The Palestinian Romeo

Arna Mer was a tempestuous and exciting woman. She was the daughter of a professor of medicine, who hadalready become a legend in his own lifetime. As a young woman she joined the legendary Palmakh fighters of theunderground army, and since then the Keffiyah affected by them became her trade-mark. After the 1948 war shejoined the Communist party, then the most hated group in Israel, and married an Arab party functionary. Hertwo well-known sons, Juliano and Spartak, bear revolutionary names.

At the beginning of the occupation, Arna adopted the Jenin refugee camp, a sea of misery and deprivation, andcreated an island of light: a children's theater. With the help of Juliano, then an aspiring young actor, sheassembled a group of 9-10 year old boys and girls, and improvised performances with the most primitive means.Speaking fluent Arabic, she identified completely with the Palestinian suffering and encouraged the childrento express their anger, pride and opposition to the occupation. For this dedication she was awarded the"Alternative Nobel Prize" in Stockholm. On the eve of her death from cancer, worn out and fragile,she visited the camp to say good-bye.

Such a personality could fill a full-length film all by herself. But in the film "Arna's Children",directed by Juliano, the "children" star side by side with the "mother" and turn the filminto a unique document - indispensable for anyone who wants to understand the intifada.

A year ago, Muhammad Bakri's film "Jenin, Jenin" aroused a storm in Israel and even reached theSupreme Court (who overturned the decision that forbade its being shown). Both films partly cover the sameground: the Jenin events of April 2002, when the Israeli army invaded the West Bank town and refugee camp aspart of "Operation Defensive Shield".

Both show profound empathy for the Palestinian side. But there is a big difference between the two. InMuhammad Bakri's film, the people of Jenin are shown as victims of a massacre. In Juliano Mer's version, theyappear as heroes who take on the overwhelming might of the Israeli army. The Palestinian fighters in the filmangrily deny the claim that there was a "massacre", a claim they consider humiliating and insulting.Their attitude reminds one somewhat of the survivors of the Warsaw Ghetto Revolt.

What makes this film into an unforgettable experience is the double exposure of its heroes. Juliano filmedthem when they were children, members of Arna's group. They are captivating boys and girls, full of spirit andhumor. We see them on all fours, barking and attacking each other in an etude of "dogs". We seeAshraf, the most impressive boy, dreaming of a future when he will be the "Palestinian Romeo". Weobserve these children, living in inhuman conditions, dreaming of a life of happiness and splendor.

As the film unfolds, we meet them again, by now young men. The smiling, captivating Ashraf, the PalestinianRomeo, blew himself up on a suicide mission. As is usual in such cases, just before the action he recorded alast statement on video: a bearded youngster, solemn, determined, explaining that death is better than life inthe hell of a refugee camp under occupation. Others fell - "fell" and were not "massacred"- in the Battle of Jenin.

The Palestinians treat Juliano with perfect trust, in spite of his being a "Yahudi" (Actually he isonly half Jewish, but in their eyes he is a Jew). As a result, he was given an opportunity that no otherIsraeli ever had: he was allowed to accompany and photograph them by day and by night, until the end. Thus areally unique and invaluable document was created. It shows how those men who are described in IDFpress-releases as "armed men" and declared to be "sons of death" (meaning: liable to bekilled) live and die.

We see them moving in small groups, equipped with light arms, or sleeping in their clothes, ready to springinto action at a moment's notice. They sit together, chain-smoking, sometimes joking with each other, asfighters do before battle. A spirit of brotherhood and camaraderie is in the air. They are, all in all, youngpeople full of life, who know that their days are numbered. None of them is a religious fanatic.

When the observation posts alert them by cellular phone that an Israeli armored unit is approaching, they goout to attack it, Kalashnikovs and pistols against the heavy tanks. But, as they say, they are determined notto surrender, to fight to the end (rather in the spirit of Samson in the Bible: "Let me die with thePhilistines" [Judges, 16, 30].)

This is the other side of the routine army spokesman's announcements: "In the course of a search forwanted terrorists, the IDF entered the refugee camp…In the ensuing firefight, five armed Palestinians werekilled...Our forces sustained no losses..."
It is no secret that lately the army has been sending armored columns into Palestinian towns not to"arrest wanted terrorists" or to "eliminate ticking bombs", but to draw these armedfighters out of their hiding-places and induce them to attack the tanks - an action tantamount to suicide.

In the end, the photos of almost all of Arna's children - side by side, again - appeared on the walls inposters commemorating the Martyrs. The children, who are so gay and full of pranks at the beginning of thefilm, had become solemn and threatening.
In the eyes of most Israelis, they are simply terrorists, murderers and criminals, whose sole aim in life isto "spill Jewish blood". They do not see the human beings and do not ask where they came from andwhat got them to do what they are doing. Therefore, they do not understand the source of their strength andtenacity.

In the eyes of the Palestinians, these are their national heroes, valiant and dedicated young people whosacrifice their lives for the dignity and future of their people. They think of them much as we thought of ourunderground fighters before Israel was created.

Ashraf, the Palestinian Romeo-to-be, died together with his friends, like Romeo in Shakespeare's tragedy. Butseeing this film, one knows that for every one who falls there are dozens to take his place.

Leaving the hall after the screening, a question was forming in my mind: in the end, when the Palestiniansattain their independence and these fighters will become part of the national mythology, will the relationsformed in the darkest times between these children and Arna and the likes of her provide a basis forreconciliation?

It is always difficult to see the other side of a coin, even more so in the middle of fighting, when pain,anger and hatred rule supreme. This film presents us with a rare opportunity to get a fuller and morerealistic picture. It is a very moving film, a film that opens our eyes and explains why the Israeli armycannot vanquish the intifada - although "winning every day", as the Gaza Strip commander announcedthis week with blind pride.