few other war movies achieve this level of claustrophobia and paranoia, and, as I mentioned, the acting is solid (at least, as far as I can tell without being able to speak Hebrew). Unfortunately, it pales in comparison to the source material.

Beaufort, Israeli genius at the International Film Festival 2007

[rachelenevoldsen · 10/10 · 2 October 2007]

This film has just been aired on the Copenhagen International Film Festival and of all the Israeli films available, this was the one I was - not - going to see, and yet I did.

It is still only a few days, since I saw it, but the images return and the sheer originality in terms of being a 'war movie' coupled with the usual Jewish genius of making a point: in short comment, dry humor, body language, tone of voice, well chosen repetition i.e. the monotonous, almost dead, tone over a loudspeaker from the lookouts stationed to warn against 'incoming, incoming' missiles, which after explosion were commented on by,'impact, impact'.

After the third or fourth of these 'scenes' I suddenly felt a wave of claustrophobia and fear, which these young Israeli soldiers must have felt being stuck on a mountain top, without a visual enemy, and only lookouts to rely on for their own lives and safety, 'incoming, incoming' - crash, bang -'impact, impact' - it was unnerving.

This film is a must for anyone - also those who like me, are not war buffs, because it is not about war. It is about a lot of things. Reality, how to handle anxiety, frustration, loss, grief, in a tight and stuck environment, with no relief in sight, (Israel itself?) It is about individuality in terms of different personalities, backgrounds, political opinions who have to make it work and who do in their own humorous, gentle, aggressive, accepting way. It is about men and a male attitude which I have not witnessed for over thirty years,(and sorely missed); the honesty and humanity of men, and it is about exile.

The one lifeline to the home country; a dirt road, has been blocked by a strange explosive device for about a month, and this is where the film starts, with the bomb squad arriving at the outpost, to identify and disarm the device, so that the outpost can receive supplies once again...and a whole 'different' story is touched upon.

I could go on for hours about this film, and not in a very logical way, since all the 'points' haven't been connected yet, it has so many layers. This what I call genius - 'layering' and this is what I look for in Israeli film and this year it was Beaufort, who delivered. Go and see it.

Very strong with a few superficial flaws

[tongue-3 · 10/10 · 30 March 2007]

In 1982, Israel was forced to invade southern Lebanon in self defense after repeated attacks. But after holding a buffer zone for 18 years, with increasing casualties caused by a strengthening Hezbollah, the army's presence there began to seem pointless.

This is a story about soldiers stationed at an outpost in Lebanon just before the eventual withdrawal in 2000. It manages to raise many valid moral and existential questions without getting preachy or politically partisan. Beaufort is a strong film that really sticks in your mind afterwards. The dialogues spoken by the soldiers is very true to life and the movie is highly authentic in every respect. It is well directed, the cast is good across the board, and the visuals are persuasive and gripping. But most of all, Beaufort succeeds in giving you a real sense of the fear and suspense of being a sitting duck for Hezbollah rocket-launchers to fire at. It is utterly nerve-wrecking.

Minor flaws include the customary setting-up of a character's personality just before he gets killed, to make you mourn his loss more, but such obvious manipulations are few and don't significantly hurt the movie.

Saw it in Tel Aviv in April--very much worth the effort of tracking it down

[jasonwwright · 8/10 · 31 August 2007]

Considering the sanitized pulp that the United States military participates in the filming of, it is refreshing to see a movie about soldiers that rings true and does not shy away from controversy. The IDF must also be commended for actively participating in the making of a film that does not shine the best light on the occupation of southern Lebanon.

Ultimately it is Israeli politicians and inept commanders that take the brunt of the blame for the appalling conditions the soldiers portrayed in this movie endure while holding on to their mountain top position.

Hezbollah obviously plays a part in this story, yet they are an unseen presence. They are always just out of the frame and sporadically, sometimes shockingly so, they remind everyone involved of their lethal potential.

Set aside your preconceived notions of the Israeli-Arab conflict and see this movie.

Very Strong movie

[ohad_r · 10/10 · 26 February 2008]

This movie is intense. It will not leave you indifferent. While there are certain political aspects in the movie that probably relate mostly to those who know something about the situation, the movie is first and foremost about people and about war. The movie shows the Israeli soldiers, often presented by international media as fearless and brutal, as human beings who love, hate and mostly fear like anyone else. I do not think that the movie has a clear statement about war. Some believe it is anti-war and lefty. I just believe it presents the human side of war, and doesn't say a lot about politics. It does say, however, that human life is precious and that even soldiers have a right and should fear for their lives.

I didn't make them understand how important their lives are. That's the job of a parent.

[lastliberal · 8/10 · 23 December 2008]

It's about Israeli soldiers holding down a fort in Southern Lebanon, but it could be about soldiers anywhere. That is what makes this film so memorable.

Lebanon, Afghanistan, Bosnia, Iraq, it is all the same when it comes to politics and the soldiers that have to carry out the policies made by chickenhawks far removed from the front.

It is touching and funny at times. I could really relate to the truck arriving with fresh supplies after a long wait. It is common and a hot meal at midnight is much appreciated when you have been running low.

It shows real soldiers doing real grunt work. It is an outstanding film.

You really feel for these kids!

[fvila · 9/10 · 2 April 2008]

Watching this movie I became slowly engrossed into the claustrophobic world it describes. At the end, I got a feeling that comes only very infrequently when watching movies, which is "Wow what an easy life I am living compared to these guys!". In this movie, death comes without warning, without background music, without philosophical introductions as to the nature of war,of mankind, or of good and evil. You hear the missiles coming in, but you never know which one will find its mark. There is no explicit message, that I could make out (but then I am not familiar with the political background). You can watch it as an anti-war movie, just as you can say it emphasizes the sacrifices of the Israeli soldiers. Anyway, the main point is beyond that, it is the reactions of human beings put under extreme stress. I saw this movie almost by accident and I was afraid it would be documentary and boring, but I really found it one of the best movies I have seen in a while.

the evil mountain

[dromasca · 8/10 · 27 January 2008]

Seeing 'Beaufort' during this pre-Oscar period makes me wonder how it is being perceived by the non-Israeli viewer. The reason is that this is one of these movies with a strong political message, full of nuances and conflicts that I am afraid will be lost to the foreign viewer. And yet, it is a better international film that Israeli film. I will try to explain.

There is a lot of cinema aesthetics to be enjoyed in 'Beaufort'. The setting is a direct quote from Kubrick's Space Odyssey, the fortified bunker in the Lebanon of the year 2000 seems to be a spaceship in an hostile and incomprehensible universe, while the Israeli soldiers spending their last weeks before Israel's retreat dressed in the heavy and techno-sophisticated equipment with their weapons upon them all the time seem to be astronauts fighting some invisible monsters who hit when you expect less. The abstractionism of the conflict, the faceless enemy, the waiting, fear, survival instinct are all human themes that find the path to the hearts of any viewer beyond politics.

It's a very different movie for an Israeli viewer and especially for somebody who went through the experience of the army, who understands the language and the tension. The characters on screen look familiar to the Israeli viewers, they may be themselves or their children, or their neighbors. The film does not make any clear political statement, and this is a statement by itself.

Director Joseph Cedar succeeds to control at the level of detail the image and the sound. Sound work is especially amazing, after a few minutes the viewer will learn as the soldiers on mount Beaufort to discriminate between 'outputs' (friendly artillery fire) and 'falls' (hostile fire).

And yet, it is from the Israeli perspective that I found more flaws. It is not the lack of political message that disturbed me, actually I found better as in real life that the director avoided to drive to conclusions and let everybody seeing the film to draw its own. There are too many characters in this film who are part of a schema, and not even commander Liraz well acted by Oshri Cohen reaches the psychological deepness of the characters of other lesser known and perhaps not so good Israeli war films. When one of the characters starts to open himself to his comrades and the viewer his end is coming soon, and this looks painfully simplistic. The overall balance is also broken by the final scenes when the soldiers are back home after a war in which victory means just personal survival - these may be emotional for the Israeli audiences but they are artistically unfinished.

I would have loved the film to have a different ending, in the frame where the metal plaque with the names of the soldiers fallen in the fights at the conquest of the mountain at the beginning of the war melts in the fire. One of the characters comments that the plaque could not be taken out in the turmoil of the retreat, like the fallen heroes wanted to stay where they died. Those were the first soldiers fallen in the war in 1982 in a fight famous in the military Israeli mythology. Now their names melted down in the last flames of the same war, heroes and victims at the same time of a war as absurd as any other war.

An excellent film, so therefore 10/10

[ian-1541 · 9/10 · 24 April 2008]

I think that rating films out of 10 is a little futile, as what may stir one person may leave another cold. With that disclaimer set then let me say this about Beaufort: Yes this is a war film, in the sense that the characters are soldiers. It is however, in my opinion far more of a character study than most films in the genre. Full Metal Jacket has been mentioned as a comparable work, and I can understand the comparisons. The internal turmoil of the characters is portrayed with similar verve, and the swings at provoking the big questions have similar merit. Where Kubrick's film veers into the slightly surreal to deliver it's message, Beaufort stairs straight ahead into the stark reality of it's particular war time situation, and this is perhaps the fork in the road where the two films part company. This very tangible starkness is what enables the film to deliver such a telling experience, life and death laid bare for all to see and attempt to comprehend. It is one of the quintessential artistic topics, and Beaufort approaches it admirably. The viewing experience may not be as exhilarating as Saving Private Ryan or Platoon, and it certainly lacks the surrealistic glee of Full Metal Jacket, but Beaufort had me contemplating it's content long after I watched it. It had me writing this review, something that I have not done for any of the films I mention in reference to Beaufort, despite their qualities. In conclusion I would thoroughly recommend Beaufort to anyone that enjoys cerebral films, and if you particularly enjoy war films then I would also recommend Clint Eastwood's "Letters from Iwo Jima" as another excellent war film that is similarly thought provoking.

A genuine drama of a society living in the small country

[yanmazor · 8/10 · 18 November 2009]

A genuine drama of a society living in the small but gallant and beautiful state of Israel - a drama set in Beaufort fortress in Southern Lebanon. As far back as in 1982 did brave IDF soldiers take control of the fortress in a bloody battle during the first Lebanon campaign. That war was started to stave off bloodthirsty terrorists (this time - members of Hezbollah). Much blood was spilled during that battle, but the movie is focusing on the year 2000, shortly before the Israeli troops withdrawal from Lebanon. The fortress somehow reminds of the state of Israel itself: also isolated, among the trigger-happy enemies only seeking to grab every chance to shoot to kill. The defendants of the fortress, despite their being soldiers, have their own, sometimes very different opinions concerning defense strategies in particular and politics in general, and that is how Israel is divided, too. Ruefully, the final course of action decided upon both by the commanders of the fortress and commanders of the country is almost always that of defense and withdrawal, as the little state of Israel lacks international understanding and support necessary to treat the trouble-makers as they deserved to be treated and are treated in other places. The good thing about the film is that it doesn't seem to take a clear-cut stand concerning what should be done and thus embraces both camps comprising the society - leftist and rightist. United shall we stand, but shall we win? Hopefully so.

The hint of reality

[pminottawa · 9/10 · 24 January 2009]

This movie has the feel of reality. This is not a shoot-em up war hero type of entertainment, it is an attempt to display the reality of Israeli soldiers in Lebanon, who are attempting to defend their ancestral land against an implacable and racist foe who use stealth to cover their cowardliness.

There is a lot of politics in dialog, but it is narrow Israeli politics, which may not be appreciated outside of Israel. The taking and holding of Beaufort is controversial...and the ending is the beginning of yet another controversy.

Supporters of Racism-Palestinism will not doubt hate the movie. But they should take solace in the fact that wider, non-Zionist political and historical topics are not covered. For instance, the stealing of Jewish lands by Arab armies of aggression, or the genocidal way in which supporters of Racism-Palestinism wish to wipe out Jewish Palestinians, if not yet in body then at least in thought.

So the movie has something for everyone. And it is a good way to develop an ear for Israeli Hebrew...which has been more of less the Hebrew of Middle East for a thousand years.